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1
Threlfall-Holmes, Miranda. "Monks and markets : Durham Cathedral-Priory, 1460-1520." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1534/.
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Calvert, Arran James. "Living with Durham Cathedral : understanding the dynamic relationships between a community and their cathedral." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12034.
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Cathedrals today are no longer sites of just religious worship, they must be many things to many people such as tourist attractions, heritage centres, and meeting places. Today, Durham Cathedral in the north-east of England is home to almost 900 people engaged on site, of which almost 700 are volunteers. Add to that number over 700,000 visitors and about 1,700 religious services annually, and a complex image of life within Durham Cathedral begins to take shape. Drawing on 14 months of ethnographic fieldwork between August 2013 and September 2014, this thesis takes a phenomenological approach in exploring the dynamic relationships that exist between a 900-year-old building and those who regularly come into contact with that building. It will consider the complex negotiations that take place between the many parts of the community and the building in a constantly changing environment, and will focus on the role sound, light, time, and space play in the constant challenge of change and negotiation. Finally, it will consider how buildings are not only constructed but are also cultivated through being built and rebuilt, spaces negotiated and improvised, as well as filled with stories and memories. The importance of this research is not just in observing and understanding the types of change and negotiation that occur between a building and those who inhabit it, but also in understanding the altering roles of religious buildings as they cope with the changing demands of running a site of both historical and continuing social, religious, and financial pressures, Durham Cathedral is a place that gives space to differing communities, allowing people to find in the building what they need from the building and as a result of this, Durham Cathedral is not a place in which life happens, it is a place with which life happens.
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Crosby, Brian. "The choral foundation of Durham Cathedral, c.1350-c.1650." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/769/.
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The muniments of Durham cathedral, city, and diocese have been explored in order to present and assess the contribution made by lay musicians to worship in the cathedral. By 1335-60 the boys and men had become sufficiently established to merit specific payments. Whether or not the lay Cantor dates back that far is uncertain, but in 1390 it was agreed that what was required was a Cantor-Instructor. No proof for the implementation of this earlier than 1415 has come to light, nor has any contract earlier than that made by the monastery with John steel in 1430. From it and those of his successors, and from Rites of Durham, a picture emerges of the Cantor's duties and of the part played by boys and men in the daily Lady Mass in the Galilee chapel and in the Mass of the Name of Jesus on Fridays in the nave. Following the suppression of its monastic arm in 1539 Durham was re-constituted a cathedral only in 1541 . The pattern of worship established c.1560 continued until the 1620s, when the innovations introduced by John Cosin caused Peter Smart (a Calvinist) to preach a vituperative sermon on 27 July 1628. From the litigation which ensued much emerges about whole ordering of worship in Durham since the 1560s. Produced whilst the ceremonialists held sway were several sets of new music books for the choir. Some 40% of these are still in Durham. such is the detail in the muniments that it has proved possible to suggest when the books were transcribed and by whom. It has also proved possible to identify the contributions of no fewer than eight Durham scribes to the music books at Peterhouse, Cambridge. That their work should be so far afield is explained by the fact that when John Cosin became Master of Peterhouse i n 1635 he re-established the post of College organist and drew heavily upon the Durham repertoire. The succession of Cantors and Masters of the Choristers provided the framework on which to interweave details of their lives, historical events and musical developments. Biographical information relating to the other members of the choir has been assembled in Appendix 1. This is followed other Appendices many of which present together all occurrences of certain fields of information.
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Dobie, Alisdair John. "Accounting, management and control at Durham Cathedral Priory c. 1250-c. 1420." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/609/.
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This is the first study to be undertaken with the objective of documenting and analysing the accounting records and systems of Durham Cathedral Priory, from which survives one of the largest collections of medieval accounting material in the United Kingdom. It moves beyond the traditional focus of accounting historians on manorial compoti to examine a network of non-manorial accounts and a range of accounting forms beyond the charge and discharge statement. A substantial body of non-accounting primary material is also used in the investigation including charters, registers, and general chapter and visitation records. This study finds that a culture of accounting permeated the activities of the house at all levels from the controls surrounding the receipt of the hundreds of quarters of grain consumed by the house each year to the issue of the individual daily loaf. It also identifies a complexity in the accounts not always appreciated by historians who have consequently misinterpreted and misquoted figures taken from the account-rolls. In this period the accounts show a responsiveness to changes in the environment and fortunes of the house by the refinement of existing forms and the introduction of new types of financial record. The care given to the preparation of accounts and the detailed investigation of accounting and financial matters in the regular visitations to which the house was subject allow a refutation of general allegations of carelessness and inaccuracy in the preparation and presentation of accounts. The accounting system at Durham was an important and effective control in the functioning of the house and in the exercise and enforcement of its rights.
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Cambridge, Eric. "The masons and building works of Durham priory, 1339-1539." Thesis, Durham University, 1992. http://etheses.dur.ac.uk/6033/.
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The building activities of the Durham monks in the two centuries before the Dissolution are analysed using the evidence of the surviving remains, early depictions of works since destroyed, and the extensive contemporary archives. Besides the cathedral-priory itself, the buildings of the monastery's six northern cells (Coldingham, Holy Island, Fame Island, Finchale, Jarrow, and Monkwearmouth), and those of the thirty appropriated churches north of Humber still surviving, are also considered. The analysis examines the date, cost, and stylistic context of the building works, providing a comprehensive assessment of the priory’s architectural output. The existence of long-term variations in the selectivity and quantity of information about building in the priory's financial documents is demonstrated; an understanding of these is deemed indispensable in assessing the evidential value of the documents in interpreting changes in the material record. The pattern of building activity is related to the economic background and other claims on the priory's resources. Particular attention is paid to the years c. 1350-75, the only period of across-the-board renewal, when the chronology of works and distribution of common stylistic features suggest a co-ordinated building policy, probably reflecting the supervision of a single master mason, John Lewyn. The priory's treatment of its appropriated churches, and its interaction with parishioners in maintaining and altering these, is also evaluated. The role of episcopal and secular patrons m determining the frequent use of high- status masons from outside Durham as consultants is contrasted with the generally more limited calibre of masons employed on the monks' own initiative. It is argued that the priory’s employment of masons can only be understood in the context of this pattern of patronage and of the underlying pattern of building activity. The career of the best-known, Lewyn, is singled out for detailed reassessment.
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Anderson, Simon John. "Music by members of the Choral Foundation of Durham Cathedral in the 17th century." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1166/.
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Durham Cathedral is known to possess one of the largest and most intact collections of 17th-century liturgical music manuscripts in the world. That so much material survived the trauma of the Commonwealth is fortuitous indeed. The history of the pre-Civil War manuscripts has already been researched, and those after the Restoration have been investigated to a degree. The present research is concerned with a detailed study of the music composed by the many Durham musicians of the 17th century contained in the manuscripts, and their related sources. In total over 80 works by 20 composers are represented in varying degrees of completeness. These range from complete autograph texts through to solitary tenor parts. The study is concerned solely with the scene at Durham. To enlarge on earlier research, a detailed study of the manuscripts from the second half of the century is presented. These show the stability of the repertoire and the introduction of much new material towards the end of the century. A newlycompiled catalogue of the related manuscripts at Peterhouse, Cambridge is presented as an appendix. A representation of every piece of Durham-composed music is given. Extracts only are presented of fragmentary items, and also for reasons of space and time where a whole piece of music does not reveal anything significant. Reconstructions are presented of works with one or two parts missing, or where a large amount of material can be recovered from an extant organ part. Transcriptions are presented in cases where a complete text survives. The study is divided into two volumes. Volume one describes the music and its sources, and volume two contains musical transcriptions.
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Luff, Alexandra Naomi Mary. "The place of Durham Cathedral Priory in the post-Conquest spiritual life of the North-East." Thesis, Durham University, 2001. http://etheses.dur.ac.uk/1718/.
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Alexander, Dominic David. "Hermits, hagiography, and popular culture : a comparative study of Durham Cathedral Priory's hermits in the twelfth century." Thesis, Queen Mary, University of London, 2000. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1402.
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This thesis investigates the social and religious roles of two twelfth-century hermits connected to Durham Cathedral Priory, Godric of Finchale and Bartholomew of Farne, within the general context of twelfth-century western European eremiticism. Chapter One is a general discussion of the historiography of eleventh and twelfth-century hermits, and introduces the main hagiographic materials to be discussed. Chapter Two discusses the context of monasticism and eremiticism in northern England, and analyses the Vitae of Gothic and Bartholomew, particularly in terms of the problem of authority and asceticism. Chapter Three begins the discussion of the miracle cults at Farne and Finchale, raising the problem of popular interest in hermits and holy sites. Chapter Four continues this discussion by considering the large group of animal miracles at Farne and Finchale. Through comparison with the hagiographic tradition of such stories from their inception in Late Antiquity to the twelfth century, the chapter considers the relationship between popular and educated clerical elements in the Durham stories. Chapter Five considers the hagiographic theme of the eremitical diet, and the hermit in the wilderness, mainly through a comparison of Godric with a hermit, Aibert of Crespin, from the Cambrai. Chapter Six discusses the theme of eremitical clothing, and the social status of the hermit, comparing Godric to an English hermit, Wulfric of Haslebury. Chapter Seven considers the problem of hermits and women, and holy men and holy women. Godric's relation to holy women, and the misogyny of Durham's cult of Saint Cuthbert is considered through comparison with the Life of Christina of Markyate. Chapter Eight concludes with a final comparative discussion, of hermits and crowds, and discusses the social function of twelfth-century hermits.
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Turner, Philippa. "Image and devotion in Durham Cathedral Priory and York Minster c.1300-c.1540 : new contexts, new perspectives." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8966/.
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Religious images in various media, especially three-dimensional sculpture, were usually an important component of the physical topographies and devotional practices within ecclesiastical institutions during the period c.1300-c.1540. So far, discussion of these images has largely focused on continental contexts and on the English parochial context. This thesis addresses the English cathedral context in detail, providing a close reading of the images at two contrasting institutions in the north of England: Durham cathedral priory and York Minster. Unlike the continent, where there are rich survivals of medieval images, investigation of the English context is rendered more difficult by the lack of extant objects. Part One therefore uses primarily documentary sources to build up the image-topographies of both institutions. Part Two analyses aspects of these images comparatively, incorporating further comparison with those in other English cathedrals, great abbeys, and the parochial context, as well as continental cathedrals. It explores the connections between images and those who worshipped in these cathedral churches, the relationships that could be constructed between images, and between images and other sacred objects, especially saints’ shrines. This thesis therefore presents a new art-historical reading of these interiors and their users, and demonstrates the importance of the religious image in the physical and imaginative spaces within the late medieval English cathedral.
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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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Winchell, Kaleigh. "From instantaneities to the eternal| Shifting pictorial temporalities in Monet's "Rouen Cathedral"." Thesis, Wayne State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555415.
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This paper focuses on Monet’s Rouen Cathedral paintings, a set of canvases painted by the artist between February 1892 and May 1895. This series has traditionally been hailed as Monet’s greatest and most significant, but historical scholarship has addressed the series within an Impressionist framework. However, this paper argues instead that the Cathedral paintings no longer represented Monet as an Impressionist, but instead as an artist with entirely original and different goals for whom the nature of time had taken on new meaning. Where Monet began his endeavors in seriality with a feverish focus on the temporary and elusive—the enveloppe—in Rouen he worked and reworked the canvases, bringing them to a hand-wrought and over-worked surface unprecedented within his own work. For Monet, these paintings did not capture specific moments; they rendered an enduring and overwhelming presence entirely outside of time and place. The Rouen Cathedral series marks a distinct shift in Monet’s oeuvre. With these paintings, the artist left behind Impressionism and its focus on the fleeting qualities of atmosphere and light. The Rouen Cathedral works were a declaration of his new grand ambition: to construct paintings that would endure through both their physicality and their timeless subject matter.
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Cunningham, Dawn K. "(Re-)constructing a passion: the pontile of Modena Cathedral." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1058618800.
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Pluta, Larissa. "Face Value: An Iconographic Analysis of the Corbels of Chartres Cathedral." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216674.
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Art HistoryM.A.
The numerous figurated corbels of Chartres Cathedral were inscribed with semiotic content. Works in this genre were formerly disregarded by researchers because of their perceived lack of meaning. Trends in modern scholarship have challenged this misconception, and recent technological innovations have facilitated the study of these objects. The category would be more appropriately termed "secondary" rather than" marginal," as the former offers a semantically unencumbered assessment of the role of these sculptures. Originally designed for the cathedral's twelfth-century western complex, the corbels were likely members of a series that encircled the entire perimeter of the building. The use of human and animal head motifs for their decoration exemplifies a pervasive historical practice in architectural sculpture. The preservation of the corbels in the Gothic reconstruction of the cathedral substantiates their significance to medieval viewers. Study of the surviving pieces is complicated by the loss of the contextual framework provided by the remainder of the series. The examination of material evidence indicates a record of artistic engagement with these works. Iconographic analysis of individual corbel images reveals both correspondences with the thematic context of the primary sculptural program and independent signification. This project is intended as a useful starting point for additional inquiry, as investigations of secondary sculpture at other sites may bring new insight to its manifestations at Chartres.
Temple University--Theses
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Smith, Rebecca Avery. "Measuring the past: the geometry of Reims Cathedral." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6289.
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Reims Cathedral holds a great deal of significance for the history of Gothic architecture, as well as the larger history of France as the coronation church. Given the historic significance of Reims, it is not surprising that much scholarship has been dedicated to the building’s sculpture, glass, and architecture. Most studies dealing with the cathedral’s architecture are based on stylistic and archaeological analysis, augmented by the use of surviving documents related to the construction. Although much fruitful work has been done in this vein, important questions about the building’s chronology and design still remain unresolved. The extent to which the design of the cathedral was established at the start of its construction, for example, continues to be disputed. The most recent monograph on the cathedral, published by Alain Villes in 2009, suggests that dramatic revisions to the overall plan and elevation were introduced during the course of its construction, going beyond the alterations to the façade designs that many previous authors have noted, but his theses remain controversial. Subsequently, Robert Bork has produced geometric models of the cathedral, which suggest that its plan was more coherent and unified. Additionally, French archaeologist Walter Berry has conducted new excavations, which further reveal additional archaeological evidence not yet taken into account by other Reims scholars.
My dissertation, “Measuring the Past: The Geometry of Reims Cathedral,” examines the architectural design from a geometric perspective, augmented by archaeological, stylistic, and historic evidence. The primary contribution that my dissertation makes to art history is the development of a new, modern plan of the cathedral. I developed this plan by taking thousands of measurements using handheld devices and laser mapping, which I then incorporated into a single data set. This work allowed Bork and me to further refine the underlying geometry that created the cathedral’s layout and proportions. This new plan indicates that a master plan devised by the first architect governed the whole church, with subsequent modifications affecting its articulation rather than its overall layout. In addition to explaining how this plan was originally conceived, my dissertation also examines the anomalies and mistakes made during construction, which at times forced minor deviations from the plan. Some of these building errors and the obvious attempts to correct them give clues to the order of construction, in addition to supporting the notion that the masons repeatedly returned to the uniform scheme. This allows me to reassess the scholarship written about the cathedral and the complex history of the building project, while resolving some of the disputes over the cathedral’s construction and design.
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Moiroux, Sophie. "L' Objet -Frontière. Art contemporain, conflits et jeux d'ontologies dans l'oeuvre de Jimmie Durham." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0156.
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Cette thèse étudie l’œuvre plastique de l’artiste contemporain d’origine cherokee Jimmie Durham, en la contemplant en suivant le regard, posé sur les artefacts, de l’art contemporain, occidental et celui que nous avons tenté de distinguer dans une tradition cherokee. Sont mis en évidence, en analysant les textes et déclarations de l’artiste et de nombreux critiques, ainsi qu’en étudiant les modalités pragmatiques impliquées par ces œuvres, des conflits d’appréhensions des objets, tant du point de vue des ontologies impliquées, notamment en considérant les transformations paradigmatiques, des objets en art et en « objets » rituels (soit de nouvelles ontologies dans des contexte spécifique à l’intérieur d’ontologies courantes), que des appréhensions des choses du monde (et des relations aux gens) dans ces divers cultures. Des conflits sont présents non seulement lorsque l’on considère la situation coloniale contemplée par l’artiste, mais apparaîssent aussi dans les compréhensions de ses œuvres. Les œuvres, réalisées spécifiquement pour leur public, témoignent de tels conflits tout en ayant une visée communicative : nous pouvons les voir comme des condensations efficacesThis thesis studies the artwork of the contemporary artist Jimmie Durham, of Cherokee origin, by looking at it following the view (on objects), of western contemporary art, and that which we tried to distinguish in Cherokee tradition. Through analyzing texts and statements by the artist and by numerous critics, as well as studying the pragmatic modalities implied by the works, some conflicts in apprehending objects are brought into light concerning the ontologies implied - especially while considering the paradigmatic transformations of objects in art and into ritual artefacts – as well as ways to engage the world (and relations to people) within these different cultures. Conflicts are present not only while considering the colonial situation perceived by the artist, but also in understanding of these artworks. The works, which are made specifically for their public, demonstrate such conflicts while aiming at communication: we can see them as efficient condensations
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Szymanska, Agnieszka. "Liminal Bishops: Episcopal Portraits from the Cathedral of Pachoras, Nubia." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86848.
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Art HistoryM.A.
Prior to the removal of monumental murals from the cathedral of Pachoras (Faras), the largely unknown cultural entity of Christian Nubia figured in scholarship merely as a peripheral outpost of Byzantine and Egyptian influence. The impressive corpus of visual evidence from Pachoras, located south of the first Nile cataract and now inundated by Lake Nasser, led Kurt Weitzmann to reevaluate its significance in a seminal essay published in 1970. By tracing artistic sources of Christian Nubian art to Egypt, Palestine, and Syria, Weitzmann initiated recognition of the close ties between Nubia and Byzantium. Since that time, however, this subject has received little art historical attention, and it continues to pose interpretive challenges. I endeavor to recuperate the Nubian wall paintings from Pachoras for mainstream Byzantine studies. To that end, I explore the depictions of three of the Pachoras bishops, with particular attention to their original location, relationship with surrounding images, and epigraphic evidence. I conceive of these tenth- and eleventh-century portraits as visual constructions of Nubian episcopal authority mapped out on the cathedral's walls. I also explore the possible meanings of the indigenous elements represented in the images of the Pachoras bishops, while considering their relationships to the eastern Mediterranean textual and visual traditions. Evidence includes the paintings with accompanying inscriptions, fourteenth-century scrolls of Bishop Timotheos, Greek and Coptic epitaphs engraved on ninth- through twelfth-century funerary steles, and a list of bishops, first painted around the turn of the tenth century.
Temple University--Theses
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Stone, Kathryn Ann. "THE HISTORY AND ORIGINS OF THE OPUS ALEXANDRINUM PAVEMENT IN THETRINITY CHAPEL IN CANTERBURY CATHEDRAL, KENT, ENGLAND." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1493045650739424.
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Malleck, Amy Elizabeth. "Intersections of Architecture and Religion In the Medieval Mediterranean: The Cappella Palatina, Palermo, and The Cathedral of St Sophia, Nicosia." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/213120.
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Art HistoryM.A.
This paper explores the relationships between medieval religious buildings across the Mediterranean, where Muslim, Byzantine, and Western courts created a repertoire of churches and mosques whose patrons, architects, architectural iconographies, cultural contexts, and performative dimensions overlapped to a high degree. Tracing the analogies between the Cappella Palatina in Palermo and St. Sophia Cathedral in Nicosia testifies eloquently to these transmissions of adoption and integration because Sicily and Cyprus both passed between Byzantine, Islamic, and Latin Christian rule and, in the process, fused architectural and decorative elements of disparate traditions for their religious monuments. I have approached the Cappella Palatina and Nicosia Cathedral by extending the idea that portable art objects were active agents in constructing the cultural contours of medieval courts in order to address how the Hauteville and Lusignan rulers visualized and performed the authority of their kingships. This method of analysis shows that each dynasty articulated their bonds with Western Europe and the Latin Church while also assuring legibility within the courtly mise-en-scène that enveloped and reached beyond the Mediterranean. Accordingly, I have sought to expand the cultural frame of reference for the Cappella Palatina and Nicosia Cathedral by emphasizing the impact of the respective Fatimid and Byzantine contributions, as well as by exploring the conceptual affinities between the distinct visual and ceremonial traditions manifest in each building. Above all, this exchange tells a story more nuanced than triumphant appropriation.
Temple University--Theses
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Moeller, Sarah. "The Faces of Reims: An Investigation into the Meaning of the Corbel Head of the Cathedral of Notre Dame at Reims." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1210888738.
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Thesis (M.A.)--University of Cincinnati, 2008.Advisor: Kristi Nelson (Advisor), Diane Mankin (Committee Member), Lowanne Jones (Committee Member). Title from electronic thesis title page (viewed Feb. 8, 2009). Includes abstract. Includes bibliographical references.
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Schizas, Nicholas. "A theological study of the frescoes painted by Spyridon Papaloukas in the cathedral of Amfissa." Thesis, University of Wales Trinity Saint David, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683253.
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Lindley, P. G. "The monastic cathedral at Ely, circa 1320 to circa 1350 : art and patronage in Medieval East Anglia." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.355020.
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Hill, Cecilia Fajardo. "In and out of 'the primitive' : postcolonialism and contemporary art practice : Jimmy Durham and Jose Bedia in context." Thesis, University of Essex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272509.
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Crites, Danya Alexandra. "From mosque to cathedral: the social and political significations of Mudejar architecture in late medieval Seville." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/481.
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During the late Middle Ages, Iberian Christian and Jewish patrons commissioned intriguing monuments that incorporate Islamic-derived features. Determining possible reasons for the patronage of this architecture, commonly referred to as Mudejar architecture, has the potential to provide important insights into the complex, multi-cultural society that produced it, yet studies on its patronage have been limited in number and scope. Most of the early Spanish scholarship on Mudejar architecture focuses on formal issues and simply attributes its patronage to economic factors, an admiring fascination with the exotic, or a desire to subjugate Islamic culture. More recent scholarship has shifted to examining the motivations of patrons in specific case studies; however, many of these case studies are still framed within the overarching theory that Mudejar architecture was the result of a common architectural heritage among Christians, Jews, and Muslims. The reasons for Mudejar patronage cannot be confined to a single broad theory, but instead individual projects and patrons must be studied within their specific contexts and then compared to one another to provide a more accurate understanding of Mudejarismo.
This dissertation traces the development of Mudejar architecture in Seville from the time of the city's conquest by Christian forces in 1248 to the early sixteenth century, just after the expulsion of Muslims and Jews from the Kingdom of Castile, in order to demonstrate the changing nature of Mudejar patronage in the city and how it relates to the relations among Christian, Jews, and Muslims. In establishing the chronology and the patronage of Seville's Mudejar monuments through a close analysis of their formal elements, three distinct phases in their construction become apparent: 1) the approximately fifty years following the city's conquest; 2) a period between the earthquake of 1356 and the initial construction of the Gothic cathedral in the 1430's; and 3) the remainder of the fifteenth century through the first years of the sixteenth century. Prevalent features of Mudejar architecture during each of these phases are considered within the socio-political climate of the time as evidenced in primary sources. While economic, social, and demographic factors contributed to the construction of Mudejar architecture in Seville, its patronage was largely the result of the changing political agendas of the city's ruling elite. Shortly after the city's Castilian conquest, Alfonso X favored Gothic over Mudejar features because of his goals of asserting the new Christian authority in a city still threatened by Muslim forces and creating for himself a cosmopolitan imperial image. By the mid-fourteenth century, when Christian hegemony was no longer a concern, Mudejar forms signified the absolute power desired by Pedro I and his rebellious half-brother Enrique II. The construction of Seville's enormous Gothic cathedral throughout much of the fifteenth century in addition to the patronage of the Catholic Monarchs and the rise of the Renaissance largely ended Mudejar patronage in the city with the exception of centrally-planned chapels and elaborate wooden roofs, which by this time had become a source of local pride. Thus, no general theory can encompass all of the reasons for Mudejar patronage in late medieval Seville, which were varied and continually in flux.
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Sbisa', Tiziana. "The Cathedral at Nicosia in the Age of Frederick II and Louis IX: Issues of Patronage, Structure, and Meaning." Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1243841684.
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Thesis(Ph.D.)--Case Western Reserve University, 2009Title from PDF (viewed on 2009-11-23) Department of Art History Includes abstract Includes bibliographical references and appendices Available online via the OhioLINK ETD Center
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King, Rachel. "Divine Constructions: A Comparison of the Great Mosque of Cordoba and Notre-Dame-du-Chartres." Thesis, Boston College, 2007. http://hdl.handle.net/2345/504.
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Thesis advisor: Katherine NahumThis thesis is a comparison between medieval Christian and Islamic sacred architecture, using the Great Mosque of Cordoba and the Cathedral of Notre-Dame in Chartres as examples. The paper links a formal analysis and comparison of the buildings, including their use of space, light, and decoration to an analysis and comparison of each religion's philosophy and theology. It includes a discussion of the role of Neo-Platonist philosophy on the architecture of each religion
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: Fine Arts
Discipline: College Honors Program
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Heath, Anne Elizabeth. "Architecture, ritual and identity in the Cathedral of Saint-Etienne and the Abbey of Saint-Germain in Auxerre, France /." View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174619.
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Barrington-Ward, Anna. "The art history and rebuilding of Llandaff Cathedral especially after 1941 and its potential for awakening the sense of the numinous at the end of the twentieth century." Thesis, University of Wales Trinity Saint David, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683138.
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Quayle, Cian. "Inventory for a reverse journey : photographic image and found object : an investigation of travel and material transformation as a paradigm of artist's practice : Ed Ruscha, Douglas Huebler, Bas jan Ader, Jimmie Durham, Gustav Metzger, Kurt Schwitters & Cian Quayle." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/2308/.
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Inventory for Reverse Journey is the title of a collection of photographic artefacts and found objects, which I have collected over the last twenty years. The title refers to one specific type of artist's journey, which is applicable to the `chronotope' of my archive, as a `metaphorical journey in space and time' (Bakhtin 1981, p. 81). The `city',`provincial town', `road', `threshold' and `interior' are recurrent motifs, which Bakhtin fused together to describe the historical evolution of the novel in relation to its different genres. Bakhtin's motifs are expanded as the basis of an evolutionary nomenclature of the artist's-journey, as a form of spatial mapping and identity formation. Alongside other sources from literature (Alain Robbe-Grillet), cinema (Michelangelo Antonioni), psychoanalysis (Kierkegaard) and critical theory (Walter Benjamin) I have developed a theoretical framework, which initially originated in an empirical process, that is reflected in the antecedents of this project. The research process, as a journey itself, has concretised this approach within a systems-based practice. This is mirrored in the work of the artists under investigation, as their differences and similarities are highlighted within a broad contextual analysis. Accordingly the tone of the writing shifts its register at different points in the thesis. My journey is just one example of several paradigmatic formations of `travel' as a strategy, which investigates the work of six different artists, as a voluntary or involuntary form of exile. A deskilled use of the photographic image is examined in the work of Ed Ruscha, Douglas Huebler and Bas jan Ader in the spatial mapping of their chosen locations. The work of these artists manifests travel, as a strategy, in a benign form of regional and expatriate exile. The investigation shifts its focus from the New World to Europe, where the work of Jimmie Durham, Gustav Metzger and Kurt Schwitters is analysed in relation to their transformation of found objects and materials, and their relationship with a former 'home'. Their position registers different degrees of the `impossibility of return' to a point of origin, which exists in the mind rather than as a physical location. The transience of their work, and use of disparate materials, is counterbalanced by their physical presence in the work. Conversely Ader, Huebler and Ruscha are linked by a scale of decreasing visibility, as they are sublimated within their work in the formation of, what is now construed as, a unique photographic presence. The starting point for which is a return to the formative years of conceptualism in the 1960's, which set the scene for Durham and Metzger from the 1970's onwards. The spectre of Schwitters practice of forming (Formung) and unforming (Entformung) is significant for my analysis of the dematerialisation of the art-work and artist, by processes of series and repetition, distance and proximity, movement and stasis. Although `travel' is a ubiquitous term, I continue to use it as a portmanteau, which carries with it the themes and `salient' features of a typology of artist's journeys. In a moment of perceived obsolescence as digital information systems engender a culture of `selective-amnesia', these thoughts have informed my work, which runs parallel to the artist case-studies, and the material transformation of the photographic image and found object.
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Etcheverry, Maritchu. "La cathédrale romane de Pampelune et la sculpture en Navarre dans la première moitié du XIIe siècle." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20112.
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Durant la première moitié du XIIe siècle, la sculpture romane navarraise connaît un développement important doublé d’un renouvellement du répertoire ornemental qui donnent lieu à la réalisation de sculptures considérées comme de véritables chefs-d’œuvre, principalement au sein du chantier de la cathédrale Sainte-Marie de Pampelune. C’est autour de 1100 que se poursuivent l’essentiel des travaux de reconstruction de l’édifice navarrais entrepris, un peu plus d’une décennie plus tôt, par Pierre d'Andouque, moine français devenu évêque de Pampelune. Sur ce chantier interviennent plusieurs sculpteurs de talent, principalement dans le cloître, ainsi qu’un opifex, Esteban, identifié par un texte comme maître d’œuvre du prestigieux chantier de Saint-Jacques-de-Compostelle. Généralement considérée comme la création majeure de cette époque dans le Royaume, placée par plusieurs auteurs au centre de toute la production architecturale mais surtout sculptée de la Navarre durant la première moitié du XIIe siècle, la cathédrale romane reste encore à ce jour, malgré les nombreux travaux qui lui ont été consacrés et les débats historiographiques qu’elle a suscité depuis les années 1930, exempte de toute étude monographique. Ce constat s’explique certainement par les vestiges très réduits sauvés suite à la destruction complète de l’édifice à la fin du XVIIIe siècle : de simples fondations mises au jour en 1993 lors de fouilles archéologiques ainsi qu’un corpus d’une vingtaine d’œuvres sculptées seulement, aujourd’hui conservées au Musée de Navarre. La présente thèse vise à combler ce manque en menant une étude exhaustive de ce monument. S’appuyant sur le dépouillement d’archives, sur un catalogue détaillé de chaque sculpture provenant de la cathédrale ainsi que sur des fiches monographiques des églises navarraises de la première moitié du XIIe siècle, cette étude se propose de reprendre les questions relatives au contexte historique, artistique et humain du chantier de la cathédrale romane Sainte-Marie de Pampelune et de (ré)interroger l’« influence » qui lui a été a prêté au sein de la production navarraise. Il s’agira ainsi de mieux comprendre la gestion du chantier, les modalités de la commande artistique - qui mettent en exergue le rôle essentiel de l’évêque - mais aussi d’interroger les processus de production des œuvres sculptées en étudiant les origines et les sources qui ont nourri les créations des différents sculpteurs, entre Navarre, Aragon, Midi toulousain et Gascogne notamment. Ceci mènera à préciser l’impact de la cathédrale dans le renouveau ornemental des chantiers navarrais de la première moitié du XIIe siècleDuring the first half of the XIIth century, the Navarrian Romanesque sculpture saw an important development added to a renewal of the decorative repertory which gave rise to the realization of sculptures considered as real masterpieces, mainly within the construction site of the cathedral of saint-Marie de Pampeluna. Around 1100, the main part of the alteration works of the Navarrian building took place; they had been undertaken, a little more than a decade earlier, by Pierre d'Andouque, the French monk who became the bishop of Pampeluna. Several talented sculptors took part in this construction mainly in the cloisters. As well as an “opifex”, Esteban, who is mentioned in a text as a project manager of the prestigious construction site of Santiago de Compostela. Generally considered as the major creation of this time in the Kingdom, regarded by several authors as occupying a central position in Navarre architecture and above all Navarre sculpture during the first half of the XIIth century, the Romanesque cathedral remains to this day, in spite of the numerous works which were dedicated to it and the historiographical debates that it has aroused since the 1930s, without its monographic study. This can certainly be partly explained by the scarcity of remains that could be saved after the complete destruction of the building at the end of the XVIIIth century: mere foundations that were brought to light in 1993 during archaeological excavations as well as a corpus of only about twenty sculptured works, which are kept in the Museum of Navarre today. The present thesis aims at filling this lack by leading a comprehensive survey of this monument. Based on the analysis from the archives, on a detailed catalogue of every sculpture coming from the cathedral as well as on monographic index cards of the Navarrian churches of the first half of the XIIth century, this study examines questions relative to the historic, artistic and human context of the construction site of the Romanesque cathedral Sainte-Marie de Pampeluna and explores the question of its alleged "influence" on the Navarrian production. The aim of this study is also to better understand the management of the construction site, the methods of the artistic talent - which will highlight the essential role of the bishop - but also to question the processes of production of the sculptured works by studying the origins and the sources which influenced the creations of the various sculptors, between Navarre, Aragon, Toulousian South and Gascony in particular. This will lead on to specifying the impact of the cathedral in the decorative revival of the Navarrian construction sites of the first half of the XIIth century
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Gelin, Marie-Pierre. "Lumen ad revelationem gentium : iconographie et liturgie à Christ Church, Canterbury, 1175-1220." Poitiers, 2005. http://www.theses.fr/2005POIT5004.
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La fin du XIIè et le début du XIIIè siècle constituèrent une période charnière pour le monastère de Christ Church, Canterbury, en particulier. La mise en place d'un programme iconographique complexe et unifié pour les vitraux du chœur de la cathédrale après l'incendie de 1174 fut accompagnée d'une réorganisation de la liturgie à la suite de la canonisation rapide de Thomas Becket, assassiné en 1170, et du succès croissant du pèlerinage sur sa tombe. Cette étude compare l'iconographie des vitraux typologiques et hagiographiques du chœur de Christ Church, Canterbury, avec les textes liturgiques en provenance de cette église, et montre que ces deux modes d'expression furent mis à contribution par la communauté monastique pour créer et exprimer une identité propre enracinée dans le passé de la cathédrale, qui valorisait les rôles religieux et politique de Canterbury dans le contexte de redéfinition des rapports entre pouvoirs spirituel et temporel qui marque la périodeThe end of the twelfth and the beginning of the thirteenth century marked a major turning point in the history of the monastery of Christ Church, Canterbury. The destruction of the choir of Christ Church by fire in 1174 was seized by the community as an opportunity to create a complex and unified iconographic programme in the windows of the rebuilt church. At the same time, the rapid canonisation of Thomas Becket after his murder in 1170 and the growing success of the Canterbury pilgrimage triggered a reorganization of the liturgy of the cathedral. This study compares the iconography of the typological and hagiographical windows of the choir of the cathedral with the liturgical texts, revealing that these two media were used by the monastic community to create and broadcast a corporate identity rooted in the cathedral past, and wich enhanced the religious and political roles played by Canterbury in the context of the redefinition of the relations between Church and King
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Tuchscherer, Jean-Michel 1942. "Sponsus - SponsaChristus - Ecclesia : the illustrations of the Song of Songs in the Bible moralisée de Saint-Louis, Toledo, Spain, Cathedral Treasury, Ms. 1 and Paris, Bibliothèque Nationale, Ms. lat. 11560." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40269.
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Among the considerable manuscript production of the twelfth and thirteenth centuries, the Bible moralisee stands out by the number of miniatures and by the conception of the manuscript itself. The composition and many iconographical themes recall stained glass windows of contemporary cathedrals, such as Chartres, Sens, Bourges, or Canterbury in England.The manuscript of the Bible moralisee to which this study is partly dedicated, is located in the Treasury of the Toledo cathedral chapter in Spain. This study deals also with the duplicate copy which was realized soon afterwards. The interpretation and illustrations of the verses vary in number according to the books of the Bible. Though being one of the smallest biblical books, the Song of Solomon is given outstanding consideration, more than any other book in the Bible. The central theme--the espousal of the Bride and the Bridegroom, Christ and Ecclesia being its allegory--enjoyed a considerable success in medieval theology. It corresponded to the courtly love atmosphere of its time. Abundant commentary literature and the development of mariology made this book even more popular. About a quarter of the commentary illustrations are dedicated to the theme Christus-Ecclesia. Ecclesia, always crowned, holds the chalice which confirms her sacramental significance. In no other known iconographical medieval programme has Ecclesia such a position.
The question raised by the problematic around this Bible is the eventual intention being at the origin of this order which, without any doubt, emanates from French royalty. Has it been produced to enhance the prestige of royalty? Is it a pedagogical work intended for the education of the royal children? Was it meant to be a royal political gift? The Ecclesia theme in the Bible is the exaltation of, or an hommage to the Church, spiritual or temporal, by the French royalty of the thirteenth century.
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Quintana, Marín María Isabel. "Du cubisme à d'autres cathédrales : Diego Rivera et l'"Art Social" d'Elie Faure." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H032.
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Installé à Paris en 1911, Diego Rivera se rallie au cubisme pour retourner au réalisme en 1918. A cette époque, il tisse une amitié riche en échanges avec Élie Faure, socialiste comme lui. Faure voit chez l'artiste "une source inépuisable de surprises et d'enseignements»; Rivera considère l'historien de l'art comme l'un de ses« maîtres". Élie Faure a une compréhension de la société et de l'art basée sur la contribution de personnalités qui ont bouleversé la pensée et les arts depuis la Révolution française: Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, entre autres. Déclarant l'échéance de l'esprit individualiste de la Renaissance, il annonce l'avènement d'un rythme collectif d'expression artistique sociale et monumentale, notamment architecturale, dont l'intention de «construire» en peinture est un symptôme. Le Moyen-âge français lui fournit un paradigme de l'ordre collectif et de I' «Art social», la cathédrale comme étant la plus parfaite expression, manifestation de la collaboration humaine et symbole même d'une civilisation. En 1921, décidé à militer pour l'établissement d'un nouvel ordre social, Rivera rentre dans son pays. Il est passionné par la socialisation de l'art et par l'architecture. Son discours et ses démarches révèlent ses affinités intellectuelles avec l'historien de l'art français et exprime une volonté de mener à son accomplissement l'"Art social". Cependant, les idées du peintre évoluent avec les évènements politiques, sociaux et culturels du Mexique, tenant compte du contexte mondial. Cet échange franco-mexicain illustre la complexité des transferts qui conduisent aux discours actuels de la mondialisation artistiqueMoving to Paris in 1911, Diego Riverais won over to Cubism only to return to Realism in 1918. During that period, he builds a rich friendship with Elie Faure, a socialist like him. Faure sees in the artist ''an endless source of surprises and lessons." Rivera considers the art historian Faure as one of his "masters. "Elie Faure has an understanding of society based on the contribution of individuals who have changed thinking and the art since the French Revolution : Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, and others. Declaring the end of the individualistic spirit of the Renaissance, he announces the beginning of a collective rhythm of social and monumental artistic expressions, especially in architecture, with the intention to "construct" by painting as an indication. The French Middle Ages provides Elie Faure with a paradigm of collective order and "Social Art," of which the cathedral is the most perfect expression - a manifestation of perfect human collaboration and a symbol of a civilization. In 1921, having decided ta campaign for the establishment of a new social order, Rivera returns ta his country. He is passionate about the socialization of art and architecture. His speech and his actions reveal his intellectual affinity with the French art historian and show a willingness to carry to completion "Social Art. "However, the painter 's ideas evolve with the political, social, and cultural events of Mexico, taking into account the global context. This Franco-Mexican exchange illustrates the complexity of the transfers that lead to the current globalization of artistic discourse
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Sandoval, Elizabeth Marie. "A Material Sign of Self: The Book as Metaphor and Representation in Fifteenth-Century Northern European Art." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531875789992912.
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Lundborg, Rebecka. "Medmänsklighet och Gudomligt Beskydd : En receptionsestetisk studie av Maria (Återkomsten) och Skyddsmantelmadonnan." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413687.
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Syftet med uppsatsen ”Medmänsklighet och Gudomligt Beskydd – en receptionsestetisk studie av Maria (Återkomsten) och Skyddsmantelmadonnan” är att ur ett receptionsestetiskt perspektiv närma sig skulpturerna Maria (Återkomsten) av Anders Widoff och Skyddsmantelmadonnan av Lena Lervik. Skulpturerna finns i och i anslutning till Uppsala respektive Lunds domkyrka. Genom receptionsestetikens metod där man tittar på ett konstverks interna faktorer som rör verkets inre organisation samt externa faktorer såsom platsen där konstverken är placerade, andra konstverk som relaterar till verket, en myt eller berättelse som är viktig för förståelsen av konstverken etcetera, rör sig uppsatsen fram mot en diskussion kring vem som är verkens implicite betraktare, dvs. ideala betraktare. Uppsatsen ämnar även diskutera hur jungfru Maria gestaltas i de berörda skulpturerna: vilken bild konstverken ger av Maria. Metoden för att diskutera vem som är verkens implicite betraktare och hur betraktaren aktiverar konstverken i relation till platserna är besök på de platser där konstverken finns för att i denna miljö möta verken och läsning av relevant litteratur. Slutsatsen är att skulpturerna är medvetet placerade i anslutning till kyrkorum och att platserna utgör en viktig dialog med konstverken. Skulpturerna ger väldigt olika bilder av jungfru Maria: Maria (Återkomsten) gestaltar Marias mänskliga sida och Skyddsmantelmadonnan är mer av en gudinnegestalt, en Moder Jord och urmoder som beskyddar mänskligheten. Verkens implicite betraktare är någon som vistas på platsen och möter verken med en öppenhet; verken har båda en öppenhet i framförallt ansiktsuttryck som öppnar för olika tolkningar. Den implicite betraktaren – i meningen den ideala betraktaren – är en människa med en öppenhet för en andlig dimension men är inte nödvändigtvis troende. Betraktaren behöver inte ha kunskap om vem jungfru Maria är, verkens tillkomsthistoria, verk som kan tänkas relatera till skulpturerna etcetera men det kan fördjupa upplevelsen.The purpose of the essay "Humanity and Heavenly Protection – a Study of Mary (The Return) and the Protective Cloak Madonna Based on the Theory and Method of Reception Aesthetics" is to approach the sculptures Mary (The Return) by the artist Anders Widoff, and The Protective Cloak Madonna by the artist Lena Lervik. The sculptures are placed inside Uppsala Cathedral and outside Lund Cathedral respectively, and the study is based on the theory and method of reception aesthetics, where one looks at an artwork's internal factors that relate to the work's internal organization, as well as external factors, such as the situation of the work, relating works, or myths or stories that are important to understanding the work. Through this theory, a discussion about the implicit (ideal) beholder of the works takes place. Furthermore, the essay aspires to discuss the representation of Virgin Mary in the sculptures: what images of her the artworks present. The discussion of the implicit beholder, as well as the question of how locations affect the viewer’s activation of the works, was based on visits to the sites, as well as the study of literature on the artworks and the theory used. The conclusion is that the sculptures are intentionally placed in the vicinity of cathedrals, and that the sites constitute an important dialogue with the artworks. The sculptures present very different images of the Virgin Mary: Mary (The Return) embodies Mary's human side, while the Protective Cloak Madonna is more of a Goddess figure, a Mother Earth and ancestor who protects humanity. The implicit beholder of the works is someone who visits the sites and encounters the works with an open mind; the sculptures have openness to them, especially in the facial expressions that invite different interpretations. The implicit (ideal) beholder is a person with an open mind to a spiritual dimension, but is not necessarily a Christian. The viewer does not need to know who Virgin Mary is, nor the history of the artworks or relating works, even though such knowledge might deepen the experience.
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Barrantes, Paula Elizabeth de Maria 1970. "Catalogação do acervo artístico da Catedral Metropolitana de Campinas : pinturas, esculturas, talha e detalhes arquitetônicos de 1840 a 1923." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279649.
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Orientador: Jorge Sidney Coli JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-25T02:53:32Z (GMT). No. of bitstreams: 1 Barrantes_PaulaElizabethdeMaria_M.pdf: 24161820 bytes, checksum: 91cfc0e63d87ec1bc11e9539072250a2 (MD5) Previous issue date: 2014
Resumo: A Catedral de Campinas é um templo com múltiplos usos e em seu espaço abriga o Museu Arquidiocesano de Campinas e o Museu da Irmandade do Santíssimo Sacramento. Tanto a Catedral como ambos os museus apresentam vários problemas relacionados à identificação de seu acervo, sendo a grande maioria das obras com procedência desconhecida. O objetivo desta pesquisa foi o de catalogar o acervo da Catedral Metropolitana Nossa Senhora da Conceição de Campinas, de 1840 à 1923, abrangendo imagens sacras, pinturas, detalhes arquitetônicos e a obra de talha. Foi possível rastrear e catalogar todo o acervo através de documentos primários e comparações iconográficas. Percebeu-se que, quanto à catalogação de imagens, a correta amplitude da pesquisa deveria partir de 1774 à 1923, uma vez que enquanto a Matriz Nova era construída, formava-se o acervo de imagens na Matriz Velha, mas com a consciência exata de que o acervo seria passado à nova matriz após sua inauguração. Foi possível também descobrir a autoria e o histórico das pinturas originais presentes na inauguração do templo em 1883, bem como descobrir o histórico e a autoria dos evangelistas e apóstolos da fachada, informações inéditas até o momento. Foram desvendadas a origem das estátuas externas do templo e a pesquisa em fontes primárias inéditas possibilitou encontrar equívocos na descrição do atual catálogo do acervo. A pesquisa da obra de talha, encontrou informações que fazem possível hoje, atribuir à quatro entalhadores o conjunto total da talha: Vitoriano dos Anjos, Bernardino de Sena, Raffaelo de Rosa e Marino Del Favero, os dois últimos italianos. Também foi possível atribuir obras a cada um, cuja autoria, até o momento, era desconhecida. Em sua abrangência, a pesquisa possibilitou desvendar o histórico das fachadas do templo e elucidar diversos acontecimentos como os acidentes durante o período de construção, os arquitetos participantes bem como suas contribuições ao templo, sistemas construtivos e materiais utilizados. Dentro ainda da arquitetura, também descobriu-se todos os elementos modificados e construídos na reforma de 1923. Além do catálogo das obras e da arquitetura, como complemento, foi criado um dicionário de todos os artistas que participaram do acervo, com informações biográficas. Esta catalogação deve servir então à duas propostas, como fonte de pesquisa acadêmica e como utilidade prática no uso diário do acervo. Como conclusão, percebe-se que a história da construção do templo e do acervo é muito mais rica, cheia de detalhes e acontecimentos do que até então se conhecia, fazendo desta pesquisa uma referencia para futuros trabalhos relacionados ao seu acervo e sua história
Abstract: The Catedral Metropolitana de Campinas is a religious temple that houses the Museu Arquediocesano de Campinas and the Museu da Irmandade do Santíssimo Sacramento. Both museums and the Cathedral, present several problems regarding the correct identification of its art collection, with most of the art work of unknown origin. The objective of this research was to catalog the collection of the Catedral Metropolitana Nossa Senhora da Conceição de Campinas from 1840 to 1923. The collection includes sacred images, paintings, architectural details and carving works. This research made possible to trace and catalog the entire collection of the period thru analysis of primary documents and iconographic comparison. Regarding the image collection, the real amplitude of the research should comprehend the period from 1774 to 1923. As the New Church was being built, the collection of images was being formed at the Old Church, but with the certain that the collection would be transferred to the new site after its inauguration. It was also possible to discover the authorship and the history of the original paintings present at the inauguration of the temple in 1883, as well as the authorship and history of the Evangelists and Apostles statues at the façade. The origin of the external statues of the temple was unveiled and the research on unprecedented primary sources made possible to find misconceptions at the description of the current catalog of the collection. The research of the carving works revealed information that contributed to attribute four woodworkers to the whole carving work at the church: Vitoriano dos Anjos, Bernardino de Sena, Raffaelo de Rosa and Marino Del Favero, the last two Italians. It was also possible to attribute to each one, other artworks, which the authorship was unknown until now. Due to the wide scope of the research, it was possible to unveil the history of the façade construction and to elucidate many of the related events such as the accidents, the architects and their contribution on the project and construction of the temple as well as constructive systems and used materials. Still in the architecture scope, it was disclosed all the modified and built elements at the renovation in 1923. Aside the catalog of the collection, as a complement, it was created a dictionary of all the participating artists of the collection with bio info. The cataloging of the collection intend to attend two distinct proposes, as an academic resource and as a daily reference for the museums. In order to come to a conclusion, one can easily realize that the history of the construction of the temple and the gathering of its collection is far richer than could be imagined making this research a starting point and a solid anchor for future researches
Mestrado
Historia da Arte
Mestra em História
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Björk, Chanda. "Vulvan, förlossningen och mötet med modergudinnan : Om Monica Sjöös målning God giving birth." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-17194.
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This study is about the artist Monica Sjoo’s (1938-2005) painting God giving birth (1968) that was accused of being blasphemous and obscene in the early 1970s. God giving birth could have had much in common with Niki de Saint-Phalle’s She – a cathedral (1966), both works suggesting a mother goddess image. The main difference however can be found in the fact that Monica Sjoo’s painting had connection to the women’s movement in the 1970s. Monica Sjoo’s artwork responded to other feminist artwork of that period. Among several feminist artists during the period about 1968-1985, an iconography was in use that focused on vulvar imagery, experience of childbirth and goddess images. In particulary the mother goddess was embraced. The female body in art was re-sacred and invested with meaning connected with women’s cycles of birth-death and rebirth and the earth as a mother goddess.
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Cobb, Morgan B. "Sex, Chastity, and Political Power in Medieval and Early Renaissance Representations of the Ermine." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458578117.
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Gastinne-Biclet, Armelle. "Image et parole : le vitrail de Saint Lubin à Chartres : sens et fonction de ses images à la fin du XIIe siècle." Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCH040.
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L’énigme du vitrail de saint Lubin à Chartres, qui montre une histoire de vin au centre de la vie du saint, se résout si l’on en pratique une lecture symbolique respectueuse des schèmes mentaux médiévaux : le mystère eucharistique central du vin permet au jeune Lubin de devenir un saint, dans sa vocation propre de consacré (le chanoine lettré du XIIème siècle transparaissant sous le moine du VIème siècle), prêtre et évêque, Bon Pasteur dispensateur des dons divins. La présence insolite de petits personnages dans la bordure correspond à une reprise en compte du peuple des laïcs à travers le mystère eucharistique et participe, avec les vignettes introductives, à une parénèse homilétique invitant tous les spectateurs à la conversion. Un enseignement théologique par l’image trouve son langage dans des images scripturaires interprétées par la glossa ordinaria et actualisées, constituées en chapitre de somme théologique fidèle à l’enseignement patristique de la figura et de la veritas, - le rapport veritas-figura du sang versé et du vin de la Cène étant de même type que celui qui régit le rapport de l’Ancien et du Nouveau Testaments, ainsi que celui de la Vie de l’Eglise terrestre et de l’Eschatologie ; il utilise les ressources constructives de la logique sans se soumettre à son hégémonie destructrice du mystère. Loin d’une publicité pour la relique du saint, l’évêque ou le chapitre, le vitrail s’inscrit ainsi dans la démarche contemporaine de l’école biblico-morale parisienne qui partage avec Saint-Victor, en particulier Richard, le projet de fonder la réforme morale du clergé et du peuple sur l'étude à la fois historique et symbolique de la Bible et sur la prédicationThe enigma of saint Lubin stained glass window at Chartres, showing a wine story in the middle of the saint’s life, can be resolved by a symbolic interpretation of it’s images, if paying regard to the medieval mental schemes : the central Eucharistic mystery of the wine enables the young Lubin to achieve sainthood, through his own vocation of consecrated (the learned canon of XIIth century appearing under the VIth century monk), priest and bishop, Good Sheperd dispensing divine gifts. The unusual presence of small human figures at the outer framework of the stained glass window emphasises the important role to be played by the laity in the Eucharistic mysteries. It takes part, with the introductive images, to a preached exhortation of the window, inviting all spectators to be converted. It’s theological teaching imports as it’s means of expression the images of the Scriptures, as interpretated by glossa ordinaria, updated, and organised into a Theological Sum chapter, remaining faithfull to the Fathers’ teaching about figura and veritas, the relationship figura-veritas of the wine of the Last Supper and the blood of Christ being of the same ‘type’ as between the Old and the New Testaments, or between the Life of earthly Church and Eschatology, using the constructive resources of Logic, without submitting to its mystery devastating hegemony. Far from being an advertisement for the relic of the saint, for the bishop or the canons, the stained-glass window thus takes place in the contemporaneous stream of the Parisian ‘Biblico-moral School’, who shared with Saint-Victor, in particular with Richard, the project to lay foundations for a moral reformation of Clergy and Laity on the study, -as well historical as symbolic-, of the Bible, and on preaching
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Pernuit, Claire. "Une relecture de la cathédrale de Sens : (1130-1550)." Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL016.
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Cette thèse s’inscrit dans le prolongement d’un premier travail, mené dans le cadre du Master I, puis du Master II, sur l’iconographie des vitraux du XIIIe siècle de la cathédrale sénonaise. Suite à cette première étude, un constat s’est imposé : malgré l’étendue des travaux antérieurs, l’analyse de l’édifice du « premier maître », pour reprendre l’expression de Jacques Henriet, c’est-à-dire l’analyse du projet du XIIe siècle, l’étude de la chronologie du chantier, mais également des nombreuses modifications subies par la cathédrale métropolitaine au Moyen Âge, et plus particulièrement aux XIIIe et XIVe siècles, laissait place à des observations complémentaires. Au regard de l’ampleur de la tâche, la démarche devait alors prendre le sens d’une « relecture » de la cathédrale métropolitaine, c’est-à-dire une nouvelle lecture approfondie et systématique des données. L’étude se divise en trois parties permettant successivement la définition du contexte archéologique de la cathédrale métropolitaine, puis l’analyse de l’édifice du premier maître et les modifications apportées à ce projet aux XIIIe, XIVe et XVe siècles. La troisième et dernière séquence de ce travail, est conçue comme une tentative de « faire vivre » l’édifice médiéval, afin d’aborder les questions de la gestion de l’espace, de la circulation et de la place des images au seuil et au sein de la cathédraleThis research is an extension of a previous work, dedicated to the 13th-century stained-glass windows of the cathedral of Sens. Out of this first study was recognition that despite earlier initiated works and studies, the analysis of the building of the « First Master », to quote Jacques Henriet – that is, the chronology of the construction in the 12th and the modifications of its structure in the 13th, 14th and 15th century – was not fully achieved. The study is divided into three parts : the first two parts are dedicated to the archaeological context of the metropolitan church, the architectural analysis of the builing and the chronology of the construction (12th to 15th century) ; the third part is intended to understand the place of the monumental images and the light in the building, and how both clerical and lay could have reacted to them
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Frizet, Yannick. "Munificence et stratégie de Louis XI dans l'aire Provençale (1440-1483)." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10079.
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Le 11 décembre 1481, le roi Louis XI rattachait le comté de Provence souverain au royaume de France. Cela ne s’accomplit pas sans que les grands sanctuaires provençaux reçoivent de sa part des offrandes importantes, tels la chapelle de la Sainte-Baume, le chef-reliquaire d’or de Sainte-Marthe de Tarascon, et, dans une certaine mesure, le tombeau du dernier comte Charles III de Provence dans la cathédrale Saint-Sauveur d’Aix. Mais sa munificence religieuse de quatre décennies en Provence, connut bien d’autres développements (fondations, rentes, privilèges). Cette étude originale est un essai de synchronisation d’une ambitieuse politique de munificence avec son contexte de marche à l’annexion. Pour une vision d’ensemble, la zone étudiée s’élargit aux petits États périphériques du comté de Provence, Avignon et le Comtat Venaissin, la principauté d’Orange, le comté de Nice, la seigneurie de Monaco et le Bas-Dauphiné. Dans ce dernier, à la cathédrale Notre-Dame d’Embrun, au contact du Gapençais provençal, Louis XI a vraisemblablement offert de somptueuses grandes orgues dont plusieurs éléments sont encore visibles. La présence physique du dauphin Louis, puis la forte présence politique du roi Louis XI dans cette « aire provençale », sont révélatrices du grand intérêt que suscite le Midi de la part du royaume de France, selon une tradition remontant aux Capétiens. Les modalités et la croissance de cette convoitise chez Louis XI, ses implications économique et sociale, ses manifestations plastiques, les véhicules de l’idéologie monarchique tels que l’esthétique flamboyante, mais aussi la rivalité inévitable avec l’influent comte René d’Anjou, tiennent ici lieu de problématiquesOn december 11th 1481, the king of France Louis XI achieved the incorporation of sovereign Provence into the kingdom of France. This did not happen without the greatest provençal sanctuaries receiving from him important offerings like the Sainte-Baume chapel, the Sainte-Marthe of Tarascon gold head reliquary, and the last earl Charles III of Provence tomb in the Saint-Sauveur cathedral of Aix. Actually, his four decades religious munificence in Provence spread out with various forms (foundations, annuities, privileges). This original study is an attempt to synchronize an ambitious policy of munificence with its context of an annexation in progress. For a general sight of the situation, the geographical area of the study is extended to the small provençal states surrounding the earldom of Provence, it is to say Avignon and the Comtat Venaissin, the principality of Orange, the earldom of Nice, the lordship of Monaco and the southern Dauphiné. There, in the Notre-Dame cathedral of Embrun, in close contact with the provençal earldom of Gap, Louis XI appears as the donator of the flamboyant organ, still visible in parts. The physical presence of the dauphin Louis, then the strong political presence of king Louis XI, in this “provençal area” reveal the great interest of French kingdom for the south, following an ancient tradition started by the capetian kings. The details and the growth of Louis XI’s covetousness, its economical and social implications, its artistic demonstrations, the medium of the monarchic ideology, as the flamboyant gothic esthetics, but the unavoidable rivalry with the influential earl René d’Anjou as well, are the main issues investigated here
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Williams, Jane Welch. "The windows of the trades at Chartres Cathedral." 1987. http://catalog.hathitrust.org/api/volumes/oclc/18703286.html.
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Thesis (Ph. D.)--University of California, Los Angeles, 1987.Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 326-355).
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Amy, Michaël J. Michelangelo Buonarroti. "Michelangelo's commission for apostle statues for the Cathedral of Florence." 1997. http://catalog.hathitrust.org/api/volumes/oclc/54102488.html.
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Thesis (Ph. D.)--New York University, 1997.Includes catalogs of the sculptures and the drawings for Michelangelo's commission for the apostle statues. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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Fox-Friedman, Jeanne. "Cosmic History and Messianic Vision: The Sculpture of Modena Cathedral at the time of the Crusades." Thesis, 1992. https://doi.org/10.7916/D80K28S8.
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This dissertation explores the connection between the sculpture of Modena Cathedral, with emphasis on the Porta della Pescheria, the Porta dei Principi, and the West Facade, and the historical and cultural conditions of its conception and creation.
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Cook, Lindsay Shepherd. "Architectural Citation of Notre-Dame of Paris in the Land of the Paris Cathedral Chapter." Thesis, 2018. https://doi.org/10.7916/D84T81S9.
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This study foregrounds the problem of the center and periphery of Gothic architecture near Paris. Taking architectural citation as its interpretive framework, it focuses on a core group of rural parish churches situated in the land of the Paris cathedral chapter. It addresses the visual links between Notre-Dame of Paris and the village churches, the ways in which architectural citation was put into practice, and the institutional context that imbued the resemblances with meaning. It demonstrates that quoting the architecture of the cathedral of Paris was the exception, not the rule, in the villages of the cathedral chapter. When they occurred, the citations were mostly superficial, not structural, and resulted from contact between the community of secular canons installed at the cathedral and the administrators responsible for the village churches.
The introduction sets the problem of architectural citation in the land of the Paris cathedral chapter against the backdrop of architectural citation in other contexts in medieval France: namely, Cluniac, Cistercian, and Capetian. Proceeding according to the Notre-Dame of Paris construction sequence, Part One reveals the architectural citations of the cathedral of Paris found in the chapter’s land: at Saint-Germain of Andrésy, Saint-Hermeland of Bagneux, Saint-Lubin of Châtenay, Saint-Christophe of Créteil, Saint-Germain of Itteville, Notre-Dame of Jouy, Saint-Mathurin of Larchant, Saint-Nicolas of Mézières, Notre-Dame of Rozay, Saint-Martin of Sucy, and Saint-Fortuné of Vernou. Part Two introduces the Paris cathedral chapter as an institution and a community of individual canons, maps the chapter’s rural property as it expanded from the ninth to the fourteenth century, articulates the language the chapter used to describe its villages and land, and explores the canons’ secular and sacred authority in its villages. Part Two concludes by bringing the institutional relationship to bear on the architectural evidence presented in Part One.
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""Nuestro joven" San Felipe de Jesus: A new look at the martyr murals in Cuernavaca Cathedral, Morelos, Mexico." Tulane University, 2005.
Find full textAbstract:
In this thesis I examine the significance of Mexico's first saint, San Felipe de Jesus, relative to the nascent movement toward independent Mexican statehood, as revealed in a close analysis of the murals in the Cuernavaca cathedral in which he appears. I place the murals within their historical context relative to contemporaneous artistic examples, and present an analysis of the murals with special attention paid to three complex issues: their authorship, style and date. Furthermore, I explore the socio-political importance of the cult of Felipe de Jesus in the history of creole colonial Mexico, relative to the murals' date. The Cuernavaca martyr murals, I conclude, reveal the profound nature of the muralist's application of artistic style to his subject, and the importance of 'nuestro joven' San Felipe de Jesus underlying their productionacase@tulane.edu
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Conrad, Jessamyn Abigail. "The Meanings of Duccio’s Maestà: Architecture, Painting, Politics, and the Construction of Narrative Time in the Trecento Altarpieces for Siena Cathedral." Thesis, 2016. https://doi.org/10.7916/D8PR7W07.
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Duccio’s Maestà, made between 1308 and 1311 for the high altar of Siena Cathedral, is one of the best-known works of medieval painting. Astoundingly complex, with dozens of individual fields and several narrative cycles, it measured around 15 feet or four meters square. It was, and long remained, the largest panel painting ever made. But why did its designers reach so far outside the bounds of normal altarpieces, and why did they stretch the media of panel painting to new heights? Replacing Duccio’s Maestà within its original Trecento context demonstrates that the altarpiece cannot be explained by either earlier Cathedral images or by earlier Marian panel paintings made for monastic churches, whose imagery the Maestà appropriated but drastically expanded. Instead, the creation of Duccio’s Maestà comes into clearer focus when understood in its original setting, the civic Cathedral.
Santa Maria della Assunta comprised not just its particular physical space, but a political and economic one. Duccio’s Maestà interacted with the specific, material building, especially the Cathedral’s unique hexagonal crossing and its dense green-black and white stripes; both features may have contributed to a reading of the Maestà’s central Virgin as a symbol for Ecclesia, occupying her own Temple of Solomon. But the Maestà also crucially served as the backdrop to the city’s biggest annual holiday, the Feast of the Assumption. Though generally characterized by scholars as a unifying event, the Feast was in fact a means of social control, regulated by the state, where participation was enforced by law and on point of fine, and whose main event was the legally mandated presentation of candles to the Virgin in the Cathedral. Moreover, Duccio’s high altarpiece was commissioned during a troubled period: threatened by plotting nobles, and having steered the city through a sensitive election for a new bishop, the Government of the Nine was increasingly intent on regulating the Assumption Feast and the Cathedral’s commissioning body, the Opera del Duomo, which was largely funded through the wax donated on the Assumption.
Confronted by unique pressures, Duccio and his unknown potential collaborators created unique solutions, contextualizing popular Marian imagery within the Cathedral’s theological and political concerns through the use of elaborate narrative cycles. Faced with the puzzle of fitting an entire image program onto a panel painting, Duccio privileged a coherent spatial setting, drawn largely through carefully-depicted architecture, that allowed him to keep figure size constant and that therefore to create a smooth spatio-temporal reading of the altarpiece; his arragement of the narrative scenes allowed for new meanings and cross-readings; Duccio further used different perspectival constructions to direct the viewer’s reading of the altarpiece. Duccio thus turned painting’s limitation, its lack of time, into a strength, showing new ways in which images could be deployed to interpret narrative; he also spurred a long conversation among artists on the very nature of their medium and what, exactly, it could accomplish: Within 40 years, four altarpieces, occasioned again by architecture, were commissioned for the Cathedral’s patronal altars. Located near to Duccio’s high altarpiece, these altarpieces would reflect their artists’ reception of Duccio’s Maestà. These radical works by Simone Martini and Lippo Memmi, Pietro and Ambrogio Lorenzetti, and Bartolommeo Bulgarini include the first narrative altarpiece and probably the first painting to pretend it is a view through a window in Western art. Above all, the patronal altarpieces demonstrate an interest in narrative, played out in the depiction of time and an attendant depiction of commensurate pictorial space.
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Faria, Higino Abreu. "Escultura Arquitetónica na Sé do Funchal: das Formas e Temas do Gótico-Tardio Internacional à Simbólica Manuelina do Poder." Master's thesis, 2013. http://hdl.handle.net/10316/35988.
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Fernandes, José Alberto de Sousa Fernandes. "Padre Manuel Juvenal Pita Ferreira : 1912-1963 : a importância do seu contributo pastoral na Diocese do Funchal." Master's thesis, 2021. http://hdl.handle.net/10400.14/32868.
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O presente trabalho estuda a vida e obra do padre Manuel Juvenal Pita Ferreira, nascido em 1912, sacerdote da Diocese do Funchal e uma figura destacada no século XX. Marcou muito o seu tempo nos campos religioso, histórico, cultural e social, destacando-se, desde cedo, enquanto seminarista (primeiro, no Mosteiro Novo; depois, no Seminário da Encarnação), pela sua fina sensibilidade para as questões da doutrina e da história. Ordenado presbítero em 1935, é nomeado para importantes cargos eclesiásticos, sendo, mais tarde, vigário paroquial na Ribeira Brava (1938-1940) e em São Vicente (1940-1941), pároco no Porto Santo (1941-1945) e em São Gonçalo (1945-1963) até ao seu falecimento. Dotado de imensas qualidades, viveu uma intensa atividade pastoral, sobretudo na Ribeira Brava, onde soube aliar à instrução catequética o conhecimento cultural, junto dos jovens e das crianças, por meio do teatro, tendo-se ligado também ao Escutismo.
Como investigador, com uma predileção especial pela história – embora sem formação específica nesta área (não era doutorado) – contribuiu para o conhecimento mais profundo de algumas realidades, tais como os primórdios e as origens do descobrimento do arquipélago da Madeira, a criação e desenvolvimento da Diocese do Funchal, trazendo a público estudos inéditos sobre estes assuntos, socorrendo-se sempre das fontes primárias (manuscritos e outros documentos, consultados em diversos arquivos), pretendendo fazer justiça aos factos, pelo que chegou mesmo a contrariar alguns estudos e autores do seu tempo e do passado, o que lhe valeu duras críticas, que soube, no entanto, enfrentar com firmeza e argumentos, por meio de provas fidedignas, isto é, demonstrando tudo o que consultou. Incansável na promoção da cultura, promoveu diversas exposições de arte e património religioso (escultura, ourivesaria sacra), em conjunto com o engenheiro Luiz Peter Clode. Soube unir os seus conhecimentos e seu perfil intelectual para o serviço da fé e da Igreja, relacionando a arte sacra e a Liturgia, nomeadamente no concernente às obras de arte presentes na Sé do Funchal.
Unindo o seu interesse pela História às suas preocupações de pastor, o sacerdote investiu tempo e forças em estudos de campo, como o estudo folclórico sobre O Natal na Madeira, recolhendo, por toda a ilha, inúmeros dados sobre as tradições natalícias madeirenses (as quadras natalícias, as Missas do Parto, a matança do porco, etc.), cheias de significado e carregadas de fé e do Evangelho. Sacerdote dedicado, integrou-se, nos anos 60, no movimento de renovação da catequese, incrementado na diocese pelo seu bispo, Dom Frei David de Sousa,
publicando, em três partes, um Curso de Iniciação Catequística, dirigido aos catequistas e aos catequizandos.
Eclesiástico fervoroso, intelectual refinado e homem de valores humanos e evangélicos bem enraizados, soube também estar atento à realidade social do seu tempo, como se pode ver pelo seu discurso às Conferências Vicentinas, realizado em 1945, e pela forma como se abeirou dos pobres e necessitados do lugar onde paroquiava, S. Gonçalo.
Esquematicamente, apresentamos Pita Ferreira como um homem de sensibilidade, em várias vertentes: a) a sensibilidade pastoral – demonstrada na renovação da catequese e pela aproximação do povo simples, das crianças e dos jovens, e ainda pela defesa do património religioso; b) a sensibilidade litúrgica com que estudou a Sé do Funchal e seu património artístico; c) a sensibilidade histórica, bem patente na sua investigação, em vários campos: pastoral; popular; eclesiástico; d) a sensibilidade social, a partir do Evangelho, com a qual se demonstrou um homem atento às realidades do seu tempo, aproximando-se dos pobres, no bairro social na Paróquia de São Gonçalo, desde 1945.This thesis studies the life and work of priest Manuel Juvenal Pita Ferreira, who was born in 1912, and was a priest in Funchal´s diocese, and a remarkable man of the 20th century. He had a major impact in the religious, historical, cultural and social areas, standing out, while still a seminarist (first in “Mosteiro Novo” and then in “Seminário da Encarnação”), because of his sensivity on issues related with history as well as doctrine. He was ordained a priest in 1935, and nomenated for important ecclesiastical positions, becoming later on, a vicar in parish of Ribeira Brava (1938-1940), also in São Vicente (1940-1941), then a priest in Porto Santo (1941-1945) and finally in São Gonçalo (1945-1963) until his death. Priest Manuel Juvenal Pita Ferreira, had several qualities, and lived an intense pastoral activity, especially in Ribeira Brava, where he combined his cultural knowlegde with the preaching to children and youth, throughout theathre and also scouting. As a researcher, with a special predilection for history – although without specific training in this area (he was not a doctorate) – he contributed to a deeper understanding of some realities, such as the beginning and origins of the discovery of Madeira´s archipelago, the creation and development of the Diocese of Funchal, bringing unprecedented studies on these subjects to the public, always using primary sources (manuscripts and other documents, consulted in various archives), intending to corroborate the facts, which actually, contradicted some studies and authors of the his time and the past which made him being criticise. Nevertheless knew how to deal with it with firmness and arguments, through reliable evidence, in everything he consulted. He had a major role in promoting culture, namely several art and religious heritage exhibitions (sculpture, sacred jewelery), together with engineer Luiz Peter Clode. He knew how to join his knowledge and his intellectual profile for the service of faith and the Church, relating sacred art and the Liturgy, namely with regard to the works of art present in the Cathedral of Funchal. Joining his interest in history with his concerns as a pastor, the priest invested time and strength in field studies, such as the folkloric study on Christmas in Madeira, collecting, throughout the island, numerous data on Madeiran Christmas traditions (Christmas Masses, Jesus birth Masses, the slaughter of the pig, etc.), full of meaning and loaded with faith and the Gospel. Aa a dedicated priest, he joined the movement for the renewal of catechesis in the 1960s, augmented in the diocese by his bishop, Dom Frei David de Sousa, publishing, in three parts, a Catechism Initiation Course (in portuguese: Curso de Iniciação Catequística), for the catechists and students of catechism. Also known as passionate ecclesiastical, refined intellectual and a man of well-rooted human and evangelical values, he also knew how to be attentive to the social reality of his time, as can be seen in his speech to the Vincentian Conferences, held in 1945, and the way he approached the poor and in need of calling where he was parish, S. Gonçalo. We presente, schematically, Pita Ferreira as a man of sensitivity, in several aspects: a) pastoral sensitivity - demonstrated in the renewal of catechesis and in the approach of humble people, children and young people, and also in the defense of religious heritage; b) the liturgical sensitivity with which he studied the Funchal Cathedral and its artistic heritage; c) the historical sensitivity, clearly evident in his investigation, in several fields: pastoral; popular; churchman; d) social sensitivity, starting from the Gospel, with which a man was attentive to the realities of his time, approaching the poor, in the social district in the Parish of São Gonçalo, since 1945.