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L’étude entreprise dans le cadre de cette thèse tente d’établir une synthèse sur l’évolution de la peinture murale romaine en Narbonnaise, sur une période chronologique allant du Ier s. av. J-C. au IIIème s. ap. J.-C. Elle s’appuie sur un catalogue recensant tous les décors connus jusqu’en 2011, soit 394 décors de parois et 29 décors de plafonds. Chaque décor fait l’objet d’une fiche synthétique qui replace chaque élément dans son contexte archéologique, avant de le décrire le plus précisément possible, en l’accompagnant des illustrations disponibles les plus pertinentes. L’analyse des décors a permis, dans un premier temps, de répertorier et classer tous les motifs existants. Le regroupement des motifs a été ensuite l’occasion de mettre en évidence des systèmes décoratifs (agencement des zones inférieure, médiane et supérieure) qui s’éloignent des styles pompéiens traditionnels. Enfin, la confrontation des systèmes décoratifs et des contextes architecturaux dans lesquels ils ont été trouvés, offrent la possibilité de s’interroger sur le rapport entre le décor et l’espace. / This PhD thesis presents a synthetical analysis and evolution of Roman paintings found in the province of Narbonensis from the 1st c. BC to the 3rd c. AD. It includes a catalogue of all the paintings known up to 2011: 394 wall paintings and 29 ceiling paintings. Each decorative effect is carefully described and placed within its archaeological context, and accompanied by the most relevant and best illustrations available. The subsequent analysis of the paintings allowed the reorganisation and classification of all the decorative elements. The resulting groups of elements demonstrate the use of various decorative systems (decoration of lower, medium and upper parts of the walls) which appear to be different from the canonical Pompeian styles. Finally, a comparison of these decorative systems with the architectural contexts in which theywere displayed allows a reflection on the relationship between decoration and its architectural setting.

名古屋大学年代測定総合研究センターシンポジウム報告

The thesis is focused on Marian devotion with great emphasis on Rosary. In regard on this matter papers presents Olomouc as an important catholic town of Central Europe. Result of this development are unique monuments, concretely rare mural paintings. Presented thesis includes five chapters that deals with political and social history of the town, just as global development of Marian devotion and Rosary in Europe, together with acceptance of these ideas and establishment of Rosary Confraternity in Olomouc. The most important aims of thesis are: to particularize knowledge of confraternities in town, of their activity and operations and to conduct a complex iconographic analyse of wall paintings with pinpoint of their donators. And last but not least to discuss the still unreflected inscriptions on the wall of the Chapel of St John the Baptist of St Wenceslas Cathedral in Olomouc.

The first part of the paper deals with the mural paintings on a Christological theme decorating the northern and eastern walls of the High Gothic ambulatory, which is a part of the National cultural monument Přemyslid Castle. Last Judgement, Annunciation, Adoration of the Magi and Adoration of the Shepherds are depicted on the northern side of the cloister. On the opposite wall between the windows there is a representation of two donators. The eastern front of the ambulatory is decorated with scenes depicting the Crucifixion, Lamentation, Resurrection and Christ with the Arma Christi. Paintings are dated successively from the late 15th century to the first two decades of the 16th century. The different dating of paintings, of course, demonstrates various inspirational sources. The study also reflects many recent discoveries that reveal the origins of the decoration of the cloister. These paintings were probably commissioned by members of the Olomouc Chapter, who were in close contact with Humanistic Societas Maierhofiana. Further the paper focuses on the wall paintings in the John the Baptist' Chapel, where the scenes adorn not only the walls, but also the vault of the eastern field. The frescos were probably created between 1493 and 1517 by the hands of several painters.

Die spätgotischen Wandmalereien in Bayerisch-Schwaben/ Allgäu verdienen aufgrund ihrer Ikonographie, Geschichte und Maltechnik größere Beachtung. Erstmalig werden sämtliche überlieferten Wandmalereien – einschließlich der nicht mehr sichtbaren – und deren Geschichte dokumentiert. Fragen nach den Wohltätern und Stiftern, den Künstlern sowie den an der Erhaltung und Wiederherstellung dieser Malereien beteiligten Personen, deren Motive und methodisch-technische Vorgehensweisen werden näher betrachtet. Ausgehend von dieser Studie ist es schließlich möglich, die Entwicklung der Bayerischen Denkmalpflege als auch die Konservierungs- und Restaurierungspraxis von Wandmalerei und die damit verbundene Methodik, Ethik und Ästhetik zu präzisieren. Das Ergebnis ist eine Konkretisierung unterschiedlicher Einflüsse zur Entstehungs- und Veränderungsgeschichte der Wandmalereien, wodurch das derzeit zur Verfügung stehende Wissen erstmals in einem monographischen Kompendium kontextualisiert wird und gleichzeitig eine Lücke in der Erforschung der mittelalterlichen Wandmalerei in Bayern schließt. / The late Gothic wall paintings found in Bavarian-Swabia/ Allgäu deserve significant attention in terms of their iconography, history and painting technique. This thesis first considers traditional wall paintings – including those that are no longer visible – and their history. The research focuses on the sponsors, artists and those involved in the conservation and restoration of these wall paintings. The methodological and technical approach of people involved in conservation is closely examined. It is possible to clarify not only the development of the Preservation of Monuments but also the methods adopted to conserve and restore wall paintings and the methods, ethical and aesthetic perspectives involved. This thesis thus addresses a gap in the research already carried out on Gothic painting in Bavaria. It elucidates and brings together the various influences at work and presents a compendium on the evolution, history and conservation of wall paintings.

Returns to the nature In the theoretical part the work is focused on a short presentation of some important prehistoric monuments, and the visual impression which the artworks of our ancestors leave on a present man. It endeavour to do exoteric confrontation between prehistoric art and modern art. The image part of this work is based on "a game" individually-up to dated subjects and a hidden notation placed in the scenes, which are inspirated by our ancestors who were materialized in absolutely different conditions surroundings than we are.

The present master thesis focusses on the iconography of the decorative programme of Macedonian tombs dated from the second half of the 4th century BCE to the first half of the 2nd century BCE. The main objective is to detect the artistic principles of the Macedonian art applied to funerary monuments of local elites. To attain this aim it is necessary to adopt a complex approach which would allow for analysing in detail the various tomb decoration types; such an approach has never been applied so far. The main research tool used throughout this thesis is a profound analysis of individual elements of the tombs' decoration. The study is specifically concerned with the frequency of the individual motifs, their chronological development, and their possible meanings. Other questions include the iconographical differences between male and female tombs, variations between royal and aristocratic sepulchres, comparison of profane and funerary art, and last but not least, the possible transference of motives both from or to other cultural areas. Keywords: iconography, Ancient Greece, Macedonia, Hellenistic period, tumulus, tombs, wall-paintings

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1 ABSTRACT This thesis presents a study of a field of everyday culture - medieval fashion and its development during the reign of Charles IV of Luxembourg and his son Wenceslas in the Czech lands in the years 1330 - 1410. As these fashion trends and changes were exhibited primarily through the clothing of nobility, this thesis focuses exclusively on the environs of the aristocracy and royal court. In addition to written sources and archaeological finds, the fine arts also serve to advance our knowledge of Gothic fashion trends, whose works authentically capture the contemporary clothing styles and changes in all of Europe. This thesis therefore examines, through a methodical analysis, how wall paintings, panel paintings and book illuminations of Czech provenance reflect changes in clothing fashions and tastes in courtly environs during the period of time known as Luxembourg Gothic. This study of primary iconographic sources in authentic historical buildings and galleries was further aided by the creation of an extensive photo archive. This thesis presents a representative sampling of the works from this archive which documents a basic transformation of Czech clothing culture and the creation of a Bohemian style of Gothic fashion, culminating at the turn of the 14th and 15th century and enriching European...