'Unfortunately Romanesque' Two Churches of the 1840s in Hampshire

2020 ◽  
Vol 75 (1) ◽  
pp. 101-139
Author(s):  
Barry Meehan
Keyword(s):  
Nineteenth Century ◽  
Rural Areas ◽  
Existing Structures ◽  
Building Activity ◽  
Ecclesiastical Architecture ◽  
Church Building ◽  
History Of ◽  
Church Buildings

The nineteenth century witnessed almost unprecedented church building activity in Hampshire. New district churches appeared in rapidly expanding urban parishes and most existing structures, including those in rural areas, underwent substantial restoration, refurbishment and enlargement. This paper compares two of these churches from the 1840s: St. Peter's, Southampton and St. Nicholas', Newnham. Despite their apparent differences, they share a number of characteristics in common, most obviously their Romanesque style and inclusion of a Rhenish helm spire. The history of their construction will be examined in the context of the contemporary revival of medieval ecclesiastical architecture and developments in Ecclesiology (the study of church buildings, furnishings and decoration). Consideration will be given to how the Rhenish helm came to be adopted at both churches and to what extent St. Peter's influenced the design and arrangements at Newnham. This article will also consider whether the same architect was involved.

scholarly journals Finding one's way: contemporary churches of Ryazan in the works of priest Konstantin Kamyshanov

Vestnik MGSU ◽  
2020 ◽  
pp. 330-352
Author(s):  
Marina V. Knyazeva ◽  
Anastasia V. Korobova
Keyword(s):  
Field Studies ◽  
Church Architecture ◽  
Orthodox Church ◽  
Photographic Recording ◽  
Track Record ◽  
Church Building ◽  
History Of ◽  
Fact Finding ◽  
Material Information ◽  
Church Buildings

Introduction. The research goal is to identify and analyze the architectural features of the orthodox church buildings, designed and built in Ryazan since the early 2000ies. A number of objectives are to be accomplished to achieve this pre-set goal: one must identify and study the church buildings constructed in Ryazan, analyze the space-planning solutions and break them down into typological groups; besides, one should study the biography of their architect, as his professional track record influences the city’s historical and architectural appearance. This research is focused on contemporary church architecture exemplified by orthodox church buildings. Materials and methods. Field studies serve as the backbone of this research which encompasses fact finding and photographic recording of the source material, information analysis and generalization, tabulation, making conclusions and formulating the opinion. Results. The co-authors have analyzed the problems of contemporary church architecture and made a brief analysis of the history of orthodox church building in Ryazan. The overview encompasses 12 orthodox church buildings constructed in 2000–2014, as well as the key facts and dates associated with their construction. The co-authors have also identified compositional and other unique features of the new church buildings. They have outlined the milestones in the creative biography of the architect who designed these items of contemporary church architecture. Conclusions. The research findings comprise a scholarly insight into contemporary church architecture. The analysis of new church buildings has helped to identify the features, peculiarities and architectural techniques, applied by the architect. The features, identified by the co-authors, define the appearance/typology of contemporary church buildings and their constructions.

Ecclesiastical Gothic Revivalism

2020 ◽  
pp. 431-446
Author(s):  
William Whyte
Keyword(s):  
Nineteenth Century ◽  
Gothic Revival ◽  
Ecclesiastical Architecture ◽  
New Ideas ◽  
Church Buildings

This chapter argues that the ecclesiastical Gothic revivalism of the nineteenth century was the consequence of a wider change in contemporaries’ understandings of the nature of church buildings themselves. The product of new ideas about faith and time as well as novel notions about the nature of architecture, this revival was every bit as revolutionary and as distinctively Victorian as contemporaries believed it to be. Thus, although it is now impossible to argue that the Gothic Revival of the nineteenth century completely replaced one style with another, it is possible to see that a Gothic revival of the nineteenth century helped change conceptions of ecclesiastical architecture most profoundly, not least by transforming churches into vehicles of communication in their own right.

Investigations at “Julianos' Church” at Umm-el-Jemal

1957 ◽  
Vol 25 ◽  
pp. 39-66
Author(s):  
G. U. S. Corbett ◽  
J. M. Reynolds
Keyword(s):  
Fourth Century ◽  
Church Architecture ◽  
Important Respect ◽  
Princeton University ◽  
British School ◽  
Church Building ◽  
History Of ◽  
The Church ◽  
Church Buildings

The main object of the expedition to Umm-el-Jemal, which was financed by the Walker Trust and sponsored by the British School of Archaeology in Jerusalem, in the summer of 1956, was to re-examine the evidence for the history of a church building which had been discovered and summarily surveyed by Professor H. C. Butler and the Princeton University Archaeological Expedition to Syria in the years 1904–1905. This was the church which the Princeton expedition named after a certain Julianos and dated to the year A.D. 344 on the basis of an inscription which they found lying in the ruins and which they associated (mistakenly, as it now seems) with the foundation of the church.Of the hundreds of church buildings which must have been constructed during the first half of the fourth century, very few are known to us, and a church with a recognisable plan and so early a date is a matter of considerable consequence in the study of the development of church architecture. It therefore seemed well worth while to make a special visit to the site of Julianos' church to verify the facts published by the Princeton Expedition; especially as their survey was a rather summary one and seemed, when the writer visited the site in 1953, to be mistaken in more than one important respect.

scholarly journals Kirkeasyl og kirkebygg som hellig rom og tilfluktsted

2020 ◽  
pp. 129-148
Author(s):  
Ralph Meier
Keyword(s):  
Legal Status ◽  
Point Of View ◽  
Police Force ◽  
Sacred Places ◽  
Police Practice ◽  
Starting Point ◽  
Church Building ◽  
History Of ◽  
The Church ◽  
Church Buildings

The article has its starting point in church asylum as a phenomenon in Norway in the 1990s. It focuses on police practice related to church asylum and the rationale for this practice by state authorities in Norway. It also looks at the theological argumentation for church asylum in official church statements at that time in Norway. Both state authorities and the Church of Norway agree that church buildings do not have a special legal status and that church asylum is not a legal right. But the state authorities respect church asylum because of the understanding of churches as sacred places and protected areas. To better understand this view, the article also looks at the history of church buildings as sacred places. From a theological point of view, church asylum has its foundation historically both in the church building as a sacred room (loci reverentia) and in the Christian duty of helping people in need (intercessio). But the article also points out that the theological argumentation of church asylum based on the understanding of churches as sacred and protected places is no longer used, neither in Catholic nor in Protestant theology. The article concludes that the understanding of churches as sacred and protected places has its foundation in a long tradition that still exists in the population. This is also regarded as the reason why state authorities in Norway do not enter church buildings with police force.

A history of some fruit models in wax and other materials: scientific teaching aids and courtly table decorations

2003 ◽  
Vol 30 (2) ◽  
pp. 299-316 ◽  
Author(s):  
Hans-JüRgen Lechtreck
Keyword(s):  
Nineteenth Century ◽  
Fruit Trees ◽  
Visual Aids ◽  
Early Nineteenth Century ◽  
Teaching Aids ◽  
Scientific Teaching ◽  
Glass Marble ◽  
History Of ◽  
By Products ◽  
Wax Models

Two early nineteenth century texts treating the production and use of wax models of fruit reveal the history of these objects in the context of courtly decoration. Both sources emphasise the models' decorative qualities and their suitability for display, properties which were not simply by-products of the realism that the use of wax allowed. Thus, such models were not regarded merely as visual aids for educational purposes. The artists who created them sought to entice collectors of art and natural history objects, as well as teachers and scientists. Wax models of fruits are known to have been collected and displayed as early as the seventeenth century, although only one such collection is extant. Before the early nineteenth century models of fruits made from wax or other materials (glass, marble, faience) were considered worthy of display because contemporaries attached great importance to mastery of the cultivation and grafting of fruit trees. This skill could only be demonstrated by actually showing the fruits themselves. Therefore, wax models made before the early nineteenth century may also be regarded as attempts to preserve natural products beyond the point of decay.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

Correspondence between Adolphe Brongniart and Robert Schomburgk: trading natural history collections for honours

2002 ◽  
Vol 29 (3) ◽  
pp. 333-336
Author(s):  
PIOTR DASZKIEWICZ ◽  
MICHEL JEGU
Keyword(s):  
Nineteenth Century ◽  
Natural History ◽  
Dominican Republic ◽  
Southeast Asia ◽  
Herbarium Specimens ◽  
British Guiana ◽  
Natural History Collections ◽  
History Of ◽  
Source Of Information ◽  
German Naturalist

ABSTRACT: This paper discusses some correspondence between Robert Schomburgk (1804–1865) and Adolphe Brongniart (1801–1876). Four letters survive, containing information about the history of Schomburgk's collection of fishes and plants from British Guiana, and his herbarium specimens from Dominican Republic and southeast Asia. A study of these letters has enabled us to confirm that Schomburgk supplied the collection of fishes from Guiana now in the Laboratoire d'Ichtyologie, Muséum National d'Histoire Naturelle, Paris. The letters of the German naturalist are an interesting source of information concerning the practice of sale and exchange of natural history collections in the nineteenth century in return for honours.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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