During the first two decades of the 17th century King Philip III (1598-1621) of Spain and Portugal launched an effort to standardize all shipbuilding in the Iberian Peninsula. These efforts of standardization constitute an important collection of information about Iberian shipbuilding practices of that period. This thesis will analyze the content of the three sets of ordinances, issued in 1607, 1613 and 1618, in the context of the history of the Iberian Peninsula, the regulation of the Carrera de Indias (Indies Trade), and Spanish shipbuilding practices based on written sources of that period.

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The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.

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This thesis seeks to develop our understanding of ideas about political liberty in the English Revolution by way of focusing on the issue of property, a topic unduly neglected in the secondary literature. Most writers of the period conceived of liberty as absence of dependence, but what has been little examined is the extent to which it was believed that the attainment of this condition required not only a particular kind of constitution but a particular distribution of property as well. Here the central ideal became that of self-ownership, and the thesis is largely devoted to tracing the rise, eclipse and re-emergence of this way of thinking about the connections between property and liberty. Chapter 1 considers the emergence, in the ‘paper war’ of the early 1640s, of the radical Parliamentarian view that all property ultimately resided in Parliament. It was to oppose this stance, Chapter 2 argues, that the Levellers began to speak of ‘selfe propriety’, transforming the Parliamentarian notion of popular sovereignty into an individualist doctrine designed to protect subjects and their property from not only the king but also Parliament. Elements of both the Parliamentarian and Leveller discussions of property were taken up by John Milton and Marchamont Nedham (Chapter 3), while James Harrington offered an alternative theory that eschewed the notion of self-ownership (Chapter 4). After a chapter considering the relationship between property and freedom in Henry Neville and Algernon Sidney, the final chapter focuses on John Locke’s revival of self-ownership in his attempt to ground property rights in the individual’s ownership of his ‘person’. Although Locke is shown to offer a theory of private property, the Locke that emerges is not a proto-liberal defender of individual rights but a theorist of neo-Roman freedom whose aim was to explain the connection between property and non-dependence.