Revival Style Research Articles

Building the Great Synagogue of Pest: Moorish Revival Architecture and the European-Ottoman Alliance in the Crimean War

In the aftermath of the 1848 revolutions, the search for a symbolic Jewish presence in the urban centers of Central Europe led to the emergence of a monumental synagogue architecture in the Moorish revival style. This new architectural convention experienced a sudden breakthrough in April and May 1854, when it was adopted almost simultaneously in the plans for three major synagogues to be built in Leipzig, Vienna, and Pest. In this article, I will demonstrate that the social and aesthetic agendas of the three community leaderships were interconnected and that they must be understood in the context of the international political events transpiring at the time. In the spring of 1854, Europe witnessed the military and propagandistic run-up to the Crimean War. In the spirit of liberal patriotism, Hungarian Jews identified with the Ottomans against the Czarist Empire and saw the contemporary Islamic-Christian alliance as a globalizing extension of the emancipation process.

Creations of Class: Antiquity in New York City

Creations of Class: Antiquity in New York City PETER AICHER Leafing through the American Institute of Architects’ New York City guide with an eye on classical influences, one’s attention will be arrested on almost every page by a thumbnail photograph of a classical column, cornice , pediment, or frieze, its heritage sometimes acknowledged with brief commentary: “A sliver with a meticulous Ionic-columned Roman Temple on top. Peer upward” (The Baudouine Building, Broadway and 28th ).1 Clearly more is called for. But how to select, from among the thousands of potential and hundreds of worthy examples, the individual subjects for a fuller treatment of their heritage, how to arrange them, discuss them, and weigh their significance, either singly or as parts of a larger narrative or argument? These are some of the challenges that confront Macauley-Lewis’s (M-L) archeologically informed study Antiquity in Gotham: The Ancient Architecture of New York City. The antiquity at play, M-L stresses in the introduction, is not limited to Greece and Rome but includes among the sources of inspiration the antiquities of Egypt and the Near East. These traditions form a combined category the author calls the Neo-Antique. This makes eminent sense: ancient Egypt and the Near East are also part of the dialogue carried on by antique forms in the streets, cemeteries, parlors, and parks of the city, with each ancient culture contributing some characteristic association and lending import to a building arion 29.2 fall 2021 Elizabeth Macaulay-Lewis, Antiquity in Gotham: The Ancient Architecture of New York City (New York, NY: Fordham University Press, 2021), 280 pages with 114 b/w and color figures. 152 celebrating the invisible or monument. M-L emphasizes that these values and associations were never monolithic or stable. The contributions of a building’s ancient heritage varied according to social and political conditions that could raise or lower the stock of an ancient culture, as its characteristic values (these too variously conceived and fluctuating) shifted in response to historical circumstances and changing ideals. The challenge, then, for the author of Antiquity in Gotham becomes the integration of these historical and ideological components of the study with a structure and approach focused on the individual entries selected for comparison with their ancient sources of inspiration. More on this tension later. Foundational to the book’s approach and contribution is its arrangement. Rather than proceeding historically—from a discussion of buildings in the Greek Revival style of the early 1800’s, for instance, to those of the neo-classical Beaux Arts movement that channeled imperial Rome at the end of that century—or arranging the material topographically—this is not a guidebook, the author cautions—M-L creates nine chapters that each treat a type or genre of a building’s function . Somewhat like Vitruvius organizing his material into sections on temples, forums, theaters, private buildings, walls, aqueducts, etc., M-L groups her entries into chapters on infrastructure , civic buildings, commercial buildings, funerary monuments, commemorative structures and so forth, with some historical progression prevailing within each chapter. Classical literary scholars will be familiar with this approach from the numerous studies that arrange and consider texts by genre on the grounds that individual works of epic, lyric, drama, and satire generated meaning by carrying on a special dialogue with others of their own kind. Some of that is at play here. For instance, within the same decade, both Columbia and New York University constructed, as showpieces for their new campuses, libraries based on the Pantheon. Both buildings in turn were part of a larger dialogue channeling the prestige of the Pantheon through a previous American Peter Aicher 153 incarnation, the rotunda designed by Thomas Jefferson for the library of the University of Virginia eighty years earlier. As M-L presents the discourse among individual buildings in New York, however, or between them and the ancient buildings they drew on for inspiration and effect, the dialogue was far more impressionistic than the tight intertextual weave we labor to elucidate in ancient texts. This is New York City after all, where the dominant mode relating one building to another is more demolition than dialogue. The author’s curation...

Unexpected Connections. The Benedictine Abbey of Maredsous and Christian Architecture in China, 1900-1930s

Recent research has revealed that the Benedictine abbey of Maredsous exerted significant but conflicting influences on missionary architecture in China through two different channels. These influences were by no means the result of a strategy pursued by the abbey of Maredsous. After having introduced the interwoven Belgian and Benedictine missionary networks in China, this article focuses on the two architectural connections of Maredsous in China. First, the missionary-architect Father Alphonse De Moerloose, who was not a Benedictine but a Scheut Father; he exported the Gothic Revival style of Augustus Pugin and Baron Bethune to northern China in the years 1900-29 and referred to the abbey church of Maredsous for his major projects. Second, Dom Adelbert Gresnigt, a monk-artist from Maredsous who stayed in China from 1927 to 1932 and developed an indigenised architectural style. Known as the “Sino-Christian style”, it was the antithesis of the style of the abbey of Maredsous and the Belgian Gothic Revival exported to China by Father De Moerloose.

Communicants, Community, and Capital: Parish Boundaries, Race, and Catholicism

Communicants, Community, and Capital:Parish Boundaries, Race, and Catholicism Thomas J. Sugrue6 On a beautiful spring Sunday in 2009, I visited my childhood parish, St. Mary's of Redford, in northwest Detroit. The most impressive building in a low-rise neighborhood, St. Mary's had an elegant granite façade, designed by celebrated Boston architect Ralph Adams Cram, in a Romanesque revival style with some Art Deco details. 7 As I opened the ornate oak doors, I felt a rush of cool air, infused with the scent of lit candles. The altar came into view, garlanded with white flowers. The polished tile floors reflected the red and blue and yellow light streaming through the impressive stained-glass windows. As I sat in the pews waiting for Mass to begin, I realized that this was not an ordinary Sunday. About ten children sat in the first row, girls wearing lacy white dresses and boys dressed in suits and ties, fidgeting under the watchful eyes of their parents and grandparents, all adorned in their Sunday best. It dawned on me that exactly forty years earlier, I had been one of those children about to receive the Holy Eucharist for the first time. Arguably no moment in the ecclesiastical year is more important in a Catholic parish. Saint Mary's of Redford changed a lot in the four decades after I and about 160 other second graders received our First Communion. Our cohort was so large that we could not all attend the same Mass. That year, the parish's primary and secondary schools educated 2,419 students.8 All of us were white. In 2009, what had once been the largest parish in the Archdiocese of Detroit served only 27 children in its after-school religious education program.9 Every first communicant that year was Black. [End Page 8] My childhood parish could have been a case study in John McGreevy's Parish Boundaries. Its history was a microcosm of mid-twentieth-century American urban Catholicism. Parishioners shared a cognitive map of the city which began and ended with the question, "What parish are you from?" My mom grew up in Gesu, my dad in Epiphany and then St. Cecilia's. They were proud to live in St. Mary's, especially my dad, whose move signaled a step up from the world of his working-class, Irish immigrant parents. Even Detroit's real estate brokers—Catholic or not—were keenly attentive to the importance of parish boundaries. On one randomly chosen day, January 21, 1968, the city's morning paper listed homes for sale in St. Mary's of Redford, Gate of Heaven, St. Scholastica's, Christ the King, and Our Lady of Grace. Click for larger view View full resolution Advertisement, Detroit Free Press, January 21, 1968. Parish Boundaries offers a compelling history of Catholic urban communities like mine. McGreevy documented a world that was largely invisible to social, cultural, and political historians (including this Catholic school alumnus) who were trained at major, secular universities in the second half of the twentieth century. As a fledging scholar, I learned about class struggles, labor movements, ethnopolitics, migrations, and urban politics, but little about religious history other than Puritanism, the first and second Great Awakenings, and the role of black ministers in the Southern struggle for civil rights. Influential social historians like Paul Johnson taught us that religion was a means of disciplining unruly laborers and regulating disorderly urbanites. In our grad classes, Catholics made a few cameo appearances, mostly in discussions of nativism and immigration restriction. The only cleric to get much attention was right-wing radio priest, Father Charles Coughlin. Those of us venturing into twentieth-century America at best superficially considered the role of Catholics in the rise of trade unions, the role of Catholic politicians and citizens in shaping the New Deal, or the role of Roman Catholicism in the Cold War and in human rights politics. We learned how immigrants transplanted their local cultures from southern and eastern Europe to American cities, but very little [End Page 9] about how their religion gave meaning to the places they left or settled. Our reading lists were silent about...

Moorish Revival Synagogue Architecture: Community and Style, Past and Present

The Moorish architectural style, originating in medieval Spain, was revived in the mid-nineteenth century. It became strongly linked with synagogues, first in Germany and then throughout the Western world. My research analyzes why the architects and Jewish communities were so attracted to the Moorish Revival style. During this period, European Jewish communities were tasked with constructing synagogues that could showcase their newfound freedoms as well as their history, culture and aspirations. Many argue that this style was chosen to demonstrate the connection between the communities and their ancient Middle Eastern history.

المعماري أنطونيو لاشياك (1856-1946) في سياق إعادة إحياء العمارة المملوكية

Antonio Lasciac was one of the most active of European architects working in Egypt in the late nineteenth and early twentieth century. His output was as eclectic as it was prolific, comprising buildings and decoration in neo‑Renaissance, neo‑Gothic and neo‑Mamluk styles. This paper focuses on of the origins of the motifs on his buildings decorated in Mamluk revival style, and particularly on his villa at Rafut, in Slovenia, beside the modern border of Gorizia in Italy. The paper first gives a background to the rise of the neo‑Mamluk style in Egypt before analyzing Lasciac’s contributions to it. In one of his early buildings, the neo‑Renaissance palace of Yūsuf Kamāl at Matariyya, a newly‑discovered neo‑Mamluk room is discussed. The detailed analysis of his villa at Rafut and later buildings show the unusual extent to which the decorative motifs he used were accurately based on earlier Mamluk designs, reflecting his long‑standing involvement as a board member of the Comite de conservation des monuments de l’art arabe.

الفکر الانتقائى ما بین القدم و المعاصرة Eclectic thought is between ancient and contemporary

The development of civilized human thought is built through the ages and the revolutions of several cultures and civilizations in succession, and each stage brings new developments, rapid and successive. Both the artist and the designer found a new way to express his different ideas and vision away from the philosophy of traditional or classical old thought that may not be compatible with the functional or social aspect of modern society.Many new world architectural styles have emerged, as part of the romantic reaction to the nature of the industrial revolution in many areas, reviving old styles and styles that have passed and gone. Revival architecture was inspired by classical Greek and Roman styles, which were popular at the time. In the second half of the nineteenth century, what is known as Eclecticism appeared, and it expresses a mixture of different architectural elements of more than one style or style within one artistic rhythm, and its drafting is new. Architectural art in the nineteenth century, and the synthesis of elements and crossbreeding among them became a feature of selective thought, to distinguish between the direct revival style of models and indirect revival, and we call it the term eclectic style. Garnier Opera is considered the best example of the eclectic thought.

El estilo neocolonial español en España y su práctica profesional

El artículo aborda la cuestión del desarrollo del neocolonial español, como un estilo arquitectónico, válido para afrontar la modernidad en la primera mitad del siglo XX. Pero se presta especial atención a su aceptación y desarrollo en España, que suele ser un extremo poco estudiado. Se muestra el interés por conseguir una unidad social iberoamericana, incluso proponiendo la existencia de una “quinta raza” cultural, que como una muestra más de unidad, también compartiría ese estilo arquitectónico intercontinental. Es notable la voluntad de los arquitectos comprometidos para lograrlo, que introducían en sus proyectos, repertorios ornamentales de distintos lugares de la comunidad iberoamericana. Se llama especialmente la atención sobre la importancia del desarrollo del estilo, con unas plantas arquitectónicas modernas y procedentes de la arquitectura anglosajona, que nada tenían que ver con la tradición constructiva ibérica y que le otorgaban funcionalidad.

Belső gazdaság : A Rumbach Sebestyén utcai zsinagóga felújítása

Restoration Architect: Tamás KŐNIG DLA and Péter WAGNER DLA Originally designed in the Moorish Revival style by Otto Wagner in 1873, this synagogue served as a place of worship for the more conservative members of Budapest's Jewish community. WWII damage left the building in a ruinous state, although repairs to the structure did occur, restoration in earnest did not start until 2007. The subsequent works have restored this place of worship to its former splendor and function. Attention payed to the original design, the Torah Ark and unusual use of Moorish decorative elements have helped demonstrate why this building is one of Budapest's significant historic monuments.

“Something prety out of very little”

In “Something prety out of very little”: Graniteville Mill Village, 1848, Lisa Goff describes how Charleston entrepreneur William Gregg built Graniteville, South Carolina, to prove the viability of southern manufacturing, which he believed could help avert war between South and North, and to quell planters’ fears that industry would mar the beauty of the South. The village's whitewashed Carpenter Gothic cottages, with matching hotel, school, and church designed by Richard Upjohn, were intended to instill virtues of hard work, clean living, and respect for authority in a white workforce drawn from surrounding farms. Gregg exercised a patriarch's control over his industrial utopia, but the nicknames workers gave the place, and what they told visiting missionaries, show that they experienced Gregg's Gothic hamlet on their own terms. An avid gardener and horticulturist active in the Episcopal Church, Gregg would have been aware of the claims to moral superiority associated with the Gothic Revival style. Goff's analysis of letters, published articles, corporate reports, and advertisements in local newspapers reveals that Gregg's strategies of social contol—adapted from his study of Robert Owen and David Dale—had sinister underpinnings: programmed for hard work at low wages by the “ethical” architecture and orderly “natural” landscape, a white, largely female workforce would insulate the Graniteville Mill from the effects of abolition, should it come.

American Quilts in the Industrial Age, 1760-1870: The International Quilt Study Center and Museum Collections ed. by Patricia Cox Crews and Carolyn Ducey

Reviewed by: American Quilts in the Industrial Age, 1760-1870: The International Quilt Study Center and Museum Collections ed. by Patricia Cox Crews and Carolyn Ducey Katie Knowles American Quilts in the Industrial Age, 1760-1870: The International Quilt Study Center and Museum Collections. Edited by Patricia Cox Crews and Carolyn Ducey. (Lincoln and London: University of Nebraska Press, 2018. Pp. xiv, 502. $90.00, ISBN 978-0-8032-9592-6.) In this second book of a multivolume catalog of the collections of the International Quilt Study Center and Museum (IQSCM), the contributors provide in-depth analysis of American quilts ranging in date from the mid-eighteenth century to the mid-nineteenth century. The book is arranged with chapters focused on style groupings of quilts. Each chapter contains essays that provide close readings of a few quilts, emphasizing the importance of careful, deep study of individual objects. The introduction is an excellent display of how such close reading can be used to create interesting data that reveals patterns when analyzing quilts. The editors give detailed information about how they thought through terminology to define objects that often cross multiple categories of analysis or that come with limited contextual information. Geographic area of origin seems straightforward, and only 5 percent of the quilts studied for this book were made in the South according to the defined regional categories. However, the slave state of Maryland, home to distinctive styles of applique quilts in the first half of the nineteenth century, is categorized under the mid-Atlantic region. The book's strength is in the individual quilt stories told throughout. For example, by examining the seams of the main portion of an early-nineteenth-century red wool quilt, researchers determined it was made from a hooded cloak that was deconstructed, with the bedcover's borders made from a recycled quilted petticoat. [End Page 154] While the authors excel in the physical reading of objects, they provide an outdated nationalist narrative of the triumphs of westward expansion and industrialization. The consequences of the first on indigenous peoples and the relationship of the second to chattel slavery are completely absent from the book. The authors note numerous times that the availability of cheap cotton in the early nineteenth century allowed for the expanding popularity of quilting. At no point do they explain that these cottons were cheap because the labor system of chattel slavery supported industrialization. The authors draw only on connections between Western European art and aesthetic movements when analyzing the quilts. The exclusion of slavery and of enslaved people from this book is striking, particularly since it is framed as a catalog representing the IQSCM's examples of American quilts. In the preface, the editors state that African American quilts are not included because they will be presented in a separate volume of the series. Yet a close reading of one quilt made in Kentucky references a second quilt of similar rococo revival style that is "[a]ttributed to enslaved 'sewing women'" from South Carolina (p. 388). The only detail about the construction of the quilt attributed to the black makers is that it is of lesser quality than the Kentucky quilt. Were the enslaved women not African American quilt makers? Were black people not making American quilts during this period? Did aesthetics such as the strip weaving techniques of West African cultures not influence pieced quilts made in the United States? These are important questions that remain understudied in textile history. This book makes valuable contributions to the field of quilt scholarship through the physical reading of the objects. But romantic stories of quilts as commendable survivors of the Confederacy or of intrepid pioneers carrying textile heirlooms across the Great Plains do not help us to fully understand the complexities that objects hold as historical sources. Katie Knowles Colorado State University Copyright © 2019 The Southern Historical Association

Exhibition and Catalog Review: The American Pre-Raphaelites – Radical Realists

This review covers the National Gallery of Art exhibition Pre-Raphaelites - Radical Realists and the accompanying catalog edited by Linda S. Ferber and Nancy K. Anderson. The 2019 exhibition included more than ninety works by the group that styled itself the American Pre-Raphaelites. It is the first such exhibition since the Brooklyn Museum’s “The New Path: Ruskin and the Pre-Raphaelites” in 1985. The group's English-born leader, Thomas Charles Farrer (1839-1891) had studied drawing with John Ruskin and Dante Gabriel Rossetti at the Working Men’s College in London before emigrating to the United States in 1858, and was thus imbued with the ethos and spirit of Pre-Raphaelitism from the outset. But despite their outward similarities, the group and its members differed significantly from the earlier English Pre-Rapahelite Brotherhood, both in their political and social aspirations, as well as their artistic production. In fact, the most lasting legacy of the Pre-Raphaelites may be their embrace of the architectural Gothic Revival style, which is still in evidence in public buildings and university campuses across the country. At a minimum, the Pre-Raphaelite movement demonstrates the extensive influence of Ruskin’s writing across the Atlantic, as well as the universal appeal to young artists of breaking with the traditions of prior generations.

Ellis Island Museum Hails the Essential American Story of Immigration

Back to table of contents Previous article Next article Annual meetingFull AccessEllis Island Museum Hails the Essential American Story of ImmigrationMark MoranMark MoranSearch for more papers by this authorPublished Online:12 Feb 2018https://doi.org/10.1176/appi.pn.2018.2b4AbstractImmigration to this country has been a major topic of conversation this past year. Learn more about this country’s diverse roots by visiting the Ellis Island Museum.“Immigration is not just a link to America’s past,” former President George H.W. Bush said, “it’s also a bridge to America’s future.”Underwood & Underwood/CorbisThe immigrant experience is a central component of the history of New York City, where 12 million immigrants passed through Ellis Island between 1892 and 1954. The descendants of those immigrants account for almost half of the American population today.Declared part of the Statue of Liberty National Monument in 1965, Ellis Island underwent a $162 million renovation in the 1980s and reopened to the public as a museum in 1990, commemorating immigrants’ stories and their pursuit of a new home and the American Dream. The museum is located in the Main Building of the former immigration station complex, now restored to its 1918-1924 appearance in the Renaissance Revival style. History buffs who really want to take in the immigrant experience will want to couple a visit to Ellis Island with one to the Lower East Side Tenement Museum (see story below).The museum contains 30 galleries and exhibits filled with artifacts, historic photos, posters, maps, oral histories, and ethnic music recordings. New at the museum are two exhibits that bookend the Ellis Island era by chronicling immigration to America before the processing station opened in 1892 and after it closed in 1954: “Journeys: The Peopling of America 1550s-1890” is an exhibit dedicated to exploring the earliest arrivals pre-dating the Ellis Island era. The galleries, located in the historic Railroad Ticket Office, cover each stage of the immigrant journey. “The Journey: New Eras of Immigration” focuses on immigration from 1954 to the present. Exhibits use dynamic media and interactive elements to described the postwar immigration movement and changing demographic trends over the decades.Vlad G/ShutterstockPermanent highlights of the museum include the Baggage Room, where immigrants first set foot into the Main Building on Ellis Island, now restored with displays of period baggage. The Registry Room, once the focal point of the immigrants’ processing, is where newcomers underwent questioning and were either given permission to land or denied entry into the country. Here are some other features of the museum:The American Family Immigration History Center is an interactive area where visitors can access the passenger records of the ships that landed over 51 million immigrants, crew members, and other travelers at the Port of New York and Ellis Island from 1892 to 1957.The American Immigrant Wall of Honor overlooks the Statue of Liberty behind a view of the New York City skyline. It is the only place in the United States where an individual can honor his or her family heritage at a national monument.The American Flag of Faces is located in the museum’s main entrance hall and is populated with images uploaded by individuals and families, creating a montage of the American flag.“Island of Hope, Island of Tears” is a 30-minute film produced by Oscar-winning filmmaker Charles Guggenheim in which immigrants tell their stories of pulling up roots and coming to America. Free tickets can be obtained at the Ellis Island information desk.The Ellis Island Oral History Project has been conducting interviews since 1973. More than 1,500 interviews have been collected of firsthand accounts of those who were processed at Ellis Island. There are also a number of interviews with doctors, nurses, clerks, and immigration officials who recall the operation of the Ellis Island immigration facility. The Oral History Library is open to the public and contains a computer system with 20 listening stations. The American Family Immigration History Center provides access to ships’ passenger manifest records of the millions of people who entered America through the Port of New York and Ellis Island. ■To visit the Statue of Liberty and Ellis Island, visitors must take the Statue of Liberty and Ellis Island Ferry from Battery Park in lower Manhattan. Ticket information for individuals or groups is available online at Statue Cruises or by phone at 1-(877) LADY-TIX. Tickets also may be purchased here. ISSUES NewArchived

Rediscovering Jewish Infrastructure: Showcasing Surviving Eighteenth- and Nineteenth-Century Synagogues

Rediscovering Jewish Infrastructure: Showcasing Surviving Eighteenth- and Nineteenth-Century Synagogues Mark W. Gordon (bio) This photographic essay illuminates a few of the ninety-seven buildings that were originally erected as synagogues in the United States during the eighteenth and nineteenth centuries and still stand today. Calling attention to these structures illustrates how American Jews have maintained and preserved their houses of worship, while also showing how synagogues have been used for alternative purposes in changing urban landscapes. Often following trends in secular and ecclesiastical architecture, the look of US synagogues evolved over the decades. The Touro Synagogue, the only eighteenth-century Jewish house of worship still standing today, was designed in the Georgian style by noted Colonial architect Peter Harrison (figure 1). Beth Israel in Honesdale, PA is an example of the Greek Revival style, fashionable for houses of worship in the 1840s and early 1850s (figure 2). Romanesque Revival synagogues with round-arched windows became popular for several decades beginning in the 1850s as illustrated in Goldsboro, NC (figure 3) and Salt Lake City (figure 4), with Gothic Revival and Victorian styles in Leadville, CO (figure 5) and Charlottesville, VA (figure 6) becoming more common beginning in the 1870s and 1880s. Moorish Revival was used heavily for synagogues—but not much in secular architecture—from the 1860s to 1890s. Moorish synagogues often contained onion-shaped domes or minarets, horseshoe arches, and polychromatic decoration. One theory for their ubiquity is the nineteenth-century revival of Jewish popular and scholarly interest in the history of the Sephardic diaspora, including their Golden Age in Spain and Northern Africa.1 Additionally, congregations built Moorish buildings in part to differentiate them from Victorian-style churches.2 Examples of Moorish synagogues are those in Denver (figure 7) and Newark (figure 8). [End Page 563] At the turn of the century, synagogue architecture returned to the American architectural mainstream with a heavy emphasis on Classical Revival styles. The change is attributable to the interest in classical design at the 1893 Columbian Exposition in Chicago and also to archeological discoveries of Galilean synagogues built during Roman times.3 This style was adopted by New York City’s Shearith Israel (figure 9). The small number of remaining nineteenth-century structures underscores the transitions that have taken place in Jewish life over the past 150 years. As Jews migrated out of small towns to large cities, and out of cities to suburbs, the religious spaces that they built have been purchased by new owners and used for new purposes. Historical preservationists, however, have built community support both within and outside the Jewish community in order to maintain these synagogues as emblems of the Jewish past. Those interested in learning more about nineteenth-century synagogues may consult the expanded web version of this article, its accompanying table, and a list of sources linked here (www.ajhs.org/rediscovering-jewish-infrastructure). The web table documents the location, style, and current use of all ninety-seven buildings originally erected as synagogues in the eighteenth and nineteenth centuries, which are still standing. They are located in thirty-one states and the District of Columbia. This essay and the expanded web article are successors to articles published in American Jewish History in 1986 and 1996 (Volume 75, no. 3 and Volume 84, no. 1), which described ongoing efforts to identify and showcase these buildings. [End Page 564] Click for larger view View full resolution Figure 1. Jeshuat Israel’s Touro Synagogue of Newport, RI was built from 1759 to 1763 in the Georgian style. One of the oldest extant Jewish houses of worship in the Western Hemisphere, the synagogue was closed during much of the nineteenth century as the local economy declined and the Jewish community dispersed to other cities. It reopened in the 1880s. Photo by Mark W. Gordon. [End Page 565] Click for larger view View full resolution Figure 2. Beth Israel in Honesdale, PA completed its Greek Revival synagogue in 1856. Unusual for a purpose-built Jewish house of worship, the roofline features a steeple, which municipal officials required to grant approval of a building permit. Photo by Mark W. Gordon. [End Page 566] Click for larger view View full resolution...

Beyond the American Foursquare: The Square House in Period Perspective

During the first two decades of the twentieth century the square house, now commonly called the foursquare or American foursquare, shared the consumer marketplace with the bungalow and dwellings in the colonial revival style. The form has not received the same level of attention as it did earlier in popular architecture and design media. This essay argues that the square house was popular despite its lack of formal definition because it was adaptable in size, exterior elaboration, interior plan, and cost. Designs were available to suit a range of budgets within the widely-defined middle class. The form was recognized for its cubic mass addressing the street, with openings and decorative elaboration governed by that proportion. The core of the square house was a centralized, looped circulation pattern through four main spaces located in the corners. Its period of popularity coincided with the transition from highly regimented Victorian plans, which emphasized the separation of public and private activities, to a more open arrangement with movement through contiguous spaces. The form’s basic cubic mass was an ideal fit for the narrow suburban lots of the streetcar suburbs. Early examples retained many Victorian elements, while later ones featured details associated with newer styles such as prairie, craftsman, or colonial revival. The evolution of the square house mirrored the changing aesthetic preferences and domestic usage patterns in the bungalow era.

創建神社の意匠特性と復古主義的意匠の創出に関する考察 : 制限図様式と創建神社の意匠に関する研究(2)

創建神社の意匠特性と復古主義的意匠の創出に関する考察 : 制限図様式と創建神社の意匠に関する研究(2)

The evolution of wallpaper interior design schemes in a commercial setting: the interiors of the St Pancras Renaissance Hotel (Midland Grand Hotel), London 1870s–1980s

The refurbishment of the St Pancras Renaissance Hotel (formerly the Midland Grand Hotel) provided a unique opportunity to investigate the interior design history of this iconic London landmark. During the refurbishment, wallpapers were uncovered from the initial decorative schemes of the hotel in the 1870s and from later interior design schemes until the building’s closure in the 1980s. This article demonstrates how the CoBRA (Conservation-based Research and Analysis) methodology can be applied to increase our understanding of the history of interiors. The conservation process adds a new perspective to the historiography of the papered interior and its significance in the interior design process. By combining archival research with access to the original wallpapers during the retrieval and subsequent conservation process, it has been possible to construct an account of this commercial building’s decorative schemes. Many of the earliest wallpapers were supplied by Jeffrey and Co., a London firm that worked with William Morris and other prominent designers. The wallpapers illustrate how the approach to the interior design of this building evolved over time, moving away from the Gothic Revival style of interior.

Antelope Wells: An Early Customs Station on the Mexican Border

The Antelope Wells Customs Station (LA170810) is an informal U.S. Customs complex established ca. 1916 that remained in operation until the early 1950s. The site consists of a thrice-modified building, the original exhibiting architectural characteristics consistent with Pueblo Revival style architecture, while a succession of later additions extend through the late 1940s. The Antelope Wells complex represents a relatively uncommon early twentieth century Customs facility oriented primarily toward the management of livestock crossing the U.S. -Mexican border. Absent a formal customs port of entry until 1928, this customs station provided interim management of border interactions at a time when U.S. customs facilities were in their infancy. Title searches suggest this facility may have been constructed informally after 1916 by the U.S. Customs Service on private lands held by Charles K. Warren. USGS maps show the structure itself was certainly present no later than 1917. The pronounced livestock-management characteristics of the facility, combined with archeological data, show that this facility continued to be used after the 1928 port of entry was constructed 2.5 miles to the southwest and remained in use through the late 1940s when new port of entry corrals were constructed elsewhere.

Gothic revival in Mexico: French theory, English practices and the Stonemason’s craft

In recent years scholars have begun to recognize that the Neo-Gothic style enjoyed a much greater presence and acceptance in Mexico than the country’s architectural historians have cared to admit. From the late nineteenth century through most of the twentieth, the style was most often employed for ecclesiastical buildings, but it was also used for schools, residences and public buildings. In Mexico, the Gothic Revival style was practiced by three distinct groups of designers: trained architects working in a French or Italian mode, untrained master masons who imaginatively combined Gothic elements with classically inspired forms, and trained and mostly foreign architects practicing an English version of the Neo-Gothic style.

Boho-Chic Style Utilizing for Fashionable Apparel Design

The convergence of art and fashion had already been fully developed many years ago. Today, they have combined together in a productive relationship that stimulates the creative expression of a new lifestyle. The term “Bohemian” has often been used to refer to the fashion and lifestyles of writers, artists, and other individuals who live outside of the norms and standards of other members of society. Bohemian fashion more recently developed to the term "Boho-Chic" that is largely inspired by the bohemian styles of the nineteenth century with some influences of recent fashion trends. It is a very appealing style that has found its way into a number of different fashions for women. The features of Boho-Chic are notable in that they can create some details that are very specific and unique around the build of an outfit or other kind of fashion. This style is one of the most interesting fashion styles of today which requires a great fashion sense to be able to put the right pieces together to create an enviable and unique look. In this research the fashion elements of this revival style are utilized in contemporary apparel designs, which reflect the aesthetic features of the Boho-Chic to connect the human with world and nature.