Palais des Beaux-Arts, Brussels. "Peinture américaine, 1920–1940 (Amerikaanse schilderkunst, 1920–1940)," November 10–December 30, 1979, no. 21. Nancy Mowll Mathews. "Review: 'The Life and Art of Florine Stettheimer'; 'Florine Stettheimer: Manhattan fantastica'." Woman's Art Journal 20 (Spring/Summer 1999), p. 56. Christopher Wilson, The Gothic Cathedral: The Architecture of the Great Church 1130–1530, 1992 (2nd Edition), Thames and Hudson

The drawings were created for the most part under the auspices of the Ecclesiastical Commissioners (1833 onwards) which had succeeded the Board of First Fruits (founded in 1711). Most were initially accumulated in the diocesan registries to which they related, while others passed directly into the custody of the RCB, the charitable trust created after Disestablishment in the 1870s. Over the decades, these have been carefully accessioned and arranged in the RCB Library, founded in 1931. The Drawings Collection was further showcased in a public exhibition entitled A Visual Window to an Ecclesiastical World held in the Irish Architectural Archive during 2019. Further information about the exhibition is available here. Emily D. Bilski and Emily Braun. Jewish Women and Their Salons: The Power of Conversation. Exh. cat., Jewish Museum, New York. New Haven, 2005, pp. 137, 240 n. 86, fig. 140 (color), date it 1942–44. Rebecca Hart. "Love Flight of a Pink Candy Heart: Flights of Fancy." Bulletin of the Detroit Institute of Arts 83, no. 1/4 (2009), p. 75, dates it 1944. The term " choir" is used in three distinct ways in relation to cathedrals. As well as the architectural use, it pertains to the choir of "choristers", often men and boys, that sing at the services. It is also the term used for that section of the church where the choir sits, and where choral services take place. In a cathedral or large church, there may be fixed seating in this area, called "choir stalls" which also provided seating for the cathedral clergy and some congregation. The choir stalls are often richly carved and decorated. The bishop's throne or cathedra is often located in this space. The choir may be separated from the nave by a highly decorated screen of wood or stone. The organ which provides music and accompanies the choir may be located on the screen, or may be in the gallery above the choir, or in a transept. Some churches have an organ loft at the west end of the church.Most cathedrals and great churches have a cruciform groundplan. In churches of Western European tradition, the plan is usually longitudinal, in the form of the so-called Latin Cross with a long nave crossed by a transept. The transept may be as strongly projecting as at York Minster or not project beyond the aisles as at Amiens Cathedral. The Peace Doves installation at Liverpool Cathedral features about 18,000 paper doves suspended on 15.5 miles of ribbon. Photograph: Gareth Jones By the mid 12th century many large cathedrals and abbey churches had been constructed and the engineering skills required to build high arches, stone vaults, tall towers and the like, were well established. The style evolved to one that was less heavy, had larger windows, lighter-weight vaulting supported on stone ribs and above all, the pointed arch which is the defining characteristic of the style now known as Gothic. With thinner walls, larger windows and high pointed arched vaults, the distinctive flying buttresses developed as a means of support. The huge windows were ornamented with stone tracery and filled with stained glass illustrating stories from the Bible and the lives of the saints. In general, from the time of the Reformation onwards, apart from necessary repairs so that buildings might remain in use, and the internal adornments of successive generations who wished to be commemorated, there was little building work and only piecemeal restoration. This situation lasted for about 250 years with the fabric of many major cathedrals suffering from neglect. The severity of the problem was demonstrated by the spectacular collapse of the spire of Chichester Cathedral, which suddenly telescoped in on itself in 1861. [2] [4] The nave of Southwark Cathedral was built by Arthur Blomfield in the 1890s. The circular or polygonal form lent itself to those buildings within church complexes that perform a function in which it is desirable for people to stand, or sit around, with a centralised focus, rather than an axial one. In Italy the circular or polygonal form was used throughout the medieval period for baptisteries, while in England it was adapted for chapter houses. In France the aisled polygonal plan was adapted as the eastern terminal and in Spain the same form is often used as a chapel.

Hartford, Conn. Wadsworth Atheneum. "Florine Stettheimer," January 9–February 1, 1948, no catalogue. Richard Meyer. "Changing Partners: Richard Meyer on 'Reimagining Modernism' at the Met." Artforum 54 (November 2015), p. 146, ill. (color). Karin Althaus in Florine Stettheimer. Ed. Matthias Mühling, Karin Althaus, and Susanne Böller. Exh. cat., Städtische Galerie im Lenbachhaus und Kunstbau. Munich, 2014, pp. 63–64, 74, fig. 48 (color).Katonah, N. Y. Katonah Museum of Art. "Friends and Family: Portraiture in the World of Florine Stettheimer," September 19–November 28, 1993, unnumbered cat. (fig. 9).