Abbeys and priories are both types of monastery and the author traces the history of monasteries in Britain from Anglo-Saxon times to the Dissolution under Henry VIII. He describes the different monastic orders, the running of the monasteries and the daily life of the monks and nuns, the layout of monastic buildings, the influence of the religious houses on life in medieval times and their effect on the landscape, all with references to examples accessible to the public. This new edition has been enlarged into the 'Discovering Handbook' series and is fully illustrated in colour.

A major difficulty for those who wish to understand and enjoy Scottish medieval churches is the ecclesiological groundwork was not carried out in the nineteenth century in the way that was done for England and other parts of Europe. In an effort to interpret what they see when visiting Scottish churches, many people attempt to apply techniques of analysis they have learned from English publications but that way madness lies. Even in the twelfth and eleventh centuries, when architectural relationships between Lowland Scotland and England were close, Scotland followed its own course in many respects, while in the fourteenth, fifteenth and sixteenth centuries Scottish architecture followed an almost completely different course from that of England. The present ground-breaking work makes good this deficit and analyses the planning and detailing of Scottish churches from 1120 to 1560 with hundreds of illustrated examples that can be firmly dated. The result is a book that will be welcomed by scholars but, equally importantly, will also be treasured by the hundreds of thousands of ordinary church-crawlers who value this aspect of Scotland's medieval heritage. For them this book, overdue by more than 100 years is a must.

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.

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.

Four examples of early Mesopotamian temples are discussed: Le temple de Nigirsu a Tello, Le temple de Ninhursag a Tell el Obeid, Le Riemchengbbaude d'Uruk, Le Steingebaude d'Uruk, with a very brief conclusion. Many plans and reconstructions.

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.

From the earliest centuries of Christianity, the cult of saintly relics has been an important feature of the worship of the Church. This book explores the way in which church architecture has been shaped by holy bones - the physical remains or `relics' of those whom the Church venerated as saints. This is the first complete modern study of this aspect of medieval church architecture in western Europe.

The first in-depth study of one of the seminal works of America's most renowned twentieth-century architect, first published in 1996, is now available in paperback. In this study, Joseph Siry examines the building in the light of Wright's earlier religious architecture, his methods of design, and his innovative construction techniques, particularly the use of reinforced concrete which was here exploited and expressively deployed for the first time. He also sets Unity Temple against the tradition of the liberal Unitarian and Universalist religious culture, the institutional history of the affluent Oak Park congregation that commissioned the building, as well as the social context in which structure was conceived and built. Throughout, Unity Temple is treated as a work of art that embodies both Wright's theory of architecture and his liberal religious ideals.

Following the completion of the construction of new St. Peter's in the second decade of the seventeenth century, a series of monumental altarpieces was commissioned to decorate its altars. The leading artists of the day contributed to the project - among them Algardi, Bernini, Cortona, Domenichino, Guercino, Lanfaranco, Poussin, Sacchi, Vouet, and Valentin - and the works they produced include some of the most celebrated masterpieces of the Roman Baroque. Here for the first time the altarpieces of St. Peter's are considered collectively, within the liturgical and artistic programme of the building as a whole. Louise Rice takes a comprehensive approach to this critical chapter in the history of Italian Baroque art, offering insight into the mechanisms, motives, and meanings of papal patronage in the premier church of Catholicism.

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.

This book is the first comprehensive study of Mormon architecture. It centers on the doctrine of Zion which led to over 500 planned settlements in Missouri, Illinois, Utah, Idaho, Wyoming, Colorado, New Mexico, Arizona, California, Nevada, Canada, and Mexico. This doctrine also led to a hierarchy of building types from temples and tabernacles to meetinghouses and tithing offices. Their built environment stands as a monument to a unique utopian society that not only survived but continues to flourish where others have become historical or cultural curiosities. Hamilton's account, augmented by 135 original and historical photographs, provides a fascinating example of how religious teachings and practices are expressed in planned communities and architecture types.

Ritual and architecture have provided the abstract and the tangible foundations of group worship from the era of the first Christians to the present-day ceremonial of the Church. Through the centuries the buildings that house liturgical practices have developed their own specific individuality, and the interpretation of the liturgy is reflected in architecture, a reflection in stone of community prayer lives. The early Syrian churches, the Roman basilicas, the Byzantine, Gothic, and Romanesque styles of the Western churches are symbols of the adaptation of architecture to liturgy—of style to content. Father Bouyer replaces myths and misconceptions about Church liturgy with facts based on archeological findings and, in doing so, gives an entirely new concept of the importance of Church architecture as an implementation of liturgical worship. "Builders of modern churches, says Father Bouyer, "seem to lack that inspired touch.... We try to furnish our churches with features picked at random from old routine styles." To make Church architecture a contemporary witness to the liturgy, it is the author's belief that past practices must be examined to see if they are irrevocably welded to the past or flexible enough to reapply to the present. To discover—or rediscover—the meaning of the liturgy demands an over-all perspective necessary to remodel and structure our churches of today.

For more than two millennia Buddhism shaped the cultures of Central, South, Southeast, and East Asia. From ancient Bactria and Gandhara to Tibet, Mongolia, and Japan, from Sri Lanka and Myanmar to Thailand, Cambodia, and Laos, each territory had its own peculiar way of developing representations of the Buddha, the Bodhisattvas, and a variety of guardian deities and saints. Of particular importance is the representation of the Buddha and his teachings in an iconic form in the shape of an impassable building. Called Stupa in Sanskrit, Caitya in Nepali, Cibha in Newari, and Choerten in Tibetan, these structures - whether imposing or in miniature size - not only characterise the urban space of the Newars in the Kathmandu Valley. They also mark the access to Tibetan villages in northern Nepal, line the trails across high passes, and stud topographically prominent places. By their thousands, they transform wilderness into a landscape that promises shelter, protection, and well-being. Often, these structures are small, made up of two or three cubes in diminishing size, placed on top of one another. Of particular importance are the Triple Protectors, the Rigsum Goenpo, in the shape of three multiple cubes, lined up to guard the settlements against calamities such as floods, landslides, pests, and plagues. To ensure their agency, their colours (black, white, red) are annually renewed. Single cubes may also signal their significance as repositories of relics or the ashes of the departed. 584 maps, architectural drawings, and photographs, produced from 1970 to 2008, document the rich cultural heritage of the Tibetan and Tamang enclaves along the range of the high Himalaya.

Each year in the United States, hundreds of religious buildings and schools become vacant or underutilized as congregations and populations merge, move, or diminish. These structures are often well located, attractive, eligible for tax credits, and available for redevelopment. In this practical and innovative handbook, authors Simons, DeWine, and Ledebur have compiled a step-by-step guide to finding sustainable new uses for vacant structures. The reuse of these important buildings offers those charged with revitalizing them an opportunity to capture their embodied energy, preserve local beloved landmarks, and boost sustainability. Rehabbing presents an opportunity for developers to recoup some value from these assets. Neighbors and other stakeholders also enjoy benefits as the historic structures are retained and the urban fabric of communities is preserved. Retired, Rehabbed, Reborn features ten in-depth case studies of adaptive reuse outcomes for religious buildings and public schools that have achieved varying degrees of success. Several case vignettes appear within various chapters to illustrate specific points. The book is a useful tool for architects, planners, developers, and others interested in reusing these important structures. In addition to covering the demographics of demand and supply for historic buildings, the authors demonstrate how to identify a worthy project and how to determine a building's highest and best use, its market potential, and its financial feasibility, including costs and public subsidies. Finally, they address the planning process and how to time the redevelopment and repurposing of these venerable buildings. Simons, DeWine, and Ledebur explain that while each rehab deal is unique and tricky-especially for prominent community structures that hold significant nostalgic and historical value to community stakeholders-there are identifiable patterns of successful and unsuccessful approaches, patterns that are addressed in turn throughout the redevelopment process. As the nation moves toward a mind-set and practice of recycling, reusing, and repurposing, this unique exploration of how that applies to buildings is an essential guide for anyone interested in being part of the process as communities develop and change.

The Coptic Monastery of St. Paul by the Red Sea grew up around the cave where Paul, the first Christian hermit, lived in solitude. The cave served as a shrine in late antiquity, became a church in the middle ages, and expanded again in the early modern period. This visually and intellectually exciting book chronicles the history of a series of devotional paintings in the Cave Church. It explores how the monastic community commissioned painting twice in the church in the 13th century, during one of the greatest eras of Coptic art, and how one of the monks painted it again in the 18th century, helping to inaugurate a Coptic renaissance after centuries of decline. The foundation of this volume is a wall painting conservation project sponsored by the American Research Center in Egypt. The book also sets the art and architecture of the Cave Church in its historical context and examines the role of the Monastery of St. Paul as part of the sacred geography of Christian Egypt through time. Published in association with the American Research Center in Egypt, Inc.

The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches, Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity.

An architectural and historical study of Singapore's oldest Teochew Temple. At the turn of the nineteenth century, Teochew-speaking gambier and pepper farmers settled in Singapore. Surrounded by the skyscrapers of Singapore's central business district, Wak Hai Cheng Bio temple traces its history back to the earliest days of the colony. While no written sources or inscriptions commemorate the founding of the temple, Yeo Kang Shua's book delves into the history of the temple's foundation, encountering a rich history along the way. Poetic and commemorative, Yeo attends to the testimony of the building itself-the location, materials, ornamentation, and artwork that charge the space with meaning. Divine Custody tells the story of a temple that formed and was formed by its community. Of interest to heritage studies and those seeking to understand the experience of Chinese communities in Southeast Asia, this book is exemplary in the way it uses material culture and architectural history as historical sources.

Last, largest, and most splendid of the early imperial forums, the Forum of Trajan (A.D. 112) was the acknowledged showplace of ancient Rome. Ammianus Marcellinus called the Forum "a construction unique under the heavens, as we believe, and admirable even in the unanimous opinion of the gods." Yet, despite its formidable ancient reputation, the Forum of Trajan has only once in the present century been the subject of a close study. This three-volume publication, the result of twenty-five years of labor, is the first comprehensive study ever undertaken. It includes a history of the site, an examination of all previous scholarship, a modern reconstruction of it in beautiful architectural renderings, and more.
The Forum suffered a harsh fate. Its buildings probably collapsed during the earthquake of A.D. 801; from the sixteenth through the eighteenth centuries, the site was quarried for its marble. In recent times, none of the modern archaeological excavations, from the first French investigations of 1811-14 through the great campaign mounted by the Fascist Government of Italy in 1928-34, has ever been properly published. Today some of the monuments--among them the three triumphal arches through which visitors entered the Forum and the West Colonnade and Hemicycle--are still buried more than sixteen feet below the level of modern streets. Others are now completely cleared.
After describing the Forum as a whole--its construction, history, use in antiquity, destruction, and excavations--Packer focuses on the buildings, the essential architectural texts for all further study. He discusses the largest building in the Forum, the law court known in antiquity as the Basilica Ulpia.Illustrations document the most important architectural elements and the present state of the site. Restored plans, sections, and elevations in both color and black and white depict Packer's reconstructions as well as those of previous scholars. Four exterior and interior views of the principal buildings, restored in color, provide lively visual impressions of the spatial effects and detailing. For scholarly consultation, a catalogue raisonne of the major surviving fragments, twelve appendices that discuss technical problems involved in the reconstructions, and microfiche with 416 illustrations are included.
Volume I features 157 illustrations, including significant general photographs of the site, historical photographs of the excavations of 1928-34, new photographs of architectural fragments, and eleven full-color reconstructions of the excavated buildings. Volume II contains most of the remainder of the 859 illustrations, among them new photographs of the site and reproductions of drawings made by scholars and architects of the nineteenth and twentieth centuries. A folder attached to the back cover houses the microfiche. The Portfolio volume holds thirty-five drawings, twenty-four in black and white that include a plan made after the excavations of 1928-34 and a new site map prepared in 1986-87, and eleven three-color technical reconstructions of the excavated buildings.
PRODUCTION: Meticulous care has been taken with the design and production of these volumes, only 1,000 sets of which will be made. The text of this book is printed on 90-pound sheets of Mohawk Superfine specially milled for this project. This paper is not only acid-free, but also alum- and rosin-free, with a pHlevel above 7.5 and an alkaline buffer that will neutralize any acidity that might develop in handling or storage. Accelerated aging tests indicate permanence in excess of 300 years. The Portfolio illustrations are printed on 60-pound St. Lawrence Matte, also an acid-free sheet. The binding features Iris, a 100 percent solvent-free rayon cloth made from natural fibers, with a neutral pH. It is applied over binder's board of .098 thickness with a neutral pH. The title page display type is taken from the letterpress proofs of Jan van Krimpen's Romulus, designed for the Monotype Company in 1936. The main text of Volumes I and II is set in Granjon. Chapter initials are from an alphabet designed by Gianfrancesco Cresci in 1569 for "Il perfetto scrittore" and based on the lettering from the Column of Trajan. The interior of the Portfolio box is constructed of binder's board of .080 thickness with a neutral pH, covered with French Paper Company "Parchtone" material, the same paper as that used for the endpapers of Volumes I and II.

Utopia" is a word not often associated with the city of Bangkok, which is better known for its disorderly sprawl, overburdened roads, and stifling levels of pollution. Yet as early as 1782, when the city was officially founded on the banks of the Chao Phraya river as the home of the Chakri dynasty, its orientation was based on material and rhetorical considerations that alluded to ideal times and spaces. The construction of palaces, monastic complexes, walls, forts, and canals created a defensive network while symbolically locating the terrestrial realm of the king within the Theravada Buddhist cosmos. Into the twentieth century, pictorial, narrative, and built representations of utopia were critical to Bangkok's transformation into a national capital and commercial entrepot. But as older representations of the universe encountered modern architecture, building technologies, and urban planning, new images of an ideal society attempted to reconcile urban-based understandings of Buddhist liberation and felicitous states like nirvana with worldly models of political community like the nation-state. Bangkok Utopia outlines an alternative genealogy of both utopia and modernism in a part of the world that has often been overlooked by researchers of both. It examines representations of utopia that developed in the city-as expressed in built forms as well as architectural drawings, building manuals, novels, poetry, and ecclesiastical murals-from its first general strike of migrant laborers in 1910 to the overthrow of the military dictatorship in 1973. Using Thai- and Chinese-language archival sources, the book demonstrates how the new spaces of the city became arenas for modern subject formation, utopian desires, political hegemony, and social unrest, arguing that the modern city was a space of antinomy-one able not only to sustain heterogeneous temporalities, but also to support conflicting world views within the urban landscape. By underscoring the paradoxical character of utopias and their formal narrative expressions of both hope and hegemony, Bangkok Utopia provides an innovative way to conceptualize the uneven economic development and fractured political conditions of contemporary global cities.