Search results

You are looking at 1 - 10 of 40 items for :

  • "stained glass" x
  • Manchester Religious Studies x
  • Refine by access: All content x
Clear All
Abstract only

T HE CATHEDRAL’S INTERNAL FITTINGS include an important and growing collection of modern stained glass, all dating from the 1960s onwards. This chapter briefly sets the scene for the collection, describes each of the windows containing stained glass, and considers future opportunities. To understand the significance of the collection, it is important to see stained glass in the context of medieval places of worship, where stained glass took its place alongside stone sculptures, exquisite

in Manchester Cathedral
A history of the Collegiate Church and Cathedral, 1421 to the present
Editor: Jeremy Gregory

Founded in 1421, the Collegiate Church of Manchester, which became a cathedral in 1847, is of outstanding historical and architectural importance. But until now it has not been the subject of a comprehensive study. Appearing on the 600th anniversary of the Cathedral’s inception by Henry V, this book explores the building’s past and its place at the heart of the world's first industrial city, touching on everything from architecture and music to misericords and stained glass. Written by a team of renowned experts and beautifully illustrated with more than 100 photographs, this history of the ‘Collegiate Church’ is at the same time a history of the English church in miniature.

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.

Abstract only
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
Abstract only

of the wings in this image, the under-wing is represented via a series of parallel wave lines. Whilst it is possible to conjecture, as Tracey does, that the same man carved all of these images, the variations in style, as well as skill, within the dragons alone would suggest otherwise. N14 – Main image: Pelican in her piety, supporters: Foliate The pelican in her piety is a classic christological image that, as Bond notes, ‘occurs in endless profusion in the bosses of vaults, in stained glass, on

in Manchester Cathedral
Elliot Vernon

rumour had begun at the Ludgate haberdashery shop of Major Walter Lee, who in 1643 had led the smashing of the stained-glass windows in Westminster Abbey and had also been a signatory of the citizens’ church government petition of November 1645. 46 The rumour caused panic throughout the city. 47 The news of the political Independent’s plan to use a military coup to crush the city illustrates the mutual distrust that had come to infect parliamentarianism. The rumour fed increasingly confrontational politics, with

in London presbyterians and the British revolutions, 1638–64

beautify the interior of the Cathedral, commissioning Antony Hollaway to produce five stained glass windows at the west end to replace the windows destroyed in the Blitz and to bring colour to that end of the Cathedral. Hollaway had, coincidentally, been a pupil of Jowett’s at Poole Grammar School, but his commission came at the instigation of the Cathedral architect, Harry Fairhurst, with whom he had already collaborated on several projects. 85 The windows, installed between 1973 and 1995, depicted the three

in Manchester Cathedral

relationship between religion, artworks, beliefs and experience in your own public space; among (a) congregation and (b) visitors?’ 92 That may reflect merely the inevitable jostling of other issues for a busy chapter’s attention, rather than a positive lack of interest; certainly in terms of activity this was not a lean period for the Cathedral’s relationship with the arts. In the Cathedral itself, the chief illustration of this commitment to art was a sequence of stained-glass windows, including five

in Manchester Cathedral
Abstract only

gem’ and an example of ‘Father Smith at his best’. 201 Canon Woolnough, on the other hand, must have had mixed feelings about the destruction. It was common knowledge that he hoped Hitler would ‘drop a bomb which will get rid of those awful stained glass windows and destroy that reredos’: 202 now he had his wish. As a result, Cathedral services moved to nearby St Ann’s, returning ‘home’ after a few months, to a grand piano replacing the organ. The Cathedral organist at this time was Norman Cocker

in Manchester Cathedral
Abstract only
Thinking with saints
Gareth Atkins

‘saints’: sculptures of Wycliffe, Calvin, Cartwright, Baxter, Howe and Whitefield in one aisle and Wesley, Watts, Owen, Hooker, Knox and Luther in the other.6 Still more expansive was the stained-­glass scheme masterminded by the first Principal, A. M. Fairbairn (1838–1912), and installed in the first decade of the twentieth century.7 The seventy men and women that comprised it broadcast an exuberantly ecumenical vision, pairing the prophet Amos with Plato and ranging from the New Testament, Latin and Greek Churches through the medieval and Reformation periods (both

in Making and remaking saints in nineteenth-century Britain