Augustus Welby Northmore Pugin worked as an assistant to Charles Barry on the design of the New Palace of Westminster. Prior to the rebuilding of The Palace of Westminster, Britain had seen an unparalleled metamorphosis from a Roman Catholic Country to a Protestant. This affected many aspects of life in the following years including architecture. Pugin himself had already dissented from his Protestant upbringing and converted to Roman Catholicism in 1835. This internal dissent from tradition certainly affected Pugin’s view of what the true Christian style of architecture was.
Catherine of Aragon played a vital role in delaying the annulment from Henry VIII. Her links to Charles V, her defence and her delaying strategy ultimately prolonged the annulment from Henry. However, we also must into account other factors such as the Sacking of Rome in 1527 where the pope himself was taken prisoner. Also, Henry’s timing of the annulment and his very poor strategy meant Henry was delaying the annulment himself due to this poor strategy. Firstly, Catherine of Aragon played a vital role in delaying the annulment from Henry because her links to Charles meant that Charles himself could intervene with the annulment.
As the 13th century drew to a close in the wake of the Crusades, a little known artist was creating masterpieces paying homage to the Christian faith. Historical record of Duccio Di Buoninsegna’s life are far from complete, with the earliest documentation of his life in 1278 when he received payment from the Siena Council for the decoration of twelve trunks designed to store documents (ducciodibuoninsegna.org, 2013). Di Buoninsegna was an Italian painter believed to have been born in the region of Tuscany sometime between 1255 and 1260. It was in the Tuscan town of Siena that he completed one of his most famous works, Madonna and Child. This work, thought to have been completed sometime between 1290 and 1300, is currently on display at the Metropolitan Museum of Art (The Metropolitan Museum of Art, 2013).
Despite losing the majority of its stained glass windows, the Amiens Cathedral is widely awarded because of its thirteenth century Gothic style and beauty. Tracing back the origins of the construction and initiation of the Amiens Cathedral are difficult because of terrible fires that damaged the chapter archives in 1218 and another in 1258 that also damaged the cathedral itself. The aforementioned Bishop Evrard de Fouilly initiated work on the monumental cathedral by hiring the architect Robert de Luzarches in 1220. The famous architect Thomas du Cormont, who continued construction until 1258, followed Luzarches. Thomas’ son, Renaud de Cormont acted as a successor to Thomas, and worked on the cathedral until 1288; however, the chronicle of Corbie credited the completion of the Amiens Cathedral in 1266, and many additions to the cathedral were made years following.
In Malta in 1608 he was involved in another brawl, and yet another in Naples in 1609, possibly a deliberate attempt on his life by unidentified enemies. By the next year, after a relatively brief career he was dead. Huge new churches and palazzi were being built in Rome in the decades of the late 16th and early 17th Centuries, and paintings were needed to fill them. Caravaggio's novelty was a radical naturalism which combined close physical observation with the dramatic contrasting bold with light and shadow affecting a whole composition. Between 1600–1606 he was considered the “Most famous painter in Rome In 1599 Caravaggio was contracted to decorate the Contarelli Chapel in the church of San Luigi dei Francesi with two works, the Martyrdom of Saint Matthew and Calling of Saint Matthew.
The crusades affected western culture because of their biblical practices that threatened it. By 1905, Urban II’s call for a crusade was only part of a larer shifting in theological interpretations and justification of warfare: the Reconquista in Spain, for instance, had been under way for over two centuries and was rooted in a re-fashioned understanding of just war theory. The explicit pilgrimage and warfare gave the First Crusade a unique potency that triggered widespread enthusiasm across feudal social boudaries. Pilgrimage was a common practice during Middle Ages and, given the perils of travel, pilgrims often armed themselves for defense. The ideology of the crusade, however, was one rooted in the practice redemptive pilgrimage as well as conquest.
After Napoleonic was defeated in the Napoleonic wars of 1799 to 1815, Europe was a broken place and needed to be fixed. Napoleon had ruled Europe for a number of years and now his ruling had come to an end. At the Congress of Vienna in 1815 the great powers of Europe, chaired by Klemens von Metternich decided to redraw the continents political map of Europe as napoleon had controlled it for so long. In the years after the congress, Italian unification was being spoken of. Support for both nationalism and liberalism started to grow during the future years.
The genitalia in the fresco were covered twenty-four years later. That’s when the Council of Trent prohibited nudity in religious art. The fresco was restored in 1993 under the supervision of curator of the Vatican Museums Frabrizio Mancinelli. During the restoration process the censorship of Carafa’s campaign was removed. Michelangelo’s exposure of the nude bodies in the fresco caused a lot of conflicts.
Sant’Elia and the Futurist Movement The Messaggio Antonio Sant’Elia, an Italian futurist, had a profound effect on architecture despite the fact that he died at the age of twenty-eight. His work, mainly sketches, was well recognized after his death, and gained more reputation by Fillippo Merinetti, the founder of Futurism. His drawings were displayed along with a written program, known as the Messaggio, at the Nouve Tendenze exhibition. Although Sant’Elia signed the Messaggio, there are doubts about the true author of the text, where the word “futurism” was never mentioned, along with the fact that his verbal skills weren’t noted at that time. The Messaggio starts with a list of the false ways of thinking towards modern architecture, focusing on the unnecessary decorative elements that architects used to change or replace by time, and rejecting the idea that the form of the building defines whether this building is considered old or new.
However, in my opinion, this is not a display of unoriginality. Firstly, I believe that everything has in one way or another been influenced by something else. Everything we see and experience, changes us in some way. Therefore, everything around us has subconsciously influenced us in some way, so would that make everything unoriginal? Also although when an image is directly copied in an appropriation, I do not think it is necessarily unoriginal as in my opinion all art was created for a purpose.