Gothic architecture

An overview of the Gothic Revival that began England in the mid-eighteenth century and which sought to revive medieval Gothic architecture in contrast to the neoclassical styles prevalent during the Augustan period. This article covers the movement in Europe and American, and was first published in the Routledge Encyclopedia of the Romantic Era, edited by Chris Murray (2003):

During the Renaissance, ‘Gothic’ became a pejorative label for all things barbarous. In a model of history probably first posited by Petrach and developed and disseminated by Italian Renaissance Humanists, it was believed that there were two epochs of cultural excellence, the Classical and their own. These were separated by a terrible period of ignorance and barbarism, the Dark and Middle Ages. The Germanic invaders, the Goths, were held to be largely responsible for this culturally catastrophic interregnum. François Rabelais employed the term ‘Gothic’ to describe a vulgar literary style, not reflecting Greek and Latin scholarship, and the most influential condemnation of all things Gothic can be found in Giorgio Vasari’s Lives of the Architects, Painters and Sculptures (1550), in which medieval architecture is simply designated ‘German’ and rejected as mean, disorderly, over-decorative and poorly constructed, the antithesis of the now universally accepted Classical style. By the early-seventeenth century, the use of the term ‘German’ was discarded in this context (Germany having long since embraced the Classical ideal), scholars instead employing the adjective ‘Gothic’ in their polemics.

It was the British, always out of step with their European neighbours, that laid the foundations of a cultural re-evaluation which would later spread to the continent. Parliamentarians, quoting Tacitus, argued that representative government was in fact not a product of Classical antiquity, but of the German tribes; the ‘Gothic polity’ therefore represented free institutions and was opposed to tyranny and privilege. In art, the true Gothic revival began in England with a gradual shift in the crucial, Classicist-dominated, concept of Nature, as writers (influenced by the new vogue for landscape gardening), began to champion irregularity and variety as ‘natural,’ an idea eventually coming under the banner of the ‘picturesque.’ The related aesthetic concept of the (non-Classical) Sublime in opposition to the (Classically) Beautiful suggested that Nature in its highest (Sublime) form was free of the constraints of the Classical. This trend towards aesthetic relativism in England resulted in the pre-Romantic ‘Gothic mood’ which is most famously characterized by the fiction of Horace Walpole, most notable The Castle of Otranto (1764), and the ornamental papier-mâché decoration of Strawberry Hill, his country seat in Twickenham. This style went on to dominate nineteenth century Victorian architecture through the work of such influential figures as the prolific Sir George Gilbert Scott, his pupil George Edmund Street, the High-Churchman William Butterfield, Charles Barry, and the obsessive genius Augustus Welby Northmore Pugin. Among many fine examples, the most familiar is probably Barry’s re-designed Palace of Westminster (which had been destroyed by fire in 1834), which was specifically inspired by the Perpendicular Gothic style, Pugin assisting...

Eine große Zahl herausragender Denkmäler der mittelalterlichen Baukunst befindet sich auf dem Gebiet des heutigen Polen. Zwischen Oder und Weichsel liegen sowohl Kernlandschaften Polens als auch Territorien, die vormals dem deutschen Kulturraum angehörten. Es zeigen sich im gesamten Raum vielfältige und einander durchdringende Phänomene der deutsch-polnischen Kulturbeziehungen. Kunsthistoriker aus Deutschland und Polen haben in einem gemeinsamen Projekt, angesiedelt am kunsthistorischen Institut der Johannes Gutenberg-Universität Mainz (Prof. Matthias Müller), erstmals in deutscher Sprache eine umfassende Gesamtdarstellung der mittelalterlichen Architektur in den historischen Landschaften von Großpolen, Kleinpolen, Masowien, Schlesien, Hinterpommern/Neumark sowie des Deutschordenslands Preußen verfasst. Die Ergebnisse dieser Arbeit liegen nun, unter der Herausgeberschaft von Prof. Dethard von Winterfeld (Mainz) und Prof. Christofer Herrmann (Danzig), in einer zweibändigen und reich bebilderten Publikation vor. Das Buch richtet sich an ein deutschsprachiges Publikum, dem heute die großartigen Denkmäler östlich der Oder – in denen sich deutsche und polnische Geschichte widerspiegelt – kaum mehr bekannt sind. Für die Wissenschaft wird zugleich eine breite Materialgrundlage für weiterführende Studien geschaffen.

It has come to my attention that this essay of mine is rather popular on Academia.edu, and, in fact, on the internet in general.

I wrote this essay in my second year of studies at the University of Otago, and thus, it serves only as a preliminary study - a glance upon the topic of French and English Gothic architecture, if you will. It is, in many ways, just a beginning. Let this essay guide you, but not sway you. Please, if you are a student at any University, and you wish to cite my essay, do so prudently. It has not been published in any journal or paper, and will not be considered a properly peer-reviewed source by your teachers. Instead, I would advise you to bounce off my ideas; use them to deepen your own inquiries into the topic of French and English Gothic architecture.

Many thanks to all of you who have read my work - it is heartening to hear others in this field of study say that they have enjoyed perusing my ponderings.

(P.S. I am quite embarrassed by the many mistakes and bumbling sentences in this paper. As I said, I was only a second year student when I wrote this.)

Zoe Eccles

Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris and is the seat of the Bishop of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since the Diocese of Chartres was formed as an episcopal see in the 4th century. It is in the High Gothic and Romanesque styles.

800 years later in 2020 we have Schumann Resonators which are little boxes you plug into the wall that produce electromagnetic radiation tuned to 7.83 Hz.
This is the frequency that the earth/atmosphere system “rings” at when the Earth is struck by lightning. It is also a common frequency your brain “ticks” at.
If we are out of sync with Earth's Frequency (Schumann Resonance) we begin to exhibit signs of discomfort that can range from anxiety, insomnia, illness, suppressed immune etc… Conversely we have discovered that when we humans are in sync with 7.83hz the body is able to heal and increase its vitality. I use PEMF (pulsed electro magnetic field) therapy devices by Swiss Bionics with Schumann resonators. 

It seems the ancients knew about this too.

The cathedral is known as "the high point of French Gothic art" and a "masterpiece" and is well-preserved for its age: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century.
The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.


At least five cathedrals have stood on this site, each replacing an earlier building damaged by war or fire. The first church dated from no later than the 4th century and was located at the base of a Gallo-Roman wall; this was put to the torch in 743 on the orders of the Duke of Aquitaine. The second church on the site was set on fire by Danish pirates in 858. This was then reconstructed and enlarged by Bishop Gislebert, but was itself destroyed by fire in 1020. A vestige of this church, now known as Saint Lubin Chapel, remains, underneath the apse of the present cathedral.
It took its name from Lubinus, the mid-6th-century Bishop of Chartres. It is lower than the rest of the crypt and may have been the shrine of a local saint, prior to the church's rededication to the Virgin Mary.

In 962 the church was damaged by another fire and was reconstructed yet again. A more serious fire broke out on 7 September 1020, after which Bishop Fulbert (bishop from 1006 to 1028) decided to build a new cathedral. He appealed to the royal houses of Europe, and received generous donations for the rebuilding, including a gift from Cnut the Great, King of Norway, Denmark and much of England. The new cathedral was constructed atop and around the remains of the 9th-century church. It consisted of an ambulatory around the earlier chapel, surrounded by three large chapels with Romanesque barrel vault and groin vault ceilings, which still exist. On top of this structure he built the upper church, 108 meters long and 34 meters wide.
The rebuilding proceeded in phases over the next century, culminating in 1145 in a display of public enthusiasm dubbed the "Cult of the Carts" – one of several such incidents recorded during the period. It was claimed that during this religious outburst, a crowd of more than a thousand penitents dragged carts filled with building supplies and provisions including stones, wood, grain, etc. to the site.

In 1134, another fire in the town damaged the facade and the bell tower of the cathedral.
Construction was begun immediately on a new tower, the north tower, which was finished in about 1150. It was just two stories high and had a lead roof. The south tower, begun in 1144, was much more ambitious; it had a spire atop the tower, and, when finished in about 1160, it reached a height of 105 metres or 345 feet, one of the highest in Europe. The two towers were joined on the first level by a chapel devoted to Saint Michael. Traces of the vaults and the shafts which supported them are still visible in the western two bays.
The stained glass in the three lancet windows over the portals dates from some time between 1145 and 1155, while the south spire, some 103 metres high, was also completed by 1155 or later. The Royal Portal on the west facade, between the towers, the primary entrance to the cathedral, was probably finished between 1145 and 1245.

In this piece I will dive headlong into the fray surrounding the identification of important surviving monuments in Famagusta. There is a long history of such forays by other scholars, but having reviewed as many as I could, I have not been entirely satisfied with their conclusions. It seems to me that there have been a more than a few assumptions made without the requisite support. But, in the end, we all assess the evidence and draw our own conclusions.

While artist Grant Wood and architect Frank Lloyd Wright were contemporaries from the American Midwest, they were in many ways unlike. In particular, Wood’s most famous painting, American Gothic, makes use of a strict verticality that stands in marked contrast to the well-known horizontal stance of Wright’s Prairie Style architecture. Yet, when examined more closely, it is apparent that both men made use of a “grammar” of construction that is heavily based on attribute rhyme.

Link to HTML: https://courtauld.ac.uk/research/research-resources/publications/courtauld-books-online/ruskins-ecologies-figures-of-relation-from-modern-painters-to-the-storm-cloud/2-the-balcony-queer-time-in-the-stones-of-venice-and-proust-thomas-hughes/

Highlights: Graphical/Tabular Abstract  Legibility of the architectural structure  Communication of the architectural structure with its user  The effect of architectural education on perception Religious spaces can be seen as a place where people can both experience their own spiritual feelings and allow for some common sharing with other people in the community. The architectural elements that make up the space shape the behavior of the user. The churches, which are regarded as the place of the Christian religion, also reveal different connotations to its users with its architectural styles. The architectural style of the building gives the building a character. This character guides the user's attitudes and attitudes. In this study, the St. Antuan Church in the Beyoğlu district, where Istanbul is home to many cultures, was examined. St. Antuan Church is a church with Neo-Gothic architecture and it is still open for use. In the scope of the study, the survey method was applied. The reason for the application to architecture students; to see what changes occur in the perception of the structure as the level of education increases. The data obtained as a result of the survey study were evaluated by SPSS analysis. St. Antuan Church and its legibility are shown in figure A. Figure A. The legibility of St. Antuan Church in the context of architecture, result of SPSS analysis Purpose: The purpose of this study is to reveal that architecture, which has its own language, is perceived in common by those who know this language. Theory and Methods: In the scope of the study, the survey method was applied. A questionnaire consisting of images belonging to the interior and exterior of the church was carried out with architecture students. The survey was carried out with the participation of 200 students. The data obtained as a result of the survey study were evaluated by SPSS (Statistical Package for the Social Sciences) analysis. Results: As a result of the study, it has been observed that the common values of the user give a common direction to the perception in the visual perception of the architectural structures. As a result, it can be said that architecture has its own language. As this language is learned, it can be stated that it can meet a common denominator in its reading and perception. Conclusion: It is seen that you will go towards a common decision on the working screen. This situation can be compared to people who know the same language to understand each other more easily. Therefore, it was seen that having received architectural education made it easier to perceive the architectural language.

Overview

The beauty and grandeur of medieval cathedrals lies not only in their sheer size, but also in the harmonious proportions that result from using principles of ancient geometry in their design. This experiential learning project demonstrates the interrelationship of mathematics and design in medieval architecture through the practical application of geometry. Reading assignments (see below) should be completed before the first activity.

In the first activity, students draft a cathedral plan using geometric tools (compass, straight edge, and protractor). The second part of the activity takes place on a campus green space where students physically lay out a scaled cathedral plan, ad quadratum (Latin for “from the square”) following the plan completed in the first activity. The first activity is detailed in the step-by-step guide below, but the second activity is instructed in person, as a master mason would have done, by transmitting information verbally to apprentices and other masons on the building site. In this part, students use the plans they have drawn, but now points on the plan are marked out by wooden stakes and string is used in place of the compass to generate measurements and mark boundaries.

After completing the readings, plan, and layout students will have both a theoretical and experiential understanding of how proportions based on the square root and the Golden Ratio (1:618) find practical application in medieval architecture. As a way to synthesize learning, each student should complete short (2-3 pgs.) reflection paper that consider the ways in which the process of drawing and laying out the plan deepened understanding of the relationship of geometry and design in medieval buildings.

Learning Outcomes

-Gain a greater understanding of the parts of a cathedral plan and use correct architectural terminology
-Analyze the interdependence of mathematics (geometry) and aesthetics in the design of cathedral plans
-Understand the relationship between the ideal (plan) and real layout of a cathedral
-Develop creative solutions to practical problems through problem solving
-Collaborate in a group setting to achieve a common goal

Reading Assignments

Robert Bork, The Geometry of Creation: Architectural Drawing and the Dynamics of Gothic Design (Ashgate, 2011), 1-27.

Stephen Murray, Notre-Dame, Cathedral of Amiens: The Power of Change in Gothic (Cambridge UP, 1996), 28-43.

Other suggested readings:

Carl F. Barnes, The Portfolio of Villard de Honnecourt (Paris, BnF, MS Fr 19093): A New Critical Edition and Color Fascimile (Ashgate, 2009).

Nicola Coldstream, Medieval Craftsmen: Masons and Sculptors (British Museum Press, 1991).

Nancy Wu, ed. Ad Quadratum: The Practical Application of Geometry in Medieval Architecture (Ashgate, 2002).

Demonstrated the role of monastic orders in the formation of architecture of Romanesque style, identified stylistic types of Catholic temples of the Romanesque, depending on the monastic order, who built the temple. The article contains a table where demonstrated of major catholic monastic orders according to Romanesque styles, Gothic, Renaissance, Baroque. The author defined the features of architecture of Church of Benedictine, Klunі, cistercians (bernardints) and military orders of Roman style

Висвітлено роль чернечих орденів в формуванні архітектури романського стилю, визначені стилістичні типи католицьких храмів романіки залежно монашеського ордену, який будував храм. Подано таблицю основних католицьких монашеських орденів відповідно стилям романіки, готики, ренесансу, бароко. Автор визначив характерні риси архітектури храмів бенедиктинців, клюні, цистерціанців (бернардинців) та військових орденів романського стилю.

Stonemasons Marks in The Passage of the Powder tower

The text concerns problems of the methods of survey and documentation of stonemasons' marks and pays attention to the current state of viewing the results of work done in this field so far, i.e. publication of documented stone marks on Prague buildings. walls in the passage of the Prašná gate have been chosen to practical verification of options and limits during their documentation without direct access (from scaffolding, platform etc.). Documentation of marks on the ashlar walls was pursued solely from the pavement level using a camera, folding 2 m rule as a graphical scale and sun light at various angles in various seasons and day times on certain parts of the walls. individual types of marks and their position on the walls were documented. The marks come from the period of the tower construction in 1475–1483. in the second half of the 19 th century the marks were documented by František Beneš, Franz Rziha and Josef Mocker. The finds from the passage could thus be compared with earlier documentation, which was widened with further types of marks found in the accessible interiors of the tower.

Text se zabývá problematikou metod průzkumu a dokumentace kamenických značek a všímá si současného stavu zpřístupnění výsledků již provedené práce na tomto poli, tedy publikací dokumentovaných kamenických značek na pražských stavbách. Pro praktické ověření možností a omezení při dokumentování kamenických značek bez přímého přístupu k nim (z lešení, plošiny a podobně) byly vybrány stěny v průjezdu Prašné brány. Dokumentace značek na kvádrovém zdivu byla prováděna výhradně z úrovně chodníku. Jako pomůcky při do-kumentaci bylo užíváno pouze fotoaparátu, skládacího dvoumetru jako grafického měřítka a slunečních paprsků dopadajících v různých ročních a denních dobách pod více či méně vhodným úhlem na určité části zdiva. Dokumentovány byly jednotlivé typy značek, ale také jejich pozice na stěnách průjezdu. Značky pocházejí z doby výstavby věže v letech 1475–1483. Značky na Prašné bráně dokumentovali již František Beneš, Franz Rziha a Josef Mocker, nálezy z průjezdu tak bylo možné porovnat s jejich dokumentací z druhé poloviny 19. století. Dokumentace byla dále doplněna o další typy značek nalezené v přístupných interiérech věže.

Este estudio muestra la gárgola medieval como un programa iconográfico perfectamente regulado y apoyado en simbolismos asociados a las aguas primordiales como sostén universal y al pecado, entre algunos otros. El texto revela el profundo orden detrás de su manufactura y contrapone las visiones que hacen de ellas productos exclusivos del imaginario de escultores aburridos y descarriados. Se propone como tesis el origen de la gárgola gótica en Chartres, a finales del siglo XII.

Francesco Talenti è attestato per la prima volta nel cantiere della cattedrale di Firenze nel 1351, ma è probabile che ne fosse capomastro già nel 1341-1342, dopo la partenza di Andrea Pisano alla volta di Pisa. Sotto la direzione di Talenti furono costruiti gli ultimi tre piani della torre campanaria e fu edificato il corpo longitudinale della chiesa, con l'eccezione dei pilastri dell'incrocio e dell'ultima volta (verso est) della navata centrale, mantenendo la facciata e parte dei perimetrali nord e sud, che devono essere ricondotti alla fase arnolfiana. L'intervento si ripropone di chiarire le peculiarità del progetto talentiano rispetto a quello arnolfiano e di mettere a fuoco alcuni nodi problematici, suscitati dalla ricca documentazione dell'Opera di Santa Maria del Fiore e dall'incrocio tra le fonti scritte e il costruito.

En 1855, William Morris n’est pas encore un immense artiste pluridisciplinaire mais un étudiant en théologie. Avec deux camarades d’Oxford, il vient prendre des vacances dans le nord-ouest de la France. Après Abbeville et avant Beauvais, Chartres, Rouen, il visite Amiens et sa cathédrale. Il marche ainsi sur les traces des architectes et critiques d’art George Edmund Street, Gilbert Scott, John Ruskin. Comme eux, il célèbre certains traits remarquables que ne présentent pas ou peu les édifices gothiques anglais : hauteur impressionnante, remplages et surtout portails sculptés, que William Morris lit, trente ans avant La Bible d’Amiens, dans un long article, « Shadows of Amiens », qu’il publie dans The Oxford and Cambridge Magazine, avec deux nouvelles, médiévale et fantastique, également consacrées à la cathédrale : « The Story of the Unknown Church » et « A Night in a Cathedral ». La fiction n’est pas moins pertinente que la description pour rendre compte d’un édifice que William Morris aborde de façon résolument affective, émotive et subjective, qu’il se pose en visiteur, donne la parole à un des constructeurs de la cathédrale ou qu’il soulève ses difficultés de scripteur confronté à la difficulté de traduire une architecture en mots. Dans tous les cas, sa posture est artistique, humaniste, agnostique. Les textes qu’il publie suite à sa visite à Amiens s’avèrent donc en accord avec sa décision, simultanée, de renoncer aux ordres pour devenir artiste. Bien plus, on y perçoit, en les lisant de près, de nombreux germes des écrits communistes, quoique bien plus tardifs, de William Morris – non seulement des idées clés de ses conférences mais aussi des motifs de ses fictions, tels que la nuit dans l’église ou la sculptrice, qu’il retravaille et sublime en symboles d’un bonheur non plus passé mais à faire advenir en mettant fin au système capitaliste destructeur de la beauté de la vie.

Auteur : Pierre MARTIN (UNI)
N° site : 45 234 025 AH
N° d’OA : 0612082
Responsable de l’opération : Pierre MARTIN (UNI)
Nature de l’opération : Projet collectif de recherche pluriannuel (PCRP), janvier à décembre 2018
Couverture géographique : Centre-Val de Loire > Loiret > Orléans > Cathédrale Sainte-Croix
Code INSEE de la commune : 45 234
Mots-clefs du thésaurus : Cathédrale, groupe épiscopal, architecture romane, architecture gothique, sous-sol archéologique, historiographie
Chronologie : Antiquité tardive, haut Moyen Âge, XIe siècle, XIIe siècle, XIIIe siècle, bas Moyen Âge, époque moderne, époque contemporaine
Peuples et cités : Orléans, Aurelianum
Keywords : Cathedral, episcopal quarter, romanesque architecture, gothic architecture, archaeological basement, historiography,
Late Antiquity, Early Middle Ages, 11th century, 12th century, 13th century, Late Middle Ages, Early modern period, Late modern period
Titre : Orléans
Sous-titre : Cathédrale Sainte-Croix


L’année 2017 a marqué le 80e anniversaire des fouilles entreprises par Georges Chenesseau sous le chevet de la cathédrale Sainte-Croix d’Orléans. Elle a également été l’occasion de rouvrir le dossier dans le cadre d’un Projet collectif de recherche (PCR). À l’issue de cette année probatoire, la richesse des éléments à reprendre a logiquement conduit à déposer une demande de PCR pluriannuel pour la triennale 2018-2020. La première année de triennale avait plusieurs objectifs dont les principaux résultats, encore partiels, peuvent être évoqués en cinq points.

En premier lieu, le dossier historique a pu être rouvert et amène ainsi à reconsidérer les données fournies par les sources écrites. Le récolement de la documentation a largement progressé et devrait aboutir à la reprise d’un certain nombre d’études sur les textes relatifs à la cathédrale au cours des siècles. À ce titre, les Vies de saint Euverte et le récit de Raoul Glaber – principale source d’information sur la reconstruction des alentours de l’an mil – seront l’objet d’une attention particulière.

En second lieu, les aspects historiographiques illustrent une nouvelle fois la nécessité de rentrer dans la logique des travaux du chanoine Chenesseau. Il s’agit sans doute du seul biais afin de dépasser des interprétations parfois douteuses de notre illustre prédécesseur qui fut non seulement le témoin de sa propre fouille – heureusement largement documentée – mais aussi de nombreuses sources écrites disparues dans l’incendie des Archives départementales du Loiret en 1940.

En troisième lieu, le travail de topographie permet désormais une nouvelle documentation graphique de la cathédrale. Celle-ci servira aussi bien pour la recherche en cours que pour les travaux d’aménagement envisagés par les services de l’État (CRMH).

En quatrième lieu, la reprise des données stratigraphiques sur la base de données CADoc pose déjà les bases concrètes de la nouvelle analyse du site. Si l’essentiel des fouilles conduites par le chanoine Chenesseau reste encore à intégrer, le traitement de l’ensemble des autres travaux fournit d’ores et déjà un socle solide des connaissances et de la projection des recherches.

En cinquième lieu, l’achèvement du pré-inventaire du mobilier conservé sur le site permet un premier regard critique sur les objets issus des fouilles anciennes et d’envisager une série d’analyses qui pourra débuter dès 2019. Si l’inventaire détaillé reste encore largement à parfaire – les observations réalisées en 2018 seront mises en forme dans le rapport 2019 –, il montre déjà de riches mises en perspectives tout comme la nécessité d’un déplacement du mobilier pour étude et conservation.

L’ensemble de ces premiers résultats permet d’affiner la stratégie pour les deux années de recherche à venir. Pour 2019 (année 2), le PCR se recentrera sur l’archéologie de l’édifice au travers de quatre objectifs principaux : le complément de la reprise des données des fouilles antérieures, la poursuite les travaux de relevés pour la génération d’un modèle 3D de la cathédrale, l’étude du mobilier issu des fouilles anciennes et enfin la réalisation de datations en laboratoire.

Ao tornar-se Mestre e Governador da Ordem de Cristo em 1420, o Infante D. Henrique,
encetou um processo de renovação construtiva na sede da Ordem em Tomar, abrindo um ciclo
de empreitadas que se traduziram principalmente nos paços mestrais e claustros adjacentes. A
proximidade do Infante com a Ordem que agora governava tornou indispensável a criação de
um paço para si, permitindo-lhe um maior controlo sobre a mesma. É o paço do Mestre o objeto
de estudo desta investigação.

Die Trierer Liebfrauenkirche ist für alle Epochen der Architektur-, Kunst- und Kulturgeschichte von herausragender Bedeutung. Sie steht im Mittelpunkt des Bandes, doch ist ihre Bau- und Ausstattungsgeschichte nur im europäischen Vergleich nachzuvollziehen. Der Sammelband mit 41 Autorinnen und Autoren unterschiedlicher Disziplinen beleuchtet die Geschichte des Baus in seinen vielfältigen Facetten. Hierzu zählt ebenso das umfangreiche Skulpturenprogramm, der bauplastische Schmuck, die reiche frühneuzeitliche Ausstattung, Fragen der liturgischen Nutzung sowie die rechtshistorische Stellung als Annexkirche des Doms. Fragen der frühchristlichen Vorgängerbebauung und bisher wenig beachtete Aspekte, wie die denkmalpflegerischen Eingriffe des 19. Jahrhunderts sowie die Anpassung in die liturgischen Konzepte schon vor dem zweiten Vatikanischen Konzil kommen ebenfalls zur Sprache.

In my dissertation I describe the building history of the church of the Saviour in Utrecht, Holland. The church was founded in the remains of a Roman castellum that merovingian 'maiordomus'  Pippin had transferred to the Anglo-Saxon missionary Willibrord.

Four major building phases are described. First Willibrord had rather sizeble hall church erected with a eastern annex, that was used as a burial chamber until 854. In that year the bishop of Utrecht fled from his see because of Viking threat. it was only around 924 that bishop Balderic was reinstated in Utrecht. Based on archaeological indications an outer crypta was added on the eastside during his episcopate. Bishop Ansfried had the church rebuilt on the original groundplan. The hall was divided into two. On the western side a grand 'westwerk' was erected, on the eastern part a basilical structure was built. The eastern annex was preserved.  It seems that the role of the church changed from mausoleum to episcopal palatine chapel. Around 1050 the church underwent another building phase. The ancient annex was torn down and a wide transept was erected in it's place. On the the eastern side a huge choir with crypt was built, in which the first bishops of Utrecht were venerated. The remails of these bishops had been taken out of their graves during the tearing down of the ancient eastern annex.
The church remained in this shape until it was torn down during the Reformation, in the year 1587. 
The research done for this 'paper reconstruction' of the church  had a interdisciplinary character, in which diplomatic, hagiograhical, litugical and archaeological sources wew used.

The first edition of The Sympathy of Things, published with V2_Publishing, was quickly sold out to later be published in a revised new edition with Bloomsbury: https://www.academia.edu/19435584/The_Sympathy_of_Things_Ruskin_and_the_Ecology_of_Design_2nd_ed_