TY  - BOOK
AU  - Smith,Ryan K.
TI  - Gothic arches, Latin crosses: anti-Catholicism and American church designs in the nineteenth century 
SN  - 9780807830253
AV  - BX1766 .S59 2006eb
U1  - 246/.9097309034 22
PY  - 2006///
CY  - Chapel Hill
PB  - University of North Carolina Press
KW  - Katholische Kirche
KW  - gnd
KW  - Anti-Catholicism
KW  - United States
KW  - History
KW  - 19th century
KW  - Church buildings
KW  - Design and construction
KW  - Church architecture
KW  - Architecture, Gothic
KW  - Anticatholicisme
KW  - États-Unis
KW  - Histoire
KW  - 19e siècle
KW  - Architecture chrétienne
KW  - Architecture gothique
KW  - RELIGION
KW  - Christianity
KW  - General
KW  - bisacsh
KW  - fast
KW  - Antikatholizismus
KW  - Ausstattung
KW  - Gegenbewegung
KW  - Soziologie
KW  - Kirchenbau
KW  - Konservierung
KW  - Kunstwerk
KW  - Neugotik
KW  - ram
KW  - Architecture religieuse
KW  - Church history
KW  - Histoire religieuse
KW  - USA
KW  - Electronic books
N1  - Includes bibliographical references (pages 185-213) and index; Catholic churches -- The cross -- The gothic -- The flowers; Electronic reproduction; [Place of publication not identified]; HathiTrust Digital Library; 2010
N2  - Crosses, candles, choir vestments, sanctuary flowers, and stained glass are common church features found in nearly all mainline denominations of American Christianity today. Most Protestant churchgoers would be surprised to learn, however, that at one time these features were viewed as suspicious, foreign implements associated strictly with the Roman Catholic Church. Blending history with the study of material culture, Ryan K. Smith sheds light on the ironic convergence of anti-Catholicism and the Gothic Revival movement in nineteenth-century America. Smith finds the source for both movements in the sudden rise of Roman Catholicism after 1820, when it began to grow from a tiny minority into the country's largest single religious body. Its growth triggered a corresponding rise in anti-Catholic activities, as activists representing every major Protestant denomination attacked "popery" through the pulpit, the press, and politics. At the same time, Catholic worship increasingly attracted young, genteel observers around the country. Its art and its tangible access to the sacred meshed well with the era's romanticism and market-based materialism. Smith argues that these tensions led Protestant churches to break with tradition and adopt recognizably Latin art. He shows how architectural and artistic features became tools through which Protestants adapted to America's new commercialization while simultaneously defusing the potent Catholic "threat." The results presented a colorful new religious landscape, but they also illustrated the durability of traditional religious boundaries
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ER  -