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A presente tese toma por base o contexto internacional em nível cognitivo, no qual se desenvolveu a História da Arte Brasileira nos primeiros séculos, com a intermediação lusitana. Procura identificar o processo interativo deslocado territorialmente, mas que, por isso mesmo, dadas as contingências locais, tornou possível novas interpretações e adaptações. A prática artística progressivamente se estabilizou no Brasil-Colônia a partir do século XVI, cumprindo o itinerário que encontra na mentalidade e no conhecimento do homem pós-renascentista a base que viria a orientar os séculos imediatamente subseqüentes. Portanto, a Reforma Católica refletiu a capacitação do sistema, conforme se tornara indispensável à organização social que, partindo do vínculo com a cultura preexistente do medievo ao Renascimento, instituísse os parâmetros que os renovados fatores requeriam. Estabeleceu-se um modelo de sociedade de conotação metafísicoteológica, e por conseqüência hierárquica, onde o culto religioso aglutinava os vários aspectos da sua estrutura. Distinguimos aí a íntima relação entre a \"ecclesia\" e a \"civitas\" pois a igreja e a cidade coordenavam de modo substancialmente unitário os diversos polos de interesse que por essa razão se tornam indissociáveis. A fundação da Cidade do Salvador, cabeça do Brasil, se configura como uma oportunidade única a serviço da compreensão de um contexto projetado e realizado como ponte interligando terras até então completamente desconhecidas entre si. Os primeiros capítulos buscam conseqüentemente traçar as diretrizes do vínculo existente entre a \"ecclesia\" e a \"civitas\" no qual se situa e se expressa o amadurecimento técnico VIII das formas de fazer, sempre no âmbito ao qual a pesquisa se direciona: o dos fatores determinantes do retábulo - produto de uma religiosidade já delineada no tempo. A Igreja, em direta conexão com o Estado português, assume ao lado deste a função de elemento dinamizador, concentrando em si, com maior relevo e as sucessivas construções realizadas, a concretização do esquema urbanístico previamente traçado. Torna-se, assim, principal incentivadora da formação profissionalizante com a importância especial que assume a construção e decoração dos templos. O pensamento teórico- prático e religioso formava um corpus unitário desde a capacitação advinda da metrópole. A execução do projeto de fundação da Cidade do Salvador evidencia na problemática construtiva a conexão com os vários aspectos do caráter rudimentar dos meios à disposição. A arquitetura, a concepção urbana e os retábulos das igrejas são constitutivos da atuação de conceitos transferidos e adaptados, porém, interligados pela necessidade de fixar no novo território d\'além mar a sede de um programa só realizável com o aperfeiçoamento técnico, quando não com a transferência do próprio material como a pedra lavrada a compor fachadas e portadas. Numerosos artesãos portugueses se transferiram para o Brasil. No ambiente franciscano instituiu-se uma verdadeira escola de realizadores, inclusive itinerante, para atender à demanda da Ordem particularmente no Nordeste. Entre os jesuítas, muitos dos artistas responsáveis pela igreja do Colégio, em Salvador, aprenderam o ofício na Companhia. Aprendizado este que teve porém como ponto de partida, necessariamente, a mão-de-obra importada e a contribuição fundamental de especialistas vindos do reino. No campo de atuação laica conclui-se que na Península Ibérica se reflete a valorização do artista pré-anunciada por Cennino Cennini e depois teorizada nos tratados de Leon Battista Alberti e Leonardo da Vinci, IX ganhando ulterior impulso na disputa sobre o \"Primado\" das artes. Mas, o artista fazendo parte de uma elite, nunca pôde prescindir dos \"oficiais mecânicos\" quando do \"conceito\" se passa à fase executiva. Permanece- lhes vinculado o universo da execução técnica. Os preceitos estabelecidos pela Contra-Reforma, tornam-se determinantes na mentalidade que orienta a criação artística; têm continuidade nos seus exegetas e encontram aplicação rigorosa nas \"Constituições Primeiras do Arcebispado da Bahia\". Enquanto que toda a formação da consciência construtiva tem por referência direta as concepções teóricas dos tratadistas cuja incidência revela-se determinante em todo o longo período analisado, justificando muitos dos aspectos da arquitetura e da talha barroca. A partir de indicações bibliográficas contidas na \"Literatura Artística\", obra de Julius von Schlosser Magnino, buscamos fornecer um quadro da repercussão a partir do século XVI das \"Medidas do Romano\" de Diego de Sagredo. O qual com uma série de normas não encontradas nos textos em geral e nem evidenciadas pelas ruínas, quer na Itália quer na Península Ibérica, organizou um tratado de grande difusão sobretudo entre os oficiais mecânicos. Publicada em sua primeira edição em Toledo, 1526, a obra que, conforme o seu título completo já o indica, pretende ser útil \"aos que querem acompanhar as formações das bases, colunas, capitéis e outras peças dos edifícios antigos\" - o tratado de Sagredo seria, conforme concluímos, produto da vontade de vir em socorro a um mundo artesanal perplexo, necessitando-se daquele vínculo com a arquitetura clássica que agora se articulava diversamente, inovando o vocabulário. Os altares do ambiente barroco, muitas vezes, são altares de transição, portanto, a explicação morfológica a eles referente não se enquadra em um esquema formal pré-determinado na sucessão dos estilos, conforme procuramos demonstrar. Escolhemos nos ocupar em primeiro lugar dos retábulos da atual Catedral da Sé, antiga igreja do Colégio dos Jesuítas, que documentam a evolução acontecida no referido contexto. Assim como os principais retábulos da igreja conventual de São Francisco nos indicam a contribuição franciscana e a Basílica da Conceição da Praia por ser uma igreja paroquial, representa o ambiente laico das irmandades religiosas. Destacando alguns tópicos da morfologia do retábulo em Salvador, podemos referir: - o conhecimento dos percursos evolutivos formais e dos trâmites de adesão a novo estilo; - os jesuítas e a evolução da arte da talha luso-brasileira; - os exemplares do maneirismo, ressaltando traços diferenciadores que assinalam a autonomia do retábulo; - o maneirismo de decoração geométrica e o de decoração naturalística; - o altar-mor de transição ao barroco e a passagem ao estilo nacional português nos altares laterais; - a estrutura arquitetônica contrareformista de espaço unitário e a inserção de altares barrocos; - o altar joanino e a influência do barroco italiano; - a \"igreja toda de ouro\" e a conciliação das diferentes fases do barroco; - a demonstração do estilo joanino e do retábulo joanino baiano. / This thesis is based on the international context at a cognitive level, in which the History of the Brazilian Art was developed in the first centuries, under the influence of the Portugueses. It tries to identify the displaced interactive territorial process, but, due to the local contingency arrangements, new interpretations and adaptations became feasible. Starting from the 16th century, the artistic practice became increasingly stable in Colonial-Brazil, following the itinerary that found in the mentality and in the post-Renaissance man\'s knowledge the basis that would guide the centuries immediately on. Therefore, the Catholic Reform reflected the system ability, as it had become essential to social organization that, beginning from the link with the preexistent culture from the medieval period to the Renaissance, instituted the parameters that the renewed factors asked for. A model of society of Metaphysical-theological connotation was established, because of its hierarchic consequence, where the religious cult combined several aspects of its structure. In that respect we characterize the close relation between the \"ecclesia\" and the \"civitas\" due to the fact that the church and the city coordinated in substantially unitary way the diverse opposed regions of interest that by this reason become inseparable. The foundation of the City of Salvador, head of Brazil, represents a unique opportunity towards the understanding of a planned, accomplished context as a bridge connecting lands entirely strange to each other at that time. Thus, the first chapters look at the guidelines of the existing links between the \"ecclesia\" and the \"civitas\", in which technical matureness situates and reveals its means of to make something, always considering XII the sphere that this research aims: the determining factors of the altarpiece - the product of a religiousness already outlined in the time. In connection with the Portuguese State, the Church takes over besides that one the function of driving force element, concentrating on itself, with great magnitude and successive accomplished constructions, the materialization of the urban outline already conceived. Thus, it set an incentive scheme for professionalizing formation with the outstanding importance that the construction and decoration of the temples assumes. The theoretical-practical and religious thought formed an unitary corpus from the capacity resulting from the metropolis. The execution of the foundation project of the City of Salvador substantiates in the constructive problem the connection with the several aspects of the rudimentary character of the available means. The architecture, the urban conception and the altarpieces of the churches are constitutive of absorbed and adapted ideas, but they are linked together by the necessity to establish in the new overseas territory the headquarters of a scheme only achievable with the help of technical improvement, or with the transference of materials, like the wrought stone that would compound facades and portals. Many Portuguese artisans were transferred to Brazil. In the Franciscan ambience a real achiever school was created, also itinerant, to assist to the demand of the Order, particularly in the Northeast. Among the Jesuits, many of the artists in charge of the church of the School, in Salvador, learned their skillfulness in the Company. However, this learning had as starting point the imported workmanship and the fundamental contribution of specialists coming from the kingdom. In the sphere of the secular performance, we conclude that in the Iberian Peninsula highlights the valuation of the artist, later theorized in treatises by Leon Battista Alberti and Leonardo da Vinci, acquiring further impetus in the subject concerning the \"pre-eminence\" of the arts. But, XIII the artist being part of an elite, could never to do their work without the \"operative officials\" when one goes from the \"concept\" to the executive phase. The universe of the technical execution remains the same. The commandments stated by the Counter-Reformation became crucial in the mentality that guides the artistic creation; they have been continued with the exegetists and find out strict application in the \"First Constitutions of the Archbishopric of Bahia\". While all the formation of the constructive conscience has for direct reference the theoretical conceptions of the authors whose incidence it is decisive in the whole long analyzed period, justifying many of the aspects of the architecture and of the Baroque carving. Starting from bibliographical entries contained in \"Artistic Literature\", by Julius von Schlosser Magnino, we have been trying to provide a picture of the repercussion, from the XVI century, of the \"Measures of the Roman\", by Diego de Sagredo. With a series of norms not found in general in the texts nor evidenced by the ruins, in Italy as well as in the Iberian Peninsula, he arranged an outstanding treatise particularly among the mechanical officials. First published in Toledo, 1526, the work, as its full title already indicates, intends to be useful \"to anyone who wants to follow the formations of the bases, columns, capitels and other pieces of the old buildings\" - the norms of Sagredo would be, as we deduced, a help to the perplexed handmade world, that needs a link with the classic architecture that now diversely was articulated, innovating the vocabulary. Frequently the altars of the Baroque ambience are transition altars, therefore the morphologic explanation for such thing can not be fitted in a formal, predetermined outline in the succession of styles, as we tried to demonstrate. First, we chose deal with the altarpieces of the current Cathedral of the Sé, the old church of the School of the Jesuits, that documents the XIV evolution happened in the referred context. Thus, as the main altarpieces of the conventual church of San Francisco indicates, the Franciscan contribution and the Conceição of the Beach Church, for being a parochial church, represent the secular atmosphere of the religious fraternities. Here are some topics of the morphology of the altarpiece in Salvador: o the knowledge of the formal evolutionary courses and the adhesion procedures to new style; o the Jesuits and the evolution of the Portuguese-Brazilian carving art; o the mannerism pieces, standing out differentiating lines that mark the autonomy of the altarpiece; o the mannerism of geometric decoration and the one of naturaristic decoration; o the high altar of transition to the Baroque and the passage to the Portuguese national style in the lateral altars; o the counter-reformist architectural structure of unitary space and the inset of Baroque altars; o the King John altar and the influence of the Italian Baroque; o the \"whole gold church \" and the conciliation of the different phases of the Baroque; o the demonstration of the King John style and the King John altarpiece of Bahia.

Mis en valeur dans de nombreuses études durant le XXe siècle, les liens entre l’Église et la mort sont étudiés ici dans le contexte des 22 diocèses provençaux des XIIe, XIIIe et XIVe siècles. Grâce à une documentation abondante et variée émanant essentiellement des chapitres cathédraux, il est possible d’envisager la mort comme un cadre aux relations entre les clercs des cathédrales et les sociétés urbaines. Perspective commune à tous, la mort permet aux clercs de construire des discours participant de l’encadrement chrétien des sociétés, exprimés de diverses manières, dans des modèles de bonne mort ou la liturgie funéraire. La mort est aussi l’occasion d’établir des relations spirituelles et matérielles avec une large communauté laïque et ecclésiastique, en particulier dans le cadre de la pratique des anniversaires. Elle est un événement propice à l’insertion des prélats, des chanoines et des clercs séculiers dans le paysage politique et économique des comtés de Provence et de Forcalquier. Elle est, enfin, une clé de lecture permettant à l’historien de comprendre comment s’organise l’Ecclesia provençale durant trois siècles marqués par d’importantes évolutions géopolitiques et économiques. Cette étude propose une lecture thanatologique de l’histoire des cathédrales provençales dans le but d’en élargir les perspectives et de poser un nouveau regard sur les clercs qui les desservent. / Relations between death and the medieval church have been explored by European historians since the beginning of the 20th century. They are here analysed within the 22 dioceses of « Provence » during the 12th, 13th and 14th centuries. Using a large and varied documentation, essentially produced by cathedral chapters, we propose to study death as a framework for the relations between the cathedral clergy and urban medieval societies. As a prospect common to everyone, death could be used by clerics in order to build discourses promoting a tighter control of the Church over society, for instance through the liturgy of the Dead or the concept of the « Good Christian Death ». Especially through anniversaries, Death also provided them with an opportunity to establish spiritual and material relationships with an enlarged community of laymen and ecclesiastics and was therefore instrumental in involving bischops, canons and secular clerics into the political and economic life of the counties of Provence and Forcalquier. Finally, Death gives historians of the Middle Ages a unique insight into the life and organisation of the Provençale Ecclesia over three centuries of intense economic and political evolutions. This study aims to use thanatology in order to broaden our historical perspectives regarding Provençal cathedrals and clerics in the Middle-Ages.

Thesis (doctoral)--Rijksuniversiteit te Utrecht. / "Stellingen": 2 leaves inserted. Extra t.p. with thesis statement inserted. Summary in French and German. Includes bibliographical references (p. [8]-15) and index.

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Thesis (Ph.D.)--Yale University, 1999. / Includes bibliographical references (leaves [390]-406).

Thesis (Ph. D.)--Ohio State University, 2007.

Les institutions canoniales italiennes ont peu suscité l’attention de l’historiographie. Le royaume d’Italie offre pourtant un terrain d’étude propice des effets de la réforme carolingienne de 816, par les riches fonds d’archives des cathédrales et des grandes collégiales urbaines. Ils constituent la base de cette étude, consacrée à une histoire sociale des institutions canoniales, dans les villes du royaume d’Italie. L’enquête part de l’institutio canonicorum de 816, et démontre que les Carolingiens entendaient par canonicus tout clerc qui n’avait pas fait de vœux. La nouvelle norme de vie visait donc l’ensemble du clergé, redéfini en tant qu’ordo canonicorum. Elle en redéfinissait les missions, centrées sur l’office des heures, et instituait la vie en communauté comme forme de vie généralisée. Sont ensuite envisagées l’institution de communautés de clercs répondant à cette norme auprès des églises des cités épiscopales, l’évolution de leurs formes et ses conséquences sur l’organisation ecclésiastique générale, jusqu’au milieu du XIe siècle. Une deuxième partie explore la dimension sociale de ces institutions : le niveau social des chanoines, issus de l’élite locale ; leurs fonctions, au service de la cité ; le poids et le rôle économique des chapitres, qui font partie, à partir de la deuxième moitié du Xe siècle, des seigneurs qui dominent la cité et son territoire ; leur poids politique enfin, en accordant une attention particulière aux compétitions économiques et institutionnelles auxquelles se livrent les chanoines en tant que groupe, contre l’évêque, une institution ecclésiastique, ou un groupe d’acteurs concurrent. À l’horizon 1050, terme de l’étude, le chapitre cathédral apparaît comme la troisième force de la cité, après l’évêque et le comte. / No study has focused on the italian chapters of canons between the beginning of the 9th and the middle of the 11th century. And yet, the Kingdom of Italy offers richer funds to evaluate the effects of the carolingian reform of 816, than, for instance, Francia. This study is focused on the social aspects of the new institution and her forms in the italian episcopal cities. In a first section, it deals with the institutio canonicorum of 816, and demonstrates that the so-called Aachen rule was intended for the whole clergy, redifined by the legislator as ordo canonicorum, as opposed to the ordo monachorum, on the basis of their way and norm of life : the canons. The Carolingians intended to reshape the missions of the clergy, centered on the celebration of the canonical hours, and to generalyze the common life, as the best guarantee for the moral standard and the purity of the clergy. The investigation then centers on the establishment of the new institution in the Kingdom of Italy, and the evolution of the institutionnal aspects of urban chapters of canons from the 820’s to the 1050’s. In a second section, it focuses on the social dimension of the institutions, exploring the social composition of the group of canons, members of the local elite ; their fonctions within the local society ; the growing economical and political weight of the chapter. Close attention is paid to the economical and institutionnal competitions in which the canons, as a group, are involved against their bishop, another religious institution, or a group of lay competitors. In the 1050’s, term of the investigation, the cathedral chapter appears as the third force in the city, after the count and the bishop.

Cathedrals today are no longer sites of just religious worship, they must be many things to many people such as tourist attractions, heritage centres, and meeting places. Today, Durham Cathedral in the north-east of England is home to almost 900 people engaged on site, of which almost 700 are volunteers. Add to that number over 700,000 visitors and about 1,700 religious services annually, and a complex image of life within Durham Cathedral begins to take shape. Drawing on 14 months of ethnographic fieldwork between August 2013 and September 2014, this thesis takes a phenomenological approach in exploring the dynamic relationships that exist between a 900-year-old building and those who regularly come into contact with that building. It will consider the complex negotiations that take place between the many parts of the community and the building in a constantly changing environment, and will focus on the role sound, light, time, and space play in the constant challenge of change and negotiation. Finally, it will consider how buildings are not only constructed but are also cultivated through being built and rebuilt, spaces negotiated and improvised, as well as filled with stories and memories. The importance of this research is not just in observing and understanding the types of change and negotiation that occur between a building and those who inhabit it, but also in understanding the altering roles of religious buildings as they cope with the changing demands of running a site of both historical and continuing social, religious, and financial pressures, Durham Cathedral is a place that gives space to differing communities, allowing people to find in the building what they need from the building and as a result of this, Durham Cathedral is not a place in which life happens, it is a place with which life happens.

The work deals with the historical development of the liturgical space and the architecture of the Břevnov monastery. The first part describes all building styles which were applied to Christian churches and their influance on the worship. It also includes numerous examples of important sacral buildings in our country as well as abroad. Next it deals with the changes concerning the liturgical space and liturgy itself after the 2nd Vatican Council and gives some examples of Post-Council churches. The subject matter of the second part is the Břevnov Monastery. First it briefly describes the history of Břevnov and its architectural development from Romanesque period to the Baroque style. In order to understand its constructional development it was necessary to mention some notable people and historic events that influenced the outer appearance and the inside structure of the monastery.