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Appointed to be Read in Churches (Mock-up for a special edition, unpublished book) [Cogslea Studio]
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Mock-up of Page [1] Title page for Appointed to be Read in Churches (Mock-up for a special edition, unpublished book) [Cogslea Studio, undated]
Mock-up of Page [1] Title page for Appointed to be Read in Churches (Mock-up for a special edition, unpublished book) [Cogslea Studio, undated]

Mock-up of Page [1] Title page for Appointed to be Read in Churches (Mock-up for a special edition, unpublished book) [Cogslea Studio, undated]

Appointed to be Read in Churches (Mock-up for a special edition, unpublished book) [Cogslea Studio]
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Object Details

Title:
Mock-up of Page [1] Title page for Appointed to be Read in Churches (Mock-up for a special edition, unpublished book) [Cogslea Studio, undated]
Date:
Date unknown
Artist:
Medium:
Graphite, including guidelines, on paper
Dimensions
10 1/4 x 8 in.
Classification
Books
Credit Line:
Gift of the Pennsylvania Academy of the Fine Arts, 2015
Description

[top in graphite]: "Appointed to be / read in churches"; [bottom in graphite]: Printed privately Issued by the / Cogslea Studio, St. Georges Road / Philadelphia Pennsylvania U.S.A.The title Oakley selected first appeared in print in the seventeenth century. It was a statement included on the title page of the first edition of the King James Bible, which was the first English translation of the Christian Bible, completed in 1611. “Appointed to be read in Churches” announced that this version of the Bible was a church bible—to be read aloud to congregations rather than intended for individuals to read silently to themselves.

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The Violet Oakley Experience is funded by a generous grant from the Henry Luce Foundation.
For her expertise and scholarship on The Violet Oakley Experience, Woodmere thanks Patricia Likos Ricci. The foremost authority on Oakley, she is the Director of the Department of Fine Arts, Associate Professor of the History of Art, and a member of the Women and Gender Studies faculty at Elizabethtown College.
Woodmere’s website infrastructure and the digitization of the Museum’s collection are made possible by the generous support of Lisa Kabnick and John McFadden.