(b Mariupol’, Feb 20, 1862; d Leningrad [now St Petersburg], Dec 12, 1939).
Russian art historian of Ukrainian birth. He studied first in Odessa at the Novorossiysky University under Professor N. P. Kondakov and in 1888 followed Kondakov to St Petersburg, where he completed his education. During his university years, together with his fellow student E. Redin Aynalov, he researched the mosaics and mural paintings of St Sophia in Kiev, where his main interest was devoted to their iconography. He received his master’s degree in 1901. In 1903 Aynalov was appointed to a chair at Kazan’ University.
In one of his first works, Mosaics of the Fourth and Fifth Centuries (1895), Aynalov not only gave a very complete survey of the material, but replaced the prevailing theory held by Western scholars concerning a Roman school that was said to have determined the initial history of Byzantine art. Aynalov considered that it was not the West but the East that had been responsible for its stylistic development. He dealt with another of the most fundamental problems of Byzantine art in his monograph ...
Rosa Barovier Mentasti
Italian family of glassmakers. The family are recorded as working in Murano, Venice, as early as 1324, when Iacobello Barovier and his sons Antonio Barovier and Bartolomeo Barovier (b Murano, ?1315; d Murano, ?1380) were working there as glassmakers. The line of descent through Viviano Barovier (b Murano, ?1345; d Murano, 1399) to Iacobo Barovier (b Murano, ?1380; d Murano, 1457) led to the more noteworthy Barovier family members of the Renaissance. Iacobo was responsible for public commissions in Murano from 1425 to 1450. From as early as 1420 he was a kiln overseer, with a determining influence on the fortunes of the Barovier family.
During the 15th century Iacobo’s sons, notably Angelo Barovier (b Murano, ?1400; d Murano, 1460), and his sons Giovanni Barovier, Maria Barovier, and Marino Barovier (b Murano, before 1431; d Murano, 1485) were important glassmakers. From as early as ...
(b Liège, May 25, 1849; d Toulon, Sept 17, 1918).
Belgian administrator, historian and art historian. During his early career Bayet spent some years at the French schools of archaeology at Athens and Rome (1871–74), where he developed a special interest in Byzantine studies. In 1874 he was sent with Father Duchesne on an archaeological expedition to Mt Athos. Their study of the mosaics, inscriptions and manuscripts found there and elsewhere in Greece was published in 1876. Bayet became Professor of the Faculty of Literature at Lyon in 1876, but he was compelled to widen his field and cover medieval art and history, since Byzantine art and archaeology were still considered very narrow and negligible subjects. From 1896 he took a succession of administrative posts and was forced to give up his research altogether. Despite the brevity of his career as a Byzantinist, Bayet contributed works of meticulous scholarship that rejected the hypothesizing of previous scholars, laid solid groundwork for further study and established him as master in his field. The culmination of his research, and the first complete survey of the subject, was his ...
(b Washington, Co. Durham, July 14, 1868; d Baghdad, 11/July 12, 1926).
English archaeologist and architectural historian. The first woman to achieve a first-class honours in modern history at Oxford University, she travelled widely in Europe, Japan and especially the Middle East in the 1890s, achieving fluency in a number of European languages as well as in Persian, Turkish and Arabic. She developed an interest in archaeology and architecture that was reflected in an authoritative set of articles on the Early Byzantine churches of Syria and southern Turkey, based on her travels in 1905. Her first major travel book, The Desert and the Sown, contains a mixture of travellers’ tales and archaeological information, as does her Amurath to Amurath. Between 1905 and 1914 she made archaeological studies of the Early Byzantine and Early Islamic monuments of Turkey, Syria and Mesopotamia (now Iraq). In 1905 and 1907 she surveyed Binbirkilise with Sir William Ramsay; their book, The Thousand and One Churches, remains the authoritative account of this important site. The architectural recording by survey and photography at Binbirkilise was carried out by Bell and is a lasting monument in its own right. Bell’s interest in Anatolia was inspired by Josef Strzygowski and his book ...
(b Fontenay-sous-Bois, May 23, 1869; d Jan 8, 1917).
French writer. In 1893 he became a member of the Ecole Française de Rome and began an extensive and systematic study of medieval art in southern Italy. This resulted in his first major publication, L’Art dans l’Italie méridionale (1904), which remains his most important work. A similarly comprehensive study of Spanish medieval and Renaissance art followed, resulting in the publication of articles and essays in A. Michel’s Histoire de l’art. From 1901 he taught history of art at Lyon University and from 1912 at the Sorbonne. Also in 1912 he became curator of the new Musée Jacquemart-André in Paris, where he organized the opening of the museum to the public and prepared the first catalogue in 1913. In 1914 he became editor of the Gazette des beaux-arts, but was called up in World War I, and he died comparatively young of pneumonia.
Bertaux’s publications emphasize the relationship of artistic developments to historical circumstances and patronage. His study of ...
(b Dundee, Aug 31, 1898; d London, April 14, 1974).
British art historian, scholar, and teacher. Boase studied history at Magdalen College, Oxford before teaching at Hertford College, Oxford from 1922 to 1937. As an historian his appointment as Director of the Courtauld Institute of Art and Professor of the History of Art in 1937 was controversial, but in this role he helped to establish the history of art as an undergraduate degree course. His time at the Courtauld was disrupted by World War II, and he worked to revive the Institute in its aftermath. Boase brought his historical training to his writing on art. His interests were extremely wide-ranging and he published on subjects as diverse as ‘The Arts in the Latin Kingdom of Jerusalem’ and ‘Illustrations of Shakespeare’s Plays in the Seventeenth and Eighteenth Centuries’. Both these articles were among his regular contributions to the Journal of the Warburg and Courtauld Institutes. In addition to his articles on medieval art, in ...
(b Feluy, Jan 10, 1849; d Ghent, Jan 11, 1920).
Belgian architect and writer. He trained as a civil engineer under Adolphe Pauli at the Ecole Spéciale de Génie Civil of the State University of Ghent. As a student he came into contact with the Belgian Gothic Revival movement centred on Jean-Baptiste Bethune and the St Luke School in Ghent, founded by Bethune in 1862. From 1874 Cloquet worked with the publishers Desclée. His early architectural work was similar to that of Bethune, Joris Helleputte and the first generation of St Luke architects. His most important projects were built around the turn of the century: the University Institutes (1896–1905), Ghent, and the Central Post Office (1897–1908), Ghent, the latter with Etienne Mortier (1857–1934), a pupil of Helleputte. In them Cloquet adopted a more eclectic though still predominantly medieval style, also introducing Renaissance motifs. Between 1904 and 1911 he designed a redevelopment plan for the historic centre of Ghent, between the early 14th-century belfry and the 15th-century church of St Michael, known as the Kuip, which was realized before the Ghent World Fair of ...
Joseph R. Kopta
(b Neenah, WI, June 28, 1894; d Bedford, MA, March 4, 1984).
American architectural historian. Conant was the leading 20th-century American architectural historian specializing in Romanesque architecture, and was the primary archaeologist of the monastic complex at Cluny. He earned his degrees from Harvard, including a BA in Fine Arts in 1915, an MArch. in 1919, and a PhD with a dissertation on the Cathedral of Santiago de Compostela, supervised by Arthur Kingsley Porter, in 1926. He trained in archaeological practices in 1926 at the excavations of Chichén Itzá and Pueblo Bonito before directing excavations in earnest at Cluny starting in 1928. He was Professor of Architecture Emeritus at Harvard University, retiring from teaching in 1954.
An active member of the Medieval Academy of America (which funded his excavations after initial funding from the Guggenheim Foundation), Conant published frequent field reports documenting the excavations of Cluny as articles in Speculum. Additionally, Conant published a monograph on the sum of the excavations in ...
(b Hampton Falls, NH, Dec 16, 1863; d Boston, Sept 22, 1942).
American architect and writer. Cram was the leading Gothic Revival architect in North America in the first half of the 20th century, at the head of an informal school known as the Boston Gothicists, who transformed American church design.
In 1881 Cram was apprenticed to the firm of Rotch & Tilden in Boston. His letters on artistic subjects to the Boston Transcript led to his appointment as the journal’s art critic by the mid-1880s. In 1886 he began his first European tour. In 1888 he founded the firm of Cram & Wentworth with Charles Wentworth (1861–97). With the arrival of Bertram Goodhue, the firm became Cram, Wentworth & Goodhue in 1892, and in 1899 Cram, Goodhue & Ferguson, with Frank Ferguson (1861–1926) having joined the office as business and engineering partner following the death of Wentworth.
Cram was strongly influenced both by the philosophies of John Ruskin...
(b Gemona, Udine, Aug 31, 1857; d San Remo, Imperia, May 3, 1932).
Italian architect. The son of a building contractor, at 14 he was working as a mason in Graz, Austria, and attending the local Baukunde where Leopold Theyer taught neo-Gothic and neo-Renaissance architectural design. He returned to Gemona in 1874 and after voluntary military service with the military engineers in Turin, where he learned the techniques of structural work in wood, he attended the Accademia di Belle Arti in Venice, studying under Giacomo Franco and graduating in 1880.
After a brief period (1881) during which he taught at the Accademia di Carrara, D’Aronco’s career can be divided into three phases: in the first decade he was associated with Giuseppe Sommaruga and Ernesto Basile as one of the leading architects of the Stile Liberty (It.: Art Nouveau); the second, c. ten years either side of 1900, was when much of his work was in Turkey; and the third, after 1908...
(b Cardiff, Jan 3, 1866; d Holford, Somerset, Feb 2, 1945).
British Classical scholar and Byzantine archaeologist. He entered the Department of British and Mediaeval Antiquities at the British Museum under Sir A. W. Franks in 1896, and became Keeper of that department in 1921. His early interest in ethnography shifted to archaeology with the publication of his Catalogue of Early Christian Antiquities and his Guide to Early Christian and Byzantine Antiquities, which accompanied an exhibition that he organized. The Byzantine collections of the British Museum had not until then received much attention, and Dalton’s scrupulous research gained him recognition as one of the leading early Byzantinists. Until his retirement in 1927 he regularly published and re-edited official guides and catalogues to the Early Christian and Byzantine antiquities in the British Museum, all of which became standard works on the subjects concerned. He also produced catalogues of the medieval collections and works of Byzantine art history. His most distinguished publication was the vast survey work ...
Canadian architectural partnership formed in 1895 by Frank Darling (1850–1923) and John (Andrew) Pearson (1867–1940). Frank Darling’s career was founded in the Gothic Revival and conditioned by the ecclesiological inclinations of his father, the first cleric to introduce Anglican high church ritualism and fittings into Toronto. He studied for three years in London in 1870–73, in the offices of G. E. Street and Arthur Blomfield (1829–99), and in 1874 established his practice in Toronto. His most important early works were High Anglican parish churches in Toronto that drew on English Gothic Revival and then American Romanesque Revival sources, especially for the unfinished church of St Mary Magdalene in central Toronto (1886–92). The contacts made through church work led to institutional and commercial commissions, such as Trinity College, Toronto (1877–1905, destr.), and in 1880 Darling won a competition for the Legislative Buildings, Toronto (not executed), for the Province of Ontario. After ...
(b Strasbourg, July 4, 1859; d Paris, Nov 1, 1944).
French Byzantinist. After studying at the Ecole Normale Superieure (1878–81) he became a member of the French School in Rome, and in 1883 was elected to the French School in Athens. He taught Greek history and archaeology at the University of Nancy from 1885 to 1889, when he became Professor of Byzantine History at the Sorbonne and a member of the Institut de France: he was the foremost authority of his time on the Byzantine empire. His early interests included studies of the Byzantine administration of Ravenna and the history of Africa up to the Arab conquest of
(b Strasbourg, Oct 2, 1855; d Grenade sur l’Adour, Nov 25, 1925).
French art historian. At the Ecole des Chartes in Paris Durrieu learnt the methodology of studying history using documents. In 1879, a year after leaving the Ecole des Chartes, he left for the Ecole Française de Rome, where he studied Italian art and had access to the Angevin archives in Naples (Naples, Archv Stato). On his return to Paris he was given responsibility for conservation at the Louvre, which allowed him direct contact with works of art, especially French medieval painting. Thanks to his discriminating taste the Louvre collections were enriched with works by Gerard David, Nicolas Froment, Jean Fouquet and Jan Breughel the elder.
Encouraged by Léopold Delisle, Durrieu began to explore the neglected field of illuminated manuscripts. He helped to promote the Primitifs français exhibition at the Louvre and Bibliothèque Nationale in 1904. His published work includes the first serious overview of French Gothic painting, published in André Michel’s ...
Nigel J. Morgan
(b Hamburg, Jan 15, 1863; d Basle, Jan 5, 1944).
German art historian. He came from a Hamburg banking family. His wide-ranging publications covered medieval illuminated manuscripts, ivories, bronze, and stone sculpture, and, to a lesser extent, northern painting of the 15th to 17th centuries. He taught at the universities of Berlin (1892–1903) and Halle (1904–12) and then succeeded Heinrich Wölfflin as professor at Berlin in 1912. He retired in 1932 and finally had to leave Germany for Switzerland in 1939. Goldschmidt’s career spanned the great years of German art history when, particularly in medieval studies, German scholarship and methodology dominated the field. He was among the leading figures of his generation, and through his published work and his teaching, one of the most influential. His analytical, precise approach to the study of style and iconography with an emphasis on medieval art differed from the formalist criticism of Wölfflin. As an exceptional teacher, Goldschmidt established a following of distinguished pupils, notably ...
(b Pomfret, CT, April 28, 1869; d New York, April 23, 1924).
American architect and illustrator. In 1892–1913 he worked in partnership with Ralph Adams Cram, designing a remarkable series of Gothic Revival churches. His later work, in a variety of styles, culminated in the Nebraska State Capitol, a strikingly original design.
In 1884 Goodhue moved to New York, where he entered the office of Renwick, Aspinwall & Russell as an office boy. In 1891 he won a competition to design a proposed cathedral in Dallas but joined the office of Cram & Wentworth in Boston as chief draughtsman and informal partner. The following year Goodhue became a full partner in Cram, Wentworth & Goodhue, which, after the death of Charles Wentworth (1861–97) and his replacement by Frank Ferguson (1861–1926), became in 1898 Cram, Goodhue & Ferguson.
Before Goodhue’s arrival, Cram & Wentworth had already begun work on All Saints at Ashmont, Boston, their first major work. The final design clearly derives from their earlier proposal of ...
(b Watford, Herts, April 21, 1861; d New York, Jan 27, 1940).
English designer and maker of stained glass, metalwork and enamel. In the mid-1870s he was apprenticed to the London firm of Burlison & Grylls, makers of stained glass in the Gothic Revival style. He later joined Heaton, Butler & Bayne, the firm of stained-glass manufacturers and painters founded by his father, Clement Heaton (1824–82), whom he succeeded as a partner in 1882. In 1884 he left London for Neuchâtel, Switzerland, where he collaborated with Paul Robert on the decoration of the monumental staircase (in situ) of the Musée d’Art et d’Histoire, experimenting with cloisonné enamel as an enrichment for the pilasters, mouldings and cornices. On his return to England in 1885 Heaton executed enamel designs for A. H. Mackmurdo and provided designs for metalwork and lamps for the Century Guild of Artists. Following a dispute in 1885, Heaton left Heaton, Butler & Bayne and established Heaton’s Cloisonné Mosaics Ltd, which produced plaques, book covers and lamps. After ...