Dissertations / Theses on the topic 'Neoclassicism (Architecture)'

Orientador: Edgar Salvadori De Decca
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta tese é sobre a linguagem arquitetônica da fachada principal e o retábulo-mor da Catedral Nossa Senhora da Conceição de Campinas a partir da apuração dos processos de levantamento métrico e do seu desenho instrumental da época de sua constituição, fornecendo assim uma reconstituição da sua orientação clássica, estudando-a como fonte e documento histórico, através do seu testemunho material, tornando assim, a Catedral Nossa Senhora da Conceição de Campinas, um objeto paradigmático da arquitetura clássica da cidade dentro de um contexto brasileiro. Esta tese demonstra, portanto, como a Catedral de Campinas foi projetada dentro de preceptivas clássicas com diversas autorias, períodos e vertentes teóricas, tendo como resultado um todo único, híbrido, erudito, recriativo, exemplar, contrariando a historiografia vigente de que a arquitetura do século XIX no Brasil é uma "cópia de modelos importados"
Abstract: The present thesis studies the architecture language of the main façade and the main retable of Nossa Senhora da Conceição Cathedral, in the city of Campinas. Starting from the compilation of metric survey processes, as well as instrumental drawings pertaining to the formation period, this work provides a reconstitution of the classical tendency of such building, investigating it as a historical source and document through its material testimony, rendering the Cathedral into a paradigm of the city classical architecture within a Brazilian context. The present thesis demonstrates therefore how the Cathedral of Campinas has been designed within classical precepts, by different authors, under different periods and theoretical trends, resulting in a unique, hybrid, scholarly, re-creative, exemplary whole, and contradicting the current historiography, which considers the XIX century architecture in Brazil as a "copy of imported standards"
Doutorado
Politica, Memoria e Cidade
Doutor em História

La creació de la ciutat de Figueres, neix urbanísticament parlant durant el segle XIX, concretament durant la segona meitat del XIX gràcies a la feina d’un arquitecte municipal: Josep Roca i Bros. Figueres, venia d’unes èpoques de progrés econòmic i social però no s’havia planejat la seva transformació en ciutat, sinó que havia anat creixent com un poble gran, amb carrers més llargs però estrets, amb un eixample insuficient i amb problemes orogràfics com la Ribera que partia Figueres en dos, o la manca d’espais oberts i carrers amples, així com una planificació que combinés l’estètica, la racionalitat i el creixement a mig i llarg termini. Roca i Bros aconsegueix nous espais oberts a la ciutat, alguns d’ells venen donats per la cobertura de la riera i l’aparició de la Rambla o la Plaça de la Palmera, la qual cosa permet pensar que aquest arquitecte té una visió social de l’espai públic i una consciència de què la seva obra ha de perdurar. Tot plegat dins l’elegància del neoclassicisme que es manté, trobant-se en mestres d’obres posteriors per conservar una determinada imatge de ciutat pensada per Roca i Bros a mitjans del segle XIX. Josep Roca i Bros, estarà també dins del Cos d’Enginyers de l’Exèrcit, la qual cosa li dóna un control i coneixement del territori ampli, i contribueix al creixement de Figueres amb la instal·lació de serveis com l’aigua potable. Tanmateix, els nombrosos plànols de població permeten veure l’evolució urbana de Figueres al llarg de més d’una dècada.
Figueres emerges, in terms of town planning, in the second half of the nineteenth century thanks to the work of the town's architect: Josep Roca i Bros. The town had experienced periods of economic and social progress but had not considered its transformation into a city, but simply had grown into a large town with long but narrow streets, with insufficient extensions and orographic problems such as the stream that divided the town or the lack of open spaces and wide streets, as well as a planning that would combine aesthetics, rationality and growth in the mediumand long term. Roca i Bros procures new open spaces in Figueres, some of which are the result of the covered stream which turns into the Rambla and the Palmera square, indicating that this architect has a social vision of the public space and is aware that his work has to last. All of this within the elegance of neoclassicism which is maintained and continued by later architects in order to conserve an image of the city first thought by Roca i Bros inmiddle of the nineteenth century. Josep Roca i Bros, was also in the Army Corps of Engineers, which gives a comprehensive control and knowledge of the territory and contributes to the growth of Figueres structure installation services such as drinking water. However, many plans allow people to see the evolution of urban Figueres for over a decade.

Analisa a arquitetura e a ornamentação de cento e vinte igrejas urbanas remanescentes no Estado de São Paulo, construídas nos períodos colonial e imperial, observando as transformações espaciais e arquitetônicas ocorridas nas mesmas desde a edificação dos primeiros templos católicos no Estado, no século XVI, até o advento da República, no século XIX. Para tanto, aborda os padrões estéticos dos seguintes períodos artísticos: maneirismo, barroco, rococó e a transição para o neoclassicismo. Discorre sobre técnicas e materiais construtivos, a organização espacial das igrejas e sua inserção no tecido urbano. Analisa também os trabalhos de pintura e de entalhe que adornam os interiores das igrejas, evidenciando influências externas e padrões desenvolvidos no Estado de São Paulo. Realiza uma catalogação de arquitetos, artistas, entalhadores, escultores e pintores que atuaram nos templos pesquisados. Avalia a grande importância artística das igrejas e apresenta suas qualidades arquitetônicas, de pintura e de entalhe, evidenciando, em uma visão de conjunto, os elementos caracterizam a arte propriamente paulista desse período. Constata que a arquitetura e as artes religiosas de São Paulo formaram um conjunto expressivo e com influências várias e características únicas, de grande interesse e inestimável valor histórico e cultural.
This thesis analyzes the architecture and ornamentation of 120 remaining urban churches in São Paulo, that was built in the colonial and imperial periods, observing the spatial and architectural changes that occurred in that since the building of the first Catholic churches in the state, in the sixteenth century, until the end of the imperial period, in the nineteenth century. Talks about the aesthetic standards of the following artistic periods: Mannerism, Baroque, Rococo and the transition to Neoclassicism. It discusses constructive techniques and building materials, the spatial organization of the churches and their role in the urban space. It also analyzes the works of painting and wood carver that decorate the interiors of churches, showing external influences and standards developed in São Paulo. It catalogs architects, artists, carvers, sculptors and painters who worked in this temples. Evaluates the artistic importance of the churches and presents its architectural, paint and carver qualities, showing, in an overview, the elements that characterizing the own art of São Paulo of this period. Notes that the architecture and religious arts of São Paulo formed a significant group and with various influences and unique features of great interest and inestimable historical and cultural value.

Les recherches sur les compagnies françaises des Indes orientales connaissent depuis trois décennies un nouvel élan. Si aujourd’hui les volets économiques, administratifs et politiques du fonctionnement de cette aventure mercantile et de la présence française dans l’océan Indien sont bien connus, le cadre de vie quotidien de ses acteurs dans les comptoirs l’est beaucoup moins. Cette thèse propose de se concentrer sur la société française de Pondichéry et sur son environnement quotidien en prenant comme point de départ sa culture matérielle. À partir des archives notariales françaises de l’Inde au XVIIIe siècle, il est possible de redessiner cette société ultramarine et de saisir bien plus que le simple environnement matériel. Les modalités de l’implantation et de l’adaptation des Européens en Inde, peuvent ainsi être précisées. Ensuite, la structure proprement matérielle est identifiable : les approvisionnements des possessions françaises de l’océan Indien qui définissent la consommation, les choix et les logiques d’aménagement intérieur, etc. Enfin, l’environnement culturel dans lequel les européens évoluent dans les comptoirs de l’Inde est accessible, notamment grâce à l’étude du degré d’ancrage des individus dans la culture de l’océan Indien. Ont-ils cherché à préserver leur culture européenne, ou se sont-ils « indianisés » ? Des différences sont-elles visibles selon les époques, les catégories sociales et professionnelles étudiées ? Pour répondre à ces questions, les collections des musées européens et asiatiques, ainsi que le patrimoine architectural des comptoirs français de l’Inde du XVIIIe siècle, viendront enrichir et compléter les sources d’archives
Over the last three decades research on the French East India Company has seen a new impetus. If today the economic, administrative and political functioning components of this mercantile adventure and the French presence in the Indian Ocean are well known, the milieu quotidian of its players in the trading posts are less such. The present thesis focuses on French society in Pondicherry and on its daily environment, material culture being its starting point. Using the French notarial archives of India in the XVIII century, it is possible to redraw this ultramarine society and to understand much more than the simple material environment. The methods of the establishment and of the European adaptation in India can thus be clarified. Afterwards, the strictly material structure is identifiable: the supply of French possessions of the Indian Ocean, which define the consumption, the logic and choices of internal organization, etc. Finally, the cultural environment in which Europeans evolve in the Indian trading posts is accessible, notably as a result of studying individual’s degree of integration into the Indian Ocean culture. Did they seek to preserve their own European culture or were they ‘indianised”? Are there some differences noticeable according to the period, social categories and professionals studied? To answer these questions, the European and Asian museum’s collections, as well as the French trading posts architectural patrimony of India in the XVIII century, will enhance and complete the archive sources

Entre 1780 et 1830, la conception du paysage évolue radicalement. Au tournant des XVIIIème et XIXème siècles, Rome accueille une fraternité d’artistes qui construisent un nouveau regard sur l’architecture et la nature, qui se place aux origines du paysage moderne. Les itinéraires artistiques de quatre paysagistes français, Jérôme-René Demoulin (1758-1799), Jacques Moulinier (1757-1828), François Liger (1757-?) et Antoine-Laurent Castellan (1772-1838) appartenant à cette même génération, constituent le sujet de notre étude. Entretenant tous un lien avec la ville de Montpellier, ces hommes, exerçant la profession de « dessinateurs voyageurs », empruntent des grands itinéraires à travers une Europe en guerre. Engagés au sein de missions scientifiques ou de voyages pittoresques, ces artistes réalisent une moisson de dessins depuis Madrid jusqu’à Constantinople. Cette étude se donne comme objectif premier de (re)constituer le parcours et la production de chacun des artistes afin de nous approcher de leur personnalité artistique. Le musée Fabre de Montpellier conserve, disséminée dans ses collections, une grande partie de ces dessins de voyage. Ainsi, un travail considérable de réattribution fut nécessaire afin d’élaborer quatre catalogues rigoureux et inédits relatifs à chaque artiste (450 dessins au total). Dans un second temps, l’analyse de ces corpus retrouvés et augmentés, donne à voir la place de chacun dans les tendances artistiques contemporaines. Ne formant ni un groupe, ni un échantillon d’étude, ces quatre hommes représentent en fait, par leur parcours et leur production, un fragment des pratiques contemporaines du paysage, depuis les vues pittoresques de Jacques Moulinier, héritières du XVIIIème siècle, jusqu’à l’intuition d’Antoine-Laurent Castellan, qui réalise des études dans la forêt de Fontainebleau dès 1819, préfigurant alors lesdéveloppements futurs du genre du paysage
Between 1780 and 1830 the conception of landscape, changed radically. At the turn of XVIIIth and XIXth centuries a brotherhood of artists were in Rome who had a new concept of the relationship between architecture and nature. The aesthetic journeys undertaken by these four Frenchmen of the same generation, Jérôme-René Demoulin (1758-1799), Jacques Moulinier (1757-1828), François Liger (1757-?) and Antoine-Laurent Castellan (1772-1838) are the subject of this study. Whilst following their profession as artists, travellers and making long journey across Europe in time of war, they maintained their link with the city of Montpellier. Involved at the heart of scientific investigations or making journeys in pursuit of the picturesque, these men made a harvest of designs from Madrid to Constantinople. The object of this study is firstly torediscover the individual journeys and drawings of each one and to come close to their individual aesthetic. The musee Fabre at Montpellier holds a large proportion of the drawings made during their travels within its collections. Thus in order to complete a definitive catalogue for each of these artists, 4 new catalogues from a total of 450 designs, a great deal of exacting research was necessary. Secondly to analyse each body of work to discover the place each one held in contemporary artistic trends more exacting study was required. These men form neither a group or a sample study. By their works and travels they represent a fragment of the landscape work of their time. Inheritors of their ideas in the XIXth century from the picturesque views of Jacques Moulinier, to the intuition of Antoine-Laurent Castellan, who made his studies in the forest of Fontainebleau from 1819, prefigure the future concepts of landscape

Après son inclusion dans la légation pontificale de la Romagne, au début du XVIe siècle, la ville de Faenza connaît deux siècles de relative stagnation culturelle. A l’écart des grands courants artistiques qui traversent l’Italie et l’Europe, elle retrouve, au fil des années, un grand élan idéologique et culturel : au cours du XVIIIe siècle, cet essor entraîne un développement exceptionnel de l’architecture et du décor, censé caractériser la ville pendant toute la période révolutionnaire et napoléonienne et la transformer dans l’une des capitales du Néoclassicisme. Grâce à l’action éclairée de quelques maîtres d’ouvrage locaux érudits et très bien renseignés sur les nouveautés internationales, tels que les Comtes Laderchi et Milzetti, les architectes G. Pistocchi, G. A. Antolini, P. Tomba, et le peintre F. Giani, ont la possibilité de réaménager la ville et de lui conférer son aspect néoclassique actuel. L’esprit novateur de Pistocchi, de Antolini et de Tomba, ne se limite cependant pas aux édifices : de nombreux projets nous montrent tout leur talent, leur grande culture et l’interaction entre leur style et les poétiques architecturales les plus avancées d’Europe. Pietro Tomba, en particulier, est négligé – à tort – par les chercheurs et les critiques tout au long du XXe siècle, malgré son rôle primordial dans le développement de l’architecture de la Romagne et dans la promotion de son évolution stylistique du Néoclassicisme au Purisme. En dépit de la similitude avec l’architecture visionnaire française de ses premières œuvres, dont la plupart sont restées à l’état de projet, les travaux réalisés par l’architecte vers la fin du Premier Empire et le début de la Restauration, s’inscrivent dans la continuité classique : caractérisés par une tendance à la sobriété et au « retour à l’ordre », ils semblent témoigner d’une parfaite compréhension des changements idéologiques, politiques et sociaux, qui affermissent les principes conservateurs de l’époque
After being included in the Pontifical Legation of Romagna, at the beginning of the 16th century, Faenza went through two centuries of cultural stagnation. Apart from the major Italian and European art movements, the town experienced important ideological and cultural changes. During the 18th century, these changes led to an exceptional architectural and decorative development that marked the local Revolutionary and Napoleonic era and transformed the town into one of the capitals of Neoclassicism. Cultured and modern enlightened customers, such as Count Laderchi and Count Milzetti, allowed the architects G. Pistocchi, G. A. Antolini, and P. Tomba and the painter F. Giani, to modernise the town and to contribute towards its present neoclassical style. But the new buildings are not the only innovation introduced by Pistocchi, Antolini and Tomba: besides being a clear demonstration of how brilliant and learned they were, their projects are an interesting example of interaction with the later European architectural and artistic poetics. During the 20th century, researchers and critics did not pay the due attention to these artists, especially to Pietro Tomba, a key figure in local architecture. Actually, he was one of the most important promoters of the stylistic evolution from Neoclassicism to Purism in the Romagna region. His youthful works – mainly projects dating from the Jacobin era – have many characteristics, which are typical of the French visionary architecture. The works dating from the end of the First Empire and the beginning of the Restoration period still subscribe to Classicism, but show a greater sobriety and sense of order. This tendency has to be seen as a perfect understanding of the ideological, political and social changes that were strengthening the conservative principles underpinning society during those years

Cette présente étude propose d’éclairer l’apport de la France durant la première étape du développement de la galerie impériale de peintures, qui donna naissance au Musée de l’Ermitage, à Saint-Pétersbourg. C’est durant cette période que se constitue et se sanctuarise, comme nous tenterons de le démontrer, la galerie des souverains russes au sein d’un nouveau complexe palatial adossé au palais d’Hiver – siège du pouvoir –, en un établissement qui prend rapidement le nom – français – d’« ermitage ». Ce travail se divise en trois parties. Après une présentation de l’apport de la France sous Catherine II (1729-1762-1796), à travers l’étude de la construction des bâtiments de l’Ermitage d’une part, et la formation des collections d’autre part, nous traiterons ensuite des règnes de Paul Ier (1754-1796-1801) et surtout de son fils Alexandre Ier (1777-1801-1825), afin de déterminer comment ils ont géré cet héritage, en soulignant ce que ces souverains ont puisé en idées et en œuvres en France. Il reste enfin à établir, dans un troisième temps et au terme de cette première étape de l’évolution de l’Ermitage, comment la France a stimulé la mutation de la galerie impériale en un établissement tendant de plus en plus vers le musée
This study proposes to clarify the contribution of France during the first stage of development of the Imperial Gallery of Paintings, which gave birth to the State Hermitage Museum, in Saint Petersburg. It is during this period that the gallery of the Russian sovereigns, within a new palatial complex, is gathered, organized and housed immediately just next to the Winter Palace – the seat of power – in an establishment which is quickly given the – French – name, “Hermitage.”This study is divided in three parts. First, the study will present the contribution of France under Catherine the Great (1729-1762-1796), by examining both the construction of the Hermitage’s building and the formation of the collections. Secondly, we will delve into the reigns of Paul I (1754-1796-1801) and especially his son, Alexander the Great (1777-1801-1825), in order to determine how they managed this inheritance, by highlighting how these sovereigns used the ideas and artworks from France. Finally, the study will establish, how, at the end of this first stage of the evolution of the Hermitage, France stimulated the transformation of the Imperial Gallery into an institution whose trajectory arced towards becoming a museum

L’architecte-peintre, scénographe et paysagiste émigré russe André Beloborodoff est un artiste oublié de la première moitié du XXème siècle. Il commence une carrière prestigieuse dans la Saint-Pétersbourg prérévolutionnaire, sous l’égide du renouveau néoclassique. En exil, il a vécu et travaillé à Londres, à Paris et à Rome, où il était connu pour ses vues d’Italie et ses chefs-d’œuvre architecturaux, le château de Caulaincourt en France et la villa Pepoli pour Maurice Sandoz à Rome. L’œuvre extrêmement originale et personnelle est influencée par les divers courants et pays dans lesquels il a vécu : la Russie impériale, la France de l’entre-deux-guerres d’une élite privilégiée, l’Italie artistique fasciste avec le mouvement Novecento mais aussi métaphysique avec ses amis Giorgio De Chirico, Savinio, Dalí et Eugène Berman. L’Italie et le classicisme transcendent son art et son architecture. Il y intègre discrètement la modernité et l’associe au monde surréaliste et onirique. Beloborodoff fait partie d’un petit groupe d’architectes-décorateurs privilégiés au service d’une élite de luxe. Ses égaux sont Emilio Terry, Jean-Charles Moreux, Tomaso Buzzi et Armando Brasini. Eternellement métaphysique, inconnu jusqu’à présent et défendu par Mario Praz, il est un acteur majeur du réalisme magique
The Russian émigré architect and painter, stage and garden designer André Beloborodoff is a forgotten artist from the first half of the 20th century. Under the aegis of the neoclassical revival he embarked on a prestigious career in pre-revolutionary Saint Petersburg. In exile he lived and worked in London, Paris and Rome, where he became known for his Italian scenes and his architectural masterpieces, the Château de Caulaincourt in France and the Villa Pepoli for Maurice Sandoz in Rome. His highly original and individualistic work was influenced by the various movements and countries within which he lived: Imperial Russia; the inter-war France of a privileged elite; the artistic, fascist Italy by not only the Novecento movement but also the metaphysical movement with his friends Giorgio de Chirico, Savinio, Dalí and Eugène Berman. Italy and classicism perfuse his art and architecture through his subtle blending of modernity into a surrealistic and dreamlike world. Beloborodoff was part of a small group of privileged architects and interior designers working for an extravagant elite. His peers were Emilio Terry, Jean-Charles Moreux, Tomaso Buzzi and Armando Brasini. Eternally metaphysical, as yet unknown and championed by Mario Praz, he is a major protagonist of magical realism

La evolución de los planteamientos arquitectónicos tras el Barroco derivó, tras un complejo periodo de análisis, en una nueva arquitectura apoyada en unos condicionantes absolutamente nuevos. Criterios revisionistas, historicistas, técnicos o simplemente apoyados en la intencionalidad estética o expresiva dieron lugar a un nuevo estilo de difícil y, desde luego, amplia definición. A finales del XIX, también como respuesta a un largo periodo de indefinición y dogmatismos, surge el Art Nouveau.La ciudad de Cartagena presenta algunas notables singularidades en este último periodo que la hacen especialmente interesante en el campo de la ornamentación y estética arquitectónica. Sus condiciones económicas, geográficas y la personalidad de algunos de los arquitectos afincados, determinaron el desarrollo de un eclecticismo y modernismo singulares que acabaron por fundirse, generando a partir de los primeros años del siglo XX, un panorama estético digno de análisis.
The evolution of architectural approaches after the Baroque period resulted, after a complex period of analysis, in a new architecture supported by some entirely new constrains. Revisionism, historicist, technical or simply based on a aesthetic or expressive intentions criteria led to a new kind of style which was difficult to define. In the late nineteenth century, partly in response to a long period of uncertainty and dogmatism, emerged the Art Nouveau.In this period, the city of Cartagena presents some remarkable peculiarities which makes especially interesting in the field of aesthetic and architectural ornamentation. Its economic and geographic conditions, together with the personality of some of the architects settled, determined the development of a unique eclecticism and modernism that eventually merged, resulting, from the early twentieth century, in an aesthetic landscape worthy of analysis.

Structure architecturée destinée au besoin vital de chauffage, la cheminée était par conséquent l'élément le plus important d'un intérieur. Ainsi obtînt-elle la plus grande des attentions de la part des architectes, qui s'ingénièrent à donner à cet ouvrage utilitaire l'apparence d'un véritable monument de marbre, orné de motifs sculptés ou de bronzes dorés. Cette attention décorative valut parfois à l'ouvrage caminologique le privilège d'accéder au rang d'œuvre d'art.Plus qu'un simple foyer destiné à accueillir le feu, la cheminée était le point focal d'un intérieur. Sa position déterminait aussi bien la composition du décor mural que l'agencement du mobilier. C'est également autour de la cheminée que s'organisaient au quotidien les activités humaines. Cette attraction à la fois visuelle et physiologique incita à associer à la cheminée, pour son usage et pour son agrément, une grande diversité d'objets. Les objets d'art les plus précieux d'une habitation étaient volontiers exhibés sur la tablette de la cheminée, flattant ainsi l'orgueil du propriétaire, qui, au-delà, affirmait, aux yeux de tous, son rang social.Cette étude définie dans son intégralité les caractéristiques de la décoration intérieure de la seconde moitié du XVIIIe siècle, période durant laquelle s'opéra en France le renouveau classique, en partant de la cheminée tout en considérant le décor mural qui l'entourait, le choix des matériaux, des couleurs et des objets, à valeur d'usage et à valeur esthétique, qui lui étaient associés. L'analyse de la cheminée et de son décor permet ainsi de saisir au plus près les goûts et les habitudes ornementales de la société française de la fin de l'Ancien Régime
As an architectural structure providing heat to satisfy one of man's vital need, the fireplace was the most important element of interior decoration. Then it attracted the attention of architects who strived to give to this useful device the appearance of a true monument in marble, decorated with sculpted motifs or ormolu. As a result of the attention paid to its decoration, the fireplace eventually reached the status of a genuine work of art. More than a mere hearth aimed at setting the fire, it became an essential element of the household. Its central position determined both the arrangement of the panelling and the layout of the furniture. At this point, daily occupations got tied to the fireplace; its physiological and esthetical value led to the necessity of possessing a wide range of objects either useful (to set the fire) or decorative. The most precious ownings of the house were usually exhibited on the marble top, flattering its owner, while affirming his vanity. This PhD is a thorough study of the characteristics of interior decoration during the second half of the 18th c.. In France at the time, there was a major classicism revival, operating through the fireplace and the decoration of the walls around it, including changes in colors and in the range of fireplace-related objects to use or admire. This survey of the fireplace and its decorative context enables us to apprehend french society's tastes and habits at the very end of "Ancien Régime"

As the "Revolution" threatened Rome during the final decades of the Republic, the many landscapes of the city — built, intellectual, social and natural — became inextricably linked within a confused cultural matrix. Vitruvius was not simply observing a set of places; he was living within spaces that, while having lost many of their explicit meanings over time, contained within them implicit, albeit unclear, cultural codes for him to ponder. Vitruvius in fact was not describing Roman architecture as it was; he was describing it as he wished it to be. There are a host of reasons to question the physical exactitude of his examples and subsequent models: The vantage point of a single individual living within a specific place at a particular moment in time was, and continues to be, limited at best. There are geographical and architectural inaccuracies that leave the reader wondering if Vitruvius actually saw much of what was inserted within the treatise. And Vitruvius would have generalized in order to arrive at the broad sets of tenets contained in the books. The "looseness" characterizing the tenets of Vitruvius is precisely what has enabled imaginative interpretations over the centuries. By including drawings within translations, the classical imagination has become fused with memories of what monuments should look like. Linked to this, translated versions of Vitruvius' treatise can be usurped in order to connect ruins more closely to Roman architectural ideals than they may have been in the first place. The translation and annotation project of Jean Gardet and Dominique Bertin in the 1550s is an example of how the treatise of Vitruvius was attached, inextricably, to the antiquities of southern France. The habit of turning to the De Architectura in order to produce a body of archaeological knowledge and in turn to provide "proof for the architectural reconstruction of classical monuments has persisted. In the end, the monument can serve as confirmation for the translated text, and the text re-confirms the monument. In Orange, the use of the treatise by architects has been retraced to show that the reconstructed theater does not correspond, in its rebuilt state, to that which would have stood in its place. Eventually, the habit of turning to Vitruvius was adapted to such an extent that it practically became invisible, with architects and archaeologists turning to it with little thought as to its contextual validity. This is probably why we see so few explicit references to its use in the literature documenting the re-building of monuments; it is only by retracing field notes that the extent to which it was used, even relatively lately, can be assessed. At the same time, classical archaeology has — and continues to — direct its attention to deblayage, remaniements, consolidations and in time, la sauvegarde. The present-day impetus for these activities is closely connected to history, heritage and ultimately, the notion of patrimoine. The difficulty today is that the more we re-build, whether it be for basic cultural consumption or within grander state agendas, the recourse to producing related bodies of knowledge to justify architectural plans has the potential to increase significantly. The understanding of classical architecture within the context of history and heritage must be met by a corresponding comprehension of its temporal, formal and social nature; Vitruvius' words, as I have stressed, do not necessarily depict a material architecture. Vitruvius' architect lived within an urban setting that was highly dynamic and not necessarily readily interpreted. And while Republican spaces derived from a need for function, efficiency, beauty and representation, they were not necessarily or completely redesigned each time they were reused; they were often modified to suit. Notions related to specific and ideal spaces were most probably stored within the minds of the multifaceted designers to be shaped according to particular sets of pre-existing cultural and built conditions as well as geographical settings. And to these, the craftspeople would have added personal interpretations. Today the problems arise when architects and archaeologists, eager to convince themselves and others of their theoretic, forget that we simply do not know what memories resided in the mind of Roman architects.

This thesis is dealing with life and work of Anton Schmidt, the remarkable architect of czech late baroque period. The text focuses mainly on his sacral architecture, especially on St. Michael Archanděl in Smržovka, which represents the notable example of baroque dynamism in czech architecture of the second half of the 18th century. Anton Schmidt is recognized as very important figure of czech late baroque architecture. He followed the tradition of domestic high baroque epoque and the work of K. I. Dientzenhofer. But on the other hand, Schmidt introduced various motifs of neoclasicissm very early into czech milieu. Therefore the typical feature of his architecture is the synthesis of styles combined with refine architectural language. His most important works are - besides the church in Smržovka - church St. Bartoloměj in Černouček, Kounický palace in Prague- Malá Strana and castle in Zahrádky u České Lípy. This thesis brings also a new discovery of previously unknown Schmid's structure - church St. Jan Nepomucký na Poušti in Železný Brod.

The Indiana State Library and Historical Building, constructed in 1934, is an outstanding example of stripped classicism and Art Deco. The ornament on both the exterior and interior of the limestone structure portray the regional story of the development of Indiana. The monumental building is the most well‐known work by Indianapolis architectural firm Pierre and Wright. Little has been written on the Indiana State Library and Historical Building and a comprehensive architectural history has never before been compiled on this remarkable building. The subject of research pertains to the original building only. Investigation examines the architectural competition for the design, the construction process, the numerous carvings, large stained glass windows, and four murals, and the symbolism in the ornament of the Indiana State Library and Historical Building. Through research at the Indiana State Library and the Indiana State Archives and using both primary and secondary resources, the motivation for much of the ornament was discovered. Additionally, long forgotten details and symbolism were recovered. This research provides insight into the narrative as told by the architecture and ornament of the building. It may assist in the research on the 1976 addition and the 2002 renovation that has yet to be completed. Furthermore, it will likely aid in future renovations and restorations of the building.
Introduction -- Methodology -- Literature review -- A brief history -- The competition -- The architects -- Construction -- Materials -- Architectural style -- Exterior sculpture -- Leon Hermant sculptures -- Interior material -- Interior features and symbols -- Stained glass windows -- Murals -- J. Scott Williams, artist -- Conclusion.
Department of Architecture

The thesis is aimed at the subject of classicism in a broader sense of this term and is based on the classicism period architecture in the Czech Republic. The introductory chapter intends to briefly and independently define and clarify the terms classical, classicism and neoclassicism, deal with the shaping of the classical canon in Europe and outline the evolution of classical features in the history of the Czech architecture in the European context. In separate chapters the thesis systematically follows the matters of classicism in the first half of the 19th century, in the periods of pure and late historicism and early and paramount modernism. Special attention has been paid to the matters of classicism in the Czech thoughts on art in the interwar period and during the German occupation. Having analysed the classicism-style tendencies in the socialist realism architecture the thesis identifies basic classicism-style aspirations in the 2nd half of the 20th century and in the beginning of the 21st century. The final chapter is dedicated to the identification of the main overall specifics of classicism in the Czech architecture based on a list of examples.

Niniejsza rozprawa dotyczy publicznych przedsięwzięć pomnikowych w Księstwie Warszawskim, Królestwie Polskim oraz Wolnym Mieście Krakowie w latach 1807-1830, a więc w tych politycznych bytach, które powszechnie uznawano wówczas za "wskrzeszoną" Polskę (po rozbiorach Rzeczypospolitej Obojga Narodów pod koniec XVIII wieku). Jest to interdyscyplinarne studium łączące metodologię historii kultury z metodami historycystycznego podejścia do sztuki i architektury, skupiające się na problemie ideologicznego i politycznego ugruntowania pomnikowych przedsięwzięć komemoracyjnych dotyczących wybitnych jednostek. Jestem przede wszystkim zainteresowany szeroko rozumianym społeczno-kulturowym kontekstem takich inicjatyw, których celem było promowanie w przestrzeni publicznej określonych wartości (uosabianych przez tych, których upamiętniano), na których ich inicjatorzy chcieli opierać "wskrzeszoną" wspólnotę narodową. Badania nad pomnikami są przeze mnie traktowane jako "case study" pozwalające na pogłębioną analizę tak kluczowych dla tej epoki problemów jak relacja pomiędzy państwem a społeczeństwem (opinią publiczną) w przestrzeni publicznej, hierarchia publicznego prestiżu obywatelskich zasług, prestiż władzy monarszej jak również współczesne polityki historyczne (praktyki odwoływania się do przeszłości jako narzędzia ideologicznego). Kluczowym elementem mojej rozprawy jest analiza artystycznej formy interesujących mnie obiektów pod kątem jej znaczenia dla ideologicznego komunikatu. W omawianym okresie podstawowym punktem odniesienia była pod tym względem tradycja grecko-rzymskiego antyku, łącząca wyobrażenie o ideale artystycznym z ideałem moralnym.
The dissertation deals with public memorial enterprises in the Duchy of Warsaw, Kingdom of Poland and Free City of Cracow (1807-1830), thus those early nineteenth-century political entities that aspired to the status of ‘resurrected’ Poland (after the collapse of the Polish-Lithuanian Commonwealth at the end of the previous century). It is an interdisciplinary study that links the methodology of cultural historiography with the methods of the historicist approach towards art and architecture and is focused on the problem of ideological and political framework of the cultural practice of monumental public commemoration of distinguished individuals. I am especially interested in the broadly understood socio-cultural context of such initiatives, which were intended to impose on the public (or more precisely, the politically conscious minority/elite) a given vision of the values (impersonated by those chosen to be monumentally commemorated) on which the initiators wanted to found the ‘resurrected’ national community. I am approaching the subject of monuments as a case study that enables me to tackle such crucial socio-cultural problems of the epoch in question as the character and ideological grounding of the relationship between the state and society (the public) in the public sphere, the hierarchy of public prestige of civic merits and virtues, the prestige of monarchical power as well as the contemporary historical policies (the practice of making use of history and historical imagination in current political activity). The crucial aspect of my study of monuments is the analysis of the artistic form and the investigation of its role as an agent of ideological meaning – I am interested in the relationship between what and how a given ideological message was expected to be conveyed. In the period in question it was the classical tradition of the Greco-Roman antiquity that served as the basic font of inspiration due to the fact that it presented the contemporary Polish culture with accepted paradigms of both artistic and heroic (moral) perfection – classicism was thus the normative idiom of monumental enterprises.