Auswahl der wissenschaftlichen Literatur zum Thema „Church of St. James (Weybridge, England)“

Grinling Gibbons’s still-life sculpture emerged out of the artistic and proto-scientific culture of the seventeenth-century Netherlands and was understood in these intellectual terms by the sophisticated, courtly consumers of his work in Restoration England. Our fondness for a myth of Gibbons as a dazzlingly skilful but intellectually vapid artist should not blind us to the intellectual focus of his sculptures. The carved frame for Elias Ashmole’s portrait in the Ashmolean collection is a sophisticated engagement with European cultures of collecting. The Cosimo panel for Charles II engages with the witty and formidably advanced scientific discourses of the Caroline court, while the limewood reredos in St James’ church, Piccadilly reaches back to the devotional roots of floral still life, reinterpreting it in the context of English Protestantism.

ABSTRACTSt Patrick’s Cathedral in Melbourne is among the largest Gothic revival churches built in the nineteenth century, matching in size the medieval cathedrals that inspired its design. The history of the commission reveals the role played by the first Roman Catholic bishop of Melbourne, James Alipius Goold, who was acquainted with A. W. N. Pugin’s theories of the Gothic revival and who promoted the construction of churches true to Pugin’s principles. After two failed attempts at smaller structures, and in the wake of the gold rush in Victoria, Goold in 1858 commissioned the newly arrived architect William Wilkinson Wardell to design a cathedral of unprecedented monumental proportions. Wardell’s design, rooted in an archaeologically correct approach to medieval precedent, was widely praised by colonial society, which favoured massive buildings reminiscent of those found in Europe. Furthermore, with its French-inspired apse and radiating chapels, St Patrick’s highlighted a connection to Catholic religious tradition particularly resonant for its largely Irish congregation. The design stands apart from High Victorian developments in the Gothic revival seen in England in the 1850s, as colonial patrons favoured a more conservative approach. St Patrick’s exemplifies several of the trends that influenced the revival of Gothic architecture in the Australian colonies, while also representing the desire of the Catholic Church to establish its position throughout the wider British empire.

Abstract In 1706, local authorities institutionalized the Church of England in South Carolina hoping to bring Carolinian social practice into conformity with that of the metropole. Anglican missionaries worked to install religious instruction as a pillar of community identity in this contested space. Employing the specter of war and popery—and the associated fear of slave rebellion—helped ministers Samuel Thomas and Francis LeJau articulate a borderland-specific conception of race, place, and paternal responsibility in an aggressively expanding colony from 1701 to 1720. Utilizing correspondence surrounding the activities of the Society for the Propagation of the Gospel (SPG), this article asserts that rather than serving as a link to English society, the Anglican missions of the SPG functioned as an ideological space for creating a distinct regional identity. Thomas and LeJau crafted a community-specific application of Anglican beliefs, working out their conceptions of religious practice concerning the threats presented by Spanish attempts to secure the loyalty of Yamasees Indians and enslaved Africans. Understanding how fear operated in the southeastern borderlands provides a nuanced understanding of how colonialism operated in the southern colonies.

One of the most important and influential Catholic laymen of the nineteenth century was Ambrose Phillipps who in 1862 added de Lisle to his name and so is usually known as Ambrose Phillipps de Lisle. Born in 1809 an Anglican, he was received into the Catholic Church in 1825. In 1833 he married Laura Clifford, a member of one of the oldest recusant families in England and, although they were destined to have a large family, it did not impede their efforts to promote the conversion of the Midlands to Catholicism. Laura was born in Germany at Mecklenberg-Schwerin on 26 October 1811, where her father, Thomas Clifford, fourth son of Hugh, fourth Lord Clifford, was chamberlain to the Duke of Mecklenberg-Schwerin. Thomas died when Laura was only five years old and her mother did not live much longer, dying in 1822, when Laura was eleven. In 1823, Lord Clifford of Ugbrooke and Chudleigh in Devon became her guardian and entrusted her education to the Canonesses of the Holy Sepulchre at New Hall, near Chelmsford, Essex. She remained there until 27 June 1829 when she returned to live with her guardian at Ugbrooke. In 1831, she met Ambrose and two years later they married on 25 July 1833 at St. James’ Spanish Place, while the civil ceremony took place at St. George’s, Hanover Square.

Edmund Campion arrived in Dublin on August 25, 1570, on a travelling fellowship from St. John’s College, Oxford. This five-year leave of absence enabled him to postpone ordination in the Elizabethan church. Campion was invited to stay with the Recorder of Dublin, James Stanihurst, whose library was to satisfy his academic needs, and who was hoping that Campion might help with the university that formed a key part of the program of reform in Ireland. Campion had ignored calls from friends already at the English college in Douai to join them. Dublin was meant to be a quiet pause, allowing Campion to stay quietly within the establishment. It was not to be like that. This article argues that Ireland was the beginning and, thanks to the disastrous invasion in July 1579 by Nicholas Sander, the end of Campion’s troubles; that the rebellion stirred by Sander in Munster created such fear of an invasion in England that the Jesuit missionaries were doomed from the moment they landed at Dover one year later; that the radical arguments in favor of papal power to depose monarchs expressed in De visibili monarchia (1571), not the theological arguments for the Catholic and apostolic church in Rationes decem (1581), were at the center of Campion’s interrogations on the rack; and that the parallel lives of Campion and Sander reveal two completely contrasting views of the papacy, and of Rome.

A memorial for Mary, Queen of Scots, and for two of her ladies-in-waiting, Barbara Mowbray-Curle, wife of Gilbert Curle, a secretary of the queen, and her sister-in-law, Elizabeth Curle is kept in St Andrew's Church in Antwerp (Belgium). The monument was founded by Barbara's son, Hippolytus. After the execution of the queen the ladies left England and settled first in Paris and afterwards in Antwerp. The article concentrates on the two sons of Barbara, who became Jesuits. Little is known about the elder, James. He died in 1615 in Spain, probably still a Jesuit student. The younger one, Hippolytus (who died in 1638), acted as a manager in the Scots College in Douai (France). He is praised as one of the principal benefactors of the college. More particularly the article comments on the testament he drew up when he joined the Jesuit order in September 1618, of which an authenticated copy is kept in the Scottish Catholic Archives. It offers a telling insight into the situation of the Curle-Mowbray family in exile. It reveals also the family's major concern: the restoration of Catholicism in Scotland through the training of a suitable clergy.

According to John Flete, the fifteenth-century historian of Westminster Abbey, Abbot Richard de Berkyng (d. 1246) bequeathed to the Abbey two curtains or dorsalia which he had procured for the choir, depicting the story of the Saviour and St Edward. Nothing is known about the appearance of these textiles; but they were presumably of fine quality, befitting the patronage of a Treasurer of England, and were evidently intended to hang in the choir stalls. There they remained until after the Dissolution. According to a sixteenth-century commentary with transcriptions of the original texts in the hangings by Robert Hare, discovered by M. R. James (Gonville and Caius College, Cambridge, MS 391 [611], they were of ‘faire arras worke’, and so were tapestries rather than embroideries; they were also described as ‘wrought in the cloth of Arras’ by Weever in 1631. They hung in the church until 1644, whence they were removed to the chamber of the House of Commons in the Palace; according to Brayley ‘a large remnant’ of the scene of the Circumcision was still preserved in the Jerusalem Chamber at the Abbey in the early nineteenth century. The tapestries were one of the most extensive recorded instances of English thirteenth-century textile production. They provide evidence too for a genre of monastic choir decoration analogous to the lost Old Testament narratives in the choir at Bury St Edmund's and the typological pictures formerly adorning the choir-stalls of Peterborough Abbey. Moreover, they anticipate the mixture of purely narrative material in the surviving fourteenth-century paintings above the dossals of the choir stalls of Cologne Cathedral, and especially the tapestries depicting the lives of St Piat and St Eleutherius from the choir of Tournai Cathedral, Arras work dated 1402.

IN THE mid-seventeenth century the chapel of the Spanish embassy caused considerable concern to the authorities at Whitehall since they were frustrated in preventing scores of Londoners from attending it for masses and other Catholic devotions. This was a distinct issue from the traditional right of a Catholic diplomat in England to provide mass for his household or other compatriots,’ and from the custom of Sephardic Jews to gather in the embassy for Sabbath worship when they desired. While the practice of Londoners to attend mass secretly at the residences of various Catholic diplomats had developed early in the reign of Elizabeth and occasional arrests at their doors had acted as a deterrent, late in the reign of James I sizeable crowds began to frequent the Spanish embassy. John Chamberlain commented in 1621 that Gondomar had ‘almost as many come to his mass’ in the chapel of Ely House as there were attending ‘the sermon at St. Andrewes (Holborn) over against him’. Although Godomar left in 1622 and subsequently the embassy was closed for five years during the Anglo-Spanish War, it was later, from 1630 to 1655, that the Spanish chapel acquired not only a continuous popularity among Catholics of the area but also an unwelcome notoriety in the highest levels of government. This paper will suggest two primary factors which led to that development: the persistent ambition of the resident Spanish diplomats to provide a range of religious services unprecedented in number and character, and their successful adaptation to the hostile political conditions in the capital for a quarter of a century. The continuous Spanish diplomatic presence in London for this long period was in itself both unexpected and unique for it should be recalled that, for various reasons, all the other Catholic ambassadors, whether from France, Venice, Portugal, Savoy or the Empire, had to leave at different times and close their chapels. However, the site of the Spanish residence during these years by no means permanent since, as with other foreign diplomats, a new property was rented by each ambassador on arrival. There is, moreover, a wider significance in this inquiry because of the current evidence that by the eve of the Civil War the king was considered in the House of Commons to have been remiss in guarding his kingdom from a ‘Catholic inspired plot against church and state’, for while it has been well argued that a public disquiet over Henrietta-Maria's chapels at Somerset House and St. James's palace had by 1640 stimulated increasing suspicions of a Popish Plot, there were other protected chapels, particularly the Spanish, where scores of Londoners were seen to attend. Indeed, after the closure of the queen's chapels at Whitehall in 1642, the Spanish remained for the next thirteen years as silent evidence that Catholics seemed to be ‘more numerous’ and were acting ‘more freely than in the past’.

The Directory on Popular Piety and the Liturgy (DPPL) upholds that Christian worship originates and is brought to completion in the Spirit of Christ, which dispenses truthful liturgical devotion and realistic manifestations of popular piety. A vigorous engagement of evangelization and culture is embodied in the Sabuaga Festival, an Easter Sunday celebration in Sto. Tomas, Pampanga. It is a collaboration of the Catholic Church (St. Thomas the Apostle Parish) and the Local Government Unit (Sto. Tomas). This paper argues how a true and fruitful harmony between liturgy and popular piety is achieved in the Sabuaga Festival. Hence, the researcher articulates the following, namely: First, the dimensions of the Sabuaga Festival that make it an expression of popular piety. Second, the principles offered by DPPL for the true and fruitful harmonization of liturgy and popular piety. 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Abstract England in the thirteenth and fourteenth centuries was in many ways a cosmopolitan country. Under Henry III many of the leading Wgures in the realm were not English in origin; not only were there the court favourites from Savoy and Poitou, but the king’s main opponent, Simon de Montfort, was a Frenchman. There were many prominent foreigners in the English Church, including Boniface of Savoy, archbishop of Canterbury, Peter des Roches, bishop of Winchester, and Peter of Aigueblanche, bishop of Hereford. Westminster abbey owed its inspiration in architectural terms to France. Edward I relied greatly upon the Savoyard Otto de Grandson; GeoVrey de Geneville was another important supporter of the king. Edward’s great castles in Wales owed much to the influence of the Savoyards, and above all Master James of St George.

Abstract This chapter focuses on the role played by Anglicans in shaping the culture of Remembrance in Great Britain, the Dominions, and the United States in the formative years after the First World War. In doing so, it highlights the defining role of the King James Bible and the 1662 Book of Common Prayer in the idiom of Remembrance, questioning assumptions as to its innately ‘secular’ quality. It also illustrates Anglican influence on the work of the Imperial War Graves Commission and how this was accompanied by the phenomenon of post-war Anglican ‘pilgrimage’ to the battlefields of 1914 to 1918. Besides considering the significance of the practical demands and iconography of Remembrance and memorialization, it also examines the political overtones of Anglican-sponsored Remembrance, especially its quest for social harmony and its affirmation of loyalty to the Empire. The chapter explores the inter-war multiplication of regimental chapels in the cathedrals and major churches of England and Wales, their place in the vaunted regimental system of the British Army, and their potency as symbols of Anglican identification with the service and sacrifice of local communities. The chapter concludes with a consideration of how these tendencies persisted after 1945, especially with the creation of the Battle of Britain Memorial Chapel in Westminster Abbey and in the imperatives which drove the transformation of St Clement Danes in London into the Central Church of the Royal Air Force in the 1950s.

George Lynes was a dreamy child with a willful temperament. He was born 1907 in East Orange, New Jersey, of a father who abandoned the law to minister in the Episcopal Church and a mother who descended from a Southern family and had graduated New York’s Hunter College. George occasionally lorded it over his younger brother Russell as they grew up in the idyllic New England town of Great Barrington in the Berkshires where their father, Joseph Russell Lynes, was rector of St. James Episcopal Church. George once regaled a local barber with the imperial fantasy that he was really an escaped “Russian prince” who had been brought to live with a minister and his wife. But the boy inherited a lifelong taste for comfortable surroundings from a paternal great-grandfather, George Platt, an English immigrant who built a business in blinds and furnishings to become an interior decorator.

As recent as 1955, cathedrals were still unbuilt or incomplete in the young and developing dioceses of the Global South, including in Queensland, the Northern Territory and New Guinea. The lack of an adequate cathedral was considered a “reproach” over a diocese. To rectify this, the region’s Bishops sought out the best architects for the task – as earlier Bishops had before them – engaging architects trained abroad and interstate, and with connections to Australia’s renown ecclesiastical architects. They also progressed these projects remarkably fast, for cathedral building. Four significant cathedral projects were realised in Queensland during the 1960s: the completion of St James’ Church of England, Townsville (1956-60); the extension of All Souls’ Quetta Memorial Church of England, Thursday Island (1964-5); stage II of St John’s Church of England, Brisbane (1953-68); and the new St Monica’s Catholic, Cairns (1965-8). During this same era Queensland-based architects also designed new Catholic cathedrals for Darwin (1955-62) and Port Moresby (1967-69). Compared to most cathedrals elsewhere they are small, but for their communities these were sizable undertakings, representing the “successful” establishment of these dioceses and even the making of their city. However, these cathedral projects had their challenges. Redesigning, redocumenting and retendering was common as each project questioned how to adopt (or not) emergent ideas for modern cathedral design. Mid-1960s this questioning became divisive as the extension of Brisbane’s St John’s recommenced. Antagonists and the client employed theatrics and polemic words to incite national debate. However, since then these post-war cathedral projects have received limited attention within architectural historiography, even those where the first stage has been recognised. Based on interviews, archival research and fieldwork, this paper discusses these little-known post-war cathedrals projects – examining how regional tensions over tradition and modern ideas arose and played out.