The treatises of the German artist Albrecht Durer (1471-1528) reveal the first instances of modern means of architectural representation. These works, the Underweysung der Messung (1525) and the Vier Bucher von Menschlicher Proportion (1528), employ an unprecedented degree of graphic projection to render visual various geometrical and architectural figures. Nevertheless, Durer's obsessive interest in geometry and visualisation is not necessarily expressive of a strictly modern intentionality. Although his treatises have some continuity with the reductive techniques of contemporary practice, they were formulated in a traditional world and manifest many of its concerns. This thesis elucidates the interplay between these aspects of Durer's mathematical corpus. It proceeds by articulating both the traditional underpinnings of his work and his patent struggles with its modern implications. By revealing the original density of meaning inherent in modern means of architectural representation, this study questions the contemporary prejudice that such means are merely neutral instruments.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-09-19T17:19:30Z No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-09-22T15:05:38Z (GMT) No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) / Made available in DSpace on 2017-09-22T15:05:38Z (GMT). No. of bitstreams: 1 marcelhenriquerodrigues.pdf: 12697503 bytes, checksum: 04ce4723cfc9d5771ced03f1196dc481 (MD5) Previous issue date: 2017-02-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A temática dos símbolos e do esoterismo levou ao encontro com a enigmática gravura “Melencolia I”, de Albrecht Dürer. Por trás desta obra desvela-se uma surpreendente atmosfera renascentista em torno do tema da melancolia que, segundo pesquisas, fez com que médicos, filósofos e teólogos se detivessem por séculos no estudo deste humor. Historicamente estabelecida, a melancolia tornou-se um sintoma dos grandes intelectuais, aqueles eruditos que, na eterna busca pelo conhecimento e enfrentando as limitações da cognição humana em conhecer, caíram em estado de melancolia, ou na acídia, assim denominada a melancolia medieval. A grande importância dada ao melancólico levou Dürer a produzir “Melencolia I” como um tributo ao estado de ânimo que atingiu os grandes sábios. Mas, sua obra não é simples. A quantidade de símbolos expostos na gravura reflete uma outra realidade, a realidade esotérica. Partindo dessa compreensão e munido de uma compilação científico-bibliográfica, nossa pesquisa deseja abordar o caráter esotérico em “Melencolia I”. Assim, exploramos o contexto filosófico e religioso do Renascimento para compreender o ambiente intelectual que impulsionou a confecção da obra. O Neoplatonismo florentino, a grande confluência dos estudos humanísticos e o desabrochar do esoterismo, como a Alquimia e a Magia, foram elementos chave no contexto renascentista que, chegando à Alemanha, influenciaram Dürer a executar uma de suas mais famosas obras, a “Melencolia I”. Como resultado a pesquisa encontrou uma hermenêutica para a gravura a partir do contexto cultural em que a mesma foi produzida. Levamos em consideração os aspectos do esoterismo, tão enaltecidos e promulgados no período, sobretudo pelo Neoplatonismo de Florença. Também encontramos indícios de que alguns aspectos da vida e Dürer influenciaram a temática de “Melencolia I”. / The matter of symbols and esoterism led to the encounter with the enigmatic Albretch Dürer’s engraving “Melencolia I”. Behind this work, a surprising atmosphere from Renaissance is revealed surrounding melancholy which has been the subject of studies by physicians, philosophers and theologians for many years according to previous studies. Historically registered, melancholy became the symptom of the greatest erudite intellectuals who in search of science and defying the human limitations in learning often felt in the state of melancholy, or acedia, as it was denominated during the Middle Ages. On the one hand, given the importance paid to the “melancholic people” Albretch Dürer decided to work on “Melencolia I” as a tribute to the mood of the greatest savants. On the other hand, his piece of art is not unchallenging, for the amount of exposed symbols on the engraving reflects one another reality: the esotericism. Starting from this comprehension along with a scientificbibliographic compilation this research aims at approaching the esoteric side on “Melencolia I”. Thus, exploring the philosophic and religious context during the Renaissance in order to understand the intellectual environment which influenced Dürer’s engraving. In regards to that, Neoplatonic Florentine Academy was the most important confluence of humanistic studies during the rise of esotericism expressed in practices such as the Alchemy and Witchcraft that were key elements on the context of Renaissance which in Germany culminated in the influence on Dürer’s “Melencolia I”, one his most well-known and celebrated works. As a result, this research finally unveiled a hermeneutic related to the engraving from a cultural context in which it was conceived. Thus, it was taken in consideration the aspects of esotericism – highly praised and diffused during that period chiefly by the Neoplatonic Florentine Academy. There also evidence that some aspects of Dürer’s life might have been influenced by the theme of “Melencolia I”.

The capricious roman goddess Fortune is known for her strong power to influence or even decide the destiny of humans. In ancient Rome she was considered to be a good goddess, who brought the gifts of destiny and who also was seen as a possible ally. During the Middle Ages this position changed. Fortune was given two sides, a good and friendly one and a cruel impenetrable side. She was seen as one of God´s ministers and became an expression of divine providence. My purpose with this essay is to analyse three artworks of Fortune by Giovanni Bellini, Albrecht Dürer and Master MZ, but also some texts by the renaissance humanist Niccolò Machiavelli. When examining this representation I will try to determine the iconography of Fortune and see how or if the interpretations of her differs. The study has shown that the different representations of Fortune differ from one another of the artworks. However, there is one major resemblance that presents itself in each and every one of the artworks as well as in Machiavelli’s texts, the fact that Fortune is considered to be capricious. This attribute is frequent. In the works of art Fortune is depicted along with some kind of circular object like a ball or a sphere, a clear indication of instability. In Machiavelli’s texts Fortune is often, metaphorically or directly expressed, as capricious and unpredictable. According to Machiavelli, humans therefore have to be prepared, hold capability or virtù, to be able to resist her rapid changes. Like the humanist Machiavelli was it is likely that he represents the ancient view of Fortuna, although some medieval element cannot be omitted. Furthermore, in all of the selected works of art together, one can see elements of both an antique view of Fortuna as well as a medieval. Although the Renaissance was strongly influenced by ancient ideas and ways of life, it becomes clear that also some medieval features survived into the mindset of the Renaissance.

Zu den größten Schätzen der Handschriftensammlung der SLUB gehört seit 1768 ein Band, der Albrecht Dürers Reinschrift zu einer geplanten früheren Ausgabe des ersten Buches seiner „Lehre von menschlicher Proportion“ sowie das so genannte Dresdner Skizzenbuch mit zahlreichen Zeichnungen vor allem zur Proportionslehre enthält. Der Beitrag erläutert die Handschrift als Dokument der Entstehungsgeschichte der Dürer‘schen Proportionslehre anhand ausgewählter Seiten und referiert Hypothesen zu ihrer Überlieferungsgeschichte. / One of the greatest treasures kept in the manuscript collection of the SLUB since 1768 is a volume containing Albrecht Durer's fair copy of the first of his "Four Books on Human Proportion", as well as the socalled “Dresden Sketchbook” with many drawings related to the theory of human proportion. This paper explains the manuscript as a document of the development of Durer's theory of proportion, exemplifies its features by selected pages and informs about a number of hypotheses on the transmission of the manuscript.

Zu den größten Schätzen der Handschriftensammlung der SLUB gehört seit 1768 ein Band, der Albrecht Dürers Reinschrift zu einer geplanten früheren Ausgabe des ersten Buches seiner „Lehre von menschlicher Proportion“ sowie das so genannte Dresdner Skizzenbuch mit zahlreichen Zeichnungen vor allem zur Proportionslehre enthält. Der Beitrag erläutert die Handschrift als Dokument der Entstehungsgeschichte der Dürer‘schen Proportionslehre anhand ausgewählter Seiten und referiert Hypothesen zu ihrer Überlieferungsgeschichte. / One of the greatest treasures kept in the manuscript collection of the SLUB since 1768 is a volume containing Albrecht Durer''s fair copy of the first of his "Four Books on Human Proportion", as well as the socalled “Dresden Sketchbook” with many drawings related to the theory of human proportion. This paper explains the manuscript as a document of the development of Durer''s theory of proportion, exemplifies its features by selected pages and informs about a number of hypotheses on the transmission of the manuscript.

In 1508 Albrecht Dürer, famed German printmaker and Nürnberg citizen, was commission by Jakob Heller of Frankfurt to paint a large altarpiece for a new church. The Heller Altarpiece was the second commission of the printer since his training in Venice, Italy (1504-1507) to paint like an Italian master. In order to prepare for such a commission, Dürer spent over a year creating drawings of black ink and white chalk on blue Venetian paper to serve as inspiration for the large painting. However once the painting was complete, the artist held onto these ink and chalk drawings as part of his personal collection of art. It is from this group of drawings, that the now iconic Betende Hände had its start. Today the image of two praying hands is appropriated for posters, pins, headstones, and even tattoos. The original context as a personal drawing kept by the artist, Albrecht Dürer, is completely divorced from its contemporary use. It is thesis's argument that Betende Hände was not only a very personal drawing for Dürer, but also a moment of self-fashioning, metaphorical experimentation, and abstract self-portraiture. Rather than simply representing prayer, Dürer's Betende Hände captures his desire to become like unto Christ. The composition appears simple, but upon further inspection reveals a unique quality and form borrowed from the Gothic architecture of the German Hallenkirche. The fingers extend vertically like rib vaults from the palms only to touch at the points giving the hands an overall triangular composition. With this drawing, Dürer experimented with his metaphorical self beyond any other point in his career, and becomes like Christ. Only the form of Christ that Dürer choose after which to fashion himself was the architectural form of Christ or the Gothic Church. Therefore this thesis will trace the emergence of Dürer's metaphor of body as architecture via the cultural environment of pre-Reformation Germany and popular religious texts that related the body of the worshipper to the church form. As a result, Betende Hände gives unique insight into the identity of a Catholic Dürer.

Au début du XVIè siècle, le territoire germanique apparaît comme le foyer de réception non seulement le plus important mais aussi le plus fécond des estampes du peintre italien Andrea Mantegna (1431-1506). De Dürer à Peter Vischer à Nuremberg, de l’atelier d’Ulrich Apt à celui de Jörg Breu l’Ancien à Augsbourg, d’Hans Baldung Grien à Matthias Grünewald dans les régions rhénanes, d’Urs Graf à Jörg Schweiger en Suisse, de l’atelier d’Altdorfer implanté à Ratisbonne à celui de Wolf Huber situé à Passau : tous les centres artistiques et humanistes du monde germanophone sont concernés. Inscrite dans la problématique des transferts culturels, cette thèse vise à montrer, par une approche résolument pluridisciplinaire, que la réception des modèles gravés italiens en Allemagne ne se borne pas aux emprunts formels et stylistiques, mais s’intègre dans une réflexion sur l’émulation, qui tient compte des spécificités à la fois historiques et culturelles du Saint Empire Romain germanique / During the early 16th century the German territory was not only the most important but also the most fruitful center for the circulation of Italian painter Andrea Mantegna's (1431 - 1506) prints. From Dürer to Peter Vischer in Nuremberg, from Ulrich Apt's workshop to Jörg Breu the Elder in Augsbourg, from Hans Baldung Grien to Matthias Grünewald in Alsace, from Urs Graf to Jörg Schweiger in Switzerland, Altdorfer's workshop, located in Regensburg to Wolf Huber's in Passau. Basically all artistic and humanist centers in the German-speaking world were concerned. This thesis takes as its primary object the problematic of cultural transfers and aims at showing, through a multidisciplinary approach, that the German reception of Italian engravings is not only limited to formal and stylistics aspects but it is integrated in a reflection regarding the emulation, which will take into account both historical and cultural particularities of the German Sacred Roman Empire

99 SummarySummarySummarySummary 12. kapitola Zjevení a její působení v dějinách umění Revelation Chapter 12 and its Incidence in the History of Art Martina V. Kopecká This diploma thesis is divided into 2 basic parts. The first part is concentrated to exegesis of Book of Revelation, especially to 12th chapter. This first part contains 4 chapters - Elementary information about Book of Revelation, whis provide us the fundamental information about genre, its origin, literal background and historical influence of the text, in chapter called Language of the Book of Revelation we devote to translation and analysis of language, that author have had used. The structure of Book of Revelation is discussed too, chapter called The Theology of Book of Revelation gives us the information about several theological topics, for example hope and redemption or radical monotheism, the chapter called The Book of Revelation - chapter 12th we devoted to analysis of 12th chapter "verse a verse". The second part is concetrated to art and it contains 2 extensive chapters. The fifth chapter is called Art and 12th chapter of Book of Revelation and we are concentrated to Albrecht Dürer and his Apocalyptic Serie. We also devoted to his life, work and influences that affected him. In chapter no. six, called The Methodology of...

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