This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1854 Excerpt: ...and Roman Churches have introduced additions to the primitive practice. The present Rubric of the Roman Church requires three cloths ...
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1854 Excerpt: ...and Roman Churches have introduced additions to the primitive practice. The present Rubric of the Roman Church requires three cloths (besides the corporal), two of which need only cover the top of the altar--the third hangs down to the floor at the ends, but not in front. The Greek Church places four small pieces of cloth, marked with the names of the four Evangelists, on the corners of the altar, and over these two cloths and a corporal. We take, for special description of the way in which the drapery of a mediaeval altar was managed, an instance from the style of the fourteenth century--the period when Gothic art was at its highest perfection, and the period which the great majority of our architects take as the startingpoint of their inventions. We find in illuminated MSS. of this fourteenth century the same type continually. Take, for example, one in the MS. in the British Museum, marked Domitian A. 17, which is of the time of Richard II.; at folio 11, we find an altar, with its top covered with a white cloth which does not overhang the front or sides; the front displays two vestments; the under one, or antependium, reaching with its fringe a little more than half-way down the front, leaving the moulded base of the altar visible below it; upon this is a pall, which reaches with its fringe about one-fourth of the depth of the antependium. The pall is of blue, powdered with gold fleurs-de-lis; its fringe is green and white; the antependium is crimson, with a gold foliage pattern upon it; its fringe is also green and white; the altar itself is tinted lavender, to imitate, probably, the tint of the stone. To these fourteenth-century altars, sometimes, instead of a painted triptych as a reredos to the altar, there was a hanging called a dossal, of the same s...
This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. In poor condition, suitable as a reading copy. Blue cover, stamped decoration. Gilt lettering on front cover and backstrip. Cover scuffed and slightly worn. Slightly loose binding towards back. Slight foxing. Edges worn.
First edition, with 10 coloured, tinted and monochrome plates, and numerous illustrations and facsimiles in the text. A very good original Victorian binding. 8vo. [8pp. ]/pp.143/[9pp. -Adverts]. Blind stamp decorated cloth boards with gilt titles to the front board. Corners and top & tail of spine carefully strengthened. Original yellow endpapers. Neat handwritten dedication (in a contemporary hand) to top of printed title page. Clean text throughout, well illustrated with in the text, plus 10 full-page plates. A well preserved book. ** "Cutts, Edward Lewes (1824–1901), antiquary, born on 2 March 1824, at Sheffield, was son of John Priston Cutts, optician, by Mary, daughter of Robert Waterhouse. He was educated at Sheffield Collegiate School and graduated B.A. at Queens' College, Cambridge, in 1848. Being ordained in the same year, he was curate successively of Ide Hill, Kent, until 1850, of Coggeshall, Essex, until 1857, and of Kelvedon until 1859, and was perpetual curate of Billericay until 1865. He had already acted also as local organising secretary of the Additional Curates Society, and on leaving Billericay became general secretary of the society in London, resigning in 1871, on presentation to the vicarage of Holy Trinity, Haverstock Hill. In 1876 Cutts was selected by the Arch-bishops of Canterbury and York to visit the East and inquire into the position of the Syrian and Chaldean churches; his report resulted in the formation of the Arch-bishop's Mission to the Assyrian Christians. He described his travels in 'Christians under the Crescent in Asia' (1887). Although accepting the ecclesiastical views of the high church party, he was sympathetic with every school of thought within the church. He received the degree of D.D. from the University of the South, U.S.A. Cutts long devoted himself to archaeology and the study of ecclesiastical history. In 1849 he published 'A Manual for the Study of the Sepulchral Slabs and Crosses of the Middle Ages. ' This was followed in 1853 by 'Colchester Castle not a Roman Temple, ' and in 1872 by 'Scenes and Characters of the Middle Ages, ' a series of articles contributed originally to the 'Art Journal'; in 1888 by 'Colchester, ' in Freeman and Hunt's series of 'Historic Towns'; in 1893 by 'History of Early Christian Art'; and in 1898 by 'Parish Priests and their People in the Middle Ages in England. ' Among his works on Church history are 'Turning Points of English Church History' (1874); 'Turning Points of General Church History' (1877); 'A Dictionary of the Church of England' (1887); ' A Handy Book of the Church of England' (1892); and 'Augustine of Canterbury' (1895) in Methuen's 'English Leaders of Religion. ' The most notable of his religious works are 'A Devotional History of Our Lord' (1882) and 'Some Chief Truths of Religion' (1875), which was translated into Swahili and printed at the Universities Mission Press at Zanzibar in 1895. From 1852 to 1866 he was honorary secretary of the Essex Archaeologicall Society and editor of its 'Transactions. ' Cutts died at Holy Trinity Vicarage, Haverstock Hill, on 2 Sept. 1901, and was buried at Brookwood cemetery, Woking. He married on 23 April 1846 Marian, daughter of Robert Knight of Nottingham, and by her had ten children, seven of whom survived him. Mrs. Cutts died on 14 Dec. 1889. [The Times, 4 and 6 Sept. 1901; Guardian, 11 Sept. 1901; Athenaeum, 7 Sept. 1901; information from his son, John E. K. Cutts, F.R.I.B.A. ] "-See Wikisource.
This is an ex-library book and may have the usual library/used-book markings inside. Rebound by library. Edges are cut. Some foxing. Text is clear. Slight pen markings. This book has hardback covers. In fair condition, suitable as a study copy.
Good. Hardcover in blue cloth binding with gilt lettering on cover and spine. The covers are very worn, the front hinge starting. Scarce 1854 first edition, formerly part of the Yale University School of Fine Arts Library. Cloth is worn at edges and corners. Library marking at the foot of the spine. Library pocket on rear paste down. Yellow end papers, Yale bookplate on front end paper, library stamp on 'Preface' page. Exquisite engravings throughout with ten full-color plates. 142 pp. with an index and an 8 page advertisement in back for The Clerical Journal.
CUTTS, Edward L. AN ESSAY ON CHURCH FURNITURE AND DECORATION. London: John Crockford, 1854. 8vo. Publisher's blue cloth. (viii), 143, (8) pages, 10 plates. First edition. Contents include woodwork, textile fabrics, metalwork, tile pavements, monuments, polychrome, etc. The principles of Gothic revival which influence Pugin and Morris are in full evidence. Very good.
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