Cette thèse porte sur la figure historique de la reine tamoule Cempiyaṉ-Mahādevī, épouse de Gaṇḍarāditya-Cōḻa (r. c. 949-57) et mère d'Uttama-Cōḻa (r. 971-87). Restée dans l'Histoire comme la plus formidable patronne de temples de l'Inde méridionale, elle est célébrée comme un modèle de dévotion à son dieu et à son époux. L'ensemble du savoir sur la souveraine se fondant sur la production épigraphique qui enregistra son activité sur les sites śivaïtes du pays tamoul durant une période estimée à six décennies, la présente recherche se concentre sur ces sources premières. Présentées de façon indifférenciée comme des « inscriptions de la reine », elles n'avaient jamais été rassemblées, ni intégralement éditées, en dépit de la réputation dont elles jouissent depuis leurs premiers signalements par l'agence de recensement archéologique de l'Inde britannique. La thèse établit le corpus des mentions épigraphiques de Cempiyaṉ-Mahādevī sur lequel s'appuyer pour mettre en évidence la part jouée par cette somme d'épigraphes dans l'écriture de l'histoire d'une reine Cōḻa dont l'élaboration se fit dans le contexte de l'émergence des histoires régionales au XXe siècle. À l'issue d'une analyse structurale de la titulature épigraphique de la patronne royale enregistrée au cours des trois phases identifiées au sein de son activité, l'on montre que cette titulature constitue la trame d'un itinéraire biographique reconstruit. En confrontant ces inscriptions aux interprétations reçues dans plus d'un siècle de publications, l'étude livre une illustration de la notion de « personnage épigraphique ». / This thesis examines the historical figure of the Tamil queen Cempiyaṉ-Mahādevī, the spouse of Gaṇḍarāditya-Cōḻa (r. c. 949-57) and mother of Uttama-Cōḻa (r. 971-87). This woman, who went down in history as Southern India’s greatest patron of temple-building, is celebrated as a model of devotion to both her god and her husband. Since current knowledge on the queen appears to be based entirely on the epigraphic production that recorded her activity at Śaiva sites in the Tamil country during an estimated six–decade period, this study focuses on these primary sources. Indiscriminately conceived of as “inscriptions of the queen,” they have never been gathered together, nor edited in their entirety, despite the renown they have acquired from the time they were first reported by the Archaeological Survey of British India. The thesis draws up the corpus of Cempiyaṉ-Mahādevī’s epigraphical mentions. This will serve as the basis for examining the role played by this body of epigraphs in the writing of the history of a Cōḻa queen in the context of the twentieth-century rise of regional histories. Following a structural analysis of the royal patron’s epigraphic titulature recorded over the three identified phases within her activity, it is shown that this titulature serves as a framework for a reconstructed biographical itinerary. By confronting these inscriptions with the interpretations they received over more than a century of publication, the study provides an illustration of the concept of an “epigraphic persona.”

Margaret of Austria (1480--1530) ruled the Burgundian Netherlands for over twenty years and was an integral member of the joint Houses of Burgundy and Habsburg. She was also one of the most prolific patrons and collectors of her time. This dissertation examines Margaret's patronage in relation to her contemporary environment with the aim of extending and deepening our understanding of her commissions within the dynamics and discourses of the culture of the early sixteenth century. / Margaret of Austria was a highly conscientious patron and the art and architecture she commissioned intimately reflected her life. Chapter one introduces the historical facts of Margaret's life as well as issues affecting her patronage. Chapter two considers the monastery of Brou in Savoy as Margaret's architectural autobiography. Drawing on documentation and the building itself, it examines Margaret's involvement in Brou's creation. Chapter three looks at several of Margaret's other commissions such as her residence, the Palace of Savoy in Mechelen and the Convent of the Annunciate in Bruges. This chapter considers the potential goals of these projects, as ambitious as founding a capital city, embellishing her authority as a ruler, or attaining sainthood. Chapter four turns to Margaret's self-portraits, that is, images she commissioned of herself. Created in several mediums for a variety of audiences (including herself), Margaret's self-portraits portray her as everything from a widow to a goddess to a saint. Each image was designed for a specific audience and demonstrates Margaret's understanding of the function of images in negotiating a place in the contemporary world and history. Chapter five presents Margaret's view of herself as one of the rulers of a New World Empire with her pioneering collection of artefacts from the Americas. The conclusion considers the unique image of Margaret of Austria that emerges from her commissions.

In this thesis, the dissolution of the monasteries is treated as an event in the history of patronage relationships between the English crown and local patronage groups. In a comparative approach, the regions of East Anglia and Yorkshire are examined in search of patronage-related differences that help to explain the contrasts in regional political responses to the dissolutions. / The first section deals with aspects of patronage in the fifteenth and early sixteenth centuries, exploring through test cases the normal patterns of patronage on monastic estates and the estates of lay landlords and the Crown. Normal durations in tenure, remuneration and networking patterns are explored, in order to show what expectations monastic servants would have held as to the effects of the dissolutions on the duration and value of their positions as well as the creative or destructive impact of the dissolutions on patronage networking. / The second section then analyzes patronage on the monastic estate under the management of the Court of Augmentations, following through in case studies the patronage impact of the sale of major blocks of monastic property to lay landlords in either region. The study finds that the northern region underwent more severe patronage dislocation than was the case in East Anglia, partly on account of long-term structural conditions and partly because of the differences in the more immediate political relations between the crown and elites in either region.

En 1881, l’Assistance publique à Paris crée le service des enfants moralement abandonnés, en empruntant à la philanthropie le patronage des adolescents des milieux populaires, pour prendre en charge des mineurs des deux sexes qui échappent aux normes de socialisation (famille, école et apprentissage). Arrêtés pour vagabondage, mendicité, vol ou prostitution, ces mineurs sont destinés aux centres de correction. Par une cogestion assistance/justice, le patronage administratif introduit l’éducation préventive des mineurs de justice éducables et des enfants placés volontairement par leurs parents. Les profils de ces mineurs indiquent une précarité des familles et des carences éducatives ainsi que des abus parentaux et des déviances juvéniles. Pour assurer l’éloignement des enfants maltraités ou en danger moral de leur milieu, la loi de 1889 permet aux tribunaux de prononcer la déchéance contre les parents indignes et d’organiser la tutelle administrative. Ces pupilles de l’Assistance relèvent du placement familial, professionnel ou industriel. Alors que ce cadre normatif applique des dispositifs d’intégration sociale (famille, discipline, travail, épargne), des écoles professionnelles, de préservation ou de réforme assurent l’éducation spéciale des pupilles disciplinés, difficiles ou vicieux. En grandissant, les pupilles sont destinés à la domesticité et aux diverses activités locales bien que certains parviennent à réussir une carrière exceptionnelle. Face aux difficultés d’intégration et aux frustrations, adolescents et jeunes brisent le lien de tutelle avant la majorité. Les uns s’évadent tandis que les autres sont retirés par leurs parents ou radiés pour délinquance. / To take care of minors of both sexes beyond the common forms of socialization (family, school and vocational apprenticeship), public assistance in Paris created, in 1881, the service of children in moral danger following the philanthropy patronage of popular milieu adolescents. Arrested for vagrancy, begging, stealing, prostitution, these victims/offenders are led to correction centres. Conceived by justice/assistance cooperation, the administrative patronage introduced preventive education for children placed voluntarily by their parents and educable justice juveniles. The profiles of these minors indicate precariousness within families and educational deficiencies or parental abuse and juvenile deviance. In order to guarantee removal and re-education of abused or young in moral danger, the 1889 law allows the courts to deprive the unworthy parents from their parental authority and organize the administrative guardianship after divestiture. Becoming wards of the assistance, these children fall within the foster, professional or industrial placement. This normative framework argues for social integration devices (family, discipline, work, and thrifts) while vocational, preservation or reform schools provide special education respectively for disciplined, difficult or vicious wards. When they grow up, pupils are destined to domesticity as servants or local activities, although, some of them succeed to achieve a promising professional career. Facing integration difficulties and frustrations, the link of guardianship may be broken before the majority either by adolescents and young escape, by parent’s removal requests or by exclusion for delinquency.

Cette thèse a deux préoccupations principales : la présentation des peintures communément nommées farangi sāzi, et la carrière de l'artiste Ἁli Qoli Jebādār. Littéralement « faire » ou « construire » « à la manière européenne », l'expression peintures farangi sāzi désigne certaines productions de la peinture iranienne datant de la fin du XVIIe siècle. Ces peintures emploient visiblement les techniques du clair-obscur et de la perspective, et représentent de nouvelles scènes qui ne s'appuient pas toujours sur la littérature classique iranienne. Il semblerait cependant que le qualificatif du farangi sāzi s'agisse d'une expression orale assez flexible qui pourrait avoir été appliquée à plusieurs activités non associées à la tradition artisanale iranienne. Ces peintures ont été réalisées en majorité sous le règne de Shāh Soleymān (1666-1694). On a donc souligné l'existence d'une dualité entre les courtisans et l'entourage proche du shāh ou son sérail, au sein du pouvoir safavide à cette époque. Bien qu'il n'existe pas de trace écrite sur le patronage artistique de la Maison du roi, on a essayé d'indiquer la piste possible d'un mécénat de cette Maison royale. La deuxième partie de la thèse a été consacrée à Ἁli Qoli Jebādār et à la question de ses signatures, ses peintures, et aux modalités de sa carrière en général. Ainsi, on a souligné les points les plus emblématiques de la littérature concernant l'artiste et on a étudié les structures visuelles et théoriques de ses peintures. Dans la dernière partie, on a émis de nouvelles hypothèses sur la carrière et les origines incertaines de Ἁli Qoli Jebādār. / This thesis has two main concerns: the presentation of commonly named Farangi Sazi paintings, and Ἁli Qoli Jebādār artistic career. Literally "make" or "build" in "the European manner", this term refers to some productions of the Iranian painting dating from the late 17th century. These paintings use visibly chiaroscuro and perspective, and show new scenes which do not always rely on Iranian classical literature. It seems however, that the expression of Farangi Sazi is a fairly flexible oral one, which could have been applied to several activities not associated with the Iranian craft tradition.These paintings were done mostly during the reign of Shah Soleiman (1666-1694), where existed a duality between the courtiers and the household of the Shah. Although there is no written evidence on the artistic patronage of the Royal household, we tried to indicate its possible track.The second part of the thesis was devoted to Ἁli Qoli Jebādār and the question of his signatures, his paintings, and the terms of his career in general. Thus, the most emblematic points of the literature about the artist have been stressed out. We have also studied the visual and theoretical structures of his paintings. In the last part, we issued new assumptions about career and uncertain origins of Ἁli Qoli Jebādār.

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This thesis analyses the emergence of Cuba as a sovereign nation, and the political corruption that plagued the republic. It investigates in detail, not only the independence movement that established this republic in its various wars against the Spanish empire, and its fracture and fission under the emerging power of the United States, but also the impact that this had on Cuban politics, and the consequences for Cuba’s native would-be rulers. The aim is to develop an understanding of what became of the veterans of the wars of liberation, and further the somewhat neglected subject of the relationship of the official Veterans’ organisations with the political parties and associations of the republican period. A short conclusion summarises the arguments and suggests further avenues of research.

John Forbes White's contribution to the history of Art in Scotland was, for the first seventy years after his death, mentioned only in passing by the main writers on Scottish art of the day. However, two of his daughters, Ina Mary Harrower and Dorothea Fyfe, both wrote articles on aspects of their father's collecting: Ina publishing "Private Picture Galleries, The Collection of John Forbes White" in Goodwords in 1896 (pp 813-819), John Forbes White (Edinburgh) in 1918 and in 1927, "Jozef lsraels and his Aberdeen Friend" for the Aberdeen University Review (pp 108-122). A noted art historian, Ina reflected her father's taste and collecting interests in her own writings, as with, for example, "Studies of Fruit by Courbet" Apollo (Vol. L No 296 1949 pp 95-98). Dorothea, with her co-author C.S. Minto, published John Forbes White, Miller, Collector, Photographer 1831-1904 (Edinburgh 1970). The only other writers who have examined White's contribution to art in any detail were Charles Carter, who as curator of Aberdeen Art Gallery, covered art and patronage in the North-East of Scotland in numerous articles and outlined White's contribution in "Art Patronage in Scotland: John Forbes White" published in the Scottish Art Review,(Vol VI, no 2, 1957, pp. 27-30). Frances Fowle, on completion of her PhD on Alexander Reid, also discussed White's tastes in "The Hague School and the Scots, A Taste for Dutch Pictures" (Apollo August 1991 pp 108-111). George Reid was still less favoured by critics after his death. With J.L. Caw championing James Guthrie and William MacTaggart, the innovative and influential aspects of Reid's art were obscured, reduced and even sometimes credited to others. W.D. McKay in The Scottish School of Painting (London 1906) had played down Reid's part in the introduction of Realism into Scotland and Agnes McKay in her monograph on Arthur Melville (Lee on Sea, 1951) went furthest of all in portraying Reid as the enemy of a younger, more innovative group of artists, who included the subject of her book. It was to be another thirty years before Dun can Macmillan would examine Reid, in Scottish Art 1460-1990 (Mainstream, 1990) as an important landscape painter, rather than, as had been the case before, as a reactionary president of the Royal Scottish Academy and an extremely dull, if talented, portrait painter. One year later John Morrison, having completed his PhD Rural Nostalgia: Painting in XIX Scotland c.1860-1880 (St Andrews 1989) wrote of Reid's important European contacts and of the vital relationship between White and Reid in "Sir George Reid in Holland, his work with G.A. Mollinger and Jozef Israels" (Jong Holland 1991 No 4 pp 10-19). Both the assets and the faults of Alexander Macdonald's collecting were examined by Charles Carter in "Alexander Macdonald 1837-1884 - Aberdeen Art Collector" (Scottish Art Review, Vol V, no 3, 1955, pp. 23-28) and again by Francina Irwin in an exhibition catalogue entitled Alexander Macdonald: From Mason to Maecenas in 1985. My main source of material has come from the uncatalogued archive of correspondence between George Reid, John Forbes White, Jozef Israels, George Paul Chalmers, David Artz, Gerrit Mollinger, Samuel Smiles and others, most of which is housed in Aberdeen Art Gallery. Reid's unpublished autobiography, transcribed by his wife Mia, (in the same archive) was also of great use, as was an unpublished but almost complete catalogue raisonne of Reid's work, compiled, probably by Percy Bate or Harry Townend c.1912. I have also made extensive use of the papers of James Pittendrigh Macgillivray which are held by The National Library of Scotland. The descendants of John Forbes White made the works and letters in their possession freely available to me. These included the correspondence between John Forbes White and William Stott of Oldham which is cited in Chapter 6. Elements of this thesis, and particularly sections 2,3, & 4 of Chapter 4, appeared in a revised form in "Art and Patronage in Aberdeen 1860-1920", a paper that I delivered at the Scottish Society of Art History's conference on Patronage, and which was published in The Journal of the Scottish Society for Art Historians (Volume 3 1998 pp 16-24). The sixth section of Chapter 5 appeared in a revised form, in An Album of Photographs compiled by Sir John Everett Millais PRA published in Studies in Photography (Edinburgh, 1997). The discussion of the influence of Ancient Greece and Classicism in the eighth section of Chapter 7 was included in a paper entitled John Forbes White, The Classical Tradition and Ideals In Art given at the conference on "The Role of Collections In The Scottish Cultural Tradition", which was held at Aberdeen University in 1998. The third section of Chapter 7 appeared in a revised form in Robert Brough (Aberdeen Art Gallery, 1995). Appendix A contains relevant excerpts from letters and text, on which much of my research was based whilst Appendix B lists the works of art owned by John Forbes White.

Why write music theory and publish it? In the thesis I investigate the reasons for a seeming over-abundance of practically oriented music treatises in early seventeenth-century Italy. Throughout I challenge our conventional assessment of the study of music theory: I suggest that we can define a music-theoretical text in terms of its material form in addition to its content. Adriano Banchieri (1568-1634) was the most prolific theorist in early seventeenth-century Italy. His music-theory books exemplify contemporary printing patterns, an overt practical focus, and a synthesis of contemporary theoretical innovations. In Chapter 1, after considering the meaning of 'music theory' and how it is typically classified, I discuss the process of and purposes for writing and publishing music theory. In Chapter 2 I explore Banchieri's practical and philosophical motives for writing music theory, and thus introduce the reader to his music-theoretical corpus. The focus of the thesis then broadens: in Chapter 3 I survey the typical authors, publishing houses, content, material form, function and readers of the various kinds of theoretical texts printed in Italy between 1600 and 1630. In Chapter 4 I examine the widespread practice of publishing second and revised editions of music-theory books in order to establish the extent to which a new edition corresponds to a seeming demand for a particular text. The case study of the paratext of Banchieri's Conclusiones de musica (Bologna, 1627) in Chapter 5 demonstrates the great extent to which the preliminary matter of an early Seicento music-theory book is embedded in its socio-cultural context and how a paratext projects ideas contained in the text proper. Lastly, in Chapter 6 I explore to whom and in which particular forums theoretical writings circulated. Here I focus principally on Banchieri's printed letters, which provide evidence of how an author circulated his music books.