DOCSLIB.ORG

Western Civ. 1 J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Western Civ. 1 J Western Civ. 1 J Decline of the Middle The Renaissance Ages Page 2 Page 3 CULTURE OF THE HIGH MIDDLE AGES In the last few lectures, I have been discussing the period known as the High Middle Ages (1000-1300). It is the period in which the typical medieval institu- tions reached their fullest development. In this period, the Church, the guilds, the feudal monarchies, and the universities flourished in their characteristic forms. This is also the period when the outlook of the Middle Ages reached its zenith and characteristic medieval ideas found their fullest expression in art and literature. That is my subject for today. One feature of medieval intellectual life sets it apart from that of the ancient world on the one hand and of modern times on the other. Art and literature in the High Middle Ages were almost entirely religious in content and in purpose. There were several reasons for this. The Church played a major, dominant role in intellectual activity. It was wealthier than any other institution, and it provided most of the money to support and pay for art. The universities were Church institutions, and so only churchmen were educated at first. For a long time, only they were able to produce literature. Also, remember that St. Augustine set the tone for medieval thought when he argued that the goal of all human activity should be salvation. So, it shouldn’t be a surprise that when Europe began to recover after 1000 and there was money to construct large buildings again, Europeans usually built churches. There were two types of Church architecture. The earliest style of church developed in south Europe. It was called Romanesque because it was based on architectural forms first created by the Romans. The Romanesque churches used round arches to support the roofs and upper parts fo the church buildings. The round arch was a Roman invention. With round arches, the weight of the roof, ceiling, and upper part of the building pushes straight down on the walls. The walls have to be very strong to support the structure. Romanesque churches are massive and solid with small windows and doors. They were decorated with murals and paintings. About 1100, a new style developed near Paris and slowly spread to other parts of the north. It is called the gothic style. The gothic style used pointed arches instead of round ones. With pointed arches, the weight pushes out instead of down. Reinforcements called buttresses were placed along the outside of the walls to hold the building up and together. P a g e 1 o f 13 Romanesque Architecture Romanesque cathedrals interior and exterior. Note the paucity of light in the interior as a result of few windows due to the need to build thick continuous walls. (Left: interior of the Duomo at Orvietto, Italy. Below: the Romanesque abby church at Maria Laach in Belgium, built in 1093. Gothic Architecture Exterior and interior views of the Cologne Cathedral in Germany, on of the most impressive examples of German High Gothic architecture. Note the amazingly light interior of the church, lit only by sunlight through the great stained glass windows. P a g e 2 o f 13 Because buttresses provided support instead of walls, it was possible to have very large stained-glass windows to light the church. The windows made the church seem almost transparent from inside. In the High Middle Ages, light was a common symbol of divine grace. In a gothic church, grace seemed to be present everywhere. Literature of the High Middle Ages The greatest figure in medieval literature was an Italian named Alighieri Dante (d. 1321). His most famous work is a long poem called Divine Comedy. It is deeply religious. The Divine Comedy deals with the greatest concern of medieval man: how can one achieve salvation? The poem describes a journey by Dante through Hell and Purgatory to Heaven. The story symbolizes the spiritual journey that all human beings must make to be saved. As he goes through Hell and Purgatory, Dante is guided by the ghost of the Roman poet Virgil, who represents the earthly wisdom and learning of the classical world. Along the way, they meet various persons who symbolize different earthly sins. With the help of Virgil, Dante is able to avoid the sins himself and to continue on his way. Occasionally, however, Dante is unable to go on, and even Virgil cannot help him. In those places a woman named Lucy comes down from heaven to assist them. The name Lucy means light. Light, as we have seen, stands for the grace of God and divine revelation. At the gate of Heaven, Virgil is left behind, and Dante is carried upward through the spheres of Dante (d. 1321) is considered the greatest poet of the Middle the seven planets to God. Ages. The Divine Comedy is a theological argument in verse. Dante argues that both earthly wisdom and learning and faith in divine revelation are needed to achieve salvation. As we have not believe in God have an idea of God in their minds. They seen, Medieval philosophers spent a lot of time trying to figure could not have an idea of God, if God did not exist. out whether faith or reason was the most important way to This argument is important because it raised a philosophical achieve knowledge. Dante argues that salvation is achieved by problem that all later scholastics argued about. It was called the using both! problem of the Universals. A Universal is a particular kind of Philosophy idea. The first men to discuss the problem of the Universals did not really think of it this way, but basically it is a simply the The Scholastic philosophers used logical reasoning to question of what ideas are. In his definition, Anselm assumes understand and to explain Christian theology. But early that if we have an idea in our minds, it has to come from scholastic philosophers used logical argument only to something real outside our minds. Thinkers who believed that supplement faith in. A good example is St. Anselm (d. 1109). were called realists because they said that ideas are real. Those He was the father of scholasticism. Anselm argued that basic who said that ideas are not real but exist only in our minds were Christian ideas had to be accepted on faith, but he also called nominalists. Most of us are nominalists, but almost all believed that Christians could employ reason to prove many of important thinkers before Anselm’s time were realists. Plato those ideas and to understand them better. His motto was, “I believed that ideas were real, and St. Augustine had agreed with believe so that I may understand.” im. Not surprisingly, most scholastics were realists. They argued As an example of his approach, I want to consider one of mainly about the relationship between the reality of ideas and his most important logical arguments. He used it to prove that the reality of concrete objects. Th problem of the Universals is God exists. Oversimplified, it goes like this: Even people who do important because it bears directly on whether logic can be used to discover religious truth. P a g e 3 o f 13 The next great scholastic after Anselm was a teacher at and you can deduce the purpose logically on the basis of Paris named Peter Abelard (d. 1142). He placed far more observation. This is a qualified realist position. Ideas are emphasis on logical argument and reason to understand real, but only if they can be deduced logically from the way Christian teaching. He did have great faith in the ability of things actually are. But most important, Aquinas insisted logical argument to establish theological truth. that these two types of truth – one based He wrote logical discussions of such basic on faith and one based on observation Christian doctrines as the Trinity. Many and logical argument would always conservative Church leaders and thinkers agree. And he set out to prove logically objected to the emphasis he placed on on the basis of observation every logic. Many of his writings were eventually single major Christian idea. He was so condemned by the Church. Because of his successful that the thought of Thomas example, however, later thinkers used Aquinas has become the basis of reason to examine Christian teachings. pretty much all Roman Catholic The most important scholastic thinker theology. But in his own time, he was was St. Thomas Aquinas (d. 1274). He considered a dangerous innovator. His used philosophical logical argument more arguments based on Aristotle fully than any previous religious writer. He disagreed too much with those of St. tried to reconcile classical philosophy with Augustine based on Plato. St. Christian theology. Why did he bother? Augustine’s theology was the one that Around 1200, something happened had always been accepted. that threw scholastic philosophy into an Aquinas’s extensive use of logic was uproar. Four new books of Aristotle were so controversial that some thinkers brought into Western Europe from the began to reconsider the whole basis of Arab lands in Spain. Before this, previous scholastic thought. The most extreme and influential reaction came Europeans possessed only two elementary St. Thomas Aquinas works of Aristotle. They had always from an Englishman, William of thought that his ideas were similar to those Ockham (d.1349). William insisted that of Plato and St. Augustine. But the new books revealed that it was impossible to prove anything about Aristotle disagreed with Plato in many ways. In particular, God or religion using reason.
Load more

Recommended publications
  • Borrowing Images of Empire: the Contribution of Research on The
    Medieval Studies, vol. 22, 2018 / Studia z Dziejów Średniowiecza, tom 22, 2018 Piotr Samól (Gdansk Univeristy of Technology) https://orcid.org/ 0000-0001-6021-1692 Piotr Samól Borrowing Images of Empire: The contribution of research on the artistic influence of the Holy Roman Empire on Polish Romanesque architecture in the eleventh and twelfth centuries1 Borrowing Images of Empire… Keywords: Romanesque architecture, Poland, Ostrów Lednicki, monumental stone buildings Although knowledge concerning Romanesque architecture in Poland has developed over many years, most cathedrals and ducal or royal seats have not been comprehensively examined. Moreover, a substan- tial number of contemporary scholarly works have erased the thin line between material evidence and its interpretation. As a consequence, the architectural remains of Polish Romanesque edifices are often considered the basis for wider comparative research. Meanwhile, fragmentarily preserved structures of Romanesque buildings have allowed scholars to conduct research on their origins and models, but they have rarely provided enough information for spatial recon- structions of them. This means that one might investigate the process of transposing patterns from the Holy Roman Empire to Poland instead of the influence of Polish masons’ lodges on each other. Therefore, this paper has two aims. The first is to look at how imperial pat- terns affected the main stone structures (cathedrals and collegiate 1 Originally, my paper entitled ‘In the Shadow of Salian and Hohenstaufen Cathedrals: The Artistic Influence of the Holy Roman Empire on Polish Romanesque Architecture in the Eleventh and Twelfth Centuries’ was given at the ‘Borrowing Images of Empire’ seminar during the Medieval Congress in Leeds in July 2014.
    [Show full text]
  • AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
    AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours.
    [Show full text]
  • Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation
    Originalveröffentlichung in: Enenkel, Karl A. E. ; Ottenheym, Konrad A. (Hrsgg.): The quest for an appropriate past in literature, art and architecture, Leiden 2019, S. 511-585 (Intersections ; 60) chapter 19 Translating the Past: Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation Stephan Hoppe The early history of northern Renaissance architecture has long been pre- sented as being the inexorable occurrence of an almost viral dissemination of Italian Renaissance forms and motifs.1 For the last two decades, however, the interconnected and parallel histories of enfolding Renaissance humanism have produced new analytical models of reciprocal exchange and of an ac- tively creative reception of knowledge, ideas, and texts yet to be adopted more widely by art historical research.2 In what follows, the focus will be on a particular part of the history of early German Renaissance architecture, i.e. on the new engagement with the historical – and by then long out-of-date – world of Romanesque architectural style and its possible connections to emerging Renaissance historiography 1 Cf. Hitchcock H.-R., German Renaissance Architecture (Princeton, NJ: 1981). 2 Burke P., The Renaissance (Atlantic Highlands, NJ: 1987); Black R., “Humanism”, in Allmand C. (ed.), The New Cambridge Medieval History, c. 1415–c. 1500, vol. 7 (Cambridge: 1998) 243–277; Helmrath J., “Diffusion des Humanismus. Zur Einführung”, in Helmrath J. – Muhlack U. – Walther G. (eds.), Diffusion des Humanismus. Studien zur nationalen Geschichtsschreibung europäischer Humanisten (Göttingen: 2002) 9–34; Muhlack U., Renaissance und Humanismus (Berlin – Boston: 2017); Roeck B., Der Morgen der Welt. Die Geschichte der Renaissance (Munich: 2017). For more on the field of modern research in early German humanism, see note 98 below.
    [Show full text]
  • Definition[Edit]
    Romanesque architecture is an architectural style of medieval Europe characterized by semi-circular arches. There is no consensus for the beginning date of the Romanesque architecture, with proposals ranging from the 6th to the 10th century. It developed in the 12th century into the Gothic style, marked by pointed arches. Examples of Romanesque architecture can be found across the continent, making it the first pan-European architectural style since Imperial Roman Architecture. The Romanesque style in England is traditionally referred to as Norman architecture. Combining features of ancient Roman and Byzantine buildings and other local traditions, Romanesque architecture is known by its massive quality, thick walls, round arches, sturdy piers, groin vaults, large towers and decorative arcading. Each building has clearly defined forms, frequently of very regular, symmetrical plan; the overall appearance is one of simplicity when compared with the Gothic buildings that were to follow. The style can be identified right across Europe, despite regional characteristics and different materials. Many castles were built during this period, but they are greatly outnumbered by churches. The most significant are the great abbeychurches, many of which are still standing, more or less complete and frequently in use.[1] The enormous quantity of churches built in the Romanesque period was succeeded by the still busier period of Gothic architecture, which partly or entirely rebuilt most Romanesque churches in prosperous areas like England and Portugal. The largest groups of Romanesque survivors are in areas that were less prosperous in subsequent periods, including parts of southern France, northern Spain and rural Italy. Survivals of unfortified Romanesque secular houses and palaces, and the domestic quarters of monasteries are far rarer, but these used and adapted the features found in church buildings, on a domestic scale.
    [Show full text]
  • Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen Claire Kilgore University of Nebraska-Lincoln, [email protected]
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, and Student Creative Activity, Art, Art History and Design, School of School of Art, Art History and Design 5-2017 Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen Claire Kilgore University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/artstudents Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Architectural History and Criticism Commons, Catholic Studies Commons, Christianity Commons, European History Commons, History of Christianity Commons, History of Religion Commons, Liturgy and Worship Commons, Medieval History Commons, Medieval Studies Commons, Metal and Jewelry Arts Commons, Other History of Art, Architecture, and Archaeology Commons, Other Philosophy Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Kilgore, Claire, "Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen" (2017). Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design. 121. http://digitalcommons.unl.edu/artstudents/121 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VIEWING HEAVEN: ROCK CRYSTAL, RELIQUARIES, AND TRANSPARENCY IN FOURTEENTH-CENTURY AACHEN By Claire Kilgore A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Art History Under the Supervision of Professor Alison Stewart Lincoln, Nebraska May, 2017 VIEWING HEAVEN: ROCK CRYSTAL, RELIQUARIES, AND TRANSPARENCY IN FOURTEENTH-CENTURY AACHEN Claire Kilgore, M.A.
    [Show full text]
  • Historic Texas Jailhouses: Romanesque Revival, Identity, and Reform
    Historic Texas Jailhouses: Romanesque Revival, Identity, and Reform Shawna Prather “A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Folklore.” Chapel Hill 2011 Approved by Bernard L. Herman Katherine R. Roberts Timothy W. Marr © 2011 Shawna Prather ALL RIGHTS RESERVED ii ABSTRACT SHAWNA PRATHER: Historic Texas Jailhouses: Romanesque Revival, Identity, and Reform (Under the Direction of Bernard L. Herman) Even though jailhouses dominate the skyline of many small Texas towns, not much work has been done on what those buildings mean in the historic context in which they were built. These jailhouses held specific meanings for small Texas communities and their townspeople that also helped to shape present day society. Texas jailhouse architecture between 1880 and 1910 reflected the desire to be modern, the desire for changes in prison reform, and the position of women and family in a newly civilized society. iii TABLE OF CONTENTS List of Figures……………………………………………………………………………………………..…v A Portrait of Late 19th Century Texas………………………………………………………………3 Texas and Law Enforcement…………………………………………………………………………..8 First Jails……………………………………………………………………………………………………...12 Romanesque Architecture: A Brief History…………………………………………………….16 Romanesque as Civic Identity………………………………………………………………………..18 Romanesque Revival Values and Prison Reform…………………………………………….30 Women, Moral Responsibility, and Social Reform…………………………………………..36 Texas Romanesque Revival Jails Today………………………………………………………….42 Bibliography…………………………………………………………………………………………………56 iv List of Figures 1. McCulloch County Courthouse, Brady, Texas…………………………………………..45 2. McCulloch County Jail, Brady, Texas……………………………………………………….46 3. Drunk Tank…………………………………………………………………………………………...47 4. Solitary Confinement……………………………………………………………………………..48 5. San Saba County Jail………………………………………………………………………………48 6. Coryell County Jail…………………………………………………………………………………49 7.
    [Show full text]
  • The Aesthetics of the Chroniclers of the Fourth Crusade and the Gothic-Scholastic Episteme
    The Aesthetics of the Chroniclers of the Fourth Crusade and the Gothic-Scholastic Episteme Cristian Bratu New York University Prolegomena In the It" century, Geoffroy de Vinsauf suggested in his Poetria Nova that the writing of a poem could be compared to the building of a house, for 'he who would found a house sets no rash hand to work, but metes it out first with the measuring line of his heart' I And here is how, also in the XII'" century (approximately 1165) the author of the Roman de Troie described the creation of his own work: Mais Beneeiz de Sainte More L'a controve e fait edit Eo sa main les moz escrit, Ensi tailliez, ensi curez, Ensi asis, ensi pasez. [And Benoit de Sainte-Maure I This nov,el wrote and made,! With his own hand the words down laid I Thus cut, thus shaped iThus laid, thus arranged,]' The use of architectural terms ('cut', 'shaped', 'arranged', 'laid') in connection with literary creation in the work of Benoit de Sainte-Maure is hardly surprising, as the lengthy Trojan story contains some of the most important descriptions of towns and 4 Cristian Bratu buildings in the French literature of the XU'h century.' But if poets speak the language of architects, what language do the architects themselves speak? Around 1240, nearly one century after Geoffroy de Vinsauf and Benoit de Sainte-Maure, architect Villard de Honnecourt wrote in his famous Album that he had designed the ground-plan of an ideal 'chevet' after intense debates with his friend, Pierre de Corbie.
    [Show full text]
  • Architecture Styles Spotter's Guide
    Architecture Styles Spotter's Guide CLASSICAL TEMPLES TO SOARING SKYSCRAPERS Sarah Cunliffe Jean Loussier EDITORS Sarah Cunliffe, Clare Haworth-Maden, Michael Kerrigan, Donna F. Shelmerdine, Stephen Small, M. Jane Taylor CONTRIBUTORS :::::s§~\I/~~ THUNDER BAY P'R'E'S'S San Diego, CalifC)rnia The Classical Heritage The Classical Heritage THE CLASSICAL STYLE LEVI: The U.S. Capitol Influences from in Washington. DC, Classical features Earlier Civilizations STYLE FILE Roman dome anel arches anel It is hard to believe that such inf1uence has Notable Features: grace}ill Corinthian columns. U been exerted hy a 2,500-year-old civilization Common elements in all was built in 1793 to a by of smal] that were scattered around the Classical styles include symmetry and William Thornton aud subse• the eastern Mediterranean. But when the visual order. as well as quently nwdified by Ncod(cIsicist Greeks the architectural traditions the use of columns that supported lintels, arch• Benjamin Henry Latrobe. of their ancI;stors in the region, as well as their es, and vaults. Persian and neighbors, they laid Where and When: down klll1ldations It)!· \'Vestcrn architecture Mediterranean region; that arc still intact. c. 6th century BC to 3rd century AD. Columns and Lintels In the sixth Be, the ancient Greeks the use of columns and lintels supports bearing the wcight of bor- to create structures of unpar• alleled and power. This Classical style is best symboli/.ed by the ele• gant Doric and Ionic temples of the flfth BELOW: Columns that Be:. T'he pmity and beauty of build• lh] teis were III II() ng ings sucb as the Parthenon and the I the basic components i Erec1ltlwioll on the Acropolis in Athens, olchiteetllre.
    [Show full text]
  • Introduction to Romanesque Art Romanesque Art Refers to the Art of Europe from the Late 10Th Century to the Rise of the Gothic Style in the 13Th Century
    Introduction to Romanesque Art Romanesque art refers to the art of Europe from the late 10th century to the rise of the Gothic style in the 13th century. • Key Points • The Romanesque style was the first style to spread across the whole of Catholic Europe, making it the first pan-European style since Imperial Roman Architecture. • Combining features of Roman and Byzantine buildings and other local traditions, Romanesque architecture is known by its massive quality, thick walls, round arches, sturdy piers, groin vaults, large towers, and regular, symmetrical plans. • The tympanums of important church portals were carved with monumental schemes, often again depicting iconography from Byzantine painting, but treated with more freedom than painted versions, as there were no equivalent Byzantine models for sculpture. • Terms • pier A pier, in architecture, is an upright support for a structure or superstructure, such as an arch or bridge. The simplest cross-section of a pier is square, or rectangular, although other shapes are also common. In medieval architecture, massive circular supports called drum piers, cruciform (cross- shaped) piers, and compound piers are common architectural elements. • groin vault A groin vault or groined vault (also sometimes known as a double barrel vault or cross vault) is produced by the intersection at right angles of two barrel vaults. The word groin refers to the edge between the intersecting vaults. • tympanum A triangular space between the sides of a pediment (frontón). • tympanum a triangular space between the sides of a pediment; the space within an arch, and above a lintel or a subordinate arch, spanning the opening below the arch.
    [Show full text]
  • Romanesque & Gothic Architecture
    European - Romanesque & Gothic Architecture | Sample answer The establishment of monasteries and the popularity of pilgrim routes contributed to the development of Romanesque architecture. Discuss this statement with reference to one named example of a Romanesque church or cathedral that you have studied. Refer in your answer to construction techniques, structure and layout. and Briefly describe and discuss one named example of Romanesque sculpture. Illustrate your answer. (2019 Q8) Romanesque means “roman-like”, and was an architectural movement characterised by rounded Roman arches and thick, heavy walls. It was common throughout Europe eleventh and twelfth centuries. One example of Romanesque architecture is St. Foy in Conques, southern France. Towards the eleventh century, there was widespread existential panic due to the turn of the millennium, and people turned to religion to comfort them in what they thought was the end of the world. When this, of course, didn’t happen, there was an emerging feeling of hope and optimism. This, in turn, strengthened the power of the church, and there was a growth in monasticism. Monasteries began housing relics of saints and martyrs brought back to Europe from the crusades. One example of such a relic can be found in the Church of St. Foy- the church is dedicated to St. Foy, and her relics are housed there along with a gold sculpture made in her likeness. In fact, the church is built on top of her tomb. The popularity of relics meant that many dedicated Christians went on long pilgrimages to visit them, believing that relics had healing powers. They created routes between monasteries- “pilgrimage roads”.
    [Show full text]
  • Romanesque Architecture
    Research Best Practices Instrumental Language and ICT Resources Content and Language Integrated Learning RESEARCH BEST PRACTICES INSTRUMENTAL LANGUAGE AND ICT RESOURCES FOR CONTENT AND INTEGRATED LANGUAGE LEARNING An Educational Proposal by [Amanda Navarro López ] CONTENT [History of Art] LEVEL [Secondary] Research Best Practices CLIL and ICT Group http://www.uv.es/clil University of Valencia Copyleft, 2016 – [Amanda Navarro López] THE ROMANESQUE ART Tabla de contenido BASIC DESCRIPTORS ............................................................................................................... i UNIT DESCRIPTORS ......................................................................................................................... i LESSON DESCRIPTORS ................................................................................................................... 4 ABSTRACT ................................................................................................................................ ii THE ROMANESQUE ART ....................................................................................................... 3 THE ROMANESQUE ARCHITECTURE ......................................................................................... 3 TYPES OF BUILDINGS ............................................................................................................................... 3 CONSTRUCTION ELEMENTS ................................................................................................................. 4 GLOSSARY
    [Show full text]
  • The Walls of the Confessions: Neo-Romanesque Architecture, Nationalism, and Religious Identity in the Kaiserreich by Annah Krieg
    The Walls of the Confessions: Neo-Romanesque Architecture, Nationalism, and Religious Identity in the Kaiserreich by Annah Krieg B.A., Lawrence University, 2001 M.A., University of Pittsburgh, 2004 Submitted to the Graduate Faculty of The School of Art and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Annah Krieg It was defended on April 2, 2010 and approved by Christopher Drew Armstrong, Director of Architectural Studies and Assistant Professor, History of Art and Architecture Paul Jaskot, Professor, Art History , DePaul University Kirk Savage, Professor and Chair, History of Art and Architecture Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art and Architecture Dissertation Advisor: Barbara McCloskey, Associate Professor, History of Art and Architecture ii The Walls of the Confessions: Neo-Romanesque Architecture, Nationalism, and Religious Identity in the Kaiserreich Annah Krieg, PhD University of Pittsburgh, 2010 Scholars traditionally understand neo-Romanesque architecture as a stylistic manifestation of the homogenizing and nationalizing impulse of the Kaiserreich. Images of fortress-like office buildings and public halls with imposing facades of rusticated stone dominate our view of neo-Romanesque architecture from the Kaiserreich (1871-1918). The three religious buildings at the core of this study - Edwin Oppler’s New Synagogue in Breslau (1866-1872), Christoph Hehl’s Catholic Rosary Church in Berlin-Steglitz (1899-1900), and Friedrich Adler’s Protestant Church of the Redeemer in Jerusalem (1893-1898) – offer compelling counter- examples of the ways in which religious groups, especially those that were local minorities, adapted the dominant neo-Romanesque style to their own particular quest towards distinctive assimilation in an increasingly complex, national, modern society.
    [Show full text]