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1
Bricout, Louise. "Aux origines de l’archéologie de la religion grecque : de la tradition antiquaire à l’expédition de Morée". Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP052.
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Entre le XVIIe siècle et la première moitié du XIXe siècle, les temples figurent en bonne place dans l’itinéraire des voyageurs. La littérature constitue d’abord leur seule référence pour identifier et comprendre ces lieux de culte. Au milieu du XVIIIe siècle, Caylus publie son Recueil d’Antiquités qui privilégie le strict point de vue archéologique pour l’étude des monuments. Ce bouleversement épistémologique se répercute sur le terrain. Des techniques de fouilles à l’enregistrement et à la présentation des données, les premiers archéologues pensent les vestiges comme des objets de connaissance pour comprendre comment s’organisent les institutions religieuses à l’échelle d’un territoire. Il faut pourtant attendre le début du XIXe siècle pour que la fouille des temples acquiert une rigueur scientifique. C’est durant cette période charnière pour l’histoire de l’archéologie qu’apparaissent les premiers essais théoriques sur la religion grecque. Sur la topographie religieuse, on s’interroge sur l’intérêt de disposer les temples à l’écart des habitations, sur l’importance accordée aux sanctuaires urbains, sur le cheminement des fidèles durant les Grandes Panathénées et sur le lien supposé entre l’emplacement du temple et la divinité qui y est consacrée. On s’intéresse aussi à l’architecture religieuse. Par-delà les considérations d’ordre esthétique et technique, les conjectures portent sur la destination des temples, sur les ordres architecturaux, sur la polychromie et ses effets dans le cadre des cérémonies religieuses mais aussi sur l’architecture hypèthre et l’intérêt de la lumière pour l’exercice du culte. Complémentaire à l’approche monumentale, la sculpture est elle aussi abordée sous le prisme de la religion. Ils expliquent l’archaïsme des frontons du temple d’Aphaïa à Égine par des superstitions religieuses. Ils s’interrogent sur la représentation du dieu chez les Grecs en ce qu’elle se distingue de la représentation de l’homme. Enfin, lorsque les sculptures sont à l’état de vestiges, les premiers archéologues questionnent les mythesBetween the 17th century and the first half of the 19th century, temples figure in good place in the itinerary of travelers. Literature is at first their only reference for identifying and understanding these places of worship. In the middle of the 18th century, Caylus published his Recueil d’Antiquités which privileges the strict archaeological point of view for the study of monuments. This epistemological upheaval is reflected on the ground. From excavation techniques to recording and presentation of data, early archaeologists think of remains as objects of knowledge to understand how religious institutions are organized on a territorial scale. However, it is necessary to wait until the beginning of the XIXe century so that the excavation of the temples acquires a scientific rigor. It was during this pivotal period for the history of archeology that appeared the first theoretical essays on the Greek religion. On the religious topography, we wonder about the interest of having the temples away from the dwellings, about the importance given to the urban sanctuaries, about the path of the faithful during the Great Panathenaeans and the supposed link between the location of the temple and the divinity that is dedicated to it. We are also interested in religious architecture. Beyond the aesthetic and technical considerations, the conjectures relate to the destination of the temples, the architectural orders, the polychrome and its effects in the context of religious ceremonies but also on the hypethrum architecture and the interest of the light for the exercise of worship. Complementary to the monumental approach, sculpture is also approached under the prism of religion. They explain the archaism of the pediments of the temple of Aphaia to Aegina by religious superstitions. They wonder about the representation of the god among the Greeks in that it is different from the representation of man. Finally, when the sculptures are in the state of vestiges, the first archaeologists question the myths
2
CHIARINI, SARA. "Commento antiquario allo Scutum Herculis". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1071.
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La tesi contiene un commento continuo al poemetto tardo arcaico noto col titolo di Scutum Herculis e falsamente assegnato a Esiodo; vi sono affrontate in prevalenza questioni mitografiche, geografiche, antiquarie e iconografiche, ma talora anche aspetti linguistico-letterari, laddove siano utili all'inquadramento dell'orizzonte storico-culturale sotteso alla composizione dell'epillio. Nell'introduzione si dimostra come la sensibilità artistica dell'autore dell'ekphrasis possa essere ricondotta al periodo a cavallo tra il VII e il VI secolo a.C.The dissertation contains a continuous commentary on the late archaic poem known as Scutum Herculis and wrongly attributed to Hesiod. It discusses especially mythographical, geographic, antiquarian and iconographic issues, but also some linguistic and literary aspects, which can contribute to the outline of the historical and cultural milieu, within which the poem was composed. In the introduction it is showed how the artistic taste of the author of the ekphrasis could date back to the period between the 7th and the 6th century B.C.
3
CHIARINI, SARA. "Commento antiquario allo Scutum Herculis". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1071.
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La tesi contiene un commento continuo al poemetto tardo arcaico noto col titolo di Scutum Herculis e falsamente assegnato a Esiodo; vi sono affrontate in prevalenza questioni mitografiche, geografiche, antiquarie e iconografiche, ma talora anche aspetti linguistico-letterari, laddove siano utili all'inquadramento dell'orizzonte storico-culturale sotteso alla composizione dell'epillio. Nell'introduzione si dimostra come la sensibilità artistica dell'autore dell'ekphrasis possa essere ricondotta al periodo a cavallo tra il VII e il VI secolo a.C.The dissertation contains a continuous commentary on the late archaic poem known as Scutum Herculis and wrongly attributed to Hesiod. It discusses especially mythographical, geographic, antiquarian and iconographic issues, but also some linguistic and literary aspects, which can contribute to the outline of the historical and cultural milieu, within which the poem was composed. In the introduction it is showed how the artistic taste of the author of the ekphrasis could date back to the period between the 7th and the 6th century B.C.
4
LORUSSO, FRANCESCO GUIDO. "Gli studi antiquari del Settecento in Puglia e lo sviluppo del concetto di paesaggio antico". Doctoral thesis, Università di Foggia, 2017. http://hdl.handle.net/11369/363291.
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La definizione del complesso di studi che chiamiamo antiquari è ad oggi incompiuta sia sul
piano epistemologico che su quello storiografico. Per l’età moderna, in particolar modo, il
fenomeno dell’eccezionale diffusione della prassi antiquaria nel XVIII secolo deve essere
ancora ampiamente integrato dagli apporti provenienti dagli studi locali. Insieme agli altri
settori dell’antiquaria italiana, quello del Regno di Napoli si compone di un fitto sostrato di
erudizione provinciale che attende di essere recuperato. Nel contempo, l’indagine sulle locali
pratiche antiquarie consente di far emergere il contributo dato da questo genere di studi alla
formazione del concetto di paesaggio antico. Entro questa prospettiva, dopo un necessario
quadro introduttivo sugli indirizzi storiografici sorti attorno all’idea di antiquaria e sulle
specificità dell’erudizione napoletana settecentesca, si svolgerà una ricognizione analitica
dell’opera di tre antiquari pugliesi: Natale Maria Cimaglia (1735-1799), Emmanuele Mola
(1743-1811)
e
Domenico
Forges
Davanzati
(1742-1810).
Attraverso
i
loro
scritti
si
definiranno gli avanzamenti raggiunti localmente dalla disciplina antiquaria, quanto a metodi
e finalità. Di essi si darà particolare rilievo alle operazioni di raccolta delle testimonianze
materiali, che hanno contribuito a fissare diversificate immagini dei paesaggi antichi locali.
Muovendo entro il tradizionale genere corografico, tali descrizioni, accanto alle consuete
finalità celebrative, assunsero sempre maggiore carattere scientifico o si allinearono a una
filosofica ricerca del vero.To date, a definition of that bunch of studies called antiquarian is incomplete, both on an epistemological level and on an historiographical one. Particularly, for the Modern Age the event of an antiquarian praxis’ extraordinary spread during the XVIII century has yet to be supplemented by local studies’ contributions. Along with the other sectors of Italian antiquary, the Kingdom of Naples’ one consists of a dense substrate of provincial erudition waiting to be recovered. At the same time, the investigation of the local antiquarian practices helps to bring out the contribution of this kind of studies to the development of ancient landscape concept. Within this perspective, after a necessary introductory framework on historiographical addresses appeared around the idea of antiquary and on the specificities of eighteenth-century Neapolitan erudition, there will be an analytical survey of the work of three Apulian antiquarians: Natale Maria Cimaglia (1735-1799), Emmanuele Mola (1743- 1811) and Domenico Forges Davanzati (1742-1810). Through their writings we will define the advancements locally achieved by the antiquarian discipline, as for methods and aims. Particular attention will be given to their collection of material evidence which have helped to establish varied portrayals of local ancient landscapes. Moving within the traditional chorographic genre, these descriptions, along with usual laudatory purposes, took increasingly on scientific nature or were aligned to a philosophical quest for truth.
5
Müller, Gereon. "Das linguistische Antiquariat". De Gruyter, 2015. https://ul.qucosa.de/id/qucosa%3A31182.
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Rezension zu Geoffrey K. Pullum: Rule Interaction and the Organization of a Grammar. New York & London: Garland Publishing, 1979 (Outstanding Dissertations in Linguistics). 414 Seiten. [Veröffentlichung der gleichnamigen Dissertation von
1976, University College London]
6
Stevenson, Andrew John. "Aulus Gellius and Roman antiquarian writing". Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/aulus-gellius-and-roman-antiquarian-writing(dde8a7ce-728c-4dce-bbb5-736f3269872a).html.
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7
Wainwright, Clive. "The antiquarian interior in Britain : 1780-1850". Thesis, University College London (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272168.
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The antiquarian interior as defined in this thesis is an interior in which the whole character is created by furnishing with ancient objects although these are frequently mixed with modern objects. : Whilst in theory an antiquarian interior could be in any historical style, those discussed here are mainly in the Mediaeval or Renaissance style. The objects used to furnish such interiors are drawn from the whole range of the decorative arts, for instance -furniture, stained glass, armour, metalwork, carved wood and stone. Though easel paintings playa part in such interiors, they have not been discussed here though their visual contribution can be seen in the illustrations. The introduction deals with antiquarian interiors before 1780 in Britain and continental Europe and many of the continental examples provide~ models for the later British examples. The second chapter describes and discusses the antiquities trade in Britain and Europe from the point of view of the supply of objects for the furnishing of antiquarian interiors. The role of the collector as the impresario in the creation of interiors appropriate for showing off his collection to best advantage emerges clearly in the case studies in chapters three to seven. The interiors discussed were created at Strawberry Hill, Fonthill Abbey, Abbotsford, Charlecote Park and Goodrich Court. The dates of their creation overlap one with the other to cover the period from 1780 to 1850. Though architects and craftsmen are seen to playa part in the creation of these interiors, it is the collectors themselves, aided and abetted by the antiquities brokers, who emerge as the key figures in this process. Most of the illustrations were chosen to document fully the interiors described. Though these singular interiors are often so complex and various as almost to defy analysis, the concluding chapter attempts to draw several general conclusions •
8
Smith, Jason. "Quarks and antiquarks in nuclei /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9750.
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9
McKenney, Jenny. "Reconstructing Anglo-Saxon England in antiquarian writing, 1660-1735". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ53731.pdf.
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10
GRANIERI, FRANCESCA. "Scavi al Pantanello: proposta per una ricontestualizzazione delle antichità negli ambienti di Villa Adriana". Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2008. http://hdl.handle.net/2108/668.
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La Villa di Adriano a Tivoli, patrimonio Unesco dal 2000, è stata fin dal XV secolo oggetto di scavi volti al recupero di antichità che, non solo furono reimpiegate nelle principali chiese e palazzi di Tivoli, ma arricchirono anche le più importanti collezioni di antichità tra cui quella del cardinale Ippolito d’Este per il quale scavò a Villa Adriana Pirro Ligorio.
Di particolare rilevanza sono gli scavi condotti nel XVIII secolo nell’area del Pantanello situato a nord della Villa nei pressi del Teatro Greco e della cd. Palestra. Compreso nei possedimenti di proprietà della famiglia Lolli e di Domenico De Angelis, il Pantanello venne scavato nel 1724 da Francesco Antonio Lolli e nel 1769 da Gavin Hamilton. Durante queste due distinte campagne di scavo riaffiorò un gran numero di antichità tra loro distinte per tipologia (teste, busti, statue, elementi architettonici…) e materiale utilizzato. Il Pantanello, dunque, deve essere considerato un deposito nel quale vennero raccolte tutte quelle antichità da trasportare nelle vicine calcare.
Le antichità rinvenute dal Lolli e da Hamilton vennero immesse sul mercato antiquario e acquistate dai principali collezionisti del secolo: Melchior de Polignac, C. Townley, W. Fitzmaurice, T. Mansel Talbot, T. Jenkins, G. Piranesi, A. Albani, I. Šuvalov e Monsieur de Cock. Un nucleo consistente, invece, venne acquistato per il Museo Pio Clementino allora in fase di allestimento.
Le antichità del Pantanello si dispersero, così, nelle varie collezioni europee, soprattutto inglesi, e devono oggi essere rintracciate, non solo nei principali musei come i Musei Vaticani, il British Museum a Londra e l’Hermitage a San Pietroburgo, ma anche in collezioni private dove giunsero in seguito a successive dispersioni.
Rintracciare le antichità rinvenute nel Pantanello significa, anche, tentare di ricontestualizzarle nei vari ambienti della Villa (soprattutto nell’area della cd. Palestra e del Teatro Greco). Per altre, come le teste dei compagni di Ulisse facenti parte del Gruppo di Polifemo, è necessario uno studio più specifico che ha come punto di partenza la loro sistemazione presso il Serapeo del Canopo già proposta da alcuni studiosiHadrian’s Villa at Tivoli, Unesco’ s heritage since 2000, was excavated from XV century. The antiquities, which were found, were utilized to decorate the most important Tivoli’s Churches and Palaces and were bought by collectors as Ippolito d’Este; for him Pirro Ligorio excavated at Hadrian’s Villa. The excavations realized in the Pantanello during the XVIII century, were very important. The Pantanello, situated in the north part of Hadrian’s Villa near Greek Theatre and so called Palestra, was part of Lolli family and Domenico De Angelis’ s properties. It was excavated by Francesco Antonio Lolli (1724) and Gavin Hamilton (1769). During these excavations, a great number of antiquities, different for typology (heads, busts, statues, architectonical elements …) and materials, was come to the surface. So the Pantanello must be considered as a space in which the antiquities were left before to be carried in the near calcare. The antiquities were bought by the most important collectors of the XVIII century: Melchior de Polignac, W. Fitzmaurice, T. Mansel Talbot, T. Jenkins, G. Piranesi, A. Albani, I. Šuvalov and Monsieur de Cock. A significant group, instead, was bought for the Pio Clementino Museum created in that moment . The sculptures from Pantanello were dispersed in the European collections, especially English, and now must be traced not only in the most important museums like the Musei Vaticani, the British Museum at London and the Hermitage at San Pietroburgo, but in the private collections were arrived after following dispersions too. It is important to give back these materials to the different spaces of Hadrian’s Villa like, for example, the Greek Theatre or the so called Palestra. For the heads of Ulisse’ s companions, instead, it’s necessary a more exhaustive study starting their collocation in the Serapeo of Canopo already proposed by some scholars.
11
Jones, Helen Dorothy. "The Elizabethan society of antiquaries reassessed". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28078.
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The Elizabethan Society of Antiquaries has traditionally been regarded as a scholarly group which dissolved due to attrition and perhaps the suspicion of the ruling administration. A 1614 effort to recongregate failed due to James I's unfounded suspicions of the members' political intentions. This interpretation rests on the assumption that the discourses produced by members were the object of the Society, and that the members were primarily scholars.
While the discourses required extensive research, they were superficial and uncritical, not representative of the standard of historical work of which some of the members, such as Camden, Stow and Lambarde, were capable. They did not justify in themselves either the amount of time which must have been expended on them, or the secrecy which the Society maintained.
Close examination of the members' professional and patronage-related activities shows that they were not scholars, but highly placed and very busy functionaries of the central administration. They had politically powerful patrons, were drawn from all points on the political and religious spectrum, and had official duties throughout the country. Careful probing of their activities suggests that their political motive was to establish and prepare the ground for a widely acceptable successor to Elizabeth I. James' suspicions were soundly based on fact.Arts, Faculty of
History, Department of
Graduate
12
Juge, Keisuke Jimmy. "Gluonic excitations in quark-antiquark systems /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9907667.
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Lacy, Michael S. "Students of arms : a survey of arms and armour study in Great in Britain from the eighteenth century to the First World War". Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298641.
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14
Freyssinet, Marianne. "De l’objet à la reconstruction de l’Antiquité : les travaux de l’antiquaire nîmois Anne de Rulman (1582-1632)". Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30097.
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Antiquaire nîmois de la première moitié du XVIIe siècle, Anne de Rulman a laissé un ensemble manuscrits imposants, parmi lesquels figure le Récit des anciens monuments qui paroissent encore dans le département de la première et seconde Gaule Narbonnoise (…). Cet ensemble, daté de 1626, s'articule en quatre volumes qui comprennent les observations de Rulman sur les sites antiques d'une vaste région allant de Toulouse à Nice ou encore un volume de dessins de monuments et fragments essentiellement nîmois et biterrois. À cela s'ajoutent des dessins d'objets antiques conservés dans les grands cabinets de collectionneurs du Sud de la France et un Inventaire particulier (…) des antiquités de Nîmes. Peu connus et reconnus, ces manuscrits représentent une source considérable pour la compréhension de la démarche antiquaire à travers laquelle l'objet du passé a peu à peu acquis le statut de témoignage historique et archéologique, mais aussi d'œuvre d'art. Ils contribuent également à une meilleure connaissance du milieu savant du Sud de la France qui gravitait alors autour de l'emblématique Nicolas-Claude Fabri de Peiresc (1580-1637). Cette étude participe ainsi à des questionnements d'envergure qui touchent aussi bien à l'histoire de l'art et du goût, qu'à l'histoire et à l'archéologieNimois antiquariam of the
15
Harris, Lucian Guthrie. "British collecting of Indian art and artifacts in the 18th and early 19th centuries". Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270556.
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Hoselitz, Virginia. "Imagining Roman Britain : Victorian responses to a Roman past". Thesis, University of Bristol, 2002. http://hdl.handle.net/1983/0c80f732-5981-4952-b3df-f06523719c05.
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Marconato, Claudia. "Edizione critica dell'epistolario di Sebastiano Erizzo, letterato veneziano del secondo Cinquecento". Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3426655.
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This thesis is a commented and critical edition of the Renaissance writer and Venetian antiquarian Sebastiano Erizzo’s epistolary, which could improve our understanding of the other works of the author (i.e. the translation of Plato, the "Sei giornate", and the treatises on literature, medals, and politics).Il seguente lavoro presenta l’edizione integrale e il commento dell’epistolario di Sebastiano Erizzo (Venezia 1525 - ivi 1585), patrizio veneziano noto per gli interessi antiquari e filosofici. La silloge epistolare d’autore, conservata in copia unica presso la Biblioteca Bertoliana di Vicenza (ms 277, già G 387), è raccolta in un unico esemplare manoscritto e viene qui riprodotta integralmente.
18
Hansen, Abigail. "The revival of Uncleby : an antiquarian excavation of an Anglian cemetery". Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/20518/.
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The primary aim of this thesis is to contextualise the 19th century excavation of the Anglian cemetery at Uncleby, East Yorkshire by Canon William Greenwell. The site is important for our understanding of Anglo-Saxon England; it dates to the transition to Christianity, and it contains a number of unusual burial forms and grave goods, most famously a whetstone which has been compared to the example from Sutton Hoo. However, information about the discoveries was not made available until 1912, when R.A. Smith presented a paper to the Society of Antiquaries of London. To date this remains the most detailed account of the site, and the excavations have never been properly published. The remaining archive and the recovered objects from the excavation, most of which can be found in the Yorkshire Museum, have provided the basis of this research. By using the objects and contemporary sources, the findings of the excavation and relevant material are presented in detail for the first time, and a full artefact and grave catalogue has been produced, and a major new geophysical survey of the site has been conducted. The object catalogue and the survey have informed a new discussion of the site and its significance. Furthermore, this thesis highlights a neglected source of information in the archaeological record: antiquarian excavations. In the 19th century countless sites were excavated by amateur archaeologists and antiquarians, many of which have become lost in museum collections. By utilizing these sites and making the data available, researchers have access to new datasets that have the potential to provide new knowledge.
19
Hill, Rosemary. "Antiquaries in the Age of Romanticism, 1789-1851". Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/2680.
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The thesis concentrates on the work of fourteen antiquaries active in the period from the French Revolution to the Great Exhibition in England, Scotland and France. I have used a combination of the antiquaries’ published works, which cover, among other subjects, architecture, topography, costume history, Shakespeare and the history of furniture, alongside their private papers to develop an account of that lived engagement with the past which characterised the romantic period. It ends with the growing professionalisation and specialisation of historical studies in the mid-nineteenth century which left little room for the self-generating, essentially romantic antiquarian enterprise. In so far as this subject has been considered at all it has been in the context of what has come to be called ‘the invention of tradition’. It is true that the romantic engagement with history as narrative led to some elaboration of the facts, while the newness of the enterprise laid it open to mistakes. I have not ignored this. The restoration of the Bayeux Tapestry, the forged tartans of the Sobieski Stuarts and the creation of Shakespeare’s Birthplace are all considered. Overall, however, I have been concerned not to debunk but as it were to ‘rebunk’, to see the antiquaries in their historical context and, as far as possible, in their own terms.
20
Lake, Crystal B. Looser Devoney. "Ruin nation antiquarian objects and political narratives in the long eighteenth century /". Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/6694.
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Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Devoney Looser. Vita. Includes bibliographical references.
21
Tuning, Niels. "Proton structure functions at HERA". [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2001. http://dare.uva.nl/document/85552.
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22
Schiller, Heike. "Der Online-Handel mit antiquarischen Büchern und seine Auswirkungen auf den Antiquariatsbuchhandel : eine Marktanalyse des Business-to-Consumer-Bereichs /". Frankfurt am Main [u.a.] : Holger-Ehling-Publ. im IKO-Verl, 2005. http://swbplus.bsz-bw.de/bsz117160601inh.htm.
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Bertagnin, Diletta <1997>. "Ludovico Moscardo e la sua raccolta. Fortuna e rivalutazione in termini antiquari". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21659.
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L’obiettivo principale di questa tesi è rivalutare la raccolta seicentesca di Ludovico Moscardo (1611-1681) attraverso una rilettura basata sull’ipotesi di una sua sintassi antiquaria. Tramite una rassegna delle voci erudite che hanno fatto la fortuna di questo ‘museo’ e l’esame delle uniche due edizioni della raccolta Moscardo, intitolate Note overo memorie del museo di Lodovico Moscardo (1° ed. 1656; 2° ed. 1672), si indaga in che misura le sue diverse classi rispondessero a concetti chiave come ‘universalità’ e ‘rarità’. L’aspetto innovativo dell’approccio antiquario moscardiano (non messo a fuoco pienamente da Julius von Schlosser) è qui verificato con particolare attenzione per i reperti di età classica, considerando sia quelli ‘nobilitanti’ (iscrizioni e ritratti), sia la supellex legata non solo ad usi e costumi di un’antica quotidianità, ma anche alla città di Verona e al suo territorio (per esempio le lanterne).
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Cook, Daniel Paul. "Antiquaries to Romantics : a reception history of Thomas Chatterton". Thesis, University of Cambridge, 2008. https://www.repository.cam.ac.uk/handle/1810/252085.
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Although Thomas Chatterton’s influence on the major English Romantics is commonly known, how and why he acquired such prestige between the 1770s and the 1820s is little understood. Antiquaries to Romantics is a revisionist study that historicises the poet’s reception in detail for the first time. Rejecting older models of ‘critical heritage’, this study traces a more nuanced dialectic between polite and popular responses in both print and visual culture in order to situate the role of regulative authority in canon formation. My approach examines the interpretative strategies of editing, exegesis, appropriation and textual redeployment that kept Chatterton and his works in the public realm. Conventionally dismissed as the pedantic ‘Rowley controversy’, the initial antiquarian response to his mock-ancient Rowley poems embosses many of the underlying methodological tensions more readily associated with the emergence of modern literary criticism in the period. Anxiously misreading these tensions, sentimental commentators sought to reinstate Chatterton within his wider corpus, often reducing his now dated imitations of mid-century fashions to autobiographical sketches. By the final decades of the eighteenth century, Chatterton’s modern poetry and prose – originally written within the semiotics of the transitory magazines – were anthological alongside modernisations of his Rowleyan “literary curiosities”. In response to this expanding canon, focus shifted from what were often highly learned and pedagogically useful readings of the works to an unstable legacy that recovered Chatterton as a neglected genius and yet chastised him as a willing victim of his own immorality. This study draws out these tensions in order to make sense of Chatterton’s declining prominence in the nineteenth century.
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Jackson, Williams Kelsey. "John Aubrey's antiquarian scholarship : a study in the seventeenth-century Republic of Letters". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:8e4dcd98-ba97-45d4-ac33-e64f8e0dd1e4.
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The writings of John Aubrey (1626-1697) cover a variety of subjects, including natural philosophy, mathematics, educational theory, biography, and magic, among others. His principal scholarly interest, however, was antiquarianism, the early modern discipline which embraced subjects such as archaeology, anthropology, and palaeography. This thesis is a study of Aubrey’s antiquarian writings within the context of the European Republic of Letters. It begins with a revisionary survey of antiquarianism in England, 1660-1720, and proceeds to map his personal contacts and library before studying each of his major antiquarian works in detail. Aubrey emerges from this as a product of his time, but somewhat unusual in his eclectic use of the antiquarian tradition and his blending of antiquarian and natural philosophical methodologies. He was receptive to the latest scholarship, regardless of its origin, and his antiquarian writings were never mere antiquarianism, but moved beyond technical scholarship to address wider issues concerning the origins of English culture, the evolution of religion, the antiquity of the earth, and the nature of human invention. Aubrey is now best known for his so-called Brief Lives, a series of biographies of contemporaries, and this thesis also includes a chapter studying the Lives as a form of antiquarianism. It argues that their keen observation and unconventional form are due to a mixture of antiquarian minuteness with traditions of Theophrastan character-writing and Tacitean historiography and that previous readings of them rely too heavily upon an outdated view of Aubrey as eccentric and peripheral to the larger intellectual movements of the century. This thesis concludes with a reassessment of Aubrey’s scholarship and an argument that the patterns revealed highlight the insufficiency of current theories of antiquarian development in the early modern period. It also argues for the “literary” quality of Aubrey’s work and emphasises the importance of reading his antiquarian texts within the context of early modern definitions of literature.
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Leonardis, Irene. ""Ego unus scilicet antiquorum hominum" : senso del passato e pratica antiquaria in varrone". Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080041.
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Cette thèse porte sur une étude des œuvres et des fragments de l’écrivain romain Varron et vise à examiner les intentions dans lesquelles et la façon dont cet érudit se rapportait au passé et à la mémoire collective romaine. Ses recherches sur le passé de Rome semblent motivées et poussées par un contexte de bouleversements socio-politiques et par la révolution culturelle qui eut lieu à la fin de la République (IIe-Ier siècles av. J.-C.). Dans ce moment-là le mos maiorum n’était plus unanimement accepté comme modèle à imiter. Nous avons mis en évidence le conséquent effort de l’auteur pour démontrer l’importance des valeurs civils et moraux, contenus dans le passé ancien de Rome et comparables, selon lui, aux principes éthiques développés par la réflexion philosophique grecque. Son étude du passé visait à rappeler ces valeurs, les boni mores, aux citoyens dont la crise morale avait un reflet dans la crise de la res publica.Comme Cicéron, il semble trouver les causes de cette décadence dans une crise de la mémoire et l’oublie des Romains, qui avec le temps (vetustas) avaient commencé à connaitre seulement superficiellement leur tradition, sans être plus capables d’en mettre en pratique les exempla. Par conséquent, Varron, en ayant examiné les mécanismes du temps et de la mémoire, concevait sa pratique « antiquaire » sur l’histoire et sur les institutions politiques et religieuses de Rome comme réponse à la crise (ruina) de son époque. Grâce à ses compétences étymologiques-antiquaires mais aussi philosophiques, l’érudit arriva à se présenter et à être présenté comme fin connaisseur, interprète et même porte-parole de l’antiquitas. En dépit de la conscience d’être considéré démodé par ses contemporaines, Varron s’efforçait de redéfinir la tradition afin qu’il puisse créer des lieux de mémoire qui auraient toujours rappelés les mores antiqui et l’identité romaineThe thesis studies Varro’s works in connection with the contemporary crisis of tradition, the mos (maiorum), which at the end of the Roman Republic was not perceived anymore unanimously as a model to imitate. The purpose is to stress how the author attempted to give evidence of the importance of civil and moral values which were contained in Roman ancient past and which were allegedly equal to the ethics principles developed by Greek philosophy. Thus the past is studied by Varro in order to remind these values to his citizens, whose moral crisis reflects the crisis of the respublica. Like Cicero, he seems to hold responsible for this decadence a crisis of memory and the consequent oblivion: with the passing of time (vetustas) Romans have kept just a superficial notion of their traditions, without being able to follow their exempla in practice. Therefore, after considering the functioning of time and memory, Varro seems to conceive his own antiquarian erudition, applied to Roman history and to its civic and religious institutions, as a response to the ruin (ruina) of his age. The object of the thesis is thus to analyze this antiquarian attitude attested in almost every varronian work and its political meaning. Thanks to his ability to rediscover and prove many philosophical and religious truths through etymology, the author seems to proclaim him-self (and eventually to become) a spokesman and a witness of the antiquitas. Despite his awareness of being regarded by many of his contemporaries as antiquated and quaint, Varro strives to redefine tradition in order to create some lieux de mémoire that would always evoke the mores antiqui and roman identity
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Leonardis, Irene. ""Ego unus scilicet antiquorum hominum" : senso del passato e pratica antiquaria in varrone". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080041/document.
Texto completo da fonteResumo:
Cette thèse porte sur une étude des œuvres et des fragments de l’écrivain romain Varron et vise à examiner les intentions dans lesquelles et la façon dont cet érudit se rapportait au passé et à la mémoire collective romaine. Ses recherches sur le passé de Rome semblent motivées et poussées par un contexte de bouleversements socio-politiques et par la révolution culturelle qui eut lieu à la fin de la République (IIe-Ier siècles av. J.-C.). Dans ce moment-là le mos maiorum n’était plus unanimement accepté comme modèle à imiter. Nous avons mis en évidence le conséquent effort de l’auteur pour démontrer l’importance des valeurs civils et moraux, contenus dans le passé ancien de Rome et comparables, selon lui, aux principes éthiques développés par la réflexion philosophique grecque. Son étude du passé visait à rappeler ces valeurs, les boni mores, aux citoyens dont la crise morale avait un reflet dans la crise de la res publica.Comme Cicéron, il semble trouver les causes de cette décadence dans une crise de la mémoire et l’oublie des Romains, qui avec le temps (vetustas) avaient commencé à connaitre seulement superficiellement leur tradition, sans être plus capables d’en mettre en pratique les exempla. Par conséquent, Varron, en ayant examiné les mécanismes du temps et de la mémoire, concevait sa pratique « antiquaire » sur l’histoire et sur les institutions politiques et religieuses de Rome comme réponse à la crise (ruina) de son époque. Grâce à ses compétences étymologiques-antiquaires mais aussi philosophiques, l’érudit arriva à se présenter et à être présenté comme fin connaisseur, interprète et même porte-parole de l’antiquitas. En dépit de la conscience d’être considéré démodé par ses contemporaines, Varron s’efforçait de redéfinir la tradition afin qu’il puisse créer des lieux de mémoire qui auraient toujours rappelés les mores antiqui et l’identité romaineThe thesis studies Varro’s works in connection with the contemporary crisis of tradition, the mos (maiorum), which at the end of the Roman Republic was not perceived anymore unanimously as a model to imitate. The purpose is to stress how the author attempted to give evidence of the importance of civil and moral values which were contained in Roman ancient past and which were allegedly equal to the ethics principles developed by Greek philosophy. Thus the past is studied by Varro in order to remind these values to his citizens, whose moral crisis reflects the crisis of the respublica. Like Cicero, he seems to hold responsible for this decadence a crisis of memory and the consequent oblivion: with the passing of time (vetustas) Romans have kept just a superficial notion of their traditions, without being able to follow their exempla in practice. Therefore, after considering the functioning of time and memory, Varro seems to conceive his own antiquarian erudition, applied to Roman history and to its civic and religious institutions, as a response to the ruin (ruina) of his age. The object of the thesis is thus to analyze this antiquarian attitude attested in almost every varronian work and its political meaning. Thanks to his ability to rediscover and prove many philosophical and religious truths through etymology, the author seems to proclaim him-self (and eventually to become) a spokesman and a witness of the antiquitas. Despite his awareness of being regarded by many of his contemporaries as antiquated and quaint, Varro strives to redefine tradition in order to create some lieux de mémoire that would always evoke the mores antiqui and roman identity
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Buscató, i. Somoza Lluís. "De l'antiquarisme a l'arqueologia. La protecció del patrimoni històric i arqueològic a la província de Girona (1835-1876)". Doctoral thesis, Universitat de Girona, 2011. http://hdl.handle.net/10803/48613.
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The first protective activities of historical and archaeological heritage in the province of Girona (Catalonia, Spain), although some earlier precedents, were produced from the third decade of the nineteenth century. These arose as a reaction to this terrible destruction suffered as a result of the introduction of the liberal state and the disappearance of several regular orders. Preservationists actions were carried out by some pseudo-public entities, which acted at the request of local authorities. These entities include the the Diputación Arqueológica, the Sociedad de Amigos del País and the Comisión de Monumentos. These corporations, with significant human and economic constraints, began activities as important as the beginning of the excavations of the site of Ampurias, the formation of a provincial museum in Girona and the restoration of the monastery of Ripoll.Les primeres actuacions protectores del patrimoni històric i arqueològic a l’actual província de Girona, tot i haver-hi alguns precedents anteriors, es produïren a partir de la tercera dècada del segle XIX. Aquestes sorgiren com a reacció a les terribles destruccions que patí aquest com a conseqüència de la instauració de l’Estat liberal i la desaparició dels ordres regulars. Les actuacions proteccionistes es vehicularen, majoritàriament, a través d’un seguit d’ens pseudo-públics, que actuaren a instancia de les administracions locals (Diputació i Govern Civil). Entre aquestes entitats cal destacar la Diputació Arqueològica, la Societat d’Amics del País i la Comissió de Monuments, per esmentar només unes quantes. Entitats que amb els seus escassos mitjans humans i materials endegaren activitats tan importants com: l’inici de les excavacions del jaciment d’Empúries, la formació d’un museu provincial a Girona i la restauració del monestir de Ripoll.
Las primeras actividades protectoras del patrimonio histórico y arqueológico en la actual provincia de Gerona, aunque hay algunos precedentes anteriores, se produjeron a partir de la tercera década del siglo XIX. Estas surgieron como reacción a las terribles destrucciones que sufrió este como resultado de la instauración del Estado liberal y la desaparición de los diversos órdenes regulares. Las actuaciones proteccionistas se vehicularon, mayoritariamente, a través de una serie de entidades pseudos-públicas, que actuaron a instancia de las administraciones locales (Diputación y Gobierno Civil). Entre estas entidades cabe destacar la Diputación Arqueológica, la Sociedad de Amigos del País y la Comisión de Monumentos, por citar solo unas cuantas. Entidades que con sus escasos medios humanos y materiales iniciaron actividades tan importantes como: el inicio de las excavaciones del yacimiento de Ampurias, la formación de un museo provincial en Gerona y la restauración del monasterio de Ripoll.
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Masud, Bilal. "A model for systems of two quarks and two antiquarks". Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316994.
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Wood, Elizabeth Mouncey. "A reappraisal of early modern Chester through a reading of the city's antiquarian collections". Thesis, Birkbeck (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405879.
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This dissertation studies the antiquarian culture of early modern Chester, based on manuscript sources now in the British Library's Harley collection, the Cheshire Record Office and elsewhere. These include the Breviary of Robert Rogers, various mayoral rolls, and especially the collections of the antiquarian Holme family. The dissertation argues that these documents form an integral part of the City of Chester's claim to independence, based on its status as England's oldest palatinate. The City's charters, granted by Henry III, created the earldom of Chester, but effectively gave the city's mayor and Assembly jurisdiction over the City's internal affairs. In the Tudor period, there were repeated attempts by centralised government to restrict Chester's rights, and these were fiercely and usually successfully resisted. The manuscripts collected and compiled by the City's antiquarians formed a central part of this sense of Chester's autonomy through their consistent stressing of the City's rights and privileges. The dissertation works through a series of case studies. Chester's famous medieval mystery plays, whose texts were copied and preserved by the antiquarians, are re-read as a late sixteenth-century means of putting the City on display. The 1610 inauguration of Prince Henry as Earl of Chester is interpreted as being used, even in his absence, to promote the City through the staging of a triumph in his honour. Various legal and political conflicts are examined, all through detailed readings of a range of manuscript sources. Finally, received notions of the top-down early modern patronage are challenged through an examination of letters and petitions. Throughout this study, there emerges the potential for a City-centred retelling of Chester's history different from the 'national' model written by those in power in London and Westminster.
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Towell, Rusty Shane. "Measurement of the antiquark flavor asymmetry in the nucleon sea /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Cobley, Gillian Pamela. "Devon's antiquarians : identifying what has been lost from the archaeological record". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/23265.
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This thesis explores the richness of Devon’s antiquarians’ records covering the period from the 15th century through to the early 20th century, and reveals the wealth of information that these archives contain about archaeological sites and medieval buildings that have since been lost. The lives of the Devon antiquarians themselves, how the carried out their research, and the unpublished and published material they have left us, are all reviewed. Of particular importance are unpublished questionnaires, journals, diaries, notebooks and commonplace books which together provide an untapped resource of information on lost and damaged archaeological sites. When assessing the antiquarians’ pictorial evidence it was important to undertake field visits in order to ascertain their accuracy and the amount of damage sites have incurred since. The earliest antiquarians were those who visited Devon during the 16th century in order to collect material for the histories of England they were writing. These were followed by Devonian antiquarians, who from the 16th century onwards wrote histories of Devon, and a later group who visited, and in some cases excavated, archaeological sites. Antiquarians are discussed in depth where they have left us documentary evidence, and in some cases illustrations, from their research. The thesis explores six areas of research pursued by these antiquarians: barrows, hillforts, Roman sites, castles, religious houses and churches. Within the discussion of these types of sites, particular case studies are used to show the progression of archaeological techniques within antiquarian research, it was found that the majority of the sites described by antiquarians have not undergone any further archaeological investigation.
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Marangoni, Michela. "L' armonia del sapere : i "Lectionum antiquarum libri" di Celio Rodigino /". Venezia : Istituto veneto di scienze, lettere ed arti, 1997. http://catalogue.bnf.fr/ark:/12148/cb37724348r.
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Battles, Kelly Eileen. "The antiquarian impulse history, affect, and material culture in eighteenth- and nineteenth-century British literature /". Diss., Connect to online resource - MSU authorized users, 2008.
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Granelv, Erik. "Kulturvärden i detaljplaner". Thesis, Uppsala universitet, Kulturvård, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-433188.
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Kulturvärden i detaljplaner är en fallstudie som undersöker antikvariska förundersökningar framtagna till planprocessen. Huvudtemat som uppsatsen undersöker är hur metoder för identifierandet av kulturvärden påverkar den antikvariska förundersökningen. Slutsatsen visar att det ofta är svårt att läsa ut om en metod har använts eller inte då den inte alltid presenteras i förundersökningen. Vidare har uppsatsen åskådliggjort att antikvarien som tar fram planeringsunderlaget – i denna fallstudie – inte tydligt hävdar kulturvärdet mot andra intressen i planprocessen. Samtidigt finns inga krav idag på att ett sådant ställningstagande ska ske.Cultural values in Detailed Development plans is a case study that examines antiquarian preliminary studies developed for the planning process. The main theme that the essay examines was how methods for identifying cultural values affect the antiquarian preliminary study. The conclusion shows that it is often difficult to read whether a method has been used or not as it is not always clearly presented in the preliminary study. Furthermore, the thesis has shown that the antiquarian who produces the planning data - in this case study - does not fully assert the cultural value against other interests in the planning process. At the same time, there are no requirements today for such a position to be taken.
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Zantedeschi, Francesca. "The antiquarians of the nation: archaeologists and philologists in nineteenth-century Roussillon". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/378360.
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The purpose of this thesis is to formulate a coherent history of Roussillon in the nineteenth century in an attempt to explain the causes for the weaknesses underpinning its Catalan cultural revival. In order to do so, I will commence by broaching the subject of the French process of nation-building, to illustrate how the initial Roussillonese studies were stimulated by research and inquiries into “national antiquities”. Such studies were indeed promoted by consecutive French governments with the aim of classifying, documenting and preserving all the artistic, linguistic and architectural “monuments” of the French nation. My research then proceeds to examine the Occitan-Catalan cultural context, within which the Roussillonese linguistic and cultural revival should be inserted and analysed. Moreover, I shall attempt to quantify the contribution made by Roussillonese scholars to the reflection on the Catalan language during the nineteenth century, as well as the extent and type of knowledge they possessed of Catalan and how they investigated it.El objetivo de esta tesis es establecer una historia coherente del Rosellón en el siglo XIX con el objetivo de explicar las causas de la “debilidad” del renacimiento cultural en catalán. Para ello, empezaré planteando la cuestión del proceso francés de construcción de la nación con el fin de ilustrar cómo los primeros estudios roselloneses fueron estimulados por las investigaciones y estudios sobre las “antigüedades nacionales”. Estos estudios fueron promovidos por varios gobiernos franceses con el objetivo de clasificar, documentar y preservar todos los “monumentos” artísticos, lingüísticos y arquitectónicos de la nación francesa. A continuación, mi investigación procederá a examinar el contexto cultural Occitano-Catalán, dentro del cual debe inserirse y analizarse el renacimiento lingüístico y cultural rosellonés. Además, pretendo valorar la contribución hecha por los eruditos roselloneses a la reflexión sobre la lengua catalana durante el siglo XIX, así como el alcance y el tipo de conocimiento sobre el catalán que poseían y cómo la investigaban.
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Goff, Alexa. "The ‘Rare and Curious’ Library of Sir Julius Caesar: Marvel, Miniaturization, and Antiquarian Librarianship on Display". Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23105.
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This thesis treats a book-bound miniature library presented (probably in 1619) as a luxury gift to the English politician and courtier Sir Julius Caesar. Though it contains forty-four tiny books, the collection was not meant as a working reference library as much as it was intended as a marvel and a piece of social currency. The sections of the thesis trace the aesthetic and intellectual interests that shape the form and content of the miniature library, and then examine the object in its various contexts. Knowledge of the social and political worlds of the giver and recipient enables an understanding of the object as an expression of alliance, mutual obligation and self-fashioning. Perhaps the most important of these circles was the London-based Society of Antiquaries, the bibliophilic members of which shared interests in history, erudition, the baroque culture of wonder and the nascent field of antiquarian librarianship.
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Peltz, Lucy F. "The extra-illustration of London : leisure, sociability and the antiquarian city in the late eighteenth century". Thesis, University of Manchester, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540355.
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Extra-illustration was a fashionable, amateur pastime whereby a published text was embellished and extended by the incorporation of thematically linked illustrations such as prints and watercolours. Although material and literary evidence proves that extra-illustration was immensely popular between the 1790s and the mid nineteenth century, it has received little scholarly attention. This thesis will investigate the practice and products of extra-illustration in relation to the socioeconomic, interpersonal and historical contexts of authorship, reading and commodity consumption. All reading is autonomous and individual, but reading by its very nature rarely leaves tangible traces. Extra-illustration, as this thesis will demonstrate, affords rich evidence of how contemporary readers engaged with books as both texts and material artifacts. The focus will be the customisation of Thomas Pennant's Of London; a historical and topographical survey of London which typifies the antiquarian orientation of the texts that were popular among extra-illustrators. It will begin by recounting the brief occurrences of extra-illustration in the early eighteenth-century and will then chart its reincarnation, from the 1770s, in relation to the emergent cult of engraved portrait head collecting and the popularisation of antiquarianism. Chapter One will develop this context by simultaneously investigating the intellectual concerns and popular perception of antiquarians with reference to the genres of images and texts which were regularly diverted for use in the extra-illustration of Pennant's London. By examining the changing aesthetics and conventions of antiquarianism, I shall posit that extra10 illustration was a congenial method of engaging with the antiquarian city. It arose in tandem with the domestication of masculine leisure and both were fuelled by the circulation of entrepreneurial publications which continued to represent the city to a viewer at a remove. Here I shall also explain the symbolic potential of the literary survey of London and describe its dissemination and merchandising towards the end of the eighteenth century. In Chapter Two I shall then provide a detailed analysis of the sociable production, commercial publication and critical reception of Thomas Pennant's anecdotal survey of London. This will give rise to discussions on the relationship between publishing, gentility and authorship, as well as between authors and their texts. It will also reveal the protean nature of Of London which represented the requirements for urban knowledge and antiquarian research of a diffuse group of participating readers and contributors. After this discussion of Of London in its pristine state, Chapter Three will take John Charles Crowle's lavish reformulation of this text as a paradigm of the extra-illustration of Pennant's London. It will analyse the contents and production of this text-led collection and interpret the semiotic and patriotic functions of its collated illustrations in relation to the reading of the book, the psychology of collecting and the contemporary experience of London in representation and reality. In Chapter Four, I shall consider the extra-illustrator's perception of books as personal artifacts, ripe for customisation and display. As extra-illustration was identified as a leisure pursuit of men in retirement, I shall interpret these cut and paste activities in relation to the economy of social interaction and the prevailing expectations of gender, domesticity and social propriety. Throughout this 11 thesis my interest is in the way people readily modified commodities to suit their individual preferences and stamped them with personal identities. This culture of appropriation, explored in relation to ways of viewing London, suggests how this genteel audience savoured a city of their own devising which could be enjoyed in the safety of the home.
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Zaninelli, Fulvia. "Alessandro Contini Bonacossi, antiquario (1878-1955) : the art market and cultural philanthropy in the formation of American museums". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31510.
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This thesis aims to document and discuss the role and legacy of the Italian antiquario Alessandro Contini Bonacossi (1878-1955) in the international secondary art market for Old Master paintings during the first half of the twentieth century. Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following research questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. To answer these questions, I made extensive use of primary sources, the vast majority of which are unpublished or have never been used before in this context, framed by a contextualized analysis of their historical background. The archival investigation has brought to light, for the first time, documentary evidence of Contini Bonacossi's transactions and business ties with other European dealers such as Duveen Brothers, Heinemann Galleries, Colin Agnew, Colnaghi, Böhler, Steinmeyer, and Kleinberger Galleries; with scholars such as Wilhelm von Bode, Roberto Longhi, and Bernard Berenson; as well as previously unknown connections Contini Bonacossi had with members of the Harvard museum community and the Boston cultural elite such as Paul Sachs (1878-1965), Edward W. Forbes (1873-1969) Denmann Ross (1853-1935); and offers new details regarding his relationship with the Kress Brothers, their gifts of artworks to the new National Gallery of Art in Washington DC, and the Kress Foundation's Regional Program that endowed museums across the US. Ultimately, this work adds to our knowledge important sources for the study of the history of private and public collecting during its crucial years in the formation of American museums. More broadly, in documenting Contini Bonacossi's case, this study strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.
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Castoldi, Emanuele <1996>. "«De gli antiqui le sante orme»: per una ricezione della cultura antiquaria nella grafica veneziana di Marcantonio Raimondi". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18297.
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Marcantonio Raimondi è oggi celebrato quale uno dei principali incisori del Rinascimento italiano, giunto a fama universale come primo divulgatore dell’opera e dello stile classico di Raffaello, con la cui bottega collaborò a Roma a partire dal 1509-1510. Tra i temi ricorrenti nella comprensione della statura artistica di Marcantonio, il rapporto con l’antico riveste un ruolo privilegiato. Eppure, risulta ancora oggi difficile inquadrare e mettere a fuoco tali dinamiche, entro una corale riscoperta dell’antico che coinvolse in modalità differenti le diverse aree della penisola. Nato intorno al 1480 nei pressi di Bologna, Marcantonio vive il contatto con l’antichità in alcuni dei centri più stimolanti d’Italia: la città natale, sulla scorta delle ricerche umanistiche dello Studio e del classicismo artistico propugnato in primis dal suo maestro, Francesco Francia; e, per un soggiorno di complessa definizione, orientativamente tra 1506 e 1508, Venezia, fulcro all’epoca di una rivoluzione artistica intorno alla figura di Giorgione che vedeva nella cultura antiquaria uno dei suoi motivi di ispirazione. L’elaborato intende concentrarsi proprio sul primo decennio del secolo, quando Marcantonio intraprende la sua formazione artistica prima di approdare, forte di un bagaglio culturale ricco e articolato, nella Roma di Raffaello, e soffermarsi in particolare sul contesto veneziano. Se, infatti, la critica negli ultimi decenni ha posto l’accento sulle possibilità di formazione nel capoluogo emiliano, l’attività lagunare di Marcantonio è stata scarsamente indagata in relazione all’antico, favorendo piuttosto l’analisi del rapporto con Albrecht Dürer, elemento canonico nella biografia dell’incisore fin dalle Vite del Vasari del 1568. Pertanto, dopo un capitolo dedicato allo sviluppo della storiografia artistica su Marcantonio giovane dal Cinquecento all’Ottocento, la tesi procede con l’analisi del contesto e delle fonti antiquarie veneziane sul fare del secolo, per poi ripercorrere l’attività dell’artista tra Bologna e Venezia, sottolineando tangenze, assimilazioni e contatti con l’antico.
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Bobbitt, Elizabeth Kathleen. "Romantic antiquaries and silent conversations : Ann Radcliffe's post-1797 works and Sir Walter Scott". Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21407/.
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This study aims to redress the almost complete critical marginalisation of Ann Radcliffe’s post-1797 works, published in a four-volume collection entitled "Gaston de Blondeville, or the Court of Henry III Keeping Festival in Ardenne, a Romance; St. Alban’s Abbey: A Metrical Tale, with some Poetical Pieces by Ann Radcliffe, to which is Prefixed a Memoir of the Author with Extracts from her Journals" (1826). I examine the major works of this collection, beginning with Radcliffe’s last novel, "Gaston de Blondeville," before providing a critical analysis of her two longest narrative poems, "St. Alban’s Abbey" and "Salisbury Plains: Stonehenge." In arguing for a widening of the bounds of Radcliffean scholarship to include not just her well-known Gothic romances of the 1790s, but also her later works, I contextualise Radcliffe’s post-1797 texts alongside Sir Walter Scott’s "Ivanhoe" (1820) and his earlier narrative poetry. Examining Radcliffe’s later work in the context of Scott’s historical fiction allows us to see Radcliffe’s innovation as a writer post-1790s. It also highlights the striking thematic reciprocity which exists between Radcliffe’s post-1797 texts and Scott’s historical fiction. These works display varying responses to a larger revival of interest in Britain’s early heritage, exemplified through Radcliffe’s and Scott’s exploration of the nature of antiquarian study and medieval romance forms. In tracking this thematic reciprocity, this study uncovers a little-acknowledged "conversation," initiated by Radcliffe’s post-1797 works with Scott’s oeuvre. The forthcoming chapters define the specific nature of this "conversation," in which Radcliffe first anticipates and then responds to Scott’s unprecedented literary success in the field of historical fiction.
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Hutton, Ailsa Kate. "Re-viewing history : antiquaries, the graphic arts and Scotland's lost geographies, c.1660-1820". Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7361/.
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This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.
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O'Halloran, Clare. "Golden ages and barbarous nations : antiquarian debate on the Celtic past in Ireland and Scotland in the eighteenth century". Thesis, University of Cambridge, 1991. https://www.repository.cam.ac.uk/handle/1810/271905.
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Ó, Muraíle Nollaig. "The celebrated antiquary Dubhaltach Mac Fhirbhisigh (c. 1600-1671) : his lineage, life and learning /". Maynooth (Ireland) : An Sagart, 1996. http://catalogue.bnf.fr/ark:/12148/cb35846390b.
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Texte remanié de: Diss. Ph. D.--Dublin--National university of Ireland, 1991. Titre de soutenance : The Background, life and writings of Dubhaltach Mac Fhirbhisigh (d. 1671).Bibliogr. p. 381-408. Index.
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Tetteris, Karin. "The embodiment of victory : Heritagisation of war trophies in early modern Sweden". Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-106921.
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This study explores the heritagisation of war trophies in early modern Sweden. The ways in which contemporary artefacts have been historicised and charged with new meanings through specific practices are analysed. These practices form part of a process enacted by a network of human agents and objects constituting an early example of heritagisation. The empirical material comprises selected objects in the collection of the Swedish Army Museum, archive documents and printed royal decrees and resolutions. By examining objects as well as contemporary texts on the collecting and the display of the trophies, a process that has influenced collection management in museums of today is recorded and analysed. The study adheres to the interdisciplinary field of Critical Heritage Studies and proposes that a critical approach to the production of heritage might be applied also to early modern times. Sökord: War trophies, collections, antiquarian practices, cultural heritage
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Schweitzer, Peter. "Polarized quark and antiquark distribution functions of the nucleon in the chiral quark soliton model". [S.l. : s.n.], 2000. http://deposit.ddb.de/cgi-bin/dokserv?idn=96147923X.
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DeCoursey, Christina. "The Society of Antiquaries, 1830-1870, institution, intellectual questions, community, and the search for the past". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ27629.pdf.
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Swift, A. K. "The formation of the library of Charles Spencer, 3rd Earl of Sunderland (1674-1722) : a study in the antiquarian book trade". Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376020.
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Lurin, Emmanuel. "Etienne Dupérac, graveur, peintre et architecte (vers 1535 ?-1604) : un artiste-antiquaire entre l’Italie et la France". Paris 4, 2006. http://www.theses.fr/2006PA040187.
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Etienne Dupérac est un artiste français de la seconde moitié du XVIe siècle qui fut à la fois peintre, aquafortiste, architecte et spécialiste des jardins. Il a commencé sa carrière à Venise et à Rome où il séjourna pendant environ vingt ans (vers 1560-1578), avant de rentrer en France où il devint vers 1596 l’un des architectes d’Henri IV. Nous avons cherché à reconstituer l’ensemble de l’œuvre de Dupérac, qui était mal connu, mais aussi la complexité de son parcours, caractérisé par une forte ascension sociale. Notre thèse met l’accent sur la polyvalence de l’artiste, sa connaissance de l'antique et l’originalité de ses estampes - en particulier les vues de ruines, les planches d’architecture et les restitutions antiques. Elle montre que l’historien Onofrio Panvinio a joué un rôle déterminant dans son initiation aux sciences antiquaires. Elle suggère enfin l’existence d’un lien étroit entre ses restitutions archéologiques et son œuvre architectural, profondément influencés par les travaux de Pirro LigorioEtienne Dupérac is a French artist of the second half of the sixteenth-century, who was active as a painter, an etcher, an architect and a specialist of garden design. He began his career in Venice and Rome, where he passed nearly twenty years (ca. 1560-1578), then he turned back to France where he became, about 1596, one of Henri IV’s court architects. In our study, we tried to describe the whole work of Dupérac, which was quite unknown, but also the different stages of his life and of his social ascent. We have emphasized Dupérac’s versatility, his knowledge of roman antiquities and the interest of his prints, especially his views of roman ruins and modern buildings. And his reconstruction drawings of roman scenes and monuments. We proved that the historian Onofrio Panvinio played a major role in Dupérac’s initiation to antiquarian studies. We have also compared his architectural projects with his reconstruction drawings, which are very influenced by the work of Pirro Ligorio
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Stuckey, Michael 1964. "Humanism and legal historiography in late sixteenth and early seventeenth century England : the Elizabethan Society of Antiquaries". Phd thesis, Faculty of Law, 2000. http://hdl.handle.net/2123/9034.
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