Academic literature on the topic 'Worksop Abbey'
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Journal articles on the topic "Worksop Abbey"
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Pickvance, Christopher G. "THE CANTERBURY GROUP OF ARCADED GOTHIC EARLY MEDIEVAL CHESTS: A DENDROCHRONOLOGICAL AND COMPARATIVE STUDY." Antiquaries Journal 98 (September 2018): 149–85. http://dx.doi.org/10.1017/s0003581518000562.
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This paper draws attention to an unrecognised group of six pin-hinged, clamped, early medieval chests with gothic arcading in East Kent, England. It provides dendrochronological dates for four of the chests and systematic evidence concerning their construction, decoration and ironwork, including the specific type of lock originally fitted. Comparisons are made with pin-hinged, clamped chests made in some other counties and abroad at roughly the same time. The carved façades contrast with the plain façades of the thirteenth-century chests in Westminster Abbey. The group has the earliest dendro-dated examples thus far of gothic arcading on English clamped chests as well as other distinctive features, suggesting that the chests are the product of a workshop that developed with a degree of independence from other workshops. Their likely origin in Canterbury and a hypothesis about their use are discussed, and topics are identified for future research. This paper aims to provide a solid one-county base for the comparative study of pin-hinged, clamped chests elsewhere in England.
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Jackson, Jennifer. "Growing the community – a case study of community gardens in Lincoln's Abbey Ward." Renewable Agriculture and Food Systems 33, no. 6 (December 6, 2017): 530–41. http://dx.doi.org/10.1017/s1742170517000643.
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AbstractCommunity gardens, as previous research has found are as much about growing the community and the individuals involved, as gardening itself. The study of Green Synergy's community garden initiatives within Lincoln's relatively deprived Abbey Ward provided an exceptional case study in which to review the inter-relationship of impact both at a community and individual level. The social element of community gardening in building connections between social and natural capital is explored, and how community gardens can provide a ‘counter-narrative’ to perceptions of place and individual well-being.The qualitative research approach which included observation, interviews, a focus group and workshop was designed to reflect the wide scope of the projects and generate both individual and communal reflection on the projects. The themes that emerged open up a further understanding of the multiple dynamics arising from the collaborative creation of ‘green spaces’ in providing bonding and bridging social capital within communities, together with challenging narratives of individual and community capacity. In so doing, it adds to existing research evidence on the diverse community connections, spaces and products that community gardening engenders.
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Jukić, Vjekoslav. "The Sculpture of Rudina Abbey in a European Context Europe, Croatia, Romanesque art." Ars & Humanitas 9, no. 2 (December 4, 2015): 231–46. http://dx.doi.org/10.4312/ah.9.2.231-246.
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The Benedictine Abbey of St. Michael in Rudine near Požega is an archaeological site known for more than a hundred years. The first explorations were done in 1906 and 1907 and ever since then Rudina has been explored in a stop and start manner. The archaeological site consists of two basic units: the monastery with a three-aisle, three- apse church, a cloister with the accompanying monastic buildings, and a small aisleless church with a rounded apse some fifty metres to the West. A considerable body of architectural sculpture has been found at the site, but the most important finding is a series of twenty heads, of which nineteen are brackets. This figural sculpture is mainly described in the literature as rustic work without a solid link to sculpture in the immediate area. In spite of all this, the Rudina sculptures are an extremely important cultural phenomenon as the largest group of Romanesque sculptures in Continental Croatia on record. Still, this sculpture has not been studied as completely as it deserves to be. This paper mentions the possibility that the figural stone sculpture of the Benedictine monastery in Rudina was made by a local workshop, it also raises the question of possible influence on that sculpture within the Lands of the Crown of St. Stephen, but indirectly also in Western Europe. Special emphasis is placed on the possible ways (or media) that these influences could have been adopted and on the potential connection to Western Europe and the Pannonian basin.
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Jukić, Vjekoslav. "The Sculpture of Rudina Abbey in a European Context Europe, Croatia, Romanesque art." Ars & Humanitas 9, no. 2 (December 4, 2015): 231–46. http://dx.doi.org/10.4312/ars.9.2.231-246.
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The Benedictine Abbey of St. Michael in Rudine near Požega is an archaeological site known for more than a hundred years. The first explorations were done in 1906 and 1907 and ever since then Rudina has been explored in a stop and start manner. The archaeological site consists of two basic units: the monastery with a three-aisle, three- apse church, a cloister with the accompanying monastic buildings, and a small aisleless church with a rounded apse some fifty metres to the West. A considerable body of architectural sculpture has been found at the site, but the most important finding is a series of twenty heads, of which nineteen are brackets. This figural sculpture is mainly described in the literature as rustic work without a solid link to sculpture in the immediate area. In spite of all this, the Rudina sculptures are an extremely important cultural phenomenon as the largest group of Romanesque sculptures in Continental Croatia on record. Still, this sculpture has not been studied as completely as it deserves to be. This paper mentions the possibility that the figural stone sculpture of the Benedictine monastery in Rudina was made by a local workshop, it also raises the question of possible influence on that sculpture within the Lands of the Crown of St. Stephen, but indirectly also in Western Europe. Special emphasis is placed on the possible ways (or media) that these influences could have been adopted and on the potential connection to Western Europe and the Pannonian basin.
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Harrison, John. "A Medieval Industrial Complex and its Landscape, The Metal Working Watermills and Workshops of Bordesley Abbey. By G. G. Astill." Archaeological Journal 151, no. 1 (January 1994): 468–69. http://dx.doi.org/10.1080/00665983.1994.11078152.
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Hayward, Paul Antony. "The Cronica de Anglia in London, British Library, Cotton MS Vitellius C.VIII, fols. 6v–21v: Another Product of John of Worcester's History Workshop." Traditio 70 (2015): 159–236. http://dx.doi.org/10.1017/s036215290001237x.
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This article comprises a study and edition of the Cronica de Anglia, a significant but neglected history of England from AD 162 to 1125 whose importance lies chiefly in its connections to other accounts of the period. Though it is uniquely preserved in a late twelfth-century manuscript from Rievaulx Abbey, close reading confirms that it was composed between 1125 and 1137, not in the north of England but in the West Midlands, almost certainly at Worcester Cathedral Priory. If it is not the work of the priory's foremost historian, John of Worcester (d. after 1143), then it was almost certainly produced under his direction. Not only are its contents closely related to his Chronica chronicarum and Chronicula, they also shed new light on John's interests and the ways in which he and his helpers compiled and edited their histories. Turning to another purpose materials used in John's other works, Cronica de Anglia arranges them in order to speak to questions about the relative antiquity and status of the kingdom's bishoprics, churches, and monasteries — a concern not otherwise prominent in this corpus. This chronicle also sheds precious light on the immediate reception of William of Malmesbury's histories of the English, especially the first edition of Gesta pontificum Anglorum. Carefully suppressing dangerous nuances in William's reportage, Cronica de Anglia betrays John's anxiety to avoid becoming entangled in Malmesbury's campaign against the king's chief minister, Bishop Roger of Salisbury (1102–39). The article concludes with the first complete edition of the text.
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Nowiński, Janusz. "Opat Lądu Jan Zapolski, inicjator barokowej przebudowy, wystroju i wyposażenia kościoła Najświętszej Maryi Panny i św. Mikołaja w Lądzie, i jego portret." Artifex Novus, no. 4 (March 9, 2021): 68–85. http://dx.doi.org/10.21697/an.7926.
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Jan Zapolski (1619–1689) herbu Pobóg w 1643 r. został opatem cysterskiego opactwa w Lądzie; wcześniej był kanonikiem katedry krakowskiej i sekretarzem króla Władysława IV. W 1661 r. kapituła cysterskiej prowincji wybrała go wikariuszem generalnym i komisarzem Polskiej Prowincji Cystersów, pełnił ten urząd przez 28 lat – do śmierci. W styczniu 1651 r. opat Zapolski podpisał z architektem Tomassem Poncinem kontrakt na remont i rozbudowę gotyckiego klasztornego kościoła w Lądzie. Konflikt z niesumiennym architektem i proces sądowy zatrzymały tę inwestycję. W 1679 r. Zapolski zdecydował się wznieść w Lądzie nowy kościół według planów królewskiego architekta Giuseppe Simone Bellottiego. Do 1687 r. zbudowano prezbiterium i transept nowego kościoła. Sklepienia udekorowały stiuki wykonane przez włoskich sztukatorów według projektu Bellotiego, w prezbiterium ustawiono stalle – dzieło warsztatu brata Bartłomieja Adriana. Prawdopodobnie w 1687 r. powstał portret Jana Zapolskiego, na którym opat trzyma plan nowego kościoła w Lądzie. Autorem portretu jest prawdopodobnie cysterski malarz Łukasz Latkowski. Portret ten stał się wzorem dla innych wizerunków: portretu trumiennego Zapolskiego (1689); jego wizerunku w Sali Opackiej klasztoru (1722); portretu opata Mikołaja A. Łukomskiego (1747).
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Jan Zapolski (1619–1689) of the Pobóg coat of arms in 1643 became the abbot of the Cistercian abbey in Ląd; previously he was a canon of the Krakow cathedral and secretary of King Władysław IV. In 1661 the Cistercian chapter of the province elected him vicar general and commissars of the Polish Cistercian Province, he held this office for 28 years – until his death. In January 1651 abbot Zapolski signed a contract with the architect Tomasso Poncino for the renovation and expansion of the Gothic monastery church in Ląd. The conflict with the unscrupulous architect and the lawsuit stopped this investment. In 1679 Zapolski decided to build a new church in Ląd according to the plans of the royal architect Giuseppe Simone Bellotti. Until 1687 the presbytery and the transept of the new church were built. The vaults were decorated with stuccoes made by Italian stucco makers according to the design of Bellotti (figs. 3–4); stalls were placed in the presbytery - the work of the workshop of brother Bartholomew Adrian (fig. 5). Probably in 1687 a portrait of Jan Zapolski was created (fig. 2), on which the abbot holds a card with a plan for a new church in Ląd. The author of the portrait is probably the Cistercian painter Łukasz Latkowski. This portrait became a model for other images: the coffin portrait of Zapolski (1689; fig. 8), his image in the Abbey Hall (Sala Opacka) of the monastery (1722; fig. 9); portrait of abbot Mikołaj A. Łukomski (1747; fig. 10).
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Stoessel, Jason. "Arms, A Saint and Inperial sedendo fra più stelle." Journal of Musicology 31, no. 1 (January 1, 2014): 1–42. http://dx.doi.org/10.1525/jm.2014.31.1.1.
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Scholars have proposed Milan, Pisa and/or Bologna as possible locations for the copying of the inner gatherings (II–IV) of the manuscript Modena, Biblioteca Estense Universitaria, α.M.5.24 (Mod A) and have argued that some of the compositions might have originated in the circle of Archbishop of Milan Pietro Filargo. Yet evidence based on Mod A's repertory and the scant biographies of its composers is insufficient for determining the manuscript’s origin. To solve this problem, I look at Mod A as a cultural artifact, attributing its illumination to the Master of 1411, an illuminator active in Bologna from 1404 to 1411, or to his assistant, both associated with the manuscript workshop of the Olivetan abbey of San Michele in Bosco, on the outskirts of medieval Bologna. The Master of 1411 might have been Giacomo da Padova, an illuminator documented there between 1407 and 1409. Iconographical analysis shows that the illuminator of Mod A possessed considerable knowledge of Paduan culture before the fall of the ruling Carrara family in 1405. This knowledge is apparent in his use of an astrological allusion to Carrara heraldry in his decoration of the song Inperial sedendo. His illumination of a Gloria by Egardus with the figure of Saint Anthony of Padua implies a familiarity with Padua's musical institutions. Mod A may have been illuminated when the papal entourage of John XXIII visited San Michele in Bosco in the fall of 1410, although further compositions were added after the illuminator had finished his work. This conclusion invites scholars to consider afresh the social context that might have fostered the compilation of the repertory in the inner gatherings of Mod A.
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Banić, Silvija. "Zadarski gotički vezeni antependij u Budimpešti." Ars Adriatica, no. 4 (January 1, 2014): 75. http://dx.doi.org/10.15291/ars.490.
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The Museum of Applied Arts (Iparművészeti Múzeum) at Budapest houses an embroidered Gothic antependium which belonged to the church of St Chrysogonus, which was the seat of the Benedictine Abbey at Zadar. At an unspecified time, the antependium became part of the collection of Zsigmund Bubics, an art historian, collector and the bishop of Košice in present-day Slovakia from 1887 to 1906, and was donated to the Museum of Applied Arts in 1909. It measures 94 by 190 cm. The majority of the antependium’s surface is filled with the figures of saints set beneath three pointed, Gothic arches. The central field is occupied by the enthroned Virgin with the Christ Child, in the left field is St Chrysogonus and in the right St Benedict. In the upper section of the antependium one can see the busts of two saints who might be identified as St Gregory the Pope and St Donatus. Along the lateral edges of this triptych-like antependium are vertical borders, at the centres of which are niches with two small standing female saints who wear crowns (St Scholastica and St Anastasia). To the left of the Virgin’s throne is the figure of a donor depicted kneeling with his hands clasped in prayer, which has unfortunately not been provided with an inscription. It is clear, however, that he is wearing the Benedictine habit with a somewhat over-emphasized hood falling down his back. The Benedictine donor might be identified as one of the abbots of the monastery of St Chrysogonus. It is suggested in the article that this may have been John de Ontiaco (Joannes de Onciache) from the bishopric of Lyon, who was the abbot of the monastery of St Chrysogonus from 1345 to 1377. The author argues that the antependium was produced in a weaving workshop in Venice during the late 1360s or early 1370s, on the basis of comparisons with similar contemporary painted and embroidered artworks. Based on the iconographic programme which was depicted on the antependium, but also on the information found in archival records, the author proposes that the antependium was made for the altar of St Chrysogonus which stood in the north apse of the abbey church. Although it has not been established when the antependium left Zadar, based on the similarities between the crimson satin fabric, which replaced the original surface on which the embroidery was applied, on the antependium from the Church of St Mary at Zadar, and the antependium from the Church of St Chrysogonus, it is stated that both interventions were made in the Benedictine Convent of St Mary at Zadar during a short period of time in the last quarter of the eighteenth century. This is also understood as evidence that at that time the antependium from the Church of St Chrysogonus was still being carefully kept at Zadar.
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Ciggaar, Krijnie. "The dedication miniatures in the Egmond Gospels: a Byzantinizing iconography?" Quaerendo 16, no. 1 (1986): 30–62. http://dx.doi.org/10.1163/157006986x00071.
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AbstractThe Egmond Gospels, a much cherished manuscript in the Netherlands, have provoked a wealth of publications, descriptions, commentaries, catalogue entries etc. Most noted are the two dedication miniatures representing count Thierry of Holland (d. 988) and his wife Hildegard, offering the Evangeliary to the abbey of Egmond. The MS is now in the Koninklijke Bibliotheek, The Hague, cod. 76 F I. In the present article an attempt has been made to describe the colour programme of these two miniatures more accurately with the help of a stereomicroscope and the Munsell Color Atlas. Some suggestions have been made about the pigments which were probably used. A new date for the miniatures has been proposed, taking into consideration their historical context and their iconography. The most likely period is from 974 to 980. In this period double portraits are being introduced in the West, in the Ottonian world. An incentive for this new style was undoubtedly the arrival of the Byzantine princess Theophano who married Otto II in 972. In the Byzantine world imperial double portraits were very common. After the death of her father-in-law Otto I, in 973 and the official recognition of her co-rulership in 974, her role became more prominent, and may have stimulated the making of Western double portraits, if not as propaganda then at least to imitate Byzantine court life. Egbert, son of Thierry II and Hildegard, became chancellor of the Reich in 976 and archbishop of Trier in 977. He played an important role in Ottonian art as a patron and promoter, in which Byzantine influence is clearly discernible. Iconographical elements in the Egmond Gospels, such as the proskynesis, the disproportion between donors and 'authorities', the symmetry, the double portrait etc. betray influence from Byzantine iconography. Byzantine influence, indirectly via the Ottonians, was thus an active force in the execution of these miniatures, wherein Egbert is likely to have played an active role, even if the artist and the workshop are unknown.
Dissertations / Theses on the topic "Worksop Abbey"
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McAuley, Jenny. "Representations of Gothic abbey architecture in the works of four romantic-period authors : Radcliffe, Wordsworth, Scott, Byron." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2564/.
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This study argues the importance of the Gothic abbey to Romantic-period constructions of creative imagination and identity. I examine four Romantic-period authors with reference to particular abbey sites with which they engaged, placing their works in dialogue with contemporary topographical and antiquarian literature, aesthetic theory, and cultural trends. I consider these authors' representations of Gothic abbeys specifically in the terms of eighteenth-century picturesque landscape aesthetics, according to which the abbey was associated with contemplation. My study thus provides an alternative to readings of architectural descriptions in Romantic- period literature that have conflated abbey architecture with castle architecture (regarded as representing states of repression and confinement). Relating Ann Radcliffe to St Alban's Abbey, William Wordsworth to Furness Abbey, Sir Walter Scott to Melrose Abbey and George Gordon, Lord Byron to Newstead Abbey, I show how these authors each used their informed awareness, and aesthetic appreciation, of Gothic abbey architecture both to assert their personal senses of artistic identity and purpose, and to promote their work within a Gothic Revival-epoch literary market. In this consideration of individual authors and their experiences and representations of specific Gothic abbey sites, my study demonstrates the usefulness of sustained engagement with the eighteenth-century Gothic Revival context to an appreciation of those many literary works of the Romantic period that feature Gothic architectural settings. It is also hoped that it may indicate possible, new directions for critical investigation into the relationships between "Gothic" and "Romantic" literature, and between the literary and the architectural Gothic.
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Edwards, Jane Marian. "'Bettered by the borrower' : the use of historical extracts from twelfth-century historical works in three later twelfth- and thirteenth-century historical texts." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7247.
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This thesis takes as its starting point the use of extracts from the works of historical authors who wrote in England in the early to mid twelfth-century. It focuses upon the ways in which their works began to be incorporated into three particular texts in the later twelfth and early thirteenth centuries. Through the medium of individual case studies – De Abbatibus (Abingdon), CCCC 139 (Durham) and The London Collection three elements are explored (i) how mediaeval writers used extracts from the works of others in ways which differed from modern practices with their concerns over charges of plagiarism and unoriginality (ii) how the structural and narrative roles which the use of extracts played within the presentation of these texts (iii) how the application of approaches developed in the twentieth century, which transformed how texts are now analysed, enabled a re-evaluation and re-interpretation of their use of source material with greater sensitivity to their original purposes This analysis casts fresh light upon the how and why these texts were produced and the means by which they fulfilled their purposes and reveals that despite their disparate origins and individual perspectives these three texts share two common features: (i) they follow a common three stage pattern of development (ii) they deal with similar issues: factional insecurities and concerns about the quality of those in power over them – using an historical perspective The analysis also reveals the range of techniques which were at the disposal of the composers of these texts, dispelling any notion that they were either unsophisticated or naïve in their handling of their source materials. Together these texts demonstrate how mediaeval authors used combinations of extracts as a means of responding quickly and flexibly to address particular concerns. Such texts were not regarded as being set in stone but rather as fluid entities which could be recombined at will in order to produce new works as required.
Books on the topic "Worksop Abbey"
More sourcesBook chapters on the topic "Worksop Abbey"
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Mayer-Martin, Donna. "Soissons and the Royal Abbey of Saint-Médard: Historical Contexts for the Life and Works of Gautier de Coinci." In Medieval Paradigms, 147–67. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-03706-0_6.
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"In Sherborne Abbey." In The Complete Poetical Works of Thomas Hardy, Vol. 3: Human Shows; Winter Words; Uncollected Poems. Oxford University Press, 1985. http://dx.doi.org/10.1093/oseo/instance.00226371.
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"How Downton Abbey Resonates in America Today." In Why Globalization Works for America, 85–106. Potomac Books, 2020. http://dx.doi.org/10.2307/j.ctv10rrcb1.8.
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Henry, Mayr-Harting. "Ecclesiastical History." In A Century of British Medieval Studies. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263952.003.0006.
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This chapter examines the study of ecclesiastical history in Great Britain. It explains that the various departments of ecclesiastical history have tended to be under the umbrella of Theology rather than of History and that in Anglican terms the subject has tended to mean Early Church, Reformation and Nineteenth Century. Medieval ecclesiastical history, therefore, has no established position. Some of the most notable British works on medieval ecclesiastical history include Medieval Political Theory in the West by A.J. Carlyle and Westminster Abbey and Its Estates in the Middle Ages by Barbara Harvey.
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Freer, Alexander. "Unremembered Pleasure." In Wordsworth's Unremembered Pleasure, 35–66. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856986.003.0002.
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Chapter 1 begins from Wordsworth’s frustrations with his own memory while walking in the Swiss Alps, before considering the ways in which Wordsworth’s early loco-descriptive verse works through problems of perception, retention, and representation. Reading Wordsworth against a long tradition which positions him as the poet of memory, it traces a persistent interest in lost and unnoticed images and affects, which are neither consciously experienced nor traumatically repressed. It goes on to study and develop Wordsworth’s use of the term ‘unremembered pleasure’ in ‘Tintern Abbey’, presenting the possibility of unnoticed and retrospectively acknowledged satisfaction as an alternative to the broadly empirical and descriptive way readers have often expected or hoped for the poem to work. Turning to anthropological theory, the chapter develops an account of unregistered experience, and above all lost pleasure, as a form of gift
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Chwe, Michael Suk-Young. "Austen on Cluelessness." In Jane Austen, Game Theorist. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162447.003.0012.
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This chapter examines how Jane Austen deals with cluelessness in her novels. It discusses the five explanations offered by Austen for cluelessness. The first is lack of natural ability and the second is social distance. In the latter case, an unmarried person for example is not so good at understanding married people because he has not yet had the experience of being married. The third is excessive self-reference, using yourself too much as a template for understanding others. The fourth is status maintenance: a higher-status person is not supposed to think about the intentions of a lower-status person, and risks blurring the status distinction if she does. The fifth is that sometimes presumption, believing that one can directly manipulate another's preferences, actually works. The chapter applies these explanations to the decisive blunders of superiors such as Lady Catherine and General Tilney in Northanger Abbey.
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"Third Example: On the Origin and Development of Divination." In Philosophical Works of Etienne Bonnot, Abbe De Condillac, 38–48. Psychology Press, 2014. http://dx.doi.org/10.4324/9781315802817-10.
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"Fourth Example: On the Origin and Consequences of the Preconception of Innate Ideas." In Philosophical Works of Etienne Bonnot, Abbe De Condillac, 49–55. Psychology Press, 2014. http://dx.doi.org/10.4324/9781315802817-11.
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"Fifth Example: Taken from Malebranche." In Philosophical Works of Etienne Bonnot, Abbe De Condillac, 56–65. Psychology Press, 2014. http://dx.doi.org/10.4324/9781315802817-12.
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"Sixth Example: Monads." In Philosophical Works of Etienne Bonnot, Abbe De Condillac, 66–86. Psychology Press, 2014. http://dx.doi.org/10.4324/9781315802817-13.
Full textReports on the topic "Worksop Abbey"
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Quail, Stephanie, and Sarah Coysh. Inside Out: A Curriculum for Making Grant Outputs into OER. York University Libraries, October 2020. http://dx.doi.org/10.25071/10315/38016.
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Catalyzed by the passing of the York University Open Access Policy last year, a recognition has been growing at York University, like most other institutions, about the value of Open Educational Resources (OER) and more broadly, open education. This heightened awareness led to the formation of a campus-wide Open Education Working Group in January 2020. The group advocated that faculty members who receive internal funding for teaching innovation projects through York’s Academic Innovation Fund (AIF) should include a Creative Commons license on their grant outputs to facilitate the re-use, and potentially re-mixing, of the content by educators inside and outside of York University. A copy and/or link to their grant output would also be deposited into York’s institutional repository, YorkSpace. To support the 71 funded projects in achieving these lofty goals, an open education and open licensing curriculum was developed by two of the librarian members of the Open Education Working Group. This session describes how the librarians created the training program and participants will leave the session better understanding: How to develop learning modules for adult learners and apply these best practices when teaching faculty online (synchronously & asynchronously); How to access York’s open education training program and learn how they can remix the content for their own institution’s training purposes; The common types of questions and misconceptions that arise when teaching an open education and Creative Commons licensing program for faculty. Originally the program was conceived as an in-person workshop series; however, with the COVID-19 campus closure, it was redesigned into a four module synchronous and asynchronous educational program delivered via Moodle, H5P and Zoom. Modeled after the SUNY OER Community Course and materials from Abbey Elder’s OER Starter Kit, the program gave grant recipients a grounding in open educational resources, searching open course material repositories, copyright/Creative Commons licensing, and content deposit in York’s institutional repository, including OER metadata creation and accessibility considerations. The librarians modeled best practices in the use and creation of Creative Commons licensed resources throughout the program. Qualitative feedback was gathered at the end of each module in both the synchronous and asynchronous offerings of the program and will be shared with participants. The presenters will also discuss lessons learned, next steps, and some of the challenges they encountered. https://youtu.be/n6dT8UNLtJo