The aim of this research is to present an important but forgotten Tiffany interior, that of All Saints Episcopal Church, and focuses on the source for the Saunders memorial window, Christ Resurrection. After portraying the Saunders Family and the context of the window and church interior as an important part of Richmond’s history, this thesis sets up a number of inquiries regarding Christ Resurrection. What are the literary sources; what are the formal sources, from the Renaissance to the late nineteenth century; and what is the meaning of the composition? This thesis utilizes an art historical method of archival, connoisseurial, and iconological research. The analysis of the third chapter illustrates that Frederick Wilson’s composition of Christ Resurrection does not follow any one of the Evangelists. Rather it comes from an extensive pictorial tradition from Resurrection scenes of the 14th century leading into the 17th.

Dès la loi impériale du 23 Prairial an XII (12 juin1804) qui impose l’obligation d’inhumation pour tous au cimetière, la sculpture se met au service du portrait du défunt, dans cet espace si particulier qui tient à la fois du cadre privé et du cadre public. Héritier d’une tradition jusqu’alors réservée aux nobles et au roi, le portrait funéraire s’affiche dans une iconographie qui oscille entre symbolique et réalisme des traits physiques; le militaire est honoré comme héros tandis que le curé est vénéré par les paroissiens. S’inscrivant dans la mode de la statuomanie galopante des années 1880, les cimetières lorrains rejoignent la volonté publique d’honorer ses Grands Hommes, à une époque où la « Petite Patrie », la Lorraine, rencontre la « Grande Patrie », la France, où des artistes connus et parfois moins connus mettent leur savoir-faire et leur notoriété au service de portraits de notables. Le portrait funéraire connaît alors son âge d’or. Alors que le cimetière moderne se construit peu à peu grâce à son organisation parcellaire, les familles éprouvent très rapidement le besoin impérieux de matérialiser, sur ces concessions familiales, le souvenir des traits de leur défunt et le portrait sculpté leur en offre la possibilité et le voilà qui quitte l’intimité des salons pour être installé soit sur la stèle de la tombe familiale. C’est ainsi que l’époux éploré se souvient du visage de sa chère épouse, que des parents effondrés peuvent se consoler d’avoir perdu un petit ange en lui substituant un autre visage, plutôt idéalisé, ou mieux la figure d’un autre ange, plus solide car en marbre et plus protecteur. Peu à peu, le cimetière se pare d’un peuple de statues que viennent compléter quelques motifs professionnels, rares toutefois. La personnalisation de la tombe reste toutefois très discrète, la douleur contenue. La sculpture funéraire, et le portrait en particulier, se mettent au service de l’expression de sentiments filiaux ou conjugaux, réservés jusqu’alors à l’intimité, mais traduisent un élitisme que la législation du 23 prairial an XII ne souhaitait pas. Pendant la période 1880-1930, les commanditaires des portraits funéraires bénéficient d’une offre élargie de produits notamment grâce à l’essor de la photographie et au procédé de vitrification. Sans concurrencer le portrait sculpté porté principalement par le médaillon de bronze et la ronde-bosse, le vitrail photographique permet de promouvoir le souvenir du défunt dans un écrin luxueux, où, pour la première fois, la présence de la couleur fait animer ces visages et les rend presque vivants. Mais, c’est un luxe que peu de familles peuvent s’offrir. Alors, le médaillon photographique sur plaque émaillée, plus modeste, permet à une clientèle moins fortunée d’accéder au portrait funéraire au cimetière. Après 1930, alors que chapelle et vitrail disparaissent des allées du cimetière, le médaillon peut définitivement prendre place sur les sépultures. Très vite, c’est un succès assuré qui ne se dément pas, aujourd’hui encore. La période de 1940 à nos jours est de loin la plus riche en portraits funéraires et ce grâce à des techniques bien maîtrisées, celle de la photographie sur médaillon de porcelaine et celle de la gravure mécanique ou artistique, grâce également à de nouveaux supports que sont les plaques funéraires, les urnes, les vases. Et il n’est pas rare qu’une famille ait recours à des techniques différentes pour chacun de ses défunts. La façon de présenter le défunt a également évolué ; le modèle de studio photographique cède la place à un modèle présenté « au naturel », c’est-à-dire issu de l’album photographique familial et de nouveaux symboles montrent le défunt sous des aspects plus personnels. Désormais, le portrait funéraire du défunt au cimetière n’est plus seulement un visage mais c’est aussi un sportif, un chasseur, un motard, un professionnel, un amoureux des bêtes, un amateur de pétanque / From the imperial law of 23 Prairial year XII (June 12, 1804) which imposes the burial obligation for all in the cemetery, the sculpture puts itself at the service of the portrait of the deceased, in this very special space which is at the same time of the private frame and the public setting. Heir to a tradition hitherto booked with noble and to the king, the funerary portrait is displayed in an iconography which oscillates between symbolic system and realism of the physical features; the soldier is honored as hero while the priest is venerated by the parishioners. Falling under the fashion of the “statuomanie galopante” years 1880, the Lorraine cemeteries join the public will to honour its Great men, at one time when the “Small Fatherland”, Lorraine, meets the “Great Fatherland”, France, where known artists and sometimes less known put their know-how and their notoriety at the service of portraits the notable ones. The funerary portrait knows its golden age then. Whereas the modern cemetery is built little by little thanks to its compartmental organization, the families test the imperative need very quickly to materialize, on these family concessions, the memory of the features of their late and the carved portrait give of it them the opportunity and here it is which leaves the intimacy of the living rooms to be installed either on the family stele of the tomb. Thus the tearful husband remembers the face his dear wife, that ploughed up parents can comfort themselves to have lost a little angel in him substituent another face, rather idealized, or best the figure of another angel, more solid because out of marble and more protective. Little by little, the cemetery is avoided of people of statues which some professional reasons come to supplement, rare however. The personalization of the tomb remains however very discrete, the pain contained. The funerary sculpture, and the portrait in particular, are put at the service of the expression of subsidiary or marital feelings, hitherto booked with the intimacy, but translate an elitism which the legislation 23 Prairial An XII did not wish. For the period 1880-1930, the silent partners of the funerary portraits profit from a widened offer of products in particular thanks to rise of the photography and with the process of vitrification. Without competing with the carved portrait carried mainly by the bronze medallion and the sculpture in the round, the photographic stained glass makes it possible to promote the memory of late in a luxurious house, where, for the first time, the presence of the color makes animate these faces and makes them almost alive. But, it is a luxury which few families can offer. Then, the photographic medallion on enamelled plate, more modest, makes it possible to less fortunate customers to reach the funerary portrait with the cemetery. After 1930, whereas vault and stained glass disappear from the alleys of the cemetery, the medallion can definitively take seat on the burials. Very quickly, these is a assured success which is not contradicted, still today. The period of 1940 to our days is by far richest in funerary portraits and this thanks to techniques controlled well, that of photography on porcelain medallion and that of mechanical or artistic engraving, grace also to new supports which are the funerary plates, the ballot boxes, vases. And it is not rare that a family resorts to different techniques for each one of her late. The way of presenting the late one also evolved; the photographic model of studio gives way to a model presented “to the naturalness”, i.e. resulting from the family photographic album and new symbols show the late one under more personal aspects. From now on, the funerary portrait of late with the cemetery is not only any more one face but it is also a sportsman, a hunter, a motorcyclist, a professional, in love with the animals, an amateur of game of bowls.

L’étude des matériaux et des décors colorés de l’abbatiale Cluny III s’inscrit dans le cadre du projet Gunzo (Arts et Métiers ParisTech – Cluny) qui avait pour but la valorisation du patrimoine clunisien par l'intermédiaire des technologies numériques en réalité virtuelle. Un des axes de ce projet était d’élaborer une restitution virtuelle de la Maior Ecclesia en recréant une architecture la plus proche possible de la réalité à l’aide de l’étude des vestiges et des sources iconographiques et historiques qui nous sont parvenus associée aux recherches archéologiques les plus récentes. Outre l’architecture, il s’agissait également de proposer une restitution des décors de l’abbatiale et de son ambiance colorée. Nous avons concentré nos recherches, dans ce travail doctoral, sur les fragments de vitraux archéologiques mis au jour sur les sites de Cluny et de Paray-le-Monial, ainsi que sur les polychromies des fragments lapidaires du portail roman de Cluny, par une approche archéométrique. Les vitraux sont des éléments filtrants qui modulent la lumière tant en quantité qu’en coloration et jouent donc un rôle important dans la création d’une ambiance lumineuse et colorée. Les décors polychromes participent également à l’amélioration et la coloration de l’éclairement. De plus la connaissance des matériaux d’origine est préalable à toute restitution virtuelle en raison de la possible altération des pigments ou des décors métalliques (modification de la couleur) et d’éventuels repeints pouvant induire des changements de parti coloré.Une grande majorité des fragments de verre ont été mis au jour dans des contextes de remblais limitant leur datation à une approche typo-chronologique. Les classifications archéologiques élaborées ont été confrontées aux résultats d’analyses physico-chimiques qui nous ont permis d’affiner la datation de certains fragments et nous ont apporté de nombreux détails techniques. En ce qui concerne le portail de la Maior Ecclesia, qui occupe une place centrale dans l’art roman, nous avons précisé l’image de ce « puzzle lapidaire » tant au niveau de l’iconographie que de la polychromie. L’analyse physico-chimique des restes colorés a permis d’identifier les différents matériaux mis en œuvre dans la décoration du portail. Nous avons pu observer quatre phases polychromes, l’utilisation de pigments coûteux et l’abondance des décors métalliques.Nous avons ainsi contribué à la compréhension des décors colorés de l’abbatiale clunisienne. Cette étude représente une étape dans la compréhension d’un patrimoine archéologique qui, tôt ou tard, sera enrichi ; rappelons en effet qu’une partie des fragments de l’abbatiale est encore enfouie. / The study of materials and coloured decors of the abbey-church Cluny III is part of the Gunzo project (Arts et Métiers ParisTech – Cluny) which led the research and the promotion of the cluniac heritage thanks to digital technologies and virtual reality. This interdisciplinary team worked on the creation of a new digital model of the Maior Ecclesia, according to the latest scientific research, including the archaeological excavations and the study of the documentary and iconographic sources. Besides the architecture, it was also to propose a restoration of the decors of the abbey-church and its colourful atmosphere.The research in this doctoral work is focused on the fragments of archeological glass windows excavated in the sites of Cluny and Paray-le-Monial, as well as on the polychromies of the lapidary fragments of the Great Portal of Cluny using an archaeometric approach. The stained glass windows are filter elements that modulate the light in quantity and in colour. As such, they play a key role in creating a luminous and colourful atmosphere. The polychrome decors also contribute to the improvement and coloration of the lighting. Moreover, knowing the original materials is a prerequisite for any virtual restoration because of the possible alteration of pigments or metal decorations (color change) and possible repaints which can induce changes in colourful design.A large majority of glass fragments were excavated in the ruins of the churches, restricting their dating to a typo-chronological approach. The archaeological classifications performed from the relative chronology, typology and appearance of the vitreous material were compared with results of physicochemical analyses. These helped to refine the dating of certain fragments and identified many technical details. With regard to the portal of the Maior Ecclesia, which occupies a central place in the Romanesque art, the picture of this "lapidary puzzle" in iconography and in polychromy has been clarified. The characterization of the colourful remains has enabled identification of the different materials used in the decoration of the portal. Four polychrome phases, the use of expensive pigments and abundance of metal decorations were observed.In this way, this research has contributed to the understanding of the colourful decors of the Maior Ecclesia. This study represents a stage in the comprehension of an archaeological heritage which, sooner or later, will be further enhanced. It is important to remember that fragments of the abbey-church remain buried.

The project was influenced by several factors, the most significant being the water element, which is very important for Judaism and primarily symbolizes ritual purification. The concept divides the area in the axis of Nešverova Street, making an orthogonal block, further separated according to the functions, and public area under which a part of the underground parking is located. The block consists of the synagogue, museum, restaurant and administrative building of the Jewish community with a library. From the architectural standpoint, the project was significantly influenced by the stained glass window of the burned former synagogue, which was, in more modern spirit, imprinted into the museum’s facade. This window becomes a dominant element of the facade, because it pervades all three floors, so the rest of the building is not divided and for lighting of the exhibition areas skylights and artificial light are used. Significance of this concept is intensified by the fact that the visitor is dragged inside, right to the front of the synagogue, to which a ramp leads. There is an importance of the mentioned water element in the design of the synagogue. The whole concept is approached organically and was inspired by a drop of water falling down on the surface. The synagogue literally grows from a body of water which surrounds it and creates a crystalline element. The idea is amplified by the water wall which runs from the passageway all around the synagogue. Part of the administrative building and the restaurant are designed in more simple style, but the idea of arch is reflected in the moulding, which was designed intentionally with reference to the surrounding buildings. The rest of the site served as a small park and this function has been maintained. A significant element in this part of the site is Theresian gate, which remained from the 18th century fortification. The park was supplemented by an artificial bank, which covers the entrance to underground parking a

The content of the diploma thesis was an architectural study of a sacral building in Brno - Líšeň. The subject of the study was the elaboration of an ideological design of a sacral complex, which consisted of a church and a parish. The main operator of the whole complex will be the Salesian community, whose background is in close proximity to the area. The basic idea of the design was to design a spiritual place, which in its form conveys clear information about the use of the object and at the same time supports the development of ideas of the Salesian community. It is a structure that conveys the mission itself, not by one element, but by a set of several elements that together create a story, vision, mission. The ideological solution in this case thus becomes an equilateral triangle, which symbolizes the Father, the Son and the Holy Spirit. With its dominant vertical direction facing the sky, the object symbolically points to the spiritual path and self-realization. The given area is solved as a complex, the elements of which complement each other and thus create a harmonious whole. The design creates a space for both liturgical celebrations in the interior and exterior, which is used by the outdoor presbytery, which is complemented by residential stairs. These elements are intended to encourage residents to meet and establish friendly relations.

The topic of this diploma thesis is design processing of a new sacral building in Brno-Líšeň district. It is a plot in the middle of a panel building between the health centre building and the building of the Salesian Youth Center, so-called Salesko. The Salesian community, which will use the building the most, has been waiting for the realization of this building for many years. The key theme is the creation of spaces enabling people to meet for worship, celebrations and social events. The design is processed by two interconnected operations - the building of the Church of the Descent of the Holy Spirit and the building of clergy house. The basic composition consists of three cubic masses - the entrance, the main liturgical space and the clergy house. The bell tower is the height dominant feature which indicates the sacral function of the building. The project consists a set of buildings with two above-ground floors and a basement in the entrance part of the church. This project also mentions the solution of open spaces around the plot and their conversion into quality public areas, marginally. The sacral space is to become a place that welcomes and takes in its visitors and gives them the feeling of safety. Inside this building, people will find peace, support and undestarstanding, so they may leave with the feeling of being a better person.

The thesis deals with European sacral architecture of the twentieth and the twenty-first century. Particularly, it refers to Judaic, Roman-Catholic and Islamic buildings. The second part puts into historical context the sacral constructions of individual religions including their function, characters and typology. In the third part of this thesis the representative sample of significant modern sacral constructions is selected, always under circumstances regarding their creation, the urban description and the setting in a specific location as well as the architectural layout, the interior arrangment and a possible use of special technological procedures at their construction. The mutual comparison and the evaluation of the modern European sacral architecture development are carried out in the fourth part. This section notices the function and the usage of light and presents some extraordinary buildings from this point of view. The final fifth part tries to answer the question, how a modern temple should look like.