XLIII. A Description of an ancient Pitcher, discovered in the parish of Lismahago. By the Rev. — Dow. Communicated by Robert Blair, D. D. Rector of Barton St. Andrew

Archaeologia ◽  
1812 ◽  
Vol 16 ◽  
pp. 350-352
Author(s):  
Dow
Keyword(s):  
Parish Church ◽  
Correct Picture

The antient Pitcher, of which the drawing hereunto annexed is a most correct picture and representation, was found about a twelve-month ago in a very wild and uncultivated part of the county of Lanark, and parish of Lesmahago.The particular spot where it was taken up is in a farm called Sadlerhead, about half-way between the parish church and Douglas Miln Inn, and only a mile distant in a S. W. direction from the post road.

scholarly journals XXXV. On the Abbot of Waltham's House, in the parish of Saint Mary-at-Hill, London. In a Letter to Sir Henry Ellis

Archaeologia ◽  
1855 ◽  
Vol 36 (02) ◽  
pp. 400-417
Author(s):  
G. R. Corner
Keyword(s):  
The South ◽  
Parish Church

It is remarkable that Stowe makes no mention of the Abbot of Waltham's House at St. Mary-at-Hill, although the industrious London historian lived hard by, in the parish of St. Andrew Undershaft; and the only printed notice of it that I am aware of is in Malcolm's Londinium Redivivum, vol. iv. pp. 417, 420, where it is stated that the parish purchased the abbot of Waltham's kitchen, and erected the south aisle of the parish church on the site thereof in the year 1501.

Over de betekenis van het werk van Jan van Scorel omstreeks 1530 voor oudere en jongere tijdgenoten (4)

1984 ◽  
Vol 98 (2) ◽  
pp. 98-109 ◽  
Author(s):  
J. Bruyn
Keyword(s):  
New York ◽  
18Th Century ◽  
The Other ◽  
Parish Church ◽  
Stylistic Development ◽  
To Come ◽  
The One ◽  
The Town ◽  
Coats Of Arms ◽  
Early Training

AbstractFrom 1911 to 1961 Félix Chrétien, secretary to François de Dinteville II, Bishop of Auxerre in Burgundy, and from 1542 onwards a canon in that town, was thought to be the author of three remarkable paintings. Two of these were mentioned by an 18th-century local historian as passing for his work: a tripych dated 1535 on the central panel with scenes from the legend of St. Eugenia, which is now in the parish church at Varzy (Figs. 1-3, cf. Note 10), and a panel dated 1550 with the Martyrdom of St. Stephen in the ambulatory of Auxerre Cathedral. To these was added a third work, a panel dated 1537 with Moses and Aaron before Pharaoh, which is now in New York (Figs. 4-5, cf. Notes I and 3). All three works contain a portrait of François de Dinteville, who is accompanied in the Varzy triptych and the New York panel (where he figures as Aaron) by other portrait figures. In the last-named picture these include his brothers) one of whom , Jean de Dinteville, is well-known as the man who commissioned Holbein's Ambassadors in 1533. Both the Holbein and Moses and Aaron remained in the family's possession until 1787. In order to account for the striking affinity between the style of this artist and that of Netherlandish Renaissance painters, Jan van Scorel in particular, Anthony Blunt posited a common debt to Italy, assuming that the painter accompanied François de Dinteville on a mission to Rome in 1531-3 (Note 4). Charles Sterling) on the other hand, thought of Netherlandish influence on him (Note 5). In 1961 Jacques Thuillier not only stressed the Northern features in the artist's style, especially in his portraits and landscape, but also deciphered Dutch words in the text on a tablet depicted in the Varzy triptych (Fig. I) . He concluded that the artist was a Northerner himself and could not possibly have been identical with Félix Chrétien (Note 7). Thuillier's conclusion is borne out by the occurrence of two coats of arms on the church depicted in the Varzy triptych (Fig. 2), one of which is that of a Guild of St. Luke, the other that of the town of Haarlem. The artist obviously wanted it to be known that he was a master in the Haarlem guild. Unfortunately, the Haarlem guild archives provide no definite clue as to his identity. He may conceivably have been Bartholomeus Pons, a painter from Haarlem, who appears to have visited Rome and departed again before 22 June 15 18, when the Cardinal of S. Maria in Aracoeli addressed a letter of indulgence to him (without calling him a master) care of a master at 'Tornis'-possibly Tournus in Burgundy (Note 11). The name of Bartholomeus Pons is further to be found in a list of masters in the Haarlem guild (which starts in 1502, but gives no further dates, Note 12), while one Bartholomeus received a commission for painting two altarpiece wings and a predella for Egmond Abbey in 1523 - 4 (Note 13). An identification of the so-called Félix Chrétien with Batholomeus Pons must remain hypothetical, though there are a number of correspondences between the reconstructed career of the one and the fragmentary biography of the other. The painter's work seems to betray an early training in a somewhat old-fashioned Haarlem workshop, presumably around 1510. He appears to have known Raphael's work in its classical phase of about 1515 - 6 and to have been influenced mainly by the style of the cartoons for the Sistine tapestries (although later he obviously also knew the Master of the Die's engravings of the story of Psyche of about 1532, cf .Note 8). His stylistic development would seem to parallel that of Jan van Scorel, who was mainly influenced by the slightly later Raphael of the Loggie. This may explain the absence of any direct borrowings from Scorel' work. It would also mean that a more or less Renaissance style of painting was already being practised in Haarlem before Scorel's arrival there in 1527. Thuillier added to the artist's oeuvre a panel dated 1537 in Frankfurt- with the intriguing scene of wine barrels being lowered into a cellar - which seems almost too sophisticated to be attributed to the same hand as the works in Varzy and New York, although it does appear to come from the same workshop (Fig. 6, Note 21). A portrait of a man, now in the Louvre, was identified in 197 1 as a fragment of a work by the so-called Félix Chrétien himself (Fig. 8, Note 22). The Martyrdom of St. Stephen of 1550 was rejected by Thuillier because of its barren composition and coarse execution. Yet it seems to have too much in common with the other works to be totally separated, from them and may be taken as evidence that the workshop was still active at Auxerre in 1550.

A Poem on the Archbishop's Hearse: Puritanism, Libel, and Sedition after the Hampton Court Conference

1995 ◽  
Vol 34 (2) ◽  
pp. 137-164 ◽  
Author(s):  
Alastair Bellany
Keyword(s):  
Parish Church

Late in March 1604, as his biographer John Strype records, Archbishop John Whitgift's “Corps was carried to Croydon … and there honourably interred in the Parish-Church … with a decent Solemnity.” Sir George Paule concurred, noting that the “Funerall was very honourably (as befitted his place) solemnized.” The funeral's honor, decency, and solemnity were somewhat marred, however, for among those laudatory elegies and epitaphs traditionally placed upon hearses, some audacious soul had contrived to pin a far from complimentary piece of doggerel. Entitled “The Lamentation of Dickie for the Death of his Brother Jockie”—Jockie being Whitgift and Dickie his successor as archbishop, Richard Bancroft—the poem was a vicious tirade against the late archbishop and his policies. The fullest extant copy survives in a collection of political papers once owned by the Kentishman Sir Peter Manwood:The prelats pope, the canonists hope,The Cortyers oracle, virginities spectacle,Reformers hinderer, trew pastors slanderer,The papists broker, the Atheists ClokerThe ceremonyes procter, the latyn docterThe dumb doggs patron, non resid[e]ns championA well a daye is dead & gone,and Jockey hath left dumb dickye alone.Prelats relent, Cortyers lamentPapiste bee sadd, Athiests runn maddGrone formalists, mone pluralistsfrowne ye docters, mourne yee ProctersBegge Registers, starve paratorsscowle ye summoners, howle yee songstersYour great Patron is dead & gone,& Jockey hath left dumb dickye alone.Popishe Ambition[,] vaine superstition,coulured conformity[,] canckared envye,Cunninge hipocrisie[,] faigned simplicity,masked ympiety, servile flatterye,Goe all daunce about his hearse,& for his dirge chant this verseOur great patron is dead and gone,& Jhockey hath left dumb dickey alone.Yf store of mourners yet there lackelett Croyden coull[i]ers bee more blackeAnd for a Cophin take a sackebearing the corpes upon their backedickye more blacke then any oneas chief mourner may marche aloneSinginge this requiem Jhocky is gone,& dickye hopes to play Jhocky aloneholla dickye bee not so bould,to woulve yt in Cheif Jhesis fouldas yf to hell thy Soule weare sould,lest as Jhocky was oft foretouldIf thou a persecutor stand,God likewise strike thee wth his hand:A-rankinge thee in the bloudy bandof ravening cleargie woolves in the land.

Public and Private: The Late Medieval Wall Paintings of Haddon Hall Chapel, Derbyshire

2006 ◽  
Vol 86 ◽  
pp. 179-205
Author(s):  
Mellie Naydenova
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Wall Paintings ◽  
Public And Private ◽  
Late Medieval ◽  
Public Statement ◽  
The Public ◽  
Parish Church ◽  
Public Persona ◽  
Private Devotion

This paper focuses on the mural scheme executed in Haddon Hall Chapel shortly after 1427 for Sir Richard Vernon. It argues that at that time the chapel was also being used as a parish church, and that the paintings were therefore both an expression of private devotion and a public statement. This is reflected in their subject matter, which combines themes associated with popular beliefs, the public persona of the Hall's owner and the Vernon family's personal devotions. The remarkable inventiveness and complexity of the iconography is matched by the exceptionally sophisticated style of the paintings. Attention is also given to part of the decoration previously thought to be contemporary with this fifteenth-century scheme but for which an early sixteenth-century date is now proposed on the basis of stylistic and other evidence.

Parish, Church and People. Local Studies in Lay Religion 1350-1750.

1990 ◽  
Vol 21 (2) ◽  
pp. 340
Author(s):  
Diarmaid MacCulloch ◽  
S. J. Wright
Keyword(s):  
Parish Church ◽  
Lay Religion

‘This Romish business’ - Ritual Innovation and Parish Life in Later Nineteenth-Century Lincolnshire

1999 ◽  
Vol 35 ◽  
pp. 384-395
Author(s):  
R. W. Ambler
Keyword(s):  
Nineteenth Century ◽  
Church Of England ◽  
The State ◽  
Local Context ◽  
Holy Communion ◽  
Parish Church ◽  
The Relationship ◽  
The Church ◽  
Mixing Water

In February 1889 Edward King, Bishop of Lincoln, appeared before the court of the Archbishop of Canterbury charged with illegal practices in worship. The immediate occasion for these proceedings was the manner in which he celebrated Holy Communion at the Lincoln parish church of St Peter at Gowts on Sunday 4 December 1887. He was cited on six specific charges: the use of lighted candles on the altar; mixing water with the communion wine; adopting an eastward-facing position with his back to the congregation during the consecration; permitting the Agnus Dei to be sung after the consecration; making the sign of the cross at the absolution and benediction, and taking part in ablution by pouring water and wine into the chalice and paten after communion. Two Sundays later King had repeated some of these acts during a service at Lincoln Cathedral. As well as its intrinsic importance in defining the legality of the acts with which he was charged, the Bishop’s trial raised issues of considerable importance relating to the nature and exercise of authority within the Church of England and its relationship with the state. The acts for which King was tried had a further significance since the ways in which these and other innovations in worship were perceived, as well as the spirit in which they were ventured, also reflected the fundamental shifts which were taking place in the role of the Church of England at parish level in the second half of the nineteenth century. Their study in a local context such as Lincolnshire, part of King’s diocese, provides the opportunity to examine the relationship between changes in worship and developments in parish life in the period.

The English Parish Church

Parnassus ◽  
1931 ◽  
Vol 3 (2) ◽  
pp. 40
Author(s):  
A. Philip McMahon ◽  
A. R. Powys
Keyword(s):  
Parish Church
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