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Liturgical Gloves and the Construction of Public Religious Identity
Cordelia Warr

Within the Catholic Church from around the tenth century onwards, liturgical gloves could be worn on specific occasions by those of the rank of bishop and above. Using a pair of seventeenth-century gloves in the Whitworth as a basis for further exploration, this article explores the meanings ascribed to liturgical gloves and the techniques used to make them. It argues that, within the ceremony of the mass, gloves had a specific role to play in allowing bishops to function performatively in the role of Christ.

Bulletin of the John Rylands Library
Judith Richards

Although the reputation of Englands first queen regnant, Mary Tudor (died 1558) had remained substantially unchanged in the intervening centuries, there were always some defenders of that Catholic queen among the historians of Victorian England. It is worth noting, however, that such revisionism made little if any impact on the schoolroom history textbooks, where Marys reputation remained much as John Foxe had defined it. Such anxiety as there was about attempts to restore something of Marys reputation were made more problematic by the increasing number and increasingly visible presence of a comprehensive Catholic hierarchy in the nineteenth century, and by high-profile converts to the Catholic faith and papal authority. The pre-eminent historians of the later Victorian era consistently remained more favourable to the reign of Elizabeth, seen as the destroyer,of an effective Catholic church in England.

Bulletin of the John Rylands Library
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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

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

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
John M. MacKenzie

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
Jim Cheshire

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
Brigitte Rollet

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
Jacopo Galimberti

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
Marja Härmänmaa

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