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Journal articles on the topic 'Building Art, Medieval Architecture, Medieval. Architecture in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Blair, Sheila. "A Medieval Persian Builder." Journal of the Society of Architectural Historians 45, no. 4 (1986): 389–95. http://dx.doi.org/10.2307/990209.

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Lacking many of the documentary and archival sources available to scholars of the medieval Western world, historians of Islamic architecture are forced to turn to another feature of architectural decoration to reconstruct the building tradition: the written word. A builder's signature on a set of luster tiles in the Metropolitan Museum of Art allows us to connect the set to an early-14th-century shrine complex in central Iran. Reading of another inscription on the tiles, hitherto unnoticed and containing a signature and date, allows us to reconstruct the building campaign at the site and to ev

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2

Caskey, Jill. "Steam and "Sanitas" in the Domestic Realm: Baths and Bathing in Southern Italy in the Middle Ages." Journal of the Society of Architectural Historians 58, no. 2 (1999): 170–95. http://dx.doi.org/10.2307/991483.

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This study presents five little-known bathing chambers from the region of Amalfi in southern Italy. Dating from the thirteenth century, the baths define with remarkable consistency a type of structure that has not previously been identified or considered in histories of medieval architecture in the West. The study begins with an analysis of the five bathing chambers and their specific architectural features, technological remains, and domestic contexts. The diverse antecedents of the buildings, which appear in ancient Roman, medieval Italian, Byzantine, and Islamic architecture, are explored,

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E.V., Kilimnik. "ARCHITECTURAL MONUMENTS OF THE MEDIEVAL LIVONIAN ORDER." Global problems of modernity 1, no. 9 (2020): 4–18. http://dx.doi.org/10.26787/nydha-2713-2048-2020-1-9-4-18.

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The main purpose of the presented work is a cultural and historical analysis of the evolution of the cul-tural development of medieval Livonia on the example of monuments of defense architecture. The task is to conduct an art analysis of the existing variety of architectural forms of medieval castle complexes of the 13th and 16th centuries, located in different regions of Latvia and Estonia, which have undergone expansion by the feudal Germany, Denmark and Sweden. Creation of architectural and historical clas-sification of castle forms that were in the regions of the medieval Livonian Order of

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Fehér, Krisztina, Balázs Halmos, and János Krähling. "Frigyes Schulek’s Calvinist Reformed Church in Szeged: A Particular Case of Medieval Design in Historicism." Periodica Polytechnica Architecture 48, no. 1 (2017): 28–34. http://dx.doi.org/10.3311/ppar.11135.

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Analysing the original drawings of Frigyes Schulek’s Calvinist Reformed Church in Szeged from 1882 kept in the Plan Collection and Archives of the BME Department for History of Architecture and of Monuments, its design process of geometric proportioning method can be entirely reconstructed. The result of this analysis shows that the Historicism of Schulek was not merely the replication of stylistic patterns of Gothic art but also the application of Medieval architectural principals and ideas. In the case of the Calvinist Reformed Church in Szeged, the essence of the design ‘in style’ was inspi

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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 p

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Ousterhout, Robert, and Dmitry Shvidkovsky. "Kievan Rus’." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (2021): 51–67. http://dx.doi.org/10.36340/2071-6818-2021-17-1-51-67.

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Robert Ousterhout, the author of a magnificent book “Eastern Medieval Architecture. The Building Traditions of Bizantium and Neighboring Lands”, published by Oxford University Press in 2019, the remarkable scholar and generous friend, was so kind to mention in his C. V. on the sight of Penn University (Philadelphia, USA) that he had been the Visiting professor of the Moscow architectural Institute (State Academy), as well as simulteniously of the Hebrew University in Jerusalem, but he did not say that he had been awarded the degree of professor honoris causa by the academic council of MARHI. U

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E.V., Kilimnik. "THE INTERNATIONAL FORM IN THE WORLD OF THE WORLD OF THE WEST EUROPE AND FORTIFICATION ART OF THE CRUSADERS IN THE MIDDLE EAST OF THE XIth AND XIIIth CENTURY." Global problems of modernity 1, no. 7 (2020): 4–16. http://dx.doi.org/10.26787/nydha-2713-2048-2020-1-7-4-16.

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The main purpose of the study is to conduct architectural and historical analysis of the formation of medieval feudal castles as a phenomenon of chivalrous culture of Europe and the Middle East. The task of the study is to analyze the general and special in the evolution of forms in the castle architecture of Western Europe and the Jerusalem medieval kingdom. Creation of architectural and historical typology of castle forms that existed in the regions of medieval Western Europe and the Levant. In the course of the analysis of the formation of Middle Eastern castle complexes of the 12th - 13th

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Polyakov, E. N., and T. V. Donchuk. "ARCHITECTURAL HERITAGE OF Ch.R. MACKINTOSH." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 6 (January 2, 2019): 9–32. http://dx.doi.org/10.31675/1607-1859-2018-20-6-9-32.

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The article is devoted to the most famous architectural projects of residential, public and religious buildings of Charles Rennie Mackintosh (1868–1928). It is shown that he adhered to the traditions of neo-romanticism, preferred the traditions of Celtic symbolical art, the Scottish folk architecture and the so-called baronial style which make his buildings similar to medieval castles. It is noted that in design solutions and especially organization of internal space of buildings, the architect used the most advanced construction technologies, structures and materials. The article considers si

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Neto, Maria João. "A CANOPY FROM THE PORTUGUESE MEDIEVAL MONASTERY OF BATALHA: A SINGULAR EXAMPLE OF MICRO-ARCHITECTURE IN THE CLOISTERS COLLECTION." ARTis ON, no. 9 (December 26, 2019): 181–91. http://dx.doi.org/10.37935/aion.v0i9.250.

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The MET Cloisters acquired a peculiar architectural canopy in 2016 that belonged to the main portal of the medieval monastery of Santa Maria da Vitória in the Portuguese village of Batalha. This piece, now in New York, surmounted one of the twelve statues of the Apostles. In the 19th century, during restoration works, the portal was altered from its initial dimension and many of its original sculptural elements were replaced by copies. This research note intends to trace the current location of all the original elements, in both public and private collections, as well as their path in th

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Jarošová, Markéta. "Hearstův hrad. Kalifornský sen v záři evropské umělecké tradice." Muzeum Muzejní a vlastivedná práce 57, no. 1 (2020): 25–37. http://dx.doi.org/10.37520/mmvp.2019.004.

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Hearst Castle is one of the world‘s most famous public museums. Its architect Julia Morgan built the magnificent building near San Simeon on the Pacific Coast in Central California for William Randolph Hearst between 1919–1947. Its architectural form is mostly based on the examples of the Mediterranean architecture of Spain and southern Italy. The private residence where Hearst had hosted the famous Hollywood Society became a public cultural heritage in 1957. Since then, visitors have been allowed to admire Casa Grande and other suites, furnished with an unusually rich collection of European w

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Barker, Graeme. "Regional archaeological projects." Archaeological Dialogues 3, no. 2 (1996): 160–75. http://dx.doi.org/10.1017/s138020380000074x.

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Explicitly regional projects have been a comparatively recent phenomenon in Mediterranean archaeology. Classical archaeology is by far the strongest discipline in the university, museum and antiquities services career structures within the Mediterranean countries. It has always been dominated by the ‘Great Tradition’ of classical art and architecture: even today, a university course on ‘ancient topography’ in many departments of classical archaeology will usually deal predominantly with the layout of the major imperial cities and the details of their monumental architecture. The strength of th

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North, Laurence. "Architecture and the graphic novel." Journal of Illustration 6, no. 2 (2019): 341–64. http://dx.doi.org/10.1386/jill_00018_1.

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Abstract Richard McGuire's Here (2014) and Chris Ware's Lost Buildings (Glass et al. 2004) are discussed as examples of graphic novels that demonstrate a synergistic relationship with architecture. The synergistic relationship is examined through its use of decorative forms and the use of architectural reference as a narrative device and a signifier of space and time. The article goes on to explore the potential for architectural structures to function as graphic novels. The late medieval frescos attributed to the architect and painter Giotto, that decorate the chapels at Assisi and Padua, are

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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 Ro

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Peřinková, Martina, Jan Česelský, and Miloslav Řezáč. "The Impact of Urban Structure and Building Typology on Transport Solutions." Applied Mechanics and Materials 505-506 (January 2014): 858–62. http://dx.doi.org/10.4028/www.scientific.net/amm.505-506.858.

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During the 19thcentury, European cities witnessed radical reconstructions which were usually necessitated by the remarkable increase in traffic. The existing transport systems were often based more on Gothic period or even earlier. The narrow streets were no longer able to accommodate the increasing frequency of vehicles, which have been even more intensified by the development of railways. The second half of the 19thcentury and the period of the beginning of the World War II brought the construction of ring roads based on the layouts of former medieval walls and in big cities then more and mo

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Kossel, Elmar. "Der Wiederaufbau von Florenz 1945." Architectura 46, no. 1 (2016): 72–103. http://dx.doi.org/10.1515/atc-2016-0005.

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AbstractFlorence suffered heavy destruction due to blasting by the german Wehrmacht in the area around the Ponte Vecchio in 1944. On the question of how the historic, in the core medieval buildings should be rebuilt, a vigorous debate was ignited, which also was intensively conducted in public. The debates core was about the question of wether the old center should be reconstructed exactly as it was or should a modern and contemporary solution be given priority. The art historian Bernhard Berenson and the archeologist Ranuccio Bianchi Bandinelli exemplified the position in the debate for the F

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Berce, Françoise. "Les Collections Iconographiques de la Direction du Patrimoine." Art Libraries Journal 15, no. 1 (1990): 22–25. http://dx.doi.org/10.1017/s0307472200006611.

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La Direction du Patrimoine is the successor of the Commission des Monuments historiques, which from its inception in 1837 was responsible for identifying, compiling an inventory of, and restoring, historic buildings. During the 19th century, this meant, in effect, medieval ecclesiastical structures and sites. From the beginning the Commission was careful to safeguard its papers, including drawings and plans of specific buildings; a number of volumes illustrating the nation’s architectural heritage were published in the second half of the 19th century; drawings, and photographs, were commission

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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 northw

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Ruiz Souza, Juan Carlos. "Architectural Languages, Functions, and Spaces: The Crown of Castile and Al-Andalus." Medieval Encounters 12, no. 3 (2006): 360–87. http://dx.doi.org/10.1163/157006706779166084.

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AbstractSince 1859, when Rodrigo Amador de los Ríos gave his speech “El estilo mudéjar en la arquitectura” at the Fine Arts Academy of San Fernando, the study of medieval Spanish art has been marked by the notion of the mudejar. Through it, Spain found a style and the basis of an identity that set it apart from other European countries. Mudejar became the name for every work that showed some indication of Islamic influence: buildings constructed with traditional techniques and materials, yet with some decorative element of Andalusian origin or simply buildings that contained a mudejar name in

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Turner, Olivia Horsfall. "‘The Windows of this Church are of several Fashions’: Architectural Form and Historical Method in John Aubrey’s ‘Chronologia Architectonica’." Architectural History 54 (2011): 171–93. http://dx.doi.org/10.1017/s0066622x00004032.

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Thomas Rickman has been credited, perhaps for too long, as the first figure to ‘discriminate’ the styles of medieval architecture and create a chronological analysis of Gothic architectural forms. Not only were there several authors who published on the subject immediately before Rickman, but there was also, as early as the mid-seventeenth century, considerable interest in the discernment and classification of periods in medieval architecture. One of the chief figures in this was John Aubrey, who pioneered a method for deducing the date of a medieval building by analysing the shapes of its win

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Cherry, Bridget. "London’s Public Events and Ceremonies: an Overview Through Three Centuries." Architectural History 56 (2013): 1–28. http://dx.doi.org/10.1017/s0066622x00002434.

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A revised and abridged record of the Annual Lecture of the Society of Architectural Historians of Great Britain, given at the Courtauld Institute of Art, London, on 12 November 2012Two exceptional events in London in 2012, the queen’s Diamond Jubilee and the Olympics, provoked questions about the origins and legacy of major public events of the past. This article explores the impact on the fabric of London since the eighteenth century of occasional planned spectacles through discussion of two main types of event, namely the procession along a predetermined route and occasions requiring a large

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Lane, Evelyn Staudinger. "The Integration of a Twelfth-Century Tower into a Thirteenth-Century Church: The Case of Notre-Dame de Donnemarie-en-Montois." Journal of the Society of Architectural Historians 64, no. 1 (2005): 74–99. http://dx.doi.org/10.2307/25068125.

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This article focuses on Notre-Dame de Donnemarie-en-Montois and the manner in which its twelfth-century tower was integrated into the early-thirteenth-century church. Notre-Dame's position as a moderately sized collegiate church places it in a field of medieval art-historical research that remains relatively unexplored. Three issues are investigated: the building practices that allowed for such a fusion; the rationale for saving the tower; and how the concept of unity-often a driving force in Gothic architecture-was affected by this integration. This study was conducted with the help of a surv

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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 contractu

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Zelić, Danko. "O Gradskoj loži u Šibeniku." Ars Adriatica, no. 4 (January 1, 2014): 299. http://dx.doi.org/10.15291/ars.502.

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The municipal loggia in Šibenik was built between 1534 and 1547 as a replacement for the old loggia which had been constructed in the early fourteenth century as more modest building. The new loggia was a two-storied structure built on an elongated rectangular ground plan with an arcaded portico on the ground floor and an open colonnade on the first floor which stretched along the entire north side of the main town square. There, it faced the north side of Šibenik Cathedral and, therefore, helped shape an architectural setting which, compared to the public spaces in other Dalmatian towns, coul

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Carpo, Mario. "Drawing with Numbers: Geometry and Numeracy in Early Modern Architectural Design." Journal of the Society of Architectural Historians 62, no. 4 (2003): 448–69. http://dx.doi.org/10.2307/3592497.

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Precision in building was pursued and achieved well before the rise of modern science and technology. This fact applies to the classical tradition as well as to medieval architecture, and is particularly evident in architectural drawings and design from the Italian Renaissance onward. In this essay, I trace the shift from geometry-the primary tool for quantification in classical architecture- to numeracy that characterizes Renaissance architectural theory and practice. I also address some more general aspects of the relation between technologies of quantification and the making of architectura

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Russo, Francesco. "The Printed Illustration of Medieval Architecture in Pre-Enlightenment Europe." Architectural History 54 (2011): 119–70. http://dx.doi.org/10.1017/s0066622x00004020.

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The aim of this article is to bring to the attention of readers a series of significant examples of texts printed prior to 1700 and illustrated with images of medieval architecture in continental Europe. British illustrations of buildings and ruins from the Middle Ages have received relevant attention from modern scholarly writers, but studies of analogous continental examples are lacking. Illustrations of medieval architecture have been little considered in most studies of the Early Modern period, as compared with those of their sixteenth-to eighteenth-century counterparts. In addition, the f

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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'

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Nurme, Sulev. "The use of woody plants in Estonian and Livonian manor ensembles during the second half of the 17th century." Forestry Studies 72, no. 1 (2020): 75–90. http://dx.doi.org/10.2478/fsmu-2020-0007.

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AbstractNot much is known about the 17th-century Estonian and Livonian landscape architecture. Most of the information is based on the descriptions found in historical archival and literary sources and on some of the well-known engravings. According to these, a common idea of that era's landscape architecture is that it was humble in scale and design, and was similar to the practice of late-medieval times when there was no space or ambition to grow woody plants in small gardens of castles. But when diving into the Swedish manor plans dating back to the last decades of the 17th century, it can

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Dunbabin, J. "Anjou: Medieval Art, Architecture and Archaeology." English Historical Review 119, no. 480 (2004): 171. http://dx.doi.org/10.1093/ehr/119.480.171.

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Olympios, Michalis. "Between St Bernard and St Francis: a Reassessment of the Excavated Church of Beaulieu Abbey, Nicosia." Architectural History 55 (2012): 25–55. http://dx.doi.org/10.1017/s0066622x00000046.

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In a section of a chapter on the historiography of Gothic architecture in the formerly Byzantine-ruled territories of the eastern Mediterranean entitled ‘Perspectives and Future Directions’, Tassos Papacostas summed up the relative lack of impact that this traditionally marginal field of medieval artistic production has had on wider arthistorical discourses. In asking why ‘western’ medievalists should ‘bother to look’ at Gothic buildings in the East, he argued that these buildings are of interest to them primarily from the point of view of the cultural, technical and financial processes involv

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Olympios, Michalis. "The Romanesque as Relic:." Journal of the Society of Architectural Historians 77, no. 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-Da

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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—espe

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Fawcett, Richard. "Robert Reid and the Early Involvement of the State in the Care of Scottish Ecclesiastical Buildings and Sites." Antiquaries Journal 82 (September 2002): 269–84. http://dx.doi.org/10.1017/s0003581500073807.

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As a result of the Act of Annexation of 1587, and the removal of bishops from the Scottish church in 1689, the Crown in Scotland incidentally acquired ownership of a large number of monastic and cathedral churches. By the late eighteenth century, as interest in medieval architecture grew, occasional grants were made towards their maintenance; but between 1827 and 1839, when a Scottish Office of Works was established under the architect Robert Reid, major efforts began to be made to stabilise considerable numbers of those buildings. The approaches to this work are of interest for what they tell

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Gardiner, Mark. "An Early Medieval Tradition of Building in Britain." Arqueología de la Arquitectura, no. 9 (April 10, 2013): 231–46. http://dx.doi.org/10.3989/arqarqt.2012.11607.

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Pears, Richard. "Battle of the Styles? Classical and Gothic Architecture in Seventeenth-Century North-East England." Architectural History 55 (2012): 79–110. http://dx.doi.org/10.1017/s0066622x0000006x.

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Research over the last twenty years into seventeenth-century elite British architecture has questioned the view that Classical designs were the preserve of a narrow group of royal and aristocratic patrons at the Stuart court, and also that Inigo Jones was a ‘lonely genius’ misunderstood in his own lifetime but prophesizing the true Classicism that was to bloom in the eighteenth century.The role of patrons in defining architectural styles has also been analysed, and it has been noted that Classicism was not the only style they favoured. For earlier historians, a perception that Classical archit

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Pantelić, Bratislav. "Nationalism and Architecture: The Creation of a National Style in Serbian Architecture and Its Political Implications." Journal of the Society of Architectural Historians 56, no. 1 (1997): 16–41. http://dx.doi.org/10.2307/991214.

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From the mid-nineteenth century until the late 1930s the dominant architectural mode in Serbia was a local historicist style termed Serbo-Byzantine. At first it was used only for churches but was soon extended to schools and then to all types of buildings. Although mostly based on academic revivalist forms, this idiom, which purportedly drew its inspiration from Balkan medieval architecture, did, on occasion, display distinctly local characteristics. Although part of a pan-European trend. Serbian historicism was detached from architectural developments elsewhere. Unlike other Romantic-era revi

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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 tha

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Bianchi, Giovanna. "Building, inhabiting and «perceiving» private houses in early medieval Italy." Arqueología de la Arquitectura, no. 9 (April 9, 2013): 195–212. http://dx.doi.org/10.3989/arqarqt.2012.11605.

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Stamp, Gavin. "High Victorian Gothic and the Architecture of Normandy." Journal of the Society of Architectural Historians 62, no. 2 (2003): 194–211. http://dx.doi.org/10.2307/3592477.

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High Victorian Gothic in England was an exotic style, and the importance of Italian Gothic precedents in its development has long been recognized, as has the interest in thirteenth-century French Gothic in the 1850s. What has received much less attention is the influence of the medieval buildings of Normandy. In this article, I examine the historical and cultural connections between England and Normandy, which were stimulated by the Napoleonic Wars and the threat of invasion, and were further encouraged by the ease of crossing the English Channel. Seeking the origins of English Gothic and Roma

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Massaccesi, Fabio. "Per Ravenna trecentesca: nuove proposte per l’assetto architettonico di Santa Maria in Porto Fuori." Zeitschrift für Kunstgeschichte 82, no. 1 (2019): 3–31. http://dx.doi.org/10.1515/zkg-2019-0001.

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Abstract This contribution intends to draw attention to one of the most significant monuments of medieval Ravenna: the church of Santa Maria in Porto Fuori, which was destroyed during the Second World War. Until now, scholars have focused on the pictorial cycle known through photographs and attributed to the painter Pietro da Rimini. However, the architecture of the building has not been the subject of systematic studies. For the first time, this essay reconstructs the fourteenth-century architectural structure of the church, the apse of which was rebuilt by 1314. The data that led to the virt

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McCormick, Frank. "John Vanbrugh's Architecture: Some Sources of His Style." Journal of the Society of Architectural Historians 46, no. 2 (1987): 135–44. http://dx.doi.org/10.2307/990182.

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This essay posits three basic sources for the vocabulary of Vanbrugh's mixed style: namely, (1) the interior architecture and scene design of the contemporary theatre, with which Vanbrugh became familiar in his capacity as dramatist and manager of the Queen's Theatre at the Haymarket; (2) the medieval forms of the walled city of Chester in which he spent his youth; and (3) the donjon and courtyards of the Chateau of Vincennes, which Vanbrugh would have come to know during his imprisonment there in 1691. The first two operate as rather general sources of the "theatrical" and the "medieval" elem

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Ward, Susan Leibacher. "Anjou: Medieval Art, Architecture and Archaeology. John McNeill , Daniel Prigent." Speculum 80, no. 3 (2005): 931–33. http://dx.doi.org/10.1017/s0038713400008605.

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Alcock, N. W., and C. T. Paul Woodfield. "Social Pretensions in Architecture and Ancestry: Hall House, Sawbridge, Warwickshire and the Andrewe Family." Antiquaries Journal 76 (March 1996): 51–72. http://dx.doi.org/10.1017/s0003581500047429.

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That architecture makes social statements is obvious in grand buildings from Norman castles to country houses. In smaller houses, such statements are often muted by our ignorance of their historical context and their date. This paper examines a small but sophisticated medieval house in which the combination of precise dating and informative documentation surmounts simple architectural analysis, to reveal something of its social importance to the family who built it. In the early nineteenth century, the status of Hall House, Sawbridge, was the lowest possible. It belonged to the Sawbridge Overs

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Polyakov, Е. N., and M. I. Korzh. "FORMATION OF FORTIFICATION ART IN ANCIENT EAST COUNTRIES." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (2019): 94–124. http://dx.doi.org/10.31675/1607-1859-2019-21-4-94-124.

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The article presents a comparative analysis of fortification art monuments in such East countries from Ancient Egypt to medieval China. An attempt is made to identify the main stages of the fortification development from a stand-alone fortress (citadel, fort) to the most complex systems of urban and border fortifications, including moats, walls and gates, battle towers. It is shown that the nature of these architectural structures is determined by the status of the city or settlement, its natural landscape, building structures and materials, the development of military and engineering art. The

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Hill, Judith. "Architecture in the Aftermath of Union: Building the Viceregal Chapel in Dublin Castle, 1801–15." Architectural History 60 (2017): 183–217. http://dx.doi.org/10.1017/arh.2017.6.

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AbstractThe chapel in Dublin Castle, built between 1807 and 1815, was one of the most impressive ecclesiastical Gothic buildings of the pre-Pugin revival in the British Isles. It was commissioned by the viceregal establishment following the Act of Union between Great Britain and Ireland in 1801, and was closely associated with Church of Ireland objectives for post-Union Protestantism in Ireland. This essay investigates the patrons’ ambitions for the chapel, and discusses its design and execution by Francis Johnston, successor to James Gandon as the foremost architect of public buildings in Ire

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Priester, Ann. "Bell Towers and Building Workshops in Medieval Rome." Journal of the Society of Architectural Historians 52, no. 2 (1993): 199–220. http://dx.doi.org/10.2307/990786.

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Thirty-five medieval bell towers, along with dozens of churches such as S. Clemente, S. Crisogono, S. Maria in Trastevere, and S. Lorenzo fuori le mura, survive as testimony to a boom in ecclesiastical construction in Rome during the twelfth and early thirteenth centuries. This article focuses on these bell towers, using computer database analysis of their architectural and decorative features to investigate the nature of building workshops in medieval Rome. A comparison of a number of variable features among the bell towers, such as masonry techniques, cornices, and decorative details, uncove

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Lewis, J. M. "Medieval Art, Architecture and Archaeology at Rouen. Edited by J. Stratford." Archaeological Journal 151, no. 1 (1994): 461–62. http://dx.doi.org/10.1080/00665983.1994.11078146.

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Foyle, Jonathan. "Medieval Art, Architecture and Archaeology at Canterbury, edited by Alixe Bovey." Archaeological Journal 173, no. 2 (2015): 383–84. http://dx.doi.org/10.1080/00665983.2015.1112664.

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Rosser-Owen, Mariam. "Andalusi Spolia in Medieval Morocco: “Architectural Politics, Political Architecture”." Medieval Encounters 20, no. 2 (2014): 152–98. http://dx.doi.org/10.1163/15700674-12342164.

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Abstract Traditionally, art historians have viewed the art of medieval Morocco through the lens of Islamic Iberia, which is regarded as the culturally superior center and model for the region. However, more recent studies are beginning to show that, rather than Moroccan patrons and artisans passively absorbing an Andalusi model, the rulers of the Almoravid and Almohad regimes were adopting aspects of this model in very deliberate ways. These studies suggest that Andalusi works of art were part of a conscious appropriation of styles as well as material in a very physical sense, which were imbue

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Alcock, Nat. "Buildings of Medieval Europe: Studies in Social and Landscape Contexts of Medieval Buildings." Vernacular Architecture 50, no. 1 (2019): 132–33. http://dx.doi.org/10.1080/03055477.2019.1677123.

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Viluma, Antra. "THE SITUATION WITH USE OF WOOD CONSTRUCTIONS IN CONTEMPORARY LATVIAN ARCHITECTURE / MEDINIŲ KONSTRUKCIJŲ PANAUDOJIMAS ŠIUOLAIKINĖJE LATVIJOS ARCHITEKTŪROJE." Mokslas – Lietuvos ateitis 9, no. 1 (2017): 9–15. http://dx.doi.org/10.3846/mla.2017.1007.

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Wood is a historic building material used throughout the Baltic States. Latvia’s forests cover 52% of the country and there are more than 30 producers of timber constructions materials, but during the last two decades the use wood in Latvian architecture has declined when compared to other countries in Europe. In particular – Latvian architects avoid the use of timber in public and multi-unit apartment buildings. Wood is a sustainable and technically appropriate building material for many types of buildings including complex construction, but in Latvian architecture it is used more in facades

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