Academic literature on the topic 'Architecture, Gothic – Britain'
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Journal articles on the topic "Architecture, Gothic – Britain"
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Stalley, Roger, and Malcolm Thurlby. "The Early Gothic Choir of Pershore Abbey." Journal of the Society of Architectural Historians 48, no. 4 (December 1, 1989): 351–70. http://dx.doi.org/10.2307/990454.
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In attempting to resolve the complicated archaeological problems and the design sources of the early Gothic choir of Pershore Abbey, this article examines issues that are fundamental to the understanding of early Gothic architecture in Britain. The issues discussed are the nature of the plan of the choir, whether it was intended to be vaulted or not, the most appropriate form for the elevation, and problems in consistency and inconsistency in taste.
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Bullen, J. B. "The Romanesque Revival in Britain, 1800–1840: William Gunn, William Whewell, and Edmund Sharpe." Architectural History 47 (2004): 139–58. http://dx.doi.org/10.1017/s0066622x00001738.
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The Romanesque revival, like the Gothic revival, was an international movement. It passed easily across national boundaries and its effects were felt throughout Europe and across America. In Britain it was overshadowed by the Gothic revival out of whose historiography it grew, and is easily confused with the Norman revival that enjoyed considerable popularity in the 1830s and 1840s. Both the Norman revival and the study of the Romanesque were the fruit of British antiquarianism, because in the eighteenth and early nineteenth centuries there was in this country a well developed scholarly interest in pre-Gothic, round-arched buildings.
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Hill, Judith. "Architecture in the Aftermath of Union: Building the Viceregal Chapel in Dublin Castle, 1801–15." Architectural History 60 (2017): 183–217. http://dx.doi.org/10.1017/arh.2017.6.
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AbstractThe chapel in Dublin Castle, built between 1807 and 1815, was one of the most impressive ecclesiastical Gothic buildings of the pre-Pugin revival in the British Isles. It was commissioned by the viceregal establishment following the Act of Union between Great Britain and Ireland in 1801, and was closely associated with Church of Ireland objectives for post-Union Protestantism in Ireland. This essay investigates the patrons’ ambitions for the chapel, and discusses its design and execution by Francis Johnston, successor to James Gandon as the foremost architect of public buildings in Ireland. Reviewing the chapel within the context of the Union, the essay argues that the viceregal administration and the Church of Ireland were concerned to assert their authority and define their values, and that these were expressed in Gothic revival architecture which grafted progressive appreciation for medieval models onto Georgian taste, and in a comprehensive and unprecedented scheme of ecclesiastical sculpture. Ireland's political position within the Union was ambiguous, but it is argued here that the rebuilt chapel projected both unionist and imperialist gestures, and that, culturally, it was an expression of Britishness.
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Whelan, Debbie. "Snippets from the north: Architects in Durban and their response to identity, common culture and resistance in the 1930s." VITRUVIO - International Journal of Architectural Technology and Sustainability 4, no. 1 (June 18, 2019): 26. http://dx.doi.org/10.4995/vitruvio-ijats.2019.11774.
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<p class="Abstracttext-VITRUVIOCxSpFirst">Previously colonized by both Holland and Britain, South Africans have always borrowed; many taking aesthetic clues from memories of ‘home’. Applied seemingly irrelevantly, these ‘clues’ often border on the pastiche. Pre and post Union in 1910, the British-controlled colonies of Natal and the Cape absorbed imported architectural influences which not only introduced an Arts and Crafts layer to Victorian Gothic and Classical revivals, but introduced vital new ideas, namely Art Deco and Modernism.</p><p class="Abstracttext-VITRUVIOCxSpFirst">Somehow this polemic embraced another revival: a melange of Tudor and Elizabethan focusing on detail, craftsmanship and nostalgia. The ‘Tudorbethan’ Revival occurred at a vital point in the inter-war era, and it is contended that this style demonstrated a calculated resistance to the hybrid ‘Union Period’ architecture and its political role in forging a common diasporic identity and culture in the 1930s, rather than a mere application of fashion.</p><p class="Abstracttext-VITRUVIOCxSpFirst">This paper situates the Tudorbethan Revival within contemporary architectural themes in Durban, South Africa, and contextualises the socio-political production of buildings between the wars before examining the works of architects who conceived this well-crafted, nostalgic and irrelevant architecture. It concludes by comparing this complex aesthetic with the contemporary architectural thread of ‘Gwelo’ Goodman’s Cape Dutch Revival suggesting the degree to which domestic architecture is able to support political positions in contested societies.</p>
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Thurlby, Malcolm. "The Lady Chapel of Glastonbury Abbey." Antiquaries Journal 75 (September 1995): 107–70. http://dx.doi.org/10.1017/s0003581500072991.
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After the devastating fire of 1184, the Lady Chapel of Glastonbury Abbey was constructed on the site of the Old Church (Vetusta Ecclesia), the wattle church traditionally associated with Joseph of Arimathea. The lavish decoration of the chapel is frequently mentioned in the literature. In many cases authors emphasize the old-fashioned, Romanesque character of much of the ornament in contrast to the seemingly more progressive contemporary early Gothic mouldings of nearby Wells Cathedral. Nevertheless, it is generally recognized that the designer of Glastonbury Lady Chapel knew of the latest developments in French Gothic architecture as witnessed in his use of crocket capitals and sharply pointed arches in the vault. This juxtaposition of Romanesque and Gothic motifs has led to the categorization of the Lady Chapel as Transitional. Convenient as such a label may be as a term of reference in charting a purely typological evolution, it does little for our understanding of the use of some distinctly different elements in contemporary structures located in the same region. Is it the case that the patron and/or master mason of Glastonbury Lady Chapel are simply more conservative than at Wells Cathedral? Could Glastonbury Lady Chapel be consciously archaizing in an effort to emphasize the antiquity of the site? Should we perhaps think in terms of a traditional Benedictine monastic style at Glastonbury as opposed to an innovative style for the secular canons of Wells? Or is the rich decoration at Glastonbury Lady Chapel to be explained in a more general sense as an imitation of the art of church treasures? To address these questions the first part of this essay will examine the stylistic sources of the Lady Chapel. The meaning of the style of the Lady Chapel in the context of the beginnings of Gothic architecture in Britain will be discussed. Attention will then be turned to the sculpture of the Lady Chapel (Thurlby 1976a).
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Hodgson, John. "‘Carven stone and blazoned pane’: The Design and Construction of the John Rylands Library." Bulletin of the John Rylands Library 89, no. 1 (March 2012): 19–81. http://dx.doi.org/10.7227/bjrl.89.1.3.
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The John Rylands Library is an outstanding example of neo-Gothic architecture, and is without parallel in Britain as a memorial library. This article situates the Library‘s foundation at the close of the nineteenth century within the economic and cultural development of Manchester, the worlds first industrial city, and within wider trends in library history. Enriqueta Rylands‘s aims in establishing the Library are analysed, as well as her influence on the design and construction of the building. The article includes a detailed examination of the iconography of the building and the innovative use of building services technology designed to protect the remarkable collections that were amassed by Mrs Rylands. Later developments are also treated, including the most recent ‘Unlocking the Rylands’ project, 2000-07.
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Turner, Emily. "The Church Missionary Society and Architecture in the Mission Field: Evangelical Anglican Perspectives on Church Building Abroad, c. 1850-1900." Architectural History 58 (2015): 197–228. http://dx.doi.org/10.1017/s0066622x0000263x.
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The Gothic Revival occupies a central place in the architectural development of the Church of England in the nineteenth century, both at home and abroad. Within the expanding British colonial world, in particular, the neo-Gothic church became a centrally important expression of both faith and identity throughout the second half of the nineteenth century. From a symbolic and communicative perspective, the style represented not only a visual link to Britain, but also the fundamental expression of the Church of England as an institution and of the culture of Englishness. As such, it carried with it a wide range of cultural implications that suited the needs of settler communities wishing to re-established their identity abroad. Expansion during this period, however, was not only limited to the growth of settler communities but was also reflected in growing Anglican missions to the non-Christian peoples of annexed territories. The two primary organs of the Church of England in the field, the Society for the Propagation of the Gospel (SPG) and the Church Missionary Society (CMS), actively employed the revived medieval style throughout the Empire as missions were solidified through infrastructure development. As a popular style with direct connotations to the Christian faith, revived medieval design became increasingly popular with Anglican missionaries abroad in the period between the early 1840s and the end of the century. Not only did its origins in ecclesiastical buildings make it attractive, but it was also stylistically distinctive, and set apart as a sacred style from both secular and ‘heathen’ structures.
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Bremner, G. Alex. "‘Imperial Monumental Halls and Tower’: Westminster Abbey and the Commemoration of Empire, 1854–1904." Architectural History 47 (2004): 251–82. http://dx.doi.org/10.1017/s0066622x00001775.
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Among the many remarkable changes of the last generation, none is more remarkable than the change in the political ideas uppermost in the minds of men… Today the words ‘Empire’ and ‘Imperialism’ fill the place in everyday speech that was once filled by ‘Nation’ and ‘Nationality’. In the never-ending struggle of political principles, authority rather than liberty seems for the moment to have the upper hand; power and dominion rather than freedom and independence are the ideas that appeal to the imagination of the masses; … the national ideal has given place to the Imperial.In March 1904 John Pollard Seddon (1827–1906) and Edward Beckitt Lamb (1857–1932) published an extraordinary scheme entitled ‘Imperial Monumental Halls and Tower at Westminster’. Though never built, it was among the grandest and most visionary proposals London had ever seen and, next to Giles Gilbert Scott’s Anglican cathedral at Liverpool (1904–79), one of the last monumental expressions of Gothic revival architecture in Britain. Designed to immortalize the achievement of the men and women who had laboured to promote and defend the nation’s imperial interests, it was conceived as a lasting testament to the enthusiasm for empire that characterized late Victorian and Edwardian Britain (Figs 1-2).
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Mankov, Sergei A. "Medieval motives in memorialization of the Great War." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 67–71. http://dx.doi.org/10.30725/2619-0303-2021-2-67-71.
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The article examines the European experience of creating war memorials dedicated to the World War I, using the motives of medieval architecture. The fascination with the Middle Ages, spread through the art and literature of the Neo-Gothic and national Romanism period, was emotionally rethought by the generation that survived the catastrophe of the global conflict of 1914–1918. At the new stage, the symbolic harsh images of the Middle Ages turned out to be more consonant with the social creation of former front-line soldiers than the classical antique forms used in the memorialization of wars in the 18th–19th centuries. This process was reflected in the commemoration of the Great War in Great Britain, France, Germany and other countries, where the monuments to the fallen began to give the appearance characteristic of the towers, fortresses and castles of the long-gone Middle Ages, giving them a new interpretative meaning.
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Lindfield, Peter. "Serious Gothic and ‘doing the Ancient Buildings’: Batty Langley's Ancient Architecture and ‘Principal Geometric Elevations’." Architectural History 57 (2014): 141–73. http://dx.doi.org/10.1017/s0066622x00001404.
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Batty Langley (1696-1751) is one of the most familiar and generally infamous figures of Britain's eighteenth-century Gothic Revival (Fig. 1). Following his father, he trained as a gardener and was one of the early promoters of the irregular style that prefigured William Hogarth's ‘line of beauty’. Langley's interest, however, turned to architecture and he produced numerous architectural treatises and pattern books, the majority of which were concerned with Classical architecture. This was a sensible decision since, as Eileen Harris and Nicholas Savage observe, ‘Langley had much to gain by concentrating his publishing activities on architecture, for which there was a considerably larger, more diversified, and less discriminating market.’ His most well-known publication, however, is concerned with the Gothic: Ancient Architecture: Restored, and Improved by a Great Variety of Grand and Useful Designs, Entirely New in the Gothick Mode (1741-42).
Dissertations / Theses on the topic "Architecture, Gothic – Britain"
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Aspin, Philip. "Architecture and identity in the English Gothic revival 1800-1850." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669903.
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Lindfield, Peter Nelson. "Furnishing Britain : Gothic as a national aesthetic, 1740-1840." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3490.
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Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.
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Albo, Frank. "Freemasonry and the nineteenth-century British Gothic Revival." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283920.
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Monckton, Linda. "Late Gothic architecture in South West England : four major centres of building activity at Wells, Bristol, Sherbourne and Bath." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/34754/.
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By 1360 the Perpendicular style was established as the successor to Decorated architecture. During the subsequent one hundred and eighty years, until the Reformation, major building work was carried out at four great churches in the south west of England. The complete reconstructions of St Mary Redcliffe, Sherborne Abbey and Bath Abbey, and considerable work to the precinct at Wells Cathedral during this period, form the basis for this thesis. Through a study of each of these major centres, the issues of workshop identity and stylistic trendsetters are considered. It is shown how the interpretation of documentary evidence has impeded an understanding of these buildings, which can be revealed by an analysis of the fabric. Based primarily on a methodology of buildings archaeology and assessment of moulding profiles, traditional assumptions concerning the chronology and patronage are challenged. The new chronology for works at Sherborne Abbey, and the redating of the commencement of Bath Abbey further our understanding of the nature of masons' workshops, patronage and stylistic development within a regional context. Introspection in masons' workshops during the 15th century, and retrospection in later design in the region, demonstrates a reliance on the innovations of the 14th century, and the significance of the parish church tradition in the region, respectively. The thesis concludes with a discussion on the influence of major church workshops on domestic architecture, and the impact of the dissemination of the lodges in the early 16th century.
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Kenneally, Rhona Richman. "The tempered gaze : medieval church architecture, scripted tourism, and ecclesiology in early Victorian Britain." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19609.
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This dissertation explores how architecture is valorized by the cultural artifacts, both visual and text-based, which present and describe it. It examines aspects of the Gothic Revival in early Victorian Britain, to consider the assimilation of models of evolving architectural discourse by one organization with specialized interest in its promotion, and adaptations of that discourse in the realm of popular culture. The dissertation focuses on the ideology of the Cambridge Camden Society, from its inception in 1839 through to 1850. The Society advocated an appreciation of Gothic churches both for aesthetic, and for religious and moral reasons. A key dimension of its mandate, captured in the rhetoric of ecclesiology, was to prioritize an empirical investigation of extant medieval churches. Findings were to be recorded on specially-devised questionnaires, called "church schemes," using a text-based, specially-encoded taxonomy. Given the availability both of extensive documentation by the Society concerning these schemes, and of almost seven hundred completed forms, areas of conformity and divergence between the prescriptive, instructional material, and the descriptive material which indicates the actual reception of the architecture, may be discerned. "Church visiting" hence became the primary means of personal engagement with the architecture, enacted through the elaborate ritual of scripted tourism spelled out by the church schemes and attendant pedagogical documents. The importance, and the implications, of tourism to members of the Cambridge Camden Society are addressed through an evaluation of travel theories and methodologies, developed, especially, since the 1990s. An understanding of ecclesiology in terms of travel theory enables it to be evaluated in a wider context, namely as part of an emerging tourist ethos based on expanding opportunities and incentives to travel through Britain. From this perspective, the Cambridge Camden Society is to be perceived as part of a larger consortium of advocates of tourism to sights of medieval architecture, who employed similar inducements and terminology, and who created such markers of architectural authenticity as travel guides to mediate the traveller's reception of a given sight. As a result, the possibilities of the widespread dissemination of at least the architectural components of ecclesiological ideals, as part of the groundswell of promotional material devoted to all things Gothic, were enhanced.
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Sieglová, Kateřina. "Neogotická přestavba zámku Hluboká nad Vltavou." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-309005.
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Diploma thesis "Neo-Gothic rebuilding of chateau Hluboká nad Vltavou" first provides a brief summary of basic literary and archival sources, followed by description of terminology in the field of 19th century architecture together with the explanation used by the author. After that there is mentioned a situation in Czech architecture at the end of 18th and in the 19th century. Next point is the Gothic Revival phenomenon - its establishment, ways of its spreading and its influence in middle Europe including Czech countries. Own topic of this thesis is introduced by a general and building history of chateau Hluboká nad Vltavou. After that there are introduced prince Jan Adolf II. of Schwarzenberg and his wife, who managed the rebuilding of the chateau. There is also a description of their personal contacts with British culture and architecture. Main part of the thesis is dedicated to Neo-Gothic rebuilding of chateau Hluboká nad Vltavou. This chapter is divided into several subchapters, where are described changes in the chateau interior and exterior including the effort of document the direct influence of Gothic Revival, and also the adaptation of the close surroundings of the chateau. Keywords Neo-Gothic architecture, Great Britain, Gothic Revival, chateau Hluboká nad Vltavou, prince Jan Adolf II....
Books on the topic "Architecture, Gothic – Britain"
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Miele, Christopher Edmondson. The Gothic revival and Gothic architecture: The restoration of medieval churches in Victorian Britain. Ann Arbor, Mich: U.M.I., 1992.
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Architecture as cosmology: Lincoln Cathedral and English Gothic architecture. New York: Peter Lang, 2011.
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Pugin, Augustus Welby Northmore. Pugin: A Gothic passion. New Haven: Yale University Press in association with the Victoria & Albert Museum, 1994.
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The formation of English Gothic: Architecture and identity. New Haven [Conn.]: Published for The Paul Mellon Centre for studies in British Art by Yale University Press, 2006.
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Becket's crown: Art and imagination in Gothic England, 1170-1300. New Haven [Conn.]: Yale University Press for The Paul Mellon Centre for Studies in British Art, 2004.
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Binski, Paul. Becket's Crown: Art and imagination in Gothic England, 1170-1300. New Haven, CT: Yale University Press, 2005.
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God's architect: Pugin and the building of romantic Britain. London: Allen Lane, 2007.
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Gothic romanticism: Architecture, politics, and literary form. New York: Palgrave Macmillan, 2010.
Find full textBook chapters on the topic "Architecture, Gothic – Britain"
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Weir, David. "3. London." In Decadence: A Very Short Introduction, 57–80. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190610227.003.0004.
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Decadence in Great Britain takes form in the late nineteenth century as both a reflection of and reaction to the urban plan of its capital city. London decadence has this in common with Parisian decadence, but with several significant differences, such as the British preference for neo-Gothic architecture and the contrasting allocation of urban space to variations in social class. The work of John Ruskin affirms the neo-Gothic aesthetic, while that of Walter Pater emerges as a decadent rejection of it. Later, the work of George Moore, Arthur Symons, Oscar Wilde, and Ernest Dowson certified London decadence as a culture antagonistic to bourgeois tastes and manners.
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Hauser, Kitty. "Introduction." In Shadow Sites. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199206322.003.0005.
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In his introduction to a selection of verse and prose by John Betjeman, Slick but not Streamlined (1947), W. H. Auden attempted to define ‘topophilia’, a particular kind of attachment to landscape and environment which, he said, suffused Betjeman’s writings. ‘Topophilia’, he wrote, has little in common with nature love. Wild or unhumanised nature holds no charms for the average topophil because it is lacking in history; (the exception which proves the rule is the geological topophil). At the same time, though history manifested by objects is essential, the quantity of the history and the quality of the object are irrelevant; a branch railroad is as valuable as a Roman wall, a neo-Tudor teashop as interesting as a Gothic cathedral. Auden regrets (disingenuously, perhaps) that he himself is ‘too short-sighted, too much of a Thinking Type, to attempt this sort of poetry, which requires a strongly visual imagination’. It is a particular brand of literary topophilia, typified by Betjeman, that Auden discusses; but broadly defined it is a far more widespread sensibility in British culture. Requiring not only a visual imagination, but also a wilfully parochial outlook and a reluctance to engage with the homogenizing forces of urban modernity, a topophilia of one sort or another was characteristic of a whole generation of artists and writers in Britain in the 1930s and 1940s. This topophilia is not the same as a love of the countryside, as Auden points out, although that is what it might sometimes be mistaken for. What unites these ‘topophils’ is an interest, sometimes amounting to an obsession, with local landscapes marked by time, places where the past is tangible. For some, such as Betjeman, John Piper, and Geoffrey Grigson, this topophilia—as Auden suggests— is eclectic, including medieval churches, Gothic and mock Gothic architecture, Regency terraces and ancient sites. Some topophils of this generation, such as Paul Nash with his fascination with the genius loci, made atmospheric prehistoric landscapes a particular focus. Others, like painter Graham Sutherland, were attracted towards scarred nature and geological vistas. In the Four Quartets T. S. Eliot looked for redemption and history in an English village: ‘History is now and England’.
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Simpson, Juliet. "Portable Museums: Imaging and Staging the “Northern Gothic Art Tour” – Ephemera and Alterity." In Ephemeral Spectacles, Exhibition Spaces and Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720908_ch05.
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During the early nineteenth century, the voyage to the past was to become a central destination for the discerning art tourist as for artists and writers. Yet, such voyages were as much ephemeral as actual, virtual creations of burgeoning antiquities tours in print and image. This chapter explores the pivotal, yet neglected significance of Northern European Gothic ‘tours’ flourishing between Britain and the Low Countries from the 1830s–1860s. It sheds new light on trailblazing accounts by Romantic tourists, Maria Graham (Lady) Callcott, Johann David Passavant, and the Gothic revivalist, W.H. James Weale, examining their fascination with Northern medieval Gothic architectures, art, and spaces of unseen heritage, constructed via ephemeral tour experiences as complex palimpsests of memory, modernity, and its other.