Andrea Palladio was born in Padua in the Republic of Venice in 1508 and practiced his architecture throughout the Veneto until his death in 1580. Today, there are some forth-four surviving palaces, villas, and churches by the master. These buildings have profoundly moved the imagination of countless generations of academics, artists, and architects for over four hundred years. Without a doubt, he has been the most exalted and emulated architect in modern history. While Palladio is well-remembered for his innovative palaces and villas of the Veneto, he is also most distinguished for his revolutionary religious architecture in Venice Itself. His designs for San Francesco della Vigna (1562) (Fig. 1), San Giorgio Maggiore (1565) (Fig. 3), Le Zitelle (1570) (Fig. 4), II Redentore (1576) (Fig. 5), and the Tempietto (1580) (Fig. 6) at Master, represented fresh and independent visions, exemplifying his deep-seated understanding of the ideas of the High Renaissance. Nowhere was Palladio's influence on the future development of ecclesiastical design more profoundly felt than in Venice itself. Collectively, the emulators of Palladian church design form a coherent episode which can be discernedly traced from Santa Maria Celeste (Figs. 7 and 8) in 1581 through to San Giovanni Novo (Fig. 9) of 1751. Between these years and buildings, there were sixty-two churches erected in Venice. Of these, some thirty-five structures, or fifty-six percent, exhibit, through their system of organizing plans, elevations and spatial relationships, different degrees of debt to Palladio. All in all they demonstrate a highly significant concurrency in the overall development of religious architecture in Venice. The aim of this present thesis is to investigate the architectural character of a large number of Venetian churches built between 1581 and 1751 in an attempt to clarify the extent of Palladio's influence on their design. This study will be divided into four chapters. In order to better understand sixteenth century Venetian building in general and Palladio's prominent position within it, Chapter One will explore the unfolding ambience of Renaissance architecture in Venice, elucidating the rich, productive, and international development of the city's most innovative architects. Herein, the saliency of Palladio and his churches, as crowning symbols of this period, will be examined. Chapters Two, Three and Four will explore the thirty-five churches under investigation. These last sections will analyze some ten or more buildings each, and, for the most part, in the chronological order of their construction. In the end, it is hoped that this study will demonstrate a clear and coherent tradition of Venetian church design which fulfilled itself through an integration of a whole series of Palladian prototypes. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

Dissertation : Universität Zurich, 1981. / Bibliogr. p. 335-343. Index.

The question of gender, specifically gender identity, is prominent in today’s society. It is highly debated and through the development of queer theory it is gaining more academic recognition. However, there is a gap regarding representation of the gender-queer identity of one contemporary poet, Andrea Gibson. Gibson provides a much needed perspective and voice in society and scholarly debates. This is why this essay uses queer theory along with Kate Bornstein and Judith Butler to examine three poems by Gibson, “Swing-Set, “The Jewelry Store” and “A Genderful Pep-Talk for my Younger Self”. The essay analyses the ways Gibson, through poetry, formulates a gender-queer identity and thus questions the generic gender binary system.

An important masterpiece by the Paduan sculptor Andrea Riccio, the Della Torre tomb monument broke with contemporary funerary monuments in both its form and content. Understanding what enabled this break with tradition is the central issue in the study of this monument—one that has not been sufficiently addressed in previous scholarship. Despite the lack of overt references to the Christian faith on the Della Torre monument, the narrative programme is concerned with two very important Christian concerns—the necessity of a life of virtue and the health and afterlife of the soul. I argue that the narrative on the tomb, influenced by contemporary funerary oratory and poetry, presents a model of virtue for the viewer. Moreover, I argue that Riccio has illustrated the presence of this exemplar by the very structure of the monument itself. This dissertation focuses on the artistic and intellectual community surrounding the creation of this monument and, in particular, on the reconciliation of this strictly all’antica monument with Christian thought in this period. Upon a thorough contextual examination, this unprecedented monument becomes less of an anomaly. It reflects the ideas of an important circle of humanists from both Padua and Verona, thus illustrating the breadth of their interests and their involvement in contemporary debates over religion, the nature and potential immortality of the soul, and the necessity of virtue. Analysing this monument within the context of humanist ideas prevalent among the individuals within the Della Torre circle, those who had, or likely had, a great influence on the significance of the monument’s narrative, gives this monument what has been long denied to it—a proper understanding of its Christian programme and didactic function. The fulfillment of this task, which promises to shed additional light on the adaptation of pagan elements to Christian purposes, is the overall aim of this work.

Originally presented as author's thesis (Ph. D.--University of Toronto). / Includes bibliographical references (p. [345]-365) and indexes.

The Bakócz Chapel at St. Adalbert's Cathedral in Esztergom represents the vision of the powerful politician and patron of the arts, Tamás Bakócz. Built between 1506 and 1519, the chapel was unique in Hungary at the time for its strict adherence to Italian Renaissance forms. Although it was King Matthias Corvinus (1458-1490) who first brought all'antica architecture to Hungary, its influence was not widespread. New structures continued to be built with a mix of gothic and renaissance forms into the sixteenth century. Instead of reflecting contemporary Hungarian architecture, the Bakócz Chapel is a successor to late fifteenth-century Florentine chapels. Cardinal Tamás Bakócz was Archbishop of Esztergom, head of the royal chancellery, and controlled Hungarian foreign affairs in the early sixteenth century. The king, Vladislav II (1491-1516) was heavily influenced by his advisors, and Bakócz was his principal counselor. In 1506, when Bakócz began construction on the chapel, he was at the height of his power and aspired to become pope. As his rise from outside the aristocracy to his position as the right-hand of the King demonstrates, Bakócz was politically savvy and extremely ambitious. As he hired architects and craftsmen for his chapel, he had them create a monument that would be a lasting symbol of his wealth, power, and erudition. But Bakócz very specifically did this in a manner that was entirely unlike anything else in Hungary at the time. In the building that was designed to house his remains and be his memorial, Bakócz made the conscious decision to associate himself with Italy. / text

There is no abstract available for this thesis.

An important masterpiece by the Paduan sculptor Andrea Riccio, the Della Torre tomb monument broke with contemporary funerary monuments in both its form and content. Understanding what enabled this break with tradition is the central issue in the study of this monument—one that has not been sufficiently addressed in previous scholarship. Despite the lack of overt references to the Christian faith on the Della Torre monument, the narrative programme is concerned with two very important Christian concerns—the necessity of a life of virtue and the health and afterlife of the soul. I argue that the narrative on the tomb, influenced by contemporary funerary oratory and poetry, presents a model of virtue for the viewer. Moreover, I argue that Riccio has illustrated the presence of this exemplar by the very structure of the monument itself. This dissertation focuses on the artistic and intellectual community surrounding the creation of this monument and, in particular, on the reconciliation of this strictly all’antica monument with Christian thought in this period. Upon a thorough contextual examination, this unprecedented monument becomes less of an anomaly. It reflects the ideas of an important circle of humanists from both Padua and Verona, thus illustrating the breadth of their interests and their involvement in contemporary debates over religion, the nature and potential immortality of the soul, and the necessity of virtue. Analysing this monument within the context of humanist ideas prevalent among the individuals within the Della Torre circle, those who had, or likely had, a great influence on the significance of the monument’s narrative, gives this monument what has been long denied to it—a proper understanding of its Christian programme and didactic function. The fulfillment of this task, which promises to shed additional light on the adaptation of pagan elements to Christian purposes, is the overall aim of this work.

Proefschrift--Letteren--Groningen, 1980. / Résumé en néerlandais. Bibliogr. p. 121-129. Index.

Thesis (Ph. D.)--Rutgers University, 2010. / "Graduate Program in Italian." Includes bibliographical references (p. 156-160).