Thesis (Ph. D.)--State University of New York at Binghamton, Department of Art History, 2009. / Includes bibliographical references.

Thesis (D.W.S.)--Institute for Worship Studies, 2002. / Abstract. Includes bibliographical references (leaves 210-213).

The first part of the thesis deals with Romanesque rotundas. These are introduced and set in historical and cultural context of the early Middle Ages to understand the cause of their origin. A substantial part is devoted to formal analysis of individual rotundas located in Prague and its close surroundings, their function in various interpretations of Czech researchers. The next part of the thesis is dedicated to the work itself where the original parts of the individual rotundas are drawn. The theoretical principles are applied in the last part of the thesis, where they are united with a/r/tography research. It is described and used for subsequent methodical series of art education, which were taught at the first grade of primary school.

No description available.

Texte remanié de: Thèse de doctorat--Art et archéologie--Besançon, 1996. Titre de soutenance : Gisors et l'architecture flamboyante dans le Vexin français. / En appendice, choix de documents. Bibliogr. p. 627-637. Notes bibliogr. Index.

Univ., Diss.--Cambridge. / Literaturverz. S. [224] - 258.

Encore relativement peu étudié, notamment du point de vue architectural, l’ordre des Célestins jouit d’un prestige important à la fin du Moyen Âge et durant la période Moderne en Europe de l’Ouest. Si la plupart de leurs monastères ont aujourd’hui disparu, un nombre restreint de sites dispose encore de vestiges. Le prieuré de Sainte-Croix-sous-Offémont, implanté en forêt de Laigue, à quelques kilomètres de Compiègne (Oise), figure parmi les mieux conservés. Fondé en 1331 par Jean de Nesle et Marguerite de Mello, le monastère conserve encore en partie son église, son cloître et ses bâtiments claustraux, dont certaines structures remarquables du XVIe siècle témoignent de l’introduction des formes italianisantes dans l’architecture en France. L’analyse minutieuse du bâti subsistant, des sources écrites et des documents graphiques, dessine l’évolution architecturale du monastère entre le XIVe et le XVIIIe siècle. Largement marqués par les racines érémitiques des premiers temps de l’ordre en Italie, les édifices des Célestins traduisent du rapprochement progressif des religieux vers les élites laïques de leur temps. À travers l’exemple de Sainte-Croix-sous-Offémont, c’est l’ensemble du patrimoine bâti des Célestins, et en particulier celui des établissements appartenant à la Province des Célestins de France, qu’il nous est donné d’explorer. Un examen particulier est, par ailleurs, donné au prieuré royal de Saint-Pierre-en-Chastres (Oise), maison mère de Sainte-Croix-sous-Offémont. Second établissement implanté en France par Philippe le Bel, son étude apporte une compréhension plus large de l’intérêt de la haute noblesse pour les Célestins, notamment à travers la présence de la chapelle fondée par Louis Ier d’Orléans à la fin du XIVe siècle. À terme, la compréhension des espaces architecturaux et des élévations des monastères de l’ordre permet d’établir de nouvelles perspectives quant aux pratiques et au mode de vie des religieux eux-mêmes. La recherche de sobriété architecturale, de même que le nombre peu élevé de religieux par monastère, se reflètent dans le décor et le plan de leurs édifices, spécifiquement dans leurs églises, souvent à vaisseau unique. Par ailleurs, la dualité de l’identité des religieux, ermites et cénobitiques, s’exprime particulièrement par la répartition du dortoir en cellules individuelles. L’architecture, la topographie, les vestiges matériels et l’histoire des Célestins révèlent l’organisation interne et externe de leurs monastères, mais aussi leur influence sur les sociétés médiévale et moderne avant leur disparition peu avant la Révolution. / Doctorat en Histoire, histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

This thesis investigates the morphology and the purpose of palaces in major and minor kingdoms of the Hellenistic World. Elements of architecture, spatial organisation and decoration are analysed in the attempt to clarify issues of chronology and in order to identify function. The analysis places the material into its social and ideological context by taking into consideration the role of kingship ideologies in the formation of space used by royal courts. Comparison with residences of the elite demonstrates the reception of palaces not only as architectural models, but also as mechanisms of power manifestation. Macedonia is the starting point of the discussion as the homeland of the first Hellenistic kings. In the light of evidence recovered in the last twenty years and not comparatively studied before, the chapter brings together various chronological phases of the buildings. Questions of definition and on sources of inspiration are clarified further in the following chapters. The third chapter uses textual evidence and finds from the royal district of Alexandria to understand the meaning of palace architecture for the Ptolemies, while the seat of a local official in Transjordania reveals mechanisms of emulation. In chapter four the case of Pergamene palaces and their relationship with residences in the city demonstrates that formation of these royal seats corresponded to ideals of Attalid kingship. Seats of officials in the Seleukid Empire and palaces in Bactria and Kommagene, the subject of the fifth chapter, provide an insight into the position of palace architecture in processes of hybridisation in material culture. The last chapter is a synthesis of patterns of form and function and unifies the conclusions for each separate region. It emerges that shifts in power relations and the structure of the royal court, especially towards the end of the third century BC, were a crucial factor in shaping palace forms. The concluding chapter also provides a view from the West: examples from the late Roman Republic indicate that the role of Hellenistic palaces as models for power display went beyond the limits of royal courts.

This thesis investigates the ceremonial and artistic strategies of the British monarchy in the years following the Glorious Revolution. By adopting a range of methodologies used in the study of visual culture, the thesis considers royal ceremonies as channels for conveying political messages non-verbally. These could affect attitudes to the monarchy, and inform artistic output. By paying particular attention to the way royal participants performed ceremonially in relation to the various formal and informal architectural settings for the court, the thesis highlights the process of seeing as a communicative act. Being alert to the impact of royal ceremonial and artistic activities on contemporary audiences, the thesis also considers the dissemination of royal imagery in England by commercial means. The thesis surveys paintings, prints and medals produced in England, and places the intended audiences at the centre of the analysis. It also pays keen attention to the impact of war on royal image making, and highlights the political context of continental Europe, especially in relation to William’s role as Stadholder-King but also the exiled Stuart court at St Germain near Paris. The evidence presented here supports a number of conclusions. Firstly, war had a profound impact on all aspects of royal image making. Secondly, royal behaviour and involvement in ceremony were vital elements in the visual presentation of monarchy. Kings and queens were of paramount importance, but their consorts were highly significant. Art was also taken seriously by the monarchy and the Crown tightened controls on royal image making during the period in question. The thesis also concludes that the nationalities of the incumbent monarchs and their consorts, along with their previous experiences and personalities, influenced their individual approach to visual representation. These approaches could shift depending on political circumstances and the personal inclinations of the person concerned.

Univ., Diss. u.d.T.: Müller-Wolff, Susanne: Ein Landschaftsgarten im Ilmtal--Jena, 2004, die Geschichte des herzoglichen Parks in Weimar im Spiegel der kunsttheoretischen Diskussion um 1800.