The Walls of the Confessions:Neo-Romanesque Architecture, Nationalism, and Religious Identity in the Kaiserreich

Scholars traditionally understand neo-Romanesque architecture as a stylistic manifestation of the homogenizing and nationalizing impulse of the Kaiserreich. Images of fortress-like office buildings and public halls with imposing facades of rusticated stone dominate our view of neo-Romanesque architecture from the Kaiserreich (1871-1918). The three religious buildings at the core of this study - Edwin Oppler's New Synagogue in Breslau (1866-1872), Christoph Hehl's Catholic Rosary Church in Berlin-Steglitz (1899-1900), and Friedrich Adler's Protestant Church of the Redeemer in Jerusalem (1893-1898) - offer compelling counter-examples of the ways in which religious groups, especially those that were local minorities, adapted the dominant neo-Romanesque style to their own particular quest towards distinctive assimilation in an increasingly complex, national, modern society. This synagogue and these churches belong to an important sub-section of German neo-Romanesque architecture that calls into question our standard narrative of the Wilhelmine neo-Romanesque style as a universalizing and secularizing aesthetic. This synagogue, Catholic parish church, and Protestant church forged a new alliance of religion and politics in the service of two often conflicting masters: the religious community and the nation-state. By reinventing neo-Romanesque forms for a modern, yet still religious context, Edwin Oppler, Christoph Hehl, and Friedrich Adler provide the crucial link necessary to incorporate medievalist architecture into the larger narrative of Germany's modernization.While these sacred structures are prime exemplars of many social and architectural themes, my aim is to present them neither as isolated case studies nor as highlights in a comprehensive survey of Wilhelmine religious architecture. I treat these three sacred structures as central case studies while considering their architecture, decorative programs, and mediated presentation in photography and print publications. The core themes of this work - the struggle between religion and national secular society, a longing for an imagine past as inspiration to create new styles for a new configuration of community - are not only the essential components of our definition of modernity but also what continues to frame our experiences today. Ultimately, these buildings serve as models to understand the challenges of diversity and multicultural society that continue to define our world

Das Fassadenuntergeschoss der Kathedrale San Rufino in Assisi

The basement of the façade of the San Rufino at Assisi is part of the newly erected Cathedral, which can be dated between 1140 and about 1240. Its extensive décor shows the self-confidence of its sole initiators, the Canons of the Cathedral. On the one hand the present treatise is addressed at the differentiated planar structuring on behalf of a large-scaled framing with a salient arched corbel course and the debate of its derivation. Thereby the framing of the reliefs next to the main portal on the façade of San Pietro fuori le mura at Spoleto receives specific consideration, also in comparison with the different types of relief-framing of several churches in the southwestern Mediterranean area. On the other hand the diversified decorative repertoire of the façade-basement at Assisi is brought into focus in this treatise. In this context special attention is paid to the so far rudimentarily investigated motives of the presentations, their origin and distribution

Jesuit Art

Mia Mochizuki draws upon masterpieces and material culture from around the world to show how the pre-suppression Society of Jesus (1540–1773) pioneered structural innovations in the history of the image. ; Readership: All interested in early modern, religious, and global art history, and anyone concerned with Renaissance and Baroque art and architecture, Jesuit studies, and the world-wide circulation of prints. Keywords: Renaissance art, Baroque art, religious art, Jesuit art and architecture, global art history, print history, 1540–1773, Jesuit style, Spiritual Exercises, Evangelicae historiae imagines, Imago primi saeculi Societatis Iesu, Ignatius of Loyola, Francis Xavier

Jesuit Art

Mia Mochizuki draws upon masterpieces and material culture from around the world to show how the pre-suppression Society of Jesus (1540–1773) pioneered structural innovations in the history of the image. ; Readership: All interested in early modern, religious, and global art history, and anyone concerned with Renaissance and Baroque art and architecture, Jesuit studies, and the world-wide circulation of prints. Keywords: Renaissance art, Baroque art, religious art, Jesuit art and architecture, global art history, print history, 1540–1773, Jesuit style, Spiritual Exercises, Evangelicae historiae imagines, Imago primi saeculi Societatis Iesu, Ignatius of Loyola, Francis Xavier

Wilhelm Lübke (1826 - 1893) : Aspekte seines Lebens und Werkes

Der deutsche Kunst- und Bauhistoriker sowie Kunstkritiker Wilhelm Lübke (1826-1893) lehrte an den bedeutenden Polytechnika des 19. Jahrhunderts in Berlin, Zürich und Stuttgart. Von 1885 bis zu seinem Tod war er außerdem Professor für Kunstgeschichte am Polytechnikum in Karlsruhe, dem heutigen Karlsruher Institut für Technologie (KIT). Den Rahmen vorliegender Publikation bilden ein Einblick in die Biografie und den Werdegang Wilhelm Lübkes sowie ein umfassendes Schriftenverzeichnis.

Hamburger Backstein- und Klinkerbauten : Gestalt, Konstruktion, Material

Die Text- und Quellensammlung entstand als Arbeitsgrundlage für eine Exkursion nach Hamburg. Studierende der Architektur setzten sich mit der Frage auseinander, inwiefern sich der Umgang mit den Baumaterialien Ziegel und Klinker in konstruktiver und gestalterischer Hinsicht im Laufe der Zeit gewandelt hat. Der Fokus der Analysen wurde auf die Zeitspanne zwischen 1880 und 1930 gerichtet, da in diesen Dekaden das Bauen mit "Backstein" besonders starken Veränderungen unterworfen war

Hamburger Backstein- und Klinkerbauten : Gestalt, Konstruktion, Material

Die Text- und Quellensammlung entstand als Arbeitsgrundlage für eine Exkursion nach Hamburg. Studierende der Architektur setzten sich mit der Frage auseinander, inwiefern sich der Umgang mit den Baumaterialien Ziegel und Klinker in konstruktiver und gestalterischer Hinsicht im Laufe der Zeit gewandelt hat. Der Fokus der Analysen wurde auf die Zeitspanne zwischen 1880 und 1930 gerichtet, da in diesen Dekaden das Bauen mit ""Backstein"" besonders starken Veränderungen unterworfen war