Rogier van der Weyden's Miraflores Altarpiece (c. 1440) was installed in the Carthusian Monastery of Miraflores, Castile, during a period when early rosary meditation cycles were gaining popularity, particularly amongst Carthusians. This previously unexplored historical context offers a rationale for the innovative iconographic content and structure of the work, as well as for the ways in which it had meaning for its viewers. Like early rosary meditations, the Miraflores Altarpiece combines diverse meditational cycles including life of Christ and the Virgin narratives with the tripartite division of the Marian Psalter. The altarpiece has much in common with the later standardized form of the rosary, which indicates that this format had much earlier roots than had been thought previously. The Miraflores Altarpiece contributes to our understanding of the way visual media participated in the rosary tradition, and of the ways that tradition developed and changed over the fifteenth and sixteenth centuries. / Art History

Andrej Kutarňa Carthusian Prayer Diploma thesis 2011 Abstract The Diploma thesis entitled "Carthusian Prayer" is trying to collect and arrange a body of information about the spiritual world of the Carthusian order. It aims at discovering the key characteristics of the life of prayer as seen by members of Carthusian order both in early and recent history of the Order and presented in their writings. First the thesis presents the wider context of carthusian prayer by showing the way of life of carthusian monks and what is specific to this particular monastic tradition, also trying to point at some possible sources of inspiration from older traditions. Then it proceeds to the matter of solitude and silence which are the formative elements that mould the carthusian prayer into the shape of simplicity and sobriety while retaining fine balance of community and solitary life, as well as that of great silence and living inner dialogue. The latter part of the thesis then attemps to show the inner dynamics of the prayer and the role of silence, liturgical and personal prayer and meditation of Scriptures for achieving unification with God, which is both the goal and the fruit of spiritual life. It also explains other fruits of prayer both for the praying monk himself and for other people. While it is not possible to...

At the beginning of the viceregal era, the Certosa di San Martino, a Carthusian monastery of medieval foundation, experienced a resurgence that culminated in the rebuilding of its church starting in the late 1580s. The new church of the Neapolitan Certosa featured an innovative design and an extensive and complex decorative program that distinguished it from all other churches of the order. This dissertation examines the rebuilding of the church of the Certosa di San Martino as a process deeply rooted in the changing religious culture of the time and one that also reveals the tensions inherent to the redefinition of monastic identity in Post-Tridentine Spanish Naples. The development of the Carthusian project paralleled the institutional re-organization of the order, but it also assumed a unique trajectory aimed at highlighting the role of the white monks and contemplative spirituality in the production of sanctity in Naples. By tracing the evolution of the rebuilding initiative within its proper cultural, religious and social context, I clarify the goals of the patrons and the expectations placed on the artists, and I define the scope of the project according to new parameters of spiritual authority. The reconstruction of the rebuilding process relies on primary sources from the Neapolitan State Archives and on recent historical and archaeological research, in addition to comparative studies. This dissertation challenges the view of Post-Tridentine monastic architecture as a mere response to the new liturgical requirements and sides with more recent interpretations by seeing monastic sacred spaces as dynamic places of exchange, and their designs and decorations as expressions of the spiritual authority of the monastic body they house. The rebuilding of the church of the Certosa di San Martino stands as an important example of the process by which spiritual authority was produced and redirected in Spanish Naples. Since 1973, when the first and only monograph on the art of the Certosa di San Martino was published, studies have been sporadic and limited to the analysis of particular works contained in the church. I analyze the new architectural plan and decoration of the church as fundamentally bound to the transformation of Spanish Naples into a holy city. / Art History

Nova Cella de Grünau, Cella Salutis de Tückelhausen, Hortus Angelorum de Wurtzbourg, Cella Beatae Mariae de Nuremberg, Pontis Mariae d'Astheim et enfin Hortus Mariae d'Ilmbach sont les six chartreuses fondées en Franconie, région morcelée en multiples seigneuries et centres urbains. La Franconie est-elle une réalité pour l’ordre des Chartreux des XIVe et XVe siècles ? Ce sont d’abord l’historiographie de l’ordre des chartreux ainsi que celle de la Franconie qui doivent être confrontées dans le but d’identifier cet objet de recherche finalement assez peu évident. Plusieurs mécanismes institutionnels cartusiens sont ensuite décortiqués afin de mettre en perspective le fonctionnement de l’ordre sur un territoire clairement défini. Enfin l’étude de l’appropriation de l’observance par les Franconiens expose les modalités de l’insertion des chartreuses dans leur environnement immédiat. / The purpose of this work is to analyse in which way the six charterhouses of Franconia could be regarded as a coherent ensemble, and if it is possible to recognize a franconian identity of the Carthusian monks. The territory of the Land zu Franken is contested since the contemporaries tend to define the territory according to their private interests. The order of the Carthusian monks settles tardily in Franconia. They propose a renewal of the contemplative orders which were so far incarnated by the Benedictines and Cistercians whose expansion finishes at the end of 13th century. A study of the institutional mechanisms of the order, accompanied by a prosopography of the officers of the area shows that the monks of Franconia fit within the border framework of the province of lower Germany. The officers, by their displacements limited within the area of the province, build the network between the communities and thereby provide a structure of lower Germany. The process of foundation shows that the order of the Carthusians is used by the founders with an aim of representation of their might which explains why the houses are joined together in the valley of the Main, where the lordships stand in a fierce competition. The funerary liturgy of the Carthusians also explains the choices of the founders for this observance, since some monasteries become places of burials. Finally, the relations of the franconian Carthusians with the world are considered by their literary activities, as well as by their engagement in the beginning of the Reformation. / Unter der Bezeichnung fränkische Kartausen versteht man eine Gruppe von sechs Klöstern, die zwischen 1328 und 1453 gestiftet wurden: Nova Cella in Grünau (1328), Cella Salutis in Tückelhausen (1348), Hortus Angelorum in Würzburg (1350), Cella Beatae Mariae in Nürnberg (1380), Pontis Mariae in Astheim (1409) und Hortus Mariae in Ilmbach (1453). Diese Bezeichnung wird vor allem durch die heutige Vorstellung des fränkischen Raumes geprägt: Bilden die Kartäuser von Franken im Mittelalter tatsächlich eine einheitliche zu untersuchende Gruppe? Lässt sich von einem Gruppenbewusstsein der fränkischen Kartäuser sprechen, wenngleich die Verwendung des Begriffs Identität im Mittelalter Schwierigkeiten mit sich bringt? Ist es möglich, dass die fränkischen Kartausen vom Orden selbst als solche verstanden wurden oder handelt es sich um eine, dem kartäusischen System fremde Konstruktion?

Nova Cella de Grünau, Cella Salutis de Tückelhausen, Hortus Angelorum de Wurtzbourg, Cella Beatae Mariae de Nuremberg, Pontis Mariae d'Astheim et enfin Hortus Mariae d'Ilmbach sont les six chartreuses fondées en Franconie, région morcelée en multiples seigneuries et centres urbains. La Franconie est-elle une réalité pour l’ordre des Chartreux des XIVe et XVe siècles ? Ce sont d’abord l’historiographie de l’ordre des chartreux ainsi que celle de la Franconie qui doivent être confrontées dans le but d’identifier cet objet de recherche finalement assez peu évident. Plusieurs mécanismes institutionnels cartusiens sont ensuite décortiqués afin de mettre en perspective le fonctionnement de l’ordre sur un territoire clairement défini. Enfin l’étude de l’appropriation de l’observance par les Franconiens expose les modalités de l’insertion des chartreuses dans leur environnement immédiat. / The purpose of this work is to analyse in which way the six charterhouses of Franconia could be regarded as a coherent ensemble, and if it is possible to recognize a franconian identity of the Carthusian monks. The territory of the Land zu Franken is contested since the contemporaries tend to define the territory according to their private interests. The order of the Carthusian monks settles tardily in Franconia. They propose a renewal of the contemplative orders which were so far incarnated by the Benedictines and Cistercians whose expansion finishes at the end of 13th century. A study of the institutional mechanisms of the order, accompanied by a prosopography of the officers of the area shows that the monks of Franconia fit within the border framework of the province of lower Germany. The officers, by their displacements limited within the area of the province, build the network between the communities and thereby provide a structure of lower Germany. The process of foundation shows that the order of the Carthusians is used by the founders with an aim of representation of their might which explains why the houses are joined together in the valley of the Main, where the lordships stand in a fierce competition. The funerary liturgy of the Carthusians also explains the choices of the founders for this observance, since some monasteries become places of burials. Finally, the relations of the franconian Carthusians with the world are considered by their literary activities, as well as by their engagement in the beginning of the Reformation. / Unter der Bezeichnung fränkische Kartausen versteht man eine Gruppe von sechs Klöstern, die zwischen 1328 und 1453 gestiftet wurden: Nova Cella in Grünau (1328), Cella Salutis in Tückelhausen (1348), Hortus Angelorum in Würzburg (1350), Cella Beatae Mariae in Nürnberg (1380), Pontis Mariae in Astheim (1409) und Hortus Mariae in Ilmbach (1453). Diese Bezeichnung wird vor allem durch die heutige Vorstellung des fränkischen Raumes geprägt: Bilden die Kartäuser von Franken im Mittelalter tatsächlich eine einheitliche zu untersuchende Gruppe? Lässt sich von einem Gruppenbewusstsein der fränkischen Kartäuser sprechen, wenngleich die Verwendung des Begriffs Identität im Mittelalter Schwierigkeiten mit sich bringt? Ist es möglich, dass die fränkischen Kartausen vom Orden selbst als solche verstanden wurden oder handelt es sich um eine, dem kartäusischen System fremde Konstruktion?

Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world intended for musical performance to contain the Ter terni by William of Hirsau; furthermore it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is shown that, although a marked textual similarity exists between the manuscripts, there are variant melodies. The conclusion is therefore drawn that the Carthusians did not have a single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34 and 41, ot the neighbouring Charterhouse of Fontenay. The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers, written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated 1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23. The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)

Prima parte: L'analisi del rapporto tra spiritualità certosina e devotio moderna consente di individuare il contesto in cui maturò ed ebbe fortuna il De tralatione Bibliae di Petrus Sutor, monaco certosino. La spiritualità certosina ebbe forte influsso sulla Congregazione di Montaigu, espressione estrema della devotio moderna, nella quale lo stesso Sutor fu massima autorità spirituale in qualità di priore della Certosa di Parigi. Alla Congregazione di Montaigu appartennero i principali oppositori di Erasmo nel campo della filologia biblica nell'area di Parigi e Lovanio. In essa ebbe fortuna l'opera di Sutor, anche se il mondo di Montaigu mostra due facce. Il mondo parigino di Montaigu risulta infatti più conservatore di quello lovaniense, che nelle figure di Iacobus Latomus e Frans Titelmans mostra una certa apertura all'umanesimo. Seconda parte e appendice: i contenuti del De tralatione Bibliae mostrano i rapporti di Sutor con altri oppositori erasmiani, Stunica in particolare. Emergono le fonti che stanno alla base delle informazioni storiche fornite da Sutor, tra cui emerge Petrus Comestor, e la risonanza del De tralatione Bibliae negli ambienti culturali inglesi, in particolare in John Fisher. / First Part: In order to supply with due context Sutor's De tralatione Bibliae, it is necessary to rediscover the interplay between Carthusian spirituality and devotio moderna. The carthusian influence was particulary strong in the Congregation of Montaigu, which formed an extreme wing of devotio moderna. Sutor himself played a very important role in the Congregation of Montaigu having been his major authority for three years as Prior of the Parisian Charterhouse. The main critics of Erasmus in the field of biblical philology, who were active in Paris and Louvain theological units belonged to the Montaigu Congregation. There were differences between the Paris and Louvain Montaigu cultural and spiritual habits. Louvain shows a particular trend to moderation and acceptance of some fundamental humanistic issues, that we can trace in Iacobus Latomus and Francis Titelmans. Second Part and Appendix: The contents of Sutor's De tralatione Bibliae display the relationship between Sutor and other critics of Erasmus, in particular Stunica. Through the text we rediscover the different sources Sutor uses in order to supply the reader with historical information, especially Petrus Comestor, and we can identify some echoes of Sutor's works in John Fisher and the English cultural circles.

Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world intended for musical performance to contain the Ter terni by William of Hirsau; furthermore it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is shown that, although a marked textual similarity exists between the manuscripts, there are variant melodies. The conclusion is therefore drawn that the Carthusians did not have a single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34 and 41, ot the neighbouring Charterhouse of Fontenay. The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers, written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated 1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23. The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts and Musicology / D.Mus. (Musicology)

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The main task in this thesis is to prescribe the development of residential properties in the locality of Brno - Královo Pole. My diploma thesis is focusing on history of this quarter of the city until present. In the thesis is desribed in detail survey of the significant residentional buildings, construction of residentional complexes. Work us step by step through the development of these buildings from the beginning of construction on the territory to the possible future development in the area. In my thesis, there will be map drawings of the given area, old photographs of streets, residential and important civic buildings included. I would like to try to discover changes that have been made during recent years on the local building as well. In the end, I will also consider future building development opportunities in the built-up urban area.