2019
DOI: 10.1163/9789004398979
|View full text |Cite
|
Sign up to set email alerts
|

Glorious Temples or Babylonic Whores

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1

Citation Types

0
1
0

Year Published

2021
2021
2021
2021

Publication Types

Select...
1

Relationship

0
1

Authors

Journals

citations
Cited by 1 publication
(1 citation statement)
references
References 84 publications
0
1
0
Order By: Relevance
“…Platonic idealism, in which the world mirrors a deeper reality of essential forms, had long contributed to the devaluing of surface embellishment, as had theological principles of purity and restraint, despite the decorative splendour of much religious architecture. The sober and aniconic character of reformist churches in the Counter-Reformation period and concurrent dismissal of decoration as morally suspect produced an ostentatious puritanism seen 'itself an introverted form of display' and the outcome of a complex conflation of polity and ceremony (Brett 2004;Morel 2019). Roman Catholics were pleased by surface appearance and Protestants by interiorised restraint, a juxtaposition also associated with gender identity in art and architecture and with the hegemony of classicism.…”
Section: Antipathymentioning
confidence: 99%
“…Platonic idealism, in which the world mirrors a deeper reality of essential forms, had long contributed to the devaluing of surface embellishment, as had theological principles of purity and restraint, despite the decorative splendour of much religious architecture. The sober and aniconic character of reformist churches in the Counter-Reformation period and concurrent dismissal of decoration as morally suspect produced an ostentatious puritanism seen 'itself an introverted form of display' and the outcome of a complex conflation of polity and ceremony (Brett 2004;Morel 2019). Roman Catholics were pleased by surface appearance and Protestants by interiorised restraint, a juxtaposition also associated with gender identity in art and architecture and with the hegemony of classicism.…”
Section: Antipathymentioning
confidence: 99%