The Civilisation Cards: US Army Style.

Abstract

The term ‘heritage crime’ has been recently brought into the spotlight by English Heritage — the organization tasked with protecting England’s heritage assets — and is attracting an increasing amount of attention from individuals and organizations from a range of disciplines. Heritage crime includes recognized crime types (such as arson, criminal damage, theft, and graffiti) but arguably has a greater impact on the country’s legacy for future generations because of the types of sites affected. This paper presents an initial examination of our understanding of heritage crime, and limitations to that knowledge. The paper contributes an initial typology to facilitate future interdisciplinary discussions of the problems facing heritage assets, and presents a possible route for expanding our ability to tackle this problem. Whilst this is an initial foray into the world of heritage crime, it is hoped that this paper will act as a stimulus for further discussion and action.     

The Communion of St Denis and the Feast of Corpus Christi in the 15th-Century Stained Glass of All Saints North Street in York

Abstract

A text scroll in a miraculous mass scene in the parish church of All Saints North Street in York contains a breviary text from the Communion of St Denis. English unfamiliarity with the Communion legend and the unusual iconography of this particular version have both contributed to earlier misidentifications of this scene as a St Gregory’s Mass. In fact, this window contains the only surviving example of the Communion of St Denis in English stained glass. The All Saints’ glass also contains evidence of a now-missing St Gregory’s Mass, arguably in the same window as the Communion scene. These mass scenes were occasionally used separately to signify the feast of Corpus Christi. Combining them in the same window would have created a potent set of images that showed different aspects of the Body of Christ. More complex cross-references between the texts and images in this glass suggest clerical involvement in a choice of iconographies that would have reflected the devotional interests of the probable lay donors, who were members of the York Corpus Christi Guild. Commissioning and funding the creation of this window may therefore have been a collaborative exercise.