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Plant, Richard. "English Romanesque architecture and the Holy Roman Empire." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367929.
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Laurent-Brière, Chantal. "Victor Hugo, architecture et roman mêlés : dela représentation architecturale dans l'oeuvre romanesque de Victor Hugo." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10090.
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L'œuvre de Victor Hugo témoigne du goût de son auteur pour l'art architectural. Les travaux de Jean Mallion ont montré l'importance des références, tous genres confondus, et analysé l'étroite imbrication entre l'écriture et l'engagement de Hugo en matière de préservation des monuments historiques. Inspirée par les recherches de Philippe Hamon, qui associent littérature et architecture au XIXe siècle dans leur commune aptitude à produire de la narrativité, notre réflexion choisit de limiter le corpus établi par Jean Mallion pour se concentrer sur la représentation romanesque de l'architecture. Avec Notre-Dame de Paris, nous étudions tout d'abord le moment où l'architecture devient matière romanesque. L'auteur bâtit avec des mots et les romans engagent un dialogue avec le savoir architectural que traduit la présence d'une toponymie et d'un lexique spécialisé, garants d'une capacité à construire l'illusion du référent. Nous approfondissons ensuite l'observation des liens entre les éléments constitutifs du genre romanesque et la description, mode majoritaire d'une mise en texte de l'art de bâtir. Le roman accorde à l'architecture une place visible dans sa propre construction et un rôle dans les notions clefs de sa poétique que sont le temps, l'espace et le système des personnages. Représentée, l'architecture est aussi représentative. Ainsi sa valeur symbolique sert-elle l'ambition du roman de mettre en scène l'Histoire, la Société et le Progrès. Le roman hugolien a pour constante d'exhiber le travail de création de son auteur. L'architecture, comme autre expression artistique, comme autre écriture, offre une médiation à cette spécularité. Nous nous intéressons à ce dispositif réflexif qui recentre l'œuvre sur elle-même et en fait un modèle absolu de l'acte créateur. Enfin, nous considérons que la maison d'exil de Victor Hugo, Hauteville House, livre architectural portant signature, appartient à l'œuvre et apparaît comme un trait d'union entre écrire et construire.
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Neuenschwander, J. Brody. "The art history of Speyer." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325778.
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BOUVIER, BOURRAIN MIREILLE. "La plume et la pierre : architecture et création romanesque chez Henry James." Chambéry, 1997. http://www.theses.fr/1997CHAML005.
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Décor de l'oeuvre de fiction et métaphore du projet littéraire, l'architecture constitue l'un des thèmes majeurs des romans de James. Son importance est liée à l'intérêt de l'auteur pour les arts plastiques et au respect d'une tradition qui, par le biais de l'analogie, a depuis longtemps rapproché l'art des mots de celui de la pierre. Cette étude se propose de dégager les fondements d'une telle attirance pour l'esthétique architecturale et d'en apprécier l'application dans le roman, ces deux aspects soulignant, à leur tour, le caractère "spatial" de l'écriture jamesienne. En l'absence d'essais spécifiques consacrés à l'architecture, l'étude débute par l'analyse des carnets de voyage de James et son autobiographie. Dans ces textes s'exprime une sincère admiration pour l'ouvrage architectural, par le biais de multiples "impressions" dont le souvenir se retrouvera à la base même de la création littéraire. Une réflexion phénoménologique inspirée des travaux de Norberg-Schulz et de Heidegger permet de rattacher ce sentiment à un profond besoin de détermination spatiale. Or l'espace devient porteur de sens grâce à l'architecture qui en fait un phénomène concret, un "lieu" dans lequel l'homme trouve ses marques et y établit sa "demeure". L'architecture assume ce rôle dans l'espace physique mais aussi textuel comme le montre l'étude de "The other House". Erigée en modèle de l'entreprise littéraire dans les préfaces de l'édition new-yorkaise, l'architecture permet aussi de formuler un projet ambitieux mettant en exergue la supériorité de l'artiste et le rôle du lecteur dans la création du texte. Cependant, à l'instar de l'écriture qu'elles se proposent d'illustrer, les métaphores du discours critique présentent des ambigüités et des paradoxes. Aussi l'architecture littéraire jamessienne se pare-t-elle parfois d'un trompe-l'oeil qui, pour autant, ne remet pas en cause la qualité "monumentale" d'oeuvres telles que "The Portrait of a Lady" ou bien "The Wings of the Dove"Used as a setting in the work of fiction and a metaphor for creative writing, architecture is a major theme in Henry James's novels. Its importance stems from the writer's interest in the visual arts and from an analogical tradition which has for a long time established connections between the art of writing and that of building. This essay aims at examining the foundations of such fondness for architectural aesthetics and assessing its application in the novel, both of these aspects highlighting, in turn, the "spatiality" of James's writing. As no specific essay was ever written by James on architecture, the study starts with an analysis of his travel essays and autobiography. In these texts the author expresses a profound admiration for architectural achievements, through numerous "impressions" whose later remembrance lies at the very core of his literary creation. A phenomenological reading based on works by Norberg-Schulz and Heidegger enables to link that feeling to a deep-rooted need for spatial determination. Now space becomes meaningful thanks to architecture which converts it into a concrete phenomenon, that is to say a "place" where man can orientate himself and "dwell". Architecture plays such a role in physical but also textual space as is shown in the analysis of the other house. Presented as an art analogue for literature in the prefaces to the New York edition, architecture also helps shape an ambitious project which asserts the superiority of the artist and the role of the reader in the creation of the text. Yet, like the writing they purport to illustrate, the metaphors in the critical discourse are ambiguous and paradoxical. Indeed, James's literary architecture sometimes resorts to a trompe-l'oeil technique that nevertheless does not challenge the "monumentality" of works such as the Portrait of a Lady or the Wings of the Dove
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Harris, Roland Benedict. "The origins and development of English medieval townhouses operating commercially on two storeys." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:edbe4dc8-fc54-42f4-9db0-6b7d5c468795.
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Although split-level townhouses have proved elusive on the continent, examples are known in the Zähringen towns of modern Switzerland: several of these towns have also developed elevated walkways. There can be little doubt that the split-level townhouse and its variants were the result of commercial pressure, and an insatiable demand, not found again after the early to mid fourteenth century, for numerous small-scale retail units and undercrofts.
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Ni, Ghradaigh Jenifer. "The Romanesque architecture sculpture of the medieval kingdoms of Meath, BreÌifne and Argialla." Thesis, Courtauld Institute of Art (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406532.
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Givans, Duncan Blair Cameron. "English Romanesque tympana : a study of architectural sculpture in church portals c.1050-c.1200." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/4168/.
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This thesis presents a study of the use made of tympana in English Romanesque portals and the evidence they offer for religious, social and cultural expression in village churches where the vast majority of examples are preserved. In order to achieve this a significant proportion of the analysis has been addressed to the manner in which people may have interpreted what they saw. For the convenience of the reader basic descriptions of all examples noted during the course of the research and details of manorial and patronal circumstances are given as the Handlist in Volume 2. The first two chapters establish the parameters of the research, outline the social and religious environment during the period, and the art historical principles underpinning the research. Chapter III examines the distribution of examples in geographical terms and the use made of tympana in different categories of building. In chapter IV the structural and compositional formulation of tympana is analysed and the use made of geometric ornament. Chapter V assesses images of Christ and the relationship between these and the representation of power. Chapter VI examines other human figural iconography through the categories of figure-types depicted. The subject of chapter VII is the use of compositional types as a means to assess the use made of beast imagery. The thesis demonstrates for the first time in a systematic and quantified manner that tympana are a significant feature of English Romanesque portals and that a strong decorative character is shared by all tympana, thus contributing to the adornment of the house of God in a befitting manner. It argues that the iconography was composed so as to ensure the utility of the images as a focus for devotion for a wide variety of audiences and as a means of expressing social values, particularly through the relationship between the figures depicted and the representation of temporal power. The thesis also confirms that the religion presented by examples with figural sculpture is centred on the authority of God and the saints and on iconic symbols, rather than exemplars for emulation, reflecting the conservative nature of devotion in local communities. The thesis therefore raises important issues in relation to our understanding of portals as architectural features, the expression of religious devotion and social values in local communities during the period, and the use of portals in the practice of religious devotion.
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Roy, Brian E. "The Baptistery San Giovanni in Florence and its placement within the chronology of Tuscan Romanesque churches /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68134.
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The controversial dating of the Baptistery San Giovanni is approached through formalistic considerations. Formal analyses of the Baptistery and the Duomo of Pisa lead to comparison and isolation of definitive features of Pisan and Florentine styles. As such, the buildings are shown to be prototypes and their respective receptions are traced in the Romanesque churches of Fiesole, Empoli, Lucca, Pistoia and Sardinia. It is concluded that the Baptistery must have been completed before the Duomo of Pisa was begun.
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Gourgues, Morgane. "Les églises rurales dans l’ancien diocèse d’Elne (Roussillon et Vallespir, Pyrénées-Orientales), entre le Vème et le XIème siècle : l’expression d’un palimpseste architectural ? Un répertoire des formes, entre préroman et anté-roman." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30026/document.
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La pâleur des témoignages distillés par une Antiquité tardive et un haut Moyen Âge roussillonnais, pourtant florissant, a jeté un voile nous privant pour longtemps de toute la richesse chromatique d’une longue période, qui n’a d’obscure que les a priori que l’on s’en fait. Opérer une introspection sur la genèse du vocabulaire formel chrétien est inévitable pour en comprendre les raccourcis, ceux souvent initiés par une vision monofocale n’offrant que trop peu souvent la possibilité d’envisager le bâtiment ecclésial selon sa polysémie : tout à la fois lieux de l’accomplissement du culte, de rassemblement des fidèles, mais aussi lieux d’expression techniques et artistiques. Un condensé, en somme, au cœur d’une société en mutation, où les différents acteurs politiques n’ont eu, en réalité, qu’un impact modéré.Les modestes églises rurales anté-romanes, par leurs structures et leurs modes de construction, sont finalement révélatrices d’un héritage et d’une continuité, jusque là minimisés, voire insoupçonnés. En choisissant de ne pas dissocier l’évolution des techniques de celle des formes, tout en prenant en compte les nouvelles perspectives soulevées par l’archéologie médiévale, pour d’autres territoires, les postulats chronologiques s’étiolent, se faisant moins relatifs et plus impartiaux. Entre relecture et reformulation, il convient maintenant d’envisager une mise à l’épreuve de l’architecture préromaneThe scarcity of evidence trickled down from the late Antiquity and the Roussillon Early Middle Ages, although quite flourishing, has casta veil depriving us for quitea while of all the chromatic richness of a long era, obscure only because of the a priori one has about it. Carrying out an introspection into the genesis of the formal Christian vocabulary is an absolute must to understand its shortcuts, those being often brought about by a monofocal vision too rarely offering the opportunity to consider the church building according to its polysemy: worshipping and congregating places for the believers as well as places where their craftmanship and art could be expressed. A summary, all in all,in the midst of a mutating society where the various political actors have only had in fact a moderate impact.The humbleante-Romanesque rural churches, by their structures and their method of building are eventually revealing of a legacy and a continuity played downuntil now, unsuspectedindeed. By choosing not to dissociate the evolution of techniques from that of the forms while factoring in the new prospects brought up by medieval archaeology, for other areas, the chronological postulates weaken, becoming less relative and more unbiased. Between rereading and rewording, it is now advisable to consider putting to the test pre-Romanesque architecture
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Stobbe, Frauke. "Romanischer und gotischer Sakralbau in Frankreich : am Beispiel der Abteikirche von Saint-Denis." Master's thesis, Universität Potsdam, 2008. http://opus.kobv.de/ubp/volltexte/2011/5503/.
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Die Magisterarbeit „Romanischer und gotischer Sakralbau in Frankreich am Beispiel der Abteikirche von Saint-Denis“ beschäftigt sich mit den Gründen für den im 12. Jahrhundert stattfindenden Baustilwandel, wie und warum er sich ausgerechnet zuerst an der kleinen Abteikirche im Pariser Umland vollzog und welche Rolle dem dortigen Abt Suger zukam.
Zunächst werden grundlegende Fakten und Beispiele zum mittelalterlichen Sakralbau in Frankreich vermittelt, anschließend die beiden aufeinanderfolgenden Epochen Romanik und Gotik temporal, territorial und vor allem architektonisch eingeordnet und beschrieben. Den Schwerpunkt der Arbeit bildet die kritische Analyse der Abteikirche von Saint-Denis, wobei sowohl architektur-stilistische als auch (kirchen-)politische Aspekte einer eingehenden Betrachtung unterzogen werden. Zum besseren Verständnis ist der Arbeit ein Glossar architektonischer Fachbegriffe beigefügt.This paper deals with the wherefores of the architectural style transition from the Romanesque age to the Gothic era in the 12th century in Europe, especially in France. The author points out why one can say that the Gothic style starts in the small abbey church Saint Denis, situated in the environs of Paris, and which role is assigned to its abbot Suger. First, sample churches illustrate basic facts about medievial sacred architecture in France. Following this, the paper classifies the Romanesque and Gothic period in a temporal as well as territorial and architectural way. The paper’s focus is on a critical analysis of the abbey church Saint Denis which reviews thoroughly both architectural-stylistic and ecclesio-political aspects at that time. For a better understanding, a glossary of architectural technical terms is attached.
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Bricault, Céline. "La poétique du seuil dans l'oeuvre romanesque de Jules Barbey d'Aurevilly." Clermont-Ferrand 2, 2006. http://www.theses.fr/2006CLF20001.
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Le seuil peut être défini comme ce qui sépare et relie des entités différentes, convoquant des contraires inconciliables pour qu'ils cohabitent. Or, l'oeuvre aurevillienne manifeste une volonté d'unité contrebalancée par son échec à réaliser cette unité. Comment la présence du seuil s'articule-t-elle avec la poétique du désaccord privilégiée par l'auteur ? La phénoménologie permet de comprendre que les différents types de seuil organisent la description de l'espace romanesque et qu'ils permettent de définir le personel du roman. La structure romanesque des écrits régie par le seuil se caractérise par une diégèse spécifique et par la mise en place d'une théâtralité reposant sur une esthétique du mystère et du tragique. Le symbolisme explique les raisons de ces particularités : il révèle une conception de l'Histoire fondée sur une rupture révolutionnaire irrémédiable que l'auteur cherche à enrayer et sur une conception de la mort comme passage initiatique amorcé mais jamais achevé
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Guillaumont, Agnès. "Sculpture romane en Auvergne : iconographie, textes et programmes, l'exemple des églises à déambulatoire." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20041/document.
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Neuf églises à déambulatoire (cinq entièrement conservées et quatre conservées en partie) ont été sélectionnées parce qu’elles constituent un ensemble cohérent et très riche en sculptures figurées. Elles sont prises comme base pour l’étude iconographique de la sculpture romane en Auvergne.Ces sculptures sont d’abord analysées à la lumière des textes (Bible, exégèses des Pères de l’Église, traités et sermons plus contemporains etc.) par secteurs localisés. Puis les sujets les plus fréquemment rencontrés sont approfondis avec l’appui des exemples rencontrés dans les autres églises de la région. Enfin, la question est posée des relations entre les sujets d’un même édifice et d’un éventuel programme d’ensembleAu cours de ces analyses, de nombreux sujets ont trouvé leur explication, un programme sur l’ensemble de l’édifice a pu être mis au jour pour l’église de Saint-Nectaire, et des concepteurs pour Notre-Dame-du-Port et Saint-Nectaire sont envisagés. Pour finir, ces propositions d’identification des concepteurs permettent de proposer une révision de la datation généralement admiseNine churches with ambulatories (5 completely preserved and 4 partially preserved) have been selected because they form a coherent whole, rich in figured sculptures. They are taken as the basis for this iconographic study of Romanesque sculpture in Auvergne.These sculptures are first analysed in the light of religious texts (the Bible, exegeses of Church Fathers, more contemporary treatises and sermons, etc) and groupedin localised sectors. There follows an in-depth treatment of the most frequently encountered subjects, backed up by examples from the other churches of the region. Finally, the question is raised of relations between the subjects of one given building and a possible overall programme.In the course of these analyses, an explanation has been found for many subjects, an overall programme for the church of St-Nectaire has been brought to light, and possible designers of Notre Dame du Port and St-Nectaire are envisaged. This proposed identification of the designers makes it possible to suggest a review of the generally accepted construction dates
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Spencer, Thomas. "L'architecture religieuse en Champagne du Nord aux XIe et XIIe siècles." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010618/document.
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Les recherches sur l'architecture romane en Champagne du Nord, sauf ponctuellement n'ont pas été renouvelées depuis le début des années 1980. Une étude historiographique permet plusieurs constats aujourd'hui : les historiens de l'art et les archéologues ne se sont pas investis dans l'archéologie de la région en dépit du fait que des techniques plus performantes de datation ont été développées, en particulier, l'archéométrie et l'archéologie du bâti; la région n'a guère encore profité de ces nouvelles méthodes d'observation; le chercheur trouve également à sa disposition des ressources analytiques de l'histoire qui permettent d'aborder son propre sujet avec une meilleure connaissance des multiples conditions qui ont régi la création architectural et artistique de l'époque. Ainsi, on prend conscience du fait que le temps est venu de renouveler le regard sur l'image et sur la chronologie des monuments religieux romans champenois. Cette étude revisite, d'abord, les trois grandes églises romanes des diocèses de Reims et de Châlons : Montier-en-Der, Saint-Étienne de Vignory et Saint-Rémi de Reims dont les dates et le phasage des campagnes de construction sont encore discutées. Ensuite, a été analysé un nombre restreint d'églises-types dont les plans, les élévations et le décor monumental sont caractéristiques pour la région. En y appliquant la plus grande acuité de regard possible, il est possible d'infirmer beaucoup des critères de datation employés encore assez récemment et de formuler de nouvelles conclusions sur divers aspects de ces monumentsResearch of Romanesque architecture in the north of the Champagne region, with very few exceptions, has not been renewed since the early 1980s. In the first part of this current study, the historiography of the subject study reveals that: art historians and archaeologists have not been invested in the archaeology of the region despite the fact that there have been many improvements in the methods of observation and dating, in particular with archaeometry and buildings archaeology; the architecture of the region has therefore not benefitted from these new techniques; there are a great many more resources available today that also analyze the history of the period and permit a greater understanding of the multiple contexts that had an impact on architectural and artistic creation during the 10th, 11th and 12th centuries. As such, one is made aware of the need to renew the general comprehension and chronology of the Romanesque religious monuments in Champagne. In the second part of this current study, the three largest churches of the dioceses of Reims and Châlons are revisited : Montier-en-Der, Saint-Étienne de Vignory and Saint-Remi de Reims of which the dates and phases of construction are still a matter of discussion today. Following this monographic study is an analysis of a selected group of church-types of which the plans, elevations and monumental decoration are characteristic of the region. By applying to all of these churches a greater degree of observation than previously done, it is possible to invalidate a certain number of the criteria formerly used to date these monuments and to suggest new conclusions concerning many aspects of their construction
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Mortensen, Daniel. "Den reflekterande kyrkan : En analys av Övraby kyrkoruin i Halmstad." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413485.
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The purpose of this thesis is to analyse the church ruin of the abandoned settlement of Övraby in Halmstad, Sweden. This is done from a modern church archaeological point of view based on Jes Wienbergs discussion on how to analyse a church as a part of a society rather than as an entity of its own. As an effect of this the thesis also discuss the settlement history of Övraby. The delimitation of the thesis is Övraby and its closest surroundings. Three issues are raised 1. Is there is a continuity of cult or place of cult from the pre-Christian era. 2. Of what type of character was the settlement? 3. How did the church architecture reflect societal change? The results in this thesis states that there are no concrete findings of cult places from the pre-Christian era which could be said to be connected to Övraby, though there are some aspects of the interior of the church building that might be considered as having been connected to a pre-Christian aristocratic cult. The thesis also states that Övraby was an aristocratic village which with time developed into a city, this aristocratic character of the early settlement is reflected both in profane buildings and on the architecture of the church. The development from village to town the thesis states, can be seen on the church architecture since the church lost many of its aristocratic features of architecture as the settlement developed.
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Huang, Lei. "L'abbatiale Sainte-Foy de Conques (XIe - XIIe siècles)." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H052.
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L’étude archéologique du bâti de l’abbatiale Sainte-Foy de Conques, essentiellement centrée sur les pierres d’appareil, a pour double objectif de mettre en avant, autant que possible, des indices matériels susceptibles d’éclairer la marche des travaux ainsi que d’appréhender les dimensions technique et économique et, plus généralement, l’organisation de ce grand chantier roman. Le croisement des données archéologiques, telles que les discontinuités des maçonneries et la distribution des matériaux, des techniques de taille, des marques lapidaires et des trous de boulin, permet de proposer un phasage de la construction, qui fournit, par la suite, un cadre chronologique indépendant et efficace pour l’étude de la sculpture de l’abbatiale. Ainsi l’évolution interne de la sculpture est-elle retracée, par l’intermédiaire d’une approche stylistique globale. Les modalités des transferts artistiques entre Conques, Compostelle et l’Auvergne sont également mieux définies, ce qui invite à reconsidérer la chronologie des églises romanes d’Auvergne,d’autant que certains chantiers auvergnats et celui de Conques se situent dans la même géographie technique durant la deuxième moitié du XIe siècleThis archaeological study of the building of the abbey church of Sainte-Foy in Conques, which is mainly focused on facing stones, has a double objective: on the one hand, to discern, as much as possible, material indications likely to enlighten the progress of construction work; on the other hand, to understand technical and economic dimensions and, more generally, the site organisation of this major Romanesque building project. Archaeological data, such as masonry discontinuities, distribution of different petrographic types, stone-cutting techniques, masons’ marks and putlog holes, make it possible to propose a construction phasing, which offers an independent and efficient framework for study of the sculpture of Sainte-Foy. The sculpture evolution is thus traced, through a global stylistic approach. Artistic transfers between Conques, Santiago de Compostela and Auvergne have also been better defined, which leads to reconsider the chronology of Romanesque churches of Auvergne, especially as Conques and Auvergne were located in the same technical geography during the second half of the eleventh century
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Kříž, Pavel. "Analýza konstrukčních, statických a proporčních kritérií románských a předrománských rotund." Doctoral thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-355628.
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Topic of this dissertation thesis follows previous dissertations dealing with reconstructions of historical buildings that were successfully defended at Institute of Building Structures, Faculty of Civil Engineering, Brno University of Technology. The thesis deals with Romanesque and Pre-Romanesque round churches, called rotundas, that were built between 9th and 13th century in the historical territory of Great Moravia. Churches of similar shape can be also found in surrounding countries, but only scarcely. By the time of origin these rotundas were among the oldest masonry buildings built within borders of contemporary Czech Republic. Later some rotundas were destroyed and are known only thanks to the archaeological findings or written records. Some are still waiting to be discovered. Surviving rotundas are the oldest masonry buildings in Czech Republic, therefore it can be said that they belong to the most valuable historical buildings in the country. Preserved rotundas were often modified or rebuild in some way. Thanks to their age, origins of many of these buildings are shrouded in a mystery, which is one of the reasons why they attract attention of many researchers – archaeologists, historians and art historians. Many questions arise from their research. These questions have interdisciplinary character and finding the answers requires cooperation of specialists in different fields. One of these fields is building engineering. This dissertation thesis deals with proportional and structural analysis of Pre-Romanesque and Romanesque rotundas. For the proportional analysis author focused on verifying of some of the hypotheses of other researchers connected to the Romanesque rotundas. These include hypothesis dealing with use of historical units for the design of rotundas, hypothetical use of proportional canon, or some universal sets of proportional ratios of vertical and horizontal dimensions. The proportional analysis also helped with verification of some hypothe
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Angers, Philippe 1968. "Principles of religious imitation in mediaeval architecture : an analysis of the Holy Sepulchre in Jerusalem and its European copies from the Carolingian period to the late Romanesque." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98534.
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This study concerns the concept of sacred architectural imitation, using the Platonic notion of mimesis which then later finds expression in the medieval idea of imitatio. In Religious as well as in artistic and architectural forms of expression, the notion of imitation is indeed a very central and complex issue. At the heart of this concept is the question of meaning, or, more precisely, the transference or translation of meaning; from original to copy, from prototype to reproduction.In order to better illustrate and understand the principles guiding the notion of medieval sacred architectural imitation I have chosen to focus on five specific instances surrounding the replication of the Holy Sepulcher in Jerusalem, arguably the most revered landmark in Christendom.
A close examination of the relationships which exist between model and copy will bring to the fore the dynamics which govern the process of mimesis by which meaning is reproduced in the architectural replicas.
From this comparative analysis will emerge a more universal picture of the medieval concept of religious imitation. Indeed, if anything, a preliminary survey of the great many imitations of the Holy Sepulcher spread throughout Europe reveals to the observer a surprising trend, namely a consistency of inconsistencies in their effort to "copy".
The present study will demonstrate that these seeming inconsistencies within the application of the mimetic process nevertheless reveal a somewhat unexpected structure.
From the pattern of these inconsistencies will emerge a clearer picture of the principles governing the transfer of sacred meaning via the method of imitatio during the Middle Ages.
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Jaluzot, Pascal. "Architecture et décor des clochers des églises rurales en Bourgogne du Sud ( XIe - XIIe siècles)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H021/document.
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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 grégorienneThis 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
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Nicolier, Anelise. "La construction d'un paysage monumental religieux en Brionnais à l'époque romane." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20120/document.
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Au Sud de la Bourgogne, le Brionnais peut de loin apparaître comme une génération spontanée du XII° siècle. De fait, ce n’est ni une région physique naturelle, ni une division ecclésiastique. En un temps où une frontière vient séparer la France et la Bourgogne, puis l’Empire, une sorte de hasard va faire de ce territoire disparate, en marge, dirait-on, une marche, vouée à se définir. Le Brionnais va se former, bénéficiant d’une politique volontaire, due à la présence active de deux seigneuries féodales, incarnées par les familles de Semur et Le Blanc : autour d’elles, par le jeu des alliances, voire des rivalités, par les prestigieuses carrières ecclésiastiques de certains de leurs membres, les seigneurs du Brionnais tissent des liens avec les grandes familles des territoires voisins. Au résultat, solidité au dedans,ouverture au dehors sur les régions limitrophes, les lieux de culte, églises et monastères, fleurissent en peu de décennies, pour en dessiner un paysage monumental spécifique. Il sera précisément marqué par une originalité assez sûre d’elle-même pour chercher, adopter, interpréter et faire fructifier les influences. En somme, réseau politique, réseau artistique, les édifices religieux vont former un ensemble animé de riches interactions. Ce point de vue nous a permis de renouveler le regard porté jusqu’ici sur ce domaine original, le paradoxe étant que cet ensemble n’est pas parvenu jusqu’au XXIe siècle sans pertes ni modifications, et que, sous des apparences romanes, le paysage actuel est avant tout une construction du XIXe siècle ! Il a donc fallu procéder tout d’abord à une analyse régressive, de décapage dans le temps, et de reconstitution prudemment guidée par les traces et la documentation. En parcourant à reculons le patrimoine religieux contemporain et moderne, nous avons pu remonter jusqu’au IX° siècle, jusqu’ici ignoré de la recherche : elle ne s’était intéressée qu’aux églises conservées en élévation, alors que plus de la moitié des églises construites entre le IX° siècle et le XII° avaient disparu de la surface observable. Le premier résultat est d’importance : l’on peut maintenant suivre la genèse du tissu paroissial, comme un glissement du découpage en agri et villæ vers un maillage de parrochiæ. Une fois restitués la géographie politique et ecclésiastique et le patrimoine, il s’est révélé que le contexte particulier du Brionnais avait donné naissance à une architecture religieuse particulière, grâce à l’étude de la morphologie des bâtiments, de leur style, à une attention spéciale portée à la pierre à bâtir depuis son approvisionnement jusqu’à l’ouvrage. L’architecture du Brionnais offre de fait un profil totalement original. Le détail des analyses montre une invention, née de la capacité des bâtisseurs à puiser formes et techniques à des répertoires variés pour composer des créations inédites. Naturellement, comme l’historiographie du Brionnais roman est abondante (en particulier concernant le décor sculpté), notre travail a croisé les sources de réflexion, les bâtiments, les textes et les images, associant archéologie du bâti, histoire de l’art, géologie, histoire. Pour revenir au côté paradoxal, nous avons gardé le souci de favoriser autour de notre XII° siècle le temps long de l’Histoire, et l’époque Moderne, par exemple, nous a beaucoup parlé du Brionnais romanLocated in South Burgundy, France, the region known as the Brionnais appears, at first glance, to be a 12th Century spontaneous by-product. It is indeed neither a natural region, nor is it of ecclesiastical division. However, in a time where frontiers separated France and Burgundy, and later the Empire, a sort of contingency will mend this disparate and marginal territory into a singularly defined region. The Brionnais will form itself through willful policies thanks to the active presence of the Semur and Le Blanc lordships. The lords of the Brionnais will form connections with neighboring lords through games of alliances and rivalries, as well as through the ecclesiastical careers of certain of their members. The result: an inland solidity, an openness to the adjacent regions; places of worship, churches and monasteries flourish in mere decades in order to construct a singular landscape of religious monuments. The latter will precisely be marked by an originality sure of itself in order to seek, adopt, interpret and make bear fruit of its influences. In all, political and artistic network as well as the religious fabrics will create an ensemble of truly rich interactions. This allowed us to renew our view on this original domain, the paradox being that the latter didn’t survive up to the 12th Century without any loss or modification, and that, under Romanesque appearances, the present Brionnais landscape was actually mainly constructed in the 19th Century! Guided by traces and documentation, I proceeded through a regressive analysis, scouring through time, in order to carefully reconstruct the history of theRomanesque Brionnais religious monuments. Going back through the contemporary and modern religious heritage, I was able go as far back as the 9th Century, thus far ignored by research: indeed, until now, research only concentrated on churches conserved above ground, whereas more than half of the churches built between the 9th and 12th Century disappeared from the observable surface. The first result is of paramount importance: we can now follow the parochial structure genesis, like a shift from an agri and villae division to a parochiae network. Once the heritage and political and ecclesiastical geography reproduced, it appeared that the particular context of the Brionnais region gave birth to a particular religiousn architecture, notably thanks to the study of the monuments’ morphology, its style, and tothe attention given to the stone used, from its provision to the work and result itself. Hence, the original profile of the Brionnais architecture. The detail of the analysis show true invention, hatched from the builders’ ability to draw formes and techniques from various repertoires to give birth to unprecedented creations.Naturally, considering the abundant Brionnais Romanesque historiography (notably the sculptured decor), I cross-checked sources of reflection, monuments, textes and images, associating construction archeology, art history, geology and history. Coming back to the paradoxical aspect, I kept the interest of favoring the 12th Century the time of History, and the Modern era, for example, spoke quite a lot about of the Romanesque Brionnais
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Thirion, Anna. "La "tribune" de Saint-Michel-de-Cuxa (Pyrénées-Orientales, milieu XIIe siècle) : essai de restitution numérique au service d'une nouvelle approche historique, iconographique et liturgique." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30084.
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Vers le milieu du XIIe siècle, l’église abbatiale de Saint-Michel-de-Cuxa fut dotée d’une « tribune », profond jubé développé sur deux travées. Vraisemblablement démontée au cours du XVIe siècle, elle n’est plus connue aujourd’hui que par 180 éléments architecturaux et sculptés éparpillés en France et à l’étranger. Depuis sa découverte dans les années 1950, cet aménagement liturgique monumental en marbre rose a fait l’objet de plusieurs tentatives de reconstitution. Les divergences observées entre ces précédentes propositions sont nombreuses et portent sur l’inventaire des éléments qui proviennent de l’édicule, son emplacement dans la nef, la forme de cette architecture et l’assemblage des sculptures au sein de celle-ci.Le corpus des pièces conservées est suffisamment représentatif pour en proposer une anastylose numérique. Ce mot, du grec anastellein « remonter », désigne une tentative de reconstitution en trois dimensions d’un monument disparu, à partir du remontage des éléments qui en proviennent. En l’absence de témoignages précis (textuels ou iconographiques), c’est l’examen attentif des pierres qui permet la formulation de nouvelles hypothèses. Au cours de cette recherche, une méthodologie inédite pour l’étude de fragments épars issus d’ensembles démontés en vue de leur anastylose a été formalisée et testée. Toutes les pièces attribuées à l’ancienne « tribune » ont été numérisées et intégrées à cette proposition de restitution en trois dimensions.Cette dernière a apporté une meilleure connaissance de l’architecture et du décor sculpté, renouvelant la discussion sur cet objet artistique, liturgique et historique. Ainsi, son iconographie, ses fonctions, sa datation et le contexte de sa commande ont pu être précisésIn the middle of the twelfth century, the abbatial church of Saint-Michel-de-Cuxa was endowed with a ''tribune'', a deep choir screen built on two bays. Dismantled in the sixteenth century this ''tribune'' is only known today by its 180 pink marble sculptures scattered throughout France and abroad. Since its discovery in the 1950’s, several attempts have been made to reconstruct this liturgical nonpareil of architecture. Their results differ on several points : the inventory, the location of the construction in the nave of the abbey church, the shapes of the structure and the positioning of the sculptures themselves.The stones preserved, numerous and varied in nature, are sufficient to allow a 3D reconstruction in the form of a digital anastylosis. From the Greek word, anastellein, “to rebuild,” this study appoints an attempt to digitally reconstruct the disappeared monument from its remaining elements. With no contemporaneous descriptions or representations that of the tribune and lacking precise textual and iconographic evidence, it is the careful analysis of the stones themselves that allow the formulation of a new hypotheses. Through this research, a new methodology for the study of the scattered fragments issued from the dismantled structure has been developed and tested for the purpose of their anastylosis. Every stone attributed to the ancient ''tribune'' has been digitized and integrated in the proposition of a 3D reconstruction.The latter has brought a better understanding of the sculpted set and its architecture, renewing discussions on the structure's artistic, liturgical and historical aspects. Thus bringing clarity to its iconography, functions, dating and context of commissioning
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Coulangeon, Cécile. "L’architecture religieuse des Xe et XIe siècles dans le sud-est du Domaine royal capétien." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100155.
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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 conservésThe 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
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Sotirakis, Alexandra. "Espaces voûtés du chevet dans l’architecture romane en Europe : formes et fonctions." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL010.
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La thèse propose d’explorer le champ des relations entre architecture romane et espace liturgique à partir d’une disposition structurelle spécifique du chevet. L’analyse porte sur 139 monuments des XIe et XIIe siècles situés dans la péninsule italienne, dans les territoires germaniques et dans la péninsule ibérique, tous caractérisés par un chevet voûté plus ou moins fortement articulé et cloisonné alors que la nef perpétue la tradition de la basilique charpentée paléochrétienne. En dépit de l’hétérogénéité qu’un tel corpus comporte nécessairement (variété des statuts des monuments et des déclinaisons du dispositif étudié), l’étude comparative systématique des partis pris structurels et des aménagements liturgiques montre que ce traitement du chevet concourt, au même titre que le décor et que le mobilier, à structurer et à introduire un seuil dans l’espace ecclésial. Cette disposition participe du message ecclésiologique d’incarnation de l’Ecclesia dans le bâtiment : réservée au sanctuaire, la pierre permet de matérialiser le lieu de l’eucharistie et la présence réelle du Christ parmi les fidèles ; elle est une des principales composantes de la théologie du lieu eucharistique, avec l’autel et l’image. La mise en évidence du rôle de la maîtrise d’ouvrage dans le chantier permet aussi de mieux mesurer la dimension politique de ce type de chevet. L’étude du contexte de commande fait en effet émerger certaines des ambitions des maîtres d’ouvrage, à interpréter à l’échelle locale (manifestation de son rang, représentation de l’Église diocésaine dont il est à la tête) ou à l’échelle de l’Occident latin (prise de position dans les conflits liés à la mise en place de la réforme)This thesis explores the relationship between Romanesque architecture and liturgical space based on the specific structural layout of the east end (chevet). The analysis focuses on 139 11th- and 12th-century churches located in the Italian peninsula, Germanic territories and Iberian peninsula, all of which feature a vaulted chevet that is pronounced and partitioned to varying degrees, while the nave is in keeping with the tradition of the early Christian framework basilica. Despite the heterogeneity inherent in such a vast body of work (variation in monument status and in the structure studied), the systematic comparative study of structural proclivities and liturgical arrangements shows that the treatment of the east end, like the décor and furnishings, helps to structure and introduce a threshold into the ecclesiastical space. This layout contributes to the ecclesiological message about the incarnation of the Ecclesia in the building: the stone, reserved for the sanctuary, makes it possible to materialise the space of the Eucharist and the real presence of Christ among the faithful; it is one of the main components of the theology of the Eucharistic space, along with the altar and the image. Emphasising the role of the patron in the construction also makes it possible to better measure the political dimensions of this type of chevet. The study of the context of the commissioning reveals certain ambitions of the patron, which can be interpreted at the local level (as an expression of his rank, representation of the diocesan Church of which he was the head) or at the level of the Latin West (taking a position in conflicts related to the implementation of reform)
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Dathe, Stefanie. "La Vera Cruz in Segovia dialektische Untersuchung zu Ursprung, Baugeschichte und Funktion eines romanischen Zentralbaus in Alt-Kastilien /." Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 2001. http://catalog.hathitrust.org/api/volumes/oclc/47702819.html.
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Lane, Kathleen Irene Emma. "Architectural sculpture in Romanesque England : forms, functions and audience." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262800.
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Provost, Marion. "Les mutations de l'architecture religieuse romane dans les anciens diocèses de Bordeaux et de Bazas (XIème et début XIIème siècles)." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30066/document.
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Cette thèse tend à mettre en lumière l'émergence de l'architecture romane et de ses formes, dès le XIe siècle, ainsi que les mutations qui sont intervenues au tournant du siècle suivant, dans les anciens diocèses de Bordeaux et de Bazas. Ces recherches s'inscrivent dans le cadre d'un programme plus vaste, qui englobe la partie méridionale de l'ancienne Aquitaine. Il s'agit de mettre en exergue les transformations ayant eu lieu lors de cette période charnière, à savoir le passage de formes parfois dites « archaïques » à celles qui témoignent d'un art roman épanoui, en essayant de comprendre les choix des bâtisseurs de ce temps, ainsi que les influences ayant présidé à leurs réalisations. Cette approche considère à la fois une série d'édifices modestes qui ont permis de réaliser un corpus de référence, dans lequel s'inscrivent aussi les monuments bordelais de plus grande importance, tels que les églises Saint-Seurin et Sainte-Croix ou la cathédrale Saint-André. Nous tentons de porter un regard nouveau sur les édifices inventoriés dans la région, en nous intéressant non seulement au style mais aussi aux techniques, afin d'en renouveler l'approche. A cet effet, les matériaux et leur mise en œuvre ont été pris en considération et quelques méthodes propres à l’archéologie du bâti ont été employées afin d’apporter des éléments supplémentaires à l’analyse. Plusieurs études régionales ont fait l'objet de recherches aux finalités similaires ces dernières années et nous nous inscrivons pleinement dans cette démarche. Nous espérons ainsi développer notre connaissance de la production architecturale romane en Gironde et contribuer à une vision d'ensemble des manifestations de la création au sein de la partie méridionale de l'ancienne AquitaineThis thesis aims to highlight the emergence of romanesque architecture in its various forms. It started in the XIth century, as well as the transformations which occurred during the beginning of the XIIth century, in the former dioceses of Bordeaux and Bazas. Our work is part of a larger research program that includes the southern part of the former Aquitaine area. It consists in highlighting the changes that happened during this pivotal period, that is to say the transition from the so-called “archaic” architectural forms to those that exemplify romanesque art in all its glory. We will try to understand the choices made by the builders at the time and the influences that guided these choices. Our approach will consider a set of modest buildings which will allow us to form a reference corpus, but also some of Bordeaux’s greatest monuments like the churches of Saint-Seurin and Sainte-Croix, and obviously the cathedral of Saint-André. We will try to take a fresh look on the buildings listed, by taking into consideration not only the style but also the building techniques employed, in order to renew the approach, thanks to an analysis grid of buildings. For this purpose, materials have been taken into consideration. Several regional studies have been the subject of similar research in the last few years, and we are fully involved in this approach. We hope, therefore, to improve our knowledge of romanesque architecture in Gironde, and to contribute to an overview of this type of construction in the southern part of the former Aquitaine area
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Tevesz, Maria. "L'arc dans les constructions haut-médiévales des régions nord occidentales du pourtour méditerranéen : étude d'historiographie et d'histoire de l'architecture." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30062/document.
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L’étude présentée ici a pour but d’analyser la manière d’utiliser l’arc outrepassé, en plan et en élévation, et l’arc en retrait sur ses piliers, dans une région et dans un temps pragmatiquement défini du monde méditerranéen particulièrement riche en éléments architecturaux de ce type. L’arc en retrait n’est pas inconnu dans la recherche mais, faute d’identification précise et donc de terminologie adaptée, il a été confondu avec l’arc outrepassé sous des dénominations différentes. Faisant l’objet de diverses théories dans l’historiographie, ces deux types d’arcs ont été utilisés comme arguments majeurs dans la datation et dans la filiation stylistique des édifices dans lesquels ils se trouvent. L’objectif de cette approche consiste à confronter ces courants historiographiques, inscrivant un monument donné comme relevant du monde wisigothique, mozarabe ou carolingienne, à l’analyse des monuments in situ dans les régions catalano-roussillonnaises et languedociennes où ces formes présentent une concentration considérable. Dans ces théories tenaces, souvent assimilables à des idées reçues sans discernement, l’abbaye de Saint-Michel de Cuxa a occupé une place particulière de sorte que son attribution s’est répercutée sur de nombreux édifices, surtout des chapelles rurales, gravitant dans son orbite. Les monuments situés sur les deux versants des Pyrénées possédant ces formes en élévation ou dans la planimétrie constituent un corpus de 98 édifices. Ils ne révèlent pas seulement une certaine uniformité pour l’ensemble du territoire mais, au-delà, permettent également de définir des microrégions homogènes. L’étude de ce territoire est intégrée dans une analyse historiographique plus vaste de ces deux types d’arcs qui cherche la réponse à leur origine, à leur propagation géographique au fil de temps et présente les différentes réflexions sur la raison d’être de leur emploi. A côté des théories pragmatiques qui considèrent ces formes comme des procédés techniques offrant des avantages constructifs et des mesures techniques qui cherchent à établir une typologie séparant les arcs de différentes époques et de différentes aires géographiques, une attention particulière est apportée aux dimensions idéologiques, liturgiques et symboliques liées à ces tracésThis study focusses, in façade and in plan, on the horseshoe arch, the hallmark of architecture in the first flowering of the Middle Ages, and on the recessed arch on piers, its more or less unrecognised contemporary. The geographical extent of the occurrence of these two types of arch has been defined by the periodic enlargement of the area where they are really concentrated: Spanish Catalonia and French Languedoc-Roussillon. Applied often to dating a building, and becoming involved as a result in a stylistic epistemology, as well as being the targets of the entrenched dogmas of a vast historiography, these pieces of evidence are here studied on the ground in their architectural context so as to juxtapose fieldwork with the theories on their deployment developed a century ago. Given the spread of developed mediaeval arches, this work endeavours to place their corpus in a wider general study which clearly cannot depend on an exhaustive survey, but which is able to suggest, nevertheless, that the realm of the Moorish arch transcends the territorial and chronological limits of Visigothic, Mozarabic, Carolingian or Islamic culture. The origin of the recessed arch on its piers, for which we propose the term «mushroom shape» displays an undeniable origin in antiquity. Its diffusion in time and space coincides with the horse-shoe throughout the vast Mediterranean ambit. The corpus of the area studied brings together 98 buildings which preserve in their structure the Moorish arch and/or the recessed arch on piers. An analysis of arch assembly, incorporated in the overall study of a building’s construction, confirms that the Moorish design or that of the recessed arch on piers concerned not only arches but was inherent in a general building process observable in the raising of the vault, or of any transverse arches or in openings, doorways or windows. The endurance of these same building procedures for centuries, for minor works such as small country chapels, as for the great abbey church of Saint- Michel de Cuxa, testifies to a conservative art associated with basic techniques
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Mata, Benedicto Josep. "El simbolisme de l'orientació en el temple romànic : el bisbat de la Seu d'Urgell, S. IX-XII." Doctoral thesis, Universitat de Barcelona, 1989. http://hdl.handle.net/10803/405457.
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Aquest treball planteja la hipòtesi que el temple romànic es troba íntimament relacionat amb el cicle anual del Sol, des el propi ritual de l’orientació, passant per la construcció o la fundació. A aquesta tesi, es demostra que el temple romànic està orientat en un arc de 64, del grau 50 o solstici d’estiu, al grau 122 o solstici d’hivern, i per tant resta comprovat el seu simbolisme bàsicament cosmològic.
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Pouyet, Thomas. "Cormery et son territoire : origines et transformations d'un établissement monastique dans la longue durée (8e-18e siècles)." Thesis, Tours, 2019. http://www.theses.fr/2019TOUR2006.
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L’objectif de cette recherche est de caractériser les aspects topographiques, fonctionnels et architecturaux de l’abbaye bénédictine de Cormery établie en Touraine, par la communauté de Saint-Martin de Tours en 791 et restée en fonction jusqu’à la Révolution française. Cette approche multi-scalaire du monastère s’appuie sur les sources textuelles et les nombreux vestiges en élévation qui incluent les bâtiments claustraux. La première partie de ce travail s’attache à analyser le contexte de fondation du monastère dans la vallée de l’Indre et tout particulièrement le lien avec la rivière. Dans un deuxième temps, une étude archéologique a été menée sur les vestiges de l’église abbatiale et de la tour-clocher de l’époque romane à partir de relevés réalisés en lasergrammétrie et photogrammétrie. Enfin, l’analyse de l’organisation spatiale de l’établissement monastique et de sa périphérie où s’est formé un bourg conclut ce travailThe purpose of this research is to characterize the topographic, functional and architectural aspects of the benedictin abbey of Cormery, founded in Touraine by the community of St Martin in 791 and which was in use until the French Revolution. This multi-scalar approach of the monastery is based on written sources and standing architectural remains which include the monastic buildings. The first part of this work is dedicated to analyze the foundation process of the monastery in the Indre Valley, especially the link with the river. Secondly, the architectural study of the remains of the abbey church and the still-standing Romanesque western tower was carried out with photogrammetric and lasergrammetric recording. Finally, we conclude this work with the analysis of the spatial organization of the monastic settlement and its periphery where a medieval market town developed
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GREPPI, PAOLA. "IL REIMPIEGO DEI MATERIALI DA COSTRUZIONE NEL CANTIERE MEDIEVALE. DINAMICHE DI TRASFORMAZIONE, LINEE EVOLUTIVE E INDICATORI CRONOTIPOLOGICI NELLE ARCHITETTURE MILANESI TRA TARDOANTICO E XII SECOLO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3157.
Full textAbstract:
La tesi è rivolta allo studio comparativo delle tecniche costruttive datate tra tardo antico e romanico (fine IV-XII secolo), con particolare attinenza agli edifici di culto milanesi. L'obiettivo principale è stato quello di delineare le linee evolutive delle tecniche costruttive e identificare la presenza di caratteri tecnici particolari che avessero valore di indicatore cronotipologico.
Il quadro complesso e articolato degli studi pregressi sulle più note basiliche medievali milanesi ha reso necessaria l'indagine, per la presenza di ipotesi interpretative contraddittorie e la frequente carenza di indagini aggiornate sotto il profilo metodologico. Per questa ragione, la prima parte del lavoro è stata rivolta alla definizione della storia degli studi editi riguardanti temi di carattere archeologico e architettonico, che hanno costituito la base di riferimento per l'individuazione delle campionature murarie da analizzare. Nell'ambito di questa stessa sezione si è resa poi indispensabile la stesura di una parte destinata alla trattazione del metodo utilizzato che, per quanto riguarda l'analisi del materiale da costruzione in laterizio, ha previsto l'applicazione, in via sperimentale su un raggio di indagine così esteso, del metodo mensiocronologico al materiale di recupero.
La seconda parte della tesi ha riguardato l'analisi dei principali contesti architettonici esaminati (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazaro Maggiore, S. Ambrogio, S. Eustorgio), affrontata con schede apposite destinate all'inquadramento dei dati storico-archeologici pregressi, delle campionature murarie esaminate, in pietra e laterizio, e dei risultati delle analisi metriche. Ogni fase costruttiva individuata è stata poi approfondita in sezioni specifiche nelle quali sono confluiti i risultati raggiunti.
La terza ed ultima parte del lavoro, è stata infine rivolta alla trattazione delle cronotipologie dei tipi costruttivi elaborate (in opus latericium, opus latericium spicatum e opera di spolia), a quella dei principali indicatori cronotipologici individuati e alle loro modalità di trasformazione nel tempo.
Il lavoro di ricerca ha aperto molteplici prospettive di approfondimento, relative ai singoli monumenti trattati ma anche a problematiche di più ampio respiro nel settore dell'edilizia medievale, che sono state trattate nel capitolo conclusivo.The thesis is dedicated to the comparative study of construction techniques dating from late antiquity and Romanesque (end of 4th-12th century), with particular attention to the religious buildings in Milan. The main objective was to represent the evolutionary lines of the construction techniques and to identify the presence of technical characteristics that have a specific age-typology meaning. The contradictory interpretative hypotheses and the lack of up-to date - in terms of methodology - investigations within the complex and extensive literature on the most known medieval basilicas in Milan has inspired this investigation. For this reason, the first part of the work treats the definition of the history of the published studies on the archaeological and architectural subjects, which have represented the reference for the identification of the masonry samples to be analyzed. As part of this section it was necessary the drafting of a description of the method used. With regard to the analysis of structural clay material, such process provided for the application - on an experimental basis on a so extensive investigation - of the metric-age analysis method to the recovered material. The second part of the thesis concerned the analysis of the main architectural complexes examined (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazario Maggiore, St. Ambrose, St. Eustorgio), performed through dedicated files for the classification of former historic-archaeological data, of the masonry and the stone and brick samples tested, and of the results of the metric analysis. Each identified construction phase was then further investigated in specific sections where the results are gathered. The third and final part of the work concerns the discussion of the developed age-typologies of the construction materials (opus latericium, opus spicatum latericium and works in spolia), the main age-typology indicators identified and the different ways they changed over time. The research has opened up many scenarios for further studies, in relation to the individual monuments treated but also to broader issues in the sector of the Middle Ages building activity, as discussed in the final section.
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GREPPI, PAOLA. "IL REIMPIEGO DEI MATERIALI DA COSTRUZIONE NEL CANTIERE MEDIEVALE. DINAMICHE DI TRASFORMAZIONE, LINEE EVOLUTIVE E INDICATORI CRONOTIPOLOGICI NELLE ARCHITETTURE MILANESI TRA TARDOANTICO E XII SECOLO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3157.
Full textAbstract:
La tesi è rivolta allo studio comparativo delle tecniche costruttive datate tra tardo antico e romanico (fine IV-XII secolo), con particolare attinenza agli edifici di culto milanesi. L'obiettivo principale è stato quello di delineare le linee evolutive delle tecniche costruttive e identificare la presenza di caratteri tecnici particolari che avessero valore di indicatore cronotipologico.
Il quadro complesso e articolato degli studi pregressi sulle più note basiliche medievali milanesi ha reso necessaria l'indagine, per la presenza di ipotesi interpretative contraddittorie e la frequente carenza di indagini aggiornate sotto il profilo metodologico. Per questa ragione, la prima parte del lavoro è stata rivolta alla definizione della storia degli studi editi riguardanti temi di carattere archeologico e architettonico, che hanno costituito la base di riferimento per l'individuazione delle campionature murarie da analizzare. Nell'ambito di questa stessa sezione si è resa poi indispensabile la stesura di una parte destinata alla trattazione del metodo utilizzato che, per quanto riguarda l'analisi del materiale da costruzione in laterizio, ha previsto l'applicazione, in via sperimentale su un raggio di indagine così esteso, del metodo mensiocronologico al materiale di recupero.
La seconda parte della tesi ha riguardato l'analisi dei principali contesti architettonici esaminati (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazaro Maggiore, S. Ambrogio, S. Eustorgio), affrontata con schede apposite destinate all'inquadramento dei dati storico-archeologici pregressi, delle campionature murarie esaminate, in pietra e laterizio, e dei risultati delle analisi metriche. Ogni fase costruttiva individuata è stata poi approfondita in sezioni specifiche nelle quali sono confluiti i risultati raggiunti.
La terza ed ultima parte del lavoro, è stata infine rivolta alla trattazione delle cronotipologie dei tipi costruttivi elaborate (in opus latericium, opus latericium spicatum e opera di spolia), a quella dei principali indicatori cronotipologici individuati e alle loro modalità di trasformazione nel tempo.
Il lavoro di ricerca ha aperto molteplici prospettive di approfondimento, relative ai singoli monumenti trattati ma anche a problematiche di più ampio respiro nel settore dell'edilizia medievale, che sono state trattate nel capitolo conclusivo.The thesis is dedicated to the comparative study of construction techniques dating from late antiquity and Romanesque (end of 4th-12th century), with particular attention to the religious buildings in Milan. The main objective was to represent the evolutionary lines of the construction techniques and to identify the presence of technical characteristics that have a specific age-typology meaning. The contradictory interpretative hypotheses and the lack of up-to date - in terms of methodology - investigations within the complex and extensive literature on the most known medieval basilicas in Milan has inspired this investigation. For this reason, the first part of the work treats the definition of the history of the published studies on the archaeological and architectural subjects, which have represented the reference for the identification of the masonry samples to be analyzed. As part of this section it was necessary the drafting of a description of the method used. With regard to the analysis of structural clay material, such process provided for the application - on an experimental basis on a so extensive investigation - of the metric-age analysis method to the recovered material. The second part of the thesis concerned the analysis of the main architectural complexes examined (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazario Maggiore, St. Ambrose, St. Eustorgio), performed through dedicated files for the classification of former historic-archaeological data, of the masonry and the stone and brick samples tested, and of the results of the metric analysis. Each identified construction phase was then further investigated in specific sections where the results are gathered. The third and final part of the work concerns the discussion of the developed age-typologies of the construction materials (opus latericium, opus spicatum latericium and works in spolia), the main age-typology indicators identified and the different ways they changed over time. The research has opened up many scenarios for further studies, in relation to the individual monuments treated but also to broader issues in the sector of the Middle Ages building activity, as discussed in the final section.
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Boeglin, Noémie. "Représentations romanesques de la modernité parisienne dans le "Grand XIXème siècle", 1830-1913." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES028/document.
Full textAbstract:
Dans cette thèse nous étudions les représentations romanesques de la modernité parisienne durant le « Grand XIXème siècle » (1830-1913) à travers un échantillonnage représentatif de 31 romans. Nous entendons la modernité comme une tradition du nouveau, incessamment renouvelée. Les romans sont la principale source de cette recherche, à laquelle nous adjoignons une source que nous avons créée à l’aide de logiciels de textométrie et SIG. Les auteurs décrivent en effet la ville de Paris par les parcours de leurs personnages, que nous pouvons associer à la marche urbaine. En identifiant et en cartographiant ces parcours, par le biais des odonymes mobilisés, nous pouvons créer une représentation cartographique de la ville de Paris dans notre échantillonnage. Textes et cartes sont alors analysés simultanément, car ils nous offrent deux clés d’entrée sur les représentations romanesques de la modernité parisienne. Nous avons étudié la modernité parisienne du micro au macro, c’est-à-dire de l’espace intime des logements jusqu’aux grandes opérations de transformation urbaine. Nous avons identifié quatre incarnations principales de la modernité dans la capitale : l’architecture, le commerce, les réseaux et les transports. La modernité est, effectivement, un assemblage de marqueurs caractéristiques. Or, certains semblent absents des romans de notre échantillonnage. Nous avons ainsi identifié ce que nous avons nommé les contrastes de la modernité entre absences, ambivalences et modernité négativeIn this thesis we study the representations of Parisian modernity during the “Grand XIXème siècle” through representative sampling of 31 novels. Modernity is for us like a tradition of the new incessantly renewed. Novels are the main source of this research, to which we add a source that we have created using textometry and GIS softwares. Authors describe the city of Paris by the walks of their characters. We can associate them with urban walk. We can identify and mapping these walks, by the names of streets which are used. So we can create a cartographic representation of the city of Paris in our sampling. Texts and maps are analyzed in the same time, because they give us two points of view of literary representations of Parisian modernity. We studied the modernity of Paris from the micro to the macro, from the intimate space of the housing to the large urban transformation operations. We identified four incarnations of modernity in the French capital: architecture, business, networks and transport. Modernity is an accumulation of characteristic markers. Some seem absent from the novels in our sampling. We consider them as contrasts of modernity, between absences, ambivalences and negative modernity
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Crook, John. "The architectural setting of the cult of saints in the early medieval West and its development in the English Romanesque." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295812.
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Vivier, Fabien. "La collégiale de Saint-Julien de Brioude (Haute-Loire) : Recherches sur les liens entre l’architecture ecclésiale, son agencement iconographique, et la liturgie d’une communauté canoniale au Moyen Âge." Thesis, Clermont-Ferrand 2, 2014. http://www.theses.fr/2014CLF20005/document.
Full textAbstract:
Cette thèse se constitue de deux analyses statistiques qui sont mises au service de l’étude de l’identité culturelle de Saint-Julien de Brioude. Riche d’un luxuriant passé, la compagnie de Brioude entretenait un réseau de relations complexes. Les arts et la liturgie ont constitué notre support pour l’étude identitaire du chapitre. L’étude du bréviaire brivadois nous a permis de montrer l’originalité de la liturgie brivadoise. Cette liturgie n’était pas aussi clermontoise qu’on le présumait jusqu’à présent. Née d’un métissage mêlant la tradition liturgique aquitaine et vellave, la liturgie de Brioude avait été dotée de pièces de chants et d’oraisons propres. La mise en scène spatiale des reliques participait à la typicité de la collégiale que les pèlerins visitaient. À côté du tombeau de Julien, d’autres corps de saints et des reliques faisaient l’objet de dévotions. Le programme sculpté de la collégiale avait été pensé en deux temps. Souvent fidèlement liés aux sujets iconographiques utilisés dans le diocèse de Clermont, les chapiteaux de Brioude avaient été agencés en fonction des zones divisant l’espace ecclésial. Ces zones gigognes se voisinaient en faisant concurrencer l’agencement des reliques, du mobilier et des images. Le chevet faisait dialoguer l’iconographie du Saint-Sépulcre et des croisades avec le tombeau-reliquaire de Julien et les autels secondaires. Les sculptures étaient utilisées comme de véritables signalétiques s’animant autour du drame liturgique. Les images participaient à la constitution d’un espace mémoriel participant à la mémorisation liturgique de l’histoire.Cette étude offre des perspectives dépassant le cadre de la monographie. Liturgie et arts peuvent fournir des éléments de compréhension concrets à propos des échanges culturels et des aménagements de l’espace ecclésial. L’origine familiale des chanoines avait déterminée cette zone (le Brivadois) située à la confluence de l’Aquitaine auvergnate et du Velay (zone tampon avec l’Empire). Le chapitre de Brioude placé au milieu des deux, sans être central, en avait tiré les bénéfices culturels et un rayonnement propre. Le chapitre de Brioude avait ainsi pu façonner sa collégiale afin de célébrer la compagnie canoniale elle-même et le saint dont elle détenait les reliques. Attirer à elle les foules permettait à la compagnie aussi bien de faire perdurer la mémoire du saint patron que de leur procurer les ressources essentielles à leur fonctionnement. La collégiale était réalisée comme un marqueur du paysage déterminant une identité architecturale attractiveThis thesis is made up of two statistical analyses which are at the service of the study of Saint-Julien de Brioude’s cultural identity. Having had a lush history, the Brioude Company kept a complex web of relationships. Both, art and liturgy, were the frame for the identity study of this chapter. The study of the Brivadois breviary proved how unique the Brivadois liturgy was. Unlike what was thought at first, such liturgy was not as close as to that of Clermont-Ferrand. Born from the blending of liturgical tradition from Aquitaine and Velay, the Brivadois liturgy was endowed with singing pieces and specific orations. The spatial staging of the relics partook of the collegiate’s specificity the pilgrims visited. Next to Julien’s gravestone, other Saints’ bodies and relics were subjected to devotions.The collegiate’s sculpted program was designed in two times. As they were often faithfully linked with the iconographic subjects used in Clermont’s diocese, Brioude’s capitals were put together in accordance with the areas dividing the ecclesial space. These nested areas were next to one another and highlighted the differences between the relics, the furniture and the images. The chevet intertwined Saint-Sépulcre’s iconography, along with its Crusades, with Julien’s reliquary gravestone and the secondary altars. The sculptures were used as genuine signage livened up around the liturgical tragedy. The images took part in the setting up of history’s liturgical memorial space.This study gives new perspectives which go beyond the monographic frame. Liturgy and arts can provide us with tangible understanding elements regarding the cultural exchanges and the layout of the ecclesial space. The canon’s familial origin determined this area (the Brivadois) located at the confluence of Auvergne’s Aquitaine and the Velay (buffer zone with the Empire). From the Brioude chapter located between these two, without being central, it extracted the cultural benefits as well as a very own standing. The Brioude chapter thus managed to shape its collegiate so as to celebrate the canonical company itself and the Saint whom she possessed the relics from. Attracting the crowd enabled the company to carry own the patron Saint’s memory and to provide themselves with the essential resources to make it operate. The collegiate was undertaken as a landscape’s landmark determining an attractive architectural identity
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Müller, Beatrix. "Santa María la Real, Sangüesa (Navarra)." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 1999. http://dx.doi.org/10.18452/14440.
Full textAbstract:
Bislang gab es keine detaillierte Untersuchung der umfangreichen Bauplastik der Kirche Santa María la Real in Sangüesa, obwohl es sich um einen der für die Entwicklung der spätromanischen Skulptur Nordspaniens wichtigsten Komplexe des 12. Jahrhunderts handelt. Die Arbeit versucht, diese Forschungslücke zu schließen. Grundlage der Analyse und gleichzeitig Bestandsaufnahme ist ein Katalog, der die gesamte Bauplastik (360 Einzelskulpturen) und rund 40 Vergleichsbeispiele erfaßt. Mittels einer detaillierten Stilanalyse wurden stilistische und ikonographische Ordnungsprinzipien aus dem scheinbaren Durcheinander herausgearbeitet. Von dieser Grundlage aus konnten mehrere Skulpturenkomplexe Nordspaniens zueinander in Beziehung gesetzt werden. Nur Sangüesa vereint Skulpturen aus mindestens drei anderen Zentren und führt gleichzeitig neue Elemente - wie die Gewändefiguren Chartreser Prägung - ein. Das gesamte Spektrum der Bauplastik Navarras und Aragóns zwischen etwa 1130 und 1170 läßt sich daran ablesen. Als einziges Beispiel einer solchen Syntheseleistung in Nordspanien ist Sangüesa Rezeptor, Katalysator und Innovator zugleich. Das Tympanon Santa Marías zeigt die einzige erhaltene explizite Darstellung des jüngsten Gerichts einer nordspanischen Kirche des 12. Jahrhunderts. Vieles spricht dafür, daß auf Portalen entlang des Camino de Santiago eine inhaltliche Verbindungslinie zu ziehen ist von den furchteinflößenden Darstellungen in Frankreich über die auf wenige Elemente reduzierte Illustration des Weltgerichts in Sangüesa bis hin zu dem versöhnenden Christus im Pórtico de la Gloria der Kathedrale von Compostela. Die vorliegende Analyse erweist die spanische Bauplastik als eine eigenständige, innovative und hochqualitative Skulptur.Santa María la Real, Sangüesa (Navarra) The architectural sculpture of Santa Marías and 12th century sculpture in Navarre and Aragón Receptor, catalysator, innovator? Beyond any doubt, Santa María la Real of Sangüesa is one of the most important sculptural complexes of 12th century Romanesque sculpture in Northern Spain. Nevertheless no detailed analysis of the rich sculpture of the main portal and the capitals in the interior of the church has hitherto been made. This is the first time a thesis tries to set up a catalogue and to present an analysis of the 360 different sculptures and to compare them with 40 examples of other places. In a specific and detailed analysis out of the enormous variety of sculptures some important stilistic and iconographic categories can be brought out allowing to establish the relationship between Sangüesa and other important monumental sculptural complexes in Northern Spain. Thus one can prove that only Sangüesa combines sculptures from at least three different centres of Ronanesque art in Northern Spain; and - what is more - the Sangüesa masters have introduced new elements like the column statues of Chartrese style. In Sangüesa the whole spectre of monumental sculpture in Navarre and Aragón between 1130 and 1170 is well represented. Santa María la Real is, therefore, a unique example of such a synthesis and can be regarded as a receptor, catalysator and innovator as well. The Sangüesan tympanum shows the only existing explicit illustration of the Last Judgement in a church of 12th century Spain. One may argue that a continuous iconographic program exists on portals along the Camino de Santiago: starting with the frightening representations in France passing by the reduced illustration of the Last Judgement in Sangüesa up to the reconciling Christ of the Pórtico de la Gloria of the Cathedral in Compostela. The thesis proves the high and innovative quality, and in particular, the originality of Spanish architectural sculpture of the period.
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Rutchick, Leah. "Sculpture programs in the Moissac Cloister Benedictine culture, memory systems and liturgical performance /." 1991. http://catalog.hathitrust.org/api/volumes/oclc/25456106.html.
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Jost, Marie Annette. "The Porte des Comtes atelier of Saint-Sernin in Toulouse and the Romanesque sculpture of southwest France." 1992. http://catalog.hathitrust.org/api/volumes/oclc/31729088.html.
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Kuprová, Kateřina. "Románské rotundy v Praze a jejich význam pro výtvarnou výchovu." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-438611.
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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.
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Godinho, Vasco de Azevedo. "A igreja de S. Pedro da Ermida: contributo para a sua preservação e valorização." Master's thesis, 2019. http://hdl.handle.net/10284/8145.
Full textAbstract:
O interesse pela História da Arquitetura e pelo património construído, desenvolvidos e ampliados durante o percurso académico, foram a motivação principal que levou a esta dissertação. Com a observação e o contacto com a realidade do nosso território veio a constatação da urgente necessidade de proteção, preservação e valorização de muitos edifícios de elevado interesse arquitetónico e cultural e, consequentemente, da urgente necessidade da sua recuperação. No decorrer do trabalho de campo desenvolvido durante a elaboração do projeto da Área de Reabilitação Urbana de Boassas, teve-se a oportunidade de conhecer a Igreja de S. Pedro da Ermida na mesma área geográfica do concelho de Cinfães. Trata-se de um imóvel de características únicas na região, que é propriedade privada e que se encontra em ruínas. Procedeu-se então ao levantamento rigoroso do edifício, à inventariação das suas características arquitetónicas ao mesmo tempo que se começaram a formular hipóteses para a sua recuperação.
Para uma maior compreensão desta igreja foram abordados diversos temas: a arquitetura românica em Portugal, as diferentes abordagens de construção no território, a intervenção no património, bem como as respetivas teorias de restauro desenvolvidas ao longo do tempo por vários autores. Foi efetuado um vasto trabalho de campo a fim de recolher o maior número possível de elementos necessários para o desenvolvimento da pesquisa e realizou-se o levantamento arquitetónico exaustivo e rigoroso do edifício, em plantas cortes e alçados, uma ficha de caracterização do edifício, bem como um minucioso registo fotográfico.
Apesar do seu estado de degradação, foi possível identificar a ligação que esta igreja tem com o período românico, assim como as transformações construtivas e decorativas a que foi sujeita ao longo dos séculos.
Este trabalho pretende também sensibilizar as autoridades em particular e a população em geral para a degradação do imóvel e para o valor que este contém a nível arquitetónico, cultural e histórico.
Os objetivos principais desta investigação são a proteção, valorização e, se possível, potenciar uma futura recuperação deste edifício singular. Propõe-se também a integração da igreja na Rota do Românico, que se estende pelo território do Tâmega e do Vale do Sousa, e a sua proposta de classificação, com base nesta dissertação. Para o efeito, será entregue na Direção Geral do Património Cultural (DGPC), o documento intitulado “Requerimento Inicial do Procedimento de Classificação de Bens Imóveis”.The interest in the History of Architecture and the built heritage, developed and expanded during the academic course, were the main motivation that led to this dissertation. With the observation and contact with the reality of our territory, came the urgent need for protection, preservation and valorization of many buildings of high architectural and cultural interest and, consequently, the urgent need for its recovery. In the course of the fieldwork developed during the design of the Área de Reabilitação Urbana de Boassas, it was possible to visit the Church of S. Pedro da Ermida in the same geographical area of Cinfães. It is a property of unique characteristics in the region, which is privately owned and that is in ruins. A rigorous survey of the building was then carried out, the inventory of its architectural features was being made, and hypotheses were prepared for its recovery. For a better understanding of this church, several themes were discussed: Romanesque architecture in Portugal, different construction approaches in the territory, intervention in heritage, as well as the respective restoration theories developed over time by various authors. Extensive fieldwork was carried out in order to collect as many elements as possible to conduct a thorough and rigorous architectural survey of the building, regarding cut and elevation plans, a building characterization sheet, and a meticulous photographic record. Despite its state of degradation, it was possible to identify the connection that this church has with the Romanesque period, as well as the constructive and decorative transformations to which it was subjected throughout the centuries. This work also aims to sensitize the authorities in particular and the population in general for the degradation of the property and the value that it contains at the architectural, cultural and historical level. The main goals of this research are the protection, valorization and, if possible, potentiate a future recovery of this unique building. It is also proposed the integration of the church in the route of the Romanesque, which extends through the territory of Tâmega and Vale do Sousa, and its proposal of classification, based on this dissertation. For this purpose, will be delivered to the Portuguese Directorate-General for Cultural Heritage (DGPC), the document entitled "Initial Application for Classification Procedure for Real Estate".
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Mašterová, Katarína. "Bazilika a klášter sv. Jiří na Pražském hradě ve světle archeologického výzkumu." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-350050.
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Glaeseker, Michael. "Der hoch- und spätromanische Bauschmuck des Naumburger Domes im Zusammenhang der Baugeschichte." Doctoral thesis, 2001. http://hdl.handle.net/11858/00-1735-0000-000D-F214-D.
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Zelenková, Pavla. "Premonstrátský klášter a kostel sv. Jiljí v Milevsku." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-341990.
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This dissertation focuses on the constructing and architectonic development of Premonstratensian monastery and the church of St. Giles of Milevsko in the Middle Ages. The work is based on the older art historical literature and it evaluates the archaeological researches' findings in the locality as well as construction and historic researches of particular buildings, which were carried on with connection to the restitution of the site to the Premonstratensian order in the 1990s. The work demonstrates the Milevsko grounds picture and its construction as well as architectonic development from the establishment of the pre- monastery era in the eighth century until the Hussite's wars. The dissertation provides study of court with a church with apsis, stone Romanesque house and the basilica. It characterises the George of Milevsko personality as well as the significance of the abbot Jarloch. It analyses in detail the Roman architecture of St. Giles Church and attempts to interpret the procedure of its construction. Furthermore, it deals with the shape of the monastery's basilica and the description of Romanesque monastic buildings while comparing the premises to other monastic sites in this country. This dissertation also describes the architectonic boom of abbeys in the era of early Gothics as well as...