Thesis (M.Sc.)--University of Hong Kong, 2004. / Includes bibliographical references (p. 56-57)

Texte remanié de: Diss.--Mainz--Johannes-Gutenberg-Universität, 1988. Titre de soutenance : Der Bautyp der Palasthotels in Deutschland im 19 und frühen 20. Jahrhundert.

Thesis (Ph. D.)--University of Illinois, 1928. / Vita. "Reprinted from Illinois studies in the social sciences, volume XIX, numbers 1-2, 1934." "Sources and bibliography": p. 230-240.

published_or_final_version / abstract / Conservation / Master / Master of Science in Conservation

Located on the island of Murano in the Venetian lagoon, the suburban palace built for the celebrated orator Camillo Trevisan and its lavish decorations were completed in the 1550s by a team of artists that included Alessandro Vittoria, Paolo Veronese, and Battista Zelotti. As only a handful of documents relating to the project have survived, scholars have sifted through the stylistic evidence to propose various attributions for the authorship of the building and its decorations, and many questions remain unresolved. Impeded by the building’s poor state of preservation and the difficulty of accessing this private property, studies have offered only partial readings of the extensive decorative program, much of which has been removed, lost, or destroyed. This investigation will therefore look at the project through a lens provided by written materials of the time, including treatises, commentaries, and published correspondence, and analyze the visual and physical evidence offered by the building itself. Eyewitness accounts and this limited selection of evidence allow us to reconstruct the original appearance of the palace and the function of its gardens, and propose how they allowed the patron Camillo to participate in the culture of suburban villeggiatura that flourished on Murano during the sixteenth century. Finally, some new information on Camillo prompts a recasting of the palace and its iconographic program within the context of the growing Venetian printing industry and the emergence of organizations like the Accademia della Fama to which the patron belonged. This study argues that, as a suburban residence built for an eloquent orator, Palazzo Trevisan and its decorative program were conceived to address an elite audience that engaged in the contemporary discussion of rhetorical structure and oratorical eloquence as models for the invention and reception of architecture, sculpture, painting, poetry, and music.

Dissertation--Berlin--Technische Universität. / Bibliogr. p. 493-522.

No description available.

Thesis (Ph. D.)--New York University, 1994. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 329-345).

No description available.

This dissertation investigates the origin of the architectural typology of the Renaissance palace as it emerged in Florence between the end of the fourteenth and the beginning of the fifteenth centuries. This was a period characterized by a dramatic shift in domestic architecture, mirroring a parallel transformation of the Florentine society under the political regime of the Albizi oligarchy. This study fills a clear gap in existing scholarship, comprehensively addressing the private palatial architecture built in Florence in the sixty years before the construction of Palazzo Medici in 1446. Three palaces and their family archives have been studied for the first time: Palazzo Alessandri (built in the 1370s), Palazzo da Uzzano-Capponi (built circa 1411), and Palazzo Busini-Bardi (built before 1425). Their patrons, all pairs of brothers, used the size and urban prominence of their new residences to assess their political and social dominance on the city. They eliminated all commercial functions from their palaces and organized the space around a central courtyard with loggias, with a multiplication of dedicated rooms for the different public and private functions of the household. These palaces are representative of a period of transition in domestic architecture that inaugurated a new, successful domestic typology that was subjected to little change in—at least—the following three centuries. Built in a period of rising individuality, these private buildings, together with the ones that followed, helped set the modern concepts of the apartment and family privacy.