Issues of patronage : the Denver Civic Center sculptures

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Illuminating faith : the Bute Book of Hours

"The Bute Book of Hours, an English manuscript dating to c. 1500 in The Berger Collection at the Denver Art Museum, has received cursory attention from scholars in the past. This paper is the first to conduct a comprehensive examination of the object, evaluating its style, iconography, content, religious significance, and patronage. Careful study has revealed that the Bute Book is greatly indebted to early engravings for its imagery, perhaps more than any other known manuscript. The suffrages to saints were selected based on their powers against the plague, Tudor religious preferences, and regional significance. Special attention has been given to more unusual insertions such as Sts. Armel and Ninian, and Henry VI. The Bute Book of Hours was created for a wealthy Englishman, most likely with Yorkshire connections, and it illustrates the tenor of a nation undergoing rapid political, social and religious changes"

Sex, sin and salvation : a case study of the narrative pictorial cycle of Saint Mary the Egyptian at Bourges Cathedral

This paper studies the narrative stained glass cycle of the Life of Saint Mary the Egyptian at Bourges Cathedral within the context of prevailing—and often conflicting--civil and ecclesiastical attitudes toward sex, sexual sin, and prostitution in early thirteenth century France. Although the Church maintained that sexual sin was mortal sin, civil records suggest the public was skeptical. Through the example of a penitent harlot, this window, both structurally and in thematic content, attempts to map a doctrinally appropriate path from sexual sin to purity of spirit—and salvation—through complete submission to the Church and its clergy.

Symbol for a Community: The Dickens Opera House and Theaters of the American West

This paper reveals the importance of the Dickens Opera House to the local history of Longmont, Colorado. Through an exploration of pioneer history and of architectural patronage and audience accommodation, this paper illustrates how the Dickens Opera House participated in the construction of cultural identity and civic aspirations of the city of Longmont. Using the Tabor Opera House of Leadville and Wright Opera House of Ouray as framing examples to place the Dickens Opera House within its proper architectural and historical context, I approach the building’s inception, construction, and early years as a way to track the early civic identity of a community through a work of architecture. The Dickens Opera House provided a point for the citizens of Longmont to focus their hopes of success and respectability in a newly formed community. An opera house provided a high-class perception of a town that provided a projection of respectability. Such a construction was built from various sources – the architecture of the building, simply calling the building an ‘opera house’, furnishings in the latest fashions and equipment of the latest technology, and extravagant scenery and curtains. In addition to these outward projections, opera houses also provided a place for community events. It was the location in town that brought people together.