Literatura científica selecionada sobre o tema "Aristocratic House"

This paper reviews several examples of Japanese tea architecture in order to identify its specific features in the context of its historical development. Based on this, the main principles of the formation of tea architecture in Japan are defined. The analysis is conducted in relation to three main factors that influenced the formation of tea architecture: vernacular architecture, noble architecture and the philosophical ideas of Zen Buddhism. As an example, three tea houses of the master Sen no Rikyu (1522-1591) were used, namely: Kasa-tei, Shigure-tei (Todaiji Monastery, Kyoto) and Tai-an (Myoki-an Monastery, Kyoto), and the palace of Villa Katsura (1620-1658), commissioned by Prince Toshihito. The Kasa-tei and Shigure-tei houses are characterised by active inheriting of the structural elements and forms of vernacular housing. The Tai-an is a vivid reflection of aristocratic and Zen traditions. In the architecture of villa Katsura there is an influence of several directions of aristocratic and vernacular architectural styles. In each example, the influence of these three factors was detected at several levels: in the formation of the environment of the tea house (tea garden), in the structure and composition of the buildings, in the internal space of the buildings and at the level of semantics of the complexes. Among the variety of teahouses, at each determined level the preference may be given to one or another stylistic direction. For example, the traditions of vernacular architecture in the Kasa-tei and Shigure-tei houses are increasingly expressed in the exterior of the buildings and in the overall character of the complex. The aristocratic and ascetic spirit of the Tai-an house is mainly expressed in the interior of the building. In the architecture of Villa Katsura – similar to the examples mentioned above – the tradition of vernacular architecture is mainly present in the exterior and surroundings of the building, while the interior stays within the aristocratic tradition. The basic principles of tea architecture identified in the paper are arranged according to their origin and localization of application in the final table.

The paper studies the phenomenon of the aristocratic society estates as a part of history and city-forming aspect in the development of St.-Petersburg and its surroundings. The relevance of this paper is that at present time a lot of attention is paid to adaptation of the cultural heritage monuments, including estates. The aim of the paper is to identify the estates of the aristocratic society and propose measures for their preservation. The unique characteristics include: accommodation in previously undeveloped territories, large park area, a manor house and park buildings that are not utilitarian in nature. The analytical method of research is used. The history and formation, construction and reconstruction of the of Stroganov‟s estate is one of the examples of the aristocratic society estates. This estate was created by talented and outstanding architects, but already in the 19th century, that territory began to develop for needs of the city. The estate relates to the category of lost estates, since the buildings were preserved to our days in the original form, and only the manor house and guardhouses are preserved. It can be concluded that such monuments of the cultural heritage should be preserved for future generations as important characteristics of the urban planning and cultural life of St.-Petersburg. It is proposed to use public-private partnership for the implementation of projects on this type of cultural heritage sites.

Over twenty years since the influential revisionist studies of Roussel and Bourriot, agreement on a satisfactory theory of the Attic genos seems as elusive as ever. Although they differed on details, these two scholars were agreed in their rejection of the old monolithic account of the genos as aristocratic family whose institutionalized control over state cults and phratry admissions in the historical period was a relic of a wider political dominance. Roussel and Bourriot instead proposed a tripartite model according to which the formal genos-kome—a more or less localized community similar to the later deme, with hereditary but socio-economically diverse membership, and enjoying, as a tighter community well placed to regulate its own admissions, automatic access to the wider phratry—was distinguishable both from aristocratic families, such as the Peisistratidai or Alkmeonidai, and priestly houses, such as the Kerykes and Eumolpidai of Eleusis. Subsequent discussion has moved in several directions. My analysis of the relationship between phratry and genos followed a broadly revisionist line. I found no good evidence for gene controlling the access to phratries of persons who were not genos members and presented a new interpretation of the crucial Demotionidai decrees in which, contrary to prevailing theories, neither of the two groups mentioned in them—the Demotionidai and the House (oikos) of the Dekeleieis—was a privileged subgroup dominating the whole. Rather, I suggested that the Demotionidai were a phratry in process of fission, the Dekelean House a product of this process. Others, however, have taken the debate in the other direction, as it were reprivileging the genos.

La perception de la façon dont les groupes familiaux prémodernes se régulaient, s'organisaient, s'identifiaient et se reproduisaient est modelée par les archives organisationnelles qu'ils créaient, usaient et conservaient. Partant de cette prémisse, cette étude a analysé les archives des vicomtes de Vila Nova de Cerveira et d’un ensemble de générations familiales qui ont contribué à leur création et à leur conservation entre le XIVe et le XVIIe siècle, à savoir les générations des Lima, des Brito Nogueira et des Lima Brito Nogueira. Cette analyse a cherché à comprendre comment les générations familiales se sont documentées, comment elles ont transformé leurs documents en archives et comment elles les ont utilisées pour se consolider en tant que groupe doté d'un patrimoine, d'une mémoire et d'une identité propres. En bref, nous nous sommes demandé comment les usages des archives ont contribué à la consolidation institutionnelle de la Maison des vicomtes de Cerveira jusqu'au XVIIe siècle. Dans ce but, nous avons utilisé une approche en archivistique historique, qui cherche à croiser théories et méthodologies de l'histoire, de l'archivistique, des sciences de l'information et de l'anthropologie historique dans l'analyse des archives. La recherche est partie du présent, en interrogeant le fonds Visconde de Vila Nova de Cerveira et des Marques de Ponte de Lima et en cartographiant la documentation dispersée dans d'autres collections et qui, jadis, appartenant aux archives organisationnelles de ces groupes familiaux. Nous cherchons à comprendre les différentes intertextualités qui se sont accumulées au fil du temps et qui affectent l'intelligibilité du passé représenté dans ces documents. Afin de contextualiser les documents cartographiés pour les générations familiales étudiées, nous avons construit un cadre organique, selon le modèle systémique proposé par Malheiro da Silva, qui est mis à disposition, avec la description archivistique standardisée d'une partie de la documentation analysée, sur le logiciel AtoM. Nous avons également recueilli la documentation disparue entre-temps, mais mentionnée dans des inventaires produits par les familles elles-mêmes. Parallèlement, on a tenté de clarifier les différentes limites de la reconstitution réalisée, constituée par documentation existante et perdue, les options prises et les opérations effectuées sur la documentation. À la fin, une analyse qualitative du corpus reconstitué a été menée et elle a permis de conclure que les groupes étudiés se sont institutionnalisés principalement par la transmission des seigneuries et des vínculos, tout en formant une famille-institution ou Maison organisée, pour chaque génération, sous l'autorité d'un pater familias. Ces générations utilisaient leurs archives comme lieux de preuve de la possession de biens et de privilèges, comme facilitateurs de la gestion quotidienne des propriétés et de leurs revenus et, surtout à partir des générations Lima Brito Nogueira, comme support de récits sur la (les) mémoire(s) et l'(les) identité(s) du groupe. Nous avons constaté que les familles-institutions ont été des entités en constante structuration, tout comme les archives qui les ont soutenues. La consolidation institutionnelle dépendait, donc, d'un effort continu, réalisé par chaque génération, pour transmettre un patrimoine identitaire unificateur et identificateur du groupe à un représentant de la même génération ou de la génération suivante, ainsi que la documentation transformée en archive qui soutenait cette construction
The perception of how pre-modern family groups regulated, organized, identified, and reproduced themselves is shaped by the creation, use and maintenance set by the organizational archives. Based on this assumption, this study analyzes the viscounts of Vila Nova de Cerveira archive as well as a group of families' generations that played a role both in its formation and preservation from the 14th to the 17th centuries, namely the Lima, Brito Nogueira, and Lima Brito Nogueira generations. This investigation sought to examine how these generations documented themselves, how they transformed their records into an archive, and how they used them to consolidate one another as a group with a heritage, memory, and identity of their own. Ultimately, it was questioned how these uses played a role in the establishment and strengthening of the house of the viscounts of Vila Nova de Cerveira as an institution until the 17th century. In pursuit of this objective, an Historical Archivistics approach was selected with the purpose of looking for the interchange of theories and methodologies of History, Archival Science, Information Science and Historical Anthropology in the analysis of archives. The research path was presently initiated by questioning the Visconde de Vila Nova de Cerveira e Marqueses de Ponte de Lima fonds and by mapping scattered fonds and collection records which belonged to the organizational archives of the abovementioned groups. With that, an understanding of several intertextualities affecting the intelligibility of the past represented in these records was deemed necessary before any interpretation of its context could be executed. To better contextualize the mapped records associated with the generations in the study, an organic framework was prepared, based on the systemic model proposed by Malheiro da Silva. This classification framework is made available, along with the standardized archival description of a section of the records that were analyzed in this study, through the AtoM software. In addition to the existing records, in the inventories produced by these generations, references to unaccounted records that belonged to their archives, were also collected. Simultaneously, efforts were made to elucidate the numerous constraints associated with the reconstitution of both existing and missing records, the choices that were made, and the operations carried out regarding the records. Finally, the qualitative analysis of the reconstructed corpus allowed us to conclude that the groups under study were institutionalized mainly through the transmission of entails and of properties and rights granted by the Crown. They formed a family-institution or House, organized by each generation under the authority of a pater familias. These generations used their archives to prove ownership of property and privileges, as well as to facilitate property management and its income. The archives also served as a foundation for narratives concerning the collective memory(ies) and identity(ies) of the group, especially for the Lima Brito Nogueira generations. The families as institutions were entities in constant configuration, as was the archive supporting them. Consequently, institutional consolidation depended on ongoing efforts made by each generation in order to transmit a cohesive cultural legacy to a representative of the same or next generation and forge a sense of group identity, as well as to convey the records turned into an archive that supported this construction
A forma como os grupos familiares da época pré-moderna se regulamentavam, organizavam, identificavam e reproduziam é percetível através dos arquivos organizacionais que criaram e conservaram, assim como através dos usos que lhes deram. Partindo deste pressuposto, no presente estudo, analisou-se o arquivo dos viscondes de Vila Nova de Cerveira e um conjunto de gerações familiares que contribuíram para a sua constituição e preservação entre o século XIV e o século XVII, nomeadamente os Limas, os Britos Nogueira e os Lima Brito Nogueira. Nesta análise, procurou-se compreender como estas gerações se documentaram, como transformaram a sua informação documentalizada em arquivo e como a usaram para se consolidarem enquanto grupo, com um património, memória e identidade próprios. Em suma, questionou-se como esses usos do arquivo contribuíram para a consolidação institucional da Casa dos Viscondes de Cerveira até ao século XVII. Para tal, recorreu-se a uma abordagem em Arquivística Histórica, que busca o cruzamento de teorias e metodologias da História, da Archival Science, da Ciência da Informação e da Antropologia Histórica na análise dos arquivos. O percurso de investigação partiu do presente, do questionamento do fundo Visconde de Vila Nova de Cerveira e Marqueses de Ponte de Lima e do mapeamento de documentação que se encontra dispersa por outros fundos e coleções e que pertenceu aos arquivos organizacionais dos referidos grupos, procurando-se compreender várias intertextualidades que se acumularam ao longo do tempo e que afetam a inteligibilidade do passado representado nestes documentos. Para a contextualização da informação documentalizada reconstituída para as gerações em estudo, aplicou-se o modelo sistémico proposto por Malheiro da Silva num quadro orgânico que é disponibilizado, com a descrição arquivística normalizada de uma parte da documentação utilizada na análise, através do software AtoM. Procedeu-se, ainda, à recolha de documentação que, entretanto, desapareceu, mas que é referida em inventários elaborados pelos seus membros. Ao mesmo tempo, procurou-se esclarecer as várias limitações desta reconstituição, da documentação existente e desaparecida, as opções tomadas e as operações realizadas sobre a documentação. Por fim, foi feita uma análise qualitativa do corpus reconstituído que permitiu concluir que os grupos em estudo se institucionalizaram principalmente através da transmissão de senhorios e de vínculos, formando uma família-instituição ou Casa que se organizava, a cada geração, sob a autoridade de um pater familias. Constatou-se igualmente que estas gerações usaram os seus arquivos como lugares de prova da posse de bens e privilégios, como facilitadores da gestão corrente das propriedades e dos seus rendimentos e, sobretudo a partir das gerações dos Lima Brito Nogueira, como suporte a discursos sobre a(s) memória(s) e identidade(s) do grupo. As famílias-instituição eram entidades em constante estruturação assim como o arquivo que as sustentava. A consolidação institucional dependeu, assim, de um esforço contínuo, realizado a cada geração, para transmitir um património identitário unificador e identificador do grupo a um representante da mesma geração ou da seguinte, juntamente com a documentação transformada em arquivo que apoiava essa construção

Aujourd’hui de nombreuses recherches sont menées sur les différents types de demeure aristocratiques. Notre étude porte sur un important corpus de résidences seigneuriales datées du XIIIe au XVIe siècle en Viennois et Grésivaudan ; quatre-vingts douze sites ont été rassemblés à partir, d’une part, de la recherche documentaire dans les archives, les bibliothèques et les centres de documentation, et d’autre part, de visites sur le terrain. Ce travail s’attache aux différents types de décors : les décors architecturaux, figuratifs, sculptés et peints. L’objectif de notre recherche est d’établir un corpus de résidences seigneuriales permettant d’étudier l’approche décorative intégrale des sites, ce qui permet un travail de recherche inédit. Le château et la maison forte subsistent encore de nos jours en grand nombre avec d’importants éléments architecturaux en place. La ressemblance entre les caractères architecturaux de ces deux catégories d’habitations assure un nombre suffisant de sites à étudier. Et la distinction de statut entre le château et la maison forte autorise des comparaisons intéressantes au niveau du décor. Le Dauphiné présente un grand nombre de résidences seigneuriales. Le territoire du Grésivaudan est connu comme étant une région propice à l’installation des habitants grâce aux terres fertiles des massifs de la Chartreuse et de la Belledonne. Quant au Viennois, son riche aspect géographique permet de trouver une grande variété de sites. Par ailleurs, l’histoire du Dauphiné démontre une longue période de dépendance du territoire où plusieurs comtes se sont succédés. La politique des conquêtes a permis d’étendre le territoire et de faire face aux ennemis. Notre recherche se concentre sur une période étendue allant du XIIIe au XVIe siècle. Elle inclut donc l’époque médiévale marquée par peu de changements dans les domaines économique et social en Europe occidentale du fait de la succession des guerres et des épidémies. Ceci ne signifie pas que cette période ait connu un recul mais qu’une faible mutation sociale influencée par la religion s’est produite. Cela se reflète dans le développement du domaine artistique. Notre recherche inclut également la période de mutation de la fin du Moyen-Âge et du début de la Renaissance. Ce moment se caractérise par la combinaison de l’art antiquisant et d’un nouveau courant artistique. Au travers de notre recherche, nous recherchons une possible évolution de l’approche décorative de l’habitat noble. L’étude de l’approche décorative des résidences seigneuriales nous permet de mieux appréhender les caractéristiques des décors aussi bien architecturaux que figuratifs. Les éléments architecturaux, sur lesquelles nous avons porté notre attention, comprennent les portes, fenêtres et coussièges, les tourelles en surplomb, les échauguettes, bretèches, meurtrières et cheminées. Les autres décors que nous avons examinés sont les décors figuratifs qui se composent des motifs peints et des peintures murales ainsi que des motifs et figures sculptées. Nous avons pu constater par nos études que toutes les formes de conception décorative (le décor architectural et le décor figuratif) possèdent la structure simple au début de la période étudiée (XIIIe siècle), puis cette forme élémentaire se développe de manière plus compliquée au cours du temps en particulier le décor peint. Nous constatons ainsi une évolution stylistique des décors. En outre, trois types des éléments décorés ; portes, fenêtres et cheminées montrent une ressemblance stylistique. Il s’agit du travail de moulure sur les linteaux, les encadrements et les bases de ces éléments et la présence d’écus armoriés symbolisant l’appartenance du site à une famille ou une personnalité. Ceci permet d’affirmer que ces décors sont caractéristiques de l’époque étudiée. Quant au décor figuratif, l’apparition de différentes figures autorise une dimension plus approfondie au travers d’une présentation narrative
There are nowadays many studies about aristocratic houses and their decoration. This study on decoration was achieved from the huge corpus of seignorial residences dated between the 13th and the 16th Centuries in the region of Viennois and Grésivaudan where a number of seignorial residences was found. Fifty-three selected sites gathered from a wide investigation were organized in two ways: firstly by documentary research in the archives, the libraries and the center of document resource, secondly by intervention in the studied area. This research focused on different categories of decoration: architectural, figurative, sculptural and painted decor. The research aims to establish the corpus of seigniorial residences which will enable it to study the entire decorative aspect of the selected sites. This will also allow for a new perspective of aristocratic house research.The castles and the fortified manor houses are known today as the existing aristocratic accommodation, which are in quite a large number and are unique in their architectural elements. The similarity of the two seignorial residences lies in their architectural characteristics. The quantity of them allows for an extension of the research framework for determining a sufficient number in terms of the studied sites. On the contrary, the difference of status between the castles and the fortified manor houses permits a comparison of their decorative aspects. Le Dauphiné has a great number of seignorial residences. The territory of Grésivaudan has been recognized for suitable settlement with fertile land in the mountains of Chartreuse and Belledonne. As for Viennois, this territory has a geographical variation which caused different characteristics of houses. Moreover, the history of Dauphiné presents a long period of independence with the succession of several Counts. The conquest policy was applied for defending the enemies in the surrounding areas and also for conquering more land. A great number of seignorial residences was included in this research. The study period from the 13th to the 16th Centuries is known as the transitional time from the end of the Middle Ages to the beginning of the Renaissance, there were many changes in different domains. These changes reflect the evolution of the decoration of aristocratic houses. The study of decoration of the respective seignorial residences will enable us to learn about the characteristics of the architectural and figurative decoration. Understanding the architectural decor involves a study of the architectural elements: doors, windows, turrets, watch-turrets, brattices, arrow holes and chimneys. The figurative decoration means a study of figurative presentation. The elements concerned are painting motifs and mural painting, sculptural motifs and figures. Molding in architectural decor emphasizes the structure of decorative elements. The frames of the doors and windows can be noticed by volumetric and symmetrical effects which can be seen on the lintel and the lower part of the frames of the structure. The appearance of sculpted shields above the doors and windows help complete the decorative aspect of the elements. The chimney has the same decorative effect but the molded decor would be on the upper part and the corbel or side posts. As for the figurative decoration, the presence of different figures like trees, animals, men create an in-depth dimension and more narration or a narrative scene. The painting motifs and the mural painting form a narrative which show a series of pictures which tell the sequence of an event or several successive scenes. Besides, as the corpus of the research assembles a great number of several types of decoration dating from 13th to 16th Centuries, it consequently reflects a stylistic evolution of decorative elements

This thesis explores the extent to which elite women of the eighteenth century commissioned architectural works and the extent to which the type and scale of their projects was dictated by their marital status. Traditionally, architectural historians have advocated that eighteenth-century architecture was purely the pursuit of men. Women, of course, were not absent during this period, but their involvement with architecture has been largely obscured and largely overlooked. This doctoral research has redressed this oversight through the scrutinising of known sources and the unearthing of new archival material. This thesis begins with an exploration of the legal and financial statuses of elite women, as encapsulated by the eighteenth-century marriage settlement. This encompasses brides’ portions or dowries, wives’ annuities or ‘pin-money’, widows’ dower or jointure, and provisions made for daughters and younger children. Following this, the thesis is divided into three main sections which each look at the ways in which women, depending upon their marital status, could engage in architecture. The first of these sections discusses unmarried women, where the patronage of the following patroness is examined: Anne Robinson; Lady Isabella Finch; Lady Elizabeth Hastings; Sophia Baddeley; George Anne Bellamy and Teresa Cornelys. The second section explores the patronage of married women, namely Jemima Yorke, Marchioness Grey; Amabel Hume-Campbell, Lady Polwarth; Mary Robinson, Baroness Grantham; Sarah Churchill, Duchess of Marlborough; Frances Boscawen; Elizabeth Herbert, Countess of Pembroke and Montgomery; Henrietta Knight, Baroness Luxborough and Lady Sarah Bunbury. The third and final section discusses the architectural patronage of widowed women, including Susanna Montgomery, Countess of Eglinton; Georgianna Spencer, Countess Spencer; Elizabeth Somerset, Duchess of Beaufort; Elizabeth Home, Countess of Home; Elizabeth Montagu; Mary Hervey, Lady Hervey; Henrietta Fermor, Countess of Pomfret; the Hon. Charlotte Digby; the Hon. Charlotte Boyle Walsingham; the Hon. Agneta Yorke and Albinia Brodrick, Viscountess Midleton. Collectively, all three sections advocate that elite women were at the heart of the architectural patronage system and exerted more influence and agency over architecture than has previously been recognised by architectural historians.

Em Abril de 1537, Vila Viçosa acolheu das festas mais sumptuosas que Portugal alguma vez vira. Em matrimónio, uniam-se o infante D. Duarte, irmão de D. João III, e D. Isabel de Bragança, irmã de D. Teodósio I, 5º duque de Bragança. Política e estrategicamente, uniam-se a Casa Real e a Casa de Bragança, a mais importante casa senhorial à época. As negociações que conduziram a este casamento foram demoradas, cheias de hesitações e retrocessos, pelo constante desacordo referente ao montante do dote da noiva. Eventualmente, a Casa de Bragança acedeu ao desmembramento do ducado de Guimarães do seu património, território fundamental para os seus rendimentos, e o contrato de casamento veio a ser assinado em Agosto de 1536, tornando Duarte, marido de D. Isabel, no 5º duque de Guimarães. A partir deste momento, D. Teodósio começou a abastecer a sua Casa e Vila Viçosa de tudo o que seria necessário para a realização destas festas de casamento. Mandou construir uma nova ala do Paço Ducal e renovar todo o espaço envolvente. Encomendou tapeçarias e outros têxteis opulentos e assegurou-se do esplendor de todo o vestuário da família ducal e das librés dos seus oficiais. Com bastante antecedência, o duque ainda comprou diversos mantimentos e garantiu a produção de produtos alimentares variados. Através de sete relatos e de um poema laudatório, tentamos reconstruir, analisar e problematizar este momento festivo, nas suas várias declinações, bem como a evolução arquitectónica do paço, os têxteis, o vestuário e a alimentação, mostrando como a combinação destes elementos teve um propósito muito específico: a exibição do poder pessoal de D. Teodósio I e do poder senhorial da Casa de Bragança, tanto a nível nacional como internacional.
In April 1537, Vila Viçosa, a village in the south-center Portugal, received one of the most sumptuous festivals the kingdom had ever seen. Duarte, son of Manuel I and the queen Maria, and Isabel of Braganza, daughter of Jaime I, 4th duke of Braganza, gathered in marriage, bonding politically and strategically the Royal House and the House of Braganza, the most importante aristocratic house of that time. The negotiations endured for a long time, with hesitations and regressions, because the king, John III, and the dukes Jaime and Teodósio, who succeeded his father when he died (1532), couldn’t reach an agreeement regarding the value of the bride’s dowry. Eventually, the House of Braganza accepted the dismemberment of the Duchy of Guimarães, an essential part of its income, from its estate. The wedding contract was signed in August 1536, turning Duarte, Isabel’s husband, in the 5th duke of Guimarães. From that moment on, Teodósio started to provide his House and Vila Viçosa of everything that was necessary to accomplish the sucess of this wedding. He ordered the construction of a new wing of the Ducal Palace, with new and better accommodations, and the renewal of the surrounding area. He also commissioned tapestries and other opulent textiles, and gave new liveris to all his servants. With several weeks in advance, he started to buy provisions and to produce several food-related items. Through seven descriptions and a laudatory poem, we reconstruct, analyze and discuss this festive moment, the architectural evolution of the palace, all the textiles, the clothing and the table, showing how the combination of these elements had a very specific purpose: the exhibition of Teodósio’s personal power and the House of Braganza’s manorial power, both nationally and internationally

Esta tesis doctoral analiza el denominado Fondo Conde de Siete Fuentes como objeto problematizante y de estudio en sí mismo. Dentro de los postulados teóricos de la Archivística Histórica, se propone un análisis de la poliédrica función social del archivo, atendiendo a su papel para la defensa del patrimonio y explorando su fuerte componente de prácticas de distinción social y de legitimación del dominio, frente a la sociedad y frente a la propia familia. Para ello se propone una combinación de metodologías cuantitativas y cualitativas mediante el análisis de las antiguas formas de organización de los archivos y la aplicación de la genealogía del documento. Partiendo de un estudio profundo de la historia de la institución productora y la historia custodial, se analiza el Fondo Conde de Siete Fuentes a partir de los dos grandes archivos que integra (Salazar de Frías y condes de Siete Fuentes), atendiendo a sus procesos de formación, destrucción y reconstrucción, sus relaciones con otros archivos coetáneos, su proyección y su relación con los cambios en la archivalidad. Estos análisis muestran que la evolución de los archivos está relacionada la conflictividad, ya sea externa o interna a la propia familia. Precisamente la defensa del patrimonio frente a las reformas borbónicas motivó que todos los archivos de familia que acabaron confluyendo en el Fondo Conde de Siete Fuentes fueran reorganizados y reconstruidos a finales del siglo XVIII tras la creación de las contadurías de hipotecas, adquiriendo la arquitectura que mayoritariamente conservan hasta la actualidad. Finalmente, el archivo de familia implica también una justificación de la dominación a escala interna pues, debido a su carácter sociogenético, coadyuva a la construcción de la identidad familiar y al reforzamiento de las prácticas de culto al linaje y obediencia al pater familias.
A presente tese de doutoramento analisa o nomeado Fondo Conde de Siete Fuentes (FCSF) como objeto problematizante e de estudo em si mesmo. De acordo com os postulados teóricos da Arquivística Histórica, propõe-se uma análise da polifacetada função social do arquivo, atendendo ao seu papel na defesa do património e explorando as práticas de distinção social e de legitimação do domínio face à sociedade e face à própria família. Com este objetivo, propõe-se uma combinação de metodologias qualitativas e quantitativas através da análise das antigas formas de organização dos arquivos e da aplicação da genealogia do documento. Com base num estudo aprofundado da história da instituição produtora do arquivo e da história custodial do mesmo, o FCSF é analisado a partir dos dois grandes arquivos que integra (Salazar de Frías e Condes de Siete Fuentes). Assim, tem-se em conta os processos de formação, destruição e reconstrução dos arquivos, as suas relações com outros arquivos contemporâneos, a sua projeção e a sua relação com as mudanças na arquivalidade. Estas leituras mostram que a evolução dos arquivos está relacionada com episódios de conflito, sejam eles externos ou internos à própria família. Foi precisamente a defesa do património em reacção às reformas borbónicas que levou a que todos os arquivos familiares contidos no FCSF fossem reorganizados e reconstruídos no final do século XVIII, após a criação dos contadorias de hipotecas, adquirindo a arquitetura que a maioria deles ainda hoje possui. Finalmente, o arquivo de família implica também uma justificação de domínio a nível interno dado que o seu carácter sociogenético contribui para a construção da identidade familiar e para o reforço das práticas de culto à linhagem e de obediência ao pater familias.
This doctoral thesis analyses the so-called Fondo Conde de Siete Fuentes as an object for problematisation and study in itself. Within the theorical postulates of Historical Archivistics, an analysis of the polyhedral social function of the archive is proposed, taking into account its role in the defence of patrimony and exploring its strong component of practices of social distinction and legitimization of dominion, facing society and the family itself. To address this, a combination of quantitative and qualitative methodologies is proposed through the analysis of the ancient organizational systems of archives and the application of the genealogy of the document. From a deep study of the history of the producer institution and the custodial history, the Fondo Conde de Siete Fuentes is analyzed according to the two large archives it integrates (Salazar de Frías and Condes de Siete Fuentes), taking into account their processes of creation, destruction and reconstruction, their relations with other contemporary archives, their projection and their relationship with changes in archivality. These analyses show that the evolution of the archives is related to conflictivity, whether external or internal to the family itself. It was precisely the defense of the patrimony against the Bourbon reforms which motivated the reorganization and reconstruction of all the family archives analized at the end of the 18th century after the creation of the mortgage accounts, acquiring the architecture that most of them still preserve at the present time. Finally, the family archive also implies a justification of dominion on an internal scale since, due to its sociogenetic character, it supports the construction of the family identity and the reinforcement of the practices of lineage cult and obedience to the pater familias.
Casa de Velázquez ; Fundação Calouste Gulbenkian (Lisboa) ; Fundação Para a Ciência e a Tecnologia (Portugal)

The Celestine monks of France represent one of the least studied monastic reform movements of the late Middle Ages, and yet also one of the most culturally impactful. Their order - an austere Italian Benedictine reform of the late thirteenth century, which came be known after the papal name of their founder, Celestine V (St Peter of Murrone) - arrived in France in 1300. After a period of marginal growth, they flourished in the region from the mid-fourteenth century, founding thirteen new houses over the next hundred years, taking their total to seventeen by 1450. Not only did the French Celestines expand, they gained a distinctive character that separated them from their Italian brothers. More urban, better connected with both aristocratic and bourgeois society, and yet still rigorous and reformist, they characterised themselves as the 'Observant' wing of their order, having gained self-government for their provincial congregation in 1380 following the arrival of the Great Western Schism (1378-1417). But, as Robert L.J. Shaw argues, their importance runs beyond monastic reform: the late medieval French Celestines are a mirror of the political, intellectual, and Christian reform culture of their age. Within a France torn by war and a Church divided by schism, the French Celestines represented hope for renewal, influencing royal presentation, lay religion, and some of the leading French intellectuals of the period, including Jean Gerson.

‘She had resolved to trust in everything, and, having so trusted, she would not provide for herself any possibility of retreat.’ Lively and attractive, Lily Dale lives with her mother and sister at the Small House at Allington. She falls passionately in love with the urbane Adolphus Crosbie, and is devastated when he abandons her for the aristocratic Lady Alexandrina de Courcy. But Lily has another suitor, Johnny Eames, who has been devoted to her since boyhood. Perhaps she can find renewed happiness in Johnny's courtship? The Small House at Allington was among the most successful of Trollope's Barsetshire novels, and has retained its popularity among modern readers. Lily Dale's stubborn constancy is a troubling reflection of Trollope's divided feelings about the need for progress and reform in the context of liberal thought and politics. Her story is a subtle exploration of loyalty and ambition, and the pressure for change in a rapidly evolving world.

The paper describes the interesting and widespread phenomenon of genealogic portraiture in Florence by analyzing the case of the Guadagni family and its series of portraits. The series was commissioned during the mid-Seventeenth century by senator Tommaso di Francesco and it was intended to decorate the family House behind the Nunziata thanks to the contributions of many artists. Both in terms of quantity and artistic quality, the Guadagni portrait series represents a precious testimony of this specific portraiture genre, which started during the middle of the sixteenth century and reached its climax during the following century. This genre saw its decline in the 1700s, when the aristocratic ancient families lost their importance, and their illustrious ancestors’ portraits became simple relics of a remote past.

This chapter presents a case study of Mitchelstown Castle as a microcosm of what happened on so many Irish aristocratic estates in the revolutionary period 1920–23. In 1922, Mitchelstown Castle was owned by William Downes Webber. The estate itself had been front and centre in the extended Land War, and this would channel resentment towards the family and by extension towards the Big House. By the spring of 1922, the castle was left vulnerable, and Webber and his family were eventually evicted from it. The chapter describes the vandalism which took place at the castle and the compensation proceedings that followed.

This chapter tracks the beginnings of the house burnings as the Irish War of Independence broke out. By then, the Ireland that the survivors returned to was very different to the one they had left. While the thinning of aristocratic society further south had been ongoing since the beginning of the Land War in 1879, revolution proved to be a catalyst. However, the burning of Big Houses did not begin until the spring of 1920. The houses were being burned for multiple reasons, such as for strategic concerns or as reprisals. Additionally, the chapter shows that there is an argument to be made that civil war conditions continued to provide further opportunity to dismantle the architecture of the Big House and to rid the countryside of the physical reminders of the coloniser, and to some this may have been at least as important as political or military struggle.

This chapter considers the aftermath of World War I for the Irish landed aristocracy. It examines the experiences of grief and trauma for returning veterans as well as for those whose family members died in the war. Long widowhoods and spinsterhood became the lot of so many aristocratic women. And at a political level, the war drained the southern unionist movement. From the Big House perspective, there was another very significant development during the war years: the re-emergence of the land question (if it had ever gone away). Additionally, the wartime deaths also came with dire economic consequences for the remaining families, who increasingly found themselves unable to afford maintaining their stately homes.

Abstract The Prologue provides background information on the Borromeo family history that is vital for understanding the significance of the story told in this book. The first part focuses on the sixteenth century when the Borromeos controlled the Milanese church and sought to use its institutions to affirm themselves as an alternative center of power in the face of Spain’s conquest of Italy. The latter half of the Prologue shows how two archbishops of the house came to terms with Spain’s hegemony in Italy from the 1580s forward. Fearing they would soon be cut out of the patronage market in Spain, the Borromeos changed tack, seeking to integrate their house into the emerging patron-client networks of Spain’s first minister-favorite, the Duke of Lerma, at the dawn of the seventeenth century. Thus, the archbishops laid the foundations for the family’s integration into the crown’s networks, which took off in the 1620s.

This chapter explores the lives of the landed elite as they grappled with the political and social consequences of World War I. From the late nineteenth century with the growth of Irish nationalism, the advent of the Home Rule movement, mass democratisation, and the loss of political power, the aristocracy viewed retention of their place in the British Empire as a prerequisite to their future survival. As the colonies expanded, loyalty to the empire provided the natural career outlet for aristocratic sons and the means by which they could continue to justify, at least to themselves, their social privileges. In Ireland, protecting the Union became their political priority. However, as the chapter shows, the hopelessness of their position became increasingly evident during the third Home Rule crisis and was compounded by the many consequences of World War I.

This chapter maps the Blackfriars, surveys its major streets and buildings, and introduces its principal residents. Henry VIII granted much of the dissolved friary to Sir Thomas Cawarden who built his own great house on the site of the friars’ church. He sold or leased other parts to fellow aristocrats as well as to humbler artisans who put the old cloisters to various domestic and work-related uses. Contrary to received opinion, the early modern Blackfriars was not an exclusively aristocratic enclave, but home to a diverse mixture of social groups, occupations, and activities. All these were closely interconnected in a physical environment of often jarring juxtapositions.

The ruins of Castiglion Balzetti, from the aristocratic family that initially had lordship over this territory, lie isolated, far from roads, communication routes and inhabited places, in the woods of the Val di Merse, in the province of Siena. This is why it is commonly known as “Castiglion che Dio sol sa”. Few historical sources are available on this settlement. It is mentioned for the first time in the Sienese statutes in 1262, being under the jurisdiction of Siena. In the early 14th century, it belonged to the powerful Sienese Saracini family with an important mill located in the Merse river. The ruins are impressive. The castle consists of a large rectangular donjon, on which the eastern side was leaned another building that originally housed the church, and a second probably used as stables. A smaller tower stands at the south-west corner, with an oven and well inside. The buildings are connected by a curtain wall that delimits the courtyard, with the main entrance door opening on the southern side. Around this complex, a village developed in ancient times, included within a second fortified circuit of which numerous remains are visible. The castle, like the neighbouring villages of Orgia and Brenna, suffered various pillages during the 14th century and, with the end of the Sienese Republic, gradually fell into ruin until it was completely abandoned and forgotten. The research will examine the different construction phases through the study of the wall apparatus and the natural and artificial stone materials according to mineralogical and petrographic methodologies. The data will be correlated with the local supply sources.