This dissertation examines key examples of foliate carving from the twelfth and thirteenth centuries, re-evaluating its historiographic context while refracting foliate decoration through the lens of climate in the medieval West. Looking to medieval ideas about plant life, weather, and religious devotion in France and England, this study posits that ecological change, rather than the influx of ideas in medieval universities, was a key factor in changing attitudes towards nature in the Middle Ages. The foliate program on the west façade of Notre-Dame of Amiens illustrates connections to environmental miracles, authenticity of local relics, and the Church’s attempts to intervene in natural disasters. Taking one of the most significant examples of medieval foliate sculpture, the interior foliate frieze of Amiens, a new analysis argues that sculptors knowingly made this monumental frieze look as if it were organic and alive, rather than reproducing each segment identically. Crockets, on the other hand, a site of repetition and modular adaptation, are considered an important aspect of Gothic design, especially in the quire and west front of Wells Cathedral, where innovative crocket designs appear to complement the visual identity crafted by the diocese.

This study arises out of a proposal of the Natal Parks Board (NPB) to develop a 200 bed hutted camp at Cathedral Peak in the Natal Drakensberg. In line with the NPB's stated commitment to the principles of Integrated Environmental Management (IEM), a multidisciplinary group, comprising five students from the Masters programme of the Department of Environmental and Geographical Sciences of the University of Cape Town, was commissioned to conduct a Preliminary Environmental Impact Assessment (PEIA) on the proposed development. The author was one of the members of this study team, hereafter referred to as the Masters Group, which conducted the PEIA at Cathedral Peak under the supervision of the Environmental Evaluation Unit of the University of Cape Town.

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No description available.

Os edifícios eclesiásticos são, principalmente em um país como o Brasil, locais que também salvaguardam a cultura, transmitindo às gerações futuras o pensamento de uma época, um modus operandi, uma tradição. Grande parte deles é composta por rochas e/ou ornamentados com pedras que, pela durabilidade e beleza, são escolhidas para embelezar a igreja e dar a ela um símbolo a mais de força, grandiosidade, imponência e relevância. Quando consideradas um Patrimônio Histórico e Cultural, as igrejas devem ser preservadas e mantidas de forma correta, nunca permitindo intervenções drásticas ou invasivas. O presente trabalho, portanto, faz análises das rochas da Catedral Metropolitana de São Paulo, uma das mais importantes e significativas igrejas do país, utilizando-se de métodos não destrutivos e não invasivos, como ondas ultrassônicas, espectrofotometria e radiação ultravioleta, de forma a serem acompanhadas as alterações das pedras da Catedral. Foram utilizados, para isso, aparelhos de ultrassom capazes de verificar a velocidade da onda no interior do bloco rochoso e, por comparação com rochas sãs, inferir o estado daquelas empregadas na Sé de São Paulo. Para testes de espectrofotometria foram feitas mais de cinco centenas de medidas de cor com espectrofotômetro em cada tipo litológico e suas variações, de forma a possibilitar o acompanhamento das mudanças cromáticas com o passar dos anos ou em futuras intervenções. Com uma lanterna emissora de radiação ultravioleta foram verificadas impregnações de material não visíveis em luz ambiente. Os testes e análises confirmam que a Catedral, cujo início da construção se deu em 1913, inaugurada em 1954 e que completou, em 2014, sessenta anos, apesar de um exterior que necessita de manutenção e pequenos reparos está, em geral, bem conservada, devendo apenas manter uma política de conservação. Adicionalmente, este trabalho também possibilitou um amplo levantamento das rochas da Catedral, nome e procedência, que dá a ela um elevado potencial de geologia eclesiástica e seu uso no geoturismo. / Ecclesiastical buildings transmit to future generations the thought of a time, a modus operandi, a tradition, especially in a country like Brazil, where local culture is safeguarded. Many of them are made of rocks and/or decorative stones, which due to their durability and beauty, are chosen to beautify the churches and give them one more symbol of strength, grandeur, magnificence and relevance. When seen as Historical and Cultural Heritage, the churches should be preserved and maintained correctly, never allowing drastic or invasive interventions. This study, therefore, analyzes the rocks of the Catedral Metropolitana de São Paulo, one of the most important and significant churches in the country, by means of non-destructive and non-invasive methods, such as ultrasonic waves, spectrophotometry and ultraviolet radiation in order to monitor changes in the stones of the Cathedral. For this purpose, ultrasound equipment was used to verify the wave velocity of the Cathedral\'s rocks and compare it to that of healthy rocks. Over five hundred color measurements were made with a spectrophotometer on various rock types in order to enable the monitoring of chromatic changes over the years or in future interventions. With an ultraviolet radiation flashlight stains were made visible. The construction of the Cathedral started in 1913. It was inaugurated in 1954 and it was completed in 2014. In spite of its sixty years of age and an exterior that requires maintenance and minor repairs, the tests and analyses confirm that the Cathedral is generally well preserved, requiring only a conservation policy. These results also allowed for a comprehensive study of the Cathedral\'s rocks, which shows its high potential for ecclesiastical geology and use in geotourism.

Thesis advisor: Katherine Nahum / This thesis is a comparison between medieval Christian and Islamic sacred architecture, using the Great Mosque of Cordoba and the Cathedral of Notre-Dame in Chartres as examples. The paper links a formal analysis and comparison of the buildings, including their use of space, light, and decoration to an analysis and comparison of each religion's philosophy and theology. It includes a discussion of the role of Neo-Platonist philosophy on the architecture of each religion. / Thesis (BA) — Boston College, 2007. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Fine Arts. / Discipline: College Honors Program.

Os edifícios eclesiásticos são, principalmente em um país como o Brasil, locais que também salvaguardam a cultura, transmitindo às gerações futuras o pensamento de uma época, um modus operandi, uma tradição. Grande parte deles é composta por rochas e/ou ornamentados com pedras que, pela durabilidade e beleza, são escolhidas para embelezar a igreja e dar a ela um símbolo a mais de força, grandiosidade, imponência e relevância. Quando consideradas um Patrimônio Histórico e Cultural, as igrejas devem ser preservadas e mantidas de forma correta, nunca permitindo intervenções drásticas ou invasivas. O presente trabalho, portanto, faz análises das rochas da Catedral Metropolitana de São Paulo, uma das mais importantes e significativas igrejas do país, utilizando-se de métodos não destrutivos e não invasivos, como ondas ultrassônicas, espectrofotometria e radiação ultravioleta, de forma a serem acompanhadas as alterações das pedras da Catedral. Foram utilizados, para isso, aparelhos de ultrassom capazes de verificar a velocidade da onda no interior do bloco rochoso e, por comparação com rochas sãs, inferir o estado daquelas empregadas na Sé de São Paulo. Para testes de espectrofotometria foram feitas mais de cinco centenas de medidas de cor com espectrofotômetro em cada tipo litológico e suas variações, de forma a possibilitar o acompanhamento das mudanças cromáticas com o passar dos anos ou em futuras intervenções. Com uma lanterna emissora de radiação ultravioleta foram verificadas impregnações de material não visíveis em luz ambiente. Os testes e análises confirmam que a Catedral, cujo início da construção se deu em 1913, inaugurada em 1954 e que completou, em 2014, sessenta anos, apesar de um exterior que necessita de manutenção e pequenos reparos está, em geral, bem conservada, devendo apenas manter uma política de conservação. Adicionalmente, este trabalho também possibilitou um amplo levantamento das rochas da Catedral, nome e procedência, que dá a ela um elevado potencial de geologia eclesiástica e seu uso no geoturismo. / Ecclesiastical buildings transmit to future generations the thought of a time, a modus operandi, a tradition, especially in a country like Brazil, where local culture is safeguarded. Many of them are made of rocks and/or decorative stones, which due to their durability and beauty, are chosen to beautify the churches and give them one more symbol of strength, grandeur, magnificence and relevance. When seen as Historical and Cultural Heritage, the churches should be preserved and maintained correctly, never allowing drastic or invasive interventions. This study, therefore, analyzes the rocks of the Catedral Metropolitana de São Paulo, one of the most important and significant churches in the country, by means of non-destructive and non-invasive methods, such as ultrasonic waves, spectrophotometry and ultraviolet radiation in order to monitor changes in the stones of the Cathedral. For this purpose, ultrasound equipment was used to verify the wave velocity of the Cathedral\'s rocks and compare it to that of healthy rocks. Over five hundred color measurements were made with a spectrophotometer on various rock types in order to enable the monitoring of chromatic changes over the years or in future interventions. With an ultraviolet radiation flashlight stains were made visible. The construction of the Cathedral started in 1913. It was inaugurated in 1954 and it was completed in 2014. In spite of its sixty years of age and an exterior that requires maintenance and minor repairs, the tests and analyses confirm that the Cathedral is generally well preserved, requiring only a conservation policy. These results also allowed for a comprehensive study of the Cathedral\'s rocks, which shows its high potential for ecclesiastical geology and use in geotourism.

Reims Cathedral holds a great deal of significance for the history of Gothic architecture, as well as the larger history of France as the coronation church. Given the historic significance of Reims, it is not surprising that much scholarship has been dedicated to the building’s sculpture, glass, and architecture. Most studies dealing with the cathedral’s architecture are based on stylistic and archaeological analysis, augmented by the use of surviving documents related to the construction. Although much fruitful work has been done in this vein, important questions about the building’s chronology and design still remain unresolved. The extent to which the design of the cathedral was established at the start of its construction, for example, continues to be disputed. The most recent monograph on the cathedral, published by Alain Villes in 2009, suggests that dramatic revisions to the overall plan and elevation were introduced during the course of its construction, going beyond the alterations to the façade designs that many previous authors have noted, but his theses remain controversial. Subsequently, Robert Bork has produced geometric models of the cathedral, which suggest that its plan was more coherent and unified. Additionally, French archaeologist Walter Berry has conducted new excavations, which further reveal additional archaeological evidence not yet taken into account by other Reims scholars. My dissertation, “Measuring the Past: The Geometry of Reims Cathedral,” examines the architectural design from a geometric perspective, augmented by archaeological, stylistic, and historic evidence. The primary contribution that my dissertation makes to art history is the development of a new, modern plan of the cathedral. I developed this plan by taking thousands of measurements using handheld devices and laser mapping, which I then incorporated into a single data set. This work allowed Bork and me to further refine the underlying geometry that created the cathedral’s layout and proportions. This new plan indicates that a master plan devised by the first architect governed the whole church, with subsequent modifications affecting its articulation rather than its overall layout. In addition to explaining how this plan was originally conceived, my dissertation also examines the anomalies and mistakes made during construction, which at times forced minor deviations from the plan. Some of these building errors and the obvious attempts to correct them give clues to the order of construction, in addition to supporting the notion that the masons repeatedly returned to the uniform scheme. This allows me to reassess the scholarship written about the cathedral and the complex history of the building project, while resolving some of the disputes over the cathedral’s construction and design.

Despite the authoritative and very explicit directions from the Vatican in 1903, the Catholic Archdiocese of Melbourne successfully resisted the demands for a major reform of liturgical Church music for 35 years. This thesis will examine the reasons for this strong and effective resistance to the demands of the Holy See and show that despite being complex and interrelated these reasons can be summarised under two fundamental headings. The thesis will examine the broad spectrum of music performed in the Melbourne Archdiocese, but because of the limited availability of information and the prime importance of the two principal churches of the Archdiocese, it shall concentrate on St. Patrick’s Cathedral and on St. Francis Church. The thesis shall also examine in detail the documents of the Holy See concerning liturgical music which were relevant to musical practice in Melbourne. Special attention is drawn to the influential Motu proprio Tra le sollecitudini (1903) issued by Pope Pius X. The time span of this thesis covers the 95 years from March 1843 when the first music was sung in Melbourne’s only Catholic church to 1938 when Archbishop Daniel Mannix ordered the reforms to liturgical music as demanded by the Vatican. The thesis shall demonstrate that the resistance to the reform of liturgical music in the Catholic Archdiocese of Melbourne was due to the two following influences: the fact that the new freedom and wealth that the immigrant Irish community of the Archdiocese of Melbourne experienced enabled them to establish churches and liturgies whose grandeur and artistic excellence symbolized their success in establishing a major new social and cultural status in their new home. Church music was one of the great manifestations of this and as an integral part of their new significance and sense of achievement, it was to be jealously guarded. the second was the matter of authority and the independence of the Catholic bishops from the dictates and interference of the Vatican authorities. These Irish-born bishops were trained in an historical milieu in Ireland and Europe which fostered a fierce pride in the value of autonomy from external and alien authority. In this they were given a great degree of protection by the isolation of Australia and its distance from outside authority. In this Archbishops Carr and Mannix both proved to be strongly independent leaders who proved to be most reluctant to automatically implement reforms imposed by the Vatican. It will be shown that only in the fourth decade of the twentieth century was Episcopal authority finally brought to bear to make reforms to liturgical music a reality in the Catholic Church in Melbourne.

Thesis (M.S.)--West Virginia University, 2007. / Title from document title page. Document formatted into pages; contains vii, 55 p. : ill., maps. Includes abstract. Includes bibliographical references (p. 47-50).