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Y\5$ in History
THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 A thesis submitted to the faculty of San Francisco State University A5 In partial fulfillment of The Requirements for The Degree Mi ST Master of Arts . Y\5$ In History by James Harvey Mitchell, Jr. San Francisco, California May, 2016 Copyright by James Harvey Mitchell, Jr. 2016 CERTIFICATION OF APPROVAL I certify that I have read The Gargoyles of San Francisco: Medievalist Architecture in Northern California 1900-1940 by James Harvey Mitchell, Jr., and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree Master of Arts in History at San Francisco State University. <2 . d. rbel Rodriguez, lessor of History Philip Dreyfus Professor of History THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 James Harvey Mitchell, Jr. San Francisco, California 2016 After the fire and earthquake of 1906, the reconstruction of San Francisco initiated a profusion of neo-Gothic churches, public buildings and residential architecture. This thesis examines the development from the novel perspective of medievalism—the study of the Middle Ages as an imaginative construct in western society after their actual demise. It offers a selection of the best known neo-Gothic artifacts in the city, describes the technological innovations which distinguish them from the medievalist architecture of the nineteenth century, and shows the motivation for their creation. The significance of the California Arts and Crafts movement is explained, and profiles are offered of the two leading medievalist architects of the period, Bernard Maybeck and Julia Morgan. -
An Article Hy Mr. Ralph Adams Cram on His Preliminary Studies for Residence Halls at Cor- Nell, with a Map and Two of His Sketches
VOL. XIV. No. 17. ITHACA, NEW YORK. JANUARY 31, 1912. An article hy Mr. Ralph Adams Cram on His Preliminary Studies for Residence Halls at Cor- nell, with a Map and Two of His Sketches. PRICE TEN CENTS CORNELL ALUMNI NEWS The Farmers' Loan & Trust Company "Shifting of Investments ff 16. 18. 20. 22 WiBam St.. N. Y. Branoίi 475 5* Ave. Solid Steel Windows LONDON J '5 Cockspur St., S. W. An article by for 126 ow BroaclS t( E c Albert R. Gallatin Mills, factories, car shops, power PARIS 41 Boulevard Haussmann. houses, etc. Every holder of securities, if properly also LETTERS OF CREDIT FOREIGN EXCHANGE advised, could profit by following the Crittall Steel Casement CABLE TRANSFERS precepts of this article. It treats not with THEORY, but FACTS gained Windows from actual and profitable experience. for residences, office buildings, insti- tutions, banks, etc., where a substan- Copies sent on request tial and artistic effect is desired. R. A. Heggie & Bro.Co. SfflMlDT&(|ALLATIN. Detroit Steel Products Co. 1 35 East State St., Ithaca. Detroit, Michigan. 111 Broadway, New York J. Prentice Kellogg \ Members of the JEWELERS Frederic Gallatin, Jr. > New York C. L. Inslee *95, President. W. W. Ricker *96, Trf . f Cbas. H. Blair, Jr, (0. ϋ. 98) J Stock Exchange W.G. Hudson'97, Vice-Pres. E.Burns, Jr..Ό3.Chίef Ea. and makers of special Cor- Geo. P. Schmidt Albert R. Gallatin nell goods. Watches and Guarantee Construction Co. diamonds a specialty. Contracting Engineers: Specialists in the design and construc- tion of conveying systems for the hand- The Mercersburg Jlcademy ling of coal and other materials. -
Information 123
ISSN 0960-7870 BRITISH BRICK SOCIETY INFORMATION 123 FEBRUARY 2013 BRICK CHURCHES ISSUE OFFICERS OF THE BRITISH BRICK SOCIETY Chairman Michael Chapman 8 Pinfold Close Tel: 0115-965-2489 NOTTINGHAM NG14 6DP E-mail: [email protected] Honorary Secretary Michael S Oliver 19 Woodcroft Avenue Tel. 020-8954-4976 STANMORE E-mail: [email protected] Middlesex HA7 3PT Honorary Treasurer Graeme Perry 62 Carter Street Tel: 01889-566107 UTTOXETER E-mail: [email protected] Staffordshire ST14 8EU Enquiries Secretary Michael Hammett ARIBA 9 Bailey Close and Liason Officer with the BAA HIGH WYCOMBE Tel: 01494-520299 Buckinghamshire HP13 6QA E-mail: brick so c @mh 1936.plus. c om Membership Secretary Dr Anthony A. Preston 11 Harcourt Way (Receives all direct subscriptions, £12-00 per annum*) SELSEY, West Sussex P020 0PF Tel: 01243-607628 Editor of BBS Information David H. Kennett BA, MSc 7 Watery Lane (Receives all articles and items for BBS Information) SHIPSTON-ON-STOUR Tel: 01608-664039 Warwickshire CV36 4BE E-mail: [email protected] Printing and Distribution Chris Blanchett Holly Tree House, 18 Woodlands Road Secretary LITTLEHAMPTON Tel: 01903-717648 West Sussex BN17 5PP E-mail: [email protected] Web Officer Vacant The society's Auditor is: Adrian Corder-Birch F.Inst.L.Ex . Rustlings, Howe Drive E-mail: [email protected] HALSTEAD, Essex C09 2QL The annual subscription to the British Brick Society is £10-00 per annum. Telephone numbers and e-mail addresses of members would be helpful for contact purposes. but these will not be included in the Membership List. -
ARCHIVES F. Shirley Prouty Johannes Kirchmayer Research
ARCHIVES F. Shirley Prouty Johannes Kirchmayer Research Collection 1873-2015 8.5 linear ft. Acquisition Number: 2018-04 Acquisition: Gift of Florence Shirley Prouty. Access: Access to the collection is unrestricted. Copyright: Copyright to this collection is held by the Cranbrook Educational Community. Photographs: Retained with the collection. Negatives removed to cold storage. Audio/Video: Retained with the collection. Processing: Laura MacNewman, April 2019 HISTORY Shirley Prouty is the great great-niece of the woodcarver, Johannes (John) Kirchmayer. Having promised her grandmother that she would write a book about her great great- uncle, she spent many years researching his life, family history, and artworks. Upon reviewing the news clippings that her grandmother had collected, she realized that the scope of the project would be broad. Her research really started in 1994 when her son visited Detroit and was directed to the Cranbrook Educational Community by the Detroit Institute of Arts. Kirchmayer’s artworks are predominantly ecclesiastical wood carvings, though he also worked with stone and ivory. His work can be seen in many churches and cathedrals in the United States, with some further afield. Prouty’s research is published in her book, Johannes Kirchmayer, 1860-1930: master carver from Germany’s passion play village to America’s finest sanctuaries, which includes a biography of Kirchmayer and a detailed catalog of his work. Johannes Baptist Kirchmayr was born in Oberammergau, Bavaria (now Germany), on March 31, 1860, to John Ev. Lang and Theresia Kirchmayr. Born out of wedlock, Lang acknowledged Johannes as his son, though he grew up in the household of his grandfather and thus assumed the Kirchmayr name. -
1 the Stones of Science: Charles Harriot Smith and the Importance of Geology in Architecture, 1834-1864 in the Stones of Venice
1 The Stones of Science: Charles Harriot Smith and the importance of geology in architecture, 1834-1864 In The Stones of Venice England’s leading art critic, John Ruskin (1819-1900), made explicit the importance of geological knowledge for architecture. Clearly an architect’s choice of stone was central to the character of a building, but Ruskin used the composition of rock to help define the nature of the Gothic style. He invoked a powerful geological analogy which he believed would have resonance with his readers, explaining how the Gothic character could be submitted to analysis, ‘just as the rough mineral is submitted to that of the chemist’. Like geological minerals, Ruskin asserted that the Gothic was not pure, but composed of several elements. Elaborating on this chemical analogy, he observed that, ‘in defining a mineral by its constituent parts, it is not one nor another of them, that can make up the mineral, but the union of all: for instance, it is neither in charcoal, nor in oxygen, nor in lime, that there is the making of chalk, but in the combination of all three’.1 Ruskin concluded that the same was true for the Gothic; the style was a union of specific elements, such as naturalism (the love of nature) and grotesqueness (the use of disturbing imagination).2 Ruskin’s analogy between moral elements in architecture and chemical elements in geology was not just rhetorical. His choice to use geology in connection with architecture was part of a growing consensus that the two disciplines were fundamentally linked. In early-Victorian Britain, the study of geology invoked radically new ways of conceptualizing the earth’s history. -
Connick Windows Fall 2013 the Charles J
Connick Windows Fall 2013 The Charles J. Connick Stained Glass Foundation, Ltd., Orin E. Skinner, Founder Marilyn B. Justice, President Directors and Officers: Theresa D. Cederholm Judith G. Edington Jeremy J.H. Grubman Charles S. Hayes Elizabeth Ann Justice David A. Martland Albert M. Tannler Ann Baird Whiteside Peter D. Cormack Jonathan L. Fairbanks Elizabeth B. Johnson (honorary) Jolene M. de Verges Kimberly M. Tenney (ex officio) Piety, Patronage and Peinture à Vitrail Milda B. Richardson St. John the Evangelist Monastery in Cambridge, Massachusetts, is the first monastery and Mother House of the American Congregation of the Society of St. John the Evangelist, the first religious order to be founded in the United States by clergy and laymen of the Episcopal Church.1 Isabella Stewart Gardner’s (1840-1927) relationship with the Cowley Fathers is a storied one. Half of the initial parcel of land on Memorial Drive in Cambridge for the monastery of St. John the Evangelist had been funded by Rev. Spence Burton’s parents, Mr. and Mrs. Caspar Henry Burton of Cincinnati, Ohio, with a gift of $25,000 and the option to buy additional land. In 1919 Mrs. Gardner donated another $25,000, thus enabling the Cowley Fathers to buy the second parcel. The Romanesque Revival monastery with its cloister and granite chapel, designed by Ralph Adams Cram (1863-1942), was built between 1924 and completion in 1938.2 Photo courtesy of SSJE.org In a letter of gratitude to Mrs. Gardner, Rev. Burton wrote, “We pray that many generations of devoted Religious will venerate your memory as a foundress of their monastery….”3 Rev. -
KJ MASTER THESIS FINAL Corrections
Ordered Spaces, Separate Spheres: Women and the Building of British Convents, 1829-1939 Kate Jordan University College London Submitted for the Degree of Doctor of Philosophy I, Kate Jordan confirm that the work present- ed in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. _______________________________ Kate Jordan !2 Abstract Over the last forty years, feminist discourses have made considerable impact on the way that we understand women’s historical agency. Linda Nochlin’s question, ‘why have there been no great women artists’ challenged assumptions about the way we consider women in art history and Amanda Vickery brought to the fore questions of women’s authority within ‘separate spheres’ ideology. The paucity of research on women’s historical contributions to architecture, however, is a gap that misrepresents their significant roles. This thesis explores a hitherto overlooked group of buildings designed by and for women; nineteenth and twentieth century English convents. Many of these sites were built according to the rules of communities whose ministries extended beyond contemplative prayer and into the wider community, requiring spaces that allowed lay-women to live and work within the convent walls but without disrupting the real and imagined fabric of monastic traditions - spaces that were able to synthesise contemporary domestic, industrial and institutional architecture with the medieval cloister. The demanding specifications for these highly innovative and complex spaces were drawn up, overwhelmingly, by nuns. While convents might be read as spaces which operated at the interstices between different architectures, I will argue they were instead conceived as sites that per- formed varying and contradictory functions simultaneously. -
'Perhaps the Greatest Artist of the Lot'
INTRODUCTION ‘PERHAPS THE GREATEST ARTIST OF THE LOT’ By all accounts Henry Wilson was a quiet man, modest to a fault. At first sight, apart from his distinctive aquiline profile, his appearance was unremarkable. He was not widely known to the general public, and even amongst friends it was hard to get him to talk much about his own works, which were mostly unsigned. When he died in Menton, France in 1934, he was buried in a leased plot, long since obliterated. Such unassuming worldly credentials belie the powerful originality of his work and his prodigious skills as a craftsman. In dramatic architectural schemes, and in the expressiveness of his executed buildings and sculptures; in his richly evocative jewellery and fine metalwork, in inspirational lectures and writings; in all these, he displays an exceptional intensity of invention and insight. The works summon up deep-seated meanings which often surpass their material reality. They, and the thinking that underlies them, most thoroughly represent Henry Wilson. And it is through the diverse, yet linked, aspects of his creativity that his character and impact is most properly revealed. As he himself wrote in 1902 ‘design is the expression of your personality in terms of the material in which you work’.1 Janet, the astute and observant wife of Wilson’s fellow designer and ideologist C.R. Ashbee, testified to the admiration felt for Wilson in arts and crafts circles when she described a group of Art Workers’ Guild members gathering for a rehearsal of their masque Beauty’s Awakening in May 1899. Gradually they assemble: Selwyn Image, Walter Crane, Louis Davis .. -
Download 2012 Transactions
Monumental Brass Society 2012 TRANSACTIONS Monumental Brass Society Volume XVIII, Part 4, 2012. ISSN 0143-1250 Obligations and Strategy: Managing Memory in the Later Medieval Parish 289 Clive Burgess Each According to their Degree: the Lost Brasses of the Thorpes of Northamptonshire 311 Robert Kinsey Embellishment and Restoration: the Barttelots and their Brasses at Stopham, Sussex 334 Jerome Bertram The Brass to the Revd. Montague Henry Noel, d. 1929, St. Barnabas, Oxford 363 David Meara Conservation of brasses, 2011 370 William Lack Reviews 374 Portfolio of Small Plates 381 Contributors are solely responsible for all views and opinions contained in the Transactions, which do not necessarily represent those of the Society. © Monumental Brass Society and the authors, 2012 Registered Charity No. 214336 www.mbs-brasses.co.uk Obligations and Strategy: Managing Memory in the Later Medieval Parish Clive Burgess Primarily concerned with commemorative practice within I England’s late medieval parishes, this essay first explores When starting to consider the nature of later the means by which the commemorative impulse became medieval commemoration a number of embedded in the twelfth and thirteenth centuries and, questions immediately arise. Why did men and second, looks at factors, both general and local, which women strive so assiduously to be remembered? particularly assisted with managing memory within How generally did they contrive to maintain parishes. The essay then turns to consider how their presence? And what, therefore, was the individuals endeavoured to weave themselves into the broader array of commemorative devices parish liturgy, especially through repeated ceremonial such among which memorial brasses took their as anniversaries and by commissioning chantry Masses. -
FLYER DEC 17B Final
Friends to help fund display of vestments The Parochial Church Council is preparing plans for the regular display of vestments from the very fine collection held at St Michael’s. The Friends have agreed to provide matching funding to a maximum of £10,000. Vestments on display at the Annual Lecture with a fine Bodley designed fron- tal on the altar. The intention is to mount a rotating display of individual vestments in the north aisle. A supporting set of photographs of the full collection will be mounted with an accompany- ing guide to its cultural and artistic significance. Digital copies of the Flyer by email Most Friends are happy to receive their copy of the Flyer by email. This allows us to publish more at a much reduced cost. We will continue to send out hard copies. But if you are able to receive the digital copy please con- tact the Flyer at: [email protected] G F Bodley and his family in Brighton youngest son, George Frederick Bodley, was born in Hull Michael Hall on 14 March 1827, in a house in Albion Street that does Many visitors admiring the stained glass by William Mor- not survive. In 1838, a year after his wife gave birth to ris’s company in St Michael and All Angels will have no- her last child (she was then forty-seven), W. H. Bodley ticed that the window by the font, depicting the Baptism retired because of ill health, and the family returned to of Christ, is dedicated to the memory of ‘W.H. -
“Our Anglo-Saxon Blood”
“ Our Anglo-Saxon Blood”: How Belief in Anglo-Saxon Racial Supremacy Connected Men at the University of the South Architecturally and Ideologically to the Larger Nation from 1886-1912 Taylor Jetmundsen Dr. Woody Register History 440 April 26, 2016 2 Introduction In August 1890, the Board of Trustees for the University of the South in Sewanee, Tennessee met for their annual deliberations. When the Board left Sewanee several days later, they had accepted both the resignation of the Vice-Chancellor, the Rev. Telfair Hodgson, and the first long term architectural plan for the University since before the Civil War. The events were entirely related. A young trustee and architect named Silas McBee came to the meetings bearing a new plan for the university: a grand quadrangle built in the latest collegiate architectural style. This style, collegiate Gothic, was only four years old and existed entirely in the North. Silas McBee wanted to bring it South to his alma mater. After McBee and his partner, A.M.Mc. Nixon, an architect from Atlanta, Georgia, presented their plan, a debate broke out over more than just what The University of the South should look like, but what vision the leaders of the small university should follow. A small group led by George R. Fairbanks from Florida saw the new plans as a betrayal of the founder’s vision for a university with colleges for every discipline covering their land on the Cumberland Plateau. The rest saw the $20,000 and beautiful plan that Silas McBee had brought with him, and sided with the new plan. -
Cathedral Church of St. John the Divine and the Cathedral Close
CATHEDRAL CHURCH OF ST. JOHN THE DIVINE AND THE CATHEDRAL CLOSE 1047 Amsterdam Avenue (aka 1021-1061 Amsterdam Avenue and 419 West 110th Street [Cathedral Parkway]), Manhattan Block 1865 / Lots 1, 10, 30 and 8010 Built: 1838-42; 1892-1941; 1979-85 Architects: Ithiel Town; Heins & Lafarge; Cook & Welch; Cram, Goodhue & Ferguson Actions: Heard July 12, September 13, and October 11, 1966, December 11, 1979, and November 12, 2002; Cathedral designated June 17, 2003; designation overturned by the City Council One of the great religious complexes of the world, the Cathedral Church of St. John the Divine and the Cathedral Close serve as the seat of the Episcopal Diocese of New York. Along with the Cathedral, the auxiliary buildings are not only considered one of the crowning glories of the Morningside Heights neighborhood, but also constitute one of the outstanding ecclesiastical ensembles in the city. The complex consists of the cathedral church and six buildings that form the Close, including the Leake & Watts Orphan Asylum building, St. Faith’s House, the Choir School, Synod House, the Deanery, and the Bishops House. The entire site of the Cathedral and Close was originally occupied by the Leake and Watts Orphan Asylum, which sold the property to the Episcopal Church in 1887. One building of the Leake & Watts Orphan Asylum was retained – the Greek Revival style building, which has served a variety of Cathedral functions over the years. Built in 1838- 42, it is the oldest building in Morningside Heights, and one of the most significant examples of a Greek Revival style institutional building surviving in New York City.