Halle, Phil. Diss. v. 5. Mai 1938. - Auch im Buchh.

Tesi--Lettere--Friborgo, Svizzera, 1975--Friborgo. / Bibliogr. p. I-XVII. Glossaire p. 281-283.

Inaug.-Diss. - Halle. / Lebenslauf. "Literaturnachweis": p. 4.

Inaug.-Diss.--Marburg. / Vita. Includes bibliographical references.

Reproduction de : Thèse de doctorat : Histoire de l'art : Lyon 2 : 2006. / Thèse soutenue en co-tutelle. Titre provenant de l'écran-titre. Bibliographie et index dans le volume 2.

After the introductory chapters on Vitruvius and Sebastiano Serlio; which also discribe component books of Serlio's architectural treatise; the chapter devoted to the history and development of heating devices is included. This is followed by the main part of the diploma thesis "Architecture of Renaissance and Mannerist Fireplaces in Bohemia and Sebastiano Serlio" dealing with the analysis and comparison of fireplaces of Renaissance buildings in Bohemia. The first circle contains Prague buildings - the Royal Summer Palace at Prague Castle; however where fireplaces didn't preserve; and the Star Summer Palace in Prague Liboc which was designed by Archduke Ferdinand of Tyrol. The second circle of buildings contains the Pilsen Town Hall, the Kaceřov Chateau and the Nelahozeves Chateau. These buildings are connected by locality (the Pilsen Town Hall, the Kaceřov Chateau) and by builder Florian Griespek (the Kaceřov Chateau, the Nelahozeves Chateau). The third circle pays attention to the South Bohemian fireplaces at the Jindřichův Hradec Chateau and at the Kratochvíle Chateau of Rosenbergs.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-12-15Bitstream added on 2014-06-13T19:14:14Z : No. of bitstreams: 1 rosa_pfz_me_assis.pdf: 290059 bytes, checksum: ca2f5127616acb23f04832644b6fef07 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Una delle caratteristiche del ventesimo secolo è stata la proliferazione d’opere distopistiche che confrontano l’idealismo utopistico e altri precedenti storici con una visione pessimistica dell’attuale condizione umana. Nel panorama della letteratura italiana contemporanea, si distacca come opera di carattere distopistico 3012 L’anno del Profeta (1995), di Sebastiano Vassalli, un romanzo storico di fantascienza politica, che si passa nel futuro: nel 5000, l’autore descrive l’anno 3012, così come la sensazione di divario e disordine che avrebbe sommerso l’umanità negli prossimi tre mileni. Comunque, il presente lavoro ha l’intenzione d’esaminare la visione distopistica di Sebastiano Vassalli nel romanzo sopracitato, cercando di stabilire l’importanza dell’opera all’interno della letteratura contemporanea in genere e, in particolare, della letteratura italiana. / Uma das características do século XX foi a proliferação de obras distópicas que confrontam o idealismo utópico e outros precedentes históricos com uma visão pessimista da atual condição humana. No panorama da literatura italiana contemporânea, destaca-se como obra de caráter distópico 3012 L’anno del Profeta (1995), de Sebastiano Vassalli, romance histórico de ficção científica e política, que se passa no futuro: no ano 5000, o autor descreve o ano 3012, bem como a sensação de desvario e desordem que teria submergido a humanidade nos próximos três milênios. Dessa forma, o presente trabalho pretende examinar a visão distópica de Sebastiano Vassalli no romance citado, visando apontar a relevância da obra dentro da literatura contemporânea em geral e, particularmente, da literatura italiana.

The Sack of Rome of 1527 was the greatest disruption to the history of sixteenth-century Italian art. Sufficient attention has been paid to its ramifications in terms of the diaspora of artists from Rome that disseminated "Mannerism" throughout Europe and monumental papal projects executed in its wake, including Michelangelo's Last Judgment (1534-41), Perino del Vaga's decoration of the Sala Paolina in Castel Sant'Angelo (1545-47), and the propagation of a more disciplined use of classicism in architecture and literature by the papacy of Pope Paul III. Focus on these consequences, of a grand scale, emphasizes the impact of the event for papal history but has obscured to some extent a set of works that was directly and immediately affected by the Sack of Rome: paintings by artists who were dispersed from Rome, produced in cities of exile. These paintings by displaced artists are the subject of my dissertation. Repercussions of the Sack disrupted the practice of painters who were forced to flee the ruined city, including Polidoro da Caravaggio, Perino del Vaga, Giovanni da Udine, Giovanni Antonio Lappoli, Vincenzo Tamagni, Parmigianino, Rosso Fiorentino, and Sebastiano del Piombo. The first post-Sack paintings of three of these artists, executed for private patrons (rather than under papal or imperial direction as in the cases of Giovanni da Udine and Perino), signal the disruption of the Sack through both marked stylistic innovation and iconographic manipulation: Parmigianino's St. Roch with a Donor in Bologna, Rosso's Lamentation at the Foot of the Cross in Sansepolcro, and Sebastiano del Piombo's Nativity of the Virgin in Rome. In these altarpieces, each artist exhibits a distinct change in his creative production and disturbs the iconography of a well-established sacred subject by inserting an aberrant and conspicuous reference to Rome. Together, these examples suggest that, while the artists do not illustrate the event of the Sack itself in their works, they mark their paintings as products of a specifically post-Sack context, in which the identity of the three painters as refugees from Rome was an essential component. This study raises the problem of the roles of historical trauma and of biography in art historical investigation. Chapter One examines contemporary writings about artists and the Sack and explores the extent to which an artist's association with the event was both a deeply personal issue as well as a public aspect of identity. The cases of Polidoro, Lappoli, and Tamagni are presented here as complementary cases to the chapter studies of Parmigianino, Rosso, and Sebastiano. Chapter Two investigates Parmigianino's production of the St. Roch altarpiece in Bologna, where his new monumentality and dramatic effect combine with an incongruous inclusion of antique costume to assert his artistic lineage to and recent departure from Rome. Chapter Three studies Rosso in Sansepolcro and the ways in which his Lamentation signals his distance from Rome - both physical and artistic - through appropriation of local culture and through his inversion of the figure of the Roman soldier. Chapter Four follows Sebastiano back to Rome after exile where he resumed the project for the Nativity that had been interrupted by the Sack. His emulation of the art of his former rival, Raphael, introduces an aberrant classical component that acknowledges at once the nostalgia for pre-Sack Rome inherent in his commission and the transformation, initiated as a result of the Sack, of the legendary site of the Nativity itself, at Loreto.

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.