With meticulous research and carefully chosen illustrations, Phoebe Stanton here explores the influence of the English Gothic revival on American church architecture in the mid-nineteenth century, arguing that this fundamentally conservative movement provided a foundation for a new aesthetic. Examining the writings of the movement's leading proponents as well as a variety of important buildings, Stanton offers a comprehensive survey of the architectural principles and models that became most influential in America. She also confirms the importance of the Cambridge Camden Society, which provided the theoretical atmosphere and practical examples that helped to establish new standards of excellence in American architecture.

This illustrated account of the impact of the English Gothic revival on American church architecture in the mid-nineteenth century finds that this fundamentally conservative movement provided the foundation for a new, influential aesthetic. With meticulous research and carefully chosen illustrations, Phoebe Stanton here explores the influence of the English Gothic revival on American church architecture in the mid-nineteenth century, arguing that this fundamentally conservative movement provided a foundation for a new aesthetic. Examining the writings of the movement's leading proponents as well as a variety of important buildings, Stanton offers a comprehensive survey of the architectural principles and models that became most influential in America. She also confirms the importance of the Cambridge Camden Society, which provided the theoretical atmosphere and practical examples that helped to establish new standards of excellence in American architecture.

British architect George Frederick Bodley (1827-1907) fundamentally shaped the architecture, art, and design of the Anglican Church throughout England and the world; his work survives in the United States, Australia, India, and Italy, as well as the United Kingdom. This important book is the first to explore the life and work of this major Gothic Revival architect, a man with an evolving outlook on style and aesthetics who believed that every element of a building must be part of an integrated design strategy. A close colleague of William Morris and Edward Burne-Jones, Bodley was the first major patron of Morris's stained glass and, like Morris, was an accomplished textile and wallpaper designer. In 1874 Bodley founded Watts and Company--now celebrating its 140th anniversary--to manufacture ecclesiastical vestments, textiles, and wallpapers. In a seamless blend of architectural, art, and church history, this lavish volume features over 200 illustrations and offers impeccable scholarship on the work of an influential visionary of Victorian design. Published for the Paul Mellon Centre for Studies in British Art

A guidebook to the architectural styles of American churches and temples, Houses of Worship is highly illustrated with color photographs and explanatory line drawings. A survey of American religious architecture, this book is a history of the development of American religious history, a guidebook to assist in the identification of the style of individual buildings based on historical examples of typical buildings, and a travel guide to regional monuments of interesting architecture.

With meticulous research and carefully chosen illustrations, Phoebe Stanton here explores the influence of the English Gothic revival on American church architecture in the mid-nineteenth century, arguing that this fundamentally conservative movement provided a foundation for a new aesthetic. Examining the writings of the movement's leading proponents as well as a variety of important buildings, Stanton offers a comprehensive survey of the architectural principles and models that became most influential in America. She also confirms the importance of the Cambridge Camden Society, which provided the theoretical atmosphere and practical examples that helped to establish new standards of excellence in American architecture.

Crosses, candles, choir vestments, sanctuary flowers, and stained glass are common church features found in nearly all mainline denominations of American Christianity today. Most Protestant churchgoers would be surprised to learn, however, that at one time these elements were viewed with suspicion as foreign implements associated strictly with the Roman Catholic Church. Blending history with the study of material culture, Ryan K. Smith sheds light on the ironic convergence of anti-Catholicism and the Gothic Revival movement in nineteenth-century America. Smith finds the source for both movements in the sudden rise of Roman Catholicism after 1820, when it began to grow from a tiny minority into the country's largest single religious body. Its growth triggered a corresponding rise in anti-Catholic activities, as activists representing every major Protestant denomination attacked "popery" through the pulpit, the press, and politics. At the same time, Catholic worship increasingly attracted young, genteel observers around the country. Its art and its tangible access to the sacred meshed well with the era's romanticism and market-based materialism. Smith argues that these tensions led Protestant churches to break with tradition and adopt recognizably Latin art. He shows how architectural and artistic features became tools through which Protestants adapted to America's new commercialization while simultaneously defusing the potent Catholic "threat." The results presented a colorful new religious landscape, but they also illustrated the durability of traditional religious boundaries.

Traces the global reach & influence of the Gothic Revival throughout Britain's empire. Focusing on religious buildings, this book examines the reinvigoration of the colonial & missionary agenda of the Church of England & its relationship with the rise of Anglian ecclesiology.

True Principles of Pointed or Christian Architecture was first published in 1841, when Pugin was 29 years old. Here he presents coherent arguments for the revival of the Gothic style, the case for which he had made pictorally in his sensational book Contrasts (1836). For Pugin, the Gothic Revival was 'not a style, but a principle' and this he laid down in his most influential architectural treatise, True Principles, which introduced functionalist and rationalist as well as moral criteria into architectural discourse, much of it still resonant in the twentieth-century Modern Movement. It is reprinted together with his Apology for the Revival of Christian Architecture, first printed in 1843. Much of his thought here is on architectural education, and in shuffling off the straitjacket of neoclassical architectural principles Pugin exercised a great influence in mid-Victorian architecture and the applied arts, and in a wider design reform movement. These two seminal books, presented in one volume, are introduced by the architectural historian and Pugin authority Dr Roderick O'Donnell