A dissertação focaliza as transformações do processo de trabalho da arquitetura, ao longo do século XX, detendo-se na análise da produção de duas obras que constituem referências culturais da cidade de São Paulo, analisadas a partir da maneira pela qual, nelas, o vidro ganhou forma: o Teatro Municipal de São Paulo (1903-1911) e o edifício do Museu de Arte de São Paulo (1957-1968). O Teatro Municipal, construído como teatro de ópera no início do século XX pelo escritório de Ramos de Azevedo, no centro da cidade, possui um conjunto de vitrais no corpo de entrada, parte deles importada da Alemanha, parte fabricada em São Paulo, aplicados em esquadrias fabricadas no Liceu de Artes e Ofícios de São Paulo. O Museu de Arte, MASP, cartão postal da cidade, de autoria da arquiteta Lina Bo Bardi, tem seu bloco principal fechado por grandes placas de vidro de seis metros de altura, as primeiras dessa medida fabricada no país, encaixilhadas em montantes metálicos fabricados também nas oficinas do Liceu de Artes e Ofícios de São Paulo. Através da análise de relatórios de obra, correspondências, fotografias e imprensa, em cada período, a pesquisa articula as transformações da produção da arquitetura e dos agentes envolvidos na concepção e construção do objeto arquitetônico, à luz dos processos de modernização da construção civil e do projeto de arquitetura em São Paulo. / This dissertation focuses on the changes in the labor processes in architecture throughout the twentieth century, circumscribing the analysis to the way glass was shaped on two referential buildings to the cultural history of São Paulo: the Teatro Municipal de São Paulo (1903-1911), and the building of the Museu de Arte de São Paulo (1957-1968). The Teatro Municipal, built downtown as an opera theater in the beginning of the twentieth century by Ramos de Azevedo`s office, assembles VITRAIS on the entrance, built as much in Germany as in São Paulo, applied on frames produced in the Liceu de Artes e Ofícios de São Paulo. The main volume of Museu de Arte, MASP, the city\'s postal card, designed by the architect Lina Bo Bardi, is shut by big glass plates, measuring six meters high, the first of its size manufactured in Brazil, framed in metal structures also produced in the Liceu de Artes e Ofícios de São Paulo. Through the analysis of the construction\'s rep orts, and of mail, photographies and the press, in each period, our research articulates the changes of the architectural production and the agents involved in the conception and production of the architectural object, in light of the processes of modernization in construction and the architectural design in São Paulo.

Max Ingrand (1908-1969) fut l'un des maîtres verriers français les plus célèbres du XXe siècle. Après ses études à l'École nationale des arts décoratifs, il entre en 1927 dans l'atelier de Jacques Gruber (1870-1936). Dès 1931, il commence une carrière personnelle de maître verrier décorateur et réalise de nombreux décors civils en glaces gravées. Il crée les vitraux de l'église Sainte-Agnès de Maisons-Alfort et participe au projet des verrières de la nef de Notre-Dame de Paris qui sont présentées au pavillon pontifical de l'Exposition de 1937. Mobilisé en 1939, il reste cinq ans prisonnier dans un Oflag en Allemagne. A son retour, il devient l'un des verriers les plus actifs des chantiers de la reconstruction où il réalise notamment l'ensemble monumental de l'église d'Yvetot. Le service des Monuments historiques lui confie des chantiers prestigieux : cathédrales de Rouen, de Beauvais, de Saint-Malo, de Strasbourg, chapelles des châteaux de Blois, d'Amboise, de Chenonceau, églises de La-Charité-sur-Loire et des Jacobins de Toulouse. Au milieu des années cinquante, sa notoriété lui vaut des commandes importantes à l'étranger, notamment aux États-Unis, au Canada et en Amérique du sud. Il poursuit parallèlement une œuvre de décorateur et de designer. Il assure pendant treize ans la direction artistique de la firme italienne Fontana-Arte pour laquelle il crée de nombreux modèles de luminaires. Il participe au décor de paquebots parmi lesquels le Normandie et le France. Il conçoit des fontaines lumineuses, notamment pour les Champs-Élysées à Paris. Dans ses dernières années, il réoriente sa carrière vers l'architecture d'intérieur et l'éclairage. Il meurt brutalement en 1969, peu après avoir confié la direction de son atelier à son collaborateur Michel Durand. / Max Ingrand (1908-1969) was one of the most famous French glassmakers in the twentieth century. He studied at the National School for Decorative Arts and joined Jacques Gruber’s studio (1870-1936) in 1927. He began his own career as a glass designer in 1931 and produced many engraved glass decorations, both in public and religious buildings. He created the stained glass windows of Saint-Agnes Church at Maisons-Alfort and took part in the project of the windows executed for the nave at Notre-Dame de Paris, which were first displayed inside the papal pavilion of the 1937 Exhibition. An officer in the French armed forces in 1939, he was made a prisoner and jailed for five years in a camp in Germany. When he returned home, he became one of the most active glassmakers in the whole country, being involved in the reconstruction effort and working, in particular, to the project of a monumental church in Yvetot (Normandy). He was part of prestigious projects led by the French Heritage in cathedrals (such as Rouen, Beauvais, Saint-Malo and Strasbourg), in castles (such as the chapels of Blois, Amboise, Chenonceau), in churches (such as La Charité-sur-Loire and the Jacobins in Toulouse). Due to his fame, he won a large amount of orders abroad in the mid-fifties, especially in the United States, in Canada and in South America. He acted at the same time as a decorator and a designer. He was, for instance, an art director for thirteen years at the Fontana Arte, a big design company in Italy, and created many lighting fixtures for them. Before and after World War II, he was involved in the decoration of liners as important as the Normandy and the France. He also designed lit fountains in public spaces, the best known being along the Champs-Élysées in Paris. He had to change career dramatically in his late years and stopped glassmaking. He then specialized in architectural design and lighting fixtures. He died suddenly in 1969, a few months after he had passed his workshop on to his associate Michel Durand.

František Urban (1868-1919) devoted himself mainly to religious painting, the majority of his production was commissioned by the Church. Among these, the least attention has been dedicated to his stained glass designs, with the exception of his most famous complex in the Cathedral of St Barbara in Kutná Hora. However, these designs were held in high regard among the commissioners and Urban drew them for almost twenty churches and chapels. The supreme phase of his production was caught and can be now accessed in a representative publication of his designs for churches, published 1907-1909 in two parts. Urban's style has been classified as Art Nouveau; it is, however, only a simplistic description. Urban used older elements and composition schemes, brought by the Nazarenes at the beginning of 19th century. These he repurposed for the Art Noveau style, using the typical flatness and delicate colouring, idealization, ornamental elements in the fashion of that time, and most of all the then so popular folklore motifs. Urban's wife, Marie Urbanová- Zahradnická, contributed to some of the ornamental elements. This thesis attempts to assemble Urban's stained glass complexes and the knowledge about them, and to put them into the context of other painters who created their stained glass designs in a similar...

The master's thesis deals with famous Notre-Dame de Paris, which was destroyed by fire in 2019. The work focuses specifically on the design of completion of the construction. The cathedral is situated in the historical centre of Paris on the Île de la Cité. A lot of damage was caused to the building after the devastating fire on 15 April 2019. The aim of the thesis was to create a spiritual place that would maintain its past, but at the same time manage to follow ecological solutions in the present. The new design of the attic creates a sacred place, in which we realize the importance of faith and the peace of God. The cathedral is open to the general public ? religious people from all over the world come here to experience the love, joy and happiness that the cathedral invokes. The whole attic can be described as an open space, which symbolizes infinity or immortality from the religious point of view. It represents the connection of the past, present and future. The space is designed to hold priestly celebrations and to be open for the public. It can also be used for various events, such as exhibitions of sculptures that survived the fire.

[ES] Esta investigación titulada "Biografía y vidrieras de Ximo Roca con sus porqués" es un trabajo biográfico sobre la vidriera articulada desde la experiencia y memoria del vitralista Joaquín Roca Soria, conocido como Ximo Roca. Recoge los datos más relevantes de la vida, y de su formación creativa de su obra y publicaciones de las que él ha destacado. En este estudio se analiza la evolución artística del artista y del arte vítreo, centrando la atención en la investigación creativa relativa a su forma de componer, aspectos compositivos y estéticos, así como el funcional, no siempre siguiendo el proceso cronológico de sus obras, pero sí sin perder la relación directa con su vida. Merece el interés mencionar la importancia de aportar una mínima información sobre la Historia del vidrio, desde sus primeras inclusiones en documentos y primeras obras arqueológicas halladas, composición y evolución del vidrio, tanto en sus técnicas de fabricación como en la propia materia, para llegar a introducir y contextualizar al artista en vidrio del que versa este trabajo. Ximo Roca, vitralista valenciano actual de reconocido prestigio, perteneciente a los cinco vitralistas españoles de mención por los historiadores como Alcaide Nieto y, evidentemente, experto en la materia, así como en la creación y manejo del vidrio artístico; de dicho quinteto de honor, se transmite la experiencia de Ximo salvaguardada en esta tesis doctoral, que recopila su trayectoria vital y creativa, elaborada a partir de numerosas entrevistas y, por consiguiente, de fuente primaria. Por todo ello, es importante el legado que supone el aporte de esta tesis sobre su obra al mundo del arte. Se han considerado en profundidad tanto datos como documentación plasmados a través de las mencionadas reuniones con el artista, artículos escritos por él, exposiciones, catálogos, así como publicaciones y libros en los que se le cita, buscando encontrar los puntos clave de los cambios más notorios en su evolución artística, relacionado todo ello con su contexto socio-político y personal. De cada entrevista personal realizada con el artista durante estos cinco años atrás, visita tras visita, tras horas y días de conversación, grabaciones, anotaciones y recopilación de material, se ha desarrollado este texto que se desea sirva como punto de encuentro al estudioso y lector de este tema tan apasionante. / [CA] Aquesta investigació titulada "Biografia i vidrieres de Ximo Roca amb els seus perquès" és un treball biogràfic sobre la vidriera articulada des de l'experiència i memòria del *vitralista Joaquín Roca Soria, conegut com a Ximo Roca. Recull les dades més rellevants de la vida, i de la seua formació creativa de la seua obra i publicacions de les quals ell ha destacat. En aquest estudi s'analitza l'evolució artística de l'artista i de l'art vitri, centrant l'atenció en la investigació creativa relativa a la seua manera de compondre, aspectes compositius i estètics, així com el funcional, no sempre seguint el procés cronològic de les seues obres, però sí sense perdre la relació directa amb la seua vida. Mereix l'interés esmentar la importància d'aportar una mínima informació sobre la Història del vidre, des de les seues primeres inclusions en documents i primeres obres arqueològiques trobades, composició i evolució del vidre, tant en les seues tècniques de fabricació com en la pròpia matèria, per a arribar a introduir i contextualitzar a l'artista en vidre del qual versa aquest treball. Ximo Roca, *vitralista valencià actual de reconegut prestigi, pertanyent als cinc *vitralistas espanyols d'esment pels historiadors com *Alcaide Nieto i, evidentment, expert en la matèria, així com en la creació i maneig del vidre artístic; d'aquest quintet d'honor, es transmet l'experiència de Ximo salvaguardada en aquesta tesi doctoral, que recopila la seua trajectòria vital i creativa, elaborada a partir de nombroses entrevistes i, per consegüent, de font primària. Per tot això, és important el llegat que suposa l'aportació d'aquesta tesi sobre la seua obra al món de l'art. S'han considerat en profunditat tant dades com documentació plasmats a través de les esmentades reunions amb l'artista, articles escrits per ell, exposicions, catàlegs, així com publicacions i llibres en els quals se'l cita, buscant trobar els punts clau dels canvis més notoris en la seua evolució artística, relacionat tot això amb el seu context soci-polític i personal. De cada entrevista personal realitzada amb l'artista durant aquests cinc anys arrere, visita rere visita, després d'hores i dies de conversa, enregistraments, anotacions i recopilació de material, s'ha desenvolupat aquest text que es desitja servisca com a punt de trobada a l'estudiós i lector d'aquest tema tan apassionant. / [EN] This research entitled "Biography and stained glass windows of Ximo Roca with its whys and wherefores" is a biographical work on stained glass articulated from the experience and memory of the stained glass artist Joaquín Roca Soria, known as Ximo Roca. It gathers the most relevant data of his life, his creative formation, his work and publications of which he has stood out. This study analyses the artistic evolution of the artist and of vitreous art, focusing on creative research into his way of composing, compositional and aesthetic aspects, as well as functional aspects, not always following the chronological process of his works, but without losing the direct relationship with his life. It is worth mentioning the importance of providing a minimum of information on the history of glass, from its first inclusions in documents and the first archaeological works found, composition and evolution of glass, both in its manufacturing techniques and in the material itself, in order to introduce and contextualise the glass artist who is the subject of this work. Ximo Roca, a Valencian stained glass artist of current prestige, belonging to the five Spanish stained glass artists mentioned by historians such as Alcaide Nieto and, evidently, an expert in the field, as well as in the creation and handling of artistic glass; from this quintet of honour, Ximo's experience is transmitted and safeguarded in this doctoral thesis, which compiles his life and creative career, based on numerous interviews and, therefore, from a primary source. For all these reasons, the legacy that the contribution of this thesis on his work to the art world is important. In-depth consideration has been given to data and documentation from the aforementioned meetings with the artist, articles written by him, exhibitions, catalogues, as well as publications and books in which he is mentioned, seeking to find the key points of the most notable changes in his artistic evolution, all of which are related to his socio-political and personal context. From each personal interview conducted with the artist during these five years, visit after visit, after hours and days of conversation, recordings, annotations and compilation of material, this text has been developed, which it is hoped will serve as a meeting point for the scholar and reader of this fascinating subject. / Beneyto Florido, N. (2022). Biografía y vidrieras de Ximo Roca con sus porqués [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/185051 / TESIS

Élève de l’École des beaux-arts de Paris, Luc-Olivier Merson obtient en 1869 le premier grand prix de Rome de peinture d’histoire, titre qui lui permet de parfaire sa formation pendant quatre années en Italie. Artiste reconnu de son vivant, Merson expose régulièrement au Salon parisien, avant d’ouvrir l’éventail de son talent à la décoration et à l’illustration. Au-delà de son goût pour la peinture monumentale, il affirme sa dilection pour l’art religieux dont il bouscule les conventions, grâce à des sources iconographiques recherchées et des sujets rares. Entre Académisme et Symbolisme, Merson confirme sa prédisposition pour le dessin, privilégiant la ligne, tout en entretenant un caractère coloriste subtil et recherché. En s’affranchissant de l’influence de son père Olivier Merson, critique d’art, et en dotant ses réalisations d’archaïsme et d’idéalisme, Luc-Olivier Merson est désormais considéré à juste titre comme l’un des précurseurs du Symbolisme. L’étude de la vie et de l’œuvre de Luc-Olivier Merson permet de comprendre les choix esthétiques et les audaces d’un artiste, trop souvent – et hâtivement – qualifié de Pompier par l’historiographie du vingtième siècle. / In 1869, when a student at the École des Beaux-Arts de Paris, Luc-Olivier Merson received the Rome Prize in history painting. The award allowed him to complete his training with four years of study in Italy. A well-known artist in his own time, Merson showed regularly at the Paris Salon before broadening the scope of his creative activity to include decorative painting and illustration. Beyond his taste for monumental painting, he evinced a keen interest in religious art, whose conventions he overturned, making use of recondite iconographic sources and unusual subjects. Suspended between Academism and Symbolism, Merson displayed a penchant for drawing, always privileging line, even as he maintained a subtle and refined sense of color. Having emerged from the shadow of his father, the art critic Olivier Merson, and endowed his work with a self-conscious archaism and idealism, Luc-Olivier Merson might justly be classed among the precursors of Symbolism. By studying the life and work of Merson, we may come to understand the aesthetic choices and the audacity of an artist too often—and too hastily—termed “Pompier” in twentieth-century art historiography.

The aim of this research is to present an important but forgotten Tiffany interior, that of All Saints Episcopal Church, and focuses on the source for the Saunders memorial window, Christ Resurrection. After portraying the Saunders Family and the context of the window and church interior as an important part of Richmond’s history, this thesis sets up a number of inquiries regarding Christ Resurrection. What are the literary sources; what are the formal sources, from the Renaissance to the late nineteenth century; and what is the meaning of the composition? This thesis utilizes an art historical method of archival, connoisseurial, and iconological research. The analysis of the third chapter illustrates that Frederick Wilson’s composition of Christ Resurrection does not follow any one of the Evangelists. Rather it comes from an extensive pictorial tradition from Resurrection scenes of the 14th century leading into the 17th.

Dès la loi impériale du 23 Prairial an XII (12 juin1804) qui impose l’obligation d’inhumation pour tous au cimetière, la sculpture se met au service du portrait du défunt, dans cet espace si particulier qui tient à la fois du cadre privé et du cadre public. Héritier d’une tradition jusqu’alors réservée aux nobles et au roi, le portrait funéraire s’affiche dans une iconographie qui oscille entre symbolique et réalisme des traits physiques; le militaire est honoré comme héros tandis que le curé est vénéré par les paroissiens. S’inscrivant dans la mode de la statuomanie galopante des années 1880, les cimetières lorrains rejoignent la volonté publique d’honorer ses Grands Hommes, à une époque où la « Petite Patrie », la Lorraine, rencontre la « Grande Patrie », la France, où des artistes connus et parfois moins connus mettent leur savoir-faire et leur notoriété au service de portraits de notables. Le portrait funéraire connaît alors son âge d’or. Alors que le cimetière moderne se construit peu à peu grâce à son organisation parcellaire, les familles éprouvent très rapidement le besoin impérieux de matérialiser, sur ces concessions familiales, le souvenir des traits de leur défunt et le portrait sculpté leur en offre la possibilité et le voilà qui quitte l’intimité des salons pour être installé soit sur la stèle de la tombe familiale. C’est ainsi que l’époux éploré se souvient du visage de sa chère épouse, que des parents effondrés peuvent se consoler d’avoir perdu un petit ange en lui substituant un autre visage, plutôt idéalisé, ou mieux la figure d’un autre ange, plus solide car en marbre et plus protecteur. Peu à peu, le cimetière se pare d’un peuple de statues que viennent compléter quelques motifs professionnels, rares toutefois. La personnalisation de la tombe reste toutefois très discrète, la douleur contenue. La sculpture funéraire, et le portrait en particulier, se mettent au service de l’expression de sentiments filiaux ou conjugaux, réservés jusqu’alors à l’intimité, mais traduisent un élitisme que la législation du 23 prairial an XII ne souhaitait pas. Pendant la période 1880-1930, les commanditaires des portraits funéraires bénéficient d’une offre élargie de produits notamment grâce à l’essor de la photographie et au procédé de vitrification. Sans concurrencer le portrait sculpté porté principalement par le médaillon de bronze et la ronde-bosse, le vitrail photographique permet de promouvoir le souvenir du défunt dans un écrin luxueux, où, pour la première fois, la présence de la couleur fait animer ces visages et les rend presque vivants. Mais, c’est un luxe que peu de familles peuvent s’offrir. Alors, le médaillon photographique sur plaque émaillée, plus modeste, permet à une clientèle moins fortunée d’accéder au portrait funéraire au cimetière. Après 1930, alors que chapelle et vitrail disparaissent des allées du cimetière, le médaillon peut définitivement prendre place sur les sépultures. Très vite, c’est un succès assuré qui ne se dément pas, aujourd’hui encore. La période de 1940 à nos jours est de loin la plus riche en portraits funéraires et ce grâce à des techniques bien maîtrisées, celle de la photographie sur médaillon de porcelaine et celle de la gravure mécanique ou artistique, grâce également à de nouveaux supports que sont les plaques funéraires, les urnes, les vases. Et il n’est pas rare qu’une famille ait recours à des techniques différentes pour chacun de ses défunts. La façon de présenter le défunt a également évolué ; le modèle de studio photographique cède la place à un modèle présenté « au naturel », c’est-à-dire issu de l’album photographique familial et de nouveaux symboles montrent le défunt sous des aspects plus personnels. Désormais, le portrait funéraire du défunt au cimetière n’est plus seulement un visage mais c’est aussi un sportif, un chasseur, un motard, un professionnel, un amoureux des bêtes, un amateur de pétanque / From the imperial law of 23 Prairial year XII (June 12, 1804) which imposes the burial obligation for all in the cemetery, the sculpture puts itself at the service of the portrait of the deceased, in this very special space which is at the same time of the private frame and the public setting. Heir to a tradition hitherto booked with noble and to the king, the funerary portrait is displayed in an iconography which oscillates between symbolic system and realism of the physical features; the soldier is honored as hero while the priest is venerated by the parishioners. Falling under the fashion of the “statuomanie galopante” years 1880, the Lorraine cemeteries join the public will to honour its Great men, at one time when the “Small Fatherland”, Lorraine, meets the “Great Fatherland”, France, where known artists and sometimes less known put their know-how and their notoriety at the service of portraits the notable ones. The funerary portrait knows its golden age then. Whereas the modern cemetery is built little by little thanks to its compartmental organization, the families test the imperative need very quickly to materialize, on these family concessions, the memory of the features of their late and the carved portrait give of it them the opportunity and here it is which leaves the intimacy of the living rooms to be installed either on the family stele of the tomb. Thus the tearful husband remembers the face his dear wife, that ploughed up parents can comfort themselves to have lost a little angel in him substituent another face, rather idealized, or best the figure of another angel, more solid because out of marble and more protective. Little by little, the cemetery is avoided of people of statues which some professional reasons come to supplement, rare however. The personalization of the tomb remains however very discrete, the pain contained. The funerary sculpture, and the portrait in particular, are put at the service of the expression of subsidiary or marital feelings, hitherto booked with the intimacy, but translate an elitism which the legislation 23 Prairial An XII did not wish. For the period 1880-1930, the silent partners of the funerary portraits profit from a widened offer of products in particular thanks to rise of the photography and with the process of vitrification. Without competing with the carved portrait carried mainly by the bronze medallion and the sculpture in the round, the photographic stained glass makes it possible to promote the memory of late in a luxurious house, where, for the first time, the presence of the color makes animate these faces and makes them almost alive. But, it is a luxury which few families can offer. Then, the photographic medallion on enamelled plate, more modest, makes it possible to less fortunate customers to reach the funerary portrait with the cemetery. After 1930, whereas vault and stained glass disappear from the alleys of the cemetery, the medallion can definitively take seat on the burials. Very quickly, these is a assured success which is not contradicted, still today. The period of 1940 to our days is by far richest in funerary portraits and this thanks to techniques controlled well, that of photography on porcelain medallion and that of mechanical or artistic engraving, grace also to new supports which are the funerary plates, the ballot boxes, vases. And it is not rare that a family resorts to different techniques for each one of her late. The way of presenting the late one also evolved; the photographic model of studio gives way to a model presented “to the naturalness”, i.e. resulting from the family photographic album and new symbols show the late one under more personal aspects. From now on, the funerary portrait of late with the cemetery is not only any more one face but it is also a sportsman, a hunter, a motorcyclist, a professional, in love with the animals, an amateur of game of bowls.

L’étude des matériaux et des décors colorés de l’abbatiale Cluny III s’inscrit dans le cadre du projet Gunzo (Arts et Métiers ParisTech – Cluny) qui avait pour but la valorisation du patrimoine clunisien par l'intermédiaire des technologies numériques en réalité virtuelle. Un des axes de ce projet était d’élaborer une restitution virtuelle de la Maior Ecclesia en recréant une architecture la plus proche possible de la réalité à l’aide de l’étude des vestiges et des sources iconographiques et historiques qui nous sont parvenus associée aux recherches archéologiques les plus récentes. Outre l’architecture, il s’agissait également de proposer une restitution des décors de l’abbatiale et de son ambiance colorée. Nous avons concentré nos recherches, dans ce travail doctoral, sur les fragments de vitraux archéologiques mis au jour sur les sites de Cluny et de Paray-le-Monial, ainsi que sur les polychromies des fragments lapidaires du portail roman de Cluny, par une approche archéométrique. Les vitraux sont des éléments filtrants qui modulent la lumière tant en quantité qu’en coloration et jouent donc un rôle important dans la création d’une ambiance lumineuse et colorée. Les décors polychromes participent également à l’amélioration et la coloration de l’éclairement. De plus la connaissance des matériaux d’origine est préalable à toute restitution virtuelle en raison de la possible altération des pigments ou des décors métalliques (modification de la couleur) et d’éventuels repeints pouvant induire des changements de parti coloré.Une grande majorité des fragments de verre ont été mis au jour dans des contextes de remblais limitant leur datation à une approche typo-chronologique. Les classifications archéologiques élaborées ont été confrontées aux résultats d’analyses physico-chimiques qui nous ont permis d’affiner la datation de certains fragments et nous ont apporté de nombreux détails techniques. En ce qui concerne le portail de la Maior Ecclesia, qui occupe une place centrale dans l’art roman, nous avons précisé l’image de ce « puzzle lapidaire » tant au niveau de l’iconographie que de la polychromie. L’analyse physico-chimique des restes colorés a permis d’identifier les différents matériaux mis en œuvre dans la décoration du portail. Nous avons pu observer quatre phases polychromes, l’utilisation de pigments coûteux et l’abondance des décors métalliques.Nous avons ainsi contribué à la compréhension des décors colorés de l’abbatiale clunisienne. Cette étude représente une étape dans la compréhension d’un patrimoine archéologique qui, tôt ou tard, sera enrichi ; rappelons en effet qu’une partie des fragments de l’abbatiale est encore enfouie. / The study of materials and coloured decors of the abbey-church Cluny III is part of the Gunzo project (Arts et Métiers ParisTech – Cluny) which led the research and the promotion of the cluniac heritage thanks to digital technologies and virtual reality. This interdisciplinary team worked on the creation of a new digital model of the Maior Ecclesia, according to the latest scientific research, including the archaeological excavations and the study of the documentary and iconographic sources. Besides the architecture, it was also to propose a restoration of the decors of the abbey-church and its colourful atmosphere.The research in this doctoral work is focused on the fragments of archeological glass windows excavated in the sites of Cluny and Paray-le-Monial, as well as on the polychromies of the lapidary fragments of the Great Portal of Cluny using an archaeometric approach. The stained glass windows are filter elements that modulate the light in quantity and in colour. As such, they play a key role in creating a luminous and colourful atmosphere. The polychrome decors also contribute to the improvement and coloration of the lighting. Moreover, knowing the original materials is a prerequisite for any virtual restoration because of the possible alteration of pigments or metal decorations (color change) and possible repaints which can induce changes in colourful design.A large majority of glass fragments were excavated in the ruins of the churches, restricting their dating to a typo-chronological approach. The archaeological classifications performed from the relative chronology, typology and appearance of the vitreous material were compared with results of physicochemical analyses. These helped to refine the dating of certain fragments and identified many technical details. With regard to the portal of the Maior Ecclesia, which occupies a central place in the Romanesque art, the picture of this "lapidary puzzle" in iconography and in polychromy has been clarified. The characterization of the colourful remains has enabled identification of the different materials used in the decoration of the portal. Four polychrome phases, the use of expensive pigments and abundance of metal decorations were observed.In this way, this research has contributed to the understanding of the colourful decors of the Maior Ecclesia. This study represents a stage in the comprehension of an archaeological heritage which, sooner or later, will be further enhanced. It is important to remember that fragments of the abbey-church remain buried.

The project was influenced by several factors, the most significant being the water element, which is very important for Judaism and primarily symbolizes ritual purification. The concept divides the area in the axis of Nešverova Street, making an orthogonal block, further separated according to the functions, and public area under which a part of the underground parking is located. The block consists of the synagogue, museum, restaurant and administrative building of the Jewish community with a library. From the architectural standpoint, the project was significantly influenced by the stained glass window of the burned former synagogue, which was, in more modern spirit, imprinted into the museum’s facade. This window becomes a dominant element of the facade, because it pervades all three floors, so the rest of the building is not divided and for lighting of the exhibition areas skylights and artificial light are used. Significance of this concept is intensified by the fact that the visitor is dragged inside, right to the front of the synagogue, to which a ramp leads. There is an importance of the mentioned water element in the design of the synagogue. The whole concept is approached organically and was inspired by a drop of water falling down on the surface. The synagogue literally grows from a body of water which surrounds it and creates a crystalline element. The idea is amplified by the water wall which runs from the passageway all around the synagogue. Part of the administrative building and the restaurant are designed in more simple style, but the idea of arch is reflected in the moulding, which was designed intentionally with reference to the surrounding buildings. The rest of the site served as a small park and this function has been maintained. A significant element in this part of the site is Theresian gate, which remained from the 18th century fortification. The park was supplemented by an artificial bank, which covers the entrance to underground parking a