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Classen, Albrecht. "The Cambridge Companion to the Literature of the Crusades, ed. Anthony Bale. Cambridge: Cambridge University Press, 2019, xvii, 281 pp." Mediaevistik 32, no. 1 (January 1, 2020): 393–94. http://dx.doi.org/10.3726/med.2019.01.80.
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No other event in the entire Middle Ages has stirred as much excitement, interest, intrigue, fear, frustration, and religious enthusiasm as the crusades (1096–1291). Medievalists do not need to be reminded of that fact since medieval literature, the arts, music, religion, and countless chronicle accounts are filled with references and allusions to these religious-military endeavors to regain the Holy Land from Muslim control. But this volume, well edited by Anthony Bale, obviously appeals mostly to student and general readers and alerts them to the enormous impact which the crusades really had on medieval imagination and the subsequent world of writing. Other volumes might also consider medieval architecture or music in light of the crusades, but again, there is already much work published in that respect.
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Pellecchia, Linda. "The Patron's Role in the Production of Architecture: Bartolomeo Scala and the Scala Palace." Renaissance Quarterly 42, no. 2 (1989): 258–91. http://dx.doi.org/10.2307/2861627.
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Architectural patronage in the late Quattrocento was a way of demonstrating status. In spite of the republican and unaristocratic rhetoric espoused by the Florentine ruling class, powerful families, like the Medici or Strozzi, sought to impress their compatriots with conspicuous displays of wealth. In the course of the fifteenth century, the attitude towards the manifestation of riches passed from a medieval and Christian contempt to a distinct appreciation of magnificence as a virtue and duty of the rich. This need to impress is nowhere more apparent than in the patronage of architecture—especially palace building.
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Murdoch, Brian. "Defining and Defending the Middle Ages with C. S. Lewis." Humanities 9, no. 2 (June 18, 2020): 51. http://dx.doi.org/10.3390/h9020051.
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The scholarly writings of C. S. Lewis (1898–1963) have both inspired the study of the Middle Ages and confirmed the relevance to the humanities that medieval literary texts can have for the present. He was aware that the straitjacket implied by periodisation can blind us to the universal values presented in medieval literature. Qualitative assumptions made about the (usually undefined) Middle Ages include an alienating remoteness, and also a general ignorance, especially of science and technology. Lewis drew attention to the knowledge of astronomy, for example, and pointed out that medieval technical skills in architecture, agriculture and medicine are important for us to be aware about. Three medieval works illustrate this universality with respect to technical skills (the Völundarkviða); identity and the self (the Hildebrandslied); and the popular love-song (the courtly love-lyric). Lewis cautioned against pejorative terms like ‘Dark Ages’, noted problems of perspective in assessing all pre-modern literature, and showed that earlier works have a continuing value and relevance.
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Fernie, E. C. "Architecture and Ideology in Early Medieval Spain.Jerrilynn D. Dodds." Speculum 68, no. 2 (April 1993): 495–96. http://dx.doi.org/10.2307/2864573.
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Zulfiqar, Zain. "TRACING THE ORIGIN OF JHAROKHA WINDOW USED IN INDIAN SUBCONTINENT." Journal of Islamic Architecture 5, no. 2 (December 11, 2018): 70–76. http://dx.doi.org/10.18860/jia.v5i2.4763.
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The Jharokha is a distinctive feature of the architecture of Indian Sub-continent of medieval times. The study of the built heritage features is a way to discover and know about the old culture and society. A Jharokha is an oriel window projecting from upper storeys of a building used in medieval Indian architecture. Jharokha window projecting from the wall face of the building in an upper storey overlooking a street, market or any other open space. This study aims to trace the origin of traditional Jharokha window used in Indian subcontinent. In order to do it, the available data and literature have been carefully reviewed and studied to draw inferences. This study shows that the trend of a protruding window similar to Jharokhas seems to be present in different regions with their regional architectural flavor. The Indian architecture has influenced by various empires, and a lot of external influences came to this region because of the trade route. The external and regional influences have been studied to investigate the Jharokha window origin and form. The 3rd century BC balconies in Mauriyan Empire seems to amalgamate with the windows of Islamic architecture and developed finally into a local window form in the shape of Jharokha. The style and features of Jharokha vary concerning the local material and techniques available. The different era and different regions adopted this window form according to their own needs and aesthetics.
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Ward, Susan Leibacher. "Anjou: Medieval Art, Architecture and Archaeology. John McNeill , Daniel Prigent." Speculum 80, no. 3 (July 2005): 931–33. http://dx.doi.org/10.1017/s0038713400008605.
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Sevcenko, Nancy Patterson. "Medieval Architecture in Eastern Europe. Heinrich L. Nickel , Alisa Jaffa." Speculum 60, no. 2 (April 1985): 443–45. http://dx.doi.org/10.2307/2846509.
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Williams, Tara. "Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music ed. by C. Stephen Jaeger." Arthuriana 23, no. 3 (2013): 116–18. http://dx.doi.org/10.1353/art.2013.0040.
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Sebregondi, Giulia Ceriani. "“Ars sine scientia” or rather “Ars sine geometria”? The debate of 1400 on the elevation of Milan cathedral." Resourceedings 2, no. 3 (November 12, 2019): 65. http://dx.doi.org/10.21625/resourceedings.v2i3.627.
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The construction of Milan Cathedral from 1386 was one of the most important episodes in the history of Italian and European architecture because of the uniqueness of the building itself — the largest Gothic church ever constructed in Italy — and because of the presence of some of the most authoritative architects of the late Fourteenth and Fifteenth centuries in Europe (Lombard, French, German).The documentation about the discussions on how to build the Duomo in the late Trecento and early Quattrocento, especially on the structural choices to be made and the different Lombard and Northern building-site practices, made famous to English readers in a celebrated article by James Ackerman, is extraordinarily rich and extensive, permitting considerations on the relationship between medieval architectural ideals and an actual project.The paper focuses on the famous discussions of 1400, in part a re-run of those of 1392. It will be argued that famous criticism by the French expert Jean Mignot of Milanese architects involving the terms ars and scientia could have a very different meaning from the one generally accepted in the literature. Consequently, it will result that Mignot wanted to return to the original project proposed by Gabriele Stornaloco, which embodied the desired correspondence between the sacred architecture and the perfect God’s world.All of which, could be of some interest to medievalists in general, and to those concerned with architectural theory and with the relationship between Gothic architecture and literature in particular.
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Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy." AJS Review 37, no. 2 (November 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.
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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.
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Araguas, Philippe. "Peter Reed, Church architecture in early medieval Spain c. 700-c. 1100." Cahiers de civilisation médiévale, no. 239 (July 1, 2017): 318–19. http://dx.doi.org/10.4000/ccm.5920.
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Coppack, Glyn. "The Architecture of Medieval Britain: A Social History.Colin Platt , Anthony Kersting." Speculum 68, no. 2 (April 1993): 553–54. http://dx.doi.org/10.2307/2864610.
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Alvrtsyan, Haykazun. "Perception Of The Spiritual Symbol In Armenian Medieval Philosophy And Theology." WISDOM 13, no. 2 (December 26, 2019): 136–45. http://dx.doi.org/10.24234/wisdom.v13i2.274.
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The article presents the perceptions and viewpoints of the Armenian medieval literary men concerning the spiritual symbol. Being anchored in the pan-Christian perception of the symbol, it laid the basis of the symbolic-allegorical thinking of the Armenian spiritual culture.
In the history of the Armenian medieval literature and art studies, the analysis of symbols, in essence, the discovery of the epiphany in them, which is the fundamental meaning of the culture, have often been neglected.
Today there is a necessity to analyse the spiritual culture in a new way to dig out its ideological – world outlook basis conditioned by the artistic and the festival and ritual functions of the different types of art. Such a research also enables us to comprehend the aesthetic, artistic and doctrinal - philosophical merits of the spiritual culture (literature, miniature, architecture, etc.) created throughout the centuries and still unknown to us in a new way, to review the system of criteria and ideological-methodological basis of the evaluation, which bears a great significance for the complete and precise perception and evaluation of the Armenian art and literature of the Middle Ages.
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Murray, Stephen. "Medieval Architecture, Medieval Learning: Builders and Masters in the Age of Romanesque and Gothic.Charles M. Radding , William W. Clark." Speculum 69, no. 4 (October 1994): 1253–56. http://dx.doi.org/10.2307/2865690.
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Brown-Grant, Rosalind, and David Cowling. "Building the Text: Architecture as Metaphor in Late Medieval and Early Modern France." Modern Language Review 96, no. 3 (July 2001): 811. http://dx.doi.org/10.2307/3736767.
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Sebregondi, Giulia Ceriani, and Richard Schofield. "First Principles: Gabriele Stornaloco and Milan Cathedral." Architectural History 59 (2016): 63–122. http://dx.doi.org/10.1017/arh.2016.3.
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AbstractThe construction from 1386 of Milan Cathedral, the largest Gothic church ever constructed in Italy, was one of the most important episodes in the history of Italian and European architecture. The documentation of the lateTrecentoand earlyQuattrocentodiscussions over how to build the Cathedral is extraordinarily rich and extensive, and permits a consideration of the project from many points of view including the relationship between medieval architectural theory and an actual project. At the same time, any enquiry has to contend with the copious modern literature and the conclusions that have been reached hitherto – often erroneously in our view – about many of the most salient points. We thus re-examine published and unpublished documentation and the existing literature, analysing especially the format of the building's elevation, the proposals by Gabriele Stornaloco and Jean Mignot, and the drawings attributed to Antonio di Vincenzo. We also reconsider the notions ofarsandscientiawhich have previously been misinterpreted in discussions of the cathedral documentation.
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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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Gardner, Julian. "The Bishop's Palace: Architecture and Authority in Medieval Italy. Maureen C. Miller." Speculum 77, no. 4 (October 2002): 1363–64. http://dx.doi.org/10.2307/3301289.
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Mishurouskaya-Teurtrie, Oksana. "Features of the Development of the Neo-Moorish Style on the Example of Russia and France." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 70–90. http://dx.doi.org/10.36340/2071-6818-2020-16-2-70-90.
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A comparative analysis of the formation and development of the Neo-Moorish style in the architecture and interiors of France and Russia in the 19th century is presented in the article. How did the interest in studying the architecture of medieval Moors form in these countries? What are the main differences and similarities in the development of the Neo-Moorish style in Russia and France? In the 19th century, the first manifestations of the oriental theme appeared to a large extent owing to the work of writers and artists. The mysterious world of the East became a rich source of new plots, palette, exotic customs, and architectural forms. In parallel with literature and painting, the oriental theme was developing in architecture and interior design, and it would later flourish in copying the Moorish style. Among the monuments of medieval Moors, the Alhambra Palace, built in the Emirate of Granada in the period from the 13th to the 15th centuries, became an architectural model for European architects. The French world exhibitions, on which architectural and historical pavilions were exhibited, were a significant source of the proliferation of the Neo-Moorish style in Europe. Russian architects such as Paul Notbek and Carl Rachau also made a significant contribution to the study of the Alhambra. Recognized both in Russia and in Europe, the results of their work allowed St. Petersburg architects to have original samples of Moorish architecture and to develop this style in many St. Petersburg interiors with a high degree of skill of their work during the peak of historicism development. In the second half of the 19th century, the Moorish style spread throughout Europe and became an international historical oriental style. In each country, borrowings showed their own characteristics and developmental features due to cultural, political, and geographical influence. In France, the Moorish style was actively borrowed not only for interior decoration but also in the construction of public and commercial buildings such as casinos, cafes, thermal stations. In Russia, the Moorish style was used mainly in palaces and mansions of the highest nobility and the bourgeoisie. In France, the Mauresque style took on various forms and had different sources, whereas in Russia it referred mainly to the historical examples of the Alhambra. Thus, France and Russia participated in the pan-European trend of the Neo-Moorish style; however, each country has developed its own variation of this oriental style of the period of historicism.
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Milwright, Marcus. "Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam By Margaret S. Graves." Journal of Islamic Studies 31, no. 2 (March 11, 2020): 268–69. http://dx.doi.org/10.1093/jis/etaa010.
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Hunt, Lucy-Anne. "Medieval Cyprus: Studies in Art, Architecture and History in Memory of Doula Mouriki." Byzantine and Modern Greek Studies 26, no. 1 (January 2002): 367–68. http://dx.doi.org/10.1179/030701302806932349.
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McGee, J. David. "The "Early Vaults" of Saint-Etienne at Beauvais." Journal of the Society of Architectural Historians 45, no. 1 (March 1, 1986): 20–31. http://dx.doi.org/10.2307/990126.
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The church of Saint-Etienne (Saint-Vaast) in Beauvais was much discussed in the early literature on medieval architecture, particularly in regard to the vaults over the initial bays of the nave aisles. The vaults have long been considered among the earliest rib vaults in northern France, although their exact date had never been determined. The challenge to date these vaults precisely became critical in the late 1950s when local excavations under the present Late Gothic choir uncovered evidence that the original choir may have been rib-vaulted as well. This paper analyzes these unpublished excavations and their implications for the extant vaults of the nave aisles; it also provides a credible dating for the choir and these vaults. In the absence of constructional documents, the dating of Saint-Etienne must depend on stylistic comparisons correlated with the dates of major historical incidents in Beauvais that would have influenced the construction of the church. All of these factors taken together seem to indicate strongly the existence of a fully rib-vaulted choir at Saint-Etienne and of a unified campaign of construction encompassing this choir, the transept, and the initial bays of the nave aisles. Most significantly, a date as early as the 1070s is suggested for the vaults of the choir, thus making them the earliest known rib vaults in medieval architecture and forcing a re-examination of the structural aspect of medieval style in the 11th century.
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Peno, Vesna, and Marija Obradovic. "On the chanting space and hymns that were sung in it. Searching for chanting-architectural connections in the middle ages." Muzikologija, no. 23 (2017): 145–73. http://dx.doi.org/10.2298/muz1723145p.
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The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. A reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. The scarcity of written historical sources, and especially musical ones, made it particularly difficult to define the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual - Greek-Slavic neumatic manuscripts, mentioning both the names of the first famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration flows that led to the Byzantinization of Serbian culture in that period, showed that after the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. The architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in the consistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. The existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a significant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized.
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Hoey, Lawrence R. "Medieval Architecture in Western Europe: From A.D. 300 to 1500.Robert G. Calkins." Speculum 74, no. 3 (July 1999): 710–12. http://dx.doi.org/10.2307/2886776.
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Brown, Cynthia J. "Building the Text: Architecture as Metaphor in Late Medieval and Early Modern France.David Cowling." Speculum 75, no. 1 (January 2000): 166–68. http://dx.doi.org/10.2307/2887439.
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M, Kayalvizhy. "Versatile of Chekkizhar." Indian Journal of Tamil 1, no. 2 (May 30, 2020): 1–9. http://dx.doi.org/10.34256/ijot2021.
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Chekkizhar was a great poet in the medieval period of Tamil Nadu. He wrote his master piece work Periya Puranam which has considered as a greatest work in Tamil language. In this work the various skills of Chekkizhar has been exposed. He shows his mastery in the field of literature, fine art, medicine, law and history. As a chief minister of Chola empire he had various skills in the field politics, literature, art and architecture. He shows many of his skills in his work and for that his work is considered as a classical ever green master piece. Even though he wrote only one book it is enough to reveal his skills in the field of art. For that only he was compared with great scholars like Thiruvalluvar, Elangovadigal, and Kambar.
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Ousterhout, Robert. "Secular Medieval Architecture in the Balkans, 1300-1500, and Its Preservation. Slobodan Ćurčić , Evangelia Hadjitryphonos." Speculum 77, no. 3 (July 2002): 902–5. http://dx.doi.org/10.2307/3301140.
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Algaze, Ariela. "The artistic program of the Baptistery of San Giovanni in Dante’s liturgical imagination." Forum Italicum: A Journal of Italian Studies 55, no. 2 (June 18, 2021): 399–427. http://dx.doi.org/10.1177/00145858211022577.
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This paper 1 re-examines the relationship between Dante’s Commedia and the Baptistery of San Giovanni from an art historical perspective. Drawing on –– and then departing from –– earlier work by Dante scholars who described figurative echoes between the Commedia and the Baptistery’s mosaic program, this article reconceptualizes the relationship between the two as not only figurative, but also liturgical. Using the texts of two extant medieval Florentine libri ordinales to reconstruct the liturgy of Holy Saturday, I document the ways in which the decorative mosaic imagery of the Baptistery is reflected in and reinforced by the multisensory performance of the baptismal rite. I argue further that Dante ekphrastically reimagines this rite in cantos 1–2 and 29–33 of Purgatorio. By exploring Dante’s liturgical imagination vis-à-vis the multivalent space of the Baptistery, this paper articulates and illuminates the profound interconnections that can exist between medieval art, architecture, liturgy, and poetry.
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ARMSTRONG, A. "Review. Building the Text: Architecture as Metaphor in Late Medieval and Early Modern France. Cowling, David." French Studies 53, no. 2 (April 1, 1999): 192. http://dx.doi.org/10.1093/fs/53.2.192.
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Abdouli, Hafed. "L'inscription de Qasr al-Hammâm : nouveau déchiffrement et nouvelle lecture de son contexte archéo-historique." Libyan Studies 44 (2013): 73–84. http://dx.doi.org/10.1017/s0263718900009663.
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AbstractThis article is a reassessment of an inscription dated to 473 H. / AD 1080–81 from Qasr al-Hammâm, in the hinterland of Lepcis Magna. The inscription is contextualised within the historical literature of the period and a new reading is proposed; following a careful analysis of the architecture it is suggested that the original plan of the qasr is of medieval date rather than earlier. The inscription appears to corroborate the reliability of Ibn Khaldoūn regarding the settlement of the āl-Sālim tribe in the vicinity of Lepcis: the late eleventh century ‘Émir Sālim’ referred to by Khaldoūn is in all probability the same man as the emir mentioned in the inscription.
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Debiais, Vincent. "Collectif, Sacred Scripture/Sacred Space: the Interlacing of Real Places and Conceptual Spaces in Medieval Art and Architecture." Cahiers de civilisation médiévale, no. 250-251 (September 1, 2020): 190–92. http://dx.doi.org/10.4000/ccm.5100.
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Lubas-Bartoszyńska, Regina. "Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka." Przestrzenie Teorii, no. 31 (December 6, 2019): 373–86. http://dx.doi.org/10.14746/pt.2019.31.20.
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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.
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Clarissa ; Rahadhian P. Herwindo, Clarissa. "APPLICATION OF MAHAYANA AND VAJRAYANA CONCEPT, AND MANASARA BOOK ON MATARAM SAILENDRA BUDDHIST TEMPLE IN TERMS OF FIGURE, ORNAMENT, MASS AND SPATIAL ORDER." Riset Arsitektur (RISA) 5, no. 01 (December 10, 2020): 1–17. http://dx.doi.org/10.26593/risa.v5i01.4414.1-17.
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Abstract- Classical Indian architectural principles and traditions has been collected and preserved in a vast body of literature collectively known as the Vāstuśāstra. This branch of classical Indian knowledge is a realization of Hindu ideals in terms of architectural edifice, which significantly influence the religious architecture of the Indian cultural sphere which extends to the medieval Island of Java. Indian influence can be seen in Hindu temples of Java during the Śailendra’s dynasty even though some of it’s architectural elements can’t be found in vāstuśāstra. However, in contrast of Hindu’s vāstuśāstra, Buddhism has no architecture guideline and free standing structure as of sources that are used as it’s guide are questioned, especially Buddhist Temples in Central Java during ancient Mataram’s Dynasty of Śailendra. Although Buddha’s teachings and some parts of vāstuśāstra are known to play a role in the construction of Buddhist Temples in Indonesia, how far they are applied is difficult to observe, giving the absence of special studies and free standing temple references to build Buddhist Temple, and it’s interviewees are gone. By finding information about architecture’s theory of Buddha’s teachings that entered Indonesia and identify as well as compare the relevant parts of vāstuśāstra, then the architectural elements that are part of the concept of Buddha’s teachings and vāstuśāstra can be seen.In this research, descriptive method and qualitative approach are used by the author. The author focused in terms of figure and ornament as well as mass and spatial order. This research collects and compares parts of vāstuśāstra that are relevant as well as Buddha’s teachings concept to compare them with datas from the twelve samples of Buddhist Temples in Central Java during ancient Mataram’s Dynasty of Śailendra. Comparison by the author shows a number of results. Firstly, the concept of mahāyāna, vajrayāna, and mānasāra book applied in terms of figure, ornament, mass, and spatial order are seen in Central Java’s Buddhist Temples. However, various architectural details of these elements have marked differences from what is instructed in the Vāstuśāstra. The distinctive Javanese Kala-Makara for example, does not conform the mānasāra book. Secondly, the application of mānasāra book concepts in Central Java’s Buddhist Temples prove the influence of Hinduism which was affected by the harmonious relationship between Buddhism and Hinduism during that time. Lastly, the first free-standing Buddhist Temples is 5th Batujaya Temple/Blandongan Temple (2-3 CE and 7-10 CE) because the Mahabodhi Temple in India was built as we see today during the 6th restoration phase (8 CE).
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Wharton, Annabel. "Medieval Cyprus: Studies in Art, Architecture, and History in Memory of Doula Mouriki. Nancy Patterson Ševčenko , Christopher Moss." Speculum 77, no. 1 (January 2002): 244–47. http://dx.doi.org/10.2307/2903863.
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Bork, Robert. "Plan B and the Geometry of Façade Design at Strasbourg Cathedral, 1250-1350." Journal of the Society of Architectural Historians 64, no. 4 (December 1, 2005): 442–73. http://dx.doi.org/10.2307/25068200.
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A remarkable series of medieval drawings in Strasbourg documents the emergence of the local cathedral workshop as a major center of Gothic design around 1300. The so-called Plans A and B, in particular, figure prominently in the literature on Gothic architecture, but the formalistic methods usually brought to bear on the drawings leave many questions unresolved. This article uses geometrical analysis to show how the proportions of both drawings resulted from the compass-based Gothic design process. This discussion reveals a striking difference between the essentially planar Plan A and the more three-dimensionally conceived Plan B, in which the octagonal plan of the intended spire played a crucial generating role. Geometrical analysis of the complete façade block, meanwhile, shows that Plans A and B continued to influence the façade builders in the fourteenth century, despite the introduction of a new ground plan shortly before the beginning of construction in 1277.
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Niewöhner, Philipp. "„Byzantinisch“ oder „germanisch“? Zur Ambivalenz wilhelminischer Mosaiken am Beispiel der Erlöserkirche in Bad Homburg." Byzantinische Zeitschrift 113, no. 3 (August 1, 2020): 905–22. http://dx.doi.org/10.1515/bz-2020-0039.
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AbstractThe Erlöserkirche at Bad Homburg was built between 1903 and 1908 at the instigation of Kaiser Wilhelm II. It combines a neo-Romanesque exterior with Norman-Sicilian mosaics inside. Both were „Germanic“ to the emperor, and the church embodied his all encompassing claim to the tradition of the medieval Holy Roman Empire of the German Nation. Alternatively, the contemporary Byzantinist Ernst Gerland pointed to a Byzantine origin of the Norman-Sicilian models (and thus subtly contradicted the „pan-Germanic“ myth). This „Byzantine“ reading has prevailed ever since, but does not stand up to scrutiny. It only serves to obscure the „pan-Germanic“ concept of the church. This contribution restores the „Germanic“ understanding and makes the point that the latter must be acknowledged in order to make proper sense of the church’s art and architecture, but also in order to face (rather than to downplay and conveniently forget) the racist-chauvinist character of German imperialism.
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Lavezzo, Kathy. "The Minster and the Privy: Rereading The Prioress's Tale." PMLA/Publications of the Modern Language Association of America 126, no. 2 (March 2011): 363–82. http://dx.doi.org/10.1632/pmla.2011.126.2.363.
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Introduced at the start of The Prioress's Tale but then dropped as an overt topic, usury nevertheless informs that anti-Semitic text. This essay situates Chaucer's narrative in the complex and contradictory history of medieval lending as a theory and a practice. I stress the architectural ironies of usury in the tale and in medieval English history. The tale demonizes Jewish usurers by associating them with the most abject of built environments, the latrine, and celebrates Christians through their links to the exalted space of the church. But, in a move that reflects the flow of capital throughout Christian society, the tale ultimately undermines the opposition of church and pit. Analyzed not as fixed entities but as contingent, fluid spaces joined through the usurious infrastructure of the tale, the minster and the privy suggest a materialist critique of efforts to conceive of a purely religious space.
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Camiz, Alessandro. "Morphology of Roman, Islamic and Medieval Seismic Design: Pointed Arch and Ablaq." Key Engineering Materials 628 (August 2014): 9–14. http://dx.doi.org/10.4028/www.scientific.net/kem.628.9.
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In ancient written sources earthquakes were mostly interpreted as a divine punishment for human sins, only few authors instead interpreted the seismic event as a phenomenon independent from human actions. Considering the built architectures as material documents, several examples can be found, suggesting that there was an empyrical knowledge of the consequences of earthquakes on buildings. Modern literature on the topic, mostly within engineering studies, lacking an historical approach, assumes that in ancient times science ignored the physical nature of seismic events and consequently declares that architects couldn’t consider dynamics in their projects. The close examination of some examples shows clearly that Roman, Islamic and Medieval architects had an empirical knowledge of dynamics, probably based on post-seismic reconstruction. This knowledge developed through history, so it is possible to outline a history of seismic design way before the Lisbon earthquake (1775), considered by many authors as the beginning of the history of seismic design.
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Vikas, Kumar. "BANARAS: A PARALLEL SPACE OF THE COSMIC UNIVERSE AND ITS CONTRIBUTION TO ARCHITECTURE." International Journal of Advanced Research 8, no. 10 (October 31, 2020): 936–43. http://dx.doi.org/10.21474/ijar01/11920.
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From its prominent position on the river Ganges , Banaras has borne testimony to a flourishing civilization and the many socio-political turmoil associated with a thriving territory from the ancient kingdoms of Aryans with its mention in Ramayana to the combats of medieval rulers of Mauryan and Gupta dynasty and the never ceasing instability during the dominance of Muslim and British regime.[1] The historical unrest has vanished and the city with its inhabitants of “grin-and-bear-it” attitude endured every phase of this turmoil and adapted to it and commemorated every such change in their stories and culture. Every paradigm shift gave Banaras its own unique Art and Culture which it (Banaras) has assimilated and made it its very own signature be it Food, Fabric, Jewellery, Lifestyle, Mode of communication, Weapons, Architecture, Mythology, Tales, Culture, Cult , Art and much more The citys divine image , its elaborate traditional rituals , its prodigious display of the hand-in-hand existence of art and the mundane activities of life. All give it a peculiar feel, though the city has tried to keep pace with time, it has modernized or commercialised but what has stayed with time is what satiates the quench of a mystic or an explorer of Art and Culture . This write up here is an attempt to bring to words the connection between what the oldest civilizations or cults have left to enrich the Art & culture or other-way-round , how by exploring the existing we are able to get a glimpse into the glorious past that has passed and enriched India .This manuscript is a study and construal of Varanasi from the perspective of one who is close enough to the hindu tradition to see its religious significance and also close enough to art , design and academics to know the understanding that Arts and Varanasi might pose. The journey towards the finalization of this script started with mapping the city and searching for the temples mentioned in various texts and my work is based on two primary sources : the city itself with its multitude of temples , its seasons of pilgrimage , the Akharas , voluminous literature on Banaras and its pandas and lay interpreters.
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Gatch, Milton McC. "Miracles in architectural settings: Christ Church, Canterbury and St Clement's, Sandwich in the Old English Vision of Leofric." Anglo-Saxon England 22 (December 1993): 227–52. http://dx.doi.org/10.1017/s0263675100004397.
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The ‘Old English Vision of Leofric, Earl of Mercia’ was first printed in a philological journal in 1908. It contains extremely interesting information about the arrangement and furnishings of two major Anglo-Saxon churches, Christ Church, Canterbury, and St Clement's Church, Sandwich. The Visio Leofrici is the only testimony, written or (apparently) archaeological, to the existence of St Clement's before the Conquest; it confirms and deepens aspects of our exclusively documentary knowledge of the Anglo-Saxon cathedral at Canterbury, which was destroyed by fire in 1067. Thus, it is particularly unfortunate that the Vision of Leofric, which has had but slight attention from students of language, literature or religious visions, has attracted even less notice from archaeologists, art historians and students of medieval liturgy.
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Dressler, Rachel. "Jessica Barker, Stone Fidelity: Marriage and Emotion in Medieval Tomb Sculpture. (Boydell Studies in Medieval Art and Architecture.) Woodbridge, UK: Boydell, 2020. Pp. xiv, 336; many color and black-and-white figures. $90. ISBN: 978-1-7832-7271-6." Speculum 96, no. 4 (October 1, 2021): 1140–42. http://dx.doi.org/10.1086/716471.
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Neskovic, Jovan. "Portals of the Church of Saint Nicholas in Bari." Zograf, no. 29 (2002): 21–34. http://dx.doi.org/10.2298/zog0329021n.
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The Church of Saint Nicolas in Bari, in southern Italy, is known as a church of great renown and importance, in view of the fact that it was built to receive the remains of Saint Nicholas, which are still kept in the church?s crypt, in the part of the building from where its construction began, at the end of the XI century. This church played a highly significant role in the creation of the specific, Romanic style of architecture in this region, so several important buildings were constructed using the basic typological and stylistic characteristics of the Church of Saint Nicholas. It was built as a triple-naved basilica with a transept and a dome designed at the intersection of the main nave and the transept, and the specific rendition of the altar section, with side towers and a flat facade wall that encloses the inner apse was applied in a similar manner on several churches in Apulia. Its great renown in the Christian world is well-known, reflected both in the strong connection between the churches in Bari and Kotor, and through the donations by the medieval Serbian rulers, among which is the large icon of Saint Nicholas, a gift from Stefan Decanski, which is still preserved in the church?s crypt. The importance of this and the other churches in Apulia was undoubtedly one of the factors that have led to discussion in literature about the question of their possible influence on architectonic creation in related artistic fields, including the monuments of the Raska stylistic group, particularly in connection with the architectural and sculptural plastics on portals because of the similarity of some of the shapes and motives in the stonemasonry...
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Mazurczak, Urszula. "Panorama Konstantynopola w Liber chronicarum Hartmanna Schedla (1493). Miasto idealne – memoria chrześcijaństwa." Vox Patrum 70 (December 12, 2018): 499–525. http://dx.doi.org/10.31743/vp.3219.
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The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel comprises the complex historical knowledge about numerous woodcuts which present views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractual architecture, the existing places and the unrealistic (non-existent) places. The results show that there is a common detail in all the views – the defensive wall round each of the described cities. However, in reality, it may not have existed in some cities during the lifetime of the authors of the woodcuts. As for some further details: behind the walls we can see feudal castles on the hills shown as strongholds. Within the defensive walls there are numerous buildings with many towers typical for the Middle Ages and true-to-life in certain ways of building the cities. Schematically drawn buildings surrounded by the ring of defensive walls indicate that the author used certain patterns based on the previously created panoramic views. This article is an attempt of making analogical comparisons of the cities in medieval painting. The Author of the article presents Roman mosaics and the miniature painting e.g. the ones created in the scriptorium in Reichenau. Since the beginning of 14th century Italian painters such as: Duccio di Buoninsegna, Giotto di Bondone, Simone Martini and Ambrogio Lorenzetti painted parts of the cities or the entire monumental panoramas in various compositions and with various meanings. One defining rule in this painting concerned the definitions of the cities given by Saint Isidore of Seville, based on the rules which he knew from the antique tradition. These are: urbs – the cities full of architecture and buildings but uninhabited or civita – the city, the living space of the human life, build-up space, engaged according to the law, kind of work and social hierarchy. The tradition of both ways of describing the city is rooted in Italy. This article indicates the particular meaning of Italian painting in distributing the image of the city – as the votive offering. The research conducted by Chiara Frugoni and others indicated the meaning of the city images in the painting of various forms of panegyrics created in high praise of cities, known as laude (Lat.). We can find the examples of them rooted in the Roman tradition of mosaics, e.g. in San Apollinare Nuovo in Ravenna. They present both palatium and civitas. The medieval Italian painting, especially the panel painting, presents the city structure models which are uninhabited and deprived of any signs of everyday life. The models of cities – urbs, are presented as votive offerings devoted to their patron saints, especially to Virgin Mary. The city shaped as oval or sinusoidal rings surrounded by the defensive walls resembled a container filled with buildings. Only few of them reflected the existing cities and could mainly be identified thanks to the inscriptions. The most characteristic examples were: the fresco of Taddeo di Bartolo in Palazzo Publico in Siena, which presented the Dominican Order friar Ambrogio Sansedoni holding the model of his city – Siena, with its most recognizable building - the Cathedral dedicated to the Assumption of Mary. The same painter, referred to as the master painter of the views of the cities as the votive offerings, painted the Saint Antilla with the model of Montepulciano in the painting from 1401 for the Cathedral devoted to the Assumption of Mary in Montepulciano. In the painting made by T. di Bartolo, the bishop of the city of Gimignano, Saint Gimignano, presents the city in the shape of a round lens surrounded by defence walls with numerous church towers and the feudal headquarters characteristic for the city. His dummer of the city is pyramidally-structured, the hills are mounted on the steep slopes reflecting the analogy to the topography of the city. We can also find the texts of songs, laude (Lat.) and panegyrics created in honour of the cities and their rulers, e.g. the texts in honour of Milan, Bonvesin for La Riva, known in Europe at that time. The city – Arcadia (utopia) in the modern style. Hartman Schedel, as a bibliophile and a scholar, knew the texts of medieval writers and Italian art but, as an ambitious humanist, he could not disregard the latest, contemporary trends of Renaissance which were coming from Nuremberg and from Italian cities. The views of Arcadia – the utopian city, were rapidly developing, as they were of great importance for the rich recipient in the beginning of the modern era overwhelmed by the early capitalism. It was then when the two opposites were combined – the shepherd and the knight, the Greek Arcadia with the medieval city. The reception of Virgil’s Arcadia in the medieval literature and art was being developed again in the elite circles at the end of 15th century. The cultural meaning of the historical loci, the Greek places of the ancient history and the memory of Christianity constituted the essence of historicism in the Renaissance at the courts of the Comnenos and of the Palaiologos dynasty, which inspired the Renaissance of the Latin culture circle. The pastoral idleness concept came from Venice where Virgil’s books were published in print in 1470, the books of Ovid: Fasti and Metamorphoses were published in 1497 and Sannazaro’s Arcadia was published in 1502, previously distributed in his handwriting since 1480. Literature topics presented the historical works as memoria, both ancient and Christian, composed into the images. The city maps drawn by Hartmann Schedel, the doctor and humanist from Nurnberg, refer to the medieval images of urbs, the woodcuts with the cities, known to the author from the Italian painting of the greatest masters of the Trecenta period. As a humanist he knew the literature of the Renaissance of Florence and Venice with the Arcadian themes of both the Greek and the Roman tradition. The view of Constantinople in the context of the contemporary political situation, is presented in a series of monuments of architecture, with columns and defensive walls, which reminded of the history of the city from its greatest time of Constantine the Great, Justinian I and the Comnenus dynasty. Schedel’s work of art is the sum of the knowledge written down or painted. It is also the result of the experiments of new technology. It is possible that Schedel was inspired by the hymns, laude, written by Psellos in honour of Constantinople in his elaborate ecphrases as the panegyrics for the rulers of the Greek dynasty – the Macedonians. Already in that time, the Greek ideal of beauty was reborn, both in literature and in fine arts. The illustrated History of the World presented in Schedel’s woodcuts is given to the recipients who are educated and to those who are anonymous, in the spirit of the new anthropology. It results from the nature of the woodcut reproduction, that is from the way of copying the same images. The artist must have strived to gain the recipients for his works as the woodcuts were created both in Latin and in German. The collected views were supposed to transfer historical, biblical and mythological knowledge in the new way of communication.
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Coates-Stephens, Robert. "The Walls and Aqueducts of Rome in the Early Middle Ages, A.D. 500–1000." Journal of Roman Studies 88 (November 1998): 166–78. http://dx.doi.org/10.2307/300810.
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Our knowledge of the city of Rome after the fall of the Western Empire is largely determined by its position as the seat of the Papacy. Historical studies are based principally upon the Liber Pontificalis and the writings of the popes themselves, while architectural and archaeological research has concentrated on the city's numerous churches, many of which for the period A.D. 500–850 are remarkably well-preserved. The best known modern syntheses in English from each field are probably Peter Llewellyn's Rome in the Dark Ages (1971) and Richard Krautheimer's Rome. Profile of a City (1980). If we look beyond the purely ecclesiastical, however, we find very little Archaeological studies of Rome's urban infrastructure—walls, roads, bridges, aqueducts, sewers, housing—tend to stop, at the latest, with the Gothic Wars of the mid-sixth century. The lack of research, and therefore lack of data, have in turn been interpreted as a sign that early medieval Rome was a city bereft of an artificial watersupply, and of the resources necessary to maintain such structures as the Aurelianic Walls. Studies of medieval urbanism have been affected by this dearth of evidence proposing, for example, settlement models with the population of the city crowded into the Tiber bend in order to obtain water.
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Shepard, Mary B. "Jennifer M. Feltman and Sarah Thompson, eds., The Long Lives of Medieval Art and Architecture. (AVISTA Studies in the History of Medieval Technology, Science and Art 12.) London and New York: Routledge, 2019. Pp. xx, 322; 17 color plates and many black-and-white figures. $160. ISBN: 978-0-8153-9673-4. Table of contents available online at https://www.routledge.com/The-Long-Lives-of-Medieval-Art-and-Architecture-1st-Edition/Feltman-Thompson/p/book/9780815396734." Speculum 96, no. 1 (January 1, 2021): 213–15. http://dx.doi.org/10.1086/712195.
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Zavada, Viktor. "INFLUENCE OF BAROQUE STYLE ON THE ARCHITECTURE OF WOODEN TEMPLES OF POHORYNYA." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 84–94. http://dx.doi.org/10.32347/2077-3455.2020.58.84-94.
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In the complex process of formation, flourishing and decline of various artistic and stylistic trends in the centuries-old history of national architecture, a special place belongs to the Baroque, which has left a noticeable mark in most historical regions of Ukraine. Despite more than a century of research into this unique phenomenon, there are still many gaps in the identification of its impact on the architecture of various localities and historical types of buildings. These include, for example, the absence in the literature of any mention of Pohorynya - a kind of historical area in northwestern Ukraine, which was formed in the early Middle Ages on the basis of several separate principalities along the ancient Pohoryn path. The significance of this unique union of medieval city-states grows even more in view of the fact that in subsequent historical periods it also played an important role in the trade, economic and cultural life of Ukraine and the surrounding areas of Belarus. Nevertheless, any purposeful studies of the peculiar building culture of Pohorin and, in particular, the identification of its inherent manifestations of the Baroque style are still missing. Based on this, as well as the special role of traditional temple building in ensuring the historical integrity and originality of national architecture, the study of this phenomenon should be limited to a comparative analysis of wooden temples of the eighteenth century in the region. The main difficulty of such research is the significant influence on the formation of building art. The burning of artistic and stylistic ideas and compositional techniques of the European Renaissance, which inevitably affected the architecture of the most common in the traditional cult construction of this region Volyn type of wooden temples. Nevertheless, it was in the architecture of these Renaissance buildings that, according to their original artistic and stylistic features, the influence of the Baroque style differed by perhaps the most consistent character and variety of forms. Particularly significant in this regard was the gradual formation on the basis of older temples with one centrally located top, much more complex in its compositional and structural solution of three-story buildings of the Volyn type. No less important in strengthening the Baroque features in the architecture of wooden temples Pohorynya was also the arrangement of additional folds in the structure of their chopped tops, which combined with increasing their height and increasing vertical proportions gave these buildings inherent in this style harmony and plastic expressiveness. And, finally, the last, perhaps the brightest, touch of the studied artistic and stylistic tendencies in the development of the Pohorin school of domestic temple building became characteristic of the monuments of the XVIII century baroque orientation of all, without exception, elements of interior and exterior decor from the complex shape and location of window openings to exquisite carved iconostasis. Summarizing the observations presented in the article, it can be noted that the appeal to the historical Pohorin in the context of studying the features of the Baroque style in the architecture of different regions of Ukraine allows to obtain a much broader and more holistic picture of the successive evolution of this extraordinary phenomenon.
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Marina, Areli. "From the Myth to the Margins: The Patriarch’s Piazza at San Pietro di Castello in Venice*." Renaissance Quarterly 64, no. 2 (2011): 353–429. http://dx.doi.org/10.1086/661795.
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AbstractThis study analyzes the campo of San Pietro di Castello from its mythologized origins to the Renaissance, paying particular attention to the architectural and political forces that shaped it. Although San Pietro was Venice’s cathedral from the ninth to the nineteenth centuries, civic leaders marginalized the site, which incarnated the contentious relationship between the Roman Church and the Venetian republic. The essay places the campo at the center of inquiry because the episcopal complex’s significance is best discerned through diachronic analysis of the urban landscape. The building activities of its medieval and Quattrocento patrons generated a heterogeneous campo that incorporated morphological elements from two Venetian urbanistic types: the parish campo and the monastic island. Its sixteenth-century patriarchs created a new architectural vision of the campo, contesting its slippage from the center of Venetian life and forging a distinctive ensemble that differs markedly from the better-known piazzas at San Marco and Rialto.
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Drimmer, Sonja. "Laura Slater, Art and Political Thought in Medieval England, c. 1150–1350. (Boydell Studies in Medieval Art and Architecture.) Woodbridge, UK: Boydell, 2018. Pp. xxii, 287; 10 color plates and many black-and-white figures. $99. ISBN: 978-1-7832-7333-1." Speculum 95, no. 3 (July 1, 2020): 904–6. http://dx.doi.org/10.1086/709380.
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Williams, Maggie M. "Howard Williams, Joanne Kirton, and Meggen Gondek, eds., Early Medieval Stone Monuments: Materiality, Biography, Landscape. (Boydell Studies in Medieval Art and Architecture.) Woodbridge, UK: Boydell, 2015. Pp. xiv, 279; many black-and-white figures and 4 tables. $99. ISBN: 978-1-78327-074-3. Table of contents available online at https://boydellandbrewer.com/early-medieval-stone-monuments-hb.html." Speculum 93, no. 4 (October 2018): 1270–71. http://dx.doi.org/10.1086/699745.
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Kukil, Lidiia. "Semantics of figurative and plastic solutions of Green Man mascarons in the Lviv architecture of the 19th century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 301–16. http://dx.doi.org/10.37131/2524-0943-2019-39-21.
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Background. The image of Green Man (Green Man — “the spirit of the forest”), which embodies a mythological forest deity, undoubtedly entered the city's architecture along with new Western stylistic tendencies and immediately gained popularity among the Lviv architects of that time. Mythological images, which were formed during the ancient history of mankind, have often remained topical for subsequent epochs, but it should be noted that in the 19th century these mask-images acquired exclusively a decorative function and canonicity of their depiction was altered by interpretations of the author's vision. Despite the fact that Lviv architectural decor of the 19th century is a rather studied topic, so far Lviv Green Man mascarons of the 19th century have not been the subject of a special study, which predetermines the scientific novelty of the chosen topic. Objectives. The purpose of the article is to analyze the main theories of the origin of the Green Man image in the architecture of Western Europe, to reveal its symbolic meaning, to highlight the main typological groups of green man masks in Lviv architecture of the 19th century, to reveal and analyze their figurative and plastic solutions. Methods. The article applies the general scientific methods of research: method of analysis is used in the study and systematization of scientific literature in terms of the subject of research; comparative method is used for the analysis of stylistic features of 19th century Lviv Green Man mascarons in comparison with Western European tendencies; method of synthesis is used in the development of typology of Lviv Green Man mascarons of the period in question; method of art analysis is used in the analysis of stylistic and plastic features of Green Man masks on Lviv facades of 19th century. Results. Green Man is a fiction image that combines human appearance and the flora. In the ancient world cultures, Green Man sometimes was identified as the vegetative deity of the nature. First of all, it is interpreted as a pagan spirit of forest and the symbol of nature revival. It is rather paradoxical that most depictions of this pagan symbol of nature are in the interiors and exteriors of temple architecture of medieval Europe. Pre-Christian pagan traditions were closely associated with nature. Worshipping sacred trees was intrinsic for many ancient cultures that directly influenced artistic culture of Christian Europe. Accordingly, the masks of “green men” were, perhaps, only one of the pagan symbolic images, which gained the right to exist in the space of medieval ecclesiastical architecture. A new wave of interest in Green Man's image dates back to the 19th century. The reason for its revival could be an environmental crisis, and in this respect the image of Green Man present in architecture can be regarded as the archetype of “nature guardian”, whose role is to remind people of their responsibilities to nature. During this period various Green Man mascarons, deprived of symbolism, again started to be used by architects as decorative elements of secular buildings. Undoubtedly, such popularity of the “green man” masks in Victorian architecture has influenced the use of this image in European eclecticism, from where it came to Lviv architecture. Motive of the green man has many variations, which, depending on the author's conception, can be either interpreted as naturalistic or stylized. The authors of Green Man mascarons placed great importance on specific species of plants. To a large extent their choice depended on the local flora and symbolic associations they caused. Among Lviv Green Man mascarons, one can distinguish certain common features characteristic for certain types of face reliefs of the green man. Most often the authors of Lviv mascarons portrayed Green Man's face, hair, mustache and beard turning into leaves. Particular importance was attached to the mood of this bizarre creature. A deep, pensive look and a half-open mouth convey specific facial expression reflecting a special meditative condition that forces these masks to “speak”. A wide spectrum of moods of forest deity mascarons is conveyed by means of facial expressions. Some faces are friendly and smiling, others look sad, fierce, and at times even threatening, approaching theatrical feelings and emotions, thereby turning into “leafy grotesque”. Individual masks have more in common with demons or beasts than with humans. Horny faces of the “green man”, which are close to the image of an ancient god Pan, can be referred to a separate typological group of masks. Sometimes these masks stand out with an ominous look and a wry smile that bring them closer to the image of demonic forest deity, wild spirit of forest. Less often in Lviv architecture one can see the relief heads of Green Man dressed in stylized leaf crowns or from the mouth of which plant sprouts are growing. The last type of masks usually serves as an ornamental motive in the exterior decor and is characterized by small size. On the facades of many Lviv eclectic buildings, the mascarons of the green man can be complemented with ornamental compositions of plant sprouts, flowers and fruits, garlands or fruit bundles hanging on the lace out of Green Man's mouth. Similar to European art, there are Green Man mascarons in Lviv architecture depicting a human face decorated with separate leaves or surrounded by a leaf wreath. The atypical attribute of Lviv masks of nature deity are wings. In addition to all the above-mentioned images in Lviv architecture, there are also mascarons of green lions whose symbolic significance is associated with force and power. Conclusions. Consequently, Green Man mascaron is a strange symbiosis of a human face and flora, a pagan spirit of nature, the guard of forests, embodiment of the connection between the world of plants and the world of people. Together with its mysterious roots the “Green man” also entered the facade decoration of Lviv architecture of the 19th century. Analyzing the typology of Lviv mascarons images of the 19th century, we make certain that the image of Green Man was one of the most popular in the toolkit of architects and sculptors of that time. Variation of “neo” Green Man's masks is characteristic for Lviv architecture of the late the 19th century. The authors of Lviv masks attached a great importance to the facial expressions of forest deity. Its attributes can be horns, wings, sprouts growing from the mouth of Green Man or garlands of fruits and flowers, which compositionally complement the image. The choice of plant-like forms was equally important. Performing an exclusively decorative function on the facades of Lviv buildings, this image remains a mystery up to now.