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By Louis P. Nelson

Intermingling architectural, cultural, and non secular heritage, Louis Nelson reads Anglican structure and ornamental arts as files of eighteenth-century spiritual perform and trust. within the fantastic 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 patience of seventeenth-century spiritual perform and the emerging tide of Enlightenment idea and sentimentality.

Nelson starts with a cautious exam of the structures, grave markers, and communion silver shaped 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 specialise in the position of the senses in non secular realizing, the perform of the sacraments, and where of good looks, regularity, and order in eighteenth-century Anglicanism. the ultimate part of the e-book considers the methods church structure and fabric tradition bolstered social and political hierarchies.

Richly illustrated with greater than 250 architectural pictures and images of non secular gadgets, the great thing about Holiness will depend on exhaustive fieldwork to trace adjustments in old structure. Nelson imaginatively reconstructs the heritage of the Church of britain in colonial South Carolina and its function in public lifestyles, 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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Additional resources for The Beauty of Holiness: Anglicanism and Architecture in Colonial South Carolina

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Behind the balustrade rose a Dutch or gambrel roof that abutted the tall east-end wall. The vestry minutes of St. Philip’s Church, which begin in 1732 and run continuously thereafter, contain numerous references to the building’s design. ³³ One visitor described “St. Philip and St. ³⁸ The interior of the church was equally lavish. ⁴⁰ An extraordinary level of detail about St. Philip’s is preserved in John Blake White’s painting of the interior from the west, painted soon after the church’s destruction by fire (FIG.

Philip’s in Birmingham (1709–25) (FIG. 11). While far less sophisticated than its English model, the design of St. Philip’s cupola bears close resemblance to Archer’s (compare to FIG. 1). Both rise in two tiers capped by a dome carrying a lantern. The lower, much larger tier is in each case multisided with arched openings in the faces flanked by pilasters at the corners. 11 Thomas Archer, St. Philip’s, Birmingham, 1708–15, west elevation as published in Colin Campbell, Vitruvius Britannicus, 1715, plate 11 (Courtesy, Special Collections, University of Virginia Library) the cupola on Archer’s church has only four sides and that in Charleston has eight, the complexity of the Archer design as printed in the volume could easily have been mistaken for an octagonal form.

While the Gentleman’s Magazine image shows a balustrade only at the base of the cupola, other images and numerous references in the vestry minutes suggest that the walls of St. ⁶⁶ The world of visual sources in early South Carolina was not, however, constrained only to English Protestantism. Charles Woodmason, the clergyman who probably sent the west prospect of St. Philip’s to London, also described that church some years later as depending on a wholly unexpected source: in 1766 he noted that St.

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