This thesis sets out to examine two new issues; the use of the colour modelling system in Florence in the late fifteenth and early sixteenth-centuries and the way it impacts the relationship between six artists who lived and worked for the most part in Florence during that period. Among these artists exist strong ties of studios, common patrons and working locations. Florence has traditionally been identified with disegno and Venice with colorito, although these associations are gradually being overturned; by looking at the clear and consistent use by Florentine artists of colour for expressive and volumetric means, it is hoped to gain a greater and more sophisticated understanding of these relationships. The first chapter looks at the work of Domenico Ghirlandaio and his bottega, one of the largest and for our purposes most influential studios in Florence; for comparison and also because of his role in the issue, Filippino Lippi enters as well. A chapter on Michelangelo, Ghirlandaio's most famous pupil, follows; the cleaned frescoes of the Sistine chapel provide one of the main foci of discussion for colour in the thesis, due to their great fame and dramatic colour use. These are discussed together with the Doni Tondo and the London Entombment. The middle two chapters focus on Andrea del Sarto, Fra Baitolommeo and the San Marco compagnia, the artists to stay in Florence after the departure of Leonardo, Michelangelo and Raphael and who taught many of the next generation of artists. The last two chapters deal with Jacopo Pontormo and Rosso Florentino; as heirs and successors to these earlier artists, Rosso and Pontormo continue in the use of this same colour modelling tradition, but employing it with dramatically different results.

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The title page of Schein's Opella nova I (1618) advertises `Geistliche Concerten.a. uff jetzo gebreuchliche italiänische Invention'. A mixture of Latin, Gothic and Italic script styles gives an immediate visual impression of mingling styles. From this starting point, the genre and purpose of the two publications of the Opella nova (1618,1626) are discussed. Examination of the collections published in between these volumes reveals that Schein deliberately published sacred and secular music alternately, positively advertising and applying the same Italian genres and styles in each category. The reception of the `new Italian style' by Schein's contemporaries, Michael Praetorius, Johann Staden, Samuel Scheidt and Heinrich Schütz is explored. Schein's Opella nova concertos are examined thoroughly, and the question of how he adapted and adopted the Italian style into music for the Lutheran liturgy is considered. This reveals that Schein possessed a deep knowledge of Italian music, and although no definitive claims about whether he imitated particular composers are made, points of similarity with the work of Viadana, Giovanni Gabrieli, Monteverdi and Alessandro Grandi are found. Finally the reasons why the Italian style was received so positively by Lutheranism in Schein's time, in spite of hostility towards the Catholic faith, are considered. The influence of Renaissanceh umanism in Luther's thought is outlined, and the author takes the view that the Italian style in Lutheran music of Schein's time was the result of the continuing influence and development of this intellectual movement. Music is compared to poetry and rhetoric in its function. The question of how the Italian style fitted in to Schein's local context of the Lutheran free city of Leipzig is briefly discussed, and a conclusion reached that it was due principally to the cosmopolitan nature of the university and international trade in the city that Schein was able to pursue his interest in the `italiänische Invention

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In questo lavoro ho trattato alcune forme di poesia dialettale sarda quali il "muttu o muttettu," i "canti della culla," le "cantilene infantili," e i "canti funebri." Del muttu, forma caratteristica della poesia popolare sarda, al quale ho dedicato il primo cpitolo, ho analizzato per lo più quei problemi connessi con la sua struttura, forma, origine e quindi i suoi rapporti con componimenti di altre regioni italiane, e anche non italiane, portando esempi di muttus di varie parti della Sardegna per farne notare, più che il contenuto, che molto spesso in tali canti è simile, la diversità ortografica delle composizioni, diversità dovuta al gran numero di dialetti esistenti nell' isola. Nel secondo capitolo tratto invece i canti della culla e quelli della tomba. Dei canti della culla, che suddivido in ninnenanne e cantilene infantili, faccio notare il contenuto, ricco di espressioni vocative e di epiteti ispirati in gran parte alla natura: fiori, piante, frutta che offrono a questi canti, talvolta lenti e monotoni, talvolta allegri, un inesauribile repertorio. Dei canti della tomba, che in Sardegna vengono chiamati "attittidos," perchè erano spesso cantati dalle "attittadoras" o prefiche, porto soltanto esempi, interessanti e molto spesso inediti, da me raccolti in varie località dell'isola e pazientemente trascritti. L'importanza di questi canti e cantilene non è da ricercarsi nel loro valore letterario che è senz'altro minimo bensì nel loro grande valore folkloristico in quanto sono le ultime testimonianze di un folklore che pian piano ma inesorabilmente sta scomparendo. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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It is my intention that the building be both sympathetic to its urban and historic context and clear in the development of a new identity for an embassy complex. The building makes careful connections to the proportions and geometries of classical Italian architecture, while establishing landmark elements which are harmonious parts of a new urban focus. Such connections are not abstract, but help to engage the building in a lively conversation with its historic context. / Master of Architecture

With the rise of fascism in Europe. many writers found they could no longer voice their opinions freely. Aside from the threat of imprisonment or death, strict censors were put into place, so any criticism of the regime had to be disguised. Nevertheless, some writers were able to bypass the censors and offer criticism of the regime in power. The authors warn against the techniques used like mass propaganda, aggressive approaches to war, and extreme nationalism in their literature. By examining the literature that appeared under fascism, this thesis attempts to establish a cross-cultural connection between Italy and Spain through two unique authors and their highly personalized criticism by examining Carlo Emilio Gadda's La cognizione del dolore and Carmen Laforet's Nada. Gadda uses autobiographical references in his works as symbols of Mussolini's fascism, and Laforet is able to capture the female perspective of life under Franco's rule due to her unique upbringing in the Canaries. In distressing political times they were able to relate the situation to their own lives and by doing so find a creative outlet to oppose fascism. In the case of these authors, it is essential to consider their biographies to fully comprehend their workst due to the personalized approach to criticism, which allows for a more complete reading of the text. With this comparative study I hope to bring more attention to these authors through an emphasis on the value of literary opposition to fascism in the context of history.