Née en 1464 au château Saint Georges de Mantoue, Claire de Gonzague grandit au sein d'une cour très raffinée, celle des marquis de Gonzague, condottieres et mécènes, commanditaires du peintre le plus réputé de l'époque, Andrea Mantegna. Après son mariage en 1481 avec le comte Gilbert de Bourbon-Montpensier, elle devient dame d'honneur de la reine Anne de Bretagne et accueille des artistes et des réfugiés italiens dans son château d'Aigueperse. A partir de 1493, la comtesse joue un rôle d'intermédiaire entre son frère François de Gonzague et le roi de France. Lors de la première campagne d'Italie en septembre 1494, Gilbert de Montpensier accompagne Charles VIII, qui le nomme vice-roi de Naples l'année suivante. C'est à Mantoue où elle est l'hôte de sa belle-soeur Isabelle d'Este que Claire apprend la mort de son époux le 9 novembre 1496 à Pouzzoles. Devenue veuve, elle bénéficie de la protection du roi et tente de jouer un rôle politique, incitant François à maintenir de bons rapports avec Louis XII qui, après le duché de Milan, envisage de conquérir le petit marquisat. Tout au long de la crise politique de 1500, la comtesse met son talent de négociatrice au service de son frère pour sauver son état. Epuisée par la maladie qui la ronge depuis de nombreuses années, elle meurt très chrétiennement le 2 juin 1503. Selon son désir, elle est inhumée dans la Sainte-Chapelle d'Aigueperse auprès de son époux Gilbert de Bourbon-Montpensier. / Born in 1464 in Saint George's castle in Mantoue, Claire of Gonzague grows up in the heart of a very sophisticated court, the marquess of Gonzague's court, "condottieres" and sponsors, protectors of the most famous painter in this time, Andrea Mantegna. After her marriage in 1481 with the count Gilbert of Bourbon-Montpensier, she becomes maid of honour for the queen Ann of Britain and receives artists and Italian refugees in Aigueperse's castle. From 1493, the countess plays a role of an agent between her brother François of Gonzague and the king of the France. During the first campaign of Italy in september 1494, Gilbert of Montpensier escorts Charles VIII who promotes him to the rank of vice-king of Naples the next year. It's in Mantoue, where she is the guest of her sister-in-law, Isabelle of Este that Claire hears of her husband's death on the 9th of november in 1496 in Pouzzoles. As a widow, she gets the protection of the king and tries to play a politicak part, encouraging François to keep good relations with Louis XII who, after Milan's dukedom, contemplates conquering the little marquisate. During the political crisis of 1500, the countess uses her singular aptitude for saving her brothes's state. Exhausted by a progressive illness years, she dies as a true Christian on the 2nd of june 1503. In accordance to her wish, she is buried in the Aigueperse's Holy Chapel near her husband Gilbert of Bourbon-Montpensier.

Cette thèse porte sur la chapelle cimétériale du monastère de Bačkovo (Bulgarie), étudiée dans le contexte des églises sépulcrales du monde byzantin médiéval. Parmi les rares monuments de ce type architectural, cette chapelle se singularise notamment par son décor peint datant de l’époque médiobyzantine. Conservant certains thèmes iconographiques à caractère exceptionnel, son importance résulte également de la cohérence parfaite entre le décor, la fonction de l’édifice et le rite célébré. À la lumière des données d’une sélection de typika byzantins, complétées par des sources liturgiques, nous nous attachons, d’une part, à clarifier le contexte de fondation de la chapelle cimétériale, et, d’autre part, à réévaluer sa place unique dans la vie monastique d’antan. Notre investigation vise aussi à réexaminer la classification architecturale à laquelle le monument fut longtemps rattaché, celle des « églises sépulcrales bulgares », avancée par André Grabar. De plus, nous proposons une analyse iconographique détaillée de l’intégralité de son décor peint. Une attention particulière est portée aux représentations à forte connotation eschatologique, envisagées par le biais des spécificités fonctionnelles de l’édifice, liées à la célébration d’offices funèbres et commémoratifs. En outre, nous développons une analyse comparative avec les programmes iconographiques des principaux monuments sépulcraux médio- et tardodyzantins. L’apport de cette thèse consiste ainsi en la recontextualisation de la chapelle cimétériale bačkovienne, sur les plans à la fois architectural, iconographique et liturgique. / The subject of this thesis is the cemetery chapel of the Bačkovo monastery considered in the context of the sepulchral buildings of the Byzantine medieval world. Among the rare monuments of this architectural type, it stands out by its decoration dating from the middle byzantine period. Conserving some exceptional iconographic topics, its importance ensues also from the perfect coherence between decoration, function and ritual. With reference to a selection of byzantine typika, completed by liturgical sources, I try to clarify the context of foundation of the Bačkovo cemetery chapel and to reassess its place in the monastic life of yesteryear. The purpose of this investigation is also to reconsider the architectural classification of this building which has been refered to as the “églises sépulcrales bulgares” for a long time as mentioned by André Grabar. Furthermore I offer a detailed iconographic study of its entire fresco programme focusing especially on the representations with strong eschatological connotation, examined in the light of the functional particularities of the edifice, related to the celebration of funeral and commemoration services. In addition I give a comparative analysis of the monument following the iconographic programmes of the most significant sepulchral monuments from the middle and late byzantine period. The contribution of this thesis thus consists in the recontextualization of the Bačkovo cemetery chapel in terms of architecture, iconography and liturgy.

Made available in DSpace on 2016-03-15T19:21:39Z (GMT). No. of bitstreams: 1 Tania Cristina Bordon Miotto.pdf: 14092663 bytes, checksum: 3c34d7165d854ef70caf725a625be014 (MD5) Previous issue date: 2011-04-11 / This paper seeks to understand and summarize the design methodology of restoration of the Chapel of St. Michael in São Paulo, in order to understand the attitudes of intervention that allowed her to reintegrate the community and know the procedures crucial in this new qualification. Since the goal we intend to investigate this situation that gave it importance, and list the shares of the pioneering phase of IPHAN with the current intervention. At this stage it must be demonstrated that preliminary steps and executive ended up happening simultaneously, with the working methods of empiricism, visible in the unfinished documentary research, the fragile oral records, in the absence of technicians and laboratories and also by the lack of previous experience. From the effects of history on the identity of the Monument, with interest in the outcome - in light of existing documents - we aim to understand the connections of greater importance that collaborated to develop the theme of heritage. Confronted the contents of the letters to property, attempted to understand how, in the reality of implementation, the spatial, historical and aesthetic stand out in the intervention process. Also on opposing sides of the theories of restoration, important in relation to pipelines and showing that the title of heritage makes us aware of the facts and aware of the attitudes and their consequences / Este trabalho busca conhecer e sumarizar a metodologia de projeto de restauro da Capela de São Miguel Arcanjo, em São Paulo, no propósito de entender os posicionamentos de intervenção que possibilitaram reintegrá-la à comunidade, bem como conhecer os procedimentos determinantes nesta nova qualificação. Como o objetivo pretende-se investigar esta situação que lhe conferiu importância e relacionar as ações da fase pioneira do IPHAN com as da intervenção atual. Nesta etapa deve-se demonstrar que etapas preliminares e executivas acabavam acontecendo simultaneamente, com empirismo de métodos de trabalho, visíveis nas inacabadas pesquisas documentais, nos frágeis registros orais, na ausência de técnicos e laboratórios e, ainda, pela falta de experiência anterior. A partir dos efeitos da história na identidade do Monumento, com interesse nos resultados - à luz dos documentos existentes nos propomos a entender as conexões de maior relevância que colaboraram para desenvolver o tema do patrimônio. Confrontados os conteúdos das cartas patrimoniais, tentou-se entender como, na realidade de execução, as características espaciais, históricas e estéticas se destacam no processo de intervenção. Também se polemizou acerca das teorias de restauro, fundamentais em relação às condutas e mostrando que o título de patrimônio nos torna conscientes dos fatos e cientes sobre as atitudes e suas conseqüências

Gianlorenzo Bernini's Altieri Chapel possesses an aesthetic splendour that continues to captivate modern viewers. However, despite the recent publication of Shelly Karen Perlove and Giovanni Careri's studies on this subject, its unique manner of signification continues to be elusive. In the former case, the author's dependence on a melange of seventeenth-century religious notions reduces Bernini's choice of imagery to mere theological illustration. On the other hand, Careri affirms the originality of the chapel, but his over reliance on a heuristic comparison with film montage limits his appreciation of the viewer's role in this aesthetically charged space. / The present study strikes a balance between its own contemporary subjectivity and Bernini's historicity, locating the chapel's meaning making capacity in a hermeneutic oscillation between both its constituent elements and the participatory beholder. The result is the recognition of a unique artistic statement, which avers the fundamental commonality between several post-Tridentine liturgical practices. The salvific efficacy of these tenets is asserted by an aesthetic signification of the divine presence which lies behind them. The spectator is drawn into a mimetic world, suffused with Baroque Catholic ideology, and shown that Church doctrine is backlit with the radiance of ultimate truth. Of course, seventeenth-century viewing practices cannot be recreated, just as the feeling engendered by this artistic experience is beyond the descriptive powers of this or any other text. Nevertheless, it is possible to provide a guide to the spiritual references in Bernini's microcosm, for, while secular, modern viewers may no longer see with Baroque eyes, perhaps they can appreciate what those eyes saw.

Thesis (D. Min.)--Northern Baptist Theological Seminary, 2007. / Abstract. Includes bibliographical references (leaves 169-178).

Thesis (Ph.D.) -- Memorial University of Newfoundland, 1987. / Typescript. Bibliography: leaves 448-477. Also available online.

Thesis (D. Min.)--Erskine Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 113-116).

Thesis (D. Min.)--Erskine Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 113-116).

of the Dissertation The Musical Entourage of Rudolf II (1576-1612) reconstructed from the Imperial Accounting Ledgers Michaela Žáčková Rossi (2016, Supervisor: doc. PhDr. Petr Daněk Ph.D.) The proposed dissertation is undertaken as an attempt to make accessible the payments of the imperial court under Rudolf II concerning its musical life. Quite a century ago Albert Smijers published payments to the imperial musicians, but only to them of the chapel, while the other categories were considered unsystematically; but even among the "trometter", "kammermusici" and "servants on two and more horses" we find excellent composers. This dissertation, using the known sources and on the basis of new heuristics in the State Archives of Vienna, brings for the first time a complete list of all musicians of the Rudolf's court, including the period, function and wages development of their stay. Thanks to the extensive lists and graphs, it also present the specialization and career evolution of the Imperial musicians, number and quality of their extraordinary payments, bonuses etc. The conception of a first global view on the Rudolfine musical entourage in Prague will be complemented in a forthcoming monograph by a complete list of (Gnadengeld), it means "grace payments" to the musicians for their music dedications...

Cette thèse est la première étude prosopographique, portant sur une population de musiciens. Elle s’appuie sur un dictionnaire biographique de près de mille trois cents notices de musiciens ayant servi dans les Saintes-Chapelles de Paris et Bourges, depuis leur fondation, 1248 pour Paris et 1405 pour Bourges, jusqu’au milieu du XVIIe siècle. Les Saintes-Chapelles de Paris et de Bourges, la seconde fondée sur le modèle de la première, sont des institutions dédiées au culte des reliques rassemblées par Louis IX et ses successeurs et dédiées à la musique. De taille modeste, elles sont formées chacune environ de quarante personnes et trente musiciens. Les biographies sont exploitées selon le statut des personnels, leurs dates d’exercice, leurs compétences musicales et leurs relations avec les chapelles princières. Concernant les deux derniers points, trente compositeurs ont servi à la Sainte-Chapelle de Bourges et quarante-quatre à Paris, soit respectivement 5% et 7% de l’ensemble des chantres de chaque institution. En outre, vu des chantres candidats au recrutement en Saintes-Chapelles, 12% des chantres de la Sainte-Chapelle de Bourges et 23% des chantres de la Sainte-Chapelle de Paris sont documentés en chapelles princières, majoritairement à la Chapelle Royale. Vu des princes et souverains, ces derniers ont souvent puisé abondamment dans les Saintes- Chapelles, pour garnir leur propre chapelle. En effet, certains états de chapelles princières montrent à différentes époques, des proportions de plus de 30% de chantres documentés en Saintes-Chapelles. On prouve ainsi l’excellence des musiciens des deux Saintes-Chapelles et particulièrement de la Sainte-Chapelle de Paris / This work’s cornerstone is a biographic dictionary: thirteen hundred resumes of musicians attached to both Paris’ and Bourges’ Saintes-Chapelles, from their foundation (1248 for the former, and 1405 for the latter) to the middle of the XVIIth century. This is the first prosopographic study, related to a population of musicians. Paris and Bourges’ Saintes- Chapelles, the second one founded upon the Parisian model, are institutions, dedicated to the cult of the relics gathered by Louis IX and his followers, and dedicated to music. Those institutions of modest size (about forty persons) nevertheless hosted a lot of musicians (about thirty). This research is done through four principal angles: the staff’s status, their service dates, their personal musical skills and the relationships between Saintes-Chapelles and private princely chapels. Concerning the last two points, thirty composers have served in the Sainte-Chapelle of Bourges and forty-four in Paris, respectively 5% and 7% of the total amount of singers hosted by them at one time or another. Furthermore from the singers point of view, 12% of the singers of the Sainte-Chapelle of Bourges and 23% of the singers of Paris are documented in a princely chapel, mainly the Royal Chapel. From the point of view of princes and sovereigns, the formers have recruited a lot from the Saintes-Chapelles for their own chapels. Some chapel accounts may mention large proportions of singers, more than 30%, documented in the Saintes-Chapelles of Bourges and Paris, at different times. We have thus proved the skills of the musicians of both Saintes-Chapelles, mainly the Sainte-Chapelle of Paris