This thesis examines the patronage strategies of Paolo Cassotti, a wealthy wool merchant living in Venetian-dominated Bergamo in the early Cinquecento. Cassotti challenged the rigid class structure of Bergamasque society, first through his conspicuous artistic and architectural patronage within the city walls, and then by constructing a suburban villa: the Villa Zogna, a graceful example of early Renaissance architecture that was unique in Bergamo. In 1512 he hired a local artist, Andrea Previtali, who had trained with Giovanni Bellini in Venice, to adorn the villa with a fresco cycle depicting the mechanical or practical arts. This thesis explores the ways in which Paolo Cassotti used Villa Zogna and its fresco cycle to shape a positive representation of himself and his fellow merchants as part of the foundation of an ordered, stable society, thereby accomplishing visually what he could not do socially. / Art History

Tra il XIX ed il XX secolo, sono stati effettuati diversi studi riguardo al patronato letterario di Isabella d’Este e al mecenatismo praticato verso gli artisti da suo figlio, Federico II Gonzaga, primo duca di Mantova. Una nuova prospettiva di ricerca induce oggi a indagare il ruolo di Federico II come committente letterario, distinto dalla Marchesana Isabella, e i suoi interessi letterari. Vari autori, più o meno celebri, risultano avere avuto relazioni con Federico II Gonzaga, in quanto o gli hanno dedicato le loro opere o lo hanno citato in esse oppure perché è stato loro richiesto di comporre testi dal duca stesso. Molti di questi lavori sono registrati nell’inventario di Federico II, che ci dà alcune idee circa le sue preferenze, rivolte soprattutto alle opere astrologiche e ai testi cavallereschi, e circa le sue relazioni letterarie. Gli scrittori legati a Federico II hanno spesso cercato di procurare vantaggi tramite l’attività letteraria a se stessi e al loro mecenate. Si può ritenere che Federico II fosse inserito in una più ampia rete di relazioni letterarie sviluppatesi intorno alla corte di Mantova e che abbia impiegato la propria cultura letteraria e le opere letterarie come uno strumento di potere. / Between the 19th and the 20th century several studies were carried out with regard to the literary patronage of Isabella d’Este and in connection with the maecenatism practiced towards artists by her son Federico II Gonzaga, first Duke of Mantua. Nowadays, a new perspective of research induces to investigate the role of Federico II as literary client, separated from the Marchesana Isabella, as well as his literary interests. Various more or less famous authors have been found to have had some relationships with Federico II Gonzaga, either because they mentioned him in their works and dedicated them to him, or because they were requested to compose texts by the duke himself. Many of these works are registered in Federico II’s inventory, which gives us some ideas about his literary preferences, particularly directed to astrological works and chivalric texts, and his literary relationships. The writers linked to Federico II often tried to obtain some advantages for themselves and their patron through their literary activity. It can also be maintained that there was a wider network of literary relationship around the court of Mantua, and that Federico II used his literary culture and the literary works as a tool of power.

L’action des conseillers du roi de France dans le domaine artistique, et notamment architectural, au tournant des XIIIe et XIVe siècles, a été abordée dans le cadre d’études monographiques, mais n’a jamais été envisagée dans un souci de synthèse. Recenser les bâtiments et les œuvres d’art réalisés à l’initiative de ces individus dans l’ancien royaume de France, les confronter avec les entreprises et les commandes royales permet de comprendre les motivations et l’impact d’un milieu alors en plein essor, celui des grands officiers royaux et des hommes de confiance qui assistaient quotidiennement le roi et l’aidaient à gouverner. L’époque retenue couvre les règnes des derniers Capétiens, Philippe le Bel (1285-1314) et ses trois fils (1314-1328). Il a semblé souhaitable d’étendre l’étude en amont au règne de Philippe le Hardi (1270-1285), afin de prendre en compte les prémices d’un véritable phénomène, par ailleurs très diversifié : lancement de projets architecturaux de grande ampleur destinés à l’usage propre du conseiller et de sa famille, embellissement d’édifices existants, participation à de grands chantiers en cours (cathédrales), commandes de tombeaux, d’œuvres d’art destinées à orner des fondations pieuses, réalisation d’hôpitaux ou d’édifices utilitaires ; beaucoup d’exemples témoignent de l’ambition comme de la piété de ces hommes. Dans les textes mais également dans le paysage monumental français actuel, il a été possible de retrouver de nombreuses traces de cette action, dont une typologie a été établie. L’étude a pour but de répondre aux questions suivantes : les conseillers du roi partageaient-ils le même mode de vie et avaient-ils des goûts communs ? Leur action fut-elle en tout point semblable à celle des membres de la famille royale et de la haute noblesse ? Peut-on mesurer la portée de ces réalisations ? / The action of the councillors of the French king in the artistic domain, particularly architectural, at the turn of the XIIIth and XIVth centuries, aroused a large number of monographic studies, but has never been envisaged in a concern of synthesis. Listing buildings and works of art commissioned by these individuals in the realm of France, confronting them with those patronized by the king, let us understand the motivations and the influence of an environment then in full development, that of the royal officers who assisted the king and helped him to govern. The chosen period covers the reigns of the last Capetians, Philip the Fair (1285-1314) and his three sons (1314-1328). It seemed worthwhile to widen the study area to include the reign of Philip the Bold (1270-1285) in order to take into account the beginnings of the phenomenon, besides very diversified : launch of large-scale architectural projects intended for the councillor and his family, embellishment of existing buildings (like cathedrals), production of gravestones, execution of works of art made to “decorate” pious foundations, construction of hospitals or utilitarian buildings ; many examples show the ambition as the devotion of these men. In texts but also in current French architectural landscape, it has been possible to find numerous traces of this action, a typology of which has been proposed. The study aims at answering the following questions : did the king’s councillors share the same lifestyle, the same tastes ? Was their action completely similar to that of the members of the royal family and the nobility ? Can we measure the reach of these creations ?

L'objectif de la thèse est de saisir, pour Rome en tant que capitale européenne de la musique, et dans la continuité des récents travaux historiques sur les capitales culturelles, les modalités et les temporalités d'une profonde transformation des milieux musicaux et des conditions sociales et culturelles de l'exercice de la musique au cours du XVIIIe siècle, phénomène qui a accompagné l'évolution des styles et des goûts musicaux en Europe. La recherche est centrée sur l'étude des « métiers de la musique » : elle analyse les lieux et institutions d'exercice, les pratiques observables dans chacun d'eux, en prenant en compte leurs singularités comme leurs imbrications ou porosités, ainsi que le déroulement des carrières, à partir d'évaluations quantitatives comme de la reconstitution de parcours individuels. Elle vise, grâce à des archives variées (archives de la Congrégation de Sainte-Cécile, archives privées des grandes familles aristocratiques, archives notariales, archives paroissiales, archives des chapelles et des théâtres), à appréhender les conditions sociales des musiciens, en s'attachant aux revenus, aux hiérarchies, aux protections et aux mobilités. Au cours du XVIIIe siècle, on assiste à une recomposition du paysage musical romain. Bien que la désaffection pour la musique sacrée fragilise le marché musical urbain, Rome reste l'un des principaux foyers musicaux européens. La ville se convertit progressivement, mais avec succès, à la musique profane, en particulier à l'opéra, ce qui conduit à modifier non seulement l'offre musicale, mais aussi l'organisation de la profession. / The aim of this thesis is to catch how and when musical circles as well as social and cultural conditions in musical practice deeply changed in Rome - as the European capital of music- during the 18th century ; and that, as part of the recent historical work on cultural capitals. This phenomenon went hand in hand with the evolution of musical styles and tastes in Europe.The research is based on the study of "musical professions": it is an analysis of the places and institutions in which music was practised, the different practices with their peculiarities as well as their abilities to mingle together. It also analyses how careers develop, using quantitative assessments and records of individual careers.It aims, thanks to various archives (from the Congregation of St Cecily, great aristocratic families, notary offices, parishes, choirs and theatres) at understanding the living conditions of the musicians: incomes, hierarchy, protections, mobility. It has been necessary to study the social network and the family environment of the musicians, as well as their relations with other people, and their professional environment. During the 18th century, a reshaping of the Roman musical landscape can be observed. In spite of the declining interest for sacred music, which weakens the market of music in town, Rome remains one of the most important musical places in Europe. The town slowly but successfully converts itself to secular music, and more especially to opera music; and this leads to a change, not only in musical offers, but also the organization of the profession. / Lo scopo della tesi è di capire, per Roma capitale musicale europea, nella continuità dei recenti lavori storici sulle capitale culturali, le modalità e le temporalità di una profonda trasformazione dei “milieux” musicali e delle condizioni sociali e culturali della prassi musicale nel corso del Settecento, fenomeno che ha accompagnato l’evoluzione dei stili e dei gusti musicali in Europa. La ricerca s’incentra sullo studio degli “mestieri della musica”: analizza i luoghi, le istituzioni legate alla musica e la prassi osservabile in ciascuna di loro, tenendo in conto la loro singolarità, i loro intrecci o le loro porosità, lo sviluppo delle carriere, a partire da valutazioni quantitative e dalla ricostituzione di percorsi individuali. Grazie all’analisi di vari archivi (archivi della Congregazione di Santa Cecilia, archivi privati di grandi famiglie aristocratiche, archivi notarili, archivi parocchiali, archivi di cappelle musicali e di teatri), mira a comprendere le condizioni sociali dei musicisti, facendo riferimento ai redditi, alle gerarchie, alle protezioni e alle mobilità. E’ stato necessario interrogare le rete sociali e l’entourage familiale, relazionale e professionale dei musicisti, localizzare i luoghi di residenza nel tessuto urbano e studiare le realtà istituzionali, economiche e sociali che facevano da sfondo alla loro vita professionale. L’adattamento degli individui o delle famiglie di musicisti alle diverse offerte e risorse della città, le dinamiche d’inserimento nel “mercato musicale” e la società urbana, sono stati al cuore di questa riflessione. Il discorso è partito, per quanto possibile, dalle prassi all’interno di questi mestieri, predendo in conto le loro singolarità. E’ quindi stato studiato l’insieme della comunità musicale nelle sue diverse componenti e i suoi multipli aspetti. Nel corso del Settecento, si assiste ad una ricomposizione del paesaggio musicale romano. Anche se la disaffezione per la musica sacra rende fragile il mercato musicale urbano, Roma rimane uno dei principali centri musicali europei. La città si convertì, progressivamente ma con successo, alla musica profana, in particolare all’opera, questo condusse a modificare non soltanto l’offerta musicale ma anche l’organizzazione della professione.