A presente tese toma por base o contexto internacional em nível cognitivo, no qual se desenvolveu a História da Arte Brasileira nos primeiros séculos, com a intermediação lusitana. Procura identificar o processo interativo deslocado territorialmente, mas que, por isso mesmo, dadas as contingências locais, tornou possível novas interpretações e adaptações. A prática artística progressivamente se estabilizou no Brasil-Colônia a partir do século XVI, cumprindo o itinerário que encontra na mentalidade e no conhecimento do homem pós-renascentista a base que viria a orientar os séculos imediatamente subseqüentes. Portanto, a Reforma Católica refletiu a capacitação do sistema, conforme se tornara indispensável à organização social que, partindo do vínculo com a cultura preexistente do medievo ao Renascimento, instituísse os parâmetros que os renovados fatores requeriam. Estabeleceu-se um modelo de sociedade de conotação metafísicoteológica, e por conseqüência hierárquica, onde o culto religioso aglutinava os vários aspectos da sua estrutura. Distinguimos aí a íntima relação entre a \"ecclesia\" e a \"civitas\" pois a igreja e a cidade coordenavam de modo substancialmente unitário os diversos polos de interesse que por essa razão se tornam indissociáveis. A fundação da Cidade do Salvador, cabeça do Brasil, se configura como uma oportunidade única a serviço da compreensão de um contexto projetado e realizado como ponte interligando terras até então completamente desconhecidas entre si. Os primeiros capítulos buscam conseqüentemente traçar as diretrizes do vínculo existente entre a \"ecclesia\" e a \"civitas\" no qual se situa e se expressa o amadurecimento técnico VIII das formas de fazer, sempre no âmbito ao qual a pesquisa se direciona: o dos fatores determinantes do retábulo - produto de uma religiosidade já delineada no tempo. A Igreja, em direta conexão com o Estado português, assume ao lado deste a função de elemento dinamizador, concentrando em si, com maior relevo e as sucessivas construções realizadas, a concretização do esquema urbanístico previamente traçado. Torna-se, assim, principal incentivadora da formação profissionalizante com a importância especial que assume a construção e decoração dos templos. O pensamento teórico- prático e religioso formava um corpus unitário desde a capacitação advinda da metrópole. A execução do projeto de fundação da Cidade do Salvador evidencia na problemática construtiva a conexão com os vários aspectos do caráter rudimentar dos meios à disposição. A arquitetura, a concepção urbana e os retábulos das igrejas são constitutivos da atuação de conceitos transferidos e adaptados, porém, interligados pela necessidade de fixar no novo território d\'além mar a sede de um programa só realizável com o aperfeiçoamento técnico, quando não com a transferência do próprio material como a pedra lavrada a compor fachadas e portadas. Numerosos artesãos portugueses se transferiram para o Brasil. No ambiente franciscano instituiu-se uma verdadeira escola de realizadores, inclusive itinerante, para atender à demanda da Ordem particularmente no Nordeste. Entre os jesuítas, muitos dos artistas responsáveis pela igreja do Colégio, em Salvador, aprenderam o ofício na Companhia. Aprendizado este que teve porém como ponto de partida, necessariamente, a mão-de-obra importada e a contribuição fundamental de especialistas vindos do reino. No campo de atuação laica conclui-se que na Península Ibérica se reflete a valorização do artista pré-anunciada por Cennino Cennini e depois teorizada nos tratados de Leon Battista Alberti e Leonardo da Vinci, IX ganhando ulterior impulso na disputa sobre o \"Primado\" das artes. Mas, o artista fazendo parte de uma elite, nunca pôde prescindir dos \"oficiais mecânicos\" quando do \"conceito\" se passa à fase executiva. Permanece- lhes vinculado o universo da execução técnica. Os preceitos estabelecidos pela Contra-Reforma, tornam-se determinantes na mentalidade que orienta a criação artística; têm continuidade nos seus exegetas e encontram aplicação rigorosa nas \"Constituições Primeiras do Arcebispado da Bahia\". Enquanto que toda a formação da consciência construtiva tem por referência direta as concepções teóricas dos tratadistas cuja incidência revela-se determinante em todo o longo período analisado, justificando muitos dos aspectos da arquitetura e da talha barroca. A partir de indicações bibliográficas contidas na \"Literatura Artística\", obra de Julius von Schlosser Magnino, buscamos fornecer um quadro da repercussão a partir do século XVI das \"Medidas do Romano\" de Diego de Sagredo. O qual com uma série de normas não encontradas nos textos em geral e nem evidenciadas pelas ruínas, quer na Itália quer na Península Ibérica, organizou um tratado de grande difusão sobretudo entre os oficiais mecânicos. Publicada em sua primeira edição em Toledo, 1526, a obra que, conforme o seu título completo já o indica, pretende ser útil \"aos que querem acompanhar as formações das bases, colunas, capitéis e outras peças dos edifícios antigos\" - o tratado de Sagredo seria, conforme concluímos, produto da vontade de vir em socorro a um mundo artesanal perplexo, necessitando-se daquele vínculo com a arquitetura clássica que agora se articulava diversamente, inovando o vocabulário. Os altares do ambiente barroco, muitas vezes, são altares de transição, portanto, a explicação morfológica a eles referente não se enquadra em um esquema formal pré-determinado na sucessão dos estilos, conforme procuramos demonstrar. Escolhemos nos ocupar em primeiro lugar dos retábulos da atual Catedral da Sé, antiga igreja do Colégio dos Jesuítas, que documentam a evolução acontecida no referido contexto. Assim como os principais retábulos da igreja conventual de São Francisco nos indicam a contribuição franciscana e a Basílica da Conceição da Praia por ser uma igreja paroquial, representa o ambiente laico das irmandades religiosas. Destacando alguns tópicos da morfologia do retábulo em Salvador, podemos referir: - o conhecimento dos percursos evolutivos formais e dos trâmites de adesão a novo estilo; - os jesuítas e a evolução da arte da talha luso-brasileira; - os exemplares do maneirismo, ressaltando traços diferenciadores que assinalam a autonomia do retábulo; - o maneirismo de decoração geométrica e o de decoração naturalística; - o altar-mor de transição ao barroco e a passagem ao estilo nacional português nos altares laterais; - a estrutura arquitetônica contrareformista de espaço unitário e a inserção de altares barrocos; - o altar joanino e a influência do barroco italiano; - a \"igreja toda de ouro\" e a conciliação das diferentes fases do barroco; - a demonstração do estilo joanino e do retábulo joanino baiano. / This thesis is based on the international context at a cognitive level, in which the History of the Brazilian Art was developed in the first centuries, under the influence of the Portugueses. It tries to identify the displaced interactive territorial process, but, due to the local contingency arrangements, new interpretations and adaptations became feasible. Starting from the 16th century, the artistic practice became increasingly stable in Colonial-Brazil, following the itinerary that found in the mentality and in the post-Renaissance man\'s knowledge the basis that would guide the centuries immediately on. Therefore, the Catholic Reform reflected the system ability, as it had become essential to social organization that, beginning from the link with the preexistent culture from the medieval period to the Renaissance, instituted the parameters that the renewed factors asked for. A model of society of Metaphysical-theological connotation was established, because of its hierarchic consequence, where the religious cult combined several aspects of its structure. In that respect we characterize the close relation between the \"ecclesia\" and the \"civitas\" due to the fact that the church and the city coordinated in substantially unitary way the diverse opposed regions of interest that by this reason become inseparable. The foundation of the City of Salvador, head of Brazil, represents a unique opportunity towards the understanding of a planned, accomplished context as a bridge connecting lands entirely strange to each other at that time. Thus, the first chapters look at the guidelines of the existing links between the \"ecclesia\" and the \"civitas\", in which technical matureness situates and reveals its means of to make something, always considering XII the sphere that this research aims: the determining factors of the altarpiece - the product of a religiousness already outlined in the time. In connection with the Portuguese State, the Church takes over besides that one the function of driving force element, concentrating on itself, with great magnitude and successive accomplished constructions, the materialization of the urban outline already conceived. Thus, it set an incentive scheme for professionalizing formation with the outstanding importance that the construction and decoration of the temples assumes. The theoretical-practical and religious thought formed an unitary corpus from the capacity resulting from the metropolis. The execution of the foundation project of the City of Salvador substantiates in the constructive problem the connection with the several aspects of the rudimentary character of the available means. The architecture, the urban conception and the altarpieces of the churches are constitutive of absorbed and adapted ideas, but they are linked together by the necessity to establish in the new overseas territory the headquarters of a scheme only achievable with the help of technical improvement, or with the transference of materials, like the wrought stone that would compound facades and portals. Many Portuguese artisans were transferred to Brazil. In the Franciscan ambience a real achiever school was created, also itinerant, to assist to the demand of the Order, particularly in the Northeast. Among the Jesuits, many of the artists in charge of the church of the School, in Salvador, learned their skillfulness in the Company. However, this learning had as starting point the imported workmanship and the fundamental contribution of specialists coming from the kingdom. In the sphere of the secular performance, we conclude that in the Iberian Peninsula highlights the valuation of the artist, later theorized in treatises by Leon Battista Alberti and Leonardo da Vinci, acquiring further impetus in the subject concerning the \"pre-eminence\" of the arts. But, XIII the artist being part of an elite, could never to do their work without the \"operative officials\" when one goes from the \"concept\" to the executive phase. The universe of the technical execution remains the same. The commandments stated by the Counter-Reformation became crucial in the mentality that guides the artistic creation; they have been continued with the exegetists and find out strict application in the \"First Constitutions of the Archbishopric of Bahia\". While all the formation of the constructive conscience has for direct reference the theoretical conceptions of the authors whose incidence it is decisive in the whole long analyzed period, justifying many of the aspects of the architecture and of the Baroque carving. Starting from bibliographical entries contained in \"Artistic Literature\", by Julius von Schlosser Magnino, we have been trying to provide a picture of the repercussion, from the XVI century, of the \"Measures of the Roman\", by Diego de Sagredo. With a series of norms not found in general in the texts nor evidenced by the ruins, in Italy as well as in the Iberian Peninsula, he arranged an outstanding treatise particularly among the mechanical officials. First published in Toledo, 1526, the work, as its full title already indicates, intends to be useful \"to anyone who wants to follow the formations of the bases, columns, capitels and other pieces of the old buildings\" - the norms of Sagredo would be, as we deduced, a help to the perplexed handmade world, that needs a link with the classic architecture that now diversely was articulated, innovating the vocabulary. Frequently the altars of the Baroque ambience are transition altars, therefore the morphologic explanation for such thing can not be fitted in a formal, predetermined outline in the succession of styles, as we tried to demonstrate. First, we chose deal with the altarpieces of the current Cathedral of the Sé, the old church of the School of the Jesuits, that documents the XIV evolution happened in the referred context. Thus, as the main altarpieces of the conventual church of San Francisco indicates, the Franciscan contribution and the Conceição of the Beach Church, for being a parochial church, represent the secular atmosphere of the religious fraternities. Here are some topics of the morphology of the altarpiece in Salvador: o the knowledge of the formal evolutionary courses and the adhesion procedures to new style; o the Jesuits and the evolution of the Portuguese-Brazilian carving art; o the mannerism pieces, standing out differentiating lines that mark the autonomy of the altarpiece; o the mannerism of geometric decoration and the one of naturaristic decoration; o the high altar of transition to the Baroque and the passage to the Portuguese national style in the lateral altars; o the counter-reformist architectural structure of unitary space and the inset of Baroque altars; o the King John altar and the influence of the Italian Baroque; o the \"whole gold church \" and the conciliation of the different phases of the Baroque; o the demonstration of the King John style and the King John altarpiece of Bahia.

A primeira tradução da Bíblia em língua portuguesa foi composta a partir de meados do século XVII, em regiões específicas do sudeste asiático sob o domínio da Companhia Holandesa das Índias Orientais. O principal responsável por seu processo de elaboração foi João Ferreira A. dAlmeida (c. 1628-1691), natural do Reino de Portugal, mas residente entre os holandeses desde a juventude. A primeira edição de sua tradução do Novo Testamento foi impressa em Amsterdam, no ano de 1681, ao passo que os livros do Antigo Testamento foram publicados somente a partir do século XVIII, em Tranquebar e Batávia. O ambiente em que foi idealizada essa pioneira versão bíblica portuguesa é caracterizado substancialmente pelo confronto teológico católico-protestante, a princípio intra-europeu, mas potencializado nas Índias Orientais seiscentistas a partir da expansão marítima e comercial holandesa sobre regiões antes sob influência dos reinos ibéricos. Ao lado da própria tradução bíblica, essa conjuntura marcada por conflitos em torno da definição da ortodoxia cristã testemunhou também a produção de uma extensa e singular literatura de polêmica religiosa em língua portuguesa, assinada não só pelo próprio Almeida, mas também pelos missionários católicos que se opuseram à sua obra e doutrina no Oriente. Com isso, o principal escopo deste trabalho é desvendar o significado dessa tradução das Escrituras Sagradas do cristianismo em sua peculiar historicidade, isto é, tendo em vista a relação intrínseca de sua materialização com um contexto de agudos embates religiosos. Perante as resoluções estabelecidas no Concílio de Trento (1545-1563) contra a proliferação de versões bíblicas não autorizadas, esse ato de tradução em si, naquela conjuntura, além de edificado sobre a definição protestante sola scriptura¸ se revelou também resultante de postura radicalmente anticatólico-romana. Enfim, sem perder de vista os movimentos históricos estruturais que perpassam a constituição deste objeto peculiar da Idade Moderna, as diferentes seções deste texto devem convergir para se aprofundar a compreensão histórica de uma tradução da Bíblia amplamente reconhecida e estimada, ainda hoje, em todo o mundo lusófono. / The first Portuguese translation of the Bible was done during the second half of the seventeenth century in specific regions of Southeast Asia under the rule of the Dutch East India Company. The main person responsible for this translation was João Ferreira A. d\'Almeida (c. 1628-1691), who was born in the Kingdom of Portugal, although he had lived among Dutch missionaries since he was a young man. The first edition of his New Testament translation was published in Amsterdam in 1681, yet the Old Testament books were published only after the mid-eighteenth century in Tranquebar and Batavia. The environment in which this pioneering translation of the Bible was designed is substantially characterized by the Catholic-Protestant theological quarrels, originally intra-European, yet amplified in the East Indies over the seventeenth century due to the Dutch maritime and commercial expansion into regions formerly under the influence of the Iberian kingdoms. Besides the Portuguese Bible translation, this context characterized by conflicts on the definition of Christian orthodoxy noted the production of an extensive and unique literature on religious controversy in the Portuguese language, produced not only by the translator himself, but also by Roman Catholic missionaries who stood up against his work and teachings in the East Indies. Thus, the main purpose of this study is to reveal the historical-religious significance of the Portuguese translation of the Holy Scriptures in its peculiar historicity, considering the intrinsic relationship between its meaning and the surrounding milieu of acute religious conflicts. Taking into consideration the resolutions passed by the Council of Trent (1545-1563) against the proliferation of unauthorized Bible versions, the act of translation by itself, in this context, emerged as the result of a position at the same time Modern, Protestant, and anti-Catholic. Nevertheless, not losing sight of the structural historical movements that underlie the creation of this peculiar object of the Modern Age, the different sections of this work might converge in order to deepen the historical understanding of a Bible translation still widely acknowledged throughout the Portuguese-speaking world.

Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions have been selected to serve as case studies: 1. The Secular English College, Douai. 2. St Alban’s College, Valladolid. 3. The Benedictine Monastery of Our Lady of the Assumption, Brussels. 4. The Augustinian Monastery of Our Lady of Nazareth, Bruges. The music of these institutions is evaluated in two ways: firstly, as a means of constructing, reflecting and forming English Catholic identity, and secondly, in terms of the range of influences (both English and Continental) that shaped its stylistic development. The thesis concludes that as a result of the peculiarly domestic nature of religious practice among Catholics in England, and interactions with Continental Catholicism, the aesthetic and ideological bases for English Catholic music were markedly different from those of its Protestant counterpart. The marked influence of Italianate styles on the sacred music of English Catholic composers and institutions in exile demonstrates a simultaneous process of cultural alignment with the aesthetic and theological principles of the Counter-Reformation, and dissociation from those of English Protestantism. Finally, it is clear that music was an important formational tool in both the seminaries and convents, where it shaped both community and self-identity, and created affinities with the locales in which these institutions were situated – although it is also clear that these uses of music had the potential to conflict.

Les mays de Notre-Dame, tableaux offerts de 1630 à 1707 par la confrérie Sainte-Anne-Saint-Marcel des orfèvres parisiens à la cathédrale Notre-Dame de Paris en signe de dévotion à la Vierge, forment un des ensembles de peinture religieuse les plus importants du XVIIe siècle. La thèse de doctorat propose une étude de cette série en deux volets, une approche analytique à travers un essai et une approche synthétique à l'aide d'un catalogue. L'essai aborde dans une première partie le contexte confraternel et explique le choix de grands formats présentés dans la nef de la cathédrale. La deuxième partie s'intéresse à la fonction religieuse et politique de ces tableaux. La troisième partie s'attache aux conditions de la commande et aux questions de style et évalue la réception des œuvres au XVIIIe, XIXe et XXe siècles. Le catalogue reprend pour chaque tableau l'ensemble des données documentaires et visuelles. Les textes accompagnant les toiles (contrats, explications, inventaires de Notre-Dame) constituent les annexes. L'importance des mays dans la peinture religieuse du XVIIe siècle tient à leurs résonances avec les préoccupations pastorales et théologales de l'Église de Paris, ainsi qu'à leur statut de modèle pour la peinture religieuse. Exposés au cœur de la cathédrale de Paris, ils constituent un décor sacré au service du roi et de la politique religieuse du royaume. / The mays of Notre-Dame, paintings offered from 1630 till 1707 by the brotherhood Sainte-Anne-Saint-Marcel of the Parisian silversmiths to the cathedral Notre-Dame de Paris in sign of worship in the Virgin, are one of main group of paintings of the XVIIth century. The doctoral thesis proposes a study of this series in two steps, an analytical approach through a essay and a synthetic approach by means of a catalog. The essay approaches on a first part the fraternal context and explains the choice of large formats presented in the nave of the cathedral. The second part is interested in the religious function and the politics of these paintings. The third part becomes attached in the conditions of the command and to the questions of style and estimates the reception of the works at the XVIIIth, XIXth and XXth centuries. The catalog resumes for every picture all the documentary and visual data. Texts accompanying paintings (contracts, explanations, inventories of Notre-Dame) establish appendices. The importance of mays in the religious painting of the XVIIth century holds their echos with the pastoral concerns and théologales of the Church of Paris, as well as in their status of model for the religious painting. Exposed at the heart of the cathedral of Paris, they constitute a decoration crowned in the service of king and of religious politics of the kingdom.

The thesis is primarily focused on the person of the Polish Jesuit preacher Piotr Skarga and his most famous work Kazania Sejmowe, 1597. In the introduction of our thesis we deal with the area of The Polish-Lithuanian Commonwealth at the turn of 16th and 17th century. We put more detailed emphasis on political and cultural history and we describe life, activities and literary work of Piotr Skarga. In the core of our thesis we analyse the selected parts, elements and themes of the literary work Kazania Sejmowe. Subsequently we compare them with several other central european literary works. The aim of our thesis is to take a closer look at the personality and the literary work that have a firm place in Polish culture and to compere them with other central european literature. Keywords Piotr Skarga, Polish literature, Counter-Reformation, 16th century, jesuits, PolishLithuanian Commonwealth

The thesis addresses the topic of women in the process of the recatholization of Bohemia and focuses mainly on the first half of the 17th century. The author investigated if and how much the experience of women differed from that of men. More than the legislation and newly created norms the application of these directions enlightens the topic of women. Rich material connected to the activity of the recatholization commission and other authorities devoted to the conversion of Czech population was used. Sources of statistical character were used for evaluation of the results of the process. Because of their extent, regional restriction had to be made - we focused on Boleslavsko. In the focus of the thesis were mainly townswomen and lower nobility. One of the most important findings is the fact that the authorities saw women as important as men in the process. Although specific, seemingly more moderate, means for coercion were used in women's case. This flexibility is typical for the Catholic church's approach to women and we are in concord with other researchers, mostly from abroad. The findings also contribute to our knowledge of the process of the recatholization of the Czech lands. KEY WORDS Recatholization, Catholic reformation, women's history, gender history, early modern ages, counter-reformation.

disertační práce v anglickém jazyce MGR. ING. MARIE OPATRNÁ REFLECTION OF ITALIAN PAINTING IN WORK OF "CZECH" ARTISTS AND ITS INFLUENCE ON THE DEVELOPMENT OF BAROQUE PAINTING IN THE PERIOD 1611-1650 Školitel práce: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. The thesis deals with "Czech" painting of the first half of the 17th century and the Italian influences in it. In order to understand the origin of these influences, it explores Italian sacral painting of the whole 16th century. Nevertheless, the main attention is dedicated to the second half of this century. The part of this theme is explained on the development of academic studies from the 20th century. The second part of the thesis deals with the Czech art-historical literature and with the subject of protobaroque or early baroque painting. These two parts define terms of these periods and their approaches to painting. The main point of interest is the transition in the field of sacral painting from the art of late renaissance to the art of early baroque. The existence of this special period of sacral painting in Czech area is supported by examples of images and their analysis. The conclusion summarizes new findings and opens questions about new view on the Czech painting of the 17th century and about new methodological attitudes.

This dissertation comprises the first study of the poetry of the Portuguese humanist Diogo de Teive (1513-14 – c. 1569). It examines and presents a scholarly edition of the Epithalamium which Teive composed on the occasion of the marriage of Princess Maria of Portugal to Alessandro Farnese in 1565. It also critically explores the work in which the poem was published, the Epodon libri tres (Lisbon, 1565). Because both this and the Epithalamium bring together different strands of Teive’s literary work, Chapter One analyses the development of his literary career, linking it to the ideological and cultural transformations which took place in Portugal from the 1540s to the 1560s, and the author’s attempt to carve his identity and space in the Portuguese literary scene. Chapter Two explores the concepts of ‘imitatio’ and ‘mimesis’ in the Epodon libri tres, shedding light on specific aspects of the Epithalamium. In the eyes of his readers, Teive emerges as a Catholic Horace. This is achieved by means of formal imitation, ‘aemulatio’, and allusion to Horace, a process whereby Teive introduces significant and ideologically motivated differences representative of the impact of Counter-Reformation upon literary writing. The ‘aemulatio’ of Prudentius’s Peristephanon in book II is to be understood in this light. Part Two engages with Teive’s comments on questions of verbal representation in the Epodon libri tres. Chapter Three analyses the Epithalamium from a generic perspective, arguing that it presents instances of generic enrichment, and that these are an example of the appropriation of occasional poetry for the purpose of authorial self-representation. One of the instances of generic enrichment is the incorporation of a didactic passage indebted to the tradition of the ‘speculum principum’, which is analysed in Chapter Four. Part One interprets the rewriting and appropriation of Plutarch and Erasmus as authorising strategies whereby Teive represents himself as an advisor of kings in the Epodon libri tres. Part Two discusses the author’s political thought and opinions, drawing from an analysis of the Epithalamium. Finally, Chapter Five comprises the study of the transmission of the poem, its metrical analysis, edition, translation, and commentary.

À l’aide des écrits d’humanistes chrétiens, ayant exercé un contrôle sur la pratique des arts après le Concile de Trente, nous tenterons d’expliquer le développement du genre paysager en peinture. Le cardinal Federico Borromeo, Louis Richeôme ainsi que Jean Calvin figurent parmi les théologiens qui ont contribué à cette littérature chrétienne influente. Nous nous servirons surtout de l’historiographie récente afin de prouver le rôle essentiel joué par la pensée chrétienne dans le développement de la représentation de la nature en art. Prenant appui sur certaines études importantes, nous analyserons des exemples tant picturaux qu’architecturaux qui reflètent cette influence chrétienne sur la perception de la nature. Au préalable, nous tenterons de dresser un portrait de l’environnement culturel et religieux dans lequel ces humanistes chrétiens ont vécu et développé leur pensée. Notre objectif sera de prouver que l’humanisme chrétien a joué un rôle important pour l’essor du paysage à l’époque de la Contre-Réforme. Les sources contemporaines ainsi que leur interprétation par les historiens et les historiens d’art modernes permettront de mieux comprendre le rôle joué par la pensée chrétienne au sein de ce développement artistique. / Examining the writings of Christian humanists, who exercised control over the practice of the arts after the Council of Trent, this paper seeks to understand the development of landscape painting in the Early Modern period. Cardinal Federico Borromeo, the Jesuit Louis Richeome and Jean Calvin, are among those theologians who contributed to this influential Christian literature. We will mainly use the recent historiography to demonstrate the essential role played by Christian thought in the rise of the representation of nature into art. Building on some important studies, we will analyze both pictorial and architectural examples that reflect this Christian influence on the perception of nature. First, we will try to paint a picture of the religious and cultural environment in which the Christian humanists lived and developed their thinking. Our goal is to prove that Christian humanism played an important role in the development of landscape representations during the Counter-Reformation. Contemporary sources as well as their interpretation by modern historians and art historians will help us to better understand the role of Christian thought in this artistic development.

Esta tese analisa a política de crédito fundiário no Ceará, posta em prática pelos governos estadual e federal em parceria com o Banco Mundial a partir de 1996. A forma pela qual o Estado foi levado a dar início e desenvolver a “reforma agrária de mercado" no Ceará, recoloca problemas importantes: a questão da reforma agrária e o acesso à terra pelos sem terra, o problema da estrutura fundiária no Ceará, no Nordeste, e em outras regiões. Simultaneamente, repõe o problema da “adaptação" de moradores de condição, parceiros, rendeiros e migrantes temporários ao mercado capitalista. A reflexão sobre a contra-reforma agrária do Banco Mundial e os camponeses passa pela discussão acerca do desenvolvimento territorial contraditório, desigual e combinado, desenvolvido no interior da Geografia agrária. A pesquisa foi desenvolvida a partir de um estudo transversal realizado em oito assentamentos criados a partir dos projetos São José e Cédula da Terra, partes constitutivas da denominada “reforma agrária de mercado" no Ceará. A implementação da “reforma agrária de mercado" no Ceará, tem significado a reativação do mercado de terras contribuindo para a ampliação das relações, especificamente capitalistas no campo como a apropriação da renda capitalizada da terra por proprietários de terras rentistas. Os assentamentos como frações do território conquistadas se constituíram com base na propriedade familiar que é uma forma de propriedade diferente da propriedade privada capitalista. A apropriação familiar e o desenvolvimento de formas de trabalho como o individual (familiar), a prática de ajuda mútua, o uso comum da terra e o trabalho coletivo revelam a ocorrência de formas alternativas para a propriedade privada imposta pelo Estado. Existe, portanto, um sério conflito entre o regime de propriedade privada implementado sob a lógica de mercado do Estado e a concepção de propriedade familiar reproduzida pelos camponeses e legitimada com o apoio dos movimentos sociais e das entidades camponesas em luta pela reforma agrária no país. / This thesis analyzes the agrarian credit policy in Ceará, put into practice by the State and Federal Governments in partnership with the World Bank since 1996. The reason which led the State government begin and develop the “market agrarian reform" in Ceará, puts back important problems: the agrarian reform problem and the land access to the landless peasantry, the agrarian structural problem in Ceará, in the northeast and in other areas. Simultaneously, replaces the “adaptation" problem of the condition dwellers, partners, tenant farmers and temporary migrants to the capitalist market. The reflection on the agrarian counter-reformation of Wold Bank and the peasants passes by the discussion concerning the contradictory, unequal and combined territorial development, developed inside the agrarian Geography. The research was developed from a transversal study accomplished in eight settlements created from the São José and Cédula da Terra projects, constituent parts of the denominated “market agrarian reform" in Ceará. The implementation of the “market agrarian reform" in Ceará, has meant the land market reactivation contributing to the enlargement of the relationships, specifically capitalists in the countryside as the appropriation of the capitalized income of the land by landowners of the rentable land. The settlements as fractions of the conquered territory have been constituted based on the family property that is a property form different from the capitalist private property. The family appropriation and the development in labor ways as the individual (family), the practice of mutual help, the land common use and the collective labor reveals the occurrence of alternative ways for the private property imposed by the State Government. There is, therefore, a serious conflict between the private property regime implemented under the State market logic and the conception of family property reproduced by the peasants and legitimated by the social movements and from the peasant entities support that fight for the agrarian reform in the country.