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Journal articles on the topic 'Gothic revival (art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Damjanović, Dragan. "Polychrome Roof Tiles and National Style in Nineteenth-century Croatia." Journal of the Society of Architectural Historians 70, no. 4 (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 Ro

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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

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Myles, Janet. "L.N. Cottingham's Museum of Mediaeval Art: Herald of the Gothic Revival." Visual Resources 17, no. 3 (2001): 253–87. http://dx.doi.org/10.1080/01973762.2001.9658596.

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Cox-Rearick, Janet. "Imagining the Renaissance: The Nineteenth-Century Cult of François I as Patron of Art*." Renaissance Quarterly 50, no. 1 (1997): 207–50. http://dx.doi.org/10.2307/3039334.

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A sentimental domestic scene, François I and Marguerite of Navarre, was painted in 1804 by the Salon painter Fleury Richard (fig. 1). As he explained, it illustrates an anecdote from the legend of François I. The king's sister, Marguerite de Navarre, is shown discovering on the windowpane a graffito about the inconstancy of women. François — the great royal womanizer — has just scratched it there and looks very pleased with himself.This painting signals not only the early nineteenth century's fascination with the Renaissance king, but reveals its attitudes about the Renaissance itself. For exa

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Aldrich, Megan B. "Modern Gothic: The Revival of Medieval Art. Susan B. Matheson , Derek D. Churchill." Studies in the Decorative Arts 9, no. 1 (2001): 163–66. http://dx.doi.org/10.1086/studdecoarts.9.1.40662809.

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KIRKHAM, P. "Victorian and Edwardian Furniture and Interiors from the Gothic Revival to Art Nouveau." Journal of Design History 2, no. 1 (1989): 55–56. http://dx.doi.org/10.1093/jdh/2.1.55.

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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 (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"

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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 (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 scrapboo

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Tang Kristensen, Jens. "Middelalderen som politisk middel i den spontan-abstrakte danske kunst." Slagmark - Tidsskrift for idéhistorie, no. 79 (June 25, 2019): 117–33. http://dx.doi.org/10.7146/slagmark.vi79.130732.

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With particular focus on Danish artists Henry Heerup (1907-1993), Carl-Henning Pedersen (1913-2007) and Asger Jorn (1914-1973), this article illustrates how spontaneous-abstract artists in World War II-era Denmark helped to perpetuate an idealized image of the Middle Ages as a homogeneous and unspoiled social order. It is argued that these artists took medieval culture to represent an uninhibited, irrational art, which they believed had somehow remained unsullied and beyond the exploitation of modern society’s political and capitalist powers. It is further demonstrated that these artists’ idea

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Reid, Donald Malcolm. "Cultural Imperialism and Nationalism: the Struggle to Define and Control the Heritage of Arab Art in Egypt." International Journal of Middle East Studies 24, no. 1 (1992): 57–76. http://dx.doi.org/10.1017/s0020743800001422.

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It was Europeans who started in Egypt a historic preservationist movement for Arab (or Islamic) art.1 It was they who persuaded Khedive Tawfiq to decree, in December 1881, the founding of the Committee for the Conservation of Monuments of Arab Art (hereafter “the Comité,” the usual French designation). It was the European-dominated Comité that opened the Museum of Arab Art three years later, and it was an Englishman, K. A. C. Creswell, who established the Institute of Islamic Archaeology at the Egyptian (later Cairo) University. Why did the Europeans care? In 19th-century Europe, romanticism g

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Pilkevych, Andrii. "«SECONDARY SOURCES» OF CELTIC AND NORSE MODES IN MODERN POPULAR CULTURE THROUGH THE PRISM OF FANTASY." Ethnic History of European Nations, no. 69 (2023): 153–57. http://dx.doi.org/10.17721/2518-1270.2023.69.19.

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The article deals with the main sources of the modern fantasy genre, presented in the form of several blocks of borrowings. First of all, this is the influence of the figures of the «Celtic Revival», who were engaged the search, recording and systematization of mainly Irish, Scottish and Welsh tales, myths and a wide range of folklore material. This legacy was transformed into an original literary tradition characterized by a combination of legendary heritage with fictional art elements and authorial reworking. Examples of pseudo-translations from Celtic languages presented as authentic, such

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Myzelev, Alla. "Canadian Architecture and Nationalism: From Vernacular to Deco." Brock Review 11, no. 1 (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 a

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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 influen

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Van Impe, Ellen. "“Un art aux principes rationnels les plus anciens, aux formes les plus traditionnelles”: The Belgian Catholic Gothic Revival and the reception of the English Arts and Crafts Movement (1890–1914)." Dutch Crossing 29, no. 2 (2005): 203–28. http://dx.doi.org/10.1080/03096564.2005.11730859.

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Bergdoll, Barry. "The Gothic Revival 1720-1870: Literary Sources and Documents Michael Charlesworth An Architect of Promise: George Gilbert Scott Junior (1839-1897) and the Late Gothic Revival Gavin Stamp The Romanesque Revival: Religion, Politics, and Transnational Exchange Kathleen Curran Die École des Beaux-Arts in Paris. Ein gebautes Architekturtraktat des 19. Jahrhunderts Jörn Garleff The Art of Building: From Classicism to Modernity: The Dutch Architectural Debate Auke van der Woud." Journal of the Society of Architectural Historians 63, no. 3 (2004): 390–96. http://dx.doi.org/10.2307/4127981.

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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 a

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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 intere

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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

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Corti, Francisco, and Ofelia Manzi. "The English Gothic Revival in Argentina." Visual Resources 17, no. 3 (2001): 289–319. http://dx.doi.org/10.1080/01973762.2001.9658597.

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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 (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 ex

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Hunt, John Dixon, and Michael McCarthy. "The Origins of the Gothic Revival." Eighteenth-Century Studies 22, no. 4 (1989): 635. http://dx.doi.org/10.2307/2739100.

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

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

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23

McCarthy, Michael. "Soane's "Saxon" Room at Stowe." Journal of the Society of Architectural Historians 44, no. 2 (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

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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

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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 (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

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

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

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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 (1989): 400–402. http://dx.doi.org/10.2307/990463.

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Stewart, David. "Political Ruins: Gothic Sham Ruins and the '45." Journal of the Society of Architectural Historians 55, no. 4 (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 di

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Lindfield, Peter. "HERALDRY AND THE ARCHITECTURAL IMAGINATION: JOHN CARTER’S VISUALISATION OFTHE CASTLE OF OTRANTO." Antiquaries Journal 96 (July 14, 2016): 291–313. http://dx.doi.org/10.1017/s0003581516000226.

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Horace Walpole (1717–97) is well known for two important Gothic projects: his villa, Strawberry Hill, Twickenham (1747/8–80), and his novel,The Castle of Otranto(1764). These two manifestations of Walpole’s ‘Gothic imagination’ are frequently linked in critical literature on the Gothic Revival and medievalism more broadly; the relationship between Strawberry Hill,Otrantoand manuscript illustrations visualisingOtranto’s narrative has, on the other hand, received far less attention. This paper brings together a number of important and hitherto overlooked sources that help address this imbalance.

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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 (1988): 295–96. http://dx.doi.org/10.2307/990303.

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Ouimet, C., J. Gregg, S. Kretz, C. Chandler, and J. Hayes. "Documentation and dissemination of the sculptural elements of Canada's Parliamentary Buildings: Methodology development and evolution, a case study." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 13, 2015): 347–52. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-347-2015.

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Parliament Hill consists of four historic gothic revival buildings, which form part of the Parliament Buildings National Historic Site of Canada in the National Capital of Ottawa. There are more than 2000 masonry sculptural elements throughout the four buildings. Three of the buildings are in the middle of multi-year rehabilitation projects. Extensive Heritage Documentation is being undertaken to support various activities and conservation teams throughout the interior and exterior of the buildings while also serving as a key posterity records. One of the significant heritage documentation pro

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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 Batema

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Sundt, Richard Alfred. "A Dream of Spires: Benjamin Mountfort and the Gothic Revival (review)." Victorian Studies 43, no. 4 (2001): 676–77. http://dx.doi.org/10.1353/vic.2001.0119.

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Brine, Douglas. "‘An unrivalled brass Lectorium’: the Cloisters lectern and the Gothic Revival in England." Sculpture Journal 29, no. 1 (2020): 45–63. http://dx.doi.org/10.3828/sj.2020.29.1.4.

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Goff, Lisa. "“Something prety out of very little”." Journal of the Society of Architectural Historians 78, no. 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 f

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Hill, Rosemary. "‘Proceeding like Guy Faux’: the Antiquarian Investigation of St Stephen's Chapel Westminster, 1790–1837." Architectural History 59 (2016): 253–79. http://dx.doi.org/10.1017/arh.2016.8.

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AbstractSt Stephen's Chapel Westminster is one of Europe's great lost buildings. An elaborate palatine chapel, work on it began in 1292 and continued until at least 1363. After 1546 it became the House of Commons and was so obscured by successive alterations that the original building had passed out of living memory by the late eighteenth century. It was then that it attracted the interest of a number of antiquaries who recorded it in the years up to and after the fire of 1834. In 1837 it was demolished. The antiquaries’ accounts provide the only records of the chapel's appearance and construc

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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 wa

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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 (1994): 359–61. http://dx.doi.org/10.2307/990948.

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Randla, Anneli, and Hilkka Hiiop. "Colour in Church Interiors, Medieval and Beyond." Baltic Journal of Art History 21 (August 20, 2021): 61–77. http://dx.doi.org/10.12697/bjah.2021.21.03.

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Recent studies of churches of medieval origin in Estonia have shownthat these edifices have long histories of polychrome decorationboth before and after the Reformation. In this article, some aspectsof these colour schemes are discussed. Firstly, the question of thedecoration and redecoration of interiors during the Middle Ages isaddressed, secondly the authorship and technique of vernacularlookingmurals is discussed, and thirdly the geographical spreadof these decorations is analysed. In addition, post-medieval muralsare also examined.This article is based on fieldwork in Estonian medieval ch

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Nurse, Bernard, and J. Mordaunt Crook. "John Carter, FSA (1748–1817): ‘The Ingenious, and Very Accurate Draughtsman’." Antiquaries Journal 91 (May 31, 2011): 211–52. http://dx.doi.org/10.1017/s0003581511000047.

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AbstractJohn Carter's newly catalogued papers and correspondence in the archives of King's College London throw considerable new light on his relationship with members of the Society of Antiquaries and his patrons, and include previously unpublished sketches of several of them. His memoirs show that a small group of wealthy antiquaries recognized his skills as an accurate and conscientious draughtsman and encouraged him faithfully to record historic – and especially medieval – buildings and monuments. Many of these buildings were later altered or destroyed, and his numerous surviving drawings

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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

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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 (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 co

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Hills, Matt. "Cult TV Revival: Generational Seriality, Recap Culture, and the “Brand Gap” of Twin Peaks: The Return." Television & New Media 19, no. 4 (2017): 310–27. http://dx.doi.org/10.1177/1527476417742976.

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By exploring one case study of a cult TV revival after decades off-air— Twin Peaks: The Return (Showtime, 2017)—this article defines and then focuses on generational seriality. I consider how the gap of twenty-six years between 1990s Twin Peaks and The Return has impacted on its resurrection by reading new Twin Peaks for its representations of aging and loss. I further consider how fantastical connotations of dementia via the figure of Dougie Jones/Dale Cooper (Kyle MacLachlan) generate a “brand gap” between new and old Twin Peaks. Finally, I address how recap culture has shaped The Return’s g

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Sisa, József. "Neo-Gothic Architecture and Restoration of Historic Buildings in Central Europe: Friedrich Schmidt and His School." Journal of the Society of Architectural Historians 61, no. 2 (2002): 170–87. http://dx.doi.org/10.2307/991838.

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Friedrich Schmidt, the foremost Gothicist of Austria, exerted seminal influence in central Europe through his activities as architect, restorer of historic buildings, and professor at the Vienna Academy of Fine Arts. His unorthodox teaching methods included personal tuition near the drawing board and study trips to examine medieval buildings, attended by students of different ethnic, religious, and cultural backgrounds from all corners of the monarchy and even beyond. The students' school society, called Wiener Bauhütte, or Vienna Building Lodge, published their drawings in albums under the sa

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Snelson, Tim. "Old Horror, New Hollywood and the 1960s True Crime Cycle." Film Studies 19, no. 1 (2018): 58–75. http://dx.doi.org/10.7227/fs.19.0005.

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This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between t

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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 (1996): 353–56. http://dx.doi.org/10.2307/991169.

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Tierney, Andrew. "The Gothic and the Gaelic: Exploring the Place of Castles in Ireland?s Celtic Revival." International Journal of Historical Archaeology 8, no. 3 (2004): 185–98. http://dx.doi.org/10.1007/s10761-004-1136-z.

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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 (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

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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 (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 Pugi

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