Thomas becket: <i>Damnatio Memoriae</i> and the marking of books

Smith, Jeremy J.

doi:10.1080/1474225x.2020.1863690

Cited by 1 publication

(1 citation statement)

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“…In his study of surviving copies of John Caxton's version of The Golden Legend, Jeremy Smith argued that 'self-censorship seems to have been the expected norm as reformation became culturally internalised', as early modern governments did not have the apparatus to effectively police the book market. 40 Nowhere is this shown more clearly than in the way in which responses to Henry's proclamation varied between users of different liturgical books. At the one end of the scale, there are manuscripts such as a thirteenth century psalter, now at Cambridge University Library, that, whilst being in England during the sixteenth century, retains Becket's name.…”

Section: Destructionmentioning

confidence: 99%

Destruction, Deconstruction, and Dereliction: Music for St Thomas of Canterbury during the Reformation and Counter-Reformation, 1530-1600

Emery

2022

Br. Cathol. Hist.

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Between the late-twelfth and early-sixteenth centuries, much music (both liturgical and non-liturgical) was written in honour of St Thomas of Canterbury. However, in the 1530s his cult became a major target for reformers and, in 1538, Henry VIII (1491-1547) ordered the destruction of his shrine and the obliteration of all music written in his honour. This article will examine how music composed to memorialise St Thomas was treated during the Reformation and Counter-Reformation. It explores the process of self-censorship prompted by Henry’s proclamation on the cult of St Thomas that led to his erasure from liturgical books in England. It analyses the attempts by reformers to discredit music concerning St Thomas, particularly by radical reformer John Bale (1495-1563). Finally, it examines music that was composed by Catholics for St Thomas during the Counter-Reformation and asks what it can tell us about the state of the cult in the late sixteenth century. This approach results in an overview of St Thomas’ cult during the later sixteenth century and contributes to our understanding of changing conceptions of the saint by Catholic communities in the post-Reformation world.

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Section: Destructionmentioning

confidence: 99%

Destruction, Deconstruction, and Dereliction: Music for St Thomas of Canterbury during the Reformation and Counter-Reformation, 1530-1600

Emery

2022

Br. Cathol. Hist.

View full text Add to dashboard Cite

show abstract

Thomas becket: Damnatio Memoriae and the marking of books

Cited by 1 publication

References 7 publications

Destruction, Deconstruction, and Dereliction: Music for St Thomas of Canterbury during the Reformation and Counter-Reformation, 1530-1600

Destruction, Deconstruction, and Dereliction: Music for St Thomas of Canterbury during the Reformation and Counter-Reformation, 1530-1600

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