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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.

Placing the people at the heart of sacred space
Laura Varnam

. I will begin with the most important and influential understanding of church architecture in the Middle Ages, the thirteenth-century Rationale divinorum officiorum by William of Durandus. The Rationale’s allegorical reading of the church builds the Christian community into the architecture from the pavement to the roof and it was the foundation of late medieval thinking about the material church. A section of the text was translated into Middle English as What the Church Betokeneth in the mid-fifteenth century, and this translation was not only linguistic but also

in The church as sacred space in Middle English literature and culture
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Laura Varnam

The epilogue discusses the depiction of the church as a sacred space in the Middle English carol By a chapel as I came. The chapel has a multisensory, dynamic sanctity, and is presented as the house of God and all his saints. The epilogue concludes by showing how this mode of sanctity can still be experienced in the modern world by describing a visit to the church of St Botolph’s, Slapton, to examine the wall paintings and by discussing modern material replicas of church architecture, including the Lego Durham cathedral and the ‘Woolly Spires’ knitted churches project.

in The church as sacred space in Middle English literature and culture
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.

Joseph Hardwick

style came to dominate church architecture, forms of worship became more Catholic and a new cast of clergy were recruited. Most of the men appointed to colonial bishoprics in the 1840s were indeed English-born. One might conclude from this that the extension and revival of the episcopate was an attempt to transform a multi-ethnic colonial Church into a more recognisably English and Anglican one. 4 But interpretations of this sort

in An Anglican British World
Lindsay J. Proudfoot and Dianne P. Hall

specimen of correct church architecture … On a Sunday the young men and young women come trooping down on horseback to attend the services of the Church you see horses every where round the fencing of the ground … This says a good deal of the people of these lonely dales and hills. They are well dressed and conduct themselves with the greatest decorum in the

in Imperial spaces
Joanne Parker

when I look back to a time when wide forests waved their green boughs over many of the richest manufacturing districts of Great Britain, and the lair of the fawn and the burrow of the coney were found, where now appear the fabric and the mill.12 As many recent studies have discussed, the perception that Gothic church architecture had an inherently organic form added to this view of the medieval as a time when people had existed in close harmony with nature.13 By the increasingly secular early nineteenth century, the omnipresence of the Catholic church in the

in ‘England’s darling’
Tom Stoppard’s The Dog It Was That Died
Jonathan Bolton

. 11 In Scene Seven Blair notes that the clock at Clifftops resembles that of St. Giles Church in Cambridge, a detail he might have known either because he went to Cambridge himself or simply because he is an authority on church architecture, or both. It's a minor detail in the play, but certainly one that invites comparison with the Cambridge spies. 12 In the televised version of The

in The Blunt Affair
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Street photography, humanism and the loss of innocence
Justin Carville

extent whereby it can be said to have shaped grandiose public visual statements. Its sphere of influence has largely been concentrated in everyday civic cultural forms of visual experience. The placement and orientation of church architecture in city suburbs, rural towns and villages may have ‘proclaimed the importance of Catholicism in the life of rural Ireland, its centrality in the village, and the authority of its priests’ (Bourke 1999: 7), but it has been with the visual spectacle of religious events and processions such as the 1932 Eucharistic Congress, and

in Tracing the cultural legacy of Irish Catholicism
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Reading sacred space in late medieval England
Laura Varnam

just as much as Derrida, Foucault, and Žižek. Theory helps us to open texts up and allow them to speak to us.’5 The fourteenth- and fifteenth-century texts that are my focus in this book are just as theoretical as their modern counterparts. From allegorical readings of church architecture to foundation legends, exempla warning against sacrilege to treatises on the relationship between the material and spiritual church, the medieval writers under discussion are themselves asking theoretical questions. What does the church symbolise, how is sanctity produced and

in The church as sacred space in Middle English literature and culture