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Journal articles on the topic 'Architecture, Gothic – Britain'
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1
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.
10
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).
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Atkins, Gareth. "Terry Friedman: The Eighteenth-Century Church in Britain. New Haven, CT and London: Yale University Press, 2011; pp. xvi + 790. 520 b/w + 185 colour illustrations; CD-ROM.G. A. Bremner: Imperial Gothic: Religious Architecture and High Anglican Culture in." Journal of Religious History 38, no. 4 (December 2014): 598–602. http://dx.doi.org/10.1111/1467-9809.12209.
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Sabri, Reyhan. "The genesis of hybrid architectural preservation practices in British colonial Cyprus." Architectural Research Quarterly 20, no. 3 (September 2016): 231–43. http://dx.doi.org/10.1017/s1359135516000269.
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Colonisation initiated the transfer of Western ideas about both heritage discourses and conservation understandings into the non-Western world. The process turned colonised territories into domains where developing heritage views in metropolitan countries were put into practice. Coinciding with the evolution of heritage discourses and modern architectural conservation movements in the West, the British colonial era (1878-1960) in Cyprus became a period where the importation of knowledge introduced new ways of thinking about the treatment of ancient buildings. Based on archival sources, this paper sheds light on the genesis of modern understandings of architectural conservation in Cyprus during the early colonial period (1878-1905), which established the foundations that future practice would be built on. An historical account of the early conservation activities at the key Gothic cathedral-mosques is presented, which illustrates the role of the medievalist conservation ethos imported from Britain and local considerations in the formation of modalities and techniques of intervention. It is shown that, at a time when the protection of built fabric as an amalgam of medieval and postmedieval periods was contested in Britain and Continental Europe, the political reality in Cyprus actually facilitated this approach.
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Pragnell, Hubert. "Tunnels in Arcadia: Isambard Kingdom Brunel's Portal Designs for the Great Western Railway." Architectural History 63 (2020): 143–69. http://dx.doi.org/10.1017/arh.2020.8.
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AbstractFrom the 1830s, the British landscape was transformed by the development of the steam-hauled railway system, which necessitated bridges, viaducts and tunnels. Of such structures, tunnel entrances feature little in serious studies of railway architecture. However, rich archival evidence exists relating to the designs of Isambard Kingdom Brunel for the tunnel portals on the Great Western Railway between London and Bristol, including numerous pencil and ink drawings in sketchbooks held by the Brunel Archive, University of Bristol, and watercolour elevations in the Network Rail Archive in York, as well as lithographs of the portals by John Cooke Bourne for his History and Description of the Great Western Railway (1846). Brunel's drawings, unique among nineteenth-century engineers, range from the classical style for Box and Middle Hill tunnels in Wiltshire, through the Gothic for Twerton in Somerset, to the Romanesque for Brislington on the edge of Bristol, his so-called ‘Tunnel No. 1’. In their variety and careful design, Brunel's portals represent an important part of Britain's railway and industrial architectural heritage.
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Doll, Peter. "The gothic revival god's architect pugin and the building of romantic britain Hill, Rosemary/augustus welby pugin, designer of the british houses of parliament the victorian quest for a liturgical architecture Powell, Christabel/the architecture of ralph adams cram and his office Anthony, Ethan/bertram goodhue his life and residential architecture Wyllie, Romy/sir ninian comper an introduction to his life and work with complete gazetteer Symondson, Anthony S.J. and Bucknall, Stephen Arthur." Material Religion 5, no. 2 (July 2009): 240–42. http://dx.doi.org/10.2752/174322009x12448040551963.
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Ricci, Patricia Likos. "‘Who is this Renaissance? Where did he come from?’: Englishness and the Search for an American National Style, 1850–1900." Architectural History, September 9, 2021, 1–24. http://dx.doi.org/10.1017/arh.2021.3.
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ABSTRACT The identification of the American elite with the Renaissance in the last quarter of the nineteenth century, as seen in the extended Capitol Building and National Mall in Washington DC, can be traced back to architectural, historiographical and cultural trends taking place in Britain. The writings of John Ruskin, Walter Pater and John Addington Symonds framed the debate in the United States. At first Ruskin’s antipathy towards the Renaissance was exacerbated by the Nativist Party’s opposition to Catholic immigration, but then the writings of Pater and, particularly, Symonds achieved what Wallace K. Ferguson described as ‘the thorough naturalization of Renaissancism in the English-speaking world’. Symonds’s Hegelian interpretation of the historical era as a ‘spirit of self-conscious freedom’ enabled Americans from the 1870s onwards to post-rationalise the Renaissance as a national style. Symonds dethroned the Ruskinian cult of the Gothic and celebrated Renaissance classicism and secular individualism. His image of Italian despots as ‘self-made men of commerce’ and an ‘aristocracy of genius and character’ appealed to US capitalists, while his admiration for the sumptuous palaces built by these Renaissance ‘men of power’ reinforced the evolutionary theories of the British sociologist Herbert Spencer, whose principle of ‘the survival of the fittest’ became the creed of American plutocrats as they built their own palatial houses. Finally, his frequent references to the discovery of America by Columbus came to legitimise the image of the US as the heir of Renaissance culture, as proclaimed at the World’s Columbian Exposition of 1893.
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Turner, Emily. "Medieval Romance, Antique Primitive: B.W. Mountfort’s Hemingford Church." Inquiry@Queen's Undergraduate Research Conference Proceedings, February 9, 2018. http://dx.doi.org/10.24908/iqurcp.8910.
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The Gothic Revival is arguably one of the most important and influential architectural movements before the advent of global culture in the twentieth century. Spreading throughout the British Empire in the nineteenth century, Gothic Revival architecture had the power to influence the culture of Britain’s newest and farthest colonies, particularly New Zealand, a colony that was viewed as a blank slate free for development. It is without surprise that Gothic Revival architecture became a prominent part of the young colony’s landscape in the opening decades of its development. One of the architects primarily responsible for the introduction of the Gothic style to the colony was Benjamin Woolfield Mountfort. His first design for the colony was a small church at the settlement of Hemingford in Canterbury. This modest design not only demonstrates Mountfort’s skill as an architect in his ability to adapt the complex and demanding Gothic style to a wooden church constructed with limited financial and material resources but also his ability to create a church that reflected the emerging cultural identity of the young colony. This paper will argue that, for New Zealand, the Gothic Revival and its adaptation on the islands became a symbolic style that represented the country New Zealand was to become: a younger, better England. It will also argue that Mountfort’s Hemingford Church was the ideal representation of everything the colony wished to achieved, neatly packaged in a humble architectural design.
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Chiu, Frances A. "Faulty towers: Reform, Radicalism and the Gothic Castle, 1760-1800." Romanticism on the Net, no. 44 (November 17, 2006). http://dx.doi.org/10.7202/013996ar.
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Abstract Who has not been on an amusement park ride that proceeds through a haunted house, complete with cobwebs, coffins, once opulent furnishings, and a ghost or two? It is an idea that we have encountered countless times in novels and movies alike yet one that continues to mystify us. How did the trope of the haunted Gothic castle/mansion materialize so quickly in the late eighteenth century? Although we have more or less recognized Walpole’s castle of Otranto as its prototype, we are yet unacquainted with the rapid construction of the so-called “haunted castle/mansion/house” trope, particularly between 1777 and 1800. This essay contends that far from being accidental, the foundations of this trope were heavily impacted not only by populist histories that detailed the beginnings of Britain’s stately castles, abbeys, and houses and the dark tales of their presiding tyrants, but more significantly by the simultaneous campaigns for parliamentary reform and religious toleration. I demonstrate how historians began to identify the chief features of Gothic architecture as Norman during a period in which reformers and radicals were also beginning to revive the myth of the Norman Yoke and stir up resentment against the church and aristocracy. I also show how reformers were increasingly inclined to deploy architectural metaphors in their discussions of Britain’s political institutions and establishments: just as conservatives argued for the retention of the Gothic castle, progressives argued for its destruction, regarding it in some instances as either haunted or filled with harpies (i.e., Jeremy Bentham). Finally, I analyze the means by which Jacobin and Gothic novelists adopted the Gothic castle as a criticism of Britain’s so-called “establishments” and, more interestingly, came to explore the idea of identification between villains and their dark abodes in their novels.