scholarly journals “To the honour and worship of Almighty God and his saints:” Lay Patronage at All Saints’ Parish Church, Bristol

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Natalie Gearin
Keyword(s):  
Fifteenth Century ◽  
Primary Source ◽  
High Volume ◽  
Religious Practice ◽  
Religious Art ◽  
Medieval Art ◽  
Late Medieval ◽  
Architectural Elements ◽  
Art Objects ◽  
Written Word

Countless objects across England were destroyed, leaving comparably few traces of late medieval art, architecture, and religious practice for examination today. Written documents, however, were not an active target of the Reformation. In some cases they are the best resource available for understanding and imagining the appearance, importance, and role of parish churches in the late medieval era. They provide glimpses of very personal relationships between the laity and the churches they used, and help to discern some of the ways in which benefactors could actively shape the interiors of these buildings to assert their authority within the community, and obtain prayers for salvation after death. Additionally, the laity helped form the congregation’s sensory perception of the Mass through donations of objects that engaged sight, touch, and sound. This will be demonstrated through the use of primary source texts written in fifteenth century English and accompanying modern translations of those texts, surviving artistic and architectural elements, and secondary interpretations of medieval documents. Original fifteenth century wills, churchwarden accounts, and inventories can be extremely thorough and difficult to follow; therefore, this research requires careful close reading of a high volume of documents spanning decades. Constructing a visual narrative based solely on written word is challenging, yet ultimately rewarding in cases in which a church’s religious art objects do not survive. Doing so can lead to significant revelations about the realities of late medieval religion. 

Seven Sacraments Compositions in English Medieval Art

1929 ◽  
Vol 9 (2) ◽  
pp. 83-100 ◽  
Author(s):  
G. McN. Rushforth
Keyword(s):  
Fifteenth Century ◽  
Old Testament ◽  
Religious Art ◽  
Medieval Art ◽  
Christian Art ◽  
The Subject ◽  
Great Tradition ◽  
Speculum Humanae Salvationis ◽  
Church Art ◽  
The Church

Émile Mâle says that medieval Christian art in its last period had lost touch with the great tradition of symbolism which had been so important in the twelfth and thirteenth centuries, and still largely dominated the art of the fourteenth. But there was one great symbolical idea which survived, and that was the harmony of the Old and New Testaments; and so we find among the most popular subjects of fifteenth-century Church art the concordance of the Apostles and Prophets in the Creed, and the series of parallels between the life of Jesus and episodes of Old Testament history, which were summed up and digested in the Biblia Pauperum and the Speculum Humanae Salvationis. The reason for the popularity of these subjects was, no doubt, their didactic value, and though Mâle does not develop this side of the subject, we may say that one, though not the only, characteristic of the religious art of the fifteenth century was that, instead of being symbolical, it became didactic. We find in this period a whole series of subjects which reduced the articles of Christian faith and practice to pictorial form, and seem to have been intended to illustrate the medieval catechism by which the teaching of the Church was imparted.

scholarly journals Printed Pages, Perfect Souls? Ideals and Instructions for the Devout Home in the First Books Printed in Dutch

Religions ◽  
2020 ◽  
Vol 11 (1) ◽  
pp. 45
Author(s):  
Anna Dlabačová
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Religious Practice ◽  
Reform Movement ◽  
Low Countries ◽  
Religious Instruction ◽  
Late Medieval ◽  
Religious Reform ◽  
Printed Books

This article studies the role of the earliest books printed in the Dutch vernacular in the religious practice of lay individuals and the devout home. Many of the texts disseminated in these early printed books have received little attention and scholars have tended to view them within the sphere of the Modern Devotion, even though often there is no direct link to this religious reform movement. This article attempts to show that the first books printed in Dutch offer an interesting lens through which to study domestic devotion in the Low Countries in the last decades of the fifteenth century. It argues that these books bridged the gap between catechetical instruction and the private home, literally bringing home many of the ideals and instructions that the clergy would have offered in church and thus increasingly ‘textualizing’ the lives of the late medieval laity. Printers such as Gerard Leeu and his contemporaries acquainted Christians to the use of printed books for personal and practical religious instruction and knowledge and thus paved the way for developments in the sixteenth century.

A Carol by James Ryman in the Holkham Archives

2020 ◽  
Vol 71 (302) ◽  
pp. 850-866
Author(s):  
Richard Beadle ◽  
Anthony Smith
Keyword(s):  
Fifteenth Century ◽  
Medieval Art ◽  
Late Medieval ◽  
Te Deum ◽  
Late Fifteenth ◽  
The Trinity

Abstract A late fifteenth-century manorial notebook in the archives of the Earl of Leicester at Holkham Hall, Norfolk, has been found to contain a hitherto unnoticed and apparently unique late medieval English carol, based on the Latin hymn Te deum. Comparison with other examples of the genre suggests that its author is more likely than not to have been James Ryman, a Franciscan friar of Canterbury, and a prolific writer of carols. His oeuvre includes a number of compositions deriving from the Te deum, to some of which the Holkham text bears significant similarities. The owner of the notebook is identified as William Wayte Jr of Tittleshall, Norfolk, who is known to have served as an estate administrator and agent for the well-known Norfolk lawyer Sir Roger Townshend of Raynham (c.1430–1493). Certain provisions in Wayte’s will suggest that his interest in the carol may have been connected to a devotion on his part to the Trinity, which in late medieval art was often expressed through imagery drawn from the Te deum.

A Mathematical Turn

2018 ◽  
Author(s):  
Richard Oosterhoff
Keyword(s):  
Fifteenth Century ◽  
University Reform ◽  
Late Medieval ◽  
Nicholas Of Cusa ◽  
Devotio Moderna ◽  
Court Politics ◽  
Spiritual Reform ◽  
The University

Lefèvre described his own mathematical turn as a kind of conversion. This chapter explains what motivated his turn to mathematics, considering the place of mathematics in fifteenth-century Paris in relation to court politics and Lefèvre’s own connections to Italian humanists. But more importantly, Lefèvre’s attitude to learning and the propaedeutic value of mathematics drew on the context of late medieval spiritual reform, with its emphasis on conversion and care of the soul. In particular, Lefèvre’s turn to university reform seems to have responded to the works of Ramon Lull, alongside the devotio moderna and Nicholas of Cusa, which he printed in important collections. With such influences, Lefèvre chose the university as the site for intellectual reform.

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.

St Francis for Protestants

2016 ◽  
Author(s):  
Henk Os
Keyword(s):  
Fifteenth Century ◽  
Mystical Experience ◽  
Religious Art ◽  
Work Of Art

Lorenzo Monaco's striking fifteenth-century portrayal of the stigmatisation of St. Francis was once owned by the art collector Otto Lanz. What prompted Lanz to buy Monaco's painting in the 1920s? Was it simply because he saw it as a beautiful, unique work of art? Or was there something more-could Lanz have been drawn in by the mystical experience that the painting depicts? In this essay, Henk van Os attempts to uncover the motivation for Otto Lanz's purchase, in the process raising provocative questions about our relationship to religious art in a more secular era.

scholarly journals Architectural Elements of a Royal Residence : 15th-century Stone Carvings in Tata Castle

2021 ◽  
Vol 10 (2) ◽  
pp. 38-46
Author(s):  
Olivér Gillich
Keyword(s):  
Detailed Examination ◽  
Archaeological Excavation ◽  
Tourist Destination ◽  
Late Medieval ◽  
Architectural Elements ◽  
15Th Century ◽  
Current State ◽  
Stone Carvings ◽  
Representative Function

Being an important historical monument and a popular tourist destination, Tata Castle in Komárom-Esztergom County is well-known for many people. The medieval castle rising on the shore of the picturesque Old Lake offers outstanding scenery for its visitors. Although the castle had an important representative role during late medieval times and its archaeological excavation was conducted half a century ago, historians have made few efforts to research the building history and representative function of the castle more thoroughly. In its current state, the castle reveals little of its original 15th century appearance. However, a detailed examination of the remaining walls and stone carvings can help us to better understand the castle’s history.

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