Thesis (Ph. D.)--University of Wisconsin--Madison, 1980. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [236]-252).

This thesis provides a new overview of the wooden, sculpted image of the Madonna and Child in thirteenth - and early fourteenth - century Sweden. It comprises five parts: a socio-political and economic contextualisation of the images; a critique of the existing literature in the form of an analytical bibliography; a detailed evaluation of the sculptures; a catalogue of selected material; and a bibliography. In Chapter one, the historical examination discusses the Scandinavian context between 1250 and 1350. Scandinavia was then a thriving area, both economically and culturally, and was far less isolated and inward looking than art-historical analyses have hitherto assumed. However, Scandinavia was not a stable region in the period; borders were constantly revised as a result of political and military changes. Trade links also changed and brought with them different influences. Building on the works of Aron Andersson, Andreas Lindblom, C.R af Ugglas, Rune Norberg, Peter Tångeberg, Lena Liepe, Carina Jacobsson and Lennart Karlsson, the bibliographical critique in chapter two will analyse earlier texts that have discussed the sculptures which are the subject of this thesis. The third chapter organizes the sculptures into two main groups, and draws comparisons with international examples. It comprises a visual analysis of Swedish and international comparative material on a scale which has not been attempted before. The fourth chapter is a comprehensive catalogue of the 144 Madonnas dealt with in the text, sorted by region of origin.

Thesis--Halle-Wittenberg. / "Orts-Register" and "Namens-Register": p. [103]-115. Includes bibliographical references.

Thesis (doctoral)--Universität München, 1905. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Department of Art History, 2001. / Includes bibliographical references. Also available on the Internet.

Thesis--Heidelberg. / Vita. Includes indexes. Includes bibliographical references (p. 523-534).

Thesis--Heidelberg. / Vita. Includes indexes. Includes bibliographical references (p. 523-534).

The thesis presents a global art-historical analysis of the Church of Our Lady in Nuremberg (the so-called Frauenkirche) as an important monument of Central European sculpture of the time of Roman Emperor and Czech King Charles IV (1316-1378) and as a witness of the solid connection of art and liturgy. The thesis consists of five chapters, which deal with methodology, historical context, architecture, sculpture and liturgical praxis of the church. The most important aims are: to clarify the participation of Nuremberg patriciate and Charles IV in the church's erection and architectural form, to conduct a complex iconographic and formal-comparative analysis of the sculpture, especially of the atrium, and last but not least to discuss the still unreflected phenomenon of the collegium mansionariorum (mansionars), the priests appointed here, whose specific liturgical practice makes it possible to clarify many iconographic aspects of the paintings and especially of the sculpture.

This dissertation studies a local manifestation of ecclesiastical reform in the medieval county of Savoy: the twelfth-century transformation of secular canons into Augustinian regular canons at the church of Sts. Peter and Ursus in the alpine town of Aosta (now Italy). I argue that textual sources, material culture, and the practice of place together express how the newly reformed canons established their identity, shaped their material environment, and managed their relationship with the unreformed secular canons at the cathedral. The pattern of regularization in Aosta—instigated by a new bishop influenced by ideas of canonical reform—is only one among several models for implementing reform in medieval Savoy. This study asserts the importance of this medieval county as a center for reforming efforts among a regional network of churchmen, laymen, and noblemen, including the count of Savoy, Amadeus III (d. 1148). After a prologue and introduction, chapter 1 draws on traditional textual evidence to recount the history of reform in medieval Savoy. Chapters 2 through 4 focus on the twelfth-century sculpted capitals in the cloister built to accommodate the common life of the new regular canons. Several of the historiated capitals portray the biblical siblings, Martha and Mary, and Leah and Rachel, as material metaphors that reflect and reinforce the active and contemplative lives of the Augustinian canons. Other capitals represent the regular canons’ assertion of their precedence over the cathedral canons and suggest tensions between the two communities. The final chapter examines thirteenth-century conflicts over bell-ringing and ecclesiastical processions in the urban topography of Aosta to illustrate how the regular and secular canons continued to negotiate their relationship. Appendices include an English translation of a vita of St. Ursus (BHL 8453). The dissertation as a whole reconstructs the places and material culture of medieval Aosta to convey the complexities of religious and institutional life during a time of reform and beyond. / text

This thesis is divided into two main parts. The First cultural-historical part is dedicated to introduction of cultural-historical context between Bohemian kingdom and Silesia. Historical development of Silesia and its joining into the union of Lands of Bohemian crown is also shortly discussed. The second art-historical chapter in first part brings the resume of literature dedicated to phenomenon of beautiful style. The second part brings resume of literature dedicated particularly to the Silesian centre of beautiful style. And the last part of this chapter consists of a catalogue of chosen works of beautiful style from Wroclaw. Those are Pietà of St. Elisabeth in Wroclaw, Pietà of Virgin Mary on Sand church in Wroclaw, Man of sorrows from Goldsmith's altar, Pietà from St. Stanislaw and Wenzel church in Sweidnitz, Pietà from St. Matthew church. For each of these works a detailed formal analysis is made and existing research outputs are summarized. As a conclusion of researches mentioned above an attempt is made to improve accuracy of dating and to answer some questions related to those works of art.