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One of Buckler's drawings of Ely Cathedral. John Buckler, Snr FSA (30 November 1770 – 6 December 1851) was a British artist and occasional architect who is best remembered for his many drawings of churches and other historic buildings, recording much that has since been altered or destroyed.
Early church architecture did not draw its form from Roman temples, as they did not have large internal spaces where worshipping congregations could meet. It was the Roman basilica used for meetings, markets, and courts of law that provided a model for the large Christian church and that gave its name to the Christian basilica. [3]
Most of Pearson's buildings are in England, (he worked on at least 210 ecclesiastical buildings in England alone) [3] but he also carried out work elsewhere, for example Treberfydd, a country house in Wales, and Holy Trinity Church in Ayr, Scotland.
Four other churches are associated with this tradition: St John the Baptist's Church, Chester, Old St. Paul's Cathedral, London, Bath Abbey and the destroyed Benedictine Abbey of Coventry. The collegiate church of St John in Chester was raised to cathedral status in 1075, but became a co-cathedral in 1102, when the see was removed to Coventry ...
Early church architecture did not draw its form from Roman temples, as the latter did not have large internal spaces where worshipping congregations could meet. It was the Roman basilica, used for meetings, markets and courts of law that provided a model for the large Christian church and that gave its name to the Christian basilica.
Trinity Church in Boston, designed by Richardson in 1872. Richardsonian Romanesque is a style of Romanesque Revival architecture named after the American architect Henry Hobson Richardson (1838–1886). The revival style incorporates 11th- and 12th-century southern French, Spanish, and Italian Romanesque characteristics.
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The Lutheran churches, as they developed, accepted a limited role for larger works of art in churches, [1] [2] and also encouraged prints and book illustrations. Calvinists remained steadfastly opposed to art in churches, and suspicious of small printed images of religious subjects, though generally fully accepting secular images in their homes.