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This master thesis examines miniature copies of large-scale paintings as a means of demonstrating knowledge, taste and power at the Saxon court during the reign of Augustus III. In two steps it sheds light on the processes behind the making and collecting of a type of miniature painting that has otherwise been disregarded by art historical research. With the help of five case studies from the Gemäldegalerie Alte Meister in Dresden and a theoretical approach rooted in materiality and contextual studies, it draws the attention of miniature research to the fact that miniature copies were not simple reproductions but the complex results of a multifaceted and prestigious production process. The study thus contributes to a broadened understanding of copies in miniature as valued art objects on their behalf as well as to position them in the larger framework of the 18th century's desire for art, connoisseurship and collecting.

Jag tror att människan har ett behov av att omge sig av saker. Vi har en längtan efter att få ta hand om, att få vara omvårdande och bry oss om. Under våra liv utspelar sig en evig nestingprocess, ett oupphörligt skapande av ett bo och en trygghet. Ett ändlöst ackumulerande av saker. Jag vill undersöka och visualisera vårdandet, ägandet, samlandet och blicken. För mig är människans relation till föremål uråldrig, den härstammar från begynnelsen och är en primitiv drift. Jag ser tillbaka på stenåldersmänniskan, barnet och djuret och lånar deras blickar för att kunna förstå och nysta i relationen. / I believe that us humans has a need to sorround ourselves by objects and things. We share a desire to care and be caring. During our lives an endless nesting process unfolds, an infinite creation of safety. In this paper I want to explore and visualise care, ownership, collecting and gaze.

Denna studie undersöker en samling bestående av glas från Eda glasbruk som finns på Värmlands museum. Studien utgår från att föremål i samlingar kan berätta en egen historia, men också representera och berätta något mer utifrån urvalet som gjorts och om informationssystemet som skapats kring samlingen. Syftet är därmed att skapa en bild av hur en samling kan se ut och vad samlingens kontext kan berätta. Detta är gjort genom perspektiv av samlingar och samlande, presentation och representation samt värderingar, som finns i tidigare forskning. Studien har gjorts genom en observation av samlingen och föremålen, tillsammans med deras tillhörande dokumentation. Studien ger också en bild av glasbrukets historia för att kunna koppla till vad som visas av glas från Eda glasbruk i samlingen hos Värmlands museum. Studien har kommit fram till att urval i samlingen kan berätta vad som ansetts högt värderat av samlaren ellersamhället på olika sätt. Den visar också att föremål i samlingar är beroende av sin dokumentation för att bevara sin historia och för att upprätthålla en relevans. / This study examines a collection of glassware from Eda Glassworks housed at Värmlands Museum. The study is based on the idea that objects within collections can narrate their own stories, but also represent and convey broader narratives based on the made selection and the system with information established around the collection. The aim is to create an understanding of what a collection might look like and what the context of the collection can tell. This is achieved through perspectives on collections and collecting, presentation and representation and values, found in previous research. The study was conducted through an observation of the collection and its objects, along with their accompanying documentation. Additionally, the study provides an overview of the history and production at the glasswork to connect with what is displayed from Eda Glassworks in the collection at Värmlands Museum. The study has concluded that the selection within the collection can indicate what has been highly valued by the collector or the society in various ways. It also demonstrates that objects in collections rely on their documentation to preserve their history and to maintain relevance.

Identity and its different constructions - national, social and personal, for example - are increasingly recognised as fundamental to understanding current and historic cultures. The reflexive relationship of identity issues with sartorial expression is a key concept within dress, fashion and textile studies. This thesis contributes to that growing body of knowledge by developing an understanding of how specific eighteenth century Scotswomen and their families related to their garments, thus bringing together contemporary study methods and understandings of identity with historic manifestations. This study of identity is embedded within an object-study methodology, following investigative practice and cataloguing methods currently used within the international museums community. This assists the secondary purpose of the thesis, which is to highlight a breadth of largely unpublished main garment objects within Scottish public and private collections. The intimate study of these objects has revealed stories of how daily life interacted with personal taste and style, purchase methods, garment use and international markets for individuals connected to Scotland. This has contributed material understanding to wider academic research areas, most importantly the everyday lives of eighteenth century Scotswomen, issues of identity within Scotland, and how European fashion trends were adopted or adapted by individuals outside of the major fashion centres of London and Paris. Study of the garments has involved stylistic analysis of their textiles and of their construction, connecting them to other extant and depicted garments from British and international collections. Thus providing material evidence of international styles in the eighteenth century, and matching two items in a rare example of extant main garments evidencing duplication in the eighteenth century handmade clothing industry.

Background and rationale: Collecting is a basic human activity, a cultural phenomenon establishing cultural values, defining authenticity and creating new identities for collected objects and collectors. For more than a decade, I have studied cultural heritage collections from three key interwoven perspectives. These approaches are evident in the six publications selected for this submission: • Architectural and organisational perspective: at the Vatican Gallery (Innocenti 2001a), Uffizi (Innocenti 2003a) and Biblioteca Laurenziana (Innocenti 2002a) I investigated institutional collector and key stakeholder strategies for designing collection space and displays. I then applied this analysis to‘knowledge architecture’ for industrial design artefacts and processes (Innocenti 2004c). • Procedural and functional perspective: from Palladio drawings (Innocenti 2005a) to industrial design knowledge bases (Innocenti 2004a), I investigated how to digitize, archive, render and make accessible cultural heritage as an accurate iconic representation, interwoven with documentary and cultural contexts. The work further led me to study the authenticity of born-digital artworks (Innocenti 2012c). • Artefact perspective: I explored how artists and institutional collectors address the preservation of artworks, from the Renaissance desks of the Biblioteca Laurenziana (Innocenti 2002a) to digital artworks (Innocenti 2012c), and the historical and theoretical implications of their choices. In each of these areas, I contextualized the interrelations between cultural heritage discourse and the history of collecting cultural artefacts within given historical, social and cultural periods. My work began in Italy, where cultural heritage is deeply rooted and widespread, and moved on to encompass Europe and North America in tracing the evolution of cultural heritage collectors’ strategies. I adopted an interdisciplinary approach, engaging perspectives, methods and theoretical frameworks from art history, art theory, museography, museology, library and information science, information technology, social anthropology and engineering. Starting from this multi-focal vantage point my research has resulted in contributions to knowledge, methods and theory. These publications on one hand demonstrate the continuum of key issues in cultural heritage creation, preservation and access as manifested in the strategies of institutional collectors and artists. On the other hand, they highlight the new paradigms and transformations introduced by digital and communication technologies, the shaping of cultural heritage informatics to address these transformations and the theoretical and methodological implications underlying them. Through my scholarly research, I contributed to progressing the canonical historicisation of cultural heritage, museography and museology, and to exploring the new paradigms and transformations introduced by digital and communication technologies to the disruptive and exciting world of cultural heritage informatics. The portfolio: The portfolio is a selection from Perla Innocenti’s more than forty publications of research carried out since 2001 on cultural heritage and informatics with the Universitá degli Studi di Roma ‘La Sapienza’, Scuola Normale Superiore di Pisa, Istituto Nazionale di Archeologia e Storia dell’Arte in Rome, Pinacoteca Nazionale di Bologna, Italian Ministry of Cultural Heritage and Fondazione Andrea Palladio, Politecnico di Milano and EU-funded projects SHAMAN and MeLa. Six scientific publications are presented: two journal articles, a scholarly treatise, a published conference paper, key chapters from a monograph and one book chapter from an edited volume. The works have two key themes relevant to the critical analysis and understanding of heritage institutions’ evolution up to the digital age. The themes illustrate the contribution each publication has made to the literature and explain the relationship between the works submitted, including developments which have occurred between one piece and another. Theme I: Evolution of museography, museology and heritage studies Three publications are presented under this theme, each of these presenting the critical analysis of cultural heritage institutions and their artefacts within the historical evolution of museums and libraries. Publication I presents the critical analysis of the museographic principles applied by Luca Beltrami to the design of the Vatican Gallery, investigated and contextualised within its museographical and cultural history (Innocenti 2001a). Publication II presents the critical analysis and findings of the museological and museographical principles applied by Corrado Ricci to the Uffizi Gallery in the 19th Century, compared with the contemporary principles in the Uffizi applied by the former Superintendent and Italian Ministry Antonio Paolucci (Innocenti 2003a). Publication III presents the analysis and original findings of Michelangelo’s ergonomic design of the Biblioteca Laurenziana fittings, within the historical evolution of libraries (Innocenti 2002a). Theme II: Creating, managing, disseminating and preserving digital cultural heritage The publications presented in this theme relate to methodologies and processes characterising diverse typologies of analogue and digital cultural heritage and the emerging field of cultural informatics. Publication IV presents the novel methodological approach defined and applied within a relevant digitization project of Andrea Palladio manuscripts and maps (Innocenti 2005a). Publication V presents the outcomes of my investigation defining and implementing an online knowledge-based system supporting research and teaching of industrial design, which is formally considered part of Italian cultural heritage (Innocenti 2004a). Publication VI discusses the repositioning of traditional conservation concepts of historicity, authenticity and versioning in relation to born-digital artworks, based on findings from my research on preservation of computer-based artefacts by public collectors (Innocenti 2012a).

Houston modern architect, Karl Kamrath (1911-1988), collected books, periodicals, and archival material that document the career and legacy of Frank Lloyd Wright. Kamrath identified himself as a collector of Wright and a devotee to the principles set forth by the master architect. In this thesis, I present Kamrath’s collection by organizing the materials by subject, considering how Kamrath marked books and journals, and drawing connections between his collecting interests and his architectural work. Kamrath collected and consumed information on Wright and organic architecture and then presented his own articulations of the principles in built form. His interest in organic architecture was evident in his projects that blended into the landscape and satisfied the individual needs of each client. The purpose of this thesis is to contribute to the story on Karl Kamrath, adding the details of the collection he donated to The University of Texas at Austin. / text

本論文共一冊，計七萬五千字，分八章共廿九節。 本研究以D. Ricardo的地租理論為出發點，利用資源經濟學的理論，以Simple Ricardian Model 驗證土地資源的稀少性並計量其稀少性地租與使用者之機會成本（ user cost）。 其次經由地租與土地使用相關性之分析，藉土地使用均衡模型、開發 管制模型及政治地租模型以計量使用管制地策。再對集水區土地之仗用及對其他資源 衝擊的研究，提出Public Land Banking 的方法，作為集水區土地使用之有效管制方 法，並藉對石門水庫集水區土地之模擬操作，提出對我國集水區土地使用與管理之對 策，使集水區內的資源得為吾人永續利用，以達地利共享與地租歸公之政策目標。

Pierre de L'Estoile (1546-1611) kept an extraordinary diary and collection in Paris during the Wars of Religion, recording everything from high-political scandals to low-life criminality during this crucial turning point in early modern history. The first extensive study of L'Estoile in any language, this thesis demonstrates how he negotiated and commemorated the conflicts that divided France as he engaged creatively with the rumours, ephemeral prints, poems, pictures, and books that he assembled in his diary and cabinet. It argues that the story of his life and times is the history of the civil wars in the making. While historians and literary scholars depend on L’Estoile’s diaries as an essential source of information, citing him as a mere passive observer, this thesis instead explores his subjectivity and interprets a wide range of hitherto unseen or neglected manuscript evidence that situates him in the Parisian society of royal office-holders and demonstrates his significance in the republic of letters. It follows a microhistorical approach to L'Estoile and his world in order to challenge established interpretations of his sources as evidence of a widespread mentality of eschatological anxiety in sixteenth-century France, instead focusing on L’Estoile’s personal responses to pieces in his collection. In this way, it critiques a common trend in cultural history to roam freely among ‘collective representations’ and argues for the importance of a precise analysis of social context, materiality, and individual subjectivity in reception studies.