Architectural Innovation in Early Byzantine Cyprus

2014 ◽  
Vol 57 ◽  
pp. 1-29
Author(s):  
Charles Anthony Stewart
Keyword(s):  
Nineteenth Century ◽  
Byzantine Empire ◽  
Archaeological Research ◽  
Documentary Evidence ◽  
Medieval Architecture ◽  
Textual Evidence ◽  
History Of Art ◽  
Architectural Innovation ◽  
History Of ◽  
Pointed Arch

The monuments of the Byzantine Empire stand as a testimony to architectural ingenuity. The history and development of such ingenuity, however, may often be difficult to trace, since this requires investigating ruins, peeling away centuries of renovations, and searching for new documentary evidence. Nevertheless, identifying the origins of specific innovations can be crucial to an understanding of how they later came to be used. In fact, ‘creative “firsts” are often used to explain important steps in the history of art’, as Edson Armi noted, adding that ‘in the history of medieval architecture, the pointed arch [and] the flying buttress have receive this kind of landmark status’.Since the nineteenth century, scholars have observed both flying buttresses and pointed arches on Byzantine monuments. Such features were difficult to date without textual evidence, and so they were often assumed to reflect the influence of the subsequent Gothic period. Archaeological research in Cyprus carried out between 1950 and 1974, however, had the potential to overturn this assumption.

Appropriating the Past: Romanesque Spolia in Seventeenth-Century Ireland

2008 ◽  
Vol 51 ◽  
pp. 63-86 ◽  
Author(s):  
Rachel Moss
Keyword(s):  
Nineteenth Century ◽  
Young Subject ◽  
The Political ◽  
Medieval Architecture ◽  
Early Christian ◽  
True Value ◽  
State Initiatives ◽  
History Of ◽  
Strong Motivation ◽  
National Architecture

Although a relatively young subject, the historiography of Irish architecture has had a remarkably significant impact on the manner in which particular styles have been interpreted and valued. Since the genesis of the topic in the mid-eighteenth century, specific styles of architecture have been inextricably connected with the political history of the country, and each has been associated with the political and religious affiliations of its patrons. From the mid-nineteenth century, the focus on identifying an Irish ‘national’ architecture became particularly strong, with Early Christian and Romanesque architecture firmly believed to imbue ‘the spirit of native genius’, while Gothic, viewed as the introduction of the Anglo-Norman invader, was seen as marking the end of ‘Irish’ art. Inevitably, with such a strong motivation behind them, early texts were keen to find structures that were untouched by the hand of the colonizer as exemplars of the ‘national architecture’. Scholars, including the pioneering George Petrie (1790–1866) in works such as his 1845 study of the round towers of Ireland, believed that through historical research he and others were the first to understand the ‘true value’ of these buildings and that any former interest in them had been purely in their destruction, rather than in their restoration or reconstruction. It was believed that such examples of early medieval architecture and sculpture as had survived had done so despite, rather than because of, the efforts of former ages, and, although often in ruins, the remains could be interpreted purely in terms of the date of their original, medieval, creation.Informed by such studies, from the mid-nineteenth century a movement grew to preserve and consolidate a number of threatened Romanesque buildings with the guiding philosophy of preserving the monuments as close to their original ‘pre-colonial’ form as possible. Consolidation of the ruins of the Nuns’ Church at Clonmacnoise (Co. Offaly) is traditionally amongst the earliest and most celebrated of these endeavours, undertaken by the Kilkenny and Southeast Ireland Archaeological Society in the 1860s, setting a precedent for both the type of monument and method of preservation that was to become the focus of activity from the 1870s, and thus for the first State initiatives in architectural conservation.

“But One Expects That”: Charlotte Perkins Gilman's “The Yellow Wallpaper” and the Shifting Light of Scholarship

PMLA ◽  
1996 ◽  
Vol 111 (1) ◽  
pp. 52-65 ◽  
Author(s):  
Julie Bates Dock ◽  
Daphne Ryan Allen ◽  
Jennifer Palais ◽  
Kristen Tracy
Keyword(s):  
Nineteenth Century ◽  
Sexual Politics ◽  
Documentary Evidence ◽  
Ghost Story ◽  
History Of ◽  
The Yellow Wallpaper

When feminist critics of the 1970s rediscovered “The Yellow Wallpaper,” they constructed an interpretation of the story and the history of its publication and reception. Subsequent critics lent authority to an emerging set of accepted “facts”: nineteenth-century audiences read the tale as a ghost story rather than as a critique of the sexual politics of marriage; Gilman fought valiantly against hostility from the entrenched hierarchy of male editors who refused to publish her work; and irate male physicians censured the story once it appeared. By reexamining the documentary evidence on which those “facts” are based, we examine the role that ideology plays in gathering and interpreting evidence. Gilman's story serves as a fine but certainly not a unique example of how scholarship is as grounded in historical biases as the literature it seeks to illuminate.

scholarly journals German history of art of 19th century and problems of Armenian Medieval heritage

2017 ◽  
pp. 147-150
Author(s):  
A. A. Arutynyan ◽  
Keyword(s):  
Nineteenth Century ◽  
Classical Tradition ◽  
19Th Century ◽  
German History ◽  
Medieval Art ◽  
National School ◽  
History Of Art ◽  
Art And Culture ◽  
History Of

The science of art in Germany is based on the classical tradition, associated with a focus on ancient heritage, and a romantic perception of Gothic as a manifestation of the national school. In the mid-nineteenth century the first General history of art appeared, which, along with the national art and culture examined regional schools. Armenian medieval art is systematized and concisely described in the work of Kugler, in Schnaase’s book analysis becomes more comprehensive, detailed and consistent.

scholarly journals From specimens, curiosities and illustrations to representatives of the history of art

1970 ◽  
pp. 55
Author(s):  
Britta Tøndborg
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Fine Art ◽  
Historical Approach ◽  
History Of Art ◽  
History Of

-investigating the role of painting in the display context of the eighteenth century Copenhagen Kunstkammer.Paintings and fine art in general have always formed a part of the royal collections in Denmark, but they have not always been perceived in the same way or venerated for the same reasons. This is particularly true of the eighteenth century Kunstkammer where paintings formed an integral part of the encyclopaedic display in the first half of the century, only to be segregated gradually during the second half in order to be placed in the first of a series of specialized galleries of paintings. Two versions of the royal gallery of paintings were installed in the first decades of the nineteenth century; the latter was based on an art historical approach. Most of the paintings in the Kunstkammer survived the transformation from illustrations to fine art, whereas others where deemed unfit candidates for the great survey history of art. 

Archaeology and Cultural Policy in Ottoman Tunisia Part II: Muhammad Khaznadar (1871–99)

2021 ◽  
Vol 38 (1) ◽  
pp. 223-252
Author(s):  
Ridha Moumni
Keyword(s):  
Nineteenth Century ◽  
Cultural Heritage ◽  
Cultural Policy ◽  
Historical Narrative ◽  
National Museum ◽  
Archaeological Research ◽  
History Of Archaeology ◽  
Colonial Authority ◽  
History Of ◽  
French Colonial

Abstract This article is the second part of a study focusing on Muhammad Khaznadar’s role in the history of archaeology in nineteenth-century Tunisia. Whereas part I traced the meteoric rise of Muhammad Khaznadar as a Tunisian cultural figure, the second part of this inquiry examines Khaznadar’s fall from power and the end of his monopoly over the country’s antiquities. Following the dismissal of his father, Mustafa Khaznadar, as grand vizier in 1873, Muhammad’s artifacts were seized by the bey. The Khaznadar collection then attracted the attention of the new grand vizier, Khayr al-Din (1873–78). Influenced by the activities of Muhammad Khaznadar, Khayr al-Din sought to create a national museum of antiquities. However, this project came to an end with Khayr al-Din’s dismissal and the subsequent arrival of French colonizers, who established the Bardo Museum (then called the Alaoui Museum) in 1888. The historical narrative written by the French colonial authority erased the memory of prominent Tunisian archaeologists and collectors who had been active in the preceding decades. This article seeks to highlight the important contributions of local Tunisians to the development of archaeological research and policies surrounding Tunisian cultural heritage in the nineteenth century.

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