Relevant bibliographies by topics / St. Peter's Cathedral (York)

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Academic literature on the topic 'St. Peter's Cathedral (York)'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "St. Peter's Cathedral (York)"

1

SAYERS, JANE. "Peter's Throne and Augustine's Chair: Rome and Canterbury from Baldwin (1184–90) to Robert Winchelsey (1297–1313)." Journal of Ecclesiastical History 51, no. 2 (April 2000): 249–66. http://dx.doi.org/10.1017/s0022046900004243.

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The arrival of St Augustine in England from Rome in 597 was an event of profound significance, for it marked the beginnings of relations between Rome and Canterbury. To later generations this came to mean relations between the papacy in its universal role, hence the throne of St Peter, and the metropolitical see of Canterbury and the cathedral priory of Christ Church, for the chair of St Augustine was the seat of both a metropolitan and an abbot. The archiepiscopal see and the cathedral priory were inextricably bound in a unique way.Relations with Rome had always been particularly close, both between the archbishops and the pope and between the convent and the pope. The cathedral church of Canterbury was dedicated to the Saviour (Christ Church) as was the papal cathedral of the Lateran. Gregory had sent the pallium to Augustine in sign of his metropolitan rank. There had been correspondence with Rome from the first. In Eadmer's account of the old Anglo-Saxon church, it was built in the Roman fashion, as Bede testifies, imitating the church of the blessed Peter, prince of the Apostles, in which the most sacred relics in the whole world are venerated. Even more precisely, the confessio of St Peter was copied at Canterbury. As Eadmer says, ‘From the choir of the singers one went up to the two altars (of Christ and of St Wilfrid) by some steps, since there was a crypt underneath, what the Romans call a confessio, built like the confessio of St Peter.’ (Eadmer had both visited Rome in 1099 and witnessed the fire that destroyed the old cathedral some thirty years before in 1067.) And there, in the confessio, Eadmer goes on to say, Alfege had put the head of St Swithun and there were many other relics. The confessio in St Peter's had been constructed by Pope Gregory the Great and contained the body of the prince of the Apostles and it was in a niche here that the pallia were put before the ceremony of the vesting, close to the body of St Peter. There may be, too, another influence from Rome and old St Peter's on the cathedral at Canterbury. The spiral columns in St Anselm's crypt at Canterbury, which survived the later fire of 1174, and are still standing, were possibly modelled on those that supported St Peter's shrine. These twisted columns were believed to have been brought to Rome from the Temple of Solomon. At the end of the sixth century, possibly due to Gregory the Great, they were arranged to form an iconostasis-like screen before the apostle's shrine. Pope Gregory III in the eighth century had added an outer screen of six similar columns, the present of the Byzantine Exarch, of which five still survive. They are practically the only relics of the old basilica to have been preserved in the new Renaissance St Peter's.
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Campbell, Ian. "Planning for pilgrims: St Andrews as the second Rome." Innes Review 64, no. 1 (May 2013): 1–22. http://dx.doi.org/10.3366/inr.2013.0045.

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The planning of the burgh of St Andrews, founded in the twelfth century, with two major streets converging on the cathedral, resembles that of the Vatican Borgo, created in the ninth century. It is proposed that St Andrews was consciously modelled on the Borgo, and that the major dimensions of the cathedral are taken from Old St Peter's and St John Lateran, as part of an unsuccessful campaign to have St Andrews recognised as an apostolic see like its rival Compostela, the only other shrine in western Europe beyond Italy to claim the relics of an apostle.
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Harroff-Tavel, Marion. "Address at the memorial service held at St Peter's Cathedral, Geneva 20 December 1996." International Review of the Red Cross 37, no. 317 (April 1997): 136–39. http://dx.doi.org/10.1017/s0020860400085053.

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There were six of them. Six individuals who with their skills, their hands and their hearts brought shelter, care, comfort and a smile to the wounded of the conflict in Chechnya. They came from Norway, Spain, Canada, the Netherlands and New Zealand, all under the banner of the Red Cross. They worked in the ICRC hospital at Novye Atagi. And they are no longer with us. A seventh lies wounded by the bullet which was intended to kill him. The grief of those who witnessed that carnage is felt by us all.
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Sureda i Jubany, Marc. "Clergy, Spaces and Liturgy at Vic Cathedral: St Peter's Church in the 12th and 13th Centuries." Medievalia 17 (February 15, 2015): 279. http://dx.doi.org/10.5565/rev/medievalia.249.

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Barlow, Jill. "St. Albans Cathedral: Judith Bingham's ‘Uppon First Sight of New-England’." Tempo 57, no. 224 (April 2003): 50. http://dx.doi.org/10.1017/s0040298203270157.

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Opus Anglicanum, a group of five unaccompanied male voices and a reader, are described by South West Arts as: ‘most thought provoking, very professional and exuding enthusiasm’. Having already premièred Judith Bingham's ‘necklace of light’ at York Minster two years ago (2000) and established it in their repertoire to such critical acclaim, the group commissioned a further work from the composer to be a focal point in their new themed programme for 2003, ‘Sacred Journey’.
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6

Schwartz, Yitzchak. "A Gift From One of the Jewish Faith: The Menorahs at the Cathedral of St. John the Divine and Liberal Religion in Interwar America." Images 8, no. 1 (December 4, 2014): 25–45. http://dx.doi.org/10.1163/18718000-12340043.

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In January, 1925, Adolph Ochs, owner and publisher of the New York Times, wrote to Bishop William Manning of New York stating that he wished to donate $10,000 towards the construction of the Diocese’s new Cathedral of St. John the Divine, as well as to contribute two golden menorahs. These would be a “gift from one of the Jewish faith” to the Cathedral project.” The menorahs were dedicated several years later to great fanfare in both the American and Jewish press, and stand in the cathedral today. The story of their donation speaks to the progressivism of, and the power of progressive and universalizing ideas in, the American Jewish community during this period, even as their reception in the Christian community speaks to the asymmetry that often characterized ecumenical efforts between Jews and Protestants. The donation further revealed tensions between the progressive optimism of the Reform Jewish establishment and the more cautious posture of the East-European Jewish community.
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Johnson, Bret. "ARCHITECT OF CATHEDRAL MUSIC: AN INTERVIEW WITH PHILIP MOORE." Tempo 65, no. 257 (July 2011): 63–67. http://dx.doi.org/10.1017/s0040298211000271.

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Philip Moore (b. 1943) has had a distinguished career as a cathedral musician, organist and, increasingly in recent years, as a composer. He began his career as a music master at Eton College and subsequently held a number of important positions, firstly at Canterbury and Guildford Cathedrals and latterly as Master of the Music at York Minster (1983–2008). His impressive catalogue of 400 works contains a substantial body of church music, but he has also written instrumental music and some larger works with orchestra including an organ concerto. His music draws on a wide sphere of influences with a strong tilt towards Vaughan Williams, Howells and Britten, plainchant and Duruflé and those whom he regards as the great classical architects of music: Bach, Brahms, Mozart and Hindemith amongst many others. On 20 November 2010 his new cantata Ode to St Cecilia was premièred in Guildford Cathedral. The composer has said that the genesis and design of the work derives from Britten's St Nicholas to which he hopes it will be seen as complementary. This interview took place in October 2009 before a recital devoted entirely to Moore's organ music at St Paul's Cathedral in London.
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8

Dolya, Evgeniy V. "LEGAL DISPUTE OVER THE OWNERSHIP OF ST. NICHOLAS CATHEDRAL IN NEW YORK CITY AS STATED IN THE GARF DOCUMENTS (1947–1950)." History and Archives, no. 4 (2019): 39–59. http://dx.doi.org/10.28995/2658-6541-2019-4-39-59.

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9

MANNION, ANNE. "Liturgy and chant in a twelfth-century Exeter missal." Plainsong and Medieval Music 28, no. 02 (October 2019): 115–32. http://dx.doi.org/10.1017/s0961137119000044.

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AbstractExeter Cathedral Library and Archives MS 3515 (hereafter EXcl 3515), a notated missal located in Exeter Cathedral, has to date received very little scholarly attention. This neglect may be due to the absence of a liturgical kalendar and evidence of local saints in the Sanctorale. Its assignment to the thirteenth century with a generic English origin suggests that critical questions concerning provenance and dating have been overlooked. The source itself comprises four disparate sections assembled so as to create a complete liturgical cycle. Yet the parts are not as separate as hitherto believed. A comparative investigation reveals not only an Exeter provenance and a twelfth-century dating, but also a new witness to the St Denis/Corbie tradition. Research also reveals unexpected threads of liturgical continuity with the Anglo-Saxon past. As a complete pre-Sarum source of Mass prayers, chants and readings, EXcl 3515 offers a useful lens with which to view a transitional period in the development of a medieval secular liturgy in England. (By contrast, the three dominant cathedrals – Salisbury, York and Hereford – all lack notated chant sources from this period.) EXcl 3515 adds not only significant new data to the current information on secular liturgies, but also challenges accepted theories on the shaping of a distinctive English Use in southwest England.
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10

De Hond, Jan. "Een onbekende tekening van Saenredam: het portret van Johannes Petri Junius." Oud Holland - Quarterly for Dutch Art History 113, no. 4 (1999): 187–96. http://dx.doi.org/10.1163/187501799x00364.

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AbstractIn 1910 the print room at Dresden acquired an unsigned portrait drawing of the clergyman Johannes Junius (c.1587-1635). The drawing has been successively attributed to Hendrick Goltzius and Jacob Matham and is currently regarded as the work of Matthias van den Bergh (1617-1665). In this article it is proposed to attribute the drawing to Pieter Saenredam (1597-1665). Junius' portrait was drafted in black chalk. At a later stage this chalk drawing was worked up in pen and brown ink. The ink version differs from the chalk drawing in a few important details. The figure is placed in an oval with a rectangular surround. Everything outside that surround is treated sketchily or left as it was. This suggests that the drawing was a preliminary study for an engraving. A caption at the top identifies the sitter as Johannes Junius at the age of 45 in 1632. To the left of the head the date is more specific: 'Anno 1632 den 5 Julij'. Jan Pietersz de Jonge (Johannes Petri Junius) was born in Assendelft c. 1587 and returned to his native village as a minister of the church in 1618. In 1630 he moved to Bois-le-Duc, which had been conquered by Frederik Hendrik a year previously and was now in sore need of clergymen. Junius worked in's-Hertogenbosch until his death in 1635. Assendelft was also the birthplace of Pieter Saenredam, a second cousin of Junius. In the summer of 1632 Saenredam spent a month in Bois-le-Duc. Twelve of the drawings he executed there have been preserved. They are views of the town and architectural studies of the town hall, St. John's Cathedral and St. Peter's Church. The first drawing dates from June 29), the last from July 23. The portrait of Junius dated July 5 1632 thus fits exactly into Saenredam's Bois-le-Duc period. It was drawn a mere five days earlier than Sacnredam's first drawing of St. Peter's, the church where Junius was a minister. The handwriting on Junius' portrait bears a close resemblance to the handwriting on other drawings by Saenredam. The same applies to the way the date is written. Unfortunately there is virtually no material for stylistic comparison. Portraits are rare in Saenredam's oeuvre. The only extant portrait acknowledged as his work is a chalk drawing of Jan Jansz. van Ermelo of 1636. There arc however a few engravings after Saenredam which are closely related to the portrait of Junius. In 1629 Jan van de Velde made four engravings of Counter-Reformational ministers and in 1632 a portrait of the historian Antonius Bor, all after designs by Saenredam. The poses of the sitters and the oval framework correspond to Junius' portrait. The ministers have a common background too, for they were all orthodox Calvinists. The portrait of Junius may have been a design for a print. Direct evidence of this is found not only in the composition of the drawing with its distinctive oval and the rectangular surround, but also in lines quoted from a poem by Wilhelmus Suerendonck in Jan van Oudenhoven's history of Bois-le-Duc of 1649 - lines eminently appropriate to an engraving of Junius. No such engraving has surfaced as yet, however.
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Dissertations / Theses on the topic "St. Peter's Cathedral (York)"

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Beaumont, David. "St. Peter's Cathedral, Adelaide : processes provenances and architectural schemes /." Title page, contents and introduction only, 1997. http://web4.library.adelaide.edu.au/theses/09ARCHSB/09archsbb379.pdf.

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Books on the topic "St. Peter's Cathedral (York)"

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McMahon, John R. St. Peter's Cathedral Basilica, London, Canada. [London? Ont: s.n., 1985.

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2

St. Patrick's Cathedral. New York, NY: AV2 by Weigl, 2014.

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3

Westin, Peter. An act of faith: The first fifty years of St. Peter's Cathedral. Charlottetown, P.E.I: St. Peter Publications, 1994.

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4

St. Peter's Cathedral (London, Ont.). Official directory and general information pertaining to the Cathedral and St. Mary's Church, London, Ont. Ottawa, Ont: Canadian Institute for Historical Microreproduction, 1998.

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5

DeMille, Nelson. Cathedral. New York: Grand Central Publishing, 2002.

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DeMille, Nelson. Cathedral. Thorndike, Me: Thorndike Press, 1999.

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DeMille, Nelson. Cathedral. New York: Grand Central Pub., 2006.

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8

Daly, Cahal B. Catholic areas don't deserve this: Homily by Bishop Cahal B. Daly, St. Peter's Cathedral, September 1988. Belfast: [Diocese of Down and Connor], 1988.

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9

Basile, Salvatore. Fifth Avenue famous: The extraordinary story of music at St. Patrick's Cathedral. New York: Fordham University Press, 2010.

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10

Fifth Avenue famous: The extraordinary story of music at St. Patrick's Cathedral. New York: Fordham University Press, 2010.

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Book chapters on the topic "St. Peter's Cathedral (York)"

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"The Arch of Titus in New York: The Menorahs at the Cathedral of St. John the Divine." In The Arch of Titus, 129–40. BRILL, 2021. http://dx.doi.org/10.1163/9789004453739_012.

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"The Arch of Titus in New York: The Menorahs at the Cathedral of St. John the Divine." In The Arch of Titus, 129–40. BRILL, 2021. http://dx.doi.org/10.1163/9789004447790_013.

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