Journal articles: 'Architecture, Romanesque'

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Kim. "Aesthetics of Romanesque Architecture." Journal of Aesthetic Education 55, no. 1 (2021): 90. http://dx.doi.org/10.5406/jaesteduc.55.1.0090.

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Olympios, Michalis. "The Romanesque as Relic:." Journal of the Society of Architectural Historians 77, no. 1 (March 1, 2018): 10–28. http://dx.doi.org/10.1525/jsah.2018.77.1.10.

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With The Romanesque as Relic: Architecture and Institutional Memory at the Collegiate Church of Saint-Omer, Michalis Olympios contributes to ongoing discussions about the architectural visualization of institutional history practiced by medieval religious foundations in Latin Europe. This article focuses on the collegiate church of Saint-Omer (Pas-de-Calais), a rare surviving example of a building from the region of French Flanders preserving architectural fabric fromthe eleventh to the sixteenth centuries. More specifically, Olympios examines the Romanesque apsidiole in the chapel of Notre-Dame-des-Cloches and its integration into the edifice's Gothic north transept, erected in the third quarter of the fifteenth century. A close reading of the architecture, the narrative and hagiographic sources, and unpublished archival documents demonstrates that, as in many other instances from across Europe, the retention of this earlier feature reflects the secular chapter's conscious decision to showcase the antiquity and prestige of the church by providing visual “evidence” of its foundational myth.

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Singleton, Barrie. "Köln-Deutz and Romanesque Architecture." Journal of the British Archaeological Association 143, no. 1 (January 1990): 49–76. http://dx.doi.org/10.1179/jba.1990.143.1.49.

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Curran, Kathleen. "Romanesque Revival Architecture in Transnational Perspective." Historically Speaking 5, no. 2 (2003): 29–31. http://dx.doi.org/10.1353/hsp.2003.0011.

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Armi, C. Edson. "Parts and Words in Romanesque Architecture." Gesta 54, no. 2 (September 2015): 127–41. http://dx.doi.org/10.1086/681951.

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Calvo Díaz, Andrea Auxiliadora. "La arquitectura medieval y el pensamiento de Nicolás de Cusa." ACCADERE. Revista de Historia del Arte, no. 3 (2022): 87–106. http://dx.doi.org/10.25145/j.histarte.2022.03.05.

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This article aims to analyze the architectural transition from romanesque to gothic through the passage from the abbey to the cathedral. To proceed with the analysis, the thought of Nicholas of Cusa is taken into consideration in relation to the notion of number and geometry. It is important to clarify that the following work corresponds to an interdisciplinary study, for which it takes up the architecture of the romanesque and gothic in correspondence with the philosophical position of cusanus. This research is not a study of historical coincidence, but an analogical (comparative) study between the convergences of the artistic productions of the Middle Ages and the thought of the cardinal of Bresanona. For correlation purposes, the idea of the finite is analogous with the romanesque abbey and the concept of infinity with the gothic cathedral

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Calvo Díaz, Andrea Auxiliadora. "La arquitectura medieval y el pensamiento de Nicolás de Cusa." ACCADERE. Revista de Historia del Arte, no. 3 (2022): 87–106. http://dx.doi.org/10.25145/j.histarte.2022.03.05.

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This article aims to analyze the architectural transition from romanesque to gothic through the passage from the abbey to the cathedral. To proceed with the analysis, the thought of Nicholas of Cusa is taken into consideration in relation to the notion of number and geometry. It is important to clarify that the following work corresponds to an interdisciplinary study, for which it takes up the architecture of the romanesque and gothic in correspondence with the philosophical position of cusanus. This research is not a study of historical coincidence, but an analogical (comparative) study between the convergences of the artistic productions of the Middle Ages and the thought of the cardinal of Bresanona. For correlation purposes, the idea of the finite is analogous with the romanesque abbey and the concept of infinity with the gothic cathedral

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Crow, James. "Rosa Bacile and John McNeill (eds). Romanesque and the Mediterranean, Points of contact across the Latin, Greek and Islamic Worlds, c.1000- c.1250." Journal of Greek Archaeology 1 (January 1, 2016): 465–66. http://dx.doi.org/10.32028/jga.v1i.672.

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This informative and well-presented volume is the result of papers presented in Palermo in 2012 at the British Architectural Association’s second international Romanesque conference. The Romanesque is essentially a Latin, central and western European expression of art and architecture and the papers identify and question those points of contact with the established traditions of Byzantium and Islam. Few places are better placed to see this interaction than Sicily and this is reflected in two of the main papers on the Cappella Palatina, Roger of Sicily’s new Norman palace in Palermo (it should be noted that the papers vary considerably in length). The first by Johns concerns Moslem Fatimid artists of the painted ceiling and how they were influenced by the Byzantine and Romanesque images they encountered in Palermo.

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Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.

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Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic

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Thurlby, Malcolm. "The Romanesque Elevations of Tewkesbury and Pershore." Journal of the Society of Architectural Historians 44, no. 1 (March 1, 1985): 5–17. http://dx.doi.org/10.2307/990057.

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The later medieval remodeling of the stylistically related abbey churches of Tewkesbury and Pershore has presented the architectural historian with the problem of ascertaining the nature of the original Romanesque design. One school of thought favors a four-story elevation for choir and transepts which would have entailed a wood roof; the other, while not agreeing on the number of stories, suggests the reconstruction of high barrel vaults. Detailed analysis of both fabrics in the context of West Country architecture after the Conquest and select French Romanesque structures will demonstrate the original existence of a three-story scheme with barrel vaults over the main spans.

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Guo, Chun Yan, Da Ke Wei, and Chun Ying Guo. "Study on Relation between Architectural Form and Structure." Advanced Materials Research 374-377 (October 2011): 2114–17. http://dx.doi.org/10.4028/www.scientific.net/amr.374-377.2114.

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Multiple longitudinal unified times are spread out laterally by this paper through analysis on ancient Greek temples, ancient Romanesque arched architecture, Gothic churches, domed architecture and other western classical architectural forms in various historical periods, and five types of relations between architectural forms and structures are found out through summarization in combination with contemporary technological characteristics. The conclusion is that harmonic coexistence of technology and art can be truly achieved through architectural form creation on basis of respect to the laws of structural science and through active cooperation between architects and structural engineers.

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Malheiro, M. "Mediterranean traditions in northern portuguese romanesque architecture." International Journal of Heritage Architecture: Studies, Repairs and Maintence 1, no. 3 (January 15, 2017): 430–40. http://dx.doi.org/10.2495/ha-v1-n3-430-440.

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Carragáin, Tomás Ó. "Regional Variation in Irish Pre-Romanesque Architecture." Antiquaries Journal 85 (September 2005): 23–56. http://dx.doi.org/10.1017/s0003581500074369.

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This paper demonstrates that the five Irish early medieval church types have markedly differential distributions. In particular, most of those with antae are in the east, while most of those without antae are in the west. It is shown that this regionalism cannot be interpreted as a deliberate strategy of material differentiation on the part of particular politico-cultural groups. A reconsideration of the chronology suggests that many of the antae-less churches are relatively late, and so the division is primarily indicative of differences in the period and rate of mortared church construction, something that is influenced by both environmental and cultural factors. It is suggested that differences in church dimensions between east and west are indicative of subtle economic differences; and a range of archaeological evidence is used to sketch other economic and cultural variations. These patterns highlight the importance of exploring regionality, even when studying relatively cohesive entities such as early medieval Ireland.

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Moss, Rachel. "Appropriating the Past: Romanesque Spolia in Seventeenth-Century Ireland." Architectural History 51 (2008): 63–86. http://dx.doi.org/10.1017/s0066622x00003026.

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Although a relatively young subject, the historiography of Irish architecture has had a remarkably significant impact on the manner in which particular styles have been interpreted and valued. Since the genesis of the topic in the mid-eighteenth century, specific styles of architecture have been inextricably connected with the political history of the country, and each has been associated with the political and religious affiliations of its patrons. From the mid-nineteenth century, the focus on identifying an Irish ‘national’ architecture became particularly strong, with Early Christian and Romanesque architecture firmly believed to imbue ‘the spirit of native genius’, while Gothic, viewed as the introduction of the Anglo-Norman invader, was seen as marking the end of ‘Irish’ art. Inevitably, with such a strong motivation behind them, early texts were keen to find structures that were untouched by the hand of the colonizer as exemplars of the ‘national architecture’. Scholars, including the pioneering George Petrie (1790–1866) in works such as his 1845 study of the round towers of Ireland, believed that through historical research he and others were the first to understand the ‘true value’ of these buildings and that any former interest in them had been purely in their destruction, rather than in their restoration or reconstruction. It was believed that such examples of early medieval architecture and sculpture as had survived had done so despite, rather than because of, the efforts of former ages, and, although often in ruins, the remains could be interpreted purely in terms of the date of their original, medieval, creation.Informed by such studies, from the mid-nineteenth century a movement grew to preserve and consolidate a number of threatened Romanesque buildings with the guiding philosophy of preserving the monuments as close to their original ‘pre-colonial’ form as possible. Consolidation of the ruins of the Nuns’ Church at Clonmacnoise (Co. Offaly) is traditionally amongst the earliest and most celebrated of these endeavours, undertaken by the Kilkenny and Southeast Ireland Archaeological Society in the 1860s, setting a precedent for both the type of monument and method of preservation that was to become the focus of activity from the 1870s, and thus for the first State initiatives in architectural conservation.

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Boca, Anamaria, Tudor Panfil Toader, and Călin Mircea. "Romanesque Historical Monuments Reconstruction by Using Original Materials and Recycling of Those that Have Lost Their Historical Value." Proceedings 63, no. 1 (December 10, 2020): 7. http://dx.doi.org/10.3390/proceedings2020063007.

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The aim of this paper is to present the way of reconstruction of historical monuments of Romanesque architecture by reusing and highlighting the original component materials, related to the subassemblies of the construction, respectively the recycling of those components that have lost their historical value. The Romanesque buildings are part of Romanian national cultural heritage and have been through controversial historical periods, and therefore have undergone important modifications or structural losses. The reconstruction or rehabilitation of the Romanesque historical buildings is a way of sustainable development by adapting the buildings to the new conditions of use.

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Brownlee, David B. ""Neugriechisch/Néo-Grec:" The German Vocabulary of French Romantic Architecture." Journal of the Society of Architectural Historians 50, no. 1 (March 1, 1991): 18–21. http://dx.doi.org/10.2307/990543.

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The enigmatic term néo-grec, attached to the architecture and architectural thinking of mid-nineteenth-century France, seems to have been born in Germany. There, in the first years of the century, neugriechisch was used to describe the Byzantine-influenced Romanesque architecture of the Rhineland. Ludovic Vitet, soon to be named Inspecteur général des Monuments historiques, learned about this terminology in 1829, when he toured Germany and met with Sulpiz Boisserée, the antiquarian who had invented it. Vitet translated the term and took it home, along with the romantic view of history that it embodied.

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Fernández García, Noelia. "El regionalismo en la arquitectura religiosa de posguerra en Asturias: el proyecto neoprerrománico para la reconstrucción de la iglesia parroquial de La Felguera, Langreo." Liño 23, no. 23 (June 30, 2017): 115. http://dx.doi.org/10.17811/li.23.2017.115-124.

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RESUMEN:1Tras el establecimiento de la dictadura en la España de la posguerra, la arquitectura se vio supeditada a sus intereses políticos e ideológicos, hecho que unido al aislamiento del país desembocó en la recuperación de las formas constructivas anteriores y, por ende, de los historicismos. El proceso de reconstrucción de la arquitectura religiosa estuvo marcado, en gran medida, por la línea regionalista o casticista, motivo por el que, en el caso del Principado de Asturias, destaca la recuperación del prerrománico asturiano. El primer proyecto para la reconstrucción de la iglesia parroquial de Santa Eulalia de Turiellos se presenta como el ejemplo más patente del uso del neo-prerrománico para estas arquitecturas, a pesar de no haber llegado a materializarse.PALABRAS CLAVE:Franquismo, reconstrucción, Langreo, La Felguera, José Ramón del Valle Lecue, neoprerrománicoABSTRACT:After the establishment of Franco’s dictatorship in Spain, architecture was strongly controlled by the political and ideological state interests. This fact, joined to the international isolation of the country, led to the recovery of historical styles. Religious architecture reconstruction process was defined, mostly, by regionalisms and this is the reason why asturian pre-romanesque style was recovered in the Princedown of Asturias. The first project made for the reconstruction of Santa Eulalia de Turiellos parish church is a great example of the use given to pre-romanesque style in this architectures, although it wasn’t built finally.KEYWORDS:Franco’s dictatorship, reconstruction, Langreo, La Felguera, José Ramón del Valle Lecue, neopre-romanesque

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Djamali, Morteza, and Nicolas Faucherre. "Sasanian architecture as viewed by the 19th century French architect Pascal-Xavier Coste." DABIR 7, no. 1 (November 30, 2020): 91–100. http://dx.doi.org/10.1163/29497833-00701007.

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The 19th century French architect Pascal-Xavier Coste was one of the first European artists to recognize Sasanian architecture as a distinct and significant architectural style in Late Antiquity. He considered this style to be parallel to Byzantine and Romanesque architecture in the Eastern and Western Roman Empire, respectively. Sasanian architecture, according to Coste, belonged to a period of ‘decadence of the arts’ following the fall of the Roman Empire, during which small construction materials replaced large masonry blocks. Despite this general ‘decadence’, Coste attributed several architectural inventions to Sasanians and described their buildings as precursors to Arabic (Islamic) architecture which, in turn, played a fundamental role in the shaping of Gothic architecture. He saw Sasanian architecture as being characterized by the invention of ovoidal arches, domes, and use of small stones. The Palace of Ardashir in Firuzabad, the Khosrow Palace in Ctesiphon, and the Sarvestan monuments near Shiraz display the whole array of these architectural features according to Coste.

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Joshi, Ar Minu, and Ar Manali Deshmukh. "Quality of space in Romanesque and Gothic Architecture." International Journal of Engineering Research 7, special2 (2018): 160. http://dx.doi.org/10.5958/2319-6890.2018.00047.8.

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Coghlan, H. Cecil, and Leslie Coghlan. "Cardiac Architecture: Gothic Versus Romanesque. A Cardiologist’s View." Seminars in Thoracic and Cardiovascular Surgery 13, no. 4 (October 2001): 417–30. http://dx.doi.org/10.1053/stcs.2001.29964.

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Hoey, Lawrence R., and Malcolm Thurlby. "A Survey of Romanesque Vaulting in Great Britain and Ireland." Antiquaries Journal 84 (September 2004): 117–84. http://dx.doi.org/10.1017/s0003581500045820.

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This paper examines the use of vaults in ecclesiastical and secular architecture in Great Britain and Ireland from 1066 to around nyo. We commence with an investigation of the distribution of vaults in various types of buildings. Local workshop traditions are explored and aspects of architectural iconography are considered. The gazetteer provides full references to one-word place names in the text, along with descriptions of the vaults and bibliographical references.

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Burgetová, Eva, Kristýna Michalová, and Marco Violo. "Contribution to Solving the Damp Masonry of the Romanesque Church." Key Engineering Materials 776 (August 2018): 167–76. http://dx.doi.org/10.4028/www.scientific.net/kem.776.167.

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The paper deals with damp investigation of the St Giles Church in Milevsko Monastery which is an important example of the Romanesque religious architecture. Non-invasive rehabilitation measure, designed by authors and based on detailed damp investigation and analysis, gives support natural moisture movement in structure and respects outstanding importance of this unique Romanesque monument. Protection of building against water and moisture belongs to the most important measures in ensuring the service life and serviceability of historical buildings.

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Fernie, Eric. "Design and Construction in Romanesque Architecture: First Romanesque Architecture and the Pointed Arch in Burgundy and Northern Italy. C. Edson Armi." Speculum 81, no. 1 (January 2006): 140–41. http://dx.doi.org/10.1017/s0038713400019412.

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Thurlby, Malcolm. "The Former Romanesque High Vault in the Presbytery of Hereford Cathedral." Journal of the Society of Architectural Historians 47, no. 2 (June 1, 1988): 185–89. http://dx.doi.org/10.2307/990329.

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In his article on "Hereford Cathedral" published in the Archaeological Journal in 1877, Sir George Gilbert Scott suggested that the Romanesque presbytery was originally covered with a high groin vault on the basis of the suitability of the broad pilasters on the piers for supporting transverse arches of such a vault. While Scott's case for a high vault has been generally accepted, it has not been seriously tested through a detailed examination of the fabric. This note presents new evidence in the masonry above the eastern crossing arch in support of a Romanesque high vault, considers the manner of its construction in relation to other vaults in the West Country School of Romanesque architecture, and examines the case for its being of groined or ribbed design.

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Freitas, Eduardo Pacheco. "O desenvolvimento da arquitetura gótica a partir da filosofia escolástica." Nuntius Antiquus 9, no. 2 (December 31, 2013): 201–20. http://dx.doi.org/10.17851/1983-3636.9.2.201-220.

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This paper aims to explore the onset and peak of the development of Gothic architecture, religious art and architecture eminently urban, between the twelfth and thirteenth centuries in the medieval West, in a socio-religious Catholic hegemony. The message sent to the faithful through the Gothic architecture, replacing Romanesque, indicates in this case a major change in mindset, since we consider the importance of semiotics in art, architecture and urban space.

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Kraljić, John P. "Predromanička arhitektura u Hrvatskoj - Pre-Romanesque Architecture in Croatia." Journal of Croatian Studies 36 (1995): 292–94. http://dx.doi.org/10.5840/jcroatstud1995-9636-3721.

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Armi, C. Edson. "Report on the Destruction of Romanesque Architecture in Burgundy." Journal of the Society of Architectural Historians 55, no. 3 (September 1996): 300–327. http://dx.doi.org/10.2307/991150.

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Folli, Luisa, and Roberto Bugini. "Masonries and stone materials of Romanesque architecture (Northern Italy)." International Journal of Masonry Research and Innovation 1, no. 1 (2020): 1. http://dx.doi.org/10.1504/ijmri.2020.10029902.

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Bugini, Roberto, and Luisa Folli. "Masonries and stone materials of Romanesque architecture (Northern Italy)." International Journal of Masonry Research and Innovation 6, no. 1 (2021): 45. http://dx.doi.org/10.1504/ijmri.2021.112068.

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Vescovi, Michele Luigi. "Romanesque Architecture: the First Style of the European Age." Journal of the British Archaeological Association 170, no. 1 (January 2017): 207–10. http://dx.doi.org/10.1080/00681288.2017.1366724.

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Breese, Lauren Wood. "Early Normandy and the emergence of Norman Romanesque architecture." Journal of Medieval History 14, no. 3 (January 1988): 203–16. http://dx.doi.org/10.1016/0304-4181(88)90003-6.

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Perreaudin, Philippe. "Cité de l’architecture et du patrimoine: a library dedicated to contemporary architecture in the heart of Paris." Art Libraries Journal 33, no. 4 (2008): 5–10. http://dx.doi.org/10.1017/s0307472200015546.

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Located in the heart of the French capital, between the Eiffel Tower and the Champs-Elysées, the Cité de l’architecture et du patrimoine opened its doors in September 2007. This new cultural institution offers its varied visitors, from specialists to the simply curious, a vast reference library specialising in modern and contemporary architecture. Unique in Europe because of the nature of its holdings and its accessibility, this new library is also an architectural adventure, mixing contemporary volumes and reproductions of Romanesque paintings.

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Nicolai, Bernd, and Klaus Rheidt. "New research on the history of the construction of the cathedral of Santiago de Compostela." Ad limina 1 (July 25, 2010): 55–81. http://dx.doi.org/10.61890/adlimina/1.2010/11.

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An interdisciplinary project by the BTU (Brandenburgische Technische Universität) Cottbus (Germany) and the University of Bern (Switzerland) is analysing the construction of the Romanesque cathedral of Santiago de Compostela. The in-depth study of the construction through an accurate planimetric survey of the walls and a complete study of the documentation concerning the sculpture has led to knowledge of several changes in the architecture and the sculptural programme due to substantial modifications in the initial project. This article uncovers several changes previous to the consecration in 1211, especially in the crypt, the Pórtico de la Gloria and the western gallery. Likewise further results of a project to reconstruct the primitive form of the medieval cathedral and subsequent are also anticipated. This project also considers the initial project and the various different architectural concepts on which the subsequent remodelling was based, and analyses the various different stages of construction in relation to the typological development of Romanesque churches of pilgrimage.

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Maxwell, Robert. "Pilgrimage and the Dynamics of Urbanism Reconsidered: Faubourg Architecture in Romanesque Aquitaine." Architectural History 53 (2010): 41–76. http://dx.doi.org/10.1017/s0066622x00003865.

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Since the late nineteenth century, scholars have considered pilgrimage a dynamic catalyst that influenced a range of cultural practices, not least architecture. The charismatic stewardship of such influential scholars as Arthur Kingsley Porter, Kenneth John Conant, Emile Mâle and Elie Lambert helped propel the study of ‘pilgrimage architecture’ to a leading field of study, and a handful of churches — notably St-Sernin in Toulouse, St-Martin in Tours, St-Martial in Limoges, Ste-Foy in Conques and the cathedral at Santiago de Compostela — achieved status as paradigmatic monuments. At the same time, the subject was also for a long while a source of heated debate fuelled by nationalist interests, occasionally lapsing even into ad hominem squabbles. The matter has in recent decades generated calmer discussion, including new perspectives introduced by studies of other complementary cultural phenomena. Urban and economic historians, in particular, have looked to the role of pilgrimage in relation to urban growth and the rise of commercial markets. This scholarship has contributed to re-evaluations among art historians and has shed greater light, for example, on the predatory fervour with which certain bishops, cathedral chapters and abbots enticed pilgrims to destinations like Chartres, Santiago de Compostela or Cluny, just as the infusion of interdisciplinary perspectives has helped architectural historians reassess so-called pilgrimage architecture. After all, not all churches of that type were on the pilgrimage roads, nor do all churches on those roads reflect the Toulousain-Compostelan model. The relative importance of the paradigmatic five churches has been called into question.

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Gaber, Tammy. "In Pursuit of “Islamic Art and Architecture”." American Journal of Islam and Society 26, no. 2 (April 1, 2009): 102–9. http://dx.doi.org/10.35632/ajis.v26i2.1410.

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Books Reviewed: Richard Yeomans. The Art and Architecture of IslamicCairo. United Kingdom: Garnet Publishing, 2006; Doris Behrens-Aboseif.Cairo of the Mamluks: A History of the Architecture and Its Culture. UnitedKingdom: I.B. Tauris, 2007. GeorgeMichell. The Majesty ofMughalDecoration:The Art and Architecture of Islamic India. New York: Thames andHudson, 2007.Many people take it for granted that the blanket term Islamic art and architectureis sufficient to convey the vast production carried out in the name ofIslam; however, they often have a limited vision of what this term actuallyentails. Islam’s time span (fourteen centuries and counting) and geography(historically ranging from Spain to China) simply means that the art andarchitecture produced in its name deserves a more detailed and accountablepresentation of fact. In other words, it would be unthinkable for scholars touse a term like Christian art and architecture instead of such specific termsas Byzantine, Romanesque, and Gothic, each of which relates to a specifictime and place. Thus, the vocabulary of understanding the production of artand architecture in Islam’s name requires the use and understanding of clearterms and deserves specific publication and study ...

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Hoey, Lawrence R. "Pier Form and Vertical Wall Articulation in English Romanesque Architecture." Journal of the Society of Architectural Historians 48, no. 3 (September 1989): 258–83. http://dx.doi.org/10.2307/990431.

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Gorazd-Dziuban, Paulina. "Sacred Romanesque Architecture of Knights Hospitaller in the Polish Lands." Acta FF 10, no. 2-3 (2018): 35–52. http://dx.doi.org/10.24132/actaff.2018.10.2-3.2.

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Trusov, O. A. "First monument of stone architecture in Belarus, created in the Romanesque building tradition." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 3 (August 5, 2021): 293–302. http://dx.doi.org/10.29235/2524-2369-2021-66-3-293-302.

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The article for the ﬁrst time proposed a new version of the origin of masters who were invited to build the Minsk temple. The article says that the masters could be invited from Germany (Saxony), and not from Poland, as previously thought.In 1949–1951 the archaeologist Vasil Tarasenka found the ruins of an unﬁnished temple on the territory of Minsk Castle (later this monument was studied by E. Zagarulsky, G. Shtykhaŭ and A. Miadzvedzeŭ). The foundation and lower parts of the walls of the temple are made of stone and are squared with stone tiles of a rectangular shape on a mortar. The masonry technique is Romanesque, characteristic of Western European architecture.The main controversy is the time of construction of the temple. Some researchers believe that this is the second half of the XI century, others believe that the ﬁrst Minsk appanage prince Gleb began the construction at the beginning of the XII century.Based on Romanesque construction methods, it is believed that Polish craftsmen built the temple. The author for the ﬁrst time expresses and justiﬁes the German (Saxon) origin of the builders of the temple in Minsk.

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Waszak, Przemysław. "Inkluzje spraw polityczno-społecznych i światopoglądowych w badaniach z zakresu historii sztuki średniowiecznej. Studia przypadku." Świat Idei i Polityki 15, no. 1 (December 31, 2016): 477–91. http://dx.doi.org/10.15804/siip201624.

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Medieval art frequently had political functions. After depicting the scope of political aspects and an example of political thoughts in Ottonian illuminated manuscripts there is an analysis of perspectives on medieval art. For example, point of view at Romanesque architecture can be marked in terms of outlook typical for a particular period. All the more important is the large-scale recent research on Romanesque architecture in Poland. There are attempts at demythologization of art and attempts to free the approach to art from ideology. Two different examples of well-known Gothic equestrian statues were discussed. Approaches to both sculptures and reception of them became politicized. The aim of discussions in this article was to point the political aspects in approach to works of art and in analyses of them. One of the conclusions is that the changing within the space of time political factor should be in many cases taken into consideration. In addition to that, the works of art should always be treated first of all as aesthetic, artistic objects.

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Bogdanski, Candice. "A “North Sea School of Architecture?”: Nidaros Cathedral's Romanesque Transepts and North Sea Medieval Architecture." Journal of the North Atlantic 2013, sp4 (October 1, 2013): 77. http://dx.doi.org/10.3721/037.004.sp401.

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Bellone, T., F. Fiermonte, and L. Mussio. "THE COMMON EVOLUTION OF GEOMETRY AND ARCHITECTURE FROM A GEODETIC POINT OF VIEW." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 16, 2017): 623–30. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-623-2017.

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Throughout history the link between geometry and architecture has been strong and while architects have used mathematics to construct their buildings, geometry has always been the essential tool allowing them to choose spatial shapes which are aesthetically appropriate. Sometimes it is geometry which drives architectural choices, but at other times it is architectural innovation which facilitates the emergence of new ideas in geometry. Among the best known types of geometry (Euclidean, projective, analytical, Topology, descriptive, fractal,…) those most frequently employed in architectural design are: &ndash; Euclidean Geometry &ndash; Projective Geometry &ndash; The non-Euclidean geometries. Entire architectural periods are linked to specific types of geometry. Euclidean geometry, for example, was the basis for architectural styles from Antiquity through to the Romanesque period. Perspective and Projective geometry, for their part, were important from the Gothic period through the Renaissance and into the Baroque and Neo-classical eras, while non-Euclidean geometries characterize modern architecture.

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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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Kristiadi, Adimas. "STUDY OF THEORY, METHOD, APPLICATION OF GOTHIC CHURCH ARCHITECTURE." ARSITEKTURA 16, no. 2 (October 31, 2018): 165. http://dx.doi.org/10.20961/arst.v16i2.20998.

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The architecture of Gothic church is the outcome from creation process of knowledge by human in 12th – 15th Century which originating from France, which one the evolution from Romanesque church architecture (10th – 13th Century). The word of “evolution” is being a keyword and be a reason of Gothic church, to change characters from Romanesque church architecture are monastic buildings (not large), heavy in appearance, simple in construction to be a larger and finer, much details and symbols, construction and ornament is advancing and improving, there is an effort to enter natural lighting. There is competition in 12th – 15th Century about bigger and magnificent building of church in Europe. The method is literature studies with analytical descriptions. The results are: 1) The basic theory of evolution is dignity, Gothic church architecture is built with the intention of giving honor of the highest to God. The concepts are verticalism, transparent, religious symbolism. The methods is following the concepts that are heighten (heightening structure), mitigate (lightening structure), brighten (natural lighting), symbolize (enrich symbols). The application is realized with: floor plan as cross, pointed arch, ribbed vault, flying buttress, pinnacles, flamboyant decoration, large windows filled with rich stained glass.

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Hilje, Emil. "Combinations of romanesque and gothic forms in the architecture of Zadar." Hortus Artium Medievalium 2 (January 1996): 65–76. http://dx.doi.org/10.1484/j.ham.2.305084.

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Harris, Roland B. "RECONSTRUCTING THE ROMANESQUE CLOISTER OF NORWICH CATHEDRAL." Antiquaries Journal 99 (September 2019): 133–59. http://dx.doi.org/10.1017/s0003581519000118.

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Works to the south side of the Gothic cloister at Norwich Cathedral in 1900 produced a series of finely sculpted double-capitals, which have long been identified as deriving from the Romanesque predecessor that was progressively demolished and replaced in 1297–1430. Additional discoveries in 1900 included twelfth-century voussoirs and jamb stones, which probably came from one of the larger doorways – perhaps to the chapter house – that opened off the cloister. These fragments have attracted considerable interest since 1900, almost entirely focused on art historical analysis of the subjects, style and date of the historiated double-capitals. Discovery of further fragments from the Romanesque cloister during works to the easternmost bay of the south walk (Bay 15) in 2018, however, allows us to understand more of its architecture. Although lacking the impressiveness of the earlier finds, these newly revealed sculpted stones include voussoirs and a shaft from the cloister arcades, and allow reconstruction of the overall form of the twelfth-century cloister. Moreover, the discovery of the use of calc-sinter – a faux marble sourced from the Eifel aqueduct – for the shafts of the arcades reveals that the Romanesque cloister had a hitherto entirely unsuspected lavishness.

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Waszak, Przemysław. "Maski z kościoła w Inowrocławiu. Znaczenie płaskorzeźby romańskiej oraz jej miejsce w historii sztuki." Sztuka i Kultura 6 (December 18, 2023): 9–51. http://dx.doi.org/10.12775/szik.2022.001.

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The last twenty years have seen intensified research into Romanesque architecture n Poland. This paper addresses the issue of Romanesque sculpture and presents it by means of describing several projecting reliefs preserved in the Romanesque, partially reconstructed, church dedicated to the Name of the Blessed Virgin Mary, a symbol of Inowrocław. The church is important for the local community. Many publications on Romanesque masks and representations have been published since the 19th century, also recently. It is worth noticing that the opinions of researchers in the fields of history and history of art are inconsistent. This text addresses the ensemble of Inowrocław sculptures analysed from a contemporary research and methodological perspective in respect of the history of medieval art, as such an approach allows for complementing the state of research. Artistic analogies, aesthetic sources, and the practice of ornamenting the Houses of God with stone masks have been presented, and new interpretations of iconography, form, and meaning have been discussed. Formal issues concerning artistic geography, style, significance, meaning, and technique have been considered and compared. Besides, extensive reference has been made to the interpretation of the law of the frame. Another reference has been made with regard to the issue of the cultural meaning that was later provided to these popular artistic objects in Polish art history. A stylistic genesis and the closest formal analogies have been indicated. The starting point for the considerations presented herein was the notion of sites of memory.

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Fehér, Krisztina. "Tas-de-charge – An Essential Part of Gothic Vault." Periodica Polytechnica Architecture 52, no. 1 (April 21, 2021): 21–31. http://dx.doi.org/10.3311/ppar.16889.

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Gothic architecture can be viewed from several perspectives, including stylistic aspects, architectural theory, and structural analysis.As Gothic architecture is a skeletal construction, it is essential to achieve an equilibrium with the multiple loads and forces. Medieval master masons' architectural knowledge was firmly based on empirical learning, which stimulated the dynamic development of structural innovations.This paper emphasises and describes a particular type of vault springer, one of the most complicated and sensitive parts of Gothic construction. Known as tas-de-charge, it became especially characteristic of high Gothic architecture. According to its principle, the springer's lower courses contain the merged vault nerves and are carved from one single stone block in each course. The beds of these courses are not radial as those of the average voussoirs, but horizontal. Without the concept of tas-de-charge, the development of late Gothic vaults could not be imaginable. This particular solution made possible the creation of elegantly narrow imposts supporting the vault ribs, the double arch and the formerets. So far, tas-de-charge has not been a focus of interest in the historiography of Hungarian medieval architecture; however, it appears that it was commonly applied in our late Romanesque and early Gothic monuments.

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Weisz, Attila, and Zsolt Kovács. "Medieval stone carvings from the Castle of Borosjenő (Ineu, Arad County, Romania)." Acta Historiae Artium 63, no. 1 (April 26, 2023): 9–34. http://dx.doi.org/10.1556/170.2022.00002.

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The castle of Borosjenő (Ineu, Romania), which is largely Renaissance in form, also displays important architectural phases from before and after this period. During the on-site art historical research of 2016 and 2019 it was an especially important task removing numerous Romanesque, pre-1200 carvings in secondary use as building material. The (majority of) carvings we have identified most likely originated in the monastery of Dénesmonostora (Dienesmonostora), which once stood near Borosjenõ. Probably by the end of the fourteenth century, when it had disappeared from the written sources, and certainly by the sixteenth century, the monastery had been abandoned, and its remains have since disappeared. Proof of the high artistic value of these carvings was the capital depicting a siren, removed during the reconstruction of the castle in the 1870s. The owner of the castle at that time donated it to the Hungarian National Museum in Budapest, where today it is a part of the permanent collection. Some of the newly-founded capitals and other decorative architectural elements have very rare analogies in the Hungarian Romanesque architecture, but show artistic connections with the Alsace region (e.g. Sainte foy church in Sélestat). Several other medieval fragments can be dated to a period later than the twelfth century. The paper contains also a catalogue of about thirty-eight carved stone-fragments.

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TURPIN, JOHN. "Visual Culture and Catholicism in the Irish Free State, 1922–1949." Journal of Ecclesiastical History 57, no. 1 (January 2006): 55–77. http://dx.doi.org/10.1017/s0022046904003185.

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In the newly independent Irish Free State, a triumphalist Catholicism was embodied visually in mass-produced imagery and revivalist architecture. The Academy of Christian Art was set up in 1929 to regenerate Catholic art and architecture, but it failed to address the challenge of Modernism. A debate between eclectic and modern form was most acute in architecture, where the Hiberno-Romanesque and the neo-Classical were favoured by lay and cleric alike. Stained glass was the one form where Modernism was influential. The culmination of populist Catholicism and its visual representation was the Eucharistic Congress of 1932 with its temporary public altars and massive spectacle: a manifestation of Irish national identity.

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Streit, Jessica Renee. "Penitence and Crusade in the Assumption Chapel of the Real Monasterio de Las Huelgas, Burgos." Medieval Encounters 26, no. 6 (February 11, 2021): 578–606. http://dx.doi.org/10.1163/15700674-12340089.

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Abstract This study aims to interpret the visual qualities of the Assumption Chapel, located in the Cistercian monastery of Santa Maria La Real de Las Huelgas, Burgos. Rejecting the “mudejar” paradigm often used to explain the chapel’s connections to Andalusi architecture, the article instead considers its relationships to a group of twelfth- and thirteenth-century domed churches in Iberia and the French Pyrenees, as well as to Las Huelgas’s adjacent, late-Romanesque cloister. In so doing, it situates the Assumption Chapel in a broader context of monuments related to penitence and crusade in the Holy Land and Iberia. It also considers the chapel’s form and function in the light of Las Huelgas’s ritual topography. Most broadly, this study shows how seemingly incongruent visual languages—in this case Romanesque and Andalusi—can comprise a coherent program of imagery.

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Journal articles on the topic 'Architecture, Romanesque'

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