A slight abridgment of the author's thesis, Frankfurt am Main, 1966. / Bibliography: p. 146-150.

Inaug.-Diss.--Tübingen. / "Die Arbeit ist gleichzeitig als Band XVI der 'Tübinger Forschungen zur Archäologie und Kunstgeschichte' ... erschienen." Vita.

Inaug.-Diss.--Tübingen. / "Die Arbeit ist gleichzeitig als Band XVI der 'Tübinger Forschungen zur Archäologie und Kunstgeschichte' ... erschienen." Vita.

Thesis (Dr. Ing.)--Universität München, 1906. / Vita. Includes bibliographical references.

Inaug.-diss.--Bonn. / Vita.

Thesis (Ph. D.)--Technische Universität Berlin, Fachbereich Kommunikations- und Geschichtswissenschaften. / Includes bibliographical references (p. 199-211).

Thesis--Leipzig. / Includes bibliographical references (p. [77]-78).

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.

Esta pesquisa apresenta o comportamento estrutural da Catedral da Sé de São Paulo em termos de deslocamentos e de tensões a partir do desenvolvimento de um modelo numérico tridimensional simplificado e da consideração do comportamento elástico-linear dos materiais. Construção gótica do século XX, a igreja matriz é um símbolo religioso, arquitetônico e social e sua praça, palco de manifestações e de expressão popular. Seu estilo gótico e o céu abobadado são interrompidos por um espaço octogonal sobre o qual se ergue uma cúpula renascentista. Inicialmente, são abordados aspectos da arquitetura da igreja e seus principais espaços são descritos; também são apresentadas as características geométricas dos elementos estruturais e as características mecânicas dos materiais, bases para a construção do modelo matemático. Em seguida, a estrutura da igreja é analisada quanto aos deslocamentos e às tensões, tendo-se feito, além do estudo da Catedral tal qual ela é, simulações em que são retirados os arcobotantes e as torres frontais, o que permite um estudo qualitativo e quantitativo da importância destes elementos estruturais para o equilíbrio do conjunto. Verifica-se que as regiões da igreja que apresentam os maiores deslocamentos também são aquelas mais críticas em termos de tensão, e algumas fissuras encontradas na igreja podem ser relacionadas aos carregamentos considerados nesta pesquisa. Constata-se que a Catedral da Sé é bem concebida e que seus elementos principais comportam-se estruturalmente como os das catedrais góticas originais. / In this research, the structural behavior of the Cathedral of Sé in terms of displacements and stresses is presented, based on a simplified three-dimensional numerical model and the consideration of linear-elastic behavior of materials. Gothic building of the twentieth century, the Cathedral of Sé is a religious, architectural and social symbol and its square, scene of demonstrations and popular expression. Its Gothic style and vaulted sky are interrupted by an octagonal space on which stands a Renaissance dome. Initially, different aspects of the architecture of the church are discussed and its main areas are described, as well as are presented the geometric characteristics of its elements and the mechanical properties of its materials, bases for the construction of the mathematical model. In the sequence, the structure of the church is analyzed in terms of displacements and stresses, and in addition to the analysis of the Cathedral as it really is, simulations in which the flying buttresses and the front towers are removed are done, since they allow for the determination of the qualitative and quantitative importance of these structural elements to the equilibrium of the church. This research shows that the regions of the church in which the largest displacements occur are also those most critical in terms of stresses, and some of the cracks found in the building may be related to the loads considered in this study. The analysis done shows that the Cathedral of Sé is well designed and that its main elements behave structurally as those of the original Gothic cathedrals.

Esta pesquisa apresenta o comportamento estrutural da Catedral da Sé de São Paulo em termos de deslocamentos e de tensões a partir do desenvolvimento de um modelo numérico tridimensional simplificado e da consideração do comportamento elástico-linear dos materiais. Construção gótica do século XX, a igreja matriz é um símbolo religioso, arquitetônico e social e sua praça, palco de manifestações e de expressão popular. Seu estilo gótico e o céu abobadado são interrompidos por um espaço octogonal sobre o qual se ergue uma cúpula renascentista. Inicialmente, são abordados aspectos da arquitetura da igreja e seus principais espaços são descritos; também são apresentadas as características geométricas dos elementos estruturais e as características mecânicas dos materiais, bases para a construção do modelo matemático. Em seguida, a estrutura da igreja é analisada quanto aos deslocamentos e às tensões, tendo-se feito, além do estudo da Catedral tal qual ela é, simulações em que são retirados os arcobotantes e as torres frontais, o que permite um estudo qualitativo e quantitativo da importância destes elementos estruturais para o equilíbrio do conjunto. Verifica-se que as regiões da igreja que apresentam os maiores deslocamentos também são aquelas mais críticas em termos de tensão, e algumas fissuras encontradas na igreja podem ser relacionadas aos carregamentos considerados nesta pesquisa. Constata-se que a Catedral da Sé é bem concebida e que seus elementos principais comportam-se estruturalmente como os das catedrais góticas originais. / In this research, the structural behavior of the Cathedral of Sé in terms of displacements and stresses is presented, based on a simplified three-dimensional numerical model and the consideration of linear-elastic behavior of materials. Gothic building of the twentieth century, the Cathedral of Sé is a religious, architectural and social symbol and its square, scene of demonstrations and popular expression. Its Gothic style and vaulted sky are interrupted by an octagonal space on which stands a Renaissance dome. Initially, different aspects of the architecture of the church are discussed and its main areas are described, as well as are presented the geometric characteristics of its elements and the mechanical properties of its materials, bases for the construction of the mathematical model. In the sequence, the structure of the church is analyzed in terms of displacements and stresses, and in addition to the analysis of the Cathedral as it really is, simulations in which the flying buttresses and the front towers are removed are done, since they allow for the determination of the qualitative and quantitative importance of these structural elements to the equilibrium of the church. This research shows that the regions of the church in which the largest displacements occur are also those most critical in terms of stresses, and some of the cracks found in the building may be related to the loads considered in this study. The analysis done shows that the Cathedral of Sé is well designed and that its main elements behave structurally as those of the original Gothic cathedrals.