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The major purposes of this study were: (1) to outline the predominant Greek and Roman architectural examples most often imitated by subsequent architects and builders, (2) to compare five Indiana Greek Revival examples of the mid-nineteenth century with the works of Benjamin Latrobe, Robert Mills, and William Strickland, and (3) to examine the lifestyles of three Hoosier men who were involved in creating and promoting the Greek Revival style in Indiana.After an introduction, Chapter II presented a brief history of the foundations of Greek and Roman architecture with a pictorial account of the major ancient structures frequently copied by New World architect-builders. Chapter III examined the three Eastern architects and their public and private buildings in picture form. Chapter IV compared the Hoosier vernacular with the three Eastern architects. Among the factors considered were the simplicity and complexity of design, similarities and dissimilarities in building materials, and technical skill of the architect-builder. Chapter V investigated the political and financial career of Michael G. Bright who worked in a Greek Revival law office in Madison, Indiana. Chapter VI focused upon Charles L. Shrewsbury, a Hoosier entrepeneur who built an elaborate Greek Revival home in Madison. Dr. Jefferson Helm, Sr., of Rushville, Indiana was the subject of Chapter VII. The final chapter was a summary of the study and a statement of several conclusions which emerged from the research.The Hoosier Greek Revival style was simple in format. Hoosier architect-builders applied the skills of their Eastern counterparts as much as possible within the framework of their technical expertise and availability of building materials. The five sites also displayed a sense of practicality on the frontier. All five structures represent a modification of the ancient models.The three men in the study came to Indiana at a time when it was beginning to flourish and all three rose to prosperity in a few years. A Greek Revival structure was a conspicuous way to declare to their constituents that they were among the elite on the frontier. At the same time they also endorsed the democratic, educational, and societal ideals which the nation's leaders wished to promote. Indiana's nineteenth-century architecture presented a microcosm of the new nation wishing to promote a new architectural style reminiscent of the ancient world.

This thesis examines French architect Eugene-Emmanuel Viollet-le-Duc (1814-1879), who combined eighteenth-century Rationalism with the historicist, anti-academic message of Romanticism, which was impelling the nineteenth-century architectural reform movement into the industrial age. Sources used include Viollet-le-Duc's architectural drawings and published works, particularly volume one of his Entretiens sur l'Architecture. The study is arranged chronologically, and it discusses his career, his restoration work, and his demands for reform of architectural education. One chapter contains a detailed analysis of his Entretiens. This thesis concludes that Viollet-le-Duc was as much a historian as he was an architect, and it notes that his hopes for reform were realized in the twentieth century.

Orientador: Edgar Salvadori De Decca / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-15T16:23:55Z (GMT). No. of bitstreams: 1 Rodrigues_AnaAparecidaVillanueva_D.pdf: 43032794 bytes, checksum: fe63c34e1c5fd9f350e99c6956055490 (MD5) Previous issue date: 2010 / Resumo: Esta tese é sobre a linguagem arquitetônica da fachada principal e o retábulo-mor da Catedral Nossa Senhora da Conceição de Campinas a partir da apuração dos processos de levantamento métrico e do seu desenho instrumental da época de sua constituição, fornecendo assim uma reconstituição da sua orientação clássica, estudando-a como fonte e documento histórico, através do seu testemunho material, tornando assim, a Catedral Nossa Senhora da Conceição de Campinas, um objeto paradigmático da arquitetura clássica da cidade dentro de um contexto brasileiro. Esta tese demonstra, portanto, como a Catedral de Campinas foi projetada dentro de preceptivas clássicas com diversas autorias, períodos e vertentes teóricas, tendo como resultado um todo único, híbrido, erudito, recriativo, exemplar, contrariando a historiografia vigente de que a arquitetura do século XIX no Brasil é uma "cópia de modelos importados" / Abstract: The present thesis studies the architecture language of the main façade and the main retable of Nossa Senhora da Conceição Cathedral, in the city of Campinas. Starting from the compilation of metric survey processes, as well as instrumental drawings pertaining to the formation period, this work provides a reconstitution of the classical tendency of such building, investigating it as a historical source and document through its material testimony, rendering the Cathedral into a paradigm of the city classical architecture within a Brazilian context. The present thesis demonstrates therefore how the Cathedral of Campinas has been designed within classical precepts, by different authors, under different periods and theoretical trends, resulting in a unique, hybrid, scholarly, re-creative, exemplary whole, and contradicting the current historiography, which considers the XIX century architecture in Brazil as a "copy of imported standards" / Doutorado / Politica, Memoria e Cidade / Doutor em História