This thesis takes as a focal point an important Archbishop of the Greek community in Venice, Meletios Typaldos, who lived in the turbulent era of the late seventeenthearly eighteenth century (1651-1713). An enquiry into the course of his life was deemed worthy of scholarly research: first, because he had not been till now adequately investigated; second, because he is a multi-faceted personage who is highly representative of the ambiguities of that historical period but also clearly and sophisticatedly involved in them. In addition, a study of his life and work reveals a great deal about the religious and cultural beliefs and bias of the flourishing Greek Diaspora of Venice during this historical period. The dissertation investigates initially the political background within which Venice played a crucial role. Moreover, it brings to the fore the religious conflicts of the era as well as the renewal of the theological and philosophical ideas related to scholastic Aristotelism, derived from the teachings at Padua University which spread to the territory of the city-state of Venice. The emphasis in the dissertation is to focus on the impact that these ideas had on the beliefs and views of Typaldos. Principally, the thesis disambiguates the initiatives of Meletios Typaldos who, as head of the Orthodox Church in Venice, planned to convert the Orthodox Greeks to Catholicism without taking into consideration the church body, i.e., the Greek Orthodox clergy and congregation. In contrast to the prevailing view that his ambition to become a cardinal drove him to the acceptance of the Catholic doctrine, this dissertation argues that Typaldos’ activities were inspired by his desire to play a crucial role in a Uniate Church under the Pope’s auspices, with the ultimate ambition to convert all Greeks to it. Finally, specific attention has been given to the resistance of the Greeks of Venice to Typaldos’ plans. After examining the evidence, the thesis concludes that the will of the Greek Confraternity to maintain its social independence -that was guaranteed by the Venetian state - and its passionate desire to maintain unchanged the Confraternity’s Greek ethnic and religious identity are the main causes that determined its reactions against Typaldos. The conflict between the Archbishop and leadership of the Greek community ended in Typaldos’ excommunication by the Patriarchate of Constantinople and, with the loss of his leadership, the decline of the Greek Community of Venice.

This study examines the cult of Our Lady of Remedios from an art-historical perspective. Choosing this specific cult statue as a case study is not arbitrary: Remedios is among the oldest Marian images in the New World and was named first patroness of Mexico City in 1574, when the city council became the patron of her shrine and a confraternity was founded to better disseminate the cult. As a result, the statue was carried fifty-seven times through the streets of New Spain's capital in three hundred years (an average of one procession every five years), thus outnumbering any other religious event that was not part of the liturgical calendar. The fame of Our Lady of Remedios was closely linked to her role as Socia Belli of the Spanish army, as she was believed to have protected Hernán Cortés and his allies during the conquest of Mexico-Tenochtitlán in 1520-21. Her character as protector in times of war was enhanced in the centuries to come, when she was called to the city on every occasion when the Spanish Crown was involved in military campaigns. Her protection, however, was mainly requested in times of drought and epidemics, a reason for which her fame as protectress of the city grew intensively, and all sectors of society (Spanish, Indians, and Castas) followed her with the same fervent faith. This dissertation is a monographic study of a miraculous image that has hitherto been overlooked in the history of colonial religiosity of New Spain despite its symbolic relevance for the society of its time. It considers the sixteenth-century statue and the ways it was displayed to its devotional audiences as documents that inform us about its social role. By placing this cult image in the ritual context to which it belonged, both spatial and spiritual, this study considers the devotional gaze with which her devotees engaged her showing how devotion, aesthetics and politics were intertwined during colonial Mexico. / History of Art and Architecture

Malgré son indéniable talent, le peintre vénitien Leonardo Corona est négligé : la seule étude systématique qui lui ait été consacrée remonte à une quarantaine d’années (E. Manzato, « Leonardo Corona da Murano », Arte veneta, XXIV, 1970, p. 128-150). Grâce aux nombreux documents inédits que nous avons découverts dans les archives vénitiennes, nous sommes parvenue à reconstituer au moins en partie sa « vraie vie », fixant la date de mort de Corona à 1596.L’exploration des fonds d’archives nous a permis également de mettre en lumière l’une des caractéristiques les plus fascinantes des chantiers vénitiens de la fin du XVIe siècle : leur « esprit choral », les intervenants étant toujours très nombreux, tant du côté des commanditaires que du côté des artistes. Dans ce travail, nous nous sommes intéressée tout particulièrement à quatre chantiers (les églises de San Zulian, Santo Stefano, Santa Maria Formosa et San Bartolomeo), à fin de reconstituer le contexte historique et social de chacun d’entre eux / Despite his undeniable talent, the Venetian painter Leonardo Corona, has been strongly neglected in recent studies: the only contribution dedicated to him goes back to forty years ago (E. Manzato, “Leonardo Corona da Murano”, Arte veneta, XXIV, 1970, pp. 128-150). Thanks to numerous unknown and unpublished documents discovered in Venetian archives, it was possible to reconstruct the ‘real life’ of Corona, died in 1596.After long and exthensive archival researches it was possible, as well, to highlight one of the most fascinating aspect in Venetian ‘cantieri’ at the end of Sixteenth century: the choral spirit which involved a variety of patrons and artists in several artistic adventures. The research focused on four main Venetian ‘Cantieri’ (the Church of San Zulian, Santo Stefano, Santa Maria Formosa and San Bartolomeo). The intent was to reconstruct the social and historical context that charaterized each of them / Nonostante l’innegabile talento, il pittore veneziano Leonardo Corona è stato fortemente trascurato dalla storia degli studi: l’unico contributo a lui dedicato risale ormai a una quarantina d’anni fa ((E. Manzato, “Leonardo Corona da Murano”, Arte veneta, XXIV, 1970, pp. 128-150). Grazie a numerosi documenti inediti ritrovati negli archivi veneziani, è stato possibile ricostruire almeno in parte la “vera vita” di Corona, morto in realtà nel 1596. L’esplorazione dei fondi d’archivio ha permesso ugualmente di far luce su uno degli aspetti più affascinanti di cantieri veneziani della fine del XVI secolo: lo spirito corale, che vuole coinvolti una molteplicità di attori, tanto fra i committenti che fra gli artisti chiamati ad intervenire. In lavoro si è concentarto su quattro cantieri veneziani (le chiese di San Zulian, Santo Stefano, Santa Maria Formosa e San Bartolomeo), con l’obiettivo di ricostruire il contesto storico-sociale caratteristico di ciascuno di essi

À partir de l’étude du procès des chefs de l’insurrection algérienne de 1871 jugés en 1873 aux assises de Constantine, la présente thèse reconstitue la fresque judiciaire d’un soulèvement que d’aucuns reconnaissent comme la plus grande séquence insurrectionnelle que l’Algérie ait jamais connue au XIXe siècle. L’analyse de la riche documentation exhumée des archives d’Outre-mer d’Aix-en-Provence, de la Bibliothèque Nationale de France (Paris) et des archives du tribunal de Constantine aurait pu permettre de rétablir la société colonisée dans son droit au chapitre de la parole et de renouveler la compréhension du soulèvement de 1871 mais c’était sans compter sur la complexité des enjeux politiques qui ont transformé le procès d’une insurrection en un théâtre où devait se solder le conflit civils-militaires. Le premier grand procès civil d’Algérie allait transformer une insurrection majeure en délits de droit commun justifiant une étonnante physionomie des peines. En abordant les questions relatives aux causes et aux acteurs de l’insurrection, le présent travail s’est investi dans l’analyse de l’histoire sociale des élites algériennes du XIXe siècle et de leurs caractéristiques, à travers leur implication dans le soulèvement et l’interrogation, aux côtés de diverses sources historiques, de matériaux de nature anthropologique. Tandis que les différentes historiographies attribuaient tour à tour à l’élite nobiliaire des djouads ou à celle confrérique de la rahmaniyya la paternité de la révolte, la présente thèse s’est attachée à mettre en évidence la matrice anti coloniste d’une insurrection populaire. / Starting with the study of the 1871 trial of the Algerian insurgency leaders judged in 1873 at the Constantine criminal court, this thesis reconstitutes the judicial saga of an uprising that some recognize as the greatest insurrectionary sequence Algeria ever knew in the nineteenth century.The analysis of the rich documentation exhumed from the Overseas Archives of Aix-en-Provence, the Bibliothèque Nationale de France (Paris) and the archives of the tribunal of Constantine could have reinstated the colonized society’s right to speak and to renew the understanding of the 1871 uprising, but it was without counting the complexity of the political challenges which transformed an insurrection trial into a theater, where the civil-military conflict had to be resolved. The first great civil trial of Algeria was going to transform a major insurrection into common law offenses justifying astonishing forms of sentences.In addressing issues related to the causes and actors of the insurgency, the present work Involved in the analysis of the social history of the nineteenth century Algerian elites and their characteristics, through their involvement in the uprising and the investigative questioning of various historical sources and anthropological materials. While the various historiographies attributed to the djouads’ noble elite or the rahmaniyya confraternity the authorship of the revolt, the present thesis endeavored to highlight the anti-colonist matrix of a popular insurrection.

Nous avons étudié dans ce travail les manières concrètes dont s’expriment les rapports entre le pouvoir et le théâtre au XVIIe siècle, époque où cet art était déjà associé au principe de diffusion de masse lui permettant de s’épanouir indépendamment du mécénat. Étant donné que le théâtre est à la fois une pratique et une littérature, notre enquête a été menée en deux temps. Nous nous sommes d’abord intéressés aux comédiens professionnels dont la plupart ont formé des troupes portant le nom d’un grand personnage. Cette réalité qui semble a priori évidente est pourtant révélatrice. L’histoire de la troupe royale de l’Hôtel de Bourgogne en constitue un excellent exemple. D’autres troupes de moindre importance peuvent, elles aussi, entretenir des rapports étroits avec leurs protecteurs. C’est par exemple le cas des comédiens du Grand Condé auxquels nous avons consacré la suite de nos réflexions. Mais la plupart du temps, ces troupes ambulantes ne sont pas à proximité de leurs bienfaiteurs. Elles sont plutôt en contact avec d’autres instances de pouvoir, le pouvoir municipal notamment. C’est ainsi que le premier volet de notre travail s’achève sur deux études de cas consacrées à Dijon et à Bruxelles, deux destinations favorites des troupes. Après avoir étudié les comédiens, notre investigation se poursuit en se focalisant sur les auteurs de théâtre. La question des rapports entre les dramaturges et les protecteurs s’inscrit dans un vaste sujet qu’est le patronage littéraire en général. Nous avons essayé de l’illustrer à travers l’exemple du patronage de Richelieu, précédé d’une enquête préliminaire sur la question des dédicaces qui a servi tout notre second volet. / We studied in this work the concrete ways in which are expressed the relations between the power and the theater in the seventeenth century, when this art was already associated with the principle of mass distribution which allows it to flourish regardless of patronage. As the theater is both a practice and a literature, our investigation was conducted in two stages. We are primarily interested in professional actors, most of whom have formed theatre troops bearing the name of a powerful man. This reality seems a priori obvious is nevertheless revealing. The history of the Royal troupe of Hôtel de Bourgogne is a prime example. Other smaller companies maintain also close relations with their protectors. This is for example the case of the theater troop of Great Condé that we studied. But most of the time, these touring companies are not close to their patrons. Rather, they are in contact with other bodies of power, especially the municipal power. Thus the first part of our work ends with two case studies on Dijon and Brussels, two favorite destinations of theater troops. After studying the actors, our investigation continues by focusing on playwrights. The question of relations between playwrights and patrons is part of a vast subject that is the literary patronage in general. We tried to illustrate it through the example of the patronage of Richelieu, preceded by a preliminary inquiry into the question of dedication who served our whole second part.

La promotion et la responsabilisation de la femme est un thème assez récurent à notre époque. L’histoire de l’Église Catholique, depuis ses humbles origines, a montré son indifférence vis-à-vis de la femme en vertu de la forte représentation masculine dans ses institutions. En effet, la question de la promotion de la femme restait insignifiante ou du moins très susceptible à l’intérieur de l’Église. Le clergé très « misogyne », de par son attitude s’opposait à toutes les possibilités du libre-service de la femme dans l’Église et dans la société où il avait un pouvoir considérable. Le sommet de cette opposition, à notre avis, s’amplifie vers la fin du XVIe siècle et le début du XVIIe siècle avec l’imposition stricte des clôtures pour les femmes qui désiraient intégrer le service extérieur sous le régime de la vie religieuse. Parallèlement, dans une société dominée par le système patriarcal, l’existence de la femme passait presque inaperçue. Étonnamment, l’intervention de Vincent de Paul et sa collaboration avec la femme ouvre des possibilités non seulement pour leur promotion mais aussi suscite un changement de l’attitude de l’Église et de la société envers la femme. Avec ses interprétations intelligentes des lois de l’Église, Vincent réussira à faire sortir la femme de l’enfermement entre quatre murs pour le service des pauvres à domicile, dans les hôpitaux et dans la rue. La Confrérie de la Charité fondé en 1617, la Compagnie des Filles de la Charité fondé en 1633 et la Confrérie des Dames de la Charité d’Hôtel-Dieu fondé en 1634 restent comme un signe à la fois vivant et visible d’une histoire de cette réussite de la promotion de la femme par Vincent de Paul. / The promotion and empowerment of women is a recurrent theme in the society today. The history of the Catholic Church, from its very inception, has shown its indifference towards women due to the strong male representation in its institutions. In fact, the question of the promotion of women remained insignificant or rather a sensitive issue within the Church. The clergymen, anti-women by their attitude and with considerable power in the local administration, opposed all possible services by women in the church and in the society. The peak of this opposition, in our opinion, is situated towards the end of the 16th century and the beginning of the 17th century with the stringent imposition of cloister for women who tried to engage in social service together with their spiritual life. In the same way, in a society predominantly patriarchal, the woman's existence went almost unnoticed. Surprisingly, the intervention of Vincent de Paul and his collaboration with women opened up possibilities not only for their promotion but also for a change of attitude towards them in the Church and the society. With his clever interpretations of the laws of the Church, Vincent would succeed in bringing the woman out of cloister for the service of the poor at home, in hospitals and in the streets. The Confraternity of Charity founded in 1617, the Daughters of Charity founded in 1633 and the Confraternity of the Ladies of Charity at Hôtel-Dieu founded in 1634 remain as a visible and living history of the success of the promotion of woman by Vincent de Paul.

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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.