La tesi si configura come il primo studio sistematico dedicato allo scultore Innocenzo Fraccaroli, artista del quale è stato ricostruito il catalogo, in gran parte inedito

La tesi costituisce il primo tentativo di catalogazione dei dipinti di Giulio Cesare Procaccini (Bologna 1574- Milano 1625). Nei saggi introduttivi sono ripercorsi la fortuna critica dell’artista, la sua vita e la sua attività di pittore, quest’ultima riletta anche alla luce della produzione scultorea e grafica del maestro, parti integranti della sua articolata personalità. Costante è anche il riferimento al contesto della pittura milanese di primo Seicento, del quale Procaccini fu uno dei maggiori esponenti insieme a Cerano, Morazzone e al più giovane Daniele Crespi. Ai testi seguono le schede di catalogo delle opere, ordinate secondo un criterio cronologico, dove compaiono le indicazioni relative alle copie e alle incisioni. A conclusione delle schede delle prove ritenute autografe, una sezione è dedicata ad alcune composizioni che, consideratane l’ampia fortuna, sono con buona verosimiglianza copie da prototipi perduti di Procaccini, mentre in quella seguente si dà conto delle opere espunte dal catalogo dei dipinti autografi. Nell’ottica di fornire uno strumento utile agli studi successivi su Giulio Cesare Procaccini, si è inoltre compilata una lista di opere perdute attestate dalle fonti e nell’ultima parte della tesi, oltre alla bibliografia conclusiva, il regesto dei documenti ripercorre, ad annum, le vicende del maestro sinora note. / This thesis constitutes the first attempt to catalogue the paintings of Giulio Cesare Procaccini (Bologna 1574 - Milan 1625). Introductory chapters address the artist's critical fortune, his life and his activity as painter, the latter also reconsidered bearing in mind his graphic and sculptural oeuvre, which played a significant role in his multi-structured personality. Constant contextual reference is made to Milanese painting of the early seventeenth century, of which Procaccini was one of the major exponents together with Cerano, Morazzone and their younger contemporary Daniele Crespi. These texts are followed by a catalogue of works, chronologically arranged and accompanied by references to copies and engravings. Entries on what are accepted as autograph works are followed by a section about certain compositions, which - given their widespread success - are in all likelihood copies of lost prototypes by Procaccini, while the section that follows deals with paintings that have been rejected from the catalogue of autograph works. With a view to offering a useful tool for future scholarship on Giulio Cesare Procaccini, the author also provides a list of lost or untraced works recorded in historical sources, and the final part of the thesis, in addition to a bibliography, contains a register of documents listing all that is known thus far about the master's life, year by year.

Thesis advisor: Scott T. Cummings / My Senior Honors Thesis may be understood as a two-part investigation that addresses both theoretical and practical concerns of physical comedy and the language of gesture. I will first present some of my more general findings about comedy in order to more accurately zero in on the figure of 'the Fool.' I will thereafter investigate the function of the Fool in society and report on two of his most definitive iterations: Arlecchino, of the Italian Commedia dell'Arte and Bill Irwin of the contemporary stage. These theoretical components will eventually serve as a foundation for the practical side of my project- the creation of my own physical performance piece. In the final part of this document I will outline the process of conceiving and developing a physical comedy performance all my own, referring to my research whenever possible. My hope is that this paper will serve as both an informational document about some of the most important historical influences on physical comedy and the language of gesture, as well as relate how those influences affected me in the process of imagination and creation that is the joy of theatre. / Thesis (BA) — Boston College, 2005. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Theater. / Discipline: College Honors Program.

L'argomento centrale della tesi è la figura di Bernardino Lanino, del quale si ripercorrono le vicende storico-artistiche, in particolare dalla sua prima formazione avvenuta nella bottega di Gaudenzio, passando poi per le esperienze "leonardesche" e manieriste fino all'epilogo della sua carriera. Si è inoltre provato a scrivere un catalogo dei dipinti e un catalogo dei disegni. / This thesis deals with Bernardino Lanino, the most important vercellese painter of the Sixteenth Century, from his first period, probably in Gaudenzio Ferrari workshop, to the leonardesque and mannerist experiences. At the end of his career, He returns to Vercelli, where he has an important rule in the history of thepainting of this city. There is a catalogue of the paintings and a catalogue if the drawings.

Si tratta di studio sulla pittura murale milanese dalla seconda metà del Duecento all’inizio del Trecento; partendo dalle considerazioni di Pietro Toesca (1912), si analizzano i singoli affreschi cercando di inserirli all’interno di un omogeneo percorso cronologico e stilistico; per comprendere meglio quale aspetto avesse la pittura milanese prima dell’arrivo di Giotto a Milano, evidenziando somiglianze e differenze tra le varie cadenze stilistiche presenti in Milano. A questo scopo i singoli dipinti, presenti nei vari edifici religiosi, vengono studiati nel loro contesto architettonico per comprendere meglio la loro rilevanza artistica nella città. / This study on the mural painting in Milan in the second half of the thirteenth century at the beginning of the fourteenth century, starting from the considerations of PietroToesca (1912); we analyze the individual frescoes trying to put them in a consistent chronological and stylistic; to understand better what the painting looked like before the arrival of Giotto in Milan , highlighting similarities and differences between the many stylistic variations present in Milan. For this purpose the individual paintings in the various religious buildings, are studied in their architectural context to better understand their importance in the artistic city.

Kafir Kala is a key-site to understand the historical dynamics of the Samarkand Region in the Early Middle Ages (5th - 8th centuries CE). The site is clearly associated with a Sogdian occupation, as both literature and archaeological research testify. But the chronological phase that follows the Sogdian period, as the Islamic occupation became stable, is still little known. Structures and finds (an hoard of 133 silver coins, in particular) clearly testify a new occupation of some parts of the citadel; and some rooms, dug in the northern side of it, present structures and materials connected with an Islamic activity. The study of material culture from these rooms, and from more ancient contexts, will help to understand the eventual continuity of traditions and the new productions. Besides the citadel, as a matter of fact, also some kilns have been dug, near the main site. Their material culture is very interesting because it represents an example of the typical Sogdian production (ceramics covered with white mica, and stamped). The work on the ceramic material has consisted in cataloguing and classifying all the diagnostics. Three main morphological classes have been individuated: cooking, coarse and table ware), and some other ones (lamps, ossuaries). A catalogue of the finds organized them in a typological system based on their morphology, function, fabric, and eventually decoration style. Crossing the stratigraphical data with information from this typological study, it has been possible to provide a chronological arrangement of the sites investigated by the italo-uzbek archaeological mission from 2001 to 2008.

This work analyzes the impact of cognizance of the evolution of dramatis personae of Commedia dell’arte in XVII – XX c Western European fine arts upon the sphere of interests of future theatre art specialists. The impact of such cognizance upon professional competence of would-be actors and theatre, cinema and music managers is being discussed as well. The first part deals with the importance of universal artistic training in order to broaden interest of artistic cognizance of would-be art specialists on the background of analysis of literature. The preconditions of formation of interest to acquire artistic cognizance are discussed in the first part. It is noted that positive esthetical attitude of mind would inspire the interest to cognize the depths of an art object which is essential to education of would-be art specialists. The second part analyzes educative and professional opportunities of artistic integration. The third part deals with particularities of education of would-be art specialists at a higher school. It is stressed that the academy must prepare not only specialists of narrow specialization but also of broad humanitarian background, who is able to orient in himself/herself diverse modern cultural life and who is distinguished for erudition supporting vivid imagination of an artist. The second part is based upon the assumption that the cognizance of fine arts as a sister branch of art is one of the conditions of professional perfection. Analysis of the... [to full text]

Questa tesi comprende la ricerca sui materiali provenienti dagli scavi britannici, avvenuti fra il 1911 e il 1920, del sito di Karkemish (Gaziantep - Turchia). Vengono qui studiati gli oggetti (a eccezione delle sculture) databili all’Età del Bronzo e del Ferro, che sono nella quasi totalità inediti. Si sono prese in considerazione i reperti attualmente conservati al British Museum di Londra, nei Musei Archeologici di Istanbul e al Museo delle Civiltà Anatoliche di Ankara. / The dissertation includes the archaeological material from the British excavation, carried out between 1911 and 1920, at Karkemish (Gaziantep – Turkey). The thesis deals with research undertaken at the British Museum, Archaeological Museum at Istanbul and the Museum of Anatolian Civilization at Ankara. The small object (excluding the sculpture) dating Bronze and Iron Age.

The research field addressed by this thesis is the commedia dell'arte and its iconography in the period preceding Callot's Balli di Sfessania engravings of c. 1621. Its main aim is to provide a broad overview of the surviving early pictures in order to contribute towards a more detailed understanding of the history of the commedia deH'arte in the opening decades of its existence, 1560-1620, by using late renaissance pictures as a documentary source. My research method has three main steps. These are firstly, the identification of relevant pictures, on the basis of a detailed understanding of the early history of the commedia dell'arte, and taking a deliberately inclusive approach; secondly, the classification of such pictures according to art-historical methods, in order to associate them with specific named artists so that they can be placed in the context of an oeuvre and place of production; thirdly, interpretation of their theatrical content. Integral to the thesis are the 340 plates. Many feature pictures which were anonymous or implausibly attributed, and unknown to theatre historians, before they appeared here or in my publications. My inclusive approach has contributed towards the marked rehabilitation of carnival pictures which is evident in the most recent scholarship in this area. My new discoveries, and attributions and re-attributions of some of the 340 plates, summarized in the plate list, have enabled me to identify significant bodies of commedia-related pictures by a number of named late renaissance artists not previously associated with theatre iconography, and provide a broad overview of the early stock types, their costumes and settings; contributions which are stimulating further research in this area. Section I summarises the rise and spread of professional acting in sixteenth century Italy, some forerunners of the commedia dell'arte, and its early stock types. It also presents new documentary material, discovered in the course of my archival researches, which is relevant to the earliest commedia performance for which a comprehensive description survives, staged in Munich in 1568. Section II presents art-historical analyses of three groups of prints in Stockholm, and six paintings which are the subject of an article published in 1943. It also presents an overview of a large group of Flemish pictures whose relation to two Italian prints demonstrates the progressive stereotyping of commedia-related motifs which was already occurring around 1600. Section III offers theatrical interpretations of the pictures, concentrating on scenery, set and stages; actresses; a selection of stock characters, including Harlequin, Zanni and Pantalone, and also some less wellknown figures such as tedescos and matachins; and multiple and serial images. The renaissance Italian comedians' multiple roots in amateur humanist comedy, professional entertainment and popular carnival ritual gave them their early creativity and wide appeal, and left their mark on the iconography which, by the seventeenth century, like the commedia dell'arte itself, was, for the most part, settling into a predictable routine based on precedents and conventions.

Published also as Thesis (Ph. D.)--Columbia University, 1912. / Appendix A: Scenarios; Appendix B: Relations between English and Italian drama in the 16th, 17th and 18th centuries. Bibliography: p. 255-279.