Following an extended period of neglect, the early 1840s saw a dramatic revival
of interest in English church music and its history, which coincided with the
period of heightened religious sensitivity between the publication of Newman‘s
Tract 90 in early 1841 and his conversion to Roman Catholicism in October 1845.
This article examines the activities and writings of three men who made
important contributions to the reformation of the music of the English church
that took place at this time: Rev. Frederick Oakeley; Rev. John Jebb and the
painter William Dyce. It pays particular attention to the relationship between
their beliefs about and attitudes towards the English Reformation and their
musical activities, and argues that such important works as Jebb‘s monumental
Choral Service of the United Church of England and Ireland
(1843) are best understood in the context of the religious and ecclesiological
debates that were raging at that time.
Society gossip, homosexuality and the logic of revelation in the interwar popular press
. Among the most demonstrative of dandy gossip writers in the Swaffer mould was Philip (Peter) Page, the Oxford-educated socialite hired by Swaffer as the original Mr Gossip for the Daily Sketch. 27 Known for his brightly dyed hair and neatly pressed velvet jackets, Page actively cultivated a life of an aesthete, complete with a (most likely fictitious) royal pedigree that he claimed to trace back to Louis XVIII, as well as an Elizabethan manor house in Essex, descriptions of which sound as if they are taken from the pages of À rebours , the decadent’s handbook of
The Christmas drama of the household
of St John’s College, Oxford
In the late-medieval and early modern periods, several colleges of
the University of Oxford were sites of regular theatrical activity.
The Records of Early English Drama [REED] volume for Oxford
gives evidence of plays and interludes being staged at Magdalen
College from 1485 onwards; in the first half of the sixteenth century there are records of comedies, tragedies, and interludes being
performed at New, Lincoln, Exeter, and Trinity Colleges; in the
1560s Christ Church
Hutchinsonianism, a set of ideas developed by John Hutchinson, did not necessarily command considerable respect among intellectuals in the eighteenth century. Hutchinson held that science was divine in origin and was rooted in the Old Testament. He denied the Newtonian principle of gravity and argued that God was necessary for the application of physical laws. He also developed a highly symbolic interpretation of religious ideas. George Horne (1730–92) was an exception in taking Hutchinsonianism seriously. Horne’s ideas aimed at uniting Christian orthodoxy against a common enemy, particularly those who undermined Trinitarian Christianity. This article examines Horne’s ideas as a Hutchinsonianism and explores his debt to Hutchinson. Horne also can be regarded as the most important representative of the Oxford Hutchinsonians of his generation, in the sense that his orthodoxy and adherence to Hutchinson’s ideas were aimed at finding a common ground between the two.
This article focuses on the career and writings of a neglected eighteenth-century High Church cleric, Thomas Townson (1715–92). It aims to restate his contemporary prominence as a writer and pastor and present fresh research into the intergenerational transmission and reception of High Church ideas and practices within a distinctive religio-political milieu in Staffordshire and Cheshire. In this recovery of contexts, it notes Townson’s relatively slight inspirational importance within both the Hackney Phalanx and the earlier Oxford Movement, and argues that, while there were undoubted continuities and connections between the Georgian Church of England and the Tractarians, Townson’s marginality for most of the latter serves to confirm Peter Nockles’s emphasis on the Oxford Movement as, in many senses, a ‘new start’.