Publishing in association with The National Churches Trust, this book offers a luxurious guide to the amazing architecture, art and furniture found in Churches across England.

This celebration of some of the greatest art, architecture and furniture to be found in English churches offers a fascinating account of centuries of accumulated wealth, and is set off by a selection of breathtaking photographs by Matthew Byrne. It covers changing architectural styles across the centuries, and prominent examples of artistic work, including stained glass, rood screens, church monuments and curious carvings. This book is published in association with The National Churches Trust, a national, independent charity dedicated to supporting church buildings across the UK.

This catalogue comprises 250 gold and silver objects and sets of objects spanning the history of the Church from the earliest possible times to the present day. 12 essays illustrate aspects of evolving liturgy and Church history, such as the medieval Mass, Church patronage in the Middle Ages, and the English Reformation.

The author concentrates on the furnishing and works of art to be found in English parish churches from Saxon times to the 20th century. The book consists of a fairly short narrative text and a useful gazetteer complimented by detailed photographs.

Simon Jenkins has travelled the length and breadth of England to select his thousand best churches. Organised by county, each church is described - often with delightful asides - and given a star-rating from one to five. All of the county sections are prefaced by a map locating each church, and lavishly illustrated with colour photos from the Country Life archive. Jenkins contends that these churches house a gallery of vernacular art without equal in the world. Here, he brings that museum to public attention.

For most people in England today, the church is simply the empty building at the end of the road, visited for the first time, if at all, when dead. It offers its sacraments to a population that lives without rites of passage, and which regards the National Health Service rather than the National Church as its true spiritual guardian. Here, Scruton argues that the Anglican Church is the forlorn trustee of an architectural and artistic inheritance that remains one of the treasures of European civilization. He contends that it is a still point in the centre of English culture and that its defining texts, the King James Bible and the Book of Common Prayer are the sources from which much of our national identity derives. At once an elegy to a vanishing world and a clarion call to recognize Anglicanism's continuing relevance, Our Church is a graceful and persuasive book.

Armenia was the first country to recognize Christianity as the official state religion in 301 AD, twelve years before Constantine's decree granting tolerance to Christianity within the Roman Empire. Ever since, Armenia has claimed the privilege of being the first Christian nation, and the wealth of Christian art produced in Armenia since then is testimony to the fundamental importance of the Christian faith to the Armenian people. This extensive new survey of Armenian Christian art, published to accompany a major exhibition at The British Library, celebrates the Christian art tradition in Armenia during the last 1700 years. The extraordinary quality and range of Armenian art which is documented includes sculpture, metalwork, textiles, ceramics, wood carvings and illuminated manuscripts and has been drawn together from collections throughout the world—many of the examples have never before been seen outside Armenia. In his authoritative text, Dr. Vrej Nersessian, Curator at The British Library, charts the development of Christianity in Armenia. This fascinating history is essential to an understanding of the art and religious tradition of Armenia, a country in which the sense of the sacred extends well beyond the purely religious, infiltrating the entire fabric of Armenian affairs to create a fascinating culture. This sumptuously illustrated book will be of immense value to anyone with an interest in Byzantine art and culture, the history of Christianity and the history of Armenia and the Middle Orient.

Tens of thousands of American adults join the Catholic Church every year. Why? What is it that attracts them to Catholicism? In Confessions of a Mega-Church Pastor, Allen Hunt unveils the treasures of Catholicism that many life-long Catholics are simply unaware of. At the same time he demonstrates the genius of Catholicism and encourages us to move beyond taking our faith for granted. With a personal touch that is profound and disarming, Hunt takes his readers on a journey that is sure to change the way we experience our faith. At a time when so many are disillusioned about where the Catholic Church is and where it is going, Allen Hunt brilliantly reminds us that personal holiness is the key to the bigger future God wants to leads us to both as individuals and together as a Church.

This book traces the origins, economic development, and later history of church treasures, and explores the forms and function of these objects of memory and wonder.00Precious metalwork, relics, chess pieces, ostrich eggs, unicorn horns, and bones of giants were among the treasury objects accumulated in churches during the Middle Ages. The material manifestations of a Christian worldview, they would only later become naturalia and objets d?art, from the sixteenth and the nineteenth century onwards, respectively.00Philippe Cordez traces the rhetorical origination, economic development, and later history of church treasures, and explores the forms and functions of the memorial objects that constituted them. Such objects were a source of wonder for their contemporaries and remain so today, albeit for quite different reasons. Indeed, our fascination relates primarily to their epistemic and aesthetic qualities. Dealing also with these paradigm shifts, this study opens up new paths toward an archeology of current scholarly and museum practices.0Philippe Cordez is Deputy Director of the German Center for Art History in Paris.

"The wide variety of selections from Frederic Edwin Church's collection of his own paintings shows the master in all phases of his career, in sketches and finished paintings, depicting the breadth of his subjects and the high technical skills that established him as an eminent and influential artist in his own time. As works he held on to or reacquired and kept in his house during his lifetime, they embody the heart of his artistic vision and convey a deeply personal slant. As pictures he hung and lived with at Olana, they tell the larger story of that extraordinary place and are as illuminating when seen in context as on their own."--from the IntroductionFrederic Edwin Church (1826-1900) traveled the world, captured its beauty in countless paintings, and brought it home to live at Olana, his castle on the Hudson. The name was inspired by a reference Church found to a fortress or a treasury-storehouse in ancient Persia. This extraordinary selection of Church's paintings from his collection at Olana puts the most cherished of his treasures on full display in a volume that includes eighty color plates.Church's paintings, among the most acclaimed examples of art of the Hudson River School, are found in museums and private collections around the globe. However, Church kept some of his art close by during his lifetime. The rich collection that remains at Olana includes about seven hundred pieces, including notebooks, drawings, and oils, both sketches and completed canvases. They cover the full range of Church's career chronologically and thematically. The highlights from his personal collection are found in the touring exhibition that accompanies this book. The introduction by John Wilmerding and a substantial essay by Kevin J. Avery place the work into the context of Church's life and travels and examine Church's influences and the public reception of his art. Throughout Treasures from Olana, they discuss how profoundly Church's hilltop home and the surrounding landscape inspired and informed his work. His paintings, in turn, illuminate Olana more than a century after his death. The Olana Partnership, Hudson, N.Y., and New York State's Office of Parks, Recreation, and Historic Preservation, Albany, N.Y., organized Treasures from Olana: Landscapes by Frederic Edwin Church.