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Sárospatak, a peaceful little town in north-eastern Hungary, holds legendary status within the country’s cultural landscape. Its school, the Reformed Church College of Sárospatak, has trained several important writers, artists and politicians across the Central-European region’s 500-year history. This volume presents the institution’s history through the lens of 37 books, documents and items from the collection. What was life like for a 17th century Hungarian student? Which physical experiments were pioneering? Why did Béla Bartók want to enrol his son in a countryside secondary school? These are only a few of the questions raised by the authors that introduce the reader to the colourful traditions of this remarkable school.

In what ways did the Jesuits deploy the Baroque visual language of the time to persuade the public of their vision on humankind, religion and society? In this beautifully illustrated book, which includes numerous artworks by Peter Paul Rubens and others, diverse authors rise to the challenge of finding answers to this complex question.

The setting is Antwerp in the 17th century. At that time, the city was the Jesuit Order’s headquarters in the Netherlands and a bastion against the Calvinism in the Northern Netherlands Republic. The fine arts were flourishing there like never before. Painters such as Peter Paul Rubens and Anthony van Dyck produced works for the Jesuits and participated in the Catholic community life organised by the order, with large groups of fellow believers. This publication takes a close look at the Baroque Saint Ignatius Church, now the Saint Charles Borromeo Church on Hendrik Conscienceplein, for which Rubens created magnificent ceiling paintings. The authors also show how more modest forms of art, such as religious folk prints, illustrated lives of the saints, schoolbooks, emblemata books and prayer books, were used to kindle the enthusiasm of as many believers as possible, both in their own country and in distant overseas territories.

Baroque Influencers – Jesuits, Rubens and the Arts of Persuasion presents written contributions from researchers affiliated with the Universities of Antwerp, Louvain and Stuttgart and various heritage institutes.

“A total delight, a brilliant vignette of 17th-century Rome, the Baroque and the Catholic church – warts and all – rolled into an erudite narrative…. with an ease of writing that is rare in art history.” – Simon Jenkins

By 1650, the spiritual and political power of the Catholic Church was shattered. Thanks to the twin blows of the Protestant Reformation and the Thirty Years War, Rome, celebrated both as the Eternal City and Caput Mundi (the head of the world) had lost its pre-eminent place in Europe. Then a new Pope, Alexander VII, fired with religious zeal, political guile and a mania for building, determined to restore the prestige of his church by making Rome the must-visit destination for Europe’s intellectual, political and cultural elite. To help him do so, he enlisted the talents of Gianlorenzo Bernini, already celebrated as the most important living artist: no mean feat in the age of Rubens, Rembrandt and Velazquez.

Together, Alexander VII and Bernini made the greatest artistic double act in history, inventing the concept of soft power and the bucket list destination. Bernini and Alexander’s creation of Baroque Rome as a city more beautiful and grander than since the days of the Emperor Augustus continues to delight and attract.

One thousand three hundred years ago Lichfield Cathedral stood at the centre of the Kingdom of Mercia; it stands still, spires reaching into the sky, at the heart of England; an abiding symbol of the impact Christianity has had on our heritage. Its history is as rich and intricate as its decoration: from St Chad’s anointment as Bishop of Mercia in 669 to the damage wrought during the bloody English Civil War to its restoration to medieval glory in the nineteenth century by Sir George Gilbert Scott. Written by Dr Jonathan Foyle, the broadcaster, architectural historian and passionate advocate for heritage sites, this book is essential reading for anyone interested in Britain’s great medieval architecture. Also available from Scala: Cathedrals of the Church of England ISBN 9781857599404

Peterborough Cathedral is one of England’s finest Norman buildings and, with the addition of its uniquely arranged west front, also among the most individual. Architectural historian Dr Jonathan Foyle combines the wealth of his specialist knowledge with the recent findings of other historians in this study and elucidation of a truly impressive building. He shows how its liminal position between land and water reflects the mediating role of the medieval Church between the terrestrial and the celestial realms. It is fundamental to the Saxon abbey’s dedication to St Peter, bearer of the key to heaven, and is reflected in the construction, decoration and symbolic language of the twelfth-century building. Engagingly written and beautifully illustrated with specially commissioned photography and the author’s own architectural drawings, Peterborough Cathedral: A Glimpse of Heaven offers a superb tribute to one of England’s most beautiful and enigmatic medieval buildings. Contents: Introduction; 1. Between Land and Water; 2. Destruction and Rebuilding; 3. Cathedral Completed; 4. Nave Ceiling; 5. The End of an Era; 6. Survival and Renewal. Follow @pborocathedral on Twitter (4220 followers).

Chester Cathedral was a monastic church of the Benedictine order for over 450 years before it was closed during Henry VIII’s reformation of the Church in England, and immediately re-opened as the cathedral of the new diocese of Chester. As a result it retains much of the flavour of a monastic institution, with a fine Norman refectory, a superb Early English Gothic chapter-house and a cloister garth which forms a tranquil oasis in the heart of the busy modern city. Originally dedicated to a local Saxon saint, Werburgh, Chester became an important centre of medieval pilgrimage and St Werburgh’s shrine still stands in the cathedral. The cathedral’s fourteenth-century choir stalls are among the finest in the country, featuring a riot of imaginative wood-carving. Its external appearance today, however, is largely the result of major Victorian restoration work by Sir George Gilbert Scott, much needed as the soft local stone did not age well. As modern architecture is also represented by the new Song School, opened in 2003, Chester Cathedral is a rare amalgamation of old and new, captured perfectly in this splendid little book.

A Guide to Rubens’ Antwerp highlights the life and work of Peter Paul Rubens (1577-1640) in a comprehensive and accessible way. The Antwerp museums and churches contain about a hundred paintings, drawings, designs and sketches by Rubens. A large part of those are public. Antwerp is the only city in the world that is so deeply rooted with Peter Paul Rubens and his baroque heritage. A Guide to Rubens’ Antwerp allows you to experience Rubens and the Baroque in an intense way. This multifaceted acquaintance with Rubens goes hand in hand with a dive into the glorious past of the vibrant city of culture, where the master’s life largely took place. A mapped walk takes you to the various places in Antwerp where Rubens’ work can be seen. You can visit his house with the studio, where so many masterpieces came about. You also visit the homes of his friends Balthasar Moretus and Nicolaas Rockox, and you can admire paintings of him in the historic churches in the rooms for which they were made.

Text in German.

Rubens’ Antwerp: A Guide highlights the life and work of Peter Paul Rubens (1577-1640) in a comprehensive and accessible way. The Antwerp museums and churches contain about a hundred paintings, drawings, designs and sketches by Rubens. A large part of those are public. Antwerp is the only city in the world that is so deeply rooted with Peter Paul Rubens and his baroque heritage. Rubens’ Antwerp: A Guide allows you to experience Rubens and the Baroque in an intense way. This multifaceted acquaintance with Rubens goes hand in hand with a dive into the glorious past of the vibrant city of culture, where the master’s life largely took place. A mapped walk takes you to the various places in Antwerp where Rubens’ work can be seen. You can visit his house with the studio, where so many masterpieces came about. You also visit the homes of his friends Balthasar Moretus and Nicolaas Rockox, and you can admire paintings of him in the historic churches in the rooms for which they were made. 2018 is the official Rubens’ year.

Raphael arrived in Rome in 1508 and remained there until his death in 1520, working as painter and architect for popes Julius II and Leo X and for the most prestigious patrons. Here the artist changed his painting style several times, looking at the works of Michelangelo, Sebastiano del Piombo and the vast repertoire of ancient painting and sculpture. In the Eternal City Raphael practised architecture for the first time, designing buildings that reflected the models of Antiquity such as the Pantheon, the descriptions deriving from written sources such as Vitruvius’ treaty on architecture, and the examples of modern architects like Donato Bramante.

This guide supplies essential and up to date information on all the civil or religious buildings designed or built by Raphael in Rome, and the frescoes and paintings, housed in churches or museums, whether executed in the city or arrived there at a later stage.

The palaces built in Rome in the seventeenth and eighteenth centuries are some of the most magnificent buildings in Europe – yet they remain relatively unfamiliar. This is the first stand-alone overview guide ever published. We produce it as a companion volume to our revised edition of Anthony Blunt’s seminal A Guide to Baroque Rome: The Churches.

In this volume, Anthony Langdon draws on an encyclopaedic knowledge of the hugely productive scholarship in the field, which he distills with elegance, acumen and wit. Over the last 30 years all aspects of the design, construction, decoration and functions of these great houses have been examined and our understanding of the period has been transformed. Scholars and visitors will find this volume stimulating, concise and eminently readable.

The rich illustrations include over 140 contemporary prints, as well as plans, elevations, and specially taken photographs. Full references and indexes complete this indispensable aid to further research.

Born in 1943 in Bristol, Nigel Hall RA studied at the West of England College of Art in Bristol and at the Royal College of Art in London before winning a Harkness Fellowship to study in America, where he travelled in California and the Mojave Desert.

One of the foremost sculptors of his generation, Hall has created acclaimed works in steel, aluminium and polished wood. As a boy he watched and worked with his grandfather, a stonemason who restored churches and other buildings in the West of England: ‘Experience of carving has affected the way I make sculpture and drawings, which is very much to do with light and shade, and edge.’

In this appealing new volume, Hall’s skill as a draughtsman is revealed, as is the importance of drawing to his sculptural practice. Indeed, his abstract drawings in gouache and charcoal show the same preoccupation with space and balance as his sculptures. Some 80 of Hall’s beautiful works on paper are included, with an intriguing introduction to them by the renowned art writer Andrew Lambirth.

Aidan Dodson’s British Royal Tombs covers all the burials of the kings, queens (and lords protector) of England, Scotland and the United Kingdom, from the occupant of the great Sutton Hoo ship burial, to George VI, last Emperor of India, including of course the long-lost Richard III. This fully revised edition of a book that became an immediate classic of its kind will be equally interesting to the interested visitor and the student. The career of each ruler is briefly described, followed by what is known about his or her burial arrangements and the subsequent history of the tomb and its contents. Each tomb is illustrated as far as possible by at least one photograph or drawing. The posthumous fate of royal spouses is also included, together with information on each of the cathedrals, churches, chapels and other structures that house or once housed royal tombs; there are detailed diagrams for the major sites. A list of monarchs, family trees and an extensive bibliography complete the book.

In the space of a few short years, English and Welsh sparkling wines have become recognised as some of the best in the world. Improvements in viniculture, a changing climate and terroir that often mimics the conditions found in the Champagne region of France have combined with the care and attention of predominantly artisanal makers to make fantastic wine. Travelling around more than 50 vineyards, Sparkling Wine celebrates this revolution. The expert author provides tasting notes, visiting information, and details on the terroir for each vineyard, along with engaging insight into the makers and their craft. This book provides an effervescent accompaniment to any country holiday. It collates directions, maps and opening times, making for an informative and accessible guide. You are rarely as far from a vineyard as you might think, and with Sparkling Wine in your pocket, with its pictures of rambling hills and grape-laden vines, Britain’s vineyards seem even closer still.

The work of Polhemus Savery DaSilva (PSD) synthesises ideas from modernism, Shingle Style, and New England vernacular architecture into special homes that are carefully crafted for each different site and client. PSD’s poetic architecture reflects on the joy of living by the New England coast, and this major new monograph, The Art of Creating Houses: Polhemus Savery DaSilva, beautifully presents that work and the ideas embodied within it. This lavishly illustrated and clearly written coverage of PSD’s most recent work features 27 select homes designed and built by the firm. This stunning volume also contains a foreword by Brian Vanden Brink; an introduction by Victor Deupi, PhD; and text by John R. DaSilva, FAIA, the firm’s Design Principal. This new volume is a brilliant companion to the firm’s earlier monographs, namely Living Where Land Meets the Sea, Shingled Houses in the Summer Sun, and Architecture of the Cape Cod Summer.

Wedding floristry has always been one of the most important fields of interest for florists all over the world. Time and again floral designers manage to redefine wedding bouquets, churches and table decorations. Florever Wherever presents around 15 complete wedding stories from 15 different countries. All weddings are decorated by world famous, top-class florists, all of them being spokespersons for the floral wedding traditions of their country. This magnificent publication will show every aspect of this unforgettable day: the bridal bouquet, corsages, bridesmaids, car decoration, church/venue decoration, table arrangements and the wedding party. A book that will have you lost in sweet reveries, a romantic feast for the eyes or a source of inspiration and a fountain of ideas for couples dreaming of chiming wedding bells. Featured Florists:
Moniek Vanden Berghe (BE), Daniel Santamaría I Pueyo (ES), Markus Donati (D), Jouni Seppänen (FIN), Robert Koene (GR), Kristin Voreland (N), Damien Koh (SGP), Giordano Simonelli (I), Mark Pampling (AU) and David Beahm (US).

Faith Flowers is a guide to arranging flowers in places of worship. The book starts with the fundamentals of flower arranging and works up to advanced designs for festivals. Step-by-step instructions and photographs clearly show how to create many different arrangements. Flower recipes are included describing what is needed for each design. Lots of inspiration for new ideas and colour combinations. Flower designs are provided for regular services, weddings, funerals, Christmas, Easter and much more. Learn how to create a volunteer group to provide flowers for your worship services. Author Laura Larocci shares her knowledge from 16 years as Flower Guild Chair of one of the largest cathedrals in the country. Over the years she has organised, led and taught hundreds of volunteers at the cathedral and churches across the US. She shares the triumphs and struggles of creating beautiful flowers within budget and volunteer flower guilds. The book has good reference guides with photos of flower varieties, greenery and materials needed, sample ordering forms, budgets and tips for saving money. Sources for flowers and materials are also discussed.

Ethiopia is an amazing and mysterious country. People are moved by its rich nature, culture and history, which are linked both with the Western and Islamic worlds. Ethiopia is the home of coffee and khat, the place where the oldest human being in the world was found. It harbours the source of the Blue Nile in the west and numerous treasures of the Ethiopian Orthodox Church. Rock hewn churches and their relics lie hidden in the majestic mountainous landscapes of the north. In the east, people and landscapes blend into different customs, scents and colours, almost unnoticeably. In this warm fertile lowland, the impressive Harar is found: the city of a hundred mosques. Further south, there is a land of promise with lush meadows, glittering lakes and natural parks. This is the region of many colourful peoples with their centuries-old values and customs. In this country of rich traditions much is changing. In Ethiopia, modernisation has begun, not only in terms of construction, technology and education, but also in the minds of its inhabitants. With its diversity of peoples, landscapes, cultures and traditions, this creates a stimulating force. Ethiopians are proud, friendly and religious. Regardless of whether they are Christian or Muslim, or worship ancient nature gods, religion provides most Ethiopians harmony, a foothold and hope. Ethiopia: Footsteps in Dust and Gold is an amazing journey through an incredible landscape, beautifully illustrated with evocative text and illuminating photographs that fully capture its colourful diversity.

Josef Albers (1888-1976) believed firmly in art’s spiritual dimension. Among his several aphorisms on the topic, none reflects the humble, ascetic character of his spiritual disposition better than the following: ‘Easy to know that diamonds are precious. Good to know that rubies have depth. But more to see that pebbles are miraculous’. Conceived by the renowned Albers expert Nicholas Fox Weber, who directed the Albers Foundation for 20 years and knew the artist well, Spirituality and Rigor presents a selection of work by Albers that illustrates his ascetic spirituality and his deeply felt Catholicism. The book stems in part from Fox Weber’s The Sacred Modernist: Josef Albers as a Catholic Artist, and is augmented with additional work by Fabio De Chirico. It includes Albers’ early drawings of country churches and cathedrals; ‘Rosa Mystica’, his stained glass window for St Michael’s Church, and other glass works containing religious imagery; his abstractions of crosses and geometric abstractions with spiritually themed titles, from his ‘Black Mountain’ years; his prints of Mexican gods; photographic interpretations of the theme of angels; and a selection from the ‘Homage to the Square’ series.

Text in English and French.

This is the first comprehensive book on Venetian mosaics of the nineteenth century. It illustrates work by both the Salviati Company and the Venice and Murano Glass and Mosaic Company. A carefully researched work, Venetian Glass Mosaics addresses the revival of the art of Venetian mosaic making in the mid-nineteenth century and discusses the complicity of both Antonio Salviati and Sir Austen Henry Layard in that revival. It is a comprehensive work, illustrating Salviati’s earliest surviving mosaics, the 1860 mosaic decoration of the Royal Mausoleum at Frogmore and continuing through his company’s last commission, the Stanford Memorial Church in Palo Alto, California. The recovered art of Venetian mosaic in the late-nineteenth- and early twentieth-century is now seen as one of the most important aesthetic achievements of the Victorian-Edwardian era. Neglected and unappreciated for decades, surviving mosaics are being cleaned and restored worldwide. Whether highly visible monuments in major cities or small achievements of Venetian manufacturers are now treasured for the splendid masterpieces they are.

The project represents a determination to recognise, appreciate and reformulate the specificity of local Catalan architecture, in contrast with the global and franchised architecture that has been dominant in recent years. The starting point is Bofarull House (1913-1933), one of the key works of Josep Maria Jujol. In this Tarragonan architect’s way of working we can identify an attitude that can be traced through many projects built in the last century and which is based on an intensive dialogue with pre-existing features (physical or otherwise) that enable a project including and blending new and existing elements to be developed, just as cuttings are grafted to a tree. Bofarull House allows us to explore an architectural attitude that is timeless. Accompanying it are La Llauna High School in Badalona (Carme Pinós and Enric Miralles), La Lira Theater Public Space in Ripoll (RCR Arquitectes and Joan Puigcorbé), and the Interpretation space for the megalithic tumulus/dolmen in Seró (Toni Gironès) – three projects removed in time but very close in many ways. All four work with pre-existing constructions and are the result of layering concepts in which traditional materials are reinterpreted, and they are inserted in their territory, engaging their surroundings in dialogue. The four buildings selected enable deeper comprehension of an attitude shared by other architectural examples featured in this book. Grafting Architecture presents a selection of twelve projects through which different ways of approaching different problems can be traced: landscape Restoration of the Vall d’en Joan landfill site (Enric Batlle, Joan Roig and Teresa Galí-Izard), Juan Apartment (Vora arquitectura), Apartments in the attic of La Pedrera (Francisco José Barba Corsini), Social housing block in L’Hospitalet de Llobregat (Josep Llinàs), Caldereria Petita House – restoration of a Row House (Calderon Folch Sarsanedas Arquitectes), Casal Balaguer Arts Center (Flores&Prats Arquitectes), Can Zariguey – Arenys de Munt Clinic (Miàs Arquitectes), Auditorium of the church of the convent of Sant Francesc (David Closes), three stations of Barcelona Metro Line 9 (Garcès De Seta Bonet Arquitectes), Can Framis Museum (BAAS Arquitectura), Project to revitalize the Al-Adhamyia District in Baghdad (AV62 Arquitectos) and the restoration of the Church of L’Hospitalet (José Antonio Martínez Lapeña & Elias Torres Tur Architects).

Nicknamed ‘the French Borromini’, Gilles Marie Oppenord (1672-1742) was born in Paris, the son of a royal cabinet maker. He was a royal pensioneer at the Academie de France in Rome. There he devoted much of his studies to Mannerist and Baroque architecture and ornament and the Louvre’s carnet (acquired in 1972) is a testament to this period of intense study. Only three sketchbooks of this period survive. When he returned to Paris he was trained as an architect by Jules-Hardouin Mansart and he soon became the architect of Philippe II Duke of Orleans, later Regent of France, for whom he decorated and designed the interiors of the Palais Royal. For the reception of the King in 1723, he was entrusted with the restoration and decoration of the Château de Villers Cotterets. Oppenord also carried out important church commissions, among them the completion of the church of Saint Sulpice in Paris. A talented draughtsman, he published two books of his engraved designs.

Text in French.

Sigurd Lewerentz (1885-1975) was initially educated as mechanical engineer in Gothenburg. Yet it was his architectural apprenticeship in Munich 1909-10 that set him on his path as an architect, opening his own office in Stockholm in 1911. Although his built work is relatively small, Lewerentz is revered as one of Sweden’s most eminent architects.

Cemeteries and sacred buildings became a core part of Lewerentz’s oeuvre, including Stockholm’s South Cemetery (1914-17), Malmö Eastern Cemetery (1916), St. Mark’s Church, Björkhagen (1956), and Petri Church, Klippan (1963). In association with Gunnar Asplund, he was also the main architect for the Stockholm International Exhibition (1930), and in collaboration with Erik Lallerstedt and David Helldén he created a masterpiece of functionalist architecture, the Malmö City Theatre (1935).

Sigurd Lewerentz, Architect is a reprint of the first ever monograph on his work, originally published in English 1987 and long out of print. It tells the story of Lewerentz’s life and presents his entire work in text and many photographs, drawings and plans. The new edition is rounded out by a new essay on Lewrentz and his significance by the German-Chinese architect, critic, and professor, Wilfried Wang.

Le Corbusier’s Chapel of Notre Dame du Haut in Ronchamp, eastern France, is one of the most unique and surprising religious buildings of the twentieth century. Replacing an earlier church that had been destroyed in the Second World War – a church that itself had been built on the site of a fourth-century Christian chapel – Le Corbusier transformed an ancient pilgrimage site into a dramatic work of modern art. In this insightful and beautifully illustrated volume, Maria Antonietta Crippa and Françoise Caussé explore the particular set of circumstances that led one of the twentieth century’s most famous exponents of urbanism to create an ethereal space of worship on a remote hill in the French countryside. As well as putting the chapel into its historical context and exploring the controversies and arguments that have surrounded it, this book – part of a series that began with Matisse: The Chapel at Vence (RA Publications, 2013) – features stunning new photographs that capture the genius of Le Corbusier’s design.

Around 1505 Goossen Van der Weyden, Rogier’s grandson, painted a monumental altarpiece depicting the various phases of Saint Dymphna’s insane life.

This Irish princess, who fled her incestuous father in the sixth century, was beheaded in the Kempen village of Geel. On account of her tragic end and uncompromising chastity, the princess was venerated from that moment on as the patron saint of the mentally ill. From the late Middle Ages, pilgrims flocked to Geel in large numbers to catch a glimpse of Saint Dymphna. They paid homage to the local celebrity in the hope that she would alleviate their mental problems. To this day, Geel is known for its unique treatment of the mentally ill, who are cared for at home by locals.

Goossen Van der Weyden’s altarpiece came into being at the height of Dymphna’s popularity. The masterpiece was intended for the church of Tongerlo Abbey. Today this work is characterised by a remarkable iconography and an eventful history: a panel was lost and the triptych was even sawn into pieces. It ultimately came into the hands of a team of specialists from Belgium and abroad who subjected the altarpiece to a meticulous conservation over a period of three years, a colossal undertaking during which new techniques were used. This gave the conservators unprecedented insight into the mind, and workshop, of an early 16th century painter.

This richly illustrated book is the result of years of research and contains essays by Till-Holger Borchert (Musea Brugge), Stephan Kemperdick (Gemäldegalerie, Staatliche Museen, Berlin), Katharina Van Cauteren (The Phoebus Foundation, Antwerp), Lucinda Timmermans (Rijksmuseum, Amsterdam), Patrick Allegaert (Dr. Guislain Museum, Ghent) and many others.