Auswahl der wissenschaftlichen Literatur zum Thema „Pierre de Montrouge (Church)“

In the early 1980s, the Catholic Church in Algeria was experiencing upheaval, having been depopulated almost overnight when the great majority of Catholic Christians had left the country and resettled in France or elsewhere after the Algerian proclamation of independence two decades earlier. The remaining Christians were regarded not only as a reduced minority but mostly as a reminding symbol of an era of political and religious colonization. The Church in Algeria was in need of a deep reflection to find a new reason for its presence in this totally new context. A man of faith, capable of illuminating this reflection was Pierre Lucien Claverie, a Dominican friar and bishop of Oran between 1981–1996, who tried to lead the perception of the Church in Algeria from notions such as colonisation or proselytism, to notions such as otherness and plurality in an attempt to liberate the act of mission from any aggressive tendency or colonial roots. Claverie’s writings show that he did not shape the concept of mission only on a theological or social level but responded to the needs of his Church through his spiritual experiences and monastic background.

Pierre Viret was a Swiss Reformation leader who worked alongside John Calvin, William Farel, and Theodore Beza, but he is less well known in the English-speaking world. Viret brought his distinctive contributions to the Protestant Reformation as a pastor and an ethicist. These contributions in life and doctrine need to be rediscovered for a more robust reformational church today. This article considers Viret’s credentials as a Reformer. It then explores various areas in which Viret applied his distinctively biblical ethic, particularly respecting the role of the magistrate and the relation between church and state. His biblical worldview is comprehensive in breadth and depth. His example is very accessible to Christians wanting to follow in his footsteps.

Abstract. Saint Pierre Aulnay Church is a Romanic-style church (Romanesque) that was built in the 12th century and is located in the Aquitaine Region, France. In this church, there are three elephant icons in the capital columns section. At the top of the icon, there is also an inscription in Roman that reads "HI SVNT ELEPHANTES" which means "this is an elephant-elephant". This unique sentence and elephant icon is not found in other Romanic-style churches in France. Elephants are not native to Europe, but elephant icons are produced in European (French) churches. During Medieval, some churches were found to have icons of animals or mythological creatures that were placed in several parts of the church. The icons of the animals are connected with the character of Jesus and are called bestiaries. The problem that will be answered in this research is what is the meaning contained in the elephant icon with the words "HI SVNT ELEPHANTES". The review in this study is the history of iconography and emphasizes the themes, concepts, styles, and meanings of icons. The theory used to analyze the problem put forward is the iconography and iconology of Erwin Panofsky. The results of this interpretation will be compared with the meaning of elephants in the archipelago at the same time. Keywords: Bestiary, Church of Saint Pierre Aulnay, Elephant Icon, Medieval, French, Physiologus, Jesus Abstrak. Gereja Saint Pierre Aulnay adalah gereja bergaya Romanik (Romanesque) yang dibangun pada abad ke-12 dan terletak di Region Aquitaine, Prancis. Di dalam gereja ini terdapat tiga ikon gajah pada bagian capital columns. Pada bagian atas ikon terdapat pula inskripsi dalam bahasa Romawi yang bertuliskan “HI SVNT ELEPHANTES” yang artinya “ini adalah gajah-gajah”. Uniknya kalimat dan ikon gajah ini tidak ditemukan pada gereja bergaya Romanik lain di Prancis. Gajah bukan hewan asli Eropa namun ikon gajah diproduksi di gereja Eropa (Prancis). Pada masa Medieval memang didapati sejumlah gereja memiliki ikon-ikon hewan atau makhluk mitologi yang ditempatkan pada beberapa bagian gereja. Ikon dari hewan-hewan itu terhubung dengan karakter Yesus dan dinamakan bestiary. Masalah yang akan dijawab pada penelitian ini yaitu apa makna yang terkandung pada ikon gajah dengan tulisan “HI SVNT ELEPHANTES”. Tinjauan dalam penelitian ini bersifat sejarah ikonografi dan ditekankan pada tema, konsep, gaya, serta makna dari ikon. Teori yang dipakai untuk menganalisis masalah yang dikemukakan adalah ikonografi dan ikonologi dari Erwin Panofsky. Hasil dari pemaknaan ini akan dibandingkan dengan makna gajah di nusantara pada masa yang sama. Kata kunci: Bestiary, Gereja Saint Pierre Aulnay, Ikon Gajah, Medieval, Physiologus, Yesus

Editor's note: In memory of Monika Hellwig (1929–2005), beloved colleague and friend of the College Theology Society, Horizons is pleased to be able to publish the following talk which she presented as part of the consultation on “Faith Narratives” at the CTS convention in June 2005, only a few months before her death. Part reminiscence, part theological reflection on Vatican II, part diagnosis of the present state of the church, her reflections give witness not only to the love she had for the church but also to her lively and incisive theological intellect. We wish to thank Pierre Hegy (Adelphi University) for bringing the essay to our attention, and Dr. E. Jane Stirniman, Hellwig's literary executor, for giving us permission to publish it.

Alfred Loisy’s L’Évangile et l’Église (1902), followed by his even more controversial Autour d’un petit livre (1903), brought into the open tensions that had been festering within the Catholic biblical movement over the preceding years. “Progressives” such as Lagrange and his close ally Pierre Batiffol had, on one hand, to defend in principle a legitimate use of criticism, and on the other to distinguish that use from the corrosive effects of its employ by Loisy. Divergent approaches to the use of criticism and its relation to theology surfaced in their respective approaches to the kingdom of God in the preaching and teaching of Jesus, and the Church that developed out of his ministry. Given the centrality of ecclesiology at Vatican II, the question of that relationship resurfaced, albeit on a different footing and possibilities for resolution.

Oggetto della presente tesi è la chiesa di Saint-Pierre a Beaulieu-sur-Dordogne, costruita nel XII secolo nel Limosino meridionale. Grazie alla sua vicinanza con le vie di pellegrinaggio giacobine, la struttura viene indagata non solo come associata ad un monastero a dipendenza cluniacense e ad una comunità urbana agli albori del proprio sviluppo, ma soprattutto come polo di attrazione della venerazione dei pellegrini, quali co-protagonisti nell'utilizzo della chiesa. Si è cercato, quindi, di comprendere come l'elemento del pellegrinaggio abbia caratterizzato ed influenzato la ricostruzione e la fruizione della chiesa di Beaulieu, sia nelle sue architetture che nel portale scolpito, e del suo tesoro.

The sixteenth and early seventeenth centuries witnessed a revival of spirituality throughout Europe. Positive theology emerged as both an instigation to and instrument for Christian humanists in their endeavor to redress the Church's fundamental relationship to the laity. The early efforts for reform in France were discouraged by Gallicanist sympathies. Further, growing numbers of Calvinists combined with the possibility of a Protestant king led to thirty-five years of sporadic civil war. From the 1580's and 90's, French spirituality began a period of renewal and growth. At the heart of the French experience was the famous Acarie circle among whose members was Pierre de Bérulle. Bérulle eventually rejected the abstract mysticism of the Acarie circle and elaborated his own spiritual doctrine. synthesis of theocentrism, Bérulle's achievement was a inherently opposed to humanism's anthropocentrism, and Christian humanism. Bérullian spirituality was the culmination of the Reformation of the French Church. This achievement, however, is largely ignored by historians of Christianity. The object of this thesis, therefore, is to describe the historical context of Bérullian spirituality and to examine the spirituality itself so as to confirm or deny the claims of the handful of French historians who have resurrected the memory of Bérulle. At the end of this process of description and examination, causes for the disparagement of Bérulle, of his spirituality and of his congregation will be suggested.

Le Corbusier's project for the French parish church of Saint-Pierre at Firminy-Vert is an architectural work which embodies the modern concern for individual accessibility. The following thesis examines Saint-Pierre in this light, showing how it was created as a reaction against the imposing and manipulative natures of both a reductive perspective manifestation of art, and a dogmatic form of ritual. These themes, being particular to modern art, may be seen as a desire for a more accessible and individual participation. The reading of Saint-Pierre proceeds on three levels, addressing divergent aspects of the work's nature, ranging from its formal character, to its symbolism split between the natural and cultural realms. Each level contributes to the image of an open place of worship, that is, an accessible architectural setting intended to frame an individual and inward form of worship. This reading also reveals the inherent conflict involved in attempting to reconcile a monumental disposition--evident at Saint-Pierre and understood as forming part of the poetic integrity of the work--with the accessibility that tends to compromise such integrity. This points to the problematic nature of monumental architecture in modern society.

Durant la papauté d'Avignon,si la plupart des cardinaux sont inhumés soit dans la cité pontificale, soit dans leur pays d'origine, certains d'entre eux choisissent au contraire de fonder dans leur lieu d'origine non seulement une communauté religieuse mais également des bâtiments pour accueillir leur tombeau. Ils imitent en cela les papes successifs, notamment Clément V et Clément VI. En parallèle, se développe au XIVe siècle, sous l’impulsion de Jean XXII, la création de nouvelles collégiales séculières dans le Midi de la France. Pierre des Prés (1280-1361), quercynois, est un proche de Jean XXII. Juriste, il gagne la confiance du pape qui le créé cardinal en 1321, puis l’investit de la charge de vice-chancelier de l’Église en 1325. La première partie de ce travail est consacrée à une biographie de ce personnage et montre également son désir d’élever socialement les membres de sa famille. Le cardinal des Prés est aussi, tout comme d’autres cardinaux parmi ses contemporains, le fondateur d’une communauté religieuse, chargée de veiller sur sa dépouille. S’il a choisi des chanoines séculiers, d’autres ont privilégié les ordres Mendiants. C’est ce choix qui est examiné et étudié dans la seconde partie. Pour abriter ces religieux, Pierre des Prés a fait édifier une église dans son village natal, Montpezat-de-Quercy. Classée au titre des Monuments Historiques dès 1840, cet édifice s’avérait peu connu. Notre étude replace la collégiale Saint-Martin dans son contexte de construction, entre 1337 et 1343, mais présente également les matériaux utilisés, les techniques employées, l’organisation du chantier et les hommes qui ont oeuvré sur le projet. Enfin, la dernière partie aborde la question de la mémoire du cardinal, construite grâce à son tombeau et aux nombreux objets offerts par lui à son chapitre collégial. Grâce à ces derniers, le souvenir de Pierre des Prés s’est transmis de siècle en siècle, donnant ainsi raison aux vers de Pétrarque : la renommée vainc la mort
During the papacy of Avignon, so most cardinals are buried either in the pontifical city, or in their country of origin, some of them choose contrary to founding in their place of origin not only one religious community but also of the buildings to accommodate their tomb. They imitate in that the successive popes, in particular Clement V and Clement VI. In parallel, develops at the 14th century, under the impulse of John XXII, the creation of secular collegial news in the South of France.Pierre des Prés (1280-1361), quercynois, is a close relation of John XXII. Lawyer, it gains the confidence of the pope who created it cardinal in 1321, then invests it in 1325 load of vice-chancellor of the Church. The first part of this work is devoted to a biography of this character and also shows his desire to socially raise the members of its family.The cardinal des Prés is also, just like of other cardinals among his contemporaries, the founder of a religious community, charged to take care on his skin. If it chose secular canons, others privileged the orders Beggars. These is the choice which is examined and studied in the second part. To shelter these monks, Pierre des Prés made build a church in his native village, Montpezat-of-Quercy. Classified with the title as of Historic buildings by 1840, this building proved little known. Our study replaces collegial church Saint Martin in her context of construction, between 1337 and 1343, but also presents the materials used, the techniques employed, the job management and the men who have work on the project. Lastly, the last part tackles the question of the memory of the cardinal, built thanks to his tomb and with the many objects offered by him to its collegial chapter. Thanks to the latter, the memory of Pierre des Prés was transmitted of century in century, thus agreeing with the worms of Pétrarque: the fame overcomes death

In the seventeenth century, many refugees saw the United Provinces of the Netherlands as a promised land—a gathering ark, or in French, arche. In fact, Pierre Bayle called it, "la grande arche des fugitifs." This thesis shows the reception of one particular group of Protestant refugees, the Huguenots, who migrated to the Netherlands because of Catholic confessionalization in France, especially after the Revocation of the Edict of Nantes in 1685. The thesis offers two case studies—one of the acceptance of Huguenot clergymen and one of the mixed reception of refugee radical and philosopher Pierre Bayle—in order to add nuance to existing knowledge and understanding of the Huguenot diaspora, and of the nature of tolerance in the Dutch Republic, especially in regard to the Dutch Reformed Church. Dutch society, and especially the Reformed Church, welcomed the Huguenot refugees because of their similar religious beliefs and the economic and cultural benefits they brought with them. Particularly following the 1685 Revocation, refugees fleeing France settled securely in the Republic amongst the Walloons, descendants of refugees already settled there, and worshiped in prosperity and peace within the Walloon Church, a French-speaking arm of the Dutch Reformed Church. Using synodal records, this thesis examines the relationships between refugee pastors and the established Walloon leaders and finds that there was a bond of acceptance between the two groups of clergy, motivated by the desire for orthodoxy in religious belief, or in other words, by a Reformed desire for confessionalization"”more Reformed adherents also made Dutch society more Reformed. Huguenots were also able to maintain a measure of French identity while still being integrated into Dutch society. The second chapter shows the limits of Dutch tolerance by examining the Netherlandish experience of Pierre Bayle, a Huguenot refugee and philosopher. His experience was typical for a controversial philosopher and refugee in the Netherlands because he endured intolerance from certain religious authorities, but also received protection from other moderate religious officials and university and civic authorities. Bayle expressed sentiments that the Netherlands was a safe haven, or ark, for refugees, even though he endured censure from church officials. Their aims were to make the community's religious convictions more uniform, and some leaders of the Dutch Reformed Church saw Bayle's ideas as threats to that—to confessionalization. In the same vein as Benjamin Kaplan's Divided By Faith, this thesis shows that tolerance certainly existed in the Republic, but was more complicated than Bayle and others suggested. Indeed, efforts that thwarted confessionalization were met with intolerance by the Dutch Reformed Church. This thesis also contributes to Huguenot studies by discussing the relationships of refugees to their host community in the Dutch Republic.

S’appuyant sur les acquis des travaux en histoire de l’art sur le bâti roman lorrain, cette thèse revisite un certain nombre de sites à l’aune de problématiques archéologiques liées à l’art de bâtir. Quatorze monographies d’églises, abbatiales ou châteaux, et une centaine de sites explorés dans l’ancien diocèse de Toul, permettent d’appréhender l’exploitation des matériaux, essentiellement la pierre et le bois, et leur mise en œuvre à travers neuf thématiques inhérentes au chantier de construction : implanter, proportionner, extraire, tailler, assembler, maçonner, voûter, échafauder, couvrir. Ce travail met ainsi en valeur les savoir-faire des architectes, des carriers, des tailleurs de pierre, des maçons ou encore des charpentiers sur un patrimoine trop modeste pour avoir jusque-là attiré la réelle attention des chercheurs.Ce sujet n’a pas fait l’objet d’études conséquentes, pour le périmètre géographique et la période chronologique retenus. Nous avons mis en lumière des bâtiments dont le plan et la volumétrie, s’ils s’accordent bien avec les canons romans connus, peuvent varier d’un endroit à l’autre du territoire, avec des spécificités inhérentes aux pays du Toulois, du Saintois et du Vallage. Ces pays se distinguent par la densité des vestiges, ce qui témoigne de leur vitalité au cours du XIIe notamment, et par la qualité des ressources lithiques disponibles.L’examen des matériaux et de leurs lieux d’exploitation met en valeur une économie basée sur une économie souvent restreinte à un rayon de cinq kilomètres autour du chantier, à l’exception peut-être du sapin et de la chaux. Le recours aux analyses physico-chimiques complète le dispositif de recherche mis en place. Elles ont souvent permis de reconsidérer les datations proposées par les historiens de l’art, en vieillissant les édifices, quelquefois de plusieurs dizaines d’années.Il s’agit ici bien souvent des premières observations en archéologie du bâti menées sur ces édifices ruraux de faible volume ou sur des parties difficiles d’accès, qu’ils soient en ruine ou en fonction. À la lumière de ces explorations, un nouveau champ de recherche régional émerge, celui des usages du bois dans les maçonneries et les charpentes, dont il reste bien davantage de traces que supposé au début de l’enquête. D’une manière plus générale, nous constatons une évolution dans la technicité des chantiers, et leur rationalisation, qui touche en premier lieu les édifices religieux réguliers dès la fin du XIe siècle, avant de s’étendre à la construction castrale au cours du XIIe siècle, puis aux petites églises de campagne à la fin de la période. Dans une perspective identique, nous démontrons que les savoir-faire locaux sont plus facilement utilisés que les grandes notions de l’architecture développées sur des bâtiments plus prestigieux et dans des régions de centralité politique importante.Nous avons également voulu remettre l’Homme et son geste au centre du processus de construction. Sans délaisser les motivations et les conséquences dans le domaine édilitaire, nous avons travaillé essentiellement sur la technicité. Comment passe-t-on de la motivation (volonté édilitaire) à la conséquence (réception de l’ouvrage terminé) ? Plus que le point d’arrivée, c’est donc le chemin pour y parvenir qui a été au centre de nos préoccupations. Ainsi nous imaginons la position du tailleur de pierre, celle de sa main, le mouvement insufflé à l’outil percutant la matière ; comment s’organise une assise de parement et comment différentier la première pierre posée de la dernière ; comment répondre aux contraintes architectoniques ; comment développer l’échafaudage. Les particularismes locaux montrent un déplacement, plutôt contraint géographiquement, des ouvriers sur les chantiers au gré de l’ouverture de ceux-ci
Thanks to steps forward on art history regarding the Romanesque architecture in the Lorraine region, this thesis revisits a number of sites in terms of archaeological issues related to the art of building. Fourteen monographs of churches, abbeys or castles, plus a hundred or so sites explored in the ancient diocese of Toul, make it possible to understand the use of building materials, primarily stone and wood. This can be done along nine themes related to construction: how to define location, proportionate, extract, cut, assemble, build, vault, scaffold, cover. This work highlights the know-how of architects, quarrymen, stonecutters, masons or carpenters involved in projects that have been neglected as they are often too modest to attract the attention of researchers.In fact, this topic has not been so far the subject of substantial studies for the geographical area and the chronological period involved. We have highlighted buildings for which plan and volume vary from one place to the other, although they all fit well with the known Romanesque canons. Specificities are prevalent in the Toul area, the Saintois or the Vallage. They are distinguished first by the density of remains in comparison with the rest of the Lorraine. This testifies to the vitality of these three entities during the 12th century in particular. It seems also related to the lithic resources available in these sectors.Examination of the materials and locations of available resources in the area highlights an economy based on short distribution channels, whereas materials rarely come from more than five kilometers away from the construction site, with the possible exception of pine wood and mortar. Physico-chemical analyzes have completed the research. They have often made it possible to reconsider the datings proposed by art historians, aging the buildings by several tens of years.On the sites themselves, we often provide the first observations in the archeology of buildings carried out so far, especially for rural buildings of low volume or for parts of buildings which are difficult to access, either in ruin or still in use. In light of these explorations, a new field of research is emerging and has to extended: the use of wood in the masonry and the carpentry. More traces remain than thought of at the beginning of the investigation. In a more general way, we notice an evolution in the technicality of the building sites, and their rationalization, which encompasses first the religious buildings at the end of the 11th century, before extending to the castle construction during the 12th century, and later to the small country churches. From a similar perspective, we demonstrate that local know-how is more often used than grand architectural concepts developed on more prestigious buildings and in regions of more political importance.We have also taken special care to put the Man and his gesture back in the center of the construction process. Most of the time, studies in this area are concerned with motivations and consequences of an action, be it political, artistic or editorial. We have focused more on technicality. How to go from motivation (the will to build) to realization (reception of the finished work) ? More than the point of arrival, it is the process that has been at the center of our concerns. Thus, we can imagine the position of the stonecutter in front of his stone, the position of his hand, the movement he infuses to the tool. How to organize the facings and how to differentiate the first stone laid from the last? How to respond to architectural constraints ? How to develop the scaffolding ? Here again, certain local peculiarities have appeared, probably showing a movement of workers to the various sites according to the opening of the construction works. Finally, our work brings new heuristic tools to the attention of researchers making the reading of the wall facings less tedious and more rational

On conserve un nombre inhabituellement élevé de manuscrits ayant appartenu à la bibliothèque du chapitre cathédral de Lyon au IXe siècle, dont bon nombre ont été personnellement utilisés ou produits par le principal acteur de la vie intellectuelle lyonnaise de l’époque, le diacre Florus (floruit v. 825–855). Comme on connaît par ailleurs plusieurs grandes compilations rassemblées également par lui, Florus représente pour nous une double occasion particulièrement rare d’étudier la bibliothèque d’une école cathédrale carolingienne et les méthodes de travail d’un intellectuel de ce temps. Les comparaisons et les nombreux recoupements que permet cette situation étayent et alimentent notre connaissance des livres qu’on utilisait et qui circulaient à l’époque, mais aussi des hommes qui les lisaient et les échangeaient, et des conditions dans lesquelles le travail de Florus a pu passer dans la tradition manuscrite des Pères (première partie). Ces analyses nous peignent Florus un homme de son temps, formé dans un certain milieu à de certaines méthodes, mais que son expérience et ses goûts poussèrent à faire évoluer, tout au long de sa carrière, ses propres méthodes au service de ses propres projets (seconde partie). Un travail d’historiographie est aussi proposé, qui n’avait pas encore été entrepris, et qui fait apparaître les voies de la redécouverte de Florus au cours du XVIIe siècle, puis au XXe. La place de Florus et de sa bibliothèque d’usage, dans l’histoire intellectuelle et dans l’histoire de la transmission des textes antiques, en ressort mieux circonscrite et qualifiée plus précisément, en même temps que se dévoile le cours de sa propre évolution intellectuelle
An unusual amount of manuscripts that belonged to the Cathedral library of Lyons in the IXth century has been preserved, among which a number were firsthand used or produced by its prominent intellectual figure, the deacon Florus (floruit ca. 825—855). As we also know several large compilations that were gathered by the very same, Florus represents a rare double opportunity to investigate both a Carolingian cathedral library and the work methods of a Carolingian scholar. Numerous comparisons and crosscheckings can strengthen and supply informations regarding the books that were used and circulated at the time, but also regarding the men that read and circulated them, and clarify how Florus’s work on the Fathers has spread in the manuscript tradition (first part). Such analyses depict Florus as a man of his time, who was educated in a certain environment and to use certain methods; but who was then driven, all along his career, by his own experience and taste, to evolve his own methods in the pursuing of his own projects (second part). A historiography study is also held, which was never undertaken before, and reveals the how and why of Florus’s rediscovery in the XVIIth century, and then again in the XXth. Florus’s part and his work library’s, in the intellectual history and in the history of ancient texts transmission, is thus better circumscribed and more precisely described, as is unvailed the course of his own intellectual evolution

En 1857, Joseph d'Ortigue constatait que les maîtrises des cathédrales en France, en activité au cours de la première moitié du XIXe siècle, ne pourraient jamais prétendre au rôle qu'elles avaient rempli pendant des siècles avant leur fermeture en 1791. Malgré le soutien dans un premier temps des pouvoirs publics, la tentative de refondation souhaitée pour chaque cathédrale, s'est en effet soldée par un échec : l'Église catholique n'a pas réussi à redonner au culte l'éclat musical et cantoral qu'il revêtait avant la Révolution. À travers l'étude de la maîtrise du Mans de 1801 à 1860, « une des premières rétablies et une des plus florissantes », cette thèse analyse les principales causes de cet échec inévitable : l'incertitude des ressources financières, l'évolution des mentalités en matière de religion, la formation incomplète des nouvelles générations de musiciens d'Église, le changement des goûts musicaux. Dans les années 1830-40, la liturgie et sa musique sont l'objet de vives polémiques où s’affrontent les partisans d'une musique expressive et les militants d'une restauration du plain-chant. Le renouveau musical dans les cathédrales, et notamment au Mans, ne trouve finalement son accomplissement qu'après une réforme de la liturgie qui définit la musique la plus appropriée au culte. Avec le retour de la liturgie romaine et du chant grégorien, plus de cinquante ans d’efforts auront été nécessaires pour que les cérémonies religieuses gagnent en cohérence ce qu’elles ont perdu en éclat
In 1857, Joseph d’Ortigue saw that the music schools attached to French cathedrals in the first half of the 19th century could never play the part they had had for centuries, until they were closed in 1791. Though they were at first officially aided, all the cathedrals failed when they tried to revive their musical activity : the catholic church did not succeed in giving back to their celebrations the brilliance of music and song that had been theirs before the Revolution. Studying the Le Mans music school from 1801 to 1860 – it was « one of the first to be re-estblished and one of the most flourishing » –, this thesis analyses the main causes of this inevitable failure: the uncertainty of financial resources, the evolution of habits of thought as regarded religion, the incomplete training of the new generation of church musicians, as well as the changes in musical tastes. In the years 1830-1840, the liturgy and its music are hotly argued about by those in favour of an expressive music and those advocating a restoration of plain chant. The musical revival in cathedrals – notably in Le Mans – was eventually achieved only after a reform of the liturgy defining which music is most suitable for divine worship. With the return of the Roman liturgy and Gregorian chant, over fifty years were necessary for religious ceremonies to gain in coherency what they had lost in brilliance

After the execution Pierre was separated from the rest of the prisoners and placed alone in a small, ruined, and befouled church. Towards evening a non-commissioned officer entered with two soldiers and told him that he had been pardoned and would now go to the...

Resumen: El texto, titulado Fotografías que seccionan una mirada a Le Corbusier, analiza algunas imágenes de casas construidas de Le Corbusier y Pierre Jeanneret. Las fotografías tienen características comunes que nos presentan un plano en dos dimensiones, el marco de un hueco, y un espacio en tres dimensiones, el de la habitación representada. Las fotografías, al mostrar un hueco y un espacio, incitan a pensar que se están refiriéndose a la experiencia arquitectónica de traspasar un vano. Interpretaciones sobre el uso y la actividad en el interior del espacio doméstico en relación con el espacio público componen el resto del escrito. Abstract: The text, entitled Photographs that severed a look at Le Corbusier, analyzes some pictures to houses built by Le Corbusier and Pierre Jeanneret. The photographs have common characteristics that lead to the interpretation that we have a plan in two dimensions within a hole, and three-dimensional space, the room represented. The photographs, showing a hole and a space, incite to think that they are referring to the architectural experience of crossing a vain. Interpretations on the use and activity within the domestic space in relation to the public space make up the rest of the writing. Palabras clave: Le Corbusier, Iglesia, Savoye, Cook, Planeix, Ozenfant. Keywords: Le Corbusier; Church; Savoye; Cook; Planeix; Ozenfant. DOI: http://dx.doi.org/10.4995/LC2015.2015.681