Due to the influence of the Greek-speaking immigrants who flocked into the city of Rome over the course of the 7th and 8th centuries, there was an explosion of interest in the cults of saints and their relics, one manifestation of which was the efflorescence in the depiction of saints' lives on the church walls. Five of these cycles survive--albeit in various stages of preservation--and portray the martyrdoms of Quiricus and Julitta, Erasmus, the Forty Martyrs of Sebaste, Callixtus, and Paul and Anastasius. As the largest surviving body of early hagiographical cycles, the paintings serve as the standard of comparison for later works, but they have yet to be fully studied in the art historical literature. The aim of this dissertation is to help correct this oversight, and to examine the cycles, in the context of their cultural and architectural settings, in order to come to an understanding of how early hagiographical cycles functioned. The dissertation begins with an examination of the evidence for pre-8th century cycles, Biblical and non-Biblical, extant and non-extant, produced in any medium in Byzantium or the West. The aim is to discover patterns, either in the make-up of the cycles, or the contexts for their use. The paintings in Rome are then carefully analysed, both in terms of their content and archaeological context, in combination with the surviving hagiographical, liturgical, and historical texts. The conclusion reached is that non-Biblical hagiographical cycles first gained popularity in the East, where they were most commonly found decorating either the tombs of saints, or their reliquary shrines. Their appearance in Rome can be closely linked to the influence of the Greek-speaking immigrants, to the cults of saints and relics that they promulgated, and to the special veneration accorded the non-Biblical saint by members of the lay population. The cycles most commonly decorate chapels, or chapel-like spaces, that are located in diaconiae, the charitable institutions founded in Rome at the end of the 7th century, and whose administration was largely the responsibility of the lay community. Furthermore, as several of the cycles seem to decorate private chapels, perhaps provided to the wealthy laity in return for their donations to the church, they emerge as the early ancestors of the works found in the private chapels, decorated for rich benefactors, which proliferate in the late Middle Ages. / Graduate

This report investigates the relationship between demonstrations and the built environment of the Forum Romanum. As one of the chief loci for the creation of public discourse in Rome, the Forum Romanum was a prime target for demonstrations. An in-depth evaluation of late Republican demonstrations within the Forum reveals how demonstrations sought to create alternative discourses. Late Republican demonstrators often incorporated the topography of the Forum into their demonstrations, either for strategic or symbolic reasons. Demonstrators were particularly concerned with the occupation of the Forum and restricting access to the speaker’s platforms. In doing so, demonstrations attempted to legitimate their own goals and objectives by equating them with the will of the people. The Augustan transformation of the Forum Romanum disrupted this established Republican topography of demonstration. Changes in the built environment limited the effectiveness of a demonstration’s ability to occupy the Forum. Entrances to the Forum were narrowed to impede the movement of demonstrators. Speaker’s platforms were insulated from the assembled crowd. A number of redundant measures, including surveillance and legal remedies, ensured that a new topography of demonstration did not form. These changes to the Forum Romanum participated in Augustus’s larger ideological program by prohibiting the creation of discourses opposed to the Augustan message. / text

Texte remanié de : Doctoral thesis : ? : Ludwig-Maximilians-Universität zu München : 1981. / Bibliogr. p. IX-X. Index.

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This thesis relates the aspirations (examined in political treatises, literary programs and scientific treaties) of Pope Urban VIIIth with the allegorical spaciality of the architecture of Francesco Borromini. The projects initiated under the patronage of the Pope are particularly related to the Pope's election. Urban's personal impressa, the Angelic Sun is an emblem of this election, a reborn sun, a second personal birth and the elevation of the Angelic Pope (the leader of the age of the Holy Spirit). This is allegorically a metamorphosis like the re-birth of Daphne into Laurel; the Tree of Aeneas and Rome and the principal Barberini impressa. As a dynastic emblem the Laurel unites the cosmic territories of the sun and the moon, the traditional emblems of cosmic kingship and world domination. The metaphysical marriage to Rome (coronation and marriage are ritually linked, like the union of the sun and the moon) metaphorically appropriates the capacity of giving birth through construction, to a new city, an intellectual city in the image of Urban, the threshold for spirit. The architecture 'contains' this intellectual body (city), a dynastic emblem of the Angelic Pope.

The object of this thesis is to lay open a repertory of music which has long been ignored, the music for two and more choirs composed by Roman composers of the generation of Palestrina and his immediate successors. Polychoral music is taken to mean music in which two or more independent and consistent groups of voices take part, singing separately and together; the parts should remain independent in tuttl sections, with the possible exception of the bass parts. By this definition, the first real polychoral music to be published in Rome was that by Giovanni P. da Palestrina in his Motettorum liber secundus of 1575. This is taken as the starting point for this study. Music which might have influenced Roman composers is examined, as well as eight-voice music by Roman composers which is not polychoral according to the above criteria. The development of polychoral music in the city is then traced through the reigns of the various popes from Gregory XIII to Paul V, whose death in 1621 is taken as a convenient place to end the study. Particular emphasis is laid on structural and textural aspects and the way these were adapted by successive composers. The ground for the Roman concerts to style was laid in the early experiments by composers such as Giovanni Animuccia, Palestrina and Tomas Luis de Victoria; this is traced through what is termed the 'fragmented' style of the last two decades of the sixteenth century to the full flowering of the large-scale concerts to motet after 1605. The music is studied in the context of the institutions for which it was written. The archives of these Institutions have been researched for information on performance practice, which is presented here. The broader cultural, social and religious background which spawned the idiom is also examined and polychoral music related both to the new propagandist attitude of church leaders from Gregory XIII onwards, and to a general expansion in musical activity in the city of Rome through the period under investigation. The various printed and manuscript sources for this music have been researched and the resulting catalogue of pieces by fifty or so composers who worked in the city is presented. A more detailed examination is carried out of the primary manuscript sources, from which valuable information on various aspects of the music can be obtained.

Based on the author's Thesis (doctoral)--Albert-Ludwigs-Universität, Freiburg im Breisgau, Germany, 2002. / Includes bibliographical references (p. [503]-515) and indexes.

Based on the author's Thesis (doctoral)--Albert-Ludwigs-Universität, Freiburg im Breisgau, Germany, 2002. / Includes bibliographical references (p. [503]-515) and indexes.

Thesis (D.Phil.)--University of Oxford, 2008. / Supervisor: Dr Janet DeLaine. Bibliography: leaves 246-259.

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