Professor Sauerlander is the leading authority on Gothic sculpture of the twelfth and thirteenth centuries. The papers collected here have been published over the last 35 years. They represent important contributions to the subject - two are published here for the first time - and reflect sensible shifts of method and approach in the study of the art of this period. The studies form two volumes, and are grouped around a number of common themes: the great centers, the survival of antiquity, the new interest in nature and its representation, and the European spread of the Gothic style. Ten are in German, six in French, and six in English. Early studies have been updated with references to the more recent literature. There is a comprehensive index and a bibliography of Professor Sauerlander's work. Volume I Contents: Introduction; The Milieu. Medieval Paris, Centre of European Taste. Fame and Realities; The Great Centres. Tombeaux chartrains du premier quart du XIIIeme siecle; Die kunstgeschichtliche Stellung der Westportale von Notre-Dame in Paris. Ein Beitrag zur Genesis des hochgotischen Stils in der franzosischen Skulptur; Zu den neugefundenen Fragmenten von Notre-Dame in Paris; Les statues royales du transept de Reims; Observations sur la topographie et l'iconologie de la Cathedrale du sacre; The Survival of Antiquity. "Premiere architecture gothique" or "Renaissance of the Twelfth Century"?; Changing Perspectives in the Evaluation of Architectural History; Renaissance and Revival in The Twelfth Century; Architecture and the Figural Arts outside Italy; L'art antique et sculpture autour de 1200. St. Denis, Lisieux, Chartres; The Mirror of Nature. "Intentio vera nostra est manifestare ea quae sunt sicut sunt." Bildtradition und Wirklichkeitserfahrung in Spannungsfeld der staufischen Kunst; "Kleider machen Leute." Vergessenes aus Viollet-le-Duc's "Dictionnaire du mobilier francais."

Text in English & German. Three places mark the chequered history of the provost church of St Trinitatis Leipzig. Not far from the site of the present new building was the historic church built in 1847 that was largely destroyed in World War Two. It took almost three decades for this church finally to be replaced in 1982. At the insistence of the East-German authorities, however, this building had to be erected in a suburb. Because of its inconvenient location and also because the building had structural damage from the very beginning, the congregation decided in 2008 to take a chance on a new start in the city centre. The third church of St Trinitatis, consecrated in 2015, is the largest Catholic church to be built in East Germany since the political turnover of 1989/90. The new church is located not only in the centre of town, but at a place that could not be more prominent: facing the large complex of the Neues Rathaus. In 2009 a competition held for the new church building with the adjacent parish centre was won by the Leipzig architects Ansgar and Benedikt Schulz. Their clever use of the triangular site particularly impressed the selection committee; at the same time, with the compact body of the church on the east and the tower on the west, they created two striking urban landmarks. Between the tower and the church is the spacious courtyard, which is open on two sides towards the surrounding area, emphasising the congregations programmatic 'openness'. The complex owes its homogenous appearance to the fact that all parts of the buildings are clad with local porphyry, an igneous rock that shimmers in delicate shades of red. While outwardly the church looks quite hermetic, the interior, with an inside height of 14.5 m, surprises the visitor by its vibrant luminosity. The decisive factor here is the skylight on the east side at a height of 22 m. From a source that is invisible to the worshippers, zenith light falls on the entire back wall behind the altar. In its disposition the church interior follows the decisions of the Second Vatican Council: separation between the priests space and the congregations space is abolished, the high altar is replaced by a peoples altar, and the faithful gather of the believers in communio around the liturgical centre. In addition to his main activity as an architecture publicist Wolf-gang Jean Stock was head of the Deutsche Gesellschaft fur christ-liche Kunst and its gallery in Munich for nine years. Considering his rigorous artistic attitude, instinctively reminiscent of the work of Hilla and Bernd Becher, there is a certain consistency about the fact that the photographer Stefan Muller congenially creates images of the buildings of Owald Mathias Ungers, Max Dudler, Kleihues + Kleihues or Schulz und Schulz.

The Sistine Chapel enchants the visitor by the splendid harmony it radiates as a concept fully realised, by the unmatched artistic qualities of the individual works, the profound ideas that govern the planning of the paintings and the splendid, robust and lively figures created by Michelangelo and other artists. In this book, jointly produced by the Musei Vaticani and Libreria Editrice Vaticana, the chapel' s paintings are examined in relation to the theological interpretations prevailing in that period. Many of these works have already been presented in isolation by leading experts on the chapel, with detailed descriptions and comments. However, its recent restoration makes possible a new approach to interpreting the pictures, based among other factors on the symbolism of the colours. Greek language text. 186 illus., most colour.

The Pinacoteca Comunale di Castiglion Fiorentino is housed in the ancient, restored church of Sant Angelo, inside the defensive enclosure of the Cassero. The church has medieval foundations from the eleventh century, but in the sixteenth century it was turned into a convent and its original apse was replaced by a nun s choir. Its collections mainly comprise works of sacred art, including major paintings of the Tuscan school from the thirteenth to seventeenth centuries, and rare examples of medieval goldwork. All the works are from churches and monasteries in Castiglion Fiorentino and environs. The first part of the book is a guide to the museum itself, with photographs, descriptions of the works, and background information. The second part takes the reader on a route through the historical center of Castiglion Fiorentino and the Val di Chiana Aretina region.

This is the only comprehensive account of the Parthenon pediments in English and the first in any language since 1963. It serves as an up-to-date introduction to their study and includes new proposals for the restoration and interpretation of their composition. Debate on the Parthenon pediments has concentrated on the interpretation of individual figures, the restoration of the missing parts and the question of Roman repairs. The present study is based on autopsy and considers the evidence of technical details. It questions the attribution of certain familiar pieces and offers new suggestions for restoring the east pediment. All sculptures are illustrated, some with photographs taken especially for this book, and there are new drawings of the restorations proposed by the author. Chapter 1 is a general introduction to the study of the pediments. It includes an assessment of the documentation and a summary of stylistic and technical characteristics of the sculptures. Chapters 2 and 3 treat each pediment separately. The discussion of individual sculptures is incorporated in a continuous narrative which sets them within the context of the overall composition.

1996, 68 Seiten, 40 Abb., 17 Plane 30x21 cm, broschiert