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St Michael and All Angels, Sowton and St Mary the Virgin, Ottery St Mary

dare to advocate Sacramental Confession, the Sacrifice of the Eucharist, due honour to the Blessed Virgin … Modern Romanism will never do, it is a lying system and does not elevate. 6 This is the definitive ecclesiological position: the contemporary Roman Catholic church was corrupt and the Church of England must rediscover its Catholic roots and preserve the

in Stained Glass and the Victorian Gothic Revival
Religion and freemasonry

wherever the British settled to trade, including key positions in Europe, the Middle East and the ‘informal’ empire in South America and the Far East. The Roman Catholic Church had developed such ambitions with the world expansion of the Spanish and Portuguese empires from the late fifteenth century onwards. Mission churches had been established in Central and South America while the Jesuits had commenced their missionary endeavour in Asia, famously in the case of Francis Xavier. Indeed Iberian expansiveness had in a sense been supervised by the Pope in Rome, as

in The British Empire through buildings
J.W.M. Hichberger

in liberal Catholic and other circles about the empire seems to have centred on the moral problem involved in the use of force to achieve political ends. The traditional attitude of the Catholic Church was not pacifist but one of support for war fought in ‘just’ causes. Merrie England , in the main, argued that wars fought to gain or retain colonies did not fall into the category of ‘just’ wars

in Images of the army

Christian church is derived directly from the apostles. For the Oxford Movement this meant that the Anglican bishops were descended, through ordination, from the apostles themselves: the authority of a bishop was divine, not worldly. Generally speaking the theology of the Oxford Movement stressed the continuities between the contemporary Church of England and the pre-Reformation (and therefore Roman Catholic) church. This was to

in Stained Glass and the Victorian Gothic Revival
Coline Serreau and intertextuality

complex ideas and, on the other, allowed the writer to avoid censorship or prosecution. For the conte philosophique (philosophical tale) was more often than not an indirect (or even fairly direct) attack on the governing institutions of the day, notably the monarchist State and the Catholic Church. Firstly, Serreau’s films resemble Voltaire’s tales in their deployment of a mixture of narrative forms. Just as the tales borrowed from other literary types, so Serreau’s comedies adopt elements of various cinematographic types

in Coline Serreau

were perceived as sectarian even by unwavering Leninists. By and large, Servire il Popolo endeavoured to mimic the putative frugality and pureness of the working class, dictating strict rules to its members, to the point of prohibiting them from engaging in certain sexual positions because of their ‘decadent’ implications. The parallel with the sanctimoniousness of some sectors of the Catholic Church was blatant and did not escape the irony of other leftists. It is perhaps not accidental that the group’s leader, Aldo Brandirali, who was then at the centre of a

in Art, Global Maoism and the Chinese Cultural Revolution
Marinetti and technological war

a supreme feast per se excludes hatred. As I said before, regardless of his patriotic or nationalistic feelings, Marinetti cannot be characterised as a racist or xenophobe (further evidence of this is also his genuine passion for Africa and the primitive that in L’alcova d’acciaio is represented in the form of the African wind, Simun, in love with Italy). Consequently, there is very little space in his war writings for hatred of an enemy. During the 1930s this feature becomes more evident as, after the Lateran pact, the influence of the Catholic Church grew ever

in Back to the Futurists
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ecclesiastical buildings by groups such as the Oxford Tractarians, who sought to reconcile the Church of England’s thirty-​nine articles of faith with the doctrines of the Catholic Church through a series of publications entitled Tracts for the times (1833–​ 41). The publications of the Cambridge Camden Society, founded in 1839 (and known as the Ecclesiological Society from 1845), also encouraged architectural and liturgical reform within the Anglican Church based on 3 Introduction the religious splendour of the Middle Ages.9 During this period hundreds of churches were

in Windows for the world

politics can be pinpointed from his public objection to the Tractarian George Anthony Denison. One of the many ‘Papal Aggression’ meetings around the county was held in Taunton Castle on 28 November 1850, and reported in The Times two days later. 30 Sanford proposed the first resolution condemning the corruption of the Roman Catholic church and specifically referred to the Romish infiltration of the Church of England through

in Stained Glass and the Victorian Gothic Revival

it in her trenchant discussion of the two exhibitions Vo was involved in on the occasion of the 2015 Venice Biennale: his solo exhibition Mother Tongue in the Danish Pavilion, and Slip of the Tongue, the group exhibition he curated (with Caroline Bourgeois) at the François Pinault Foundation’s Punta della Dogana.112 Vo often mixes personal reflection and historical allusion. Several of his works allude, for example, to American cultural imperialism and military interventions, while others hint at European colonialism, particularly the role of the Catholic Church

in Migration into art