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As this book begins (p. 1), the author marvels how the art of the Wycliffite Bible, one of the most popular books in late medieval England, has not been studied systematically. The answer lies in the historiography of the Wycliffite Bible. Kennedy suggests that the ‘Shadow of the Reformation’ has created a binary view of Wycliffite Bibles, linking them to heresy and illegality.
This is a self-consciously old-fashioned treatment of an unaccountably neglected chapter in the history of travel which should be placed alongside such classics as John Stoye’s English Travelers Abroad, 1604–1667, whose first edition was published as long ago as 1952, rather than more recent treatments by Chloe Chard and Rosemary Sweet.(1) Indeed, one might go
The dissemination of cultural improvement was written into the ethos of the BBC under John Reith, the first director-general from 1927. Until 1945 the BBC broadcast a single national service and therefore constructed programming that attempted to offer a culturally unified ‘voice of the nation’.
Somewhat late in the day, Tate Britain has got around to an exhibition about the British Empire and its legacies.
Historians of British art have needed a book-length re-examination of the conversation piece and its role(s) in 18th-century society for some time.
In Room 145 of the Ceramics Galleries of the Victoria & Albert Museum, at the top of case 50, you can see an ‘architectural fragment’, which, according to its label, ‘once ornamented a palace in Yuanmingyuan or “garden of perfect clarity”’.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.
The British Library’s new exhibition ‘Anglo-Saxon Kingdoms: Art, Word, War’ is a celebration of Anglo-Saxon culture and learning, mainly represented though the texts produced during that period.
As a late medievalist who has recently moved to Scotland, I was disappointed to learn that the Burrell Collection in Glasgow – home to the many medieval treasures once owned by the shipping magnate and prolific collector, William Burrell – is closed over the next two years.
In 1979 Pete Wrong of the art collective and Punk band Crass was being interviewed by New Society about his graffiti operation on the London Underground: ‘We don’t just rip the posters down or spray them. We use stencils, neatly, to qualify them.