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Готові списки джерел за темами / Church vestments

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Добірка наукової літератури з теми "Church vestments"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 29 липня 2024

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Статті в журналах з теми "Church vestments"

1

Stoia, Adrian. "Medieval Liturgical Vestments Depicted in the Iconographic Programs of Southern Transylvanian Churches (14th to 16th centuries)." Review of Ecumenical Studies Sibiu 8, no. 1 (April 1, 2016): 27–55. http://dx.doi.org/10.1515/ress-2016-0003.

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Abstract This work sets out to list and describe the liturgical vestments present in panel and mural paintings of churches located in southern Transylvania. The surviving body of such vestments on display in the ”Brukenthal” National Museum of Sibiu and that of the Black Church of Brașov not only confirms their use in religious services, but also the fact that they served as models for Transylvanian ecclesiastical painting. Of Western derivation, this type of vestment reflects a way of thinking and stands testament to social status or to the different hierarchies within the church. It is, at the same time, an indication of the development of this kind of craft, produced by specialized workshops.

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2

Hicks, Rebecca. "“Popish Pageauntes”." Constellations 14, no. 1 (April 1, 2023): 19. http://dx.doi.org/10.29173/cons29492.

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Though often considered little more than an interesting moment in the history of the Church of England, the vestments controversy of the sixteenth century was a decisive historical moment in early modern western history. Vestments, the clothing of clergymen, were not merely garments in the eyes of the three diverging Christian denominations, the Roman Catholic Church, the Church of England, and the early Puritan movement, in the early post-Reformation era. Imbued with the power to literally “transnature” one’s body and soul, the vestments one chose to wear were both a proclamation of one’s beliefs and a condition of their spirituality. Vestments could, and did, serve many purposes, embodying many meanings – including what it meant to be holy, who had a claim to truth, how one conceptualized the relationship between church and state, and how one understood the relationship between man and God. Bound up in the theological, political, and social debates of sixteenth-century England, the vestments controversy functions as intellectual history, revealing how people, institutions, and societies think of themselves and others. The long-term religious, political, and cultural reverberations of the vestments controversy reveal the important and complex role that clothing inhabits in the Christian West.

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3

Sepper, Madli. "See paeluv pael. Ühe preestrirüü taastamise lugu / This striking stripe. The story of the restoration of a set of priest’s vestments." Studia Vernacula 9 (November 6, 2018): 126–49. http://dx.doi.org/10.12697/sv.2018.9.126-149.

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My article recounts the story of the restoration of 19th century priest’s vestments in the Slavic Orthodox style for use once again. The garments were dateable from the lily stripes known to date from the late 19th century (Säppi 2008), as well as archival material from the National Heritage Board (ERA11152). My article will also present an overview of the parts of Orthodox vestments used in Estonia today, as well as the stripes found on the garments and their meaning. To determine the age, origin, and technological characteristics of the making of these vestments, three analogous sets (priests’ vestments and veils from Riisa Orthodox Church Museum of Finland, Hiiumaa, and Kohila (Angerja)) were studied and church supplies catalogues from the Tsarist era (1907, 1910/11, 1911, and 1912) were examined. These vestments were also most probably made in Russia. I restored the phelonion (the large conicalsleeveless garment worn over all other vestments), the zone (the cloth belt worn over the epitrachelion), and the epimanikia (cuffs), and reconstructed the missing epitrachelion (the priestly stole worn around the neck) based on these analogues. Studying other similar sets enabled me to choose suitable materials for restoration, although finding fabrics identical to the original proved impossible. A certain amount of modernisation was also prompted by the fact that the vestments were meant to be worn, rather than be placed in a museum. My chief goal in restoring the vestments was to ensure that it was visually as close as possible to the original and that it was characteristic of the time it was made. First, I carried out a detailed study of the processes used for sewing the items, then unsewed all unusable parts. This further reinforced the observations made about the technology. I decided not to use linen reinforcements, as they would make the phelonion heavy and uncomfortable to wear. While linen can easily be pressed into shape, it loses its shape just as quickly when wet. And given the storage conditions typically found in churches, it is worth remembering that linen fabrics also absorb moisture. My study of textile items used in churches have shown that old priests’ vestments have often developed mould growth under the linen reinforcement. Modern synthetic materials were used instead of golden glacé; the old binding was also replaced with modern one. This could also have been made by hand from velvet, but I found this to be too labour-intensive and This striking stripe 149 time-consuming. Since no golden brocade of a similar pattern was available, I made the cuffs, zone, and epitrachelion from velvet, following my analogues here in the choice of fabric. I used old technologies for the sewing, utilising a sewing machine from the same era for attaching the stripes. The restored phelonion is similar in appearance to the original one, while the cuffs (epimanikia), zone, and epitrachelion are closer to the analogues and include new details, namely crosses of tatted lace. The restored vestments were meant to be the most solemn red (Easter vestments), but the result was closer to purple, the colour of martyrs. The appearance of liturgical garments can be better understood if we recall the words ofJesus in the Scriptures: ‘The kingdom of God is come nigh unto you’ (Luke 10:9). Thus, the dignified and beauteous liturgical garments of the Orthodox Church symbolise the presence of the Divine Light on Earth.Keywords: ecclesiastical textiles, priests’ vestments, liturgical textiles, sacral textiles, border stripes on orthodox liturgical vestments

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4

Sepper, Madli. "See paeluv pael. Ühe preestrirüü taastamise lugu / This striking stripe. The story of the restoration of a set of priest’s vestments." Studia Vernacula 9 (November 6, 2018): 126–49. http://dx.doi.org/10.12697/sv.2018.9.126-149.

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Анотація:

My article recounts the story of the restoration of 19th century priest’s vestments in the Slavic Orthodox style for use once again. The garments were dateable from the lily stripes known to date from the late 19th century (Säppi 2008), as well as archival material from the National Heritage Board (ERA11152). My article will also present an overview of the parts of Orthodox vestments used in Estonia today, as well as the stripes found on the garments and their meaning. To determine the age, origin, and technological characteristics of the making of these vestments, three analogous sets (priests’ vestments and veils from Riisa Orthodox Church Museum of Finland, Hiiumaa, and Kohila (Angerja)) were studied and church supplies catalogues from the Tsarist era (1907, 1910/11, 1911, and 1912) were examined. These vestments were also most probably made in Russia. I restored the phelonion (the large conicalsleeveless garment worn over all other vestments), the zone (the cloth belt worn over the epitrachelion), and the epimanikia (cuffs), and reconstructed the missing epitrachelion (the priestly stole worn around the neck) based on these analogues. Studying other similar sets enabled me to choose suitable materials for restoration, although finding fabrics identical to the original proved impossible. A certain amount of modernisation was also prompted by the fact that the vestments were meant to be worn, rather than be placed in a museum. My chief goal in restoring the vestments was to ensure that it was visually as close as possible to the original and that it was characteristic of the time it was made. First, I carried out a detailed study of the processes used for sewing the items, then unsewed all unusable parts. This further reinforced the observations made about the technology. I decided not to use linen reinforcements, as they would make the phelonion heavy and uncomfortable to wear. While linen can easily be pressed into shape, it loses its shape just as quickly when wet. And given the storage conditions typically found in churches, it is worth remembering that linen fabrics also absorb moisture. My study of textile items used in churches have shown that old priests’ vestments have often developed mould growth under the linen reinforcement. Modern synthetic materials were used instead of golden glacé; the old binding was also replaced with modern one. This could also have been made by hand from velvet, but I found this to be too labour-intensive and This striking stripe 149 time-consuming. Since no golden brocade of a similar pattern was available, I made the cuffs, zone, and epitrachelion from velvet, following my analogues here in the choice of fabric. I used old technologies for the sewing, utilising a sewing machine from the same era for attaching the stripes. The restored phelonion is similar in appearance to the original one, while the cuffs (epimanikia), zone, and epitrachelion are closer to the analogues and include new details, namely crosses of tatted lace. The restored vestments were meant to be the most solemn red (Easter vestments), but the result was closer to purple, the colour of martyrs. The appearance of liturgical garments can be better understood if we recall the words ofJesus in the Scriptures: ‘The kingdom of God is come nigh unto you’ (Luke 10:9). Thus, the dignified and beauteous liturgical garments of the Orthodox Church symbolise the presence of the Divine Light on Earth.Keywords: ecclesiastical textiles, priests’ vestments, liturgical textiles, sacral textiles, border stripes on orthodox liturgical vestments

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5

Soroka, Oksana. "THE PRIEST VESTMENTS AS AN INTEGRAL PART OF THE LITURGICAL ACTION AND SUBJECT SPATIAL ENVIRONMENT OF THE TEMPLE." Innovative Solution in Modern Science 6, no. 50 (October 18, 2021): 124. http://dx.doi.org/10.26886/2414-634x.6(50)2021.9.

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This article deals with the priest vestments (i.e. priestly), as this kind of clothes is the most common and used in Ukrainian temples among all degrees of priesthood. Liturgical vestments have passed the period of long evolution, the characteristic feature of which should be considered as the deep symbolic meaning based on ornaments, iconography and colouring clothes. With the development and affirmation of Christianity the priest vestments have been of great variety. The cult features of the clerical clothing are those which symbolize hard work of a priest and also God`s support which he feels while reading the Gospel. The clerical clothing reflect the dignity of a clergyman and its material, shape and decorative elements which are the part of artistic culture obey the idea of worship. Therefore, the priest vestments as a part of church art are sacred.The theological and symbolic content of priestly robes in the context of liturgical rite and church in general is highlighted in the article. The analysis of the sources of prayer speeches, which give the brief comprehension of the meaning or symbolism of putting on every component (sticharion (alb), stole, a belt, armbands, phelonion) of the priest vestments. The symbolic meaning of all the elements of the clerical clothing has been interpreted, the ritual and sequence of its putting on have been considered. Key words: clerical clothing, liturgical robe, Christ, symbolic meaning, worship, a clergyman, rite.

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6

Zavarina, E. N. "Dating and Decoration Program of the So-Called “Sakkos of the Patriarch Pitirim” of the 17th Century from the Collection of the Moscow Kremlin Museums." Art & Culture Studies, no. 1 (2021): 62–85. http://dx.doi.org/10.51678/2226-0072-2021-1-62-85.

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The article analyzes the graphic decor of the sakkos, known as the “sakkos of the Patriarch Pitirim”. The stylistic and technical features of his sewing are compared with the works of the Tsaritsa’s Workshop in the middle of the 17th century. The first mention of the sakkos in question was identified in the “Book of notebook vestments and the act of the great sovereign His Holiness Nikon the Archbishop of the reigning city of Moscow and All Great and Malyi and Belyi Rosii Patriarch” and in the inventory of 1658. This information made it possible to clarify the attribution of the monument. The double naming of the vestments “Evdokeinsky” and “Pitirimovsky”, obviously, is associated with two different events. Probably, the sakkos was granted to Patriarch Nikon by the royal family, during the consecration of the church of the Martyr Evdokia in 1653, and in 1672–1673 he was renewed for the Patriarch Pitirim. The esti- mated date of creation of the sakkos is also confirmed by its comparison with the works of the Tsaritsa’s Workshop, allowing to date the sewn details of the vestments in the early 1650s. This hypothesis is required by the sakkos decoration program, which points to trends that were specifically characteristic of the church reforms of Patriarch Nikon.

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7

Serikoff, N. I. "Abi Jaber Dj., Kudriavtsev A. V. Russian and Arabic Dictionary of Christian and Biblical Vocabulary — :Moscow قاموس روسي – عربي للمصطلحات المسیحیة والكتابیة B. S. G.-Press, 2020". Orientalistica 6, № 5 (5 лютого 2024): 1068–76. http://dx.doi.org/10.31696/2618-7043-2023-6-5-1068-1076.

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The Russian-Arabic Dictionary of Christian and Biblical vocabulary (over 2200 words and expressions) contains words related to the Christian religion and practice (worship, church vestments, hierarchy, sacraments), as well as theological terms. It also includes the names of Church holidays, the titles of the Books of the Old and New Testaments, a list of personal names of Saints and a list of biblical place names. The Appendix provides the reader with a list of Christian churches and the texts of the main Orthodox prayers in Church Slavonic (in modern Russian transcription) and Arabic. Page references to the publication under review in the text of the review are given in parentheses.

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8

Le Luel, Nathalie. "Embroidering the Life of Thomas Becket during the Middle Ages: Cult and Devotion in Liturgical Vestments." Arts 11, no. 4 (July 27, 2022): 73. http://dx.doi.org/10.3390/arts11040073.

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From the early studies of Tancred Borenius (1885–1948) to the present, the iconography of the archbishop Thomas Becket has drawn attention among scholars. Numerous studies have been published on the representation of Becket’s martyrdom in mural painting, sculpture, and reliquary caskets. Despite this attention, many questions concerning the selection of episodes embroidered in liturgical vestments and textiles, as well as the commissioning of these objects, remain unresolved. How devotion to Becket spread globally in the Western world has not yet been satisfactorily determined, and there may have been a number of different factors and transmitters. Thus, medieval embroidery could also have been a driving force behind the development and the dissemination of Becket’s cult—notably in the ecclesiastical and, more specifically, episcopal milieu across the Latin Church. This type of production quickly reached ecclesiastical patrons, who were interested in the opportunity of wearing a headpiece or vestments (copes and chasubles) that would serve as reminders of the Archbishop of Canterbury. This was the perfect opportunity for a papal curia that, since Alexander III, had tasked itself with promoting Thomas Becket’s legacy, integrating the saint within Christian martyrial history and within a history of a militant Church.

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9

Rădulescu, Maria Venera. "Un posibil mormânt al primului mitropolit al Ţării Româneşti - Iachint de Vicina (1359 - 1372)." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 2 (2011): 133–50. http://dx.doi.org/10.47950/caieteara.2011.2.15.

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A valuable Middle Age Romanian art monument, the recumbent effi gy has its provenance from the “Saint Nicholas” Princely Church of Curtea de Argeş. To date, several scientifi c papers inferred that the gravestone belonged to the tomb of Prince Radu I (ca 1377 - ca 1383) or maybe of Prince Dan the 2nd (1420 - 1421). The bas-relief is carved in chalk and has the dimension 149.5 cm / 73 cm /33.5 cm. Th e sculpture shows a lying deceased person, with his hands on his chest. His face is surrounded by long hair and beard. Th e stone is cracked and the lower part is missing. Damaged and worn away, the recumbent effi gy has lost the details that could have made its identifi cation easier. Th is paper presents arguments in favor of identifying the recumbent effi gy with the gravestone of the fi rst Metropolitan Archbishop of the Romanian County, Iachint of Vicina (1359-1372). Specifi c religious vestments such as surplice (with a short collar round the neck), epitrachelion, phelonion (with luxurious embroideries on the chest and shoulders, and its bottom edge held on the left forearm, in a common gesture of a priest during the religious service), kamelavkion (with a long veil reaching to the ankles), reassemble the formal vestments that the first Metropolitan Orthodox Archbishop of Romanian County would have been buried with, in accordance with the religious customs. The Metropolitan Archbishop holds the crosier under his right arm. In addition, his head, covered with a “kamelavkion”, lies down on a carved piece of stone. In this connection, a brick is set under the deceased person’s head according to the monk burial customs, to date. The damaged condition of the recumbent effi gy doesn’t allow the identifi cation of certain details of the religious vestments of a high rank archbishop. However, one can’t rule out the possibility that the burial ritual of a Metropolitan Archbishop of that time included only the vestments and ornaments present on the recumbent effi gy, or that the craftman left out the carving of some pieces of clothing. On the right side of the gravestone, one can see an inscription with Cyrillic letters, “ПР ГЕРГЕ” - the name of the craftsman and his emblem. Th is is the fi rst registration of a craftsman stone carving in Romanian County. In conclusion, the bas-relief, even in its current state of preservation, is supporting the hypothesis that the recumbent effi gy is representing a high rank archbishop. Th is individual couldn’t have been any other than the fi rst Metropolitan Archbishop of UngroWallachia, Iachint of Vicina (1359 - 1372), buried in the church where he has served as a high priest. Th e “Saint Nicholas” Royal Church of Curtea de Argeş could, therefore, legitimately reclaim the title of the fi rst Metropolitan Orthodox Church of the Romanian County. Th e recumbent effi gy should be relocated to its initial site, at least in a form of a replica. Th is could be helpful in restoring the spiritually charged atmosphere from the second half of XIVth century.

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10

Thibodeau, Timothy M. "Enigmata Figurarum: Biblical Exegesis and Liturgical Exposition in Durand'sRationale." Harvard Theological Review 86, no. 1 (January 1993): 65–79. http://dx.doi.org/10.1017/s0017816000027887.

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William Durand's (ca. 1230–1296)Rationale divinorum officiorum(ca. 1292/1296) is unquestionably the longest and most thorough commentary on the liturgy produced by a medieval liturgiologist. From the time of its appearance at the end of the thirteenth century to the Catholic Restorationist liturgical revival in mid-nineteenth-century France, it was hailed by admirers as the quintessential expression of the medieval church's understanding of the divine offices. The bishop of Mende'sRationaletreats, among other things, the various parts of the church building, the ministers of the church, liturgical vestments, and the Mass and the canonical hours. It thus stands as the epitome of a four-hundred year tradition of allegorical liturgical exposition which was inaugurated in the West with the extended liturgical commentaries of the Carolingian bishop, Amalarius of Metz (died 852/853).

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Дисертації з теми "Church vestments"

1

Peacock, Judith Ann. "Ecclesiastical vestments as works of art : intertextuality, meaning and design." Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324165.

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2

Albright, Andrea S. "The Religious and Political Reasons for the Changes in Anglican Vestments Between the Seventeenth and Nineteenth Centuries." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500237/.

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This study investigates the liturgical attire of the Church of England from the seventeenth through the nineteenth century, by studying the major Anglican vestments, observing modifications and omissions in the garments and their uses, and researching the reasons for any changes. Using the various Anglican Prayer Books and the monarchial time periods as a guide, the progressive usages and styles of English liturgical attire are traced chronologically within the political, social and religious environments of each era. By examining extant originals in England, artistic representations, and ancient documentation, this thesis presents the religious symbolism, as well as the artistic and historical importance, of vestments within the Church of England from its foundation to the twentieth century.

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3

Sporbeck, Gudrun. "Die liturgischen Gewänder 11. bis 19. Jahrhundert ; Bestandskatalog /." Köln : Museum Schnütgen, 2001. http://catalog.hathitrust.org/api/volumes/oclc/50091337.html.

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4

Moroney, James P. "Neophyte vesture in rite and image during the sixth and seventh centuries of western liturgy." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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5

Mamba, Douglas Menzi. "The reform of the communion service in South Eastern diocese of ELCSA with special reference to the Umpumulo Parish (1985-1996)." Diss., 2006. http://hdl.handle.net/2263/28002.

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Книги з теми "Church vestments"

1

Martin de Jesus H. Gomez. The transfiguration liturgical vestments. [Malaybalay, Bukidnon, Philippines?]: [Monastery of the Transfiguration?], 2000.

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2

Bartkevičiūtė-Valienė, Loreta. Liturginiai rūbai. Šiauliai: Šiaulių universitetas, 2006.

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3

Pagnon, Josiane. File le temps, reste le tissu: Ornements liturgiques de la Manche. Saint-André-de-Bohon: Conservation des antiquités et objets d'arts de la Manche, 2007.

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4

Antons, Klara. Paramente: Dimensionen der Zeichengestalt. Regensburg: Schnell + Steiner, 1999.

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5

Weijers, Ronnie. Atelier Stadelmaier: Hemelse mode rond het altaar. Utrecht: Museum Catharijneconvent, 2015.

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6

David, Philippart, ed. Clothed in glory: Vesting the church. Chicago, IL: Liturgy Training Publications, 1997.

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7

Martinez & Murphey., ed. Collection of liturgical vesture and sacred art. [Los Angeles, Calif.] (725 S. Ceres Ave., Los Angeles 90021): Martinez & Murphey, 1985.

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8

Ferreira, Maria João Pacheco. As alfaias bordadas sinoportuguesas (séculos XVI a XVIII). Lisboa: Universidade Lusíada Editora, 2007.

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9

Berggrén, Gunnel. Prästens kläder och kyrkans textilier. Stockholm: Verbum, 2002.

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10

Berggrén, Gunnel. Prästens kläder och kyrkans textilier. Stockholm: Verbum, 2002.

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Частини книг з теми "Church vestments"

1

Johnstone, Pauline. "The Origins and Development of the Vestments." In High Fashion in the Church, 5–20. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003421481-2.

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2

"Origin Of Vestments." In The Holy Eastern Church, 70–81. Piscataway, NJ, USA: Gorgias Press, 2004. http://dx.doi.org/10.31826/9781463209803-008.

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3

"15. VESTMENTS." In The Liturgy and Ritual of the Celtic Church, 112–22. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463217044-029.

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4

"Vestments Of Greek Church." In The Holy Eastern Church, 58–70. Piscataway, NJ, USA: Gorgias Press, 2004. http://dx.doi.org/10.31826/9781463209803-007.

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5

"Chapter Five: The Priests’ Vestments." In Commentary on the Liturgy of the Syrian Orthodox Church of Antioch, edited by Matti Moosa, 43–44. Piscataway, NJ, USA: Gorgias Press, 2009. http://dx.doi.org/10.31826/9781463215828-015.

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6

Puskás, Bernadett. "Tkaniny liturgiczne w greckokatolickiej kolekcji dzieł sztuki sakralnej w Nyíregyházie oraz w kolekcji Zakonu Świętego Bazylego Wielkiego w Mariapócs." In Nagość i odzienie, 211–22. Wydawnictwo Avalon Sp. z o.o., 2022. http://dx.doi.org/10.55288/9788377305812.15.

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One of the more interesting collections are those in Nyíregyháza and in Mariapócs. There is a set of vestments and liturgical paraments used in Eastern Catholic church in Hungary. These relics are not only of great historical importance, but also have a compelling iconographic message.

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7

Louth, Andrew. "Experiencing the Liturgy in Byzantium." In Selected Essays, Volume II, 268—C23P15. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192882820.003.0024.

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Abstract The Church’s Liturgy takes place in space and time, understood not merely quantitatively but endowed with meaning, much of it inspired by Plato’s account of the cosmos in the Timaeus. Space and time provide a matrix of meaning for movement and change. Church services took place in cycles of time—the week, the month, the year—which had accrued meaning drawn from daily life, as well as from the celebration of sacred events, especially the death and resurrection of Christ, weekly on Sundays, early at Easter. There were processions: to church, and to places sanctified by relics and icons. The church building itself was invested with meaning through its structure: both its division into nave and sanctuary, and the dome with Christ looking down on the worshippers gathered below, symbolizing the cosmos, consisting of heaven and earth. Such meaning was embellished by light, song, vestments, and movement.

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Palma, Ricardo. "The King of the Camanejos." In Peruvian Traditions, 212–18. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195159097.003.0033.

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Abstract THE sacristy of the church of La Merced, in Arequipa, has two .1. rooms: one in which the friars don vestments to celebrate Mass, which differs little or not at all from that of any monastery in Christendom; and the other, which might be called the antesacristy and is the only passageway between the church and the monastery. Like the rest of the building, the sacristy is made of stone masonry. In the center of its vault there is a clerestory, identical to the one in the Penitentiary of San Pedro in Lima, and near it a hole through which there passes the rope of the church bell by which the faithful are summoned to Mass. The furniture is scarcely deserving of notice, since it is limited to a rough wooden bench and two confessionals of the same sort.

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9

Gameson, Richard. "Inscriptions." In The Role of Art in the Late Anglo-Saxon Church, 70–104. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198205418.003.0003.

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Abstract Anglo-Saxon ecclesiastics and, to a lesser extent, their congregations were surrounded by inscriptions. This is quite clear despite the fact that the vast majority of relevant primary material has been lost. Painted or incised legends of a wide variety of forms occurred in architectural settings (notably on dedication stones, but also elsewhere as the example on the arch to the south porticus of Breamore church, Hampshire, shows), on stone sculptures, fonts, and sundials (Pl. 20a), in painted wall decoration, on vessels, vestments, and hangings, and as part of shrines and altars be they of stone, wood, or metal, not to mention on seals and coins. The analogy of Continental examples8 suggests that some pulpits, too, may have borne inscriptions. One particularly common image, the Crucifixion, included an in scription as a matter of course, namely a version of the legend that, as three of the gospels record, was affixed to the cross.

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10

Spink, Ian. "Norwich." In Restoration Cathedral Music 1660-1714, 304–13. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198161493.003.0026.

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Abstract Lord, what work was here, what clattering of glasses, what beating down of walls, what tearing up of monuments, what pulling down of seats, what wresting out of irons and brass from the windows and graves ... what to[o]ting and piping upon the destroyed organ pipes, and what hideous triumph on the market day before all the country, when, in a kind of sacrilegious and prophane procession, all the organ pipes, vestments, both copes and surplices ... and the service books and singing books that could be had, were carried to the fire in the public market place, a lewd wretch walking before the train, in his cope, trailing in the dirt, with a service-book in his hand, imitating, in an impious scorn the tune, and usurping the words of the Litany, used formerly in the church.

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