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Journal articles on the topic 'Durham Cathedral in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Calvert, Arran J. "‘Durham Cathedral can be whatever you want it to be’: Examining the negotiation of space and time." Ethnography 20, no. 4 (2018): 523–40. http://dx.doi.org/10.1177/1466138118787211.

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Public spaces are also spaces of contestation, in which people vie for the space they need for the purposes they need them for, and Durham Cathedral is no different. Not only do cathedrals in the 21st century need to be places of worship, they must also be tourist attractions and support community events both religious and non religious. Beginning from a much used phrase that ‘Durham Cathedral can be whatever you want it to be’, and building on Bergson’s concept of duration, Munn’s use of space-time, and Eliade’s notion of sacred time, this article examines two ethnographic examples of the ten

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2

Bernstein, Meg. "A Bishop of Two Peoples:." Journal of the Society of Architectural Historians 77, no. 3 (2018): 267–84. http://dx.doi.org/10.1525/jsah.2018.77.3.267.

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In A Bishop of Two Peoples: William of St. Calais and the Hybridization of Architecture in Eleventh-Century Durham, Meg Bernstein considers England's Durham Cathedral alongside the nearly contemporaneous Norman Chapel, located in the bishop's palace adjacent to the cathedral. Both were commissioned by Bishop William of St. Calais, the second Norman-appointed bishop of Durham. Bernstein argues that the dramatically different formal styles of the two buildings reflect politically motivated choices the bishop made following the Norman cultural conquest of England after 1066. While the cathedral i

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3

Foster, Paul. "Goring Revisited: George Bell, The Artist Hans Feibusch, and Art in Church." Ecclesiastical Law Journal 6, no. 28 (2001): 36–46. http://dx.doi.org/10.1017/s0956618x00004257.

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There is adventure about—both at home and abroad. More especially, events are taking place in respect to the place of visual art in the witness of the Church that a generation ago, or even less, would have been laughed out of court: for the counsel of this committee or that, whether at parish vestry or cathedral chapter, would have looked askance at what, today, seems to be accepted almost on the nod. Examples of what is occurring, and especially in cathedrals up and down the country, are easy to cite. One need think only of recent exhibitions at Salisbury; the use of video (Bill Viola'sThe Me

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4

Pears, Richard. "BISHOP TUNSTALL’S ALTERATIONS TO DURHAM CASTLE, 1536–48." Antiquaries Journal 99 (July 24, 2019): 161–85. http://dx.doi.org/10.1017/s0003581519000064.

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Since its foundation in 1072 Durham Castle has served as a fortress, palace of the prince bishops of Durham and, from 1837, as a college of the University of Durham. Durham Castle was the bishops’ home and a symbol of their secular authority, whilst its proximity to the bishops’ ecclesiastical centre, Durham Cathedral, established spiritual and ceremonial roles for the castle. This paper will examine the major alterations made to Durham Castle by Bishop Cuthbert Tunstall (bishop from 1530–59), including a new first-floor gallery, stair turret and chapel. A hitherto un-noted gunloop in the stai

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McAleer, J. Philip. "The North Portal of Durham Cathedral and the Problem of ‘Sanctuary’ in Medieval Britain." Antiquaries Journal 81 (September 2001): 195–258. http://dx.doi.org/10.1017/s000358150007219x.

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A small room (which has since been destroyed) located over the north portal of Durham Cathedral has been explained as a watching-room for fugitives fleeing to seek sanctuary at the cathedral that housed the shrine of one of England's pre-eminent saints, Cuthbert. The source behind this identification is an account of the customs of Durham written only c 1593. There is no earlier documentary evidence indicating a function for this room. An examination of the customs and traditions of sanctuary, some aspects of which were unique to England in the Middle Ages, suggests that there was no need for

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6

Hearn, M. F. "Conferences Celebrating the Nine Hundredth Anniversary of the Beginning of Durham Cathedral: "Engineering a Cathedral," and "Anglo-Norman Durham, 1093-1993"." Journal of the Society of Architectural Historians 53, no. 4 (1994): 496–501. http://dx.doi.org/10.2307/990930.

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7

Story, Joanna, and Richard N. Bailey. "THE SKULL OF BEDE." Antiquaries Journal 95 (August 7, 2015): 325–50. http://dx.doi.org/10.1017/s0003581515000244.

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In 1831 Dr James Raine excavated Bede’s tomb in Durham Cathedral, revealing a partial skeleton accompanied by a medieval ring. Three casts were made of the skull; the recent re-discovery of one of these casts provokes an examination of the authenticity of the remains and of antiquarian interests in craniology in the mid-nineteenth century.

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8

Jarrett, Michael G., and Howard Mason. "‘Greater and More Splendid’: Some Aspects of Romanesque Durham Cathedral." Antiquaries Journal 75 (September 1995): 189–233. http://dx.doi.org/10.1017/s0003581500073017.

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Preliminary study for a group of perspective reconstruction drawings of the exterior of Durham Cathedral has led to a reappraisal of the original design and of its progress towards completion. The west towers may be fifty or more years earlier than the generally accepted date of c. 1200, preceding the Galilee chapel. The paired eastern towers strongly suggest links with the ‘imperial’ churches of the Rhineland, and are not readily paralleled in Normandy. Some English churches with eastern towers are listed, indicating that they were not especially rare.Durham was built on the largest scale to

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9

Hanna, Ralph. "The Thomas Mans, their Books, and Jesus College Librarianship." Library 21, no. 1 (2020): 46–73. http://dx.doi.org/10.1093/library/21.1.46.

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Abstract On 21 January 1684/5, Thomas Man, a thirty-year-old Fellow, made a substantial donation of manuscripts to Jesus College, Cambridge. These included a substantial number of books from medieval institutional collections, including at least thirty-one from Durham cathedral priory. The essay ascertains the extent of the donation, a discussion intertwined with that of librarianship at Jesus College. It also offers information about the collection activity of Man’s father, also Thomas, who assembled the collection, and points to several Man books now preserved elsewhere.

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10

Binski, Paul. "A Note on the Hutton Conyers Charter and Related Fenland Manuscript." Antiquaries Journal 80, no. 1 (2000): 296–302. http://dx.doi.org/10.1017/s0003581500050277.

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The name of Conyers is most readily associated with the magnificent falchion, perhaps once belonging to Richard, Earl of Cornwall as King of the Romans, used until 1860 by the Conyers family as a sword of tenure of their lands at Sockburn from the Bishop of Durham, and now in the possession of the Cathedral. Another neglected work of some interest is linked to this Yorkshire family: a decorated charter, dated 27 October 1320, licensing by letters patent the alienation in mortmain by Robert of Conyers of lands in Hutton Conyers, near Ripon, to a chaplain for the daily celebration of divine serv

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11

McAleer, J. Philip. "Encore Lindisfarne Priory and the Problem of its Nave Vaults." Antiquaries Journal 74 (March 1994): 169–210. http://dx.doi.org/10.1017/s0003581500024422.

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An examination of at least six views of Lindisfarne Priory dating from the late eighteenth century, at which time most of the nave was still standing, led to the surprising conclusion in an earlier study that the nave was covered by groin vaults. Because of the unequivocal evidence of ribbed vaults in the choir, transept arms and crossing, as well as in the nave aisles, it would be expected that the form of the nave vault was the same. Since the evidence provided by the early views has been greeted with some scepticism, this study documents the collapse and restoration of the nave during the n

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12

Bailey, Richard N. "St Cuthbert's Coffin. The History, Technology and Conservation.By J. M. Cronyn and C. V. Horie. 29·5 × 20 cm. Pp. xii + 100, 9 figs., 17 pls., 8 foldouts. Durham: Dean andChapter, Durham Cathedral, 1985. ISBN 0-907078-18-4. £15·00." Antiquaries Journal 66, no. 2 (1986): 446–47. http://dx.doi.org/10.1017/s0003581500028493.

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13

Richards, Mary P. "Richard Gameson, Manuscript Treasures of Durham Cathedral. With contributions by A. I. Doyle, John McKinnell, David Rollason, and Lynda Rollason. Foreword by the Dean of Durham. London: Third Millennium Publishing, 2010. Pp. 176; color frontispiece and many color figures. £25." Speculum 86, no. 2 (2011): 492–93. http://dx.doi.org/10.1017/s0038713411000248.

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14

Gameson, Richard. "The Community of St. Cuthbert in the Late Tenth Century: The Chester-le-Street Additions to Durham Cathedral Library A.IV.19 by Karen Louise Jolly (review)." Catholic Historical Review 99, no. 2 (2013): 335–36. http://dx.doi.org/10.1353/cat.2013.0112.

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15

Sadgrove, Michael. "Durham Cathedral: A Personal Perspective." Contact 149, no. 1 (2006): 21–27. http://dx.doi.org/10.1080/13520806.2006.11759032.

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16

Eastlake, Elizabeth. "Accounting at Durham Cathedral Priory: management and control of a major ecclesiastical corporation 1083–1539. By Alisdair Dobie. 222mm. Pp xvi + 340, 31 tables. Palgrave Macmillan, Basingstoke and New York, 2015. ISBN 9781137479778. £80 (hbk)." Antiquaries Journal 96 (March 1, 2016): 465–66. http://dx.doi.org/10.1017/s0003581516000184.

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17

Webb, Chris. "Durham Cathedral: History, Fabric and Culture." Northern History 53, no. 2 (2016): 268–69. http://dx.doi.org/10.1080/0078172x.2016.1198511.

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18

Hunter, David, and Brian Crosby. "A Catalogue of Durham Cathedral Music Manuscripts." Notes 44, no. 4 (1988): 724. http://dx.doi.org/10.2307/941033.

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19

Pearson, David. "Elias Smith, Durham Cathedral Librarian 1633·1676." Library History 8, no. 3 (1989): 65–73. http://dx.doi.org/10.1179/lib.1989.8.3.65.

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20

Burns, Arthur. "Durham Cathedral. History, fabric and culture. Edited by David Brown. Pp. xiv +602 incl. 4 colour frontispieces and 422 black-and-white and colour ills. New Haven–London: Yale University Press (for the Paul Mellon Centre for Studies in British Art), 2015. £75. 978 0 300 20818 4." Journal of Ecclesiastical History 67, no. 1 (2015): 166–67. http://dx.doi.org/10.1017/s0022046915001785.

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21

Pocock, Douglas. "Place Evocation: The Galilee Chapel in Durham Cathedral." Transactions of the Institute of British Geographers 21, no. 2 (1996): 379. http://dx.doi.org/10.2307/622487.

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22

Willis, K. G. "Paying for heritage: what price for durham cathedral?" Journal of Environmental Planning and Management 37, no. 3 (1994): 267–78. http://dx.doi.org/10.1080/09640569408711975.

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23

Harvey, Barbara. "Monks and Markets: Durham Cathedral Priory, 1460–1520." English Historical Review 120, no. 489 (2005): 1378–80. http://dx.doi.org/10.1093/ehr/cei405.

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24

Spinks, Bryan D. "Remembering and Lamenting Lost Liturgy: The Text and Context of Rites of Durham, c.1593." Studia Liturgica 49, no. 2 (2019): 143–53. http://dx.doi.org/10.1177/0039320719884954.

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The Rites of Durham was written c.1593, and the authorship is uncertain, but is presumed to be a compilation of accounts by one or more of the former monks and clergy who lived through the dissolution and who remained either at the cathedral or in Durham parishes after the Elizabethan Settlement. Rites gives detailed descriptions of the cathedral furnishings and of the processions and festivals prior to the dissolution when the shrine of St. Cuthbert was still intact. The account shows a bias against the further reforms made under Dean William Whittingham. It is not, however, a Customary, and

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25

BIGGS, ELIZABETH. "Durham Cathedral and Cuthbert Tunstall: a Cathedral and its Bishop during the Reformation, 1530–1559." Journal of Ecclesiastical History 71, no. 1 (2019): 59–76. http://dx.doi.org/10.1017/s0022046919000605.

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Cathedrals are usually thought to have had little role in the English Reformation and the reasons for their very survival in the new Church of England have been questioned. Instead of being an irrelevant and closed-off institution, Durham Cathedral was intellectually close to its Reformation-era bishop, the conservative Cuthbert Tunstall, and was involved in diocesan matters throughout his episcopate. Tunstall's evangelical successors also appreciated its potential for reform and the need to use its staff and resources. Cathedrals thus could be a tool to be used in the reformation of the dioce

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26

Brown, David. "Let sacred buildings speak: Durham Cathedral and the Jerusalem Temple." International Journal for the Study of the Christian Church 16, no. 2 (2016): 93–107. http://dx.doi.org/10.1080/1474225x.2016.1179088.

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27

Spinks, Bryan. "Durham House and the Chapels Royal: their liturgical impact on the Church of Scotland." Scottish Journal of Theology 67, no. 4 (2014): 379–99. http://dx.doi.org/10.1017/s0036930614000179.

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AbstractEver since the laying of the foundation stone of the present Norman building, Durham Cathedral has had an ambiguous relationship with Scotland – some good (the huge contribution of Dean William Whittingham through liturgy, metrical psalms and the Geneva Bible) and some extremely negative (the cathedral served as the prison for the Scottish prisoners after the battle of Dunbar). Amongst the more negative are the liturgical ideals and practices of the Durham House group, more commonly though inaccurately known as ‘Laudians’. The members of the group, which did include William Laud, were

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28

Crumplin, Sally. "Modernizing St Cuthbert: Reginald of Durham’s Miracle Collection." Studies in Church History 41 (2005): 179–91. http://dx.doi.org/10.1017/s0424208400000206.

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Around 1200, the Church of St Cuthbert in Durham produced an illustrated copy of Bede’s Life of St Cuthbert. Opulently decorated with illustrations rich in colour and gold, this book crowned a century that had seen Cuthbert’s church grow in power and stability. After the seventh-century Northumbrian golden age, centuries of upheaval had characterized the Cuthbertine church: it changed immensely in location and religious observance, moving across Northumbria and adapting the community to suit difficult situations. By contrast, the twelfth century saw the building of the imposing Durham cathedra

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29

Loades, David. "Monastery Into Chapter: Durham 1539-1559." Studies in Church History. Subsidia 12 (1999): 315–35. http://dx.doi.org/10.1017/s0143045900002556.

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The monastic cathedrals of England had for centuries led a double life. On the one hand, each was the seat of a bishop, and the centre of a diocesan administration. On the other, it was the home of a cloistered community, usually Benedictine, which was in theory withdrawn from the world. In principle, the community, which actually owned the cathedral and its precincts, should have elected the bishop, in which case he would probably have been one of their own number, and relations could have been expected to be harmonious. However, in practice, bishops were royal servants, and were appointed by

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30

Colk Browne -Santosuosso, Alma. "Bishop William of St. Carilef's Book Donations to Durham Cathedral Priory." Scriptorium 42, no. 2 (1988): 140–55. http://dx.doi.org/10.3406/scrip.1988.2019.

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31

Brown, A. T. "Surviving the Mid-Fifteenth-Century Recession: Durham Cathedral Priory, 1400–1520." Northern History 47, no. 2 (2010): 209–31. http://dx.doi.org/10.1179/007817210x12738429860707.

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32

Calvert, Arran J. "Singing with Durham Cathedral: exploring the relationship between architecture and singing." Senses and Society 14, no. 3 (2019): 271–83. http://dx.doi.org/10.1080/17458927.2019.1663659.

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33

Rodríguez Ledesma, Nieves. "Zelotes and elnvnges: The Extension of Genitive Singular ‑es in the Gloss to the Durham Collectar." Anglia 136, no. 4 (2018): 611–42. http://dx.doi.org/10.1515/ang-2018-0061.

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Abstract The aim of this article is to study the extension of genitive singular ‑es from the a-stems to other noun classes in the gloss to the Durham Collectar (Durham, Cathedral Library, A.iv.19). To this end a quantitative analysis of sixty-five nouns has been carried out in contexts where they gloss a Latin genitive form. The nouns have been selected on the basis that their etymological inflection for the genitive singular is other than ‑es, and they consist of feminine nouns (nouns ending in ‑ung, nouns ending in ‑ness, ō‑stems, i‑stems), kinship r‑stems and weak nouns or n‑stems. The resu

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34

Mithlo, Nancy Marie. "Decentering Durham." American Indian Culture and Research Journal 43, no. 4 (2019): 25–28. http://dx.doi.org/10.17953/aicrj.43.4.2017.

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This section of the AICRJ special issue on fraud looks back to a 2017 group conversation (first published in First American Art Magazine no. 19 (Fall 2017): 84–89) as four Native American scholars and artists respond to the then-traveling retrospective exhibit Jimmie Durham: At the Center of the World in light of Durham’s long-standing claims to Cherokee identity. In “Decentering Durham,” Chiricahua Apache scholar Nancy Marie Mithlo argues that, “Cultural institutions continue to accept his platform, and, in doing so … deny Indigenous cultural sovereignty to name our own members and leaders.”

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35

Тарасенко, А. А., та Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА". Art and Design, № 2 (21 вересня 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.

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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks

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36

Benzon, William L. "Essay Review: Rock Art in Darwin's Cathedral." Evolutionary Psychology 1, no. 1 (2003): 147470490300100. http://dx.doi.org/10.1177/147470490300100103.

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37

Dobie, Alisdair. "AN ANALYSIS OF THE BURSARS' ACCOUNTS AT DURHAM CATHEDRAL PRIORY, 1278–1398." Accounting Historians Journal 35, no. 2 (2008): 181–208. http://dx.doi.org/10.2308/0148-4184.35.2.181.

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This paper is based upon an examination of a selection of the bursars' accounts from Durham Cathedral Priory covering the period from the first extant account (1278–9) to the end of the 14th century. The accounts selected have been transcribed from the original documents and translated from Latin into English. A traditional focus of accounting historians in the medieval period has been on manorial accounting and the system of charge and discharge. This paper examines a series of non-manorial accounts and a variety of supporting accounting materials, analyzing them for evidence of the developme

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38

Duckworth, William. "Making Music on the Web." Leonardo Music Journal 9 (December 1999): 13–17. http://dx.doi.org/10.1162/096112199750316749.

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Cathedral is one of the first extended works of music and art created as a web site. On-line since June 1997, it includes both acoustic and computer music, live webcasts and newly created virtual instruments. The author discusses the conception and development of the site, and outlines future plans for a 48-hour web concert in 2001. Cathedral may be visited at < http://www.monroestreet.com/Cathedral/home.html >.

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39

Storchay, Oksana. "Myhailo Vrubel Kyiv Creative Period: Sacred Art and Canon Problem." Demiurge: Ideas, Technologies, Perspectives of Design 2, no. 2 (2019): 250–60. https://doi.org/10.31866/2617-7951.2.2.2019.189738.

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The aim of the study is the analysis of sacral paintings of М. Vrubel during the "Kyiv period" (1884 – 1889) and understanding of the church canon by the artist. Methodology of the research includes general scientific methods – art study analysis and generalization of the problem under investigation. In order to study the subject the epistolary heritage of the artist was used. The article reveals the genesis of painting style of M. Vrubel as an integral part of the European version of the style Art Nouveau. The article also proves that this proces

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40

Barashkov, Viktor V. "THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY." Study of Religion, no. 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.

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The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives

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41

Holland, Ashley. "At the Center of the Controversy: Confronting Ethnic Fraud in the Arts." American Indian Culture and Research Journal 43, no. 4 (2019): 13–24. http://dx.doi.org/10.17953/aicrj.43.4.holland.

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The large-scale retrospective exhibition Jimmie Durham: At the Center of the World (re)introduced self-identified “Cherokee” artist Jimmie Durham to a mainstream audience. Despite efforts in the 1990s to unmask the impostor, who has no known or recognized tribal affiliation, once again Durham was occupying space as a Native artist in the art world. This article addresses larger issues that face the field of Native art and Native representation in museums as a whole, offering personal reflections and a brief review of the exhibition as well as a biographical overview of the artist.

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42

Hederman, Mark Patrick. "Beyond the Beyond: Ireland’s Underground Cathedral of Art." Irish Theological Quarterly 75, no. 2 (2010): 204–16. http://dx.doi.org/10.1177/0021140009360498.

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43

McIntire, Ross. "Locating St Cuthbert in Post-Conquest Northumbria: Symeon, Durham Cathedral Priory, and the Sacred Topography of an Anglo-Norman Cult." Church Archaeology 20 (January 2021): 1–17. http://dx.doi.org/10.3828/churcharch.2021.20.1.

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In 1083, a priory of Benedictine monks was founded at Durham Cathedral, in the process displacing a college of secular canons that originated with the cathedral’s foundation in 995. In the process, the new priory took possession of the body and cult of St Cuthbert of Lindisfarne. In the early 12th century, an ambitious ideological project to legitimise the new priory and their claims to both Cuthbert’s power and his historical legacy were underway, foregrounded by Symeon of Durham, blending and reinterpreting the ancient past and the near present to present a unified history that was realised

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44

Jolly, Karen Louise. "Prayers from the Field: Practical Protection and Demonic Defense in Anglo-Saxon England." Traditio 61 (2006): 95–147. http://dx.doi.org/10.1017/s0362152900002865.

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A unique set of ritual prayers from tenth-century Northumbria offered the means to protect fields and crops from birds, vermin, and other demonically inspired threats to the agricultural community. They were part of a series of additions made to the Durham Collectar or Ritual (Durham, Cathedral Library A.IV.19) around 970 by the Chester-le-Street scriptorium of St. Cuthbert's community, under the direction of Aldred, the eccentric glossator of the Lindisfarne Gospels. These five Latin prayers glossed in Old English use exorcistic and benedictional formulas, invoke the assistance of an Archange

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45

Mikhailova, Olga V. "Specific features and uniqueness of the Kazan Cathedral paintings in Tambov in the context of the artistic and historical development of church painting in the grisaille technique." Богословский сборник Тамбовской духовной семинарии, no. 2 (31) (July 7, 2025): 151–78. https://doi.org/10.51216/2687-072x_2025_2_151-178.

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This article examines the paintings of the Kazan Cathedral in Tambov, which is part of the temple complex of the Kazan Mother of God Monastery of the Tambov Diocese, in the context of the artistic and historical development of church painting made in the grisaille technique. The relevance of the study is due to the fact that there are many myths and legends around the grisaille paintings in the Kazan Monastery, actively spread by tour guides among tourist groups. Our goal is to dispel these stereotypes and provide reliable information about the paintings of the Kazan Monastery Cathedral. In th

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46

Dark, Ken. "Gerd Detemple, Weltkulturerbe. Trierer Dom: Einblicke in Deutschlands älteste Kathedrale. Regensburg: Verlag Schnell & Steiner, 2021, 192 pp., 23 ill., and 81 photos." Mediaevistik 34, no. 1 (2021): 312. http://dx.doi.org/10.3726/med.2021.01.37.

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This is a ‘coffee-table’ book on Trier cathedral, in part the oldest church building used today in Germany, dominated by superb color photographs taken by Gerd Detemple. These are produced splendidly in large – often full-page – format, and are a credit to the photographer and publisher alike. As such, the book will appeal to several markets: scholars who are studying the art and architecture of the cathedral; students of art and architectural history; those with an amateur interest in art-history, architectural history or the city of Trier, and those who have visited Trier and been to the bui

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Mazur, Adam. "Zadanie fotografa. Problemtyka Reprodukcji dzieła sztuki na przykładzie dwóch książek fotograficz`nych Eustachego Kossakowskiego August Zamoyski oraz Lumières de Chartres." Artium Quaestiones, no. 33 (December 30, 2022): 107–34. http://dx.doi.org/10.14746/aq.2022.33.5.

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Using the example of two books by Eustachy Kossakowski (1925–2001) – August Zamoyski (1974) and Lumières de Chartres (1989) – the text addresses the issue of reproducing works of art in the form of a photo album (photobook). The work of the photographer who makes reproductions of works of art is compared to the task of the translator, a reference to Walter Benjamin’s essay. The text is divided into two parts corresponding to albums. A detailed analysis allows us to see the differences between the books, as well as the change in Kossakowski’s approach to reproduced works of art. The first album

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Loia, Donato. "Reflections on Gerhard Richter’s Cologne Cathedral Window." Athanor 37 (December 3, 2019): 21–36. http://dx.doi.org/10.33009/fsu_athanor116672.

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Thompson, David M. "Bishop Lightfoot and the Northern church." Studies in Church History. Subsidia 12 (1999): 549–61. http://dx.doi.org/10.1017/s0143045900002660.

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IT is always a surprise to discover one’s prejudices. Some time ago while attending a meeting at Ushaw College, Durham, I was surprised to see the extent to which the College and its chapel reflected the sense of being in continuity with the Church of Bede and Cuthbert. But why was I surprised? Because I had always associated that continuity with the Church of England and the magnificent cathedral church of Durham. I have no hesitation in regarding the Presbyterianism of Northumberland as part of that continuing tradition, because I regard the pre-Reformation Church as part of all our traditio

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Roig-Marín, Amanda. "The <i>Durham Account Rolls</i> Vocabulary as Evidence of Trade Relations in Late Medieval England." Nordic Journal of English Studies 20, no. 1 (2021): 81–102. http://dx.doi.org/10.35360/njes.551.

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Words are testimonies to the kinds of historical interactions that took place between the speakers of English and many other languages spoken far beyond Britain’s continental neighbours. This article considers the process of lexical conversion from proper names (more specifically, place-names) to common names, as well as the use of descriptive adjectives or nouns denoting the geographical area from which commodities were exported present in the Durham Account Rolls (DAR). All these lexical items give important insights into the trade relations (direct or otherwise) between regions within and b

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