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From Introduction: The ideal of femininity which developed in Renaissance painting, was a visual and psychological type which was to become the Western European Christian formula of the feminine. This type has survived until the present day, so a discussion of its origins can be revealing for us in the twentieth century, especially as it has been neglected in traditional art historical works. In this essay, the changes in the image of the feminine, in just under three hundred years of Florentine painting, starting with Giotto1. and ending with Raphael~· will be covered. The images will be taken from the wo rk of artists who were Florentine in training, who worked in the city or who were strongly influenced by the Florentine style of painting. I have divided the paintings I have studied into three sections. In the Religious section the paintings are mainly of Mary. The Mythological images refer to Greek and Roman myths and the humanistic interpretations of them. Finally, the Portrait and Genre images are selected on the following basis: In the genre paintings they are sometimes part of works related to religion or mythology, but, in their handling, the painters treat the figures as real human beings rather than holy or mythological figures. In others they are bona fide portrait representations. 3. I have made the above distinction because I expect that the gap between religio-mythological images and portraits will give some indication of the difference between the ideal and the reality for women of that time. The images will be analysed and changes noted in favoured types, gestures, expressions, movements, placing in the composition, relationships to others, favoured themes, costume, colour and symbols. I will point out as I proceed the effects that these elements had on the mood and tone of each image.

The Glossa ordinaria compiled by Bernard of Parma (d. 1266) on Pope Gregory IX’s 1234 Decretales, commonly known as the Liber extra, is among the most influential canon law commentaries during the High and Late Middle Ages. Interrogating this source, this dissertation examines the legal status of selected marginal religious groups in medieval Europe—apostates, heretics, Jews, Muslims, and practitioners of magic. Soon after its emergence, Bernard’s Glossa was studied by law school students—that is, future Church judges, lawyers, inquisitors, and even popes—from the mid-thirteenth century on, and was the standard commentary copied into the margins of manuscripts of the Decretales. Yet, modern scholarship ignores this source almost entirely. This study treats this issue through transcription, translation, comparison, and analysis of texts from selected medieval manuscripts of the Decretales and the Glossa, including the earliest surviving exemplars (c. 1240). It explicates the Romano-canonical judicial terminology and principles employed by the Glossa. Furthermore, it scrutinizes the Glossa’s manner of using legal allegations and tracks the excerpts which it inherits from commentarial literature. Finally, it examines how the Glossa treats the selected marginal religious groups, and thus uncovers how this source can serve as a window for us into medieval society from the perspective of the learned or academic law. More broadly, this work contributes to a fuller understanding of the development of medieval canonical science, the operation of the ecclesiastical-legal system, and the mechanism through which the institutional Church defined its own religious boundaries.

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The concept of matter as it is treated in the philosophical systems of Aristotle, Thomas Aquinas, and John Duns Scotus is examined, partly to ascertain the influence which the original Aristotelian concept of matter had on the two medieval thinkers, and partly to determine which of these two thinkers remained more faithful to the original Aristotelian concept. An analysis is carried out of the views of the three philosophers regarding the ontological status of matter; the intelligibility of matter; the issue of the real distinction between matter and form; the role played by matter in individuating composite substances; and its role in defining composite substances and determining their essences. Finally, the views of Aquinas and Scotus regarding the theory of universal hylomorphism and the theory of the plurality of forms are discussed and compared. It is shown that, while most of the Franciscan philosophical tradition up to Scotus's time was far more influenced by Platonist than by Aristotelian principles, Scotus, though a Franciscan, was much closer to Aristotle than to Plato in his views regarding matter. In fact, the few deviations from the original Aristotelian concept found in Scotus's theory can be ascribed to theological concerns. It is argued, furthermore, that Scotus's views on the concept of matter are far closer to the original Aristotelian theory than our analysis shows Aquinas himself to be.

This dissertation examines the practice of embedding devotional objects, such as relics and painted panels, into mural images in Italy between the eleventh and fourteenth centuries. Examples can be found as far south as Amalfi, and as far north as Lombardy, and in a variety of ecclesiastical institutions, ranging from urban cathedrals, remote hermitages, and influential monastic centers. Yet despite its widespread application—found even in the Arena Chapel in Padua—the practice has never been systematically studied. Older studies of the sites taken up in this dissertation generally omit mention of their embedded objects altogether, either because the objects were seen as incidental to the larger image in which they were set, or because their inclusion did not follow certain post-medieval parameters of artistic progress. The works of this study elide traditional divisions within the study of medieval art, traversing the categories of icon and narrative, portable and monumental, and “image” and “art.” This study contends that medieval image-makers engaged the aesthetic and symbolic potential of mixing diverse media. The introduction gives an analysis of the notions of “medium” and “mixture” in the Middle Ages in order to elaborate the heuristic concepts that drive the ensuing chapters. Chapters 1-3 each examine a specific type of embedded object, and consider the various modes of combination exhibited therein. Chapter 1, “Assimilation,” examines relics that were embedded within mural images, and focuses on the apse mosaic of San Clemente in Rome, ca. 1120. Chapter 2, “Fragmentation,” analyzes the insertion of circular wooden panels in murals, and centers on the apse fresco of Santa Restituta in Naples, ca. 1175. Chapter 3, “Mediation,” considers the rectangular panel of God in the Arena Chapel in Padua, produced by Giotto between 1303 and 1305. To recuperate the intermedial practice of embedding objects in mural images, I examine the technical and aesthetic features of mixed media murals in relation to coeval understandings of mixture, media, and mediation. It was a practice that involved an understanding of the mural image not just as a flat surface for pictorial elaboration, but as a physical and spatial entity that could be manipulated and thematized within the image itself. By incorporating relic or panel into a mosaic or frescoed mural, medieval image-makers nested objects traditionally viewed as portable and venerable, into one understood as fixed and site-specific. This maneuver gave the mural a stratified quality of assemblage, producing registers of difference and ambiguity between container and contained, image and object, surface and depth. Throughout the dissertation, I explore these dialectics, demonstrating how and to what ends embedded objects establish difference, only to transcend it. The ambivalent understandings of mixture in the twelfth and thirteenth centuries—sometimes a hybrid, at other times, a metamorphosis— inform my analysis of the mixed representational systems of this study. The period may be characterized by a growing intellectual interest in the observation and manipulation of physical substances, the study of which was seen to reveal the connective fabric of God’s cosmic order. The works studied here participate in this broader attention to the processes of the natural world. I therefore consider how medial combinations were seen to signal analogous behavior in the mixtures discussed by theologians, natural philosophers, and artists. Attending to both the constituent parts and the symbolic value of their combination, I show how the act of embedding worked by analogy to figure the theological processes of assimilation, fragmentation, and mediation.

Ce travail porte sur l'application et l'utilisation par Jean Duns Scot de la théorie de l'indifférence de l'essence, issue du péripatétisme arabe, et se donne pour enjeu d'en comprendre le fonctionnement conceptuel. Solution conjointe aux questions de la constitution ontologique des choses, des rapports entre le langage et la réalité et du mode d'appréhension des notions générales dans l'abstraction, la théorie de l'indifférence de l'essence sert de sous-bassement à la métaphysique de Duns Scot. C'est au moyen de cette théorie qu'il est possible, comme le montre cette recherche, de relire certains grands thèmes de la métaphysique scotiste: la théorie de la nature commune et de l'haeccéité, la connaissance abstractive (cognitio abstractiva), et la théorie de la non identité formelle. Le travail tente surtout de dégager le caractère proprement méthodologique de la théorie des trois états de l'essence (triplex status essentiae), répondant à la question du statut de l'essence indifférente, à celle des prédicats d'ordre supérieur et au problème de la séparation dans l'abstraction. / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished