Thesis (Ph. D.)--University of Chicago, Dept. of Romance Languages and Literatures, December 2003. / Includes bibliographical references. Also available on the Internet.

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The purpose of this study is to investigate the patronage of Piero de’ Medici and Lucrezia Tornabuoni. My aim is to discuss and place the patronage in the complex field of the renaissance as an active conjugal partnership between the two. The study is divided in three main chapters, the introduction part where an overview of the main issues in the field of renaissance patronage and a background of the people involved; one chapter where the two religious rooms are introduced and the specific patronage described; and finally a chapter where the different procedures are discussed, compared and combined into one joint conjugal patronage for the both of them. The evidence uncovered supporting the conjugal patronage is partly the similarities between the altar paintings in the rooms. They are both made of Fra Filipo Lippi and both are portraying the Adoration of Infant Jesus. The presence of the coat of arms of both the noble houses at the Camaldoli adoration and a series of lettres between Piero and one of his painters, Benezzo Gozzoli.

The aim of this study is to investigate the role of posthumous portraits in the Tornabuoni family as a tool of positioning itself through visual rhetorics. The basis for the examination is three portraits of Francesca Pitti, Giovanna degli Albizzi and Lucrezia Tornabuoni, together with an altarpiece depicting the Visitation with Mary Jachobi and Mary Salome. The study uses iconography to analyse the images and using a rhetorical analysis to understand the visual rhetorics used by the family. The study finds that there are different hidden meanings in the portraits, Francesca is remembered by her husband by pure grief; Lucrezia is honoured as the bridge between the Tornabuoni and the Medici families, and Giovanna is remembered by her husband as the continuation of the dynasty in its time of crisis, as well as the pure loss and grief of his beloved wife and unborn child inside the walls of the palazzo. This study uses the theoretical framework of visual rhetorics, as developed by the historian Paul Zanker and adopted by art historian Johan Eriksson, to analyse the behaviour of commissioning posthumous portraits of deceased women and viewing them both in public and private spaces in churches and in the palazzo. As Alberti says: ''Through painting, the faces of the dead go on living for a very long time.''

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Les lettres de Lucrezia Gonzaga da Gazzuolo (1524-1576), imprimées pour la première fois à Venise en 1552 et republiées en 2009 seulement, constituent un riche corpus épistolaire en partie inexploré qui n’a pas encore fait l’objet d’une étude systématique. Les quelques travaux critiques qui nous ont introduit à une lecture du recueil montraient la pertinence d’une vaste analyse intertextuelle de ce livre de lettres. Notre étude a révélé la présence constante et multiforme de la figure intellectuelle de son éditeur non déclaré : le polygraphe Ortensio Lando. Son choix éditorial consistant à miser sur l’exemplarité que Lucrezia incarnait dans son vécu à la fois actif et tragique découle de l’importance croissante que l’industrie culturelle accordait aux femmes-auteurs et, par conséquent, au public féminin.Sur le recueil pèse le doute d’une paternité problématique qui nous a conduit à placer au centre de notre réflexion le rapport d’interdépendance qui liait étroitement Lucrezia à Ortensio Lando. La thèse révèle la dépendance formelle et thématique des lettres par rapport à l’écriture ‘irrégulière’ du polygraphe irrévérencieux. Cela permet de dévoiler toute l’ampleur d’une tortueuse initiative éditoriale conçue et orchestrée par Lando dont la visée principale s’est avérée être la diffusion d’une nouvelle forme de dissidence spirituelle inspirée par la Philosophia Christi d’Érasme. Face à une crise religieuse croissante, cette diffusion, qui passe à travers l’usage de l’imprimerie, repose sur le succès retentissant du ‘livre de lettres’ et se manifeste, entre autres, par un prosélytisme réformiste complexe. Les lettres s’insèrent ainsi dans un univers littéraire enchevêtré qui concerne d’un côté les écrits de Lando publiés entre 1550 et 1554 et de l’autre, le vilipendé Enchiridion militis christiani d’Érasme, et elles deviennent, dans un moment d’intensification des contrôles inquisitoriaux, une forme discrète de diffusion de positions religieuses hétérodoxes. Le recueil représente aussi un terrain d’enquête fertile pour réfléchir sur le statut de la lettre en tant qu’instrument de diffusion de la modernité et d’affirmation socioculturelle de la femme cultivée, mais aussi pour évoquer des questions méta-littéraires telles que les notions d’autorité, d’authenticité et d’auctorialité, et pour s’interroger sur les possibilités et les limites éditoriales d’une consécration littéraire des femmes. / Lucrezia Gonzaga da Gazzuolo’s (1524-1576) Lettere, first published in 1552 in Venice and reprinted in 2009 only, constitutes a rich epistolary corpus that remains relatively untouched, not having been studied systematically yet.The few academic studies that introduced us to this volume of letters made apparent the need for an extensive analysis of it, with a focus on its intertextuality. Our work reveals the constant, if many-faceted, intellectual presence of Lucrezia’s unofficial editor: the polygraph Ortensio Lando. His editorial decisions capitalize on Lucrezia’s exemplarity, given her misfortunes and active daily life, and on the growing importance of women authors in the cultural industry and, in turn, of women readers.Suspicions of a not-so-straightforward authorship prompted us to center our reflection on the tight relation of interdependence between the gentlewoman and the writer. Our study sheds light on the formal and thematic influence of the irreverent polygraph’s ‘irregular’ writing style on Lucrezia’s letters. This leads us to uncover the full scope of a tortuous publishing project, conceived and orchestrated by Lando, aiming crucially at propagating a new strain of spiritual dissidence, inspired by Erasmus’s Philosophia Christi. Such dissemination, in face of rising religious tensions, would rely on the overwhelming demand for ‘letterbooks’, and take the form, among others, of a complex and reformist proselytism. The letters are thus part of an intricate literary universe ranging from the writings of Lando published between 1550 and 1554 to Erasmus’s much-maligned Enchiridion militis christiani. During a time of increased inquisitorial control and interventions, epistolography become a discrete means of heterodox religious propaganda. The collection of letters also opens up a promising field of investigations and research on the letter: first as a tool to broadcast modern ideas as well as the socio-cultural claims of learned women, but also as a crux for meta-literary issues such as authority, authenticity and auctoriality, and finally a springboard for reflecting on the editorial possibilities and limitations acting upon the literary consecration of women.