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Degtyarev, Vladislav V. "Gothic Revival and the Possibility of “Gothic Survival”." Observatory of Culture 15, no. 5 (December 14, 2018): 576–83. http://dx.doi.org/10.25281/2072-3156-2018-15-5-576-583.
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The notion of “Gothic survival” is still prevalent in literature on Gothic revival architecture in England. This concept implies the possibility of the unreflexive survival of Gothic architectural tradition in some distant provincial regions, where architects, searching connections with the past or folk traditions, could find it. This notion, dating back to the literature of the beginning of the 20th century, can be convincingly refuted by analyzing the meanings and purposes of different stages of Gothic revival. The article aims to demonstrate that the use of Gothic architectural forms in the second half of the 17th — beginning of the 18th century was initiated by intellectuals and had no connection to the preservation of artisan traditions.The courtiers of Elizabeth I, re-enacting mediaeval romances and Arthurian legends, conducted the earliest known Gothic revival. The relation between Elizabethan architecture and Gothic tradition has been discussed many times. And in later decades — during the Stuart era, the Commonwealth and after the Restoration — Gothic colleges and churches were extensively built.Basing on the sources available, it can be assumed that, though there was not any chronological break in Gothic architectural tradition, Gothic revival had been ideologically biased from its very beginning. We can also say that the spread of classical architecture in England not only was unable to destroy the Gothic tradition, but also gave it new meanings and almost immediately made any appeal to Gothic forms an ideological statement.
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Lindfield, Peter. "Serious Gothic and ‘doing the Ancient Buildings’: Batty Langley's Ancient Architecture and ‘Principal Geometric Elevations’." Architectural History 57 (2014): 141–73. http://dx.doi.org/10.1017/s0066622x00001404.
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Batty Langley (1696-1751) is one of the most familiar and generally infamous figures of Britain's eighteenth-century Gothic Revival (Fig. 1). Following his father, he trained as a gardener and was one of the early promoters of the irregular style that prefigured William Hogarth's ‘line of beauty’. Langley's interest, however, turned to architecture and he produced numerous architectural treatises and pattern books, the majority of which were concerned with Classical architecture. This was a sensible decision since, as Eileen Harris and Nicholas Savage observe, ‘Langley had much to gain by concentrating his publishing activities on architecture, for which there was a considerably larger, more diversified, and less discriminating market.’ His most well-known publication, however, is concerned with the Gothic: Ancient Architecture: Restored, and Improved by a Great Variety of Grand and Useful Designs, Entirely New in the Gothick Mode (1741-42).
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Aspin, Philip. "‘Our Ancient Architecture’: Contesting Cathedrals in Late Georgian England." Architectural History 54 (2011): 213–32. http://dx.doi.org/10.1017/s0066622x00004056.
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Recent research has transformed our understanding of the late eighteenth and early nineteenth centuries as a phase in the wider process of the Gothic Revival. While historical writing on the Gothic Revival had previously tended to see the significance of the period between 1790 and 1820 largely in terms of its academic contribution to the later development of Victorian Gothic Revival architecture, emphasizing especially the role of antiquarian scholarship in providing a basis of archaeological accuracy upon which subsequent architects could draw, more diverse angles have been opened up within the last couple of decades. Research by Simon Bradley, Chris Brooks and others has illuminated debates on the origins of the Gothic style itself and the patriotic language underpinning them, and has added greatly to our understanding of the associations between Gothic and ‘Englishness’. Rosemary Hill has investigated the ambiguous and problematic religious connotations of Gothic. Simon Bradley has authoritatively anatomized the increasingly enthusiastic take-up of Gothic by the Anglican Church in the first few decades of the nineteenth century, and has uncovered a rich prehistory of ecclesiological principles before the foundation of the Camden Society and all its powerfully misleading retrospective propaganda.
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Hermawati ; C. Sudianto Aly ; Jonathan Hans Y. S, Sisilia. "THE APPLICATION OF GOTHIC ARCHITECTURE ON SANTO LAURENSIUS CHIRCH ALAM SUTRA, SERPONG." Riset Arsitektur (RISA) 2, no. 04 (October 16, 2018): 360–75. http://dx.doi.org/10.26593/risa.v2i04.3047.360-375.
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Abstract- At a glance, the Church of Saint which Laurensius located in Serpong is like a church built in the past. However, when traced, it turns out this church is a new church that was built in 2007 by applying the Style of Gothic Architecture on the building. The application of elements of gothic architecture is not only visible from the outside of the church, but also on the inside of the church. For that, it will be further investigated about the application of any gothic elements contained in the study object.Gothic architectural elements are divided into several periods based on its development, ranging from Early Gothic, High Gothic, Late Gothic to Gothic Revival or Neo-Gothic. Gothic architectural elements have different characteristics and characters in each period of development. In this research, discussed theories about elements in gothic architecture based on its development. There are 17 elements analyzed in this research. These seventeen elements are summarized into three major sections covering the structural elements, non-structural elements, and spatial arrangements. Analysis of the application of gothic architectural elements to the Church of St. Laurensius begins by describing the elements present in the study object and then compared with the gothic architectural elements of the gothic period described in the second chapter. Based on the results of the analysis, it can be seen that from 17 elements observed, 12 elements of which are adapted from the building elements contained in the period of neo-gothic architecture. Key Words: Gothic, Period, Element, Architecture, Neo-Gothic
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McAleer, J. Philip. "St. Mary's (1820-1830), Halifax: An Early Example of the Use of Gothic Revival Forms in Canada." Journal of the Society of Architectural Historians 45, no. 2 (June 1, 1986): 134–47. http://dx.doi.org/10.2307/990092.
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Early Gothic Revival architecture in Canada, particularly from the period prior to the 1840s, when the influence of A. W. N. Pugin and the Ecclesiologists began to be felt, has been little studied. This paper reconstructs a lost monument-St. Mary's, in Halifax, Nova Scotia, as erected 1820-1830-which may have been the first ambitious essay in the Gothic Revival style, especially as it apparently precedes by a few years the single and most famous monument of this time, the parish church of Notre-Dame in Montréal, itself often considered the starting point of the style in Canada. Although the exterior of St. Mary's was modest-essentially it was an exemplar of the rectangular box with "west" tower, definitively formulated by James Gibbs, and ubiquitous since the 1720s-with Gothic detailing replacing Baroque, the interior, known only from one watercolor and partly surviving today, is of greater interest. Divided into nave and aisles by piers of clustered shafts, the piers' form, plus plaster vaults and pointed arches, helped create an aura reminiscent of the Gothic period. The interior was dominated by the design of the sanctuary (now destroyed), where an unusual congregation of architectural forms suggests both the appearance of illusionistic architecture, with a possible connection to New York, and a further transformation of Baroque forms into their Gothic equivalents, with a possible connection to Québec City. Tenuous, circumstantial evidence will be provided to substantiate the plausibility of such sources. This paper also attempts to place St. Mary's in the context of the Gothic Revival in North America c. 1820-1830. As a result, it will be seen that its exterior, although without precedents in Canada, is typical of Gothic Revival churches of the period in the United States. By contrast, the interior design, especially of the sanctuary, suggests it was one of the more imaginative creations in either context. It therefore emerges as a more significant monument in the history of Canadian and North American architecture than heretofore suspected.
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CURL, J. S. "Anthony Salvin: Pioneer of Gothic Revival Architecture." Journal of Design History 2, no. 1 (January 1, 1989): 56–57. http://dx.doi.org/10.1093/jdh/2.1.56.
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Bullen, J. B. "The Romanesque Revival in Britain, 1800–1840: William Gunn, William Whewell, and Edmund Sharpe." Architectural History 47 (2004): 139–58. http://dx.doi.org/10.1017/s0066622x00001738.
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The Romanesque revival, like the Gothic revival, was an international movement. It passed easily across national boundaries and its effects were felt throughout Europe and across America. In Britain it was overshadowed by the Gothic revival out of whose historiography it grew, and is easily confused with the Norman revival that enjoyed considerable popularity in the 1830s and 1840s. Both the Norman revival and the study of the Romanesque were the fruit of British antiquarianism, because in the eighteenth and early nineteenth centuries there was in this country a well developed scholarly interest in pre-Gothic, round-arched buildings.
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Merwood-Salisbury, Joanna. "The Architecture of the Leisure Class: Thorstein Veblen and the University of Chicago." Journal of the Society of Architectural Historians 82, no. 1 (March 1, 2023): 7–22. http://dx.doi.org/10.1525/jsah.2023.82.1.7.
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Abstract The American economist Thorstein Veblen’s The Theory of the Leisure Class (1899) has been used to support and define concepts of architectural modernity for more than one hundred years. Best known for introducing the concept of “conspicuous consumption,” this influential book has been especially valuable for historians of the architecture of consumer culture. Yet curiously, Veblen’s own architectural examples have escaped scholarly attention. This article explores the link Veblen drew between Gothic Revival architecture and cultural barbarism. Inverting the concepts and terminology of race science, Veblen used the image of the Gothic Revival university to criticize the rhetoric of American exceptionalism. Seen through the lens of Veblen’s writing, Henry Ives Cobb’s design for the University of Chicago (1891–97), where Veblen taught for fourteen years, represents the transformation of leisure-class aesthetics under the logic of capitalism.
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Whelan, Debbie. "Snippets from the north: Architects in Durban and their response to identity, common culture and resistance in the 1930s." VITRUVIO - International Journal of Architectural Technology and Sustainability 4, no. 1 (June 18, 2019): 26. http://dx.doi.org/10.4995/vitruvio-ijats.2019.11774.
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<p class="Abstracttext-VITRUVIOCxSpFirst">Previously colonized by both Holland and Britain, South Africans have always borrowed; many taking aesthetic clues from memories of ‘home’. Applied seemingly irrelevantly, these ‘clues’ often border on the pastiche. Pre and post Union in 1910, the British-controlled colonies of Natal and the Cape absorbed imported architectural influences which not only introduced an Arts and Crafts layer to Victorian Gothic and Classical revivals, but introduced vital new ideas, namely Art Deco and Modernism.</p><p class="Abstracttext-VITRUVIOCxSpFirst">Somehow this polemic embraced another revival: a melange of Tudor and Elizabethan focusing on detail, craftsmanship and nostalgia. The ‘Tudorbethan’ Revival occurred at a vital point in the inter-war era, and it is contended that this style demonstrated a calculated resistance to the hybrid ‘Union Period’ architecture and its political role in forging a common diasporic identity and culture in the 1930s, rather than a mere application of fashion.</p><p class="Abstracttext-VITRUVIOCxSpFirst">This paper situates the Tudorbethan Revival within contemporary architectural themes in Durban, South Africa, and contextualises the socio-political production of buildings between the wars before examining the works of architects who conceived this well-crafted, nostalgic and irrelevant architecture. It concludes by comparing this complex aesthetic with the contemporary architectural thread of ‘Gwelo’ Goodman’s Cape Dutch Revival suggesting the degree to which domestic architecture is able to support political positions in contested societies.</p>
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Damjanović, Dragan. "Polychrome Roof Tiles and National Style in Nineteenth-century Croatia." Journal of the Society of Architectural Historians 70, no. 4 (December 1, 2011): 466–91. http://dx.doi.org/10.1525/jsah.2011.70.4.466.
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Gothic architecture, revived and decorated with motifs borrowed from folk art, provided the foundation for the creation of a Croatian national style in the last quarter of the nineteenth century. Dragan Damjanović explains how the Viennese architect Friedrich Schmidt and his student and collaborator Herman Bollé created the signature architecture of this movement, the brilliantly colored and boldly patterned tile roofs of St. Mark's church (restored 1875–82), Zagreb cathedral (restored 1878–1902), and the church of the Blessed Virgin Mary in Marija Bistrica (restored 1878–85). In Polychrome Roof Tiles and National Style in Nineteenth-century Croatia, this architecture is placed in the context of the Gothic Revival in the Austro-Hungarian monarchy and the collecting and analysis of traditional textiles by the amateur ethnographer Felix (Srećko) Lay.
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Pears, Richard. "Battle of the Styles? Classical and Gothic Architecture in Seventeenth-Century North-East England." Architectural History 55 (2012): 79–110. http://dx.doi.org/10.1017/s0066622x0000006x.
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Research over the last twenty years into seventeenth-century elite British architecture has questioned the view that Classical designs were the preserve of a narrow group of royal and aristocratic patrons at the Stuart court, and also that Inigo Jones was a ‘lonely genius’ misunderstood in his own lifetime but prophesizing the true Classicism that was to bloom in the eighteenth century.The role of patrons in defining architectural styles has also been analysed, and it has been noted that Classicism was not the only style they favoured. For earlier historians, a perception that Classical architecture was an advance upon the Gothic style of medieval English buildings led to discussions of ‘Gothic survival’ or ‘Gothic revival’ and of a ‘Battle of the Styles’ in sixteenth-, seventeenth- and eighteenth-century buildings, with such patrons as Lady Anne Clifford (1590–1676), who commissioned and renovated buildings in Gothic style, being viewed as a ‘curiosity’ for not employing Classical style.
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Farris, Katie. "Hair Epoch, and: Architecture of Desire, Gothic Revival Edition." Pleiades: Literature in Context 38, no. 2 (2018): 67–68. http://dx.doi.org/10.1353/plc.2018.0120.
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Colleoni, Paola. "A Gothic Vision: James Goold, William Wardell and the Building of St Patrick’s Cathedral, Melbourne, 1850–97." Architectural History 65 (2022): 227–60. http://dx.doi.org/10.1017/arh.2022.11.
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ABSTRACTSt Patrick’s Cathedral in Melbourne is among the largest Gothic revival churches built in the nineteenth century, matching in size the medieval cathedrals that inspired its design. The history of the commission reveals the role played by the first Roman Catholic bishop of Melbourne, James Alipius Goold, who was acquainted with A. W. N. Pugin’s theories of the Gothic revival and who promoted the construction of churches true to Pugin’s principles. After two failed attempts at smaller structures, and in the wake of the gold rush in Victoria, Goold in 1858 commissioned the newly arrived architect William Wilkinson Wardell to design a cathedral of unprecedented monumental proportions. Wardell’s design, rooted in an archaeologically correct approach to medieval precedent, was widely praised by colonial society, which favoured massive buildings reminiscent of those found in Europe. Furthermore, with its French-inspired apse and radiating chapels, St Patrick’s highlighted a connection to Catholic religious tradition particularly resonant for its largely Irish congregation. The design stands apart from High Victorian developments in the Gothic revival seen in England in the 1850s, as colonial patrons favoured a more conservative approach. St Patrick’s exemplifies several of the trends that influenced the revival of Gothic architecture in the Australian colonies, while also representing the desire of the Catholic Church to establish its position throughout the wider British empire.
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Hammond, Erin A. "Sight Unseen: Mediating Vision and Emotion in Gothic Revival Churches c.1830–50." Emotions: History, Culture, Society 6, no. 1 (June 22, 2022): 117–34. http://dx.doi.org/10.1163/2208522x-02010149.
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Abstract With the revival of Gothic ecclesiastical architecture in nineteenth-century Britain, a cultural interest in church furnishings reignited alongside intellectual attention to their symbolic and emotive power. Rood screens, in particular, became both a symbolic and literal locus for the production of awe, mystery and revelation. The primitive interpretation of rood screens both exalted the object symbolically and allowed it to activate the spiritual senses by limiting physical sight to the altar, thus preserving the mysteries of the Eucharist. This essay considers how rood screen controversies during the mid-Victorian period unveil complex relationships between emotion, revelation and sight within Gothic Revival church interiors.
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Quiney, Anthony. "Anthony Salvin:pioneer of gothic revival architecture, 1799–1881. By JillAllibone." Archaeological Journal 146, no. 1 (January 1989): 641–42. http://dx.doi.org/10.1080/00665983.1989.11021348.
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McCarthy, Michael. "Soane's "Saxon" Room at Stowe." Journal of the Society of Architectural Historians 44, no. 2 (May 1, 1985): 129–46. http://dx.doi.org/10.2307/990025.
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The history of the building of the Gothic Revival library and adjoining lobby and staircase in Stowe House, Buckinghamshire, from 1805 to 1807 by John Soane is discussed in detail following a sequence established by the drawings for the commission and corroborated by letters, accounts, and office records in manuscript. These documents, for the most part preserved in the Sir John Soane Museum, London, have not previously been examined or published in detail in connection with the building, and they allow a very close demonstration of the working of the Soane office. The importance of the Stowe library in Soane's oeuvre is suggested by reference to his earlier and his later works. Though he is generally considered to have been unhappy or unfortunate in his Gothic Revival work, it is argued here that this commission allowed free rein to the expression of his artistic personality and is a notable example of successful historicism. It is further argued that in its close fidelity to the historical model chosen, the Chapel of King Henry VII in Westminster Abbey, the Stowe library represents the culmination of a trend in architectural design that originated with Horace Walpole and was of the first importance to the pioneers of the Gothic Revival, especially of Soane's early patron and friend, Thomas Pitt, Lord Camelford, who had designed the house at Stowe. This commission deserves far greater attention, therefore, than it has received hitherto in the literature of the Gothic Revival. Finally, the iconographical justification of the choice of style and the appropriateness of the model selected by Soane and the Marquis of Buckingham is established by reference to the publications of the antiquary Thomas Astle, whose manuscript collection was to be housed in the new library.
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Frew, John. "Review: Anthony Salvin, Pioneer of Gothic Revival Architecture, 1799-1881 by Jill Allibone; The Origins of the Gothic Revival by Michael McCarthy." Journal of the Society of Architectural Historians 48, no. 4 (December 1, 1989): 400–402. http://dx.doi.org/10.2307/990463.
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Smeenk, Chris. "The Peters Collection and the Leliman Library of the University of Technology, Delft." Art Libraries Journal 12, no. 1 (1987): 39–41. http://dx.doi.org/10.1017/s0307472200005046.
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The Library of the Faculty of Architecture in the University of Technology at Delft includes two important private collections. The Peters Collection comprises material formerly owned by the Gothic Revival architect Cornelis Hendrick Peters and includes architectural and topographical drawings and prints as well as books. The Leliman Library comprises the library of the Classical architect J.H. Leliman, augmented by his son, Johannes Hendrik Willem Leliman, himself an architect who specialized in housing, an associate of the garden city movement and advocate for the preservation of old buildings.
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Hill, Judith. "Architecture in the Aftermath of Union: Building the Viceregal Chapel in Dublin Castle, 1801–15." Architectural History 60 (2017): 183–217. http://dx.doi.org/10.1017/arh.2017.6.
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AbstractThe chapel in Dublin Castle, built between 1807 and 1815, was one of the most impressive ecclesiastical Gothic buildings of the pre-Pugin revival in the British Isles. It was commissioned by the viceregal establishment following the Act of Union between Great Britain and Ireland in 1801, and was closely associated with Church of Ireland objectives for post-Union Protestantism in Ireland. This essay investigates the patrons’ ambitions for the chapel, and discusses its design and execution by Francis Johnston, successor to James Gandon as the foremost architect of public buildings in Ireland. Reviewing the chapel within the context of the Union, the essay argues that the viceregal administration and the Church of Ireland were concerned to assert their authority and define their values, and that these were expressed in Gothic revival architecture which grafted progressive appreciation for medieval models onto Georgian taste, and in a comprehensive and unprecedented scheme of ecclesiastical sculpture. Ireland's political position within the Union was ambiguous, but it is argued here that the rebuilt chapel projected both unionist and imperialist gestures, and that, culturally, it was an expression of Britishness.
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Чекмарев, В. М. "ESTABLISHMENT OF ENGLISH NEO-GOTHIC AT THE TURN OF THE 18 CENTURY. ON THE PROBLEM DEFINITION." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 1(12) (February 17, 2020): 236–47. http://dx.doi.org/10.25995/niitiag.2019.12.1.011.
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Статья посвящена проблеме становления неоготической традиции в архитектуре Британии на рубеже XVII-XVIII вв. Вопрос о начале возрождения интереса к готическому наследию в Англии достаточно сложен. Однако само его рассмотрение приобретает особую актуальность в контексте пришедшегося на XVIII-XIX вв. общеевропейского интереса к возрождению национальных особенностей средневекового зодчества. Традиции готического строительства в Англии практически никогда не прекращали своего существования, однако следует различать их от сознательного воскрешения средневекового наследия, происходящего на рубеже эпохи Стюартов и георгианского времени. На примере как церковных, так и светских построек трех крупнейших британских архитекторов этого времени: К. Рена, Н. Хоксмура и Дж. Ванбру - прослеживаются пути интеграции готических элементов в художественную систему барокко. Важно отметить, что именно восприятие и интерпретация готической традиции, происходящая в рамках эстетики барокко, существенным образом отличает эти памятники от построек середины XVIII в., относящихся к так называемому периоду «рокайльной неоготики». Английское неоготическое движение рубежа XVII-XVIII вв. было вызвано к жизни всем спектром условий переломного в художественном отношении периода. Самый факт появления этого феномена свидетельствует о наличии своеобразного противоречия, когда еще новые, находящиеся в процессе становления эстетические идеи, будучи соответственно материализованы средствами архитектурной пластики, вынуждены изначально существовать в узких рамках уже сложившихся и признанных стилевых форм. Поначалу практически неотделимая от иных стилистических установок неоготика наиболее зримо заявляет о себе на завершающем этапе развития в Англии стиля барокко. Ее зарождение, по сути, пришлось на время стилистической неопределенности или неполной выраженности того или иного архитектурного направления в русле целостной национальной культуры. The article concerns the problem of the Neo-Gothic tradition establishment in Britatin at the turn of the 18th century. The question when the revival of the interest toward the Gothic heritage first took place is rather complicated. This phenomenon is a part of a more wide process of arising interest for the national medieval heritage in Europe. Traditions of Gothic architecture practically never stopped in England, but it is important to stress the difference between them and the revival of medieval heritage in Late Stuart epoch and at the turn of the Georgian era. As an example the works of three most important Britain architects of the period (C. Wren, N. Hawksmoor and J. Vanbrough) are chosen to show the ways how the Gothic elements were integrated in the artistic system of the Baroque. It is also important to stress that the reception and interpretation of Gothic tradition of this period differs from that seen in the buildings of the middle of the 18th century, the period of so called Rococo Gothic. English Gothic revival at the turn of the 18th century was inspired by the complicated conditions of this crucial period. The fact that this phenomenon emerges shows a certain contradiction between the new esthetic ideas that had to exist within the old stylistic system. Neo-Gothic first proclaims its existence in England at the end of the Baroque epoch. It establishes in the time of some stylistic uncertainty in the national architecture and culture in general.
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Lepine, Ayla. "The Persistence of Medievalism: Kenneth Clark and the Gothic Revival." Architectural History 57 (2014): 323–56. http://dx.doi.org/10.1017/s0066622x00001453.
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From his emergence on the cultural scene in the 1920s until his death in 1983, Kenneth Clark was one of the most influential figures in the history of British art and design, and his legacy remains strong. Clark’s life and work were entirely dedicated to communicating about art and transforming public understanding regarding its production and enjoyment. His first book,The Gothic Revival: An Essay in the History of Taste, investigated, condemned and elevated the status of Georgian and Victorian England’s enthusiasm for the Middle Ages. Written in the mid-1920s, it was published with Constable in 1928 when he was only twenty-five years old. By investigating the circumstances under which the book came to fruition and its importance in relation to Clark’s persistent interest in the Victorians — and John Ruskin in particular — a richer understanding of Clark’s ideas and beliefs can take shape.
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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.
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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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Mckendry, Jennifer. "The Attitude of John Nash toward the Gothic Revival Style." Journal of the Society of Architectural Historians 47, no. 3 (September 1988): 295–96. http://dx.doi.org/10.2307/990303.
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Reeve, Matthew M. "Dickie Bateman and the Gothicization of Old Windsor: Gothic Architecture and Sexuality in the Circle of Horace Walpole." Architectural History 56 (2013): 97–131. http://dx.doi.org/10.1017/s0066622x0000246x.
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Mr Dicky Bateman was a typical eccentric, who resembled his friend Horace Walpole in his Gothic affectation, and [John] Wilkes in his impious buffoonery.In one of the witty characterizations for which he is justifiably famous, Horace Walpole described the subject of this article — the transformation of the villa at Old Windsor owned by his friend, Richard (Dickie) Bateman — as a bout of one-upmanship between two men of taste: ‘[I] converted Dicky Bateman from a Chinese to a Goth […] I preached so effectively that every pagoda took the veil’. He later described the change of the style of Bateman’s house in terms of spiritual affiliation: Bateman’s house had ‘changed its religion […] I converted it from Chinese to Gothic’. Here as elsewhere in the early years of the Gothic Revival, Walpole serves as principal interlocutor, providing keen, if sharply biased, insights on many significant building projects in England. Walpole positions himself as a teacher and Bateman as a disciple whom he convinced to change his tastes from Chinoiserie (‘the fashion of the instant’) to the Gothic, the style ‘of the elect’. Walpole’s clever allegory of stylistic change as national and religious conversion was based in part on the fact that he provided the conduit for Richard Bentley and Johann Heinrich Müntz, two of his closest designers in the ‘Committee of Taste’, to design Gothic additions for Bateman between 1758-61. Rebuilt and expanded in the fashionable mode of Walpole’s own Strawberry Hill and by its designers, from Walpole’s perspective at least, Old Windsor as remodelled for Bateman served to reinforce his role as arbiter of the Gothic taste and Strawberry Hill as its paradigm.
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Pabich, Marek. "THE BEGINNINGS OF MUSEUM ARCHITECTURE IN THE UNITED STATES." Space&FORM 2020, no. 50 (June 30, 2022): 177–94. http://dx.doi.org/10.21005/pif.2022.50.b-06.
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Contrary to Europe, where museums were created from transformed collections, in America the first museums were founded on the basis of scientific institutions. Only in the second half of the nineteenth century, museums are formed based on private collections. Objects were erected to house the collections, which for a long time, almost until the middle of the 20th century, stylistically referred to the architecture of ancient Greece. From the mid-nineteenth century, museums began to be built, for which architects looked for inspiration in later styles. And although neo-gothic, neorenaissance and neo-baroque objects appeared, the Greek Revival dominated museum architecture in the United States, created by graduates of the Parisian École des Beaux-Arts.
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Bobbitt, Elizabeth. "Ann Radcliffe’s Post-1797 Imagination: Edwy: A Poem, in Three Parts and the Topographical Gothic." Essays in Romanticism: Volume 29, Issue 1 29, no. 1 (April 1, 2022): 69–88. http://dx.doi.org/10.3828/eir.2022.29.1.5.
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This essay considers how Ann Radcliffe’s post-1797 texts, posthumously published in 1826 almost thirty years after The Italian (1797), marks a new and significant shift in Radcliffe’s later imagination. Through this collection of prose, narrative poetry, and lyric verse, Radcliffe re-examines the Gothic as a genre which is fascinated with Britain’s national past, both in terms of the architectural remains of the nation’s history, and the texts which commemorate or interrogate such pasts. In investigating how Radcliffe responds to a contemporary revival in interest in Britain’s early heritage, this essay focuses on Radcliffe’s little-known fairy poem, entitled Edwy: A Poem, in Three Parts, set on the grounds of Windsor Castle. Edwy represents Radcliffe’s movement towards a self-conscious examination of her own Gothic topographies, in which she shifts to a specific representation of the sites of Britain’s national past, complicated by the inherent violence of their Gothic legacies.
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Stewart, David. "Political Ruins: Gothic Sham Ruins and the '45." Journal of the Society of Architectural Historians 55, no. 4 (December 1, 1996): 400–411. http://dx.doi.org/10.2307/991181.
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Many Gothic sham ruins erected after the Jacobite Rebellion of 1745 were produced as attacks on England's Catholic and baronial past. Such ruins were not simply images of picturesque beauty or of nostalgia: rather, they were monuments of ridicule and images of just destruction, commemorating the defeat of Charles Edward, the Young Pretender, by the forces of George II. The Young Pretender threatened England with the return of monasteries, the return of the tyranny of John and Charles I, and the return to the power of the pope in England. The one thing that many eighteenth-century Englishmen did not want was a genuine return to the Gothic past; such a return threatened to extinguish much that eighteenth-century Whiggism had accomplished. The Gothic sham ruins discussed in this essay were the product not of a deep sense of cultural respect, but, in fact, for some, of a sense of cultural opposition. Politics and religion help us to understand why Sanderson Miller, George Lyttelton, Lord Hardwicke, and William Shenstone built Gothic ruins. Distrust for things Gothic spread far beyond these four men: It extended from Horace Walpole at mid-century to William Gilpin at the end of the century, from the century's greatest leader of the Gothic Revival to the century's greatest promoter of the picturesque aesthetic.
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Turner, Emily. "The Church Missionary Society and Architecture in the Mission Field: Evangelical Anglican Perspectives on Church Building Abroad, c. 1850-1900." Architectural History 58 (2015): 197–228. http://dx.doi.org/10.1017/s0066622x0000263x.
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The Gothic Revival occupies a central place in the architectural development of the Church of England in the nineteenth century, both at home and abroad. Within the expanding British colonial world, in particular, the neo-Gothic church became a centrally important expression of both faith and identity throughout the second half of the nineteenth century. From a symbolic and communicative perspective, the style represented not only a visual link to Britain, but also the fundamental expression of the Church of England as an institution and of the culture of Englishness. As such, it carried with it a wide range of cultural implications that suited the needs of settler communities wishing to re-established their identity abroad. Expansion during this period, however, was not only limited to the growth of settler communities but was also reflected in growing Anglican missions to the non-Christian peoples of annexed territories. The two primary organs of the Church of England in the field, the Society for the Propagation of the Gospel (SPG) and the Church Missionary Society (CMS), actively employed the revived medieval style throughout the Empire as missions were solidified through infrastructure development. As a popular style with direct connotations to the Christian faith, revived medieval design became increasingly popular with Anglican missionaries abroad in the period between the early 1840s and the end of the century. Not only did its origins in ecclesiastical buildings make it attractive, but it was also stylistically distinctive, and set apart as a sacred style from both secular and ‘heathen’ structures.
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Tyack, Geoffrey. "Gilbert Scott and the Chapel of Exeter College, Oxford." Architectural History 50 (2007): 125–48. http://dx.doi.org/10.1017/s0066622x00002902.
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‘The greatest fa presto in architectural history’, as Paul Frankl called him — although there are plenty of other contenders for that dubious honour — Gilbert Scott occupies an ambiguous place in the history of English architecture. The sheer volume of his work, and its lack of stylistic consistency, disturbed his contemporaries and have continued to vex later writers. Yet the history of the Gothic Revival cannot be written without him, and through some of his buildings he helped shape its future course. Among these buildings was the chapel at Exeter College, Oxford, begun in 1856 and finished three years later. The survival of a substantial collection of drawings and correspondence in the college’s archives enables us to establish and reinterpret the significance of this magnificent and still somewhat under-appreciated building.
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Mathews, Jana. "The scrapbook as repurposed and transplanted illustration: The ABCs of medieval alphabet compilations in nineteenth-century England." Journal of Illustration 8, no. 2 (December 1, 2021): 155–86. http://dx.doi.org/10.1386/jill_00043_1.
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The so-called Gothic Revival long has been viewed as a mode of resistance to the mechanization and mass production of culture wrought by industrialization. Throughout the nineteenth century, society’s nostalgic longing for the distant past manifests itself in the form of medieval-inspired art, architecture, theatre, fashion and interior design. It also involves the uniquely contemporaneous literary fad of extracting illuminated letters (elaborately decorated initials) from parchment bibles, books of hours and other medieval religious texts, and reassembling them into handmade alphabet scrapbooks. Using illustrative cases in point, this article examines how certain medieval alphabet scrapbooks operate in the service of British nationalism by embodying nationalist identity and values.
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Murphy, Kevin D. "European Architecture, 1750-1890 Barry Bergdoll Modern Architecture Alan Colquhoun Twentieth-Century Architecture Dennis P. Doordan The Gothic Revival Michael J. Lewis." Journal of the Society of Architectural Historians 63, no. 3 (September 2004): 398–402. http://dx.doi.org/10.2307/4127983.
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Ruchinskaya, T. "English Gothic revival in Moscow architecture at the end of the nineteenth and early twentieth centuries." Building Research & Information 22, no. 6 (November 1994): 298–306. http://dx.doi.org/10.1080/09613219408727408.
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Goff, Lisa. "“Something prety out of very little”." Journal of the Society of Architectural Historians 78, no. 1 (March 1, 2019): 49–67. http://dx.doi.org/10.1525/jsah.2019.78.1.49.
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In “Something prety out of very little”: Graniteville Mill Village, 1848, Lisa Goff describes how Charleston entrepreneur William Gregg built Graniteville, South Carolina, to prove the viability of southern manufacturing, which he believed could help avert war between South and North, and to quell planters’ fears that industry would mar the beauty of the South. The village's whitewashed Carpenter Gothic cottages, with matching hotel, school, and church designed by Richard Upjohn, were intended to instill virtues of hard work, clean living, and respect for authority in a white workforce drawn from surrounding farms. Gregg exercised a patriarch's control over his industrial utopia, but the nicknames workers gave the place, and what they told visiting missionaries, show that they experienced Gregg's Gothic hamlet on their own terms. An avid gardener and horticulturist active in the Episcopal Church, Gregg would have been aware of the claims to moral superiority associated with the Gothic Revival style. Goff's analysis of letters, published articles, corporate reports, and advertisements in local newspapers reveals that Gregg's strategies of social contol—adapted from his study of Robert Owen and David Dale—had sinister underpinnings: programmed for hard work at low wages by the “ethical” architecture and orderly “natural” landscape, a white, largely female workforce would insulate the Graniteville Mill from the effects of abolition, should it come.
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Shepard, Mary B. ""Our Fine Gothic Magnificence": The Nineteenth-Century Chapel at Costessey Hall (Norfolk) and Its Medieval Glazing." Journal of the Society of Architectural Historians 54, no. 2 (June 1, 1995): 186–207. http://dx.doi.org/10.2307/990967.
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Constructed soon after the relaxation of laws forbidding Roman Catholic worship but twenty years prior to formal emancipation in 1829, the Gothic Revival chapel at Costessey Hall (Norfolk) was sumptuously glazed with over eighty panels of medieval stained glass dispersed from their original ecclesiastical contexts. This study examines the chapel at Costessey (1809) and its import within the context of Roman Catholic Emancipation in England and the aristocratic claims of its patron, Sir William Jerningham (1736-1809). As an integral monument, the Costessey chapel constituted an extraordinary coalescence of architecture and glazing in which medieval stained glass re-employed as medieval artifact both embodied and revitalized the spirits of its creators. Although the chapel was destroyed in the early twentieth century, it is possible to assess its appearance and that of its glazing program through descriptions, drawings, engravings, and photographs. By placing the Costessey chapel within the context of the Jerningham family history and their role within the movement for Catholic Emancipation, as well as by examining the family's connection with the Catholic bishop John Milner (a champion of the use of Gothic architecture for Roman Catholic building) it is possible to understand the chapel at Costessey as representing not only the distinguished lineage and religious legacy of its builder, but also the legitimacy of the Roman Catholic faith in a turbulent time of social and religious change.
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Miele, Chris. "Gothic Sign, Protestant Realia: Templars, Ecclesiologists and the Round Churches at Cambridge and London." Architectural History 53 (2010): 191–215. http://dx.doi.org/10.1017/s0066622x00003919.
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The Gothic Revival moved forward in step with advances in medieval archaeology and history, the one feeding off the other and back again. As this process unfolded, historical understanding enabled the association of forms with ideas. For example, some Victorian architects favoured the Decorated style because a connection could be drawn between it and the power of the English state in its early maturity. Reasoning by analogy, this style could thus be seen as the model for a modern Gothic architecture appropriate to a new, dynamic age. However, the meaning of forms was rarely fixed. That this was the case is illustrated by the restoration at exactly the same time, the early 1840s, of two medieval churches, both typological copies of the same building, the Holy Sepulchre in Jerusalem. Though similar in their round plans, the intentions of those promoting each project were very different. The first, the Temple Church in London, was an essentially secular project; by contrast, the Round Church in Cambridge was restored for theological reasons. In different ways, these two projects also reflected contemporary ideas about Palestine and its archaeology.
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Curran, Kathleen. "The Politics of the German Gothic Revival: August Reichensperger (1808-1865) Michael J. Lewis." Journal of the Society of Architectural Historians 53, no. 3 (September 1994): 359–61. http://dx.doi.org/10.2307/990948.
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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.
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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.
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van Impe, Ellen. "The Rise of Architectural History in Belgium 1830–1914." Architectural History 51 (2008): 161–83. http://dx.doi.org/10.1017/s0066622x00003063.
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On the map of nineteenth-century architectural historiographies in Western Europe, Belgium has so far remained a blind spot. While the country’s architectural history of the nineteenth century has already received some (if selective) international attention, with a somewhat disproportionate focus on the Art Nouveau, the historiography arising alongside of it has largely remained outside the picture. Meanwhile, considerations as to Belgium’s particular situation, which presumably influenced its architecture, equally apply to its historiography; for instance its design as a crossroads of influences, as demonstrated in research into the Belgian Catholic Gothic Revival and into nineteenth-century (architectural) history in general, among cases one could cite. While interesting because of its own particularities, Belgium also represents a type of ‘smaller European country’ created in the nineteenth century, whose architectural history has been characterized as ‘often fascinating precisely in the extent to which [these countries] present attempts to resolve the inherent contradictions between the major interpretive models and prescriptions of the English Pugin-Ruskin tradition, French Rationalism, and the more archaeological approach of the Cologne school’. The relatively limited corpus of Belgian architectural historiography — at least when compared with the historiographies of the United Kingdom, France or Germany — is an additional advantage, since it makes the field of study more easily definable and thus allows for more detailed study.
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Bluestone, Daniel. "A. J. Davis’s Belmead." Journal of the Society of Architectural Historians 71, no. 2 (June 1, 2012): 145–67. http://dx.doi.org/10.1525/jsah.2012.71.2.145.
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In 1845 Philip St. George Cocke commissioned Alexander Jackson Davis to design a Gothic revival villa for Belmead. In doing so he radically departed from the tradition of Palladian and classical architecture that had characterized elite Virginia plantations since the mid-eighteenth century. In A. J. Davis’s Belmead: Picturesque Aesthetics in the Land of Slavery, Daniel Bluestone argues that a Davis design resonated differently on the banks of the James River than on the banks of the Hudson. The appeal of Davis’s design lay in its sensitivity to the reciprocity between buildings and landscape, highlighting Cocke’s advocacy of greater stewardship of the land in the place of generations of ruinous agricultural practices. Beyond his villa and his land, Cocke commissioned Davis to design Belmead’s slave quarters. This was an attempt to harmonize himself with his slaves and the nation with an agricultural system based upon chattel slavery rather than yeomen farmers. This essay encourages us to look beyond the universals that often frame architectural history discussions of picturesque aesthetics to situate picturesque designs more precisely within a place-centered context of client vision and socio-cultural meaning.
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Gnatiuk, Liliia. "TRENDS OF FORMATION OF SACRED SPACE IN THE TWENTIETH CENTURY." Urban development and spatial planning, no. 76 (March 1, 2021): 49–62. http://dx.doi.org/10.32347/2076-815x.2021.76.49-62.
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The article analyzes the iconic temples of the twentieth century. The anthroposophical theory of architecture is presented, which assumed that the world and man are permeated by different types of spiritual forces, due to the forms of objects of the visible world can be strengthened or weakened. An understanding of the harmony of forms in the formation of sacred space is presented. The architecture of the sacred constructions erected on the principle of organic architecture is considered. The influence of German Expressionist architects on the formation of the temple architecture they created, as well as the regularity of the use of geometric figures and the use of magic numbers are presented. A look at the mysterious nature of the connection of people in a society that is close to the types of connections that connect religious communities is presented. The forms of individual sacred buildings and ways of organizing their interiors are analyzed, which led to the conclusion that the ideas of the revival of social unity arose as a result of a combination of various elements, such as Christian religion and non-political socialism. The phenomenon of perception of the Church as a social organization is presented, but also of the church as a building, which became a model of a proper social organization in the early 20th century. Perceptions of the Gothic cathedral as a phenomenon of the community association of architects are highlighted. The use of Gothic typography for the design of publications of the early twentieth century is considered. The need to take into account the relationship between certain forms and messages, which are transmitted through them in the formation of sacred space. An attempt is also made to adapt the principles of modernism to the needs of the formation of sacred space. The tendencies of formation of sacred space in the XX century are revealed, namely: Anthroposophical; community worship and liturgical reform.
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Gomme, Andor. "Pugin: A Gothic Passion Paul Atterbury Clive Wainwright A. W. N. Pugin A. W. N. Pugin: Master of Gothic Revival Paul Atterbury A. W. N. Pugin." Journal of the Society of Architectural Historians 55, no. 3 (September 1996): 353–56. http://dx.doi.org/10.2307/991169.
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Coslett, Daniel E. "Monuments, Memories, and Conversion: Commemorating Saint Louis of France in Colonial Carthage." Journal of the Society of Architectural Historians 82, no. 4 (December 1, 2023): 420–48. http://dx.doi.org/10.1525/jsah.2023.82.4.420.
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Abstract Although scholars have explored the colonialist nature of archaeology and the importance of antiquity in the legitimation of modern empires, accounts of French-occupied North Africa have largely overlooked the place of medievalism in the nineteenth- and twentieth-century French colonial project. Illustrating the strategic importance of references to the crusader-king Louis IX, whose short stay in Tunisia culminated in his death in 1270, this article explores a dynamic ensemble of commemorative structures and spaces built by France and the Catholic Church on the Byrsa Hill, Carthage’s ancient acropolis. It considers a Gothic Revival chapel (1841), a scholasticate and antiquities museum (1879), an eclectic cathedral (1894), and an archaeological garden (1950–56) before concluding with a brief account of the site’s postcolonial development and current state. The conversion of the Byrsa by Catholic officials demonstrates the multifaceted nature of colonial mythologizing and architecture, where both antiquity and medievalism played critical sociopolitical roles.
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Omilanowska, Małgorzata. "Gmach Gdańskiej Biblioteki Miejskiej przy ulicy Wałowej." Porta Aurea, no. 20 (December 21, 2021): 123–47. http://dx.doi.org/10.26881/porta.2021.20.06.
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Following Germany’s unification in 1871, Gdansk was a major municipal centre and a port on the Empire’s map, however it was well past its heyday. In the Gründerzeit, it could not reach as quick a pace of development as other cities of the Reich, and by the late 19th century it did not boast any university. The attempt to catch up on the substantial delay in creating modern public architecture in Gdansk was only made after the fortifications had been dismantled (1895–97). A triangular plot close to St James’s Gate was reserved for the purpose of education and science. It was there that a seat of the city archive and the building of the Secondary School of SS Peter and Paul (Oberrealschule St. Petri und Pauli) were raised. The third edifice was planned as the new home for the Gdansk Library. The precious book collection, whose core was formed by the collection bequeathed by Joannes Bernardinus Bonifacius d’Oria of Naples in 1596, was kept in a former Franciscan monastery, and later in St James’s Church. Attempts to raise a new building to house the collection in the 1820s as designed by Carl Samuel Held failed. Neither was the plan to erect the new library building as an extension of the Dungeon and Prison Gate Complex implemented. It was only Karl Kleefeld’s design from 1901–1902 planning to raise an impressive Gothic Revival complex that finally came to life. Completed in January 1905, the Library welcomed the first readers already on 16 February.
Kleefeld designed the building’s mass on the L -plan layout with a truncated corner and wings. The main reading room boasted elegant, sumptuous, and coherent wooden furnishing, and the gallery’s centrepiece was a ledge decorated with 14 panels featuring bas -relief cartouches with the emblems of the cities of West Prussia. Differing in size, the edifices, were given red -brick elevations with plastered details and glazed green filling, with a sgraffito frieze on the reading room elevation between the ground and first floors. It was the Gdansk Renaissance that dominated in public buildings’ architecture of the city in the last quarter of the 19th century. The resumed popularity of Gothic Revival in its local forms in Gdansk public buildings’ architecture, such as those in the afore - -described Kleefeld’s designs, resulted undoubtedly from a rapid growth of research into historic structures, yet on the other hand it reflected the return to the local tradition (Heimatschutz), which could be observed in the architecture of the German Reich at the time.
Judged in the context of an extremely modest programme of public projects in Gdansk of the period, the creation of the Bildungsdreick with the edifices of the archive, library, and secondary school is to be regarded as a major event in the history of creating public architecture of the city.
As seen against other projects of the time in other Reich cities, the Gdansk City Library stood out neither with its scale, nor innovatory character of the layout solutions. What, however, makes it a special facility are architectural forms that reveal its contribution to the search for the expression of the local tradition. This kind of an archaeological approach to the past and a compilatory additive method of juxtaposing quotes from various buildings, which may have also arisen from the lack of talent of the architect, were undoubtedly in decline in the early 20th century.
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Groznov, O. D. "The Transformation of Classical Order in John Soane’s Architecture." Art & Culture Studies, no. 1 (2021): 86–103. http://dx.doi.org/10.51678/2226-0072-2021-1-86-103.
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The article provides a new approach to study the oeuvre of an architect-neoclassicist Sir John Soane. This approach is concerned to an original interpretation of architectural order by Soane. Studying the metamorphosis of classical order in Soane’s architecture can help to understand the evolution and particularity of Soane’s individual style and also to define the specific place of this style in the neo-classicist movement. The article describes the development of the architectural order in England (since the 16th century to the beginning of the 19th century) and some specific features of the John Soane’s approach to the application of the architectural order system. The author analyzes different ways of interpretation of the order decoration in the work of John Soane, referring to such buildings as the John Soane House in London (the architect’s Museum now), the Dulwich Picture Gallery and the Bank of England, which was heavily rebuilt in the 20th century, but well-known in its original appearance — from drawings, photographs and descriptions. Other buildings of Soane are also examined in the article. The research is based on two methods — stylistic analysis (of particular buildings and its details) and analysis of historic and cultural aspects of Soane’s work (for better understanding of its theoretical and practical origins and the very reason of its genesis). The preliminary results of the research show that the transformation of classical order’s key elements is going hand in hand with the development of two different phenomena — the style of Soane itself and the situation in European culture of the second part of the 18th century when some significant movements (Neo-classicism, Gothic Revival, etc.) were developing, intersecting and interchanging with one another.
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Hall, Michael. "Emily Meynell Ingram and Holy Angels, Hoar Cross, Staffordshire: A Study in Patronage." Architectural History 47 (2004): 283–328. http://dx.doi.org/10.1017/s0066622x00001787.
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Almost from the moment of its consecration, on 26 April 1876, the church of the Holy Angels at Hoar Cross in Staffordshire was spoken of as an exceptional building. There was more than local pride in a contemporary newspaper report of its unveiling, which declared it to be ‘one of the most beautiful churches in the kingdom … the dignity of the conception, the beauty of the proportion, and the elaborate care lavished on even the minutest detail, carry one back to those days which have left us such memorials as the Percy shrine or the Beauchamp chapel’. That perceptive reference to those medieval sources of inspiration suggests one of the reasons why the church made such an immediate impression. It was the first complete embodiment in a rural setting of a new ideal in the Gothic revival, which in the previous decade had turned its back on the exotic and eclectic style now called High Victorian and had returned to English architecture of the mid-fourteenth century as the point of departure for modern churches. At Hoar Cross, Bodley and Garner, the architectural partnership which had taken the lead in that movement, worked in close collaboration with an exceptional patron, Emily Meynell Ingram, to help realize a compelling new visual identity for the nineteenth-century Anglican parish church.
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David-Sirocko, Karen. "Anglo-German Interconnexions during the Gothic Revival: A Case Study from the Work of Georg Gottlob Ungewitter (1820-64)." Architectural History 41 (1998): 153. http://dx.doi.org/10.2307/1568652.
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Litvack, Leon B. "An Auspicious Alliance: Pugin, Bloxam, and the Magdalen Commissions." Journal of the Society of Architectural Historians 49, no. 2 (June 1, 1990): 154–60. http://dx.doi.org/10.2307/990474.
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This article forms the sequel to "The Balliol that Might Have Been: Pugin's Crushing Oxford Defeat" (JSAH, XLV, 1986, 358-373). That study showed that Augustus W. N. Pugin (1812-1852) was prevented from carrying out his plans for renovating Balliol College, Oxford, because of his somewhat singular views and oppressive nature, combined with the prevailing sentiments against Roman Catholics in the University. The present study surveys the history of the two small commissions that Pugin was granted: the Magdalen College gateway and the Church of St. Lawrence, Tubney (the only Anglican church Pugin ever built). In both cases Pugin was appointed as architect through the benevolence of Dr. John Rouse Bloxam, in appeasement for the failures at Balliol. Pugin executed the designs in secrecy and with extraordinary speed, thereby hoping to avoid criticism or scandal, in an effort to erect a small monument to himself in Oxford, his "city of spires," which he hoped could serve as the model for the 19th-century Gothic revival in England.
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Litvack, Leon B. "The Balliol That Might Have Been: Pugin's Crushing Oxford Defeat." Journal of the Society of Architectural Historians 45, no. 4 (December 1, 1986): 358–73. http://dx.doi.org/10.2307/990207.
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Augustus Welby Pugin (Fig. 1) was the acknowledged leader of the Gothic revival in 19th-century England. Examples of his work appear everywhere in the country-everywhere, that is, except Oxford. This man was guided by strict principles of "pointed" or "Christian" architecture; however, unlike many architects of his day, Pugin's beliefs were also governed by a fervent-and sometimes oppressive-devotion to the Roman Catholic Church. He was convinced that outward signs of devotion were indispensable, and that the Church of Rome was the true expounder of Christian faith. Pugin would have loved to erect a building based on these principles in what he called "the most Catholic-looking city in England." The aim of this article is to demonstrate that the rejection of Pugin as architect for the new buildings at Balliol in 1843 was not simply a case of a Roman Catholic's working in a hostile Protestant environment; rather, he was dismissed because of the vehemence with which he pressed his own cause and derided that of others. Balliol was a great loss to Pugin; the course of events described in these pages serves as a painful reminder of overabundant zeal in pursuit of a goal.
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Hill, Rosemary. "Reformation to Millennium: Pugin's Contrasts in the History of English Thought." Journal of the Society of Architectural Historians 58, no. 1 (March 1, 1999): 26–41. http://dx.doi.org/10.2307/991435.
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Pugin's Contrasts of 1836 was the book that marked the turning point of the Gothic Revival and the end of the Georgian age. It also launched its author's career as an apologist for the moral and religious value of architecture. The much modified second edition of 1841 has assumed a greater importance for historians. It was the first edition, however, that impressed contemporaries and made Pugin's name. This essay looks at the process by which the book as it appeared in 1836 was composed, including the first, previously unpublished, scheme of 1833. It also examines its social and intellectual context. It suggest that Contrasts marked the meeting of two currents of thought in which Pugin had been steeped since childhood: the English antiquarian tradition, which was, from the Reformation itself, deeply imbued with Catholic sympathy, and the Romantic millenarianism of the 1830s, which determined the form that Contrasts eventually took. It also suggests that Pugin's early life, his contact with the theories of the Picturesque, with the theater and popular journalism, as well as the influence of his mother, all played a greater part than has been thought in the composition of Contrasts.
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Prabhu, Saurabh, and Sez Atamturktur. "Selection of Optimal Sensor Locations Based on Modified Effective Independence Method: Case Study on a Gothic Revival Cathedral." Journal of Architectural Engineering 19, no. 4 (December 2013): 288–301. http://dx.doi.org/10.1061/(asce)ae.1943-5568.0000112.
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