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The church of San Lorenzo in San Buono (Italy) is unique in the local landscape due to its technical, and architectural features. The building, whose construction dates from the 14th century to the mid-20th century, was realized by the most important designers in the region. The bell tower is an element characterized by refined neoclassicism and testifies to a remarkable episode of the permanence of the neoclassical style in Abruzzo until the first decades of the 20th century. The present study illustrates both a technological-constructive analysis of the building and an assessment of the seismic risk of the bell tower, to present an important point for the knowledge of the artefact with regard to possible conservative restoration works. The seismic risk analyses are carried out for two different structural configurations and two different typologies allowed by the Italian building codes for monumental masonry buildings: simplified linear and non-linear static. The study illustrates how the presence of the adjacent structure significantly alters the structural behavior of the masonry tower, both in terms of displacement and propagation of the crack pattern. The differences in the results of the non-linear calculation and the expeditious methods suggested by the standard are highlighted as well. [ABSTRACT FROM AUTHOR]

This article addresses the curious absence of seventeenth-century buildings in traditional histories of Spanish architecture. Beginning with the Noticias de los arquitectos y la arquitectura en España, a foundational work published in 1829, the article traces the legacy of a Spanish Enlightenment myth about the seventeenth century as a time of a weak monarchy whose overly ornamental architecture can be understood as a reflection of political decadence. The article surveys nineteenth and twentieth-century responses to the Noticias by Spanish, German, and English-language scholars, proposing that the existing scholarship's overriding concern with style be replaced with a renewed focus on the institutions and individuals who shaped architectural undertakings in the transatlantic realm of the Spanish Habsburgs. [ABSTRACT FROM AUTHOR]

The project for the Puerto de la Paz designed by the neoclassical architect Silvestre Pérez in Abando, Bilbao, is one of the most suggestive examples of the urbanism of the Spanish Enlightenment. However, past studies of the only surviving autograph drawing have only focused on its urban layout. A reinterpretation of the project based on the original topography of the site -deeply altered by the construction of the Bilbaine Ensanche a few decades later-has allowed to cast new light on some of the most interesting but until now least comprehended aspects of the design. This approach has allowed to reveal the thoroughness of the proposal and its precision regarding the topography of the new design, thus allowing a precise volumetric reconstruction which has materialised in a 3d printed model built under the supervision of Francisco González Quintial at the FabLAB of the School of Architecture of the University of the Basque Country. [ABSTRACT FROM AUTHOR]

The article is devoted to the artistic setting of Stanisław Staszic's (1755-1826) burial place, for which his main heir, the Warsaw Royal Society of the Friends of Sciences (TKWPN), was responsible. The inspiration to raise this topic was the discovery of two previously unknown Jakub Tatarkiewicz's designs of Staszic's unrealized neoclassical tombstone in the collections of the Central Archives of Historical Records in Warsaw (AGAD). However, the projects were never commissioned by TKWPN but were the sculptor's proposal. By analysing the relationship between these artistic projects and the initiatives concerning Staszic's tomb which stemmed directly from the Society (a big raw stone as memorial), the article highlights the problem of TKWPN's participation in creating the posthumous cult of its long-time president and most important benefactor. The TKWPN's seemingly paradoxical reluctance to glorify Staszic by means of traditional (artistic) forms of commemoration can be interpreted as a logical action calculated to benefit the Society's image. Therefore, focusing on this single aspect of the posthumous cult of Staszic, directly related to the TKWPN, this article refers to the image-building policy of this institution, and thus to the ways of building its social status. At the same time, it tackles the issue of the prestige of science and scientific patronage as a new (from the early 19th-century perspective) form of public merit. [ABSTRACT FROM AUTHOR]

The Cuban cemetery underwent changes during the 19th century that have not been systematically addressed from a theoretical perspective. The objective of the research was to define the evolution of the cemetery during the XIX century in Cuba from the study of the works that compose it. The general historicallogical, deductive-inductive method was used, as well as observation, recording and statistical techniques. It was found that Cuba was one of the most advanced American territories in the establishment of cemeteries towards the outskirts of the towns. The study revealed the existence of three successive variations in the 19th century Cuban cemetery, defined by the author as primitive, neoclassical and romantic variants, each subject to specific sociocultural patterns that superseded the previous one in design and environmental comfort, as evidence of the development experienced during the century studied. [ABSTRACT FROM AUTHOR]

The paper investigates past and current research on the executions at Kurapaty, in the northern suburbs of Minsk, Belarus, in 1937–41, covering the period from the discovery of mass graves in the 1970s to the establishment of an official monument in late 2018. It deals with several issues: archaeological excavations of the site in the 1980s and 1990s; the numbers, ethnic origin, and identities of the victims; the continuing debates between the authorities, scholars, and the nationalist opposition; the protection of the site from various incursions; and the role of Kurapaty as an alternative national symbol to the Great Patriotic War victory. It also looks at Kurapaty victims in the context of the Stalin Purges in the USSR as a whole. The authors conclude that while the number of deaths and the scale of repressions did not differ significantly from the Soviet average, the impact on the modern state has been largely concealed because of the politicization of the event, and the tardiness and unwillingness of the post-independence government to peruse the harsher aspects of the Stalin era. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Iranian Studies / İran Çalışmaları Dergisi is the property of Journal of Iranian Studies 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 role of ancient classical monuments in the history of Polish neoclassicism at the turn of the nineteenth century may seem to be insignificant. However, among many building types, there was one in the case of which ancient classical monuments served as an important source of inspiration for contemporary building practice. It was the architecture of public commemoration that engaged in the discourse of national resurrection after the late-eighteenth-century partitions of the Polish state. Apart from their general associations with natural order and permanent stability, classical architectural models could directly invoke historical or mythological precedents which helped clarify the ambiguities of the resurrection. However, it is notable that such memorials did not only share the propagation of the idea of national resurrection. They also had the same designer, Chrystian Piotr Aigner (1756–1841), who showed an exceptional interest in ancient architecture. This article argues that not only the direct engagement of those commemorative structures in the discourse of national resurrection, but also the choice of the designer with a special penchant for classical antiquity accounted for the unusual use of classical models as design templates in those specific architectural undertakings. [ABSTRACT FROM AUTHOR]

Attributes are fundamental to the study of classical archaeology, just as they are to the discipline of art history at large. When it comes to identifying figures on an Attic vase – or for that matter the subject of a medieval fresco, Renaissance canvas, or Neoclassical statue – scholars regularly rely on the associative value of objects. Consider the ease with which we recognize 'Heracles' on the grounds of a club or lionskin; observe, too, how often a spiked wheel is understood to signal 'St Catherine', or a golden key to betoken 'St Peter'. In all these scenarios, viewers have learned to 'read' certain objects in certain culturally conditioned sorts of ways. Despite their non-verbal medium, attributes come to function almost like textual labels: inserted within the field of visual representation, they inscribe an identity, narrative backdrop, or semantic context; they anchor the project of critical interpretation – and in doing so take on a significatory logic of their own. [ABSTRACT FROM AUTHOR]

Copyright of Art / Umění is the property of Institute of Art History of the Academy of Sciences of the Czech Republic 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.)

One of the most important aims of designing the building's facades, in addition to maintaining its durability and sustainability against the severe weather conditions, is the beauty and attractiveness of the appearance and its overall adaptation to the urban context system. Because a building alone, no matter how beautiful it is, is ultimately compared to its adjacent buildings. These days, with a little surfing in the top areas of Tehran and other metropolitan areas of Iran, we will encounter with beautiful and seemingly aristocratic buildings, which called "Roman Facade". This research is aimed at studying the influence of Roman facades on the urban textures of Iran. The magnificent and seemingly aristocratic facades taken from the architecture of the classical Greek and Roman period, which have nothing to do with Iranian architecture, have led to a lack of visual harmony in urban textures. According to the results of statistical analysis of Expert Choice software and reviewing the opinions of experts in architecture and urban design, the most important factor affecting on urban facades is physical context and adaptation of the facades with urban context and due to the structural incompatibility of the neo-classical façade with the texture of the indigenous architecture of the region, such views cause inconsistency in the urban texture system of Iranian cities. Therefore, with solutions such as referring to the rich history of Iranian architecture and its eclecticism with the technology of the day, it is possible to satisfy the requirements of the society in a more favorable way so that by observing physical context, urban landscapes, with their personal character and credibility will be an element of unified society in the urban context system. [ABSTRACT FROM AUTHOR]

Much research has been dedicated to neoclassical European architecture, but much less has been said about its dissemination in Latin America. This paper explores how Spanish architect Manuel Tolsá came to shape the experience of public space in a prominent cultural center of the Spanish empire. Through the revival of borrowed Greco-Roman forms, his vision was realized in the architecture of the colonial system's public institutions in the late eighteenth and early nineteenth centuries. This paper argues that neoclassical architecture embodies the Enlightenment ideal of rational order and reinforces the aims of the Bourbon reforms in the political context of pre-independence Mexico. By connecting the visual evidence of three buildings, the history of the contemporaneous social institutions, and the implications of architecture in public space, I critically examine a visible legacy of Mexico's late colonial history. [ABSTRACT FROM AUTHOR]

The years between 1815 and 1830 constitute an important period in the history of Poles as a modern national community. During these years, the traditional way of thinking about Poles as a nation of nobles was gradually giving way to a more democratic vision. This socio-political transformation coincided with the development of Neoclassicism in the fine arts. However, the artistic canon of ideal forms appreciated by academics and aristocratic art lovers alike proved too hermetic for modern artistic enterprises such as public monuments of heroes cherished by the masses. This article investigates two such monuments: Bertel Thorvaldsen's equestrian statue of prince Józef Poniatowski in Warsaw, and the monument to national hero Tadeusz Kościuszko in Cracow. [ABSTRACT FROM AUTHOR]

Contemporary economic theory has entered into an era of unprecedented pluralism. Convincing arguments have been presented for the integration of this pluralism, the possibilities for which however rest on questions of ontology. This paper looks at two hubs of pluralist research, complexity economics and heterodox economics, to evaluate the possibilities for an integration. Complexity economics constitutes an ontological broadening of neoclassicism, but is based on an implicit and incomplete social ontology. Heterodox economics has been argued to be systematized by a critical realist ontology, but has been criticized for limits in the operationalization of this ontology. An ontological merge is sketched, resulting in Complex Realist economics, which is argued to be capable of resolving the 'confused state' of complexity economics, providing the heterodox tradition with the necessary methodologies to study the phenomena that it theorizes, and constituting a consistent ontological foundation for an 'interested pluralism'. [ABSTRACT FROM AUTHOR]

This article examines the political uses of classical architecture in the late eighteenth-century Polish-Lithuanian Commonwealth. It focuses specifically on the direct connection between the rise of the classical idiom on the eve of the collapse of the Commonwealth and the ill-fated idea of political recuperation of the deteriorating and dysfunctional state under the aegis of King Stanisław August Poniatowski (r. 1764–95). In particular, it outlines the extent and character of Polish-Lithuanian architectural classicism's political engagement in the last decades of the eighteenth century. It also underscores the specific role of this architectural idiom as a political symbol and instrument of propaganda, which served to represent the idea of restoring political order to the Commonwealth and building a strong and self-sustaining political community headed by the king. Finally, it presents a selection of characteristic buildings and publications that contributed to this political discourse, and examines the ways classical architecture retained a political importance in the immediate aftermath of the destruction of the Polish-Lithuanian Commonwealth in 1795. [ABSTRACT FROM AUTHOR]

This essay revisits architectural discourses in Vienna around 1900 by tracing several key themes in Hermann Bahr's architectural criticism, a topic not yet addressed in existing scholarship. By commenting on topics such as urban planning, modern furniture, and the public debates about ornamentation, Bahr positioned himself within a political discourse at the intersection of modernity, nationalism, and Catholicism. My analysis focuses on his critique of Viennese architecture and his polemic rejection of the Ringstraße. According to Bahr, the Ring, with its eclectic, historicist style, is an architectural symptom of a larger Austrian malaise: the desire to be "international" and to overcome what Bahr deems typically Austrian. As a preferable alternative to Ringstrasse Neoclassicism, Bahr advocates traditional Linz townhouses, projecting the idea of living a simple and humble life onto architecture. With their "down-toearth, honest, sincere style," the Landhaus embody the promise that there could, in fact, be a specifi cally Austrian aesthetic. [ABSTRACT FROM AUTHOR]

The article examines the approach of architect Inigo Jones in interpreting the Stonehenge, the prehistoric ruins in Wiltshire, England, in his 1655 book "Stone-Heng Restored." Topics covered include Jones' approach to the monument as Stonehenge in mind, according to English novelist John Fowles, attempt of Jones to restore Stonehenge with his drawings, goal of Jones in arguing for a Roman Stonehenge and Jones' advocacy of classicism in England.

Copyright of Zeszyty Naukowe Uczelni Vistula/ Vistula University Working Papers is the property of Vistula University 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.)

This article brings together recent work in literary studies and architectural history to plot the coded, and strategic, disavowal of slavery in early America by reimagining deliberately submerged narratives of race in landscape and architecture. Using fictional and actual buildings, particularly Thomas Jefferson's Monticello and the structures on the Mettingen estate in Charles Brockden Brown's Wieland (1798), the article traces the ways that the architectural vernaculars and embedded metaphors of the early United States project a familiar set of idealized values across a range of registers and scales. The binary constituted from figurations of enslavement (huts and the workplaces of slaves) and neoclassical architecture (including temples) were entirely familiar to early Americans. The novel reveals the consequences of a failure properly to acknowledge, or address, the silence surrounding the hut. It reveals a growing anxiety about the construction and shaping of national identity, in which the disavowed significance of racial others threatens the stability, and safety, of white Americans. The troubling elements of the novel are characteristic of larger narrative depictions of dark secrets and gendered and racialized violence in other fiction of the early Republic. [ABSTRACT FROM AUTHOR]

The parish church of Our Lady of the Assumption in Guaza de Campos (Palencia, Spain) is a singular building from the end of the 18th century. Its erection process was complex, involving Academia de San Fernando in Madrid and two architects, Pedro González Ortiz and Manuel Turrillo, being the latter the author of the built project. In this article, we will explain how this process took place and will shed light on how the Academia de San Fernando tried to expand the new architectural ideals. Furthermore, we are going to analyse the building with the aid of brand new plans drawn by us. [ABSTRACT FROM AUTHOR]

By the mid-nineteenth century, classical art and architecture were established as major elements of America's artistic vocabulary. In the wake of the American Civil War, classical forms offered a heroic, recognizable, and flexible vocabulary that was deployed in Civil War memorials. The Soldiers' and Sailors' Memorial Arch (1889-92) in Brooklyn, New York, was erected to commemorate Brooklyn's soldiers and sailors who had fought for the Union during the Civil War. This article interprets the monument's iconography, sculptural compositions, inscriptions, form, and its position in the cityscape as an expression of classical reception. Analysing these aspects of the Arch demonstrates that classical and neoclassical architectural elements were reinterpreted to create a significant Civil War monument imbued with meaning and a didactic purpose: honouring the ordinary citizen-soldier and constructing a specific memory and vision of the American Civil War. This classically-inspired monument and its sculptural programme reflect the cultural milieu and larger commemorative processes of post-Civil War America, specifically the differing Northern and Southern accounts of the Civil War, as well as the issues of race, reconciliation, reunification, and nation building. [ABSTRACT FROM AUTHOR]

The article offers information on the classical, vernacular, and modernist architecture of the Center for the Arts at Wesleyan University by architect Kevin Roche and John Dinkeloo focusing on the architectural styles and modernist originality. Topics include neoclassical and vernacular architectural styles, relevance of liberal arts, and history of architecture. Also discussed is the references made to colonial architecture.

The article presents an essay on the architectural history during the age of the Spanish Habsburgs dealing with the study of early modern European, European colonial architecture, and normative histories of architecture. Topics include history of baroque architecture, study by architect and critic Christian Norberg-Schulz, and Classicism in the Spanish Habsburg era. Also discussed is the history of Renaissance architecture and works of architects such as Giulio Romano and Pedro Machuca.

The article is about the work of Joseph Hatzinger, son of builder Paul (Pál) Hatzinger from Székesfehérvár (Hungary), and Joseph’s sons Heinrich and Paul. Joseph worked in Osijek and in Slavonia in the second half of the eighteenth century. In the early nineteenth century, his older son Heinrich spent almost a decade as a professor at the Genie-Akademie (Military Academy of Engineering) in Vienna and designed two important Early Neoclassical churches at Terezin and Josefov fortresses in Bohemia. His younger son Paul, after a brief period as a lecturer at the Genie-Akademie, worked as an engineer in various parts of the Habsburg Monarchy during the first half of the nineteenth century, from Galicia, across Dalmatia, to Vienna and Lower Austria in the final phase of his career. Finally, his great-great-grandson Gusztáv Kasper, the grandson of Paul Hatzinger Jr, became a Hungarian railway engineer at the turn of the twentieth century. [ABSTRACT FROM AUTHOR]