Thesis (Ed.D.)--Duquesne University, 2007. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 111-114) and index.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1994. / Includes abstract and vita. Includes bibliographical references (leaves 246-254).

Thomas Patch (1725-1782) is a relatively unknown English artist of the eighteenth century whose claim to fame so far has rested in his caricature work. He went to Rome around 1747, was banished from there in 1755 and joined the English circle in Florence where he remained until his death in 1782. Patch's work in Florence included his copying of what Vasari had said to be a fresco cycle by Giotto in the Church of the Carmine. This cycle had been damaged in a fire that broke out in the old church in 1771, and it had to be destroyed to make way for the new church that was completed in 1773. What led Patch to do this work? How successful was he? We see the influences of Hugford and Bottari and the lively interest of connoisseurship in the medieval and the Trecento. Patch's skill as a copyist is analyzed and found to be excellent. There are now only twelve fragments left of the original fresco and they have been given a variety of attributions. On the basis of dating, this paper agrees with those who reject the Giotto attribution and it is not prepared to accept the Spinello Aretino one without additional confirmation. The cycle does not appear to fit the style and character of Spinello in the period to which it is usually assigned. Recent evidence however still makes it worth while to leave the door open to Spinello though on the basis of style and spatial utilization, other artists of this period should also be considered. When compared with other Saint John the Baptist cycles, the iconography shows the master of the Manetti Chapel frescoes to have been an inventive and imaginative artist whom both Masaccio and Agnolo Gaddi thought worthy of emulating and copying. His inventiveness is seen in the fact that though he seems to have got ideas from the Peruzzi Chapel and from the doors of the Baptistery, he put his own stamp on them. His angel in flight, his headless body of Saint John, his shivering Christ and his many re-arrangements of crowd scenes give ample evidence of an innovati.ve-ness which is only surpassed by his skill at integrating his scenes. Patch's engravings therefore should form an important incentive to further assessment of the work of Spinello and his possible influence on the late Trecento and Quattrocento Italian art. They also form a pathway for the study of influences of this period on eighteenth century English art. Patch represents a whole era of connoisseurship and is a possible source of valuable character study of the English emigre community of late eighteenth century Florence. His work merits a great deal more consideration than it has so far received in the history of art. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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Architectural treatment of sacred and non-sacred space is the primary focus of this thesis. The sacred space is enclosed by a cylinder making known the presence of center. A cube endures the non-sacred space that exists outside the sanctuary. Corbelling reveals the thickness of the threshold that simultaneously separates the two types of spaces and geometries. The secondary objective of this inquiry is a harmonious balance between light, material, and shape. The project is a structure, in Clover Hollow of Giles County Virginia, that will be used for worship, meditation, and social functions for the community of Newport. / Master of Architecture

The architectural practice has long held several ideas about how a building should present itself relative to its structure. With modern building technologies and building codes, the structure of a building and the facade can often be very different. Modernist architects theoretically felt very strongly about the importance of material honesty in a buildings, as the 20th Century moved on, many architects moved towards buildings that used materials to create forms and atmospheres that were less dependent on the structural materials and forms of these buildings. The following thesis explores these ideas about material and structure through three separate examples of buildings with a similar size, site, and program. The project is a theme and variation, with the theme being the building type, and the variation being the philosophy of the relation between structure and material. Researching drawings in Edward R. Ford's book The Details of Modern Architecture, along with specific details of Peter Zumthor's Therme Vals help to inform my personal thought process when it comes to detailing the buildings I have designed. The designs propose three small chapels on a Catholic college campus in Northeast Washington, DC. / Master of Architecture

The focus of the project is to provide an elegant, spiritual chapel for Virginia Tech that provides space for people of all religions while offering indoor and outdoor spaces for meditation. The differentiation of spaces is established through the use of light, color and form. The light is structured to utilize the color system devised from Goethe's Color theory. / Master of Architecture

The Bakócz Chapel at St. Adalbert's Cathedral in Esztergom represents the vision of the powerful politician and patron of the arts, Tamás Bakócz. Built between 1506 and 1519, the chapel was unique in Hungary at the time for its strict adherence to Italian Renaissance forms. Although it was King Matthias Corvinus (1458-1490) who first brought all'antica architecture to Hungary, its influence was not widespread. New structures continued to be built with a mix of gothic and renaissance forms into the sixteenth century. Instead of reflecting contemporary Hungarian architecture, the Bakócz Chapel is a successor to late fifteenth-century Florentine chapels. Cardinal Tamás Bakócz was Archbishop of Esztergom, head of the royal chancellery, and controlled Hungarian foreign affairs in the early sixteenth century. The king, Vladislav II (1491-1516) was heavily influenced by his advisors, and Bakócz was his principal counselor. In 1506, when Bakócz began construction on the chapel, he was at the height of his power and aspired to become pope. As his rise from outside the aristocracy to his position as the right-hand of the King demonstrates, Bakócz was politically savvy and extremely ambitious. As he hired architects and craftsmen for his chapel, he had them create a monument that would be a lasting symbol of his wealth, power, and erudition. But Bakócz very specifically did this in a manner that was entirely unlike anything else in Hungary at the time. In the building that was designed to house his remains and be his memorial, Bakócz made the conscious decision to associate himself with Italy. / text

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2003. / Includes bibliographical references (leaf 38). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.