S’intitulant eux-mêmes et avec fierté comme étant le premier corps ecclésiastique de la province de Normandie, le chapitre et les chanoines de la cathédrale de Rouen dominent le paysage clérical local. La thèse a pour objectif de décrire cette institution, son fonctionnement et ses problèmes dans la dernière partie de l’Ancien Régime, du milieu du 17è-me siècle jusqu’à la dissolution en fin 1790.L’étude des membres du chapitre montre une nette évolution dans les modalités d’accès et les carrières entre le début de la période, alors que les prescriptions du concile de Trente peinent encore à rentrer concrètement dans les mœurs et que les chanoines peuvent tenter encore une politique autonome et la fin du 18ème siècle où ils sont définitivement des clercs modèles et au service de l’archevêque. L’étude analyse également la place du chapitre dans la société tant laïque que religieuse locale et les conflits que cela entraîne notamment à l’occasion du privilège exorbitant dit de la Saint Romain. Enfin les moyens financiers tant du chapitre en tant que corps que des chanoines font l’objet d’une étude détaillée. / Canons and chapter of the cathedral of Rouen called themselves the first ecclesiastical body of the province of Normandy and in fact dominated the local clerical landscape. The aim of the study is to describe this institution, its life and its difficulties in the last period of time of the Ancien Régime, from the middle of the XVII century up to the dissolution at the end of 1790.The survey of the members of the chapter shows a true evolvement in the conditions of access and in the professional courses between the beginning of the period of the study when the stipulations of the council of Trent were enforced with difficulty and at a time where the canons still had an autonomous policy and later at the end of the XVIII century when they were definitely an exemplary clergy and worked for the archbishop. The study also analyses the position of the chapter in the local clerical and secular communities and the different conflicts, especially the one about the exorbitant prerogative of St Romain. Finally financial means of the chapter and also of the canons are studied with some details.

This study describes how the English cathedral tradition of chorister training is maintained within the American Episcopal church, focusing specifically on the spiritual, academic, and musical training of the boy choir at the Washington National Cathedral. As such, it 1) documents academic requirements for choristers enrolled at St. Albans (the school they must attend); 2) provides a detailed review of the choristers' musical training and their subsequent responsibilities to Cathedral service, both musical and spiritual, especially since ratification of The Book of Common Prayer in 1979; and 3) reviews other components of the Cathedral's music program that relate to the Cathedral Choir of Men and Boys, especially in Douglas Major's tenure as organist and choirmaster.Literature reviewed for this study examines the role of the organist-choirmaster as choral conductor, the qualifications and demands made on boy choristers, current thoughts regarding the all-male choral tradition, and the research directly related to the English model of chorister training, especially in the United States.The academic, musical, and spiritual training of the boy choristers at the Washington National Cathedral are addressed in this study through interviews with 1) Cathedral staff, present and past, responsible for the maintenance of the Cathedral's music program and mission, and for the musical training of the choristers; 2) a Cathedral clergyperson directly responsible for spiritual aspects of the choristers' education and service to the Cathedral; 3) the St. Albans School staff person in charge of the choristers' academic program and schedule; and 4) two choristers in the music program, specifically one boy chorister and one girl chorister. / School of Music

The building activities of the Durham monks in the two centuries before the Dissolution are analysed using the evidence of the surviving remains, early depictions of works since destroyed, and the extensive contemporary archives. Besides the cathedral-priory itself, the buildings of the monastery's six northern cells (Coldingham, Holy Island, Fame Island, Finchale, Jarrow, and Monkwearmouth), and those of the thirty appropriated churches north of Humber still surviving, are also considered. The analysis examines the date, cost, and stylistic context of the building works, providing a comprehensive assessment of the priory’s architectural output. The existence of long-term variations in the selectivity and quantity of information about building in the priory's financial documents is demonstrated; an understanding of these is deemed indispensable in assessing the evidential value of the documents in interpreting changes in the material record. The pattern of building activity is related to the economic background and other claims on the priory's resources. Particular attention is paid to the years c. 1350-75, the only period of across-the-board renewal, when the chronology of works and distribution of common stylistic features suggest a co-ordinated building policy, probably reflecting the supervision of a single master mason, John Lewyn. The priory's treatment of its appropriated churches, and its interaction with parishioners in maintaining and altering these, is also evaluated. The role of episcopal and secular patrons m determining the frequent use of high- status masons from outside Durham as consultants is contrasted with the generally more limited calibre of masons employed on the monks' own initiative. It is argued that the priory’s employment of masons can only be understood in the context of this pattern of patronage and of the underlying pattern of building activity. The career of the best-known, Lewyn, is singled out for detailed reassessment.

Thesis (M.A.)--Marshall University, 2004. / Title from document title page. Document formatted into pages; contains v, 53 p. Includes abstract. Includes bibliographical references (p. 50-51).

Undergraduate honors paper--Mount Holyoke College, 2007. Dept. of Art. / Includes bibliographical references (leaves 108-112).

S’intitulant eux-mêmes et avec fierté comme étant le premier corps ecclésiastique de la province de Normandie, le chapitre et les chanoines de la cathédrale de Rouen dominent le paysage clérical local. La thèse a pour objectif de décrire cette institution, son fonctionnement et ses problèmes dans la dernière partie de l’Ancien Régime, du milieu du 17è-me siècle jusqu’à la dissolution en fin 1790.L’étude des membres du chapitre montre une nette évolution dans les modalités d’accès et les carrières entre le début de la période, alors que les prescriptions du concile de Trente peinent encore à rentrer concrètement dans les mœurs et que les chanoines peuvent tenter encore une politique autonome et la fin du 18ème siècle où ils sont définitivement des clercs modèles et au service de l’archevêque. L’étude analyse également la place du chapitre dans la société tant laïque que religieuse locale et les conflits que cela entraîne notamment à l’occasion du privilège exorbitant dit de la Saint Romain. Enfin les moyens financiers tant du chapitre en tant que corps que des chanoines font l’objet d’une étude détaillée. / Canons and chapter of the cathedral of Rouen called themselves the first ecclesiastical body of the province of Normandy and in fact dominated the local clerical landscape. The aim of the study is to describe this institution, its life and its difficulties in the last period of time of the Ancien Régime, from the middle of the XVII century up to the dissolution at the end of 1790.The survey of the members of the chapter shows a true evolvement in the conditions of access and in the professional courses between the beginning of the period of the study when the stipulations of the council of Trent were enforced with difficulty and at a time where the canons still had an autonomous policy and later at the end of the XVIII century when they were definitely an exemplary clergy and worked for the archbishop. The study also analyses the position of the chapter in the local clerical and secular communities and the different conflicts, especially the one about the exorbitant prerogative of St Romain. Finally financial means of the chapter and also of the canons are studied with some details.

The tympanum of the Porte-de-Ste-Anne at Notre-Dame, Paris, has aroused the interest of scholars for decades. The lack of inscription or documentation has led to the ascription of various identities to the figures depicted in company with the Theotokos. Apart from assigning it a donative or commemorative function, little light has been shed on the subject by the many extant theories. To further complicate the problem, the physical composition of the portal has only recently been deciphered. It is the consensus of current opinion that the portal, erected from the ground up, was begun as early as 1140-45. Also, the earliest sculptural components, the tympanum, upper lintel, archivolts and jamb-statues are thought to have been created for the refurbishment of the older church prior to the current building, although they may never have been used. This thesis has attempted to demonstrate the tympanum scene actually depicts the equality of regnum and sacerdotium in an accord brought about by a balance of forces, both political and theological, which produced the Ideal State. I have been concerned with an examination of the twelfth century events which could have exerted an influence on the development of the iconographical program. In so doing, I have outlined the pertinent historical background of the building itself, including a description of the portal and its sculptures, as well as a short discussion of the main theories regarding its place within the stylistic orbit of Early Gothic development. I have described the problem of the iconography which, until recently has consisted mainly of efforts to identify the figures of king, cleric and scribe, but of late has dealt with the relationship of regnum and sacerdotium. In this context the work of Adolf Katzenellenbogen on the west front of Chartres has shed light on the portal, and his relating of the tympanum scene to the ideal relationship between the two spheres was further expanded upon by Walter Cahn. He saw in the tympanum a demonstration of the status of the royal and ecclesiastical sectors of the Christian Commonwealth during this period with power vested in the Church. The opinions of Jacques Thirion who proposes very early dates and identities agree with those of Alain Erlande-Brandenberg and Cesare Gnudi who dealt with the portal after the discovery of facade fragments in Paris in 1977. The historical setting dealt with the Capetian rulers in the person of Louis VII, and the papacy in the person of Alexander III, both of whom were in power when the portal was conceived. The pope was a central figure in events that included the first compilation of Canon law by Gratian, a development as central to this thesis as it was to Cahn's. Space has been devoted to a discussion of the Decretum, to its expression of the Ideal State, and to the iconography which arose around illustrated copies of this work, particularly as it relates to the tympanum. Also explained was Gratian's connection to the Reform Party of Haimeric. An examination of some of the symbols chosen by Cahn from the composition to support his theory has determined that they may be reinterpreted. They have been expanded on or refuted in order to illustrate the flexibility of Medieval symbolism, and in order to reveal the many levels of imagery contained in this composition. While so doing, I have I believe, exposed the propagandistic nature of the surface imagery which was deliberately cultivated by the Church with full co-operation from the State in order to expound a politico-theological reality. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

No description available.

The numerous figurated corbels of Chartres Cathedral were inscribed with semiotic content. Works in this genre were formerly disregarded by researchers because of their perceived lack of meaning. Trends in modern scholarship have challenged this misconception, and recent technological innovations have facilitated the study of these objects. The category would be more appropriately termed "secondary" rather than" marginal," as the former offers a semantically unencumbered assessment of the role of these sculptures. Originally designed for the cathedral's twelfth-century western complex, the corbels were likely members of a series that encircled the entire perimeter of the building. The use of human and animal head motifs for their decoration exemplifies a pervasive historical practice in architectural sculpture. The preservation of the corbels in the Gothic reconstruction of the cathedral substantiates their significance to medieval viewers. Study of the surviving pieces is complicated by the loss of the contextual framework provided by the remainder of the series. The examination of material evidence indicates a record of artistic engagement with these works. Iconographic analysis of individual corbel images reveals both correspondences with the thematic context of the primary sculptural program and independent signification. This project is intended as a useful starting point for additional inquiry, as investigations of secondary sculpture at other sites may bring new insight to its manifestations at Chartres. / Art History

Le Liber de ordinatione et officio totius anni in ecclesia Metensi, ordinairement désigné sous le nom de Cérémonial de la cathédrale est un manuscrit liturgique médiéval, aujourd’hui disparu, conservé en dernier lieu à la Bibliothèque Municipale de Metz (ms. 82). Ce manuscrit vraisemblablement daté du XIIe siècle, perçu très vite comme une copie du XIIIe siècle, a toujours intrigué les chercheurs et suscité des débats à propos de son classement typologique. Ordinaire canoniale, ce texte décrit avec précision les particularismes liturgiques de la cathédrale de Metz et détaille l’ordonnance de chaque célébration, établissant ainsi le lien entre les différents acteurs et les différents espaces liturgiques. Jamais étudié pour lui-même, ce texte n’a été utilisé que pour décrire la cathédrale ottonienne, dans laquelle il a été conçu, parallèlement à certaines découvertes archéologiques de la fin du XIXe et du début du XXe siècle. Le principal intérêt de ce travail est d’analyser un texte médiéval fondamental de la liturgie messine. Le document présente la cathédrale construite par Thierry Ier et consacré le 27 juin 1040 par Thierry II, flanquée du baptistère Saint-Jean sur son parvis et d’un cloître sur son flanc sud, espace auquel a succédé en 1754 l’actuelle place d’Armes. Il nomme les cinq églises qui y étaient attenantes : Saint-Pierre-le-Majeur, Sainte-Marie, Saint-Paul, Saint-Pierre-le-Vieux et Saint-Gall. Ce groupe cathédral est un héritage du claustrum tel qu’il fut pensé par l’évêque Chrodegang au VIIIe siècle, dans le cadre de la grande réforme liturgique. Premier texte liturgique connu pour la cathédrale de Metz, l’étude du Cérémonial permet donc de comprendre l’organisation du groupe canonial par le déploiement de la liturgie dans cet ensemble architectural. Les espaces sont organisés, hiérarchisés et unifiés par ce qui fait la particularité de la liturgie messine : son caractère stationnal, à l’image de la liturgie romaine rapportée de Rome par Chrodegang. Cette spécialisation des sanctuaires participe au « marquage » spatial de la liturgie et permet une meilleure compréhension des pratiques liturgiques. L’approche fonctionnaliste de l’espace devient de ce fait une approche très symbolique, dans laquelle le quartier canonial est pensé comme un tout, comme un espace organisé où chaque lieu ecclésial est nécessaire à l’unité du groupe. Les renseignements contenus dans ce texte liturgique touchent également la topographie de la ville elle-même. D’autres manuscrits messins viennent compléter les informations contenues dans notre texte. Les pratiques cultuelles du groupe cathédral de Metz au XIIe siècle ne sont pas aussi singulières qu’on pourrait le croire. Nous connaissons pour le XIIIe siècle de nombreux ordinaires attachés à des communautés de chanoines cathédraux. / The Liber de ordinatione et officio totius anni in ecclesia Metensi, usually designed under the name Cérémonial, is a lost medieval liturgy manuscript which was last kept at Metz municipal library (ms. 82). Nowadays, the full text is fortunately known thanks to the scientific edition led by Bishop Pelt. This text was likely dated from the XIIth century but the manuscript was quickly perceived as a copy from the XIIIth century. It has always intrigued researchers and gave rise to numerous debates due to its typological classification. As a canonical ordinary, this text describes with precision the liturgical particularisms of Metz cathedral, and details the ordinance of each celebrations, thus linking the various players with the various spaces. It has never been studied for itself and was only used to describe the Ottonian cathedral in which it was written, in parallel to some archaeological discoveries at the end of the XIXth century and beginning of the XXth century. The main interesting feature of this work is its analysis of a fundamental medieval text about the liturgy at Metz. The document also details the architecture of the cathedral built by Thierry Ist, and consecrated by Thierry IInd on June 27th, 1040, flanked by the Saint-Jean baptistry on its forecourt, and by a cloister on its southern flank, with the latter becoming the current Place d’Armes in 1754. It also names the five adjacent churches: Saint-Pierre-le-Majeur, Sainte-Marie, Saint-Paul, Saint-Pierre-le-vieux and Saint-Gall. This cathedral group is a legacy of the claustrum devised by Bishop Chrodegang in the VIIIth century, during the great liturgical reform. Hence, the study of the Ceremonial enables the understanding of the canonical group’s organisation by the deployment of the liturgy in that architectural environment. Spaces are organised, hierarchised, and unified by what makes the particularity of Metz’ liturgy: its stational feature, similar to the Roman liturgy brought from Rome by Chrodegang during the VIIIth century. This specialisation of sanctuaries plays a part in the spatial ‘marking’ of liturgy and allows a better understanding of it. The functionalist approach of space thus becomes a highly symbolic approach, in which the canonical district is considered both as a whole, and as an organised space where each ecclesial is necessary for the group’s unity. The information also includes the city’s topography, and other manuscripts from Metz complete the data contained in our text. The worship’s practices of Metz cathedral group during the XIIth century are not as singular as one might believe. We know of numerous of the XIIIth century ordinairies that were attached to canon cathedral communities.