Doctoral dissertation--University of Toronto, 1993. / Bibliogr. p. 349-374.

Thesis--Art history--Rijksuniversiteit Leiden, 1994. / Contient en annexe des extraits en français et italien. Bibliogr. p. 149-159.

Proefschrift--Letteren--Rijksuniversiteit te Leiden, 1999. / Notes bibliogr. Index.

The thesis deals with vaiious aspects of the study of anatomy by artists in Italy in the sixteenth century. Emphasis has been placed on the evaluation of original sources rather than on an analysis of the anatomy displayed in depicted nudes of this period. How and why artists studied anatomy is revealed through contemporary literature, documents, drawings, prints and sculpture. While Leonardo da Vinci is considered, greater attention is paid to other artists who had an interest in anatomy, some of them lesser known, in an effort to gain a wider view. The first chapter deals with the positive and negative perception of anatomy and art as represented through writings on art of the period. Chapter two focuses on the issue of the frequency of dissection by artists as well as by anatomists at this time, with an examination of contemporary references to dissections, including new documentary material. The study of the skeleton by artists is considered in chapter three and a new transcription of Cellini's discourse on the study of the skeleton as the correct introduction to art is provided. By far the most abundant source of evidence for the study of anatomy by artists is anatomical drawings. In the fourth chapter various types are analyzed with attention paid to the high incidence of copies amongst them. Separate studies are made of both Michelangelo and Alessandro Allori and their anatomical drawings. In chapter five, the history of Michelangelo's study of anatomy as represented in the sources is discussed and in chapter six the surviving manuscript writings of Allori on anatomy are considered. In the final chapter an examination is made of the origins of the écorch model, leading up to Cigoli's Scorticato at the turn of the century. This is followed by a conclusion, bibliography and indices of drawings and artists.

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The inspiration for the development of this project - The Museum for the Human Body in Georgetown, Washington D.C. - was based on a study of the anatomy of movement and its Relationship to space. 'A Journey from the mind to the soul’ is the connective experience linking the spaces of the project (body, mind and soul). This study is inspired by ideas from the early Chinese, Egyptian and Aristotelian philosophies as well as the drawings of Leonardo da Vinci in searching for the 'sensus communis' as the location of the soul within the body. / Master of Architecture

Texte remanié de: Diss.--Saarbrücken, 2001. / Bibliogr. p. 389-415. Notes bibliogr.

This thesis explores the foundations of the complex and multifaceted work of Leonardo da Vinci as a whole. What underscores the universality of his research and transcends the artificial divisions of his vast body of work into modern categories of specialization, is the operation of analogy, which is grounded in a mimetic imagination. Leonardo's search is ultimately one of understanding the underlying causes that animate the universe and through analogy, his work and his world hold together. Central to my investigation of the continuity of Leonardo's analogical mode of thinking and making, are questions pertaining to the body, architecture and representation. I put forth that only by appreciating the analogical nature of Leonardo's (re)search, can one access the meaning and value of his efforts and contribution.

This thesis is concerned with the discernment of rhetorical technique within the eighteenth-century opera seria. An oration and an opera seria are both carefully planned word strategies which are vocally performed before an audience with the aim both to entertain and to persuade. As the audience is led through a succession of events and emotional responses to these events, a climax is reached where the audience is suddenly aware of the message of the oration or drama, and the conclusion strongly reinforces this before the curtain drops. The audience is therefore obj ectively convinced as to the moral of the drama through the libretto and is similarly emotionally convinced through the use of music and gesture. This is the method of opera seria. The libretto, the music, and the acting all work towards the same rhetorical ideal of a moral lesson through persuasive presentation. It is truly an exercise in rhetoric from its smallest component to its overall structure. Pietro Metastasio (1698-1782) wrote his first opera seria libretto in 1724 -- Didone abbandonata (set by Domenico Sarro) -- and from this point on, he became the century's chief librettist for opera seria. Anxious to continue the earlier reforms in operatic libretti, Metastasio required an ideal model on which to base his reforms. Given his strong knowledge and ready skill in the art of oration, this thesis proposes that it is upon this model that he formulated his many opera seria libretti. Although the original 1724 production of Didone abbandonata was a great success, most eighteenth-century critics of opera maintained that the drama was best presented in the Rome production (1726) as set to music by Leonardo Vinci (1690-1730), and it is this setting which will be the focus of the thesis. Chapter I examines and defines the art of rhetoric. Proof is provided to illustrate that both music and rhetoric share the same means, procedures, and goals, and as seen through the words of musicians and writers of rhetoric, it is shown that they themselves borrowed extensively from each other. In Chapter II, the libretto of Didone abbandonata is analyzed as a rhetorical exercise using the rhetorical framework discussed in the previous chapter as a guide. Chapter III examines the persuasive functions of the aria and the accompanied recitative for, although the libretto alone is a persuasive argument, it grows more powerful when underlined and punctuated with music as a direct appeal to the emotions of the audience. Finally, Chapter IV concludes with a discussion of the abuse of the aria by virtuoso singers and the unchanging opera seria format whose principles did not adapt to changing tastes of the audience. As a result, the opera seria remains a genre of the early eighteenth-century. / Graduate / 0413

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