Thesis (Ph. D.)--Johns Hopkins University, 1990. / Includes bibliographical references (leaves 713-771).

Thesis (Ph. D.)--University of Chicago, 2004. / Includes bibliographical references.

Fifteenth century Florentine architect Il Filarete authored the first illustrated book on architecture, with a distinct pedagogical agenda to teach his patron to build nobly. Written as a dialogical narrative, taking place between a patron and his architect, the treatise's pedagogical tone unfolds as a form of storytelling about the design and construction of an ideal city. Despite its miscellaneous aspects embedded in the book, which differentiates it significantly from the architectural treatises belong to the Western cannon, the author stresses his role as an architect, and proposes an unprecedent analogy to define the role of the architect (his profession) in regards to building practice [edificare]. Extending the Vitruvian body topos under the influence of Civic Humanism to an organic anthropomorphism, Filarete bases the generation of a building on similar grounds to human generation, through which he defines gender-specific roles to the patron (male agent) as the father of the building, and the architect (female agent) as its mother. This generally known analogy, although has been frequently mentioned, was not taken as a clue that can pertain the essence of architectural production in the Renaissance patronage context. In this dissertation, I propose to contextualize his unprecedented proposal within the larger framework of the production agency of building in the early modern period, and how architecture as a profession is aimed to be defined within that. / Doctor of Philosophy / In this dissertation, I have offered an in-depth analysis of Filarete's "generation" analogy for building production in the quattrocento Renaissance context. Filarete is a fifteenth century Florentine sculptor turned architect, who owns his fame to the extraordinary book he wrote ¬¬– Libro Architettonico – in which he could demonstrate the wonders he can build with the aid of a devoted patron. Targeting at the ideology of the patron's fame to be established through the noble edifices he builds, Filarete signifies the temporal nature of buildings which ends in ruins –as the Roman antiquity is perceived in the Renaissance –. Relying on ancient "body" metaphor for architecture, Filarete offers an analogy to his patron to perceive buildings similar to "a living man," that eventually dies. Accordingly, the generation of buildings is introduced as similar to generation of man. Based on a sexual metaphor Filarete coins here, the patron takes the role of the father, to generate "his" building together with an architect –mother–. Similar to a pregnant mother, the architect develops the design in his realm to deliver in the form of a scaled artifact (whether a drawing or a wooden model). Filarete suggests the architect –mother– to be the wet-nurse, signifying the ongoing process of design during construction and the architect's role to ensure its integrity to the building. This unprecedented analogy, although was never studied in depth, carries many connotations when examined in Renaissance patronage context and reflects significant nuances regarding the production of such noble building. The patron's influence in design is recognized with the father role, which has a long and prominent history in comparison to the emerging individuality of the Renaissance artist. In this well-established scheme, Filarete relies on the creative faculties of an artist, as associated with female attributes since the antiquity, yet extends it further to motherhood to define "architect" as a professional title. This unique interpretation parallels the emerging notions of family during the Renaissance, as perpetuated by Civic Humanism. A comparative study of the family treatises of the fifteenth century shows that the emphasis on the mother in the growth of a child parallels Filarete's intentions to convince his patron to rely on his architect for the good of his building. In the overall pedagogical tone of the Libro, Filarete is educating the patron to build nobly, which is offered as a stylistic choice to build in the ancient manner, and introduces the architect as an equal agent of the design process, distinguishing its role from a mason.

This thesis focuses on the life and artistic patronage of the Victorian philanthropist, Angela Burdett Coutts. The daughter of both an aristocrat and a member of the nouveau riche, Burdett Coutts was the product of both the new and old world of Victorian society and this thesis explores the ways in which Burdett Coutts fashioned an identity as a member of the aristocratic elite through her patronage of art and architecure. It explores the ways in which taste, gender and class are reflected in her collecting practice and examines her role as a patron through three case studies, as art collector, philanthropist and patron of architecture.

Univ., Diss.--Cambridge. / Literaturverz. S. [224] - 258.

To date, little academic research has been done on the theological influences undergirding the resurgence of contemporary church arts patronage practice, particularly within Scotland. This project is concerned to uncover not only how theological rationales of the arts inform church patronage but also how churches acting as patrons theologically articulate the reasons for their activity. Can theological rationales for the arts be discerned in contemporary church arts patronage practice? If so, what is their influence? If not, what is influencing church practice? After a brief history of Western church arts patronage and definition of terms, Chapter One discusses the practical theology methodologies used, specifically the Critical Faithfulness model and the Four Voices method. Chapter Two analyses how theological rationales for the arts support and limit church patronage practice with focus on the Catholic, Evangelical Protestant and Reformed traditions. In the first of two case study chapters, Chapter Three explores the patronage practice of Langside Parish Church, Glasgow, a Reformed Church of Scotland, and St Paul's and St George's, Edinburgh, an Evangelical Protestant church. Chapter Four considers the patronage of St Andrews Roman Catholic Cathedral, Glasgow and Old Saint Paul's Episcopal Church, Edinburgh, a church within the Anglo-Catholic tradition. Chapter Five draws from the practice and theology to propose a theological model for best patronage practice, allowing for different definitions of ‘faithful' church practice as defined by theological tradition. ‘Best practice' leads to the flourishing of patron, artist, and congregation. After presenting the model, the discussion narrows to consider the nature of the relationship between artist and patron as found in theology and practice. It is argued that key to flourishing in church arts patronage is a dialogical, collaborative relationship between an artistically-inclined patron and a spiritually-sensitive artist with each participating from their strengths while aware of their weaknesses.

No description available.

This thesis examines interest in the visual arts by patrons of Scottish descent, active in France, c.1445 to c.1545: the Monypenny family, Bérault and Robert Stuart d'Aubigny, and John Stuart, Duke of Albany. During this period the Auld Alliance played a key role in relations between Scotland and France, and large numbers of Scots travelled to France as mercenaries, scholars, and diplomats. Many relocated to France permanently and were granted letters of naturalisation. This thesis argues that an examination of the visual arts commissioned by this group of patrons enhances our understanding of the integration of Scots into French society at this time. It explores how the visual arts reflected, and were used to advance their careers, social standing, and spheres of influence, broaching issues of identity and power relations. The investigation explores how artistic patronage was a vital method by which a patron could express his social identity and aspirations. Examining patronage enables the historian to acquire a greater understanding of the patron's priorities and ambitions, and allows the art historian to situate works of art in a historical framework, thus gaining a clearer understanding of their meanings. This research is important as it covers a large corpus of works that, although linked by the unusual circumstances of their patrons, have not previously been studied together. As the artistic patronage of Scots in France during this period has hitherto not been examined, it cannot be assumed that the same priorities and influences that shaped French patrons during this period also shaped the patronage examined in this study. This thesis demonstrates that in many instances the Scottish heritage of these patrons was instrumental in shaping their demands, and thus the finished work of art. The study of the patronage of the visual arts in France has become a vibrant area of research. Yet the patronage of non-native communities, such as Scots in France, remains largely unstudied. This thesis shows that there is a rich diversity of visual material, both extant and documented, which may be associated with these Scots. Furthermore, it demonstrates how examining a patrons career may provide interesting insights into their works of art; and it shows how discovering biographical details about the patrons permits a more complete reconstruction of the circumstances in which works of art were made, displayed, and understood. Whilst comparatively little visual material survives in Scotland from this period, an examination of the visual arts commissioned by Scots in France tells us a great deal about Scots' relationships to the arts at this time, and their use of works of art as a means of 'self fashioning'. This research has uncovered exciting new information regarding all patrons investigated. Furthermore, it has identified Bremond Domat, a previously unrecognised artist working for John Stuart, Duke of Albany, to whom a small, but important, body of work may unambiguously be attributed.

No description available.

No description available.