Howden Church

Shrewsbury's late sixteenth-century Old Market Hall—recently restored and returned to public use—is among the most prominent buildings in the town centre and, or so it would seem, a reminder of the town's pre-eminence as a marketing centre in the central Marches in the early modern period. Combining documentary evidence, archaeology, and the evidence of the building itself, this inter-disciplinary study sets out to examine the real reasons for the Hall's construction, how it was built, and the way in which it functioned. The paper also looks backwards to the growth of marketing in this part of Shrewsbury in the thirteenth century, and its promotion by considerable civic investment in the 1260s when a new market square was created from what was previously a wet wasteland. Looking forward, it tells the story of the Hall's use in the post- medieval period, and of past attempts to deal with inherent structural defects in the original design.     

Bishopsteignton Church

Abstract

Recent scholarship has called attention to the common features shared by five French and British elite centres of leisure called ‘gloriette’ that were built or so-named in the late 13th and early 14th centuries. Because these centres of repose and entertainment were located in principal residences, and thus were not garden pavilions, it has been suggested that there was no relationship between the northern gloriettes and the garden pavilion of La Zisa in Palermo, Sicily, whose name also meant ‘the glorious’. This article draws on archival sources in order to enhance our understanding of the resemblances between the gloriette of Hesdin, in northern France, and the four gloriettes in England and Wales. Drawing on the significant features of these five northern gloriettes, it also takes another look at the details of La Zisa, suggesting that we should not be so quick to dismiss its possible influence on the northern gloriettes, most especially the two that were built by King Edward I and Count Robert II of Artois after they had passed through Palermo in 1270/72.     

On Dilwyn Church

Abstract

The stone castle was probably begun in the first quarter of the 13th century by Alan, the king's steward, or his son, Walter. Bute had only recently been wrested from the kingdom of Man and the Isles, whose overlord, King Håkon IV of Norway, sent two expeditions to retake it in 1230 and 1263. When Bute returned to Scottish control in 1266, the castle was strengthened by the addition of four rounded projecting towers and a gatehouse facing the sea. Rothesay played little part in the Wars if Independence from 1290 onwards. The marriage of Walter III Stewart with King Robert the Bruce's daughter, Marjorie, however, eventually resulted in the Stewarts obtaining the throne in 1371 through Marjorie's son, Robert.

Both King Robert II (1371–90) and his son Robert III (1390–1406) spent time at Rothesay Castle and carried out minor building works. James IV (1488–1513) also took a personal interest in it, and in August 1498 appointed his kinsman, Ninian Stewart, as captain and keeper. He also began construction of the large residential gatehouse, called le dungeon, that was added on to the earlier gatehouse; this work was finished under James V in 1540–42.

In 1685 the castle was burnt by the duke if Argyll, and the keeper's family abandoned it as a residence. In 1816–18, the second marquess of Bute had the courtyard cleared of vegetation and rubble; and in 1871–9, the third marquess cleared the moat and engaged the architect William Burges to carry out restoration of the masonry. The gatehouse hall was also rebuilt in 1900.     

Church Architecture in Devon

Identity is formed and reproduced through our relationships with human and non-human others. This paper applies this perspective to conduct an archaeological investigation of how identities emerged in urban environments during the thirteenth and fourteenth centuries through cuisine. This is achieved through a comparative analysis of food remains and the associated material culture from a range of medieval sites in Hampshire of different size and status. I argue that choices and strategies in preparing, cooking and consuming food were enmeshed within multiple facets of urban identity including gender, status and profession.     

On Early Church Windows

Abstract

Anglo-Saxon garnet cloisonné composite disc brooches form a small but important group of jewellery, representing an extremely high level of design and craftsmanship. While a good deal has been written about them in various contexts, this paper sets out to analyse the brooches in terms of their construction. All eighteen known examples (with the exception of one now lost) were examined in detail, from a practical manufacturing point of view, and a number of their components classified: cloisonné work, rims, back-plates, brooch fittings and general construction. On the basis of this examination, clear distinctions could be drawn between two groups — those with gold cloisonné work and those with copper-alloy. Within these groups, it is further possible to draw parallels between three sets of brooches (two pairs with gold cloisonné and a trio with copper alloy) which appear likely to have had a common manufacturing source.

Very little is known of the Anglo-Saxon jewellers, but there can have been only a small number of them. Because of this, and the high level of skill needed to make both types of brooch, it would not be safe to assume that the copper alloy cloisonné examples necessarily represent a degenerate form of the gold. The Sarre brooch illustrates levels of accomplishment comparable with that seen on many gold cloisonné brooches.     

晚清天主教会与耶稣教会的冲突

1891—1911年间,中国天主教会与耶酥教会的矛盾激化,屡屡发生历史上前所未有的天主、耶酥教派冲突。目前主要史籍中有案可查的这类冲突共有42起,经分析归纳其有五大特点,七种原因。中国政府对教派冲突问题非常重视,对它的处理不同于对其他教案,具有两种特点。     

Deerhurst Church,Gloucestershire

Abstract

The zoomorphic ornament of a group of sculptured crosses from Ryedale is here analysed in detail in terms of motif and style. Its Yorkshire context is defined and close parallels from Skaill, Orkney and Kirk Braddan on the Isle of Man are discussed. Origins for various style and motif elements are sought in insular and Scandinavian art. It is concluded that a group of sculptures in Ryedale, exemplified by the Sinning ton crosses, were produced in the second quarter of the tenth century during a period when Yorkshire was under strong Scandinavian influence and had close contacts with the Irish Sea Province. The ornament of the Sinnington crosses closely reflects Anglo-Scandinavian motifs and styles current in York and around the Irish Sea in this period. These Anglo-Scandinavian artistic developments reveal a complex assimilation of preceding English and Scandinavian artistic traditions and may have been a source for reciprocal influences on the arts in mainland Scandinavia. Following the abolition of Scandinavian kingship in York in 954, metropolitan art styles further developed, with prominently insular, particularly Mercian, rather than Scandianavian influences, while the sculpture of Ryedale became introverted and provincial with little evidence of further external influence.