This dissertation proposes to study how the commission and design of minor palaces contribute to the understanding of architectural practice in early 16th century Italy. The particular nature of the small urban palace as a reduced and less expensive version of larger palaces and its recurrent nature in the practice of architects malte this type of building very important in illustrating the changes in the profession at that time. Minor palace commissions also show architects dealing with a growing private market for the exercise of the profession: in Rome, the architect's clients belong to a lesser nobility composed of merchants and professional men (doctors, lawyers, notaries, artists, diplomats, bureaucrats) mostly connected to the Papal civil service. Moreover, the planning of these buildings manifest the increasing specialization of the profession at that time, when expertise in Ancient Roman architecture and the mastering of new instruments of representation (orthogonal projection, perspective, sketches) were added to the usual technical and artistic skills required of an architect. The dissertation focus on how architects define a planning procedure to cope with the new set of circumstances related to the commission of a minor palace (budget, site, program, recurrence). The design of a palace comprised different functions arranged in horizontal sequence with a few vertical connections; therefore, drawings of plans were the central instrument of their design. The dissertation is primarily based on the study of original plans that illustrate the working methods of 16th century Italian architects. Three of them were chosen (Antonio da Sangallo the Younger, Baldassare Peruzzi and Andrea Palladio) based on their activity as designers of minor palaces and the existence of a substantial amount of plans for this kind of building by them. A second part of this work presents a general view of the working procedures employed by these three architects in commissions of minor palaces. Through the study of their drawings and planning procedures, this dissertation intends to illustrate the establishment of the modern sense of architectural practice in 16th century Italy as shown through the design of minor palaces.

Submitted by Francisco Costa (xcosta@ufba.br) on 2013-06-03T13:45:44Z No. of bitstreams: 1 A CIDADE E O PENSAMENTO POLÍTICO DE LEON BATTISTA ALBERTI NO DE RE AEDIFICATORIA E OUTROS ESCRITO.pdf: 12031214 bytes, checksum: 51272e74a44ef23a3b8f9d19f51ae7ed (MD5) / Approved for entry into archive by Edilene Costa(ec@ufba.br) on 2013-06-19T03:32:42Z (GMT) No. of bitstreams: 1 A CIDADE E O PENSAMENTO POLÍTICO DE LEON BATTISTA ALBERTI NO DE RE AEDIFICATORIA E OUTROS ESCRITO.pdf: 12031214 bytes, checksum: 51272e74a44ef23a3b8f9d19f51ae7ed (MD5) / Made available in DSpace on 2013-06-19T03:32:42Z (GMT). No. of bitstreams: 1 A CIDADE E O PENSAMENTO POLÍTICO DE LEON BATTISTA ALBERTI NO DE RE AEDIFICATORIA E OUTROS ESCRITO.pdf: 12031214 bytes, checksum: 51272e74a44ef23a3b8f9d19f51ae7ed (MD5) / Considerado o “Vitrúvio Florentino”, Leon Battista Alberti legou à Modernidade extensa obra de caráter filosófico, político e técnico, em que se destaca o De Re Ædificatoria, ou o Tratado de Arquitetura, como ficou mais conhecido. Sob a influência da Antiguidade Clássica, especialmente das obras de Vitrúvio, Platão, Aristóteles e Cícero, o De Re Ædificatoria constituiu-se no marco fundamental da arquitetura na Idade Moderna. Objetiva-se com este trabalho analisar o pensamento arquitetônico e urbanístico de Alberti assim como suas implicações políticas no âmbito do humanismo cívico do século XV. Foram utilizados para o exame da obra os conceitos de representações sociais, de práticas culturais e de identidade/alteridade. Em termos metodológicos, a referência é o Estruturalismo genético de Lucien Goldmann, que orientou a organização do trabalho em três capítulos, sendo o primeiro uma exposição do contexto histórico no qual Alberti e sua obra tiveram origem; o segundo, uma apresentação da tradição literária que fundamentava as discussões políticas do humanismo da época; e o terceiro, uma análise do discurso apresentado por ele no De Re Ædificatoria. Estas partes articuladas permitem verificar que o discurso albertiano prestou importante contribuição à arquitetura, ao urbanismo e à filosofia política do Mundo Moderno. / Salvador

This dissertation proposes to study how the commission and design of minor palaces contribute to the understanding of architectural practice in early 16th century Italy. The particular nature of the small urban palace as a reduced and less expensive version of larger palaces and its recurrent nature in the practice of architects malte this type of building very important in illustrating the changes in the profession at that time. Minor palace commissions also show architects dealing with a growing private market for the exercise of the profession: in Rome, the architect's clients belong to a lesser nobility composed of merchants and professional men (doctors, lawyers, notaries, artists, diplomats, bureaucrats) mostly connected to the Papal civil service. Moreover, the planning of these buildings manifest the increasing specialization of the profession at that time, when expertise in Ancient Roman architecture and the mastering of new instruments of representation (orthogonal projection, perspective, sketches) were added to the usual technical and artistic skills required of an architect. The dissertation focus on how architects define a planning procedure to cope with the new set of circumstances related to the commission of a minor palace (budget, site, program, recurrence). The design of a palace comprised different functions arranged in horizontal sequence with a few vertical connections; therefore, drawings of plans were the central instrument of their design. The dissertation is primarily based on the study of original plans that illustrate the working methods of 16th century Italian architects. Three of them were chosen (Antonio da Sangallo the Younger, Baldassare Peruzzi and Andrea Palladio) based on their activity as designers of minor palaces and the existence of a substantial amount of plans for this kind of building by them. A second part of this work presents a general view of the working procedures employed by these three architects in commissions of minor palaces. Through the study of their drawings and planning procedures, this dissertation intends to illustrate the establishment of the modern sense of architectural practice in 16th century Italy as shown through the design of minor palaces.

This dissertation proposes to study how the commission and design of minor palaces contribute to the understanding of architectural practice in early 16th century Italy. The particular nature of the small urban palace as a reduced and less expensive version of larger palaces and its recurrent nature in the practice of architects malte this type of building very important in illustrating the changes in the profession at that time. Minor palace commissions also show architects dealing with a growing private market for the exercise of the profession: in Rome, the architect's clients belong to a lesser nobility composed of merchants and professional men (doctors, lawyers, notaries, artists, diplomats, bureaucrats) mostly connected to the Papal civil service. Moreover, the planning of these buildings manifest the increasing specialization of the profession at that time, when expertise in Ancient Roman architecture and the mastering of new instruments of representation (orthogonal projection, perspective, sketches) were added to the usual technical and artistic skills required of an architect. The dissertation focus on how architects define a planning procedure to cope with the new set of circumstances related to the commission of a minor palace (budget, site, program, recurrence). The design of a palace comprised different functions arranged in horizontal sequence with a few vertical connections; therefore, drawings of plans were the central instrument of their design. The dissertation is primarily based on the study of original plans that illustrate the working methods of 16th century Italian architects. Three of them were chosen (Antonio da Sangallo the Younger, Baldassare Peruzzi and Andrea Palladio) based on their activity as designers of minor palaces and the existence of a substantial amount of plans for this kind of building by them. A second part of this work presents a general view of the working procedures employed by these three architects in commissions of minor palaces. Through the study of their drawings and planning procedures, this dissertation intends to illustrate the establishment of the modern sense of architectural practice in 16th century Italy as shown through the design of minor palaces.

[pt] Análise dos ideais de vida do comediógrafo Angelo Beolco e do patrício Alvise Cornaro à luz dos juízos ético-práticos recomendados pelos poetas e filósofos da Tradição Clássica. A investigação se concentra na emergência de um novo amor pela vida que se manifesta no compromisso com os direitos e autonomia da vida terrena. As ideais e valores clássicos, introduzidos na vida cultural mediante os estudos humanísticos, se combinam com novas formas de sentir e pensar, próprias do período do Renascimento Italiano. Assim, a presente análise investiga o contexto cultural mais próximo de Beolco e Cornaro: a campagna vêneta e as moradas patrícias de Veneza. / [it] L analisi dei ideali di vita del commediografo Angelo Beolco e del patrizio Alvise Cornaro alla luce dei giudizi etico-pratici raccomandati dai poeti e filosofi antichi. L indagine s incentra nello sviluppo di um nuovo amore per la vita che si scopre nel impegno con i diritti e l autonomia della vita terrena. Le idee e i valori classici, introdotti nella vita cultura attraverso gli studia humanitatis, si sono metti d accordo con i nuovi modi di sentire e pensare del Rinascimento Italiano. Quindi, l analisi si dedica anche alla cultura più vicina di Beolco e Cornaro: la campagna veneta e i palazzi dei patrizi veneziani.

A presente pesquisa pretende, através da realização de um estudo dos projetos de Andrea Palladio para palácios na cidade de Vicenza, identificar na obra do arquiteto as possíveis implicações advindas das viagens por ele feitas à cidade de Roma. A pesquisa também procura aprofundar o entendimento do processo de projeto do arquiteto, entender quais são as diferenças e as semelhanças de composição entre os projetos dos palácios, entender de que maneira Palladio vê e compõe a cidade, qual a sua relação com um traçado urbano preexistente, já configurado, no qual os edifícios devem ser inseridos. / This research intends to, through the study of Andrea Palladio\'s palaces projects at Vicenza, identify in the architect\'s work, possible implications which came form his trips to Rome. The research also tries to deepen the comprehension of the process of the architect\'s project; to understand compound\'s differences and similarities between the projects of the palaces; to understand how Palladio sees and compounds the city; the relationship between Palladio and a pre-existent urban plan, already shaped, in which buildings must be introduced.

Este trabalho filosófico tem por escopo explicitar a influência do autor renascentista Leão Hebreu, com base na obra Dialoghi d\'amore, sobre o pensador seiscentista Espinosa, mais particularmente o conceito de amor e sua relação com o conhecimento no Breve Tratado, obra espinosana que esboça, ainda que minimamente, a estrutura que se solidificará posteriormente na Ética. A relação entre estes dois autores, além do problema sobre a natureza do amor como paixão da beatitude, implica também reconhecer a mudança entre dois ethos filosóficos distintos: Renascimento e Modernidade. Se um pensador renascentista influencia um moderno, a negação dos seus antecessores feita pelos modernos pode não ser, pois, uma crítica aniquiladora, capaz de apagar todos os resquícios de um modo de pensar supostamente ultrapassado. Daí se indagar: o que há de moderno na renascença e o que há de renascentista na modernidade? Na resolução desta indagação de dupla dimensão, justifica-se o breve excurso pelo pensamento cartesiano e a proposição da concepção filosófica de leitor como um dos traços distintivos de fundação da filosofia moderna. O pensador moderno parece ser, antes de tudo, um leitor, o bom leitor, ou nos termos de Espinosa: o leitor-filósofo. / This philosophical work has as a scope to make explicit the influence of the renaissance author Leo the Hebrew, based on the work Dialoghi d\'amore, upon the 17th century thinker Spinoza, particularly the concept of love and its relation with knowledge in the Short Treatise, Spinozian work that outlines, even if minimally, the structure that will be later solidified in the Ethics. The relation between these two authors, besides the problem of the nature of love as passion and beatitude, implicates also to recognize the change between two distinct philosophical ethoses: Renaissance and Modernity. If a renaissance thinker influences a modern one, the negation of its predecessor by moderns cannot be, though, an annihilating critique, able to delete all the remnants of a supposedly outdated way of thinking. Therefore the inquiry: what is there of modern in Renaissance and what is there of renaissance in Modernity? The resolution of this bi-dimensional question justifies the short passage through the Cartesian thought and the proposition of the philosophical concept of reader as one of the distinctive features of the foundation of modern philosophy. The modern thinker seems to be, first of all, a reader, a good one, or in terms of Spinoza: the philosopher-reader.

A presente pesquisa de mestrado consiste na tradução da obra De Voluptate de Lorenzo Valla (1407-1457), publicada pela primeira vez em 1431. Nesta obra, alvo de inúmeras polêmicas entre os pensadores humanistas da Europa do Renascimento, Valla inicia discussão que prosseguirá na obra De Libero Arbítrio (1439) sobre os conceitos de honestas e voluptas no debate entre epicuristas e estóicos, opondo-se às teses de Boécio (480-524) inscritas nos livros de I a IV da Consolação da Filosofia (século VI). Para Valla e os demais humanistas, segundo corrente bibliográfica inaugurada na década de 50 por Hans Baron, Eugênio Garin e Paul O. Kristeller, estes temas estavam intimamente relacionados ao seu modo de pensar e agir sobre a vida civil no contexto das repúblicas italianas do quattrocento, onde encontraram espaço para forjar uma cosmovisão autêntica dentro da historiografia denominada de Humanismo. / The present research consists of a translation of Lorenzo Vallas (1407-1457) De Voluptate, published for the first time in 1431. In this work which suffered many attacks from humanistic thinkers in Renaissance Europe Valla starts a discussion, carried on De Libero Arbitrio (1439), about the epicurean and stoic debate on the concepts of honestas and voluptas, where he opposes Boethiuss (480-524) theses as expressed on books I and IV of his Consolation of Philosophy (6th century). A current of historians founded in the 1950s by Hans Baron, Eugênio Garin and Paul O. Kristeller states that these themes expressed by Valla and others humanistic thinkers were intimately related to the way of thinking and the civil life in quattrocento Italian Republics, where they found a proper place to forge an authentic worldview named by the Historians as Humanism.

Em As Vidas dos mais ilustres pintores, escultores e arquitetos, Giorgio Vasari afirma que Michelangelo supera e vence a todos os artífices antigos e modernos. Este trabalho investiga como Michelangelo alia a virtude de conhecer as regras das artes antigas e a de alçar-se para além delas, a partir do que escreve Vasari acerca do artífice e de sua pintura, escultura e arquitetura, unidas como artes do desenho. As preceptivas de que trata Vasari delimitam o campo para uma análise tanto da observância quanto das variações que Michelangelo insere nas regras de artes da Antiguidade. O antigo, colocado em um novo lugar, abre caminhos para os artífices de todas as gerações posteriores, pois Michelangelo afrouxa os laços que os fazia pintar, esculpir e arquitetar dentro dos estritos limites da tradição greco-romana. / In Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari claims that Michelangelo surpasses and triumphs at all the ancient and modern artificers. This research investigates the way Michelangelo associates the virtue of knowing the ancient art rules and the virtue of going beyond them, according to what Vasari writes about the artificer and his painting, sculpture and architecture, gathering as the arts of design. The preceptives which Vasari deals with delimit the field of the analysis of the observance and of the variations Michelangelo inserts in the art rules from Antiquity. The ancient, in a new place, opens ways to the artificers of all posterior generations, since Michelangelo looses the ties which made them to paint, to sculpt and to architect under the strict limits of the Greek-Roman tradition.

Made available in DSpace on 2016-04-27T19:30:42Z (GMT). No. of bitstreams: 1 Geraldo Barbosa Neto.pdf: 3327167 bytes, checksum: 30eccb6f5981e8dac46084aecff2f901 (MD5) Previous issue date: 2012-11-26 / This research aims to elucidate Abraham Zacuto (1452-1515) through his astrological treatises, thinking critically about the image of astronomer and mathematician who historiography attributed to him just in astronomical tables of his Almanach Perpetuum, and looking for to place him in an experimental science that coexisted with the studies of astrology. Among the studies on Zacuto, the predominant theory in which he was part of a joint mathematicians who, under the patronage of Portuguese monarchs, seeking solutions for navigation in the South Atlantic. It relied on Almanach Perpetuum and in their calculations and tabulations of solar motion. There are a large number of folios this treaty that did not support this theory and other works of Zacuto not aroused the interest of researchers. This research fills this gap. The intellectual repertoire of Abraham Zacuto is examined under the assumption that he expresses in his treatises a different knowledge of Portuguese nautical science. The content of his sciencia de la astronomia it covered an ancient natural philosophy, a medical practice mixed with astrology, a cosmology supported by astrological predictions and Kabbalistic literature. There is communication between the studies of Zacuto. Their tables supported the interpretation of earthly phenomena by the stars. An old picture of the universe, adorned by the cabalistic propositions structured it / Esta pesquisa objetiva elucidar Abraham Zacuto (1452-1515) através de seus tratados astrológicos, refletindo criticamente sobre a imagem de astrônomo e matemático que a historiografia lhe atribuiu por via das tábuas astronômicas de seu Almanach Perpetuum, buscando situá-lo na época em que a nova ciência experimental do renascimento ainda convivia com os estudos da astrologia. Entre os estudos realizados sobre Zacuto, predominou a teoria na qual ele integrava uma junta de matemáticos que, sob o mecenato dos monarcas portugueses, procurava soluções para a navegação no Atlântico Sul. Ela se sustentava no Almanach Perpetuum, destacando seus cálculos e suas tabulações do movimento solar. O grande número de fólios desse tratado que não confirmavam essa teoria e as demais obras de Zacuto não despertaram o interesse dos pesquisadores. Esta pesquisa preenche essa lacuna. O repertório intelectual de Abraham Zacuto é examinado sob a premissa de que no conjunto de seus tratados ganharia expressão um conhecimento diferente da ciência náutica portuguesa. O conteúdo de sua sciencia de la astronomia abrangia uma filosofia natural milenar, uma prática médica misturada à astrologia, uma cosmologia corroborada pela literatura cabalística e prognósticos astrológicos. As obras de Abraham Zacuto se comunicavam. Suas tábuas astronômicas sustentavam uma interpretação dos fenômenos terrenos pelos astros. Uma imagem do universo antiga, adornada por proposições cabalísticas as estruturava