A Dissertation submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy, 1991 / Although the perception of the design of Michelangelo's Last Judgment as dependent upon a basically circular composition around the figure of Christ has generally been observed in the literature, no sailsfactory explanation of this has been presented. In the following hypothesis, a cosmological interpretation of Michelangelo's Last Judgment proposes new sources for the circular design of the fresco around a central Apollonian Sun-Christ. After. an outline of the basic nature of the problem, an examination of earlier examples of the Last Judgment demonstrates the cosmological associations of the traditional iconography of the subject, primarily related to the hierarchical implications! of the 'flat-earth theory,' which places Heaven above and Hell beneath the earth's surface. Close formal analysis of Michelangelo's own version of the Last Judgment, which emphasizes the innovative aspects of its organisation, is then followed by an assessment of various existing interpretations of the work. In then examining the type of Sources which appear likely to have contributed to the final programme of the work, different areas of religious, literary and philosophical material are brought under consideration. In order to resolve the meaning of the fresco's iconography and composition, the influences upon Michelangelo of the Catholic religion and Reform thought, of the writings of Dante, and of Florentine Neoplatonism have been examined in an entirely new way, from a cosmologicalpoint of view, which brings to light their common emphasis on the Sun as a eymbol of the Deity. A new area of potential source material, that of contemporary scientific cosmology, has also been considered. Prevailing knowledge of Copernicus' theory of the Sun-centred universe, hitherto dismissed as a possible direct influence by renowned writers like Charles de Tolnay, on the grounds of chronology, is specifically discussed and found to be securely documented in Vatican circles at the time of the commission. Thus the sources finally proposed for the overall theme of Sun-symbolism and Cosmologyin the fresco are found to 'be dependent upon the common. ground shared between the Catholic Reformation revival of the traditional Christian analogy between the Deity and the Sun, the Neoplatonic cult of Sun-symholism, literary sources in Dante and the scientific theory of heliocentricity, as developed by Copernicus. Against this background of the History of Ideas in the Renaissance period, consideration of art historical methods leads to the suggestion of a newly proposed Biblical source for the fresco and, finally)l discussion of the deductive method of art historical intterpretation suggests the broader implications of the hypothesls, Ii both for the life and work at Michelangelo himself as well as for the/! sixteenth-century 'context of the fresco's creation. / MT2017

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My project examines the pictorial and theoretical dimensions of the concept of melancholy as they were understood, expressed, and, most importantly, figured by Renaissance artists. By focusing on the figural pose traditionally associated with the melancholic state and humor, it presents a hitherto unexplored connection between Northern and Southern Europe, considering the different ways in which artists self-identified as melancholics and expressed this understanding in their art. In both Italy and the North, the basic figural structure is appropriated for somewhat different ends. The relationship of the isolated figure to its cultural context varies, either declaring a special creative status, responsive to a higher inspiration, or setting the figure apart as an outsider with special insight into the follies of this lower world. Chapter One serves as an introduction to the pose of melancholy, its historical weight and the visual meaning carried by the isolated, brooding figure, generally wth lowered head supported by a hand and often with legs crossed. This is the figure epitomized in Dürer's Melancolia I. Chapter Two considers Michelangelo as the exemplar of a melancholic and addresses the cultural and personal identification of him as such. The relevance of the melancholy pose to the identification of the artist in sixteenth-century Italy is demonstrated by Raphael's depiction of the melancholy Heraclitus in The School of Athens, which I accept as portrait of Michelangelo; articulated in his poetry, the artist's self-identification as melancholic is visually declared in his Last Judgment. Chapter Three addresses the works of Hieronymus Bosch, in whose art the figure of melancholy runs as something of a leitmotif, although it has remained generally unobserved; the figure serves as a running comment on the thematic concerns of the paintings--such as The Garden of Earthly Delights and Death and the Miser--at once participant and outsider. Chapter Four explores the role of melancholics in specific paintings by Bruegel, especially The Triumph of Death, and the relationship between melancholics and fools in the artist's oeuvre. Chapter Five has at its focus Titian's Flaying of Marsyas and the artist's self-inclusion in the guise of the melancholy Midas. As a conclusion, this chapter reflects on the personal significance of melancholy for Renaissance artists.

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In early 1505, at twenty-nine years of age, Michelangelo began work on a massive tomb for Pope Julius II. The formal, temporal, and constructional intertwinings of this project are plumbed to create the foundation of this text. Finding its only full manifestation in the narratives of Vasari and Condivi, this tomb was the site of Michelangelo's first engagement with the making of architecture. The execution of this project would go on to intermittently occupy nearly half of Michelangelo's lifetime, making it a pivotal and paradigmatic work in the understanding of his opera. Explored as an embodied architectural treatise, the tomb reveals Michelangelo's dynamic process of creative making. Problematic issues in the prevailing Twentieth Century analyses and reconstructions of the tomb are called into question and alternative approaches to establish a deeper understanding of the project are proposed. Conjectures on the relevance of history, the hegemony and limits of analysis, the physical manifestation of ideas, what it means to "finish" a project, and what constitutes a "work," are projected from the foundations of the tomb onto the making of architecture today.

This thesis is a comparative study between Michelangelo Buonarroti's ceiling frescoes in the Sistine Chapel and John Milton's Paradise Lost. The parallels discussed arise out of the Renaissance humanism shared by both of these artists and expressed their works of art. Beginning with Michelangelo, I will establish the relation of Renaissance humanism to the Sistine Chapel ceiling decoration and define Michelangelo's specific conception of the theories associated with this movement. Subsequently, the same critical approach will be applied to Milton's Paradise Lost, which will be revealed to be notably humanistic despite its positioning at the end of the Renaissance in a Protestant country. After exploring the individual works of Michelangelo and Milton separately, I will then consider the views shared by these two in their treatments of the myth of the Fall of humanity: both artists believe in the ultimate dignity and freedom of humankind, and portray both Adam and Eve as free and autonomous individuals; the Sistine ceiling frescoes and Paradise Lost likewise emphasize the regenerative rather than the damning aspect of the Fall of humanity, expressing the humanistic insistence on the value of human experience; finally, the humanistic notion that art, both literary and visual, instructs its audience while entertaining it, provides the governing artistic theory behind the works of both Michelangelo and Milton. Although the commonalities between Michelangelo's Sistine ceiling and Milton's Paradise Lost are extensive, I will not attempt to claim that Milton was specifically influenced by Michelangelo's frescoes. However, my study will reveal the potential for interart analogies to provide greater insight into the individual works of art and literature being analysed.

A presente dissertação procura analisar e discutir as obras de reabilitação de edificações existentes no período do Renascimento Italiano, compreendido entre os séculos XV e XVI. Nosso estudo buscou este período histórico por se tratar dos primórdios deste tipo de intervenção praticadas de forma consciente e com conhecimento histórico, além do fato de o confronto entre a situação existente e as novas inserções constituírem um rico universo de estudo das transformações sociais e arquitetônicas do período. Através da análise de obras de três arquitetos (Leon Battista Alberti, Michelangelo Buonarroti e Andrea Palladio), procuramos: entender como se operavam tais intervenções, reconstituindo a situação existente e as novas inserções a partir da historiografia do projeto e do contexto histórico que o cerca; identificar as interpretações de uma determinada sociedade sobre seus edifícios em épocas distintas; e buscar posturas e exemplos de projetos para nosso presente.

A presente dissertação procura analisar e discutir as obras de reabilitação de edificações existentes no período do Renascimento Italiano, compreendido entre os séculos XV e XVI. Nosso estudo buscou este período histórico por se tratar dos primórdios deste tipo de intervenção praticadas de forma consciente e com conhecimento histórico, além do fato de o confronto entre a situação existente e as novas inserções constituírem um rico universo de estudo das transformações sociais e arquitetônicas do período. Através da análise de obras de três arquitetos (Leon Battista Alberti, Michelangelo Buonarroti e Andrea Palladio), procuramos: entender como se operavam tais intervenções, reconstituindo a situação existente e as novas inserções a partir da historiografia do projeto e do contexto histórico que o cerca; identificar as interpretações de uma determinada sociedade sobre seus edifícios em épocas distintas; e buscar posturas e exemplos de projetos para nosso presente.

A presente dissertação procura analisar e discutir as obras de reabilitação de edificações existentes no período do Renascimento Italiano, compreendido entre os séculos XV e XVI. Nosso estudo buscou este período histórico por se tratar dos primórdios deste tipo de intervenção praticadas de forma consciente e com conhecimento histórico, além do fato de o confronto entre a situação existente e as novas inserções constituírem um rico universo de estudo das transformações sociais e arquitetônicas do período. Através da análise de obras de três arquitetos (Leon Battista Alberti, Michelangelo Buonarroti e Andrea Palladio), procuramos: entender como se operavam tais intervenções, reconstituindo a situação existente e as novas inserções a partir da historiografia do projeto e do contexto histórico que o cerca; identificar as interpretações de uma determinada sociedade sobre seus edifícios em épocas distintas; e buscar posturas e exemplos de projetos para nosso presente.

Orientador: Luiz César Marques Filho / Acompanha volume das figuras / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T01:20:08Z (GMT). No. of bitstreams: 1 Gomes_Waldemar_D.pdf: 14480882 bytes, checksum: c4ca4dbc7e0d446d6cc4b910a9597a3e (MD5) Previous issue date: 2011 / Resumo: O sepulcro do Papa Júlio II foi finalizado por Michelangelo em 1545 em San Pietro in Vincoli, em Roma. O projeto final contou com 7 esculturas: 4 do artista e 3 de seus discípulos. Alguns estudiosos têm considerado que ele reuniu esculturas feitas em diversos momentos para se ver livre de uma encomenda que durou 40 anos. As recentes abordagens do significado das esculturas da Vida Ativa e da Vida Contemplativa apontam para a existência de um programa iconográfico definido. Antonio Forcellino afirma que Michelangelo se inspirou no conteúdo do livro Il Beneficio di Cristo para idealizar essas esculturas. Enrico Guidoni diz que o mestre se baseou nas iniciais de Vittoria Colonna e Faustina Mancini para concebê-las. Para Marina Gandini as duas alegorias femininas representam as formas de vida de Moisés, enquanto Maria Forcellino entende que Michelangelo teria tomado Maria Madalena e Santa Caterina como modelo ao criá-las. Quando elaborou essas esculturas, Michelangelo mantinha estreitos laços de amizade com alguns integrantes do movimento reformador italiano e comungava dos mesmos preceitos doutrinários das correntes religiosas dos valdesiani e dos "spirituali" do Circolo di Viterbo. Ao introduzir aquelas duas alegorias no monumento, o artista teria perenizado naqueles mármores a relação entre fé e obras - simbolização daquelas duas formas de vida no mundo cristão -, no tocante à justificação, tal qual essa questão era vista por aqueles reformadores, ou seja, de que apenas a fé detinha o mérito de justificar o pecador diante de Deus, sendo essa fé operadora das boas obras. Ao concebê-las o mestre não teria se baseado em qualquer escrito específico e sim em suas próprias reflexões e conversas mantidas com os interlocutores daquelas correntes sobre a questão da justificação / Abstract: The sepulcher of the pope Jules II was finished by Michelangelo in 1545 at the Church of Saint Peter in Chains, in Rome. The final project counted on 7 sculptures: 4 of them by Michelangelo?s own hands and 3 sculptures made by his assistents. Some Scholars have considered that him assembled sculptures made in different moments of his life to be free of an order that lasted 40 years. The recent approaches on the meaning of the sculptures of Activ Life and Contemplative Life point to the existence of an iconographic programme previously defined by the master. Antonio Forcellino says Michelangelo was inspired by the content of the little book Il Beneficio di Cristo to idealize these sculptures. Enrico Guidoni tells that the master had based on the first letters of the Vittoria Colonna and Faustina Mancini?s names to creat them. To Marina Gandini these sculptures are the two forms of the lives of Moses and for Maria Forcellino Michelangelo took Mary Magdalene and Saint Catherine as models to make them. When he worked on these sculptures Michelangelo had narrow ties of friendship with some persons of the italian reformed movement and communicated some doctrinaire ideals of the religious corrents of the valdesiani and the "spirituali" of the Circle of Viterbo. By introducing that two alegories in that sepulchral monument the artist has immortalized on that marbles the relationship between faith and good works - symbolizations of that two forms of life in the Cristian world -, concerning the justification question, like this question was seen by those reformers, that is to say, that only the faith had the merit to justify the sinner before God, being the good works operated by the faith. In creating them the master did not base in any specific written, but in both his own reflections and the talks he had with the interlocuters of those religious groups on the justification question / Doutorado / Historia da Arte / Doutor em História