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Dissertations / Theses on the topic 'Notre-Dame de Reims (Cathedral)'
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1
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.
2
Dujon-Attali, Ben Mayer Caroline. "Notre-Dame de Reims, de Laon et de Paris : étude comparée de la restauration de l'architecture et de la statuaire de 1789 à 1914." Thesis, Reims, 2015. http://www.theses.fr/2015REIML001.
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Dans une démarche scientifique liant la tradition et l'innovation, cette recherche s'inscrit dans la continuité historique, tout d'abord celle de l'histoire culturelle, du patrimoine, initiée par les premiers travaux portant sur les politiques patrimoniales et les administrations responsables: le Conseil supérieur des Beaux-arts et la thèse de Marie-Claude Genet-Delacroix, l'institution des musées et la patrimonialisation étudiées par Dominique Poulot, puis dans la continuité de l'histoire générale de la restauration, avec les travaux de Jean-Michel Léniaud portant sur le service des Edifices diocésains et des cathédrales, et l'ouvrage de Françoise Bercé traitant des Monuments historiques; et l'innovation en abordant dans ces travaux la question de la restauration à l'œuvre dans une étude comparée des trois chantiers des cathédrales gothiques Notre-Dame de Reims, Notre-Dame de Laon et Notre-Dame de Paris de 1789 à 1914. Au carrefour entre de l'histoire religieuse, de l'histoire de l'art et de l'histoire politique, cette thèse porte sur la restauration monumentale en tant que concept politique, administratif, technique et esthétique, appliqué à tous les monuments anciens, dont les cathédrales gothiques : mais du concept à sa réalisation concrète s'interposent nombre d'actions, de professionnels (maîtres d'œuvres et maîtres d'ouvrages) et interviennent nombre d'obstacles et de facteurs qui en diversifient l'application et la mise en œuvre. Cette étude est une analyse comparée des conditions, des programmes, des modalités et des techniques déployés au XIXe siècle dans les chantiers de ces trois cathédralesThe scientific approach conducting the present piece of research combines both tradition and innovation; historical continuity on one hand – first of heritage and cultural history – initiated by the first studies on heritage policies and responsible administrations: the “Conseil supérieur des Beaux-arts” and Marie-Claude Genet-Delacroix's thesis, the early museums and the associated heritage effect studied by Dominique Poulot, then continuity of a general history of restoration and the Jean-Michel Léniaud's papers on the “service des Edifices diocésains” and cathedrals, and Françoise Bercé's book on the “Monuments historiques”; innovation on the other hand by focusing here on the question of restoration at work in a comparative study of three gothic cathedrals work sites – Our Lady of Rheims, Our Lady of Laon and Our Lady of Paris – from 1789 to 1914. Intersecting religious history, art history and political history, this research deals with monumental restoration as a political, administrative, technical and aesthetical concept and its application to every ancient monument including gothic cathedrals: but from a concept to its tangible realisation lie numerous actions and professionals (contractors and owners) as well as numerous hindrances and factors that diversify its application and implementation. This study is a comparative analysis of the conditions, programs, modes and technics employed during the 19th century on the three restoration sites
3
Caillet, Josiane. "Typologie des contreforts gothiques : la place de Notre-Dame de Reims /." [Montréal] : Université de Montréal, 2001. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ71112.
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Thèse (Ph. D.)--Université de Montréal, 2002."Thèse présentée à la faculté des études supérieures en vue de l'obtention du grade de philosophiae doctor (Ph. D.) en aménagement." Version électronique également disponible sur Internet.
4
Long, Courtney S. "Mariology and monumental sculpture on the west façade of Notre-Dame Cathedral, Paris /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/223.pdf.
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Sawkins, Annemarie. "Architecture, politics and the rebuilding of the cathedral of Notre-Dame at Senlis, 1504-1560." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0017/NQ44575.pdf.
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Tryoen, Lucie. "L'écrit au chapitre de Notre-Dame de Paris au XIIIe siècle." Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASV006.
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Le chapitre de Notre-Dame de Paris, malgré sa centralité dans l’espace parisien, est resté absent de la récente relecture historiographique des sources médiévales. Convoquant les méthodes de l’archéologie textuelle et les problématiques de l’histoire des pratiques de l’écrit, cette thèse explore les rapports du chapitre à la documentation qu’il produit et conserve, à l’époque de cette révolution quantitative et qualitative qu’est le XIIIe siècle.Revenant sur l’apparition de la chancellerie capitulaire, elle étudie l’évolution de sa production et de son fonctionnement entre XIIe et XIIIe siècles et analyse les rapports qu’elle entretient avec les nouveaux bureaux d’écriture qui se mettent en place à la cathédrale autour de 1210 : les officialités.L’histoire de l’écrit capitulaire étudiée dans cette thèse est également celle de sa conservation sur le long terme, depuis les coffres et les cartulaires du XIIIe siècle jusqu’à la confiscation des archives au moment de la Révolution française.L’étude des pratiques de l’écrit permet plus largement de réfléchir aux problématiques sociales et politiques d’affirmation institutionnelle et d’appropriation du territoire spécifiques à un long XIIIe siècleDespite its centrality in the Parisian area, the chapter of Notre-Dame de Paris has remained absent from the recent historiographical focus on medieval sources. Convoking the methods of textual archaeology and the problems of the history of writing practices, this thesis explores the chapter's relationship to the documentation it produces and preserves at the time of the quantitative and qualitative revolution of the 13th century. Revisiting the emergence of the chapter chancery, it studies the evolution of its production and functioning between the 12th and the 13th centuries and it analyses the relationship it has with the new writing offices that are set up in the cathedral around 1210: the officialities.The history of chapter writing studied in this thesis is also that of its long-term preservation, from the chests and cartularies of the 13th century to the confiscation of the archives during the French Revolution.The study of writing practices makes it possible to reflect more broadly on the social and political stakes of institutional affirmation and appropriation of the territory specific to a long 13th century
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Cosgrove, Colleen Anne. "Multi-levelled imagery in the tympanium of the Porte-de-Ste-Anne at Notre-Dame in Paris." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25370.
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The tympanum of the Porte-de-Ste-Anne at Notre-Dame, Paris, has aroused the interest of scholars for decades. The lack of inscription or documentation has led to the ascription of various identities to the figures depicted in company with the Theotokos. Apart from assigning it a donative or commemorative function, little light has been shed on the subject by the many extant theories. To further complicate the problem, the physical composition of the portal has only recently been deciphered. It is the consensus
of current opinion that the portal, erected from the ground up, was begun as early as 1140-45. Also, the earliest sculptural components, the tympanum, upper lintel, archivolts and jamb-statues are thought to have been created for the refurbishment of the older church prior to the current building, although they may never have been used. This thesis has attempted to demonstrate the tympanum scene actually depicts the equality of regnum and sacerdotium in an accord brought about by a balance of forces, both political
and theological, which produced the Ideal State.
I have been concerned with an examination of the twelfth century events which could have exerted an influence on the development of the iconographical program. In so doing, I have outlined the pertinent historical background of the building itself, including a description of the portal and its sculptures, as well as a short discussion of the main theories regarding its place within the stylistic orbit of Early Gothic development. I have described the problem of the iconography which, until recently has consisted mainly of efforts to identify the figures of king, cleric and scribe, but of late has dealt with the relationship of regnum and sacerdotium. In this context the work of Adolf Katzenellenbogen on the west front of Chartres has shed light on the portal, and his relating of the tympanum scene to the ideal relationship between the two spheres was further expanded upon by Walter Cahn. He saw in the tympanum a demonstration of the status of the royal and ecclesiastical sectors of the Christian Commonwealth during this period with power vested in the Church. The opinions of Jacques Thirion who proposes very early dates and identities agree with those of Alain Erlande-Brandenberg and Cesare Gnudi who dealt with the portal after the discovery of facade fragments in Paris in 1977.
The historical setting dealt with the Capetian rulers in the person of Louis VII, and the papacy in the person of Alexander III, both of whom were in power when the portal was conceived. The pope was a central figure in events that included the first compilation of Canon law by Gratian, a development as central to this thesis as it was to Cahn's. Space has been devoted to a discussion of the Decretum, to its expression of the Ideal State, and to the iconography which arose around illustrated copies of this work, particularly
as it relates to the tympanum. Also explained was Gratian's connection to the Reform Party of Haimeric.
An examination of some of the symbols chosen by Cahn from the composition to support his theory has determined that they may be reinterpreted. They have been expanded on or refuted in order to illustrate the flexibility of Medieval symbolism, and in order to reveal the many levels of imagery contained in this composition. While so doing, I have I believe, exposed the propagandistic nature of the surface imagery which was deliberately cultivated by the Church with full co-operation from the State in order to expound a politico-theological reality.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
8
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
9
Lamy, Didier. "« Le principal corps ecclésiastique de la province ». le chapitre de la cathédrale de Notre Dame de Rouen du milieu du XVIIème siècle jusqu’à la Révolution." Thesis, Paris 4, 2010. http://www.theses.fr/2012PA040238.
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S’intitulant eux-mêmes et avec fierté comme étant le premier corps ecclésiastique de la province de Normandie, le chapitre et les chanoines de la cathédrale de Rouen dominent le paysage clérical local. La thèse a pour objectif de décrire cette institution, son fonctionnement et ses problèmes dans la dernière partie de l’Ancien Régime, du milieu du 17è-me siècle jusqu’à la dissolution en fin 1790.L’étude des membres du chapitre montre une nette évolution dans les modalités d’accès et les carrières entre le début de la période, alors que les prescriptions du concile de Trente peinent encore à rentrer concrètement dans les mœurs et que les chanoines peuvent tenter encore une politique autonome et la fin du 18ème siècle où ils sont définitivement des clercs modèles et au service de l’archevêque. L’étude analyse également la place du chapitre dans la société tant laïque que religieuse locale et les conflits que cela entraîne notamment à l’occasion du privilège exorbitant dit de la Saint Romain. Enfin les moyens financiers tant du chapitre en tant que corps que des chanoines font l’objet d’une étude détailléeCanons and chapter of the cathedral of Rouen called themselves the first ecclesiastical body of the province of Normandy and in fact dominated the local clerical landscape. The aim of the study is to describe this institution, its life and its difficulties in the last period of time of the Ancien Régime, from the middle of the XVII century up to the dissolution at the end of 1790.The survey of the members of the chapter shows a true evolvement in the conditions of access and in the professional courses between the beginning of the period of the study when the stipulations of the council of Trent were enforced with difficulty and at a time where the canons still had an autonomous policy and later at the end of the XVIII century when they were definitely an exemplary clergy and worked for the archbishop. The study also analyses the position of the chapter in the local clerical and secular communities and the different conflicts, especially the one about the exorbitant prerogative of St Romain. Finally financial means of the chapter and also of the canons are studied with some details
10
Harlaut, Yann. "La cathédrale de Reims : du 4 septembre 1914 au 10 juillet 1938 : idéologies, controverses et pragmatisme." Reims, 2006. http://theses.univ-reims.fr/exl-doc/GED00000349.pdf.
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Eléments indissociables de la notion de patrimoine, les monuments historiques sont porteurs de valeurs esthétiques et de messages commémoratifs qui semblent figés par le temps. Pourtant, leur identité primitive fixée dans le passé peut se trouver modifiée par les avatars de l'histoire et de son instrumentalisation idéologique. Relevant d'une mémoire sacralisée et devenue au XIXe siècle patrimoine national, la cathédrale de Reims est bombardée par l'armée allemande du 4 septembre 1914 au 17 septembre 1918. Son incendie soulève l'indignation internationale qui l'intègre au patrimoine de l'humanité. La propagande relaie cet événement médiatique et convertit la cathédrale des sacres en cathédrale martyre. Parallèlement, sont prises les premières mesures conservatoires malgré la poursuite des bombardements. La guerre achevée, les controverses relatives aux compensations financières ou artistiques et à la restauration de cet édifice symbolique se développent. Financé en partie par des donations internationales, l'architecte en chef Henri Deneux a la charge du plus important chantier de restauration d'après-guerre, conciliant la nécessaire conservation et l'esprit d'innovation. Idéologies, controverses et pragmatisme dominent, durant la Grande Guerre et l'entre-deux-guerres, l'histoire de ce monument phare de l'architecture gothique et de l'identité nationale. Cette étude renouvelle notre perception mémorielle de la cathédrale de Reims et dépasse les clivages géographiques, chronologiques, thématiques et disciplinaires de la monographie d'histoire localeThe historic buildings are carrying aesthetic values and commemorative messages which seem fixed by time. However, their primitive identity fixed in the past can be modified by the misadventures of the history. Sacrilized and become at the XIXe century national heritage, the cathedral of Rheims is bombarded by the German army of September 4, 1914 to September 17, 1918. Its fire raises the international indignation which integrates it into the inheritance of humanity. Propaganda relays this media event and converts the cathedral sacrings into cathedral martyrdom. Financed partly by international donations, the architect in chief Henri Deneux restores the most important building site of restoration of post-war period, reconciling the necessary conservation and the spirit of innovation. Ideologies, controversies and pragmatism dominate, during the war and the inter-war period, the history of this monument headlight of the Gothic architecture and the national identity. This study renews our perception of the cathedral of Rheims
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Demouy, Patrick. "Les archevêques de Reims et leur Eglise aux XIè et XIIè siècles : 999-1210." Nancy 2, 2000. http://www.theses.fr/2000NAN21023.
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Cette étude est menée depuis le départ de Gerbert, à la veille de l'an mil, jusqu'à l'incendie qui consuma en 1210 la cathédrale de Reims. Le chef d'oeuvre gothique que nous connaissons s'inscrit dans l'histoire d'une métropole ecclésiastique affirmant son origine romaine et fermement attachée à l'autorité des archevêques telle que l'a définie Hincmar, après avoir conquis le privilège de sacrer le roi de France. Le prélat y gagne d'être un grand vassal de la Couronne, mais il n'est pas que cela ; la fidélité au pape dans le cadre de la réforme de l'Eglise se traduit par une vie conciliaire intense, une particulière attention à la régularité des clercs et à l'encadrement des laïcs : à la campagne, par un réseau paroissial dense et des sanctuaires de pèlerinage dans les marches forestières, à Reims par une activité liturgique mettant la cité au rythme des chanoines de Sainte-Marie. Ceux-ci partagent leur temps entre la prière chorale, l'exercice de la charité, des écoles longtemps prestigieuses et l'expansion d'un grand domaine. C'est dans cette conjonction de ferveur spirituelle et de puissance temporelle qu'il faut rechercher les fondations d'une grande église.
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Král, David. "Katedrála v současnosti." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414262.
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Theme of the thesis is a construction that is considered to be one of the most spectacular examples of a French gothic architecture. Notre-Dame Cathedral lies on the Eastern half of a Parisian island Île de la Cité on the river Seina. On April 15, 2019, roof of the cathedral caught on fire. It was completely destroyed, including its pinnacle. The thesis offers a solution how to restore the roof and what opportunities the new design brings. Aim of the proposal is enrichment of the Notre-Dame community through offering a new refuge, which will be for both, internal growth and spiritual practice itself. The design provides spaces that capture the path to God in them. I perceive the very path to God as a thorough inner work. That is why I am placing 36 contemplation booths in there, in addition to other 8 cabins. The light is removed from those, in order to extend the perception of consciousness. Spaces for individuals will be amended by 3 chapels for a group practice. Each chapel has its typical content - joint contemplation chapel, chapel that worships the Jesus Christ’s crown of thorns and a community chapel with a variable arrangement.
13
Lamy, Didier. "« Le principal corps ecclésiastique de la province ». Le chapitre de la cathédrale de Notre Dame de Rouen du milieu du XVIIème siècle jusqu’à la Révolution." Electronic Thesis or Diss., Paris 4, 2010. http://www.theses.fr/2010PA040238.
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S’intitulant eux-mêmes et avec fierté comme étant le premier corps ecclésiastique de la province de Normandie, le chapitre et les chanoines de la cathédrale de Rouen dominent le paysage clérical local. La thèse a pour objectif de décrire cette institution, son fonctionnement et ses problèmes dans la dernière partie de l’Ancien Régime, du milieu du 17è-me siècle jusqu’à la dissolution en fin 1790.L’étude des membres du chapitre montre une nette évolution dans les modalités d’accès et les carrières entre le début de la période, alors que les prescriptions du concile de Trente peinent encore à rentrer concrètement dans les mœurs et que les chanoines peuvent tenter encore une politique autonome et la fin du 18ème siècle où ils sont définitivement des clercs modèles et au service de l’archevêque. L’étude analyse également la place du chapitre dans la société tant laïque que religieuse locale et les conflits que cela entraîne notamment à l’occasion du privilège exorbitant dit de la Saint Romain. Enfin les moyens financiers tant du chapitre en tant que corps que des chanoines font l’objet d’une étude détailléeCanons and chapter of the cathedral of Rouen called themselves the first ecclesiastical body of the province of Normandy and in fact dominated the local clerical landscape. The aim of the study is to describe this institution, its life and its difficulties in the last period of time of the Ancien Régime, from the middle of the XVII century up to the dissolution at the end of 1790.The survey of the members of the chapter shows a true evolvement in the conditions of access and in the professional courses between the beginning of the period of the study when the stipulations of the council of Trent were enforced with difficulty and at a time where the canons still had an autonomous policy and later at the end of the XVIII century when they were definitely an exemplary clergy and worked for the archbishop. The study also analyses the position of the chapter in the local clerical and secular communities and the different conflicts, especially the one about the exorbitant prerogative of St Romain. Finally financial means of the chapter and also of the canons are studied with some details
14
Nováková, Eva. "Katedrála v současnosti." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414275.
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The main topic of the Diploma thesis is a complex design to rescue cathedral Notre-Dame in Paris. The work is firstly focused on the reconstruction of the structure including its collapsed parts and preserving a link to the destructive fire in 2019. The mainstay of the thesis is a design of new roof space and its use by broad public. Due to uncertainties about the structure stability disrupted by the fire a great emphasis has been put on the weight reduction of the newly built roof structure. The design makes a genuine attempt to be sensitive with respect to the spiritual function of the cathedral, thus the public roof access is separated from the cathedral itself thanks to a newly built underground spaces that are also included in the design.
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Rampáčková, Monika. "Katedrála v současnosti." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414281.
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The master's thesis deals with famous Notre-Dame de Paris, which was destroyed by fire in 2019. The work focuses specifically on the design of completion of the construction. The cathedral is situated in the historical centre of Paris on the Île de la Cité. A lot of damage was caused to the building after the devastating fire on 15 April 2019. The aim of the thesis was to create a spiritual place that would maintain its past, but at the same time manage to follow ecological solutions in the present. The new design of the attic creates a sacred place, in which we realize the importance of faith and the peace of God. The cathedral is open to the general public ? religious people from all over the world come here to experience the love, joy and happiness that the cathedral invokes. The whole attic can be described as an open space, which symbolizes infinity or immortality from the religious point of view. It represents the connection of the past, present and future. The space is designed to hold priestly celebrations and to be open for the public. It can also be used for various events, such as exhibitions of sculptures that survived the fire.
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Asseray, Nicolas. "Les chapelles latérales de la cathédrale d'Amiens : un chantier majeur du gothique rayonnant à la lumière de l'imagerie numérique." Thesis, Université de Lille (2018-2021), 2021. http://www.theses.fr/2021LILUH043.
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Considérée à juste titre comme un édifice majeur de l’architecture gothique, la cathédrale d’Amiens a fait l’objet de nombreuses études qui se sont essentiellement consacrées à la construction du gros œuvre entre 1220 et 1288. Pourtant, après cette date et jusqu’à la fin du Moyen Âge, l’édifice a été le théâtre de travaux ambitieux comprenant notamment l’adjonction d’une série de chapelles entre les contreforts de la nef entre 1290 et 1380. Bien que leur construction se soit étendue sur près de cent ans, ces chapelles présentent une grande homogénéité d’ensemble, dont la mise en œuvre progressive est uniquement trahie par la diversité du réseau des baies, conforme à l’évolution du goût au cours du XIVe siècle. Œuvres de commanditaires divers, laïcs comme religieux, elles forment un ensemble essentiel à la connaissance de l’architecture et de la sculpture monumentale du gothique rayonnant en France et dans l’Europe du nord où le modèle de la cathédrale d’Amiens a durablement rayonné. Cet ensemble reste pourtant très mal connu et rarement pris en compte dans les essais sur le gothique tardif. Son étude doit donc être replacée dans le contexte plus général des adaptations de la cathédrale d’Amiens aux nouveaux enjeux artistiques et dans celui des transformations souvent apportées, à la fin du Moyen Âge en Europe du nord, aux grands édifices religieux préexistants. Cette enquête s’est appuyée sur la maquette numérique en trois dimensions de la cathédrale d'Amiens réalisée dans le cadre du programme E-Cathédr@le. L’application des technologies de pointe à la connaissance du passé de la cathédrale d’Amiens permet ainsi de renouveler des problématiques de recherche dans plusieurs champs de l’histoire de l’architecture médiévaleConsidered as a major building of French Gothic architecture, the Amiens cathedral has been the subject of several studies, especially about the works of the XIIIth century. However, after this period, the cathedral was the theatre of an ambitious project: the building of the lateral chapels on the nave between 1290 and 1380. Despite the long period of construction, those chapels are characterised by their architectural homogeneity. The different stages of building are only betrayed by the traceries of the windows which are conformed to the aesthetic of the XIVth century. Commissioned by several patrons, lays and religious, they form a rich source for the knowledge of the architecture and sculpture of the rayonnant Gothic in France and in northern Europe. Yet, the lateral chapels of Amiens stay unknown and are rarely mentioned in essays about the Late Gothic architecture. Therefore, this study must be considered in the both general context of the Amiens cathedral’s adaptation to new artistic considerations and of the transformation’s movement of several great gothic churches by the addition of lateral chapels at the end of the Middle Age in northern Europe. This thesis relied on the 3D digital model of the Amiens cathedral developed in the E-Cathédr@le program. Extracts from the 3D model made it possible to draw up reliable graphic documentation of the chapels. In this way, the digitalization of the cathedral has allowed the development of new research subjects in the field of the history of medieval architecture (knowledge of architectural techniques and its decoration, understanding of the enlarging process of a monument to adapt it to new uses, thoughts on reusing materials, the process of fossilization of traces of the primitive building, etc)
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Klimeš, Jakub. "Katedrála v současnosti." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414259.
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This project focuses on an ideal solution for restoring the roof of Notre-Dame in Paris, which burned down together with its spire on April 15, 2019. The main motive behind the design was to create a quiet space that will serve as a memorial of the fire and reflect the unity of the society that contributed to the rebuilding found. The primary step of the whole reconstruction is to find an adequate way of renewal and its ethical boundaries. Main attention is focused on the roof and on the spire of the cathedral. As a tribute to medieval builders who consecrated their lives into this magnificent piece of work. The exterior of the new design has the same silhouettes and proportions that it has got eight centuries ago, but with a touch of a modern day aesthetics. When designing the interior of the roof, it was really important to maintain a clear representation of Gothic architecture – the balance between darkness and light. The space is divided into two parts. The first part represents darkness, as an obstacle, which each of us has to overcome. The second part is full of natural light that seems to tear the roof of the cathedral and illuminates the entire space inside. At the heart of the design is a gem that matters the most, life. The spire of the cathedral is designed with four pillars that symbolize the connection of mind-spirit-body with physical world The idea of the spire reflects these seemingly different things, but together they unite into one piece.
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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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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.
Full textAbstract:
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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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.
Full textAbstract:
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.