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James B. Orlin. / "September 1983." / Bibliography: p. [15]

This dissertation offers a new interpretation of Andrea del Sarto’s art and career and is rooted in the premise that collaboration played a central role in Andrea’s artistic practice. Serving as an interpretative rebalancing act, it focuses not on Andrea’s personality, individual artistic practice, or influence on later painters, but on his collaborative undertakings in the first half of his career. Each of the four chapters centers on a large, complex, and ambitious cycle of paintings. These projects, frequently exceeding the physical and technical capabilities of a single individual, were virtually impossible for an artist to produce in isolation, thus readily lending themselves to a collaborative approach. Chapter One examines Andrea’s early years working at Santissima Annunziata and focuses on the fresco cycle depicting the life of the Blessed Phillip Benizzi that Andrea carried out in tandem with Franciabigio. The two young painters, who met while studying the battle scene cartoons of Michelangelo and Leonardo da Vinci, shared a workshop in their earliest years as independent artists and worked together on their first commissions. The Philip Benizzi fresco cycle, which fills one side of the Chiostro dei Voti, the Annunziata’s forecourt, illustrates what I call “manual collaboration,” in which the two painters co-executed several of the paintings, even as each maintained his own cartoon transfer methods and stylistic tendencies. Chapter Two also concentrates on the Annunziata, but shifts its attention to the other side of the Chiostro dei Voti. It begins by looking at The Journey of the Magi, a fresco in which Andrea includes a self-portrait alongside depictions of his friends the sculptor Jacopo Sansovino and the musician and composer Francesco d’Aiolle and considers the implications of Andrea’s move to the Sapienza complex, adjacent to the Servite church. The chapter then examines the rich musical environment in which Andrea was embedded at the Annunziata. It considers how contemporary ideas of musical harmony and figural polyphony, in what I call “conceptual collaboration,” may have influenced the Marian fresco cycle, which Andrea carried out alongside Franciabigio, Jacopo Pontormo, and Rosso Fiorentino. Chapter Three turns to the Borgherini bedchamber, a private commission for an elaborate room in the palace of Pierfrancesco Borgherini decorated with painted panels illustrating the life of the Old Testament figure of Joseph, whose production was overseen by the architect Baccio d’Agnolo. In light of unpublished archival material, the chapter considers both the overall ensemble and the individual paintings executed by Andrea, Jacopo Pontormo, Francesco Granacci, and Bacchiacca in relation to Pope Leo X’s triumphal entry into Florence, on which almost all of the artists had worked in the year prior to undertaking the bedchamber. This chapter considers both how Baccio d’Agnolo, in a form of “programmatic collaboration,” oversaw the project and how the painters worked with one another as they developed and then executed their own panel paintings. Chapter Four examines the Chiostro dello Scalzo, a space to which Andrea returned throughout his career that exemplifies several of the modes of collaboration discussed in earlier chapters. Considering a form of “intermedial collaboration,” the chapter looks at the transfer and translation of designs across surfaces and media, with special attention to Andrea’s work with the sculptor Jacopo Sansovino. The chapter concludes with a consideration of the Scalzo’s afterlife and how it served as a site that invited collaborative tendencies in subsequent generations of artists. The dissertation concludes with an Epilogue that addresses Andrea’s little-studied time in France from 1518 to 1519, a period of his career that cries out for further evaluation. This trip marks the moment when Andrea shifted from collaborating with his peers to directing his own large workshop, one that thrived during the 1520s and became the training ground for a future generation of painters. Taken together, these chapters illuminate several manifestations of collaboration in Andrea’s career, helping to reframe our understanding of artistic authorship in the sixteenth century.

Peintre à la cour du duc René II en 1506 et actif à Strasbourg jusqu’à la fin de la deuxième décennie du XVIe siècle, Hans Wechtlin n’a plus fait l’objet d’une monographie depuis 1907. Il s'agit de combler cette lacune dans la perspective d’une connaissance renouvelée de la production artistique en Lorraine et dans l’aire germanique méridionale, ainsi que des comportements en matière de commandes de peintures, de vitraux et de gravures sur bois à la veille de la Réforme. En partant d’une nouvelle forme de contextualisation artistique, l’étude entend donc questionner l’itinéraire de ce peintre, connu uniquement à travers son œuvre gravé, afin de mettre en lumière les relations qu’il a pu entretenir avec d’autres artistes et imprimeurs. Au terme de ce parcours, l’établissement d’un catalogue raisonné de ses œuvres permet de mieux cerner l’étendue et l’impact des productions de ce représentant de l’art graphique rhénan. / A court painter to Duke of Lorraine René II in 1506 and an artist active in Strasbourg until the end of the second decade of the 16th century, Hans Wechtlin has yet not been the subject of any monograph since 1907. The present work therefore aims at filling the gap by renewing the knowledge of artistic production in Lorraine and in the southern Germanic area, as well as customs regarding commissioned paintings, stained-glass windows andwoodcuts on the eve of Reformation.Based on a new form of artistic contextualization, this study questions the itinerary of a painter of whom everything but his legacy remains unknown until this day, in order to bring his relationships to other artists and printers into light. Finally, a comprehensive, annotated listing of his complete works reveals the extend and impact of the productions of a major figure of Rhenish graphic arts.

Esta investigação analisa um número determinado de obras em gravura e desenho de Albrecht Dürer (1471 - 1528) e Hans Baldung Grien (1484 - 1545) residentes nos territórios germânicos da Europa no período do Renascimento, produzidos entre 1497 e 1545. Constata-se que o corpo da bruxa concebido na Europa pré-moderna foi um corpo carregado de preceitos excessivamente masculinos e opressivos. É reconhecido também que, independente das pretensões dos artistas, fosse para desenvolver suas faculdades imaginativas, fosse para melhorar seu status social e econômico, a capacidade de criação do artista resultou numa imagem feminina adulterada. Para compreensão dos recursos culturais, políticos e sociais dos artistas em questão, analisou-se no primeiro capítulo, as perspectivas historiográficas de uma teorização da bruxaria, divididas em duas principais concepções: a crise na fé cristã e a questão de gênero. Após a publicação dos primeiros incunábulos no final do século XV, em especial o primeiro tratado inquisitorial ilustrado, De Laniis et phitonicis mulieribus (1489) de Ulrich Molitor, no segundo capítulo, observou-se o início de uma tradição iconográfica específica na Europa e a instauração da representação da bruxaria no âmbito das Artes Visuais por Albrecht Dürer, que estabeleceu dois modelos de representação, a bruxa de corpo grotesco e a bruxa de corpo afrodisíaco. No terceiro e último capítulo, analisou-se as obras do discípulo de Dürer, Hans Baldung Grien, que no decorrer da sua trajetória artística, tornou o corpo da bruxa protagonista de seus trabalhos. Elementos como a forquilha, os cabelos soltos, o corpo nu e os voos em animais são sancionados por ele e, de modo consequente, de seus contemporâneos. Assim, a última tarefa nesta parte foi apresentar uma herança iconográfica oriunda da tradição estabelecida por Dürer e Hans Baldung, como nas obras de Lucas Cranach, Peter Bruegel, Frans Francken, entre outros. / This research analyzes a number of engraving and drawing works by Albrecht Dürer (1471 - 1528) and Hans Baldung Grien (1484 - 1545) residing in the Germanic territories of Europe during the Renaissance period, produced between 1497 and 1545. The body of the witch conceived in Early modern Europe will be a body laden with excessively masculine and oppressive precepts. It is also recognized that, regardless of the artists' pretensions, whether to develop their imaginative faculties or to improve their social and economic status, the artist's creative capacity has resulted in an adulterated female image. In order to understand the cultural, political and social resources of the artists in question, the historiographical perspectives of a theorizing of witchcraft were analyzed in the first chapter, divided into two main concepts: the crisis in the Christian faith and the question of gender. After the publication of the first incunabula, at the end of the 15th century, in particular the first illustrated inquisitorial treatise De Laniis et phitonicis mulieribus (1489) by Ulrich Molitor, the second chapter notes the beginning of a specific iconographic tradition in Europe and the establishment of representation of witchcraft in the field of Visual Arts by Albrecht Dürer, who established two models of representation, the grotesque body and the aphrodisiac body of the witch. In the third and last chapter, the work of Dürer's disciple, Hans Baldung Grien, who in the course of his artistic career, made the witch's body the protagonist of his works analyzed. Elements such as the fork, loose hair, naked body and flights on animals are sanctioned by him and, consequently, by his contemporaries. Thus, the last task in this part is to present an iconographic heritage derived from the tradition established by Dürer and Hans Baldung, as in the works of Lucas Cranach, Peter Bruegel, Frans Francken, among others.

Afrikaans: Die sogenaamde "eenvoudige" belydenis waardeur kinders moet kwalifiseer om aan die nagmaal te mag deelneem binne die verband van die Nederduits Gereformeerde Kerk, spruit vanuit die Zwingliaanse belydenis rakende die teenwoordigheid van die Here in die nagmaal. Wat die Nederduitse Gereformeerde Kerk voorhou as nuwe eksegetiese insigte in die nagmaalstekste, sowel as 'n nuwe Bybelse teologie ten opsigte van die gebruik van die nagmaal deur kinders, is die ou eksegetiese insigte van Zwingli, sowel as die ou bekende teologie van Zwingli aangaande die Here se teenwoordigheid in die nagmaal. Deur kinders met 'n sogenaamde "eenvoudige" belydenis tot die nagmaal toe te laat, het die Nederduitse Gereformeerde kerk die nagmaalsopvatting in sy eie belydenisse verwerp ten gunste van die Zwingliaanse nagmaalsopvatting wat uitdruklik in die Nederduitse Gereformeerde Kerk se belydenisse verwerp word. Die Nederduitse Gereformeerde Kerk beoefen en leer nou die nagmaalsopvatting van Zwingli, onder die vaste oortuiging dat dit die Gereformeerde nagmaalsopvatting is, met slegs 'n nuwe toepassing ten opsigte van die kinders. Binne in die Nederduitse Gereformeerde Kerk se besluit om kinders deur 'n sogenaamde eenvoudige belydenis tot die nagmaal toe te laat, was daar 'n ander besluit opgesluit: die besluit oor wie die teenwoordige Here Jesus in die nagmaal sou wees. Hierdie besluit oor wie die teenwoordige Here Jesus in die nagmaal sou wees, was die onderskeidende en die bepalende vraag aangaande beide die inhoud en die bediening van die nagmaal vir onder andere Calvyn gewees. Calvyn se reaksie as antwoord hierop was dat ons almal in en deur die nagmaal deel verkry aan die teenwoordige mens-wees van Jesus Christus. Hierdeur word Calvyn se nagmaalsopvatting onderskei van die nagmaalsopvatting van Zwingli. Die Gereformeerde Kerke het die belydenis van Calvyn oor wie die teenwoordige Here Jesus in die nagmaal is, aanvaar in hul geloofsbelydenisse, waarmee hulle die nagmaalsopvatting van Zwingli uitdruklik verwerp het. Die Nederduitse Gereformoorde Kerke het homself in geen deel van die debat of besluite oor die teenwoordige mens-wees van die Here Jesus in die nagmaal verantwoord nie. Die kindemagmaal het die deelname van die gelowige aan die teenwoordige mens¬-wees van die Here verIore laat raak as deel van die geloofsbelewenis van die nagmaal. In die plek van die teenwoordige mens-wees van die Here Jesus het die Nederduitse Gereformeerde Kerk gekies vir gelowiges se deelname aan die gemeente se sosiale en godsdienstige samesyn. Die samesyn van die verbondsgesin en selgroepe het die geloofsgemeenskap met die teenwoordige mens-wees van die Here Jesus in die nagmaal vervang. Sonder die verskuiwing van die nagmaalsopvatting van Calvyn en die Gereformeerde kerke na die nagmaalsopvatting van Zwingli, sou die Nederduitse Gereformeerde Kerk nie kinders met ‘n sogenaamde "eenvoudige" geloofsbelydenis tot die nagmaal kon toelaat nie. Hierdie verskuiwing was nodig ten opsigte van die instelling van die kindernagmaal in die Nederduitse Gereformeerde Kerk. English: The so-called "simple" confession through which children should qualify in order for them to participate in communion within the framework of the Dutch Reformed Church, originates from the Zwinglian confession concerning the presence of the Lord in communion. What the Dutch Reformed Church presents as the new exegetical insights within the scripture references regarding the communion, as well as a new Biblical theology on behalf of the participation in communion by children, is the ancient exegetical insights of Zwingli, as well as the ancient known theology of Zwingli concerning the presence of the Lord within communion. By allowing children, with a so-called "simple" testimony, to the communion, the Dutch Reformed Church rejected the concept regarding the communion in its own confessions, in favour of the Zwinglian concept regarding the communion, which is expressly rejected in the confessions of the Dutch Reformed Church. The Dutch Reformed Church currently practices and teaches the concept regarding the communion according to Zwingli, under the firm conviction that this is the Reformed conviction regarding the communion, with only a new application on behalf of the children. Within the decision of the Dutch reformed Church to allow children by way of a so¬-called simple confession to participate in communion, another decision was intrinsically included: the decision regarding who the present Lord Jesus within the communion would be. This decision regarding who the present Lord Jesus within the communion would be, was the discerning and determining question regarding both the content, as well as the ministry of the communion for amongst others, Calvin. Calvin's reaction as reply to this was that all of us do obtain, in and through the communion, part in the present human-being of Jesus Christ. Through and due to this, the concept regarding the communion according to the teaching of Calvin is to be discerned from that of Zwingli. The Dutch Reformed Church has accepted in their faith creeds the confession pertaining to who the present Lord Jesus in the communion is, according to which they clearly rejected the concept regarding the communion according to the doctrines, which Zwingli supports. The Dutch Reformed Church has not yet justified himself in the decision regarding the present human-being of the Lord Jesus Christ within the communion. The children-communion caused the participation of the believer on behalf of the present human-being of the Lord Jesus Christ within the communion to be lost, being part of the faith experience of the communion. In the place of the present human-being of the Lord Jesus the Dutch Reformed Church chose for the participation of the believer on the social and religious fellowship of the congregation. The fellowship of the covenantal family, as well as the cell-groups, has replaced the faithful fellowship with the present human-being of the Lord Jesus Christ in the communion. Without the repositioning of the concept of Calvin and the Reformed Churches regarding the communion, towards the concept regarding the communion according to Zwingli, the Dutch Reformed Church would not allow children with a so-called "simple" confession of faith to participate in the communion These transfers were necessary on behalf of the institution of the communion for children within the Dutch Reformed Church. / Dissertation (MA (Theology))--University of Pretoria, 2007. / Dogmatics and Christian Ethics / unrestricted

Le but de notre recherche est de mettre en évidence le rôle original du réformateur Huldrych Zwingli (1484-1531) dans la transformation du sens théologique du sacrement de la Cène. Pour ce faire, nous exposons l'essentiel de sa théologie générale et sacramentaire pour en déduire sa théologie de la Cène. Nous adoptons une approche historico-critique qui nous permet d'analyser la démarche théologique de Zwingli avec un regard du vingt-et-unième siècle. Ceci nous permet de découvrir que Zwingli, rejetant la transsubstantiation catholique et la consubstantiation luthérienne, situe les paroles d'institution du sacrement de la Cène dans la prescription du mémorial: « Faites ceci en mémoire de moi ». Ainsi, pour Zwingli, ce qui confère à la Cène son statut de sacrement est, d'une part, la prescription du Christ et, d'autre part, le pain et le vin consommés sacramentellement et spirituellement par l'assemblée réunie dans la « vraie » foi en Christ Sauveur.

Cette étude se propose d’enquêter sur les temporalités dans les Novelle (1554 et 1573) de Matteo Bandello et dans les Ecatommiti (1565) de Giovan Battista Giraldi Cinzio. Ces deux ouvrages se distinguent des autres recueils de nouvelles du XVIe siècle par leur proximité chronologique et, surtout, par leurs singularités et nouveautés structurelles : émiettement temporel et formel de l’histoire-cadre dans le recueil de Bandello ; et irruption, au milieu des successions narratives du novelliere de Giraldi, d’un long texte théorique, Dialoghi della vita civile, dont les trois parties correspondent aux trois âges de la vie (l’enfance, l’adolescence et l’état adulte). Nos auteurs, qui ont vécu les secousses des Guerres d’Italie, puis la stabilité retrouvée sur des bases nouvelles, rendent compte, par des choix très différents dans l’approche du modèle du Décaméron, d’une période de transformation sociale, politique, culturelle et scientifique qui questionne plusieurs aspects de la nature et de la maîtrise du Temps. Après une première partie consacrée à l’analyse du temps chronologique et des données concrètes et mesurables (indication de l'heure, représentation des âges de la vie humaine), l'étude examine la mise en fiction des temporalités dans les deux recueils, afin de saisir les possibles enjeux théoriques de la construction narrative de la durée. L'analyse se focalisera en particulier sur les rapports entre « temps du récit » et « temps de l'histoire », ainsi que sur les liens entre dimensions temporelle et spatiale.Enfin, l'étude abordera la question de la mise en écriture du présent historique des auteurs, à partir des conceptions linguistiques et historiographiques de chacun. De ce point de vue, les perspectives différentes (mais parfois convergentes) de Bandello et de Giraldi infléchissent la mise en écriture de l’Histoire dans leurs recueils respectifs, en déterminant une élaboration complexe du rapport entre passés proche et lointain, présent et futur. / This study aims to investigate temporalities in Matteo Bandello’s Novelle (1554 and 1573) and Giovan Battista Giraldi Cinzio’s Ecatommiti (1565). These two literary works are distinct from other sixteenth-century collections of novellas in their chronological proximity and, above all, their structural innovations and peculiarities: temporal and formal fragmentation of the frame story in Bandello’s collection; and the irruption, amid the narrative sequences of Giraldi’s novelliere, of a long theoretical text, Dialoghi della vita civile, made up of three parts that correspond to the three stages of life (childhood, adolescence and adulthood). The authors, who experienced the upheavals of the Italian Wars, then stability restored on a new foundation, approach the model of the Decameron in very different ways, while each giving an account of a time of social, political, cultural and scientific change that questions many aspects of nature and man’s mastery over Time. After a first part, which concentrates on the treatment of chronological time and concrete, measurable data (indications of time, representations of the stages of human life), the study considers the fictional presentation of time lines in the two collections, in order to grasp the possible theoretical issues of the narrative construction of time scales. The analysis will especially focus on the relationships between “narrative time” and “discourse time”, as well as on the links between temporal and spatial dimensions. Finally, the study addresses the issue of putting the historical present of the authors in writing, relying on the linguistic and historiographical views held by each of them. From this point of view, the different (though sometimes convergent) perspectives of Bandello and Giraldi influenced the way in which History was put in writing in their respective collections, triggering an intricate relationship between near and distant past, present and future.

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