Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 205-217). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 205-217). Also available on the Internet.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 340-373).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaf 39).

Thesis (doctoral)--Rheinische Friedrich-Wilhelms-Universität zu Bonn, 1982. / Vita. Includes bibliographical references (p. 174-191).

This thesis is an exploration of Carolingian art within the context of religious devotion. The second chapter investigates the theoretical aspects related to the use of images by examining historical sources. These texts offer insight both into the types of anxieties images raised as well as contemporary attempts to reconcile these concerns. In order to determine how these theories were put into practice, the third chapter considers the manners in which the visual experience was orchestrated. To do so, shrines and reliquaries, as well as textual accounts describing encounters with them, are used to explore the messages that religious art conveyed and the means by which they did so. The fouirth chapter focuses on the figure of the maker of sacred art. The theories of religious art and implementation of them, as discussed in Chapters II and III, fundamentally relied on the craftsman who fashioned them.

Since the nineteenth century, the provenances, functions, and defining characteristics of a group of Insular portable containers, commonly called house-, tomb-, or church-shaped shrines, have been of interest to a number of disciplines such as History of Art, Archaeology, and Museology. As nearly all Insular house-shaped shrines were found empty or in fragmentary states, their original contents are a continued point of scholarly debate. In response to these examinations and based in part on the seventh-century riddle on the Chrismal found in the Ænigmata of Aldhelm, bishop of Sherborne, this thesis proposes questions such as: what type of container is best categorised as an Insular house-shaped shrine, what were their original contents and functions, and do their forms and materials communicate any specific cultural message(s)? By engaging with the two core concepts of functionality and materiality, which are further informed through direct object handlings of select Insular portable shrines, this thesis examines the forms and materials used in their construction. Taking these questions and the historical conversation into account, this thesis draws on the terminology employed to denote sacral containers in Old Irish and Latin works, which include hagiography and penitentials, discussions on the Temple of Jerusalem within early medieval exegesis, depictions of Insular house-shaped shrines and analogous forms in stonework and other mediums, and antiquarian, archaeological, and anthropological accounts of the discovery of Insular house-shaped shrines to more fully examine the functions of these enigmatic boxes. In doing so, the place of Insular house-shaped shrines within early medieval art, both Continental and Insular, will be more fully outlined. Additionally, a working definition of what can constitute an Insular house-shaped shrine is developed by examining their materiality, form, and prescribed functional terms, such as ‘reliquary’ and ‘chrismal’. Finally, this thesis shows that the functions of Insular house-shaped shrines are best understood in an overlapping and pluralistic sense, namely, that they were containers for a variety of forms of sacral matter and likely were understood as relics themselves only in later periods, which modern antiquarians later used as meaning-making devices in their writings on the spread of the early medieval ‘Celtic’ Church.

Thesis (doctoral)--Ruhr-Universität, Bochum, 2003. / Includes bibliographical references (p. [217]-242).

Thesis--Bonn, 1931.

Abstrack Jagellonian goldmongery The theme of Jagellonian goldmongery opens the subject issue of the second half of the 15th century to the first half of the 16th century, still overlapping deep into the Renaissance times. It is an art that, in many respects, was inspired by the pre-images from the Luxebourgish times, which had deeply influenced cultural happening in the country. Modern tendencies were adopted creating together with the earlier traditions a distinctive blend of transient art. Jagellonian jewels are mainly reliquiary busts of St. Vitus, St. Wenceslas and St. Adalbert. They are considered the preserved presciousness of the dome's treasure. On these a precious metal is carved and modelled according to a sculptural method. The notional peak is not represented by these works alone yet it is a collection of works from which we can compile an evolutionary line that enables us to view the period of the Jagellonian reign in our country. Keywords Jagellonian goldmongery, dome's treasure, reliquiary bust, Jagellonian Po et znak (v etn mezer): 116 940