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Journal articles on the topic 'Gothic revival'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Spieler, Christof, and Moyeen Haque. "Gothic Revival." Civil Engineering Magazine Archive 75, no. 4 (April 2005): 36–45. http://dx.doi.org/10.1061/ciegag.0000016.

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2

Ditum, Sarah. "Gothic revival." Lancet 392, no. 10155 (October 2018): 1300. http://dx.doi.org/10.1016/s0140-6736(18)32398-5.

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3

Harkrader, Nina E., and Michael J. Lewis. "The Gothic Revival." APT Bulletin 35, no. 2/3 (2004): 77. http://dx.doi.org/10.2307/4126409.

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Barringer, T. "The Gothic Revival." Journal of Design History 13, no. 4 (January 1, 2000): 351–52. http://dx.doi.org/10.1093/jdh/13.4.351.

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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

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6

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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7

Degtyarev, Vladislav V. "THE GOTHIC REVIVAL AND GOTHIC AS A DEVICE." Articult, no. 2 (2018): 136–43. http://dx.doi.org/10.28995/2227-6165-2018-2-136-143.

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8

Hart, Adam Charles. "Transitional Gothic: Hammer's Gothic Revival and New Horror." Studies in the Fantastic 6, no. 1 (2018): 1–21. http://dx.doi.org/10.1353/sif.2018.0000.

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9

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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10

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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CURL, J. S. "The Origins of the Gothic Revival." Journal of Design History 1, no. 2 (January 1, 1988): 145–46. http://dx.doi.org/10.1093/jdh/1.2.145.

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

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13

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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14

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 ex

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15

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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16

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 conc

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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 contro

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18

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

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19

Kalter, Barrett. "DIY Gothic: Thomas Gray and the Medieval Revival." ELH 70, no. 4 (2003): 989–1019. http://dx.doi.org/10.1353/elh.2004.0006.

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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 Ro

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21

Manzi, Ofelia, and Patricia Grau-Dieckmann. "The Chapel of La Misericordia in the Quarter of Flores, Buenos Aires." Eikon / Imago 3, no. 1 (June 10, 2014): 1–28. http://dx.doi.org/10.5209/eiko.73386.

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One of the most interesting areas of research of the Gothic Revival in Argentina is the study of chapels built for the use of religious schools’ communities. Among these, the Chapel of La Misericordia helped to determine the scope and characteristics of the neo-Gothic style in Argentina. The windows are a recreation of the Gothic openings. Their decorative motifs derive from Winchester style manuscripts, while the figures clearly show Pre-Raphaelite reminiscences. This apparent aesthetic paradox conveys a message unchanged for centuries in a traditional medium such as a neo-Gothic cover, altho

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22

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

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23

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 dev

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24

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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25

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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26

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 эп

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27

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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28

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"

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29

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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30

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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31

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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32

McMurtry, Leslie. "Sounds Like Murder: Early 1980s Gothic on North American Radio." Gothic Studies 24, no. 2 (July 2022): 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.

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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted exist

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33

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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34

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 di

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35

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,

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36

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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37

Anderson, Pat. "The Other Gothic Revival: Contemporary Ideals in English Revivalism, 1730-1840." Canadian Journal of History 22, no. 1 (April 1987): 1–18. http://dx.doi.org/10.3138/cjh.22.1.1.

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38

McNaughton, Howard. "Re-inscribing the urban abject: Ngai Tahu and the Gothic Revival." New Zealand Geographer 65, no. 1 (April 2009): 48–58. http://dx.doi.org/10.1111/j.1745-7939.2009.01147.x.

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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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40

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

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41

Wilson, Ann. "The Gothic Revival in Ireland: St Colman’s Cathedral, Cobh (1868–1916)." Antiphon: A Journal for Liturgical Renewal 11, no. 2 (2007): 14–42. http://dx.doi.org/10.1353/atp.2007.a921920.

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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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43

Worsley, Giles. "The Origins of the Gothic Revival: A Reappraisal: The Alexander Prize Essay." Transactions of the Royal Historical Society 3 (1993): 105. http://dx.doi.org/10.2307/3679138.

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Santa Ana Lozada, Lucia. "Gothic revival in Mexico: French theory, English practices and the Stonemason’s craft." postmedieval: a journal of medieval cultural studies 6, no. 3 (September 2015): 340–57. http://dx.doi.org/10.1057/pmed.2015.29.

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45

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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46

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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47

Gosztyła, Marek, and Rafał Lichołai. "Analysis of Gothic Revival churches designed by Stanislaw Majerski located in Podkarpacie District." E3S Web of Conferences 49 (2018): 00034. http://dx.doi.org/10.1051/e3sconf/20184900034.

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The main purpose of this article was to perform an analysis of the geometric characteristics for Gothic Revival churches located in the Podkarpacie District. The authors explored five churches designed by Stanisław Majerski - an architect from Przemyśl who created at the beginning of the 20th century. In order to create point clouds of the studied buildings, the authors used the TLS method to provide the credibility of the study. The obtained data were subjected to statistical analysis. Geometry of the facades, spatial systems and trajectory of vault arch were examined. As a result, we obtaine

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48

Grignon, Marc. "Charles Baillairgé’s Interpretation of the Gothic Revival and the “Cathedral” of Beauport, Quebec." Journal of the Society for the Study of Architecture in Canada 43, no. 1 (2018): 33. http://dx.doi.org/10.7202/1049406ar.

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49

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

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50

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

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