Thesis (D. Phil.)--University of Oxford, 1972. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

This thesis studies the patronage of an important Italian Renaissance Calrdinal, Oliviero Carafa, a topic relatively neglected in modern scholarship. It examines his patronage from a number of distinct but inter-related perspectives, namely, his position as a cardinal prince of the church, cardinal protector of the kingdom of Naples, cardinal protector of a number of religious orders, head of the Carafa clan, and patron of a variety of artists and humanist scholars. In doing so, it examines the historical evidence for Cardinal Carafals various positions within the College of Cardinals and the papal Curia and the kinds of access they afforded him to a complex patron client network which embraced not merely Rome and Maples but the whole of Italy and, Europe. It also investigates the extent and sources of his wealth as holder of multiple sacred offices and the various ways in which he ensured that his relatives shared In such benefits. In respect of Carafals role as patron of art and letters, the study analyses and assesses the significance of: Carafa's two funerary chapels (the Carafa chapel in Santa Maria sopra Minerva in Rome and the 'Succorpo' in Naples cathedral), his commission to Bramante for the cloister at Santa Maria della Pace in Rome, his other ecclesiastical and civic foundations, his private residences, his library, his promotion of manusgript production and printing, and his status as the recipient and dedicatee of a large number of scholarly works. As appropriate to a study of Renaissance patronage, particular emphasis is placed on those areas in which Carafa can plausibly be said to have intervened in the origination and outcome of these artistic and scholarly endeavours. In exploring these inter-related themes, the study thus throws light upon the structures and processes of Renaissance patronage in Italy. It reiterates the importance of the family as a locale for patronage and, more particularly, demonstrates how a powerfully placed ecclesiastic could contribute decisively to the family's fortunes. It also provides an insight into Renaissance patrons' strong sense of loyalty towards the place of their birth. Moving beyond Italian Renaissance patronage in general, this study also offers an opportunity to explore the more specific field of Renaissance cardinals' patronage and assesses the complex variety of patronal commitments that Renaissance cardinals characteristically undertook. Furthermore, the case of Oliviero Carafa, an ecclesiastic involved in pluralism, simony, and nepotism and yet also genuinely committed to the reform of such abuses, provides an opportunity to explore some of the moral dilemmas that patronage presented to Carafa and his contemporaries. The examination of Carafals patronage of art and letters provides emphatic endorsement of the interest and enthusiasm prevalent amongst Renaissance patrons for classical texts and artefacts. It also calls into question, however, the assumption that such cultural phenemona were motivated solely by secular appetites. Carafa's artistic commissions were preponderantly religious and therefore entirely conventional for a high-ranking orthodox ecclesiastic, Yet many of them were rendered distinctive by sustained self-conscious allusion to classical prototypes. The literary works produced under his aegis also supply an insight into the special nature of humanist endeavour in Rome where the intellectual traditions of scholasticism and theology provided a decisive input.

No description available.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisor: Joan A. Holladay. Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--Johns Hopkins University, 1990. / Includes bibliographical references (leaves 713-771).

Thesis (Ph. D.)--University of Chicago, 2004. / Includes bibliographical references.

No description available.

This thesis examines interest in the visual arts by patrons of Scottish descent, active in France, c.1445 to c.1545: the Monypenny family, Bérault and Robert Stuart d'Aubigny, and John Stuart, Duke of Albany. During this period the Auld Alliance played a key role in relations between Scotland and France, and large numbers of Scots travelled to France as mercenaries, scholars, and diplomats. Many relocated to France permanently and were granted letters of naturalisation. This thesis argues that an examination of the visual arts commissioned by this group of patrons enhances our understanding of the integration of Scots into French society at this time. It explores how the visual arts reflected, and were used to advance their careers, social standing, and spheres of influence, broaching issues of identity and power relations. The investigation explores how artistic patronage was a vital method by which a patron could express his social identity and aspirations. Examining patronage enables the historian to acquire a greater understanding of the patron's priorities and ambitions, and allows the art historian to situate works of art in a historical framework, thus gaining a clearer understanding of their meanings. This research is important as it covers a large corpus of works that, although linked by the unusual circumstances of their patrons, have not previously been studied together. As the artistic patronage of Scots in France during this period has hitherto not been examined, it cannot be assumed that the same priorities and influences that shaped French patrons during this period also shaped the patronage examined in this study. This thesis demonstrates that in many instances the Scottish heritage of these patrons was instrumental in shaping their demands, and thus the finished work of art. The study of the patronage of the visual arts in France has become a vibrant area of research. Yet the patronage of non-native communities, such as Scots in France, remains largely unstudied. This thesis shows that there is a rich diversity of visual material, both extant and documented, which may be associated with these Scots. Furthermore, it demonstrates how examining a patrons career may provide interesting insights into their works of art; and it shows how discovering biographical details about the patrons permits a more complete reconstruction of the circumstances in which works of art were made, displayed, and understood. Whilst comparatively little visual material survives in Scotland from this period, an examination of the visual arts commissioned by Scots in France tells us a great deal about Scots' relationships to the arts at this time, and their use of works of art as a means of 'self fashioning'. This research has uncovered exciting new information regarding all patrons investigated. Furthermore, it has identified Bremond Domat, a previously unrecognised artist working for John Stuart, Duke of Albany, to whom a small, but important, body of work may unambiguously be attributed.

No description available.