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No description available.

Chemical and tritium analyses of groundwater, precipitation and discharge records, fracture orientations, lineaments, and structural, stratigraphic, and topographic relationships have been used to describe the groundwater systems of Mantua Valley, north-central Utah. Groundwater flows through fractured Paleozoic quartzites and carbonate rocks and discharges from eleven perennial springs in Mantua Valley. Permeability in quartzites is the result of intense faulting and jointing. Groundwater in carbonate aquifers flows through fractures and/or fractures modified by solution and discharges as relatively large springs (up to 227 liters per second). Neogene normal faulting, rather than extensive karst processes, has produced valleys which are closed or nearly closed to surface-water drainage. Groundwater in the area has relatively low total dissolved solids, is warmer than the mean annual air temperature, and is of the calcium-magnesium-bicarbonate type. Temperatures of the groundwater suggest circulation depths in excess of 10 to 185 meters. Intermittent turbidity and fluctuations in calcite and dolomite saturation indices and in groundwater temperatures suggest that springs may be supplied by mixtures of shallow and deeper groundwater flow. With the methods used here, a water budget analysis of the area indicates that recharge to the groundwater systems is approximately 49% of mean annual precipitation. Annual recharge and average discharge of the springs were used to calculate recharge areas, which range from 3.0 km2 to 18 km2. Tritium analyses of two of the springs suggest mean residence times of less than ten years.

Thesis (Ph.D.)--University of Virginia, 2004. / Includes bibliographical references (leaves 236-246).

Isabella d'Este (1474-1539), the wife of Francesco II Gonzaga (1466-1519), Marquis of Mantua, is widely acknowledged for her patronage of the arts at the Gonzaga court in Mantua, during a formative period in her life, 1490 to c.1523. This thesis draws attention to a dilemma in Renaissance studies: namely, that musicologists have a far great[er] appreciation of Isabella's work as a patron of music, whereas she has been less positively appreciated in some of the art historical literature. A similar phenomenon is observed in the case of Francesco II, who was, for many years, the patron of the well-known artist, Andrea Mantegna, as well as being a strong patron of the liberal arts, including music, (sacred and secular), yet art historians have only recently begun to re-evaluate his contribution in a positive light, and some historians have undervalued his role as a politician, diplomat, and ruler. This study explores how this husband and wife team collaborated on various projects involving the visual arts and music to build up the cultural profile of their court at Mantua. It would seem that a greater cross-disciplinary interaction between art historians, historians, and musicologists, would broaden our understanding of patronage studies during the Renaissance.

Cette thèse s’intéresse aux processus de production de l’image votive à travers l’étude d’un ensemble de sculptures conservées dans le Sanctuaire de la Madone des Grâces de Curtatone, proche de Mantoue. L’extraordinaire apparat votif que l’on peut y admirer est constitué de cinquante-trois effigies polychromes et polymatheriques, datant pour la plupart du XVIe siècle, représentant le donateur grandeur nature, et pourvues d’accessoires réels (vêtements, cordes, objets dévotionnels…). Ces figures sont disposées dans des niches au sein d’une structure architecturale en bois totalement couverte d’ex-voto anatomiques en cire. Les documents concernant les effigies du sanctuaire de Curtatone sont considérés en rapport à d’autres rares témoignages de cette pratique en Italie. Cette analyse nous permet de réfléchir au rapport qui relie l’objet au donateur, en indiquant qu’il ne s’agit pas précisément de représentations tridimensionnelles de la figure humaine mais d’objets constitués physiquement par le lien votif et qui impliquent des interrogations complexes. Une réflexion de nature anthropologique s’est donc imposée en considérant non seulement le procédé qui préside à leur réalisation mais aussi leur utilisation rendue possible grâce à l’ambiguïté de la représentation et au concept de vraisemblance, qui imprègne la société européenne occidentale qui a élaboré une véritable culture du simulacre. Outre les effigies votives, ce travail prend également en compte les autres éléments qui composent le sanctuaire des Grâces : l’architecture scénographique qui accueille les sculptures, la décoration d’ex-voto en cire qui y sont accrochés, les inscriptions en rimes qui accompagnent les effigies, la fresque florale de la voûte. La portée de ce travail est de démontrer comment ce scénario votif présente une dimension qui dépasse la simple illustration du miracle. Ce dispositif nous oblige à réfléchir sur la dimension plurielle et dynamique propre aux images, qui concerne le rôle de la représentation dans les pratiques dévotionnelles de l’époque moderne (XVe-XVIIe siècles), la capacité que ces sculptures ont de susciter des réactions sur l’observateur et leur fonction à l’intérieur d’un réseau complexe de relations sociales et d’échanges symboliques qui renvoient à la famille Gonzague et à l’ordre franciscain qui gérait à l’époque le sanctuaire. / The purpose of my doctoral thesis is to advance understanding of the process of production of votive images through the study of a set of sculptures exposed in the Sanctuary of Madonna delle Grazie, that is situated on the bank of the Mincio, some five miles west of Mantua. The extraordinary votive display that we can admire inside, is made up of fifty-three effigies representing the life-size donor, mostly dating from the sixteenth century and equipped with real accessories (clothing, ropes, devotional objects ...). These sculptures are placed into an architectural structure that is completely covered with wax anatomical ex-votos. The documents concerning the votive effigies have been linked with other rare sources of this practice in Italy. The fundamental aim is to show that these full-size sculptures has a conceptual dimension that overtakes the simple notion of offering. The devotional act in the Mantuan sanctuary consists in making the survivor recognisable through the realization of realistic images. In doing so, such act pose anthropological questions regarding the efficacy of this ritual and the effects that these sculptures arise in the devotional community. From a more interdisciplinary perspective, what became interesting was to understand the artistic discourses about resemblance and mimesis and about the meaning of pursuing this likeness to the devotee in the ex-voto ritual. This study is also based on several assumptions concerning the elements that compose the Madonna delle Grazie sanctuary: the scenographic architecture in which the sculptures are displayed, the wax decoration, the rhyming votive inscriptions of the effigies, the floral fresco of the vault. The pourpose of this work is to demonstrate how this "votive scenario" presents a dimension that goes beyond mere illustration of the miracle. This system forces us to reflect on the pluralistic and dynamic dimension of images. This dimension concerns the role of representation in the devotional practices of the modern period (15th-17th centuries), the ability of these sculptures to elicit reactions on the observer and their function within a complex network of social relations and symbolic exchanges which refer to the Gonzaga family, rulers of the city of Mantua, and the Franciscan friars that had the care of the sanctuary.

This dissertation centers on Andrea Mantegna’s masterful series of nine canvases, the Triumphs of Caesar, painted for the Gonzaga family of Mantua in the late Quattrocento. The project considers the history of the series, including the circumstances of its commission, the use of the Triumphs within the court culture of Mantua, and the recontextualization of the series in England after its sale to King Charles I in 1630. I argue that the series was intended to serve as a form of permanent palatial decoration, and that only through a series of unforeseen events was the Triumphs ultimately used as a backdrop for theatrical performances. At Hampton Court Palace, outside of London, the Triumphs took on a new role, one which changed over the centuries, dependent upon the occupant of the palace. The first chapter explores the iconography of the Triumphs of Caesar and addresses Mantegna’s possible visual and literary sources. I situate the series within the context of Renaissance triumphal imagery and argue that the strictly classical nature of Mantegna’s Triumphs sets it apart from other fifteenth-century depictions. The second chapter turns to the patronage of the series. Though the majority of scholars believe either Lodovico II or Francesco II Gonzaga to have been the patron, I suggest instead that it was Federico I Gonzaga who commissioned the series from Mantegna. I propose that Federico intended to display the Triumphs in the modern palace he was constructing, the Domus Nova, where the series would impress upon visitors both the military might and cultural attainments of the Gonzaga. After Federico’s sudden death, however, his son Francesco inherited the series, and it was only then that the lightweight canvases were put to use as backdrops for theater and other ephemeral events, a topic addressed in chapter three. The fourth and final chapter turns to England and the role of the Triumphs at Hampton Court Palace, the home of the series for the past four centuries. I argue that the Triumphs of Caesar functioned differently for each occupant of the palace in turn, serving as political, cultural, or decorative instruments.

Leon Battista Alberti's church of Sant' Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti's corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant?Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti?s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a 'sensitive suitability' between parts. The analysis of the triumphal arch motif of Sant?Andrea suggests that formalism has played a more important role in Alberti's design for this church than previously believed. This is by the motif's rigorous outline changing between the interior nave and the exterior fa??ade according to the observer's different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the fa??ade, seeks familiarity with the city's surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant' Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations.

Leon Battista Alberti's church of Sant' Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti's corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant?Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti?s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a 'sensitive suitability' between parts. The analysis of the triumphal arch motif of Sant?Andrea suggests that formalism has played a more important role in Alberti's design for this church than previously believed. This is by the motif's rigorous outline changing between the interior nave and the exterior fa??ade according to the observer's different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the fa??ade, seeks familiarity with the city's surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant' Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations.

Irrigation of the municipal cemetery in Brigham City, Utah resulted in stained headstones in 2001 and 2002. The water used in the irrigation came from Mantua reservoir, a medium sized impoundment situated near the mouth of Box Elder Canyon. In order for Brigham City to establish a city wide secondary pressurized irrigation system using water from Mantua reservoir, the cause and the source of staining problem must be determined. Previous research (Wallace 2006) determined that the source of the staining was the reduction of iron found in Mantua Reservoir sediments that occurred when seasonal variations in the reservoir caused anaerobic conditions. The reduced iron then dissolved in the water and was used in the irrigation system, causing re-oxidation of the iron. The oxidized iron then precipitated out on the headstones causing the staining. The purpose of this investigation is to determine the iron oxidation kinetics after the re-aeration of the water which will help determine appropriate mitigation methods. A secondary purpose is to confirm the Mantua reservoir's capacity to become anaerobic, resulting in the conditions which cause staining. Using laboratory investigations and computer modeling, I determined that on re-aeration, fifty percent of the dissolved iron in the water precipitates in five hours. Using first-order kinetics to model this process, I found the rate constant of the kinetic reaction to be 0.0029 min-1. Fitting a geochemical computer model of the iron oxidation kinetics in Mantua reservoir, which uses a higher-order kinetics model to better model this process, to experimental kinetic data yielded a rate constant of 4x1013 /atm x min. I also recreated the staining process in the laboratory using concrete. This was successful and provided visual evidence that the iron precipitates out of the water and stained the concrete within a couple of hours of application. Field data collected from Mantua reservoir showed that the dissolved oxygen concentration in the reservoir drops regularly below levels consistent with equilibrium to the atmosphere. While my field measurements did not record anaerobic conditions, based on the patterns shown, this study shows that it would be possible for anaerobic conditions to occur during warmer weather.