Following the completion of the construction of new St. Peter's in the second decade of the seventeenth century, a series of monumental altarpieces was commissioned to decorate its altars. The leading artists of the day contributed to the project - among them Algardi, Bernini, Cortona, Domenichino, Guercino, Lanfaranco, Poussin, Sacchi, Vouet, and Valentin - and the works they produced include some of the most celebrated masterpieces of the Roman Baroque. Here for the first time the altarpieces of St. Peter's are considered collectively, within the liturgical and artistic programme of the building as a whole. Louise Rice takes a comprehensive approach to this critical chapter in the history of Italian Baroque art, offering insight into the mechanisms, motives, and meanings of papal patronage in the premier church of Catholicism.

The sacred place was, and still is, an intermediate zone created in the belief that it has the ability to co-join the religious aspirants to their gods. An essential means of understanding this sacred architecture is through the recognition of its role as an 'in-between' place. Establishing the contexts, approaches and understandings of architecture through the lens of the mediating roles often performed by sacred architecture, this book offers the reader an extraordinary insight into the forces behind these extraordinary buildings.

Written by an well-known expert in the field, the book draws on a unique range of cases, reflecting on these inspiring places, their continuing ontological significance and the lessons they can offer today. Fascinating reading for anyone interested in sacred architecture.

The sacred place was, and still is, an intermediate zone created in the belief that it has the ability to co-join the religious aspirants to their gods. An essential means of understanding this sacred architecture is through the recognition of its role as an a ~in-betweena (TM) place. Establishing the contexts, approaches and understandings of architecture through the lens of the mediating roles often performed by sacred architecture, this book offers the reader an extraordinary insight into the forces behind these extraordinary buildings.

Written by a well-known expert in the field, the book draws on a unique range of cases, reflecting on these inspiring places, their continuing ontological significance and the lessons they can offer today. Fascinating reading for anyone interested in sacred architecture.

Based around an interview with Tadao Ando, this book explores the influence of the Buddhist concept of nothingness on Andoa (TM)s Christian architecture, and sheds new light on the cultural significance of the buildings of one of the worlda (TM)s leading contemporary architects.

Specifically, this book situates Andoa (TM)s churches, particularly his world-renowned Church of the Light (1989), within the legacy of nothingness expounded by Kitaro Nishida (1870-1945), the father of the Kyoto Philosophical School.

Linking Andoa (TM)s Christian architecture with a philosophy originating in Mahayana Buddhism illuminates the relationship between the two religious systems, as well as tying Andoa (TM)s architecture to the influence of Nishida on post-war Japanese art and culture.

Introducing fresh archival evidence, author Lisa Banner here demonstrates how Francisco Gomez de Sandoval y Rojas, first Duke of Lerma, served as a vital link in Habsburg architectural patronage. She traces Lerma's trajectory as, beginning with the ancient royal city of Valladolid, he embarked on a career of renovating or building religious foundations in various towns and cities around seventeenth-century Spain. The unintended consequence of his architectural patronage and involvement was to proliferate the distinctive royal architectural style developed under Philip II, which connected the foundations of Lerma indelibly with the traditions of noble patronage in Habsburg Spain.

This is the first comprehensive and up-to-date account of the internal arrangement of church buildings in Western Europe between 1500 and 2000, showing how these arrangements have met the liturgical needs of their respective denominations, Catholic and Protestant, over this period. In addition to a chapter looking at the general impact of the Reformation on church buildings, there are separate chapters on the churches of the Lutheran, Reformed, Anglican and Roman Catholic traditions between the mid-sixteenth and mid-nineteenth centuries, and on the ecclesiological movement of the nineteenth century and the liturgical movement of the twentieth century, both of which have impacted on all the churches of Western Europe over the past 150 years. The book is extensively illustrated with figures in the text and a series of plates and also contains comprehensive guides to both further reading and buildings to visit throughout Western Europe.

In this book Allan Doig explores the interrelationship of liturgy and architecture from the Early Church to the close of the Middle Ages, taking into account social, economic, technical, theological and artistic factors. These are crucial to a proper understanding of ecclesiastical architecture of all periods, and together their study illuminates the study of liturgy. Buildings and their archaeology are standing indices of human activity, and the whole matrix of meaning they present is highly revealing of the larger meaning of ritual performance within, and movement through, their space. The excavation of the mid-third-century church at Dura Europos in the Syrian desert, the grandeur of Constantine's Imperial basilicas, the influence of the great pilgrimage sites, and the marvels of soaring Gothic cathedrals, all come alive in a new way when the space is animated by the liturgy for which they were built. Reviewing the most recent research in the area, and moving the debate forward, this study will be useful to liturgists, clergy, theologians, art and architectural historians, and those interested in the conservation of ecclesiastical structures built for the liturgy.

The Leaning Tower of Pisa is known worldwide for its five-degree lean. The Tower is the Campanile of the Cathedral, which together with the Baptistry and Cemetery form a breath-taking collection of monuments which are regarded as supreme examples of early Renaissance Romanesque architecture. In March 1990 the Tower was closed to the public as it was declared unsafe and close to collapse. A Commission was set up by the Italian Government with the task of developing and implementing stabilization measures. This book begins with a brief description of the history of the Tower and its construction. The reader is then introduced to the huge challenges faced by the Commission in designing and implementing appropriate stabilization measures whilst at the same time satisfying the demanding requirements of conserving a world heritage monument. In particular, two historical studies are described which proved to be most valuable in arriving at suitable stabilization measures. The first was a deduction of the history of inclination of the tower during and subsequent to construction. The results of this study were used to calibrate a sophisticated numerical model of the tower and the underlying very soft ground which proved vital in evaluating the effectiveness of various stabilization schemes. The second study was of measurements of movement made since 1911. This latter study revealed an unexpected mechanism of foundation movement which proved crucial in developing the temporary and permanent stabilization measures and which resulted in the Tower being re-opened to the public in June 2001. The book will appeal to both professionals and students in the fields of Architecture and Civil Engineering. It will also interest specialised audiences of geotechnical engineers and conservation architects. It may also be of wider interest to anyone planning to visit Pisa or who is intrigued as to what caused the Tower to lean and how it was stabilized.

'Exquisite ... A wonderment of an essay about a wonderment of a building' Paul Preston

Its scaffolding-cloaked spires reach up to the heavens, dominating the Barcelona skyline and drawing in millions of visitors every year. What seduces our attention is perhaps a combination: not only its almost megalomaniac ambition and architectural extravagance but the sheer longevity of its construction.

Its creator, Antoni Gaudí, 'God's Architect', saw the first stone laid on 19 March 1882 and yet it is unlikely to be completed until 2026 at the very earliest. It has survived two World Wars, the ravages of the Spanish Civil War and the 'Hunger Years' of Franco's rule. It has defied the critics, the penny-pinching accountants, the conservative town-planners and the slaves to sterile modernism to witness the most momentous changes in society and history.

The Sagrada Familia explores the evolution of this remarkable building, working through the decades right up to the present day before looking beyond to the final stretch of its construction. It is at once a guidebook and a chronological history, and a moving and compelling study of man's aspiration towards the divine.

Rich in detail, vast in scope, this is a revelatory and authoritative study of a building and its place in history and the genius that created it.

The work is a scholarly but readable account of the temples of Ancient Egypt which falls between the well-informed guide work and the enormous specialist tome. The work gives a good survey of the architecture, history and particularly details of each temple of any importance that exists, supplemented by helpful illustrations.

The Architecture of Medieval Churches investigates the impact of affective theology on architecture and artefacts, focusing on the Middle Ages as a period of high achievement of this synthesis. It explores aspects of medieval church and cathedral architecture in relation to the contemporary metaphysics and theology, which articulated an integrated theocentric culture, architecture, and art. Three modes of attention: comprehension, instruction, and contemplation, informed the builders' intuition and intention. The book's central premise reasons that love for God was the critical force in the creation of vernacular church architecture, using a selection of medieval writings to provide a unique critique of the genius of architecture and art during this period. An interdisciplinary study between architecture, theology, and philosophy, it will appeal to academics and researchers in these fields.

Designed by Le Corbusier, the Chapel of Notre-Dame du Haut draws thousands of visitors each year. Renzo Piano's new project includes three main elements: the gatehouse, the monastery and the landscape. Deep in the lush vegetation, the monastery is a place "of silence, prayer, peace and joy", where everything contributes to spiritual contemplation. Most of the material used in this book has not been previously published, and has been made available through the constant and detailed work of cataloguing and classifying the Foundation's archives. The history of this project will be shown through Renzo Piano's personal notes and memories, starting with his first visit to the site to the opening on September 2011

The British Archaeological Association Conference held at Peterborough in 2015 provided a welcome opportunity for a new analysis of the cathedral's architecture, sculpture and artistic production, and a reassessment of the relationship between the former abbey, the city and its institutions, and the Soke over which it held sway. This ambitious volume casts new light on the Roman occupation of the Nene valley, and the rich Anglo-Saxon sculptural and manuscript context that preceded the construction of the present cathedral, as well as exploring the vital Romanesque tradition of the Soke and the essential contribution of the Barnack quarries. But inevitably the most exciting new disclosures concern the church: its high-quality building campaigns during the 12th to 16th centuries, its abbots' tombs and the reconstruction of the lost 14th-century High Altar screen from descriptions and loose fragments. Peterborough has attracted the attention of antiquarian scholars since its sacking by Cromwell's men during the Civil War, and as its secrets are gradually revealed it continues to stimulate the historical imagination.

This volume investigates the historic and ethnographic accounts of the ongoing religious contestations over the status of the Mahabodhi Temple complex in Bodhgaya (a UNESCO World Heritage Site since 2002) and its surrounding landscape to critically analyse the working and construction of sacredness. It endeavours to make a ground-up assessment of ways in which human participants in the past and present respond to and interact with the Mahabodhi Temple and its surroundings. The volume argues that sacredness goes beyond scriptural texts and archaeological remains. The Mahabodhi Temple is complex and its surround ing landscape is a 'living' heritage, which has been produced socially and constitutes differential densities of human involvement, attachment, and experience. Its significance lies mainly in the active interaction between religious architecture within its dynamic ritual settings. This endless con testation of sacredness and its meaning should not be seen as the 'death' of the Mahabodhi Temple; on the contrary, it illustrates the vitality of the ongoing debate on the meaning, understanding, and use of the sacred in the Indian context. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka

Originally published in 1979, Gold Was the Mortar details the financing and the building of the medieval cathedrals at Paris, Amiens, Toulouse, Lyon, Strasbourg, York, Poitiers and Rouen. The book examines the raising of funds and their expenditure, not only on the Cathedrals themselves, but also on the worldly ambitions of the bishop or archbishop, which went beyond the 'wars and natural disasters' theory to explain the reasons that caused the delays in building the cathedrals. The book also looks at the issues of building the cathedrals, such as the availability of finance and how for some there was a steady flow of funds while others suffered prolonged breaks. The book also provides case studies of specific cathedrals and examines how places such as York were held up by the internecine disputes with Canterbury; Toulouse and Poiters by the vast expropriations following conquests; and Lyon by the suppression of the commercial and social hierarchy. All the cathedrals depended on the benevolence of patrons, but the part played by the commoners, as revealed in wills and contemporary documents, was an extraordinary contribution, usually exceeding that of the nobility and royalty and sometimes that of the hierarchy itself.

A comprehensive survey of the intriguing misericord carvings, setting them in their religious context and looking at their different themes and motifs. Misericord carvings present a fascinating corpus of medieval art which, in turn, complements our knowledge of life and belief in the late middle ages. Subjects range from the sacred to the profane and from the fantastic to the everyday, seemingly giving equal weight to the scatological and the spiritual alike. Focusing specifically on England - though with cognisance of broader European contexts - this volume offers an analysis of misericords in relation to other cultural artefacts of the period. Through a series of themed "case studies", the book places misericords firmly within the doctrinal and devotional milieu in which they were created and sited, arguing that even the apparently coarse images to be found beneath choir stalls are intimately linked to the devotional life of the medieval English Church. The analysis is complemented by a gazetteer of the most notable instances. Paul Hardwick isProfessor in English, Leeds Trinity University College.

Ahmad ibn Tulun (835-84), the son of a Turkic slave in the Abbasid court of Baghdad, became the founder of the first independent state in Egypt since antiquity, and builder of Egypt's short-lived third capital of the Islamic era, al-Qata'i' and its great congregational mosque. After recounting the story of Ibn Tulun and his successors, architectural historian Tarek Swelim presents a topographic survey of al-Qata'i', a city lost since its complete destruction in 905. He then provides a detailed architectural analysis of the Mosque of Ibn Tulun, which was spared the destruction and is now the oldest surviving mosque in Egypt and Africa, from the time of its completion until today. Rare archival illustrations and early photographs document the changing appearance and uses of the mosque in modern times, while extraordinary 3D computer renderings take us back in time to recreate its architectural development through its early centuries. Plans, drawings, and maps complement the history, while striking modern color photographs showcase the elegant simplicity of the building's architecture and decoration.This definitive and generously illustrated book will appeal to scholars and students of Islamic art history, as well as to anyone interested in or inspired by the beauty of early mosque architecture.

Among the most magnificent buildings of England are its Anglican cathedrals, great symbols of spiritual and architectural power. There are few experiences more uplifting and humbling than standing in the nave of a cathedral, and no one can fail to marvel at Durham's incomparable Romanesque masterpiece, the elegant stylistic unity of Salisbury, the world-famous stained glass of Canterbury or the striking Gothic scissor arch at Wells. Britain is the top foreign tourist destination for Americans, with 3 million visiting each year, and historic buildings are the top visitor sites. Canterbury Cathedral alone receives over 40,000 visitors each year from the United States and, together with Durham, is a World Heritage Site. In this truly breathtaking book, award-winning Magnum photographer, Peter Marlow, has captured the nave of each of England's 42 Anglican cathedrals. Taken in natural light at dawn, usually looking towards the east window, these remarkable images bring into sharp relief the full splendour of the buildings. Marlow first took up photography as a student, after visiting an exhibition of the photographs of Walker Evans at the Museum of Modern Art in New York. The impetus to begin photographing cathedrals came from a commission in 2007 from the Royal Mail for photographs of the interiors or six cathedrals, for use on a set of commemorative stamps. Once the commission was complete, Marlow was inspired to continue the project in his own time. Approaching the Dean and Chapter of each cathedral, he gained permission to enter each building in the early hours of the morning and to turn off all artificial lights. Marlow adopted a kind of ritual, waking as early as 3.00 am to drive to the location and begin working from 6.00 am. In this window of opportunity, he watched the cathedral interior emerge from the darkness and come to life. Marlow's spellbinding photographs are accompanied by his commentary on the project, including sketches, preparatory shots and technical notes; an introduction by curator Martin Barnes on the tradition of church photography, especially the work of Frederick Evans and Edwin Smith; and a concise summary of each cathedral interior by architectural historian John Goodall.

This beautifully illustrated book showcases the Hindu and Jain temples of Maharashtra, Telangana, Andhra Pradesh and Karnataka built prior to the invasion of peninsular India by the Delhi sultans at the end of the 13th century. Unlike temples in many other parts of India, those of the Deccan are well preserved, with their wealth of figural and decorative carvings miraculously intact. They demonstrate the development of Indian sacred architecture and art over a span of more than 600 years. Focusing on some 50 historical sites, the Temples of Deccan India begins with artificially excavated "cave" shrines dedicated to various Hindu deities, before proceeding on to examine free-standing Hindu and Jain monuments sponsored by successive rulers of the Deccan. Attention is paid to the beautiful sculptures found on temple basements, walls, brackets and ceilings. Carved in crisp relief, and sometimes even in three dimensions, these carvings are among the greatest glories of Indian stone art. Among the featured highlights are the cave temple on the island of Elephanta, with its stupendous representation of three-headed Sadashiva; the colossal, monolithic Kailasa temple at Ellora, a technical feat unsurpassed in the entire history of Indian architecture; the magnificent columned pavilion at Hanamkonda, now currently being reconstructed; and the temple at Belur, with its exquisitely carved female figural brackets. Specially commissioned plans of temple layouts accompany 300+ photographs. and clarify the succession of dynasties that governed the Deccan during the centuries covered here. Maps locate the temple sites, while passages of text illuminate the succession of dynasties that governed the Deccan from the 7th to 13th centuries. Educational, accessible and beautifully illustrated, this book will be of interest to anyone fascinated by Indian architecture.

A bright white temple as if carved from ice. Statues in candlelit caves. Massive red monastery walls in the midst of majestic mountains. In this beautiful book of travel photography, Christoph Mohr presents the most sacred places of Buddhism. Across Myanmar, Thailand, Vietnam, China, Tibet, Ladakh, Zanskar, and other Asian regions, Mohr shows Buddhist temples, monasteries, sacred mountains, and illuminates the life of the historical Buddha. The images are accompanied by texts from Oliver Fulling, sharing the basics of Buddhism and everyday Buddhist practice and rituals.

This title was first published in 2000: Did the plan of medieval churches have any underlying symbolic meaning? This work re-opens the debate about the importance of geometry and symbolism in medieval architectural design and argues the case for attributing an intellectual meaning to the planning of abbeys and cathedrals. In challenging prevailing claims for the use of arithmetical rations in architectural design, notably those based on the square root of two, Dr Hiscock advances a perspective consisting of proportions derived from the figures of Platonic geometry - the square, the equilateral triangle and the pentagon - and provides evidence for the symbolic interpretation of these figures. The investigation further reveals whole series of geometric relationships between some of England's most celebrated Norman cathedrals, such as Norwich or Durham, together with a wide sample from the Continent, from Old St Peter's in Rome to Chartres Cathedral, and sets out a comprehensive design method in each case. Hiscock first demonstrates the proposition that the ideas of Christian Platonism, including number and geometry, remained current and were employed in the thought of the early Middle Ages. In particular, he argues that they can be associated with the leading persons in the 10th-century revival of monasticism and that they found expression in the "white mantle of churches" that spread across Western Europe at the end of the first millennium AD. The book then provides a detailed analysis of the geometric proportions of church plans between the 9th and 12th centuries in Germany, France and in England. This research seeks to demonstrate that a coherent sequence of geometric forms can be seen in thse plans, forms which correspond to the key figures of Platonic geometry as understood in the context of Christian Platonist thought. In conclusion, the author shows how the system of design proposed could be set out on site using the known working methods of medieval masons.

Analysis of the patronage of Benedictine monasteries has much to reveal about both monastic life and material culture of the time. The patronage of Benedictine art and architecture, and the circumstances that made it possible and desirable, reveal much about the ambitions, beliefs and allegiances of both the order and those who interacted with it; moreover, analysis of such patronage also improves our understanding of some of the most important and beautiful buildings, sculpture, illuminated manuscripts, stained glass and other artefacts surviving from the middle ages.In this survey,focussing on the Benedictine monasteries and nunneries in south-west England (including Glastonbury) during the 240 years leading up to the dissolution of the religious orders under Henry VIII, the author discusses the question interms of "internal" practice, initiated by Benedictine monks and nuns, and "external" practice, for which non-monastic agents were responsible; and analyses the historical circumstances affecting the commission and the purchase of art and architecture. Throughout, he takes care to situate the study of buildings and their embellishment within the broader context of Benedictine culture. The text is lavishly illustrated with forty-five black and white platesof art, architecture and documents, many of which have not previously been reproduced. Dr JULIAN M. LUXFORD is Senior Lecturer at the School of Art History, St Andrews University.

There have been five different settings that at one time or another have contained the dead body of Mustafa Kemal AtatA1/4rk, organizer of the Turkish War of Independence (1919-1923) and first president of the Republic of Turkey. Narrating the story of these different architectural constructions - the bedroom in DolmabahAe Palace, Istanbul, where he died; a temporary catafalque in this same palace; his funeral stage in Turkey's new capital Ankara; a temporary tomb in the Ankara Ethnographic Museum; and his permanent and monumental mausoleum in Ankara, known in Turkish as 'Anitkabir' (Memorial Tomb) - this book also describes and interprets the movement of AtatA1/4rk's body through the cities of Istanbul and Ankara and also the nation of Turkey to reach these destinations. It examines how each one of these locations - accidental, designed, temporary, permanent - has contributed in its own way to the construction of a Turkish national memory about AtatA1/4rk. Lastly, the two permanent constructions - the DolmabahAe Palace bedroom and Anitkabir - have changed in many ways since their first appearance in order to maintain this national memory. These changes are exposed to reveal a dynamic, rather than dull, impression of funerary architecture.

When The Earth, the Temple, and the Gods first appeared in 1962, it was hailed by the critics for it erudition, historical imagination and boldness. Subsequently, this comprehensive study of Greek temples and site-planning has been widely accepted as a landmark of architectural history, for it offers an inspired and arresting insight into nature and function of Greek sacred architecture. Vincent Scully, one of America's most brilliant and articulate scholars, understands the temples as physical embodiment of the gods in landscapes that had for the Greeks divine attributes and sacred connotations. He explores the meanings inherent in the calculated interaction between man-made sculptural forces and the natural landscape, and he relates this interaction to our understanding of Greek culture from the pre-Greek Aegean to the Hellenistic period. Years of research and travel were devoted to The Earth, the Temple, and the Gods. Scores of sites were restudied on the spot, including many lesser-known sanctuaries throughout the Hellenic world. The study includes reconstruction drawings, plans, and maps along with its richly illustrated, detailed discussions of major sites.