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Journal of the British Archaeological Association
The Cult of Saint Thomas Becket in the Plantagenet World, c.1170-c.12202019 •
Durham Church Music and Worship Conference, Durham University and Durham Cathedral
Procession, Space and Memory: Liturgical Representations of Thomas Becket, 1170-12202018 •
‘Blessed place, blessed church/ In which the memory of Thomas flourishes!’ (‘Felix locus, felix ecclesia/ In qua Thome viget memoria!’) Thus begins the antiphon Felix Locus for Second Vespers for the Passion Office of Thomas Becket, written around 1173. Performed annually on the anniversary of his martyrdom, perhaps accompanied by a monastic procession through the cathedral, the chant exemplified ways in which the Canterbury monks sought to keep Becket’s memory alive at the place of his martyrdom through the institution of a liturgy which outlined the parameters of his sanctity. Through the use of architecture, art, procession and music, the monks created the iconographic Becket, both an ascetic model and a martyr, which was then exported across Europe. By instituting a framework of devotion at Canterbury, they also attempted to “re-experience” Becket’s martyrdom through performance of the liturgy, especially in the newly constructed Trinity Chapel, which has been described as a ‘virtual reliquary’. Such attempts at creating a hagiographic narrative for the new saint were built upon in 1220, when the archbishop, Stephen Langton, arranged for Becket’s translation from the crypt into the Trinity Chapel, completing the saint’s story which was instituted fifty years previously. This paper will explore ways in which the monks sought to cast Canterbury Cathedral as a permanent memorial to Becket through creating a conversation between chant, architecture and performance and which underlined the cathedral’s importance as the stage of Becket’s martyrdom, and made the case for Canterbury’s centrality to the new cult. Furthermore, it will examine how the ideas of Becket the ascetic and Becket the martyr co-existed in the devotional framework established at Canterbury, drawing on not only liturgical sources, but early hagiographic texts, as well as visual culture created for use at the cathedral.
2021 •
EXTERNAL LINK AVAILABLE The role of the liturgy in establishing the iconographic nature of a saint was fundamental during the medieval period; to date, though, the liturgies of Thomas Becket have rarely been considered for their role in the creation of Thomas’ cult. While work by musicologists such as Andrew Hughes and Kay Brainerd Slocum, and literary scholar Sherry L. Reames has done much to establish the chronology of Thomas’ liturgies and the context of their creation, questions about the liturgies as texted, melodied, and performed statements of Becket’s sanctity remain. My thesis builds on that work while also developing its own methodological framework by locating the Becket liturgies within the political, cultural, and social histories of the institutions for which they were created. It begins with an overview of the sources, addressing their virtues and limitations (especially in terms of using manuscript sources that are not contemporaneous with composition date of the liturgies they represent), while also addressing how the interdisciplinary approach of the thesis - which incorporates analysis of textual, musical, and artistic sources - fits within current historiographical trends. The thesis emphasises performance practices at Canterbury itself and with the liturgy as a musical, audible practice, in turn, it engages with a wider range of sources, placing liturgical texts in dialogue with other non-musicological material. For example, it utilises architectural evidence at Canterbury in conjunction with chronicles and customaries to present an experiential history of Becket’s cult. Doing so will allow the exploration of the "dissemination" of liturgy beyond the textual and demonstrate how liturgy moved to new institutions already embedded with pre-set performative and spatial requirements that needed to be re-imagined in new spaces. The thesis is divided into two parts. Part A (consisting of Chapters One and Two), discusses the creation of the offices for Becket’s passion and translation at Canterbury in 2 the years after his death. The first chapter explores how the office was composed in 1173 by Benedict of Peterborough (d. 1193), one of the feretrarians for Becket’s shrine, and how Benedict’s place at the heart of a network of early Becket hagiographers shaped the liturgy. It then examines how Benedict’s liturgy influenced the rebuilding of the east end of Canterbury Cathedral after the devastating fire in 1174, and how the internal politics of Christ Church meant that the enlarged Trinity Chapel was built to house Becket’s cult (and his liturgy). Chapter Two’s focus is the creation of the office for Becket’s Translation by the clerical familia of Archbishop Stephen Langton during the 1220s. It explains why Canterbury appears so prominently in that liturgy; namely, after years of wrangling with the monks over where Becket should be buried, Langton desired to reconcile with the community by indicating that Becket’s new shrine was to be his permanent home. Part B examines how Becket’s liturgies were spread beyond Canterbury and follows three lines of inquiry. Chapter Three explores how Becket’s liturgy was adapted, re-imagined, and re-compiled in new institutions that required something different to the original Canterbury plan. Such an aim will not be approached diachronically but will provide snapshots of how the process of adaptation occurred at different places across the centuries. Chapter Four surveys how Becket’s liturgies were utilised as the basis for new non-liturgical music, particularly in Parisian and English motets and conductuses of the thirteenth- and fourteenth-centuries. The final chapter explores how the Lancastrian dynasty used music to promote Becket as a symbol of England and of themselves, which was to imbue the Becket cult with new ideological undertones. The conclusion then takes a brief look at the end of the Becket cult during the reign of Henry VIII, and argues that long-standing tensions in Becket’s hagiography, beginning in the liturgies, ultimately meant he was replaced by Reformation martyrs in the Catholic imagination during the sixteenth century.
Medieval Art, Architecture and Archaeology at Canterbury (British Archaeological Association Conference Transactions 2009), ed. A. Bovey, Leeds 2013, pp. 116 - 138
Shaping a Saint’s Identity: The Imagery of Thomas Becket in Medieval Italy’, together with Costanza CipollaroThis article sets out to trace the visual responses to the sainthood of Thomas of Canterbury outside his original cultural context, namely in Italy, where his cult was readily received, integrated and modified. At the same time, the veneration of the English martyr stimulated an impulse for the creation of novel concepts of holiness in Italy by providing a more tangible and accessible saint than was hitherto known. Becket's potential as an identification figure in a specific, genuinely Italian historical framework and the implications of this for the iconography of his martyrdom are discussed. Further, as an antidote to a mere political reading, liturgical aspects of his veneration and the relevance of family bonds for the fortune of his cult are considered
2022 •
From the early studies of Tancred Borenius (1885–1948) to the present, the iconography of the archbishop Thomas Becket has drawn attention among scholars. Numerous studies have been published on the representation of Becket’s martyrdom in mural painting, sculpture, and reliquary caskets. Despite this attention, many questions concerning the selection of episodes embroidered in liturgical vestments and textiles, as well as the commissioning of these objects, remain unresolved. How devotion to Becket spread globally in the Western world has not yet been satisfactorily determined, and there may have been a number of different factors and transmitters. Thus, medieval embroidery could also have been a driving force behind the development and the dissemination of Becket’s cult—notably in the ecclesiastical and, more specifically, episcopal milieu across the Latin Church. This type of production quickly reached ecclesiastical patrons, who were interested in the opportunity of wearing a headpiece or vestments (copes and chasubles) that would serve as reminders of the Archbishop of Canterbury. This was the perfect opportunity for a papal curia that, since Alexander III, had tasked itself with promoting Thomas Becket’s legacy, integrating the saint within Christian martyrial history and within a history of a militant Church.
St. Thomas Becket, archbishop of Canterbury who was martyred in 1170, occurs in three windows at York Minster Cathedral; the eastern window of the chapterhouse, the southernmost window of the chapterhouse, and one of the windows in the northern choir aisle. In this paper, I shall analyse how these Becket windows are tailored to specific audiences, and how scenes from the life Thomas Becket can be used to imply different meanings according to the context the saint appears in. I shall discuss the Becket window and the five saints window in the chapterhouse (CH s4), its context and its audience, and I shall then do the same with the window in the northern choir aisle (n9) in order to show how context and audience call for different readings of the Becket-panels.
2005 •
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Exilia febri yanti, fadila handreva, ratu azzahra
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