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A Catholic Architect Abroad: the Architectural Excursions of A.M
A CATHOLIC ARCHITECT ABROAD: THE ARCHITECTURAL EXCURSIONS OF A.M. DUNN Michael Johnson Introduction A leading architect of the Catholic Revival, Archibald Matthias Dunn (1832- 1917) designed churches, colleges and schools throughout the Diocese of Hexham and Newcastle. Working independently or with various partners, notably Edward Joseph Hansom (1842-1900), Dunn was principally responsible for rebuilding the infrastructure of Catholic worship and education in North- East England in the decades following emancipation. Throughout his career, Dunn’s work was informed by first-hand study of architecture in Britain and abroad. From his first year in practice, Dunn was an indefatigable traveller, venturing across Europe, North Africa and the Middle East, filling mind and sketchbook with inspiration for his own designs. In doing so, he followed in the footsteps of Catholic travellers who had taken the Grand Tour, a tradition which has been admirably examined in Anne French’s Art Treasures in the North: Northern Families on the Grand Tour (2009).1 While this cultural pilgrimage was primarily associated with the landed gentry of the eighteen century, Dunn’s travels demonstrate that the forces of industrialisation and colonial expansion opened the world to the professional middle classes in the nineteenth century.2 This article examines Dunn’s architectural excursions, aiming to place them within the wider context of travel and transculturation in Victorian visual culture. Reconstructing his journeys from surviving documentary sources, it seeks to illuminate the processes by which foreign forms came to influence architectural taste during the ‘High Victorian’ phase of the Gothic Revival. Analysing Dunn’s major publication, Notes and Sketches of an Architect (1886), it uses contemporaneous reviews in the building press to determine how this illustrated record of three decades of international travel was received by the architectural establishment. -
Lavoce's Directory
July 31, 2015 To Whom It May Concern: Promote Your Business with Lavoce’s Directory! Welcome to the preliminary edition of Lavoce’s Directory! Lavoce: We Are People Too, Inc. (Lavoce) is proud to present the first international directory for Goths, tattoo artists, sKateboarders, and others who live alternative lifestyles, or anyone whose clothing is outside the norm. This directory has more categories than any other online Goth directory. This is the most comprehensive directory available because being Goth affects all aspects of life. Our commitment is driven by the need to help Goths, and others who looK outside the norm, to feel safe to be themselves in their day-to-day jobs. This directory is the first and only directory of employers who hire people from alternative lifestyles. It has the potential to connect those who feel alone in this world to established organizations and areas of the world where Goths feel more accepted. It will build sustaining partnerships with existing organizations and revitalize the community by helping new organizations grow. Lavoce will also support Goth jobseeKers to promote job sKills training and worKplace etiquette. If you are seeing this, then you are an employer that seems open to hiring people from alternative lifestyles. I am writing to encourage your company to come forward as an openminded employer. The entries in this directory are gray because they have only been proposed but have not yet been confirmed or paid. I have included your company’s link in the first edition of this directory, but will need further information from you going forward. -
Goth Subculture Sabrina Newman Johnson & Wales University - Providence, [email protected]
Johnson & Wales University ScholarsArchive@JWU Honors Theses - Providence Campus College of Arts & Sciences 4-26-2018 The volutE ion of the Perceptions of the Goth Subculture Sabrina Newman Johnson & Wales University - Providence, [email protected] Follow this and additional works at: https://scholarsarchive.jwu.edu/student_scholarship Part of the Arts and Humanities Commons Repository Citation Newman, Sabrina, "The vE olution of the Perceptions of the Goth Subculture" (2018). Honors Theses - Providence Campus. 27. https://scholarsarchive.jwu.edu/student_scholarship/27 This Honors Thesis is brought to you for free and open access by the College of Arts & Sciences at ScholarsArchive@JWU. It has been accepted for inclusion in Honors Theses - Providence Campus by an authorized administrator of ScholarsArchive@JWU. For more information, please contact [email protected]. The Evolution of the Perceptions of the Goth Subculture 1 The Evolution of the Perceptions of the Goth Subculture By Sabrina Newman A Thesis Submitted to the Honors Department of Johnson & Wales University School of Engineering and Design May 2018 The Evolution of the Perceptions of the Goth Subculture 2 Table of Contents Table of Contents 2 Introduction 3 Chapter 1 – The History of the Music 12 Chapter 2 – Subcultures Within the Subculture 17 Chapter 3 – Impressions of Goth Throughout the Years 24 Chapter 4 – Survey Results 35 Conclusion 37 Appendix A 39 Works Cited 42 The Evolution of the Perceptions of the Goth Subculture 3 Introduction The Gothic subculture has a rich and interesting history, despite being only approximately 40 years old (Gonzalez). From its origin in the late 1970s to today, the subculture has evolved significantly, and with it the perceptions of said culture. -
Architectural Styles, Vernacular Architecture, Construction Materials and Methods, and Agricultural Outbuildings
INTRODUCTION OVERVIEW Wisconsin architecture has developed considerably since the first shelters were built by fur traders, missionaries, and early settlers. The varied immigrant and native stock that populated the state and the wealth of natural resources available lent a diversity to Wisconsin building stock nearly unsurpassed in the nation. In this section, Wisconsin architecture is summarized from four perspectives: architectural styles, vernacular architecture, construction materials and methods, and agricultural outbuildings. Each of the four categories is approached from the variety of types that occur in Wisconsin. In the cases of architectural styles and construction materials and methods, the Wisconsin perspective is tempered by a national perspective summarized from various secondary sources (see bibliographies). The sections concerning vernacular architecture and agricultural outbuildings are approached nearly exclusively from a Wisconsin perspective. Because information is not as readily available concerning these aspects of architectural history, the Historic Preservation Division staff formulated the terminology to assist field surveyors and data entry staff. The secondary sources and manuscripts listed in the bibliographies were essential to the development of the types presented. The descriptions presented in all four sections should be useful in establishing historical and architectural contexts for evaluation purposes and for determining levels of significance, similar to the "Historical Background" sections throughout the rest of the report. However, the architecture summaries are not nearly as complete as the "Historical Background" sections. At present, analysis of Wisconsin's architecture is limited by a lack of scholarly research and field studies. The' intensive survey reports that have been prepared for several communities have greatly increased available knowledge of Wisconsin architecture. -
THE Anglo-Catholic Revival's Contribution to the Resurgence Of
THE ANGLO-CATHOLIC REVIVAL‟S CONTRIBUTION TO THE RESURGENCE OF THE VENETIAN ENAMEL MOSAIC INDUSTRY A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Rita S. Kovach, M.B.A. Georgetown University Washington, D.C. September 24, 2012 THE ANGLO-CATHOLIC REVIVAL‟S CONTRIBUTION TO THE RESURGENCE OF THE VENETIAN ENAMEL MOSAIC INDUSTRY Rita S. Kovach, M.B.A. MALS Mentor: Percy North, Ph.D. ABSTRACT The art of mosaic decoration has existed for millennia. The earliest examples are floors made of pebbles from the eighth century BC that were found in Asia Minor. The Greeks were the first to produce enamel mosaic two thousand years ago, and the process travelled around the Mediterranean before eventually spreading to the adjacent continents. Byzantine craftsmen created an innovative style with their extensive use of rich metallic colors, and they had a great influence on the emergence of Venice in the thirteenth century as a leading, global force in enamel mosaic manufacture for hundreds of years. The deregulation of the industry and the lack of skilled masters contributed to the drastic decline of Venetian enamel mosaic workshops by the early 1800s; however, within a century, the industry was booming again, with new architectural mosaics being installed all over Europe and North America. By examining the religious, social, and cultural environment in Great Britain during the late nineteenth century, as well as by conducting a case study of Salviati enamel mosaics, this thesis will postulate that the Anglo-Catholic revival had a direct effect on the renewed popularity of Venetian mosaic architectural decoration. -
1 Goth Fashion: from Batcave to Darkwave and Beyond by Ryan V. S
© Ryan V. Stewart, 2018–present | CC BY-NC-ND 4.0 ARTpublika Magazine: Volume V Submission (Ryan V. Stewart) | 1 Goth Fashion: From Batcave to Darkwave and Beyond By Ryan V. Stewart “Goth”: A phrase which, for many of us, conjures up stereotypical images of pitch black-clad and pale figures, of eerily quiet teenagers seemingly dressed for Halloween year-round; and, perhaps for the more historically-inclined among us, a collection of Germanic tribes whose clashes with the Roman Empire represent some of the most crucial turning points in history. Of course, the former—the cliched idea of teens or young adults who take part in a dreary and doom-laden clique, more likely frequenters of rain-drenched cemeteries, or abandoned and cobwebbed Victorian manors, than varsity athletes or high-rolling yuppies—does have some merit to it: They say that stereotypes are based on at least a kernel of truth, after all. But as much as “goth” is a recognizable term throughout most of the Western world—where counterculture has been, and continues to be, a visible aspect of our societies—it’s also one which, as we near the 2020s, is fairly dated: Though rooted in the late © Ryan V. Stewart, 2018–present | CC BY-NC-ND 4.0 ARTpublika Magazine: Volume V Submission (Ryan V. Stewart) | 2 70s British punk scene, especially the post-punk movement and the overarching art punk tendency, and taking influence from glam, and, to a lesser extent, New Wave, goth as a distinguishable, musically-oriented subculture really emerged in the 1980s, and its linchpin genre, gothic rock, flourished throughout that decade, quickly expanding to America and then to other countries. -
Classic Commonwealth: Virginia Architecture from the Colonial Era
Prepared by Published by Chris Novelli, The Virginia Melina Bezirdjian, Department of Calder Loth, and Historic Resources, Lena Sweeten McDonald Richmond, Virginia 2015 Classic Commonwealth: Virginia Architecture from the Colonial Era to 1940 Introduction The Department of Historic Resources (DHR) is pleased to present Classic Commonwealth: Virginia Architecture from the Colonial Era through 1940. Our new publication is designed to aid professionals, students, and the interested public in identifying and documenting the numerous types and styles of historic buildings in the Commonwealth. The guide first provides an overview of Virginia’s architectural heritage within the context of larger historic trends, from its colonial era settlement and role in the founding of the United States, to the elimination of its slavery-based economy, and on through the economic, technological and cultural innovations of the early twentieth century. We have compiled the architectural styles and forms discussed herein based on terminology used by DHR’s Virginia Cultural Resources Information System (VCRIS) database (public portal available at https://vcris.dhr.virginia.gov/vcris/Mapviewer/), and guidance for using the system is provided as well. The majority of this publication consists of Style and Form information sheets that provide basic information about and character-defining aspects of the many historic architectural styles that have shaped Virginia’s public and private spaces across more than three centuries. Weaving architectural design trends together with larger historic patterns provides for a more holistic understanding of how Virginia’s built environment came to be. Thus, in addition to images and a bulleted list of character-defining features, each style is given a brief history to provide context. -
Literature Oxford, He Built Tom Tower, a Rather Florid Gothic Gatehouse
12_D Michael J. Lewis, "The Gothic Revival", London, 2002, pp.13-57,81-93,105-23 it)' with existing buildings. vVren felt that 'to deviate from the old Form, would be to rurn [ a building] into a disagreeable Mixture, which no Person ofa good Taste could relish.' At Christ Church. Chapter 1: Literature Oxford, he built Tom Tower, a rather florid Gothic gatehouse. For the restoration of\Vesmlinster Abbey he made designs for a Gothic facade and transept, intending 'to make the whole of a Piece'. \ Vren also appreciated the structural refinements of the Gothic. At St Paul's, London, the crowning achie\'ement of his .My stud.y holds three thousand volumes classicism, he supported the great barrel va ult of the navc with a AndJet Jsighfor Gothic columns. mighty array of fly ing bu ttresses, although these were carefully Sanderson Miller, 1750 masked from sight behind a blank second-storey wall. Here was the characteristic seventeenth-century attitude toward the It is a leap to go frolll writing poems about ruins to making ruins Gothic: respect and admi ration for its structural achievements, to represent poems, but in the early eighteenth century England horror and disgust for its vi su al fo rms. did just this. The Gothic Revival began as a literary movement. Throughout Europe, simila r attitudes prevailed. Damaged or drawing its im pulses from poetry and drama, an d trans lating dila pidated cathed rals were patched with simplified Gothic ele them in to architecture. It was swept into exis tence in Georgian ments, as at ~ oyon, France in the mid-eighteenth century. -
KATTARI-DISSERTATION.Pdf (6.475Mb)
Copyright by Kimberly Adele Kattari 2011 The Dissertation Committee for Kimberly Adele Kattari certifies that this is the approved version of the following dissertation: Psychobilly: Imagining and Realizing a “Culture of Survival” Through Mutant Rockabilly Committee: ______________________________ Robin Moore, Supervisor ______________________________ Veit Erlmann ______________________________ Martha Menchaca ______________________________ Karl Miller ______________________________ Sonia Seeman Psychobilly: Imagining and Realizing a “Culture of Survival” Through Mutant Rockabilly by Kimberly Adele Kattari, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many wonderful people. I’ll never forget the day when David Levee suggested I check out a Nekromantix show in Austin, TX. During the show, as I watched Kim Nekroman lick the Jägermeister off his coffin bass while thudding away at the mutant rockabilly- punk hybrid creation with ridiculous speed, I knew then and there that psychobilly would have to be the subject of my doctoral research. I did not know at the time that I would come to meet some of the most remarkable people in my life as a result of engaging in this research. I am very grateful to the hundreds of musicians, fans, and retro-philes that shared their interests, opinions, stories, and time with me. There are too many to list here, so please know that each and every one made a significant impact on me and contributed to this product. -
No. 8 Thomas Street Building and the Proposed Designation of the Related Landmark Site (Item No.9)
Landmarks !reservation Commission November 14, 1978, Designation List 120 LP-1010 NO. 8 THOMAS STREEI' BUILDING, Borough of Manhattan. Built 1875-76; architect J. Morgan Slade. Landmark Site: Borough of Manhattan Tax Map Block 151, Lot 27. On September 12, 1978, the Landmarks Ireservation Commission held a public hearing on the proposed designation as a Landmark of the No. 8 Thomas Street Building and the proposed designation of the related Landmark Site (Item No.9). The hearing had been duly advertised in accordance with the provisions of law. One witness spoke in favor of designation. There was· one speaker in opposition to designation. D:ESCRI PriON AND ANALYSIS Described by the prominent architectural historian Henry-Russell Hitchcock as 'bne of the handsomest specimens of High Victorian Gothic architecture which survives in the city," 1 the building at 8 Thomas Street was built in 1875-76 from the designs of a gifted young architect, Jarvis Morgan Slade (1852-1882). Slade was commissioned through the New York Real Estate Association to design a new store for the soap manu facturing firm of DavidS. Brown Company which had selected the site located on the new extension of Thomas Street. Characterized by a red brick facade with contrasting stone arcades adorned with banded voussoirs, the style of the building is clearly derived from the Venetian Gothic mode made popular by the English writer and critic John Ruskin (1819-1900). Although New York once boasted several brilliant examples of this style which was in use from about 1865 to 1875, few exist today. In addition, the building is an interesting reminder of the first large-scale commercial development of the area following the destruction of the grounds of the New York Hospital which had occupied the site between Broadway, Duane, Church, and Worth since 1773. -
Parliament Buildings of Ottawa, London and Budapest
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2002 The Civic Gothic Legacy: Parliament Buildings of Ottawa, London and Budapest Rosanne Dubé University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Dubé, Rosanne, "The Civic Gothic Legacy: Parliament Buildings of Ottawa, London and Budapest" (2002). Theses (Historic Preservation). 321. https://repository.upenn.edu/hp_theses/321 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Dubé, Rosanne (2002). The Civic Gothic Legacy: Parliament Buildings of Ottawa, London and Budapest. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/321 For more information, please contact [email protected]. The Civic Gothic Legacy: Parliament Buildings of Ottawa, London and Budapest Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Dubé, Rosanne (2002). The Civic Gothic Legacy: Parliament Buildings of Ottawa, London and Budapest. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/321 ^i'# m\ 'IP: '^^k UNivERsmy PENNSYLV^NIA UBRARIES THE CIVIC GOTHIC LEGACY: PARLIAMENT BUILDINGS OF OTTAWA, LONDON AND BUDAPEST Rosanne Dube A THESIS in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE 2002 Superviso/ Reader Dr. -
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Proc Antiqc So Scot, (1991)1 12 , 455-472 The Rhind Lectures 1990-91: a synopsis The Revival of Medieval and Early Renaissance architecture in Scotland, 1745-1930 David M Walker* LECTURE 1 ORIGIN E GOTHIE TH TH F SO C REVIVAL ARCHITECTURE TH : D MI F EO GEORGIAN FANTASY, 1745-1820 It could be said that in Scotland the gothic tradition never quite died. The plate traceried windows of Dairsie Kirk (1621), the Y-traceried windows of Balcarres Chapel (1635), the interlaced r tracerWilliaSi f o ym Bruce's churc t Laudea h r (1673) f Jameo , s Smith's mausoleu t mDurrisdeea s firsa r t built f Michae(1695o d an ) l Kirk, Gordonstoun (1705), carried the gothic tradition through the 17th century and into the 18th. gothie Th c revival t leas a castellated e r th to , , reviva Scotlann li d muc o aross t heno fro m the embere 16t th d 17t hf an o sh century gothi t rathebu c - reve n thoug t wouli h d have happened in any event - from Sir John Vanbrugh's four-year acquaintance with castellated architectur s grandesit n i ed severes an t t for t Vincennema e Bastilleth d an s , which found echoes in the castellated Vanbrugh family houses at Greenwich. Dukd Whe3r f Argyle eo nth l succeede 1744n di inheritancs ,hi havy ema e includeda schem castellatea r efo d house simila outlin n i rexecutee th o et d castle which Vanbrugd hha prepared for the 2nd Duke, although it is now less certain that the inscription on the drawing ca trustede nb .