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Dissertations / Theses on the topic 'Tridentinum'
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Kraus, Dorothea [Verfasser]. "Das «auto sacramental» Calderóns zwischen Tridentinum und Theatralität / Dorothea Kraus." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1191648508/34.
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Windorf, Wiebke. "Sakrale Historienmalerei in St. Peter in Rom Faktizität und Fiktionalität in der Altarbildausstattung unter Papst Urban VIII. (1623 - 1644)." Regensburg Schnell und Steiner, 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2762628&prov=M&dok_var=1&dok_ext=htm.
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Schneider, Bernhard. "Bruderschaften im Trierer Land : ihre Geschichte und ihr Gottesdienst zwischen Tridentinum und Säkularisation /." Trier : Paulinus-Verlag, 1989. http://catalogue.bnf.fr/ark:/12148/cb355501576.
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Veltman, Joshua Joel. "Prosody and rhythm in the post-Tridentine reform of plainchant." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101933410.
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Lang, Martin. "Biosynthese und Synthese von Sekundärmetaboliten aus den Pilzen Suillus tridentinus, Suillus bovinus und Stephanospora caroticolor." Diss., lmu, 2002. http://nbn-resolving.de/urn:nbn:de:bvb:19-1085.
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Carinci, Eleonora. "'Lives of the Virgin Mary' by women writers in post-Tridentine Italy." Thesis, University of Cambridge, 2009. https://www.repository.cam.ac.uk/handle/1810/283855.
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Pizzati, Anna. "La commenda ecclesiastica in area veneta dal periodo tridentino al secondo '600." Doctoral thesis, Università Ca' Foscari Venezia, 1995. http://hdl.handle.net/10579/551.
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BOLPAGNI, GAIA. "GIOVANNI MATTIA TIBERINO E LA PASSIO BEATI SIMONIS PUERI TRIDENTINI : EDIZIONE E COMMENTO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1395.
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A fronte dell’ampia e varia tipologia di studi dedicati all’episodio del “beato” Simone da Trento (1475), emergeva la mancanza di informazioni riguardanti uno dei maggiori protagonisti della vicenda: il bresciano Giovanni Mattia Tiberino, autore della Passio beati Simonis tridentini, ovvero il testo che determinò la fortuna letteraria degli avvenimenti trentini.
A lungo limitato al ruolo che svolse nella difesa della causa di Simonino, l’interesse nei confronti di questo personaggio non ha mai varcato il confine dell’erudizione locale, impedendo una ricostruzione esauriente della sua figura di uomo e d’intellettuale: questa tesi desidera definire meglio i lineamenti biografici e culturali del Tiberino, per mostrare le varie sfaccettature di questo complesso profilo di letterato e umanista, pur riconoscendo l’importanza che ebbe l’esperienza trentina per la sua formazione e affermazione come intellettuale.
La tesi presenta tre capitoli: il primo si concentra sulla vita e le opere del Tiberino, delineando una biografia completa e documentata; il secondo comprende il censimento e la catalogazione di tutti i testimoni, manoscritti ed edizioni a stampa, delle opere dedicate a Simone da Trento, mostrando l’entità della loro diffusione e le modalità di circolazione; il terzo è dedicato all’edizione della Passio, corredato di un apparato delle fonti ed un commento.Considering the wide and various kinds of studies dedicated to the case of the “blessed” Simone from Trento (1475), it stood out the lack of information about one of the most important actors of this story: Giovanni Mattia Tiberino from Brescia, author of the “Passio beati Simonis tridentini”, that is the text which established the literary success of these events. For a long time the only interest for this character was related to his role in defence of Simonino’s case, and this interest never crossed the borders of local erudition; in this way it was not possible to have a full image of his figure as a man and as a scholar. This thesis aims to define better his biographical and cultural outlines, in order to show all the different faces of his complex profile as a man of letters and scholar. This thesis is composed by three chapters: the first one is about Tiberino’s life and works, and it outlines a complete and documented biography. The second one comprehends census and cataloguing of all attestations, manuscripts and printed editions of works related to Simone from Trento; it also shows the extent of their spreading and the manners of their circulation. The third is dedicate to the Passio’s edition, with enclosed an critical apparatus and a commentary.
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Zanon, Dalila 1971. "A ação dos bispos e a orientação tridentina em São Paulo (1745-1796)." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278778.
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Orientador: Leila Mezan AlgrantiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-28T16:51:01Z (GMT). No. of bitstreams: 1 Zanon_Dalila_M.pdf: 1067973 bytes, checksum: f178d59055d3b2a050695ec348c824be (MD5) Previous issue date: 1999
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Jeż, Tomasz. "The Jesuits for Society - the Soundscape of the Jesuits in post-Tridentine Silesia." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2015. https://ul.qucosa.de/id/qucosa%3A16166.
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Russell, Camilla Elizabeth. "Giulia Gonzaga (1513-1566) and her role in the religious controversies of Tridentine Italy." Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405111.
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Cobo, Betancourt Juan Fernando. "The reception of Tridentine Catholicism in the new kingdom of Granada, c.1550-1650." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708347.
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Quero, Fabrice. "Juan Martínez Silíceo (1486 ?-1557) : une figure de la spiritualité « héroïque » de l’Espagne pré-tridentine." Montpellier 3, 2006. http://www.theses.fr/2006MON30046.
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Les biographies consacrées à Juan Martínez Silíceo (1486 ?-1557) à l’époque moderne dévoilent une personnalité que l’historiographie contemporaine a oblitérée en grande partie. D’inspiration autobiographique, l’exemplarité du personnage y repose sur l’humilité et la charité, mises en tension autour de la vertu du travail. Cette dernière, la principale, est fortement liée à la période de formation du brillant nominaliste que fut Silíceo. Les qualités originelles et l’excellence dans le monde du savoir sont le levier de sa prodigieuse ascension sociale. Ces deux facteurs fondamentaux conditionnent également la doctrine spirituelle de l’archevêque de Tolède. Elle se caractérise par un puissant intellectualisme qui regarde vers l’affermissement de la volonté du chrétien. Aussi le De divino nomine Iesus semble-t-il tourner le dos aux grandes innovations intellectuelles de l’humanisme et aux aspirations diverses au renouveau spirituel à l’aube des Temps modernes. Ses développements sur les noms divins témoignent de la vigueur de la tradition médiévale chez son auteur, et les réserves qu’il formule à l’égard de l’expérience mystique, de son attachement à la spiritualité ascétique. La spiritualité « héroïque », dans laquelle la doctrine de Silíceo s’inscrit, est ainsi une mouvance religieuse intransigeante qui accompagne la fermeture et le repli sur soi de la monarchie catholique au tournant du XVIe siècle. L’étude de certains épisodes de son ministère, à la lumière de ce système spirituel, suggère les grandes orientations autour desquelles la pensée de l’archevêque de Tolède participe de l’idéologie à la base de la construction de l’État confessionnelIn the modern period the biographies devoted to Juan Martínez Silíceo (1486 ?-1557) revealed a personality then much obliterated by contemporary historiography. In these studies the examplary nature of the character derives from autobiographical sources and is based on humility and charity, both hinging on the virtue of work. This important dimension is strongly linked to the education of the brilliant nominalist that Silíceo was to become. Such original qualities and excellence in the world of knowledge represent the lever of Silíceo’s prodigious social rise. These two fundamental factors also influence the spiritual doctrine developed by the Archbishop of Toledo, which is characterized by a potent form of intellectualism aiming at strengthening the willpower of the Christian individual. Therefore the De divino nomine Iesus seems to turn its back on the great intellectual innovations in humanism as well as on the various aspirations for a spiritual revival at the dawn of modern Times. Its developments on the subject of the divine names indicate the strength of medieval tradition for Silíceo, and its reservations about mystic experience evoke the author’s attachment to ascetic spirituality. The “heroic” spirituality, within the scope of which Silíceo’s doctrine falls, constitutes an uncompromising religious movement that follows the withdrawal and autarchic evolution of the Catholic monarchy at the turn of the 16th century. A study of some episodes from Silíceo’s ministry informed by this spiritual system suggests the main directions in which the thought of the Archbishop of Toledo partakes of the ideology at the root of the notion of a religious State
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Fisher, Tyler. "Figures of the Author, Reader, and Text in Post-Tridentine Spanish Poetry : The Literary Implications of Doctrine." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517123.
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Lemos, Maya Suemi. "Du discours moral au discours musical : le thème de la vanité dans la musique italienne post-tridentine." Paris 4, 2006. http://www.theses.fr/2006PA040103.
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Le thème de la vanité est sous-jacent à toute l’épistémè des XVIe et XVIIe siècles : véritable discours sur la fugacité de la vie, sur le caractère éphémère et vain de toute chose terrestre, il affecte alors tous les domaines représentatifs – les arts plastiques, la littérature, mais aussi la musique. En effet, les représentations musicales du thème de la vanité foisonnent dans l’Italie post-tridentine, où elles nous apparaissent comme une catégorie à part entière à l’intérieur de l’ensemble de la musique dévotionnelle. S’appropriant à peu près tous les genres musicaux en usage – des genres sacrés aux genres profanes, des genres sérieux et savants aux formes légères –, elles se déclinent en des modalités discursives et opératoires diverses. Cette variété témoigne de la nécessité d’étendre le discours moral qu’elles portent à tous les secteurs sociaux : les Vanités, fussent-elles picturales, littéraires ou musicales, semblent matérialiser, dans leur condensé de significations, le code moral de l’époque. Donnant forme à celui-là elles l’affirment et le diffusent, sans doute, ne contribuant pas moins, pourtant, à l’abolirThe theme of vanity underlies the entire episteme of the sixteenth and seventeenth centuries: veritable discourse on the transience of life, on the ephemeral and vain character of all earthly things, it affects all the domains of artistic expression - literature, the visual arts, but also music. The musical representations on the theme of vanity abound in Post-Tridentine Italy, where they constitute an autonomous category within the ensemble of devotional music. Through the appropriation of almost every musical genre of the time - the sacred and the secular, the serious and learned but also the lighter forms - they take various discursive and operational paths. This variety testifies of the necessity to extend the moral discourse to all parts of society: the Vanities - be they pictorial, literal or musical - seem to materialize, in their condensation of meaning, the moral code of the time. Giving form to it, they affirm it and spread it, but can't, nevertheless, avoid to exhaust it
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Salis, Giovanni <2012>. "Drammatizzazioni devozionali del Venerdì santo a Milano in età post-tridentina: la processione con Misteri dei Barnabiti." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5056/1/salis_giovanni_tesi.pdf.
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La tesi si occupa della «processione con Misteri» organizzata da Carlo Bascapè, preposito generale dei Barnabiti, a Milano, la notte del venerdì santo, a partire dal 1587. Di questo importante rito processionale sono giunte fino a noi diverse testimonianze documentarie, conservate presso l’Archivio Storico dei Barnabiti a Milano, che sono state il cuore di questa ricerca. La processione è una grande meditazione pubblica dove la musica svolge un ruolo molto importante. Il percorso che ho seguito è stato teso a rendere ragione delle motivazioni drammatiche e devozionali della processione, per poi approdare al significativo ruolo che la componente musicale svolgeva nel rito stesso. Nel primo capitolo ho rievocato la figura di Carlo Bascapè (1550-1615), inserendo la sua figura all’interno delle esperienze storiche nelle quali si è formato (la Milano di san Carlo Borromeo e l’Ordine dei Chierici regolari di San Paolo). Nel secondo capitolo ho scandagliato le radici devozionali alla base della processione (i concetti di devozione e orazione) e messo a fuoco il ruolo della musica nell’esperienza religiosa dei Barnabiti e, in particolar modo, di Carlo Bascapè. Il terzo capitolo si concentra sulle principali modalità di rappresentazione e meditazione della passione di Cristo. Nel quarto capitolo ho ricostruito, attraverso una lettura dei documenti, e con approfondimenti tratti dalla letteratura devozionale tardocinquecentesca sulla passione, i vari aspetti della processione e i suoi protagonisti (religiosi, nobili della città di Milano, musicisti), e, infine, ho messo in luce gli aspetti devozionali e drammaturgici. Nel quinto capitolo ho analizzato le musiche superstiti, pervenendo alla conclusione che ogni aspetto musicale era concepito tenendo ben presenti i due aspetti su cui era imperniata la processione: la rappresentazione della passione e l’immedesimazione dei fedeli. L’ultima parte della tesi consiste, infine, nella trascrizione dei documenti archivistici, nella loro parte testuale e musicale.My Thesis concentrates on the processione dei misteri organized by Carlo Bascapè, superior general of the Barnabites, in Milan on the night of Good Friday since 1587. The Archivio Storico of Barnabites (Milan) contains several documents that are evidence of this important rite and represent the sources of this research. This processione was a huge public meditation in which music played a primary role. The aim of my writing is first to account for the dramatic and devotional reasons of the processione, then to investigate the significant meaning that the music would have had in the rite itself. In the first chapter I introduce Carlo Bascapè (1550-1615) emphasizing his historical constitutive experiences, that means presenting the city of Milan during Saint Carlo Borromeo and the Clerics Regular Order of Saint Paul. In the second I investigate the devotional roots under the processione, the concepts of devotion and oration, and I focus on the role of the music in relation to the religious experience of Barnabites and in particularly of Carlo Bascapè. In the third I concentrate on the main representation and meditation mode of the Christ Passion. In the fourth chapter I reconstruct the different aspects of the processione and its protagonists (religious people, Milan noblemen, musicians) through the reading of sources and deepening the late sixteenth devotional literature, and lastly I underline the devotional and dramatic features. In the fifth chapter I analyze the survivor sheets music concluding that every musical detail would have been conceived in order to respect two different aspects of the processione: on the one side, the Passion Drama and, on the other side, the believers’ identification. The last part of the thesis consists in the transcriptions of the archive documents.
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Salis, Giovanni <2012>. "Drammatizzazioni devozionali del Venerdì santo a Milano in età post-tridentina: la processione con Misteri dei Barnabiti." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5056/.
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La tesi si occupa della «processione con Misteri» organizzata da Carlo Bascapè, preposito generale dei Barnabiti, a Milano, la notte del venerdì santo, a partire dal 1587. Di questo importante rito processionale sono giunte fino a noi diverse testimonianze documentarie, conservate presso l’Archivio Storico dei Barnabiti a Milano, che sono state il cuore di questa ricerca. La processione è una grande meditazione pubblica dove la musica svolge un ruolo molto importante. Il percorso che ho seguito è stato teso a rendere ragione delle motivazioni drammatiche e devozionali della processione, per poi approdare al significativo ruolo che la componente musicale svolgeva nel rito stesso. Nel primo capitolo ho rievocato la figura di Carlo Bascapè (1550-1615), inserendo la sua figura all’interno delle esperienze storiche nelle quali si è formato (la Milano di san Carlo Borromeo e l’Ordine dei Chierici regolari di San Paolo). Nel secondo capitolo ho scandagliato le radici devozionali alla base della processione (i concetti di devozione e orazione) e messo a fuoco il ruolo della musica nell’esperienza religiosa dei Barnabiti e, in particolar modo, di Carlo Bascapè. Il terzo capitolo si concentra sulle principali modalità di rappresentazione e meditazione della passione di Cristo. Nel quarto capitolo ho ricostruito, attraverso una lettura dei documenti, e con approfondimenti tratti dalla letteratura devozionale tardocinquecentesca sulla passione, i vari aspetti della processione e i suoi protagonisti (religiosi, nobili della città di Milano, musicisti), e, infine, ho messo in luce gli aspetti devozionali e drammaturgici. Nel quinto capitolo ho analizzato le musiche superstiti, pervenendo alla conclusione che ogni aspetto musicale era concepito tenendo ben presenti i due aspetti su cui era imperniata la processione: la rappresentazione della passione e l’immedesimazione dei fedeli. L’ultima parte della tesi consiste, infine, nella trascrizione dei documenti archivistici, nella loro parte testuale e musicale.My Thesis concentrates on the processione dei misteri organized by Carlo Bascapè, superior general of the Barnabites, in Milan on the night of Good Friday since 1587. The Archivio Storico of Barnabites (Milan) contains several documents that are evidence of this important rite and represent the sources of this research. This processione was a huge public meditation in which music played a primary role. The aim of my writing is first to account for the dramatic and devotional reasons of the processione, then to investigate the significant meaning that the music would have had in the rite itself. In the first chapter I introduce Carlo Bascapè (1550-1615) emphasizing his historical constitutive experiences, that means presenting the city of Milan during Saint Carlo Borromeo and the Clerics Regular Order of Saint Paul. In the second I investigate the devotional roots under the processione, the concepts of devotion and oration, and I focus on the role of the music in relation to the religious experience of Barnabites and in particularly of Carlo Bascapè. In the third I concentrate on the main representation and meditation mode of the Christ Passion. In the fourth chapter I reconstruct the different aspects of the processione and its protagonists (religious people, Milan noblemen, musicians) through the reading of sources and deepening the late sixteenth devotional literature, and lastly I underline the devotional and dramatic features. In the fifth chapter I analyze the survivor sheets music concluding that every musical detail would have been conceived in order to respect two different aspects of the processione: on the one side, the Passion Drama and, on the other side, the believers’ identification. The last part of the thesis consists in the transcriptions of the archive documents.
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Tacconi, Marica. "Liturgy and chant at the Cathedral of Florence a survey of the pre-Tridentine sources (tenth-sixteenth centuries) /." Full text available online (restricted access), 1999. http://images.lib.monash.edu.au/ts/theses/tacconi.pdf.
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Marques, Cátia Teles e. "Nos bastidores da liturgia tridentina : o mobiliário monumental e as sacristias em Portugal do século XVI ao XVIII." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2007. http://hdl.handle.net/10362/12198.
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Dissertação de Mestrado em História da ArteA presente Dissertação de Mestrado centra-se no estudo do mobiliário monumental de sacristia em Portugal dos séculos XVI ao XVIII, organizando-se em três núcleos fundamentais. Em primeiro lugar, a sacristia como contexto espacial das peças de mobiliário a ele destinadas. Em seguida, o mobiliário propriamente dito, com as suas diferentes funções e tipologias. E, por fim, a encomenda e produção do mesmo. Articulam-se, assim, diferentes vertentes – da liturgia aos valores artísticos, do acto da encomenda à economia da produção – numa complementaridade metodológica que procura garantir uma leitura globalizante do tema. O primeiro capítulo incide, por isso, na consideração do espaço da sacristia, nas suas origens e definição tipológica. Estabelece-se o momento da sua individualização na reforma tridentina, a partir do qual a sacristia se torna espaço de encenação, decorrente das exigências de aparato litúrgico, que converte as sacristias em estruturas de apoio, autênticos bastidores do ritual, o lugar que antecedia e finalizava tal encenação. Estabelece-se um percurso pelas sacristias portuguesas do século XVI até ao século XVIII e categorizam-se as mesmas em tipologias diferenciadas. A sacristia monumental ou arquitectónica, fundamentada na linguagem clássica e com uma valência intrínseca à arquitectura. E a sacristia ornamental ou cénica, que encontrou nas sucessivas campanhas de decoração barroca um efeito de aparato, a partir das artes integradas, como a talha e escultura, o azulejo ou a pintura. Considera-se, no segundo capítulo, o papel de relevo do mobiliário monumental em qualquer uma destas tipologias espaciais. O arcaz e o armário embutido foram, na verdade, autênticos agentes da definição da identidade das sacristias, dialogando por isso com a arquitectura dos espaços e/ou com os programas decorativos posteriores. Peças indispensáveis e obrigatórias em cada igreja, participaram de uma evolução tipológica particular no âmbito da história do mobiliário português, que é, neste trabalho, caracterizada desde as suas origens, no século XVI, até aos finais do século XVIII. Tratam-se aspectos tão significativos como o da influência da arquitectura na ideação do mobiliário, ou os diferentes recursos decorativos, tais como os embutidos e as guarnições metálicas, que tornam estas peças, por vezes, em obras-primas. A dimensão do aparato verificado nestas peças de mobiliário é, paralelamente, vista à luz da encomenda, tratando-se as questões relacionadas com o patrocínio régio ou de individualidades da aristocracia portuguesa; o processo efectivo da encomenda; a organização social dos oficiais que executavam as peças e os custos envolvidos. Na deriva de Trento, este capítulo da arte e da encomenda religiosa, ainda insuficientemente conhecido mas tão surpreendentemente rico, é caracterizado, essencialmente, numa dupla dimensão: a materialidade das questões da feitura e a materialização do fim catequético a que se propõem. Nos limites destas duas vertentes originaram-se tipologias artísticas, específicas de uma realidade institucional e do contexto histórico que a condicionou. Foi nesta integração que se geraram e desenvolveram o espaço da sacristia e o seu mobiliário monumental, ambos entendidos com as suas características autónomas.
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Roe, Jeremy M. N. "Velázquez's 'imitation' of nature seen through 'ojos doctos' : a study of painting, classicism and Tridentine reform in Seville." Thesis, University of Leeds, 2002. http://etheses.whiterose.ac.uk/15212/.
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The following chapters examine the cultural significance of Velazquez's Sevillian paintings, and provide a study of his relationships to the thought of Sevillian patrons. The discussion is based on a methodological review of the discussion of his paintings and their relationship to painting theory. A number of Iberian treatises on painting are analysed to explore Iberian and Sevillian attitudes to painting. A focus is developed on the writing of Velazquez's patrons, Juan de Fonseca and Francisco de Rioja, which has not been examined in regard to Velázquez until now. The combination of methodological enquiry and historical investigation explores the relationship between Velázquez paintings, other intellectual disciplines and ideological concerns related to classicism and Tridentine reform in Seville. In particular the diffusion of principles of Rhetoric, through poetry and poetics, preaching and meditation, is concentrated upon.
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Stirrup, Emma. "The altar sculptures of virgin martyrs : the ideal of chastity and the decorous treatment of relics in tridentine Rome." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432274.
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Argelich, María Antonia. "El Pintor cristiano y erudito de Juan Interián de Ayal: entre el moralismo post-tridentino y el racionalismo pre-ilustrado." Doctoral thesis, Universitat de Lleida, 2014. http://hdl.handle.net/10803/283810.
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'El Pintor Cristiano y Erudito' escrit pel teòleg Juan Interián de Ayala al 1730, és l'últim dels tractats espanyols dirigits a normativitzar la realització artística d'imatges sagrades. La seva tardana aparició, en relació a aquest tipus de textos sorgits com a conseqüència del Concili de Trento, ha estat la justificació de l'escàs interès pel seu estudi. Malgrat això, la vinculació de Interián al grup dels anomenats 'novatores' suggereix que els principals objectius del seu tractat podrien haver sobrepassat als del contrarreformisme barroc per incorporar d'altres, associats amb el pensament de la Il·lustració primerenca. La detallada comparació de les indicacions iconogràfiques de 'El Pintor Cristiano', amb les que en llur temps van proposar els tractats de Molanus, Paleotti, Carducho, Pacheco i Palomino, ha permès, en efecte, detectar peculiaritats iconogràfiques dirigides a la plena substitució d'aquella concepció simbòlica i devocional de la imatge barroca per una definitiva concepció historicista i erudita de la història sagrada.'El Pintor Cristiano y Erudito' escrito por el teólogo Juan Interián de Ayala en 1730, es el último de los tratados españoles dirigidos a normativizar la realización artística de imágenes sagradas. Su tardía aparición, en relación a este tipo de textos surgidos como consecuencia del Concilio de Trento, ha sido la justificación del escaso interés por su estudio. No obstante, la vinculación de Interián al grupo de los llamados 'novatores' sugiere que los principales objetivos de su tratado pueden haber sobrepasado a los del contrarreformismo barroco para incorporar otros, asociados con el pensamiento de la Ilustración temprana. La detallada comparación de las indicaciones iconográficas de 'El Pintor Cristiano' con las que en su tiempo propusieron los tratados de Molanus, Paleotti, Carducho, Pacheco y Palomino, ha permitido, en efecto, detectar peculiaridades iconográficas dirigidas a la plena sustitución de aquella concepción simbólica y devocional de la imagen barroca por una definitiva concepción historicista y erudita de la historia sagrada.
'El Pintor Cristiano y Erudito' written by theologian Juan Interián de Ayala in 1730, is the last of the Spanish treaties aimed at regulating artistic execution of sacred images. His late appearance in relation to such texts created as a consequence of the Council of Trent, has justificated a lack of interest in its study. However, the connection between Interián and the 'novatores' suggests that the main objectives of the treaty may have surpassed the ones of the baroque counter-reformism to embodied others, associated with the thoughts of the early Enlightenment. The detailed comparison of 'El Pintor Cristiano' iconographic indications with the proposals of Molanus, Paleotti, Carducho, Pacheco and Palomino, has allowed the detection of iconographic peculiarities for the replacement of the symbolic and devotional conception of baroque image by a definitive historicist and erudite conception of sacred history.
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Keyvanian, Carla L. (Carla Lucia) 1962. "Charity, architecture and urban development in post-Tridentine Rome : the hospital of the SS.ma Trinità dei Pellegrini e Convalescenti (1548-1680)." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/8830.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (p. 233-237).
This dissertation analyzes the institutional, architectural and urban history of charitable institutions in Rome from the fifteenth to the seventeenth century. It highlights the previously ignored central role that these institutions played in the consolidation of papal power and the political administration of the city. The study focuses on the SS.ma Trinita dei Pellegrini at Ponte Sisto, a shelter of pilgrims and convalescents, and one of the four large public hospitals in the city. The building history of the Trinita is analyzed from the middle of the sixteenth century to the end of the seventeenth. The impact of the Trinita on the neighborhood is also examined. This reveals an instance of collaboration among three institutions -- the Trinita, the Monte di Pieta, and a Hospice for Beggars built by Sixtus V -- and a papal family, the Barberini, in the transformation of their quarter. These institutions were also an integral portion of papal urban plans. Their large complexes were part of an urban system that included a bridge, the main supply route of the city, and an urban barrier that separated the poorer quarters of the city, and the Jewish Ghetto, from those where wealthy families were building their palaces. Finally, the analysis of the economic context of the Trinita and similar institutions emphasizes the connection between their sources of wealth and the ways they displayed their identity.
by Carla L. Keyvanian.
Ph.D.
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Aravaca, Chantal. "Règles de vie religieuses et pratiques architecturales des ordres et congrégations au XVIIIe siècle : les fondations post-tridentines à Nantes (1591-1714)." Nantes, 2014. http://www.theses.fr/2014NANT3020.
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La plupart des villes françaises connaissent au XVIIe siècle une multiplication des établissements religieux, souvent qualifiée d'invasion conventuelle. Ces fondations sont majoritairement le fait d'ordres ou de congrégations nés ou réformés au XVIe et XVIIe siècles et issus de la ferveur qui résulte de la tenue du concile de trente. Elles entrainent la construction de couvents, de monastères et de nouvelles églises et supposent une augmentation considérable de l'activité édilitaire, qui ne peut être sans conséquence. On attribue généralement aux ordres et congrégations fondés ou réformés après le concile de Trente la diffusion de nouvelles pratiques en matière d'architecture religieuse. De même, ce grand nombre de fondations et de constructions, s'accompagne de l'élaboration, par les ordres religieux, de normes visant à assurer la conformité des bâtiments aux spécificités de leur mode de vie. L'étude des couvents nantais apporte des jalons pour l'histoire des pratiques architecturales de congrégations ou d'ordres religieux encore peu étudiés. Le choix d'une ville, comme terrain d'investigation, permet d'appréhender la diversité des fondations tridentines : minimes, capucins, récollets, oratoriens, carmélites, calvairiennes, ursulines, vistandines, jésuites, pénitentes, dames de la retraite, dames carolines. Ces établissements sont envisagés comme les éléments d'un réseau de relations, et non pour eux-mêmes. Un tel angle d'approche met en évidence la capacité des ordres religieux à créer et faire circuler, en leur sein comme à l'extérieur, les formes architecturales et iconographiques adaptées à leur mode et de vie et à leur spiritualité.
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Saule, Kevin. "Le curé au prétoire : justice écclésiastique et développement de l'idéal sacerdotal tridentin dans le diocèse de Beauvais au XVIIe siècle." Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20028.
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Cette thèse étudie un volet méconnu de la réforme catholique. Grâce à l’étude d’un peu moins de 200 procédures judiciaires instruites par la justice ecclésiastique au XVIIe siècle à l’encontre de curés déviants du diocèse de Beauvais, notre recherche entend appréhender le rôle du tribunal ecclésiastique (l’officialité) dans le processus de disciplinement du clergé paroissial. Organisée en trois parties (« Les siècles des désordres » ; « Le curé délinquant dans son milieu paroissial » ; « Le curé délinquant face à ses juges »), la thèse démontre que, loin d’être marginalisée, l’officialité diocésaine de Beauvais parvient à maintenir ses prérogatives sur les prêtres, sans voir son champ de compétences contesté par les juridictions laïques. La justice de l’évêque fonctionne le plus souvent selon les mêmes principes que la justice royale, en cherchant plus à concilier et à réformer qu’à punir. La sentence de l’official, toujours lourde, n’est finalement prononcée que lorsque le curé a prouvé qu’il était incapable de s’amender malgré de multiples rappels à l’ordre. Les curés délinquants ayant maille à partir avec la justice épiscopale ont un profil particulier. Issus des milieux les moins défavorisés, formés « sur le tas », ils sont très souvent originaires d’un diocèse étranger et appartiennent tous – ou presque – aux générations antérieures à la mise en place du séminaire diocésain. Grâce à des soutiens nombreux et variés dans leur paroisse, les curés aux mœurs dissolues parviennent à se maintenir dans leur cure pendant de longues années avant que les scandales ne provoquent leur disgrâce. La vie religieuse de la paroisse n’est pas fortement perturbée par l’inconduite du curé comme le montrent les registres paroissiaux, les fonds des fabriques et les dossiers de paroisses. Contrairement aux discours alarmants tenus par certains plaignants, les ouailles ne se détournent pas de l’église à la suite des scandales et ne remettent pas en cause la validité des sacrements administrés par le curéThis dissertation examines a little known part of the Catholic reformation. Thanks to the study of not less than 200 cases against deviant priests investigated by ecclesiastical courts in the diocese of Beauvais in the XVIIth century, our research tries to understand the part played by ecclesiastical courts (i.e. « officialités ») in the process of controlling parish priests. This dissertation is divided into three parts – « The Centuries of Disorders », « The Delinquent Priest in his Parish » and « The Delinquent Priest in Court » - and shows that, far from being marginalised, the Beauvais ecclesiastical court succeeds in keeping its prerogatives over priests without seeing its sphere of competence challenged by secular courts. Most of the time, the bishop’s judicial decisions work according to the same principles as the King’s, trying to reconcile and reform rather than to punish. The sentence of the judicial vicar (the « officialis ») is always severe and eventually only handed down when the priest showed he was unable to mend his ways in spite of numerous warnings. The deliquent priests who are at odds with the bishop’s justice have a distinctive profile. They come from the least underprivileged backgrounds, they were trained « on the job », they often come from a foreign diocese and all, or almost all, belong to generations living before the setting up of diocesan seminaries. Thanks to multitudinous and varied support from their parish, the morally depraved priests manage to remain in the place for many years before scandals cause them fall into disfavour. The religious life in the area is not greatly disturbed by the misbehaviour of the priest as the parish records and files as well as the mill resources show. Unlike the alarming speech of some plaintiffs, the flock doesn’t turn away from the Church after the scandals nor questions the validity of the sacraments administered by the priest
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Brescia, Michael Manuel. "The cultural politics of episcopal power: Juan de Palafox y Mendoza and Tridentine Catholicism in seventeenth-century Puebla de Los Angeles, Mexico." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/289772.
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My dissertation explores the episcopal dimensions of power as exercised by one of the more polemical figures in Mexico's colonial past, Juan de Palafox y Mendoza. Known to historians as the seventeenth-century bishop-viceroy who challenged the political, economic, and social standing of the Society of Jesus, Palafox also instituted broad ecclesiastical reforms that transformed the local spirituality of Indians and Spaniards into a new Tridentine Catholicism. While I examine the institutional sources of Palafox's episcopal power, namely the decrees of the Council of Trent, I conceive of my dissertation as a cultural history of Church power and authority in the daily lives of Indians and Spaniards in colonial Mexico. Bishop Palafox wielded his crozier, or shepherd's staff, to activate conciliar reforms in the Diocese of Puebla, an exercise that influenced the ways in which the laity experienced the sacramental and the profane. Moreover, I analyze the broad range of cultural changes that illuminate both the extraordinary and routine dimensions of Palafox's pastoral sentiment, such as daily prayer life, episcopal visitation, seminary education, overhauling the material conditions of parish churches, jurisdictional conflicts with the monastic orders and the Society of Jesus, as well as the bishop's efforts to harness the financial and human resources of the diocese to construct the material symbol of his office, the Cathedral of Puebla. Finally, I assess the bishop's capacity to structure the broader political and material contexts of Catholic culture in Mexico.
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Bisson, Massimo <1976>. "Voltar il corpo e poner l'altar alla romana: le trasformazioni dei cori nelle abbazie cassinesi del Veneto: tradizione e innovazione nell'architettura post-tridentina." Doctoral thesis, Università Ca' Foscari Venezia, 2007. http://hdl.handle.net/10579/908.
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Costa, Mozart Alberto Bonazzi da. "A talha no Estado de São Paulo: determinações tridentinas na estética quinhentista, suas projeções no barroco e a fusão com elementos da arte palaciana no rococó." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16102014-114447/.
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Na Antiguidade Clássica oferendas efêmeras constituídas por guirlandas e festões de flores e frutos foram depositadas em frisos nas antigas construções dando origem aos relevos e esculturas ornamentais que, executados em pedra, foram aplicados sobre os frontispícios dos templos. Esse rico repertório ornamental foi reeditado na Renascença e, na Contra-Reforma, se tornaria representativo de uma estética oficializada pelo Concílio de Trento, dirigida à constituição da igreja enquanto expressão terrena da casa de Deus. No universo laico, a estética estaria subordinada ao poder real, configurando no espaço cortesão uma arte palaciana. No mundo ibérico esses motivos ornamentais seriam transpostos para a madeira, passando a recobrir as superfícies internas dos templos religiosos, também chamados de igrejas cintilantes de ouro, repertório este que chegou ao Brasil pelas mãos de mestres entalhadores, religiosos ou leigos provenientes do Reino. Nos templos construídos em São Paulo, entre os séculos XVII e XVIII, encontram-se exemplares de talha representativa das ocorrências estilísticas que se sucederiam no mesmo período na Europa, assumindo em alguns casos, particularidades regionais. O presente estudo parte dos tratados renascentistas, buscando identificar entre os conjuntos remanescentes do período colonial paulista, alguns dos elementos que teriam contribuído para a formação do repertório ornamental tridentino e palaciano que ocorreram primeiramente nos grandes centros europeus, geradores e difusores de estética, chegando a Portugal, e sendo editados na antiga Província de São Paulo de Piratininga, envolvendo aspectos que em muito ultrapassariam a materialidade dos suportes físicos.In Classical Antiquity, ephemeral offers of wreaths and embroideries made of flowers and fruits were placed in the friezes of the ancient constructions, thus originating the ornamental engravings and sculptures that, worked in stone, were applied to the frontispiece of temples. This rich ornamental repertoire was reedited in the Renaissance and, in the Counter-Reformation, would become representative of a type of aesthetics made official by the Council of Trent with the intent of constituting the church as the earthly expression of the house of God. In the universe of laity, this aesthetic principle would be under royal power, configuring a palatial art in the court space. In the Iberian world, these ornamental motifs would be transferred to woodwork and cover the inner surfaces of the religious temples, which were also called shinny churches of gold. This repertoire arrived in Brazil through the hands of carving masters, both clergy and laymen coming from the Kingdom. In the temples built in São Paulo, between the seventeenth and the eighteenth centuries, we can find examples of this type of carving that represent the stylistic manifestation which occurred in Europe in the same period, but in some cases presenting regional particularities. This study begins with the Renaissance treaties, seeking to identify among the remaining sets of the colonial period in São Paulo some of the elements that would have contributed to the formation of the palatial and Tridentine ornamental repertoires that occurred firstly in the great European centers, which generated and spread aesthetic trends. These trends would reach Portugal and later the old Province of São Paulo de Piratininga in Brazil, where they found a new expression, involving aspects that greatly surpassed the simple materiality of physical supports.
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Conboy, Ana. "Rébellion, révélation et résurrection: l'avènement et la chute du théâtre hagiographique et les implications de son discours métathéâtral dans la France post-Tridentine, 1620-1650." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104225.
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Thesis advisor: Stephen C. BoldHagiography, or accounts of saints' lives, persists in literature through the ages. It accompanies historical movements and moments, serves as a memorial and remembrance, and often sends a message, explicit or implicit, relevant to the reader's contemporary world. In the early 17th century, hagiographic plays were a brief vogue on the recently renewed Parisian secular stage. In recent years, there has been a reawakening to this dramatic corpus, to its value and its challenges. The current work continues the effort to shed light upon the genre, which is often seen as mediocre when compared to its counterparts that resulted from the classical renaissance of the Grand Siècle in France. I limit my corpus to hagiographic tales of Christian martyrs (some of whom were not yet canonized in this period). The protagonists typically follow a life of pilgrimage. A secular period is followed by conversion, ascetic life, and finally death at the hands of detractors. These are often political, religious or emotional tyrant figures. Most of the saintly heroes in the corpus live at the time of Roman persecutions; others come from a more recent past, such as Thomas More and Joan of Arc. My objective is two-fold: on the one hand, I strive to establish the corpus's relationship to 17th-century religion, by exploring the Jesuit influence on dramatists and reflecting on the seeds of the "querelle de la moralité du théâtre"; on the other hand, I attempt to establish the corpus's relationship to the art of theater, at a time when classical secular theater was emerging in France. Moreover, I aim to affirm the compatibility between church and theater through their successful conciliation in the corpus. This compatibility is further justified by drawing a metatheatrical discourse from the texts, relevant to the time in which they are produced and by the plays' employment of the topos of theatrum mundi. The two objectives intersect in the ultimate goal of including and interpreting this genre as an essential part of a milestone in French intellectual, religious and cultural history. The first chapter focuses on the aesthetic background of the period, with an emphasis on the Baroque spiritualizing impulse in the arts, stemming from the Counter-Reformation and the Council of Trent. I also provide the foundations of theater within theater as a mode of dramatic expression common in the 17th-century repertoire, which becomes necessary for a better understanding of the metatheatrical discourse perceived in the hagiographic corpus. The second, third and fourth chapters focus on the individual plays, with a close reading and analysis of their form and content. After addressing the history of religious theater and its underlying message, I turn to the characteristics of the corpus and analyze strategies used by dramatists to adapt to (or skirt) the progressively more restrained regulations of classical secular theater. I then reflect upon the performativity and theatricality of the plays and discern the metatheatrical discourse in specific dramas. Finally, the fifth chapter is a holistic embodiment of the previous chapters, with an in-depth study and interpretation of Jean Rotrou's Le Véritable saint Genest. From my interpretations and reinterpretations, I conclude that this corpus, short-lived on the Paris professional stage, informed the debate surrounding theater in the 17th century in France, as well as in the polemic regarding its relation to the church. The decline of the genre, occurring around 1650, reflects and symbolizes the progression from a literature of the Counter-Reformation, of the European Baroque, to a literature with an independent French identity, rooted in neo-classical and Aristotelian reinterpretations. Following Lionel Abel's definition of metatheater, I support the idea that this corpus contributed positively to an aesthetic and cultural transformation nascent in French society at this particular historical moment
Thesis (PhD) — Boston College, 2015
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures
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Balondrade, Bruno. "Pastorale tridentine et iconographie religieuse dans le diocèse de Bordeaux (1560-1789) : retables, images, mobilier et ornements de culte, les images entre l'iconoclasme protestant et l'équivoque maçonnique." Bordeaux 3, 2011. http://www.theses.fr/2011BOR30040.
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Smidt, Andrea J. "Fiestas and fervor: religious life and Catholic enlightenment in the Diocese of Barcelona, 1766-1775." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1135197557.
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Ardura, Bernard. "Un prélat réformateur et théologien du XVIe siècle, le prémontré Nicolas Psaume (1518-1575), évêque et comte de Verdun." Saint-Etienne, 1987. http://www.theses.fr/1987STET2008.
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Nicolas Psaume, natif de Chaumont-sur-aire (Meuse), entre dans l'ordre de prémontré en 1538. Forme à paris dans la ligne de Gerson, il se consacre à la réforme de l'abbaye Saint-Paul de Verdun. Promu évêque de Verdun en 1548, grâce au cardinal jean de lorraine, il prend possession d'un diocèse sans évêque résidant depuis 40 ans et dont l'état général nécessite une réforme de fond. Evêque et comte, psaume réussit à s'imposer aux lignages et à rétablir l'autorité épiscopale. Envoyé aux deuxième et troisième périodes du concile de trente par l'empereur d’Allemagne dont il est vassal, psaume joue un rôle important dans la discussion du décret sur l'institution divine des évêques et dans celle des décrets de réforme. Il s'inscrit dans la ligne de Barthelemy des martyrs, archevêque de Braga, même s'il ne parvient que difficilement à se démarquer des positions de Charles de lorraine dont il est le client. Rentre dans son diocèse de Verdun, il se consacre totalement à l'application de la reforme tridentine. Il voudrait conserver à sa ville l'autonomie qui fait sa spécificité, mais l'obligation de lutter contre le protestantisme le contraint à accepter l'aide militaire du roi de France, réalisant ainsi la politique de la maison de lorraine qui œuvre en vue du rattachement des trois-évêchés à la France. Psaume est le témoin d'une théologie populaire, grâce à ses nombreuses œuvres encore en partie inédites. Son idée-force : la vocation de tous les hommes au paradis à travers le combat de la vie chrétienne. Il développe longuement ce que sont les sacrements de la vie chrétienne et surtout le sacrement de l'ordre et ses exigences. A l'image de Borromée, psaume reforme son diocèse par les moyens préconises à trente : le synode diocésain, la visite pastorale, la formation des clercs, la fondation d'un collège confie aux jésuites et des petites écoles, la prédication. Il apparait comme le type du prélat tridentin en ce qu'il applique le concile et tout le concile. Il est l'un des rares évêques réformateurs de langue française au XVIe siècle. Le IIe volume donne 215 pages de textes souvent inéditsNicolas Psaume, a native of Chaumont-sur-aire (Meuse-France), enters the order of premontre in 1538. Trained in Paris in the tradition of Gerson, he dedicates himself to the reforming of the abbey Saint-Paul of Verdun. Installed as bishop of Verdun in 1548 by cardinal jean de Lorraine, he takes possession of e diocese without resident bishop for forty years and which, because of its general state, requires a complete reform. As bishop and count, Psaume succeeds it win recognition from the mobility and in re-establishing episcopal authority. Having been sent to the second and third sessions of the council of trent by the emperor of Germany on whom he his dependent, Psaume plays an important role in the discussion of the decree regarding the divine institution of bishops and those decrees regarding reform. In the tradition of Barthelemy des martyrs, archbishop of Braga, he inserites himself ever he manages only with difficulty to change the stand of Charles of Lorraine whose client he is. Having returned to his diocese in Verdun, he dedicates him to the application of the tridentine reforms. He would like to maintain the unique autonomy of his town but the obligation to fight against Protestantism forces him to accept military aid from the king of France, thus achieving the policies of the house of Lorraine in uniting to france the "three bishoprics". Psaume is the witness of a popular theology due to his works, many of wich are still inedited. His line of thought: the calling of all men to paradise through the struggle of living a Christian life. He elaborates lengthily on the sacraments of Christian life and especially on the sacrament of the holy orders and its demands. In the likeness of Borromeo, Psaume reforms his diocese by the means laid down at trent : diocesan synods, pastoral visits, the formation of clerics, the foundation of a college trusted to the Jesuits, and of "small schools", and preaching. He appears as the typical tridentine prelate in that he applies the council in all aspects. He is one of the rare reforming French-speaking bishops of the XVIth century. The second volume contains 215 pages often unedited
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Gaye, Stéphanie. "Les chapelles rurales de Gascogne et du Pays Basque du XVIème siècle au XVIIIème siècle : signes d’une culture religieuse identitaire et relais d’un catholicisme actif dans les campagnes." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040108.
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La répartition des chapelles rurales en Gascogne et au Pays Basque qui semble « statique » révèle dans le courant des XVIème et XVIIème siècles, une mainmise de plus en plus étroite de l’Eglise tridentine. Ce phénomène s’intensifie dans les courants des XVIIème et XVIIIème siècles, avec la construction de nouvelles chapelles majoritairement vouées au culte de Marie. L’Eglise adapte un système préexistant et le perfectionne. Elle réinvestit la culture religieuse locale, dont les chapelles rurales sont un fondement et un support de l’identité gasconne et basque. Elle favorise les pèlerinages et les processions dans ces chapelles vouées au culte de Notre Dame, sapant l’influence de certaines chapelles rurales, qui constituent pour certaines, des cadres de pratiques « superstitieuses » et « profanes », à la limite de la religion légale. Elle crée, ainsi un réseau hiérarchisé, fer de lance de la réforme tridentine. Les confréries, un clergé dévoué et dans certains cas, la présence d’un ordre religieux (couvents, monastères…) encadrent les fidèles.Les chapelles rurales constituent des relais d’une « re-catholicisation ». En effet, un vaste mouvement d’acculturation des populations rurales semble mis en place par l’Eglise tridentine. Enfin, en tant que vecteur de cette « re-catholicisation » des populations rurales, les chapelles s’intègrent dans une volonté de lutter contre le protestantisme dont la forme dans le Sud-ouest est le calvinisme. Certains sanctuaires créent de véritables zones d’influence délimitant l’aire culturelle de Gascogne et du Pays BasqueThe spreading of the rural chapels in Gascony and in the Basque Country which seems « static » reveals a growing takeover by the tridentine Church in the 16th and 17th centuries. In the 17th and 18th centuries, this phenomenon is intensified by new chapels mainly devoted to Mary. The Church adapts a pre-existing system and improves it. It reinvests the local religious culture founded on rural chapels which are deeply part of the Gascon and Basque identity. In these chapels devoted to Our Lady, pilgrimages and processions are furthered, undermining the influence of some rural chapels, some of which shelter “superstitious” and “secular” practices at the limit of the legal religion. Thus it creates a hierarchic organization which constitutes the spearhead of the tridentine reform. The faithful are guided by the brotherhoods, a devoted clergy and sometimes a religious order (convents, monasteries …). The rural chapels take over the “re-catholicization”. A wide movement of the rural populations’ cultural integration actually seems to be set up by the Tridentine Church. Finally, as a “re-catholicization” medium of the rural populations, the chapels integrate into a will to fight against Protestantism known as the Calvinism in South-Western France. Some sanctuaries create a real zone of influence delimiting the cultural area of Gascony and the Basque Country
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Cano, Castillo Antonio. "Le clergé séculier dans le diocèse de Mexico (1519-1650)." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0063.
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Ce travail analyse la fondation du clergé séculier à partir de 1519 dans le diocèse de Mexico et son évolution jusqu'en 1650. L'étude repose sur le parcours des clercs diocésains à la lumière des orientations canoniques et royales. La première partie aborde l'établissement des séculiers sur l'immense territoire diocésain d'alors, ainsi que les obstacles qu'ils ont rencontrés dans l'exercice de leur ministère. La seconde partie présente l'origine sociale et la formation intellectuelle de ces clercs si déterminantes pour leur carrière. La troisième partie, enfin, aborde les processus de nomination de ces prêtres et s'intéresse à leur mission pastorale. L'ensemble a pour but de faire connaître les séculiers qui furent les guides spirituels des catholiques mexicains dans l'esprit des orientations novatrices définies à Trente. Jamais la spécificité du clergé séculier n'a été prise en compte pour elle-même à travers le développement de la théologie pastorale tridentine, telle quelle fut vécue au quotidien dans les premières décades de la jeune Eglise MexicaineThis work analyzes the establishment of the secular clergy in the diocese of Mexico in 1519 and its evolution until 1650. The study is based on the career of secular clergy according to canonical and royal guidelines. The first part explores the establishment of diocesan priests on this huge diocesan territory, as well as the obstacles they faced in the exercise of the duties. The second part, presents the social origins and the intellectual background of the secular clergy which was so determining for the career of its members. Finally, the third part approaches the processes leading to the appointment of these priests and focuses on their pastoral mission. The purpose of the whole thesis is to throw some light on the activity of the secular clergy who was the spiritual guide of Mexican Catholics following the innovative outlined orientations by the Council of Trent. Never before, the specificity of the secular clergy has been taken into account for itself, when considering the development of tridentine pastoral theology, showing this theology rooted in everyday life during the first decades of the early Mexican Church
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Mendes, Raul de Moura. "A Devoção às Almas do Purgatório na Arte Azulejar de Coimbra Fé, Piedade e Emoção Estética." Master's thesis, 2013. http://hdl.handle.net/10316/35992.
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Barros, Miguel Sérgio da Costa Ferreira Monteiro de. "São José, Bairro Tridentino." Doctoral thesis, 2017. http://hdl.handle.net/10362/28051.
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O objeto de análise desta tese é o Bairro de São José, em Lisboa. Território de contínua ocupação humana, pelo menos desde a época imperial romana, o bairro surgiu e desenvolveu-se em estreita simbiose com a rua Direita de São José / Santa Marta, a antiga Corredoura medieval. O tempo (longo) em que decorre a nossa análise situa-se entre os anos de 1567 e 1834. Estas balizas temporais enquadram o aparecimento e desenvolvimento do Bairro de São José num contexto reformista tridentino, constituindo 1834 a data simbólica que marca o fim do Antigo Regime em Portugal. Nos séculos XV e XVI teve início uma urbanização mais sistemática da área onde se encontra implantado o bairro. Para tal concorreram vários fatores: uma maior salubridade e consolidação dos terrenos, resultante de obras de saneamento geral levadas a cabo neste período; o facto da rua Direita constituir uma das principais vias de acesso e de abastecimento de víveres à cidade; a construção de uma ermida dedicada a São José em 1545, destinada a albergar a Confraria de Carpinteiros e Pedreiros da cidade de Lisboa; a transformação dessa ermida em sede paroquial de uma nova freguesia em 1567. A criação dessa nova freguesia sob a invocação de São José não foi um acaso. Deve ser entendida no contexto da reforma tridentina. Por detrás das razões apontadas no documento que oficializa a sua criação pelo cardeal infante D. Henrique, um dos principais impulsionadores em Portugal do reformismo tridentino, encontram-se questões mais estruturantes de cariz ideológico, relacionadas com a reforma das práticas religiosas e dos comportamentos das populações. A escolha de São José como patrono da nova freguesia inseriu-se numa estratégia deliberada. O santo foi um instrumento ideológico, utilizado na promoção de novas noções de família, de paternidade, de sexualidade e de género. Além disso, devido à sua proximidade a Cristo, serviu outro propósito – a promoção de devoções de caráter mais teocêntrico, tidas como mais adequadas para uma Igreja sob ataque protestante e em processo de reforma profunda. Também a instalação na sede paroquial da Irmandade do Santíssimo Sacramento deve ser entendida dentro deste contexto de promoção de devoções mais teocêntricas. As sedes paroquiais, nomeadamente a da freguesia de São José, tornaram-se centros difusores da ideologia tridentina. A obrigatoriedade dos registos paroquiais e da participação nos diversos atos religiosos, assim como o controlo social exercido pelos vizinhos uns em relação aos outros contribuiu de forma decisiva para a construção e consolidação de laços entre os habitantes da freguesia e do Bairro de São José. Neste caso específico freguesia e bairro confundiam-se, devido ao facto de este último ser o único espaço urbanizado da freguesia até à segunda metade do século XVIII. O papel assumido pela paróquia de São José e pelas paróquias em geral no período em análise foi primordial para a construção das identidades bairristas e para o desenvolvimento de representações coletivas e de noções de interior e de exterior.The object of this thesis is Saint Joseph’s neighbourhood, in Lisbon. Human communities have constantly occupied it´s territory, at least since imperial Rome. Saint Joseph’s neighbourhood appearance and development is closely connected with the existence of a street – the rua Direita of São José / Santa Marta, one of the main access ways to and from Lisbon since a very remote past. The period of our analysis begins in 1567 and ends in 1834, during which Saint Joseph´s neighbourhood emerged and developed in the context of Catholic Reformation. 1834 marks, symbolically, the end of the Ancien Régime in Portugal. During the 15th and 16th centuries the area where the neighbourhood came to life was slowly and steadily urbanized. Several factors contributed to this: a better basic sanitation and consolidation of the terrain; the fact that rua Direita constituted then one of the main gateways for the city provisions; the construction in 1545 of a chapel dedicated to Saint Joseph, to lodge the Lisbon Brotherhood of Carpenters and Stonemasons; the transformation in 1567 of that chapel into the headquarters of a new parish. The founding of this new parish under the patronage of Saint Joseph wasn’t a random event. It must be understood within the context of the Trento Reformation. Behind the reasons invoked in the official document of its creation by the prince cardinal D. Henrique, one of the main instigators of those reforms in Portugal, lay profound ideological reasons, connected with the reformation of religious practices and the behaviour of the populace. The choice of Saint Joseph as the parish patron was part of a deliberate strategy. The saint was used as an ideological instrument to promote new notions of family, parenthood, sexuality and gender. Besides, due to his proximity to Christ, he served another purpose, namely the promotion of more theocentric devotions considered better suited for a Church under attack by the Protestant Reformation. The settling in the parochial church of another brotherhood, devoted to the Holy Sacrament, must also be understood within this context of promotion of more theocentric devotions. Parochial churches as the one of Saint Joseph’s parish became centres for the diffusion of Trento’s ideological propaganda. The compulsory requirement for parochial registers and for the participation of the faithful in the religious acts, together with the social control exerted by neighbours, contributed decisively to the building up and subsequent consolidation of the ties between the inhabitants of the parish and of the neighbourhood. In this particular case parish and neighbourhood coincided, due to the fact that Saint Joseph’s neighbourhood was, until the second half of the 18th century, the only truly urbanized space of the parish. The role that Saint Joseph’s parish and other parishes assumed in the analysed period was pivotal for the building up of neighbourhood identities and for the development of collective notions of inside and outside
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Pimenta, José Manuel Pasadas Figueira. "Diocese de Elvas : 1570-1636 : criação, organização e recepção tridentina." Master's thesis, 2014. http://hdl.handle.net/10400.14/16365.
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Este estudo tem por fim abordar o contexto histórico da criação da Diocese de Elvas ocorrida no ano de 1570. Iremos analisar o modo como se procedeu à fundação deste bispado nos seus contextos específicos, evidenciando as suas tensões, confrontos e problemáticas próprias, nomeadamente, entre o cardeal D. Henrique, arcebispo de Évora e o cabido da Sé eborense.
Posteriormente, ainda que de forma sucinta, apresentaremos as biografias dos cincos primeiros bispos elvenses, pois, constituem figuras fundamentais para ilustrar a história deste bispado. A compreensão das suas origens familiares e das suas redes de relações serão determinantes para percebermos as potencialidades e os condicionalismos evidenciados ao longo do seu percurso na diocese elvense.
Por último, abordaremos a questão da recepção dos cânones tridentinos em Portugal e, em particular, neste bispado. Sendo uma diocese criada no contexto pós-tridentino, tinha, na sua génese, o enorme desafio de acolher e de se deixar modelar pelas orientações tridentinas.
Para isso, iniciámos este nosso estudo revisitando a história do Concílio de Trento para analisar, de seguida, as implicações da presença portuguesa no mesmo Concílio.In this dissertation, I will address the historical context of the creation of the Diocese of Elvas, in the year of 1570. I will analyze how the establishment of this bishopric proceeded in its specific context, highlighting its tensions, confrontations and characteristic problems, particularly between Cardinal Dom Henrique, Archbishop of Évora and the Chapter of Canons of the See. Subsequently, albeit briefly, I will present the biographies of the first five Bishops of the city, in the sense that they are key figures to instance the history of this episcopate. The understanding of their family origins and social networks are key to comprehend the potentialities and constraints showed along their path in the Diocese of Elvas. Finally, I will address the question of the reception of the Tridentine canons in Portugal and, in particular, in this this bishopric. Being a diocese created in the post-Tridentine context, I recognize that it had, in its genesis, the enormous challenge of receiving and letting itself be modeled by the Tridentine guidelines. In order to introduce the subject of this dissertation, I will start this study by reframing the history of the Council of Trent in order to, subsequently, analyse the implications of the Portuguese presence in that Council.
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Di, Croce Alessandra. "Sacred Fragments: The reception of Christian Antiquity in post-Tridentine Rome." Thesis, 2017. https://doi.org/10.7916/D8VH617S.
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This dissertation analyzes cultural attitudes and modes of reception of Christian antiquity and Early Christian art in late sixteenth-century post-Tridentine Rome, and its effects on the antiquarian, historical, and artistic culture of the time. It challenges the established scholarly paradigm that Christian archaeology was an apologetic discipline and the by-product of Catholic ideology, and argues instead that the discovery and investigation of Christian antiquity was instrumental to the critical reappraisal of the methods of classical historical scholarship, leading to a fundamental revolution in both historical and antiquarian method, and artistic taste. With their unrefined formal qualities, rather unappealing to eyes still accustomed to Renaissance style, Early Christian artifacts played a fundamental role in establishing less narrow criteria to approach and assess art beyond the classical canon, paving the way for a new and more favorable evaluation of art objects hitherto ignored when not despised.
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Lang, Martin [Verfasser]. "Biosynthese und Synthese von Sekundärmetaboliten aus den Pilzen Suillus tridentinus, Suillus bovinus und Stephanospora caroticolor / Martin Lang." 2002. http://d-nb.info/965792358/34.
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SWAIN, ROBERT FRANCIS. "Introibo ad Altare Dei: El Greco's 'Espolio' in the context of post-Tridentine Spain." Thesis, 2011. http://hdl.handle.net/1974/6723.
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In the vestry of the cathedral church of Santa Maria in Toledo hangs a large painting by El Greco entitled El Espolio, the ‘Disrobing of Christ’. Executed shortly after his arrival in Spain the painting marks a major stylistic departure from the artist’s earlier work and would command attention on that basis alone. The subject, while iconographically obscure, is, at another remove, utterly familiar as a Passion scene tied to a well known iconographical canon. Compositionally, the Christ figure predominates but the ‘legionnaire’ occupies a contrasting and almost equivalent space in his carapace of steel. These figures beg for further elaboration
I will argue that this painting can be read as a nexus between a reformed liturgy and a post-Tridentine programme of Church renewal in Spain allied to a monarchical programme of nación under Philip II (1527-98) that was essentially one and the same.
The salient questions needing a response are these: How, in a vestry, can we expect such a subject to have much impact beyond the very limited audience it was designed for? This is the crux of the matter in many ways. What in the painting suggests more than the straightforward analysis of the subject matter? What in the times suggests another reading of this great work of art?
The pursuit of the answers to these questions constitutes the driving force behind this investigation. Biography, the intellectual and artistic formation of the artist, are positioned with reference to the intellectual ferment of the period, the religious upheaval
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in Christendom, the advances in the understanding of the nation state. More specifically, the altered relationship between the monarchy and the church in Spain, following the Council of Trent (1545-63)will be shown to have a reflection in El Espolio.
El Greco’s work has mostly been treated as the product of a painter of the spirit, of religiosity, even of mysticism. El Espolio has been interpreted here within a broader frame of reference and the argument suggests our understanding of El Greco’s oeuvre has been somewhat narrow.Thesis (Master, Art History) -- Queen's University, 2011-09-15 16:13:04.047
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Turner, Katherine Lynn 1977. "The musical culture of La Concezione : devotion, politics and elitism in post-Tridentine Florence." 2008. http://hdl.handle.net/2152/9812.
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The musical culture of the female monastic institution called La Concezione, or il monastero nuovo, reflected the political, social and devotional objectives of the Medici court. In 1562, at the close of the Council of Trent, the convent was founded through the last testament of Grand Duchess Eleonora de Toledo de'Medici with the support of Grand Duke Cosimo I's personal knighthood-- the Cavalieri di Santo Stefano. Glorified as a "reformed" institution reflecting the piety of Florence and the rectitude of the Medici family, the public image of the convent required strict adherence to Catholic Reformation ideals of female virtue. Musically, the women of the convent restricted their public performance to monophonic chant. The only universally approved music for monastics, chant was thought to be the most appropriate form of public musical devotion for the virginal daughters of the court. In private, the patrician women perhaps enjoyed the popular polyphonic music that the vast resources of their families, the Florentine court, and their superiors, afforded them. The public image of perfection was of the utmost importance to the Medici; polyphonic performance was only allowed in the most private spaces of the cloister--away from the public eyes and ears. A counter-example to recent scholarship, this view of female monastic music is in contrast to studies that have highlighted examples of wealthy convents that actively sought opportunities for polyphonic performance as part of their public character. This dissertation relies on various extant archival documents of the convent, the Order of Santo Stefano and the Medici family in an examination of the role that music played in both the public and private spheres of the most elite convent of early modern Florence.text
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Furey, Constance M. "In the school of God : religious epistemology and intellectual identity in pre-tridentine Italy /." 2000. 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:9978026.
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Richard, Nicolas. "Farní klerus a náboženská proměna v pražské arcidiécezi od tridenstkého koncilu do konce 17. století." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-328194.
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Parish clergy and religious change in Prague's diocese from Council of Trent till the end of the 17th century The religious change that happens in Bohemia in the 17th century has no equivalent in the Europe at this time: the whole country, where Catholics were in a very minority, comes back to the roman Church. This evolution is here seen from a very prosaic point of view: how lay people live this change, and so how acts the parish clergy in this matter. Conversion's strategy, at the end of the Council of Trent, was to permit the use of the chalice to the laity. The consequence of this permission was a very hazy situation in the parishes, but Holy See did nothing before the battle of White Mountain, and after the battle, he suppressed chalice, mainly for pastoral reasons. During the Thirty years War, the kingdom is the place of a general reform, which has its origins in the catholic missionary movement of the beginning of the century and in the political theories of this time. Bohemia is strongly marked by the war that acts as a catalyst; at the same time political and religious authorities were lacking. The inhabitants, usually just formal Catholics at the beginning, convert themselves more and more deeply during the 17th century. The eldest, who remembered the non-Catholics services, died during the...
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Flowers, Margaret Alice Taylor. "Trabaci's "Cento Versi" (1615): Liturgical changes and the church tones in post-Tridentine organ music." Thesis, 2004. http://hdl.handle.net/1911/18627.
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In 1615 Giovanni Maria Trabaci (c. 1675--1647) published the Cento Versi---one non-cantus firmus keyboard versets for use in both Mass and Divine Office---as a book within Il Secondo Libro de Ricercate. Trabaci's music utilized recent developments in liturgical practices, composition, organ building and voicing to reflect the liturgical and musical practices of the early seventeenth century in Naples. The composer created a new kind of organ music free of chant cantus firmi and composed in the eight church tones newly derived from the psalm tones. The versets exhibit forward thinking in liturgical performance while they also continue the long-standing use of the organ in alternatim psalmody.
The Cento Versi provided a seventeenth-century keyboard tonary for use in church services. By including these versets with other liturgically appropriate pieces in his book, Trabaci provided a complete resource for the organist that was easy and efficient to use. He also wrote commentaries on the Cento Versi about the theoretical bases for the versets, although he remained silent about their lack of chant quotations and specific liturgical uses. Moreover, Trabaci contrasted the tonal system of the Cento Versi to the modally ordered ricercars of his two keyboard books, but he did not address their differing liturgical applications. The case is made here that both the Cento Versi and the ricercars served liturgical purposes, which is evidenced by their respective collations in cyclic order.
The liturgical changes associated with the Tridentine reforms affected the composition of the Cento Versi. The differences between medieval liturgies and changes promulgated by the Council of Trent are the result of precise codifications of liturgical practices (a new development made possible by printing), pruning of the Divine Office; and specific designations of interpolated organ music in the liturgies. In this context, the Cento Versi stand as evidence of leaner liturgies that required flexible, independent musical resources that were easy to use.
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Korrick, Leslie. "UT pictura musica : observations on the reform of painting and music in post-tridentine Rome /." 1996. http://proquest.umi.com/pqdweb?did=739331991&sid=1&Fmt=2&clientId=12520&RQT=309&VName=PQD.
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Magill, Kelley Clark. "The catacombs, martyrdom, and the reform of art in Post-Tridentine Rome: picturing continuity with the Christian past." Thesis, 2014. http://hdl.handle.net/2152/30321.
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The fortuitous discovery of early Christian images adorning the catacombs on Via Salaria in 1578 enabled scholars to address urgent, contemporary problems concerning the Catholic tradition of image veneration, which had been attacked by Protestant iconoclasts. Although the catacombs had been important devotional sites for the cult of martyrs and relics throughout the Middle Ages, the 1578 catacomb discovery was the first time that Romans connected the catacombs with the early Christian cult of images. Only after 1578 did scholars and antiquarians begin to collect and study early Christian frescoes and antiquities found in Rome’s numerous catacomb sites. Their research culminated in the publication of Antonio Bosio’s Roma sotterranea (1635), the first treatise on the Roman catacombs. After the Council of Trent (1545–1563), Catholic scholarship on the catacombs defended the early Christian origins of the cult of martyrs, relics, and images. I argue that the Tridentine Church’s claim of continuity motivated the study of early Christian art in the catacombs in the late sixteenth and early seventeenth centuries. By critically evaluating images and archeological sources to support an interpretation of the Church as semper eadem (ever the same), Bosio and his sixteenth-century predecessors contributed to the development of modern historical and archeological methods.
This dissertation explores the juxtaposition of imaginative and analytical interpretations of the Roman catacombs in the late sixteenth and early seventeenth centuries. Early modern descriptions of the catacombs characterize these burial sites as emotive worship spaces for the early Church that evoked Christian suffering, martyrdom, and devotion to the cult of saints. I argue that the gruesome martyrdom imagery commissioned to decorate S. Stefano Rotondo and SS. Nereo e Achilleo in the last two decades of the sixteenth century imaginatively recreated what contemporaries thought early Christian worship would have been like in the catacombs. As the first in-depth study to consider the relationship between the exploration of the catacombs and the first large-scale martyrdom cycles in the late sixteenth century, this dissertation demonstrates how vivid pictorial imagination of the Christian past inspired the early Christian revival movement in post-Tridentine Rome.text
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Wołyniec, Bartłomiej. "Marcin Szyszkowski : biskup krakowski, senator, fundator (1616-1630)." Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/148887.
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Reis, Carla Patrícia Lopes dos. "Mosteiro de São Bento de Cástris." Master's thesis, 2014. http://hdl.handle.net/10400.6/5072.
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A Ordem de Cister encontra-se presente no território português desde o séc. XII, sendo ainda bem visível o seu legado.
O Mosteiro de São Bento de Cástris é uma das obras que fazem parte deste legado situado em Évora, e sendo o mais antigo mosteiro feminino a sul do Tejo. Actualmente o Mosteiro é classificado como Monumento Nacional. No entanto encontra-se desocupado e devoluto.
A Ordem de Cister tem por base a Regra de S. Bento regendo-se pela máxima “Ora et Labora”, sendo o trabalho e a oração a base do seu princípio de vida de carácter auto-suficiente.
Esta dissertação centra-se na relação entre a Música e a Arquitectura, sobretudo tendo como referência a igreja, sendo esta a do Mosteiro de São Bento de Cástris, o objecto de estudo.
A música assume grande importância no espaço arquitectónico relativamente à Igreja. No entanto é uma área que não é abdicada pela liturgia.
Um dos elementos complementares à Igreja é o órgão, instrumento que acompanhou todas as variantes da liturgia até hoje, adaptando um papel fundamental o âmbito da Arquitectura.
Com esta dissertação pretendeu-se perceber a relação entre os espaços da igreja, nomeadamente o coro-altar, coro-assembleia, coro-órgão, órgão-altar, assim como a orientação correcta do órgão na arquitectura e respectivo sistema de reflexão de som.The Cistercian Order is present in the Portuguese territory since the 12th century, being still prominently his legacy. The Monastery of São Bento de Cástris is one of the works´s part of this legacy situated in Évora, and being the oldest female monastery South of the Tejo. The monastery is currently classified as a National Monument. However it is unoccupied and vacant. The Cistercian Order based on the rule of São Bento conducting the maximum "Ora et Labora", being the work and prayer as the base of character self-sufficient life principle. This dissertation focuses on the relationship between music and architecture, in particularly with reference to the Church, this being the Monastery of São Bento de Cástris, the subject of study. The music is very important in architectural space of the Church. However is an area that is not abdicada by the liturgy. One of the additional elements to the Church is the organ, an instrument that accompanied all variants of the liturgy to this day, adopting a fundamental role within the architecture. This dissertation aims to understand the relationship between the spaces of the Church, namely the choir-altar, choir-Chamber, choir-organ, organ-altar, as well as the correct orientation of the organ in architecture and its sound reflection system.
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Santos, Pedro José Nunes dos. "Ecos do santuário romano consagrado ao sol, à lua e ao oceano : a sua recuperação física e a perpetuação da iconografia astral na arte religiosa pós tridentina em torno de Sintra." Master's thesis, 2017. http://hdl.handle.net/10451/31848.
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Desde há muito tempo que o Homem admira os astros. O aparente vazio que os
sustenta é a malha de todo o mistério suspenso, apelativo à imensurável imaginação
humana.
Dado pela relativa imediação, tanto o Sol como a Lua, estes dois astros têm
visualmente proporção idêntica. Pela mesma razão de proximidade, são de longe os
mais admirados, chegando ao extremo de ser provavelmente os mais venerados.
Basicamente, o primeiro, é pela luz, energia e claridade que erradia, o que nos permite
observar o que nos rodeia. O segundo, é pelo reflexo luminoso da claridade que o
primeiro nos dá a conhecer e, por outro lado, é aquele que ilumina grande parte das
noites. Portanto, ambos são os principais astros luminares. E assim foi crescendo
desenvolto ao longo das eras do Homem. Este, deslocando-se à conquista e descoberta
do vasto terreno, subindo às montanhas e olhando ainda mais para cima, mais de perto,
admirado, interrogava-se se o que ele ali via no céu seria o que potencialmente daria
razão ao que o prendia ao solo que pisava. De facto, paulatinamente foi aprendendo e
hoje sabe que subsiste na forte razão existencial da verdade Astral, um motivo
agregador da conjugação dos corpos no cosmos. E nele, a gravidade é uma das leis
imutáveis da natureza universal, que nos mantém presos à vida desta nossa casa … a
Terra.
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Milata, Jan. "Kněžské bratrstvo sv. Pia X. v současné české diskusi o odkazu Druhého vatikánského koncilu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-353354.
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The SSPX is a community of non-monastic priests with a structure similar to that of many religious orders. It was founded in 1970 by Archbishop Marcel Lefebvre. Its pro- gram is to defend traditional Catholic values against the danger supposedly represented by the reforms initiated by the Second Vatican Council. A wider community of Catholics disagreeing with developments in the Church was formed around the SSPX. Following the breakup of the SSPX with the leadership of the Church in 1988, this community gained strength and a character of a certain denomination. The Second Vatican Council (1962-1965) carried out a lot of changes, many of which have not yet been fully implemented. They concern the liturgy, pastoral care, interpretation of Scripture, and theology studies, among other issues. The common denominator of the con- ciliar reforms was to make the proclamation of Christ more comprehensible to modern man and make many things in the church consistent with the spirit of the Gospel and early Chris- tian tradition. The most significant shifts, initiated by the council, were the new approaches to ecumenism, to principle of religious freedom and to interfaith dialogue. Many circles in the Church, however, considered these changes as grinding the truths of faith; these Cath- olics began to be...