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"England Bury St. Edmunds."
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Silver for entertaining : the Ickworth collection
One of the most important collections of eighteenth-century silver in Europe is to be found at Ickworth House in Suffolk. It extends to nearly a thousand pieces, is of the highest quality, style and exuberance of form and survives virtually intact along with extensive and previously untapped archival evidence of its commissioning and use, and of the diplomatic, political and court appointments of its principal patron, George William Hervey, 2nd Earl of Bristol (1721-75). The finest London makers of the time are represented including Paul de Lamerie, Paul Crespin and, in particular, Frederick Kandler, and it also contains a significant quantity of continental pieces, commissioned contemporaneously whilst Lord Bristol was in Turin. It was in part by maintaining a sufficient state of 'magnificence' there, and in Madrid, that the Earl could hold the diplomatic ground for Britain during the Seven Years War and his silver, of the latest French fashions and of opulent extent, was a critical tool in his armoury. This book, which will be lavishly illustrated, will analyse the individual objects from stylistic and technical perspectives, and use them to shed light on the patronage, fashion and social history of a vibrant and turbulent era of European history.
Book
The Once and Future Jew: The Croxton \Play of the Sacrament,\ Little Robert of Bury and Historical Memory
The Jews who purchase and attack the host in the fifteenth-century East Anglian drama, the Croxton \"Play of the Sacrament,\" have long been regarded by critics as referents to Lollards or to doubters more generally, not to Jews. However, the play does refer to the history of Jews in Bury St. Edmunds, where, most likely, it was performed, and more specifically, it refers to the 1181 ritual murder accusation surrounding Little Robert of Bury. This accusation was commemorated in a variety of forms in Bury well into the fifteenth century. Further, in its representation of host desecration as a literal reenactment of the Passion, the play creates a temporal mode in which the Jews re-enact the Passion in the present, just as the Mass is a re-enactment of the Crucifixion. The play simultaneously makes the audience witness to the murder of little Robert and to the Crucifixion, with both existing in a kind of \"eternal present,\" a temporality central to the Mass and also to related late-medieval English devotional practices. The story of little Robert comes to exist not only in historical memory, but also in the eternal present in which the Crucifixion and its re-enactments are joined. This powerful temporality creates a conception of the Jew as perpetual murderer, guilty not only of crucifying Christ in the historical past, but in the present, and until the Parousia, in the future, thus enabling a particular aspect of the negative stereotype of \"the Jew,\" the perpetually present enemy, ever plotting against Christ and Christendom.
Journal Article
\House Devil, Town Saint\ :Anti-Semitism and Hagiography in Medieval Suffolk
\"... the English are known to be of a polite persuasion and their anti-Semitism is of the most courteous kind.\" Bernice Rubens, I, Dreyfus
Book Chapter