By Louis P. Nelson
Intermingling architectural, cultural, and non secular historical past, Louis Nelson reads Anglican structure and ornamental arts as files of eighteenth-century non secular perform and trust. within the great thing about Holiness, he tells the tale of the Church of britain in colonial South Carolina, revealing how the colony's Anglicans negotiated the tensions among the endurance of seventeenth-century non secular perform and the emerging tide of Enlightenment notion and sentimentality. Nelson starts with a cautious exam of the constructions, grave markers, and communion silver formed and utilized by early Anglicans. Turning to the spiritual features of neighborhood church buildings, he makes use of those gadgets and artifacts to discover Anglican trust and perform in South Carolina. Chapters concentrate on the position of the senses in spiritual figuring out, the perform of the sacraments, and where of attractiveness, regularity, and order in eighteenth-century Anglicanism. the ultimate portion of the ebook considers the methods church structure and fabric tradition strengthened social and political hierarchies. Richly illustrated with greater than 250 architectural pictures and pictures of spiritual gadgets, the wonderful thing about Holiness relies on exhaustive fieldwork to trace alterations in ancient structure. Nelson imaginatively reconstructs the historical past of the Church of britain in colonial South Carolina and its position in public existence, from its early years of ambivalent status in the colony during the moment wave of Anglicanism starting within the early 1750s.
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Extra resources for The Beauty of Holiness: Anglicanism and Architecture in Colonial South Carolina (The Richard Hampton Jenrette Series in Architecture and the Decorative Arts)
Example text
White’s view also includes the many memorials mounted in the church, but especially on the pilasters. There is no evidence from the vestry minutes, however, that any of these predate the 1770s. From the arcades with their march of Corinthian pilasters sprang a soaring barrel-vaulted ceiling. The aisles of the church were paved in a checkerboard of red and black tiles. White’s painting also preserves critical information about the design and placement of the liturgical fittings. He represents a pulpit surmounted by a sounding board or tester at the east end of the building, just north of the central aisle.
The restructured proportions of the nave appear to respond to Wren’s recommended dimensions for auditoria; after 1720 the nave of the church was dramatically reduced from 100 feet by fortyfive feet to a much more compact seventy by sixty-two feet. ” In many ways, the form and plan of St. Philip’s reflects the debates over church design in London just a few years earlier. The rules and recommendations drafted by London architects, clergy, and church commissioners, however, established only a building program; colonial builders turned to a wide array of printed visual sources as they sought to implement that program.
Now known as St. ⁶⁸ The interior of the church was painted separately by Sebastian Vrancx and Jacob Peeters in the seventeenth century, and the model mentioned by Woodmason might have been an engraving of either Vrancx or Peeters’s painting (FIG. ⁶⁹ While the arcades are doubled in the Belgian church and only single in the colonial example, both churches have a basilican plan, with the aisles divided from the nave by classical arcades that support a prominent cornice from which springs a barrel-vaulted ceiling.