Tag Archives: liturgy

Gothic Revival, Medieval Art & the Hereford Screen

Issue 5 of British Art Studies features a One Object study of the Gothic Revival Hereford Screen. The 8 tonne metalwork structure was designed by Sir George Gilbert Scott and manufactured by the firm of Francis Skidmore in 1862. The collection of essays fosters discussion of the screen’s medieval models as well as its Victorian genesis.

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The Hereford Screen in Hereford Cathedral, view from North Transept, 19th century. (Image from the V&A website)

As a new and exclusively digital journal, British Art Studies’ virtual platform is celebrated through abundant interplay of text, image and audio-visual material.  It brings together seven scholars who present technical and theoretical perspectives on a single object by means of ‘traditional’ essays and short films.  This brief blog-post aims to draw attention to the medieval content of the study, notwithstanding the overall interest and coherence of all the constituent articles.

The One Object discussion is introduced by Ayla Lepine, in an essay entitled Resurrection, Re-Imagination, Reconstruction:
New Viewpoints on the Hereford Screen.

 

Essays in the discussion that focus on medieval material are:

The Hereford Screen: A Prehistory, by medievalist Matthew Reeve, guides the reader through a history of the medieval predecessors of the Hereford screen and places its production in the context of the Cathedral space and the architect’s work at Lichfield and Salisbury.

Jacqueline Jung’s contribution, a video essay entitled, The Medieval Choir Screen in Sacred Space, considers the sight-lines and sculptural relationships created by the strategically designed perforations and interior figural programmes of medieval screens and their host churches, focusing on two examples from 13th-century Italy and 15th-century Germany.

The oddly fragile, contentious choir screen, in its many historical manifestations, receives a colourful and polyphonic tribute in this One Object study. As a medieval art blog, links to the most relevant essays are given above but are, for best results, to be enjoyed with their Gothic Revival companions.

Digital library of liturgical sources

Ecclesiastical Map of Western Europe in the Middle Ages

Ecclesiastical Map of Western Europe in the Middle Ages

Digital library of liturgical sources is a new research tool developed by the Research Group of Liturgical History. The Calendar-Project is a comprehensive database of almost 200 representative European liturgical Calendars and Sanctorals. Through browsing Saints and Feasts or Dates respectively, one can gain a statistically relevant sample of where, when and which feasts were celebrated within the medieval territory of the Roman Rite. Methodically, our research is based on the same principles as the whole of USUARIUM, namely that diverse sources based on their undoubted origin provide the best way to study the range of variability of liturgical Uses. Proofreading, corrections, new sources and facilities will follow in the coming weeks.

CONTACT FOR PASSWORD: foldvary.miklos[at]btk.elte.hu
 dr. Miklós Földváry, H-1088 Budapest,
Múzeum krt. 4/F. 222.

New Publications: Romanesque Cathedrals in Mediterranean Europe

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Romanesque Cathedrals in Mediterranean Europe: 
Architecture, Ritual and Urban Context

Boto Varela, J. E.A. Kroesen (eds.)

Brepols Publishers

This volume explores the architecture and layout of Romanesque cathedrals in Europe, especially around the Mediterranean, paying special attention to liturgical ritual, church furnishings, iconography, and urban context.

The architecture, interior settings and urban environment of Romanesque cathedrals around the Mediterranean offer unique insights into religion and culture in southern Europe during the 10th-13th centuries. In this period, cultural and artistic interchange around the Mediterranean gave rise to the first truly European art period in Medieval Western Europe, commonly referred to as ‘Romanesque’. A crucial aspect of this integrative process was the mobility of artists, architects and patrons, as well as the capacity to adopt new formulas and integrate them into existing patterns. Some particularly creative centers exported successful models, while others became genuine melting pots. All this took shape over the substrate of Roman Antiquity, which remained in high esteem and was frequently reused.

In these studies, Romanesque cathedrals are employed as a lens with which to analyze the complexity and dynamics of the cultural landscape of southern and central Europe from the tenth to the twelfth centuries. The architecture of every cathedral is the result of a long and complicated process of morphogenesis, defined by spatial conditions and the availability of building materials. Their interior arrangements and imagery largely reflected ritual practice and the desire to express local identities. The various contributions to this volume discuss the architecture, interior, and urban setting of Romanesque cathedrals and analyze the factors which helped to shape them. In so doing, the focus is both on the influence of patrons and on more bottom-up factors, including community practices.

CFP: Worship in Regensburg’s Institutions: On the Diversity of Liturgical Traditions in the Pre-Modern Period, Regensburg, 6-8 July 2017

dom_st_peter_regensburg_hCall for Papers: Worship in Regensburg’s Institutions: On the Diversity of Liturgical Traditions in the Pre-Modern Period (Gottesdienst in Regensburger Institutionen. Zur Vielfalt liturgischer Traditionen in der Vormoderne) Regensburg, 6-8 July 2017
Deadline: October 31, 2016

In der Vormoderne war Regensburg als weit überregional bedeutendes politisches Zentrum und international vernetzte Handelsstadt auch kirchlich durch eine Vielzahl unterschiedlicher Institutionen geprägt: Neben dem von Bonifatius gegründeten Bistum, das manche seiner liturgischen Traditionen bis lange nach dem Konzil von Trient hochhielt, gingen auch die selbstbewußte Benediktinerabtei St. Emmeram und das Kollegiatsstift der Alten Kapelle genauso wie die Kanonissenstifte Niedermünster und Obermünster auf das Frühmittelalter zurück; insbesondere St. Emmeram betrieb neben seiner reichen Bibliothek ein auch künstlerisch herausragendes Skriptorium. Im Hochmittelalter ergänzten das Benediktinerinnenkloster Mittelmünster auf weiblicher und das Kollegiatsstift von St. Johann auf männlicher Seite die kirchliche Landschaft, wenn auch nicht die erhaltene liturgische Handschriften-überlieferung. Das Schottenkloster St. Jakob strahlte im Rahmen der zweiten iroschottischen Bewegung durch Neugründungen aus, die Abtei Prüfening vor den Toren der Stadt gehörte zur Hirsauer Reform; das Doppelkloster Prüll wurde später zur Kartause.
Mit dem Spätmittelalter erweiterten Klöster männlicher und weiblicher Bettelorden die kirchliche Vielfalt, die in der Neuzeit zusätzliche Komplexität gewann, als sich die Stadt mehrheitlich der lutherischen Reformation anschloß, was zur Übernahme neuer Bräuche, aber auch zu bemerkenswerten Kompromissen führte. Als Tradentinnen und
Produzentinnen von Handschriften, aber auch als Bauherrinnen liturgischer Räume und Auftraggeberinnen von Kunstwerken, nicht zuletzt in ihrem Zusammenspiel im städtischen Raum und in ihrer Prägung durch überregionale Einflüsse sind Regensburger Institutionen ein Prisma, durch das die bunte Vielfalt vormoderner Liturgie und ihrer kulturellen Ausdrucksformen sichtbar wird.
Angesichts großer Unterschiede in Quellenbestand und Forschungslage lohnt sich ein neuer Blick auf die wichtigsten kirchlichen Institutionen, historischen Phasen und überregionalen Bezugssysteme der Liturgiegeschichte Regensburgs in der Vormoderne. Beiträge aus Liturgiewissenschaft, Musikwissenschaft, Kunstgeschichte und verwandten Disziplinen sollen exemplarisch die verschiedenen Dimensionen liturgischen Lebens und ihre künstlerischen, musikalischen und architektonischen Ausdrucksformen erhellen, die bisherige Forschung kritisch sichten, auf bestehende Lücken hinweisen und neue Perspektiven künftiger Erschließung eröffnen. Äußerer Anlaß für die Tagung ist die Wiederbelebung des Institutum Liturgicum Ratisbonense des Bistums Regensburg, welches sich seit der Mitte des 20. Jahrhunderts der Liturgiegeschichte im Spiegel ihrer handschriftlichen Quellen sowie der Erforschung lokaler Eigentraditionen widmet.
Die vom Lehrstuhl für Liturgiewissenschaft der Universität Regensburg mit Mitteln des Institutum Liturgicum Ratisbonense und in Zusammenarbeit einerseits mit dem Akademischen Forum Albertus Magnus des Bistums Regensburg, andererseits mit dem Forum Mittelalter der Universität Regensburg und dem Themenverbund “Metropolität in der Vormoderne” organisierte Tagung findet von Donners-tag 6. bis Samstag
8. Juli 2017 voraussichtlich in den Räumen der Bischöflichen
Zentralbibliothek statt und wird von einer kleinen Ausstellung
begleitet.

How to Submit: Bewerbungen für Vorträge (25 Minuten) und Kurzbeiträge (15 Minuten) auf Deutsch, Englisch, Französisch oder Italienisch werden bis 31. Oktober
2016 mit einem Abstract von maximal 250 Worten an
harald.buchinger@theologie.uni-regensburg.de erbeten; ein
interdisziplinär besetzter Beirat wird bis 30. November 2016 darüber
entscheiden. Es ist geplant, den akzeptierten Beitragenden die Spesen
für Aufenthalt und Verpflegung sowie – im vertretbaren und möglichen
Rahmen – die Reise zu vergüten; die Tagung ist zur Publikation
vorgesehen. Neben etablierten Kolleginnen und Kollegen sind auch
Jungwissenschaftlerinnen und Jungwissenschaftler besonders herzlich
eingeladen.

CFP: Towards an Art History of the Parish Church, 1200-1399, The Courtauld Institute of Art, London, 2-3 June 2017

St John the Baptist, WinchesterOrganised by: Dr James Alexander Cameron (The Courtauld Institute of Art) and Meg Bernstein (University of California, Los Angeles/The Courtauld Institute Kress Fellow, 2015-2017)

Paul Binski, in his 1999 Studies in Iconography article, “The English Parish Church and its Art in the Later Middle Ages,” asked “how, and in what ways, we might place the imagery of the parish church at the centre of the study of medieval visual culture rather than seeing it as some unfathomable, and perhaps embarrassing, epiphenomenon of something that was ‘really’ going on elsewhere.” Though some 8,000 parish churches in England can be said to consist largely of medieval fabric, no overarching study of English medieval church architecture is available. Instead, scholarship is generally limited to descriptions of single buildings and their furnishings, and the broader historical significance of this building type has largely gone unaddressed.

Towards an Art History of the Parish Church, 1200-1399, to be held on 2-3 June, 2017 at The Courtauld Institute of Art, will gather scholars to revisit the question of the parish church and its relationship to medieval visual culture. Participants will contribute to a vibrant discussion of the Gothic parish church, its utility as an object of study, and the insights offered on the subject by diverse methodologies. In particular, the conference will prioritise ways in which scholars might think about Gothic parish churches collectively, profiting from the rapidly expanding technologies of the digital age. We are pleased to announce that Professor Paul Binski has agreed to give the closing remarks for the conference, and reflect upon how scholarship has progressed since his Studies in Iconography article.Heckington chancel

The conference draws its temporal focus from the most notable lacuna in scholarship, which concerns the introduction and flowering of Gothic architecture across the English parish church in the thirteenth and fourteenth centuries. The thirteenth century saw a broadly Gothic style replace the Romanesque across England; although this has been studied with regard to great church architecture, the mechanics of what amounts to a major stylistic shift at parish level remain largely uninvestigated. Likewise, the quantity of fourteenth-century work in parish churches further shaped the manifestation of the Gothic style, particularly in features such as sedilia which were originally developed in outside of cathedrals and great monasteries. Given the impact of the English Decorated Style on Late Gothic architectural developments across Europe, the parish church promises to illuminate art historical questions beyond the borders of England. These lacunae are in stark contrast to the smaller corpus of the Romanesque period, which has had a large amount of attention via resources such as CRSBI; and the late medieval church after 1400, which draws on greater availability of documentary evidence.

The organisers invite postgraduate, early-career and established researchers to propose papers representing a revitalised approach to the study of parish churches of the thirteenth and fourteenth centuries, and strategies for dealing with the vast amount of material evidence in tandem with a paucity of written records. They welcome contributions especially regarding architecture but also elements of sculpture, painting and glass, as well as their internal (and external) fittings and furnishings. Papers must be foremost concerned with buildings that are primarily parochial, as distinct from abbeys and cathedrals. Possible areas of inquiry include but are not limited to:

  • Sutterton naveBig data and the understanding of artistic processes through comprehensive regional surveys and categorisation, including the use of online crowd-sourcing techniques
  • The intersection of liturgical function and architectural form, perhaps through innovative strategies such as practical re-enactment
  • Understanding architectural spaces through visual and other sensory perception
  • Aesthetics and allegory: the ’period eye’ approach to understanding medieval art through contemporary literature
  • Formal analysis, and its use in understanding the operation of architectural workshops
  • Archaeology and structural investigation
  • Interactions or distinctions between rural and urban parish churches
  • The geography and topography of the parish church in relation to its surroundings
  • The effect of funerary monuments and individual commemoration.
  • Lay sponsorship and creative involvement in parochial architecture
  • Replacement, retention or adaption of older fabric
  • Comparisons of English parochial architecture with that of the Continent

Please submit abstracts of up to 300 words, as well as a current c.v., to Dr James Alexander Cameron and Meg Bernstein at TAAHOTPC@gmail.com by December 15, 2016. There may be limited funds available to defray costs of travel for speakers. It is intended that conference transactions will be published.

For more updates on the conference, watch the page on The Courtauld website

CFP: After Chichele: Intellectual and Cultural Dynamics of the English Church, 1443-1517

St. Anne’s College, Oxford, 28-30 June 2017

An international conference organised by the Faculty of English, University of Oxford, this event builds on the success of the 2009 Oxford conference, After Arundel: Religious Writing in Fifteenth-Century England, which resulted in a book of essays (ed. by Vincent Gillespie and Kantik Ghosh) that vigorously interrogated the nature of religious and intellectual culture in England in the long fifteenth century. After Chichele adopts a similar investigative and interdisciplinary approach. The period has been chosen precisely because the inner workings of English intellectual and religious life during these years have proved challengingly resistant to the formation of grand critical narratives. What are the chief currents driving the intellectual and cultural life of the church in England during this period? What happened to intellectual questioning during the period, and where did the Church’s cultural life express itself most vividly? What significant parochial, regional, national and international influences were brought to bear on English literate practices? In order to address these questions, the conference will adopt an interdisciplinary focus, inviting contributions from historians, literary scholars, and scholars working on the theology, ecclesiastical history, music and art of the period, and it is expected that a wide range of literary and cultural artefacts will be considered, from single-authored works to manuscript compilations, from translations to original works, and from liturgy to art and architecture, with no constraints as to the conference’s likely outcomes and conclusions. It is intended that the conference should generate a volume of essays similar to After Arundel in scope, ambition and quality.

Plenary speakers: David Carlson, Mary Erler, Sheila Lindenbaum, Julian Luxford, David Rundle, Cathy Shrank.

Possible topics for discussion:
Religious writing and the English Church; the emergence of humanism and the fate of scholasticism; literature and the law; cultural and ecclesiastical patronage; developments in art and architecture; the liturgical life of the Church; the impact of the international book trade and of print; palaeography and codicology; the Church’s role in education, colleges and chantries; the impact of travel and pilgrimage.

Please send 500 word abstracts (for proposed 20-minute papers) by Friday, 12th August 2016 to Vincent Gillespie, Lady Margaret Hall, Oxford OX2 6QA (vincent.gillespie@ell.ox.ac.uk).

Lecture series: Visibility and presence of the Image in Ecclesiastical Space

jan_van_eyck_-_the_madonna_in_the_church_-_google_art_projectLecture series: Visibilité et présence de l’image dans l’espace ecclésial, INHA Paris, March 24 – June 16, 2016.

The analysis of medieval Church space requires wide-ranging consideration of mounmental and ritual context. Current research focuses on the reception of images, and on the visibility and legibility of images. Both in the Latin West and in Byzantium, consideration is given to the mise en scène of the sacred through the interaction of monument, rite, objects, decoration and perception. This lecture series features experts of both the Byzantine Orient and the Latin West, focusing on questions raised during an introductory session on 25 Septembre 2015. A large space will be left for discussion with the aim of obtaining a multi-disciplinary perspective on the medieval image.
Programme

Jeudi 24 Mars 2016, 14h30–17h30, Salle Vasari
Thème : Lumière et éclairage de l’espace cultuel : perception et
réception des images
– Lioba Theis (Universität Wien) The Orchestration of Enlightenment:
Light in Sacred Space – Nicolas Reveyron (université Lumière Lyon II)
Image et lumière : performance et polychronie
– Répondant: Andréas Nicolaïdès (université Aix-Marseille)

Jeudi 19 Mai 2016, 14h30–17h30, Salle Vasari
Thème : Images monumentales et jeux d’échelle : les dynamiques
spatiales du lieu de culte
– Isabelle Marchesin (INHA) La mise en réseau des hommes et des
artefacts dans l’église Saint-Michel d’Hildesheim
– Annemarie Weyl Carr (Southern Methodist University, Dallas) Across a
Crowded Room: Paths of Perception in Cyprus’ Painted Churches
– Répondant: Daniel Russo (université de Bourgogne)

Jeudi 16 Juin 2016, 14h30–17h30, Salle Jullian
Thème : Visibilité et lisibilité du dialogue entre images et
inscriptions dans l’espace cultuel
– Vincent Debiais (CNRS – CESCM Poitiers) Absence /silence des
inscriptions en contexte liturgique : quelques exemples hispaniques
– Catherine Jolivet-Lévy (EPHE) Inscriptions et images dans quelques
églises byzantines de Cappadoce : visibilité / lisibilité, interactions
et fonctions
– Répondant: François Bougard (IRHT) Conclusion du cycle : Sulamith
Brodbeck et Anne-Orange Poilpré (université Paris 1 Panthéon Sorbonne)