| 0.1 | Église Notre-Dame de Toute Grâce du Plateau d’Assy (exterior view). Taken from L’Art sacré, “Assy” (September-October 1950, 1–2), p. 5. Photo courtesy of the Dominican Province of France. | 2 |
| 0.2 | Fernand Léger’s Facade at the Église Notre-Dame de Toute Grâce du Plateau d’Assy. Taken from L’Art sacré, “Assy” (September-October 1950, 1–2), p. 6. Photo courtesy of the Dominican Province of France. | 3 |
| 0.3 | Interior view of Église Notre-Dame de Toute Grâce du Plateau d’Assy. Taken from L’Art sacré, “Assy” (September-October 1950, 1–2), p. 14. Photo courtesy of the Dominican Province of France. | 4 |
| 0.4 | Lurcat’s tapestries in the Église Notre-Dame de Toute Grâce du Plateau d’Assy. Taken from L’Art sacré, “Assy” (September-October 1950, 1–2), p. 15. Photo courtesy of the Dominican Province of France. | 5 |
| 0.5 | Germaine Richier’s sculpture for Assy. Taken from L’Art sacré, “Bilan d’une Querelle” (Mai-Juin 1952, 9–10), p. 8. Photo courtesy of the Dominican Province of France. | 6 |
| 0.6 | Photograph of Marie Alain Couturier overlooking architectural plans. Courtesy of the Menil Archives. | 14 |
| 0.7 | Dominique de Menil with gallery model for Max Ernst: Inside the Sight, Rice Museum, 1973. Photograph taken by John Lee Simons. Courtesy of the Menil Archives. | 16 |
| 0.8 | Jean Labatut working on his drawings for the Grand Prix de Rome in his rooms in Paris, 1924. Photo courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 17 |
| 0.9 | Portrait of Marcel Breuer (circa 1950–1959). Photograph taken by Homer Page. Photo courtesy of Marcel Breuer Papers, Special Collections Research Centre, Syracuse University Libraries. | 18 |
| 1.1 | Le Corbusier and Iannis Xenakis’s design for La Tourette (1959) (exterior view). Photo taken by Lucien Hervé. Permission provided by © F.L.C. / ADAGP, Paris and DACS, London 2024. | 59 |
| 1.2 | Interior of the Vence Chapel (1951) designed by Auguste Perret. Henri Matisse was responsible for the decorative programme of the chapel. Taken from L’Art sacré, “Vence” (July-August 1951, 11–12), p. 19. Unknown photographer and courtesy of the Dominican Province of Le Saulchoir. | 60 |
| 1.3 | George Desvallières, Le Drapeau du Sacré-Cœur (1919). Image courtesy of Priscilla Hornus. | 91 |
| 1.4 | Exterior shot of the Vence chapel designed by Auguste Perret. Taken from L’Art sacré, “Vence” (July-August 1951, 11–12), p. 20. Unknown photographer. Image courtesy of the Dominican Province of Le Saulchoir. | 137 |
| Photograph of the altar and Matisse’s rendition of the Seven Stations of the Cross at Vence. Taken from L’Art sacré, “Vence” (July-August 1951, 11–12), p. 26. Unknown Photographer. Image courtesy of the Dominican Province of Le Saulchoir. | 138 | |
| 1.6 | Le Corbusier’s Notre-Dame-du-Haut Ronchamp (exterior). Photograph taken by Lucien Hervé. Image courtesy of Getty Research Institute, Los Angeles © J. Paul Getty Trust. Permission provided by © F.L.C. / ADAGP, Paris and DACS, London 2024. | 139 |
| 1.7 | Le Corbusier’s Notre-Dame-du-Haut Ronchamp (interior). Photograph taken by Lucien Hervé. Image courtesy of Getty Research Institute, Los Angeles © J. Paul Getty Trust. Permission provided by © F.L.C. / ADAGP, Paris and DACS, London 2024. | 139 |
| 1.8 | A photograph of the Cistercian abbey at Sénaque in the November-December (1952) issue of L’Art sacré. Courtesy of the Dominican Province of Le Saulchoir. | 144 |
| 1.9 | A photograph of the Cistercian abbey at Le Thoronet in the November-December (1952) issue of L’Art sacré. Courtesy of the Dominican Province of Le Saulchoir. | 145 |
| 2.1 | Photograph of Marcel Breuer’s St. John’s Abbey Church, Collegeville, Minnesota, United States (1953–1961). General view from the north-east showing hexagonal tracert of north wall set with stained glass, atrium wing, and bell-banner. Photo courtesy of Marcel Breuer Papers, Special Collections Research Center, Syracuse University Libraries. | 154 |
| 2.2 | Photograph of Marcel Breuer’s Gane’s Pavilion, Bristol, England (1935/1937). Photo courtesy of Marcel Breuer Papers, Special Collections Research Center, Syracuse University Libraries. | 166 |
| 2.3 | Photograph of an interior of Marcel Breuer’s Gagarin House (1956). In the background, one can discern the chimney which exemplifies Breuer’s interest in pre-modern forms. Photo courtesy of Marcel Breuer Papers, Special Collections Research Center, Syracuse University Libraries. | 169 |
| 2.4 | Photograph of Marcel Breuer’s St. John’s Abbey Church, Collegeville, Minnesota, United States (1953–1961). General view of the main approach side showing the bell-banner with abbey cross and bells, atrium-entrance wing below and hexagon wall of church beyond. Photo courtesy of Marcel Breuer Papers, Special Collections Research Centre, Syracuse University Libraries. | 172 |
| 2.5 | Photograph of the interior of the main conference building of the UNESCO Headquarters, Paris, France (1958). Photo courtesy of Marcel Breuer Papers, Special Collections Research Centre, Syracuse University Libraries. | 177 |
| 2.6 | Frank Kacmarcik’s text, “Living Forms for a House of God” (undated). In the top corner, one can discern Breuer’s tentative sketch of the anvil when he was annotating the text during the research phase of the Saint John’s Abbey project. Photo courtesy of Marcel Breuer Papers, Special Collections Research Centre, Syracuse University Libraries. | 187 |
| Photograph of Bronislaw Bak’s design for the northern window. The white in the central portion of the window symbolises the eye of God. Olga Ivanova, photographer. Courtesy of Victoria Young. | 193 | |
| 2.8 | Photograph of Josef Albers’s proposed design for the Northern Window. Image courtesy of the Saint John’s Abbey Archives, Collegeville, Minnesota. | 195 |
| 2.9 | Endless Column (1938) by Constantin Brancusi. (Wiki commons: https://commons.wikimedia.org/wiki/File:RO_GJ_Tg_Jiu_park_featuring_Endless_Column.jpg) | 208 |
| 2.10 | Photograph of Ludwig Mies van der Rohe’s Robert F. Carr Memorial Chapel of St. Saviour, service in progress, Illinois Institute of Technology, Chicago, Illinois, United States (1952). HB-16676-B, Chicago History Museum, Hedrich-Blessing Collection. | 212 |
| 2.11 | Exterior view of St. Francis de Sales Church, detail of front wing with two nuns standing in foreground (1966). HB-30662-Z, Chicago History Museum, Hedrich-Blessing Collection. | 213 |
| 3.1 | Dominique de Menil addresses a crowd gathered for the opening of the Rothko Chapel on February 27, 1971. Photograph by Hickey Robertson. Photo courtesy of the Menil Archives. | 218 |
| 3.2 | Mark Rothko’s paintings for the non-denominational chapel in Houston. Photo credit: Paul Hester. Courtesy of the Rothko Chapel. | 220 |
| 3.3 | Max Ernst, Portrait of Dominique de Menil (1934). Reproduction courtesy of the Menil Archives. | 251 |
| 3.4 | Dominique de Menil. The “Soil Metaphor” taken from a notebook entry in 1977. Reproduction courtesy of the Menil Archives. | 258 |
| 3.5 | Dominique de Menil. The “Fire Metaphor”. Taken from a notebook in 1977. Reproduction courtesy of the Menil Archives. | 260 |
| 3.6 | “Mrs. De Menil on Art” (I). Reproduction courtesy of the Menil Archives. | 263 |
| 3.7 | “Mrs. De Menil on Art” (II). Reproduction courtesy of the Menil Archives. | 264 |
| 4.1 | Jean Labatut’s “Church Prototype.” Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 283 |
| 4.2 | Bird’s-Eye view of Jean Labatut’s Lagoon of Nations at the 1939 New York World’s Fair, showing the location of the water jets as well as the drums for the gas and fireworks. Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 294 |
| 4.3 | Jean Labatut’s analysis of Mr. And Mrs. Holden’s residence, in the Architectural Record (June 1942), p. 55. In commenting on how the building blurs the boundaries between interiority and exteriority, Labatut describes how the architecture “becomes a logical gallery for beautiful views of old trees, ravines and meadow. The curving façade is naturally related to the wide panorama, also to the contour lines of the site. Complementing the curved façade, a low wall, curving similarly, connects and unifies the house with trees that frame the views”. Excerpt of “Accent on Space” by Professor Jean Labatut (Architectural Record, July 1942), courtesy of BNP Media. | 296 |
| Jean Labatut standing outside the Princeton Architectural Laboratory (no date). Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 301 | |
| 4.5 | The Roman Mosaic which appeared at the entrance to the Princeton Architectural Laboratory. Taken from the Princeton Alumni Weekly magazine, April 20, 1951. Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 302 |
| 4.6 | Jean Labatut, “Vision, Optical Illusion, Camouflage, and Architecture. Architecture 409–410” (1948). Reproduction courtesy of Jean Labatut Papers, Manuscripts Division, Department of Special Collections, Princeton University Library. | 311 |
| 4.7 | Letter from Labatut to Maritain which places the convent of Toulouse along “la ligne droit”. March 24, 1961. Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 315 |
| 4.8 | Jean Labatut’s sketch for a proposed design for the facade of the Raïssa Maritain Library. Taken from a letter to Maritain dated February 14, 1963. Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 316 |
| 4.9 | Jean Labatut “Architecture 101” (1962–63). Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 317 |
| 4.10 | Jean Labatut. “Architecture and Standards” [1]. Architecture 101 (1962–1963). Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 318 |
| 4.11 | Jean Labatut. “Architecture and Standards” [2]. Architecture 101 (1962–1963). Reproduction courtesy of Jean Labatut Papers; Manuscripts Division, Department of Special Collections, Princeton University Library. | 319 |
| 4.12 | “Career connections of major American architects,” taken from Roxanne Kuter Williamson, American Architects and the Mechanics of Fame. Copyright © 1991. | 322 |
| 4.13 | “Career connections of major American architects” (detail) taken from Roxanne Kuter Williamson, American Architects and the Mechanics of Fame Copyright © 1991. | 323 |
| 4.14 | Front cover of Francis Prokes’s The Theological Dimension of Architecture (1964). Reproduction courtesy of Seeley G. Mudd Manuscript Library, Princeton, New Jersey. | 329 |
| 4.15 | Francis Prokes. Diagram depicting the epistemological status of theology and architecture. Taken from The Theological Dimension of Architecture (1964). Reproduction courtesy of Seeley G. Mudd Manuscript Library, Princeton, New Jersey. | 330 |
| Robert Venturi, Truss Calculations. Panel 23. Context in Architectural Composition (1950). Princeton Architecture Archives. | 351 | |
| 5.1 | Étienne-Louis Boullée, Cenotaph to Sir Isaac Newton (project), 1784. Reproduction courtesy of the Bibliothèque Nationale de France. | 366 |
| 5.2 | Jean Labatut, Pillar of the Sacred Heart, showing the bas-relief face of Jesus Christ and his bleeding heart. Photograph by Jean Labatut. Courtesy of Princeton University Library, Jean Labatut Papers, Manuscripts Division, Department of Rare Books and Special Collections. | 370 |
In: Off-Modern Catholic Aesthetics
Author:
Samuel O’Connor Perks
Samuel O’Connor Perks
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