Posts Tagged ‘Architecture’

Domestic Settings: Sources on Domestic Architecture and Day-to-Day Activities in the Crusader States

By Adrian J. Boas
Brill, 2010
ISBN: 978 90 04 18272 1

Whereas a great deal of research has been carried out on Crusader castles, churches and major buildings in the Latin East, almost no attention has been paid to domestic architecture and the domestic settings in which most of the population of the Crusader states spent most of their time. The present work attempts to address this deficiency by taking an in-depth look at the various domestic buildings that served the urban and rural population and the domestic apartments in castles and mosasteries. The basis for this survey is the wealth of published and unpublished archaeological data that has been uncovered over the past century and the various documentary materials available, much of which has been overlooked in the past.

Readership: This book is appropriate for scholars and students interested in the Latin East and in various aspects of domestic life and architecture of the Frankish population.

The Lombard connection: northern influences in the Basilicas of San Lorenzo and Santo Spirito in Florence

By Matthew A. Cohen

Annali di architettura n.21 (2009)

Introduction: This account of the enthusiastic public reception of Filippo Brunelleschi’s Old Sacristy as it reached completion in the late 1420s, even if it perhaps embellished by Brunelleschi’s admiring biographer to enhance the architect’s reputation, is a remarkable record of the novelty and aesthetic appeal of Brunelleschi’s early Renaissance style according to one later fifteenth-century resident of Florence. Indeed, the account is not hard to believe, for the sacristy continues to be filled with admiring visitors today. The universal appeal of Brunelleschi’s unique style has inspired many scholars to explore its formal origins. What precedents did Brunelleschi assemble as inspirational raw materials, and how did he meld them into such an artistically expressive and influential form of architecture?

Click here to read/download this article (PDF file)

Stopping the rot: subsidence and structural damage at Westminster Hall

Nash, George

London Archaeologist, Volume 11-11 (2007)

Abstract

Westminster Hall is a Grade I Listed building with UNESCO World Heritage site status. Much of the fabric of the building has been subjected to major sympathetic and unsympathetic refurbishment. The last campaign, undertaken by Sir Frank Baines between 1914 and 1923, included the restoration of the famous oak hammer-beam roof. However, the construction and the history of the floor are relatively unknown. In the recent past, several areas of the York Stone flag floor have been susceptible to subsidence. This problem may have, in the future, serious structural implications, in particular for the area between the Hall and St Stephen’s Chapel, including the South and West Steps.

Click here to read/download this article (PDF file)

Toward a Medieval Architectonics: Reading Wells Cathedral

An, Sonjae

Medieval English Studies, vol. 9 (2001) No. 1

Abstract

The way in which space is defined, contained, directed and mastered in a building has long been recognized as a paradigm for a great variety of human activities, so that music, literature, scientific systems, gardens and landscapes, paintings, and the multiple heavens of many religious cosmologies all have acquired their “architectonics.” It is hardly a new idea to suggest that memory and the interpretation of meaning are only possible when patterns have been established that impose a form of systematic, “semiotic” order, an architecture. Without such formal patterns, without organized systems, nothing relates to anything, nothing “stands up.” Such patterns are at times too simply perceived as essentially aesthetic affairs, intended primarily to please the eye or senses, as in music or landscape gardening. Yet it requires little thought to realize that there is much more to be said.

Buildings are built for a variety of reasons; the outer form and interior layout, as well as the materials employed and style of applied ornamentation, all invite the analytic observer to “read” carefully. There are clearly a variety of very different readings possible of a work, be it of literature or of architecture, whether it be examined in itself or in terms of its mechanics, or its social and historic contexts. The same work was not perceived in the same way, not evoked in the same terms, not “understood” with the same frameworks in every century. The mechanical engineer explaining why a building does not fall down has a very different tale to tell from the historian commenting on the society that built it and neither can explain what makes people find a given building beautiful.

Click here to read/download this article (HTML file)

Medieval Krakow and its Churches: Structure and Meanings

By Tomasz Węcławowicz

Urban People, Vol.7:1 (2007)

Abstract: The first part of this paper aims to analyze the pattern of the network of Krakow town churches in the Romanesque and Gothic periods and studies the role of these individual components of urban landscape taking into account the significance of their dedications (patrocinia) in the symbolic space of the town.

The rocky (Wawel) Hill, rising among the meanders of the Vistula River, constitutes the centre of Krakow. Since the very end of the 10th century it was the seat of the bishops and the ducal residence, and later it became the main residence of the Polish kings. In the Romanesque period ten churches and chapels were built here: the cathedral complex consisted of the baptistery chapel and two basilicas, and seven other small churches and chapels according to the concept developed in the early Middle Ages following the exegesis of the apocalyptic vision of St John the Evangelist.

Beneath the castle, along the main trade routes, four churches were founded in modo cruces. Some historians have suggested that the idea of a cruciform layout came from Prince Kazimir, known as the Restorer. In the second half of the 11th century the prince intended to recreate in his capital the layout of the imperial seat in Aachen, an arrangement rich in powerful association.

At the end of the 12th century, three more churches dedicated to the Roman Martyrs were founded in Krakow simultaneously as an attempt to reinvent the city as a similitudo Romae in its Early Christian glory.

The second part of this paper explains the distinguishing features of the cathedral church and other churches in town and argues that iconographic analysis of their architecture helps to explain their unique character and appearance.

During the 14th century the cathedral church was quickly becoming one the most important in the Kingdom, the true Königskirche. The idea of Christian Kingship was an important part of their iconographic program. Also the monumental basilical churches in town can be seen as a manifestation of Kingdom and Kingship. In contrast to the importance of the monumental basilical churches, the meanings of the small hall churches concentrated more on the devotion aspects.

Towards the end of the Middle Ages the city space gradually took on new symbolic meanings connected with the cathedral church as the sanctuary of St Stanislaw, Pater Patriae – the primary political patron of Poland.

Click here to read/download this article (PDF file)

The Gate of Heaven and the Fountain of Life: Speech-Act Theory and Portal Inscriptions

Kendall, Calvin B.

Essays in Medieval Studies, vol. 10 (1993)

Abstract

The portal of the medieval church was uniquely symbolic. Jesus’s words provided the key to it: “I am the door. By me, if any man enter in, he shall be saved” (John 10:9). This figure of speech became one basis for the allegorization of the church that was current in the earlier Middle Ages. The Venerable Bede attempted a synthesis of the Alexandrian tradition of allegorical exegesis and Augustine’s theory of signs: “The temple of the Lord in the literal sense is the house which Solomon built,” he wrote; “allegorically, it is the Lord’s body…or his Church…; tropologically, it is each of the faithful…; anagogically, it is the joys of the heavenly mansion….” It is my contention that the art and symbolism of the Romanesque portal reflect a widely held assumption on the part of artists, patrons, and worshipers that all four senses, the literal, the allegorical, the tropological, and the anagogical, adhered essentially to any church building that they were “literally” aspects of its reality. The symbolism of the portal was not merely conventional; the portal was in a real sense Christ and the entrance to heaven.

In the twelfth century church portals and their sculptural programs were frequently inscribed with verses. When the inscription spoke in the voice of the door or the building or a sculpted image above or beside the door, it employed the rhetorical figure of prosopopoeia or personification. Far from being naive, as at first sight it may seem, the use of prosopopoeia reflects the allegorization of the church in a sophisticated way. In this paper, after passing in review a selected group of Romanesque portal inscriptions in verse, most of them voiced in the first person, I inquire into their status as speech acts, and conclude that some of them were probably intended and received as “performative utterances.” This conclusion rests on the argument stated above that the allegorization of the church was understood in a “literal” sense.

Click here to read/download this article (HTML file)

Christ Church, Canterbury: The Spiritual Landscape of Pilgrimage

Robertson Hamer, Eileen

Essays in Medieval Studies, vol. 7 (1990)

Abstract

Canterbury Cathedral began as the mission church of Saint Augustine in the early seventh century and reached its full medieval expression as the pilgrimage church of Saint Thomas Becket six hundred years later in the thirteenth century. Saint Augustine had recovered an ancient Romano-British church and remodeled it in imitation of Saint Peter’s Basilica in Rome. This ‘Roman’ church became the Anglo-Saxon cathedral, was destroyed by fire in 1067, rebuilt by the Norman Archbishop Lanfranc, and enlarged by his successor, Anselm. Another great fire in 1174 destroyed much of Anselm’s Norman church, and William of Sens and his successor, William the Englishman, designed the great Gothic choir which still stands today. These successive structures have had their respective physical topographies thoroughly mapped and exhaustively discussed, but the spiritual topography enclosed and protected by these physical structures remains largely unexplored.

Click here to read/download this article (HTML file)


Pseudo-Dionysius’ Metaphysics of Darkness and Chartres

James, Laurence J.

Essays in Medieval Studies, vol. 2 (1985)

Abstract

It is a given among art historians that Abbot Suger of St. Denis Abbey, just outside Paris, was a seminal figure for Gothic art and architecture. Most would agree with the late Erwin Panofsky that Suger translated the light metaphysics of Pseudo-Dionysius and Johannes Scotus into the abbey church, and that the church had many imitators all over France. Abbot Suger left us poems by which his intention [to do what Panofsky says he did] can be established. However, it seems to have passed notice that what one intends and what one accomplishes are often quite different things. Anyone who has been to St. Denis Abbey church knows that most of the light in the sanctuary is dependent upon the clerestory windows, which were not set in until the 13th century. In other words, if Suger was father to the idea which culminates in lantern churches, the idea comes round again, after his death, to produce what his words suggest; but what his words suggest did not exist, could not have existed, in the monument during his lifetime.

Click here to read/download this article (HTML file)

Documentary evidence for domestic buildings in Ireland c.400-1200 in the light of archaeology

By Hilary Murray

Medieval Archaeology, Vol.23 (1979)

Introduction: Excluding archaeology there are three sources of primary information concerning domestic buildings in Ireland in the period A.D. 400 to 1200; (1) historical references, (2) contemporary representations of buildings, and (3) stone skeuomorphs of wooden constructions. This article is an attempt to examine the documentary evidence, including written descriptions and drawings of buildings of the period, with reference to the archaeological material.

The most detailed descriptions are well known as they have frequently been used in discussions of early Irish buildings, but the limitations of the source material have not always been considered.

A major problem is that many of the sources were written in Old or Middle Irish, and the original meaning of a word is often lost. If the word has not survived into Modern Irish its meaning can only be guessed from the context in which it is found and from its possible roots in other languages. Clearly this presents some difficulty in understanding technical vocabulary. This is exacerbated by the fact that many of the main texts are only available in old, inaccurate editions and translations. A second problem, which applies to many of the early descriptions, is that the authors, who were describing structures which would be familiar to their contemporary readers, often omitted fundamental details. In Crith Gablacli, for example, the size of the houses is described by a single measurement, but as the ground plan is not specified, this could apply to the diameter of a circular building or to one dimension of a rectangular one.

A further difficulty arises in separating the original texts from the later glosses and commentaries which were added to them. A specific problem of the secular laws is that they represent an ideal, schematic, picture of a society which was probably already archaic when they were written down, as they were based on earlier oral tradition. Many of the details may be regarded as legal ideals, but they must have been based on actual buildings and can be treated as a reliable source of information.

The secular sagas and poetry present different problems. Many of these contain deliberately exaggerated descriptions of the houses of rich or royal families. The stories were intended to entertain, and accuracy was ofsecondary importance. Many of them are only known in late written versions, but the internal evidence suggests that they stem from early, possibly Iron Age, oral tradition. As a result, the meaning of some details may have been lost in the later versions because the storyteller misunderstood the descriptions of archaic structures and confused them further by his own exaggeration. Basic details such as wall materials are, however, unlikely to have been altered.

In contrast, the descriptions of houses in the Saint’s Lives and Penitentials are purely incidental to the intention of the writer and are probably reliable as there was no need for him to exaggerate or conform to a literary ideal. A few ‘Lives’, such as the Life of Columba by Adamnan, are of particular value because they can be closely dated by identifying events or people mentioned in them. Many are difficult to date, however, as they were rewritten on numerous occasions.

Apart from these difficulties of interpretation, the basic information from all the sources appears to be fairly reliable, and is considered, without further qualification, in relation to each of the main structural details of the buildings.

Click here to read/download this article (PDF file)

Archaeological research at the parish church of Mary Magdalene in Čazma

T. Pleše, A. Azinović-Bebek

Opvscvla Archaeologica Papers of the Department of Archaeology, Vol.29 No.1 December 2005.
Abstract
In 2003 and 2005, archaeological research was conducted at the parish Church of Mary Magdalene in Čazma. The foundations of earlier phases of construction were found, as well as 136 graves with a wealth of pre-modern finds (medallions, crosses, rosaries, jewellery, clothing and footwear).
Introduction
The town of Čazma is situated between the northwestern slopes of the Moslavina hills and the Česma River, at a very advantageous geographic location. Čazma was first mentioned in historical records in 1094, when the Hungarian King Ladislav, during establishment of the Zagreb Diocese, granted, besides Dubrava and Ivanić Grad, the important trade centre Čazma1 as a holding to the bishop of ZagreKing Emerik granted the diocese an income and confirmed the estate in a charter from 1201. Together with an army, Bishop Stjepan I attacked Old Čazma (Chasma vetus; located at the site of today’s Ivanska) in 1223, setting fire to the Church of St. John and killing the clergy (ad ecclesiam beati Johanis de veteri Chasma).