Thematische Bibliographien / Ely Cathedral. Lady Chapel

Auswahl der wissenschaftlichen Literatur zum Thema „Ely Cathedral. Lady Chapel“

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Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Ely Cathedral. Lady Chapel"

1

Thurlby, Malcolm. „The Lady Chapel of Glastonbury Abbey“. Antiquaries Journal 75 (September 1995): 107–70. http://dx.doi.org/10.1017/s0003581500072991.

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After the devastating fire of 1184, the Lady Chapel of Glastonbury Abbey was constructed on the site of the Old Church (Vetusta Ecclesia), the wattle church traditionally associated with Joseph of Arimathea. The lavish decoration of the chapel is frequently mentioned in the literature. In many cases authors emphasize the old-fashioned, Romanesque character of much of the ornament in contrast to the seemingly more progressive contemporary early Gothic mouldings of nearby Wells Cathedral. Nevertheless, it is generally recognized that the designer of Glastonbury Lady Chapel knew of the latest developments in French Gothic architecture as witnessed in his use of crocket capitals and sharply pointed arches in the vault. This juxtaposition of Romanesque and Gothic motifs has led to the categorization of the Lady Chapel as Transitional. Convenient as such a label may be as a term of reference in charting a purely typological evolution, it does little for our understanding of the use of some distinctly different elements in contemporary structures located in the same region. Is it the case that the patron and/or master mason of Glastonbury Lady Chapel are simply more conservative than at Wells Cathedral? Could Glastonbury Lady Chapel be consciously archaizing in an effort to emphasize the antiquity of the site? Should we perhaps think in terms of a traditional Benedictine monastic style at Glastonbury as opposed to an innovative style for the secular canons of Wells? Or is the rich decoration at Glastonbury Lady Chapel to be explained in a more general sense as an imitation of the art of church treasures? To address these questions the first part of this essay will examine the stylistic sources of the Lady Chapel. The meaning of the style of the Lady Chapel in the context of the beginnings of Gothic architecture in Britain will be discussed. Attention will then be turned to the sculpture of the Lady Chapel (Thurlby 1976a).
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2

Kościołek, Anna. „"Rosyjskie Wilno" Andrzeja Murawjowa“. Acta Polono-Ruthenica 3, Nr. XXIII (30.09.2018): 45–57. http://dx.doi.org/10.31648/apr.2820.

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The article is an attempt to present the impressions of Andrey Muraviev, religious writer, theologian, poet, playwright, church and state activist, from his stay in Vilnius in 1863, on the basis of his work entitled The Russian Vilnius. It consists of six essays on Vilnius religious monuments: the Chapel of Our Lady of Ostra Brama, St. Paraskeva Orthodox church, Orthodox cathedral of Our Most Holy Lady, Orthodox church of translation of St Nicholas’ relics, Holy Trinity cathedral, Holy Spirit church and monastery complex. The author was only interested in monuments which would document the city’s connections to Russia and Orthodox Christianity. His reflections might be considered as a literary justification for the program of Russification of the north-west country, developed by the writer’s brother, Mikhail, who went down in Polish historical memory as Veshatiel.
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3

Bowers, Roger. „The Musicians of the Lady Chapel of Winchester Cathedral Priory, 1402–1539“. Journal of Ecclesiastical History 45, Nr. 2 (April 1994): 210–37. http://dx.doi.org/10.1017/s0022046900012999.

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In any evaluation of the character and accomplishments of the English Reformation, an essential ingredient must be a sympathetic but, so far as possible, objective assessment of the nature – in all its strengths and weaknesses – of the unreformed Church and religion upon which the Reformation was wrought. Among the multifarious operations of the pre-Reformation Church, perhaps the most central to its fundamental purposes was the conduct by its clergy of the worship of God and the celebration of the sacrifice of the mass, as effected on the small scale by the parish clergy and on the grand scale by the priests and clerks of the greater collegiate churches and the religious of the monasteries. As acts of worship, commemoration and intercession, the efficacy of these rituals lay in the simple fact of their enactment by those to whom their conduct was committed, irrespective of the grandeur of the setting or the presence or absence of any congregation or other attendance. Nevertheless, credit both terrestrial and celestial was perceived to redound upon those institutions which endeavoured to clothe their acts of devotion and worship with the finest products that the artisans of the day could create, within the grandest achievements of their contemporary architects. In respect of the conduct of the liturgy, it was, in the event, those institutions which had carried these arts to their highest levels that eventually proved to be the principal casualties of the Reformation process; a period of less than fifteen years (1535–49) sufficed to effect the extinction of all the monastic churches, and of all the collegiate churches except for some thirty which enjoyed cathedral status, academic function or extremely close royal connection.
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4

Thomas, John. „The ‘Beginnings of a Noble Pile': Liverpool Cathedral’s Lady Chapel (1904-10)“. Architectural History 48 (2005): 257–90. http://dx.doi.org/10.1017/s0066622x00003804.

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Liverpool Cathedral’s Lady Chapel was the first portion to be constructed of a building project which took until the end of the 1970s to complete. Often overshadowed by the later work, this comparatively small building has perhaps not been adequately documented and assessed as a work in its own right. Moreover, in the case of this portion of the cathedral, two architects were involved, and so an attempt to assess the extent of each person’s contribution is a necessary endeavour in any study of this building, but has not previously been undertaken in this case.
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Flores-Sasso, Virginia, Gloria Pérez, Letzai Ruiz-Valero, Sagrario Martínez-Ramírez, Ana Guerrero und Esteban Prieto-Vicioso. „Physical and Chemical Characterisation of the Pigments of a 17th-Century Mural Painting in the Spanish Caribbean“. Materials 14, Nr. 22 (14.11.2021): 6866. http://dx.doi.org/10.3390/ma14226866.

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The arrival of Spaniards in the Caribbean islands introduced to the region the practice of applying pigments onto buildings. The pigments that remain on these buildings may provide data on their historical evolution and essential information for tackling restoration tasks. In this study, a 17th-century mural painting located in the Cathedral of Santo Domingo on the Hispaniola island of the Caribbean is characterised via UV–VIS–NIR, Raman and FTIR spectroscopy, XRD and SEM/EDX. The pigments are found in the older Chapel of Our Lady of Candelaria, currently Chapel of Our Lady of Mercy. The chapel was built in the 17th century by black slave brotherhood and extended by Spaniards. During a recent restoration process of the chapel, remains of mural painting appeared, which were covered by several layers of lime. Five colours were identified: ochre, green, red, blue and white. Moreover, it was determined that this mural painting was made before the end of the 18th century, because many of the materials used were no longer used after the industrialisation of painting. However, since both rutile and anatase appear as a white pigment, a restoration may have been carried out in the 20th century, and it has been painted white.
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6

MacCulloch, Diarmaid. „Mary and Sixteenth-Century Protestants“. Studies in Church History 39 (2004): 191–217. http://dx.doi.org/10.1017/s0424208400015096.

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Let us contemplate Thomas Cranmer, Primate of All England, sitting on an altar to preside over the trial of Anabaptist heretics. The time is May 1549; the altar, unceremoniously covered over to support the judge, is that of the Lady Chapel in St Paul’s Cathedral in London; several of the heretics on trial have denied the Catholic doctrine of the incarnation, and one will later be burned at the stake. In a compelling paradox, an archbishop tramples an altar of Our Lady in the course of defending the incarnation. One witness in the crowd of onlookers was a pious and scholarly Welsh Catholic, Sir Thomas Stradling, who later wrote down his reactions to the occasion. He interpreted it as the uncannily accurate fulfilment of an eleventh-century prophecy to be found in a manuscript in his own library: Cranmer, he pointed out, went on to be punished for his blasphemy first by the 1549 rebellions and then by his fiery death at the stake.’
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Kolega, Marija. „Ranokršćanski sloj arhitekture u Nadžupnom kompleksu Sv. Asela u Ninu“. Ars Adriatica, Nr. 4 (01.01.2014): 15. http://dx.doi.org/10.15291/ars.486.

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Archaeological excavations in the complex of the Arch Parish Church of St Asel discovered an entire early Christian complex consisting of a north singlecellchurch and, to its south, a group of baptismal buildings which was soon transformed into a longitudinal building with an eastern apse. A number of remodelling interventions between the sixth and the eighth century confirm that the early Christian church and its baptistery survived the turbulent centuries of the Migration Period. The next major building phase was identified during the conservation works carried out on the church walls and there is no doubt that it occurred at the turn of the ninth century when the church became the cathedral of the Croatian bishop. Both churches, the north and the south, were provided with new stone furnishings while the baptismal font was altered so as to conform to the liturgical changes which were introduced into the baptismal rite. Archaeological evidence has demonstrated that the font remained in use until the sixteenth century when the apse of the south church was destroyed to make way for the chapel of Our Lady of Zečevo (1510-1530). The buildings to the south suffered a major destruction in 1780 when the Lady chapel was extended at the expense of its north wall which was torn down and the southern structure was cut in half.
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8

MAHRT, WILLIAM PETER. „Responsory prosae and the post-Christmas ‘Choir Solemnities’ at Salisbury Cathedral“. Plainsong and Medieval Music 25, Nr. 1 (15.03.2016): 27–36. http://dx.doi.org/10.1017/s0961137115000212.

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ABSTRACTThe Christmas octave in the Sarum rite included the singing of prosae on Christmas Day and on the three days following Christmas – the feasts of St Stephen, St John the Evangelist and the Holy Innocents. After the Vespers preceding each of these three days, a procession was made to an appropriate altar in the church, during which a responsory was sung with its prosa and wordless melismas after each prosa verse, with two responsory prosae based upon the melody from Christmas. These processions featured, in turn, the deacons, the priests and the choirboys, vested in silken copes and carrying lighted candles, going to the altar of St Stephen, of St Peter and All Apostles, and of Trinity and All Saints (the Lady Chapel). Rubrics indicate their special character, especially for St Stephen, described as solemnitas diaconorum, but also for all three, described as being for the sake of deacons, priests and choirboys in turn. Processions to altars in Salisbury Cathedral were strictly limited to one each year; these processions took up those three altars, which then had no further processions on their proper days. The processions had been established during the initial building-phases of the cathedral, when only these three altars existed. This exceptional series of processions emphasised the distinct importance of the Christmas octave and honoured the hierarchy of the choir, who served the liturgy throughout the year.
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9

Brading, D. A. „Divine Idea and ‘our Mother’: Elite and Popular Understanding in the Cult of Our Lady of Guadalupe of Mexico“. Studies in Church History 42 (2006): 240–60. http://dx.doi.org/10.1017/s0424208400003983.

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In 1648 the creole elite of Mexico City was enthralled to learn that in December 1531 the Virgin Mary had appeared to a poor Indian and had miraculously imprinted on his cape the likeness of herself, which was still venerated in the chapel at Tepeyac just outside the city limits. The moment was opportune, since in 1622 Archbishop Juan Pérez de la Serna had completed the construction of a new sanctuary devoted to Our Lady of Guadalupe and in 1629 the image had been brought to the cathedral in a vain attempt to lower the flood waters that engulfed the capital for four years. In effect, Image of the Virgin Mary, Mother of God of Guadalupe (1648) was a heartfelt response to the growth in devotion to the Mexican Virgin; and its author, Miguel Sánchez, wrote as if inspired by a particular revelation, since his only guides were oral tradition and the stimulus of other apparition narratives. A creole priest, renowned for his piety, patriotism and great learning, Sánchez appears to have modelled his account on Murillo’s history of Our Lady of Pilar and her apparition at Zaragoza to St James, which is to say, to Santiago, the patron saint of Spain.
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10

Ndi Okalla, Joseph-Marie. „The Arts of Black Africa and the Project of a Cfmstian Art“. Mission Studies 12, Nr. 1 (1995): 277–84. http://dx.doi.org/10.1163/157338395x00312.

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AbstractThis essay is in honour and in memory of the late Prof. Dr. Engelbert MVENG Sf. Born in Cameroon on May 9, 1930, Fr. Mveng has been found murdered in Yaoundé on April 23, 1995 before he would turn 65 years old. In the last thirty years, he was professor at the University of Yaoundé/Cameroon, Department of History. As a historian and theologian, he has enormous contributions to African culture and history, especially in the realm of cultural and religious anthropology as well as in iconology, which have won a wide acclaim. The internationally renowned artistic work of Fr. Mveng which can be found in different churches, chapels and educational centers the world over, underlines the iconographic contribution of Africa to the world and to Christianity. See, for example: Our Lady of Africa in the Basilica of the Annunciation in Nazareth/Israel; the Jesuit Hekima College in Nairobi/Kenya; Uganda Martyrs Altar at Libermann, Douala/Cameroon; Our Lady of the Yaoundé Cathedral/Cameroon; the decoration of the chapel of the Catholic University of Central Africa, Yaoundé/Cameroon ... and various centers in Africa and in the United States ... I have presented the first version of this essay on the occasion of a visit of John Paul II to Cameroon. I enclose a selected bibliography of the writings of Fr. Engelbert Mveng.
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Bücher zum Thema "Ely Cathedral. Lady Chapel"

1

City of Hereford Archaeology Unit., Hrsg. The Cathedral Church of Hereford: An archaeological report on the east face of the Lady Chapel. Hereford: City of Hereford Archaeology Unit, 1997.

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2

Shoesmith, R. Hereford Cathedral: Alteration to the Bishop's Cloister / Lady Arbour : to house the Mappa Mundi and Chained Library display : an archaeological report including a reinterpretation of the Losinga Chapel. Hereford: City of Hereford Archaeology Unit, 1996.

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3

Stevenson, William 1741-1821, James 1708-1794 History an Bentham und Bartholomew 1767-1827 Howlett. Supplement to the Second Edition of Mr. Bentham's History & Antiquities of the Cathedral & Conventual Church of Ely: Comprising Enlarged Accounts of the Monastery, Lady Chapel, Prior Crawden's Chapel, the Palaces and Other Buildings Connected With... Creative Media Partners, LLC, 2021.

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Buchteile zum Thema "Ely Cathedral. Lady Chapel"

1

Reeve, Matthew M. „Chapter 14. Fragments from Wisdom’s House: The Lady chapel Juxta Claustrum at Wells Cathedral“. In Tributes to Paul Binski, 186–97. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.hmtrib-eb.5.130047.

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2

O’connell, Michael. „Introduction“. In The Idolatrous Eye, 3–13. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195132052.003.0001.

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Abstract The personal origin of my interest in the issues explored in this book goes back about a decade and a half to a moment of wonder that the sculpture lining the walls of the fourteenth-century Lady Chapel of Ely Cathedral had been systematically defaced by iconoclastic hammers. While enough of the intricate foliage decoration and the undulating pattern of nodding ogee arches is left to suggest something of the magnificence the chapel once possessed, the heads and faces of the figures in sculpted scenes of the life and miracles of the Virgin are mutilated. The grace of what remains of the figures and their drapery indicates a high level of sculptural accomplishment, but among the hundreds of figures, not one now remains whole and undamaged (facing page, top).1 The stained glass of the chapel is gone as well, and the overall impression is a vast, almost bare interior space—the forty-six-foot span is one of the widest stone vaults in England—that has been drained of the warmth and color it once possessed (facing page, bottom). I had, of course, seen other evidence of iconoclasm dating from the reign of Edward VI, but the stark nature of the damage to this chapel struck me forcibly. What, I wondered, made the representational sculpture and glass adorning the chapel so abhorrent in the late 1540s that it had to be defaced? I had around the same time been fascinated by what seemed to me the curious use of the term “idolatry” in tracts attacking theater in the late 1570s and, early 1580s.
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Sansom, Clive. „Lady Chapel“. In The Cathedral, 76. Routledge, 2020. http://dx.doi.org/10.4324/9781003109631-29.

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4

„Hereford Cathedral – Lady Chapel Hereford Cathedral – Lady Chapel“. In The Medieval Floortiles of Herefordshire, 62–64. Archaeopress Publishing Ltd, 2022. http://dx.doi.org/10.2307/j.ctv2b07ttv.16.

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„Bishop Stillington’s Lady Chapel and Chantry, 1477–1552“. In Wells Cathedral, 199–244. Historic England, 2014. http://dx.doi.org/10.2307/j.ctvxcr8j4.18.

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„The Lady Chapel-by-the-Cloister, c. 1196–1477“. In Wells Cathedral, 161–98. Historic England, 2014. http://dx.doi.org/10.2307/j.ctvxcr8j4.17.

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Konferenzberichte zum Thema "Ely Cathedral. Lady Chapel"

1

Webb, Nicholas, und Alexandrina Buchanan. „Tracing the Past: a digital analysis of the Lady Chapel vaults at Ely cathedral“. In 2018 3rd Digital Heritage International Congress (Digital Heritage) held jointly with 2018 24th International Conference on Virtual Systems & Multimedia (VSMM 2018). IEEE, 2018. http://dx.doi.org/10.1109/digitalheritage.2018.8810054.

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2

Alvarez-Morales, Lidia, Angel Alvarez-Corbacho, Mariana Lopez und Pedro Bustamante. „The Acoustics of Ely Cathedral’s Lady Chapel: a study of its changes throughout history“. In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610837.

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