of the Thesis Bc. Alena Třešňáková 2011 Abstract The thesis in the theme: Issues of questionable attributions of works by Francesco Squarcione The first part of the thesis provides a summary of information about Francesco Squarcione. He is known to have first been a tailor, then an artist (from 1429) and collector of antiquities, an innovative activity in his time, and finally, an entrepreneur who influenced young artists in Padua from the 1430s to 1460s. Squarcione founded (1431) the earliest known private art-school. He educated 137 pupils who had trained or learned through the copying of antiquities in Squarcione's collection. Only two works made by him have come down to us from his artistic era; the De Lazzara polyptych in the Museo Civico in Padova (1449−1452) and the Virgin and Child in Staatliche Museen in Berlin (around 1455). The second part of this work deals with the other works that have been attributed to him over the next centuries. There is a compiled catalog of these works of art. In each of the entry are summarized important opinions about authorship of the work and on the end of which I presented my own opinion. It is difficult to confidently attributed these works to the Master Francesco Squarcione, since on the commissions often collaborated his pupils, who created in his style...

Thesis (doctoral)--Rheinische Friedrich-Wilhelms-Universität zu Bonn, 1981. / Errata page inserted. Includes bibliographical references (p. 168-176).

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This dissertation examines four operas created by the composer Franceso Cavalli and the librettist Giovanni Faustini at the Teatro Sant'Apollinare in Venice in 1651-1652 with regard to the relationship between musical dramaturgy and stage performance. All four operas--L'Oristeo, La Rosinda, La Calisto, and L'Eritrea--are preserved in manuscript scores that are part of the Contarini Collection in the Biblioteca Nazionale Marciana. Annotations in these sources document the complex process of rehearsing at the Sant'Apollinare and the ways that multiple considerations of production (including vocal casting, staging, and scenography) interacted with the evolving musico-dramatic structure. Several of these operas were revived later in the seventeenth century in new theatrical circumstances: L'Oristeo was revived as L'Oristeo travestito in Bologna in 1656; La Rosinda was reworked and presented under the title Le magie amorose in Naples in 1653; and L'Eritrea received multiple productions (including a Venetian revival at the Teatro San Salvatore in 1661). These case studies provide a fuller view of the relationship between Venetian opera aesthetics and the exigencies of performance on the seventeenth-century stage. Modifications to the original dramaturgy--such as inserted arias and sinfonie, added secondary comic characters, and cuts to recitative--were made with careful regard to the scenography of each production. This analysis demonstrates the critical importance of stagecraft in the interpretation of this repertoire both historically and in modern edition and performance.

This dissertation explores the primary sites of collecting and display commissioned by Francesco I de' Medici, Grand Duke of Tuscany (r. 1564-87). These sites ─ Francesco's studiolo in the Palazzo Vecchio and the nearby Uffizi Gallery ─ established precedents for the physical layout of newly emerging museums in early modern Europe, as scholars have suggested. But, as this dissertation asserts, Francesco's communication of authority through these sites significantly contributed to the changing expectations in the 16th century of a ruler's proper engagement with culture. Displaying objects connoting knowledge, taste, and wealth, these sites demonstrated Francesco's privileged access to such objects and his mastery over the scientific processes involved in their creation. Emphasizing the prince's knowledge, this approach contrasted with earlier rulers' reliance on images of direct military power and laid the groundwork for the merging of personal and private space that would come to characterize the full expression of absolutism across Europe. Chapter One examines the multi-faceted assertions of authority in Francesco's portraits, a strategy reflecting his embrace of images and spaces to communicate personal and political identity. Chapter Two addresses his private studiolo, which represented Francesco's participation in scientific, contemplative, and collecting activities among ruling elites. Chapter Three examines the subtle but profound shift in the meaning of the collection when, in 1583, Francesco created the Galleria degli Uffizi, a significant contribution in the history of European museums. Established independent of the prince's residence, the new museum represented Francesco's most powerful expression of cultural politics, as dignitaries visited the impressively decorated gallery and experienced first-hand its political assertions. The dissertation concludes by examining the impact of Francesco's museological precedents on other Italian rulers. Sites in Florence and Mantua demonstrate the continued attractiveness of Francesco's cultural expressions of authority to 17th-century rulers, as new expectations of a ruler's engagement with the arts emerge. Princely galleries become an increasingly common demonstration of authority, with many examples emulating the Uffizi's design. The conclusion affirms Francesco's legacy in binding the demonstration of artistic and scientific knowledge to political authority in the early Seicento.

Dissertation--Halle-Wittenberg, 2007. / Bibliogr. p. 270-282.

A study of the symbolism of love and melancholy in the Hypnerotomachia Poliphili, an architectural treatise of the Italian Renaissance written as a dream, in which an alchemical narrative structures the shaping of an adept through the education of his cognitive faculties. This author has speculated on the representational strategies of this satyrical and literary architecture and translated into English several key passages from the hero's rhythmythical journey through a musaic architectural wonderland.

Zugl.: Mannheim, Univ., Diss., 2005

Zugl.: Köln, Univ., Diss., 2002

Regensburg, Univ., Diss., 2008