Monika LOUŽENSKÁ: The cycle of murals in Znojmo and problem of the development of czech monumental painting in 12th century in the context of Central Europe. The study developes the theme of foregoing bachelor's thesis, aimed on paintings in rotunda of St. Catherine in Znojmo, and deals with question of further development of Bohemian mural panting in 12th century. Currently known monuments of Czech mural from 12th century are decorations of churches of St. Catherine in Znojmo, St. Clement in Stará Boleslav, St. George on Prague castle, St. Peter in New Town in Prague and St. Peter and Paul in Albrechtice nad Vltavou. These paintings are related by its style resources and pictorial form also to murals from early 13th century in churches of St. Wenceslav in Prague on Prosek, Assumption of Virgin Mary in Tismice, St. Lawrence in Lesser Town in Prague, St. John and Paul in Krteň and St. Jacob in Stříbrná Skalice. The main part of thesis is dedicated to the analysis of particular paintings, with the using of iconographic method, formal analysis, elder literature about theme, restoration reports and other documentation. It deals with themes of murals and its style qualities and searches for its style resources, questions of dating and its donors. Important section is focused on historical context of...

Cette thèse traite de différents thèmes liés à la production et à la circulation des objets céramiques à Palerme entre le IXe et la première moitié du XIIe siècle. En particulier le travail prend en considération le mobilier inédit découvert lors des fouilles menées près de l’église Santa Maria degli Angeli, plus connue sous le nom de Gancia, et près du palais Bonagia. Les deux sites archéologiques sont situés rue Alloro dans le quartier de la “Kalsa”, une zone où les spécialistes concordent pour localiser la Ḫāliṣa, ville princière fondée par les Fatimides en 937. L’objectif premier de cette étude est d’offrir un tableau plus systématique et plus large des productions circulant à Palerme entre le IXe et la première moitié du XIIe siècle, en affrontant les problèmes méthodologiques liés à leur étude céramologique et en proposant de nouvelleschrono-typologies de référence. L’interprétation de ces données a permis d’utiliser la céramique comme source historique, capable d’offrir nouvelles informations, même partielles, relatives à l’évolution topographique de Palerme, aux changements sociaux et aux dynamiques commerciales. / This thesis deals with a series of thematic related to the production and circulation of pottery in Palermo during the 9th-12th centuries. In particular this research focuses on the unpublished ceramics found during the archaeological excavations in “Santa Maria degli Angeli” Church, known as “Gancia”, and in the Bonagia palace, both situated along the Alloro street in the Kalsa area, where during the Fatimid period rose up the palatine city called al-Ḫāliṣa (937). The main aim of this project is to offer a more systematic and larger picture of the pottery productions circulating in Palermo between the 9th and the first half of 12th century, facing the methodological problems set by their study and proposing new chrono-typologies. The interpretation of these data has allowed us to use the ceramics as an historical source, able to offer partial but new information related to the topographic evolution of the city of Palermo, to the social changes and to the commercial dynamics it went through.

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At the end of the 17th century, a small enameled cross was discovered in one of the royal graves in Saint Bendt's church in Danish Ringsted. According to the record of the administrator of the Danish Royal Treasury, the cross was found in the grave of the Danish Queen Dagmar - the daughter of the King of Bohemia, Ottokar I (+1230). Dagmar was married in 1205 to Valdemar II the Victorious, the King of Denmark. The cross - today exhibited at the National Museum in Copenhagen - is undoubtedly a Byzantine work. Most probably, it was made in the first half of the 12th century. It is so- called enkolpion, i.e. the hanging cross (gr. Έγϰόλπιου, on the chest). Both its sides are decorated with figurative scenes. The crucifixion of the Christ is depicted on one side. The Great Deēsis with St. Basil the Great and St. John Chrysostom is shown on the other side. There is a hollow in the body of the cross, in which a relic was deposited - most likely a particle of the wood of the True Cross. Although the Queen Dagmar's Cross is considered a national treasure in Denmark, only a little attention has been paid to it so far. It is almost unknown to the Czech researchers (it is briefly mentioned by J. E. Wocel, A. B. Černý, J. Květ, K. Chytil and most recently P. Balcárek). Regrettably, the most of researchers only...

Cette thèse vise à explorer les banquets en Norvège et en Islande aux XIIe et XIIIe siècles. Le sujet de cette étude, évoqué de manière éparse par l’historiographie, a pour objectif cardinal de de contrer cette lacune en fournissant un portrait global des festins à l’époque concernée. L’approche empruntée accorde une importance particulière aux rares descriptions de banquets ainsi qu’aux détails exceptionnels contenus dans les sources historiques. Cette enquête ambitionne également d’identifier et de comprendre les divers rôles joués par les réunions festives en Norvège et en Islande selon deux axes principaux. Le premier est celui de la convivialité, de la sociabilité, faisant un usage positif de ces rassemblements. Inversement, le second voyait l’instrumentalisation du festin comme appareil de distinction sociale et d’une affirmation agressive du rang de chaque convive. Cette approche permet de formuler une ébauche de catégorisation des banquets, de leur usage et de leur richesse. De plus, l’analyse offre l’occasion de constater les dimensions uniques de ce phénomène culturel prévalent de la Scandinavie de l’Ouest, mais également d’observer les similitudes entretenues avec le reste de l’Europe. Enfin, le dernier aspect abordé dans cette thèse vise à examiner en surface la translation de coutumes festives et courtoises d’un espace à un autre en fonction des relations politiques entre la Norvège et l’Islande. Pour y arriver, nous recourrons à des textes législatifs issus des deux régions à l’étude, de sagas royales, de sagas de contemporains et de documents produits dans l’environnement de la cour norvégienne. / This thesis explores feasting in Norway and Iceland during the 12th and 13th centuries. The subject of this work, often only merely mentioned by historiography, aims to fill this need by painting a general picture of banquets during the chosen time period. We aim to specifically address the topic by garnering exceptional details present in historical documents. This study also wishes to establish the various roles played by banquets by following two main axes. The first one sees the feast serving as a conveyer of social cohesion and friendships and also as a building tool for relationships. Inversely, the second exposes how feasts could serve more hostile purposes, notably distinguishing every attendee and underlining social inequalities among a given group. We also aim to categorize feasts, to identify their uses and their breadth. Through these efforts, we also identify unique traits that define this practice around western Scandinavia, but also the differences it entertains against other European regions. Finally, this study aims to touch on the transmission of customs surrounding feasting from Norway to Iceland incidental to increasing political relationships. To achieve the aforementioned goals, we solicited the use legal texts from both regions, king sagas, contemporary sagas, as well as documents coming from the Norwegian court.

The thesis is divided into three sections. The first section discusses the manuscript Marcianus graecus 524, the second looks at the Greek text of the dedicatory epigrams on works of art from the same manuscript, and the third puts these texts in their context. In the first part, the compilation of the manuscript is analysed. I suggest that the manuscript was copied mainly by one individual scribe living in Constantinople at the end of the thirteenth century. He copied the quires individually, but at some point he put all these quires together, added new quires, and compiled an anthology of poetry. The scribe’s connection to the Planudean School and the Petra monastery in Constantinople is discussed. Although their relationship remains inconclusive, the manuscript provides evidence regarding the literary interests of late-thirteenth-century intellectuals. The second part contains thirty-five unpublished dedicatory epigrams on works of art. New readings are offered for the text of previously published epigrams. The third section analyses the dedicatory epigrams on works of art in their context. The first chapter of this section discusses the epigrams as Gebrauchstexte, i.e. texts with a practical use. The difference between epigrams intended to be inscribed and epigrams intended to be performed is highlighted. In the next chapter of this part, La poésie de l’objet, the composition of the dedicatory epigrams is discussed. The conventional character of the epigrams suggests that the poetics express the ritual aspect of the epigram. The last chapter considers the texts from a more pragmatic angle. After a short discussion of the objects on which the epigrams were written, the mechanisms of the twelfth-century art market are presented based on evidence taken mainly from the epigrams. At the end of this part, conclusions are drawn on the understanding of these texts in the twelfth century.

This dissertation studies a local manifestation of ecclesiastical reform in the medieval county of Savoy: the twelfth-century transformation of secular canons into Augustinian regular canons at the church of Sts. Peter and Ursus in the alpine town of Aosta (now Italy). I argue that textual sources, material culture, and the practice of place together express how the newly reformed canons established their identity, shaped their material environment, and managed their relationship with the unreformed secular canons at the cathedral. The pattern of regularization in Aosta—instigated by a new bishop influenced by ideas of canonical reform—is only one among several models for implementing reform in medieval Savoy. This study asserts the importance of this medieval county as a center for reforming efforts among a regional network of churchmen, laymen, and noblemen, including the count of Savoy, Amadeus III (d. 1148). After a prologue and introduction, chapter 1 draws on traditional textual evidence to recount the history of reform in medieval Savoy. Chapters 2 through 4 focus on the twelfth-century sculpted capitals in the cloister built to accommodate the common life of the new regular canons. Several of the historiated capitals portray the biblical siblings, Martha and Mary, and Leah and Rachel, as material metaphors that reflect and reinforce the active and contemplative lives of the Augustinian canons. Other capitals represent the regular canons’ assertion of their precedence over the cathedral canons and suggest tensions between the two communities. The final chapter examines thirteenth-century conflicts over bell-ringing and ecclesiastical processions in the urban topography of Aosta to illustrate how the regular and secular canons continued to negotiate their relationship. Appendices include an English translation of a vita of St. Ursus (BHL 8453). The dissertation as a whole reconstructs the places and material culture of medieval Aosta to convey the complexities of religious and institutional life during a time of reform and beyond. / text

En el contexto del siglo XII europeo, se impone la iconografía del Cristo Luz aureolado por una almendra mística, sosteniendo un libro abierto con inscripciones alusivas a una teología de la luz. La proliferación de la iconografía de la Maiestas Domini se produce en el contexto histórico de la reforma litúrgica canóniga agustiniana, cuyo origen se encuentra en san Rufo de Avignon y san Víctor de Marsella. Cataluña, se hace depositaria de la Regla se san Agustín, que propugna un ideal renovado de belleza mística neoplatónica.La llegada al Principado de manuscritos de la Homilía al Prólogo de Juan, escrita por Juan Escoto Eriúgena, es una prueba, en pleno siglo XII, de la relación entre una iconografía teológica de la luz y una tradición neoplatónica originada en el siglo IX en la corte carolingia. El texto de la Vox spiritualis aquilae representa la recepción de la teología de la luz en la iconografía de la Maiestas Domini y, con ella, una nueva forma de representar a Dios, al hombre y al mundo en el arte. / In the 12th century European context, predominates the iconography of Christ placed in a light mystic mandorla holding an open book containing inscriptions concerning a special theology of light.The Maiestas Domini iconography strongly arises together with the historical fact of the agustinian liturgical movement. The so called agustinian canonigas were originally born in saint Ruph of Avignon and saint Victor of Marseille holding the spirituality of the Rule written by saint Agustin himself and later moved into Cataluña renewing his original idea of neoplatonic mystical beauty. The arrival of collections of manuscripts into Catalonia containing the Homily to the Prologus of saint John by Scotus Eriugena is enough to proof the relationship between the theology of light iconography and the neoplatonic traditions originated in the 9th century Carolingian Court. The text of the Vox Spiritualis Aquilae involves a reception of the Theology of light within the Maiestas Domini iconography. It is a new way of representing God, man and world in art.

This thesis focuses on the politics of Antipope Victor IV and his successors Paschal III, Calixtus III and Innocent III, who were the opponents of Alexander III since the schismatic elections of 1159. The aim is to analyse the political thinking and actions of the antipopes, with an emphasis on the political relations of Victor IV. The thesis is divided into six thematic sections. The first deals with the pre-election developments and the election of 1159 itself. The second considers their position in relation to Alexander III, while the third turns to the papal-imperial policy and examines the relationship between the antipopes and Emperor Frederick Barbarossa. The fourth section discusses the status and relations of the antipopes outside the Holy Roman Empire. The penultimate chapter examines the attitude of the imperial clergy to the pontificates of the antipopes as well as the obedience of the imperial monasteries, according to papal documents. The final chapter constructs biographies of the antipopes, focusing on the period before their pontificates.

Alors que la forêt de Lyons est souvent assimilée à une simple forêt-frontière, dix années d’enquête nous obligent à modifier radicalement cette définition géo-historique. Il faut dire qu’entre temps, il a fallu reconsidérer la notion même de forêt qui désignait au haut Moyen Âge, non pas de grandes étendues boisées, mais tout au contraire un espace fortement humanisé où coexistent futaies et taillis, landes et prairies, champs et villages. De cette grande forêt médiévale de Lyons – la plus importante de Normandie avec ses 30 000 ha – entièrement dévolue à l’usage et aux besoins de son détenteur ducal ou royal se dégage alors un pays, lui-même fruit de la sédimentation de quatre espaces nettement identifiés, entre 1100 et 1450. Des multiples séjours des Plantagenêts puis des Capétiens, attestés par plus de 500 chartes signées en forêt de Lyons entre 1100 et 1400 et justifiées soit par la chasse (espace résidentiel), soit par la guerre (espace militaire) résultent en effet un espace politique qui explique la fortune étonnante d’au moins deux favoris issus du pays de Lyons : Guillaume de Longchamps, chancelier d’Angleterre sous Richard Cœur de Lion et Enguerrand de Marigny, le familier de Philippe le Bel. S’ajoutent à cela tous les revenus qu’un espace économique comme la forêt de Lyons procure à son détenteur, en se rappelant l’importance prise par le bois dans l’économie médiévale. En définitive, l’on découvre ainsi que ce pays a fini par produire un véritable écosystème d’une résilience à toute épreuve jusqu’à ce que les années sombres de la fin de la Guerre de cent ans finissent par avoir raison de cet âge d’or qu’a représenté le Moyen Âge pour la forêt de Lyons. / Although the forest of Lyons is often defined simply as a border forest, ten years of research has enabled me to make a radical change to this old geographical definition. My reconsideration of even the concept of “forest,” shows that, in the High Middle Ages, the word meant not large stretches of woodlands but, instead, a well-developed space, where timberlands, thickets, heaths, pastures, cultivated fields, and villages coexisted. The medieval forest of Lyons, the most important in all Normandy with its 30,000 hectares, was entirely devoted to the use and necessities of its ducal or royal title-holder, and it emerged as a pays formed by the coalescence of four distinct spaces between 1100 and 1450. The many sojourns of the Plantagenets and then the Capetians — due to hunting (residential space) and various wars (military space) — are documented by more than 500 acts signed in the forest of Lyons between 1100 and 1400. These sojourns produced a political space that explains the stunning careers of at least two royal favorites, natives of the pays of Lyons: William Longchamp, chancellor under Richard the Lionheart, and Enguerrand de Marigny, chief minister of Philip the Fair. Since wood was a necessity in medieval times, the forest of Lyons was also an important economic space because it earned significant revenue for its title-holder. All things considered, it is clear that the pays of Lyons produced a true ecosystem able to survive all hardships until the dark, final period of the Hundred Years War put an end to the Golden Age that the Middle Ages had brought to the forest of Lyons.