In recent years, urban historians have established that the period from 1560 to 1660 was a key era for London’s development from a relatively small European urban centre into a large dynamic global capital. This dissertation attempts to intervene in London scholarship by drawing attention to the economic, political, religious and – most significantly – cultural importance of clothing in the city in this period. Using material, visual, literary and archival sources, it explores the ways clothing contributed to the development of early modern London and, in turn, how London’s rapid growth changed the making, wearing, and meaning of clothing. This dissertation places material evidence at the fore using extant objects from museum collections. It also employs the new methodology of reconstruction to explore craft, ingenuity, and emotional self-expression in dress. As clothing infused economic and social life, it draws upon on a wide range of evidence, from London guild records, to portraits, travel accounts, personal letters, diaries and account books, plays, sermons and poems. With a focus on urban experience, this dissertation discusses not only elite luxury consumption, but also investigates the wardrobes of guildsmen, immigrant craftspeople, apprentices and maids – asking what they wore, what they thought about what they were wearing, and how they used clothing to navigate through the city during this time of rapid change. A chapter on the ‘London Look’ shows how inhabitants and visitors documented the visual and material styles of the city. Exploring the collaborative processes by which clothing was made, worn and appreciated by craftspeople and consumers, a chapter on making and buying clothing demonstrates how clothes were made and charts the emergence of a new consumer culture. Existing scholarship on sumptuary laws is challenged in a chapter that demonstrates how laws were enforced in the city while also integrating extant objects into the discussion for the first time. Finally, using a sample of London wills, the dissertation shows how Londoners owned, bequeathed and inherited clothing, and imbued it with emotional meaning. In sum, this dissertation aims to integrate scholarship on early modern London with material culture studies, and to promote the new methodology of reconstruction for historians. In revealing how London was conceived during a time of rapid change, clothing can be used as a lens through which to explore wider discourse about a city that by 1657 was being described as ‘Londinopolis.’ Clothing helped to make London into a wealthy, dynamic, and diverse urban centre, and these changes dramatically shaped the way clothing was made and appreciated.

Cette thèse décrit la langue du seizième siècle, à partir d’un corpus de textes français, du point de vue de l’adverbialité.La détermination d’un corpus de textes en phrase ponctuées syntaxiquement, a demandé de longs questionnements sur la phrase, la ponctuation, et l’histoire des textes. La question de l'adverbialité a été choisie comme critère du point de vue de la sémantique, de la morphologie et de la syntaxe. Un relevé des faits adverbiaux a construit l'hypothèse que l'adverbialité, en phrase, au seizième siècle, puisse se jouer, parfois simultanément, sur les différents niveaux de la hiérarchie syntaxique, qui forment autant de lieux possibles à l'adverbialité, ce qu'a confirmé un travail de délimitation, en phrase, d'un territoire adverbial. Les faits adverbiaux relevés dans le corpus se sont révélés de morphologies très variées. La multiplicité de ces possibilités a donné matière à un questionnement que sous-tendait la question du lieu où ils apparaissaient, dans la hiérarchie syntaxique. Les raisons qui fondaient l’analyse et l’adverbialité, alors qu’elles semblaient propres à chaque fait adverbial, se sont révélées également et logiquement présentes d’un fait de discours adverbial à l’autre, d'une morphologie à l'autre, ce qui nous a conduite à les penser comme le dénominateur commun nécessaire à l’entier des faits adverbiaux. Ce travail propose de repenser comme logiquement unies ces perspectives d'étude, si éloignés soient les résultats qu’elles font apparaître dans la langue du seizième siècle, afin de retrouver un dénominateur commun à l’ensemble des adverbe, et de concevoir comme l’union logique qui construit, en pensée, l'ensemble des faits adverbiaux. / This thesis describes sixteenth-century language, based on a corpus of French texts, from an adverbial perspective.The establishment of a textual corpus organized in sentences, according to syntax and to punctuation required interrogating the sentence, the punctuation and the history of the texts. The question of the adverbs was chosen as the criteria for a semantic, morphologic, and syntactic perspective. A survey of adverbial occurrences led to the hypothesis that adverbality, in the sentence, during the sixteenth century, could function, sometimes simultaneously, on different levels of syntactic hierarchy, levels that likewise present possibilities for adverbality, which was confirmed by a process of circumscription of an adverbial territory within the sentence. The adverbial occurrences taken from the corpus showed quite variable morphology. These many possibilities gave rise to a first stage of questioning that arose from the question of where in the syntactical hierarchy these occurrences were found. Although the reasons underpinning this analysis seemed dependent upon each adverbial occurrence, they proved in fact to be equally and logically present from one occurrence to another and from one morphology to another. This led us to think that a common denominator might be necessary for the entirety of adverbial occurrences. We propose a reconceptualization of these perspectives as logically connected, however disparate the results are as they appear in the language of the sixteenth-century. This leaves us with a reason to continue searching for a common denominator for the adverb and to conceive a logical union that constructs a total entity of adverbial occurrences.

The book world of sixteenth-century England was heavily focused on London. London's publishers wholly dominated the production of books, and with Oxford and Cambridge the booksellers of the capital also played the largest role in the supplying and distribution of books imported from Continental Europe. Nevertheless, by the end of the sixteenth century a considerable network of booksellers had been established in England's provincial towns. This dissertation uses scattered surviving evidence from book lists and inventories to investigate the development and character of provincial bookselling in the period between 1520 and 1640. It draws on information from most of England's larger cities, including York, Norwich and Exeter, as well as much smaller places, such as Kirkby Lonsdale and Ormskirk. It demonstrates that, despite the competition from the metropolis, local booksellers played an important role in supplying customers with a considerable range and variety of books, and that these bookshops became larger and more ambitious in their services to customers through this period. The result should be a significant contribution to understanding the book world of early modern England. The dissertation is accompanied by an appendix, listing and identifying the books documented in nine separate lists, each of which, where possible, has been matched to surviving editions.

Cette thèse porte sur l’éloquence sacrée telle que le prédicateur franciscain Francesco Panigarola, l’une des figures majeures de l’art oratoire post-tridentin, la conçut en tant que rhéteur et la pratiqua du haut de la chaire. De son œuvre nous avons retenu les textes en italien : d’une part les écrits polémiques, les traités rhétoriques et pédagogiques, où s’exprime la réflexion de Panigarola sur le statut et les finalités de l’éloquence sacrée, d’autre part ceux qui attestent des procédés oratoires mis en œuvre dans l’exercice de la prédication. L’étude associe à la fois une approche chronologique, centrée sur le profil biographique, et une approche systématique concernant quelques grandes questions rhétoriques et stylistiques. L’objectif est de restituer l’orateur franciscain à la culture de son temps et de mettre en lumière certaines constantes de son style oratoire asian, notamment le statut privilégié accordé aux ressources de l’imagination visuelle. La première partie suit les étapes de la formation humaniste et religieuse de Panigarola ; la présentation de quelques documents inédits permet de jeter une lumière nouvelle sur ses activités de controversiste et de diplomate. La seconde partie analyse la théorie du discours oratoire sacré qu’il développe dans ses traités rhétoriques à l’usage des prédicateurs : Il Predicatore, les Regole per far la memoria locale et le Modo di comporre una predica. L’étude vise à mettre en évidence l’originalité des initiatives stylistiques et des procédés rythmiques, lexicaux et morphosyntaxiques de Panigarola, qui marquèrent l’entrée de la prédication dans le domaine de la littérature italienne. La dernière partie est consacrée à la définition de la doctrine panigarolienne de l’image ainsi qu’à la description des stratégies visuelles et auditives déployées dans ses sermons. Comment le franciscain réussissait-il à « faire voir », par les mots et à travers eux, les concepts qu’il voulait transmettre ? Quelles étaient les ressources du style qu’il déployait pour rendre son discours « visualisable » ? Ces questions ont été examinées du point de vue de l’enargeia « visuelle » et « sonore », et des procédés techniques dont elles sont le fruit. / Our theme in this thesis is sacred eloquence, such as that of the Franciscan preacher Francesco Panigarola, a major figure of post tridentine oratory art, envisaged it as a rhetor and practised it from his pulpit. We have selected texts in Italian from his works: on the one hand, controversial writings, rhetorical and pedagogical treatises, where Panigarola reflects upon the status and finalities of sacred eloquence, and on the other hand, those which bear witness of the oratorical procedures utilized for sermons. Our study links, at one and the same time, a chronological approach, focussing on the biographical profile and a systematic approach to a few major rhetorical and stylistic questions. Our objective is to replace the Franciscan orator within the culture of his times and throw light on certain recurrent themes in his asianic style, particularly the pre-eminent status granted to the resources of visual imagination. Our first part takes us through the stages of Panigarola’s humanistic and religious formation; the presentation of a few previously unpublished documents sheds new light on his activities as a controversialist and diplomat. The second part analyses the theory of sacred oratory art, which he developed in his rhetorical treatises for the use of preachers: Il Predicatore, the Regole per far la memoria locale and the Modo di comporre una predica. The aim of our study is to show the originality of his stylistic initiatives and the rhythmic lexical and morpho-syntaxic methods of Panigarola, which marked the arrival of preaching in the world of Italian literature. The last section is devoted to the definition of Panigarola’s doctrine of the image, together with the description of the visual and auditory strategies employed in his sermons. How did the Franciscan succeed in “bringing to sight”, by his words, and through them, the concepts he wished to transmit? What were the stylistic resources he used to make his speech “seeable”? These questions have been examined from the point of view of “visual” and “resounding” enargeia, and the technical procedures which gave it birth.

La compilation des Navigationi et viaggi, publiée à Venise en trois volumes entre 1550 et 1559, est le point d'aboutissement d'un travail de collecte et d'édition de textes géographiques effectué par le géographe humaniste Giovanni Battista Ramusio (1485-1557) au cours de la première moitié du XVIe siècle. Le compilateur entend mettre à jour la description du monde tout en proposant un nouveau modèle de constitution du savoir, dont le point de départ est l'expérience de ceux qui ont pris part aux voyages exploratoires passés et en cours. Ramusio, qui fit toute sa carrière comme secrétaire de chancellerie auprès de la République de Venise, prit appui sur un dense réseau de collaborateurs qui lui fournirent témoignages et récits de voyages. Ce travail de recherche offre pour la première fois une analyse conjointe de la figure de Ramusio comme géographe de cabinet et comme secrétaire de chancellerie, tout en inscrivant son activité dans le contexte de la Venise du début de l'âge moderne.La première partie de la thèse propose une reconstitution, fondée sur un travail d'archives, du laboratoire de Ramusio : les institutions de la République de Venise, le milieu savant italien et le monde de l'édition vénitien. Par l'étude de son statut et de sa démarche, l'interrelation entre ses intérêts propres et ses prérogatives professionnelles est mise en évidence. La deuxième partie porte sur la compilation, elle aborde à la fois les modèles suivis, les choix inédits de mise en forme et les processus de sélection des sources. Les intentions et le projet de Ramusio sont étudiés sur la base de ses propres écrits – les discorsi des Navigationi et viaggi – dans la troisième partie, où l'analyse porte sur la compilation comme ouvrage de géographie politique. / The three-volume compilation, Navigationi et viaggi, published in Venice from 1550 to 1559, is the work of the humanist geographer Giovanni Battista Ramusio (1485-1557), who collected and edited geographical texts throughout the first half of the 16th century. The compiler attempted to update the description of the known world by employing new modes of knowledge, primarily based on the experiences of those who had taken part in exploratory travels. Ramusio, who served the Republic of Venice as a secretary at the chancellery, benefited from a broad network of collaborators who provided him with testimonies and travel accounts. My research offers the first joint analysis of Ramusio, the armchair geographer and secretary, within the context of early-modern Venice.Based on archival research, the first part of this work offers a reconstruction of Ramusio’s laboratory as part of the institutions of the Republic of Venice, the scholarly environment of Italy, and the world of Venetian publishing. The interrelation between his own interests and his professional prerogatives is established through a study of his scholarly approach and official role. The second part of this study focuses on the compilation, taking into account Ramusio’s influences, as well as his original choices for the organisation and selection of knowledge and sources. The objectives of this work of political geography are examined in the third part through an analysis of Ramusio’s own writings, the Navigationi et viaggi’s discorsi.

Portraits from the Tudor period are filled with symbols of status, wealth and power. This paper explores what role materiality plays in this communication. By exploring the role of materiality primarily linked to trade and relations between artists, patrons and the art market, two portraits depicting Mary I are analyzed. The role of materiality in the portraits is discussed based on, among other things, Bia Mankell's theories of materiality. The analysis shows that materiality is used in two different ways in the two works, but what they have in common is that the presence of materiality in both works seems to be important in the expression of wealth and thus power. The portraits' communication of status is reinforced by the material qualities of the works by using either precious materials or skilled artists. Something that depended on both access to financial means and geographical location.

No description available.

This study is concerned with the vertical combinations resulting from late sixteenth century cadential formulae and in passages immediately preceding these formulae. The investigation is limited to Masses dating from the last half of the sixteenth century and utilizes compositions from the following composers: Handl, Kerle, Lassus, Merulo, Monte, and Palestrina, Victoria. This study concludes that the progressions I-V-I and I-IV-I appear to be the only two root progressions receiving high enough percentages to be regarded as significant. These percentages are tempered by the fact that I-V-I and I-IV-I may be interpreted as repetitions of standardized cadential formulae found in the sixteenth century. The study also concludes that root motion by fifth accounts for no less than 67.35 per cent of the root movements analyzed during the investigation. The percentage differential between root movement by fifth and root movement by second (the interval receiving the next highest percentage) at no time drops below 40.41 per cent. The evidence indicates that root movement by fifth does account for the majority of the root motion analyzed in final cadential passages of Masses dating from the late sixteenth century. The percentage differential between root motion by second and root motion by third decreases as the chord progressions become longer. None of the differential percentages were judged to be high enough as to merit placing any significance of root motion by second over root motion by third.

By considering sixteenth-century English chorister training, modern singers of Renaissance vocal music are informed of the practical and academic demands unique to Elizabethan musicians and audiences. Clauses in relevant choirmaster contracts provide an insight into pedagogical expectations of teachers and their choristers. Studies included plainchant, grammar, Latin, rhetoric, improvisation, poetry, morality, instrumental instruction on organ and viols, and composition. For those not associated with cathedrals and collegiate chapels, Thomas Morley outlined the educational sequence of his teacher's generation in his 1597 publication, "A plaine and easie introduction to practicall musicke." Morley presented education as discourse between students and teacher, and covered the fundamentals of singing, improvisation, and composition. With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas." With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas."

No description available.