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Montrer le monde, est-ce montrer le "siècle", le temps, cet " incorporel " selon les stoïciens pour lesquels le terme est plutôt péjoratif, cette forme dégradée de l'éternité selon les platoniciens ? La présence du temps, linéaire, fleuve ou immobile, oblitère-t-elle intimement le paysage classique soit, selon Philippe Descola, " de Patinir à Lorrain " ? Une réflexion sur le temps n'y serait-elle pas tout aussi présente qu'une tentative, rarement revendiquée, de représentation de la " nature ", notion encore ambiguë sous la Renaissance (autant les choses elles-mêmes que leur essence, voir leur principe actif), " terme vague " plus tard encore pour l'Encyclopédie. Y a-t-il un paradoxe du paysage ? Ce genre pictural est apparu concomitamment à la fin des millénarismes et à la " sécularisation ", soit dans un contexte d'évolution radicale et complexe du rapport au temps qu'il soit symbolique, politique, historique, économique, technique ou autre, phénomène abondamment étudié par l'histoire, notamment culturelle, mais aussi l'économie, la sociologie, la théologie... Parallèlement aux deux autres grands genres, le portrait avec les âges de la vie et leur psychologie, ou la nature " morte " avec l'intention morale de ses " vanités ", il en méditerait la dimension métaphysique, l'indétermination de la notion de nature s'avérant sans doute faire système avec celle de la notion de temps. Dans cette thèse, la première à être consacrée en France à ce peintre, ces hypothèses sont abordées à partir de l'œuvre de l'anversois Joachim Patinir (~1484 - ~1524), créateur du paysage cosmique (" weltlandschaft "), premier peintre occidental reconnu comme " peintre de paysage " (Dürer : " Joachim Patinir, der gut landschaft malher "), même si, bien entendu, le paysage est depuis longtemps présent dans la peinture et l'ensemble des arts occidentaux, comme en Orient, mais non d'abord pour lui-même. A ce titre, entre autres éléments iconographiques spécifiques (dont une iconologie juive encore à approfondir) il est le peintre des grands " lointains ", terme que, ainsi que tant d'autres, le lexique de l'espace partage justement avec celui du temps. A l'autre extrêmité du cycle, sont également sollicités Poussin et Lorrain, pères du paysage héroïque ou, autre référence néoplatonicienne, " idéal ", et qui achèvent de donner à ce genre ses lettres de noblesse.

The thesis has been written on the basis of main architectural concepts and their application in real life within a historical context investigation. Main architectural concepts are represented in a harmony of architectural composition that deals with relations among form, structure and space in the unique art work. Genius loci play very important role in the architectural creation - it represents a special and extra-ordinary urban locality and its architectural value in the historical, geographical and cultural context. The origin of Ostravice village within the historical frame concept of Moravia domain is the topic of this thesis. Other historical documents gave information about Bruneswerde as the Brno Castle. That means Brno Castle had to be founded not in Brno (as it has been consid-ered for many years) but it was located in Beskydy at Ostravice. The sacred city – Civitas Dei had been located in Bruneswerde region in early ages as the centre of European culture, education and spiritual life. Civitas Dei – divine Jerusalem in the transcription of St. Augustine's book De civitate Dei – is not only glorification of God and religious fantasy. It is also one of significant clues for recognition of historical architecture. The depiction of unknown settlement from the book of unde-fined origin is a superb testimony about extinct architectural works. They are legible from cadastral maps. Brno Castle - residence of nobility and power served shelter to St. Vojtěch, St. Prokop, St. Václav and St. Ludmila as it is obvious for the mentioned picture. Three major temples, three com-position axes symbolized by three towers on coins are in analogical relation to Brno triangle of four saints - the Saint family of Brno temples. Powerful ambitions of Brno City principals and clergy are inscribed into the urban structure in the way of composition relations which are legible to them who devoted themselves to the mystery of harmony. The absence of historical continuity affects personal attitudes and also identity of the whole community. The architecture truly reflects the past state of polis and it is eloquent even after its death. The architectural composition relations influence the natural environment for long time, longer than the architectural work existence. The geometric order of Renaissance Brno existence has not been in attention of architects so far. The features were discovered in characteristic paintings by Albrecht Durer. They are evidently secret works of the genius. A meaningful collaborator and follower in the extensive project was also his friend Jan Čert from Brno and lately from Vienna. His noble genealogy played a significant role in history of Silesia and Moravia for centuries. It is tendency to consider him as Austrian or even German architect. It is because of the fact that the genealogy tree of his noble family had roots in Moravia. It is supposed that Durer with Jan Čert´s support created the extraordinarily monumental architectural and urban works in Brno. A remarkable consensus in the urban composition of two squares and transition of traditional urban structure of Ostravice Civitas Dei into the modern Brno is also confirmed due to the identification of noble creators and owners, who were at the foundation, transformation and extinction of elements of the Moravian urban structure.