Gotowe bibliografie tematyczne / Savoy Chapel (London, England)

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Gotowa bibliografia na temat „Savoy Chapel (London, England)”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Savoy Chapel (London, England)"

Loomie, S.J., Albert J. "London's Spanish Chapel Before and After The Civil War". Recusant History 18, nr 4 (październik 1987): 402–17. http://dx.doi.org/10.1017/s0268419500020687.

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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’.

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Sylvand, Thomas. "The Soldier, The Chapel, The Wedding and the Composer: Assessing the Works of Dufay and Saint Maurice of Savoy in the 15th Century". African Musicology Online 11, nr 1 (30.12.2022): 51–68. http://dx.doi.org/10.58721/amo.v11i1.91.

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This article explores two often poorly connected fields in a quite touchy symbolic conception. On one side is the complex ramification of the County of Savoy and its family therein at a period when Savoy become a Duchy under the protection of the German Holy Empire with the patronage of Saint Maurice, while on the other side is the complex and prolific secular compositions of Guillaume Dufay and its subtle style of performance. In many cases, little is known by Historians about medieval music. Therefore, Musicologists interested in metrics and comparison between manuscripts could easily obliterate the subtle diplomacy of the patrons of this period. To complicate even more, Savoy historians are in France and Italy (with most documents in Latin and French), and Dufay specialists are mainly in England and the United States. This essay also evocates a medieval Black saint, Maurice, considered a positive symbol, an idea not so evident in Savoy nowadays but probably also shortly after in the Protestant Alps, a period when visual representation could be easily destroyed. Hence this study enquires into this controversial subject and finds interesting new materials connected with music. This could be anecdotal if these pieces were not already so well-known and influential in the History of music.

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Macey, Patrick. "Galeazzo Maria Sforza and musical patronage in Milan: Compère, Weerbeke and Josquin". Early Music History 15 (październik 1996): 147–212. http://dx.doi.org/10.1017/s0261127900001546.

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Galeazzo Maria Sforza (1444–76), fifth Duke of Milan, set out when he acceded to power in 1466 to style himself as one of the most glorious of rulers and to make his court (in the words of the contemporary chronicler Bernardino Corio) one of ‘the most splendid in the universe’. Galeazzo, a contemporary of King Louis XI of France and Duke Charles the Bold of Burgundy, entertained grand designs of turning his ducal coronet into a king's crown and transforming Lombardy into a royal realm, just as Charles the Bold sought to elevate the duchy of Burgundy to a kingdom. The two dukes, as vassals of the Holy Roman Emperor Frederick III, relied on that monarch's power to bestow the kingly crown; both failed tragically in the end. As part of his design to impress his contemporaries with the princely splendour of his court, in 1471 Galeazzo focused his energies particularly on the ambitious project of developing the best musical chapel in Italy. During the course of the next two years he sent emissaries to the rulers of England, Flanders, France, Naples and his neighbour Savoy, seeking to hire (or borrow, in the case of Savoy) the best singers available. His cappella grew to include more than thirty singers, making it larger than any other in Italy, even the papal chapel.

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Weaver, Steve. "‘Three Subsistences … One Substance’: the Doctrine of the Trinity in the Second London Confession". Perichoresis 20, nr 1 (1.03.2022): 9–21. http://dx.doi.org/10.2478/perc-2022-0002.

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Abstract This article examines the doctrine of the Trinity taught in the Second London Confession of Faith of 1677. It begins by examining a trinitarian controversy among the Particular Baptists of England in the mid-seventeenth century. After outlining the doctrinal deviations of Thomas Collier, the article proceeds to describe some of the responses to Collier from the Particular Baptist community. In many ways the Second London Confession can be seen as a response to Collier. The article also explores the theology of Hercules Collins, a signatory of the Second London Confession, in contrast to the doctrinal deviations of Collier. The article shows that the Particular Baptists continued in the orthodox Christian tradition of the Apostles, Nicene, and Chalcedonian Creeds. They adopted the Reformed confessional language of the Westminster Confession of 1646 and the Savoy Declaration of 1658 while at the same time not fearing to adjust the language in accordance with their orthodox commitments.

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Rollin, Henry R. "Religion as an index of the rise and fall of ‘moral treatment’ in 19th century lunatic asylums in England". Psychiatric Bulletin 18, nr 10 (październik 1994): 627–31. http://dx.doi.org/10.1192/pb.18.10.627.

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“…; and the tone of the chapel bell, coming across the Valley of the Brent, still reminds me, morning and evening, of the weft-remembered and mingled congregation of the afflicted, and who are then assembling, humble yet hopeful, and not forgotten, and not spiritually deserted.”As a function of the Christian ethic, monasteries in Britain from the Middle Ages onwards set aside a section for the care of the sick. The monastic tradition ensured that the spiritual needs of the physically sick were well taken care of: chapels formed an integral part of the building complex and chaplains were, of course, constantly on tap. The mentally sick were less well served, however. For example, the second building to be occupied by St Luke's Hospital, London, opened in 1787, did not even boast a chapel, a distinction shared with Bethlem, the other major charity asylum, then occupying a purpose-built structure in Moorgate in the City of London.

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Hawkins, Alfred R. J. "The Peculiar Case of a Royal Peculiar: A Problem of Faculty at the Tower of London". Ecclesiastical Law Journal 24, nr 3 (wrzesień 2022): 345–63. http://dx.doi.org/10.1017/s0956618x22000345.

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Her Majesty's Royal Palace and Fortress the Tower of London, less formally known as the Tower of London or simply ‘the Tower’, was the seat of royal power in England for several centuries following its construction by William the Conqueror in 1078. While now a popular tourist attraction, it remains the home of the Crown Jewels, is a working barracks and maintains many ceremonial traditions of state. Two chapels are located within its walls. Foremost of these is the late eleventh-century chapel of St John the Evangelist (St John's), located within the White Tower, noted as a rare surviving example of early Anglo-Norman ecclesiastic architecture. To the north-west, the Chapel of St Peter ad Vincula (St Peter's) has an equally remarkable history and is a building of singular importance even within the Tower complex. Its origins may be traced, like many London parish churches, to a small, private house-church in the ninth century, before being subsumed within the boundaries of the fortress. The chapel, the latest of three documented iterations, was constructed between 1519 and 1520 and is the burial place of many notable figures, including the sixteenth-century queens Anne Boleyn, Catherine Howard and Lady Jane Grey, together with Cardinal John Fisher and the former Lord Chancellor Sir Thomas More, both now venerated as martyrs and saints in the Roman Catholic Church.

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Calder, Dale R. "The Reverend Thomas Hincks FRS (1818–1899): taxonomist of Bryozoa and Hydrozoa". Archives of Natural History 36, nr 2 (październik 2009): 189–217. http://dx.doi.org/10.3366/e0260954109000941.

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Thomas Hincks was born 15 July 1818 in Exeter, England. He attended Manchester New College, York, from 1833 to 1839, and received a B.A. from the University of London in 1840. In 1839 he commenced a 30-year career as a cleric, and served with distinction at Unitarian chapels in Ireland and England. Meanwhile, he enthusiastically pursued interests in natural history. A breakdown in his health and permanent voice impairment during 1867–68 while at Mill Hill Chapel, Leeds, forced him reluctantly to resign from active ministry in 1869. He moved to Taunton and later to Clifton, and devoted much of the rest of his life to natural history. Hincks was elected a Fellow of the Royal Society of London in 1872 for noteworthy contributions to natural history. Foremost among his publications in science were A history of the British hydroid zoophytes (1868) and A history of the British marine Polyzoa (1880). Hincks named 24 families, 52 genera and 360 species and subspecies of invertebrates, mostly Bryozoa and Hydrozoa. Hincks died 25 January 1899 in Clifton, and was buried in Leeds. His important bryozoan and hydroid collections are in the Natural History Museum, London. At least six genera and 13 species of invertebrates are named in his honour.

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Forse, James H. "Extortion in the Name of Art in Elizabethan England: The Impressment of Thomas Clifton for the Queen's Chapel Boys". Theatre Survey 31, nr 2 (listopad 1990): 165–76. http://dx.doi.org/10.1017/s0040557400009339.

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In 1599–1600, after a lapse of almost ten years, the children's acting companies reappeared in London. The Paul's Children seem to have been the first to resume playing, quietly and modestly, no doubt testing the waters. After all, the boys' companies had one after another been officially suppressed between 1584 and 1590 because of their penchant for controversial material and the continual litigation among investors in the various earlier companies. Seeing the growing success of Paul's Boys, one of these earlier investors, Henry Evans, a Welsh scrivener, worked to reconstitute a company of boy actors at Blackfriars, seeking to make good on his aborted first attempt as a theatrical entrepreneur.

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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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Rozprawy doktorskie na temat "Savoy Chapel (London, England)"

Hume, James Cameron. "The Chapel Royal partbooks in eighteenth-century England". Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-chapel-royal-partbooks-in-eighteenthcentury-england(18b3a468-67ea-42b8-a9a1-1aa51505d33f).html.

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This thesis provides a comprehensive source study of the eighteenth-century Chapel Royal partbooks (London, British Library R.M.27.a–d). The 56 manuscript volumes in this collection, which are now catalogued into four groups (or ‘sets’), were used in the daily choral services at St James’s Palace during the eighteenth and nineteenth centuries. The sources have a complex history since they have an ‘organic’ quality whereby the books continued to be copied into and altered whilst they were in regular use. The first part of the thesis (chapters two to six) examines the physical characteristics of the manuscripts by considering the books’ construction, the traits of the copyists, and the way material was gradually added. Paper and scribal analysis, as well as general cataloguing work, are used to identify the contents and explore the layers of copying. The second part of the thesis (chapters seven and eight) looks at the function of the books and considers the collection within its eighteenth-century context. Documentary sources are considered alongside various elements of the books to establish how the partbooks were used in performance. The Chapel’s method of partbook organisation is then compared with the organisation of similar collections at other choral foundations (including those with which the Chapel had strong connections).

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Hicks, William L. "Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection". Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/hicks%5Fwilliam/index.htm.

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Książki na temat "Savoy Chapel (London, England)"

Philip, Sayer, i Pentagram Design, red. Savoy lights. London: Pentagram Design, 2000.

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Craddock, Harry. The Savoy cocktail book ... (London): Spring, 1987.

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Craddock, Harry. The Savoy cocktail book. London: Pavilion, 1999.

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editor, Woodley Caroline, i Book Works (Organization), red. Liberties of the Savoy. London: Co-published by Book Works and CREATE London, 2012.

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Society, Sir Arthur Sullivan, red. Mirette and His majesty: A study of two Savoy operas. Coventry: Sir Arthur Sullivan Society, 1996.

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Alison, Leach, red. The Savoy food and drink book. Topsfield, Mass: Salem House Publishers, 1988.

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(London, England) Saatchi Synagogue. The Saatchi Synagogue: A gala dinner at the Savoy Hotel. London: Saatchi Synagogue, 2002.

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England), Savoy Hotel (London, red. The Savoy sale: Tuesday, 18 December at 10 a.m., Wednesday, 19 December at 10 a.m., Thursday, 20 December at 10 a.m., the Savoy, Strand, London ... London: Bonhams, 2007.

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Roman Catholic Chapel at the Neapolitan Legation (London, England), Roman Catholic Chapel at the Imperial Legation of Austria (London, England) i Catholic Family History Society (London, England), red. The registers of the Neapolitan Chapel, London, 1764-1855: The registers of the Imperial Chapel, London, 1764-1820. London: Catholic Family History Society, 1997.

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McMurray, Nigel. The stained glass of Wesley's Chapel. [London]: Friends of Wesley's Chapel, 1988.

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Części książek na temat "Savoy Chapel (London, England)"

Villani, Stefano. "The Italian Church of London". W Making Italy Anglican, 60–68. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197587737.003.0004.

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Sixteenth-century London played host to the formation of a small but lively Italian Protestant community, which worshiped at Mercers’ Chapel in Cheapside. By 1598, as the major influx of religious exiles progressively ended, the Italian Reformed Church ceased to exist. After some ten years, the church reopened in 1609. This chapter reconstructs the seventeenth-century vicissitudes of the Italian Church of London and its links with the Church of England. The Italian Protestant church in London dissolved probably around 1663, never adopted Anglican worship, and both from the institutional and the liturgical points of view had always been a Calvinist church.

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van Delden, Ate. "With Fred Elizalde in England, 1928". W Adrian Rollini, 177–204. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0012.

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From Basque descent and growing up in the Philippines, Fred Elizalde was an advanced composer and orchestra leader. He had worked in the USA and was familiar with the quality of its dance music and jazz, which he wanted to bring to London and then develop further. He managed to get a contract with the Savoy Hotel, London's top hotel, and in order to fulfil his ambition he hired Americans including Rollini and Bobby Davis. Rollini was featured on most of Elizalde's records, both with the full orchestra and with a jazz band, sometimes using American arrangements. The public's reaction was generally positive, but the band's broadcasts were not always well received. Elizalde defendedhis approach to his management and with initial success. During a short trip home Rollini marries Dixie. His popularity among British music lovers grows further and Melody Maker, a major magazine, asks him to write articles about his music.

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Saler, Michael T. "The Earthly Paradise of the London Underground". W The Avant-Garde in Interwar England, Medieval Modernism And The London Underground, 92–121. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195119664.003.0005.

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Abstract Rank pick was one of the most influential members of the DIA, and the London Underground was to become the most persuasive embodiment of medieval modern principles in the interwar period. The aims expressed in Pick’s earlier writings for the Salem Chapel Guild were clarified and reinforced through his membership in this society of like-minded individuals: the DIA was in some respects a replacement for the guild, with its own spiritual mission and reformist creed.Pick was indebted to the support of a number of its members, many of whom came from a similar nonconformist, provincial background and shared Pick’s enthusiasm for Ruskin and Morris. His social aims and spiritual outlook remained essentially the same as they had in York but were now influenced by the terms and activities of his new associates in London. He shucked the elaborate Victorian mannerisms of his writing style and began to compose in the spare, “efficient” style favored by Edwardian writers. Whether or not the DIA directly affected his writing, making it more fit for its purpose, is hard to know, but the organization did have profound effects in other ways: as we shall see in this chapter, Pick’s new colleagues at the DIA helped him to transform the Underground into the crowning project of the arts and crafts movement during the twenties.

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"Pneumatists Set the Atomic Stage: Boyle, Hooke, Newton, Black, Cavendish, Priestley, and Davy (Western England and Northumberland, Pennsylvania)". W Traveling with the Atom A Scientific Guide to Europe and Beyond, 30–75. The Royal Society of Chemistry, 2019. http://dx.doi.org/10.1039/9781788015288-00030.

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From about 1660 to 1800, pneumatic chemists produced and isolated gases or what were known as “airs”. We discuss the careers of seven pneumatists and early atomists and visit pertinent sites including the Royal Society in London, Newton's Woolsthorpe Manor in Grantham and his statue in the Trinity College Chapel in Cambridge, the Leeds Library and Mill Hill Chapel in Leeds, the Bowood House in Calne, and the Priestley House in the United States. Along the way, we discuss Robert Boyle's role as a chymist and chrysopoet (gold-maker), Isaac Newton's role as a devoted alchemist and atomist, the role of Ben Franklin in introducing Joseph Priestley to the sciences, Priestley's amazing career as a philosopher, preacher, educator, and scientist, the origin of the strange phlogiston-related names of these airs, and the early life of Humphry Davy as he demonstrated the intoxicating effects of “laughing gas” to his poet friends in Bristol. Although a concrete atomic theory had not yet been proposed, these pneumatic chemists accumulated the data that John Dalton would use to formulate his theory at the beginning of the nineteenth century.

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Wallace, Stuart. "‘The First Blast of the Trumpet’: John Stuart Blackie and the Struggle against University Tests in Scotland, 1839-53". W History of Universities, 155–78. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780199243389.003.0006.

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Abstract In the first half of the nineteenth century British universities were still regarded as branches of the established churches of England and Scotland. University College, London (1828), and the examining University of London (1836), were the only exceptions until the foundation of the Queen’s University of lreland in 1850 and Owens College, Manchester in 1851. The University of Durham (1832), King’s College, London (1831), and St. David’s College, Lampeter (1827) were all Anglican foundations. Cambridge was heavily clerical, Oxford even more so: virtually all heads of houses and tutors were clergymen, and most undergraduates intended to be clergymen. Both ancient universities enforced attendance at chapel and applied a religious test-Oxford on students entering the university, Cambridge on those graduating. The Scottish universities, by contrast, did not apply a religious test to their students (also true of Trinity College, Dublin from 1794), even if many of them intended to enter the Church of Scotland as ministers (at Aberdeen in the 1850s some 40% to 48% of entrants). A religious flavour was entirely absent, however. Lectures often opened with a prayer, and at Glasgow a thinly-attended ‘college service’ managed, just, to survive moves to abolish it in 1844. Nevertheless, compulsory chapel could not be a feature of the non-residential Scottish system. Nor were there university officials to enforce student discipline extramurally. This distinctiveness of Scottish universities was underlined by Thomas Macaulay (at the time MP for Edinburgh) when he told Parliament in 1845, ‘a Jew might there be a master of arts or doctor of medicine … If a Principal at the University of Edinburgh were to meet one of the students drunk in the streets, it does not belong to his office to interfere or to punish’.

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Snape, Michael. "‘The Great Surrender Made’". W A Church Militant, 356–412. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192848321.003.0006.

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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.

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