Architectura canonica, or, Canons for church architecture : comprising observations thereon, plans, sketches, and illustrations ... with an epistle explanatory to Her Majesty's commissioners for building churches & chapels in Great Britain, Ireland and the colonies /

Mode of access: Internet.

An essay towards a topographical history of the county of Norfolk : containing a description of the towns, villages, and hamlets, with the foundations of monasteries, churches, chapels, chantries, and other religious buildings ... likewise, an historical account of the castles, seats, and manors, their present and ancient owners.

Continued from v. 6, p. 463 by Charles Parkin.

Churches and chapels. Their arrangements, construction and equipment, supplemented by plans, interior and exterior views of numerous churches of different denominations, arrangement and cost. 200 illustrations.

Mode of access: Internet.

Sundays in college chapels since the war : sermons and addresses /

Mode of access: Internet.

Collectio rerum ecclesiasticarum de diœcesi Eboracensi; or, Collections relative to churches and chapels within the diocese of York. To which are added collections relative to churches and chapels within the diocese of Ripon.

"Appendix. A repertory of endowments within the diocese of York. By A. C. Ducarel": p. 595-604.

Dwelling house in a sacred space: reused synagogues in Germany.

Contribution to the Congress " Sacred and Secular Buildings," Washington, May 1999, describing a project of the Institute of Architecture at the Technical University of Braunschweig in cooperation with the Center for Jewish Art in Jerusalem, which has been working on a documentation of synagogues, cemetery chapels, and ritual baths in Germany since 1994.

La Basílica Nacional de Luján : el proyecto de su construcción (1887-1890)

Resumen: Con motivo de conmemorarse los 125 años de la coronación pontificia de la Imagen de Ntra. Sra. de Luján, Patrona de la República Argentina, el autor recorre la historia de los distintos oratorios, capillas y templos que le han sido dedicados, desde 1630, año del milagro, deteniéndose en los comienzos de la construcción de la monumental Basílica neogótica, reconocida como una de las más importantes de América en su tipo. El proyecto, en cuanto al diseño y desarrollo, corresponde al P. Jorge María Salvaire, vicentino, con el permanente apoyo del arzobispo de Buenos Aires, monseñor Federico León Aneiros. La mencionada Basílica guarda particular importancia histórica y pastoral en razón de albergar en su camarín la Imagen original de Ntra. Sra. de Luján, una pequeña talla de la Inmaculada Concepción, de arcilla cocida y pintada, vestida luego a la usanza española y con corona.

[A_Vitoria_SantaMaria] Documentación geométrica de las excavaciones de la Catedral de Santa María (Vitoria-Gasteiz). Mayo 2000-Junio 2003

[ES] Información sobre este proyecto ha servido de base a los siguientes artículos:

[R_SanMillan_Yuso] Documentación geométrica de las excavaciones arqueológicas realizadas en el Monasterio de Yuso (San Millán de la Cogolla, La Rioja)

[ES] El seguimiento arqueológico se realiza sobre las capillas del la nave Norte de la iglesia más la capilla “de las reliquias”, en total 9 capillas de unos 10 x 10 metros cada una. Los elementos a documentar son las unidades estratigráficas exhumadas que, en gran medida corresponden a enterramientos (fosas y los propios esqueletos).

El conjunto de azulejos nazaríes de principios del siglo XV del Museo Arqueológico de Córdoba

En este trabajo se analiza la iconografía y se concreta la datación y el origen del conjunto de treinta y cinco azulejos nazaríes decorados en cobalto y reflejo metálico procedentes de la que hemos identificado como capilla de Santiago en la antigua iglesia de San Bartolomé, erigida en la Judería de Córdoba tras el asalto de 1391. Se plantea, asimismo, que Diego Fernández Abencaçin, judeoconverso y alfaqueque mayor del rey y presumiblemente el comitente de la capilla funeraria, fue quien adquirió los azulejos. Hasta ahora, la única interpretación de las escenas figuradas que los decoran apuntaba a una supuesta representación de alegorías de los sentidos; no obstante, la comparación con ejemplos paralelos, el estudio de la indumentaria de los personajes y el estilo nos lleva a identificarlas como materialización de los gustos y aficiones de las clases privilegiadas a comienzos del s. XV: el amor cortés, la caza, la fauna, los ministriles –especialmente el ciego acompañado de lazarillo–, las danzarinas y los catadores de vino; costumbres que el alfaqueque conoció durante sus estancias en la corte y en el desempeño de sus obligaciones, no sólo como redentor de cautivos cristianos, sino como trujimán y enviado del infante don Fernando –futuro rey de Aragón– durante la campaña de Antequera ante la corte nazarita de Granada y en las treguas posteriorment e firmadas con Yusuf III, lo que ha posibilitado concretar la datación de los azulejos entre 1410 y 1415.

Morality and politics: the free churches and the Labour Party between the wars

The inter-war period saw the decline of the Liberal party, the traditional political ally of the free churches, and the rise of the Labour party. This article traces the responses of the free churches to these developments. The relationship of the free churches with the Labour party in this period is examined at three different levels; that of the free church leadership, that of the chapels and the ordinary people in the pews and that of the nonconformists who became active in the Labour party. Whilst attitudes towards the Labour party changed within free church institutions during the inter-war years they did not become important supporters of the party, or greatly influence it. The number and proportion of individual nonconformists who were active and influential in the party in this period was however considerable. In the process not only did Labour M.P.s become the main carriers of the nonconformist conscience on issues such as drink and gambling. They also made a distinctive and important contribution to the development and ideals of the Labour party.

Prier à la campagne : art et dévotion dans les chapelles de villas romaines de la Contre-Réforme

Au moment où se poursuit l’établissement des princes de l’Église dans la campagne romaine par la construction de somptueuses villas, le Concile de Trente (1545-1563) adopte une série de décrets qui entendent réaffirmer les dogmes catholiques et réformer les mœurs du clergé, critiqués par les protestants. Puisque la villa est perçue au 16e siècle comme un lieu où le fidèle peut faire l’expérience d’une retraite spirituelle, ce mémoire souhaite lever le voile sur les pratiques dévotionnelles suburbaines post-tridentines. Pour ce faire, les cycles picturaux de trois chapelles de villas romaines dont la décoration a été réalisée à la suite de cet important concile sont examinés : la chapelle du palazzo Farnese à Caprarola, appartenant au cardinal Alessandro Farnese (1520-1589), la chapelle de la villa d’Este à Tivoli, construite pour le cardinal Ippolito II d’Este (1509-1572), et la chapelle de la villa Mondragone à Frascati, commanditée par le cardinal Marco Sittico Altemps (1533-1595) pour le pape Grégoire XIII (1502-1585). Il s’agit de vérifier l’impact des pratiques dévotionnelles sur le choix des décors dans ces lieux de culte privés. S’attarder à la perception du regardeur de l’époque et au rapport spirituel du public à l’image implique que nous analysions notre corpus à l’aide d’un cadre anthropologique.

Re-discovering Wardell’s Chantry Chapel for Lord Petre : a crumbling fabulation

In January 2009 The Times reported that the Historic Chapels Trust (HCT) was undertaking the preservation and conservation of the Chantry Chapel of Thorndon Hall, near Brentwood, Essex, England, once the seat of the Petre family, one of England’s oldest Catholic families. The chapel has lain severely neglected for many years with missing and loose tiles, blocked gutters, and heavily eroded stonework. In spite of its desperate need of repair, inside, glimpses of the richly carved and lavishly decorated interior remain, witness to exquisite craftsmanship. Because of its quality Nikolas Pevsner had attributed the building to A W N Pugin. More recent research has established that in fact William Wardell was the architect.

By 1854, when Lord Petre commissioned this mausoleum for his estate, Wardell would have been especially known for his London curvilinear decorated churches at Greenwich, Clapham and Hammersmith. Wardell produced three complete sets of drawings for the Chantry Chapel. Drawings for all three designs are extant, and give valuable insights into Wardell's design methods and the evolution of his design thinking. They raise questions about Early Victorian and High Victorian Gothic sensibilities and establish Wardell’s architectural and design credentials beyond a doubt. This paper explores Wardell’s debt to Pugin, posits the Chantry Chapel as a rival to Pugin’s St Giles Church, Cheadle, and considers the question of patronage.

Now acknowledged to be ‘of outstanding architectural and historic interest ‘ by HCT and English Heritage, the Chantry chapel - a crumbling fabulation - is the subject of major heritage considerations. Questions about authenticity in rebuilding and reconstruction are currently overridden by the urgent need to secure the structure from collapse.

Um legislador nas Gerais: vida e obra do Cônego Hermógenes Casimiro de Araújo Brunswik (1783-1861)

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Imaginária retabular colonial em São Paulo: estudos iconográficos

Pós-graduação em Artes - IA