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After the first flush of 'ecclesiologically correct' churches in the period 1840-60, the churches of the Scottish Episcopal Church continued to be influenced by the precepts of the ecclesiological movement over the following 50 years. This article is a continuation of the author's article 'The Scottish Episcopal Church and the Ecclesiological Movement 1840-60', in Architectural Heritage, Vol. VIII, 1997, and describes how many of the precepts of the movement, like prominent altars, distinct chancels, orientation of buildings and scholarly gothic, along with screens and side chapels, became mainstream. This was partly due to the dominance of two native-grown architects, Dr Alexander Ross and Sir Robert Rowand Anderson, though many other Scottish architects took up the same ideas and adapted them. As in the earlier period, distinguished English architects were brought in for some commissions. Sir George Gilbert Scott designed the Church's most prestigious buildings in Glasgow and Edinburgh, while Bodley, Slater & Carpenter, Paley & Austin and Pearson, all English, were architects for five other important commissions. After 1900, unlike most other Scottish churches, the demand for new church buildings for the Episcopal Church largely dried up, but when required Sir Ninian Comper and Sir Robert Lorimer, both Scots born in 1864, were used on several projects. [ABSTRACT FROM AUTHOR]

The article discusses the practice of wealthy families to endow private chapels and altars at the Camaldolese monastery of Santa Maria degli Angeli in Florence, Italy. Focusing on the fourteenth and fifteenth centuries in particular, the author provides an extensive description of various chapels and the religious themes and figures to whom they were dedicated. These decorations included christological motifs, the cult of the Virgin Mary, and the veneration of early Christian and medieval saints.

The article discusses the significance of the Aretine polyptych by Pietro Lorenzetti for the Pieve of Arezzo, Italy. It is stated that the contract was drew up on April 17, 1320 for the making of a new panel painting for the high altar of the Pieve. The agreement was established between Bishop Guido Tarlati, who was to be Lord of Arezzo, and the Lorenzetti. It is stated that the polyptych has been in large part preserved and is quite good condition, despite being dismembered and relocated on several occasions from the second half of the 16th century up to the late 19th century. Besides representing a great achievement of Italian Gothic painting, the historical importance of the Aretine polyptych also lies in its being the earliest work by Lorenzetti.

In 1534 the Vicentine masters, Giovanni da Porlezza and Girolamo Pittoni da Lumignano (the so-called Pedemuro masters) signed a contract with Aurelio Dall'Acqua for the construction of the main altar in the cathedral of Vicenza. Documents concerning the altar, later Dall'Acqua's funerary monument, have led scholars to attribute the design to Andrea Palladio, who began his career as a stone carver in the Pedemuro workshop. Designed following the model of a triumphal arch, the altar constitutes an extraordinary novelty in Vicenza, which was still unfamiliar with ancient models in the 1530s and 1540s. Documents show that Aurelio Dall'Acqua had connections to Venetian intellectual close to the doge, Andrea Gritti and the Franciscan theologian Francesco Zorzi, who, in those same years, wrote the program for the church of S. Francesco della Vigna and was in contact with Jacopo Sansovino. The inventory of the library of Dall'Acqua and an examination of his correspondence reveal his religious interests: that he was close to Catholic reform circles and interested in Erasmus; an expression of those interests should be considered part of the realization of the altar. Architectural analysis of the monument allows us to note in it a series of medieval and Renaissance elements from Florentine sources, direct borrowing from antique sources, and elements from Venetian architecture of the same period. Comparison of these elements with the architectural language that Palladio developed in the 1540s, after his first visit to Rome, excludes an attribution to him. In any case, the date of design is too early for him to have undertaken an autonomous project. Many of the architectural elements on the altar are to be found in tile work of Jacopo Sansovino, who was invited to Vicenza in 1538 to furnish an opinion on the roofing of the tribune of the cathedral and the movement of the original altar to the end of the apse. The design for the architectural structure of the altar is attributed here to Sansovino, while the disposition of the semiprecious stones which entirely cover the altar is considered to be the work of the Pedemuro masters. Francesco Zorzi seems to have been the connecting figure between patron and architect, as he was in Sansovino's commission for the main altar and funerary monument of Cardinal Francesco Quiñones the basilica of S. Croce in Gerusalemme, Rome. (158--177). [ABSTRACT FROM AUTHOR]

The chapel dedicated to Beata Lucia in the cathedral of Narni has been attributed to Nicola Michetti on the basis of both style and the fact that he had worked elsewhere for the patron, Cardinal Giuseppe Sacripante. The configuration of the altar surround, however, is not typical of Michetti's work. That structure, in fact, is by Carlo Rainaldi and originally stood in the chapel of S. Antonio di Padova in SS. Apostoli in Rome. Sacripante purchased the altar surround in October 1711 and had it set up in Narni sometime between 1712 and 1714. Michetti's contribution to the design of the chapel, therefore, is limited to the revetment of the walls, the windows, and the transverse oval dome. Rainaldi's altar surround is an important find. Conceived in 1652 and constructed between 1654 and c. 1656, it is the immediate forerunner of his urbanistic masterpieces of the early 1660s, S. Maria di Montesanto and S. Maria dei Miracoli, on piazza del Popolo. [ABSTRACT FROM AUTHOR]

An abstract to a conference paper by Pamela A.V. Stewart is presented which discusses erection of temporary altars by Carlo Borromeo in Milan, Italy in 1576 in response to plague, transformation of these altars to permanent crosses and confraternity that supervised them.