Andrea Palladio was born in Padua in the Republic of Venice in 1508 and practiced his architecture throughout the Veneto until his death in 1580. Today, there are some forth-four surviving palaces, villas, and churches by the master. These buildings have profoundly moved the imagination of countless generations of academics, artists, and architects for over four hundred years. Without a doubt, he has been the most exalted and emulated architect in modern history. While Palladio is well-remembered for his innovative palaces and villas of the Veneto, he is also most distinguished for his revolutionary religious architecture in Venice Itself. His designs for San Francesco della Vigna (1562) (Fig. 1), San Giorgio Maggiore (1565) (Fig. 3), Le Zitelle (1570) (Fig. 4), II Redentore (1576) (Fig. 5), and the Tempietto (1580) (Fig. 6) at Master, represented fresh and independent visions, exemplifying his deep-seated understanding of the ideas of the High Renaissance. Nowhere was Palladio's influence on the future development of ecclesiastical design more profoundly felt than in Venice itself. Collectively, the emulators of Palladian church design form a coherent episode which can be discernedly traced from Santa Maria Celeste (Figs. 7 and 8) in 1581 through to San Giovanni Novo (Fig. 9) of 1751. Between these years and buildings, there were sixty-two churches erected in Venice. Of these, some thirty-five structures, or fifty-six percent, exhibit, through their system of organizing plans, elevations and spatial relationships, different degrees of debt to Palladio. All in all they demonstrate a highly significant concurrency in the overall development of religious architecture in Venice. The aim of this present thesis is to investigate the architectural character of a large number of Venetian churches built between 1581 and 1751 in an attempt to clarify the extent of Palladio's influence on their design. This study will be divided into four chapters. In order to better understand sixteenth century Venetian building in general and Palladio's prominent position within it, Chapter One will explore the unfolding ambience of Renaissance architecture in Venice, elucidating the rich, productive, and international development of the city's most innovative architects. Herein, the saliency of Palladio and his churches, as crowning symbols of this period, will be examined. Chapters Two, Three and Four will explore the thirty-five churches under investigation. These last sections will analyze some ten or more buildings each, and, for the most part, in the chronological order of their construction. In the end, it is hoped that this study will demonstrate a clear and coherent tradition of Venetian church design which fulfilled itself through an integration of a whole series of Palladian prototypes. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

Cette thèse s’intéresse au marché du crédit à Venise au XVIIIe siècle. Une partie importante de la recherche se concentre sur une offre de crédit spécifique au contexte vénitien, qui avait lieux dans les osterie (auberges) et les bastioni de la ville, des entrepôts où le vin était vendu à emporter. Le vin et l’argent étaient deux éléments intrinsèquement liés et trouvaient un point de contact dans l’activité des osti (aubergistes) et des bastioneri. Ces derniers offraient à leurs clients un service original de prêt sur gage. Ils assumaient le double rôle des fournisseurs de biens de consommation de base et de créanciers, devenant ainsi des figures incontournables dans le contexte urbain, en particulier pour les membres des couches les plus pauvres. L’un des éléments les plus intéressants est la manière dont les intérêts sur les prêts étaient perçus, puisque les créanciers tiraient profit du fait qu’un tiers de la valeur totale des crédits était payé en vin. La valeur faible des prêts confirme que ce service s’adressait principalement aux classes les plus fragiles de la société, c’est à dire les principaux protagonistes de ce que nous avons appelé l’économie ‘du mouchoir’. Il s’agissait surtout d’individus pauvres mais pas ‘très pauvres’, ceux qui n’avaient pas de grandes réserves d’argent et qui étaient vulnérables en raison de l’irrégularité de leurs revenus. Les objectifs de la recherche sont principalement au nombre de deux. Le premier consiste à analyser l’activité de crédit des bastioni et des osterie. Le second est de replacer cette organisation dans le contexte urbain, en analysant le marché dans son ensemble et en évaluant les caractéristiques et les variables qui pouvaient influencer la demande. Par conséquent, afin d’avoir une vision plus complète du marché, toutes les omposantes principales de l’offre ont été prises en considération. Outre les bastioni et les osterie mentionnés ci-dessus, les autres activités de prêts ont été analysés et comparés : l’activité des banques juives dans le Ghetto, mais aussi celle des monts-de-piété des villes de la terre ferme vénitienne, des notaires et des prêteurs privés. De cette façon il a été possible d’enquêter sur les relations existantes entre les différents circuits de crédit, et de démontrer qu’ils n’étaient pas en concurrence les uns avec les autres, mais qu’il s’agissait plutôt d’un marché segmenté. La recherche s’adresse aussi bien aux spécialistes de l’histoire vénitienne qu’aux historiens de l’économie dans d’autres contextes, en proposant une nouvelle méthodologie et un cas d’étude qui appellent à la comparaison dans d’autres villes à l’époque moderne. / This thesis analyses the credit market in Venice during the 18th century. An important part of this research focuses on a quite unique credit system, specific to the Venetian context, that was offer through the inns, or osterie, and the bastioni (warehouses where wine was sold) of the city. In 18th century Venice, wine and money were intrinsically linked through the activity of the innkeepers and the bastioneri (the managers of the bastioni), who originally offered their customers a pawnbroking service. They assumed the double roles of suppliers of basic goods and creditors, thereby becoming central economic figures in Venice’s urban context – especially for the members of the poorest classes. One of the most innovative elements of this research lies in the findings regarding the way that interest on loans was collected: creditors benefited from the fact that one-third of the total value of the transaction was paid in wine. The low average value of the loans confirms that this service was mainly aimed at the lower classes of society, the main actors in what has been defined as ‘the handkerchief economy’. Those who benefited the most from this kind of credit arrangement were essentially poor – but not too poor – people, who had only modest reserves of money, and were thus more vulnerable due to the paucity and irregularity of their income. The main objective of this research is twofold: (a) to analyze the credit activity of bastioni and osterie, and (b) to place it in the Venetian urban context. This study analyzed the Venetian credit market as a whole, and then assessed the characteristics and variables that could influence the demand for credit. Moreover, to develop a more complete view of this specific market, all the main components of the credit offer were taken into consideration. In addition to the already mentioned bastioni and osterie, the activities of Jewish bankers in the Ghetto, the monti di pietà situated on the Venetian mainland, as well as those of the notaries and the private lenders, were also analyzed and compared. In this way, it was possible to investigate the existing relationships between the different credit channels, and to determine that they were actually not in competition with one another; rather, it was discovered that they were, in fact, discretely positioned in a distinctly segmented market. This research is relevant to both specialists in Venetian history, and researchers concerned with economic history in other contexts; this study also proposes a new methodology, and a case study, useful for relative comparison by either constituency.

La thèse de doctorat a été rédigée en cotutelle entre la Johannes Gutenberg- Universität Mainz et l’Université de Bourgogne- Franche Comté. Elle porte sur « Venise comme labyrinthe : la ville et sa représentation littéraire au XXe siècle ». La thèse se dédie d’une part à l’analyse systématique des éléments que la ville de Venise et le labyrinthe ont en commun au niveau de la structure et des valeurs symboliques qui y sont liées. D’autre part, elle étudie comment ces caractéristiques sont reflétées dans la littérature du XXe siècle sur Venise, par quels autres éléments labyrinthiques au niveau de la forme et de la réceptionelles sont complétées et quelles fonctions le labyrinthique peut assumer. L’étude présente des résultats multiples et contribue aussi bien à un approfondissement des études sur le labyrinthe qu’aux études vénitiennes, en permettant à travers le focus sur le labyrinthique une meilleure compréhension de la ville et de ses particularités et des conclusionsnouvelles dans l’interprétation des textes. Les textes choisis pour l’analyse (Der Tod in Venedig de Thomas Mann, 1912 ; Le città invisibili de Italo Calvino, 1972 ; Wer war Edgar Allan ? de Peter Rosei, 1977 et Parsifal a Venezia de Giuseppe Sinopoli, 1993) donnent un aperçu de la variété de combinaisons possibles entre les aspects thématiques du labyrinthe au niveau du contenu et les éléments labyrinthiques au niveau de la forme et de la réception. / The doctoral thesis was written in the context of a Cotutelle Doctoral Program between the Johannes Gutenberg-Universität Mainz and the Université de Bourgogne-Franche Comté. Itssubject is “Venice as Labyrinth: the City and its Literary Representation in the 20th Century”.The thesis aims to systematically identify and analyse which characteristics the city of Veniceand the labyrinth have in common, both at a structural and a symbolic level. It further examines how these characteristics are reflected in the 20th century narrative on Venice. The study provides a new approach by considering multiple levels: on the one hand, it explores the thematization of the labyrinthine characteristics of the city in the content of the texts. On the other hand, it analyses how these contents are complemented by labyrinthine elements in the form and reception of the texts and focuses on their function. The study provides multiple interesting results. It contributes to the Labyrinth Studies as well as to the Venetian Studies, allowing through the focus on the labyrinthine a better comprehensionof the city and its particularities as well as coming to new conclusions in the interpretationof texts. The works chosen for the analysis (Thomas Mann’s Der Tod in Venedig, 1912; ItaloCalvino’s Le città invisibili, 1972; Peter Rosei’s Wer war Edgar Allan, 1977 and Giuseppe Sinopoli’s Parsifal a Venezia, 1993) provide an overview of the variety of possible combinations of the aspects of the labyrinth in terms of content and the labyrinthine elements in the form and reception of the texts.

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The Puritans constituted a very vocal influential minority during the time of Shakespeare. One of their more interesting ideas was the doctrine of the covenant, which explained why a transcendent God would care for fallen human beings. God, for Puritans, voluntarily bound himself in a covenant to man. The interrelations of elements of grace and works make it difficult to interpret what a covenant should be like: more like a modern contract or more like a feudalistic promise system? Unlike a contract, God never ends the covenant even when humans disregard their commitment, but instead helps humans fulfill their obligations by means of mercy. The covenant also sets out specific limitations that each party is required to fulfill like a contract. Puritans applied this pattern of the covenant not only to their relationship with God, but to other relationships like business, government, and most interestingly marriage. I will focus on how Shakespeare sets out this same covenantal pattern between man and God in his depiction in Portia's and in Helena's marriages respectively. I use sixteenth and seventeenth century Puritan treatises and sermons as well as secondary experts to illustrate Shakespeare's invocation of a Puritan marriage. This Puritan interpretation of the marriage covenant points toward equality by making the couple equally obligated in the contract, yet requiring more than mere obligation. These authors believed that the marriage covenant should not just be for procreation, but cohabitation and communion of the mind.

This fascinating new book, Venice, Cita Excelentissima, contains a series of translated excerpts from the diaries of the Venetian patrician Marin Sanudo (1466-1536). Sanudo wrote his vast diaries between 1496 and 1533. As early as Sanudo's own lifetime, historians used the richness and variety of these diaries as an unparalleled evidentiary source for early modern Venice. The depth of the diaries derives from Sanudo's personal access to govern ment records and, perhaps even more, his attention to detail and the wide range of topics that he deemed worthy of record. The importance of the diaries prompted a group of Italian editors to publish them in their entirety between 1879 and 1903, a project that eventually spanned fifty-eight volumes. E

Shakespeare's play, The Merchant of Venice, is one of the most misunderstood plays in the playwright's canon. Although the play's popularity is evidence by its history of successful production, critics have looked with puzzlement at the drama because Shakespeare combined three tales having no apparent relationship into one play. The story of the man who is willing to give up his life for his friend, the tales of the caskets, and the love story of the Christian for the Jewess do have a common general theme of love. But there is another underlying theme which is significant to the meaning of the play--the theme which examines the importance of worldly wealth. In the Antonia/Bassanio story, wealth is important because it brings Antonio to the point of sacrifice. In the Bassanio/Portia tale, wealth has made the lady Portia desirable yet must have no importance to Bassanio when he chooses the casket. The Lorenzo/Jessica story demonstrates not only disregard for worldly wealth but the apparent squandering of it. There are also problems in the characters of Antonio and Shylock. Antonio's melancholy is difficult to explain, and Shylock has been interpreted in nearly as many ways as there have been actors who have played to part. All of these difficulties, including that of supposed disunity, are resolved when the play is examined in the atmosphere of its creation. The play historically was born to a nation struggling for material wealth. Its dramatic inheritance was that of the Christian religious tradition brought from the medieval times in the form of the miracle plays. The unifying element of the miracle cycles was the allegory of Christian salvation. And thus it is this same Christian allegory which unties The Merchant of Venice. The Christian allegory also defines in a satisfying way the specific love which each of the seemingly unrelated tales exemplifies. The allegory brings together the apparently dissimilar attitudes toward worldly wealth. I is within the Christian allegory that the roles of Antonio and Shylock, as well as all the minor characters, are precisely determined. It is the purpose of this study to delineate the Christian allegory and thereby identify the dominating and unifying theme of the play. It is the purpose of this study (1) to show that the play contains much of the symbolic allegory which was prevalent in the language of the Church in medieval times, (2) to demonstrate that the allegorical traditions are present in all parts of the play, and (3) to reveal that the Christian allegory makes all aspects of the drama contribute to the entirety of its effects.

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