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Thesis (doctoral)--Vereinigte Friedrichs-Universität Halle-Wittenberg, 1931. / Vita. Includes bibliographical references and chronological table.

Thesis (Ph. D.)--University of Chicago, Department of Art History, August 2002. / Includes bibliographical references. Also available on the Internet.

This dissertation examines images of single combat in Romanesque art. Between the mid-eleventh century and the first decades of the thirteenth century, representations of head-to-head battle between two human opponents were abundant, especially in architectural sculpture. The appearance of these combats is concentrated in northern Spain and southwestern France, although this imagery is found throughout Europe and the Mediterranean. Only a small number of these images are identified by labels or accompanied by an explanatory text. However, those few examples show that the motif of single combat served different purposes and conveyed a variety of meanings, ranging from representations of historical figures to encounters drawn from epic literature to allegorical renderings of spiritual battle. Despite the prevalence of this iconography, this dissertation is the first study to address the entire corpus of Romanesque single combats. Beginning with the few examples to include a contemporary text, it addresses the variety of identities and meanings attached to the single combat motif in eleventh- and twelfth-century works. Analysis of those examples sheds light on the interpretive problems that arise for the larger body of unlabeled images comprising the corpus, whose significance is assessed by considering both formal attributes, and the spatial, functional and visual contexts in which the motif appears. Finally, the dissertation brings new focus to the motif’s temporal and geographic characteristics by addressing the high concentration of combat images in parts of Spain and France. Examination of the discourses concerning the early crusades and the Iberian ‘reconquest’ suggests that these images acted not just as representations of those locally prevalent events, but as visual components aimed at promoting the Iberian cause and aligning peninsular warfare with endeavors in the Holy Land. This dissertation shows that the single combat motif coincides with and reflects a crucial shift in the ways violence and conflict were conceived and addressed in Christian society. Considered within the context of the contradictory discourses on fighting circulating at this time, this multivalent motif is shown to reflect the many meanings battle held for medieval viewers. / 2018-01-01T00:00:00Z

The first part of the thesis deals with Romanesque rotundas. These are introduced and set in historical and cultural context of the early Middle Ages to understand the cause of their origin. A substantial part is devoted to formal analysis of individual rotundas located in Prague and its close surroundings, their function in various interpretations of Czech researchers. The next part of the thesis is dedicated to the work itself where the original parts of the individual rotundas are drawn. The theoretical principles are applied in the last part of the thesis, where they are united with a/r/tography research. It is described and used for subsequent methodical series of art education, which were taught at the first grade of primary school.

Cette recherche d’archéologie médiévale a pour objet l’incidence des pouvoirs locaux et régionaux sur l’occupation du territoire du pays de Forcalquier et sur son architecture. Nous nous sommes proposé d’éclairer les évolutions de l’occupation de ce territoire sur une séquence chronologique allant du IXe au XIIIe siècle. Cette période permet d’appréhender les implications des pouvoirs locaux tant politiques que religieux et de percevoir les mutations sociales, culturelles et matérielles communes à l’Occident médiéval. Les espaces religieux et les espaces politiques ont formé autour de Forcalquier une véritable mosaïque de terroirs dont la diversité de l’institution qui la dominait apparaît par le biais du vestige matériel. L’étude souhaite apporter sa contribution à une meilleure connaissance de la Provence médiévale. / This research on medieval archaeology focuses on the influence of local and regional powers on the territory occupation of the village of Forcalquier and on its architecture. Our purpose is to clarify the evolution of the occupation of this territory in the period going from IX to XIII century. This period gives us the opportunity to understand the implications of the local political and religious powers and to perceive the social, cultural and material changes which are common to the medieval West. The religious spaces and the political spaces created around Forcalquier a real mosaic of territories, where the diversity of the dominating institutions is shown by material vestiges. This study hopes to contribute to a deeper knowledge of the medieval Provence.

Les clochers des petites églises rurales de Bourgogne du Sud sont étudiés pour leur architecture et leur décor mural des XIe-XIIe siècles. Ces deux éléments peuvent être à la fois partenaires et étrangers l'un à l'autre. Cette double situation entraîne des jugements parfois erronés quand on les rapproche dans une même classification. De fait, la première impression donnée par leur décor mural rappelle les caractéristiques du « premier art roman ». Or, construire un mur avec des moellons simplement équarris et un abondant mortier correspond au bon usage des matériaux disponibles et ne classe pas automatiquement les clochers en «premier art roman». À partir d'un corpus de 112 clochers, les choix constructifs et décoratifs de leurs commanditaires et maîtres ­maçons font apparaître l'existence d'un «modèle-type» de clocher auquel un décor mural du «premier art roman» est parfois ajouté. Il y a donc un élément invariant : celui du matériau, simple, peu coûteux et un «phénomène de mode». La répétition de ce modèle joue un rôle unificateur dans un paysage qui apparaît alors comme participant de la chrétienté voulue par la Réforme grégorienne. / This thesis studies South Burgundy small rural churches steeple focusing on their 11th-12th centuries architecture and wall decoration. These two elements can be either connected or unrelated. This opens the door to erroneous judgments when both are approached into a single classification. In fact, the first impression mural a decoration often conveys is reminiscent of the "first Romanesque art". However, building a wall out of simply squared rubble stones and heavy mortar corresponds to the proper use of available materials and does not automatically classify the steeples in "first Romanesque art". The analysis of constructive and decorative choices made by master masons and sponsoring benefactors across the corpus of 112 steeples considered in this research reveals the existence of a typical "standard" bell tower constructive design to which a mural decoration is added. This highlights the existence of a clear constant: the choice of construction materials, simple expensive, low-tech, while also fashionable. The recurrence of this model has played a unifying role in the Christian landscape the resulting from and aspired to by the Gregorian reform.

Le sud-est du Domaine royal capétien est longtemps resté ignoré des études sur les débuts de l’architecture romane. Ceci est en grande partie lié à la position marginale qu’il occupe par rapport aux grands ensembles de l’historiographie, un état de fait qui découle comme nous avons eu l’occasion de le montrer d’une longue évolution historique depuis l’époque celtique où la zone fut subdivisée entre Sénons et Carnutes. Les premiers souverains capétiens ont toutefois porté un intérêt particulier à cette région, tentant au XIe siècle d’unifier l’espace compris entre leurs trois grands centres : Orléans, Étampes et Melun, face aux poussées de leurs rivaux bléso-champenois. L’activité architecturale semble alors battre son plein, avec de très nombreuses constructions, certes secondaires, mais témoignant d’un certain dynamisme architectural à cette époque. L’examen des monuments les plus importants, confrontés aux autres réalisations phares menées par les Capétiens dans le reste de leur Domaine royal, permet d’envisager le développement d’une politique édilitaire, favorisant certaines formes architecturales monumentales comme la tour-porche ou le chevet dit harmonique, dans une volonté claire de la part des nouveaux souverains de s’imposer visuellement dans le paysage, de se positionner en héritiers de leurs prédécesseurs carolingiens et de s’imposer face à leurs contemporains ottoniens, en reprenant certaines de leurs formes architecturales les plus emblématiques. Ces résultats ne doivent pas cacher en revanche des questions laissées en suspens, notamment en ce qui concerne les datations des édifices considérés ici. L’architecture apparaît en effet assez uniforme, entre petit appareil de tradition antique, opus spicatum, remplois de sarcophages haut-médiévaux et débuts du moyen appareil ; et les critères de datation généralement admis s’opposent à ceux des rares décors conservés. / The southeast of the Capetian royal Domain remained for a long time unknown by studies on the beginnings of Romasnesque architecture. This is largely connected to the marginal position which it occupies compared with the large sets of the historiography, an established fact which ensues as we had the opportunity to show it of a long historic evolution since the Celtic period when the zone was subdivided between Sénons and Carnutes. The first Capetian sovereigns however carried a particular interest in this region, trying in the 11th century to unify the space between their three big centers : Orléans, Étampes and Melun, in front of pushes of their bléso-champenois rivals. The architectural activity then seems to be in full swing, with very numerous constructions, certainly secondary, but testifying of a certain architectural dynamism at that time. The examination of the most important buildings, confronted with the other key realizations led by the Capetians in the rest of their royal Domain, allows us to envisage the development of a artistic policy, favoring certain architectural monumental forms as tower-hall and harmonious bedhead, in a clear will on behalf of the new sovereigns to stand out visually in the landscape, to position in heirs of their Carolingian predecessors and to stand out in front of their ottonian contemporaries, by taking back their most symbolic architectural forms. These results can’t hide on the other hand questions left unsettled, in particular as regards the datings of buildings considered here. The architecture indeed seems rather uniform, between walls with small rubbles, opus spicatum, re-uses of high-medieval sarcophagus, and beginnings of carved stone ; and the generally admitted criteria of dating oppose those of the rare preserved decorations.

Monika LOUŽENSKÁ: The cycle of murals in Znojmo and problem of the development of czech monumental painting in 12th century in the context of Central Europe. The study developes the theme of foregoing bachelor's thesis, aimed on paintings in rotunda of St. Catherine in Znojmo, and deals with question of further development of Bohemian mural panting in 12th century. Currently known monuments of Czech mural from 12th century are decorations of churches of St. Catherine in Znojmo, St. Clement in Stará Boleslav, St. George on Prague castle, St. Peter in New Town in Prague and St. Peter and Paul in Albrechtice nad Vltavou. These paintings are related by its style resources and pictorial form also to murals from early 13th century in churches of St. Wenceslav in Prague on Prosek, Assumption of Virgin Mary in Tismice, St. Lawrence in Lesser Town in Prague, St. John and Paul in Krteň and St. Jacob in Stříbrná Skalice. The main part of thesis is dedicated to the analysis of particular paintings, with the using of iconographic method, formal analysis, elder literature about theme, restoration reports and other documentation. It deals with themes of murals and its style qualities and searches for its style resources, questions of dating and its donors. Important section is focused on historical context of...

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