Barbara Bloemink. "Florine Stettheimer for the Twenty-First Century: Moving Beyond the Marginalizing Myths." Florine Stettheimer: New Directions in Multimodal Modernism. Ed. Irene Gammel and Suzanne Zelazo. Toronto, 2019, pp. 24, 36–37, 268 n. 26. Helen Langa. "Review. Recent Feminist Art History: An American Sampler." Feminist Studies 30 (Fall 2004), p. 716, fig. 2. The Peace Doves installation at Liverpool Cathedral features about 18,000 paper doves suspended on 15.5 miles of ribbon. Photograph: Gareth Jones

Barbara Bloemink in Florine Stettheimer: Manhattan Fantastica. Exh. cat., Whitney Museum of American Art. New York, 1995, pp. 90–93. As numbers of clergy increased, the small apse which contained the altar, or table upon which the sacramental bread and wine were offered in the rite of Holy Communion, was not sufficient to accommodate them. A raised dais called a bema formed part of many large basilican churches. In the case of St Peter's Basilica and St Paul's Outside the Walls in Rome, this bema extended laterally beyond the main meeting hall, forming two arms so that the building took on the shape of a T with a projecting apse. From this beginning, the plan of the church developed into the so-called Latin Cross which is the shape of most Western Cathedrals and large churches. The arms of the cross are called the transept. [9] Latin Cross and Greek Cross [ edit ] Plan of the Renaissance St Peter's Basilica, showing elements of both central and longitudinal plan. The consciousness accelerated until in the 1840s two academic groups, the Oxford Society and the Cambridge Camden Society both pronounced that the only suitable style in which to design a church was Gothic. The critic John Ruskin was an ardent advocate of all things medieval and popularised these ideas. The architect Augustus Welby Pugin, who designed mainly for the growing Roman Catholic Church, set himself to recreate not only the structural appearance of medieval churches, but also the richly decorated and colourful interiors that had been almost entirely lost, existing only as a painted screen here and there, a few tiled floors such as those at Winchester and Canterbury and the intricate painted wooden ceiling of Peterborough Cathedral. [5] [9]W. H. Auden, "Cathedrals, Luxury liners laden with souls, Holding to the East their hulls of stone" It functioned as an ecclesiastical and social meeting-place for many people, not just those of the town in which it stood, but also, on occasions, for the entire region.

Helen A. Cooper. "Celebrating and Satirizing New York's Aesthetes." Wall Street Journal (April 10–11, 2021), p. C20, ill. (color).

In Exeter, Density and Lightness features 75 sculptures from 24 artists inside and outside the cathedral, made from stone, wood, ceramic, bronze, plaster and glass. Alongside the exhibition are workshops, dance performances and art tours. New York. The Metropolitan Museum of Art. "The 10s, the 20s, the 30s: Inventive Clothes, 1909–1939," December 13, 1973–September 3, 1974, not in catalogue. Klaus-Dieter Gross. "Four Saints in Three Arts: V. Thomson's, G. Stein's, and F. Stettheimer's Portraits of Each Other." AAA: Arbeiten aus Anglistik und Amerikanistik 29, no. 2 (2004), p. 212 n. 14.

Jutta Koether in Florine Stettheimer. Ed. Matthias Mühling, Karin Althaus, and Susanne Böller. Exh. cat., Städtische Galerie im Lenbachhaus und Kunstbau. Munich, 2014, pp. 164, 166.Linda Nochlin in Florine Stettheimer: Manhattan Fantastica. Exh. cat., Whitney Museum of American Art. New York, 1995, pp. 107–8, 112–14, 116 n. 38. a b c d e f g h i j k Fletcher, Banister (1905). A history of architecture on the comparative method (1sted.). London: Batsford. Parker Tyler. Florine Stettheimer: A Life in Art. New York, 1963, pp. 31, 45–46, 52, 59–60, 63, 66, 68, 72–78, 106, 109, 114, 149, 152–54, 181, 184, 186, ill. opp. pp. 114 (detail) and 163.