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And sometimes the deepest insights come when we are taken from our own context, finding new ways to see. My family and I were lucky enough to attend Christmas services at Canterbury Cathedral, and on December 29 were there for the feast-day of Thomas Becket.
Exhibitions also remove objects from one context and place them in another, a change that allows them to speak to one another in new ways, to generate a new energy. My co-curator Jeffrey Weaver and I put several years of research into the monumental panels of stained glass and luxuriously illuminated manuscript pages on loan for the exhibition—so you might assume that my thoughts on these works were fully formed, edited, and committed to the exhibition’s object labels and book by the time we installed the artwork in our galleries.But the thing about exhibitions is this: writing the labels and installing the art are just the beginning.As scholars, we are taught to be analytical as we weigh evidence for the date, place of origin, and probable owners of artworks.My recent visit to Canterbury allowed me to experience the spaces of the church in a whole new way, which in turn prompted me to think about the manuscript as a kind of personal liturgical space.This will perform an ajax call to redeem a promotion or gift card and display an informative message upon return.
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1128, Paris, late nineteenth or early twentieth century (bookplate on inside upper board) Henry Walters, Baltimore, acquired from Gruel before 1931 De Ricci, Seymour.
Census of Medieval and Renaissance Manuscripts in the United States and Canada.
The processions of the priests in their embroidered robes, the gleaming Gospel book that was lifted from the altar and carried into the church where the Dean read from the Gospel of John, and the psalms sung in Latin for the Becket feast were, for me, transformative moments.
They changed not only the way I saw the glass, but the way I understood the St. We know that the Psalter was likely owned by the nun Christina of Markyate.
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