History and architectural history

Transactions of the Royal Historical Society

Volumn 13, Issue , 2003, Pages 199-206

  Fernie, Eric ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60950522912     PISSN: 00804401     EISSN: 14740648     Source Type: Journal    
DOI: 10.1017/S0080440103000094     Document Type: Review

References (17)

1. Spectator, 15 Feb. 2002
2. I discuss this question in more detail in 'The History of Art and Archaeology in England Now', in The Art Historian: National Traditions and Institutional Practices, ed. Michael F. Zimerman (Clark Art Institute, Williamstown, 2003), 160-6
3. Stephen Heywood, 'The Ruined Church at North Elmham', Journal of the British Archaeological Association, 135 (1982), 1-10
4. Arthur Kingsley Porter, Lombard Architecture (1917; repr. New York, 1967)
5. Arthur Kingsley Porter, 'Iguácel and More Romanesque Art in Aragon', Burlington Magazine, 52 (1928), 115
6. idem, Romanesque Sculpture of the Pilgrimage Roads (1923; repr. 1966)
7. and idem, Spanish Romanesque Sculpture (1928)
8. Gerard Baldwin Brown, Anglo-Saxon Architecture (1903; 2nd edn 1925)
9. It is surprising that Brown invented such specifically architectural periods, as his work covered all aspects of the period. The volume preceding that on architecture in the series The Arts in Early England, for example, is entitled The Life of Early England in its Relation to the Arts (1903; 2nd edn 1926)
10. Richard Gem, 'ABC: How Should We Periodize Anglo-Saxon Architecture?', in The Anglo-Saxon Church: Papers in Honour of Dr H. M. Taylor, ed. Laurence Butler and Richard Morris (1986), 143-55
11. It is odd that for the ancient periods art historians use standard historical labels based on peoples or dynasties, as with Egyptian, Greek, Roman, Merovingian, while from the Romanesque on the style label is almost the rule (the observation is Sandy Heslop's). The reasons for this change will be more fully in considered in my chapter on Romanesque architecture in Romanesque and Gothic, ed. Conrad Rudolph (forthcoming)
12. Jean Mesqui, Christian Dormoy and Philippe Durand, 'Mélanges: actualités sur le château de Loches', Bulletin Monumental, 154 (1996), 221-8
13. and Christian Dormoy, 'L'expertise dendrochronologique du donjon de Loches (Indre-et-Loire): des données fondementales pour sa datation', Archéologie Médiévale, 27 (1998), 73-89
14. Note that in The Making of the Middle Ages (1953), 84, Richard Southern got it right ('c. 1009')
15. William Fagg, 'In Search of Meaning in African Art' (1973), reprinted in Eric Fernie, Art History and its Methods: A Critical Anthology (1995), 239-44
16. Eric Fernie, 'Architecture and the Effects of the Norman Conquest', in England and Normandy in the Middle Ages, ed. David Bates and Anne Curry (1994), 105-16
17. For an example far removed from the academic world, see that of Robert Jan van Pelt, an architectural historian who appeared as a witness for the defence in a legal action brought by the historian David Irving. When van Pelt contended that the buildings housing the gas ovens at Auschwitz were designed and built for the purpose, Irving challenged his evidence on the grounds that he was not a qualified architect. The presiding judge, however, ruled that an architectural historian's view was as valid as that of an architect. Robert Jan van Pelt, The Case for Auschwitz: Evidence from the Irving Trial (Bloomington, IN, 2002), 441, 556