Livres sur le sujet « Thann. Cathedral »

This chapter is a cultural study of St Paul’s Cathedral precinct in the late sixteenth and early seventeenth centuries. It discusses the physical properties of Paul’s, including the nave, Paul’s Cross pulpit, the bookshops in the churchyard, and the many and varied uses and occupations of the precinct and church, including sermons, secular business practices, and criminal activity. While recent scholarship has attended to various discreet spaces in and around the cathedral, this chapter discusses the religious and secular space and activities as mutually constitutive rather than distinct. Influenced by studies of cultural geography, the chapter investigates the role of the cathedral precinct in constructing the identity of the early modern Londoner through a discussion of the effects that geographical space has on human behaviour.

More often than not, the blitz was represented by bombed churches. Images of St Paul’s Cathedral soaring above smoke and, in a more tragic key, the ruins of St Michael’s Cathedral in Coventry encapsulate the values that Britons thought they were fighting for in the Second World War. John Piper, Cecil Beaton, Hanslip Fletcher, and other visual artists, many of them employed by the War Artists’ Advisory Committee (WAAC), expressed their ideas about British heritage through paintings, drawings, and photographs of church architecture. At the same time, writers such as Virginia Woolf, John Strachey, John Betjeman, and Louis MacNeice modulated their patriotism—with quibbles and caveats—into ‘a faith to fight for’. Drawing on poetry, novels, tracts, newspaper articles, and visual culture, this chapter demonstrates the propagandistic value of bombed churches during the Second World War, then flashes forward to the consecration of the rebuilt cathedral in Coventry, which opened with great fanfare and an arts festival in May 1962.

A few years after the humanist dream of a revivified Empire had put down roots in Padua, a parallel strain of imperialist thought was germinating in Verona. There in the shadow of the cathedral library, a small group of like-minded figures were attempting to revive classical culture more through the study of history and philology than through stylistic imitation. Like their Paduan contemporaries, they were deeply troubled by the condition of their times, and lamented the emergence of factionalism and tyranny. They, too, longed for peace and liberty, and saw the Empire as their best hope. But as this chapter shows, they were more concerned with the fate of humanity as a whole than with that of a single city; and rather than relying on the letter of feudal law, they instead founded their imperialism on a deep appreciation for the Roman past and the Church Fathers.

The Spanish composer Sebastián de Vivanco (ca. 1551–1622) was born, like his revered contemporary Tomás Luis de Victoria, in Avila. Having secured prestigious cathedral and university posts at Salamanca, Vivanco saw through the press, between 1607 and 1614, three luxury choirbooks containing 18 Magnificats, 10 masses, and 72 motets, spread over a total of more than 900 printed pages. The first of these choirbooks, all of which were printed by the Fleming ArtusTaberniel and his wife Susana Muñoz, is a cycle of Magnificats providing polyphony for the odd- and even-numbered verses in all eight tones, plus one extra Magnificat in each of the much-used first and eighth tones. If Vivanco has been eclipsed for too long by his great contemporary and compatriot, it is in the complexity and ingenuity of the many canons to be found in these Magnificats that Vivanco outshines even Victoria.

Der Bamberger Dom, das bedeutendste Bauwerk der Stadt, besteht seit gut 1000 Jahren. Prof. Dr. Walter Sage, nachmalig erster Inhaber des Lehrstuhls für Archäologie des Mittelalters und der Neuzeit (AMANZ) an der Universität Bamberg, führte dort von 1969-72 großangelegte Ausgrabungen durch. Er ließ nahezu das gesamte Hauptschiff öffnen, dazu große Bereiche der Seitenschiffe. Man traf Fundamente aller Bauphasen an, dazu viele Bestattungen und eine große Zahl von Kleinfunden. Diese Funde stammen zum Teil von der Innenausstattung des ersten Doms, dessen grundsätzliche Boden- und Wandgestaltung somit gut rekonstruierbar ist. Die wissenschaftliche Aufarbeitung der Funde – 50 Jahre nach ihrer Bergung – war Anlass und Inhalt einer Sonderausstellung im Historischen Museum, bewerkstelligt vom Lehrstuhl AMANZ in Zusammenarbeit mit dem Historischen Verein und dem Historischen Museum Bamberg, den Eigentümern der Funde und unterstützt vom Erzbistum Bamberg. Mit dieser Ausstellung und dem Begleitheft, beides hauptsächlich von Studierenden erarbeitet, feiert der Lehrstuhl AMANZ zudem sein 40-jähriges Bestehen. Bamberg Cathedral, the most important building in the city, was built more than 1000 years ago. Prof. Dr. Walter Sage, who later became the first professor of medieval and postmedieval archaeology at the University of Bamberg, carried out large-scale excavations from 1969-72. He researched almost the entire nave as well as large areas of the aisles. Foundations of all construction phases were found, as well as many burials and a large number of small finds. Many finds were part of the interior of the first cathedral, allowing a reconstruction of the floor and the wall design. 50 years after the excavations the analysis of these finds is part of a new scientific project. Together with the 40th anniversary of the chair of medieval and postmedieval archaeology this is the occasion for a special exhibition in the Historical Museum Bamberg. The exhibition and this booklet were realized in cooperation with the Bamberg Historical Association, who owns the finds today, and with the support of the Archdiocese of Bamberg. Conception, exhibition texts as well as most of the article were prepared by students of the chair of medieval and postmedieval archaeology.

Boom Cities: Architect-Planners and the Politics of Radical Urban Renewal in 1960s Britain is the first published history of the profound transformations of British city centres in the 1960s. It details the rise and fall of this complex and notorious subject, of which it has often been said that urban planners did more damage to Britain’s cities than even the Luftwaffe had managed. The result is the first account to reveal the origins and dissolution of the cross-party consensus on modernist urban planning, before the ideological smearing that has ever since characterized the high-rise towers, dizzying ring roads, and concrete precincts that were left behind. The rebuilding of British city centres during the 1960s drastically affected the built form of urban Britain, including places ranging from traditional cathedral cities through to the decaying towns of the Industrial Revolution. Throughout the course of the book many cities are visited, but, more importantly, Boom Cities uncovers both the planning philosophy, and the political, cultural, and legislative background that created the conditions for these processes to occur across the country. It reveals the role of architect-planners in these transformations. The book also provides an unconventional account of the end of modernist approaches to the built environment, showing it from the perspective of planning and policy elites, rather than through the emergence of public opposition to planning.

Covering all regions of France—from Avignon's Palace of the Popes to Versailles' Petit Trianon—and all periods of French architecture—from the Roman theater at Orange to the Arc de Triomphe in Paris—this volume examines more than 60 of France's most important architectural landmarks. Writing in a clear and engaging style, David Hanser, professor of architecture at Oklahoma State University, describes the features, functions, and historical importance of each structure. Besides identifying location, style, architects, and periods of initial construction and major renovation, the cross-referenced and illustrated entries also highlight architectural and historical terms explained in the Glossary and conclude with a useful listing of further readings. The volume also offers ready-reference lists of entries by location, architectural style, and time period, as well as a general bibliography, a subject index, and a detailed introductory overview of French architecture. Entries cover major architectural structures as well as smaller sites, including everything from the Cathedral of Notre Dame to Metro (subway) stations. Ideal for college and high school students alike, this comprehensive look at the architecture of France is an indispensible addition to any shelf.

The book explores the ritual geography of a pilgrimage system woven around local medieval saints in Norway and the renaissance of pilgrimage in contemporary majority-Protestant Norway, facing challenges of migration, xenophobia, and climate crisis. The study is concerned with historical narratives and communal contemporary reinterpretations of the figure of St. Olav, the first Christian king who was a major impulse toward conversion to Christianity and the unification of regions of Norway in a nation unified by a Christian law and faith. This initially medieval pilgrimage network, which originated after the death of Olav Haraldsson and his proclamation as saint in 1030, became repressed after the Reformation, which had a great influence on Scandinavia and shaped Norwegian Christianity overwhelmingly. Since the late 1990s, the Church of Norway participated in a renaissance that has grown into a remarkable infrastructure supported by national and local authorities. The contemporary pilgrimage by land and by sea to Nidaros Cathedral in Trondheim is one site where this negotiation is paramount. The study maps how pilgrims, hosts, church officials, and government officials are renegotiating and reshaping narratives of landscape, sacrality, pilgrimage as a symbol of life journey, nation, identity, Christianity, and Protestant reflections on the durability of medieval Catholic saints. The redevelopment of this instance of pilgrimage in a majority-Protestant context negotiates various societal concerns, all of which are addressed by various groups of pilgrims or other actors in the network. One part of the network is the annual festival Olavsfest, a culture and music festival that actively and critically engages the contested heritage of St. Olav and the Church of Norway through theater, music, lectures, and discussions, and features theological and interreligious conversations. This festival is a platform for creative and critical engagement with the contested, violent heritage of St. Olav, the colonial history of Norway in relation to the Sami indigenous population, and many other contemporary social and religious issues. The study highlights facets of critical, constructive engagement of these majority-Protestant actors engaging legacy through forms of theological and ritual creativity rather than mere repetition.