The thesis entitled Sacred space in the era of Gothic thinking, art and architecture deals with a certain specification of the sacred space, the function and meaning of the medieval church, events leading to the beginnings of Gothic art which left its imprint on the general medieval art and whose influence radiates from the 12th century and ends in the 15th century An essential part of the text is dedicated to using the given rules in the sacred space of the castle Karlstein.

A study of Gothic influences and eidetic imagery evident in eight Blake color plates to demonstrate that, when interpreted together with key Blake poems, unity of body and soul can be accomplished by means of the visionary imagination.

Thesis (doctoral)--Technische Universität Berlin, 2005. / Includes bibliographical references (p. 290-318) and index.

This master thesis is composed of two sections, a theoretical and a practical one. The first chapter of theoretical part is focused on medieval European art with emphasis on a medieval artist and a wall painting. Next chapter describes ascetic life through religious order and their significant personalities. This part is primarily focused on a life of saint Augustin. The third chapter is about a project of Department of art which is focused on a creation of haptic models for sightless people and it describes its outputs. The practical part introduces a creation of haptic model according to a wall drawing of saint Augustin. This drawing is placed in cloister of a former Dominican monastery in České Budějovice. It represents a final conception of unordinary haptic model which is created in an embossed linear drawing.

Ainda pouco conhecida e estudada, a pintura retabular O Juízo Final e a Missa de São Gregório é uma das raras obras tardo-medievais existentes no Brasil, fazendo parte do acervo do Museu de Arte de São Paulo (MASP). Essa obra foi produzida em Valência para ser o painel central de uma abadia na Borgonha, França. Apesar da excelente oportunidade de estudos que ela apresenta para os historiadores da arte medieval, ela não fora até agora objeto de pesquisas detalhadas. O nosso objetivo, portanto, é analisar tal peça, atentando-nos particularmente aos diversos elementos que nela remetem à Eucaristia, e que fazem dela um objeto fértil de estudos sobre esse sacramento no final da Idade Média. Para realizar essa tarefa, fundamentamos o nosso trabalho na análise e na interpretação da obra seguindo os métodos de leitura formal, estilística e iconográfica utilizados na História da Arte, relacionando também o nosso objeto ao contexto histórico de produção e recepção, através de uma revisão da documentação e da sua história até chegar ao acervo do MASP. Para atender esse objetivo, dividimos o nosso trabalho em dois eixos principais. No primeiro, versaremos sobre a imagem enquanto objeto material e estudaremos a sua história e o seu suporte. Já no segundo, analisaremos a sua iconografia em relação ao sacramento eucarístico e sua dimensão salvífica e, desse modo, investigaremos como esse painel se relaciona com o processo de legitimação do realismo eucarístico no contexto no qual a imagem foi produzida e exposta no final da Idade Média. / Still little known and studied, the altarpiece painting The Last Judgment and the Mass of Saint Gregory is one of the rare late-medieval works in Brazil as part of the collection in the Museum of Art of São Paulo (MASP). This work was produced in Valencia to be the central panel of an abbey in Burgundy, France. Despite the excellent opportunity to study it presents for historians of medieval art, it has not been, so far, a detailed research object. Our goal, therefore, is to analyse such piece, paying attention in particular to the various elements in it that refer to the Eucharist, and that makes it a fertile object of study about this sacrament in the late Middle Ages. To accomplish this task, we based our work on the analysis and interpretation of the piece following the formal, stylistic and iconographic reading methods used in Art History, also relating our object to the historical context of production and reception, through a review of the documentation and of its history until it reaches the MASP collection. To reach this goal, we divided our work in two main axes. In the first one, we will discuss about the image as a material object and we study its history and its support. In the second one, we will analyse its iconography relating to the Eucharistic sacrament and its saving characteristic and thereby we will investigate how this panel relates to the process of legitimation of the Eucharistic realism in the context in which the picture was produced and exposed in the late Middle Ages.

Ainda pouco conhecida e estudada, a pintura retabular O Juízo Final e a Missa de São Gregório é uma das raras obras tardo-medievais existentes no Brasil, fazendo parte do acervo do Museu de Arte de São Paulo (MASP). Essa obra foi produzida em Valência para ser o painel central de uma abadia na Borgonha, França. Apesar da excelente oportunidade de estudos que ela apresenta para os historiadores da arte medieval, ela não fora até agora objeto de pesquisas detalhadas. O nosso objetivo, portanto, é analisar tal peça, atentando-nos particularmente aos diversos elementos que nela remetem à Eucaristia, e que fazem dela um objeto fértil de estudos sobre esse sacramento no final da Idade Média. Para realizar essa tarefa, fundamentamos o nosso trabalho na análise e na interpretação da obra seguindo os métodos de leitura formal, estilística e iconográfica utilizados na História da Arte, relacionando também o nosso objeto ao contexto histórico de produção e recepção, através de uma revisão da documentação e da sua história até chegar ao acervo do MASP. Para atender esse objetivo, dividimos o nosso trabalho em dois eixos principais. No primeiro, versaremos sobre a imagem enquanto objeto material e estudaremos a sua história e o seu suporte. Já no segundo, analisaremos a sua iconografia em relação ao sacramento eucarístico e sua dimensão salvífica e, desse modo, investigaremos como esse painel se relaciona com o processo de legitimação do realismo eucarístico no contexto no qual a imagem foi produzida e exposta no final da Idade Média. / Still little known and studied, the altarpiece painting The Last Judgment and the Mass of Saint Gregory is one of the rare late-medieval works in Brazil as part of the collection in the Museum of Art of São Paulo (MASP). This work was produced in Valencia to be the central panel of an abbey in Burgundy, France. Despite the excellent opportunity to study it presents for historians of medieval art, it has not been, so far, a detailed research object. Our goal, therefore, is to analyse such piece, paying attention in particular to the various elements in it that refer to the Eucharist, and that makes it a fertile object of study about this sacrament in the late Middle Ages. To accomplish this task, we based our work on the analysis and interpretation of the piece following the formal, stylistic and iconographic reading methods used in Art History, also relating our object to the historical context of production and reception, through a review of the documentation and of its history until it reaches the MASP collection. To reach this goal, we divided our work in two main axes. In the first one, we will discuss about the image as a material object and we study its history and its support. In the second one, we will analyse its iconography relating to the Eucharistic sacrament and its saving characteristic and thereby we will investigate how this panel relates to the process of legitimation of the Eucharistic realism in the context in which the picture was produced and exposed in the late Middle Ages.

Aquest treball, pretén presentar un estudi monogràfic i de síntesi sobre l’art gòtic al Maresme. El primer objectiu proposat era presentar una anàlisi intentant superar les monografies locals d’edificis més o menys estudiats i intentar aconseguir una visió general inèdita més àmplia de l’estil a la comarca, evidenciant els seus ritmes constructius i els seus elements definidors. Això comportava també una revisió de les monografies ja publicades per tal d’actualitzar les noves recerques i replantejar algunes coses acceptades des de fa anys i que potser calia qüestionar. Un segon objectiu, vindria marcat per l’intent d’analitzar els diferents estils en una zona perifèrica del comtat de Barcelona medieval. La historiografia d’abast nacional inclou en els seus repertoris les grans obres monumentals i, en la majoria de casos, no hi ha un especial atenció als edificis de segon i tercer ordre, com a obres de caràcter més popular. Es tractava doncs de comparar les obres de la comarca i analitzar quin grau hi ha de seguiment dels models i repertoris generals de l’estil i si les característiques, cronologies i estilemes, que defineixen les grans etapes de l’art gòtic català es poden aplicar a aquesta comarca, i quina relació s’estableix entre aquestes obres i les primeres. A principis del el s. XIV, la majoria d’edificis i termes jurisdiccionals del baix Maresme ja estan plenament establerts. En contra del que passa en altres indrets, la introducció de l’art gòtic a Maresme no presenta inicialment un període de grans inversions i de grans projectes sinó que hi domina el manteniment de les estructures heretades del període de l’art romànic i les noves actuacions tindran un caràcter més aviat puntual. La introducció del nou estil en el Maresme el podem situar a mitjans del s.XIV gràcies a l’aparició d’uns nous promotors que formaran part dels grups influents de la burgesia comercial i burocràtica barcelonina. Alguns dels membres d’aquest grup esdevindran els propietaris de la majoria de senyories de la comarca i en el procés esdevindran els comitents d’una gran part de les obres d’art al Maresme. En aquest període es comença a palpar la incipient influència en l’àmbit artístic d’un grup de nous promotors que s’aniran imposant a mida que avanci la centúria del 1400. Seran les elits locals de les noves viles independents, constituïdes en “Universitats del terme” les que agafaran el relleu en la promoció artística tant religiosa com civil. Dins aquest període, també s’analitzen una sèrie d’edificis singulars vinculats a les ordes monàstiques (el priorat de Sant Pere de Clarà (Argentona), el convent - hospital de Caldes d’Estrac i la cartoixa de Montealegre a Tiana) a més de la renovació del mobiliari litúrgic (retaules, escultures, orfebreria....) Ja en el s.XVI, les elits locals com a nous promotors, utilitzaran els recursos del Comú de les viles i esdevindran els veritables renovadors de l’obra pública, tant laica com religiosa, promovent una gran activitat de renovació dels edificis, principalment els parroquials, els quals seran erigits de nova planta mantenint encara viu el llenguatge gotitzant que de forma epigonal arribarà fins a finals del s.XVI i principis del s.XVII. Al final del treball s’analitzen els diferents artífexs i les formes de treball per abordar la idea del colonialisme artístic dels tallers barcelonins a la zona del Maresme. / JOAQUIM GRAUPERA GRAUPERA: Gothic art in Baix Maresme (XIIth to XVIth century). Art and artistic promotion in a peripheral area of the Barcelona County. Mataró, 2011. This research offers a monographic study on Gothic art in Maresme area. The first aim is to transcend the local monographs with a more comprehensive view, which implied the review of the already published monographs in order to update their research and question it if necessary. The second aim is to analyze the styles in a peripheral area of Barcelona medieval county comparing the works of this area and analyzing to which extent followed the characteristics, chronology and style, which define the main phases of the Catalan Gothic art. The introduction of the new style in the Maresme area takes place at the second half of the XIVth century, thanks to the emergence of a new group of promoters that are part of the influential groups of the Barcelona trading and bureaucratic bourgeoisie. Some members of this group will become the owners of most of the lordships and the clients for many of the works of art in Maresme. In this period it starts to be felt the influence in art of a group of new promoters that will impose themselves as we enter into the 1400’s: the local elites of the new independent villages that will take the relay in the artistic promotion, both in the religious and in the civil art and some buildings linked to monastic orders are analyzed as well as the renewal of the liturgical furniture. Already in the XVIth century, the local elites will become the real renovators of both religious and secular public work, promoting the renewal of the buildings, specially the parish churches, which will be built still keeping alive the gothic language which will reach the end of the XVIth and the beginning of the XVIIth centuries. At the end of this research, different craftsmen and their way of working are also analysed in order to approach the idea of an artistic colonialism of the Barcelona workshops in the area of Maresme.

Trois cloîtres attribués aux couvents de "Trie-sur-Baïse", "Bonnefont-en-Comminges" (aux Cloisters, New York) et "Montréjeau" (Paradise Island, Bahamas) furent remontés outre-Atlantique au cours du XXe siècle. L'installation moderne de tels monuments en Amérique nous incitent à nous intéresser à ce goût, exprimé dés le début du XXe siècle, pour l’architecture médiévale. Selon les premières attributions, les pierres proviendraient d'abbayes des Pyrénées centrales, dont les vestiges furent dispersés au cours de l'Histoire. Les troubles des guerres de Religion, l’abandon progressif des établissements par les communautés religieuses, l’aliénation de leur temporel pendant la Révolution portèrent un coup sévère à l’intégrité des bâtiments monastiques ; mais, de la période post-révolutionnaire jusqu’au début du XXe siècle, ce sont bien les discrètes transactions entre particuliers et antiquaires, qui firent disparaître de la mémoire collective l’origine même des pierres, particulièrement celles des cloîtres en marbre, convoitées pour leur décor. Identifier leur provenance fut l'enjeu majeur de cette étude. Ces marbres sculptés présentent un programme iconographique riche et varié : les ensembles de "Bonnefont-en-Comminges" et de "Montréjeau" proposent un décor de feuillage stylisé tandis que celui de "Trie-sur-Baïse" expose des scènes figurées originales. Mener une analyse de ces sculptures a permis de les restituer dans leur contexte architectural originel. / Three cloisters attributed to the monasteries of "Trie-sur-Baise", " Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas) were purchased by American collectors and rebuilt, during the XXth century, in North America. The modern assembly of such monuments generates interest on the taste of these American amateurs, from the beginning of XXth century, for medieval European architecture. While respectively attributed to the monasteries of "Trie-sur-Baise", "Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas), the initial attribution states that the stones were from central Pyrenees monasteries, whose ruins were scattered throughout ancient times : the Hundred-year war as well as the wars of religion, the gradual desertion of religious institutions by their communities during the XVIIth and XVIIIth centuries and, at last, the alienation of their properties during the Revolution seriously damaged the integrity of monastic buildings. However, during the post-revolutionary period until the early XXth century, many discrete transactions between individuals and antique dealers further took away the stones real origin from the collective memory, especially cloisters sculptures coveted for their ornament. Identifying the cloisters provenance was the main subject of this study. The three carved marbles present various iconography ; while the "Bonnefont-en-Comminges" and "Montréjeau" ensembles both show stylized foliage ornaments, the "Trie-sur-Baise" cloister depicts original figurative scenes. Carrying out an in-depth study of these sculptures made it possible to accurately associate the cloisters to their original architectural set and production context.

A les primeres dècades de la catorzena centúria la vestimenta catalana (i en general, la d’Occident) és sacsejada per novedoses formes que canvien la silueta dels seus portadors tant masculins com femenins. Al mateix temps, aquestes vestidures s’adornaren amb un creixent i refinat luxe que transpassà els reduïts límits dels cercles cortesans i aristocràtics per abastar a grups socials com la burgesia enriquits pel comerç o els negocis i que es podien permetre destinar un elevat dispendi per al seu guarda-roba. El centre cronològic de més interès pel que fa a l’evolució vestimentària de Catalunya arrenca als anys 40 i acaba a finals dels 80, amb una dècada entremig, 1340-1350, que es rebel•la fonamental per a la generalització d’importants canvis en la indumentària. Tot i així, els límits cronològics han estat a vegades ampliats als segles XIII o XV quan així ho ha requerit l’estudi dels antecedents o de l’evolució tipològica d’una determinada peça de vestir. El treball s’ha basat en l’estudi dels principals vestits externs, de les vestidures anomenades a l’època subiranes. La més estesa és la cota de la qual les imatges artístiques ens han permès identificar diverses variants tipològiques que hem denominat cota A, cota B, cota C, cota talar i cota ardia. Al costat de les cotes s’han considerat altres vestits externs com l’aljuba, el pellot, el curtapeu i el gipó. Tanmateix, l’estudi abasta també els vestits interiors que acompanyaven als exteriors com la gonella, la gonella encordada i la samarra així com el mantell i la gramalla que eren considerats peces d’abrigall. L’establiment de tipologies de diferents peces de vestir i la seva evolució cap a noves formes s’ha basat en l’anàlisi de fonts documentals, literàries, iconogràfiques i arqueològiques. Un apartat preferent d’aquest treball és el constituït per l’anàlisi de les lleis sumptuàries. En el decurs del segle XIV les autoritats dictaren a diverses ciutats i poblacions del territori europeu diverses ordinacions destinades a limitar el creixent luxe vestimentari i les supèrflues despeses que aquest comportava. Les lleis sumptuàries catalanes que han estat examinades en aquest estudi són les de Barcelona, Cervera, Mallorca i Berga. En definitiva, la indumentària esdevení un autèntic codi que no havia de ser transgredit ja que establia i feia reconeixibles jerarquies i funcions. Tanmateix, a mesura que va evolucionant el segle XIV, el llenguatge de la vestimenta coneix insistents intervencions del poder, tant del civil com del religiós, per a regular-lo i, en definitiva, “domesticar-lo”. / In the first decades of the fourteenth century the Catalan outfit (and in general the West) is shaken with innovative ways that change the shape of its wearers, both male and female. At the same time these garments were adorned with a growing and refined luxury which went over the narrow limits of the court and aristocratic circles to encompass social groups such as the bourgeoisie enriched by trade or business who could afford to spend a large expense in their wardrobe. The chronological center of most interest regarding the evolution of Catalonia dress starts in the 40s and finishes in late 80s, with a decade in between, from 1340 to 1350, which reveals fundamental to the spread of important changes in clothing. However, the chronological limits have been sometimes extended to the thirteenth or fifteenth when so has required the study of history or the typological evolution of a particular garment. The work is based on the study of the major suits outside the garment, called at the time “subiranes”. The most widespread is the “cota”, of which its artistic images have permitted the identification of several typological variants which we have called cota A, cota B, cota C and cota ardia. Beside the cota other external dresses have also been considered such as l'aljuba, el pellot, el curtapeu i el gipó. However, the study also covers internal suits accompanying the outer skirt, such as la gonella, la gonella encordada i la samarra as well as el mantell i la gramalla which were considered coat pieces. The establishment of various types of garments and their evolution into new forms is based on the analysis of documentary sources, literary, archaeological and iconographic. A preferred section of this paper is constituted by the analysis of the sumptuary laws. During the fourteenth century the authorities dictated in several cities and towns throughout Europe several ordinances designed to limit the growing luxury in dressing and the wasteful expending this entailed. Catalan sumptuary laws that have been examined in this study are in Barcelona, Cervera, Majorca and Berga. In short, the clothes became a real code which should not be violated since it established and made recognizable hierarchies and functions. However, while the fourteenth century evolves, the language of dress knows persistent interventions.

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