Oggetto d’indagine è il complesso delle celebrazioni e dei preparativi connessi con il passaggio di Maria Teresa d’Austria ed il solenne ingresso dell’arcivescovo Stampa nel 1739, casi esemplificativi di ritualità cittadina e cerimoniali pubblici della prima metà del secolo, rappresentazioni che coinvolsero la città. A confronto è stato analizzato anche il rito di possesso di Maria Teresa, compiuto in absentia nel 1741. Attraverso l’analisi comparativa delle fonti primarie, a stampa e manoscritte, nonché iconografiche, si sono ricostruiti il ruolo delle norme di etichetta, dei cerimoniali, l’intera drammaturgia degli eventi festivi. La ricerca ha altresì riportato alla luce gli apparati allestiti dal Collegio dei Giureconsulti, ignorati dagli studi. Ha evidenziato meccanismi retorici, azioni, aspetti della rappresentazione che permangono, alcuni dei quali appartengono alla sfera degli archetipi. Benché semplificati, i cerimoniali mostrano ancora marcato il culto per la regalità. L’ingresso trionfale si rivela momento significativo per ricondurre la città verso l’immaginario delle origini dell’identità cittadina e rifondare un tempo nuovo. Si evidenzia la necessità della festa, di momenti rituali di rappresentazione e di autorappresentazione; il ruolo drammaturgico e non esornativo di elementi di decoro, quali il baldacchino, l’arco, la carrozza, il ritratto, in una cultura che attribuiva ancora grande valenza alle immagini. / The object of this research is the whole of the celebrations and preparations connected with the passage of Maria Theresa of Austria and the solemn entry of Archbishop Stampa into Milan in 1739, both exemplifications of the 18th century first half civic rituality and public ceremonials, and representations which engaged the city. A confrontation has also been made with the possesso of Maria Theresa, enacted in absentia in 1741. By means of a comparative analysis of the primary sources – printed, hamdwritten and ichnographic as well – it has been possible to reconstruct the role of etiquette norms, ceremonials and of the entire dramaturgy of festival events. The research has also brought to light the apparati set up by the Collegio dei Giureconsulti, so far ignored by studies. It has highlighted rhetorical mechanisms, actions, representational aspects which remain, some of them pertaining to the archetype sphere. Even if simplified, the ceremonials still show a strong cult of regality. The triumphal entry proves to be a meaningful moment to bring the city back to the imaginary of the origins which constitutes its identity and to renovate a new era. The necessity of the feast, of ritualistic moments of representation and auto representation is pointed out; and also the dramaturgic and not ornamental role of decorative elements like the baldachin, the arch, the carriage, the portrait, in a culture which conferred great value to images.

Cette thèse a pour but d’examiner la production de sarcophage à décor sculpté, à travers l’étude comparative de trois grands pôles occidentaux de l’Empire romain, puissances économiques et productives, et symboles d’un lien privilégié avec Rome. Si ce procédé funéraire a toujours été utilisé dans ces régions, la généralisation de l’inhumation vers le milieu du IIe siècle implique la mobilisation d’importantes forces productives et techniques afin de répondre à la demande nouvelle sans cesse croissante. Ce serait trois grands centres situés à Rome, en Grèce et en Asie Mineure, qui assureraient les fonctions essentielles : décision des décors et des motifs, prise en charge de la majorité de la production et de son exportation, signification et portée de ce procédé funéraire. Notre étude ville par ville a pour ambition de montrer que le développement de la production des sarcophages à décor sculpté ne peut s’expliquer dans un tel schéma traditionnel où les provinces se laisseraient passivement imposer toutes les décisions de sièges plus importants. Au-delà de l’indispensable analyse technique, stylistique et iconographique du corpus, c’est la prise en compte pratique d’un contexte local d’ateliers décentralisés qui doit permettre de saisir la réalité de production et son évolution : comment cet objet s’intègre dans une production déjà existante qu’il investit en retour. Cela nous conduira à ne plus l’envisager sous le seul rapport de la copie à son original, passant ainsi d’un modèle de rayonnement unilatéral du centre vers la périphérie, à une structure d’échange dynamique entre influences centrales et ateliers locaux. / This dissertation explores the production of sarcophagi with sculpted decorations, through the comparative study of three Western towns of the Roman Empire that are economic and production centers as well as closely connected to Rome.Although in these regions, such funeral process was always in use, the generalisation of burials in the middle of the 2nd century required the mobilization of production and technical forces in order to meet the increasing new demand.We argue that three main centers located in Rome, Greece and Asia Minor were responsible for the development of this funeral technique: they decided on the decorations and designs, were in charge of the majority of the production and exportations, and gave this process its characteristics and meaning. Considering each city consecutively, we aim to show that the development of sarcophagi production goes beyond a traditional context where provinces would passively let more important cities be in charge of all the decisions. In addition to the technical, stylistic and iconographic analysis of the corpus, if we want to grasp the specificity of this funeral technique, we also need to replace its production and evolution in a local context of decentralized workshops. How do sarcophagi with sculpted decorations fit in an already existing production, and how do they transform such production? This will lead us to consider this technique from another point of view than the mere copy of an original model, thus moving from the unilateral model of a central influence on the peripheries to a structure of dynamic exchanges between main cities and local workshops.

Malgré son indéniable talent, le peintre vénitien Leonardo Corona est négligé : la seule étude systématique qui lui ait été consacrée remonte à une quarantaine d’années (E. Manzato, « Leonardo Corona da Murano », Arte veneta, XXIV, 1970, p. 128-150). Grâce aux nombreux documents inédits que nous avons découverts dans les archives vénitiennes, nous sommes parvenue à reconstituer au moins en partie sa « vraie vie », fixant la date de mort de Corona à 1596.L’exploration des fonds d’archives nous a permis également de mettre en lumière l’une des caractéristiques les plus fascinantes des chantiers vénitiens de la fin du XVIe siècle : leur « esprit choral », les intervenants étant toujours très nombreux, tant du côté des commanditaires que du côté des artistes. Dans ce travail, nous nous sommes intéressée tout particulièrement à quatre chantiers (les églises de San Zulian, Santo Stefano, Santa Maria Formosa et San Bartolomeo), à fin de reconstituer le contexte historique et social de chacun d’entre eux / Despite his undeniable talent, the Venetian painter Leonardo Corona, has been strongly neglected in recent studies: the only contribution dedicated to him goes back to forty years ago (E. Manzato, “Leonardo Corona da Murano”, Arte veneta, XXIV, 1970, pp. 128-150). Thanks to numerous unknown and unpublished documents discovered in Venetian archives, it was possible to reconstruct the ‘real life’ of Corona, died in 1596.After long and exthensive archival researches it was possible, as well, to highlight one of the most fascinating aspect in Venetian ‘cantieri’ at the end of Sixteenth century: the choral spirit which involved a variety of patrons and artists in several artistic adventures. The research focused on four main Venetian ‘Cantieri’ (the Church of San Zulian, Santo Stefano, Santa Maria Formosa and San Bartolomeo). The intent was to reconstruct the social and historical context that charaterized each of them / Nonostante l’innegabile talento, il pittore veneziano Leonardo Corona è stato fortemente trascurato dalla storia degli studi: l’unico contributo a lui dedicato risale ormai a una quarantina d’anni fa ((E. Manzato, “Leonardo Corona da Murano”, Arte veneta, XXIV, 1970, pp. 128-150). Grazie a numerosi documenti inediti ritrovati negli archivi veneziani, è stato possibile ricostruire almeno in parte la “vera vita” di Corona, morto in realtà nel 1596. L’esplorazione dei fondi d’archivio ha permesso ugualmente di far luce su uno degli aspetti più affascinanti di cantieri veneziani della fine del XVI secolo: lo spirito corale, che vuole coinvolti una molteplicità di attori, tanto fra i committenti che fra gli artisti chiamati ad intervenire. In lavoro si è concentarto su quattro cantieri veneziani (le chiese di San Zulian, Santo Stefano, Santa Maria Formosa e San Bartolomeo), con l’obiettivo di ricostruire il contesto storico-sociale caratteristico di ciascuno di essi