Dissertations / Theses on the topic 'Carthusian'

This thesis examines the Carthusians in Great Britain and Ireland from an archaeological standpoint and highlights the role of the lay brother in the everyday life of the charterhouse. Using the case studies of Witham Charterhouse and Hinton Priory, the layouts of the lay brothers’ complexes are explored through geophysical survey and comparison with Carthusian material culture assemblages from other British charterhouses. This method of investigation provides a singular view of the lay brother in medieval society and for the first time proposes a layout of an English Carthusian lower house. The thesis begins with an introduction to the topic and gives an overview history of the Carthusians in Great Britain, before discussing in more detail areas of the charterhouse complex - the cell, church and cloister. Following this is a discussion of everyday life for the monks and lay brothers, exploring various facets including death and memory. The thesis then moves on to investigate the wider landscape of the monastery complex, and how the local area was exploited and utilised by the Carthusians. The monks’ and lay brothers’ interactions with secular society are considered through excavated assemblages from a number of charterhouses, which also demonstrates specific occupations for each of the inhabitants. The final chapter of the thesis presents the results of resistivity and magnetometer surveys at the two Somerset charterhouses and provides an interpretation of these results. It is concluded that it is not currently possible to identify the Carthusian lay brother as archaeologically distinct as there are not sufficient assemblages to provide an accurate understanding of the differences in monastic and lay objects. More research is therefore required before the lay brother can be properly understood.

In the field of manuscript studies, the identification of individual scribes and the reconstruction of their lives and work through examination of manuscript material has recently undergone revival. This thesis contributes to that field by presenting two biobibliographical case-studies of two fifteenth-century scribes and Carthusian monks, William Mede and Stephen Dodesham of Sheen. It sets out to demonstrate the value of an integrated biographical and comparative approach in the examination of the making and circumstances of making of manuscript books. This is demonstrated by building scribal biographies based on the integration of evidence from documentary record and the analysis of the material manuscript output of Mede and Dodesham. Dodesham, as the more prolific of the two, has been more fully investigated in recent scholarship. New documentary evidence, however, has necessitated a fresh appraisal of his life and the contexts of his copying, contexts which I argue are strongly educational. I show that Mede’s life and work as a Carthusian reader, copyist, and perhaps writer, is therefore worth further scholarly investigation. Chapter one considers the current state of the field of historical biography and, more specifically, scribal biography. It assesses the usefulness of integrating biographical and codicological approaches in the study of manuscripts and provides a definition of codicology in its broader sense (as a means of writing biobibliographical histories). As not all aspects of codicology are considered here, I also identify those aspects of codicological enquiry I have chosen to apply to the manuscripts of Mede and Dodesham. The case is made for the usefulness of codicological methods as a means of interpreting historical material. As the main focal points of this study are the lives and work of two Carthusian scribes, chapter two provides context on the Carthusian life, incorporating an evaluation of recent work on Carthusian textual culture, a brief summary of the Order’s history, its administrative structure, Carthusian spirituality, its participation in the intellectual culture of the late medieval period, how it responded to changing patterns in devotion, and its members’ attitudes and approaches to the acts of reading, writing and copying. This background is essential in contextualising the scribal activity of Mede and Dodesham and will be referred to in the following chapters. Chapters three and four are dedicated to the case studies examining the lives and work of William Mede and Stephen Dodesham of Sheen. Chapter three, containing the case study of William Mede, includes analysis of his Anglicana and other idiosyncratic features of his hand; full descriptions of each of the six manuscripts so far attributed to him; and study of his language and punctuation practices, which vary, I argue, depending upon for what sorts of audience Mede is writing or copying. A detailed study of the Speculum devotorum demonstrates this adaptive scribal behaviour in action and also investigates the possibility that Mede may have been the author of the text. The above are all discussed in relation to the making and circumstances of making of Mede’s manuscripts. The conclusion to the chapter offers a summary of Mede’s life and work and makes the case for the importance of further investigation of this Carthusian scribe. Chapter four, the case study of Stephen Dodesham, includes a reappraisal in light of new evidence of his early scribal career, including his ordination at Sheen charterhouse, potential connections with the prominent Dodesham family of Somerset and connections with middle-class, professional families in London and around the south-western counties of England. This new evidence has made it possible to more firmly place the contexts of Dodesham’s manuscript copying. Much of chapter four is dedicated to analysing his language, and providing brief descriptions of those manuscripts so far attributed to him; the above all discussed in relation to the making and circumstances of making of Dodesham’s manuscripts. The conclusion offers a summary of Dodesham’s life and work and makes the case for the importance of further investigation as of particular interest in the areas of developing literacy and education. In chapter five, I bring both case studies together, assess the usefulness of the biographical approach in the context of this particular study, and evaluate its successes and limitations as a framework for combined biographical and codicological investigation.

Art History
M.A.
Rogier van der Weyden's Miraflores Altarpiece (c. 1440) was installed in the Carthusian Monastery of Miraflores, Castile, during a period when early rosary meditation cycles were gaining popularity, particularly amongst Carthusians. This previously unexplored historical context offers a rationale for the innovative iconographic content and structure of the work, as well as for the ways in which it had meaning for its viewers. Like early rosary meditations, the Miraflores Altarpiece combines diverse meditational cycles including life of Christ and the Virgin narratives with the tripartite division of the Marian Psalter. The altarpiece has much in common with the later standardized form of the rosary, which indicates that this format had much earlier roots than had been thought previously. The Miraflores Altarpiece contributes to our understanding of the way visual media participated in the rosary tradition, and of the ways that tradition developed and changed over the fifteenth and sixteenth centuries.
Temple University--Theses

Art History
Ph.D.
At the beginning of the viceregal era, the Certosa di San Martino, a Carthusian monastery of medieval foundation, experienced a resurgence that culminated in the rebuilding of its church starting in the late 1580s. The new church of the Neapolitan Certosa featured an innovative design and an extensive and complex decorative program that distinguished it from all other churches of the order. This dissertation examines the rebuilding of the church of the Certosa di San Martino as a process deeply rooted in the changing religious culture of the time and one that also reveals the tensions inherent to the redefinition of monastic identity in Post-Tridentine Spanish Naples. The development of the Carthusian project paralleled the institutional re-organization of the order, but it also assumed a unique trajectory aimed at highlighting the role of the white monks and contemplative spirituality in the production of sanctity in Naples. By tracing the evolution of the rebuilding initiative within its proper cultural, religious and social context, I clarify the goals of the patrons and the expectations placed on the artists, and I define the scope of the project according to new parameters of spiritual authority. The reconstruction of the rebuilding process relies on primary sources from the Neapolitan State Archives and on recent historical and archaeological research, in addition to comparative studies. This dissertation challenges the view of Post-Tridentine monastic architecture as a mere response to the new liturgical requirements and sides with more recent interpretations by seeing monastic sacred spaces as dynamic places of exchange, and their designs and decorations as expressions of the spiritual authority of the monastic body they house. The rebuilding of the church of the Certosa di San Martino stands as an important example of the process by which spiritual authority was produced and redirected in Spanish Naples. Since 1973, when the first and only monograph on the art of the Certosa di San Martino was published, studies have been sporadic and limited to the analysis of particular works contained in the church. I analyze the new architectural plan and decoration of the church as fundamentally bound to the transformation of Spanish Naples into a holy city.
Temple University--Theses

This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, supported by original documentation- familial ties, associates, patrons, use of finances, and his close involvement with the Carthusians-- support this assertion. Other models of connections of belief, evidenced through artist's work, are corroborated in the work of Grunewald, Sluter and Durer.

The dissertation concerns the musical and liturgical sources belonged to the carthusian monasteries of the Veneto region: Montello Charterhouse (San Gerolamo del Montello), Venice Charterhouse (Sant’Andrea del Lido), Padua Charterhouse (Santi Girolamo e Bernardo di Padova) and Vedana Charterhouse (San Marco di Vedana). After a preliminary description of the carthusian music-liturgical tradition and an introduction of the historical and cultural context, the research focuses on the analysis of four antiphonaries, never studied before, copied between the fifteenth and the seventeenth centuries, which hand down the chants of the Divine Office. A synoptic table has been produced, with the complete list of chants in each antiphonary and the references to the main music-liturgical repertoires. This allowed not only to verify the correspondence of the selected sources with the carthusian Divine Office and to exclude local variants, but also to understand the manuscripts macrostructure, their internal liturgical sections and to put forward hypotheses about their possible use. On the basis of this work it has been possible to identify a list of chants that appears to have no correspondence with main repertoires, being so far attested only in sources from other Italian and European charterhouses. Given the interest of these unica and in order to place the antiphonaries of the Veneto region within the carthusian tradition, they have been compared with other antiphonaries written for some Italian and European charterhouses. The results derived from this comparison have been collected in some analytical tables for the purpose of clarifying the textual choices and the musical techniques adopted by the carthusian Order, to highlight the relationship with the common tradition and to point out any textual or musical variants.
La tesi ha come oggetto le testimonianze liturgico-musicali appartenute alle certose di area veneta: San Gerolamo del Montello (TV), Sant’Andrea del Lido a Venezia, Santi Girolamo e Bernardo di Padova e San Marco di Vedana (BL). Dopo un’esposizione preliminare delle principali caratteristiche della tradizione liturgico-musicale certosina e del contesto storico e culturale, la ricerca si concentra su quattro antifonari, non ancora studiati, risalenti al periodo compreso tra i secoli XV e XVII, che tramandano i canti dell’Ufficio delle Ore. È stata realizzata una tavola sinottica con l’indicizzazione completa dei canti di ogni singolo codice, fornendo i riferimenti ai principali repertori liturgico-musicali. Ciò ha permesso innanzitutto di verificare la perfetta corrispondenza con l’Ufficio di rito certosino e di escludere la presenza di varianti locali; ha consentito, inoltre, di cogliere la macrostruttura dei quattro antifonari e la suddivisione interna nelle diverse sezioni liturgiche e di avanzare delle ipotesi sull’utilizzo dei manoscritti. Sulla base di questo lavoro è stato possibile individuare gli unica, cioè i canti che non trovano riscontro nei repertori tradizionali e che finora sono attestati solamente nelle fonti in uso presso le comunità monastiche certosine. Considerato l’interesse rappresentato da questo corpus di canti e al fine di inserire gli Antifonari veneti all’interno della tradizione certosina, gli unica sono stati messi a confronto con le testimonianze presenti in altri antifonari di certose italiane ed europee. Per raccogliere i risultati di questi confronti, sono state compilate delle schede analitiche, nelle quali si è cercato di chiarire le scelte testuali e le tecniche compositive musicali adottate dall’Ordine certosino, di far emergere il rapporto con il repertorio della tradizione e di mettere in luce le eventuali varianti testuali e musicali.

Nova Cella de Grünau, Cella Salutis de Tückelhausen, Hortus Angelorum de Wurtzbourg, Cella Beatae Mariae de Nuremberg, Pontis Mariae d'Astheim et enfin Hortus Mariae d'Ilmbach sont les six chartreuses fondées en Franconie, région morcelée en multiples seigneuries et centres urbains. La Franconie est-elle une réalité pour l’ordre des Chartreux des XIVe et XVe siècles ? Ce sont d’abord l’historiographie de l’ordre des chartreux ainsi que celle de la Franconie qui doivent être confrontées dans le but d’identifier cet objet de recherche finalement assez peu évident. Plusieurs mécanismes institutionnels cartusiens sont ensuite décortiqués afin de mettre en perspective le fonctionnement de l’ordre sur un territoire clairement défini. Enfin l’étude de l’appropriation de l’observance par les Franconiens expose les modalités de l’insertion des chartreuses dans leur environnement immédiat
The purpose of this work is to analyse in which way the six charterhouses of Franconia could be regarded as a coherent ensemble, and if it is possible to recognize a franconian identity of the Carthusian monks. The territory of the Land zu Franken is contested since the contemporaries tend to define the territory according to their private interests. The order of the Carthusian monks settles tardily in Franconia. They propose a renewal of the contemplative orders which were so far incarnated by the Benedictines and Cistercians whose expansion finishes at the end of 13th century. A study of the institutional mechanisms of the order, accompanied by a prosopography of the officers of the area shows that the monks of Franconia fit within the border framework of the province of lower Germany. The officers, by their displacements limited within the area of the province, build the network between the communities and thereby provide a structure of lower Germany. The process of foundation shows that the order of the Carthusians is used by the founders with an aim of representation of their might which explains why the houses are joined together in the valley of the Main, where the lordships stand in a fierce competition. The funerary liturgy of the Carthusians also explains the choices of the founders for this observance, since some monasteries become places of burials. Finally, the relations of the franconian Carthusians with the world are considered by their literary activities, as well as by their engagement in the beginning of the Reformation
Unter der Bezeichnung fränkische Kartausen versteht man eine Gruppe von sechs Klöstern, die zwischen 1328 und 1453 gestiftet wurden: Nova Cella in Grünau (1328), Cella Salutis in Tückelhausen (1348), Hortus Angelorum in Würzburg (1350), Cella Beatae Mariae in Nürnberg (1380), Pontis Mariae in Astheim (1409) und Hortus Mariae in Ilmbach (1453). Diese Bezeichnung wird vor allem durch die heutige Vorstellung des fränkischen Raumes geprägt: Bilden die Kartäuser von Franken im Mittelalter tatsächlich eine einheitliche zu untersuchende Gruppe? Lässt sich von einem Gruppenbewusstsein der fränkischen Kartäuser sprechen, wenngleich die Verwendung des Begriffs Identität im Mittelalter Schwierigkeiten mit sich bringt? Ist es möglich, dass die fränkischen Kartausen vom Orden selbst als solche verstanden wurden oder handelt es sich um eine, dem kartäusischen System fremde Konstruktion?

This thesis aims to demonstrate the significance of the charterhouse of Witham within the collective history of the Carthusian order in the late twelfth and early thirteenth centuries. The importance of this house has been underestimated in modern scholarship and what follows addresses this imbalance. Although removed from the Carthusian heartland of the French Alps, the charterhouse of Witham was not a backwater or irrelevent house. A diverse range of sources concern this charterhouse and the Carthusians in England which form a significant proportion of the avaliable evidence for the entire order in the late twelfth and early thirteenth centuries. Utilising such sources, this thesis places Witham and the Carthusians in England at the heart of any examination of the Carthusian order in this period. The rich evidential vein offered by them allows an integrated exploration of what it meant to be a Carthusian in the late twelfth and early thirteenth centuries. Moreover, this thesis considers reception and interpretation of the order by contemporaries, both those internal and external to the order. In so doing, it argues that there was a greater diversity of opinion towards the order in this period than often assumed in modern scholarship and demonstrates that Witham had an impact upon contemporaries that was disproportionate to the small size of the community. To achieve this, this thesis considers historical narratives surrounding the foundation of Witham (Chapter One), the representation of Carthusians by outsider observers (Chapter Two), Carthusian hagiography through the Magna Vita of Saint Hugh of Lincoln (Chapter Three), and Carthusian theology with the De quadripertito exercitio cellae of Adam of Dryburgh (Chapter Four).

Prima parte: L'analisi del rapporto tra spiritualità certosina e devotio moderna consente di individuare il contesto in cui maturò ed ebbe fortuna il De tralatione Bibliae di Petrus Sutor, monaco certosino. La spiritualità certosina ebbe forte influsso sulla Congregazione di Montaigu, espressione estrema della devotio moderna, nella quale lo stesso Sutor fu massima autorità spirituale in qualità di priore della Certosa di Parigi. Alla Congregazione di Montaigu appartennero i principali oppositori di Erasmo nel campo della filologia biblica nell'area di Parigi e Lovanio. In essa ebbe fortuna l'opera di Sutor, anche se il mondo di Montaigu mostra due facce. Il mondo parigino di Montaigu risulta infatti più conservatore di quello lovaniense, che nelle figure di Iacobus Latomus e Frans Titelmans mostra una certa apertura all'umanesimo. Seconda parte e appendice: i contenuti del De tralatione Bibliae mostrano i rapporti di Sutor con altri oppositori erasmiani, Stunica in particolare. Emergono le fonti che stanno alla base delle informazioni storiche fornite da Sutor, tra cui emerge Petrus Comestor, e la risonanza del De tralatione Bibliae negli ambienti culturali inglesi, in particolare in John Fisher.
First Part: In order to supply with due context Sutor's De tralatione Bibliae, it is necessary to rediscover the interplay between Carthusian spirituality and devotio moderna. The carthusian influence was particulary strong in the Congregation of Montaigu, which formed an extreme wing of devotio moderna. Sutor himself played a very important role in the Congregation of Montaigu having been his major authority for three years as Prior of the Parisian Charterhouse. The main critics of Erasmus in the field of biblical philology, who were active in Paris and Louvain theological units belonged to the Montaigu Congregation. There were differences between the Paris and Louvain Montaigu cultural and spiritual habits. Louvain shows a particular trend to moderation and acceptance of some fundamental humanistic issues, that we can trace in Iacobus Latomus and Francis Titelmans. Second Part and Appendix: The contents of Sutor's De tralatione Bibliae display the relationship between Sutor and other critics of Erasmus, in particular Stunica. Through the text we rediscover the different sources Sutor uses in order to supply the reader with historical information, especially Petrus Comestor, and we can identify some echoes of Sutor's works in John Fisher and the English cultural circles.

Prima parte: L'analisi del rapporto tra spiritualità certosina e devotio moderna consente di individuare il contesto in cui maturò ed ebbe fortuna il De tralatione Bibliae di Petrus Sutor, monaco certosino. La spiritualità certosina ebbe forte influsso sulla Congregazione di Montaigu, espressione estrema della devotio moderna, nella quale lo stesso Sutor fu massima autorità spirituale in qualità di priore della Certosa di Parigi. Alla Congregazione di Montaigu appartennero i principali oppositori di Erasmo nel campo della filologia biblica nell'area di Parigi e Lovanio. In essa ebbe fortuna l'opera di Sutor, anche se il mondo di Montaigu mostra due facce. Il mondo parigino di Montaigu risulta infatti più conservatore di quello lovaniense, che nelle figure di Iacobus Latomus e Frans Titelmans mostra una certa apertura all'umanesimo. Seconda parte e appendice: i contenuti del De tralatione Bibliae mostrano i rapporti di Sutor con altri oppositori erasmiani, Stunica in particolare. Emergono le fonti che stanno alla base delle informazioni storiche fornite da Sutor, tra cui emerge Petrus Comestor, e la risonanza del De tralatione Bibliae negli ambienti culturali inglesi, in particolare in John Fisher.
First Part: In order to supply with due context Sutor's De tralatione Bibliae, it is necessary to rediscover the interplay between Carthusian spirituality and devotio moderna. The carthusian influence was particulary strong in the Congregation of Montaigu, which formed an extreme wing of devotio moderna. Sutor himself played a very important role in the Congregation of Montaigu having been his major authority for three years as Prior of the Parisian Charterhouse. The main critics of Erasmus in the field of biblical philology, who were active in Paris and Louvain theological units belonged to the Montaigu Congregation. There were differences between the Paris and Louvain Montaigu cultural and spiritual habits. Louvain shows a particular trend to moderation and acceptance of some fundamental humanistic issues, that we can trace in Iacobus Latomus and Francis Titelmans. Second Part and Appendix: The contents of Sutor's De tralatione Bibliae display the relationship between Sutor and other critics of Erasmus, in particular Stunica. Through the text we rediscover the different sources Sutor uses in order to supply the reader with historical information, especially Petrus Comestor, and we can identify some echoes of Sutor's works in John Fisher and the English cultural circles.

Nova Cella de Grünau, Cella Salutis de Tückelhausen, Hortus Angelorum de Wurtzbourg, Cella Beatae Mariae de Nuremberg, Pontis Mariae d'Astheim et enfin Hortus Mariae d'Ilmbach sont les six chartreuses fondées en Franconie, région morcelée en multiples seigneuries et centres urbains. La Franconie est-elle une réalité pour l’ordre des Chartreux des XIVe et XVe siècles ? Ce sont d’abord l’historiographie de l’ordre des chartreux ainsi que celle de la Franconie qui doivent être confrontées dans le but d’identifier cet objet de recherche finalement assez peu évident. Plusieurs mécanismes institutionnels cartusiens sont ensuite décortiqués afin de mettre en perspective le fonctionnement de l’ordre sur un territoire clairement défini. Enfin l’étude de l’appropriation de l’observance par les Franconiens expose les modalités de l’insertion des chartreuses dans leur environnement immédiat.
The purpose of this work is to analyse in which way the six charterhouses of Franconia could be regarded as a coherent ensemble, and if it is possible to recognize a franconian identity of the Carthusian monks. The territory of the Land zu Franken is contested since the contemporaries tend to define the territory according to their private interests. The order of the Carthusian monks settles tardily in Franconia. They propose a renewal of the contemplative orders which were so far incarnated by the Benedictines and Cistercians whose expansion finishes at the end of 13th century. A study of the institutional mechanisms of the order, accompanied by a prosopography of the officers of the area shows that the monks of Franconia fit within the border framework of the province of lower Germany. The officers, by their displacements limited within the area of the province, build the network between the communities and thereby provide a structure of lower Germany. The process of foundation shows that the order of the Carthusians is used by the founders with an aim of representation of their might which explains why the houses are joined together in the valley of the Main, where the lordships stand in a fierce competition. The funerary liturgy of the Carthusians also explains the choices of the founders for this observance, since some monasteries become places of burials. Finally, the relations of the franconian Carthusians with the world are considered by their literary activities, as well as by their engagement in the beginning of the Reformation.
Unter der Bezeichnung fränkische Kartausen versteht man eine Gruppe von sechs Klöstern, die zwischen 1328 und 1453 gestiftet wurden: Nova Cella in Grünau (1328), Cella Salutis in Tückelhausen (1348), Hortus Angelorum in Würzburg (1350), Cella Beatae Mariae in Nürnberg (1380), Pontis Mariae in Astheim (1409) und Hortus Mariae in Ilmbach (1453). Diese Bezeichnung wird vor allem durch die heutige Vorstellung des fränkischen Raumes geprägt: Bilden die Kartäuser von Franken im Mittelalter tatsächlich eine einheitliche zu untersuchende Gruppe? Lässt sich von einem Gruppenbewusstsein der fränkischen Kartäuser sprechen, wenngleich die Verwendung des Begriffs Identität im Mittelalter Schwierigkeiten mit sich bringt? Ist es möglich, dass die fränkischen Kartausen vom Orden selbst als solche verstanden wurden oder handelt es sich um eine, dem kartäusischen System fremde Konstruktion?

Cette étude cherche à savoir si les six chartreuses de Franconie forment une unité au sein de l’ordre des Chartreux, mais pose également la question de l’identité « franconienne » des chartreux. Le Land zu Franken est un espace fortement connoté, puisque les discours tenus par les contemporains tendent à définir le territoire en fonction de leurs intérêts particuliers. L’ordre des Chartreux s’installe tardivement et propose un renouvellement des ordres contemplatifs incarnés jusque-là par les Bénédictins et les Cisterciens dont l’expansion se termine à la fin du XIIIe siècle. Une étude des mécanismes institutionnels de l’ordre, accompagnée d’une prosopographie des officiers cartusiens de la région, montre que les chartreux de Franconie s’insèrent dans le cadre plus large de la province d’Allemagne inférieure, dont l’organisation est faite depuis le chapitre général. Les officiers, par leurs déplacements contenus dans les limites de la province, construisent le réseau entre les communautés. Le processus de fondation montre que l’ordre est utilisé par les fondateurs dans un but de représentation de pouvoir, ce qui explique pourquoi les maisons sont réunies dans la vallée du Main. Par ailleurs, la liturgie funéraire des chartreux motive également le choix des fondateurs pour cette observance, puisque quelques chartreuses deviennent des lieux de sépultures. Les relations des chartreux franconiens avec le monde sont aussi envisagées à l’appui de leurs activités littéraires et leur engagement dans l’introduction de la Réforme
The purpose of this work is to analyse in which way the six charterhouses of Franconia could be regarded as a coherent ensemble, and if it is possible to recognize a franconian identity of the Carthusian monks. The territory of the Land zu Franken is contested since the contemporaries tend to define the territory according to their private interests. The order of the Carthusian monks settles tardily in Franconia. They propose a renewal of the contemplative orders which were so far incarnated by the Benedictines and Cistercians whose expansion finishes at the end of 13th century. A study of the institutional mechanisms of the order, accompanied by a prosopography of the officers of the area shows that the monks of Franconia fit within the border framework of the province of lower Germany. The officers, by their displacements limited within the area of the province, build the network between the communities and thereby provide a structure of lower Germany. The process of foundation shows that the order of the Carthusians is used by the founders with an aim of representation of their might which explains why the houses are joined together in the valley of the Main, where the lordships stand in a fierce competition. The funerary liturgy of the Carthusians also explains the choices of the founders for this observance, since some monasteries become places of burials. Finally, the relations of the franconian Carthusians with the world are considered by their literary activities, as well as by their engagement in the beginning of the Reformation

The main task in this thesis is to prescribe the development of residential properties in the locality of Brno - Královo Pole. My diploma thesis is focusing on history of this quarter of the city until present. In the thesis is desribed in detail survey of the significant residentional buildings, construction of residentional complexes. Work us step by step through the development of these buildings from the beginning of construction on the territory to the possible future development in the area. In my thesis, there will be map drawings of the given area, old photographs of streets, residential and important civic buildings included. I would like to try to discover changes that have been made during recent years on the local building as well. In the end, I will also consider future building development opportunities in the built-up urban area.

Après la fondation de la première chartreuse en 1084 par Bruno de Cologne dans les Alpes, ces monastères, installés au départ dans des sites isolés, furent réputés pour leur austérité. Les moines, qui faisaient vœu de silence, vivaient reclus dans leur cellules la plupart du temps, ne se retrouvant que deux fois par jour pour célébrer la messe. Dans ce cadre, qui a donné lieu à une architecture spécifique, les premières mentions d’œuvres d’art, dans la législation, apparaissent dans la deuxième moitié du XIIIe siècle. Cette période correspondait à la fois à une modification de la structure de l’ordre, prenant en compte l’accroissement du nombre des maisons, et aux premières fondations à proximité des villes. Le rapprochement des centres urbains allait déterminer une relation nouvelle entre les chartreux et leurs bienfaiteurs, exprimée dans les donations d’œuvres d’art en vue de la commémoration. Si de la chartreuse de Vauvert, établie près de Paris en 1259, subsistent surtout des relevés de plaques de fondation et de tombeaux, les commandes d’œuvres d’art pour les chartreuses princières et royales de Champmol et de Miraflores, destinées à recevoir les tombeaux de leurs fondateurs, étaient plus variées. L’implication des chartreux dans l’aménagement du décor de leurs maisons est attestée par les sources. Elle peut être observée lorsqu’ils recevaient les dons d’œuvres d’art de la part de plusieurs bienfaiteurs et elle prend un sens particulier quand les frères commandaient eux-mêmes des tableaux. Dans la spiritualité des chartreux, les œuvres d’art avaient un rôle au sujet duquel les moines, en participant à leur création, pouvaient nous renseigner
Following the foundation of the first charterhouse by Bruno of Cologne, in 1084, in the Alps, these monasteries, established at first in solitary places, were well-known for their austere conditions. The monks, which had taken a vow of silence, lived isolated in their cells most of the time, meeting each other only twice a day, to celebrate mass. In these monasteries, characterized by their own architecture, the first mentions of artworks, in the legislation, date from the second half of the 13th century. At that time, the structure of the order was being revised by taking into account the multiplication of the charterhouses. Furthermore, the first foundations near cities were then established. This proximity to urban centres would determine a new relationship between Carthusians and their benefactors, visible through the donations of works of art for commemoration. From the charterhouse of Vauvert, established near Paris in 1259, have been preserved mostly drawings of memorial tablets or tombs. Nonetheless, for the princely and royal charterhouses of Champmol and Miraflores, that were to house the tombs of their founders, the commissions of works of art were more varied. The Carthusians’ participation in building the appearance of their monasteries is attested by the sources. This fact may also be observed when the Carthusians received donations of works of art from several benefactors and a special significance is attached to it when the brothers themselves commissioned paintings. In Carthusian spirituality, works of art had a role about which the monks, by involving themselves in their creation, could inform us

Andrej Kutarňa Carthusian Prayer Diploma thesis 2011 Abstract The Diploma thesis entitled "Carthusian Prayer" is trying to collect and arrange a body of information about the spiritual world of the Carthusian order. It aims at discovering the key characteristics of the life of prayer as seen by members of Carthusian order both in early and recent history of the Order and presented in their writings. First the thesis presents the wider context of carthusian prayer by showing the way of life of carthusian monks and what is specific to this particular monastic tradition, also trying to point at some possible sources of inspiration from older traditions. Then it proceeds to the matter of solitude and silence which are the formative elements that mould the carthusian prayer into the shape of simplicity and sobriety while retaining fine balance of community and solitary life, as well as that of great silence and living inner dialogue. The latter part of the thesis then attemps to show the inner dynamics of the prayer and the role of silence, liturgical and personal prayer and meditation of Scriptures for achieving unification with God, which is both the goal and the fruit of spiritual life. It also explains other fruits of prayer both for the praying monk himself and for other people. While it is not possible to...

Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world intended for musical performance to contain the Ter terni by William of Hirsau; furthermore it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is shown that, although a marked textual similarity exists between the manuscripts, there are variant melodies. The conclusion is therefore drawn that the Carthusians did not have a single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34 and 41, ot the neighbouring Charterhouse of Fontenay. The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers, written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated 1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23. The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes.
Art History, Visual Arts & Musicology
D.Mus. (Musicology)

Thesis (Ph. D.)--University of Notre Dame, 2006.
Thesis directed by Jill Mann and Jesse Lander for the Department of English. "November 2006." "This dissertation provides a new edition of the Mirror to Devout People, which survives in two manuscripts: Notre Dame, Indiana, University of Notre Dame, MS 67 (ND) and Cambridge, University Library, MS Gg.1.6 (C)"--Abstract. Includes bibliographical references (leaves 324-335) and index.