WINNER OF THE 2022 FRENCH HERITAGE SOCIETY BOOK AWARD The profound emotion felt around the world upon seeing images of Notre-Dame in flames opens up a series of questions: Why was everyone so deeply moved? Why does Notre-Dame so clearly crystallise what our civilisation is about? What makes ‘Our Lady of Paris’ the soul of a nation and a symbol of human achievement? What is it that speaks so directly to us today? In answer, Agnès Poirier turns to the defining moments in Notre-Dame’s history. Beginning with the laying of the corner stone in 1163, she recounts the conversion of Henri IV to Catholicism, the coronation of Napoleon, Victor Hugo’s nineteenth-century campaign to preserve the cathedral, Baron Haussmann’s clearing of the streets in front of it, the Liberation in 1944, the 1950s film of The Hunchback of Notre-Dame, starring Gina Lollobrigida and Anthony Quinn, and the state funeral of Charles de Gaulle, before returning to the present. The conflict over Notre-Dame’s reconstruction promises to be fierce. Nothing short of a cultural war is already brewing between the wise and the daring, the sincere and the opportunist, historians and militants, the devout and secularists. It is here that Poirier reveals the deep malaise – gilet jaunes and all – at the heart of the France.

For the past 15 years, Michael L. Horowitz has been photographing the interiors of Manhattan's historic churches and synagogues. Though their exteriors are often unassuming and overlooked by passers-by, their interiors are spectacular, uplifting worshippers and architectural devotees alike. In this book, Horowitz takes us from Lower to Upper Manhattan, from the colourful wall paintings of Bialystocker Synagogue, to the jewel-like stained glass windows of Saint Patrick's Cathedral, to the awe-inspiring wooden ceiling of the Holy Name of Jesus and Saint Gregory the Great Parish. A lively and informative text by Elizabeth Anne Hartman tells the stories behind each of the 65 houses of worship featured. These sacred edifices reflect the hopes and aspirations of the many different communities that helped build the metropolis, expressed in numerous architectural and artistic styles. And many of these interiors bear the imprint of notable personalities in Big Apple history, from Clement Moore of The Night before Christmas to pioneering Black philanthropist Pierre Toussaint. This handsome volume, nourishing to the eyes and soul, offers a new perspective on the city to New York residents and visitors alike.

A record of material and spiritual gifts to churches, compiled from 3000 wills made over 180 years. Reads like a medieval detective story. A splendid book... should be treated as a companion volume to The Stripping of the Altars. JULIAN LITTEN, CHURCH TIMES In the late medieval churches of the former deanery of Dunwich there are many features which were provided by testamentary gifts; this study of three thousand wills from fifty-two Suffolk parishes, written between 1370 and 1547, records such material and spiritual bequests. Many purchased prayer (the prayers of the poor being particularly sought), vital for the swift passage of the soul through Purgatory; other testators left instructions for the acquisition of liturgical books, church plate and embroideredvestments. Gifts and outright donations also provided stained glass, seven-sacrament fonts and rood-screens which have survived. The wills give no hint of the destruction that was to come - a medieval chancel with vacant niches and whitewashed walls says more than the wills are prepared to tell - but the pennies and shillings which had helped towards building expenses in this coastal district of East Anglia produced at least two of the finest parish churches in the country within a few decades of the Reformation. The late JUDITH MIDDLETON-STEWART was a tutor for the Board of Continuing Education for the universities of Cambridge and East Anglia.

Im Gegensatz zu den professionellen sachsischen Architekten des 18. und 19. Jahrhunderts finden die zahlreichen landlichen Handwerksmeister nur wenig Beachtung. Dabei haben gerade diese entscheidenden Anteil an der Weiterfuhrung der protestantischen Gemeindekirche bis etwa 1860. Der bedeutendste unter ihnen ist der Zimmermeister Christian Friedrich Uhlig aus Altenhain bei Chemnitz. Nach seinen Planen wurden zwischen 1820 und 1850 im Erzgebirge und seinem Vorland insgesamt 12 Kirchen errichtet. Konzeptionell stehen sie mit umlaufenden Emporen und Kanzelaltar in der Tradition der barocken Predigtkirche; architekturgeschichtlich spannen sie den Bogen vom Barock uber klassizistische Elemente hin zu historisierenden Formen. Die Untersuchung widmet sich neben Leben und Werk Christian Friedrich Uhligs, vor allem der eingehenden Beschreibung seiner Sakralbauten und ihres architektur- und kirchengeschichtlichen Kontextes. Dabei wird versucht, das Charakteristische an Uhligs Handschrift herauszuarbeiten und seinen gewichtigen Beitrag zum sachsischen Kirchenbau im 19. Jahrhundert wieder starker ins Bewusstsein zu rucken.

A vivid account of the nature and significance of intense female spirituality in one of England's greatest medieval cities. The religious attachments and charitable activity of women in and around late medieval Norwich are used here as a case study to consider women and religion in the period more generally. Drawing on uniquely rich and varied sources,the book demonstrates, far more fully and effectively than studies for other cities have been able to do, how links with continental Europe enriched female life. Norwich's successful status as an international depot - especiallyits trade with the Low Countries and with Germany -- became the vehicle for the transmission of various cults, artistic expression and books related to continental female mysticism. Norwich women's special attraction to aspects ofincarnational piety is demonstrated by their devotion to the Body of Christ and to his earthly family, exemplified by the popular cults of St Anne and her daughter, the Virgin Mary. The wealth of fifteenth-century literature, much of local provenance, which survives highlights both this and other religious preoccupations of Norwich women. Among them are, of course, Julian of Norwich and Margery Kempe, who are here reinterpreted within the wider context ofthe religious life of the medieval city, and of women's contributions to it. CAROLE HILL gained her PhD from the University of East Anglia.

The ancient churches and cathedrals of England's towns and countryside are among the glories of our national heritage. Yet how were our ancestors able to construct these often substantial edifices without the benefit of modern techniques? How did the medieval masons plan, design and oversee their construction? What methods of construction were used by the medieval carpenters to realise the magnificent roofs and ceilings we see today? In this unique guide, Geoffrey R. Sharpe brings forty years experience of caring for historic buildings to show us how, from the original planning and preparation to the final construction and decoration. In a final chapter the author shows the reader how to assess the history and development of a church from the constructional and architectural clues contained within its features. The result is a work that adds a whole new dimension to our understanding of English church building and architecture.

For centuries the great religious buildings of Great Britain have inspired and fascinated pilgrims and visitors from around the world. The beauty and diversity of British ecclesiastical architecture is superbly captured in this guide to over 60 of Britain's finest cathedrals.This definitive guide contains over 130 magnificent colour photographs that capture the enduring appeal of these great monuments to the Christian tradition.Extended entries are included on Durham Cathedral, York Minster, Lincoln Cathedral, Norwich Cathedral, Gloucester Cathedral, Ely Cathedral, Winchester Cathedral, Salisbury Cathedral, Exeter Cathedral, St Paul's Cathedral, Canterbury Cathedral, Glasgow Cathedral, St David's Cathedral. This definitive guide contains over 130 magnificent colour photographs that capture the enduring appeal of these great monuments to the Christian tradition. Extended entries are included on Durham Cathedral, York Minster, Lincoln Cathedral, Norwich Cathedral, Gloucester Cathedral, Ely Cathedral, Winchester Cathedral, Salisbury Cathedral, Exeter Cathedral, St Pauls Cathedral, Canterbury Cathedral, Glasgow Cathedral, St Davids Cathedral.

Temples for a Modern God is one of the first major studies of American religious architecture in the postwar period, and it reveals the diverse and complicated set of issues that emerged just as one of the nation's biggest building booms unfolded. Jay Price tells the story of how a movement consisting of denominational architectural bureaus, freelance consultants, architects, professional and religious organizations, religious building journals, professional conferences, artistic studios, and specialized businesses came to have a profound influence on the nature of sacred space. Debates over architectural style coincided with equally significant changes in worship practice. Meanwhile, suburbanization and the baby boom required a new type of worship facility, one that had to attract members and serve a social role as much as honor the Divine. Price uses religious architecture to explore how Mainline Protestantism, Catholicism, Judaism, and other traditions moved beyond their ethnic, regional, and cultural enclaves to create a built environment that was simultaneously intertwined with technology and social change, yet rooted in a fluid and shifting sense of tradition. Price argues that these structures, as often mocked as loved, were physical embodiments of a significant, if underappreciated, era in American religious history.

Reports of the surveyors of Westminster Abbey in the twentieth century provide a wealth of information on this most important building. The annual reports of the Surveyors of the Fabric in the twentieth century give much detailed information about the maintenance and major restoration of Westminster Abbey and its contents. The Surveyors, William Lethaby, Walter Tapper, Charles Peers and Stephen Dykes Bower, had to deal with many problems and challenges between 1906 and 1973. Not least of these were two World Wars and the most extensive programme of cleaning and re-decoration since the timeof Sir Christopher Wren. Lethaby brought to light original decoration on medieval tombs, lost to sight for centuries under grime and shellac used by his predecessor Gilbert Scott; Tapper had to carry out emergency restoration tothe fan vault of Henry VII's chapel after a stone crashed to the floor; Peers was required to deal with the evacuation of hundreds of treasures during the 1939-45 war and with repairs to bomb damaged areas after it. Dykes Bower, meanwhile, was the most controversial of the Surveyors of this period. His replacement of medieval roof timbers drew criticism, although these were riddled with decay and death watch beetle. The nave could have looked vastly different if his design for a Cosmati work floor had gone ahead. But the Abbey interior would not look as it does today without his massive contribution to the cleaning of the brown stonework and re-decoration of the dirty and damaged Tudor and Jacobean monuments. The Abbey's current Surveyor, Ptolemy Dean, outlines the legacies of the work of these Surveyors of the modern age in his introduction; Christine Reynolds, the Abbey's Assistant Keeper of the Muniments, adds valuable notes from other sources within the archives to supplement the fascinating accounts of work carried out in the most historically significant church in England.

The Framing of Sacred Space offers the first topical study of canopies as essential spatial and symbolic units in Byzantine-rite churches. Centrally planned columnar structures-typically comprised of four columns and a roof-canopies had a critical role in the modular processes of church design, from actual church furnishings in the shape of a canopy to the church's structural core. As architectonic objects of basic structural and design integrity, canopies integrate an archetypical image of architecture and provide means for an innovative understanding of the materialization of the idea of the Byzantine church and its multi-focal spatial presence. The Framing of Sacred Space considers both the material and conceptual framing of sacred space and explains how the canopy bridges the physical and transcendental realms. As a crucial element of church design in the Byzantine world, a world that gradually abandoned the basilica as a typical building of Roman imperial secular architecture, the canopy carried tectonic and theological meanings and, through vaulted, canopied bays and recognizable Byzantine domed churches, established organic architectural, symbolic, and sacred ties between the Old and New Covenants. In such an overarching context, the canopy becomes an architectural parti, a vital concept and dynamic design principle that carries the essence of the Byzantine church. The Framing of Sacred Space highlights significant factors in understanding canopies through specific architectural settings and the Byzantine concepts of space, thus also contributing to larger debates about the creation of sacred space and related architectural taxonomy.

Master sculptor Auguste Rodin's illuminating writings on cathedrals in France are especially relevant and significant following the recent fire at Notre Dame. In this volume, the writer and Rodin scholar Rachel Corbett selects excerpts from the famous sculptor's book Cathedrals of France, first published in 1914, just before the outbreak of World War I. Cathedrals were central to the way Rodin thought about his art: he saw them as visual metaphors for the human figure, among the finest examples of craftsmanship known to modern man, and as a model for how to live and work-slowly, brick by brick. Here, Corbett takes the fire at Notre Dame and the concerns over its restoration as an entry point in an exploration of Rodin's cathedrals. Rodin adamantly opposed restoration, as he felt it often did more damage than the original injury. (Many of the cathedrals that Rodin looks at in his texts were, in fact, bombed during the war.) But while he rails against various restoration efforts as evidence that "we are letting our cathedrals die," the book, with its tenderly rendered sketches and written portraits, is itself an attempt to preserve these cathedrals. The selection of texts in this volume is a reminder-as is the tragedy of Notre Dame-of why we ought to appreciate these feats of architecture, whether or not they are still standing today.

For over a millennium, Durham has occupied a central place in English religious history, with its Norman rebuilding (1093-1133) marking it as an internationally significant masterpiece in the history of architecture. Its setting, perched on a peninsula formed by a bend in the River Wear, adds to the visual drama of the building. This monumental volume offers a comprehensive account, with contributions by a team of 30 experts, on the founding, development, building, and decoration of this magnificent and important edifice. The accessible essays gathered here approach Durham Cathedral from a wide variety of fields and vantage points, including liturgy, music, stained-glass decoration, and book collecting. Lavishly illustrated, the book includes both archival and new photography, and reproductions of representations in all media of the cathedral throughout history. Taken together, this landmark publication is a celebration of Durham Cathedral's enormous historical, spiritual, cultural, and architectural significance. Published for the Paul Mellon Centre for Studies in British Art

Having won more than one recent poll as Britain's best-loved building, the appeal of Durham Cathedral appears abiding, which begs the question whether an iconic sacred building can retain meaning and affective pertinence for contemporary, secular visitors. Using the example of Durham Cathedral, this book sets out to explore wherein the appeal of historic churches lies today and considers questions of how and why their preservation into a post-Christian era should be secured. By including feedback from visitors to the cathedral, and the author's own very personal account of the cathedral in the form of an ekphrasis, this work seeks to privilege an interpretation of architecture that is based on the individual experience rather than on more conventional narratives of architecture history and cultural heritage policy. Recognising the implication of our choice of narrative on the perceived value of historic churches is crucial when deliberating their future role. This book puts forth a compelling case for historical sacred architecture, suggesting that its loss - through imperceptive conservation practices as much as through neglect or demolition - would diminish us all, secularists, atheists and agnostics included.

A photographic survey of the renovation of the Imam Mohammed bin Abdul Wahab Mosque in Qatar, retracing the story of the building and the new elements of the religious complex, added in full respect of the traditional Qatari architecture.

Major interdisciplinary study of medieval church porches, bringing out their importance and significance. The church porches of medieval England are among the most beautiful and glorious aspects of ecclesiastical architecture; but in comparison with its stained glass, for example, they have been relatively little studied. This book, the first detailed study of them for over a century, gives new insights into this often over-looked element. Focussing on the rich corpus of late-medieval East Anglian porches, it begins with two chapters placing them in a broad cultural outline and their context; it then moves on to consider their commissioning and design, their architecture and ornamentation, their use and their meaning. This book will appeal to all those interested in church fabric and function.

First full-length survey of the Temple Church, from its foundation in the twelfth century to the Second World War. Founded as the main church of the Knights Templar in England, at their New Temple in London, the Temple Church is historically and architecturally one of the most important medieval buildings in England. Its round nave, modelled on the Holy Sepulchre in Jerusalem, is extraordinarily ambitious, combining lavish Romanesque sculpture with some of the earliest Gothic architectural features in any English building of its period. It also holds one of the most famous series of medieval effigies in the country. Major developments in the post-medieval period include the reordering of the church in the 1680s by Sir Christopher Wren, and a substantial restoration programme in the early 1840s. Despite its extraordinary importance, however, it has until now attracted little scholarly or critical attention, a gap that is remedied by this volume. It considers the New Temple as a whole in the Middle Ages, and allaspects of the church itself from its foundation in the twelfth century to its war-time damage in the twentieth. Richly illustrated with numerous black and white and colour plates, it makes full use of the exceptional range and quality of the antiquarian material available for study, including drawings, photographs, and plaster casts. Contributors: Robin Griffith-Jones, Virginia Jansen, Philip Lankester, Helen Nicholson, David Park, Rosemary Sweet, William Whyte, Christopher Wilson. Robin Griffith-Jones is Master of the Temple at the Temple Church; David Park is a Professor at the Courtauld Institute of Art.

Green men are figures or heads that were carved in churches, abbeys and cathedrals from the twelfth to the sixteenth centuries. Inspired by the illustrations in book margins where heads were used to terminate trails of foliage, they were usually carved in the form of human masks, cats' or demons' heads. The earliest architectural green men are found in the churches of the wealthy and influential, such as Henry I's private chapel in Derbyshire but they were still produced in lesser numbers into the nineteenth century. Richard Hayman discusses the origins and definitions of these fascinating figures and traces their many declines and revivals throughout history - a valuable guide for any church history enthusiast.

Originally published during the early part of the twentieth century, the Cambridge Manuals of Science and Literature were designed to provide concise introductions to a broad range of topics. They were written by experts for the general reader and combined a comprehensive approach to knowledge with an emphasis on accessibility. A. H. Thompson's The Ground Plan of the English Parish Church was published in 1911 and was the first book to devote itself entirely to the historical development and resultant features of the parish church in England. It remains an insightful work on the subject.

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

Im Zuge der kaiserlichen Toleranzedikte und der "Bekehrung" Kaiser Konstantins konnte das Christentum seit dem 4. Jahrhundert starker in die OEffentlichkeit treten und seine Kultbauten und Versammlungsorte nach seinen Bedurfnissen gestalten und ausschmucken. Die prachtigen Mosaikfussboeden der spatantiken Kirchen an der oberen Adria sind grossartige Zeugnisse der fruhchristlichen Archaologie und Kultur. Der Verfasser untersucht diese Pavimente mit ihren Inschriften, den sogenannten Offerenteninschriften: Sie geben Auskunft uber die Namen der Stifter und deren Beitrag zum jeweiligen Bodenmosaik. Im ersten Teil des Bandes bietet der Autor einen historischen UEberblick. Es zeigt sich, dass die Wurzeln des auffalligen wie ratselhaften Brauches, Fussboeden als Bild- und Schriftmedium zu nutzen, bis ins heidnische Altertum zuruckreichen. Im Untersuchungsgebiet Histria et Venetia war der musivische (eingelegte) Bodenschmuck schon sehr stark verbreitet, bevor er in die kirchlichen Gebaude rund um das Mittelmeer seinen Einzug hielt. Der zweite Teil der Arbeit behandelt die kunst- und auch religionsgeschichtlichen Besonderheiten der adriatischen Offerenteninschriften: Sie erlauben Ruckschlusse sowohl auf die spatantike Kirchenorganisation wie auch auf die liturgischen Brauche und Heilsvorstellungen der Glaubigen.

The Pinecone is set in the village of Wreay, near Carlisle, where a masterpiece in Victorian architecture stands - the strangest and most magical church in England. This vivid, original book tells the story of its builder, Sarah Losh, strong-willed and passionate, an architect and an intellectual who dumbfounded critics with her genius and originality. Born into an old Cumbrian family, heiress to an industrial fortune, Sarah combined a zest for progress with a love of the past. The church is Losh's masterpiece, richly decorated with symbolic carvings there are images of ammonites, scarabs and poppies, and everywhere there are pinecones, her signature in stone. The church is a dramatic rendering of the power of myth and the great natural cycles of life and death and rebirth. The Pinecone is also the story of Sarah's radical family, friends of Wordsworth and Coleridge; of the love between sisters and the life of a village; of the struggle of the weavers, the coming of the railways, the findings of geology and the fate of a young northern soldier in the Afghan war. Above all, though, it is about the joy of making and the skill of local, unsung craftsmen. Award-winning Jenny Uglow (author of The Lunar Men, Nature's Engraver and In These Times) crafts this moving story of a beautiful and ornate church, a pioneering and imaginative woman, and the changing life of a small northern village in the face of the Industrial Revolution.

The designs of synagogues and churches are acknowledged to be very alike. But the designers' procedure was confidential, and so far standard explanations have been unsatisfactory. A synagogue should express heavenly values with earthly materials. This combination was in fact expressed in numbers, for, as Plato said, they linked heaven and earth. Scripture described both the Jewish Tabernacle and Temple with a wealth of numbers. Proportions based on these numbers were used to design synagogues. Only a few Jewish documents survive, but they reveal a symbolism, which Christians sometimes repeat. The synagogue sanctuary was designed to contain the 'Holy Ark', and the mosaic floors reveal the point 'Before the Ark' for the prayers and readings. These places faced each other, with the idea that God was facing his people. The synagogue was seen as facing heaven and in church buildings Christians repeated the same proportions. This was a joint tradition among Jews and Christians. It was easy to design, was carried out secretly and accurately, and - without a computer - was extremely hard to unravel. This book, for the first time, does just that.

Chartres Cathedral, south of Paris, is revered as one of the most beautiful and profound works of art in the Western canon. But what did it mean to those who constructed it in the twelfth and thirteenth centuries--and why was it built at such immense height and with such glorious play of light, in the soaring manner we now call Gothic?

In this eminently fascinating work, author Philip Ball makes sense of the visual and emotional power of Chartres and brilliantly explores how its construction--and the creation of other Gothic cathedrals--represented a profound and dramatic shift in the way medieval thinkers perceived their relationship with their world. Beautifully illustrated and written, filled with astonishing insight, "Universe of Stone" embeds the magnificent cathedral in the culture of the twelfth century--its schools of philosophy and science, its trades and technologies, its politics and religious debates--enabling us to view this ancient architectural marvel with fresh eyes.

Jeanne Halgren Kilde's survey of church architecture is unlike any other. Her main concern is not the buildings themselves, but rather the dynamic character of Christianity and how church buildings shape and influence the religion. Kilde argues that a primary function of church buildings is to represent and reify three different types of power: divine power, or ideas about God; personal empowerment as manifested in the individual's perceived relationship to the divine; and social power, meaning the relationships between groups such as clergy and laity. Each type intersects with notions of Christian creed, cult, and code, and is represented spatially and materially in church buildings.
Kilde explores these categories chronologically, from the early church to the twentieth century. She considers the form, organization, and use of worship rooms; the location of churches; and the interaction between churches and the wider culture.
Church buildings have been integral to Christianity, and Kilde's important study sheds new light on the way they impact all aspects of the religion. Neither mere witnesses to transformations of religious thought nor simple backgrounds for religious practice, church buildings are, in Kilde's view, dynamic participants in religious change and goldmines of information on Christianity itself.