From About The Era Of The Norman Conquest To The Time Of Edward The Fourth.

In 1506, the ambitious Renaissance Pope Julius II tore down the most sacred shrine in Europe--the millennium-old St. Peters Basilica. Construction of the new St. Peters spanned two centuries, embroiled 27 popes, and consumed the genius of the greatest artists of the age.

Baroque, Gothic, Romanesque, Greek. These traditional architectural styles are easily recognizable both in public buildings and especially in houses of worship. Each has a particular influence on sacred space, and all tend to highlight the utter transcendence of God.

In "An Architecture of Immanence" Mark Torgerson asserts that modern architecture has heavily influenced the construction of new sacred spaces, producing a new way of building that emphasizes God's coming near to us. Torgerson begins by discussing a proper understanding of God's transcendence and immanence and showing how church architecture has traditionally interpreted these key concepts. He then traces the theological roots of immanence's priority from liberal theology and liturgical innovation to modern architecture. Next, Torgerson illustrates this new architecture of immanence through particular practitioners, focusing especially on the work of theologically savvy architect Edward Anders Svvik. Finally, he addresses the future of church architecture as congregations are buffeted by the twin forces of liturgical change and postmodernism.

A celebration and exploration of the modern conception of sacred space, "An Architecture of Immanence" will interest architects, liturgists, and all Christians who seek to read the sacred spaces of the recent past.

The Beginning of the Romance - Invasion, Fire and Murder - From Crypt to ''Glorious Choir'' - The Men of the Three- Fold Rule - A Dark Night and a Dark Deed - a Catherdral in Flames - Crusaders and Pilgrims - The Nation's Hero - Kings and Archbishops - Princess Elizabeth of York - A Twentieth Century Pilgrimage

This book represents twenty years of thought and research on perhaps the greatest Islamic monument in Spain- the Mosque of Cordoba. The unfolding of the mystery of its origin goes back to Atlantis when an era of world civilization made possible the birth of a community called Tartessos in Andalusia. This sophisticated society welcomed the trading Phoenicians in the 12th century BC. Together they designed and built essentially the structure that Islam adapted to their use as a mosque in the 8th century AD. But new evidence gathered by the architect, Marvin Mills, fails to support this contention as we examine the architecture and history of the building and realize that another provenance is indicated. Even the orientation of he mosque is suspect as it fails to orient to Mecca. And Carbon-14 dating indicates a much older attribution. Revelations such as these will make it impossible to continue as usual in the progress of the field of Spanish architecture, Phoenicians in the West, the reality of Atlantis without dealing with this new approach. Insights into the famous Alhambra in Granada and Madina Azahara, the palace-city outside of Cordoba, add to the new perspective by challenging their origins as well.

1909. With Numerous Illustrations. A travel guide for the American tourist to the Cathedrals of Europe with descriptions written by writers such as: Theophile Gautier; Arthur Symonds; W.D. Sweeting; Victor Hugo; S. Sophia Beale; H.H. Bishop; Dean Spence; and others. See other titles by this author available from Kessinger Publishing.

This scarce antiquarian book is a selection from Kessinger Publishings Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the worlds literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

1894. Sancta Sophia is the most interesting building on the world's surface. Like Karnak in Egypt, or the Athenian Parthenon, it is one of the four great pinnacles of architecture, but unlike them this is no ruin, nor does it belong to a past world of constructive ideas although it precedes by seven hundred years the fourth culmination of the building art in Chartres, Amiens, or Bourges, and thus must ever stand as the Supreme monument of the Christian cycle. The attempt here is some disentanglement of the history of the Church and an analysis of its design and construction; on the one hand, we have been led a step or two into the labyrinth of Constantinopolian topography, on the other, we have thought that the great Church offers the best point of view for the observation of the Byzantine theory of building.

Perhaps the most awe-inspiring structures ever built in these isles, ancient cathedrals continue to exude spiritual force and architectural magic many centuries after their incredible design and construction. This book, by monumental mason, letterer and fire-fighter Mark Mills is beautifully illustrated with rare fine engravings, and carefully printed on the highest quality papers. Here is the amazing story of the cathedrals, told through the exquisite examples of old England. WOODEN BOOKS are small but packed with information. "Fascinating" FINANCIAL TIMES. "Beautiful" LONDON REVIEW OF BOOKS. "Rich and Artful" THE LANCET. "Genuinely mind-expanding" FORTEAN TIMES. "Excellent" NEW SCIENTIST. "Stunning" NEW YORK TIMES. Small books, big ideas.

1927. In the first half of this volume, dealing with Northern France, Mr. Bumpus groups the cathedrals in their respective Archiepiscopal Provinces. Thus: Amiens, Beauvais, Chalons and Soissons follow Rheims; Bayeux, Coutances, Evreux and Seez are grouped under Rouen; Blois, Chartres, Orleans and Versailles under Paris, and so on. Those churches only are described which are actually the seats of bishops in the present day, so that many noble cathedrals, suppressed at the Revolution, such as Auxerre, Laon, Lisieux, Noyon, Senlis and Saint Omer are omitted. In the second half, which deals with the Southern portion of France, he groups them in their respective Architectural Provinces because of the opportunity it affords for some remarks upon local peculiarities which are more marked in churches of the environing district than in cathedrals where provincial localisms have, to a very considerable extent disappeared before the march of architectural progress and development.

This comprehensive, interdisciplinary collection illuminates many previously unexplored aspects of the Basilica of San Lorenzo's history, extending from its Early Christian foundation to the modern era. Brunelleschi's rebuilt Basilica, the center of liturgical patronage of the Medici and their grand-ducal successors until the nineteenth century, is today one of the most frequently studied churches in Florence. Modern research has tended, however, to focus on the remarkable art and architecture from ca. 1400-1600. In this wide-ranging collection, scholars investigate: the urban setting of the church and its parish; San Lorenzo's relations with other ecclesiastical institutions; the genesis of individual major buildings of the complex and their decorations; the clergy, chapels and altars; the chapter's administration and financial structure; lay and clerical patronage; devotional furnishings, music, illuminated liturgical manuscripts, and preaching; as well as the annual or ephemeral festal practices on the site. Each contribution offers a profound exploration of its topic, wide-ranging in its chronological scope. One encounters here fresh archival research, the publication of relevant documents, and critical assessments of the historiography. San Lorenzo is represented in this volume as a living Florentine institution, continually reshaped by complex historical forces.

Augustus Welby Northmore Pugin (1812-1852) exercised a seminal influence on British architecture in the nineteenth century, though, as he himself acknowledged towards the end of his short life, it was probably more through his writing than through his buildings that he had 'revolushioned the Taste of England'. Pugin's important theoretical and polemical texts contain little by way of autobiography or description and comment on his own architecture. For these we must turn to his journalism and pamphlets. In The Present State of Ecclesiastical Architecture in England, he gives us some minutely detailed accounts with illustrations of his churches up to the year 1842. But his most revealing autobiographical writing is to be found in Some Remarks, published in 1850, which can be seen as essential for understanding the man and his collapse. It takes the story almost to the end of his life, includes an account of his conversion to Catholicism (1835), and describes many of the churches that he built between 1838 and 1850. Together they offer the most comprehensive contemporary guide to Pugin's architecture and a fascinating account of his campaign to revive the glories of the pre-Reformation Catholic Church in the context of the nineteenth-century Romantic Movement and the Catholic Revival. Never reprinted, Some Remarks is here presented in facsimile together with The Present State, and an introduction by the architectural historian and noted Pugin authority Dr Rory O'Donnell FSA - who has also written the introductions to the other volumes in this series of Pugin fascsimile editions.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

1894. Sancta Sophia is the most interesting building on the world's surface. Like Karnak in Egypt, or the Athenian Parthenon, it is one of the four great pinnacles of architecture, but unlike them this is no ruin, nor does it belong to a past world of constructive ideas although it precedes by seven hundred years the fourth culmination of the building art in Chartres, Amiens, or Bourges, and thus must ever stand as the Supreme monument of the Christian cycle. The attempt here is some disentanglement of the history of the Church and an analysis of its design and construction; on the one hand, we have been led a step or two into the labyrinth of Constantinopolian topography, on the other, we have thought that the great Church offers the best point of view for the observation of the Byzantine theory of building.

Since the arrival of Augustine in Kent in 597, Canterbury has been the very heart of the Church in England. The Saxon cathedral, much enlarged over the years, burnt down in 1067. Its replacement suffered a similar fate in 1174, to be rebuilt again. As a result, the modern visitor is presented with a confusing historical patchwork which needs some explanation. Eadmer the singer was an eyewitness to the demolition of the Anglo-Saxon cathedral and the construction of the new one by Archbishop Lanfranc. He also describes the building of Conrad's 'glorious choir' at the time of Archbishop Anselm. Gervase of Canterbury likewise describes the destruction of Lanfranc's church by fire in 1174 and the rebuilding by William of Sens and English William. Professor Willis connects these and other sources, such as William of Malmesbury and Matthew Paris, to his own acute observations, creating a vivid impression of the Saxon, Norman and later cathedral. The text is interspersed with many superb wood engravings which, in many cases, offer a clarity which is hard to achieve with photography. Robert Willis (1800-1875) was Jacksonian Professor of natural and experimental philosophy at the University of Cambridge and lecturer in applied mechanics at the Metropolitan School of Science, Jermyn Street, London. He brought a new scientific rigour (but also an artistic eye) to the fields of archaology and architectural history.

The clearing away of galleries, the provision of new seating and the renewal of much window tracery have been the principal changes, the greatest loss being the destruction of the Corpus Christi Chapel. The nave is of moderate width and consists of only four bays, the eastern arches being narrower and made to abut against the tower after the manner of flying buttresses. The columns are clusters of four large filleted shafts separated by small ones while the bases are high and evidently meant to be seen above the benches. The caps are shallow and very simple, while the shafts of each pier reappear as part of the arch moulding.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Colombe provides a detailed description of the architectural peculiarities of these remarkable edifices. With 49 Illustrations and 3 plans. A fascinating and instructive overview of the Popes' Palace.

Complete with descriptive illustrations, this useful resource offers essential information, guidelines, and cautionary advice on building projects for churches, synagogues, mosques, temples, and spaces for religious education. Covers issues such as consensus-based decision making, site selection, renovation, and code compliance.Gain insight into working closely with parishioners during the decision making process, incorporating iconography, and the emotional impact of space.

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Text in English and French. The aim of this book, by utilizing modern photography, is to illustrate the cathedral on a scale not before attempted. Although this collection is not exhaustive, the authors claim it is fairly representative. It deals mainly with the sculptures on the doorway, although there are views of the general architecture and a few subjects from the interior. Over 120 photographs, fully indexed.

The general idea of the use of a church porch at the present time is apparently that it is a useful place for wet umbrellas, and, while no word can be raised against so admirable a purpose, it was not the object for which it was originally designed. The uses of a porch were manifold, and we shall follow the development of the structure and the various purposes for which it was erected. As the porch is the approach to, and actually part of, the entrance to the material fabric of the church, so the font is the structure for the outward circumstances of the baptismal rite, whereby one enters into the spiritual life of the Church. Only those who fully understand the Christian's standpoint can grasp its real purpose, and many nominal Churchmen fail to see any use in the structure more than that which any small vessel would supply. In the corporeal and spiritual access to the Church is found the harmony of this dual subject.. In the second part of this volume we shall see how the font came to be placed immediately within the principal entrance of a parish church; and we shall endeavour to trace its material development according to the art of the period; and we shall see how it retained the principal feature of its earlier form until after the Reformation, unaffected by the change of method in the rite from that practised in the rest of Western Christendom.

In most histories of Italian art we are conscious of a vast hiatus of several centuries, between the ancient classic art of Rome - which was in its decadence when the Western Empire ceased in the 5th century after Christ - and that early rise of art in the 12th century which led to the Renaissance. This hiatus is generally supposed to be a time when art was utterly dead & buried, its corpse in Byzantine dress lying embalmed in its tomb at Ravenna. Contents: Romano-Lombard architects; first foreign emigrations of the Comacines; Romanesque architects; Italian - Gothic & Renaissance architects. Illustrated.