EXILED TO HOLY TRINITY CHURCH, SUTTON COLDFIELD, WARWICKSHIRE: THE REFUGEE MARIAN CHOIR STALLS FROM WORCESTER CATHEDRAL

2019 ◽  
Vol 99 ◽  
pp. 187-224
Author(s):  
Nicholas Riall
Keyword(s):  
Building Projects ◽  
Holy Trinity ◽  
The Arts ◽  
Sebastiano Serlio ◽  
Forward Looking

The reign of Mary i (24 July 1553–17 November 1558) is widely seen as a disaster for both the woman herself and her devout faith. It can be argued that she did more than anyone to make England a Protestant nation. When we seek to find any trace of her patronage of the arts or of major building projects, we find that little survives. Eamon Duffy called such traces the ‘disjecta membra’. Yet each piece, each surprising survival, demonstrates an awareness of the latest fashions, embracing a forward-looking form of Renaissance arts rather than a backward-looking, conservative Gothic. To discover and emphatically assign a major new piece of work to this catalogue of relics is justifiably a cause of celebration. In 2011, Charles Tracy FSA re-assessed the Marian choir stalls now in Holy Trinity church, Sutton Coldfield (in Warwickshire), rightly calling them the ‘refugee choir stalls from Worcester’, for it was from Worcester cathedral that this magnificent suite was evicted in a fit of Victorian vandalism. In this article, the author demonstrates that these choir stalls were created through the patronage of Mary i, and their makers evoked in their creation ideas and fashions that emanated from Hans Holbein and Sebastiano Serlio, to create what is a unique set of work.

The Cornucopia in the Minefield

2020 ◽  
Vol 54 (1-3) ◽  
pp. 253-279
Author(s):  
Jennifer B. Spock
Keyword(s):  
Soviet Union ◽  
Individual Characteristics ◽  
Social Classes ◽  
Material Objects ◽  
Daily Lives ◽  
Building Projects ◽  
Holy Trinity ◽  
Spiritual Path ◽  
The Soviet Union ◽  
Limited Scope

Abstract The study of monasticism in Russia has found new acolytes since the dissolution of the Soviet Union. With the separation of the Soviet republics, religion became, and continues to become, a vibrant subfield of Russian studies. This article examines the problems inherent in attempting to grasp the day-to-day life of monks and monasteries given their individual characteristics, social classes, roles, and the wide variety, yet often limited scope, of various texts and material objects that can be used as sources. The vast source base is an embarrassment of riches in one sense, but problematic in another as prescriptive and normative texts must be understood in context. One important element that has not been directly addressed is the cacophony of sound, the interruptions, and the distractions of the constant activity of expanding cloisters in the sixteenth and seventeenth centuries. How did monks maintain their spiritual path and pious duties when on service expeditions outside the monastery: when engaged in salt-production, fishing, trade, rent-collecting, or other activities outside its walls? How intrusive were building projects, which abounded in the period, or even efforts to adorn the churches? How strict was oversight, or how weak? Such questions still need answers and can only be fully understood by integrating diverse source bases. This article uses Solovki, Holy Trinity, and Kirillov monasteries to exemplify the problems that remain in understanding the daily lives of monastics and their adherents within and without the confines of the cloister.

‘Housing the Arts’

2018 ◽  
Author(s):  
Alistair Fair
Keyword(s):  
Local Government ◽  
Building Projects ◽  
The Arts ◽  
The 1950S

This chapter discusses how major new theatres were funded in Britain between the 1950s and the 1980s. It considers the role of local government in promoting and subsidizing the construction of theatres, as well as the contributions made by individual benefactors, grant-giving trusts, and local fundraising efforts. Its focus, however, is the Arts Council’s ‘Housing the Arts’ programme, which was introduced in 1965 and survived into the 1980s. ‘Housing the Arts’ only ever part funded theatre-building projects, but its views carried particular weight. Based on the extensive archives relating to the programme, the chapter charts the origins and operation of the programme, and the difficulties that it increasingly faced.

The continuing tradition of civic pride: municipal culture in post-war Manchester

2017 ◽  
Author(s):  
Peter Shapely
Keyword(s):  
Cultural Hegemony ◽  
Building Projects ◽  
High Profile ◽  
Civic Pride ◽  
The Arts ◽  
Victorian Period ◽  
Industrial Decline ◽  
Local Residents ◽  
Post War ◽  
The 1960S

It has been argued that civic pride declined after its heyday in the Victorian period but Peter Shapely contests this view, illustrating how in Manchester, a combination of civic pride, social reform and policy rooted in the Victorian period were re-defined over the twentieth-century, albeit retaining a ‘boosterish’ emphasis on the city’s image and reputation, particularly in the 1960s. Postwar planners aimed to construct their own version of a modern cityscape in Manchester delivered through a programme of ambitious building projects whose civic ambitions would have been familiar to their Victorian predecessors. When these aspirations faltered during Manchester’s industrial decline between the mid-1970s and late-1980s, civic pride was maintained by the ambitions of the local press, politicians and prominent figures and eventually harnessed to new regeneration projects, as Manchester’s image was re-invented through high-profile re-development schemes and festivals based on sport and the arts. There were, as Shapely argues, continuities in how governing elites and institutions defined the contours of Manchester’s civic pride and reputation, a cultural hegemony that persisted across two centuries. This was, however, distinct from the sense of civic pride which many ordinary local residents experienced with different kinds of local attachment and identity.

scholarly journals PAVEL FLORENSKY’S CONCEPT OF THE ICON

2020 ◽  
Vol 16 (4) ◽  
pp. 19-32
Author(s):  
Elena Yu. Konstantinova
Keyword(s):  
Art History ◽  
Average Quality ◽  
Work Of Art ◽  
Artistic Creativity ◽  
New Approach ◽  
Holy Trinity ◽  
The Arts ◽  
Artistic Image ◽  
The Church ◽  
Synthetic Work

This article is an analysis of the concept of the icon as seen by Pavel Florensky, a priest, philosopher of religion, and theologian. He expressed his views on the art of icon painting in the articles The Church Ritual as a Synthesis of the Arts, Devotional Icons of St. Sergius of Radonezh, and Reverse Perspective, as well as his work Iconostasis. Florensky’s theory is of great interest for art history, contributing to it not only by highly evaluating Russian icons of the 14th and 15th centuries but also by offering a new approach to realism in art. Yet as his concept is complex, it is also controversial. Viewing the icon as a work of art and following Plato’s philosophy, Florensky believes the objective reality of the Realm of Ideas to be the basis of artistic creativity in general and icon painting in particular. According to him, the creation of art is not an artist’s subjective search for the ways of self-expression but the result of the soul’s ascent to the truth, the world of prototypes. The icon reflects divine reality and is thus realistic in nature. Highly evaluating the icon painting in the 14–15 century Russia, he believes Andrei Rublev’s Holy Trinity to be an art masterpiece. However, developing his concept, Florensky discards the term “image”: for him, the icon is merely a symbol pointing to the prototype. The artistic image is born in the artist’s soul and exists independently from the icon, and can then be born in the soul of the beholder, who is guided to the prototype by the symbol. This is how the icon, as a result of artistic creation, is reproduced in the person viewing it. Florensky underlines the importance of aesthetics in assessing an icon, for a work’s artistic perfection is inseparable from its ability to testify to the prototype, and beauty is measured with the truthfulness of this testimony. Yet by acknowledging the fact that all icons created according to the canon are of the same value, he renounces the artistic criterion and makes the masterpieces of icon painting equal to many other artworks of average quality. For Florensky, the icon is an integral part of a synthetic work of art – the church ritual – and its existence as an art phenomenon is dependent on certain conditions: if these are not met, it “dies” as art.

Electron Microscopy in Molecular Biology

1967 ◽  
Vol 25 ◽  
pp. 2-3
Author(s):  
Cecil E. Hall
Keyword(s):  
Electron Microscopy ◽  
Molecular Biology ◽  
Noise Level ◽  
Molecular Structures ◽  
Material Structure ◽  
The Arts ◽  
Shadow Casting ◽  
Electron Image ◽  
High Degree ◽  
Very High

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.

The Ancestral Angle on Aesthetics, Creativity, and the Arts

PsycCRITIQUES ◽  
2007 ◽  
Vol 52 (31) ◽  
Author(s):  
Paul J. Silvia
Keyword(s):  
The Arts
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