The Art Nouveau ecclesiastical architecture in Czech Republic (Bohemia) The diploma thesis focusses on Art Nouveau religious architecture in Bohemia. It deals with the cultural and art movements between 1890-1920 which íncludes the late Historicism, Art Nouveau, and Modernism. The first part of the diploma thesis presents the influences which affected the development of Art Nouveau religious architecture in Bohemia and its architects. It also introduces architectural elements that are typical for Art Nouveau religious architecture. The second part of the diploma thesis presents religious buildings in the particular regions of Bohemia and describes them subsequently in the catalogue that is arranged chronologically. Keywords Art Nouveau, religious architecture, the Catholic Church, the Evangelical Church, Bohemia, 19th and 20th century, 1890-1920

[ES] La presente tesis aspira a convertirse en una contribución en la reflexión teórica y proyectual sobre el carácter material de la luz natural, así como desgranar su influencia en la configuración del espacio que la convierte en una de las razones de ser principales de la Arquitectura. Por su dilatada y reconocida trayectoria, y por el papel que la luz representa en sus obras, la figura de Álvaro Siza es un claro ejemplo de esta importancia de la luz en la arquitectura de nuestro tiempo, y es por ello que se articula la investigación a través del estudio de su obra. Además, su ubicación cronológica sitúa a Siza como un interesante hilo conductor entre las fuentes del Movimiento Moderno de las que se nutre y la arquitectura del presente y futuro próximo para los que es una referencia ineludible. La investigación se centra en la iglesia de Santa Maria en Marco de Canaveçes como consecuencia de diversos factores: - En primer lugar, la importancia del templo como tipología arquitectónica destacada en los distintos períodos y estilos, reforzado con la especial significación que la luz natural adopta en los edificios de carácter religioso, fruto de su asociación con lo divino y lo trascendente. - En el caso de la Iglesia católica, además, estos espacios sufren una profunda transformación en la segunda mitad del siglo XX propugnada con el Concilio Vaticano II, siendo el proyecto de Siza también un ejemplo en el que coexisten rasgos de la tradición eclesiástica con otros propios de esta Iglesia renovada. - Por último, y quizás más importante, este encargo se sitúa cronológicamente en la etapa más madura del arquitecto. Tras sus primeros proyectos desarrollados en un Portugal bastante hermético, son muchas las voces que coinciden en situar a finales de los 80 el momento en que Siza alcanza tanto la proyección internacional como la madurez proyectual, hechos que convergen con la concesión del Premio Pritzker recibido en 1992. Se pretende por tanto estudiar la relación de Álvaro Siza con la luz natural, especialmente a través del análisis de la iglesia de Santa Maria en Marco de Canaveçes. Para ello, se analiza el perfil del arquitecto con carácter general a través de sus circunstancias personales y las principales influencias que han dibujado en buena parte su figura profesional. Además, se examina la naturaleza de la luz y la manera en que ésta cobra forma dentro del proceso creativo del arquitecto, desde el dibujo hasta las maquetas para terminar materializándose mediante el empleo de distintos mecanismos de control que proporcionan a la luz el carácter configurador pretendido para cada espacio. Este bagaje acumulado de conocimientos y experiencias asociadas a la luz natural cobran forma en la iglesia de Santa Maria en Marco de Canaveçes, proyecto que la investigación recorre desde tres prismas o perspectivas diferentes. Cómo es (objetivo), cómo lo percibimos (subjetivo) y cómo se interpreta (metafísico) son tres realidades indisociables que se entrelazan con el fin de proporcionarnos una visión global y una experiencia plena de la luz natural y del espacio arquitectónico al que configura. Este análisis permite así determinar el carácter material de la luz y su potencial configurador en el espacio arquitectónico de la iglesia, si bien dicha metodología es válida para ser aplicada a cualquier edificio de cualquier periodo y estilo con tal propósito. / [CA] La present tesi aspira a convertir-se en una contribució a la reflexió teòrica i projectual sobre el caràcter material de la llum natural, així com desgranar la seva influència en la configuració de l'espai que la converteix en una de les raons de ser principals de l'Arquitectura. Per la seua dilatada i reconeguda trajectòria, i pel paper que la llum representa en les seues obres, la figura d'Álvaro Siza és un clar exemple d'aquesta importància de la llum en l'arquitectura del nostre temps, i és per això que s'articula la investigació a través de l'estudi de la seua obra. A més, la seua ubicació cronològica situa a Siza com un interessant fil conductor entre les fonts del Moviment Modern de les quals es nodreix i l'arquitectura del present i futur proper per als que és una referència ineludible. La investigació se centra a l'església de Santa Maria a Marco de Canaveçes com a conseqüència de diversos factors: - En primer lloc, la importància del temple com a tipologia arquitectònica destacada en els diferents períodes i estils, reforçat amb l'especial significació que la llum natural adopta en els edificis de caràcter religiós, fruit de la seua associació amb allò diví i transcendent. - En el cas de l'Església catòlica, a més, aquests espais pateixen una profunda transformació en la segona meitat de segle XX propugnada amb el Concili Vaticà II, sent el projecte de Siza també un exemple en què coexisteixen trets de la tradició eclesiàstica amb altres propis d'aquesta Església renovada. - Finalment, i potser més important, aquest encàrrec se situa cronològicament en l'etapa més madura de l'arquitecte. Després dels seus primers projectes desenvolupats en un Portugal bastant hermètic, són moltes les veus que coincideixen a situar a finals dels 80 el moment en què Siza aconseguix tant la projecció internacional com la maduresa projectual, fets que convergeixen amb la concessió del Premi Pritzker rebut en 1992. Es pretén per tant estudiar la relació d'Álvaro Siza amb la llum natural, especialment a través de l'anàlisi de l'església de Santa Maria a Marco de Canaveçes. Per a això, s'analitza el perfil de l'arquitecte amb caràcter general a través de les seues circumstàncies personals i les principals influències que han dibuixat en bona part la seua figura professional. A més, s'examina la naturalesa de la llum i la manera en què aquesta pren forma dins el procés creatiu de l'arquitecte, des del dibuix fins a les maquetes per acabar materialitzant-se mitjançant l'ús de diferents mecanismes de control que proporcionen a la llum el caràcter configurador pretès per a cada espai. Aquest bagatge acumulat de coneixements i experiències associades a la llum natural cobren forma a l'església de Santa Maria a Marco de Canaveçes, projecte que la investigació recorre des de tres prismes o perspectives diferents. Com és (objectiu), cóm ho percibim (subjectiu) i cóm ho interpretem (metafísic) són tres realitats indissociables que s'entrellacen per tal de proporcionar-nos una visió global i una experiència plena de la llum natural i de l'espai arquitectònic a què configura. Aquesta anàlisi permet així determinar el caràcter material de la llum i el seu potencial configurador en l'espai arquitectònic de l'església, tot i que aquesta metodologia és vàlida per a ser aplicada a qualsevol edifici de qualsevol període i estil amb aquest propòsit. / [EN] This thesis aspires to become a contribution to the theoretical and design reflection on the material character of natural light, as well as to reveal its influence on the space shaping that makes it one of the main raisons d'être of Architecture. As a consequence of his extensive and recognised career path and the role that light plays in his works, Alvaro Siza is a clear example of the importance of light in contemporary architecture, and that is why the present research is undertaken through the study of his work. Furthermore, his chronological position locates Siza as an interesting unifying thread between the sources of the Modern Movement from which he feeds and the present and near-future architecture to which he constitutes an inescapable reference. The research focuses on the church of Santa Maria in Marco de Canaveçes as a result of several factors: - Firstly, the temple's importance as a prominent architectural typology in different periods and styles and the special meaning that natural light adopts in religious buildings, the result of its association with the divine and the transcendent. - In addition, Catholic Churches underwent a particular major transformation in the second half of the 20th century, brought about by the Second Vatican Council, Siza's project also serving as an example in which features of the ecclesiastical tradition coexist with others inherent to this renewed Church. - Finally, and perhaps most importantly, this assignment is chronologically located in the architect's most mature stage. Following his first projects developed in a rather hermetic Portugal, many agree that the late 1980s marked the moment when Siza reached both international recognition and design maturity, facts that converged with the awarding of the Pritzker Prize in 1992. The aim is therefore to study Álvaro Siza's relationship with natural light, especially through the analysis of the church of Santa Maria in Marco de Canaveçes. For this purpose, the architect's profile is generally analysed through his personal circumstances and the main influences that have largely shaped his career path. This thesis also examines the nature of light and the way in which it is shaped within the architect's creative process, from the drawing to the mock-ups to finally materialise through the use of different control mechanisms that provide to the light the shaping character intended for each space. These accumulated knowledge and experience associated to natural light are embodied in the church of Santa Maria in Marco de Canaveçes, a project that the research covers from three different prisms or perspectives. How is it, how we perceive it and how we interpret it are three inseparable realities that intertwine in order to provide us a global vision and a full experience of natural light and the architectural space it shapes. Thus, this analysis permits to determine the material character of light and its shaping power in the architectural space of the church, although the mentioned methodology is also applicable to any building of any period and style for such a purpose. / García García, R. (2021). La luz como material constructivo del espacio-tiempo en la obra de Siza. La Iglesia de Sta. María en Marco de Canaveçes [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/175344 / TESIS / Premios Extraordinarios de tesis doctorales

Cette étude menée sur les fondations canoniales de Geoffroy du Loroux, archevêque de Bordeaux de 1136 à 1158, a pour objectif de montrer une implication du prélat dans le parti architectural de ses fondations qui présentent a priori une similitude en plan et en élévation. Grand artisan de la réforme grégorienne en Aquitaine, l’action de Geoffroy du Loroux est bien cernée par sa collection de sermons mais ses fondations n’ont jamais fait l’objet d’une étude de synthèse. Chacune des quatre fondations attribuées à l’archevêque, l’Isle et Pleine-Selve (Gironde), Sablonceaux (Charente-Maritime) et Fontaine-le-Comte (Vienne), a été soumise à une analyse architecturale approfondie, complétée d’une étude métrologique, afin d’appréhender chaque édifice dans sa globalité. Les éléments conservés du XIIe siècle ont ensuite été soumis à une étude comparative. En outre, une discussion est menée autour de l’attribution à Geoffroy du Loroux de la reconstruction de la cathédrale de Bordeaux dès le XIIe siècle.Il s’avère que les fondations liées à Geoffroy du Loroux adoptent un parti architectural stéréotypé et d’une esthétique ostensiblement austère. L’archevêque apparaît comme un prélat soucieux de laisser à ses successeurs des modèles pour transmettre le message de la réforme grégorienne, tant au travers de ses sermons qu’au niveau de ses fondations. Ces dernières se devaient d’être représentatives d’une grande humilité et du retour à la rigueur prôné par la réforme, en totale opposition avec le faste clunisien. Ce travail amène à s’interroger sur le rôle des collégiales qui, utilisées tel un outil de diffusion de la réforme, ont pu freiner l’implantation de Cluny dans le Bordelais. / The purpose of this study on the canonical foundations of Geoffroy du Loroux, Archbishop of Bordeaux from 1136 to 1158, is to reveal the involvement of the prelate in the architectural party of its foundations that seem a priori to show similarities in plan and elevation. As a great artisan of the Gregorian reform in Aquitaine, the action of Geoffroy du Loroux is well surrounded through his collection of sermons while its foundations were never subjected to a dedicated study.Each of the four foundations attributed to the Archbishop, l’Isle and Pleine-Selve (Gironde), Sablonceaux (Charente-Maritime), and Fontaine-le-Comte (Vienne), was subjected to a in depth architectural analysis, completed by a metrological study, to apprehend each building as a whole. The elements preserved from the XIIth century were then subjected to a comparative study. Moreover, a discussion is also conducted on the attribution to Geoffroy du Loroux of the rebuilding of the Cathedral of Bordeaux starting in the XIIth century.It turns out that the Foundations related to Geoffroy du Loroux adopt a stereotypical and ostensibly austere architectural party. The Archbishop appears as a prelate who intended to leave to his successors models to convey the message of the Gregorian reform, both through his sermons and its foundations. The latter had to be representative of the great humility and return to the rigour advocated by the reform, in contrast with the pomp of Cluny. This work brings into question the role of canon communities as a dissemination tool for the reform, which could account for the slowdown of the implementation of Cluny in the region of Bordeaux.

Ce travail s'attache à mettre en lumière les liens inévitables entre une architecture exprimant un message universel et les terroirs culturels au milieu desquels elle s'édifie. Prenant le cas jugé exemplaire de la mission catholique à Taiwan, du milieu du XIXe siècle à nos jours, l'analyse des archives missionnaires, ainsi que l'étude de quelques monuments emblématiques, montrent les modalités de l'adaptation chrétienne à un contexte multiculturel insulaire en mutation rapide. La résistance et la malléabilité propres de l'art architectural permettent une étude originale et détaillée de ce va-et-vient constant entre la perception évolutive par les missionnaires du terroir formosan, et la réception, elle-même évolutive, du message chrétien par cette société particulière. En plusieurs étapes, cette recherche plonge au cœur de l'œuvre des Missions Etrangères de Paris dans le diocèse de Hualien, durant les années cinquante et soixante, ancrant les idées directrices de cette thèse dans la réalité d'un terrain suffisamment circonscrit pour en donner une image exhaustive. Le but poursuivi est de montrer comment un bâtiment dédié au culte peut être un objet pertinent, pour la compréhension des rapports entre les cultures et des dynamiques de la mondialisation actuelle. / This study aims at bringing to light the links that are bound to exist between an architecture expressing a universal message and the cultural landscapes where the architecture is built. With the exemplary case of the Catholic mission in Taiwan, from the mid nineteenth century to today, the analysis of the missionary archives, combined with research on several emblematic buildings, will show the modality of the Christian adaptation to this multicultural background of an island undergoing rapid change. The resilience and the malleability specific to the architectural art provide for an original and detailed study of this constant toing and froing between the evolutive perception by the missionaries of the Formosan landscape, and the reception, itself evolutive, by this particular society of the Christian message. Gradually, this thesis immerses itself in the heart of the work of the Paris Foreign Mission Society, in the diocese of Hualien, during the nineteen fifties and sixties, grounding the major concepts in the reality of a field limited enough to make it possible to provide an exhaustive image. The aim is to prove how a place of worship can be relevant for a better understanding of cultural exchanges and the momentum of the current globalization process.

Édifice emblématique de la Renaissance, l’église fut au coeur des réflexions théoriques des architectes italiens. Leur pensée, émanant directement du De architectura de Vitruve et de ses nombreuses éditions renaissantes, accorde également à la ville un rôle majeur dans l’élaboration d’une communauté humaine idéale. Il n’est donc guère étonnant que les deux thèmes, architecture religieuse et art urbain, se rencontrent dans la théorie comme dans la pratique pour magnifier la demeure divine. Toutefois, loin d’être mis à l’écart, le lieu de culte s’insère au sein d’un réseau viaire dense et complexe qu’il faut analyser soigneusement pour juger au mieux de la place accordée à ce type de monuments. Située à proximité d’autres symboles du pouvoir, tels que les palais seigneuriaux et communaux, l’église instaure un dialogue ambivalent avec ces derniers. De même, la place et/ou l’avenue qui la précèdent peuvent aussi bien contribuer à son isolement qu’à son intégration urbaine. Au fil des lectures, les concepts même d’architecture religieuse et de cadre urbain apparaissent donc polysémiques. Et l’analyse des constructions de la Renaissance ne clarifie en rien la situation. S’appuyant sur des sources variées (traités d’architecture, ouvrages d’humaniste, dessins, plans, etc.) le présent travail tend à interroger les valeurs multiples des lieux de culte de la Renaissance. Leur cadre urbain contribue-t-il nécessairement, comme l’affirme Alberti, à en faire les principaux embellissements de la cité ? / Symbolic edifice of the Renaissance, the church was fundamental in Italian architects’ theoretical reflexions. Their thought, based on Vitruvius’ De architectura and its numerous Renaissance editions, attributes also a great importance to the town in the development of an ideal human community. There’s nothing surprising about that both topics, religious architecture and town planning, meet each other in the theory as in the pratice to glorify the God’s house. However, not at all isolated, the place of worship is inserted in a concentrated urban network. Located close to other symbols of power, like seigneurial castle and local council, the church establishes an ambivalent dialogue with them. Similarly, the town square and the avenue can contribute to its isolated location or its urban integration. Therefore, the notions of religious architecture and town planning appear polysemous. Relying on varied sources (treatises, humanists’ writings, drawings, plans, etc.) the present thesis strives to examine the numerous values of Renaissance’s churches. Does their urban setting participate to make the church the city’s greatest and noblest ornament, as claimed by Alberti ?

Analisa a arquitetura e a ornamentação de cento e vinte igrejas urbanas remanescentes no Estado de São Paulo, construídas nos períodos colonial e imperial, observando as transformações espaciais e arquitetônicas ocorridas nas mesmas desde a edificação dos primeiros templos católicos no Estado, no século XVI, até o advento da República, no século XIX. Para tanto, aborda os padrões estéticos dos seguintes períodos artísticos: maneirismo, barroco, rococó e a transição para o neoclassicismo. Discorre sobre técnicas e materiais construtivos, a organização espacial das igrejas e sua inserção no tecido urbano. Analisa também os trabalhos de pintura e de entalhe que adornam os interiores das igrejas, evidenciando influências externas e padrões desenvolvidos no Estado de São Paulo. Realiza uma catalogação de arquitetos, artistas, entalhadores, escultores e pintores que atuaram nos templos pesquisados. Avalia a grande importância artística das igrejas e apresenta suas qualidades arquitetônicas, de pintura e de entalhe, evidenciando, em uma visão de conjunto, os elementos caracterizam a arte propriamente paulista desse período. Constata que a arquitetura e as artes religiosas de São Paulo formaram um conjunto expressivo e com influências várias e características únicas, de grande interesse e inestimável valor histórico e cultural. / This thesis analyzes the architecture and ornamentation of 120 remaining urban churches in São Paulo, that was built in the colonial and imperial periods, observing the spatial and architectural changes that occurred in that since the building of the first Catholic churches in the state, in the sixteenth century, until the end of the imperial period, in the nineteenth century. Talks about the aesthetic standards of the following artistic periods: Mannerism, Baroque, Rococo and the transition to Neoclassicism. It discusses constructive techniques and building materials, the spatial organization of the churches and their role in the urban space. It also analyzes the works of painting and wood carver that decorate the interiors of churches, showing external influences and standards developed in São Paulo. It catalogs architects, artists, carvers, sculptors and painters who worked in this temples. Evaluates the artistic importance of the churches and presents its architectural, paint and carver qualities, showing, in an overview, the elements that characterizing the own art of São Paulo of this period. Notes that the architecture and religious arts of São Paulo formed a significant group and with various influences and unique features of great interest and inestimable historical and cultural value.

A Igreja Nossa Senhora Consolata é o espaço sagrado constituído pela comunidade do bairro São Vicente em Boa Vista, estado de Roraima. Este templo, construído no ano de 1983, pelos Missionários da Consolata, com a ajuda e colaboração dos fiéis da comunidade, é consequência dos múltiplos processos socioculturais e religioso pelos quais passou essa comunidade. Este templo, tido como o lugar sagrado, passou recentemente por um processo de reforma e adequação do seu espaço. Tal processo, além de modificar a antiga arquitetura do templo, inseriu novos elementos e símbolos e redimensionou seu espaço dando-lhe uma nova arquitetura. Este trabalho tem como objetivo analisar esse processo de reforma, mas principalmente refletir sobre o significado dos símbolos e ícones que aí foram introduzidos com a reforma. Nesta análise parte-se do princípio de que o templo é o espaço sagrado por excelência na experiência católica cristã e por isso, nele deve conter elementos simbólicos que ajudem a comunicação entre o fiel orante e o seu adorado o ser divino. Portanto, esta reflexão dar-se-á na tentativa de compreender o significado das formas geométricas do templo, bem como dos ícones ai expostos, a saber: o Cristo Pantokrator, a Cruz, os mosaicos do altar e o ícone da Virgem Consolata. Para a realização da mesma, nos utilizamos da metodologia da pesquisa qualitativa, nos apoiando em instrumentos como: pesquisas em arquivos e levantamentos bibliográficos, rodas de conversas e entrevistas. Todo esse trabalho de pesquisa nos fez constatar que o processo de construção do grupo social do bairro de São Vicente de Paulo e da comunidade Nossa Senhora Consolata foi fruto dos diversos encontros e desencontros que dos processos de êxodos ao qual o povo se submeteu (ou foi submetido), imprimindo, assim, um caráter particular naquele grupo religioso. Denota-se, portanto, que criar um espaço de culto, era a motivação para que também, se lutasse por um espaço de vida. E nessas experiências é que o povo foi se descobrindo, foi de sedentarizando e foi se estabelecendo como grupo cultural, social e religioso, garantindo assim, seu território, sua identidade e sua sobrevivência. Seguido nesta perspectiva, podemos dizer que nesse caso o espaço de culto torna-se um fator vital, tanto como expressão das conquistas, como instrumento importante nesse processo histórico, fruto de sua criatividade e ressignificação constante que a vida exige, principalmente, para um povo que soube reinventar a sua própria cultura e seus símbolos. / Our Lady Consolata Church is the holly place made by Saint Vincents community in Boa Vista city, State of Roraima. This temple, built in 1983, by Consolatas missionaries helped by catholic folk who lives in the district where the church is situated, is the result of the many social cultural and religious processes for what this catholic community has passed by. This temple, considered the holly place, suffered actually a reform and reorganizational process of its space. Such process, besides modifying the ancient architecture of the temple, added new elements and symbols and redimensioned its space by giving to it a new architecture. This work has as objective to analyse this process of reform but mainly to reflect about the meaning of the symbols and icons which were added by the reform process. In this analyses we start from the principle which the temple is the most holly place into the Christian catholic experience and because this such place must have symbol elements for helping the communication between prayer believer and theirs worshipped the divine be. Therefore this reflection will be done by trying to understand the meaning of the geometrycal shapes of the temple and all icons in its interior side such as: Cristo Pantokrator, the cross, the mosaics of the altar and Virgin Consolata icon. To come true the analyses we used the qualitative search methodology by taking as investigative tools such elements: searches in archives and bibliographies, talking groups and interviews. All this search work made us to realize that the composition process of the social group of Saint Vincent Pauls district and of Our Lady Consolata Community were the result from several rights and wrongs that is also the result from exodus process which the people was submited (or submited themselves), printind this way, a particular character in that religious group. Understand itself, therefore, that to create a worship space, was the motivation for fighting for a life space too. And in these experiences the folk was descovering itself , it was raising roots and it was growing up as cultural social and religious group by conquering its territory, identity and suverving. Followed in this perspective, we can say that , in this case, the worship space become itself an essential factor, such as conquests expression as important tool in this historic process, result from their creativity and frequent re-meaning required by the life, maily, for a people which knew re-invent own culture and their symbols.

Analisa a arquitetura e a ornamentação de cento e vinte igrejas urbanas remanescentes no Estado de São Paulo, construídas nos períodos colonial e imperial, observando as transformações espaciais e arquitetônicas ocorridas nas mesmas desde a edificação dos primeiros templos católicos no Estado, no século XVI, até o advento da República, no século XIX. Para tanto, aborda os padrões estéticos dos seguintes períodos artísticos: maneirismo, barroco, rococó e a transição para o neoclassicismo. Discorre sobre técnicas e materiais construtivos, a organização espacial das igrejas e sua inserção no tecido urbano. Analisa também os trabalhos de pintura e de entalhe que adornam os interiores das igrejas, evidenciando influências externas e padrões desenvolvidos no Estado de São Paulo. Realiza uma catalogação de arquitetos, artistas, entalhadores, escultores e pintores que atuaram nos templos pesquisados. Avalia a grande importância artística das igrejas e apresenta suas qualidades arquitetônicas, de pintura e de entalhe, evidenciando, em uma visão de conjunto, os elementos caracterizam a arte propriamente paulista desse período. Constata que a arquitetura e as artes religiosas de São Paulo formaram um conjunto expressivo e com influências várias e características únicas, de grande interesse e inestimável valor histórico e cultural. / This thesis analyzes the architecture and ornamentation of 120 remaining urban churches in São Paulo, that was built in the colonial and imperial periods, observing the spatial and architectural changes that occurred in that since the building of the first Catholic churches in the state, in the sixteenth century, until the end of the imperial period, in the nineteenth century. Talks about the aesthetic standards of the following artistic periods: Mannerism, Baroque, Rococo and the transition to Neoclassicism. It discusses constructive techniques and building materials, the spatial organization of the churches and their role in the urban space. It also analyzes the works of painting and wood carver that decorate the interiors of churches, showing external influences and standards developed in São Paulo. It catalogs architects, artists, carvers, sculptors and painters who worked in this temples. Evaluates the artistic importance of the churches and presents its architectural, paint and carver qualities, showing, in an overview, the elements that characterizing the own art of São Paulo of this period. Notes that the architecture and religious arts of São Paulo formed a significant group and with various influences and unique features of great interest and inestimable historical and cultural value.

À la période Archaïque, la colonisation grecque avait pour but l’expansion et l’exportation des coutumes sociales des diverses cités États à travers différentes régions. Bien que le sujet de la colonisation grecque soit abondamment basé sur des sources primaires biaisées, causant une confusion concernant l’établissement du lien entre une cité mère et ses colonies, il demeure néanmoins qu’une connexion entre la cité de Milet et les colonies de la Mer Noire est observée au sein des institutions religieuses instaurées sur ces territoires. Le culte d’Apollon fut prédominant tout au long des périodes Archaïque, Classique et Hellénistique de la Grèce antique. À l’époque de la colonisation par Milet, la cité avait pour divinité principale Apollon qui était également dieu de la colonisation et dieu de la navigation. Pour les milésiens, Apollon autorisait et sanctionnait le droit de coloniser et d’y instaurer de nouveaux cultes. Dans les colonies fondées le long de la côte de la Mer Noire, une influence claire du culte de cette divinité est discernable dans la tradition littéraire, ainsi que dans les registres archéologiques. Grâce à un catalogue raisonné, concernant seize colonies dites milésiennes situées autour de la Mer Noire, unissant toute l’information archéologique et littéraire pertinente relatif au culte d’Apollon, ce mémoire propose qu’une forte représentation de ce culte dans cette région est attribuable à son instauration par les Milésiens dans l’espoir que les institutions religieuses des colonies reflètent celles de la cité mère. Il en découle qu’Apollon devint, par le fait même, la divinité principale de la majorité des colonies milésiennes de la Mer Noire. / Greek colonisation in the Archaic period had as its goal the expansion and the exportation of a city state’s social and religious customs into different regions. Although the subject of Greek colonisation is often vague, and based on erroneous, and generous primary sources, which can confound links between the colonies and their apparent mother city, a connection can nevertheless be established between the colonies in the Black Sea and the mother city of Miletus through the religious institutions that were installed upon colonisation. The cult of the god Apollo was prevalent throughout the ancient Greek world during the Archaic, Classical and Hellenistic periods. For the Archaic period colonizing Greek city state of Miletus, Apollo was patron deity, the god of colonisation, as well as the god of seafaring. For the Milesians, Apollo was the deity who sanctioned the right to set up new cults in new locations, as well as authorising the very act of establishing colonies. In the colonies founded by Miletus located along the coast of the Black Sea, there is a clear disposition towards the cult of Apollo in the literary tradition, as well as in the archaeological record. This thesis proposes, by means of a well-defined catalogue uniting all pertinent archaeological and literary information relating to the cult of Apollo in 16 colonies located around the Black Sea said to have been colonies of Miletus, that the reason for such a strong representation of the cult of Apollo in these colonies is a result of the Milesians installing the cult of their patron deity Apollo with the wish that the colonies’ religious institutions mirror that of the metropolis. The inventory demonstrates that Apollo was the patron deity of the majority of Miletus’s colonies in the Black Sea. This thesis will also propose that a proper study of religious trends found in city states and their supposed colonies can act as a methodology for identifying which colonies belonged to which mother city, as I propose that the patron deity in a city state will be the patron deity in their colony.

Cette thèse tend à mettre en lumière l'émergence de l'architecture romane et de ses formes, dès le XIe siècle, ainsi que les mutations qui sont intervenues au tournant du siècle suivant, dans les anciens diocèses de Bordeaux et de Bazas. Ces recherches s'inscrivent dans le cadre d'un programme plus vaste, qui englobe la partie méridionale de l'ancienne Aquitaine. Il s'agit de mettre en exergue les transformations ayant eu lieu lors de cette période charnière, à savoir le passage de formes parfois dites « archaïques » à celles qui témoignent d'un art roman épanoui, en essayant de comprendre les choix des bâtisseurs de ce temps, ainsi que les influences ayant présidé à leurs réalisations. Cette approche considère à la fois une série d'édifices modestes qui ont permis de réaliser un corpus de référence, dans lequel s'inscrivent aussi les monuments bordelais de plus grande importance, tels que les églises Saint-Seurin et Sainte-Croix ou la cathédrale Saint-André. Nous tentons de porter un regard nouveau sur les édifices inventoriés dans la région, en nous intéressant non seulement au style mais aussi aux techniques, afin d'en renouveler l'approche. A cet effet, les matériaux et leur mise en œuvre ont été pris en considération et quelques méthodes propres à l’archéologie du bâti ont été employées afin d’apporter des éléments supplémentaires à l’analyse. Plusieurs études régionales ont fait l'objet de recherches aux finalités similaires ces dernières années et nous nous inscrivons pleinement dans cette démarche. Nous espérons ainsi développer notre connaissance de la production architecturale romane en Gironde et contribuer à une vision d'ensemble des manifestations de la création au sein de la partie méridionale de l'ancienne Aquitaine. / This thesis aims to highlight the emergence of romanesque architecture in its various forms. It started in the XIth century, as well as the transformations which occurred during the beginning of the XIIth century, in the former dioceses of Bordeaux and Bazas. Our work is part of a larger research program that includes the southern part of the former Aquitaine area. It consists in highlighting the changes that happened during this pivotal period, that is to say the transition from the so-called “archaic” architectural forms to those that exemplify romanesque art in all its glory. We will try to understand the choices made by the builders at the time and the influences that guided these choices. Our approach will consider a set of modest buildings which will allow us to form a reference corpus, but also some of Bordeaux’s greatest monuments like the churches of Saint-Seurin and Sainte-Croix, and obviously the cathedral of Saint-André. We will try to take a fresh look on the buildings listed, by taking into consideration not only the style but also the building techniques employed, in order to renew the approach, thanks to an analysis grid of buildings. For this purpose, materials have been taken into consideration. Several regional studies have been the subject of similar research in the last few years, and we are fully involved in this approach. We hope, therefore, to improve our knowledge of romanesque architecture in Gironde, and to contribute to an overview of this type of construction in the southern part of the former Aquitaine area.