TY - JOUR
T1 - Looking as a scholar, thinking like a rattle head
T2 - On William Laud, little gidding, the law, and the Gospel
AU - Gaudio, Michael
N1 - Copyright:
Copyright 2014 Elsevier B.V., All rights reserved.
PY - 2013/12
Y1 - 2013/12
N2 - This article considers the conflicted position of the so-called Rattle-Head' in pre-Civil War England. Puritans accused the Rattle-Head of indecisiveness and hypocrisy, for claiming allegiance to the English church while really behaving as a papist idolater. The very personification of the Rattle-Head was the Archbishop of Canterbury, William Laud, who during the 1630s undertook a campaign to beautify English churches while placing a new emphasis on the importance of sacramental ritual in the service. Another group that can properly be described as rattle-headed is the protestant religious community at Little Gidding, which during the 1630s developed a habit of illustrating hand-made bible concordances with Catholic prints. In 1640, the Little Gidding community presented Laud with one of these concordances, a lavishly illustrated harmony of the Pentateuch. Here I attempt to think along with the Archbishop's book, which in its rattle-headed approach to the printed image opens up a space for reflection in between sensuous proximity and scholarly distance.
AB - This article considers the conflicted position of the so-called Rattle-Head' in pre-Civil War England. Puritans accused the Rattle-Head of indecisiveness and hypocrisy, for claiming allegiance to the English church while really behaving as a papist idolater. The very personification of the Rattle-Head was the Archbishop of Canterbury, William Laud, who during the 1630s undertook a campaign to beautify English churches while placing a new emphasis on the importance of sacramental ritual in the service. Another group that can properly be described as rattle-headed is the protestant religious community at Little Gidding, which during the 1630s developed a habit of illustrating hand-made bible concordances with Catholic prints. In 1640, the Little Gidding community presented Laud with one of these concordances, a lavishly illustrated harmony of the Pentateuch. Here I attempt to think along with the Archbishop's book, which in its rattle-headed approach to the printed image opens up a space for reflection in between sensuous proximity and scholarly distance.
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U2 - 10.1093/oxartj/kct031
DO - 10.1093/oxartj/kct031
M3 - Article
AN - SCOPUS:84898486630
SN - 0142-6540
VL - 36
SP - 345
EP - 368
JO - Oxford Art Journal
JF - Oxford Art Journal
IS - 3
ER -