Dissertations / Theses on the topic '16th century architecture'

Buildings which address space through all the senses, rather than being dominated by ocular centric considerations solely, have become the minority within the discipline of Architecture. This can create an imbalance, perceivable as feelings of estrangement and detachment for the inhabitant. Estrangement is particularly evident within health care architecture, which owes much of its current form to ideas developed during Modernism. In response to this imbalance, Architecture from the past may have lessons which can be applied. This thesis investigates the potential of applying spatial techniques and approaches learned from the 16th century Japanese tea-house. A health care building which benefits from the same kind of reflective and contemplative spaces inherent in the tea-house includes counseling facilities, and therefore an outpatient cancer care center was chosen to apply these lessons. Among the techniques researched and applied, the use of a sequential vision of spatial experience, which reveals the building in stages and facilitates spaces for pause and reflection, was particularly powerful. The result is a building with spaces that take on an almost sacred tone, where one can be at peace with the realities of their current situation, and begin thinking about the path forward.<br>Master of Architecture

Doctoral thesis Evolution of wooden architecture of manor houses in Lithuania (from the middle of 16th century till the middle of 19th century) explore and present an evolution of the wooden architecture of manor houses since the middle of the 16th century till the middle of the 19th century. The thesis investigates the existing and not existing (known from the sources) wooden residential buildings of Lithuanian nobility, identifies their dominant types and reasons, which influenced the change of architecture, and reveals the singularities of the architecture and the relation of a manor’s house with ethnic and professional architecture. The research has shown that the architectural evolution of the manor house owned by nobility of different rank was developing differently. The development of great and middle-class nobility’s manor house was intense, especially influenced by the changes in style architecture. The small noblemen‘s houses were changing a little, their construction followed the ethnic traditions. According to the layout and shape of structures and forms of the buildings set on the manors of great and middle-class nobility, three stages of their architectural evolution were singled out: the period of early formation (till the middle of the 17th century), “baroque” period (from the middle of the 17th century till the seventh decade of the 18th century) and the “classicism” period (from the end of 18th century till the end of the 19th century). The doctoral thesis... [to full text]<br>Disertacijoje nagrinėjami Lietuvos bajorijos mediniai gyvenamieji pastatai, darbe vadinami ponų namais. Darbo tikslas – išaiškinti ir pateikti Lietuvos bajorų namų medinės architektūros raidą nuo Valakų reformos iki 1861 Valstiečių reformos. Darbe tirti esami bei neišlikę (žinomi dėka šaltinių) mediniai bajorijos namai, nustatyti vyravę pastatų tipai, priežastys, lėmusios tipų kaitą, atskleidžiami architektūros ypatumai, ponų namo santykis su etnine ir profesionaliąja architektūra. Tyrimai parodė, kad skirtingų bajorijos sluoksnių ponų namų architektūros raida vyko skirtingai. Stambių ir vidutinių bajorų namų raida buvo intensyvi, ją ypač veikė stilinės architektūros pokyčiai. Smulkių bajorų namai kito mažai, statyboje laikytasi etninių tradicijų. Pagal stambių ir vidutinių bajorų XVI a. vidurio– XIX a. vidurio pastatų planines ir tūrines –erdvines struktūras ir formas, išskirti trys architektūrinės raidos etapai: ankstyvasis- formavimosi (iki XVII a. vidurio), „barokinis“ (XVII a. vidurio – XVIII a. septinto dešimtmečio); „klasicistinis“ (XVIII a. pabaigos – XIX a. vidurio). Pirmajame etape iš esmės pakito gyvenamosios erdvės sankloda ir namo įvaizdis: vietoje kelių skirtingų funkcijų namų, skirtų bajoro šeimai ir jo svečiams (gyvenamojo, pokylių namo, ir kt.) susiformavo vienas daugiafunkcinis, parterinis, simetriškos kompozicijos ponų namas. Antrajame ir trečiajame etapuose daugiafunkcinis ponų namas buvo tobulinamas pagal etiketo (gyvenimo būdo) ir vyravusių stilių... [toliau žr. visą tekstą]

Les maisons modestes sont rarement prises en compte dans les études qui portent sur l’architecture de la capitale au XVIe siècle. Elles représentaient pourtant l’essentiel de l’activité de construction à Paris à cette époque, et de nombreux exemples en subsistent aujourd’hui, souvent difficiles à identifier en raison des transformations subies aux époques postérieures. Leur étude a été menée pour une période allant de 1530 à 1600. Elle a été réalisée selon trois axes complémentaires : un dépouillement des archives notariales du XVIe siècle, une étude des sources iconographiques et, enfin, une analyse des maisons anciennes conservées. En confrontant ces trois types de sources, on s’est interrogé sur le rôle respectif des maîtres d’ouvrage et des maîtres d’œuvre, maçons ou charpentiers, sur la persistance des formes traditionnelles médiévales, sur l’influence des premiers traités d’architecture imprimés ainsi que sur celle des chantiers aristocratiques sur l'architecture mineure, notamment dans le domaine du décor. L’évolution de la réglementation concernant la voirie et la construction a été également prise en compte pour en évaluer les conséquences sur le bâti parisien. Le but de cette recherche était de décrire la morphologie des maisons, de préciser les techniques et les matériaux employés et d’observer les changements survenus au cours de la période. Enfin, on s’est efforcé d’identifier des exemples de maisons construites au XVIe siècle existant encore dans le Paris d'aujourd'hui, et de les documenter sur une longue durée, pour dater les modifications apportées à la construction initiale<br>The modest houses are rarely taken into account in capital architecture studies of 16th century. However, they represented the majority of construction activity in Paris at that time, and many examples still exist today, but they are often difficult to identify because of the transformations in later times. Their study was conducted for the period 1530 to 1600. It was carried out following three complementary axes : a review of the notarial archives of the 16th century, a study of iconographic sources and, finally, an analysis of old houses preserved. In confronting these three types of sources, some questions were raised about the role of project owners and project managers, masons and carpenters, the persistence of traditional medieval forms, the influence of first architectural treatises and aristocratic building on minor architecture, especially in the field of decor. The evolution of construction regulations has also been taken into account in order to evaluate the consequences on Parisian buildings. The purpose of this research was to describe the morphology of the houses, to specify the techniques and materials used and to observe the changes during the period. Finally, we tried to identify examples of Parisian houses built in the 16th century, still existing, and to document them over a long-term, to date the changes made to the initial construction

This study investigates the changing understanding of the role of the ???architect??? in Italy during the sixteenth century by examining frontispieces to published architectural treatises. From analysis of these illustrations four attributes emerge as important to new societal understandings of the role of ???architect.??? The first attribute is the desire to delineate the boundaries of knowledge for architecture as a discipline, relevant to sixteenth-century society. The second is the depiction of the ???architect,??? as an intellectual engaged in the resolution of practical, political, economic and philosophical considerations of his practice. The third represents the ???architect??? having a specific domain of activity in the design of civic spaces of magnificence not only for patrons but also for the city per se. The fourth represents the ???architect??? and society as perceiving a commonality of an architectural role beyond the boundary of individual locations and patrons. Five treatises meet the criteria set for this study: Sebastiano Serlio???s Regole generali di architetura sopra le Cinque maniere de gli edifici cio??, Toscano, Dorico, Ionico, Corinthio, et Composito, con gli essempi dell???antiquita, che, per la magior parte concordano con la dottrina di Vitruvio, 1537, his, Il Terzo libro nel qual si figurano, e descrivono le antichita di Roma, 1540, Cosimo Bartoli???s translation of Alberti???s De re aedificatoria titled L???architettura di Leonbattista Alberti, tradotta in lingua fiorentina da Cossimo Bartoli, Gentilhuomo, & Academico Fiorentino, 1550; Daniele Barbaro???s translation and commentary on Vitruvius??? De???architetura titled, I dieci libri dell???architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto Patriarca d???Aquileggia, 1556; and Andrea Palladio???s I quattro libri dell???architettura, 1570. A second aim for the study was to review the usefulness of frontispieces as an historical archive. It was found that frontispieces visually structure important ideas by providing a narrative with meaning as an integral part of the illustration. In this narrative frontispiece illustrations prioritise concepts found in the accompanying text and impose a hierarchical structure of importance for fundamental ideas.

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.<br>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.

This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.

Pierre I (doc. 1599-† 1621/1622) et Pierre II Souffron (1554-† 1649) sont deux frères architectes homonymes, originaires du Périgord, qui furent actifs dans les provinces de Guyenne et Languedoc entre la fin du XVIe siècle et le début du XVIIe siècle. Pierre I, probablement l’aîné de la fratrie, fut architecte et ingénieur des bâtiments de la Maison de Navarre. Installé dans la région de l’entre-deux-mers, il conduisit notamment l’important chantier du château de Cadillac, propriété du duc d’Épernon. Outre le domaine de l’architecture civile, il s’illustra pour des travaux d’ingénierie militaire et hydraulique. Son frère Pierre II fut lui aussi un artiste polyvalent. Son statut de maître architecte de la fabrique de la cathédrale Sainte-Marie d’Auch lui permit d’accéder à des chantiers de grande envergure tel que le Pont-Neuf de Toulouse. Le choix de réaliser une double monographie autour de ces deux personnalités artistiques n’a rien d’anodin, cette thèse permet de révéler qu’au-delà d’une pratique architecturale et d’une culture constructive commune, les frères Souffron bénéficièrent des mêmes réseaux de relations qu’ils mutualisèrent parfois. S’appuyant sur la découverte de sources inédites, la relecture de documents connus et l’examen approfondi de leur œuvre, cette étude se propose de décrire leurs trajectoires professionnelles. Elle montre aussi qu’ils doivent être considérés comme des figures de passeurs entre le milieu royal et la province. Architectes créatifs et talentueux, ils surent emprunter tant aux traditions constructives méridionales qu’aux grands chantiers contemporains et aux modèles à la mode diffusés par les traités de Serlio, Palladio, Vignole, De l’Orme et Bullant. Complétée par un catalogue raisonné, cette thèse est donc un travail inédit portant sur deux architectes provinciaux méconnus qui furent pourtant de grands héritiers de la Renaissance<br>Pierre I (doc. 1599-† 1621/1622) and Pierre II Souffron (1554- † 1649) are two namesake architect brothers, who were active in the provinces of Guyenne and Languedoc at the end of the sixteenth century and at the beginning of the seventeenth century. Pierre I, believed to be the eldest of the brothers, was an architect and engineer for the buildings of the royal House of Navarre. Located in the region of l’entre-deux-mers, he overseed several building sites including the château of Cadillac, property of the duc of Epernon. In addition to civil architecture, he was also known for his skills as a military and hydraulic engineer. His brother, Pierre II was also a multitasking artist. His status as Master Architect of the guild of the Saint-Marie cathedral of Auch enabled him to gain access to greater projects such as the Pont-Neuf of Toulouse. The decision to carry out a double monograph of these two artistic identities is far from innocuous, as this thesis reveals that beyond of their common practice of architecture and knowledge of their craft, the Souffron brothers benefited and often shared the same social networks. Based on the discovery of unpublished primary sources, the reinterpretation of other well-known documents and an extensive study of their works, this thesis follows their different career paths by taking into consideration that they both acted as purveyors of ideas between the royal milieu and the provinces. Creative and talented architects, they not only cleverly borrowed southern constructive traditions but were also inspired by contemporary building sites and fashionable architectural treatises such as those by Serlio, Palladio, Vignola, De l’Orne and Bullant. Completed by the catalogue raisonné, this novel thesis therefore sheds light on how these two unknown provincial architects were in fact the heirs of the Renaissance

Notre travail de recherche se concentre sur l’apparition de la Renaissance à Poitiers et dans le territoire environnant entre la fin du XVe et le milieu du XVIe siècle. Nous en avons identifié les caractéristiques spécifiques dans le domaine de l’architecture en analysant notamment la typologie de bâtiment la plus diffusée dans le contexte urbain : celle de l’hôtel. Poitiers a connu une intense activité sur le plan architectural dès la fin du XVe siècle. Malgré cela, les études concernant le patrimoine bâti de la ville à l’époque de la Renaissance demeurent essentiellement peu développées comparativement à celles qui se penchent sur l’architecture du Moyen-Âge et du XVIIe siècle. La recherche que nous avons menée a tenté de combler cette « lacune » historiographique en analysant la production architectonique de la ville.Afin de comprendre les modalités de diffusion des modèles de la Renaissance italienne dans la région de Poitiers, nous avons examiné les principaux ensembles architectoniques qui sont exemplaires du langage régional. Nous avons tenté de comprendre la volonté de leurs commanditaires et nous avons comparé ces observations avec des données similaires concernant les principaux centres du Val de Loire. Ensuite, nous avons analysé la typologie de l’hôtel de Poitiers, le modèle de la résidence urbaine de la bourgeoisie. Le corpus architectonique poitevin considéré est constitué d’environ cinquante ensembles résidentiels édifiés dès la fin du XVe siècle. À partir de ce panorama, notre recherche s’est concentrée sur l’étude monographique de quatre bâtiments emblématiques qui témoignent du changement de langage formel (hôtels Fumé, Berthelot, d’Estissac et Beaucé)<br>The research investigates the dynamics of the Renaissance appearance in Poitiers and in the surrounding area, in the period between the end of the 15th and the first half of the 16th century. In particular, the identification of the peculiar characteristics of the architecture was achieved favoring the analysis of the most widespread type in the urban context, the hôtel.Poitiers has known an intense architectural activity since the end of the 15th century, nevertheless, the Renaissance city remains essentially unexamined, unlike the medieval and 17th century ones. The aim of my research is to fill this historiographical gap by analyzing the architectural production from the flamboyant age to that of those centers where the Renaissance sees its first flourishing.To understand the modality of migration of the Italian Renaissance model in the Poitiers region, were examined the architectural complexes of the Early Renaissance which represent the paradigm for the whole region and the related commissions, that were receptive to the importation of classical canons. Subsequently, the construction typology of the hotel was analyzed at a local level. This hotel represents the town residence model of the French bourgeoisie, whose economic and political power increased during the 15th century. The Poitiers’s architectural corpus, here considered, consists of about fifty residential complexes, built starting from the end of the 15th century: starting from such a considerable panorama, the research focused on the monographic study of four architectures, emblems of the change of stylistic language (the Fumé, Berthelot, d’Estissac and Beaucé hôtels)<br>La tematica di ricerca indaga la comprensione dei meccanismi di apparizione del Rinascimento a Poitiers e nel territorio circostante, in un lasso temporale compreso tra la fine del XV e la metà del XVI secolo. In particolare, si sono individuati i caratteri peculiari nell’ambito dell’architettura, privilegiando l’analisi della tipologia più diffusa nel contesto urbano, quella dell’hôtel.Principale polo della provincia storica del Poitou, Poitiers ha conosciuto un’intensa attività sul piano architettonico a partire dalla fine del XV secolo ma, ciononostante, la città nel Rinascimento resta essenzialmente non esaminata, al contrario di quella medievale e del XVII secolo. La ricerca ha tentato di colmare questa “lacuna” storiografica analizzando la produzione architettonica dall’età flamboyant raffrontandola a quella di quei centri, non lontani, dove il Rinascimento vede la sua prima fioritura, come Tours e Blois.Al fine di comprendere la modalità di migrazione del modello Rinascimentale italiano nella regione di Poitiers, si sono innanzitutto esaminati gli insiemi architettonici significativi del Primo Rinascimento che rappresentano il paradigma per tutta la regione e le relative committenze, sensibili all’importazione dei canoni classici, comparando i tempi e le modalità di diffusione con le vicissitudini dei centri della Valle della Loira.Successivamente, partendo da uno studio storico e urbano, a livello locale si è approfondita la tipologia costruttiva dell’hôtel, modello di residenza cittadina della ricca borghesia francese, il cui potere economico e politico è aumentato nel corso del XV secolo. Il corpus architettonico potevino considerato è costituito da circa cinquanta insiemi residenziali, edificati a partire dalla fine del Quattrocento: muovendo da tale considerevole panorama, la ricerca si è concentrata sullo studio monografico di quattro architetture-emblema del cambiamento di linguaggio stilistico. A partire dal flamboyant hôtel Fumé, si è passati ai contemporanei hôtels Berthelot e d’Estissac, considerati i primi edifici rinascimentali, fino ad arrivare all’hôtel Beaucé, che riflette delle soluzioni formali compiute del Rinascimento francese maturo. Nel quadro dello studio delle committenze, inoltre, si sono analizzate anche le cappelle fatte erigere a Notre-Dame-La-Grande, a Saint-Germain, a Saint-Hilaire e i castelli delle famiglie Fumé, Berthelot, d’Estissac<br>El tema de investigación estudia los mecanismos de aparición del Renacimiento en Poitiers y sus aledaños, en un lapso temporal comprendido entre el final del siglo XV y la mitad del XVI. En particular, han sido individuadas sus peculiaridades en el ámbito de la arquitectura, privilegiando el análisis de la tipologia de mayor difusión en el contexto urbano, el hôtel.Poitiers, polo principal de la antigua provincia de Poitou, vivió una actividad intensa en el campo arquitectónico hacia finales del siglo XV. No obstante, la parte de la ciudad de época renacentista no ha sido exhaustivamente estudiada, a diferencia de los periodos medieval y del siglo XVII. La investigación busca completar este “vacío” historiografico analizando la producción arquitectónica realizada en la edad gótico-tardía y relacionándola a aquella de otros centros de las cercanías, en los que el Renacimiento se difundió tempranamente, como son Tours e Blois.Con el fin de comprender la modalidad de migración del modelo renacentista italiano en la región de Poitiers, se han examinado en primer lugar los complejos arquitectónicos emblemáticos del primer Renacimiento, que representan un modelo para toda la región, y sus respectivos promotores, atentos a la adopción de cánones clásicos, comparando tiempos y modalidades de difusión con las vicisitudes de los centros del Valle del Loira.Posteriormente, partiendo del aspectos historicos y urbanos, se profundizó a nivel local el examen de la tipología contructiva del hôtel, modelo de estancia de la rica burguesía francesa, cuyo poder económico y político se incrementó durante el siglo XV. El corpus arquitectónico potevino tomado en consideración está constituído por cinquenta conjuntos residenciales aproximadamente, construidos a partir de finales del Cuatrocientos: dada la amplitud de casos, se ha desarrollado el estudio monográfico de cuatro ejemplos emblemáticos del cambio del estilo en el lenguaje. Partiendo del flamboyant hôtel Fumé, y pasando por sus contemporáneos hôtels Berthelot y d’Estissac, considerados los primeros ejemplos renacentistas, se ha llegado al hôtel Beaucé, el cual refleja las soluciones formales adoptadas en el Renacimientos francés maduro. En el ámbito de las indagaciones sobre los promotores, además, han sido analizadas las capillas construídas en Notre-Dame-La-Grande, en Saint-Germain, en Saint-Hilaire y los castillos de las familias Fumé, Berthelot, d’Estissac

Principale ville de basse Normandie, Caen a connu à la Renaissance une intense activité sur le plan architectural. Pourtant, après avoir bénéficié au XIXe siècle du travail d’importantes sociétés savantes, elle est restée en marge du mouvement qui a vu, dans ces dernières années, un intérêt renouvelé pour les études urbaines : de grands monuments attendent encore leur première étude, souvent compliquée, il est vrai, par les destructions considérables causées par les bombardements de 1944. Portant aussi bien sur l’architecture religieuse, civile que militaire, cette thèse propose une étude de la création architecturale à Caen entre la fin du XVe siècle et le début du XVIIe, organisée autour de trois axes de réflexion. Le recensement des chantiers, attestés par les sources, l’analyse archéologique ou les travaux d’érudits, permet de mettre en évidence les phases de construction et celles de moindre activité, et donc de préciser l’histoire de la ville et son influence sur les constructions. Pour appréhender les conditions matérielles de la création architecturale, sont ensuite étudiés les rôles et statuts des maîtres d’ouvrage, maîtres d’œuvre et ouvriers, ainsi que la provenance, les usages et les conditions de mise en œuvre des matériaux. L’analyse des œuvres est enfin développée sur deux plans, typologique et stylistique, et, tout en soulignant leur caractère original, replace les réalisations caennaises au sein des réseaux d’échange entre les provinces, les villes et leurs environs. Cette synthèse est complétée par un catalogue présentant, sous la forme de notices et de fiches moins développées, les édifices construits à Caen entre le règne de Charles VIII et le début de celui de Louis XIII<br>The main town of Lower Normandy, Caen, developed an intense architectural activity during the Renaissance period. However, after having benefited from the work of important learned societies in the 19th century, the city has remained on the sidelines of the renewed interest in urban studies of recent years. Some great monuments have not yet been considered, their study being, admittedly, often complicated by the extensive destructions caused by 1944 bombing. Examining religious, civil and military architecture, this thesis proposes a study of the architectural creation in Caen from the late 15th century to the early 17th century and discusses three key factors. The inventory of the works known through the archival records, the archaeological analysis or the scholarly publications highlights phases of high or low activity, and therefore makes clear the history of the town and its influence on constructions. To understand the material conditions of architectural creation, the role and status of owners, architects and workers, together with the origin, custom and conditions of implementation of the materials must be considered. The analysis of the buildings is separated into two parts: it focuses on the typological and stylistic aspects of the works. In this way, it highlights their original character and assesses their implication in exchange networks between the provinces, towns and neighborhoods. This synthesis is completed by a collection of files and of smaller records dedicated to the buildings erected in Caen from the reign of Charles VIII to the beginning of the reign of Louis XIII

This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.

Au XVIème siècle, la construction navale méditerranéenne - en particulier italienne - est réputée pour sa qualité. Cette culture technique est héritée d’une tradition séculaire transmise oralement de génération en génération. Mais elle est aujourd’hui en grande partie méconnue car, à la rareté de la documentation écrite s’ajoute la pauvreté de la documentation archéologique. La découverte des épaves de la Mortella (Saint-Florent, Hte-Corse) en 2005 et 2006, et l’entreprise d’un programme de fouille sur l’une d’entre elles - la Mortella III - en 2010 mettant en évidence une architecture du XVIème siècle de tradition méditerranéenne, offre la perspective de contribuer à combler ces lacunes. En étudiant les données archéologiques issues des cinq campagnes de fouilles réalisées sur cette épave, notre travail de recherche se fixe comme objectif essentiel la mise en évidence de « marqueurs » qualifiés d’ « empreintes techniques » et « architecturales » susceptibles de contribuer à la définition d’un modèle de construction navale au XVIème siècle en Méditerranée, tel que la recherche archéologique a commencé à en esquisser les traits à partir des années 80. Dans cette perspective, l’analyse se base sur des comparaisons avec les données archéologiques d’autres épaves de la période. Elle s’appuie par ailleurs sur les références apportées par les sources écrites ainsi que l’iconographie. Enfin, les recherches documentaires qui ont été menées en marge du travail d’archéologie ont permis de rattacher les épaves de la Mortella à leur histoire, en l’occurrence aux guerres d’Italie de l’année 1527. Dans ce sens, l’étude archéologique - qui demeure l’épicentre de cette thèse - est utilement complétée par la recherche historique<br>During the 16th century, the Mediterranean shipbuilding –especially in Italy– was renowned for its quality. It held a technical culture inherited by an ancient tradition that had passed down orally from one generation to the next. But today it is largely unknown, since, to the scarcity of documentation in writing, is added a poor archaeological documentation. The discovery of the Mortella shipwrecks (Saint-Florent, Upper Corsica, France) in 2005 and 2006, and the programme of archaeological excavations of one of them –the Mortella III– undertaken in 2010, highlight an architecture from the 16th century that belongs to the Mediterranean tradition and offer the prospect of contributing to fill the existing gaps. After studying the archaeological data from the five excavation campaigns done on this wreck, our research sets as key goal identifying ‘indicators’ such as ‘technical and architectural traits’ which can contribute to the definition of a model of shipbuilding from the 16th century in the Mediterranean, initiated by previous archaeological research started in the eighties. In this perspective, the analysis is based on comparisons with archaeological data from other wrecks of that period. Moreover, it also relies on the references provided by the written sources, as well as the iconography. Finally, the archival researches undertaken in the margins of the archaeological work have allowed to link the wrecks of the Mortella to their history, in this case to the Italian wars of 1527. In this regard, the archaeological study –which remains the epicenter of this thesis– is usefully supplemented by the historical research

Set in 16th century Florence, Italy, "La Gioconda" takes you on the journey of Lisa del Gioconda, the woman behind one of the most recognized paintings in the world, The Mona Lisa. Married off at a young age, Lisa finds comfort in her secret love affair with Art. Her secret world crosses paths with an Art apprentice, Leonardo da Vinci, who takes her on as his student. Lisa tells her husband that she is at church praying while spending her afternoons with Da Vinci, mastering her craft and technique. A love affair begins to blossom and Lisa is forced to make a big decision in the end. Secrets begin to unravel including the truth behind Da Vinci's original painting of the Mona Lisa before it became what we all know it to be today.

[ES] La Investigación llevada a cabo, la desarrollamos sobre la Igle-sia Parroquial de San Lorenzo de Alberic, partiendo de unos restos encontrados en una reforma de los años ochenta del siglo pasado. Hemos utilizado la técnica del levantamiento mediante escáner láser en algunos de los edificios, y en otros el levantamiento manual, mediante medición directa para posteriormente proce-der a su estudio. Para poder llevar a cabo la investigación la hemos encuadrado en la época histórica en que se llevó a cabo la construcción del templo cristiano en Alberic, sobre la mezquita existente con anterioridad, añadiendo diferentes hipótesis que refuerzan nuestra propuesta. La época histórica, a la que dedicamos también nuestra inves-tigación, será la comprendida entre el año 1489, fecha en que el Cardenal Pedro González de Mendoza adquiere la baronía de Alberic, junto con la población de Ayora en el Reino de Valencia, y cerraremos el período histórico estudiado en el año 1554, fecha en la que muere Mencía de Mendoza, nieta del Cardenal, y que debido a su falta de descendencia, sus posesiones pasarán a su hermana María de Mendoza, casada con el Duque del Infantado, y a partir de éste momento la baronía de Alberic y Ayora, así como todas las posesiones que poseía el Marqués de Zenete, pasarán a formar parte de esta casa nobiliaria. Como podremos ver a lo largo de la investigación, lo que en principio hemos tratado como un edificio local, veremos que debido a las diferentes personalidades, adquiere relevancia internacional, tanto el Cardenal como su hijo primogénito Ro-drigo de Mendoza, y finalmente su nieta, mantendrán relacio-nes a nivel internacional, con diferentes Reyes, Papas y tam-bién se vincularán familiarmente con nobles que vendrán junto al Emperador Carlos desde Flandes. En concreto el Conde Enrique III de Nassau, que casará con Mencía, y que durante nuestra investigación hemos podido comprobar que fue el promotor de los templos religiosos de la baronía de Alberic, que comprende en ésa época los núcleos de población de Alcocer, Alàsquer, Gavarda, Benifaraig, y algu-nos más con menor población. Además veremos que dada la importancia de esta familia, serán unos mecenas en las artes, abarcando desde la pintura hasta la arquitectura, y siendo los introductores del Renaci-miento en los diferentes reinos de la Peninsula Ibérica, trasla-dando su influencia hasta los Países Bajos. Junto con el apartado histórico, estudiamos los diferentes templos parroquiales que bajo nuestro criterio pueden estar relacionados, influidos, o levantados en época similar o me-diante los mismos maestros, de manera que mediante la com-paración, podamos arrojar luz, sobre ese primer edificio reli-gioso cristiano, levantado sobre la mezquita existente en la población de Alberic, durante el siglo XVI.<br>[CA] La Investigació portada a terme, la desenvolupem sobre l'Església Parroquial de Sant Llorenç d'Alberic, partint d'unes restes trobades en una reforma dels anys 80 del segle passat. Hem utilitzat la tècnica de l'aixecament, mitjançant escàner làser en alguns dels edificis, i en uns altres l'aixecament manual, mitjançant mesurament directe per a posteriorment procedir al seu estudi. Per a poder dur a terme la investigació l'hem enquadrada en l'època històrica en què es va dur a terme la construcció del temple cristià a Alberic, sobre la mesquita existent amb ante-rioritat, afegint diferents hipòtesis que reforcen la nostra pro-posta. L'època històrica, a la qual dediquem també la nostra investi-gació, serà la compresa entre l'any 1489, data en què el Cardenal Pedro González de Mendoza adquireix la baronia d'Al-beric, juntament amb la població d'Aiora en el Regne de València, i tancarem el període històric estudiat l'any 1554, data en la qual mor Mencía de Mendoza, néta del Cardenal, i que a causa de la seua falta de descendència, les seues pos-sessions passaran a la seua germana María de Mendoza, ca-sada amb el Duc del Infantado, i a partir d'aquest moment la baronia d'Alberic i Aiora, així com totes les possessions que posseïa el Marquès de Zenete, passaran a formar part d'a-questa casa nobiliària. Com podrem veure al llarg de la investigació, lo que en prin-cipi hem tractat com un edifici local, veurem que a causa de les diferents personalitats, adquireix rellevància internacional, tant el Cardenal com el seu fill primogènit Rodrigo de Mendo-za, i finalment la seua néta, mantindran relacions a nivell in-ternacional, amb diferents reis, papes i també es vincularan familiarment amb nobles que vindran al costat de l'Emperador Carles des de Flandes. En concret el Comte Enric III de Nassau, que casarà amb Mencía, i que durant la nostra investigació hem pogut compro-var que va ser el promotor dels temples religiosos de la baro-nia d'Alberic, que comprèn en aquesta època els nuclis de població de Alcosser, Alàsquer, Gavarda, Benifaraig, i alguns més amb menor població. A més veurem que donada la importància d'aquesta família, seran uns mecenes en les arts, abastant des de la pintura fins a l'arquitectura, i sent els introductors del Renaixement en els diferents regnes de la Peninsula Ibèrica, traslladant la seua influència fins als Països Baixos. Juntament amb l'apartat històric, estudiem els diferents tem-ples parroquials que sota el nostre criteri poden estar relacio-nats, influïts, o alçats en època similar o mitjançant els ma-teixos mestres, de manera que mitjançant la comparació, puguem llançar llum, sobre aqueix primer edifici religiós cristià, construït sobre la mesquita existent en la població d'Alberic, durant el Segle XVI.<br>[EN] The research carried out, we developed from the Parish Church of San Lorenzo de Alberic, starting from a few remains found in a reform of the 80s the last century. We have used the lifting technique by means of laser scanner in some of the buildings, and in others the manual survey, by means of direct measurement to later proceed to its study. In order to carry out the research we have framed it in the historical epoch in which the construction of the Christian tem-ple was carried out in Alberic, on the existing mosque previ-ously, adding different hypotheses that reinforce our proposal. The historical epoch, to which we also dedicate our research, will be that between the year 1489, the date on which Cardinal Pedro González de Mendoza acquired the barony of Alberic, together with the town of Ayora in the Kingdom of Valencia, and we will close the historical period studied in the year 1554, date in which Mencía de Mendoza dies, granddaughter of the Cardinal, and that due to his lack of offspring, his pos-sessions will pass to his sister María de Mendoza, married to the Duque del Infantado, From this moment the barony of Alberic and Ayora, as well as all the possessions that the Mar-quis of Zenete possessed, will become part of this noble house. As we can see throughout the investigation, what we have originally treated as a local building, we will see that due to the different personalities, the Cardinal and his first-born son Rodrigo de Mendoza acquire international relevance, and finally his granddaughter , they will maintain relations at the interna-tional level, with different Kings, and will also be linked famil-iarly with nobles who will come with Emperor Carlos de Flan-des. In particular Count Henry III of Nassau, who will marry Mencía, and during our research we have seen that he was the pro-moter of the religious temples of the barony of Alberic, which comprises at that time the population centers of Alcocer, Alàs-quer, Gavarda, Benifaraig, and some more with smaller popula-tion. In addition we will see that given the importance of this family, they will be patrons in the arts, ranging from painting to archi-tecture, and being the initiators of the Renaissance in the dif-ferent kingdoms of the Iberian Peninsula, transferring their in-fluence to the Netherlands. Along with the historical section, we study the different paro-chial temples that under our criterion may be related, influ-enced, or raised in a similar time or by the same teachers, so that by comparison, we can shed light on that first Christian religious edifice, raised on the existing mosque in the town of Alberic, during the sixteenth century.<br>Torres Caballero, A. (2021). Los primeros Templos Renacentistas en la Ribera Alta del Júcar, S. XVI. El primitivo templo parroquial de San Lorenzo de Alberic [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/168449<br>TESIS

This dissertation examines the intersection of spiritual values and material life at Syon Abbey, a wealthy Brigittine double monastery in late medieval England. As an institution it was, paradoxically, directed primarily toward an evangelical goal, while being focused on contemplative women who were strictly enclosed. In this dissertation, I assert that this apparent contradiction was resolved through a high degree of collaboration between the abbey’s religious women and men. I argue that Brigittine monasticism, and that of Syon in particular, was uniquely attuned to metaphors and meanings of materiality, which enabled the abbey to transform the women’s mundane material life of food, clothing, architecture, work, finance, and even bureaucracy, into spiritual fruits to be shared with the Syon brethren through dialogue within confessional relationships, and subsequently, with the laity through the media of sermons, sacraments, books, and conversation. I use the abbey’s extensive household financial accounts in conjunction with Brigittine writings and monastic legislative documents to examine the intersection of ideal material life and its spiritual meaning on the one hand, and the abbey’s lived materiality as reflected in its internal economic and administrative actions, on the other. The central question is the degree to which Syon’s material life was one of luxury in keeping with what the Order’s founder, Saint Birgitta, would have seen as worldly excess, or one of moderate asceticism, in keeping with the Brigittine Rule. Major findings are that in most respects (financial management, gender power, officer appointments, clothing, and some aspects of food), Syon’s materiality was lived in accordance with the Rule and the Brigittine mission, but that in some respects, it erred on the side of elite display and consumption (the majority of food items and the architecture and decoration of the abbey church), and in others, the source material is too incomplete to enable conclusions (the decoration of monastic buildings and the distribution of alms). In addition, by analysing the income from boarding of visitors and offerings from pilgrims, I examine the degree of Syon’s impact on the laity and how it changed with the approaching Dissolution, concluding that the abbey had a significant impact that declined only when legal restrictions were applied.

Western Anatolia witnessed a crucial and eventful period between the end of the 13th and the middle of the 15th centuries. The region stood in a critical position giving way to trade between East and West, located at the junction of the sea and land routes. This following study concentrates on a crucial aspect of Western Anatolia within these circumstances on the rise, through the 14th and 16th centuries. That is to say, this thesis focuses on the establishment and remodeling of the urban centers in Western Anatolia between the 14th and 16th centuries. In addition, it proposes an in depth analysis of one of these centers, namely Tire to further substantiate its theses on the making of these centers. The main argumentation of the dissertation is twofold. First, it asserts the influence of the socio-economic backgrounds of these urban centers, particularly the role of trade activities, trade relations, trade road and urban network in the making of these towns. Second, it asserts the influence of architectural constituents of urban form in the formation and transformation of these towns. Namely, it argues the role of particular architectural types, monuments that act as urban artifacts in urban development, the most significant of which are building groups in the form of k&uuml<br>lliyes or zaviyes. Accordingly, the thesis maintains that both trade, trade roads and urban network, related with the socio-economic backgrounds of the urban centers, and particular urban artifacts, that are the components of urban form, affect the making towns as physical entities. It claims that all these factors and the town at their intersection, are in a continuous intercourse and they steadily transform each other. Hence, the thesis endeavors to highlight and corroborate the interrelation of trade roads, urban form, and components of urban form, in regional, urban, and in architectural scale. In so doing, first it studies each of the themes separately within the general framework of Western Anatolian urban centers and next associates them particularly through the in depth analysis of Tire. In these lines, this thesis is an effort to interconnect and integrate the varied scholarly disciplines of social, cultural, economic history, urban geography and particularly architectural history through the explorations on urban space in general. It is also an undertaking to reveal the development and transformation of the urban space concentrating particularly on medieval Western Anatolia.

The submitted dissertation's main object is an in-depth study of the portals created by the lodge of Benedikt Ried at Prague Castle and a group of portals that reflected the lodge's stimuli in Bohemian towns in the first half of the 16th century. The first all'antica portals in Moravia and Italianate works in Prague towns were also researched with the aim to analyse and better understand the contact of local "Gothic" tradition and incoming Italianate forms ca. 1500 in the area of interest on a wider theoretical background. The thesis consists of two parts. First, the key theoretical concepts of how to interpret the contact of the "Gothic" with the "Renaissance" relevant to the object of empirical study are introduced. As recent theoretical thought showed, the tendency to revise the interpretation of formal syncretism and pluralism in European architecture ca. 1500 stemmed, among others, from the need to correct several patterns common in former research methods, i.e. the presumption of stylistic unity, the effort to identify one principle through the "classical stylistic phase" supposed to be common to all artworks of a given time period, and the simultaneous use of the term "Renaissance" for both a set of stylistic features and a historical era connected with the idea of progress. All these were...

The work consists of four chapters dedicated to selected aspects of research in architecture and interior fittings of houses of late medieval and early modern villages and small towns in the 2nd mid-15th in the 16th century. The first chapter deals with the occurrence of late Gothic and Renaissance architectural elements in the estates. It is conceived as a set of model clauses coherent analysis of material and written sources. In the end, there are social groups defined by the acquirers. The second chapter presents a balance of knowledge about the application of late Gothic and Renaissance tiles in the environment of farms and rural parishes. At the forefront are questions about the chronology of this phenomenon, the possibility of reconstruction of heating equipment, the confrontation with the results of research remaining buildings and comparison with a higher social milieu (manor houses). The third chapter presents the results of two-conceived interdisciplinary studies on collective findings of unusual types of tiles in a rural context. The aim of the analysis of written and material sources is an attempt to answer the question whether the tiled stove conveys the social status of the customer. The fourth chapter in the example of mass set of tiles from a small town (Sedlcany) shows the possibilities and...