No description available.

Inaug.-Diss.--Tübingen. / Vita. Bibliography: p. 337-344.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / "This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).

This thesis examines the construction of Anglican churches in Canada in the period between 1867 and 1914. During this period settlement and economic expansion occurred alongside new political arrangements and consciousness that involved religious observance and debate. The building of churches became an important site of architectural and cultural formation in part due to the circulation of pattern books and the development of print media. At its broadest level, this thesis assesses the influence of church building across the Confederation in the constitution of social economy and attitude, particularly around ideas of collective identity. Consequently the focus is the analysis of the effects of transatlantic and transcontinental exchanges of ideas of design taste on a representative selection of churches built over the protracted period of Confederation. To this end, the thesis examines the importation of pattern books of architecture, particularly those illustrating popular Neo-Gothic church designs from Britain and the United States. It demonstrates how print media not only influenced architects, builders and committees charged with ecclesiastical construction but also consolidated architectural practice and constrained the fashioning of an autonomous national architectural idiom. The thesis maintains a perspective of the very diversity of ethnic, cultural and political allegiance experienced across Canada that contested the apparent dominance of British imperial authority and colonial regulation. The case studies of Anglican churches re-present larger economic and socio-cultural trends subsequently contested by comparative cases of Roman Catholic, Non-Conformist and even Jewish structures that underscore the complex interchange of ideas and interests. They reveal the use of supposedly hegemonic taste in church design to register the presence of other denominations and religious groups in the formation of Canadian society. The thesis shows how debates about the design of churches in the evolving nation of Canada was integral to the ongoing definition of wider taste in architecture, to the development of local and regional economy, and to communal identity. These processes reflected the new spatial geographies and imagined maps of culture enabled by the commercial production, circulation and consumption of print media such as church pattern books.

Contrary to the view of many interpreters that Francis of Assisi (1181--1226) dabbled in church renovation for a few years following his first conversion experience in 1205, architecture remained a central preoccupation until his death in 1226. His creative practice ranged from hermitage planning to the clothing design of its occupants, from architectural legislation to the composition of psalms to be sung in the hermitage churches. Through the medieval art of memory, Francis formed his architectural intentions around two contemplative foci: first, the symbol of the tau, which became his attire, prayer position, signature, talisman for healing the sick and the crucifixion of Christ imprinted on his flesh in the stigmata; and second, the chapel of the Portiuncula, which Francis renovated himself to be the cave of the annunciation and the nativity, the womb of Mary and a portion of heaven on earth where angels descended. With its hedge-bound monastery. it became the prototype for construction among his followers. As the art of memory aimed at an ethics, so did his architecture strive to inspire communal good through narratives of compassion, voluntary penance and humility. / The Portiuncula was copied throughout the Franciscan order, but as the order grew its commitment to poverty waned. As a result, buildings began to deviate from Francis' ideals. Rather than resort to prescriptive architectural legislation, Francis addressed this dilemma through an intricately choreographed performance of his death whose poetic image would be unforgettable for those who wished to imitate him in word, deed and architecture. Two years after this event the Basilica of San Francesco in Assisi, built by his friend and hand-chosen successor, Br. Elias, rapidly rose to house the newly canonized saint. Its earliest form, narrative and symbolism, also widely imitated, seems to illustrate aptly Francis' architectural vision: if the Portiuncula was the Bethlehem of the order, the Basilica's tau plan became its Jerusalem. From these two prototypes Italian mendicant architecture for the next century drew its meaning and form.

The parish churches of Paris rebuilt between 1489 and 1590 are defined as an important group late Gothic monuments. They were each modeled after the Cathedral of Notre-Dame and given many of the same characteristics. The architectural features used in the rebuilding of the parish churches are part of a well-defined architectural vocabulary of both classical and flamboyant forms. The building histories show that the stylistic qualities of these monuments are the result of the constant application and reception of prevailing architectural ideas. The architectural arrangements and iconographic programs reveal the role of patrons; the monarchs, in particular, used the rebuilding of the parish churches to help define their own image. In this respect, the ecclesiastic architecture of the sixteenth century is reminiscent of the Court Style of Louis IX.

This thesis examines the construction of Anglican churches in Canada in the period between 1867 and 1914. During this period settlement and economic expansion occurred alongside new political arrangements and consciousness that involved religious observance and debate. The building of churches became an important site of architectural and cultural formation in part due to the circulation of pattern books and the development of print media. At its broadest level, this thesis assesses the influence of church building across the Confederation in the constitution of social economy and attitude, particularly around ideas of collective identity. Consequently the focus is the analysis of the effects of transatlantic and transcontinental exchanges of ideas of design taste on a representative selection of churches built over the protracted period of Confederation. To this end, the thesis examines the importation of pattern books of architecture, particularly those illustrating popular Neo-Gothic church designs from Britain and the United States. It demonstrates how print media not only influenced architects, builders and committees charged with ecclesiastical construction but also consolidated architectural practice and constrained the fashioning of an autonomous national architectural idiom. The thesis maintains a perspective of the very diversity of ethnic, cultural and political allegiance experienced across Canada that contested the apparent dominance of British imperial authority and colonial regulation. The case studies of Anglican churches re-present larger economic and socio-cultural trends subsequently contested by comparative cases of Roman Catholic, Non-Conformist and even Jewish structures that underscore the complex interchange of ideas and interests. They reveal the use of supposedly hegemonic taste in church design to register the presence of other denominations and religious groups in the formation of Canadian society. The thesis shows how debates about the design of churches in the evolving nation of Canada was integral to the ongoing definition of wider taste in architecture, to the development of local and regional economy, and to communal identity. These processes reflected the new spatial geographies and imagined maps of culture enabled by the commercial production, circulation and consumption of print media such as church pattern books.

Thesis (B. Arch.)--Roger Williams University, 2007. / Typescript. Includes bibliographical references. Also available online via Digital Commons @ RWU.

Univ., Diss.--München, 2003.

Thesis (M.A.)--Cincinnati Bible College & Seminary, 1990. / Abstract. Bibliography: leaf 103.