Titlebook: Heritage or Heresy; Preservation and Des Brenda Deen Schildgen Book 2008 Brenda Deen Schildgen 2008 culture.Europe.France.history.Middle Ag

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,In Defense of Images: Christian Church and Religious “Art”,sh traditions based on the Decalogue that forbade sacred art, like the argument of the Byzantine iconoclasts. Pitting Jerusalem against Athens and Rome, while excluding artisan traditions from the ancient Middle East where Christianity also thrived (Syria, Egypt, Persia, Parthia, or Palestine, for e

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,From Local Culture to World Heritage: CÓrdoba’s Mosque/Cathedral,s, despite national politics; ethnic, civil, and religious conflicts; and other outside pressures, a local citizenry committed to its civic environment arose to preserve its city’s signature buildings and artifacts. For example, the Cathedral of Córdoba in Spain, and York Minster, a medieval English

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York Minster: From Local to National Preservation,, serious rioting broke out in Lincolnshire to protest the revolution in religious practices, and it eventually spread to Yorkshire. John Foxe blamed the seditious preaching of monks and priests for the people’s objection to these forced changes to their customary religious behavior: “A new insurrec

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,Making the French Nation: Liberating France, AbbÉ GrÉGoire, and the Patrimony of the Middle Ages,olen and sold on the international market—much of this ending up eventually in the British Library or the Cloisters of the Metropolitan Museum in New York. As a vivid example, the largest medieval church in Europe, the Abbey of Cluny, which had been attacked by the Huguenots during the French religi

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,Victor HUgo’s ,,Hugo’s ., published in .’. on April 11, 1831),. but they were actively involved in both bureaucratic and fieldwork to sustain the recovery movement. In the context of the vandalism preceding the July Monarchy (1830–48) that brought Louis-Philippe to power as king of the French, and with the delibera

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Conclusion Memory, Regret, and History: What is Cultural Heritage and Why Does It Matter?,s gave birth to modern nations), he could not have known that by the 1830s, both the English and the French would also be claiming Gothic as uniquely national styles, appropriating a trans-European idiom to a national heritage. Ironically, in Europe in the nineteenth century, recovering the medieval

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