Relevant bibliographies by topics / Cathedrals – Europe

Academic literature on the topic 'Cathedrals – Europe'

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Published: 26 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Cathedrals – Europe"

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Ozola, Silvija. "The Evolution of Cathedral Planning on the Baltic Sea Southern Cast during the 13th – 14th Centuries in Context of European Building Traditions." Landscape architecture and art 14 (July 16, 2019): 45–58. http://dx.doi.org/10.22616/j.landarchart.2019.14.04.

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In Rome, Emperor Constantin I started to build the most ancient cathedral – the five-nave Archbasilica of St. John in Lateran, but the Lateran Palace was given as a present to Bishop of Rome for his residence. Perimeter building blocks set up the building complex. In Europe, during the 6th–9th centuries numerous rulers proclaimed Christianity as the only religion in the country. The Church strengthened its impact on the society and governmental administration. In Rome, like in Jerusalem, a religious centre was created, but in the middle of the 8th century, a city-state Vatican was founded, and on one of hills, the Pope’s residence was placed. Christians organized structures governed by Bishops and founded Catholic church-states – bishoprics. In the late 12th century, subjugation of the lands populated by the Balts and the Finno-Ugric tribes began. Bishoprics and cult centres were founded, and residences for Bishops and Canonical Chapters were envisaged. The bishopric main building was the cathedral. In Europe during lots of centuries evolution of the cathedral building-type happened. In the Balts and Finno-Ugric lands cathedrals were affected by local building traditions. The origins of the Riga Cathedral (Latvian: Rīgas Doms) can be found in 1201–1202, when the bishopric centre from Üxküll was moved to the newly-founded Riga, where the Bishop’s residence was built on a geopolitically and strategically convenient place. The most important centres to look for inspirations were Braunschweig, Westfalen, Köln, Lübeck, Ratzeburg, Bremen, Hamburg. Research problem: interpretations of sacral building typology and terminology application cause difficulties in the research of historical building plans. Research topicality: evolution of the cathedral building-type and impact of cathedral building complexes on formation and planning of medieval urban structures during the 13th and 14th century. Goal of the research: analyse planning of historical structure in urban centres of bishoprics to determine significance of cathedrals as architectural dominances in spatial composition of towns. Research novelty: this research is based on Latvian historians and archaeologists’ former studies. Nevertheless, opportunities provided by the analysis of urban planning and cartographic materials have been used, and created building due to local construction traditions has been assessed in the European context. Results: study of architecture, layout formation and structure of cathedrals on the southern Baltic Seacoast lands during the 13th and 14th centuries. Main methods applied: this study is based on research and analysis of archive documents, projects and cartographic materials of urban planning, as well as study of published literature and inspection of buildings in nature.
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Даудова, Ф. Х. "SECRETS OF MEDIEVAL CATHEDRALS." Вестник ГГНТУ. Технические науки, no. 2(20) (June 29, 2020): 53–60. http://dx.doi.org/10.34708/gstou.2020.60.51.004.

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Готические соборы Европы - творения средневековых зодчих, которые хранят давние тайны. Как с помощью примитивных инструментов их построили такими высокими? Какими принципами руководствовались их строители? Могут ли современные технологии раскрыть все то, благодаря чему эти колоссы до сих пор не обрушились? The Gothic cathedrals of Europe are the creations of medieval architects who keep ancient secrets. How did they build them so high with primitive tools? What principles guided their builders? Can modern technology reveal all the things that have kept these colossi from collapsing?
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Ozola, Silvija. "The Development of the Catholic Cathedral Building-type at Bishoprics’ Towns on the Baltic Sea Southern Coast during the 13th – 14th Centuries." Landscape architecture and art 14 (July 16, 2019): 24–44. http://dx.doi.org/10.22616/j.landarchart.2019.14.03.

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The oldest Catholic cathedral is the five-nave Archbasilica of St. John in Lateran erected in Rome, but the Lateran Palace (Latin: Palatium Apostolicum Lateranense) was given as a present to Bishop (Latin: episcopus) of Rome for his residence (from 4th until 14th cent.). The perimeter building set up the structural complex of L-shaped layout where the Lateran Castle and the Archbasilica were included. In Western Europe largest cities were also archbishoprics’ centres, in which neighbourhood Catholic church-states, or bishoprics were founded. Local conditions and relationships between the ruler and inhabitants determined the development of Christianity centres. Its main structural objects included in the fortified building complex were the Catholic cathedral which altarpiece (Latin: presbyterium) by the main altar was turned toward the east facing the rising sun, headquarters of the Canonical Chapter (German: Domkapitel) and Bishop's strong fortified residence resembled a lower tower, or a palace separated from the town, or built outside the town. In the late 12th century, bishoprics began to establish on the Baltic Sea southern coast at subjugated lands of the Balts and the Baltic Finns. At bishoprics’ centres Bishops’ fortified yards (German: der Bischofshof) were formed. A housing combined with a sacral structure was included in the perimeter building around the spacious court and integrated into the unified defensive system of the structural complex. In Riga, the Germans established centres of secular and spiritual power, as well as the main military economic base for the Baltics’ expansion. The political and economic dualism was created. The representation of civil authority became the third alternative force. Each of centres characterized by its own structural elements. The main cult building for city inhabitants was the church of citizen’s parish. Research problem: the development of the Catholic cathedral building-type in bishoprics’ towns on the southern bank of the Baltic Sea during the 13th – 14th centuries has been studied insufficiently. Research topicality: the impact of cathedral building complexes on formation of medieval urban structures on the Baltic Sea south coastal lands during the 13th – 14th centuries. Research goal: analysis of the structure and layout of Catholic cathedrals in Livonia and the Prussians’ lands to determine common and diverse features. Research novelty: evolution of the layout and structure of Catholic cathedrals on lands inhabited by the Baltic ethnic groups have been analysed in regional and European context. Results: study formation of the Catholic cathedrals’ layout and structure on the Baltic Sea south coastal lands during the 13th – 14th centuries. Main methods: inspection of cathedrals in nature, analysis of archive documents, projects, cartographic materials.
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Reilly, Lisa. "Cathedrals of Europe. Anne Prache , Ian West , Alayne Pullen." Speculum 77, no. 2 (April 2002): 627–28. http://dx.doi.org/10.2307/3301419.

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Nickson, Tom. "The Alfonso X’s patronage of Gothic architecture." Revista de Poética Medieval 35 (November 30, 2021): 197–224. http://dx.doi.org/10.37536/rpm.2021.35.35.88793.

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This article examines the architectural patronage of King Alfonso X and the notion of a ‘Court Style’ in thirteenth-century Gothic architecture. Following brief consideration of problems of evidence, I briefly sketch common characteristics of the architectural patronage of Alfonso’s royal rivals and allies across Europe and the Iberian Peninsula. This prompts reassessment of the king’s relationships with mendicant and Cistercian orders, and then detailed consideration of his financial contributions to the cathedrals of Toledo, Burgos and León. Although royal heraldry and imagery is prominent in all three cathedrals, I argue that Alfonso probably did not play a significant role in promoting rayonnant architecture in his kingdom. The most distinctive feature of his patronage lies in his support for work on the converted mosque-cathedrals of Seville and especially Córdoba. Finally, I consider a number of projects associated with Alfonso in Seville, notably the Gothic palace in the Alcázar.
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Muendel, John. "Technology and Resource Use in Medieval Europe: Cathedrals, Mills, and Mines." Technology and Culture 40, no. 3 (1999): 659–60. http://dx.doi.org/10.1353/tech.1999.0138.

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Skinner, Robin. "Drawing from an Indigenous Tradition? George Gilbert Scott’s First Design for Christchurch Cathedral, 1861-62." Architectural History 53 (2010): 245–70. http://dx.doi.org/10.1017/s0066622x00003932.

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In 1861 Scott designed an innovative hybrid for Christchurch Cathedral, New Zealand, combining a stone exterior with an independent wooden interior, at once expression of the primitive ruggedness of what he imagined to be the Maori wood tradition and an experimental response for this earthquake-prone colony.Commissioning George Gilbert Scott (1811-78) to design a cathedral for the relatively new settlement at Christchurch, in the province of Canterbury, New Zealand, was an ambitious undertaking by a predominantly Anglican community that had been established only eleven years earlier. The cathedral, which was constructed between late 1864 and 1904, was a conventional stone building, designed by Scott and executed locally by B. W. Mountfort. However, in an unusually experimental move, Scott had earlier proposed a structure that incorporated a stone exterior with an interior frame made of a series of high piers of New Zealand native timber, each almost 50 feet tall. The dramatic interior of this proposal referenced a wide variety of timber- and church-building traditions; had it been constructed, its tall wooden structure would have been ‘unique amongst colonial cathedrals’. After examining previously discussed sources for his design, this paper speculates upon further influences, testing — in particular — Barry Bergdoll’s assertion that the design was an expression of the ‘primitive ruggedness’ that Scott imagined derived from Maori work in wood, examples of which had been known in Europe since the 1770s.
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Esser, Raingard, and Andrea Strübind. "Between the Altar and the Pulpit: The (New?) Materiality of the Spiritual." Entangled Religions 7 (July 27, 2018): 0–136. http://dx.doi.org/10.46586/er.v7.2018.0-136.

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This special issue is based on papers presented at the international conference “Zwischen Kanzel und Altar. Die (neue) Materialität des Spirituellen” held at the Johannes a Lasco Bibliothek, Emden in April 2016. Continuity and change in church interiors were key concepts addressed at the conference. The studies presented here analyse the impact of confessional change on church interiors and intentionally move away from the cathedrals and parish churches in the political and religious centres of early modern Europe.
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Esser, Raingard, and Andrea Strübind. "Between the Altar and the Pulpit: The (New?) Materiality of the Spiritual." Entangled Religions 7 (July 27, 2018): 2–13. http://dx.doi.org/10.46586/er.v7.2018.2-13.

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The special issue is based on papers presented at the international conference “Zwischen Kanzel und Altar. Die (neue) Materialität des Spirituellen” held at the Johannes a Lasco Bibliothek, Emden in April 2016. Continuity and change in church interiors were key concepts addressed at the conference. The studies presented here analyse the impact of confessional change on church interiors and intentionally move away from the cathedrals and parish churches in the political and religious centres of early modern Europe.
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Colleoni, Paola. "A Gothic Vision: James Goold, William Wardell and the Building of St Patrick’s Cathedral, Melbourne, 1850–97." Architectural History 65 (2022): 227–60. http://dx.doi.org/10.1017/arh.2022.11.

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ABSTRACTSt Patrick’s Cathedral in Melbourne is among the largest Gothic revival churches built in the nineteenth century, matching in size the medieval cathedrals that inspired its design. The history of the commission reveals the role played by the first Roman Catholic bishop of Melbourne, James Alipius Goold, who was acquainted with A. W. N. Pugin’s theories of the Gothic revival and who promoted the construction of churches true to Pugin’s principles. After two failed attempts at smaller structures, and in the wake of the gold rush in Victoria, Goold in 1858 commissioned the newly arrived architect William Wilkinson Wardell to design a cathedral of unprecedented monumental proportions. Wardell’s design, rooted in an archaeologically correct approach to medieval precedent, was widely praised by colonial society, which favoured massive buildings reminiscent of those found in Europe. Furthermore, with its French-inspired apse and radiating chapels, St Patrick’s highlighted a connection to Catholic religious tradition particularly resonant for its largely Irish congregation. The design stands apart from High Victorian developments in the Gothic revival seen in England in the 1850s, as colonial patrons favoured a more conservative approach. St Patrick’s exemplifies several of the trends that influenced the revival of Gothic architecture in the Australian colonies, while also representing the desire of the Catholic Church to establish its position throughout the wider British empire.
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Dissertations / Theses on the topic "Cathedrals – Europe"

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Tucker, Joanna. "A new approach to medieval cartularies : understanding manuscript growth in AUL SCA MS JB 1/3 (Glasgow Cathedral's Registrum Vetus) and the Cartulary of Lindores Abbey in Caprington Castle." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8466/.

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Medieval cartularies have been the focus of many studies in the past few decades. Rather than simply repositories for charter texts, cartularies are now regarded by those who study them as carefully curated collections of texts whose contents and arrangement reflect the immediate concerns and archival environment of the communities that created them. One feature of cartularies which has not received attention is the ‘growth’ of their manuscripts beyond the initial phase of creation. This growth refers not only to the addition of fresh gatherings but also to the piecemeal addition of texts into the available spaces, often in a haphazard order and by many scribes working across a number of decades. ‘Manuscript growth’ is not an uncommon feature of cartularies from the central middle ages, particularly from the thirteenth century onwards. As a phenomenon, however, it has not been recognised or studied, for the good reason that it is difficult to discuss haphazard manuscript growth in a systematic way. This thesis offers a new methodology which engages with multi-scribe contributions to ‘active’ cartularies. It takes a holistic approach which integrates the textual and ‘physical’ evidence of cartularies, and embraces all forms of scribal activity. By studying the growth of cartulary manuscripts, we can gain significant insights into the contemporary use and perception of these valuable objects. This thesis therefore takes a fresh look at the ‘genre’ of medieval cartularies through the eyes of the manuscript evidence itself, and what this can reveal about its medieval scribes and readers. Two manuscripts are taken as the basis of this study: the older cartulary of Glasgow Cathedral (AUL SCA MS JB 1/3) and the older cartulary of Lindores Abbey (in private ownership in Caprington Castle). Chapter 1 introduces the field of cartulary studies, with reference to new work in this area (particularly in relation to cartularies in France and England). Central questions in this field are introduced, such as the definition of a cartulary, their creation and function. It also discusses approaches to analysing complex codices and multi-scribe activity within other manuscript genres. In Chapter 2, a new methodology will be introduced for analysing manuscript growth. This involves rethinking our approach to some familiar elements of manuscripts: their codicology, binding history, the scribes, as well as the challenge of dating the various contributions to the cartularies. New concepts and terminology will be introduced (such as ‘relative dating’ and ‘series’) that have been developed in response to these two complex cartularies. By applying this new methodology, the creation and subsequent growth of each manuscript can be examined in detail in Chapter 3 (for Glasgow Cathedral’s cartulary) and Chapter 4 (for Lindores Abbey’s). It is shown that the contemporary experience of these two cartularies was as a collection of simultaneously ‘active’ units (either unbound or in temporary bindings), offering new scribes a choice of where to place their material. Chapter 5 draws together the analysis, and focuses on the initial creation of the cartularies, the nature of their growth by piecemeal additions, and the reasons for this growth. This reveals two communities that took an active approach to reading and extending their cartularies, treating these manuscripts as a shared space. The vexed question of ‘repeated’ texts within cartularies is reconsidered in this light. The analysis allows us to develop a deeper understanding of the cartularies’ function and the role of their scribes as primarily readers, whose interactions with the manuscript were responsive and dynamic. The institutional setting is also discussed. The thesis concludes by considering the implications of this study for our understanding of the function and typology of cartularies, their relationship to archives of single-sheet documents, and as sources for institutional identity, as well as the potential of the methodology to act as a starting point for studying scribal interactions and scribes as readers in other manuscript genres with multi-scribe growth.
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Sandoval, Elizabeth Marie. "A Material Sign of Self: The Book as Metaphor and Representation in Fifteenth-Century Northern European Art." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531875789992912.

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Cobb, Morgan B. "Sex, Chastity, and Political Power in Medieval and Early Renaissance Representations of the Ermine." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458578117.

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Slavin, Philip. "Feeding the Brethren: Grain Provisioning of Norwich Cathedral Priory, c. 1280-1370." Thesis, 2008. http://hdl.handle.net/1807/17285.

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The present dissertation attempts to follow and analyze each and every individual stage of food provisioning of a late medieval monastic community. Chapter One is an introductory survey, describing the topic, its status quaestionis, problems and methodology. Chapter Two establishes the geography of crops in the rural hinterland of Norwich, with each manor specializing in different crop. A close analysis of the crop geography partially supports the Von Thünen thesis. Chapter Three looks at the agricultural trends of the demesnes. Roughly speaking, the period between c. 1290 and 1370 was a history of wheat’s expansion at the expense of rye, on the one hand, and legume shrinkage at the expense of grazing land. Chapter Four discusses annual grain acquisition, its components and disposal. It shows that about eighty per cent of the total supply derived from harvest, while the remainder came in form of tithes, grants and purchases. Chapter Five deals with the human and equine interaction. The bovine population was certainly dominant, but the draught horses easily outnumbered the oxen. Each year,the Priory authorities saved a great deal of money, because of (virtually) free customary carting service. Chapter Six explores the space for storing and processing of the annual grain supply. The five adjacent buildings, namely the Great Granary, brewery, bakery, mill and staples, allowed most effective cooperation between dozens of Priory labourers working in victual departments, on the one hand, and decreased transportation costs. Chapter Seven attempts to establish the relation between the Priory population, its annual grain supply and demand. Conversion of the grain into approximate calorific and financial equivalent reveals that the supply must have exceeded the demand. Chapter Eight is deals with the actual consumption of the grain supply. As far as Norwich monks are concerned, their annual bread and ale supply has certainly exceeded their normal requirements and there is no hint about selling the surplus. Joining the bread and ale accounts with those of the cellar, we arrive at astonishing calorific figures. Chapter Nine discusses the charity activities of Norwich Priory, particularly connected to the distribution of bread and ale among the needy. There were three distinctive groups: hermits, prisoners and paupers. According to almoner’s accounts, the Priory allocated generous sums of loaves and ale to the paupers.
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Farré, Torras Begoña. "The Medieval in Modernism: Cathedrals, Stained Glass, and Constructive Painting in Joaquín Torres-García and in the European Avant-garde." Doctoral thesis, 2020. http://hdl.handle.net/10362/97996.

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This thesis examines modernist attitudes towards the past generally and towards the medieval past in particular, by exploring the significance of gothic architecture and stained glass to the constructive pictorial enquiries of Joaquín Torres-García, František Kupka, Robert Delaunay, Otto Freundlich, Piet Mondrian, Theo van Doesburg and Josef Albers. Torres-García is taken as a case study given that his painted and written work shows an actual engagement with the medieval that has hitherto gone largely unnoticed. The discussion thus traces Torres-García's complex and changing relationship with the gothic over time, and examines its place in his constructive pictorial practice. Close attention is given to two particular periods in Torres-García's career. Firstly, his transition from Noucentisme to the avant-garde in the mid-1910s in Barcelona, coinciding with his involvement in a stained glass project for a public building. This period is examined under the light of prevalent attitudes towards the medieval in classicist noucentista Barcelona, which are inferred through a comprehensive survey of local modernist magazines. A second period of interest is Torres-García's late-1920s formulation of Constructive Universalism, the distinct primitive-constructive idiom he characterised as "the style of a cathedral," coinciding with a time when he was closely associated with three of the artists also under study here, van Doesburg, Freundlich and Mondrian. The discussion on these, as well as on Kupka, Delaunay and Albers, takes into consideration that, unlike Torres-García, they all developed their practice within a cultural context that celebrated the gothic. Their rapport with the gothic is analysed, when relevant, in the light of Worringer's theories on the subject. Additionally, several of these artists' interest in the pictorial constructive was concomitant with research into the sensorial properties of colour fragmentation and interaction. This area of pictorial enquiry, in which the study of stained glass proved especially useful, is also explored in the relevant cases. The focus on the constructive as a common denominator to the practice of all these artists, and a common motivator of their engagement with the cathedral, implies a largely formal approach to the issue at hand. This, nevertheless, takes into consideration that these artists' rapport with the gothic was mediated by contemporary discourses surrounding the Middle Ages and their legacy. As such, the analysis necessarily considers the ideological factors (political leanings, identitary issues, religious backgrounds) that came into play in each artist's relationship with the medieval. This, ultimately, serves to address the problem of how these forward-looking artists found a legitimate place in their modernist practice for references sourced in the medieval past.
A presente tese explora as atitudes do modernismo em relação com o passado em geral e o passado medieval em particular, por meio de uma análise da relevância da arquitetura e do vitral góticos nas pesquisas pictóricas construtivas de Joaquín Torres-García, František Kupka, Robert Delaunay, Otto Freundlich, Piet Mondrian, Theo van Doesburg e Josef Albers. Torres-García constitui o caso de estudo da tese uma vez que a sua obra pictórica e teórica evidencia um diálogo com o medieval que até a data passou largamente desapercebido. O estudo traça portanto a complexa e variável relação que Torres-García estabelece com o gótico ao longo do tempo, e examina o lugar deste referente na sua prática pictórica construtiva. Dois períodos concretos da carreira de Torres-García merecem particular atenção. Em primeiro lugar, a sua transição do Noucentisme para a vanguarda, em meados da década de 1910 em Barcelona, que coincide com o seu envolvimento num projeto de vitral para um edifício público. Este período é analisado à luz das atitudes predominantes em relação ao medieval no ambiente classicista noucentista de Barcelona, atitudes estas que são inferidas a partir de uma análise abrangente da sua expressão nas revistas modernistas da cidade. Um segundo período de interesse situa-se nos finais da década de 1920, quando Torres-García formula o Universalismo Construtivo, a sua singular linguagem primitiva-construtiva que ele próprio caracteriza como "um estilo de catedral", num momento em trabalha em estreita associação com três dos artistas objeto de estudo desta tese: van Doesburg, Freundlich e Mondrian. A discussão acerca da obra destes três artistas, bem como a de Kupka, Delaunay e Albers, leva em consideração que, ao contrário de Torres-García, todos eles desenvolveram a sua prática num contexto cultural que celebrava o legado gótico. A sua relação com o gótico é examinada, segundo o caso, à luz das teorias de Wilhelm Worringer sobre a arquitetura medieval. Em alguns dos artistas aqui contemplados, ao interesse pela dimensão construtiva da pintura acrescia a pesquisa sobre as propriedades sensoriais da fragmentação e a interação da cor. Esta área de pesquisa pictórica, em que o estudo do vitral se revelou particularmente fecundo, é também explorada aqui para os casos pertinentes.
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YOUNG, Lorna. "Building blocs? or 'cathedrals' in the air... : a legal analysis of title VII TEU, including historical overview, with a view to 'operationalising' the provisions." Doctoral thesis, 2000. http://hdl.handle.net/1814/5617.

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Books on the topic "Cathedrals – Europe"

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Prache, Anne. Cathedrals of Europe. Antwerp: Mercatorfonds, 1999.

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Boto Varela, Gerardo, and Justin E. A. Kroesen, eds. Romanesque Cathedrals in Mediterranean Europe. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109561.

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Pasierb, Janusz St. Katedra, symbol Europy =: La cathédrale Europe. Pelplin: Bernardinum, 2003.

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Brunetti, Markus. Markus Brunetti: Facades : cathedrals, churches, cloisters in Europe. [Germany]: Markus Brunetti, 2016.

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Smith, Elizabeth Bradford, and Michael Wolfe. Technology and Resource Use in Medieval Europe: Cathedrals, Mills, and Mines. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315241661.

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Bradford, Smith Elizabeth, and Wolfe Michael, eds. Technology and resource use in medieval Europe: Cathedrals, mills, and mines. Aldershot, Hampshire, Great Britain: Ashgate, 1997.

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Philip, Ball. Universe of Stone. New York: HarperCollins, 2008.

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Chacón Gómez-Monedero, Ma, Francisco A. and Manuel J. Salamanca López. La catedral: Símbolo del renacer de Europa. Cuenca: Alderabán, 2010.

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Santolaria, Miguel Angel Baldellou. Catedrales de Europa. Madrid: Espasa Calpe, 1995.

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Martin, Kroker, and Pesch Alexandra 1965-, eds. Der Dom zu Münster: 793, 1945, 1993. Mainz am Rhein: P. von Zabern, 2004.

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Book chapters on the topic "Cathedrals – Europe"

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Boto Varela, Gerardo, and Justin E. A. Kroesen. "Romanesque Cathedrals in Mediterranean Europe: Balance and Perspectives." In Romanesque Cathedrals in Mediterranean Europe, 1–6. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109562.

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Brenk, Beat. "The Cathedrals of Early Medieval Italy: The Impact of the Cult of the Saints and the Liturgy on Italian Cathedrals from 300 to 1200." In Romanesque Cathedrals in Mediterranean Europe, 9–27. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109563.

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Caillet, Jean-Pierre. "French Cathedrals around the Year 1000: Forms and Functions, Antecedents, and Future." In Romanesque Cathedrals in Mediterranean Europe, 29–44. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109564.

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Untermann, Matthias. "Between ‘Church Families’ and Monumental Architecture: German Eleventh-Century Cathedrals and Mediterranean Traditions." In Romanesque Cathedrals in Mediterranean Europe, 47–70. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109565.

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Cortelazzo, Mauro, and Renato Perinetti. "Aosta Cathedral from Bishop Anselm’s Project to the Romanesque Church, 998-1200." In Romanesque Cathedrals in Mediterranean Europe, 71–83. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109566.

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Boto Varela, Gerardo. "Inter primas Hispaniarum urbes, Tarraconensis sedis insignissima: Morphogenesis and Spatial Organization of Tarragona Cathedral (1150-1225)." In Romanesque Cathedrals in Mediterranean Europe, 85–105. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109567.

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Cazes, Quitterie. "The Cathedral of Toulouse (1070-1120): An Ecclesiastical, Political, and Artistic Manifesto." In Romanesque Cathedrals in Mediterranean Europe, 109–17. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109568.

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Lomartire, Saverio. "The Renovation of Northern Italian Cathedrals during the Eleventh and Twelfth Centuries: The State of Current Research and Some Unanswered Questions." In Romanesque Cathedrals in Mediterranean Europe, 119–37. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109569.

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Barral i Altet, Xavier. "Medieval Cathedral Architecture as an Episcopal Instrument of Ideology and Urban Policy: The Example of Venice." In Romanesque Cathedrals in Mediterranean Europe, 139–51. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109570.

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Rodrigues, Jorge [Manuel de Oliveira]. "The Portuguese Cathedrals and the Birth of a Kingdom: Braga, Oporto, Coimbra, and the Historical Arrival at Lisbon - Capital City and Shrine of St Vincent." In Romanesque Cathedrals in Mediterranean Europe, 169–83. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109571.

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Conference papers on the topic "Cathedrals – Europe"

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Ozola, Silvija. "SPATIAL AND ARTISTIC DEVELOPMENT OF THE HANSEATIC CITIES ON THE BALTIC SEACOAST IN THE 13TH AND 14TH CENTURIES." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs09.14.

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The Roman Catholic Church had a special influence. During the economic and cultural upswing, an abbey built in Cluny became a sample in the church building during the 9th�11th century. Various trends in the cathedral building existed in different regions of Western Europe. On the Baltic Sea coast, the Pope of Rome and the Holy Roman Emperor started to spread the Catholic faith by the mid-12th century. In cities, cathedrals took the leading position and replaced monastery churches in the 13th century. The commercial importance of the trading centre of Lubeck increased when it joined with Hamburg in 1241 to form the nucleus of the Hanseatic League. Churches for citizenship Catholic parishes became architectural dominates in Hanseatic cities. An important trade city of Riga became the main economic base of the Teutonic Order and the Riga Archbishopric Centre, where urban space developed. Research object: urban space of the 13th and 14th centuries in Hanseatic cities. Research problem: sacral buildings changed urban aesthetics and the development of cities� planning; the spatial and artistic quality of Hanseatic cities had been sufficiently studied to preserve their identity during the development of the contemporary urban environment. Novelty: analysis of common and distinctive artistic features in European and Latvian Hanseatic cities in the 13th and 14th centuries. Research goal: analyse the impact of churches on the development of cities in the 13th and 14th centuries. Methods: analysis of archive documents, cartographic materials, studies of published literature, an inspection of churches in nature, photo fixation.
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Leserri, Massimo, Gabriele Rossi, Merwan Chaverra Suárez, and Sergio Gómez Mejía. "Vernacular Features in Eclectic Architecture from the Tropics. An Analysis by means of Architectural Survey." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15639.

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This study is focused on vernacular features from eclectic architecture from the Colombian tropics, particularly on the San Jeronimo de Monteria Cathedral, one of the most important architectural symbols from this Colombian city. During the 19th and early 20th centuries, architecture in Europe and America was characterized by a resumption of historical styles, generally called ‘revivals’, and the blend of these, ‘eclecticism’. Montería was no stranger to this situation, also assisted by national and international migrations into the territory and the adaptation of local vernacular techniques. This cathedral is explored as an example where elements from vernacular tradition are recognized, which guaranteed the operation of foreign models, especially in the bioclimatic functioning of this tropical region.
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Himi, M., V. Pérez, O. Caselles, J. Clapes, L. Rivero, and A. Casas. "Urban Archaeophysics - The Case of Three Cathedrals." In Near Surface Geoscience 2016 - 22nd European Meeting of Environmental and Engineering Geophysics. Netherlands: EAGE Publications BV, 2016. http://dx.doi.org/10.3997/2214-4609.201602011.

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Müller, Matthias. "Managing the open cathedral." In ESEC/FSE '19: 27th ACM Joint European Software Engineering Conference and Symposium on the Foundations of Software Engineering. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3338906.3341461.

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Fredrich, Augustine J. "From Colosseum to Cathedral: Building Big in the European Dark Ages." In World Environmental and Water Resources Congress 2008. Reston, VA: American Society of Civil Engineers, 2008. http://dx.doi.org/10.1061/40976(316)142.

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Cosentino, P. L., A. Casas, P. Capizzi, Y. Diaz, G. Fiandaca, E. Garcia, M. Himi, R. Martorana, and R. Sala. "Integrated Geophysical Surveys in the Tarragona Cathedral." In Near Surface 2009 - 15th EAGE European Meeting of Environmental and Engineering Geophysics. European Association of Geoscientists & Engineers, 2009. http://dx.doi.org/10.3997/2214-4609.20146991.

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Arosio, D., A. Hojat, S. Munda, and L. Zanzi. "High-Frequency GPR Investigations in Saint Vigilius Cathedral, Trento." In 24th European Meeting of Environmental and Engineering Geophysics. Netherlands: EAGE Publications BV, 2018. http://dx.doi.org/10.3997/2214-4609.201802545.

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Raimondi, V., G. Cecchi, L. Pantani, B. Sundnér, P. Weibring, Th Johansson, H. Edner, and S. Svanberg. "Fluorescence lidar imaging of building monuments for remote assessment of algal and lichen growth." In The European Conference on Lasers and Electro-Optics. Washington, D.C.: Optica Publishing Group, 1998. http://dx.doi.org/10.1364/cleo_europe.1998.ctui79.

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Remote fluorescence monitoring of the stone facades of historical monuments may provide valuable information in connection with damage assessment and restoration planning, since no scaffolding is needed and large areas can be covered in comparatively short times1. We report on first imaging measurements of this kind using a scanning fluorescence lidar system placed at about 50 m distance from the Lund Cathedral, the oldest part of which dates back to the 11th century.
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Yakymchuk, N. A., S. P. Levashov, I. N. Korchagin, J. M. Pyschaniy, and J. N. Yakymchuk. "Geophysical Investigations on the Sophia Kyivska Cathedral Territory in Kyiv." In Near Surface 2004 - 10th EAGE European Meeting of Environmental and Engineering Geophysics. European Association of Geoscientists & Engineers, 2004. http://dx.doi.org/10.3997/2214-4609-pdb.10.p033.

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Chavez, R. E., G. Cifuentes, A. Tejero, and J. E. Hernandez. "3D Electrical Resistivity Image of the Morelia City Cathedral Subsoil." In Near Surface Geoscience 2016 - 22nd European Meeting of Environmental and Engineering Geophysics. Netherlands: EAGE Publications BV, 2016. http://dx.doi.org/10.3997/2214-4609.201602030.

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