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Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Robert Willis's writing in the nineteenth century was foundational to the development of the discipline of architectural history. Closely related to other Cambridge scientists, including William Farish and William Whewell, Willis deployed similar methods and forms of conceptualization in his writings about medieval architecture. He focused on five areas in particular: the isometric projection, the building as kit-of-parts, detailed technical forms of description using illustrations and specialized vocabularies, the machine tool, and new tools for measuring cogwheels and architectural profiles. Using an interdisciplinary approach and drawing upon contemporary ideas of political economy by Karl Marx and Charles Babbage, this article resituates Willis's writing in the context of the separation of manual from intellectual labor under industrial capitalism, arguing that the architectural historian was complicit both with the forms of abstraction required of professionalization and with the alienation of labor. [ABSTRACT FROM AUTHOR]

Late medieval women were able to promote highly sophisticated funerary ensembles, which included architecture, painting, sculpture, liturgy, textiles, lighting and other ephemeral elements, and to adapt them to their specific ideas and needs. These material and ephemeral elements were manipulated to create complex spaces so as to generate sensory experience. This article will focus on the Purification Chapel in the Cathedral of Burgos (Spain) built by the Countess of Haro, Mencía de Mendoza, at the end of the fifteenth century. We will use art historical analysis to understand the relation between gender and the senses, and the ways in which intersensorial interaction shapes experience and memory. The analysis of the construction and design of spaces by actors like Mencía de Mendoza shows that robust models of perception and cognition were tacitly operating in the medieval era in ways that are not adequately captured by textually-focused approaches. [ABSTRACT FROM AUTHOR]

In this text, the author analyzes the convergence between Christian culture and relevant films of Alfred Hitchcock's suspense filmography. Rather than focusing on Hitchcock's status as a Catholic director, he makes an empirical analysis that allows him to find certain visual analogies between the Christian imaginary and the frames of certain films of the master of suspense. This article understands cinema as a kind of mental, psychological, or spiritual cartography/geography, and this is how it connects to the theme of space, where cinema is not just as analogous to physical space but the experience of viewing as a space. The Christian iconography of death, understood as participation in an eternal time, helps to understand the projection of the concept of suspension of judgment in constructing suspense that is not only iconographic but also spatially ontological. The author also suggests an epistemological connection between the mysterious nature of space in medieval art and architecture and the aesthetics of perfect crime in films. The allegory of Christ's Passion will be seen as a recurring thread in Hitchcock's visual analogies. His cinema and his particular way of seeing reality through space continue to demonstrate the validity of his art in writing new episodes in Western culture. [ABSTRACT FROM AUTHOR]

The "Alexander Romance," known as "Pseudo-Callisthenes," is one of the most popular Late Antique works, mostly because of the figure of Alexander the Great, who had become a myth. Dating back to the third century AD, it was reworked many times during the Middle Ages, being translated into almost every vernacular language. The Slavic languages were not an exception, and several versions of the socalled "Aleksandrija" are attested among the South Slavic and East Slavic Medieval Literatures. That the "Alexander Romance" was quoted in the Epistle sent by the Metropolitan of the Kyivan Rus', Klim Smoljatič (1147--ca. 1154, 1158/1159) to the Presbyter Foma of Smolensk, as part of an intellectual polemics between them is clear proof of its popularity. Concretely, he quoted the passage referring to Alexander's flight through the air on the wings of huge birds or of legendary animals such as griffins, depending on the version of the story. In Western European Medieval works, it was shown as a symbol of human arrogance, the sin of "hubris." However, the motif is ambivalent, and its meaning among the Eastern Slavic lands is not that clear. Besides, the great popularity of this episode was not limited only to the written word, but it also attained the image. This way, the motif of Alexander's flight can be found in several Medieval Slavic works of art and architecture, like a relief on the façade of Saint Demetrius Cathedral in the Russian city of Vladimir or a gold enamel tiara that was found in the Ukrainian village of Sakhnivka, both dating from the second half of the twelfth century. In this presentation, we intend to show the different variants of their representations, while trying to trace their origin and meaning. [ABSTRACT FROM AUTHOR]

Bridget Whearty's book, "Digital Codicology: Medieval Books and Modern Labor," explores the history of digitization and metadata associated with pre-modern manuscripts. Whearty presents case studies from her own career, highlighting the behind-the-scenes work of curators, catalogers, data managers, and imaging specialists who make digital access to manuscripts possible. She also addresses the privilege of access and the challenges of standardization and discoverability in digital cataloging. The book offers valuable insights into the digitization process and its implications for the study of medieval manuscripts. [Extracted from the article]

The contribution aims to present the results obtained from the archaeological analysis of the architecture of the Cathedral of San Massimo in Forcona (AQ), which took place in 2021, focusing on the digital systems used for the documentation and valorization of the monument. The work is part of a broader research project developed by the University of L'Aquila and focused on the archaeological study of medieval architecture as a function of the creation of a database on a chronological-typological basis of the masonry construction techniques of the city and its territory. The first structure to be analyzed was the Cathedral of San Massimo in Forcona, which, although it is located at a significant distance from the city center, represented a power pole of fundamental importance for the political-economic administration of the territory, at least until the construction of the city of L'Aquila. The documentation carried out through integrated TLS/SfM digital surveys and archaeological analysis allowed first to establish a chronological sequence of the construction phases of the church, but also to hypothesize through 3D reconstructions the historical evolution of the entire architectural complex. These reconstructions then became the digital support for the creation of a series of immersive VR systems aimed at providing experiences of interactive storytelling and dissemination of research outcomes. [ABSTRACT FROM AUTHOR]

This study focuses on assessing the defensiveness of medieval fortresses situated along the Mediterranean coast, including the Northern Algerian coast and Southeastern Spain. The proposed methodology involved a two-fold process comprising identification and evaluation. Initially, we identified and geolocated our case studies, deriving their locations from archival sources. We then seamlessly integrated them into a Geographic Information System (GIS) for precise georeferencing on a rasterized landscape. Subsequently, we conducted assessments of visibility, intervisibility, and elevation, which we consider pivotal in determining the degree of defensibility of the fortified sites. Specifically, the aim of this research was to investigate the intricate relationship between natural landscapes and architectural defensive features, with a focus on discerning the influence that the chosen location has on the strategic and defensive significance of the studied fortresses. Our findings reveal that the evolution of those defensive systems within our study context is intricately tied to the physical elements comprising the landscape. These natural constituents have served as a foundation for the architectural and defensive characteristics adopted by medieval builders. Furthermore, we delineated two distinct typologies: the isolated type, intentionally designed to obscure visibility, and the exposed type, characterized by a higher visibility index. [ABSTRACT FROM AUTHOR]

The book "Lateness and Modernity in Medieval Architecture" edited by Alice Isabella Sullivan and Kyle G. Sweeney explores the concept of late medieval and early modern architecture and the shifting meanings of the term "modern." The book consists of twelve chapters that address the categorization of late Gothic architecture and provide case studies to illustrate the complexities of the subject. The book is organized geographically, allowing for a nuanced understanding of different contexts. The essays in the book also examine the political implications of late Gothic architecture and its connection to imperialism. Overall, the book offers a comprehensive and accessible exploration of medieval and early modern architecture. [Extracted from the article]

For the first time in the literature, this study provides an analysis of the activities of two major architectural–archeological missions that investigated the architectural heritage of the Armenian Highlands: the Russian Ani Archaeological Expedition (1892–1893 and 1904–1917) and the Italian academic programs of the Universities of Rome and Venice and that of Milan Polytechnic (from 1966 to the 1980s). In this article, the results of the conducted research are compared, and their contribution to the development of the history of medieval architecture is evaluated. The differences in the results are related to the chronological distance between the missions, as well as the main focus of each work: the activities of the Russians are primarily archeological, while those of the Italian groups are architectural. The head of the Ani Institute, Nikolay Marr, set himself the task of exhibiting the original artifacts in the museum he had created in the medieval capital of Armenia, Ani, while the Italian professors relied on photography for both permanent and touring exhibitions. The second mission was in unspoken contact with the first, forming a kind of time-stretched dialog. Although, by the 1970s, almost none of the participants in Marr's expedition remained alive, his scientific works were periodically being published, with some still waiting their turn in the scientific archives. [ABSTRACT FROM AUTHOR]

As O. reminds us in the introduction, Krautheimer's and Mango's handbooks of Byzantine architecture are now rather out of date, and do not particularly attract readers to deepen their knowledge of Byzantium. However, in 1261, Michael VIII Palaiologos re-conquered Constantinople, and the city enjoyed its last Byzantine flourishing before falling to the Ottoman Turks in 1453 (Chapter 24). Tenth- and eleventh-century Armenian and Georgian architecture clearly demonstrates that innovation was not restricted to the Byzantine capital (Chapter 19): it is precisely in the Caucasus that certain forms flourished and then spread to other important centres, including Constantinople. Kievan urban buildings, in contrast, recalled the Byzantine capital, and even the building technique was sometimes the same as in Constantinople. [Extracted from the article]

This article explores the history of St Catherine's chapel at the abbey of Savigny, head of Normandy's only monastic congregation. Built in the twelfth century, the chapel was, at the time of its demolition in 1705, the oldest remaining part of the medieval monastic complex. It therefore appears fairly regularly in the written record and has attracted not an insignificant amount of attention as a result. That said, the near total destruction after 1789 of Savigny's buildings, and the often contradictory nature of those written sources by which antiquarians and academics have attempted, in the absence of sustained archaeological work, to reconstruct their medieval layout, mean that a great deal remains uncertain. St Catherine's is no exception to this rule. Its precise location and design have to date been matters of conjecture, while a great deal of what has been written about it is either inaccurate or inconsistent (or both). This article brings together for the first time all the available references to (and scholarly discussions of) the building. It combines the findings of recent archaeological work with a reassessment of the written sources to argue that the chapel's location within Savigny's monastic precinct was almost unique in the Cistercian world, with its closest parallels being found instead in the Cluniac one. These circumstances were born more of accident than design, but they nevertheless presented challenges for Savigny's medieval community, the consequences of which help shed light on wider issues relating to the use and reuse of Cistercian monastic spaces. [ABSTRACT FROM AUTHOR]

The Castle of Alcantarilla, also known as la Alcantarilla de Alocaz, or even Diego Corrientes after the eighteenth century bandit, is not in fact a castle but a Roman bridge fortified with two towers in the later Middle Ages. While the south tower survives in a lamentably degraded condition, the north tower has been entirely razed. Its history is well-studied by Fernando Bejines Rodríguez, and its general appearance is known from sixteenth and nineteenth century prints. Therefore, in light of this, what is presented here is new research that permits the reconstruction of the Medieval towers, informed by sketches by John Gardner Wilkinson from 1864, which also reveal previously unknown details. This is supported by accounts of other earlier British travellers. An architectural section through both towers is offered as a tool of inquiry to advance the understanding of their internal arrangement. [ABSTRACT FROM AUTHOR]

In 1408 Vienna's politics were traversed by violence. Dynastic conflict among the Habsburgs and internecine differences between residents culminated in executions and overthrows of the city's government. Concurrently, building work at the city's largest church – overseen by leading figures in its civic politics, also victims of one of the year's purges – slackened. It was a moment when high politics, architectural production and the everyday practice of urban life intersected in ways unusually visible to the historian. Historians have adopted different historiographical positions for positing medieval architecture as a socio-political phenomenon, based on unilateral acts of princes and churchmen, dynamics of class conflict, administrative techniques of project managers or shared 'imaginaries'. This article reflects on the events of 1408 using a new approach, taken from practice theory, to describe how the building site, reconceptualised as an open-ended bundle of doings and sayings, constituted and transformed the late medieval Viennese social. [ABSTRACT FROM AUTHOR]

This article uses building contracts to understand late-medieval perceptions of quality in architecture. The focus of the paper is value judgements based on existing buildings, which were to be emulated or 'bettered'. The contracts for Magdalen College, Oxford are the central case study. This paper argues that 'good' in these contracts refers to the function of the building and the specifics of its design, and that other English and continental contracts also focus on the visible particulars of a structure. Such contracts make no reference to religious or political symbolism, rhetoric or iconography. It seems that, when closely engaged in the practice of building, medieval patrons and craftspeople showed aesthetic preferences of a precision not found in other sources. [ABSTRACT FROM AUTHOR]

Octagonal layouts are widely used in medieval architecture. In Spain, the Cathedral of Valencia is an exceptional example because of its compositional arrangement and early date of construction. The study of this cathedral serves not only to propose the regulatory layout and geometric process to develop the transept, the ambulatory, and the dome but allows the empirical establishment of the complex properties and characteristics of the octagon. By surveying the planes with a 3D laser scanner, the graphic procedures used in the original design of the temple were verified, as were the geometric theories pertaining to the figure of the octagon in architecture, set by the golden ratio. [ABSTRACT FROM AUTHOR]

In the Middle Ages, images had useful functions, particularly among illiterates. In holy places pictorial representations helped to instruct illiterates, making them understand the stories that were represented, recognize the Saints, and perceive the meaning of their attributes. The representation of a miniature model of a church associated with a saint often denotes that he had erected holy places as symbols of the 'building up' of the Church through the Doctrine and his own theological writings. A model of a town often refers to the town where the church holding the painting was located. A miniature model of a medieval town is usually offered to the Virgin by the patron saint of the city which is represented. This article intends to illustrate how the representation of an architectural miniature model, as the main attribute of a saint in medieval iconography, has influenced the process of remodeling lost architectures that have changed shape over the centuries due to reconstruction or restoration. Architectural miniature models, represented as an iconographic attribute of a saint, are shown in numerous 14th to 15th century paintings. The usefulness of a maquette, in remodeling both the aspect and the style of a structure, is underlined by impressively precise architectural details which characterize the suggestive and eloquent examples of maquette examined in this study. [ABSTRACT FROM AUTHOR]

Nicosia Walled City, on the northern side of Cyprus, encapsulates historical imprints from various cultures and civilizations within its layered structure, despite being a divided city since 1974. Based on this beautiful Medieval sequence, this study investigates the implications of architectural design approaches aimed at incorporating contemporary architecture into this heterogeneous historic city to conserve its historical identity. While the threats facing this diverse built heritage composition are various, the changes brought about by design outcomes and development actions can be challenging. This is especially so when designers are obligated to adhere to conservation principles that clash with the city's character and that resort to design strategies that prohibit the addition of new layers. This study employed a mix of qualitative and quantitative research methods and examined three case studies based on buildings that were erected during the Turkish Republic of Northern Cyprus period, spanning from 1983 to when the crossing began in 2003. This study's conclusions revealed that the design schemes negatively impacted the city's historical identity layers because the designers followed selective conservation principles that entirely concentrated on nostalgia rather than typological values. Rather than creating new layers, preferences energized this problem, and the designers' attitudes towards the place's heterogeneous character maintained the same context uniformity patterns. Efforts to add sequences of layers reflecting the identity of the present time and its perceptions were thwarted. These reductions in the historical layers, the subsequent transformations, and the current social–cultural necessities should stimulate individual determination and practical policy instruments. The tools proposed here will accommodate inclusive ideas that encourage fresh dialogues with the past, thus keeping the city's identity significant for the future. [ABSTRACT FROM AUTHOR]

The present work focuses on the solid modeling of the church of Santa Sofia in Benevento, Italy, and is related to a multidisciplinary research project that involved methods typical to both the humanities and mathematical engineering. Starting from the history of the church and its current configuration, a twofold objective is pursued: to give a brief account of the methodology used to analyze and virtualize the main phases of Santa Sofia and to report on the problem of modeling the church vault complex. Indeed, the 3D modeling of the church presented different levels of difficulty with some parts very easy to draw and others calling for specific geometrical analysis. In particular, to reconstruct the complex system of vaults of the church, a home-made code based on remapping Coons patches was written. The resulting 3D models of the different archeological and architectural phases of Santa Sofia are an example of virtual heritage and, being a digital content, allow for immediate sharing both to the scientific community and to a general and nonexpert audience, keeping in mind that knowledge is the means used to ensure the enhancement and preservation of cultural heritage. [ABSTRACT FROM AUTHOR]

Rosslyn Chapel, uncertainty, medieval history, heritage, precarity, doubt Some of these people were simply drawn by popular literature like I The Holy Blood and the Holy Grail i or I The Da Vinci Code i , and casually curious about Rosslyn Chapel as an alleged burial place for Templar treasures.[4] But some of these people were different. Keywords: Rosslyn Chapel; doubt; uncertainty; medieval history; heritage; precarity EN Rosslyn Chapel doubt uncertainty medieval history heritage precarity 327 331 5 08/02/23 20230801 NES 230801 Doubt is central to my work. [Extracted from the article]

The traditional architecture of any area embodies its true character, deeply rooted in the history, geography, and culture of that region. It does not only satisfy the functional requirements but also stems from local construction techniques and materials available. Traditional architecture faces the problem of its coexistence with modern technological development everywhere. The built heritage which stands in Lahore over centuries is encroached by modern and efficient techniques. The present paper specifically focuses on the development of Jharokha windows (Bay windows) in Lahore. The Jharokha window that was used in the Indian subcontinent during and after the Mughal period was the solution to the climatic conditions of the region. This research will investigate the old Jharokha window form and how with technology and advancement it starts losing its original form. The change in Jharokha form will be studied by the existing examples from different time periods available in the city of Lahore. [ABSTRACT FROM AUTHOR]

This article seeks new perspectives on one of Central Europe's most important ensembles of late medieval art and architecture - the parish church of St. James in Levoča, where research on the furnishings as a system in sacred space has been hindered by the sparsity of written sources. By expanding the scope of enquiry to take in some unstudied sources from the Reformation period, it shows how a medieval topography and furnishings were retained and developed by a Lutheran congregation that proved unusually tolerant of traditional practices. [ABSTRACT FROM AUTHOR]

Copyright of TUBA-KED: Turkish Academy of Sciences, Journal of Cultural Inventory is the property of Turkish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the opening of the medieval lapidarium at the National History Museum of Transylvania in Cluj. The lapidarium showcases Renaissance frames and architectural elements that were arranged over a century ago. The article highlights the value of architectural heritage and the historical information that can be gleaned from these pieces. It also mentions the marginalization of lapidariums in museums throughout Europe and the importance of preserving and exhibiting these artifacts. The article concludes by noting the parallel between the lapidarium in Cluj and the one in Bucharest, as well as the significance of the exhibition in representing the history of the city. [Extracted from the article]

Encompassing harnessed spring water and drainage towards the river Vienne, and including the city’s fountains, Limoges is characterised by its vast underground water network which accompanied the growth of the city from antiquity and developed its ramifications during medieval and modern times. As well as its scale, this network is also remarkable for the rich documentation it has left, which is an invitation to examine its historic contours: data on regulations from consular archives, iconographical sources and maps from the modern period, but also archaeological evidence collated by the ArchéA association on Limoges’s underground networks. The confrontation of this different source material sheds light on problematics of hygiene in the medieval and the modern city and gives information about the material existence of public infrastructures such as aqueducts, fountains and drains. But it also gives information about private and domestic hygiene, based on evidence found in some of the city’s old buildings.

A study of the history of contacts between Novgorodian architecture and northern Europe in the late thirteenth to fifteenth centuries demonstrates that links in this sphere could hardly be described as constant. We can identify several impulses from outside, stages when western European architecture most strongly affected its early Russian counterpart (the 1290s–1310s and 1430s). This study shows that constructional and decorative elements imported from the architecture of northern Europe overlaid the local architectural tradition in Novgorodian buildings. Within a few decades, some of the new forms became customary, 'naturalized,' while others failed to gain the Novgorodians' acceptance. [ABSTRACT FROM AUTHOR]

The article recounts the life and work of polymath and art historian Eric Schroeder. It highlights the contributions of Schroeder to the study of medieval Persian architecture and book painting in the 1930s and 1940s including his University Prints project which attempted to bring the core achievements of Islamic Art and architecture to college students, his publications about Islamic art, Islamic religion, culture and history, and research on Islamic and Persian paintings and architecture.

The Cathedral of Valladolid represents, despite the unfinished nature of its stone walls, one of the landmarks of classicism in Spanish Renaissance architecture. Its site has been the cradle of the medieval development of the city on which, due to its relevant topographical position, up to four temples have been built. In 1943 a plan appeared in the local press that represented this overlapping of collegiate churches that began in the 11th century. That plan was lost and today the authors have managed to locate a new copy. The object of this work is the publication of this new copy and its graphic analysis, comparing its historical veracity with reality, to conclude with a series of digital reconstructions of the four temples that appear in it. [ABSTRACT FROM AUTHOR]

Modern Pagan religions are past-oriented, seeking inspiration and legitimation from the pre-Christian religions that once existed in and around Europe. This has led modern Pagan groups to adopt various ideas about pre-Christian religions and their survival that stem from late nineteenth and early twentieth-century scholarship - including the notion of the Green Man. The belief that the foliate heads of medieval ecclesiastical architecture demonstrated evidence for a pre-Christian religion surviving into the High and Late Middle Ages, as articulated in its most complete form by Lady Raglan in 1939, appealed to early Wiccans such as Gerald Gardner and Doreen Valiente, who interpreted these heads as depictions of the Wiccan Horned God. By the 1990s, the Green Man had become a recurring image in the modern Pagan milieu who was increasingly incorporated into ritual, while the 2000s witnessed the growth of modern Pagan literature devoted to this new sylvan god. [ABSTRACT FROM AUTHOR]

Medieval architecture in Poland is not widely represented in the tangible cultural heritage. A preserved structure with traces of medieval architecture is the parish church in Domachowo in southern Greater Poland (Wielkopolska). Due to numerous alterations and modernisations, it is now a complex structure showing clear signs of a damaged original geometry.For this reason, a project was initiated to measure the stability of the structure, especially under the influence of extreme external factors: mainly gusts of wind and uneven sun illumination. The implementation of the project required using two methods of measurement: static, at fixed time intervals, and dynamic, recorded on an ongoing basis during the operation of variable loads. The outcomes consisting of a combination of both methods and the unconventional use of precise inclinometers for measuring wooden structures, opens up new possibilities for real-time analysis of structural deformations and ongoing monitoring of technical conditions.The subject of this paper is to present the methodology of the conducted static-dynamic measurements (DSM) and the interpretation of their results, mainly in the context of assessing accuracy, stability of long-term readings with inertial sensors, and basic structural assessment. [ABSTRACT FROM AUTHOR]

This article is a summary of two weeks of prospection in Armenia in June 2019. It aims not only to present the project and its objectives to a broad public but also to demonstrate the interest of a transdisciplinary approach to Armenian archaeology and paleography as well as the contribution of photogrammetry to research projects.

Stratigraphy is a fundamental classification tool for archaeology on which modern excavation techniques are based, and essentially consists of a sedimentological, pedological and archaeological interpretation of the multiple cultural layers found while digging; this concept can be adopted when studying monumental buildings and, in particular, their hidden parts or elements. The precious and delicate surfaces of monuments need non-invasive techniques such as geophysical methods and in the present article, the use of GPR technique has been exploited through a dataset collected over the nave of the church of San Leonardo de Siete Fuentes in Sardinia. First, the georadar results have been jointly analyzed by means of the B- and C-scans, in which some most significant patterns were detected and analyzed by looking at their signal features over the investigated volume. Following the analysis, elements from the signal attribute analysis and horizon detection and visualization, with a 3D approach, were used. To strengthen the reliability of the GPR results, a thermal infrared survey was simultaneously carried out. Thanks to the integrated geophysical and historical analysis of the monument, the ancient layout of the church has been reconstructed and other targets of potential archaeological interest identified [ABSTRACT FROM AUTHOR]

The control of the shape of ribbed vaults through the layout of their ribs was a strategy that made their expansion and development possible. There is up-to-date and rigorous research on the graphic resources developed by stonemasons for the carving and construction of this system, which reached great sophistication in the late Gothic, but less is known about the geometric strategies followed by the master builders who designed brick ribbed vaults; it is this question that this research aims to explore through the graphic analysis of four case studies built in the Kingdom of Aragon in the medieval period. [ABSTRACT FROM AUTHOR]

The current study focuses on culture in the context of Transylvania's ethnic mosaic. Transylvania's geographical location, as well as the range of natural, socialhistorical, economic, and political factors, have resulted in a high level of ethnic, religious, linguistic, spiritual, and cultural diversity. All of these features are actual elements that give the inhabitants of this historical province of Romania personality. This study is concerned with the ethnic structure of this Romanian province, which has evolved over time, as well as the manner minorities have coexisted with the Romanian majority population. We find it fascinating to see how the culture of minorities has been shaped by the culture of the dominant population over time, and vice versa. Furthermore, the region's ethnic variety is a result of the region's numerous cultural patterns, which has significant social, economic, and political ramifications. Based on the statistical data collected, our analysis will focus on Hungarians, Germans and Roma in Transylvania. On the other hand, this ethnic, cultural, religious mosaic constitutes a particular point of attraction for cultural tourism in the area, arousing in recent years a growing interest in cultural - creative tourism, encouraged by the presence of medieval architecture, specific culinary art, music and dance and not least the folk craftsmen, who are involved in the process of tourist development of Transylvania. [ABSTRACT FROM AUTHOR]

Roof construction is a key element while documenting and studying building traditions in historical towns. In the city centre of Ghent (Belgium), numerous roofs of large monuments (churches, merchants' halls, town halls) as well as historical houses from the pre-industrial era are still in place. Tree-ring research has been carried out on several intact roof constructions since the 1990s. The dated roofs range from the mid-13th to the 17th century. Recent research has revealed the presence of historical roofs in the church of St. Nicholas, an iconic building in the city's historical centre. Tree-ring research has dated the roof constructions of the nave and the choir to the first and second quarters of the 13th century, which makes them the oldest preserved examples of carpentry in Ghent and among the oldest in Flanders (northern Belgium). These and other such dating results for the Ghent region allow for the development of a typology for (late) medieval and early modern roof constructions and provide context for a better understanding of the procurement, trade, and transport of building timber from the early 13th century to the early modern era. [ABSTRACT FROM AUTHOR]

This article offers two case studies. The first examines James's encounters with medieval buildings in his early travel writings. The second takes as its starting point James's involvement in The Quest of the Holy Grail , a text which accompanied an 1895 exhibition of paintings by Edwin Austin Abbey. While James's knowledge of medieval architectural forms seems both confident and coherent, his awareness of medieval literary forms seems more tentative and even sketchy. Reasons for this disparity are considered, but medieval romance motifs are nevertheless found to inform James's conception of criticism from the outset of his career. [ABSTRACT FROM AUTHOR]

In recent decades, scholars have reviewed liow architectural knowledge was transmitted between the 5th and 11th centuries in Late Antique and Early Medieval Iberia. Yet the architecture of the Iberian Peninsula during these centuries was neither cultural unified nor stylistically homogenous. This long period of more than five centuries includes the creation of the Visigothic realm, the arrival of the Muslims on the Peninsula, and the growth of different Christian kingdoms. Each of these periods has been the subject of contested debate by modern scholars set on imposing different but equally neat and orderly narratives on the transition of one culture to the next. This article outlines this historiography and considers such narratives have influenced the interpretation of Late Antique and Early Medieval church architecture in the Iberian Peninsula. [ABSTRACT FROM AUTHOR]