With new photography, here is an opportunity to appreciate the detail of the famous windows of York Minster, and the ground plan provides a useful guide for visitors. The 128 windows of York Minster are the eighth wonder of the world; they illustrate the art and craft of glass painting, extending over nine centuries. York is also an international centre for the study and conservation of stained glass, ensuring its survival into the third millennium. Sarah Brown introduces the magnificent stained glass at York Minster. She provides an holistic overview, starting with evidence for the glazing of the pre-Conquest Minster and the earliest surviving glazing from the twelfth-century church. She then embarks on an extended tour of the Minster s windows, including the Five Sisters in the north transept, the Rose Window in the south transept, the famous Bell-Founder's Window in the north nave aisle, the Great West Window, often called the Heart of Yorkshire, and the magnificent Great East Window. A ground plan of the Minster enables every window to be located. This book will situate you inside the Minster itself, and is a must-have for any stained glass enthusiast.

After an immense process of careful restoration and conservation, the outstanding artistry of the Great East Window is revealed afresh through state-of-the art photography that captures the complete sequence of major panels, in corrected placements, for the very first time. At the size of a tennis court, it is the largest single expanse of medieval stained glass in Britain and one of the largest medieval windows ever made. This visual feast is brought to life by expert author Sarah Brown, who explores the history, artistry, meaning and restoration of the window, revealing new insights on a fragile masterpiece that has been described as England's Sistine Chapel. Ground breaking new research has shed exciting new light on the window's complex narratives, relating its story to the Minster's history and liturgy. The Great East Window of York Minster explores the window's biblical presentation of the beginning and end of time, the window's relationships with other media and the technical processes behind its creation. This stunning, illustrated hardback presents an engaging contextual analysis of the window's unequivocal position as an English masterpiece.

This volume reproduces the Apocalypse Cycle of the Great East Window of York Minster in its entirety and in full colour for the very first time. Stunning photography presents each panel in detail, accompanied by expert commentary. The book is both a testament to the remarkable combination of skill, scholarship and cutting-edge technology that has gone into the conservation of the window, and an important study of the significance of the Apocalypse narrative both in the early 15th century and today.

For a period of almost five hundred years York Minster resembled a building site as different parts were added and altered before it finally became the building we see today. This detailed study of the construction and development of the minster draws on architectural recording carried out on the building by the RCHME and English Heritage since the early 1970s, as well as more recent discoveries and research, particularly on the stained glass windows. Each major building phase is discussed in turn: the construction of the transept, the Chapter House, the nave, Lady Chapel, western choir and central tower. The historical background to these phases reveals some of the financial, political and religious events that hampered and/or motivated the building phases and this, and issues of imagery and patronage, are all discussed.

Why were so many religious images and objects broken and damaged in the course of the Reformation? Margaret Aston's magisterial new book charts the conflicting imperatives of destruction and rebuilding throughout the English Reformation from the desecration of images, rails and screens to bells, organs and stained glass windows. She explores the motivations of those who smashed images of the crucifixion in stained glass windows and who pulled down crosses and defaced symbols of the Trinity. She shows that destruction was part of a methodology of religious revolution designed to change people as well as places and to forge in the long term new generations of new believers. Beyond blanked walls and whited windows were beliefs and minds impregnated by new modes of religious learning. Idol-breaking with its emphasis on the treacheries of images fundamentally transformed not only Anglican ways of worship but also of seeing, hearing and remembering.

Contributions by Catherine L. Adams, Stephanie Brown, Gene Andrew Jarrett, John Wharton Lowe, Guirdex Massé, Anderson Rouse, Matthew Teutsch, Donna-lyn Washington, and Veronica T. Watson Rediscovering Frank Yerby: Critical Essays is the first book-length study of Yerby’s life and work. The collection explores a myriad of topics, including his connections to the Harlem and Chicago Renaissances; readership and reception; representations of masculinity and patriotism; film adaptations; and engagement with race, identity, and religion. The contributors to this collection work to rectify the misunderstandings of Yerby’s work that have relegated him to the sidelines and, ultimately, begin a reexamination of the importance of “the prince of pulpsters” in American literature. It was Robert Bone, in The Negro Novel in America, who infamously dismissed Frank Yerby (1916–1991) as “the prince of pulpsters.” Like Bone, many literary critics at the time criticized Yerby’s lack of focus on race and the stereotypical treatment of African American characters in his books. This negative labeling continued to stick to Yerby even as he gained critical success, first with The Foxes of Harrow, the first novel by an African American to sell more than a million copies, and later as he began to publish more political works like Speak Now and The Dahomean. However, the literary community cannot continue to ignore Frank Yerby and his impact on American literature. More than a fiction writer, Yerby should be put in conversation with such contemporaneous writers as Richard Wright, Dorothy West, James Baldwin, William Faulkner, Margaret Mitchell, and more.