New Research in Parish Church Art and Architecture in England and on the Continent (1100–1600)
Sponsoring Organization(s)
Special Session
Organizer Name
Sarah Blick
Organizer Affiliation
Kenyon College
Presider Name
Sarah Blick
Paper Title 1
Parish Rivalry in Medieval Étampes
Presenter 1 Name
Sarah Thompson
Presenter 1 Affiliation
Rochester Institute of Technology
Paper Title 2
"Orate pro animabus": Commemorating the Individual and the Community on East Anglian Screens
Presenter 2 Name
Lucy J. Wrapson
Presenter 2 Affiliation
Hamilton Kerr Institute, Univ. of Cambridge
Paper Title 3
The Visitation: Visual and Oral Representations in Parish Churches
Presenter 3 Name
Therese Novotny
Presenter 3 Affiliation
Carroll Univ.
Start Date
11-5-2019 1:30 PM
Session Location
Schneider 1140
Description
Medieval parish churches, though created as placed to celebrate the liturgy, became true community centers. Parishioners would agree on business deals at the church door, hold village celebrations in the churchyard, and paid taxes, organized poor relief, lent out plows, placed fire-fighting equipment and agreed-upon weights and measures, and stored important documents in the nave and tower. Because villagers had reasons to enter the church almost every day, artist and patrons sought to create compelling visual images that would continue to engage the parishioners over many years.
These sessions seek papers that explore new approaches to some very old architecture, sculpture, painting, and other church furnishings. Why were certain plans acceptable and others ignored? What determined the placement of windows, doors, ceiling openings, and trapdoors and how did that change throughout the centuries? How did artists respond to increased demand from pious laypeople for intense, emotional devotion, but in a public space through ever-changing decorative programs? Sarah Blick
New Research in Parish Church Art and Architecture in England and on the Continent (1100–1600)
Schneider 1140
Medieval parish churches, though created as placed to celebrate the liturgy, became true community centers. Parishioners would agree on business deals at the church door, hold village celebrations in the churchyard, and paid taxes, organized poor relief, lent out plows, placed fire-fighting equipment and agreed-upon weights and measures, and stored important documents in the nave and tower. Because villagers had reasons to enter the church almost every day, artist and patrons sought to create compelling visual images that would continue to engage the parishioners over many years.
These sessions seek papers that explore new approaches to some very old architecture, sculpture, painting, and other church furnishings. Why were certain plans acceptable and others ignored? What determined the placement of windows, doors, ceiling openings, and trapdoors and how did that change throughout the centuries? How did artists respond to increased demand from pious laypeople for intense, emotional devotion, but in a public space through ever-changing decorative programs? Sarah Blick