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This thesis examines the development the cult of St Margaret at Dunfermline as a royal cult from 1070, the moment when St Margaret married King Malcolm III at Dunfermline, to 1420, the year of the burial of Robert duke of Albany who was the last royal member to be buried at Dunfermline. Scholars have focused on the life of St Margaret and her reputation or achievement from the biographical, institutional and hagiographical point of view. Although recent historians have considered St Margaret as a royal saint and Dunfermline as a royal mausoleum, they have approached this subject with relatively simple patterns, compared to the studies of the cults of European royal saints and their centres, in particular, those of English and French Kingdoms which influenced Scottish royalty. Just as other European royal cults such as the cults at Westminster and St-Denis have been researched from the point of view of several aspects, so the royal cult at Dunfermline can be approached in many ways. Therefore, this thesis will examine the development of Dunfermline Abbey as a royal cult centre through studying the abbey and the cult of St Margaret from the point of view of miracles and pilgrimage, lay patronage, and liturgical and devotional space. The examination of St Margaret’s miracles stories and pilgrimage to Dunfermline contribute to understanding these stories in the context of the development of the cult. The study of lay patronage explains the significance of royal favour and non-royal patrons in relation to the development of the cult, and how and why the royal cult developed and declined, and how the monks of Dunfermline promoted or sustained the cult of the saint. Lastly, the research of the liturgical and devotional space provides an explanation of the change of liturgical space from the point of view of the development of the cult.

À l’aide des écrits d’humanistes chrétiens, ayant exercé un contrôle sur la pratique des arts après le Concile de Trente, nous tenterons d’expliquer le développement du genre paysager en peinture. Le cardinal Federico Borromeo, Louis Richeôme ainsi que Jean Calvin figurent parmi les théologiens qui ont contribué à cette littérature chrétienne influente. Nous nous servirons surtout de l’historiographie récente afin de prouver le rôle essentiel joué par la pensée chrétienne dans le développement de la représentation de la nature en art. Prenant appui sur certaines études importantes, nous analyserons des exemples tant picturaux qu’architecturaux qui reflètent cette influence chrétienne sur la perception de la nature. Au préalable, nous tenterons de dresser un portrait de l’environnement culturel et religieux dans lequel ces humanistes chrétiens ont vécu et développé leur pensée. Notre objectif sera de prouver que l’humanisme chrétien a joué un rôle important pour l’essor du paysage à l’époque de la Contre-Réforme. Les sources contemporaines ainsi que leur interprétation par les historiens et les historiens d’art modernes permettront de mieux comprendre le rôle joué par la pensée chrétienne au sein de ce développement artistique. / Examining the writings of Christian humanists, who exercised control over the practice of the arts after the Council of Trent, this paper seeks to understand the development of landscape painting in the Early Modern period. Cardinal Federico Borromeo, the Jesuit Louis Richeome and Jean Calvin, are among those theologians who contributed to this influential Christian literature. We will mainly use the recent historiography to demonstrate the essential role played by Christian thought in the rise of the representation of nature into art. Building on some important studies, we will analyze both pictorial and architectural examples that reflect this Christian influence on the perception of nature. First, we will try to paint a picture of the religious and cultural environment in which the Christian humanists lived and developed their thinking. Our goal is to prove that Christian humanism played an important role in the development of landscape representations during the Counter-Reformation. Contemporary sources as well as their interpretation by modern historians and art historians will help us to better understand the role of Christian thought in this artistic development.

Présent dès les premiers siècles du Moyen Âge et ce, jusqu'au XVIIe siècle au moins, le portrait de dévot (ou portrait dévotionnel) connaît à la fin du Moyen Âge un succès sans précédent et ce, particulièrement dans la peinture des anciens Pays-Bas. Alors qu'il était jusque-là essentiellement réservé aux princes et aux souverains, il connaît désormais une diffusion large. Nobles, bourgeois et membres du clergé désirent laisser une trace de leur piété et de leur passage sur terre. Par leur présence dans limage, ils expriment leur dévotion, demandent la protection d'un saint et s'efforcent d'assurer leur salut dans l'au-delà. Ainsi s'expliquent la multiplication et la diversification des peintures religieuses comportant un ou plusieurs portraits de personnes agenouillées les mains jointes. D'un point de vue culturel, l'intérêt de cette production picturale réside dans le fait que la représentation des dévots, qui lisaient et appliquaient les préceptes de la littérature dévotionnelle et mystique, peut être perçue comme une « mise en image » des pratiques religieuses et de lexpérience spirituelle telle quelles étaient vécues à l'époque. Composée de deux parties, la thèse envisage de manière systématique et exhaustive les modes de représentation du portrait dévotionnel dans la peinture religieuse des anciens Pays- Bas entre 1400 et 1550 et leurs significations dans le contexte religieux de l'époque. Ce corpus duvres forme un ensemble vaste et hétérogène, auquel il serait vain de vouloir appliquer une clé interprétative unique. Cest pourquoi, dans un premier temps, nous avons ouvert le champ de nos investigations de la manière la plus large possible, afin doffrir une vue densemble complète des modalités dintégration des portraits dans la composition religieuse. Ensuite, le second temps de notre travail a requis une mise au point serrée sur une problématique précise. Il sest alors agi détudier les dimensions spirituelles de ces tableaux. Préalablement à ces démarches analytiques et interprétatives, un catalogue des peintures religieuses comportant des portraits de dévots a été établi. Il comprend 663 entrées. Les peintures religieuses comportant des portraits dévotionnels sont des images particulières, mêlant éléments sacrés et profanes. De ce fait, elles appellent une étude rendant justice à leur double nature.Nous avons ainsi développé une méthode danalyse de ces images qui tient compte de leurs aspects tant iconographiques que formels. Le corpus des oeuvres a ainsi été classé selon une typologie qui prend en compte la localisation des portraits dans la structure matérielle de loeuvre (sur lavers ou le revers des volets, sur le même panneau que la scène religieuse ou dans des diptyques), le type de scène religieuse devant laquelle les portraits apparaissent (scène narrative ou scène hiératique) et la présence ou non de saints patrons qui présentent les dévots. Basée sur cette typologie, la première partie de la thèse consiste en un panorama complet des différentes modalités dintégration des portraits dans la composition religieuse. Elle se compose de cinq chapitres. Létude typologique du corpus a non seulement permis de mettre en évidence la variété des formules dintégration des dévots dans la composition, mais aussi la répartition déséquilibrée des oeuvres au sein des catégories danalyse. Dans la seconde partie de la thèse (composée de trois chapitres), notre approche du portrait dévotionnel a consisté à déterminer comment les tableaux pouvaient être utilisés comme support et comme « mises en image » du processus spirituel des personnes représentées en prière. Pour ce faire, nous avons mis à profit les acquis des étapes préalables de mon travail et nous les avons enrichis en confrontant les images avec la littérature dévotionnelle et mystique contemporaine. Comme la thèse le montre, les implications spirituelles du portrait dévotionnel sont vastes : le tableau se présente comme un intermédiaire entre le dévot et les saints à qui il adresse ses prières. De la sorte, limage matérialise, annonce voire idéalise la rencontre entre le fidèle et le Christ, entre le monde visible de lici-bas et le monde invisible de lau-delà. Non seulement elle rend présents aux yeux du spectateur léternel et linvisible, mais elle permet également au dévot dentrer physiquement dans limage, de manière à montrer picturalement la perfection spirituelle quil atteint.

Dans les années 1500, la villa qui se présentait comme une alternative à la ville permettait aux hommes de reprendre contact avec la nature. Cette dernière, qui possédait selon les théoriciens, hommes de lettres, architectes et médecins de l'époque des vertus sacrées et curatives contribuait au bonheur de l'être humain. Alors que les villas se multipliaient dans les campagnes vénitiennes l'on vit apparaître dans les années 1500, une tendance à incorporer la villégiature dans les tableaux de paysage. Les peintres comme Giovanni Bellini avaient recours à la nature pour créer la charge sacrée de leurs oeuvres et instaurer un sentiment de bien-être chez le spectateur. Le paysage dans lequel gravitaient les figures saintes contenait alors de nombreux symboles renvoyant à l'image de la Vierge Marie et du Christ. Les Vierges à l'enfant connurent ainsi une vague de popularité en Italie et en Flandres où le paysage symbolique avait pour effet de stimuler la dévotion des fidèles. / During the 1500's,the villa was as a safe alternative to the city, offering to men the possibility to establish a relationship with nature. The villa was for writers, architects, and doctors a safe haven equipped with curative as well as sacred virtues that contributed to the happiness of mankind. While villas where multiplying in the Venetians countryside, they also began to be integrated in landscape paintings. Giovanni Bellini used nature to create the religious character of his works and to give a sense of well-being to his public. The bucolique landscape in which the religious figures gravited were presented with many symbols of the Virgin Mary and Child. The images of the Madonna, widely collected in Flanders and in Italy, stimulated the devotion of worshippers. / « Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal ».

The theoretical and practical part is dealing with the detail of a czech wall painting with the motif of the Virgin Mary from the peak era of the Middle Ages. The theoretical part introduces the marian theme. It describes its iconography, meaning in art and closely specifies the division of images according to devotional themes. The next part is focused on the description and analysis of the motif of the Virgin Mary the Protector, which is depicted on wall painting in a cloister of the Church of Presentation of the Blessed Virgin Mary in České Budějovice. In the practical part is fundamental creation of the relief as a haptic aid for the visually impaired. Created reliefs are polychrome reconstruction of the wall paintings of the above-mentioned motif. The work is supplemented by other materials, implementation procedure, sketches and photo documentation.

This thesis examines the legend of the Italian virgin martyr, Saint Maria Goretti (1890-1902). Her legend states that she died at the age of eleven protecting her virginity from her assailant Alessandro Serenelli who stabbed her numerous times, and that she granted him forgiveness before she died. Hence, she has been promoted as an example of purity and mercy. The continued relevance of Saint Maria Goretti is demonstrated by the fact that her figure was used to promote the Extraordinary Jubilee of Mercy proclaimed by Pope Francis and first announced in March 2015. The aim of the current study is to examine how Maria Goretti has been portrayed in the Catholic tradition. This is done by analysing Maria Goretti’s official representation found in the papal discourse about her (which consists of homilies, discourses, Angelus, messages and a letter), as well as by analysing the devotional discourse which in this study is comprised of two books that belong to the genre of hagiography. The chosen books: St. Maria Goretti, by Marie Cecilia Buehrle (1950), and St. Maria Goretti: In garments all red, by Fr. Godfrey Poage, C.P. (1950) can be included among the classics written about Saint Maria Goretti in English. I deploy a thematic narrative analysis as method in which I’m concerned with content in terms of themes, and with the ways in which characters are represented. Uncovering the themes that are discussed in the papal discourse and the devotional discourse about Saint Maria Goretti contributes to a better understanding of her representation and, in some measure, to a reconsideration of what she represents. A part of this thesis focuses on the aspects of Maria Goretti’s representation that can be considered problematic because of the claim that it is preferable to choose to be killed rather than to be raped. Therefore, it becomes necessary to include the discourse that treats Goretti’s story from a critical point of view which in this study embraces ethical, psychological, and feminist perspectives. The legend of Maria Goretti has been the object of arguably many studies. This thesis, nonetheless, contributes with a more detailed analysis of the discourse about Maria Goretti at the official level as well as the devotional level. I also seek to give insight into the genre of hagiography and to elucidate that the edeavour of portraying a wholly virtuous individual does not come without it’s complications in terms of the interpretations that can be made of the images that are conveyed. The analysis shows, among other things, that the representation of Maria Goretti misses aspects of reality and the complexity and multifariousness of the subject of sexual violence. I argue that a wholesome and more comprehensive representation of Saint Maria Goretti should include expert knowledge of sexual violence, especially that which can be found within the field of psychology.

This thesis examines the legend of the Italian virgin martyr, Saint Maria Goretti (1890-1902). Her legend states that she died at the age of eleven protecting her virginity from her assailant Alessandro Serenelli who stabbed her numerous times, and that she granted him forgiveness before she died. Hence, she has been promoted as an example of purity and mercy. The continued relevance of Saint Maria Goretti is demonstrated by the fact that her figure was used to promote the Extraordinary Jubilee of Mercy proclaimed by Pope Francis and first announced in March 2015. The aim of the current study is to examine how Maria Goretti has been portrayed in the Catholic tradition. This is done by analysing Maria Goretti’s official representation found in the papal discourse about her (which consists of homilies, discourses, Angelus, messages and a letter), as well as by analysing the devotional discourse which in this study is comprised of two books that belong to the genre of hagiography. The chosen books: St. Maria Goretti, by Marie Cecilia Buehrle (1950), and St. Maria Goretti: In garments all red, by Fr. Godfrey Poage, C.P. (1950) can be included among the classics written about Saint Maria Goretti in English. I deploy a thematic narrative analysis as method in which I’m concerned with content in terms of themes, and with the ways in which characters are represented. Uncovering the themes that are discussed in the papal discourse and the devotional discourse about Saint Maria Goretti contributes to a better understanding of her representation and, in some measure, to a reconsideration of what she represents. A part of this thesis focuses on the aspects of Maria Goretti’s representation that can be considered problematic because of the claim that it is preferable to choose to be killed rather than to be raped. Therefore, it becomes necessary to include the discourse that treats Goretti’s story from a critical point of view which in this study embraces ethical, psychological, and feminist perspectives. The legend of Maria Goretti has been the object of arguably many studies. This thesis, nonetheless, contributes with a more detailed analysis of the discourse about Maria Goretti at the official level as well as the devotional level. I also seek to give insight into the genre of hagiography and to elucidate that the edeavour of portraying a wholly virtuous individual does not come without it’s complications in terms of the interpretations that can be made of the images that are conveyed. The analysis shows, among other things, that the representation of Maria Goretti misses aspects of reality and the complexity and multifariousness of the subject of sexual violence. I argue that a wholesome and more comprehensive representation of Saint Maria Goretti should include expert knowledge of sexual violence, especially that which can be found within the field of psychology.

Images of the Mater dolorosa, the weeping Mother of God mourning over her dead son, are plentiful art of Northern Europe during the fifteenth and sixteenth centuries and often foreground the shedding of effluvia—blood, sweat, and tears—in their depictions of the holy pair. This paper explores the visual themes of tears, blood, eyes, and wounds as vital actors in images that require close, meditative, and affective looking and engagement. Such image formats include small-scale pairings of the Man of Sorrows and Mater dolorosa as well as books of hours. In these contexts, the holy fluids and their bodily sources expand the images' narratives and allow for greater exegesis of their devotional prompts. This phenomenon of expansion via effluvia occurs throughout Flemish devotional culture of this period; this paper uses Albrecht Bouts's diptych panels of the Mater dolorosa and Man of Sorrows, produced between 1490 and 1525, as the chief case study to encapsulate and ground those ideas while still acknowledging that they also apply beyond this image. Considering the widespread commonalities between blood and tears in visual and textual representations of the early modern Flemish devotional culture and the visual similarities between weeping eyes and bleeding wounds, this paper argues that Mary's eyes act as the external manifestations of her internal wounds and become locus of her Compassion for Christ. Furthermore, pictorial blood and tears function as metonymic devices that, like the Man of Sorrows type, invoke the entirety of the Passion and Compassion. The multivalent functions of the blood and tears in Bouts's diptych expand it beyond just a representation of Mary and her son and allow it to become a window and mirror into which viewers could look to engage in penance and communion with Mary and Christ.

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