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.

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.

1919. Wolff writes in the Preface: Paris Churches, many of them, have an entrancing historical as well as a precious architectural interest. Curious old legends are often connected with their foundation. I have aimed at giving in concise and simple form their history rather than a mass of architectural detail. Those who have time can study for themselves from personal observation, by far the best way, and with the help of books of reference, the intricacies of the architectural features of the Churches. It is a rich field of study. Many people from habit and knowledge are able to take in at a glance the most salient points of architectural interest. What we all love to know in looking upon and wandering through a grand building which has stood for ages, are the circumstances of its birth, the course of its growth, the stories connected with it. A wonderful collection of vignettes describing the great churches of Paris.

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.

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.

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.

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.

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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Discusses the architecture, restoration and history of the cathedrals of France with 183 pictures by Joseph Pennell. Floor plans and diagrams of the cathedrals are included.Joseph Pennell was born in 1857 and died in 1926. He began his work as an illustrator by selling drawings of south Philadelphia to Scribner's Monthly in 1881. In addition to his extensive sketches of American cities, he went to the Panama Canal and sketched a number of construction sites. He taught etching at the Arts Students' league in New York, wrote several books, served as an art critic on the Brooklyn Eagle, and helped run the New Society of Sculptors, Painters & Engravers.Pennell is considered to have done more than any other one artist of his time to improve the quality of illustration both in the United States and abroad and to raise its status as an art. He produced more than 900 etched and mezzotint plates, some 621 lithographs, and innumerable drawings and water colors.

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.

The author hopes this book will foster the desire to erect a house of worship which will be enduring monuments to the intelligence, the taste and the spiritual sincerity of our advanced times. This volume is not a history, but a modest effort to tell what the temple builders of the ages undertook to do in honor of the deity or the gods they worshiped, and an attempt to draw from the record of the past more sure guidance for the temple builders of today. Gorgeously illustrated throughout the text and contains 10 full page illustrations.

In sending out this essay, the author asks for indulgence. In the first place, because this is, so far as was known to him, the only attempt to set out, from an architect's point of view, the basis of certain ideas common in the architecture of many lands & religions, the purposes behind the structure & form which may be called the esoteric principles of architecture. And secondly, for an attempt to deal with a subject that could only be rightly handled by one having the equipment of a wide scholarship. Illustrated. Partial Contents: Microcosmos; Four square; At the center of the earth; The Jewel bearing tree; Planetary spheres; Labyrinth; Golden gate of the sun; Pavements like the sea; Ceilings like the sky; Windows of heaven & three hundred & sixty days; Symbol of creation.

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.

Kishwar Rizvi, drawing on the multifaceted history of the Middle East, offers a richly illustrated analysis of the role of transnational mosques in the construction of contemporary Muslim identity. As Rizvi explains, transnational mosques are structures built through the support of both government sponsorship, whether in the home country or abroad, and diverse transnational networks. By concentrating on mosques--especially those built at the turn of the twenty-first century--as the epitome of Islamic architecture, Rizvi elucidates their significance as sites for both the validation of religious praxis and the construction of national and religious ideologies. Rizvi delineates the transnational religious, political, economic, and architectural networks supporting mosques in Saudi Arabia, Iran, Turkey, and the United Arab Emirates, as well as in countries within their spheres of influence, such as Pakistan, Syria, and Turkmenistan. She discerns how the buildings feature architectural designs that traverse geographic and temporal distances, gesturing to far-flung places and times for inspiration. Digging deeper, however, Rizvi reveals significant diversity among the mosques--whether in a Wahabi-Sunni kingdom, a Shi i theocratic government, or a republic balancing secularism and moderate Islam--that repudiates representations of Islam as a monolith. Mosques reveal alliances and contests for influence among multinational corporations, nations, and communities of belief, Rizvi shows, and her work demonstrates how the built environment is a critical resource for understanding culture and politics in the contemporary Middle East and the Islamic world.

This lavishly illustrated book looks at the art and architecture of episcopal palaces as expressions of power and ideology. Tracing the history of the bishop's residence in the urban centers of northern Italy over the Middle Ages, Maureen C. Miller asks why this once rudimentary and highly fortified structure called a domus became a complex and elegant "palace" (palatium) by the late twelfth century. Miller argues that the change reflects both the emergence of a distinct clerical culture and the attempts of bishops to maintain authority in public life. She relates both to the Gregorian reform movement, which set new standards for clerical deportment and at the same time undercut episcopal claims to secular power. As bishops lost temporal authority in their cities to emerging communal governments, they compensated architecturally and competed with the communes for visual and spatial dominance in the urban center. This rivalry left indelible marks on the layout and character of Italian cities.Moreover, Miller contends, this struggle for power had highly significant, but mixed, results for western Christianity. On the one hand, as bishops lost direct governing authority in their cities, they devised ways to retain status, influence, and power through cultural practices. This response to loss was highly creative. On the other hand, their loss of secular control led bishops to emphasize their spiritual powers and to use them to obtain temporal ends. The coercive use of spiritual authority contributed to the emergence of a "persecuting society" in the central Middle Ages.

Even in an age of soaring skyscrapers and cavernous sports stadiums, the cathedral of Santa Maria del Fiore in Florence still retains a rare power to astonish. Yet the elegance of the building belies the tremendous labour, technical ingenuity and bitter personal strife involved in its creation. For over a century after work on the cathedral began in 1296, the proposed dome was regarded as all but impossible to build because of its enormous size. The greatest architectural puzzle of its age, when finally completed in 1436 the dome was hailed as one of the great wonders of the world. It has gone down in history as a masterpiece of Renaissance architecture. This book tells the extraordinary story of how the cupola was raised and of the dome's architect, the brilliant and volatile Filippo Brunelleschi. Denounced as a madman at the start of his labours, he was celebrated at their end as a great genius. His life was one of ambition, ingenuity, rivalry and intrigue - a human drama set against the plagues, wars, political feuds and intellectual ferments of Renaissance Florence, the glorious era for which the dome remains the most compelling symbol. Brunelleschi's Dome was voted Non-Fiction Book of the Year by American Independent Booksellers.

A large synthesis of commemorative monuments with discussion of earlier studies and ideas on monuments in the county of Norfolk. Jonathan Finch divides the study chronologically: monuments before 1400, 1400-1549, post-Reformation monuments, 1700-1849. The large volume of data is firmly placed within its temporal, spatial and social context which places it apart from other syntheses of these monuments. In this study Finch is able to identify broad and often very subtle patterns of change in the act of commemoration and the role of monuments, highlighting in particular the gradual shift from Christian iconography of the cross slab to more personal inscriptions, reflecting a change from the visual to textual and a growing concern with the fate of the individual rather than the fate of the dead in general.

This lavishly illustrated book looks at the art and architecture of episcopal palaces as expressions of power and ideology. Tracing the history of the bishop's residence in the urban centers of northern Italy over the Middle Ages, Maureen C. Miller asks why this once rudimentary and highly fortified structure called a domus became a complex and elegant "palace" (palatium) by the late twelfth century. Miller argues that the change reflects both the emergence of a distinct clerical culture and the attempts of bishops to maintain authority in public life. She relates both to the Gregorian reform movement, which set new standards for clerical deportment and at the same time undercut episcopal claims to secular power. As bishops lost temporal authority in their cities to emerging communal governments, they compensated architecturally and competed with the communes for visual and spatial dominance in the urban center. This rivalry left indelible marks on the layout and character of Italian cities.Moreover, Miller contends, this struggle for power had highly significant, but mixed, results for western Christianity. On the one hand, as bishops lost direct governing authority in their cities, they devised ways to retain status, influence, and power through cultural practices. This response to loss was highly creative. On the other hand, their loss of secular control led bishops to emphasize their spiritual powers and to use them to obtain temporal ends. The coercive use of spiritual authority contributed to the emergence of a "persecuting society" in the central Middle Ages.