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.

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.

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.

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.

In late 19th century America, profound socio-economic and technological changes contributed to the rejection of traditional church architecture and the development of a radically new worship building, the neo-medieval auditorium church. These Protestant churches contained extraordinary new auxiliary spaces, including kitchens, dining rooms, and lounges. Their real showpieces, however, were always the sanctuaries, radial-plan auditoria best described as 'theatres', with their elaborate pulpit stages, sloping floors, and curving pews. Many contained proscenium arches, marquee lighting, and theatre seats. Jeanne Halgren Kilde focuses on how the buildings helped to negotiate supernatural, social, and personal power. Their extraordinary interiors, she says, profoundly altered religious power relations. Borrowed directly from the architecture of the theatre, these worship spaces underscored performative and entertainment aspects of the worship service. By erecting these buildings, argues Kilde, middle class religious audiences demonstrated the move toward a consumer-oriented model of a religious participation that gave them unprecedented influence over the worship experience and church mission.

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 publication incorporates a radically new presentation of the cathedral and its history. By means of a careful interaction of text and images, the guide conveys the sense of the Cathedral as a working institution and brings to life dynamically the history of the Cathedral.

A comprehensive guide to the individual churches, catacombs, embellishments and artefacts of Early Christian Rome. The author describes precisely where the extant features are situated and provides details on what can be seen. The ground plans of each site studies allows the reader to compare the proportions of each church with another.;From the 1st-century visits of the Apostles Peter and Paul to the end of the 9th-century Carolingian Renaissance, the book also includes dates of emperors and popes, and important historical events relating to this period in Rome. A historical introduction places the monuments in the context of the Early Christian period and its development in Rome.

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.

This book offers a novel perspective on one of the most important monuments of French Gothic architecture, the Sainte-Chapelle, constructed in Paris by King Louis IX of France between 1239 and 1248 especially to hold and to celebrate Christ's Crown of Thorns. Meredith Cohen argues that the chapel's architecture, decoration, and use conveyed the notion of sacral kingship to its audience in Paris and in greater Europe, thereby implicitly elevating the French king to the level of suzerain, and establishing an early visual precedent for the political theories of royal sovereignty and French absolutism. By setting the chapel within its broader urban and royal contexts, this book offers new insight into royal representation and the rise of Paris as a political and cultural capital in the thirteenth century.

Florence Cathedral, familiarly called Il Duomo, is an architectural masterpiece and home to celebrated works of art. The interrelationship between the brilliant art and architecture and the Cathedral's musical program is explored in depth in this beautiful book. Perhaps the most beloved example is Luca della Robbia's sculptural program for the organ loft, comprising ten sculptural relief panels that depict children singing, dancing, and making music. Luca's charming sculptures are examined alongside luxurious illuminated manuscripts commissioned for musical performances. Essays by distinguished scholars provide new insights into the original function and meaning of Luca's sculptures; organs and organists during the 15th century; the roles played by women and girls-as well as men and boys-in making music throughout Renaissance Florence; and the Cathedral's illuminated choir books. Published in association with the High Museum of Art, Atlanta Exhibition Schedule: High Museum of Art, Atlanta (10/25/14-01/11/15) Detroit Institute of Arts (02/06/15-05/17/15)

In this comprehensive survey of London's Catholic churches, Dr Evinson's inventory lists all 140 churches in the cities of London, Westminster and the inner surrounding boroughs. In each case the entries include the foundation of the mission, the building history of the church, the role of the clergy and lay patrons, an architectural description and an account of the church's permanent furnishings. A substantial introduction treats the subject in chronological terms, embracing the period of Catholic emancipation followed by the Gothic, Classical, Byzantine and Romanesque revivals. Post-1945 developments in structure and planning are also explored, followed by a survey of furnishings and artists. This book should appeal to Catholic Londoners and parish priests, as well as art historians and tourists.

The C4th Roman Rotunda church in Thessaloniki is the most important monument of the early Christian era. In this comprehensive monograph, Hjalmar Torp presents the findings of his life-long archaeological and iconographic research on the Rotunda. He explores the archaeological data, the various phases of the architecture, and the chronological issues of the monument. The nuanced descriptions of the mosaics, their colours and their techniques are based on a detailed scaffold review and survey. The iconography of the mosaics is then analyzed and interpreted in conjunction with historical and theological sources; the building of the palatine church and its sumptuous decoration is attributed to an initiative by Theodosius the Great. This slip-cased set of two books, abundantly documented and richly illustrated, is a unique testimony on the Rotunda. Volume One: text. Volume Two: Illustrations. 500 illustrations, many in colour. This book is only available in French.

The first illustrated, architectural history of the 'Alid shrines, increasingly endangered by the conflict in Syria The 'Alids (descendants of the Prophet Muhammad) are among the most revered figures in Islam, beloved by virtually all Muslims, regardless of sectarian affiliation. This study argues that despite the common identification of shrines as 'Shi'i' spaces, they have in fact always been unique places of pragmatic intersectarian exchange and shared piety, even - and perhaps especially - during periods of sectarian conflict. Using a rich variety of previously unexplored sources, including textual, archaeological, architectural, and epigraphic evidence, Stephennie Mulder shows how these shrines created a unifying Muslim 'holy land' in medieval Syria, and proposes a fresh conceptual approach to thinking about landscape in Islamic art. In doing so, she argues against a common paradigm of medieval sectarian conflict, complicates the notion of Sunni Revival, and provides new evidence for the negotiated complexity of sectarian interactions in the period.

This is the second of a series of four volumes that are intended to present a complete corpus of all the church buildings, of both the western and the oriental rites, rebuilt or simply in use in the Crusader Kingdom of Jerusalem between the capture of Jerusalem for the First Crusade in 1099 and the loss of Acre in 1291. This volume completes the general topographical coverage begun in volume I, and will be followed by a third volume dealing specifically with the major cities of Jerusalem, Acre and Tyre (which are excluded from the preceding volumes). The project, of which this series represents the final, definitive publication, has been sponsored by the British School of Archaeology in Jerusalem. On completion the corpus will contain a topographical listing of all the 400 or more church buildings of the Kingdom that are attested by documentary or surviving archaeological evidence, and individual descriptions and discussion of them in terms of their identification, building history and architecture. Some of the buildings have been published before, but many others are published here for the first time.

The author has outlined the salient architecture features of the temples of Lord Bhavanarayana, tracing th origins of the temple architecture.

Each volume includes all the necessary materials for the comprehensive study of a work of art: An illustration section showing the complete work of art, details, preliminary studies, and iconographic sources; An introductory essay by the editor; Documents and literary sources; Critical essays from the art-historical literature.

Each volume includes all the necessary materials for the comprehensive study of a work of art: An illustration section showing the complete work of art, details, preliminary studies, and iconographic sources; An introductory essay by the editor; Documents and literary sources; Critical essays from the art-historical literature.

Per Jonas Nordhagen's work on the frescoes of S. Maria Antiqua in Rome is of fundamental importance to the study of early medieval art in Italy. This volume brings together for the first time Professor Nordhagen's work on medieval Roman mosaics and fresco painting. The book begins with a section on Mosaics and Techniques, covering the mosaic techniques in use during this period in Rome. The subsequent section, on S. Maria Antiqua, includes the author's papers on the fresco decoration of this church, one of the most important monuments of early medieval art in Italy. There follows a selection of papers on iconography, derived from a study of the subjects treated in the mosaic and fresco cycles of this period. Four subsequent articles deal with various themes involved in studying the art of the early medieval period in Rome, and its links with the art of the British Isles. The author has added supplementary notes to correct mistakes in the earlier articles, and to draw attention to subsequent research on the monuments.

Framing the Church takes a nontraditional approach to the study of the hallmark of French Gothic architecture: the buttress. In a series of case studies spanning approximately five hundred years and incorporating some of Gothic France’s most significant monuments, Maile S. Hutterer examines the aesthetics, social processes, and iconography of flying buttresses and buttress piers to explain how they supported the church both symbolically and structurally. Surrounding all or part of a building with periodically spaced massive piers, the buttressing frame defines an edge that simultaneously maintains permeability, creating an intermediary space around the structure. Making extensive use of archival sources, Hutterer argues that the areas between the buttresses distinguished the consecrated, sacred ground of the church interior from its unconsecrated, nonsacred surroundings, a division that was of increasing concern to theologians in the High Middle Ages. She traces how, over the course of the twelfth and thirteenth centuries, artists and patrons increasingly associated buttressing frames with sacred places through the incorporation of sculptural programs related to theology, processions, and protection. In this way, buttressing frames mediated the interaction between visitor and building and participated in the liturgical and ritual purpose of the church’s structure. Original and persuasive, this book illuminates the buttresses’ social and religious meaning for medieval viewers by introducing architectural iconography to a form that is primarily understood in terms of its structural utility. It will be welcomed by students and scholars of medieval architecture and medieval French history.

Third-Seventh Century CE. Proceedings of Symposium, University of Haifu, May 1987. (BAR -S499, 1989)