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.

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.

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. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Entre 1528, date à laquelle François Ier promit à la municipalité parisienne le retour de la cour après plus d'un siècle d'exil dans le Val de Loire, et 1589, année de la mort de Henri III et du début du siège, l'industrie de la broderie connut un grand essor à Paris. Le luxe entretenu au sein de l'entourage royal permet d'expliquer la prospérité des ateliers des brodeurs de la capitale durant cette période. À partir de l'analyse de documents notariaux, judiciaires et comptables, et de l'examen approfondi des textiles conservés, cette thèse propose d'examiner le rôle joué par Paris dans la production et le commerce de broderies au XVIe siècle. Elle s'articule autour de trois axes. Le premier est consacré à l'étude du groupe des brodeurs royaux dont on a cherché à définir la nature des privilèges et des devoirs, le mode de recrutement et la place au sein de la cour. Le second vise à préciser les cadres d'exercice du métier à Paris et la manière dont s'organisaient les collaborations entre les brodeurs de cour et ceux de la ville à l'occasion des grands chantiers royaux. Enfin, un troisième axe est dédié à l'étude de la production parisienne dans toute sa diversité (ornements liturgiques, vêtements civils et militaires, broderies d'ameublement et de petits objets). Les indications fournies par les sources écrites sont confrontées aux pièces conservées pour tenter de reconstituer les processus de création, une attention particulière étant portée au rôle des peintres et, plus généralement, à la question des modèles dessinés et gravés. Ce travail a conduit à identifier un premier corpus d'œuvres qu'il est possible d'attribuer avec vraisemblance aux ateliers de la capitale. / Between 1528, when King Francis I of France announced that, after having been set in the Loire Valley for more than 100 years, the Court would be returning to Paris, and 1589, when King Henry III died and the « siège de Paris » begun, the embroidery industry expanded greatly. The luxury in which the Royal Family lived contributed to the prosperity of Parisian workshops. Nevertheless, Art History hasn’t yet explored the subject of 16th Century French embroidery in depth. Through an analysis of archival documents (notarial archives, court and accounting records), this research examines the role of Paris in the embroidery production and trade at that time. This study is developed around three axes. The first one explores the status of court embroiderers. The archival documents enable us to estimate their number and to determine which privileges, duties and benefits were associated with their work. The second axis focuses on the organization of the embroiderer's Guild in Paris and on the way collaborations were established between court embroiderers and the guild in order to support Royal commissions. Finally, the third axis deals with the Parisian production in all its diversity (ecclesiastical textiles, court and military costumes, furnishing, etc.). Information gathered in archival documents help us define the characteristics of Parisian embroideries, the process of creation of these objects, the role of painters and workshop practices. They are put in parallel with surviving textiles in order to elaborate a more complete picture of the art of Parisian embroiderers of the Sixteenth Century and to determine the techniques and materials used at the time in workshops.

Thesis (Ph.D.)--University of Delaware, 2008. / Principal faculty advisor: Bernard L. Herman, Dept. of Art History. Includes bibliographical references.