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Chaucerian Beckets
Helen Barr

1 The figure in the Canterbury stained glass: Chaucerian Beckets Canterbury is the destination that Chaucer’s pilgrims never reach. While ‘folk’ from every ‘shires ende’ go to seek the cathedral shrine of the holy, blessed martyr Thomas Becket, the saint who helped them when they were sick, neither the assembly that gathers in Southwark nor those other persons who emerge en route come to their journey’s end.1 The narrative’s topographical momentum falters about two miles away from Christ’s Church at the end of an unknown village somewhere not far from Blean

in Transporting Chaucer
Author: Laura Varnam

The church as sacred space places the reader at the heart of medieval religious life, standing inside the church with the medieval laity in order to ask what the church meant to them and why. It examines the church as a building, idea, and community, and explores the ways in which the sanctity of the church was crucial to its place at the centre of lay devotion and parish life. At a time when the parish church was facing competition for lay attention, and dissenting movements such as Lollardy were challenging the relevance of the material church, the book examines what was at stake in discussions of sanctity and its manifestations. Exploring a range of Middle English literature alongside liturgy, architecture, and material culture, the book explores the ways in which the sanctity of the church was constructed and maintained for the edification of the laity. Drawing on a wide range of contemporary theoretical approaches, the book offers a reading of the church as continually produced and negotiated by the rituals, performances, and practices of its lay communities, who were constantly being asked to attend to its material form, visual decorations, and significance. The meaning of the church was a dominant question in late-medieval religious culture and this book provides an invaluable context for students and academics working on lay religious experience and canonical Middle English texts.

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Reading sacred space in late medieval England
Laura Varnam

Introduction: Reading sacred space in late medieval England In the anonymous fifteenth-century continuation of Chaucer’s Canterbury Tales known as The Canterbury Interlude and the Merchant’s Tale of Beryn, the pilgrims finally arrive at the sacred destination of their pilgrimage, Canterbury Cathedral, their terrestrial Jerusalem (Figure 1). The Knight and his companions make for the shrine of St Thomas Becket but the Pardoner, the Miller, and the Host linger in the nave and look around them in wonder at the architecture and the stained glass: The Pardoner and

in The church as sacred space in Middle English literature and culture
Author: Helen Barr

What happens when Chaucer turns up where we don’t expect him to be? Transporting Chaucer draws on the work of the British sculptor Antony Gormley alongside more traditional literary scholarship to show that Chaucer’s play with textual history and chronological time prefigures how his poetry becomes incorporate with later (and earlier) texts. The shuttling of bodies, names, and sounds in and amongst works that Chaucer did write anticipates Chaucerian presences in later (and earlier) works that he did not. Chaucer’s characters, including ‘himself’ refuse to stay put in one place and time. This book bypasses the chronological borders of literary succession to read The Canterbury Tales and Chaucer’s Dream Vision poetry in present company with Chaucerian ‘apocrypha’, and works by Shakespeare, Davenant and Dryden. Conventional models of source and analogue study are re-energised to reveal unexpected (and sometimes unsettling) literary cohabitations and re-placements. Transporting Chaucer presents innovative readings of relationships between medieval texts and early modern drama, and between literary texts and material culture. Associations between medieval architecture, pilgrim practice, manuscript illustration, and the soundscapes of dramatic performance reposition how we read Chaucer’s oeuvre and what gets made of it. Written for scholars and students (undergraduate and graduate) who work in medieval English literary studies and early modern drama, Transporting Chaucer offers a new approach to how we encounter texts through time.

Mark Ormrod, Bart Lambert, and Jonathan Mackman

fifteen immigrant glaziers in the country between 1440 and 1487, most of them from the Low Countries. William Mundeford, a native of the bishopric of Utrecht, started his career as an apprentice in the workshop of the Englishman John Wighton in Norwich before 1432. He swore the oath of fealty in 1436 and was assessed for the alien subsidies from 1440 to 1468. 81 Written sources suggest that he worked on the dormitory windows in Norwich Cathedral; and a body of stained glass in Norfolk has been attributed to him on the basis of his style, which had a lot in common with

in Immigrant England, 1300–1550
James Naus

best exemplified in the Abbot’s histories of Louis VI and Louis VII. Suger also did much more. In the later part of his career, he embarked on a major renovation campaign at the basilica, incorporating elements of manifestly secular and royal meaning into the western façade of the church, including Roman triumphal arches, crenellated walls and towers, and statues of several of the Merovingian and Carolingian kings buried within. 18 He also commissioned a stained-glass window for the new basilica, which combined images of a French king leading an eastern expedition

in Constructing kingship
Thomas A. Prendergast and Stephanie Trigg

, the facsimile allows the individual to own, to domesticate, to touch and to display a more or less affordable piece of the exotic medieval, through the same love and desire for the medieval fulfilled by the thousands of tea towels, replicas of jewellery, stained glass, carved bosses, books, facsimiles, and key rings sold to a variety of budgets in gallery, library, and art museum shops around the

in Affective medievalism
Deborah Youngs

buildings, tapestries, manuscript illuminations and stained-glass windows. Examples are found in the stained glass of Canterbury Cathedral, the fourteenth-century frescos of the Eremitani in Padua and the fifteenth-century marble floor of the duomo in Siena. Images of life’s stages also became, according to Elizabeth Sears, ‘part of the stock in trade of the late medieval house decorator’. Two walls of a

in The life–cycle in Western Europe, c.1300-c.1500
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Mending roads, being social
Valerie Allen

V, ed. James Raine, Publications of the Surtees Society 79 (Durham: Andrews & Co., 1884), p. 16. 62 In 1407, William Vescy, a mercer of York, and parishioner of All Saints, North Street, leaves ‘to the repair of the road near the Horsefair in the suburbs of York 20/–.’ Printed in Rev. P. J. Shaw, An Old York Church, All Hallows in North Street: Its Mediaeval Stained Glass and Architecture (York:  The Church Shop, 1908), p.  87. In 1509, Alison Clark, a widow, bequeaths 6/8 (half a mark) ‘to help to pave the cawse be side Sainct Antony’s in the Horsfare’. Test

in Roadworks
Elisabeth Salter

this voice that was potentially subversive to the authority it appropriated.26 The instruction is perhaps equivalent to a priest’s explanations of stained-glass images.27 In the sample image, the instruction is: ‘This praier folwinge is to be sede in like wise for al hooly chirche as the next bifore was’ (see plate 1).28 This is the second of two consecutive Jeremiah prayers which have been linked together by this instruction. In other manuscripts, a rubricated initial or final word may act as a Salter, Popular reading in English.indd 51 21/05/2012 10:15:04 52

in Popular reading in English c. 1400–1600