Academic literature on the topic 'St. Clara church'

One fruitful organizing theme around which to write the history of the worship of the Church of England in the early part of the twentieth century might be that of the revival of ancient practice. In church music, for instance, the early years of the century saw the gradual readoption of plainsong, the rediscovery of the repertoire of the Tudor and Stuart Church, and the adoption of English folk-song, most visibly in the English Hymnal of 1907. In the placing of contemporary visual art in churches, however, the contrast is marked. Recent analysis of this period has tended to posit a Church largely indifferent to the visual arts, except for the activities of isolated individuals, and of two men in particular: George Bell, Bishop of Chichester, and Walter Hussey, Dean of Chichester and formerly Vicar of St Matthew’s, Northampton. This sense was shared by Sir Kenneth Clark, former Director of the National Gallery, in a retirement tribute to Hussey, with whose patronage Clark had collaborated since the early 1940s. ‘What’ he asked ‘has the Church done in the way of enlightened patronage of contemporary art in the present century?’ Only one man, Hussey, ‘has had the courage and insight to maintain – I wish I could say revive – the great tradition of patronage by individual churchmen’.

of our Lord the King, holden at the Town Court-House near Westminster-Hall, in and for the Liberty of the Dean and Chapter of the Collegiate Church of St. Peter, Westminster, the City, Borough, and Town of Westminster, in the County of Middlesex, and St. Martin le Grand, London, on Thursday the Twentyninth Day of June, in the Twenty-third Tear of the Reign of our Sovereign Lord George the Second, King of Great-Britain, &c. before Henry Fielding, Esq; the Right Hon. George Lord Carpenter, Sir John Crosse, Baronet, George Huddleston, James Crofts, Gabriel Fowace, John Upton, Thomas Ellys, Thomas Smith, George Payne, William Walmsley, William Young, Peter Elers, Martin Clare, Thomas Lediard, Henry Trent, Daniel Gach, James Fraser, Esquires, and others their fellows, Justices of our said Lord the King, assigned to keep the Peace of the said Liberty, and also to hear and determine divers Felonies, Trespasses, and other Misdeeds done and committed within the said Liberty.

Kenney, Peter James (1779–1841), was born in Dublin, probably at 28 Drogheda Street, on 7 July, 1779. His father, Peter, and his mother, formerly Ellen Molloy, ran a small business. Apart from Peter, the other known children were Anne Mary, who joined the convent of the Sisters of St. Clare, and an older brother, or half-brother, Michael, who set up an apothecary’s shop in Waterford.Peter was born, therefore, in the decade which saw the American Revolution, the Suppression of the Jesuits and, in Ireland, the birth of Daniel O’Connell—destined to become ‘The Liberator’. The need to keep Ireland quiet during the American conflict, led to concessions to the Catholic population. The first of these was in 1778. Others followed when the French Revolution raised possibilities of unrest. In 1792 the establishment of Catholic colleges was allowed, and entry to the legal profession. These led to the founding of Carlow College and to Daniel O’Connell’s emergence as a lawyer. The following year the Irish parliament was obliged by the government to extend the parliamentary franchise to Catholics. Increased freedom, however, and the government’s connivance at the non-application of the penal laws, led to increased resentment against the laws themselves and, among middle-class Catholics, to a relishing of Edmund Burke’s celebrated reminder to the House of Commons in 1780, that ‘connivance is the relaxation of slavery, not the definition of liberty’.

Mary Ward was born in 1585 near Ripon, eldest child of a recusant family. She spent her whole life until the age of 21 in the intimate circle of Yorkshire Catholics, with her parents, her Wright grandparents at Ploughland in Holderness, Mrs. Arthington, née Ingleby, at Harewell Hall in Nidderdale, and finally with the Babthorpes of Babthorpe and Osgodby. Convinced of her religious vocation, but of course unable to pursue it openly in England, she spent some time as a Poor Clare in Saint-Omer in the Spanish Netherlands, first in a Flemish community, then in the English house that she helped to found. She was happy there, but was shown by God that he was calling her to ‘some other thing’. Exactly what it was to be was not yet clear, so she returned to England, spent some time in London working for the Catholic cause, and discovering that there was much for women to do—then returned to Saint-Omer with a small group of friends, other young women in their 20s, to start a school, chiefly for English Catholic girls, and through prayer and penance to find out more clearly what God was asking. Not surprisingly, given her early religious formation in English Catholic households, served by Jesuit missionaries, and her desire to work for her own country, the guidance that came was ‘Take the same of the Society’. She spent the rest of her life trying to establish a congregation for women which would live by the Constitutions of St. Ignatius, be governed by a woman general superior, under the Pope, not under diocesan bishops or a male religious order, and would be unenclosed, free to be sent ‘among the Turks or any other infidels, even to those who live in the region called the Indies, or among any heretics whatsoever, or schismatics, or any of the faithful’. There were always members working in the underground Church in England, and in Mary Ward's own lifetime there were ten schools, in Flanders and Northern France, Italy, Germany and Austria-Hungary. But her long struggle for approbation met with failure—Rome after the Council of Trent, which had insisted on enclosure for all religious women, was not yet ready for Jesuitesses. In 1631 Urban VIII banned her Institute by a Bull of Suppression, imprisoning Mary Ward herself for a time in the Poor Clare convent on the Anger in Munich. She spent the rest of her life doing all she could to continue her work, but when she died in Heworth, outside York, in 1645 and was buried in Osbaldwick churchyard, only a handful of followers remained together, some with her in England, 23 in Rome, a few in Munich, all officially laywomen. It is owing to these women that Mary Ward's Institute has survived to this day.

The article analyses the iconographic programme of the altars of St Trinity Church of the convent of former Bernardine nuns (Sisters of the Third Order of St Francis) in Kaunas until its closure in 1864 and reveals the expression of the spirituality of this order in the sacral art as far as the surviving few sources and heritage allow. In order to achieve the goal, the following objectives were established: (1) to reconstruct the old interior of the altar ensemble, (2) to reveal the most important peculiarities of the Bernardines’ spirituality, and (3) to highlight the logical connections between art and Bernardine spirituality in church art through the icono-theological approach. Scarce earliest sources indicate that the most venerated representation of the Virgin Mary and the relics of the True Cross were in the church in the first half of the seventeenth century, and the Feast of the Discovery and Exaltation of the Holy Cross was celebrated. These hints suggest that piety to the Crucifix and the Mother of God was prevalent at that time. The cult of the Crucifix is associated with the common origin of Franciscan religious devotion, which encourages following the example of St Francis by contemplating the suffering of Jesus Christ. Also, it is not difficult to infer that based on the name of the church, the high altar should have been dedicated to the Holy Trinity; therefore, there should have been appropriate piety practices. It is believed that the fraternity of the Holy Trinity was active from the time of the completion of the church. The main accents of iconography of the altars of the Bernardine Church in Kaunas were formed after the disasters in the mid-seventeenth century, the last fire in 1668. The Holy Trinity was the dominant accent of piety. A painting dated to the early eighteenth century that reflects the post-Tridentine recommendations for visual arts decorated the high altar of the same name. In the early eighteenth century, the exceptional piety to St Joseph also gains prominence: in 1703, the fraternity of St. Joseph was established and a separate altar was dedicated to this saint. The feasts of the Holy Trinity and St Joseph were celebrated. It is believed that the Bernardine nuns in Vilnius, who had settled in the city a little earlier, influenced the piety to the Holy Trinity. A highly developed and majestic iconography distinguished their high altar, visually emphasising the figure of the Crucifix. The exceptional piety of the Bernardine nuns of Krakow to St Joseph influenced the cult of this saint. The first Bernardine nuns came to Lithuania from Krakow and, without doubt, the Lithuanian nuns must have kept in touch with the nuns from Krakow. Devotion to the Virgin Mary and the Crucifix was further developed. Two altars in the church were dedicated to the Mother of God (Mary, Consoler of the Afflicted and Our Lady of Sorrows); also, there were altars of Jesus at the Pillar and the Crucifix. The relics of the True Cross preserved and venerated in the altar of the Crucifix are mentioned from the first half of the seventeenth century. The Feast of the Discovery and Exaltation of the Holy Cross was celebrated. The Bernardine nuns venerated the Franciscan saints and close followers and brothers of St Francis. This is confirmed by the altars of St Francis of Assisi (stigmatisation plot), St Clare, and St Anthony of Padua in the church. A closer study into the lives of the lesser-known saints who can be easily confused with other popular saints of the same name revealed a rich gallery of Franciscan saints, especially females, among them. Bernardine nuns had a separate altar and a feast dedicated to St Elizabeth of Hungary, the patron of the Third Order of St Francis and one of the most venerable followers of the example of St Francis’ life. In the context of other Bernardine monasteries in the Grand Duchy of Lithuania, the Bernardine nuns in Kaunas stood out for their veneration of this saint. Bernardine nuns also distinguished St Rose of Viterbo, St Agnes of Assisi, and St Barbara, whose cult is associated with active devotion of the Lithuanian Bernardines to this saint. The iconography of the Bernardine Church was influenced by the Convent of St George the Martyr in Kaunas, whose church was naturally richer and whose iconographic programme covered a broader spectrum. Interestingly, it also contained images or sculptures of all the above-mentioned saints associated with the Franciscan Observants, including the female saints lesser known to other communities of believers, while individual altars were dedicated to St Rose from Viterbo and St Barbara. The ensemble of church altars, which had been gradually evolving from the seventeenth century, and the practices of piety hardly changed until the closure of the convent in 1864. It is unfortunate that due to the lack of sources, many assumptions and questions remain, and one can only hope that further research into the interior of the church will lead to more discoveries.

This project aims to create a new, pleasant and lively public space in St. Clara churchyard in the heart of Stockholm. It seems despite of crucial location and unique atmosphere that the church has, the churchyard is not properly used. Therefore, through a consensus approach, public opinions about the project were obtained. According to these opinions and by the help of theoretical resources, new interventions were proposed. Despite of high percentage of negative opinions against the project before beginning of the project, high percentage of responders showed their satisfaction about the project at the end.