L'invention de l'imagerie médicéenne a accompagné la campagne politique initiée par Cosimo I, investi duc de Florence en 1537, puis duc de Sienne en 1559, et grand-duc de Toscane en 1570, pour établir une autorité dynastique à la tête d'un principat créé en 1530 par Charles Quint et enraciner un pouvoir autocratique pour ses héritiers. Les arts du textile, de l'ornement et de la joaillerie sont aux fondements de cette image du pouvoir médicéen. Dans un contexte économique et culturel où Florence était considérée, sur la scène internationale, comme un des principaux foyers de l'artisanat du luxe et de la création artistique, les Medici utilisèrent cette renommée à leur avantage. Ils se firent représenter en ambassadeurs de la culture florentine pour faire reconnaître leur identité et promouvoir leur légitimité auprès de la société de cour européenne. Simultanément, ils prirent des mesures financières et législatives en faveur de la modernisation industrielle de leur État, du déploiement européen du marché textile régional et de la fondation d'un centre international de l'artisanat d'exception. Le portrait du costume définit la représentation d'une esthétique originale, en lien avec ce contexte singulier, qui fut instrumentalisée pour afficher une image à la hauteur de telles ambitions. Grâce à cette vitrine du luxe florentin, traduite avec une plasticité minutieuse et une authenticité sidérante, les portraits témoignent d'une stratégie des apparences orchestrée pour répondre à un double objectif : ériger Florence en joyau de l'art de la Renaissance et exalter le prestige royal conquis par les grands-ducs de Toscane. / The creation of the Medicean portraiture has supported the political campaign started by Cosimo I, invested duke of Florence in 1537, then duke of Siena in 1559, and Grand Duke of Tuscany in 1570, to establish a dynastic authority on a princely state created by Charles V and to ensure the continued existence of an autocracy for his heirs. The arts of textile, ornament and jewellery are the pillars of this image of power. In an economic and cultural context where Florence was regarded as one of the major centers of luxury and artistic creation, the Medici used this world-renowned culture to their advantage. They became its ambassadors in order to have their identity recognized and to promote their legitimacy in the eyes of the European courtly society. At the same lime, they took financial and legislative measures to help the industrial modernization of their State, the European expansion of the Tuscan textile market and the foundation of an international and unparalleled center of the arts and crafts. The portrait du costume defines the representation of an original aesthetics, in connection with this singular context, which was mounted to realize such ambitions. With the exhibition of Florentine luxury, depicted with meticulous materiality and stunning authenticity, the portraits bear witness to a strategy of appearances staged to fulfill a double objective: enhance Florence as a jewel of Renaissance art and exalt the royal prestige conquered by the Grand Dukes of Tuscany.

Title from PDF of title page. / Document formatted into pages; contains 64 pages. / Thesis (M.E.E.)--University of South Florida, 2003. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: The ability of Mercuric Iodide (HgI2) to function as a highly efficient radiation detector at room temperature has generated great interest and has triggered further studies on this difficult material. This property is expected to enable significant enhancements to a far-ranging variety of applications and systems. HgI2 devices have shown superior performance at room temperature compared to elemental Si or Ge devices, which require to be cooled down to liquid nitrogen temperature when used as nuclear radiation detectors. While substantial studies have been conducted on single crystal HgI2, polycrystalline HgI2 remains a comparatively less studied form of this material. The primary use of HgI2 is as a direct radiation detector. It can also be used in applications with a scintillator intermediate to generate visible light from incident nuclear radiation. Hence its response to visible light can be used to study the electronic properties of HgI2 polycrystalline films. / ABSTRACT: The films are deposited on TEC-15 LOF glass with a Tin Oxide(Sn02) coating which acts as the growth surface. It also acts as the front contact with Palladium (Pd) being the back contact. Wire leads are attached to the palladium for electrical contact. The deposited films are circular in shape with a diameter of 2.5cm with thickness ranging from 50 to 600ìm. A maximum of 7 devices are contacted at various points on every film. For the measurements documented in this thesis, a tungsten-halogen lamp and an Oriel 1/4m grating monochromator are used as a light source. The incident flux on the sample is determined using a Si photodiode as reference. Device performance for both single crystal as well as polycrystalline films is documented. We have attempted to identify a set of optimum growth parameters using these measurements. / ABSTRACT: For a film to be considered favorably, not only should the individual devices show high quantum efficiencies and low dark currents, but the response of all devices on the same film should be uniform. A number of films are studied and the optimum film deposition conditions are commented upon. A powerful semiconductor device simulation tool, MEDICItm, is used to simulate the photoresponse of these films. The simulations are compared to the measurements and the transport and light absorption parameters of the polycrystalline films are determined. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

This thesis explores the relations between the Druze emir Fakhr al-Din II Ma'n and three successive Medici Grand Dukes between 1605 and 1633. Eschewing traditional historiographical concerns with the origins of Lebanese nationalism and the cultural encounter between East and West, I have sought first and above all to locate relations between this powerful emir and the Court of Tuscany within the broader context of Mediterranean history. / I suggest that the actions of Fakhr al-Din and of the Medici Grand Dukes have to be understood in relation to broad, long-term trends in the economic and social history of the Mediterranean. I explore two of these trends in detail: the breakdown in commercial and diplomatic relations between Florence (and then Tuscany) and the Ottoman empire during the course of the sixteenth century; the bargaining between the Porte and provincial power-holders in the Syrian provinces in the century following the Ottoman conquest.

This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.

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This is a study on crowns, wreaths and diadems as role symbols in Peter Paul Rubens’s 24 paintings for Marie de’Medici in Paris, 1622 – 1625. In these paintings, historic facts are shown with the addition of mythological gods and their symbols giving allegorical scenes, where sometimes also Christian symbols or subjects can be traced. A reader of these painted motifs therefore can choose to see the symbols as regal, Christian or mythological. The crown and the wreaths rarely present a challenge in modern interpretations, but the magnificent diadem does. Rubens chooses this diadem for higher goddesses, and for the queen a couple of times too. For some reason, this symbol is mostly misread in analyses. At this point in history, the crowns and the wreaths have been collected from divine spheres and turned into physical objects on earth used by the high and mighty. The large diadem has not; it is still only a symbol on a goddess. If and when put on a human in a portrait, the symbol gives the lady the abilities and characters of a goddess. Rubens uses his own design when turning this symbol into a physical picture;it is a high, pointed diadem with pearls and coloured gems set in gold. He has used it on goddesses both before and after the Medici commission. Today, we have seen numerous spectacular headpieces like this from late 18th century an onwards, wherefore it is an easy mistake to believe that Rubens copied what he saw instead of, as he actually did, foreboding a coming fashion. In addition to confirming this, I also suggest that it is the highest goddess Juno queen Marie is personifying. Juno is mostly known today as a goddess for women and childbirth. But she had far more masculine tasks in earlier days: she was seen as the saviour of the country and a special counsellor of the state. These two important roles are exactly what Marie de’ Medici took on when acting as regent for her young son, Louis XIII,after the murder of her husband, the late Henry IV. By putting Juno’s diadem on Marie’s head, when sitting on a throne, the divine abilities are manifested according to how a historic period could be transferred to the allegorical language in a painting at the time.

À la base de l’évolution de la technologie microélectronique actuelle, la réduction des dimensions critiques des MOSFET standards pour améliorer leurs performances électriques a atteint depuis quelques années ses limites physiques. L’utilisation de nanocomposants innovateurs ayant une configuration planaire, comme solution de remplacement, semble être une voie prometteuse pour certaines applications. Les diodes autocommutantes, Self-Switching Diodes (SSD), en font partie. Les SSD sont des composants unipolaires à deux accès ayant une caractéristique I-V non-linéaire semblable à celle d’une diode bipolaire. Leur configuration planaire rend leur fabrication plus facile et réduit considérablement les capacités parasites intrinsèques. Cette thèse porte sur la fabrication, la simulation et la caractérisation électrique de SSD fabriquées sur des substrats en SOI (Silicon-On-Insulator). Les dispositifs SSD ont été réalisés au départ grâce à des gravures par FIB (Focussed Ion Beam). Cette technique polyvalente nous permet de contrôler en temps réel les conditions de gravure. Par la suite, nous avons procédé à une fabrication massive de SSD en utilisant la technique d’électrolithographie et de gravure sèche. Les simulations effectuées principalement avec TCAD-Medici nous ont permis d’optimiser et d’investiguer en détails l’effet critique des paramètres géométriques (longueur, largeur et épaisseur du canal conducteur ainsi que la largeur des tranchées isolantes) et des paramètres physiques (densité surfacique aux niveaux des interfaces isolant/semiconducteur, densité des dopants et type de diélectrique dans les tranchées isolantes) des SSD sur les caractéristiques électriques, les valeurs de la tension seuil et les phénomènes de transport non linéaire qui ont lieu dans le canal conducteur de ce type de composants. Les mesures expérimentales de caractéristiques I-V de SSD ayant des canaux conducteurs de largeurs et de longueurs variables confirment les prévisions de nos simulations. Bien que le comportement électrique des SSD ressemble à celui d’un MISFET, nous démontrons le fait que l’on ne peut modéliser leurs caractéristiques I-V avec les mêmes expressions en nous basant sur le principe de fonctionnement spécifique à chacun de ces deux dispositifs.

The first part of this master thesis is focused on the personality of Lorenzo deʼ Medici and his inclusion in the period and cultural contexts. The literary background of Italy in the 15th century is introduced, as well as the Lorenzo's life, the summary of his literary output and his contribution as a patron of the Florentine culture and arts. The second part analyzes four of the Lorenzoʼs works related to mythological themes going back until the ancient writers. Lorenzoʼs evident influence by these authors is illustrated with the specific quotations but at the same time his own innovations in texts and stories are referred to. The conclusion compares an extend of this influence on him and the contribution of his own invention to the particular works. It points out the uniqueness of the personality of Lorenzo deʼ Medici both in the cultural and literary spheres as well.

Fashion in the Renaissance became intensely political, highly gendered, and anatomized (i.e. emphasizing human anatomy rather than masking it). Court culture placed a particular emphasis on the body of the courtier, as skills such as dancing and dressing fashionably became crucial to political success in states throughout Europe. In sixteenth-century Florence, the Medici attempted to install a duchy in what was at the time a republican city (with strong republican heritage). Florentine fears of foreign domination and resentment towards non-republican forms of government made the Medici’s task nearly impossible. Fashion became a primary pillar of the Medicean political agenda, as the first members of the Medici family to hold official power in the Florentine Grand Duchy (and their wives) dressed quite modestly in comparison to other sixteenth-century heads of state, so as not to appear to have imperial or monarchical pretensions and thus arouse dangerous levels of antipathy from their Florentine subjects. The first Grand Duchess, Eleonora di Toledo, and the second, Giovanna d’Austria, faced an additional challenge as foreign brides marrying into the Medici duchy, as they were themselves representatives of the influence of imperial power in Florentine politics. They both were faced with countless factors to consider as they made choices about how to dress, and each choice had political, social, and economic implications and consequences.

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.