Relevant bibliographies by topics / Romanesque Capitals (Architecture)

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Academic literature on the topic 'Romanesque Capitals (Architecture)'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Romanesque Capitals (Architecture)"

1

Harris, Roland B. "RECONSTRUCTING THE ROMANESQUE CLOISTER OF NORWICH CATHEDRAL." Antiquaries Journal 99 (September 2019): 133–59. http://dx.doi.org/10.1017/s0003581519000118.

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Works to the south side of the Gothic cloister at Norwich Cathedral in 1900 produced a series of finely sculpted double-capitals, which have long been identified as deriving from the Romanesque predecessor that was progressively demolished and replaced in 1297–1430. Additional discoveries in 1900 included twelfth-century voussoirs and jamb stones, which probably came from one of the larger doorways – perhaps to the chapter house – that opened off the cloister. These fragments have attracted considerable interest since 1900, almost entirely focused on art historical analysis of the subjects, st
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2

Thurlby, Malcolm. "THE ABBEY CHURCH OF LESSAY (MANCHE) AND ROMANESQUE ARCHITECTURE IN NORTH-EAST ENGLAND." Antiquaries Journal 94 (July 1, 2014): 71–92. http://dx.doi.org/10.1017/s0003581514000262.

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The date of the Romanesque fabric of the abbey church of Lessay (Manche, France) has been much debated by architectural historians. Was the eastern arm of the church completed by the time of the burial of Eudes de Capel in the choir on 3 August 1098? Or do features such as the high rib vault and scalloped capitals preclude a date in the late eleventh century? This paper argues that the choir was completed by 1098, and that the master mason of Lessay was acquainted with architectural developments in north-east England in the 1080s and early 1090s, especially those at York Minster, St Mary's Abb
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3

Thurlby, Malcolm. "The Lady Chapel of Glastonbury Abbey." Antiquaries Journal 75 (September 1995): 107–70. http://dx.doi.org/10.1017/s0003581500072991.

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After the devastating fire of 1184, the Lady Chapel of Glastonbury Abbey was constructed on the site of the Old Church (Vetusta Ecclesia), the wattle church traditionally associated with Joseph of Arimathea. The lavish decoration of the chapel is frequently mentioned in the literature. In many cases authors emphasize the old-fashioned, Romanesque character of much of the ornament in contrast to the seemingly more progressive contemporary early Gothic mouldings of nearby Wells Cathedral. Nevertheless, it is generally recognized that the designer of Glastonbury Lady Chapel knew of the latest dev
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4

Vežić, Pavuša. "Dalmatinski šesterolisti - sličnosti i razlike." Ars Adriatica, no. 2 (January 1, 2012): 41. http://dx.doi.org/10.15291/ars.439.

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The discussion emphasizes the peculiarity and individuality of both the shape and style of Dalmatian hexaconchs. Together with the rotunda of Holy Trinity at Zadar, they surely represent the most original architectural creation of early medieval Dalmatia and its specific cultural milieu which grew from a twofold tradition in a true symbiosis of the European East and West in the Adriatic area. Their mutual interdependence in Dalmatia was articulated through the individual shapes of religious architecture. These hexaconchs are a form specific to only the innermost part of Dalmatia, centred on th
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5

Perreaudin, Philippe. "Cité de l’architecture et du patrimoine: a library dedicated to contemporary architecture in the heart of Paris." Art Libraries Journal 33, no. 4 (2008): 5–10. http://dx.doi.org/10.1017/s0307472200015546.

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Located in the heart of the French capital, between the Eiffel Tower and the Champs-Elysées, the Cité de l’architecture et du patrimoine opened its doors in September 2007. This new cultural institution offers its varied visitors, from specialists to the simply curious, a vast reference library specialising in modern and contemporary architecture. Unique in Europe because of the nature of its holdings and its accessibility, this new library is also an architectural adventure, mixing contemporary volumes and reproductions of Romanesque paintings.
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6

Alttoa, Kaur. "Anmerkungen zur Baugeschichte der St. Olaikirche auf Worms (Vormsi) im Bistum Ösel-Wiek (Saare-Lääne)." Baltic Journal of Art History 14 (December 27, 2017): 7. http://dx.doi.org/10.12697/bjah.2017.14.01.

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Vormsi is a small island that belonged to the Oesel-Wiek bishopric during the Middle Ages. There is a church on the island that is dedicated to St Olaf, the Norwegian king who was undoubtedly the most popular saint among the Scandinavians. A short article written by Villem Raam in the anthology Eesti Arhitektuur (Estonian Architecture, 1996) is the only one worth mentioning that has appeared to date on the architectural history of the Vormsi church.The Vormsi church is comprised of a sanctuary and nave. Only the sanctuary was completed during the Middle Ages, and the stone nave was not complet
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7

Vežić, Pavuša. "Anatomija izgubljenog spomenika – Rekompozicija pročelja romaničke katedrale u Zadru." Ars Adriatica 9 (February 28, 2020): 21–44. http://dx.doi.org/10.15291/ars.2922.

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The article focuses on the façade of the Cathedral in Zadar, a Romanesque basilica built in the 12th and frontally extended in the 13th century, when the original façade was removed and numerous parts of its architectural sculpture were incorporated into the new wall. It was a sort of recomposition of the original portals, blind galleries, their garlands, columns, capitals, double arcades, the large rosette, and a number of details that offer an insight into the original appearance of the façade. By analysing the wall sculpture and reading the stylistic and technical details in the elements em
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8

Siry, Joseph M. "Chicago's Auditorium Building: Opera or Anarchism." Journal of the Society of Architectural Historians 57, no. 2 (1998): 128–59. http://dx.doi.org/10.2307/991376.

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Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multipl
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9

Fisković, Igor. "Još o romaničkoj skulpturi s dubrovačke katedrale." Ars Adriatica, no. 5 (January 1, 2015): 39. http://dx.doi.org/10.15291/ars.516.

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Medieval Dubrovnik was rich in Romanesque figural and decorative sculpture but only a small group of fragmentary carvings has been preserved to date due to the fact that the town suffered a devastating earthquake in 1667. The earthquake completely destroyed the monumental Cathedral of the Assumption of the Virgin which had been considered “la piu bella in Illyrico” on the basis of its sculptural abundance. Archaeological excavations undertaken beneath the present-day Baroque Cathedral, consecrated in 1713, unearthed several thousand fragments of high-quality sculptures. Their analysis has conf
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Dissertations / Theses on the topic "Romanesque Capitals (Architecture)"

1

Rutchick, Leah. "Sculpture programs in the Moissac Cloister Benedictine culture, memory systems and liturgical performance /." 1991. http://catalog.hathitrust.org/api/volumes/oclc/25456106.html.

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2

Jost, Marie Annette. "The Porte des Comtes atelier of Saint-Sernin in Toulouse and the Romanesque sculpture of southwest France." 1992. http://catalog.hathitrust.org/api/volumes/oclc/31729088.html.

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Books on the topic "Romanesque Capitals (Architecture)"

1

Camus, Marie-Thérèse. Sculpture romane du Poitou: Les grands chantiers du XIe siècle. Picard, 1992.

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2

Zhu tou shang de "Sheng jing": La Bible et les chapiteaux = La Biblia y los capiteles. Guangxi shi fan da xue chu ban she, 2013.

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3

Hamann, Matthias. Die burgundische Prioratskirche von Anzy-le-Duc und die romanische Plastik im Brionnais. Deutscher Wissenschafts-Verlag, 2000.

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4

Lieb, Stefanie. Die Adelog-Kapitelle in St. Michael zu Hildesheim und ihre Stellung innerhalb der sächsischen Bauornamentik des 12. Jhs. Abt. Architekturgeschichte, 1995.

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5

Mallet, Géraldine. Les cloîtres démontés de Perpignan et du Roussillon, XIIe-XIVe siècles. Editions des Archives communales, 2001.

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6

Les cloîtres démontés de Perpignan et du Roussillon (XIIe-XIVe siècles). Archives communales de Perpignan, 2000.

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7

Romano, Hugues. La pierre qui parle: Quelques clés de lecture de l'art roman. Lucie éditions, 2012.

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8

Galasso, Elio. Il chiostro di Santa Sofia a Benevento. Museo del Sannio, 1995.

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9

Schöne, Anne-Christin. Die Romanische Kirche des ehemaligen Augustinerchorherrenstiftes in Hamersleben. [Abteilung Architekturgeschichte des Kunsthistorischen Instituts der Universität zu Köln], 1999.

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10

Fernández, Victoriano Nodar. Los inicios de la catedral románica de Santiago: El ambicioso programa iconográfico del Diego Peláez. Xunta de Galicia, 2004.

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