Este trabalho trata do monumento Duque de Caxias, na cidade de São Paulo, de autoria do escultor modernista Victor Brecheret. A análise do monumento é pautada na iconografia, em documentos inéditos sobre o projeto e a execução do monumento, além da literatura relacionada. Tal análise discute como a concepção, a execução e a implantação desse monumento, bem como sua opacidade no contexto urbano atual, foram influenciados pela metropolização e modernização da cidade de São Paulo, pelos processos de invenção de tradição e de busca de identidade, e pelas oscilações político-ideológicas durante a primeira metade do século XX, bem como pelas raízes militares do projeto. A mencionada opacidade é ressaltada, principalmente quando se observa outro monumento do autor - executado no mesmo período - e até hoje, um símbolo de São Paulo, o monumento às Bandeiras. / This dissertation concerns the monument Duque de Caxias in the city of São Paulo, by the modernist sculptor Victor Brecheret. The analysis of the monument is based on its iconography, on newly found documents about the project and the creation of the monument, as well as related literature. This analysis discusses the conception, creation, and integration of the monument, as well as its opacity in the current urban context. It also shows how these aspects were influenced by the development and modernization of the city of São Paulo, by the process of making an national identity, by invention of tradition, by changes in political and ideological views during the first half of the twentieth century, as well as by the military roots of the project. The opacity mentioned above is emphasized, particularly when it is compared with another monument by the same sculptor, created in the same period, and until today a symbol of São Paulo - the monument às Bandeiras.

A Cripta Imperial, no Monumento à Independência, localizado às margens do riacho Ipiranga, em São Paulo, foi construída em 1952 para abrigar os remanescentes humanos dos monarcas responsáveis pela Proclamação da Independência do Brasil. O imperador D. Pedro I foi trasladado para São Paulo em 1972, e sua primeira esposa, a Imperatriz D. Maria Leopoldina de Habsburgo-Lorena, em 1954. Em 1982, recebeu os despojos da segunda esposa de D. Pedro I, a Imperatriz D. Amélia de Beauharnais Leuchtenberg. Por muitos anos, o Monumento à Independência foi um dos principais monumentos do país, sendo visitado por vários chefes de Estado que passavam pela capital paulista. Entretanto, apesar de reformas feitas no final dos anos de 1990 e início dos anos 2000, o local sofre há décadas com a infiltração de água, causada pelo relevo natural do terreno em que se encontra e também pela falta de manutenção. Hoje é comum os visitantes não acreditarem que os remanescentes humanos dos primeiros imperadores do Brasil estejam inumados no local. Há até mesmo quem diga que são as cinzas dos monarcas que estão ali. Foi pensando nisso que decidimos fazer este trabalho, buscando respostas sobre esses remanescentes humanos, seu estado de conservação, bem como o do material associado, visando à preservação e possível restauro. / The Imperial Crypt on the Independence Monument, located on the banks of Ipiranga creek in São Paulo city, was built in 1952 to house the human remains of the monarchs responsible for the Proclamation of Independence of Brazil. Emperor Dom Pedro I was transferred from Portugal to São Paulo in 1972 and his first wife, Empress Dona Maria Leopoldina von Habsburg-Lorraine, was transferred in 1954. In 1982 it received the remains of the second wife of Dom Pedro I, the Empress Dona Amélia de Beauharnais-Leuchtenberg. For several years, the Independence Monument was one of the main monuments in the country, visited by many heads of State who passed through the capital of São Paulo State. However, despite reformations made between late 1990 and early 2000, the site suffered for decades with infiltration of water, caused by natural site relief and also by lack of maintenance. It is common now visitors don\'t believe that the human remains of the first emperors of Brazil are buried in the site. There are even those who say that just the ashes of the monarchs are there. By thinking about that we decided to do this work, seeking answers about human remains of the Emperors, their conservation status, as well as the associated material aiming to preserve and possible restoration.

Univerzita Karlova v Praze Pedagogická fakulta Katedra občanské výchovy a filosofie DIPLOMOVÁ PRÁCE PROBLÉMY PAMÁTKOVÉ PÉČE NA VYBRANÝCH PŘÍKLADECH Z PLZEŇSKÉHO KRAJE PROBLEMS HERITAGE CONSERVATION ON THE EXAMPLES FROM THE PILSEN REGION Bc. Mirka Jehlíková Vedoucí diplomové práce: Ing. Michaela Dvořáková, Ph.D. Rok: 2015 PROHLÁŠENÍ Prohlašuji, že jsem diplomovou práci Problémy památkové péče na vybraných příkladech z Plzeňského kraje vypracovala samostatně pod vedením Ing. Michaely Dvořákové, Ph. D. a uvedla v bibliografii všechny použité podklady a materiály. V Praze dne 20. července 2015 vlastnoruční podpis autora PODĚKOVÁNÍ Na tomto místě bych ráda poděkovala Ing. Michaele Dvořákové, Ph.D. za velmi trpělivý a vstřícný přístup a cenné rady a připomínky, kterými přispěla k vypracování této diplomové práce. Abstrakt Diplomová práce se zabývá Problémy památkové péče na vybraných příkladech Plzeňského kraje, a to konkrétně státním zámkem Červené Poříčí a zámky Bezděkov u Klatov a Týnec u Klatov. Klade si za cíl identifikovat a následně porovnat přístupy památkové péče těchto vybraných zámeckých objektů z hlediska místního, časového, stavebně- historického a současného. V práci se autorka zamýšlí jednak nad smyslem kulturně historického dědictví, včetně jeho globální a také regionální povahy, jednak také nad...

La production monumentale du peintre français George Desvallières (1861-1950) a été longtemps méconnue, comme en témoigne l’absence jusqu’à présent d’une recension exhaustive. Il s’imposait de réaliser un véritable catalogue et surtout de mettre les thèmes de ses œuvres monumentales et décoratives en regard avec la vie de l’artiste et le contexte historique, artistique et religieux de l’époque. Dès les années 1890, Desvallières se confronte au monumental à travers des panneaux décoratifs dont l’iconographie se limite jusqu’en 1914 à des thèmes profanes. Sa production prend une tout autre ampleur après la Grande Guerre. La mort au combat de son fils, en 1915, et le vœu qu’il a fait dans les tranchées, en 1916, de se consacrer entièrement à la peinture religieuse sont les marqueurs historiques et iconographiques de la seconde partie de sa carrière. Les années 1918-1950 seront celles de ses plus grandes réalisations dans le domaine monumental : fresque, peinture marouflée, cartons de vitraux et de tapisserie, ex-voto monumentaux sont autant de supports qu’il exploite pour peindre une mystique de la Grande Guerre où le Poilu et l’infirmière côtoient les grandes figures religieuses. La création avec Maurice Denis des Ateliers d’Art sacré en 1919 témoigne du rôle important assigné par ces deux artistes aux arts décoratifs, dont Desvallières favorise le développement au Salon d’Automne qu’il préside dès 1935, mais aussi dans des jurys et des expositions en France comme à l’étranger. L’étude des grands ensembles décoratifs de l’artiste complète utilement les recherches menées sur l’art décoratif de la première moitié du XXe siècle et contribuent au war studies en vue du centenaire de la Grande Guerre. / The monumental production by the French painter George Desvallières (1861-1950) has long been misunderstood, as shown by the absence so far of a comprehensive review. Therefore, not only the compilation of a real catalogue became inevitable and necessary, but above all putting the artist’s monumental and decorative works into the context of his and the historical, artistic and religious events of his time. By the 1890s, Desvallières turned to monumental decorative panels with an iconography that was until 1914 limited to secular themes. His production takes a very different scale after the Great War. His son’s death in battle, in 1915, and the vow the artist took in the trenches in 1916 to devote himself exclusively to religious paintings are historical and iconographic markers of the second part of his career. The years 1918-1950 will be those of his greatest achievements in monumental works: fresco paintings, marouflages, stained glass and tapestries, as well as monumental votive offerings are all media he is exploiting to paint a mysticism of the Great War where the Poilu , the French soldier, and the nurse are jointly depicted with great religious figures. The creation with Maurice Denis of the Ateliers d’Art sacré , the Sacred Art Workshops in 1919, demonstrates the important role the two artists assigned to the decorative arts. Desvallières promotes its development at the Salon d'Automne , which he presides from 1935 onwards, as well in juries and exhibitions in France and abroad. The study of large decorative ensembles of the artist is a valuable addition to the research on decorative arts of the first half of the Twentieth Century and contributes to the First World War Studies as we are approaching the upcoming centennial anniversary.

A thesis called 'Economic projects in the field of utilization of the historical monuments in the Czech Republic.' covers the issue of problematic upkeeping of the historical sights and some possibilities of their usage in the field of economic projects. Chapter one refers to the legal regulation concerning the maintenance of historical monuments. Chapter two is devoted to the history of sights upkeep in Europe and in the Czech Republic. Chapter three introduces the term cultural monument and the conception of the cultural monument as economic good to the reader. Another part of this chapter is devoted to the specificity of the economic projects in the field of utilizing the sights. Chapter four refers to the financial upkeep of the historical monuments, especially to the possibilities of obtaining the financial resources from the public funds. It also covers some other alternative ways of financing. Two following chapters deal with the issue of using marketing and management in already realized economic projects. Second part of the thesis is devoted to implemented individual projects. The aim of this thesis is to map the main troubled areas in realizing the projects in the field of utilization of the historical monuments in the Czech Republic.

The theoretic part of the thesis is focused on definition of particular types of tourism, especially of the tourism with religious motives and pilgrimage trips. It also includes institutions that help to promote religious monuments in the Czech Republic. The practical part is engaged in the most important pilgrimage sites in Bohemia and Moravia, their promotion and the difference between the pilgrims and tourists.

This masters thesis examines the role and involvement of cultural objects in the world today. Its aim is to assess the possible solutions recovery and use of immovable monuments. The thesis is determined by the general definition of cultural monuments, its legislative and institutional framework, the use and sources of funding. Following practical part deals with the previous themes in the context of the particular immovable monument, the monastery of St. Francis of Assisi in Votice. It is a sacred monument of regional significance. The outcome of this masters thesis is to determine the optimal solution of the usage of the monument with an emphasis on preserving its value.

This thesis focuses on the religious monuments of Bohemia and their implementation in the tourist package for the clienst from Portugal and Brazil. All theoretical and practical dates are implemented in the creation of three versions of the itinerary of the Religious Package.

Valuation of immovable cultural monuments is the current topic when cultural heritage is being restored. With its individual character based on the nature of cultural monuments, it is not easy to put forward a uniform award procedure for all cultural monuments. This work aims to create a basic overview of concepts and definitions dealing with issues related to cultural monument, to define the procedure of proclaiming the object as a cultural monument and to focus on valuation procedures with an emphasis on the contribution method.

This thesis deals with the assessment of the building technical condition of the monument building of the South Gate of the Veveří Castle. The use of photogrammetry – as one of the main methods of measurement – is a 3D model of this object and its passportization. Based on written materials and a closer survey of the object, this overview is considered a problem that should serve as a means of redress.