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Thesis advisor: Gregory McMahon / Thesis advisor: Barbara Adams Hebard / A terracotta portrait bust of the Marquis de Lafayette with the signature “houdon an. 1790”, now broken, was given to Boston College by Edward S. Ryan in 1966. The two objectives of this study were: (1) To determine the methods used to create this bust and (2) whether or not it could have been made in the studio of Jean-Antoine Houdon. A materials analysis using Scanning Electron Microscopy (SEM) and Energy Dispersive X-ray Spectroscopy (EDS) was performed on five representative samples from different regions of the bust. Three samples were unpolished and two were polished using an argon beam milling technique, completely preserving the heterogeneous samples. It was found that the bust was created by pressing wet clay into piece mold, the waxy surface is not original to the sculpture, and the pink layer is the result of a higher iron particle concentration. It is almost impossible to absolutely determine whether or not Houdon made the bust, due to uncertainties in provenance and the large number of busts made by, and copied from, Houdon. However, it is clear that the materials original to the sculpture correlate with the time Houdon lived and the methods he used. / Thesis (BS) — Boston College, 2011. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: College Honors Program.

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Nel XIX secolo in Lombardia si completava la sistematica distruzione del patrimonio di polittici in terracotta già iniziata con la Controriforma; con la perdita dell’integrità delle ancone è venuta meno la memoria della loro stessa esistenza e della loro struttura. Analogo destino fu riservato alle ornamentazioni fittili degli edifici rinascimentali delle città lombarde, spesso riconducibili alle medesime maestranze responsabili della realizzazione dei polittici. Negli anni Sessanta dell’Ottocento, si manifesta però la volontà da parte delle costituende raccolte civiche lombarde di tutelare questo ricco patrimonio, con la creazione di fondi museali di terrecotte figurative e ornamentali. Oltre allo studio dei polittici fittili di cui esistono testimonianze materiali e documentali, l’attività di ricerca svolta nel contesto del Dottorato si è basata sull’esame di quanto conservato presso le raccolte dei Musei milanesi e cremaschi, con il recupero di lacerti di opere provenienti da edifici civili e religiosi di Milano, Crema, Cremona e Lodi. La ricerca è stata estesa ai frammenti di polittici presenti sul territorio bresciano e monzese e ai reperti archeologici riconducibili a modelli fittili per la statuaria lapidea del Duomo di Milano, risalenti al primo quarto del XVI secolo, epoca a partire dalla quale in Lombardia sembra declinare irreversibilmente l’utilizzo della terracotta sia per la decorazione architettonica che per la realizzazione delle ancone. / The methodical destruction of the heritage of terracotta altarpieces already begun with the Counter-Reformation was accomplished in Lombardy during the nineteenth century. With the loss of integrity of these altarpieces, we have also lost track of their existence and structure. A similar doom was reserved to the fictile ornamentation of Renaissance buildings in Lombardy, often created by the same workshops responsible for the polyptychs. Following the Italian unification, however, the forthcoming civic art collections decided to preserve this legacy with the creation of extensive figurative and ornamental terracotta funds. Besides the study of terracotta polyptychs for which physical or documentary evidence still exists, the PhD research focused on the analysis of the clay material retained in the civic museums of Milan and Crema, with the identification of remains mainly from civil and religious buildings in Milan, Crema, Cremona and Lodi. The research was also extended to include fictile fragments originally belonging to altarpieces in the area of Brescia and Monza, and clay models from archeological finds, used for the production of stone statues still existing today in the milanese cathedral and dating from the first quarter of the XVI century, in a period of time in which the utilization of terracotta for altarpieces and architectural decorations started irreversibly to decline in Lombardy.

In my Thesis I deal with the translation theory based on the work and novels of the Sicilian writer Andrea Camilleri. Analyzing his Czech translations, and comparing them with the experiences and models from Alice Flemrová and Kateřina Vinšová when interpreting the typical Camilleri style. My observations were based on the author's life and what shaped him into the entity known by his readers.

abstract: Ancient Mediterranean cultures incorporated equine iconography into their artistic repertoires, demonstrating the horse's importance not only as a beast of burden and war, but also as a visual symbol of wealth and prestige. Interaction between man and horse appears in clay as early as the third millennium BC, along with the early development of ancient Near Eastern cultures. Tactical evolution in Near Eastern warfare, particularly the eclipse of chariot forces by the rise of cavalry, coincided with the emergence of equestrian terracotta figurines and facilitated the popularity of horse and rider imagery. Cyprus' many city-kingdoms have yielded a vast, coroplastic corpus in both votive and mortuary contexts, including figurines of equestrian type. These terracottas are an important contribution to the understanding of ancient Cypriote cultures, cities and their coroplastic oeuvre. While many studies of excavated terracottas include horse and rider figurines, only a limited number of these publications dedicate adequate analysis and interpretation. Ancient Marion is one of the Cypriote city-kingdoms producing a number of equestrian terracottas that are in need of further examination. By focusing on the unpublished horse and rider figurines from Marion, this paper will add to the conversation of Cyprus' inclusion of equestrian iconography in coroplastic production. Through thorough analysis of the horse and rider terracottas, specifically their plastic and stylistic components, this thesis establishes typologies, makes visual comparisons and demonstrates Marion's awareness of an equine vogue both in contemporary Cyprus and abroad. The horse and rider figurines of Marion are an important contribution to the better understanding of the city-kingdom and exemplify the inclusion of equestrian imagery within the context of ancient societies. / Dissertation/Thesis / Masters Thesis Art History 2014

The subject of the diploma thesis is a proposal of a winery with a wine shop, wine salon and tasting rooms. Furthermore, a four-star hotel for sixty persons with a restaurant, a small wellness center, and all of course with sufficient technical background. This newly designed building is located in the undeveloped part of the town of Mikulov between the Turold and Růžový vrch nature parks. Růžový vrch has become an inspiration for this design. I design here terraces as an analogy to the cultivation of vines on the terraces, where the investor is also the owner of the vineyards grown here. The concept was based on the slope of the terrain and the orientation to the cardinal points. I also tried to make the most valuable views and suppress the view of the technical zone southwest of the parcel. An important element of expression of my proposal is front facade system made of ceramic „squaretubes“, which primarily serve as a sunbreaker.

La tesi consiste in uno studio monografico aggiornato, il primo in lingua italiana, dedicato allo scultore bavarese Hans Reichle, che fu un abile interprete della Maniera fiorentina al di là e al di qua delle Alpi. Il bavarese frequentò la bottega di Giambologna dal 1587 c. al 1594, anni di intenso studio durante i quali gettò le basi sulle quali costruì il successo di una vita: la memoria degli anni fiorentini e l’influenza del maestro si percepiscono in tutte le opere del catalogo del bavarese, dagli esordi fino alla piena maturità. La tesi è dedicata interamente all’esame della vita e dell’attività dello scultore. Inizialmente si ripercorre la biografia di Reichle, esaminando le opere realizzate nel corso della vita e il prestigio che queste guadagnarono. In questa prima parte emerge l’evoluzione del linguaggio dello scultore e, in particolare, il suo cimentarsi con tecniche che finora gli studi non avevano ammesso nel catalogo: si tratta di importanti novità che gettano luce su aspetti del tutto inediti della carriera dello scultore. Invece nella seconda parte della tesi si discutono alcuni casi-studio relativi alle imprese principali di Reichle. Un capitolo è poi dedicato all’eredità lasciata dallo scultore in Tirolo e agli allievi e collaboratori che affiancarono Reichle nel corso della sua vita. Le ultime due parti della tesi sono dedicate all’esame dell’inventario inedito del bavarese - che ha portato alla luce significative novità relative tanto alla biografia quanto alla sua attività - al catalogo delle opere di Reichle e dei suoi allievi, e infine all'appendice documentaria.

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