During the first half of the `long' eighteenth century the English were, as a nation, vehemently anti-Catholic, yet the art that was most admired, collected and talked about, was Catholic in origin and subject matter (pictures showing the intercession of saints or the figure of God, for example). Such art might have been rejected by English collectors, certainly idolatry was chief among the heresies ascribed to the Papists, but the belief in the supremacy of Italian art was long-standing and tenacious in pan-European culture. The thesis demonstrates that rather than rejecting it, elaborate strategies were developed which allowed the cultural and social value of ownership and knowledge of this canonical art to accrue, whilst managing its potentially troubling content. For example, the royal ownership of the Raphael Cartoons (c. 1514) was a matter of increasing national pride during this period, which is surprising at first sight, given their provenance and their celebration of the apostolic succession of the Papacy from SS Peter and Paul. These meanings were not expunged from the Cartoons by English commentators, instead means were found to transpose them into a Protestant register and to maintain Raphael's reputation as the great universal artist. Each chapter of the thesis offers a different mode of address to the central theme, exploring, for example, the encounters grand tourists had with canonical art in Catholic churches in Rome and the ways in which the Catholic meanings of pictures were managed in a collection. In another chapter I explore how art was used and discussed within the Church of England. It has become clear that the Catholic associations of art did present a historically-significant political challenge to English connoisseurs and that, for example, new histories and theories of art, modified from their continental models, were developed to facilitate its acceptance. In addition, by paying careful attention to the ways in which issues of class, nationhood and culture were managed in relation to this problem, insights into the complex nature of anti-Catholicism in England have been gained.

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Madox Ford est une des grandes figures, non seulement de la littérature d’expressionanglaise, mais de la vie culturelle et artistique d’Europe occidentale dans le premier tiersdu XXe siècle. Il est très lié à Henry James et à Conrad (avec qui il écrit trois romans),joue un rôle de premier plan comme éditeur et contribue au développement del’impressionnisme littéraire et à l’instauration du « modernisme ». Cosmopolite par sesantécédents (anglais, allemand, français), grand voyageur partagé entre l’Angleterre, lesEtats-Unis et la France (surtout la Provence, sa terre d’élection et Toulon), Ford estl’auteur d’une oeuvre considérable qui compte plus de 80 ouvrages. Marine Bernot achoisi d’analyser plus particulièrement une dizaine de récits de souvenirs de toutes sorteset deux récits de voyage qu’il publie de 1904 à 1937. On y découvre toute une époque, unécrivain original et une personnalité d’une rare complexité – politiquement avancé,féministe et libertaire, écologiste avant la lettre, quelque peu visionnaire, un homme quiparle aux gens d’aujourd’hui. / Ford Madox Ford is one of the most important figures, not only of English literature butof the Western European cultural and artistic world of the twentieth century. Closelyconnected with Henry James and Joseph Conrad (with whom he wrote three novels incollaboration), Ford played a vital role as editor, contributor to literary impression and aspioneer of “modernism”. Cosmopolitan by birth (English, German, French), this tirelessvoyager, torn between England, the United States and France (especially Provence, hischosen domain and Toulon), Ford is the author of a voluminous sum of publicationsmade up of more than 80 books and other items. The author of this thesis, Marine Bernot,has chosen to concentrate on a dozen or so memoirs covering the years going from 1904to 1937, focusing particularly on two travel ‘novels’, Provence and The Great TradeRoute. These works, which give an original insight into the first half of the twentiethcentury, introduce the reader to an original and complex personality – politicallyadvanced, feminist, non-conformist, ecologist ahead of his times, visionary –, a man inharmony with contemporary preoccupations.

Une trace est une suite d’empreintes, laissées par le passage d’un être ou d’un objet – c’est donc avant tout l’indice d’un chemin parcouru. C’est à ce déplacement dans le temps et dans l’espace qu’invitent mes travaux de recherche dont l’objectif est de suivre Edith Wharton « à la trace ». La trace, c’est d’abord, pour ce qu’elle nous apprend sur le voyageur et son rapport au monde, cette croisière en Méditerranée qu’elle entreprend en 1888 à bord du Vanadis. C’est également l’empreinte qui subsiste de cette expérience du voyage : un manuscrit dactylographié qui retrace le périple et rend compte du rapport particulier d’Edith Wharton à l’écriture.La trace – ce qu’on suit (« suivre à la trace ») – renvoie donc à une double activité : d’une part au voyage lui-même, d’autre part, à l’exploration de toutes les pistes que j’ai cru bon d’ouvrir à partir du document originel : sur la vie et l’œuvre d’Edith Wharton, sur son environnement socio-culturel et sur le genre de la littérature de voyage – toute une série d’empreintes, donc de signes conduisant à de nombreux signifiés. La question demeure toujours, en dernier ressort, de savoir si les signifiés que croit avoir découvert le chercheur sont bien ceux de l’écrivain. / A trace is both a material imprint and a trail or series of imprints, marking the passage of a being or an object in transit; it can therefore be understood as the material evidence of a path that has been pursued. In the particular context of this research, the term trace refers first and foremost to the record of a sea voyage. This unpublished journal, kept by Edith Wharton, gives an account of the various stages of the Mediterranean cruise she made in the yacht, the Vanadis, in the spring of 1888.This long book is of particular interest, insofar as it, not only gives a fascinating account of the response of a young nineteenth-century cultivated American to the different cultures discovered in the course of a voyage leading her from North Africa to the Greek Islands and the shores of the Adriatic, but also provides valuable insight into the early responses of an artist in the making.The term “trace” therefore refers to both these aspects: first the voyage itself, the places visited, their physical features and historical significance; secondly the traces left by the visitor who embarked on this adventure at a turning point in her life. The sentiment that the future artist is poised at the crossroads of her existence, leads the researcher – in an attempt to leave as few stones as possible unturned – on a trail leading back to her past and forward to her future. This investigation would not be complete without a survey of travel literature, as the particular genre Edith Wharton has chosen as her means of expression. All these traces unite to form a series of “signs” (in the Saussurian sense of the word), which the researcher endeavours to interpret in the hopes of understanding what is “signified” on a deeper level.

This thesis examines the city of Rome as a primary context of British sociability and portrait identity during the period from 1740 to 1830. Part I considers the work of the portrait painter Pompeo Batoni. It examines the pictorial record of grand tourist sociability at Rome in the 1750s, questioning the complex articulation of nationality among British visitors, and the introduction of overt references to antiquity in the portraiture of Pompeo Batoni. It subsequently interrogates Batoni's use of the partially nude Vatican Ariadne sculpture in five portraits of male grand tourists, dating from Charles John Crowle in 1762, to Thomas William Coke in 1774. Part II of this thesis considers the realities of viewing the sculpted body at Rome, recreating the studios of sculptors Christopher Hewetson and Antonio Canova. It postis the studio space as a locus of sociability for British visitors to Rome, drawing on the feminine gaze in the form of the early nineteenth-century writings of Charlotte Eaton and Lady Murray. The final chapter moves from the focus on British sitters to examine sculpture by Antonio Canova, framing it within a wider discourse of masculinity and propriety. Thte reception of Canova's nude portrait sculpture of Napoleon Bonaparte and Pauline Borghese is considered as indicative of cultural anxieties stemming from new conceptions of gender.

On the tenth of January 1786, Mrs. Hester Lynch Piozzi recorded her entrance into the city of Naples, Italy in her travel journal Observations and Reflections Made in the Course of a Journey Through France, Italy, and Germany. She emphasized the importance of her experience in Naples by stating that: "among all the new ideas I have acquired since England lessened to my sight upon the sea, those gained at Naples will be the last to quit me." This British woman's stay in Naples was but a brief period within her three year long Grand Tour, yet it represented a great deal more than a simple respite. It became both a metaphor for her own break from the English society with her second marriage to an Italian musician and a forum through which she could express her complex opinions about class, ethnicity and gender. Essentially, this study reconstructs how Naples became a symbolic site in the journal and what it and its inhabitants represented to Hester Piozzi, both geographically and personally. Moreover, it simultaneously analyzes the common northern-European impressions that informed her opinions of Naples and the personal experiences that shaped her interactions with Neapolitans. Complex and sometimes conflicting beliefs and motivations formed Hester Piozzi's opinions of the place and its people. The object of my thesis is to understand how these various strands shaped her cultural interactions in the Italian south. In Piozzi's mind, Naples stood for many things. In part, long-standing northern European conceptions of Italian society formed the basis for her perceptions. More interestingly they also built upon her intensely personal observations as a woman who had split from her own social niche, the British upper-class. The city's exotic qualities provided her with the ability to fully embrace her liberation, yet in that context she also found common parallels that connected the lives of Neapolitan women to her own. Ironically, in the place that she believed to be most opposite to her home, she found a striking metaphor to help her evaluate and understand her own fractured life in England.

This study is an attempt to explore the multifarious aspects of Karl Friedrich Schinkel

My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition. After considering the significance of the Italian titles of L’Allegro and Il Penseroso, I assess the impact of Italian verse forms (and particularly the canzone) upon Milton’s early poetry in English and the question of the nature of the relationship between Milton’s Mask presented at Ludlow Castle and Tasso’s ‘favola boschereccia’, Aminta. Finally, I consider the place in Milton’s career of his journey to Italy in 1938-9 and its importance to him as a personal ‘conquest’ of Italy. I suggest that, far from setting him upon the path toward poetic glory, as is often claimed, his return England marked the beginning of a lengthy hiatus in his poetic career. My argument is that Milton was much more Italianate, by background, accident of birth and personal bent, than has usually been recognised and that an appreciation of how this Italian aspect of his cultural identity contributed to his poetic development is central to an understanding of his poetry.

In my final architectural thesis I decided to travel through Italy for three months on a so called Grand tour to explore the rich history, culture & architecture. The Grand tour is also about finding my final thesis project by meeting and understanding certain  problems and issues that I encounter during the trip by speaking to locals.  The people we meet throughout the Grand Tour  decided every destination we go to next by signing our map. Where?San Sicario Bobsled CourseTurin, Winter Olympics 2006 The remains of the huge infrastructures and facilities that was built for the winter Olympics in Turin 2006 are left completely abandoned and are sitting as huge scare in the landscapes in the small village San sicario. The remaining structures are left completely without future plans and stand rotting. The Italian government deeming it is even too expensive to demolish. I am going to work to trying to redesign the olympic bobsled park that is located near San sicario. Is it possible to rethink and give the structures a new purpose? I redesigned and integrated a system of geodesic domes with a botanic garden and controlled climateall year around to facilitate a new work environment and living domes, a space where you could travel toand work digitally from.Since that alternative now is available and will remain after the pandemic is over. But also repurposingthe existing structures since they stand empty and still in fair condition.

This thesis examines and compares two travel accounts in the regions of Phocis and Boeotia in Greece, as they appear in the book of Sir William Gell “The Itinerary of Greece: With a Commentary on Pausanias and Strabo and an Account of the Monuments of Antiquity at Present Existing in that Country (1819) and on the two volumed book of Edward Dodwell A Classical and Topographical Tour Through Greece: During the Years 1801, 1805, and 1806, Volume 1 & 11 (1819). More specifically, the thesis explores the extent of the area that these travelers managed to cover during their routes, the places with historical and archaeological interest that they mentioned at least, their moves among the various chronotopes, and the use of their predecessors’ texts for on their routes. With the use of digital platforms such as Recogito, their travel accounts have been annotated, tagged, aligned with ToposText gazetteer and Wikidata, exported as .csv files, and further processed using OpenRefine. By having as a ground theory approach the social construction of space, as Lefebvre has defined it, the thesis, with the assistance of ArcGIS and Python and the necessary manual steps, explored the topics as mentioned above. The analysis of these topics provided interesting results to the thesis. It showed the differences in the area coverage of the two travelers in Phocis and Boeotia. It also highlighted their accuracy in the discovering of ancient places and buildings. Moreover, it delineated their moves through the different chronotopes and the vital role of the physical environment as a bridge for these moves. Ultimately, this thesis revealed the crucial role of their predecessors’ travel accounts for their navigation on the respecting. Mainly, it made clear the vitality of the travel accounts of Strabo and Pausanias. These results were clearly connected with the social construction of space and time from the two British travelers based on their cultural background.