Francesco Bordoni (1574?-1654), originaire de Florence, fut un sculpteur spécialiste du marbre et du bronze. Elève de Pietro Francavilla, il s’aguerrit à Florence dans la bottega de Giambologna, à l’époque de Ferdinand de Médicis, et il y participa aux chantiers du Grand-Duc, comme ceux occasionnés par son mariage (1589). Ensuite, il suivit Francavilla à Pise pour travailler aux chantiers de Ferdinand I. Vers 1601, il s’installa en France avec son maître. Cependant Francavilla revint bientôt à Florence, alors que Bordoni restait à Saint-Germain-en-Laye. Là, comme à Fontainebleau, il collabora avec le fontainier Tommaso Francini et fournit des sculptures pour les grottes et les fontaines des jardins, suivant le modèle de la villa de Pratolino. Plus tard il revint à Paris, où il travailla encore pour les souverains et les Concini. Il termina le piédestal de la statue équestre d’Henri IV (Pont-Neuf, Paris), commencée à Florence par Giambologna et Pietro Tacca. Il n’en subsiste que les quatre esclaves, signés par Bordoni (Musée du Louvre). Sa carrière continua sous le règne de Louis XIII. Dans les années 1630, il importa des marbres d’Italie et devint premier sculpteur du roi, il créa le sol en marbres et l’autel de la Chapelle de la Trinité de Fontainebleau avec les statues de Saint-Louis, de Charlemagne et quatre anges de bronze. Artiste profondément lié à la famille des Médicis et à la monarchie française, Bordoni participa aux stratégies de l’image voulues par ses grands clients. Cette thèse, fondée sur une large documentation d’archives, approfondit son œuvre dans ses rapports entre la sculpture italienne et française et dans son rôle avec Henri IV et ses successeurs. / Francesco Bordoni was a Florentine sculptor, a specialist in bronze and one Pierre de Fracheville’s disciples. He grew up in Florence in the “bottega” of Giambologna during the period of Ferdinando de’ Medici. He attended the yards of the Grad-Duke such as the ones for Ferdinando’s weddings. Later he followed Francheville to Pisa where he worked at Fedrinando’s monuments. Before 1601 he moved to France with his master. Therefore Francheville soon returned to Florence whereas Bordoni remained in Saint-Germain-en-Laye. In Saint-Germain-en-Laye as well as in Fontainebleau, he collaborated with Tommaso Francini for the sculptures of grottoes and fountains of the gardens following the model of the villa of Pratolino. Later he went back to Paris where he worked again for the king and for the Concinis. He concluded the basement of the equestrian statue of Henri IV (Pont Neuf, Paris) which had been commenced in Florence by Giambologna and Pietro Tacca. The four slaves which adorned the basement, signed by Bordoni, are at Louvre Museum. His career went on during the period of Louis XIII. In the 30’s he imported some marbles from Italy, he became the first sculptor of the King, he created the floor in marble and the altar of the Chappelle of Fontainebleau. He was an artist deeply bound to the Médicis and to the French monarchy. Tanks to his works he shared in the strategies of the images wanted by his great Patrons. The aim of my study is the relation with the Italian and French sculpture and his role in the reorganization of the Kingdom of Henry IV and of his successors.

The lecture recital was given April 1, 1974. Eighteenth-century accounts of the voices and performing styles of Francesca Cuzzoni, Faustina Bordoni, and Anna Strada del Pò were related to six opera arias written for them by George Frideric Handel. The arias, accompanied by harpsichord, violin, and violoncello, were performed with added original ornamentation. In addition to the lecture recital two other public recitals and two opera roles were performed. The first solo recital was on February 11, 1972, and included works by Mozart, Fauré, Rimsky-Korsakov, R. Strauss, Walton, Moore, and others. The second solo recital, on October 15, 1973, included works by Porpora, Rameau, Handel, Wolf, Donizetti, Debussy, and Schubert. The role of "Urgele" in the marionette opera Die Fee Urgele by Pleyel was performed in English on October 30 and 31, 1972, with the Collegium Musicum of North Texas State University. The role of "Clorinda" in Rossini's La Cenerentola was performed in English on November 26 and 28, 1972, with the Shreveport Symphony.

[pt] Na vida de Jesus de Nazaré se destaca a presença e ação do Espírito Santo ao longo do seu ministério messiânico para afirmar a centralidade da relação entre cristologia e pneumatologia. Jesus Cristo é o mistério mais importante de toda a realidade, revelado de modo único, original, irrepetível e insuperável no Espírito. O caminho do Espírito no evento de Cristo é o argumento principal desta tese. O horizonte teológico, assim com a realidade humana são desafios a enfrentar na atualidade. Para tal, primeiramente foi colocado em destaque a relação entre Cristo e o Espírito no NT, nos momentos principais, onde acontece a manifestação do Espírito na vida de Cristo: na encarnação, no batismo e no mistério pascal. Nestes três eventos a presença operante do Espírito revela a constituição divina e humana de Cristo e a universalidade de sua salvação. Após o testemunho bíblico e pós-bíblico destacou-se a presença do Espírito Santo na renovada atenção do Concílio Vaticano II em seus aspectos cristológicos, pneumatológicos e eclesiológicos. O concílio representou uma renovação da Igreja, entretanto com limitações e dificuldades para articular seu conteúdo. Os textos conciliares impulsionaram a produção teológica pós-conciliar valorizando a cristologia pneumatológica, destacando-se as obras de Yves Congar, Walter Kasper e Marcello Bordoni. A reflexão pós-conciliar afetou particularmente a posição teológica na América Latina, por isso foi relevante analisar a presença do Espírito na cristologia latino-americana. Por último, alguns pontos emergem na contemporaneidade, que indicam a necessidade da reflexão teológica de aprofundar a dimensão pneumática do mistério de Cristo. / [en] In life of Jesus of Nazareth stands out the presence and action of Holy Spirit over his messianic ministry to affirm the centrality of relationship between christology and pneumatology. Jesus Christ is the most important of all reality mystery, revealed in a unique way, unrepeatable and unsurpassed in the Spirit. The path of Spirit in Christ event is the main argument of this thesis. The theological horizon with the human reality are challenges to face today. For this purpose, it was first placed highlighted the relationship between Christ and the Spirit in the NT, in key moments, where is the manifestation of Spirit in the life of Christ in the incarnation, in his baptism and the paschal mystery. In all three events the active presence of Spirit reveals the divine and human constitution of Christ and the universality of salvation. After the biblical witness and post-biblical highlighted the presence of Holy Spirit in the renewed attention of Vatican II in its christological, pneumatological and ecclesiological aspects. The Council represented a renewal of Church, though with limitations and difficulties to articulate its contents. The conciliar texts boosted the post-conciliar theological production valuing the pneumatological Christology, highlighting the works of Yves Congar, Walter Kasper and Marcello Bordoni. The post-conciliar reflection particularly affected theological position in Latin America, so it was important to analyze the Spirit s presence in the Latin American christology. Finally, some points emerge in contemporary times, indicating the need for theological reflection to deepen the pneumatic dimension of Christ s mystery.