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Kathryn Blair Moore teaches medieval and Renaissance art history at Texas State University, San Marcos. She received her art historical training at the Institute of Fine Arts, New York University. Fellowships and grants from the American Council of Learned Societies, the American Academy in Rome, and the University of Hong Kong (where she previously taught) have supported extensive research throughout Europe, Western Asia, and North Africa. Her scholarly work explores the intersection of architectural, pictorial, and textual cultures, with a particular emphasis upon larger religious and political contexts, from pilgrimage to religious wars, that shaped the experience of buildings across Europe and the Mediterranean world.
'Most significantly, Moore focuses on the varying perceptions about these architectural landmarks over time and the ways they were visualized in different artistic media. Well written, including ample notes, and illustrated with images. Highly Recommended.' J. Pollini, Choice 'The book provides a first attempt at a general synthesis of a topic that was never discussed from a longue duree perspective. The author politely reacts against the tendency, still underlying many art-historical studies following a famous article by Richard Krautheimer, to consider all buildings that came to be described in medieval and early modern sources as inspired by or stemming directly from the Jerusalem Holy Sepulcher and other loca sancta churches as generic, symbolic, or basically inaccurate replicas of their archetypes.' Michele Bacci, The American Historical Review 'Most significantly, Moore focuses on the varying perceptions about these architectural landmarks over time and the ways they were visualized in different artistic media. Well written, including ample notes, and illustrated with images. Highly Recommended.' J. Pollini, Choice 'The book provides a first attempt at a general synthesis of a topic that was never discussed from a longue duree perspective. The author politely reacts against the tendency, still underlying many art-historical studies following a famous article by Richard Krautheimer, to consider all buildings that came to be described in medieval and early modern sources as inspired by or stemming directly from the Jerusalem Holy Sepulcher and other loca sancta churches as generic, symbolic, or basically inaccurate replicas of their archetypes.' Michele Bacci, The American Historical Review
