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Martha McGill

handed these keys by an angel leaning through a painted window. In St Andrews in 1538, Mary of Guise was given the keys by ‘ane fair lady most lyke an angell’ who descended from a mechanised cloud. 10 Angels also had a visual presence in the pre-Reformation landscape. Images of angels decorated stone slabs and crosses, abbeys, tombs, sacrament houses, prayer books and books of hours, and church or castle walls. 11 Particularly common were angels playing string and wind instruments, often to celebrate Christ’s birth, or to evoke the joys of Heaven. There are well

in The supernatural in early modern Scotland
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St Michael and All Angels, Sowton and St Mary the Virgin, Ottery St Mary
Jim Cheshire

the central scene, flanked by two further scenes from the Life of Christ. Below small scenes depict Old Testament types of baptism and a New Testament baptism scene. The relevant quotation from the litany underlines the high-church emphasis on this sacrament: ‘By thy Baptism Good Lord deliver us.’ The west window, placed directly above the door, depicts three archangels with text referring to the Last Judgment. The quotations

in Stained Glass and the Victorian Gothic Revival
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The supernatural and the textual
Janet Hadley Williams

line in B is rearranged to omit ‘shryf’, in accord with the Reformist removal of penance from among the sacraments. 35 Later in the B text, the thieves are described as ‘wickit’ (177), not ‘cursit’, as in MF (193). The additional details of punishments in the latter version, ‘Quhair with the dewill Jakkis and Jokkis / Salbe bordourit and buttonit als, / In sing that thai war mensworne and fals’ (196–8), 36 are deleted. With those reworkings, Bannatyne has reduced both the old church’s role, and the severity of the thieves’ condemnation. Viewed together, these

in The supernatural in early modern Scotland
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Gardens, religious tradition and ecoGothic exegesis in Algernon Blackwood’s ‘The Lost Valley’ and ‘The Transfer’
Christopher M. Scott

symbolic experiences. The protagonist in ‘The Sacrifice’ (1913) performs what the title suggests and does so for others in Christ-like fashion atop a Calvary-esque summit after administering the Holy Sacrament in a scene mirroring Luke 22: 19–20. Blackwood's famous story, ‘The Willows’ (1907), also references the sign of the Cross appearing in the sky. For a supposed believer and practitioner of Eastern mysticism, Blackwood employs myriad Christian references attached to the terrestrial settings in his fiction, especially the garden landscapes in his short stories

in EcoGothic gardens in the long nineteenth century
Sermons and the supernatural in post-Reformation Scotland
Michelle D. Brock

Press , 2013 ), pp. 243–5 . 54 EUL, Dc.4.79, fo. 4 r . 55 Michael Bruce, Soul-Confirmation, or a Sermon Preached in the Parish of Cambusnethen in Clyds-dail ([Edinburgh?], 1709), pp. 2–3. 56 Welsh, Forty-Eight Select Sermons , p. 114. 57 Brown, Christ in Believers , p. 10. 58 EUL, La.III.85, fo. 15. Similar discussions of devils to illustrate the tortures of Hell and estrangement from God are fairly common and can be found, among other places, in Robert Bruce , Sermons Upon the Sacrament of the Lords Supper ( Edinburgh , 1591 ), fos 3 v –4 r

in The supernatural in early modern Scotland
Julian Goodare
Martha McGill

sacraments’. 38 Magical rituals thus lost their power and indeed came to be viewed with suspicion, as distractions from true religious feeling. There are valuable elements in Weber’s thesis. Western society has certainly come to place more faith in scientific laws, rather than the influence of magical forces, as a means of understanding the workings of the universe. There were important developments here in the early modern period, although they more obviously arose from the intellectual changes of the Scientific Revolution and the Enlightenment than from the religious

in The supernatural in early modern Scotland
Clive Barker and the spectre of realism
Daragh Downes

Galilee , Rukenau's castle in Sacrament , the mural world in Coldheart Canyon – is limited, controlled, localised, stinted . Barker's better novels are those in which it is possible to go for long stretches forgetting that one is in fact reading a non-realist work. His very best writing is that which tends towards a gentle magic realism. The full-blown secondary-world schemas

in Clive Barker
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Sorcha Ní Fhlainn

Monsters ( 1998 ), 17 a drama based on Frankenstein ( 1931 ) director James Whale – within and beyond the field of horror cinema. Barker spent the remainder of the 1990s writing three very different and timely novels, with an evident biographical influence. In the personal and moving Sacrament ( 1996 ), he withdraws from the more mythological elements of earlier works to

in Clive Barker
Two tales of 1861–2
W. J. McCormack

England, by challenging the theology of sacraments, of sin and punishment, and – ultimately – by applying a highly damaging textual analysis to great portions of the Old Testament. The Dublin flurry had its own distinctive features, with an extreme anti-Catholic attitude voiced by the Reverend William Digby, and a philosophical response embodied in the work of a barrister, Edward

in Dissolute characters
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The most Gothic of acts – suicide in generic context
William Hughes
Andrew Smith

the Burial of the Dead’, in The Book of Common Prayer and the Administration of the Sacraments … According to the Use of the Church of England (London: SPCK, n.d.), pp. 346–50, at p. 346. Though formally baptised into the Irish Presbyterian tradition, Castlereagh was educated as a member of the Church of England to qualify him for government service. See John Bew, Castlereagh: The Biography of a Statesman (London: Quercus, 2011), Ch. 2. 14 Anon., ‘The Late Marquis of Londonderry: Coroner’s Report’, p. 3, col. 3

in Suicide and the Gothic