The Villa Imperiale at Pesaro remains one of the few grand Italian Renaissance villas to have escaped exploitation for the tourist industry. Curiously enough, it has also been long neglected in the field of modern art historical scholarship. The only major study is Bernhard Patzak's Die Villa Imperiale bei Pesaro, published in 1908. Before, and since then, the majority of accounts dealing with it have been of a purely local Pesarese character—either brief guide-book references to it, or redundant versions of Pompeo Mancini's literary blueprint, written for the Esercitazioni dell'Accademia Agraria of Pesaro in 1844. More recently, Giuseppe Marchini, former Superintendent of Galleries in the Marches, published an attractive and well-illustrated book on the Villa Imperiale, to coincide with the completion of the villa's restoration. Although Marchini's book is extremely valuable for its visual material, it does not contribute to the scholarship on the villa's history. Craig Hugh Smyth, who had been a consultant for the restoration of the Villa Imperiale's frescoes, is concentrating his efforts on determining the authorship of the eight-room decorative cycle. With the exception of one enlightening essay, also by Smyth, the architecture of the Villa Imperiale has not yet inspired any major revaluation. Although Patzak’s monograph, the standard reference work for more than sixty years, is an informative study, many of its arguments appear unsatisfactory in the light of modern scholarship. In such a case, it is undoubtedly the art history student’s responsibility to reinterpret the evidence, employing the methods which have been developed in the interim. The Villa Imperiale, on Monte S. Bartolo outside of Pesaro, consists of two separate structures from different periods. In the sixteenth century, the buildings become interrelated— physically, by a connecting wing; and functionally, in terms of an iconographic programme devised to serve a common purpose. The earlier structure was built by Alessandro Sforza in 1469. Emperor Frederick III, on a post-coronation journey to Italy, passed through Pesaro, and performed the office of laying the foundation stone. A plaque hangs above the main entrance to commemorate the event. As a mid-fifteenth century structure, the villa is designed with the idea of versatility in mind. The concept of villegia-tura, as it was being promoted in contemporary Florence, was not yet popular or expedient in Pesaro. Alessandro Sforza was principally a soldier, and his buildings reflect his tastes and requirements. Because of its site on top of a hill, the villa could play both defensive and offensive roles in battles. When war was not the momentary occupation of Alessandro, the Imperiale worked well as an economic unit. The land on which it stands was fertile and well cultivated; a forest surrounding the villa on three sides provided adequate game for hunting, whether for sport or necessity. It was built with expansive subterranean rooms which served as storage, and food conversion, areas. Patzak noted that the architectural motifs and proportions of the Sforza villa, particularly in the cortile, must date from a period before 1469. He suggests 1452, when Frederick came to Italy the first time, to be coronated Emperor. However, the difficult political relationship between Frederick and Francesco Sforza, Duke of Milan, would seem to exclude the probability of a visit by the Emperor to Francesco's brother, Alessandro, Lord of Pesaro, at that time. What Patzak has overlooked is the display of similar architectural proportions in the Palazzo Prefettizio of Pesaro, a structure built cl450, when Alessandro assumed control of the city. The transposition of a system of architectural proportions from one building to another is not unprecedented. Indeed, the physical proximity, and the common patron, of the Palazzo Prefettizio and the Villa Imperiale, underline the suitability of the theory. In 1512, Pesaro and the Villa Imperiale were expropriated from the Sforza family by Julius II, for his nephew, Francesco Maria della Rovere, Duke of Urbino. Political and dynastic intrigues on the part of the Medici Pope, Leo X, prevented Francesco Maria from finally securing his Dukedom, and with it the Villa Imperiale, until 1522. Subsequent to his reoccupation, the Duke initiated a restoration and renovation programme for his various estates. The Villa Imperiale, damaged in a battle of 1517, required extensive repairs. Girolamo Genga, a native of Urbino, was called from Rome to become court architect to Francesco Maria. Along with the restoration, a programme was conceived for the decoration of several grand apartments in the Sforza villa. Only two ceilings exist from this earliest project. The next plan, which remains today, involved the painting, with a fresco cycle, of eight apartments. The programme was carefully devised to ensure the proper procession through the rooms of the old villa, over a connecting bridge, into an entirely new structure, built behind the Sforza villa. The architectural experiences of Francesco Maria's new villa are cleverly and subtly anticipated in the frescoes of the Sforza villa. This second project, involving the frescoes and the new villa, was conceived and begun between 1524 and 1527. Before he turned to architecture, Genga had been a designer of stage sets. The frescoes, and the architecture of Francesco Maria's villa, show his indebtedness to the theatre. In fact, the Villa Imperiale was to function as the stage for the activities of the Duke of Urbino's court, so the conceit is, paradoxically, entirely suitable. In the della Rovere villa, entrances and exits, means of access from one space to another, are as disguised to the visitor's eye, as they would be in a real theatre. Participation and exploration solve the problems encountered in trying to move through the complex. When the visitor finally arrives at the far end of the last terrace, a giardino secreto, he is confronted by the only independent entrance into the new villa (the other is by way of the Sforza villa, and over the connecting wing). Regarding the villa from this position, the sight confronting him is a negation of the architectural spaces experienced only moments before. As it is, he can see no architectural spaces at all—only what appears to be a solid building with four towers. The architectural setting has changed as quickly and completely as the painted backdrop of a stage might be exchanged. The guest is delighted and confused; the illusion is complete. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Il lavoro consiste nell'analisi dei tratti peculiari della lingua delle Meditazioni dell'imperatore Marco Aurelio Antonino in relazione alla prosa imperiale coeva all'autore; nel contempo la ricerca mira a riconoscere una possibile influenza della lingua latina nella stesura del trattato. / The work is about the language of Marcus Aurelius's Meditations compared to the imperial contemporary prose and tries to find influences of Latin language in the composition of the treatise.

Le projet urbanistique et architectural lié à la construction du forum de Trajan à Rome (106 et 113 ap. J.-C) s’inscrit dans la tradition de ceux qui l’ont précédé. Pourtant ses dimensions et les travaux colossaux nécessaires à son établissement en font un projet particulièrement exceptionnel qui a entraîné la transformation totale de l’ensemble de la zone située entre les collines du Capitole et du Quirinal. Cette étude porte sur les modalités de ce réaménagement et ses conséquences non seulement sur la zone du forum, mais également sur l’ensemble du tissu urbain de la ville. Il s’agit d’analyser ce grand programme architectural en soulignant, comment, au-delà de la réalisation de la place publique, a été conçu, autour du complexe impérial, tout un ensemble urbanistique cohérent et surtout entièrement structuré par un nouveau système de circulation complexe. Le contexte urbain avant et après la réalisation du forum sont successivement étudiés et une attention particulière est accordée aux solutions architecturales adoptées afin d’intégrer les nouvelles constructions dans le tissu urbain préexistant. L’objectif est de reconstruire chronologiquement toute l’organisation urbanistique de la zone et de déterminer dans quelle mesure la construction du forum de Trajan a conditionnée le développement de l’Urbs dans son ensemble. / The urban and architectural project related to the construction of the Trajan Forum in Rome (106-113 AD) joins the tradition of its predecessors. However, its dimensions and the colossal work needed for its creation make it a one-of-a-kind project, which caused the transformation of the whole area between the Campidoglio and Quirinale hills. This study focuses on the methods of this transformation and on its impact on the proper Forum area, and on the rest of the city’s urban texture. It is an analysis of this big architectural project, beyond the public square, with particular attention to the collection of architectural solutions and to the complicated system of paths created around the imperial complex. The urban context was analysed in parallel, before and after the completion of the Forum, in order to understand better the architectural solutions adopted, and to integrate the new buildings in the pre-existing urban context. The objective is to chronologically reconstruct the whole urban setup of the area, and to determine to which extent the construction of the Trajan Forum conditioned the development of this part of the empire-period Urbs.

La ricerca di dottorato si inserisce nel quadro delle attività della MAIER – Missione Archeologica Italiana a Hierapolis di Frigia (Pamukkale, Turchia) e nel filone degli studi di architettura antica relativi ai complessi edilizi dei centri microasiatici. Vengono analizzati, in particolare, alcuni edifici e materiali architettonici di ordine ionico emersi dalle recenti indagini di scavo, allo scopo di fornire una ricostruzione dei monumenti nella planimetria e negli alzati, ma anche delle loro funzioni e le destinazioni d’uso; parallelamente si è sviluppata l’analisi del linguaggio formale delle architetture, allo scopo sia di definire le cronologie degli edifici sia di inserirli nel più ampio fenomeno della decorazione architettonica microasiatica, rintracciandone gli eventuali modelli, anche in rapporto al complesso problema dell’attività delle maestranze, per fornire un quadro aggiornato delle modalità di impiego dell’ordine ionico a Hierapolis di Frigia nel corso dell’età imperiale. La ricerca ha affrontato i due complessi santuariali del centro cittadino: nel Santuario di Apollo vengono analizzati il Tempio C, una serie di eccezionali capitelli ionici con collarino decorato e un consistente gruppo di elementi architettonici riferibili ad un portico di temenos (di ordine corinzio); nel Ploutonion si sono indagati alcuni materiali riferibil invece ad un portico ionico, posto a coronamento del theatron rituale. / This doctoral research is part of the activities of MAIER – Italian Archaeological Mission in Hierapolis of Phrygia (Pamukkale, Turkey) and of the investigation field on the ancient architecture in Asia Minor. Some buildings and architectural blocks of Ionic order, recently discovered, are analyzed in order to achieve a reconstruction of the monuments, not only of the plan and elevation, but also of the ancient functions and use of the buildings. The stylistic analysis is also very important, to determine the chronology of the monuments and to relate the Ionic architecture of Hierapolis with the other urban centres in Asia Minor and their architectural tradition during the Imperial period. The dissertation is focused on both the sanctuaries of Hierapolis: in the Sanctuary of Apollo, the research analyzes the Temple C, a series of Ionic capitals with decorated hypotrachelion, and a group of architectural blocks from a (Corinthian) temenos portico; in the Ploutonion, the focus is on a series of blocks from an Ionic Stoa, related to the cultic theatre.

Texte remanié de: Th. doct.--Hist.--Paris 4. Titre de soutenance : Aux origines du chemin de fer de Djibouti à Addis-Abeba. / En appendice, choix de documents. Bibliogr. p. 713-726.

[pt] Esta pesquisa tem como objeto a constitucionalização do Poder Judiciário sob o Império brasileiro, e a prática institucional e atuação política da magistratura de primeira instância, na província do Rio de Janeiro, entre os anos de 1824 e 1841. Esse constitucionalismo foi marcado pela indistinção entre funções executivas e judiciárias, e pela conciliação entre instituições herdadas do Antigo Regime, como a magistratura togada, nomeada, e instituições liberais, como a magistratura leiga, eleita. A matriz teórica do constitucionalismo moderno foi o liberalismo burguês revolucionário do século XVIII. Entretanto, o constitucionalismo liberal que serviu de referência para a Constituição brasileira de 1824 foi o da Carta Constitucional francesa de 1814 e da teoria de Benjamin Constant, que conciliavam uma monarquia com um Executivo forte, e um Judiciário subordinado àquele Poder. Direitos individuais e instituições liberais foram formalmente assegurados no texto constitucional, mas a separação dos poderes do Estado ficou seriamente ameaçada. No Brasil, o modelo de uma magistratura nomeada atuando ao lado de uma eleita, combinado à subordinação do Judiciário ao Executivo imperial e provincial, definiu novas relações de poder político, gerando tensões entre os atores históricos envolvidos. No momento de construção do Estado Nacional, o Poder Judiciário tornou-se um campo de prática política que oferecia grandes possibilidades de controle social e conciliação entre o poder local das oligarquias e o poder imperial. / [fr] Cette recherche a pour objet le processus d élaboration du Pouvoir Judiciaire sous l Empire brésilien, la pratique institutionnelle et l action politique de la magistrature de première instance, entre les années 1824 et 1841, dans la province de Rio de Janeiro. Cette démarche constitutionnelle résulte de l indiférenciation qui existait entre les fonctions exécutive et judiciaire, et de la conciliation entre les institutions héritées de l Ancien Régime, comme la magistrature professionnelle, nomée, et les intitutions libérales, comme la magistrature laique, élue. La matrice théorique du constitutionnalisme moderne a été le libéralisme de la bourgeoisie révolutionnaire du XVIII siècle. Néanmoins, le constitutionnalisme libéral qui a été la référence de la Constitution Brésilienne de 1824 fut celui de la Charte Constitutionnelle française de 1814, et de la théorie de Benjamin Constant, lesquelles conciliaient une monarchie avec un Pouvoir Exécutif fort et un pouvoir Judiciaire qui lui était subordonné. Des droits individuels et des institutions libérales furent donc formellement assurés dans le texte constitutionnel, mais la séparation des pouvoirs de l État était sérieusement menacée. Au Brésil, le modèle d une magistrature nommée agissant aux côtés d une magistrature élue, ainsi que la subordination du pouvoir Judiciaire à l Exécutif impérial et provincial ont défini de nouvelles relations de fonctionnement du pouvoir politique, donnant lieu à des tensions entre les acteurs historiques concernés. Au moment de la construction de l État National, le Pouvoir Judiciaire est devenu le champ d une pratique politique qui offrait de grandes possibilités de contrôle social et de conciliation entre le pouvoir local, les oligarchies, et le pouvoir impérial.

Nell’area oggi occupata dall’Università Cattolica del Sacro Cuore di Milano a partire dal 1986 scavi di emergenza hanno messo in luce una porzione del suburbio occidentale di Mediolanum, e in particolare una realtà insediativa suburbana di età imperiale. Un’ampia area di tale insediamento è stata oggetto della presente ricerca che, combinando lo studio dei processi formativi del deposito archeologico e l’analisi quantitativa e statistica degli insiemi di reperti, ha permesso di ricostruire le trasformazioni che ne hanno preceduto e accompagnato la formazione e che ne hanno interessato l’organizzazione spaziale e la distribuzione delle aree di attività. In questo modo è stato possibile comprendere come nel tempo siano avvenuti cambiamenti nei caratteri e nelle finalità della frequentazione dell'area, che sembrano poter gettare nuova luce anche su fenomeni più generali che riguardano l’intero suburbio della città romana. / In the area today occupied by the Università Cattolica del Sacro Cuore di Milano, since 1986, rescue excavations have disclosed a part of Mediolanum’s western suburbium, and in particular an imperial age suburban settlement. A wide area of this settlement has been the object of this research which, combining the study of the formation processes of the archaeological record and the quantitative and statistical analysis of finds assemblages, allowed us to reconstruct the transformations which preceded its formation and those which concerned its spatial organization and activity areas distribution. In this way we have shown that the characteristics and nature of the settlement have considerably changed during the course of time, and these changes seem to shed light even on the general transformations which concern the entire suburbium of the Roman town.