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Journal articles on the topic 'Construction romanesque'
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1
Grignon, Claude. "Composition romanesque et construction sociologique." Enquête, no. 4 (June 2, 1988): 3–25. http://dx.doi.org/10.4000/enquete.60.
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Mangeon, Anthony. "La construction du lien social dans les romans d’Alain Mabanckou." Articles 42, no. 1-2 (January 15, 2014): 51–64. http://dx.doi.org/10.7202/1021296ar.
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Forte de neuf fictions, l’oeuvre romanesque d’Alain Mabanckou présente à ce jour une grande cohérence. D’un roman à l’autre, le corps social semble se structurer suivant une logique relationnelle du redoublement systématique – lequel va du désir mimétique, installé au coeur des formes d’imitation et d’identification sociales, aux duplications et interférences entre monde humain et monde animal, voire entre « réalité » et « monde de l’invisible ». En explorant cette oeuvre romanesque qui fait du recoupement et du redoublement les forces majeures de sa cohérence, cet article met en relief la part qu’elle confère au mythe dans la construction du social, et par là même, donne à mieux comprendre la place déterminante qu’y joue la littérature dès qu’il s’agit, non plus simplement d’en interpréter, mais d’en recréer le sens.
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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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Rao, Sathya, and Denis Lacroix. "Histoires de pionniers français dans l’Ouest canadien : le cas d’Un héros malgré lui de Marcel Durieux." Voix Plurielles 8, no. 2 (November 26, 2011): 79–93. http://dx.doi.org/10.26522/vp.v8i2.396.
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Traditionnellement délaissés par les littéraires, les récits pionniers se trouvent généralement rapportés au genre du journal ou de la chronique. C’est notamment le cas d’Un héros malgré lui de Marcel Durieux dont les préfaciers, Roger Motut et Maurice Legris, louent le style à la fois simple et concret. À contre-courant de cette lecture, nous montrerons que le texte de Marcel Durieux est travaillé par une ambition romanesque qui se manifeste à la fois par la construction d’une temporalité complexe, le désir de restituer la diversité culturelle et linguistique de la société pionnière et enfin le recours fréquent aux métalepses. En somme, il s’avère pertinent de considérer ce type de récits comme des textes romanesques susceptibles d’enrichir le patrimoine littéraire de la francophonie de l’Ouest.
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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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Maxwell, Robert A. "Romanesque Construction and the Urban Context: Parthenay-le-Vieux in Aquitaine." Journal of the Society of Architectural Historians 66, no. 1 (March 1, 2007): 24–59. http://dx.doi.org/10.1525/jsah.2007.66.1.24.
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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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Osseiran, Layla. "Contribution linguistique à la connaissance du moi Dans "Le nom de la rose" d'Umberto Eco." Hawliyat 11 (December 16, 2018): 63–72. http://dx.doi.org/10.31377/haw.v11i0.295.
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Le "moi" romanesque etant une construction progressive d'une identite qui reserve bien des surprises, nous avons eu recours 11 I' analyse linguistique pour y demeler les fils et eclairer Ie parcours epineux que prend la connaissance de soi, et ce dans Ie roman d'Umberto Eco "Le nom de la rose".
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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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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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Cirillo, Ettore, and Francesco Martellotta. "Acoustics of Apulian-Romanesque Churches: An Experimental Survey." Building Acoustics 9, no. 4 (December 2002): 271–88. http://dx.doi.org/10.1260/135101002320941440.
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A detailed acoustic survey was carried out of nine Romanesque churches built in Apulia, in Southern Italy. Despite the common architectural style the churches show specific features and have volumes ranging from 1500 m3 to 32000 m3. In each church both monaural and binaural acoustic parameters were measured according to the ISO 3382 standard. The results of the measurements are discussed in this paper, analysing both the distribution of the acoustic parameters inside each church, and how that distribution depends on specific characteristics. Finally, a discussion of the results as a whole is given. In a later paper the whole set of data will be used in order to investigate the correlations between architectural features, such as dimensions and materials, and acoustic characteristics.
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Meehan, Barry. "'Unfortunately Romanesque' Two Churches of the 1840s in Hampshire." Hampshire Studies 75, no. 1 (November 1, 2020): 101–39. http://dx.doi.org/10.24202/hs2020008.
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The nineteenth century witnessed almost unprecedented church building activity in Hampshire. New district churches appeared in rapidly expanding urban parishes and most existing structures, including those in rural areas, underwent substantial restoration, refurbishment and enlargement. This paper compares two of these churches from the 1840s: St. Peter's, Southampton and St. Nicholas', Newnham. Despite their apparent differences, they share a number of characteristics in common, most obviously their Romanesque style and inclusion of a Rhenish helm spire. The history of their construction will be examined in the context of the contemporary revival of medieval ecclesiastical architecture and developments in Ecclesiology (the study of church buildings, furnishings and decoration). Consideration will be given to how the Rhenish helm came to be adopted at both churches and to what extent St. Peter's influenced the design and arrangements at Newnham. This article will also consider whether the same architect was involved.
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Manirambona, Fulgence, and Rémy Ndikumagenge. "L’Europe en question. De la tentative de déstabilisation du mythe dans le roman africain de l’immigration contemporaine." e-Scripta Romanica 4 (December 27, 2017): 80–92. http://dx.doi.org/10.18778/2392-0718.04.07.
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Notre article propose une analyse de l’espace européen dans l’écriture romanesque de l’immigration contemporaine. La représentation de l’Europe est double. Si, pour le candidat à l’émigration, elle suscite bien des espoirs grâce à ses importants progrès, elle est aussi loin de correspondre à cet espace de réussite et de consécration pour ceux qui gagnent ce continent. L’analyse consacre plutôt une déconstruction des valeurs sociétales de cette Europe. Nous établirons une double orientation axiologique : la construction du mirage et la déconstruction de l’Europe-paradis.
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Hung, Shiau-Ting. "Les métamorphoses de l’identité et l’absence du sujet dans 'Espèces' de Ying Chen." HYBRIDA, no. 1 (December 3, 2020): 113. http://dx.doi.org/10.7203/hybrida.1.16875.
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Cet article vise à démontrer, en évaluant l’enjeu de la métamorphose et la question identitaire du sujet romanesque, l’importance de la notion de dualité pour les études sur l’écriture de Ying Chen. Mettant en dialogue Espèces (Ying, 2013), avec les théories sur la construction du sujet dans le contexte de la diaspora avec la conception de soi dans le discours philosophique et féministe, l’auteure tente de montrer l’articulation du récit de soi dans la traversée du corps, du langage, et de l’espace temporel dans le monde de fiction. La construction d’identité implique aussi bien la distanciation du réel, et tente d’accéder à l’hybridation de l’identité du sujet au sein du monde de la fiction.
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Armi, C. Edson. "The Context of the Nave Elevation of Cluny III." Journal of the Society of Architectural Historians 69, no. 3 (September 1, 2010): 320–51. http://dx.doi.org/10.1525/jsah.2010.69.3.320.
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The nave of Cluny III, the largest medieval church in Christendom, was destroyed, and written documentation is limited. The Context of the Nave Elevation of Cluny III studies the physical evidence, piecing together information about its structure, construction, articulation, and decoration. C. Edson Armi uses eighteenth-century depictions of the nave and the surviving Cluny III transept, as well as the priory church at Paray-le-Monial and other related buildings, to identify the artistic strands that the masons of Cluny combined to create the unique achievement of the mother church. Their sources included classical models, the ashlar decoration and apse design associated with the northern French Romanesque, and a strong local tradition of stone architecture, which was based on brick construction.
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MACLEAN, I. W. F. "Review. Le Theatre du romanesque: 'Manuscrit trouve a Saragosse', entre construction et maconnerie. Rosset, Francois." French Studies 46, no. 4 (October 1, 1992): 458. http://dx.doi.org/10.1093/fs/46.4.458.
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Bednarz, Łukasz, Piotr Opalka, Artur Górski, and Gabriela Wojciechowska. "Analysis of the Condition of Damaged Vaults after a Construction Disaster in a Historic Church." Key Engineering Materials 817 (August 2019): 613–20. http://dx.doi.org/10.4028/www.scientific.net/kem.817.613.
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The paper presents an analysis of the causes and effects of masonry vaults damage after a construction disaster in the historic church of St. George in Hajduki Nyskie (southern Poland), dated to the beginning of the XIV century. As a result of the collapse of the eastern gable wall, some parts of the vaults and a wooden roof were destroyed, as well as other structural elements and part of the church's equipment. The building combines late Romanesque, Gothic and Baroque style elements, representing high, trans-regional historical and artistic, religious and cultural values, in particular due to the valuable gothic wall paintings preserved in the nave. The paper presents the state of the building before and after the construction disaster as well as recommendations regarding the reconstruction of the vaults.
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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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<p><em>The architecture of Gothic church is the outcome from creation process of knowledge by human in 12<sup>th</sup> – 15<sup>th</sup> Century which originating from France, which one the evolution from Romanesque church architecture (10<sup>th</sup> – 13<sup>th</sup> 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 12<sup>th</sup> – 15<sup>th</sup> 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.</em></p>
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Cirillo, Ettore, and Francesco Martellotta. "Acoustics of Apulian-Romanesque Churches: Correlations between Architectural and Acoustic Parameters." Building Acoustics 10, no. 1 (March 2003): 55–76. http://dx.doi.org/10.1260/135101003765184816.
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This paper concludes the analysis of the results of an acoustic survey carried out on nine Romanesque churches in Apulia (Southern Italy), described in detail in a previous paper. The study was performed taking into account both room-average values and individual position values of monaural and binaural acoustic parameters, measured according to ISO 3382. First the effect of architectural parameters on reverberation time was investigated, showing that volume and materials play an important role. Then room-average values of the other acoustic parameters were investigated, showing that some are mostly correlated with reverberation time and others with total acoustic absorption. Analysis of individual location values showed that monaural parameters can be expressed as functions of the source-receiver distance, and one or two of the following parameters: room volume, total absorbing area, mean absorption coefficient, total length and reverberation time. Furthermore, it was demonstrated that individual position values of acoustic parameters describing clarity, are significantly correlated to each other.
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Gahungu, Céline. "Poétique du paysage dans L’Anté-peuple et La Vie et demie de Sony Labou Tansi." Études littéraires africaines, no. 39 (September 23, 2015): 79–89. http://dx.doi.org/10.7202/1033133ar.
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La forêt tropicale et le fleuve Congo ont façonné profondément la géographie mentale de Sony Labou Tansi. Fasciné par l’expérience des limites naturelles que constituent la furie des cataractes et les lacis de la végétation, il s’est désigné comme un « homme de la forêt » dont l’écriture tente de capter la puissance de ces sites naturels. Loin de donner lieu à d’amples tableaux descriptifs, La Vie et demie et L’Anté-peuple proposent des fragments paysagers élaborés sur un mode suggestif, où tous les sens entrent en jeu. Cette construction discursive dévoile les rouages d’une machine romanesque qui les utilise comme de véritables acteurs. Structurant la fiction, la géographie est modelée pour épouser l’imaginaire de l’auteur. Comment Sony Labou Tansi construit-il ces paysages ? En quoi ces modes de construction constituent-ils une voie de recherche pour appréhender les complexités de son écriture ?
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Marinković, Ana. "On the Construction, Function and Demolition of the Baptistery-Belfry of the Romanesque Cathedral in Dubrovnik." Dubrovnik annals 24 (2020): 39–64. http://dx.doi.org/10.21857/90836c7lxy.
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Meurée, Christophe. "De la pointe de l’été au coeur de l’hiver : saisons et construction romanesque chez François Emmanuel." Studia Romanica Posnaniensia 48, no. 1 (June 1, 2021): 119–32. http://dx.doi.org/10.14746/strop.2021.481.010.
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François Emmanuel’s novels are divided in two categories: Summer Tales, which are light-hearted and filled with bitter-sweet irony, and Winter Tales, that are more solemn and tragic. We will investigate the diptych formed by Regarde la vague (2007) and Le Sommeil de Grâce (2015), both Winter Tales: the latter is set in the heart of the Winter, though the other is set at the end of a warm Summer. By comparing how each season is described in each novel, and how it affects the narrative settings, we aim to enlighten animportant part of François Emmanuel’s aesthetics.
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Trovato, Loredana. "L' ouïe en tant que stratégie de construction du récit de soi chez Louis-Ferdinand Céline." Mnemosyne, no. 3 (October 11, 2018): 13. http://dx.doi.org/10.14428/mnemosyne.v0i3.12123.
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Cet article vise à analyser le rôle de l’ouïe dans l’œuvre romanesque de Louis-Ferdinand Céline et ses rapports avec les stratégies de construction du récit de soi. Dès la parution de Voyage au bout de la nuit, l’ouïe a toujours été un des sens les plus utilisés par l’auteur, intervenant soit dans l’interaction dynamique avec l’extérieur (en termes de conflit et/ou de relation symbiotique avec le lecteur/narrataire), soit dans les mécanismes de ‘repère’ intérieur des données du vécu biographique («oto-biographie») qui deviennent «oto-mémoire» et, enfin, «oto-fiction». Comme une sorte d’acte maïeutique, le souvenir auditif qui hante sa tête par ses bruits et ses jacassements sans fin, lui impose l’écriture, c’est-à-dire le passage du réel à la fiction du réel. À travers l’analyse des leitmotivs auditifs de l’œuvre célinienne, on essayera ainsi de déterminer les traits essentiels de sa poétique et l’unicité d’un style qu’il appelle – à raison – «petite musique».
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Hoey, Lawrence R. "The Articulation of Rib Vaults in the Romanesque Parish Churches of England and Normandy." Antiquaries Journal 77 (March 1997): 145–77. http://dx.doi.org/10.1017/s0003581500075181.
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Rib vaults appear in English architecture at the end of the eleventh century and by the early part of the next had spread throughout most parts of the country and across the Channel into Normandy. Rib construction was pioneered by the builders of great churches, first apparently at Durham, and was then developed and elaborated at sites such as Winchester, Gloucester, Peterborough, Lessay, Saint-Etienne in Caen, and many others. Although it is impossible to pinpoint the precise moment, by the second quarter of the twelfth century ribs were also being constructed in smaller churches in many areas of England and Normandy. Anglo-Norman parish church masons might construct ribs under towers or in porches, but the majority of survivals are in chancels, where the presence of ribs was clearly the result of a desire to distinguish and embellish the functionally most important and most sacred part of the church.
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Sánchez-Aparicio, L. J., B. Conde, M. A. Maté-González, R. Mora, M. Sánchez-Aparicio, J. García-Álvarez, and D. González-Aguilera. "A COMPARATIVE STUDY BETWEEN WMMS AND TLS FOR THE STABILITY ANALYSIS OF THE SAN PEDRO CHURCH BARREL VAULT BY MEANS OF THE FINITE ELEMENT METHOD." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 26, 2019): 1047–54. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-1047-2019.
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<p><strong>Abstract.</strong> Stability of masonry constructions is highly conditioned by the geometric disposition of its elements due to its low tensile strength and great compressive mechanical properties. Under this framework, this paper attempts to evaluate the suitability of a wearable mobile mapping solution, equipped in a backpack and based on the well-known simultaneous location and mapping paradigm, for the structural diagnosis of historical constructions. To evaluate the suitability of this device, the structural analysis obtained is compared with a high precision terrestrial laser scanner, which is considered as ground truth. The Romanesque church of San Pedro (Becerril del Carpio, Spain) was selected as a study case. This construction, initially conceived in the XIII<sup>th</sup> century, has experimented in the past a soil settlement promoting the leaning of the north wall, several plastic hinges in its barrel vault and a visible geometrical deformation. The comparison of both techniques was carried out at different levels: i) an evaluation of the time needed to obtain the point cloud of the church; ii) an accuracy assessment based on the comparison of a terrestrial network using artificial spheres as checkpoints and; iii) an evaluation of the discrepancies, in terms of safety factor and collapse topology, found during the advance numerical evaluation of the barrel vault by means of the finite element method. This comparison places this wearable mobile mapping solution as an interesting tool for the creation of advanced numerical simulations to evaluate the structural stability of historical constructions.</p>
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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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Boucheron, Patrick. "« Toute littérature est assaut contre la frontière » Note sur les embarras historiens d’une rentrée littéraire." Annales. Histoire, Sciences Sociales 65, no. 2 (April 2010): 439–67. http://dx.doi.org/10.1017/s0395264900038580.
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RésuméLes romanciers d’aujourd’hui écrivent-ils l’histoire? Telle est l’une des questions qui occupa la critique lors de la rentrée littéraire 2009. Cet article propose une mise en perspective de cette construction discursive, qui met en scène un conflit frontalier entre l’histoire et la fiction romanesque, celle-ci étant caractérisée par un appel du réel. On y analyse en particulier la réception du roman de Yannick Haenel,Jan Karski, décrivant l’emballement médiatique d’une polémique mettant en jeu la difficile question des limites de la représentation de la Shoah dans le cinéma et la littérature. Au-delà de la question des temps du récit et de la mémoire, il s’agit également de comprendre de quoi la littérature porte témoignage. Car l’embarras des historiens provient aussi de l’épreuve révisionniste qui les amène à se faire les gardiens vigilants d’une frontière entre réel et fiction que tout pourtant, dans leurs pratiques d’écriture comme dans leur épistémologie, contribue à faire trembler.
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Hare, John. "The Architectural Patronage of Two Late Medieval Bishops: Edington, Wykeham and the rebuilding of Winchester Cathedral nave." Antiquaries Journal 92 (August 14, 2012): 273–305. http://dx.doi.org/10.1017/s0003581512000674.
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This paper reassesses the transformation of Winchester Cathedral nave in the second half of the fourteenth century from the Romanesque to its present form. It argues for a more complex and earlier development than traditionally accepted, with the rebuilding of the nave itself beginning in the early 1370s rather than in 1394. After the construction of the new porches Edington had planned to rebuild the nave completely, but by the time of his death even the west end was incomplete. His successor, Wykeham, adopted a more cautious and staged remodelling, starting with the creation of a new great arcade which he began in the 1370s and resumed in 1394. Subsequently, Wykeham began to complete the rebuilding with remodelled aisles, the clerestory and the vault. The implications of this proposed earlier dating are explored, including providing a major work in the 1370s for William Wynford, one of the most important architects of the period.
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Batista, E., and J. Hernandez. "The drainage of lake ‘L'Estany’ in Spain." Water Supply 18, no. 1 (June 6, 2017): 151–59. http://dx.doi.org/10.2166/ws.2017.105.
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Abstract In the 18th century, the practice of drying up the wetlands, marshy or stagnant water areas expanded throughout Europe in order to avoid the malaria fevers that the population periodically suffered and to recover land for farming. This communication describes the current knowledge about the history of the process of drying in various hydrological basins as well as the works in the endorheic lake close to the village of L'Estany, located in the district of the Moianès (Catalonia), in the northeast of Spain. The drying began in the 16th century with drainage channels driven by the Monastery of Santa Maria de L'Estany, and culminated in the 18th century with the construction, using the dry stone technique, of a 425 m long, 2.14 m high and 1.20 m wide drainage mine that diverted water to the basin of the Llobregat River. Now the mine and the canals are conserved for use in times of rain as well as a touristic objective that complements the cultural and religious concerns of the Monastery of Santa Maria with its magnificent Romanesque cloister.
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Josipović, Ivan. "Prilog Trogirskoj klesarskoj radionici." Ars Adriatica, no. 1 (January 1, 2011): 97. http://dx.doi.org/10.15291/ars.430.
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The author attributes the chancel screen gable from the Trogir Town Museum, discovered in the pavement of the vestibule of the destroyed pre-Romanesque hexaconchal church of St Mary at Trogir to the Trogir stonecarvers’ workshop. The arguments for such an attribution are found in the visual and stylistic analysis of the gable and in the analogies with other similar fragments of pre-Romanesque reliefs which have already been attributed to the same workshop. This demonstrates a similar concept in the layout on the gables from Trogir and Bijaći, while more obvious stylistic parallels for the Trogir gable are found on the chancel screen arches and architraves from Pađene, Brnaze, Malo polje of Trogir and Otres, but also those from Krković and Ostrovica. In addition, two fragmented reliefs which have been inserted as spolia in east wall of the parish church of St George at Pađene near Knin are also attributed to the same workshop. These fragments have been measured and photographed in more detail for the first time for this paper. The analysis of their decoration has resulted in the conclusion that these fragments belonged to a widely distributed type of chancel screen pilasters, with a somewhat more complex decoration consisting of a dense interlaced mesh of three-strand bands. Finally, the gable from the Trogir Town Museum, and other stylistically similar relief from Trogir, have been brought into a stronger connection with the church of St Mary, and its original liturgical furnishings in particular. Following from such a conclusion, as well as the fact that the same workshop produced liturgical installations in another hexaconchal church at Brnaze near Sinj, the author dates both structures to the period when the workshop was active (the first quarter of the ninth century), and places the construction of almost all Dalmatian hexaconchs in a relatively short time frame from the end of the eighth century to mid-ninth century.
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Tamás, Horogszegi. "Egy elfeledett Szent István király-falképciklus. •." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 71–102. http://dx.doi.org/10.1556/080.2020.00005.
Full textAbstract:
Tradition had it that the rectangular Romanesque hall with a central column in the royal and later archiepiscopal palace on Castle Hill in Esztergom was the birthplace of King Saint Stephen, although it was already clear in the 19th century that this part of the building dated from after the 11th century. Nevertheless, in view of the salient role of the castle in the cult of Saint Stephen, the prince primate and archbishop of Esztergom (1867–1891) János Simor (1813–1891) had the Romanesque room converted into a chapel in 1873–74, a thousand years after the birth of the state and church founder king. The reconstruction was planned by József Lippert, the chief architect of the prince primate who planned in this capacity, among other things, the transformation of the interior of the cathedral and the construction of its vestibule, the primate’s palace, and the purist reconstruction of Pozsony cathedral. The transformation of the hall with the central column included a new aperture, walling up of a niche, erection of an altar, and embellishing of the walls and vault with neo-Romanesque frescoes imitating the Byzantine style painted by the brothers Karl and Franz Xaver Jobst (fig. 3). The completed chapel became a neo-Romanesque Gesamtkunswerk down to the smallest detail, a venue of cult and memory.The decisive part of the painted decoration was the cycle of the salient episodes in St Stephen’s life on the vault arches: 1. Apparition of St Stephen protomartyr to Sarolt, wife of prince Géza (fig. 7). 2. The baptism of Vajk (fig. 11). 3. Bishop Astrick shows the crown brought from Rome to St Stephen (fig. 15). 6. Offering of the country to God (fig. 23). The paper reviews the iconographic antecedents of the scenes and the respective source texts, mentioning so-far unpublished works (figs. 13, 22). In addition to several other findings, it could be concluded that unlike in the period from the 17th to the mid-19th century when the depictions of King St Stephen were imbued with currently topical political implications, the images of the Esztergom cycle are free from such readings. The painters of the frescoes ordered by archbishop Simor mainly used recognized schemes and panels aligning themselves with the iconographic tradition, and therefore the novelty of the decoration which contemporary accounts emphasized must have been their neo-Byzantine style. A few decades later, however, this style must have appeared obsolete, nor did it have followers in its time, either. Apart from the demonstration of iconographic motifs, the direct models of the scenes cannot be determined even for such an extremely rare theme as Sarolt’s dream. That is at the same time proof of the invention of the painters and that is what ranges their work among the important achievements of post-Compromise painting: the ingenious use of motifs of mostly familiar scenes (identified by captions as well) and their arrangement in a new composition in the chosen or required style, with the prudent use of the semi-circular shape of the picture field when need be. It is important to note that no other picture cycle was created of St Stephen’s life in the second half of the 19th century. Moreover, some of the scenes have demonstrable linkage to stations in the life path of archbishop Simor, which must have influenced the finalization of the programme.During the archaeological excavations and reconstruction on Castle Hill in 1934–1938 the historicist elements of the hall with a central column were removed (fig. 4). Until how, research thought the painted decoration by the Jobst brothers had perished and were only known in reproduction. However, it must have been removed by Mauro Pellicioli or an assistant of his who had been invited to Hungary from Milan by Tibor Gerevich. I chanced upon the removed frescoes in a remote storeroom of Esztergom cathedral in 2011 with Veronika Nagy.
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Tamás, Horogszegi. "Egy elfeledett Szent István király-falképciklus. •." Művészettörténeti Értesítő 69, no. 1 (December 23, 2020): 71–102. http://dx.doi.org/10.1556/080.2020.00005.
Full textAbstract:
Tradition had it that the rectangular Romanesque hall with a central column in the royal and later archiepiscopal palace on Castle Hill in Esztergom was the birthplace of King Saint Stephen, although it was already clear in the 19th century that this part of the building dated from after the 11th century. Nevertheless, in view of the salient role of the castle in the cult of Saint Stephen, the prince primate and archbishop of Esztergom (1867–1891) János Simor (1813–1891) had the Romanesque room converted into a chapel in 1873–74, a thousand years after the birth of the state and church founder king. The reconstruction was planned by József Lippert, the chief architect of the prince primate who planned in this capacity, among other things, the transformation of the interior of the cathedral and the construction of its vestibule, the primate’s palace, and the purist reconstruction of Pozsony cathedral. The transformation of the hall with the central column included a new aperture, walling up of a niche, erection of an altar, and embellishing of the walls and vault with neo-Romanesque frescoes imitating the Byzantine style painted by the brothers Karl and Franz Xaver Jobst (fig. 3). The completed chapel became a neo-Romanesque Gesamtkunswerk down to the smallest detail, a venue of cult and memory.The decisive part of the painted decoration was the cycle of the salient episodes in St Stephen’s life on the vault arches: 1. Apparition of St Stephen protomartyr to Sarolt, wife of prince Géza (fig. 7). 2. The baptism of Vajk (fig. 11). 3. Bishop Astrick shows the crown brought from Rome to St Stephen (fig. 15). 6. Offering of the country to God (fig. 23). The paper reviews the iconographic antecedents of the scenes and the respective source texts, mentioning so-far unpublished works (figs. 13, 22). In addition to several other findings, it could be concluded that unlike in the period from the 17th to the mid-19th century when the depictions of King St Stephen were imbued with currently topical political implications, the images of the Esztergom cycle are free from such readings. The painters of the frescoes ordered by archbishop Simor mainly used recognized schemes and panels aligning themselves with the iconographic tradition, and therefore the novelty of the decoration which contemporary accounts emphasized must have been their neo-Byzantine style. A few decades later, however, this style must have appeared obsolete, nor did it have followers in its time, either. Apart from the demonstration of iconographic motifs, the direct models of the scenes cannot be determined even for such an extremely rare theme as Sarolt’s dream. That is at the same time proof of the invention of the painters and that is what ranges their work among the important achievements of post-Compromise painting: the ingenious use of motifs of mostly familiar scenes (identified by captions as well) and their arrangement in a new composition in the chosen or required style, with the prudent use of the semi-circular shape of the picture field when need be. It is important to note that no other picture cycle was created of St Stephen’s life in the second half of the 19th century. Moreover, some of the scenes have demonstrable linkage to stations in the life path of archbishop Simor, which must have influenced the finalization of the programme.During the archaeological excavations and reconstruction on Castle Hill in 1934–1938 the historicist elements of the hall with a central column were removed (fig. 4). Until how, research thought the painted decoration by the Jobst brothers had perished and were only known in reproduction. However, it must have been removed by Mauro Pellicioli or an assistant of his who had been invited to Hungary from Milan by Tibor Gerevich. I chanced upon the removed frescoes in a remote storeroom of Esztergom cathedral in 2011 with Veronika Nagy.
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Brun, Anne-Sophie, Andreas Hartmann-Virnich, Estelle Ingrand-Varenne, and Savva M. Mikheev. "Old Russian Graffito Inscription in the Abbey of Saint-Gilles, South of France." Slovene 3, no. 2 (2014): 110–29. http://dx.doi.org/10.31168/2305-6754.2014.3.2.2.
Full textAbstract:
The abbey of Saint-Gilles-du-Gard near Arles in the south of France was one of the most prominent pilgrimage sites in medieval Europe. Recent archaeological investigation has shown that construction of the abbey church, one of the most significant Romanesque pilgrimage churches in southern France, began ca. 1170/1180. The lower church (crypt) with the tomb of St. Giles (Lat. Aegidius, Fr. Gilles) and some of the walls of the upper church belong to that period. A well-preserved Cyrillic graffito was discovered on a pier of the upper church, close to the spot where the tomb of St. Giles is located in the crypt below. The text contains a prayer with a common formula: GI POMЪZI | RABU SVЪ|EMU SЬMKЪ|VI NINOSLA|VICHIU ‘Lord, help your servant Semko, son of Ninoslav.’ Palaeographic and linguistic analysis shows that the graffito is of Russian origin. It was probably made at some time between 1180 and 1250 by a pilgrim travelling from Russia to Santiago de Compostela, and it is the most geographically remote Old Russian graffito inscription discovered so far in western Europe.
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Mikheienko, K. "Arched gables (zakomara) temple of the ХІІ century. Regional traditions." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 33–43. http://dx.doi.org/10.33838/naoma.27.2018.33-43.
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Speaking about an originality of the early stages of development of Ancient Rus architecture in comparison with Byzantine architecture, the first thing mentioned is the usage of several domes. However, the decorative arched gables (zakomara), that became attribute of Ancient Rus arched gables temple, yet unknown in Byzantium, are almost not being mentioned. St. Sofia Cathedral in Novgorod represents the initial formation stage of such type of temple (A. Komech). The earliest decorative arched gable (zakomara) found has been preserved in this Novgorod cathedral. The process of formation of the arched gables temple happened in Kyiv in the second half of the ХІ century. St. Michael's Golden-Domed cathedral and Trinity gateway church of the Pechersk monastery in Kyiv are indicative of complete forms of arched gables temple. These two temples were constructed almost at the same time at the beginning of the ХІI century, but they represent the initial stages of different directions of the arched gables temple development. Both temples have one dome. But St. Michael's Cathedral has the form of a parallelepiped, statics of which is emphasized on the meander located at the level chorus (but for the east apses) and also horizontal ranks of windows and niches on all its facades. Trinity church has a vertical volume without any horizontal partitioning. Temples, similar in composition to Dormition cathedral of the Pechersk monastery and St. Michael's Golden-Domed cathedral in Kyiv, were built in Chernihiv at the first quarter of the ХІІ century. Chernihiv temples, unlike Kyiv temples, were built only from brick in the «оpus isodos» building technique, using Romanesque structural components and decorative elements (cross vaults, semi-columns on lesenes, lombard band, perspective portals). In Novgorod after completion of the St. Sophia cathedral the tradition of stone construction was renewed at the beginning of the ХІІ century. The remained Novgorod temples of this period have complete arched gables forms with vertical layout of the volumes and several domes. During the XІІ century, there are two kinds of the Novgorod variant of the zakomara temple in Pskov and Staraya Ladoga. Walls of the Novgorod, Pskov, and Staraya Ladoga temples were built in mixed building technique from brick and stone. In the Vladimiro-Suzdalsky principality from the middle of the XІІ century, the temples presented a connection of several composite variants of the arched gables type and other options of the Romanesque building technique (hewn quadrants of limestone) and the Romanesque decorative elements. The Chernihiv variant of arched gables temple became interregional, but kinds of Novgorod variant and Vladimiro-Suzdal variant were local. Temples, similar to the Chernihiv temples, were built in Kyiv, Kanev, Vladimir-Volynsk, Smolensk, Pereiaslav from the second quarter of the ХІІ century. This variant of arched gables temple prevailed until the end of the XІІ century when it was displaced by a new interregional tower-shaped temple type with the step raised arches. Arched gables temple represented the main way of development of Ancient Rus architecture of the XІІ century, but there were other traditions which are presented by single remained or partially remained monuments.
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Garcia-Talegon, Jacinta, Adolfo C. Iñigo, Santiago Vicente-Tavera, and Eloy Molina-Ballesteros. "Heritage Stone 5. Silicified Granites (Bleeding Stone and Ochre Granite) as Global Heritage Stone Resources from Ávila, Central Spain." Geoscience Canada 43, no. 1 (March 14, 2016): 53. http://dx.doi.org/10.12789/geocanj.2016.43.087.
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Silicified granites were used to build the Romanesque monuments in the city of Ávila, Spain. The building stones comprise two types of granite based on their technical properties and colour: Bleeding Stone (Piedra Sangrante) and Ochre Granite (Caleño). They were used as a facing stone in the city´s Romanesque monuments of the 12th century (e.g. the cathedral and church of San Pedro), and the famous city walls that constitute the best example of military Romanesque Spanish architecture. During the Gothic and Renaissance periods of the 13th and 15th centuries, silicified granites were used mainly to build ribbed vaults, the voissoirs of the arches, and elements of the windows in the monuments of Ávila. Silicified granites are found in the intermediate and upper part of a complex palaeoweathering zone or mantle developed on the Iberian Hercynian Basement which underlies much of the western Iberian Peninsula. The silicification occurred during tropical conditions in the Mesozoic. The weathered mantle was truncated by Alpine tectonic movements during the Tertiary, and its remnants were unconformably overlain by more recent sediments in the western and southern part of the Duero Basin and along the northern edge of the Amblés Valley graben. The historical, and now protected, quarry is located in a village called La Colilla, about 5 km from the city of Ávila. Currently, this stone is exploited only for restoration work performed in the city, for example the Walls of Ávila, and the church of San Pedro. The resource is limited and being depleted, so the stone will be scarce in the near future. Consequently, these silicified granites should be recognized as a Global Heritage Stone Resource. The specific technical properties of these stones and their historic use, decay patterns, durability, and suitability for conservation treatments combine to support its designation as a Global Heritage Stone Resource.RÉSUMÉDes granites silicifiés ont été utilisés pour construire les monuments romans dans la ville d’Ávila, en Espagne. Les pierres de construction comprennent deux types de granite selon leurs propriétés techniques et leur couleur : Bleeding Stone (Piedra sangrante) et Ochre Granite (Caleño). Ils ont été utilisés comme pierre de revêtement de monuments romans du 12ème siècle de la ville (par exemple la cathédrale et de l'église de San Pedro), et pour les célèbres remparts de la ville qui constituent le meilleur exemple de l'architecture espagnole romane militaire. Durant les périodes gothique et Renaissance des 13e et 15e siècles, les granites silicifiés ont été utilisés principalement pour construire des croisés d'ogives, des voussoirs d’arcs et des éléments de fenêtres des monuments d’Ávila. Les granites silicifiés se trouvent dans la partie intermédiaire et supérieure d'une zone complexe de paléo-altération ou de manteau développée sur le socle ibérique hercynien qui supporte une grande partie de la péninsule ibérique occidentale. La silicification s’est produite dans des conditions tropicales au Mésozoïque. Le matériau mantélique altéré a été tronqué par des mouvements tectoniques alpins au cours du Tertiaire, et ses restes ont été recouverts en discordance par des sédiments plus récents dans la partie ouest et sud du bassin de Duero, et le long de la bordure nord de la vallée en graben d’Amblés. L’ancienne carrière, maintenant protégée, est située dans un village appelé La Colilla, à environ 5 km de la ville d’Ávila. Actuellement, cette pierre est exploitée uniquement pour les travaux de restauration effectués dans la ville, par exemple les murs d’Ávila, et l'église de San Pedro. La ressource est limitée et en voie d'épuisement, de sorte que la pierre sera rare dans un proche avenir. Par conséquent, ces granites silicifiés devraient être reconnus en tant que pierre du Patrimoine mondial des ressources en pierre. Les propriétés techniques spécifiques de ces pierres et leur valeur historique, leurs modes de désintégration, leur durabilité et leur pertinence pour la conservation patrimoniale justifient leur désignation en tant que roche du Patrimoine mondial des ressources en pierre. Traduit par le Traducteur
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Vežić, Pavuša. "Memorije križnoga tlocrta na tlu Istre i Dalmacije." Ars Adriatica, no. 3 (January 1, 2013): 21. http://dx.doi.org/10.15291/ars.459.
Full textAbstract:
Generally speaking, paleochristian memoriae have emerged out of the funeral traditions of the pagan world of Antiquity with its particular expression of the cult of deceased, sustained with the culture that had come out of Christian theology and aesthetics. It came together withnew architectural forms some of which were characterized with cross-like forms, not only as a general symbol of new faith, but also as the spatial projection, model after which one had to build. It is defined by two axes that cross at the right angle, the framework of the overall architecturalcomposition, factor of building’s extension in its entire length and width, as well as the height of the building that is dominated and marked by a dome. This particular structure of the building expresses its own essence, memorial use and the Christian paradigm. Through form and function, these buildings have become a distinguished phenomenon of the Christian civilization, valued in the architecture from the late antiquity to Romanesque period.Mature form of the space intended for the cult of the deceased, particularly when small cruciform churches are in question, is remarkably expressed in the preserved chapel of St. Lawrence, widely known as the mausoleum of Galla Placidia, one of two identical buildings once located at the ends of the narthex of the Ravennate church of the Holy Cross. The lower space of Theodoric’s mausoleum in Ravenna is also cruciform, however one should also remember emperor Justinian’s cruciform tombin Constantinople church of the Holy Apostles. It was demolished in the 15 century, together with the whole complex, and is known only through historical sources.Together with the Ravennate memoriae, such tombs could have – directly or indirectly – influence the formation of the cruciform memoriae in the Adriatic cultural landscape from Late Antiquity to Romanesque period.This paper elaborates the group of approximately fifteen buildings that demonstrate – through their forms and funerary functions – perseverance of particular cruciform plan of a memoriae within the Adriatic ambiance. A particularly numerous group is that of southern Istria, which consists of the Pula cathedral baptistery, two chapels by the basilica of Sta Maria Formosa and St. Mathew’s chapel in Pula, that of St. Catharine on a nearby islet and the supposed cruciform church of St. Andrew on an island in front of Rovinj. To such a concentration of the paleochristian memoriae one should link two early-mediaeval chapels, that of St. Clement in Pula and St. Thomas’ near Rovinj. The latter’s forms were already commented by Ivan Matejčić to follow and repeat paleochristian features. Among these features there are three protruding apses similar to those of St. Catharine’s. Therefore, it seems that the forms and themeasures of pre-Romanesque chapels were taken from those of the nearby Byzantine buildings, rather than from the distant Carolingian examples in Italy or France. Earlier and later southern Istrian memoriae are treated here as a typological group with emphasized regional features and continuity. Their forms differ only in some less important details, e.g. facades being either flat or articulated with lesenes. Their common features are, on the other hand, elementary architectural composition, spatial structure that consists of four branches and the dome hidden in the drum, as well as their dimensions and proportions. An element ofparticular interest is the octagonal upper part of the dome on Pula baptistery, that on St. Catharine’s on an islet in front of Pula as well as one on St. Andrew’s on an islet in front of Rovinj. These are probably reconstructions of the older solution. Within the supposedly later construction, there is a dome, a trula, as Pietro Kandler has named it, relating it with the Longboard architecture. It is carried by squinches.This solution is, actually, the Byzantine tradition in the area of Ravennate influences. A similar dome is constructed above the cruciform chapel consecrated to St. Mary Mater Domini (Theotokos), built next to the church of St. Felix and Fortunato in Vicenza, in 6 century. It seems that the same tradition was followed by very similar buildings, Paduan chapel of San Prosdocimo, and the memory erected by Santi Apostoli in Verona. On the other hand, St. Clement’s in Pula did not have a dome of such type and this church had yet another significant difference from the other Istrian chapels, the rectangular extension of areas in front of the apses. Another example that stands out from the group is the church of St. Euphemia at Saline bay in Lim channel. It is an Early Romanesque chapel with three apses at the rear. Lateral branches are reduced; they are much shorter than the front one, and give an impression of a transept rather than cruciform branches, as in other churches of the group. The upper part of the walls give no evidence of neither vaults nor a dome.Differently from the typological unity of the paleochristian and early mediaeval Istrian memoriae, those in Dalmatia show significant variability of the theme, already noticeable at the physiognomy of the earlier examples. For instance, the small baptistery in Baška on the island of Krk is an orderly cruciform building with relatively short branches and unarticulated flat walls, similar to Pula baptistery. The ground plan of St. Martin’s on the island of Cres is considerably different. It was a considerably larger building, probably in a memorial function related to a nearby villa rustica. It also has the rectangular extension in front of the apse, like St. Clement’s at Pula. Its walls show no traces of vaulted constructions. In a later phase, it was probably used as a parish church, like some examples of Dalmatian triconchal churches. A particular articulation of the walls, different from all of the Istrian and Dalmatiancruciform memoriae, was that of St. Cyprian’s chapel at Gata. Its short branches are rectangular on the outside, while on the inside they have inscribed round apses. Therefore, the outer surfaces have narrow round niches as relief of the thickened angles. Memory of the Holy Cross at Nin also has a round apse inscribed in the rectangular body of its rear branch. However, it is flanked by two smaller protruding apses, i.e. three in total. Other branches are vaulted with a half-dome on angular squinches that are also constructed below the drum with the dome inside. Ivo Petricioli has long ago suggested that its proportions indicate influences of the early mediaeval Byzantine architecture. This is further corroborated by its outer surfaces articulated with shallow niches. These features do not appear in Carolingian architecture, so it seems that the Holy Cross should be dated into the 10th or the 11th century. It also should be related tothe influences from nearby Zadar - contemporary capitol of the Byzantine Theme of Dalmatia - with the church of St. Vitus whose features, both general form and details, are of the same type of the building. Furthermore, they should be compared with the chapel of St. Donatus at Kornić on Krk Island. This small church is of apparently different groundplan, but one could still consider it a cruciform type. Its front and rear branches are rectangular, and there are indications that the rear branch had a round apse inscribed, similarly to the memory of the Holy Cross at Nin. However, its lateral branches are relatively small round apses, protruding from the sides of the chapel. Among them, there is a relativelyspacious central section with the dome constructed on the squinches. Miljenko Jurković has plausibly dated the church in 12th century, while I believe that it confirms the continuity of the paleochristian cruciform type of the Christian memory in Istria and Dalmatia from Late Antiquity to theRomanesque period. This is proven by some contemporary constructions, such as the chapel of an unknown title at Crkvina near Kašić, near Biljani Donji, that has also been dated in Romanesque period. In spite of some individual differences all of the memoriae compared in this paper, both groups are assembled by numerousness and similarities of both cruciform plans and funerary functions. Also, the influence of Adriatic Byzantine centres, particularly that of Ravenna, Pula and Zadar, is noticeable in formation of the regional characteristics of memorial architecture in the cultural ambiance of Istria and Dalmatia, within the context of long-lasting continuity of its forms and functions, from Late Antiquity to Romanesque period.
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Myzelev, Alla. "Canadian Architecture and Nationalism: From Vernacular to Deco." Brock Review 11, no. 1 (April 28, 2010): 28–42. http://dx.doi.org/10.26522/br.v11i1.137.
Full textAbstract:
The debates about national and local architecture in Canada go as far as the construction of the first permanent structures. The young country had to invent its native architectural tradition and at the same time to mitigate European influences. Introducing the notion of longing – or nostalgia – into the debate on Canadian design and architecture this study argues that European grandeur, innovations as well as financial and cultural magnitude often played an important role in the desire to create artistic projects including public and residential buildings. The interest in the Gothic revival and the forging of the Neo-Gothic style can be tied to a nostalgic feeling for the British Isles (their land of origin) and also for the utopian notions of unalienated artistic production during the Romanesque and Gothic periods championed by British philosophers Augustus Welby Pugin (1812-1852) and John Ruskin (1919-1900). The cultural horizons of those who participated in the forging of the national style included both the notion of modernity and its opposite (the anti-modern), the dream of the new but also the dream of the old. The article argues that such a complex inspiration is at the core of any modernist production, for it brings together and blurs the modern and anti-modern, the old and the new, and by doing so, it generates constant innovation. At the core of forging the nationalist style, there is also a desire to incorporate European history and heritage, not to negate or reject it. Finally, it argues that Art Deco became the vehicle that helped to popularize the ideas of modernity propagated by avant-garde artists and architects.
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BASSINTSA-BOUESSO, Aetius. "ALAIN MABANCKOU ET L’ÉCRITURE DE LA MIGRANCE: ENJEUX ÉTHIQUES ET SOCIOPOÉTIQUES." FRANCISOLA 2, no. 2 (December 31, 2017): 153. http://dx.doi.org/10.17509/francisola.v2i2.9407.
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RÉSUMÉ. La question des migrations relève d’une actualité brûlante. Les médias en font un traitement de nature à mettre en émoi le plus grand nombre et dans l’élan d’un patriotisme ou encore d’un ethnocentrisme exacerbé (selon les cas), des discours xénophobes se font de plus en plus entendre. La production romanesque d’Alain Mabanckou se réapproprie les questionnements que suscitent les mouvements migratoires qui concernent l’axe Afrique/ Europe, mais elle analyse également les mobilités sur les axes Afrique/ Afrique, village/ ville, etc. L’auteur s’érige ainsi en figure de proue de la littérature migratoire. La présente étude, en s’appuyant sur une lecture sociopoétique de ses textes, analyse les champs vers lesquels son écriture se déploie pour sonder les implications de ce phénomène afin de construire un discours littéraire le présentant comme un processus de repeuplement du monde actuel, qui pose aux espaces d’intersection des peuples le défi de la construction de communautés homogènes et paisibles. Mots-clés: Alain Mabanckou, diasporique, engagement, éthique, immigration, migrant. ABSTRACT. The migration is a major pressing issue. The media make it a treatement likely to stir up the largest number of poeple and the impetus of patriotism or an ethnocentrism exacerbated (according to the cases), xenophobic discourse is increasingly heard. Alain Mabanckou novelistic production reappropriates the questions raised by migratory movements concerning the Africa/ Europe axis, but also analyzes mobility on the Africa / Africa, Village / city axes, etc. The author thus stands out as a leading figure in migratory literature. This present study, conducted by the sociopoetic method, investigate the fields to which his writing deploys to probe the implications of this phenomenon in order to construct a literary discourse presenting it as a process of repopulation of the current world, which poses to the intersecting spaces of peoples the challenge of building homogeneous and peaceful communities. Keywords: Alain Mabanckou, diasporic, commitment, ethics, immigration, migrant.
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Denoyelle, Corinne, and Julie Sorba. "L’approche phraséologique du roman médiéval : une voie de caractérisation générique ?" SHS Web of Conferences 78 (2020): 05005. http://dx.doi.org/10.1051/shsconf/20207805005.
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Notre étude s’inscrit dans le cadre de la phraséologie étendue au service de la caractérisation du genre romanesque médiéval (XIIIe siècle). Nous montrons que quatre constructions bâties autour du verbe doner se comportent comme des unités phraséologiques structurant le texte (nommées motif) par leur fonction discursive.
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González-García, Antonio César. "La Orientación de las Iglesias Prerrománicas de Galicia: análisis y resultados preliminares." Estudos do Quaternário / Quaternary Studies, no. 12 (July 21, 2015): 133–42. http://dx.doi.org/10.30893/eq.v0i12.119.
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Se muestran los resultados de la labor de medida de las orientaciones de los ábsides y cabeceras de 25 iglesias prerrománicas analizadas hasta el momento en Galicia. Si bien el trabajo es aun preliminar ya se pueden extraer un número de interesantes resultados y conclusiones. Las iglesias de nuestra muestra presentan características comunes a las de los templos de la misma época del resto de la Península. Aparece una tendencia generalizada a mostrar una orientación de la iglesia hacia puntos ligeramente hacia el norte respecto al equinoccio astronómico. Esta tendencia es consistente con un uso de la salida del sol el 25 de Marzo para la época de construcción como guía para tal fin. Un caso paradigmático de tal uso y de su pervivencia en el tiempo puede ser la propia catedral de Santiago. Existen excepciones a tal regla, siendo las más características la presencia de orientaciones a poniente entre las iglesias identificadas como las más antiguas. Es interesante que en algún caso el uso de las orientaciones permite ratificar la posible conexión entre la iglesia de San Xes de Francelos con el grupo de iglesias asturianas.
The orientation of pre-Romanesque churches in Galicia: analysis and preliminary results - We present the results of the on-going effort to measure the orientation of a comprehensive number of churches in Galicia. We have measured the orientation of the apse of 25 churches so far. Although the results are still preliminary we can obtain a number of interesting conclusions. The churches in our sample present a similar trend to those of the same period recently measured in the rest of the Iberian Peninsula. There is a general tendency towards orientations slightly north of due equinoctial east. This tendency is consistent with a use of sunrise on March 25th at the time of construction to orientate the building. In this respect, the Cathedral of Santiago may be a paradigmatic case. There are exceptions to this rule and the most interesting would be that early churches do appear to be facing westwards instead of eastward. Finally, the orientation of San Xes de Francelos allows identification with the group of churches of Asturias.
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Cvetić, Mariela, and Slađana Marković. "Experience and Theory in Architectural Design: Digital Chain Case." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 121. http://dx.doi.org/10.25038/am.v0i12.172.
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The aim of this paper is to research the impact to emerging theory based on the relation between the architect and his work in a digital approach to the process of design and realization by the principle of Digital Chain. Digital Chain is an uninterruptible digital process consisting of design (idea, coding, geometrics), through construction (structure, junction, prototyping) to production (fabrication) with every step as a programmed entity connected by CAAD/CAM technology universal interfaces. The term Digital Chain is defined and researched (theoretically, experimentally and practically) by the CAAD Chair at ETHZ within the research projects of this institute. Digital Chain is not continuous without the role and position of the architect as the fluid energy and expert that investigates how digital technology is changing, i.e. the entire process of the chain, simultaneously adapting to it.In that sense architecture appears as an open work (Umberto Eco) without final definitions and in a constant process of information motion as the main component of the architectural product caused by the demands of context, function, form and user input. Testing design code through changes of parameters in iterations, as well as checks in prototype on the next level, makes the theoretical playground between experiment and experience, through education and expertise. It is examplary that interest in the process (performance) was larger than the representation (appearance), what Deleuze and Guattari call supremacy of the Gothic spirit over the spirit of Romanesque or classical spirit, where Gothic deals with the generation of Gothic architecture by understanding the forces, trends and behavior of the material from the bottom to the top, contrary to the classic generation that deals with the imposition of visual aspects such as the proportion of top-down. This paper considers experience or posteriori knowledge as the main driver of the emerging theory of the Digital Chain. Article received: December 26, 2016; Article accepted: January 23, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Cvetić, Mariela, and Slađana Marković. "Experience and Theory in Architectural Design: Digital Chain Case." AM Journal of Art and Media Studies 12 (2017): 121-134.
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Edgecomb, Sean F. "A Performance between Wood and the World: Ludwig II of Bavaria's Queer Swans." Theatre Survey 59, no. 2 (April 25, 2018): 221–48. http://dx.doi.org/10.1017/s0040557418000078.
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In her 1964 essay “Notes on ‘Camp,’” Susan Sontag includes Tchaikovsky's Swan Lake (1875–6) in a list that illustrates “random examples” from “the canon of Camp.” Though the ballet has become an integral part of the classical repertory for professional companies from Moscow to New York to Sydney as well as the inspiration for numerous figure skaters (most notoriously in Johnny Weir's outré and rhinestone-bedecked interpretation in 2006), it has, as suggested by Sontag, been creative afflatus for gay underground performers for more than a century. But what are the origins of the swan gone queer? As this article demonstrates, I suggest that one way to trace both the swan's queer genealogy and its continuity lies in the dramatic history and lived performance of the ill-fated Ludwig II (hereafter “Ludwig”) of Bavaria (1845–86)—the Swan King (Fig. 1). Tchaikovsky, after all, had been inspired by the dramatic story of the effete young king (and perhaps titillated by a shared closeted gay desire), who would become a prototype for the ballet's tragic hero, Prince Siegfried. In fact, dance scholar Peter Stoneley suggests that “Swan Lake confirms the virtual impossibility, in Tchaikovsky's [and Ludwig's] era, of accommodating homosexuality within wider society.” Ludwig's desire was expressed through a lens of his same-sex fantasies and their inspired artistic interpretations, most notably taking form in the construction of his neo-Romanesque, fairy-tale castle Neue Burg Hohenschwangau (more commonly known as Neuschwanstein or New Swan on the Rock Castle, though it was not renamed until after Ludwig's death). Ludwig's queer positionality also arises from the theatrical way that he performed a highly aesthetic (though hardly effective) approach to monarchy with his swan-bedecked castle and its environs as a sort of metastage set. In this context, the swan may be read as an example of what Donna Haraway calls “a companion species,” or a personal animal symbol (real or mythical) that represents a variety of feelings that are otherwise difficult to express in the hegemonic context of a given time and place (like homosexuality in Roman Catholic Bavaria in the nineteenth century). Ludwig chose the swan (drawn from family heraldry but primarily envisioned in his own life through storybook-driven fantasy) as a means of alternative expression to that normally available to a man in his position and with his responsibilities, and also as a way to enact his forbidden desires.
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Alttoa, Kaur. "Die Kapitelle der Ordensburg Fellin (Viljandi) – Dinge aus zweiter Hand aus Alt-Pernau (Vana-Pärnu)?" Baltic Journal of Art History 13 (October 9, 2017): 11. http://dx.doi.org/10.12697/bjah.2017.13.02.
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The rediscovery of the Viljandi Castle, which was totally destroyed during the Great Northern War, occurred between 1878 and 1879, when extensive excavations were conducted under the direction and guidance of Theodor Schiemann (1847–1921). The real sensation revealed by the excavations at the time was the discovery of numerous carved construction details. Most of them were column capitals or bases. These have been attributed to the main castle, which was a convent building typical of the Teutonic Order. This type of castle was developed in Prussia between ca 1280 and 1300, and its “classic” form spread between 1300 and 1330, during approximately the same half century as the Viljandi convent building was built.Some of the Viljandi column capitals have figural decorations and oak leaves are most common. There is also a large capital with naturalistic grape leaves, which comes from a cloister and was completed in the late 13th century. Apparently, the convent building was being constructed at that time.However, most of the capitals are much more archaic. Some of the motifs are typical of the Romanesque style. But the most common are the so-called “bud capitals” typical of the Early Gothic style. Basically such decorations became popular in Old Livonia in the 1250s and 1260s. In any case, it is clear that a large number of the capitals were carved when the convent-type castles had yet to develop.In the past, I have alluded to the possibility that there was a large richly decorated structure in Viljandi which was demolished to build the convent building. However, this is extremely unlikely. Although an archaeological study has not been made of the entire area of Viljandi’s main castle, it is hard to identify a place where such a large-scale building could have existed.Therefore, the possibility should be considered that some of the caitals were brought from elsewhere. We should also turn our attention to the fact that there are numerous capitals and bases for paired columns. Heretofore, it has been assumed that they had been used to decorate the windows of the chapel and capital hall in the northern wing of the main castle. Actually they originate from a structure which had an open gallery or cloister. However, this would mean that there was a very richly decorated structure in 13th century Old Livonia that was demolished less than 50 years after it was built, and the ruins were dispersed. There were very few such structures in Old Livonia at the time. However, one such case does exist, and it is not far from Viljandi – namely the Old Pärnu Cathedral.The main church of the Oesel–Wiek bishopric in Old Pärnu was completed in the early 1250s. Based on written records, we know that there was a capital hall, refectory and dormitory for the cathedral chapter house. This spatial plan also alludes to the existence of a cloister. The Old Pärnu Cathedral was destroyed by the Lithuanians in 1263. Later, the ruins of the cathedral were reconstructed into a parish church. However, this means that the cloister was no longer need. And it is possible that some of the carved decorations were transported to Viljandi, where the construction of a large-scale castle was under way during the last decades of the 13th century.
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Mercier, Andrée. "Adéodat I d’André Brochu ou comment écrire pour tous." Dossier 20, no. 3 (August 29, 2006): 556–70. http://dx.doi.org/10.7202/201189ar.
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Résumé Consacrée au premier roman d'André Brochu, Adéodat I, l'étude suivante s'intéresse plus particulièrement à la question du narrataire et au parcours de sa construction. Une double hypothèse sera mise à l'épreuve: tout d'abord l'idée que les différents avatars du texte supportent et manifestent autant la recherche et la construction d'un narrataire totalisant que celles du personnage principal, Adéodat; mais également que l'une et l'autre quête entretiennent des rapports souvent plus près de la contradiction que de la complémentarité (la situation d'énonciation heurtant en quelque sorte par les dimensions qu'elle occupe la mise au monde du personnage). La reconstitution du parcours du narrataire permettra par ailleurs de situer Adéodat I par rapport au mouvement de contextualisation de la littérature dans les textes romanesques observé par André Belleau, dans son essai Le romancier fictif.
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Ginja, António. "The last stronghold of the Castle of Leiria and its constructive evidences: when Romanesque encloses Gothic." Arqueología de la Arquitectura, no. 14 (December 19, 2017): 063. http://dx.doi.org/10.3989/arq.arqt.2017.020.
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En este artículo se exponen parte de los resultados obtenidos del primer estudio arquitectónico de las estructuras militares del Castillo de Leiria, que, en el ámbito de la maestría en Historia del Arte, de la Universidad de Coimbra, concilió Arqueología de la Arquitectura e Historia del Arte. De entre las diversas estructuras defensivas de este castillo, el llamado “último reducto”, una pequeña fortificación insertada dentro de la fortaleza propiamente dicha, revelaría una complejidad y una diacronía constructivas impares en todo el Castillo de Leiria. A pesar de la aparente modestia de su arquitectura, que le ha valido los epítetos de “proyecto conservador” o “proyecto inacabado”, se demuestra cómo el “último reducto”, resultado de una sucesión de cuatro fases constructivas, constituyó en realidad un proyecto avanzado, un sistema defensivo plenamente gótico, aunque encerrado en un castillo románico.
[pt] Neste artigo expõe-se parte dos resultados obtidos a partir do primeiro estudo arquitetónico das estruturas militares do Castelo de Leiria, que, no âmbito do mestrado em História da Arte, da Universidade de Coimbra, conciliou Arqueologia da Arquitetura e História da Arte. De entre as várias estruturas defensivas deste castelo, o chamado “último reduto”, uma pequena fortificação inserida dentro da fortaleza propriamente dita, revelou uma complexidade e uma diacronia construtivas ímpares em todo o Castelo de Leiria. Apesar da aparente modéstia da sua arquitetura, que lhe tem valido os epítetos de “projeto conservador” ou “projeto inacabado”, demonstrase como o “último reduto”, resultando de uma sucessão de quatro fases construtivas, constituiu na verdade um projeto avançado, um sistema defensivo plenamente gótico, ainda que encerrado num castelo românico.
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Navarro, Françoise. "La construction de l’identité féminine, entre héritage méditerranéen et quête émancipatoire dans trois œuvres romanesques contemporaines." Babel, no. 41 (May 18, 2020): 113–34. http://dx.doi.org/10.4000/babel.10212.
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Diouf, Mbaye. "De Sow Fall à Fatou Diome : mécanismes d’une métafiction de l’immigration." Articles 47, no. 1 (February 28, 2017): 23–42. http://dx.doi.org/10.7202/1039044ar.
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Cet article s’intéresse aux mécanismes d’organisation et de fonctionnement de l’énonciation de l’immigration dans le roman féminin francophone. Il examine différemment un sujet souvent étudié à travers des grilles d’analyse inspirées par l’anthropologie sociale ou la mode féministe et qui figent encore l’interprétation des textes féminins dans des perceptions quasi « immuables ». Pourtant, l’analyse des romans d’Aminata Sow Fall et de Fatou Diome découvre les ressorts d’une « métafiction ironique » qui sémantise autrement les formes modernes et les expériences personnelles de l’immigration en reliant leur performance textuelle à de nouveaux procédés de construction et d’inscription du sens romanesques. C’est à partir de ce lieu ouvert que cette performance textuelle déjoue les frontières critiques et théoriques rigides et renverse, dans une ambiance carnavalesque, des discours sociaux bien ancrés.
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Gonon, Laetitia, and Julie Sorba. "Phraséologismes spécifiques dans les romans historiques et les romans de littérature blanche." Journal of French Language Studies 30, no. 1 (August 19, 2019): 1–20. http://dx.doi.org/10.1017/s0959269519000140.
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RESUMEDans l’objectif de contraster deux sous-genres du roman contemporain, l’article analyse les réalisations lexicales, syntaxiques, sémantiques et discursives de 8 constructions lexico-syntaxiques (CLS) dans un corpus français constitué de romans historiques (HIST) et de romans de littérature blanche (GEN) postérieurs à 1950. Ces unités phraséologiques récurrentes ont été repérées grâce à la technique des ALR développée dans le Lexicoscope, un outil de linguistique de corpus créé pour fouiller des textes. Les 8 CLS retenues pour cette étude interviennent dans (ou initient) une interaction verbale. Notre propos est de démontrer que ces CLS représentent bien des motifs qui occupent des fonctions discursives (FD) précises dans chaque genre sous-romanesque qu’elles permettent de mieux définir. Nous verrons ainsi que ces motifs de l’interaction verbale peuvent occuper des FD narrative, descriptive et pragmatique dans HIST et GEN mais que seule la FD cognitive est représentée dans GEN.
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Fihurnyi, Yuriy, and Olga Shakurova. "ETHNOCULTURAL STUDIES OF L. ZALIZNYAK (1991-2018)." Journal of Ukrainian History, no. 40 (2019): 69–77. http://dx.doi.org/10.17721/2522-4611.2019.40.9.
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The article analyzes the ethnocultural problems in the scientific works of L. Zalizniak, published by them in 1991-2018. The methodological basis of the study was the principles of historicism and historical retrospective. Also, the researchers applied comparative-analytical, systemic-structural, objective-subjective, biographical, concrete-generalization, chronological, concrete-historical, retrospective and other methods of research. The researcher was interested in the problem of the origin of the Ukrainian people with the arrival to the Institute of Ukrainian Studies in 1992. The fruitful cooperation with the Institute of Ukrainian Studies of the Kyiv University named after Taras Shevchenko and other scientific institutions helped the scientist to form his own vision of the Ukrainian ethnogenetic process. For a quarter century of work on the topic in the conditions of the Ukrainian state, L. Zaliznyak creatively substantiated and developed the early-medieval conception of the origin of the Ukrainian people founded by M. Hrushevsky. During this long time, L. Zalizniak's ethno-cultural studios have become a solid, stable and reliable ground for the modern concept of ethnogenesis of Ukrainians. The scholar highlights the following basic provisions of this ethnogenetic theory: 1) The peoples are ethnocultural organisms that pass through the life cycle from birth through childhood, maturity, old age to ethnic disintegration and assimilation by other ethnic groups; 2) The age of ethnos determines the ethno-cultural continuity of its development, which is established with the help of a complex of sources and methods of various paleo-historical disciplines (archeology, historical sources, linguistics, ethnography, anthropology, etc.); 3) The birth of large ethnic groups in the middle of Europe occurred in the early Middle Ages; 4) The tribal stage of the development of European ethnic groups began at the dawn of the Middle Ages and ended in the IX-X centuries the emergence of their first states - English, French, Czech, Serbian, Croatian, Polish, Russian; 5) The state-owned people of the empire may generate daughters in the provinces of the empire controlled by them. They arose as a result of the synthesis of local traditions with the culture and language of the imperial people-conqueror, and began their own historical existence from the moment of separation from the empire. They arose as a result of the synthesis of local traditions with the culture and language of the imperial people-conqueror, and began their own historical existence from the moment of separation from the empire. So the Romans gave rise to the Romanesque group of peoples, and the ancient Ukrainian (Russian) princely Kievan group of Eastern Slavs (Belarusians, Pskov-Novgorod, Russians). According to L. Zalizniak, in Eastern Europe there really existed a cradle of three fraternal peoples. Newborn Belarussians, Pskov-Novgorodians and Russians sat there, and their father, a pro-Ukrainian from Prince Kiev, sheds it. L. Zaliznyak substantiates the coherence of the early medieval conception of the origin of Ukrainians with the universal scheme of ethnogenesis of the great European ethnic groups and the scheme of the ethnogenesis of the eastern Slavs M. Hrushevsky. If M. Hrushevsky considered the antitates to be direct ancestors of the Ukrainian people, then L. Zaliznyak is convinced that they were the most slobins. According to L. Zaliznyak, Ukrainian ethnogenetic periodization has the following form: ethnogenesis of Ukrainians begins at the end of the fifth century; further - slobins and partially anti (V-VІІ st.); annalistic tribes of Volynians, Derevlyans, Polyan, White Croats, Ulychi, Tiverts (VIII-IX); Ruthenian people (proukrainians) (X-XIV centuries); Rusyns-Ukrainians of the Cossack Age (XV-XVIII centuries); Ukrainians since the emergence of a modern nation (nineteenth and twentieth centuries). Actively criticizing the modern exotic concepts of prehistoric origin of Ukrainians, the scientist emphasizes: 1) Ukrainian people are born only when their basic ethno-cultural complex is formed, which includes language, culture, temperament, character, anthropological type, self-consciousness and specific forms of management; 2) the main defining feature of the age of the Ukrainian ethnos is the continuity of its ethno-cultural development, that is, the presence of a holistic complex of ethno-cultural elements for a sufficiently long time. Consequently, the ethno-cultural studios of L. Zaliznyak in post-Soviet Ukraine, deprived of totalitarian ideology, acquired the finality and systematic comprehension, due to this, they became a solid and reliable ground for the construction of scientifically sound models of Ukrainian ethnogenesis.
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Alttoa, Kaur. "Anmerkungen zur Baugeschichte der St. Olaikirche auf Worms (Vormsi) im Bistum Ösel-Wiek (Saare-Lääne)." Baltic Journal of Art History 14 (December 27, 2017): 7. http://dx.doi.org/10.12697/bjah.2017.14.01.
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Vormsi is a small island that belonged to the Oesel-Wiek bishopric during the Middle Ages. There is a church on the island that is dedicated to St Olaf, the Norwegian king who was undoubtedly the most popular saint among the Scandinavians. A short article written by Villem Raam in the anthology Eesti Arhitektuur (Estonian Architecture, 1996) is the only one worth mentioning that has appeared to date on the architectural history of the Vormsi church.The Vormsi church is comprised of a sanctuary and nave. Only the sanctuary was completed during the Middle Ages, and the stone nave was not completed until 1632. During the restoration of the church between 1989 and 1990, fragments were found of the foundation of the wooden church that predated the stone one. It is possible that the wooden church was utilised throughout the Middle Ages as a congregation room.Currently, it is believed that the Vormsi sanctuary was built during the 15th century. This dating is based on the pyramid-shaped vault consoles – a similar shape also appears in the chapel of the gate tower in the Padise Cistercian monastery. Actually, the Padise consoles have been reused. Their original location is unknown and their completion is impossible to date even within the time frame of a century.The most significant is the eastern wall of the Vormsi sanctuary, where a spacious niche with pointed arch is located. This Cistercian composition was also used in the Haapsalu Cathedral and apparently that was the model for the Vormsi church. The Haapsalu Cathedral is a surprisingly simple single-nave church with three bays. The church has richly decorated capitals on its wall pillars, on which both Romanesque and Early Gothic motifs have been used. At least some of the capitals have been hewn by a master who previously worked on the construction of the capital hall in the Riga Cathedral. The northern section of the Haapsalu Cathedral was apparently built in the 1260s. In the vicinity of Riga there is a church with a floor plan that is an exact counterpart to the one in Haapsalu – the Holme / Martinsala Church that dates back to about the 13th century. Considering both the floor plan and the sculptured decorations, it is believable that the designers and builders of the Haapsalu Cathedral came from the Riga environs.Pärnu is also on the Riga-Haapsalu route. Actually, two towns existed there during the Middle Ages. For a short time, Old-Pärnu on the right bank of the river had been the centre of the Oesel-Wiek bishopric before Haapsalu. However, the left bank of the river was controlled by the Livonian Order. There is very little information about the Old-Pärnu Cathedral that was completed around 1251 and destroyed by the Lithuanians in 1263. However, one thing is known – it also had a single-nave with three bays. There is no information about the design of the eastern wall of the cathedral. However, the sanctuary of St Nicholas’ Church in New-Pärnu had an eastern niche similar to the one in Haapsalu. It is not impossible that the motif was borrowed from the cathedral across the river or its ruins. Attention should also be paid to the fact that the design of the northern and southern walls in the sanctuary of Pärnu’s St Nicholas’ Church are similar to the Vormsi church. Therefore, there is no doubt that these two sanctuaries are architecturally and genetically related. Apparently the Vormsi sanctuary was built immediately or soon after the completion of the Haapsalu Cathedral – not later than 1270. It is not impossible that the vaults were constructed sometime later.The vault painting in the Vormsi sanctuary is probably inspired by the “paradise vaults” in Gotland. The Vormsi painting is strikingly primitive. In Estonia, this primitive style can also be seen in the churches in Ridala and Pöide.There is a squint (hagioscope) on the southern wall of the Vormsi church sanctuary, and an unusual sacrament niche with a light shaft in the eastern wall. This does not date back to the time when the sanctuary was built, but was added later. There have been at least eight such sacrament niches in Estonia, most of which were built in the 15th century.