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Theses - History of Art

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  • ItemControlled Access
    Peter Oliver and the Miniature in Stuart England
    Rhodes, Sophie
    This thesis is the first in-depth study of an important seventeenth-century miniaturist, Peter Oliver. Modern scholarship often casts Peter Oliver in the shadow of his well-studied father, Isaac Oliver (c. 1565-1617). However, Peter was in fact one of the most highly paid artists at Charles I’s court. This thesis seeks to bring light to this neglected artist and situate him within his social and cultural context. The approach used in this thesis is a monograph and the work is underpinned by a catalogue raisonné of Oliver’s miniatures and drawings (Appendix I). This thesis starts with a defence of the biographical approach to art history writing, highlighting new interventions within the field which emphasise the importance of situating an artist within their social and cultural milieu. This thesis adopts a cross-cultural and transnational approach to the biography, commenting on the importance of international networks, questions of nationalism, and cultural traditions from abroad. There are five main chapters, as well as an introduction (I) and conclusion (VII). Chapters II and III focus on Oliver’s biography and his London-based community. A consideration of his networks emphasises the multi-disciplinary nature of art production in seventeenth-century London and examines the introduction of Continental visual modes into the art produced in the capital. Chapter IV discusses the portrait miniature at the early Stuart court. The prevailing narrative in scholarship is that under Charles I, art production and collecting was transformed by an increased awareness of Continental visual modes. This chapter questions the extent to which this occurred by studying both continuities within limning practices and innovations made. Chapter V examines the production of miniature copies during this period. In contrast to modern-day notions of copying as unimaginative and derivative, the chapter considers copies alongside seventeenth-century writings which reveal period attitudes. Through this lens, copies can be rooted in intellectual ideas around imitation and translation proposed by contemporary writers. Chapter VI considers Oliver’s surviving drawings. The chapter focuses on the activities at the home of Thomas Howard, Earl of Arundel. Oliver’s drawings are positioned in relation to amateur art production, which is closely connected to the concept of the seventeenth-century virtuoso. The catalogue raisonné of Oliver’s works is a significant contribution towards our understanding of this artist. It is also intended to serve as the foundation for future study on the production of art in England more broadly in the first half of the seventeenth century. There are few exhaustive catalogues of artists working in England during this period and it is hoped that this catalogue will stimulate further studies into lesser-known English artists of the seventeenth century. The overarching themes that unite this thesis include the importance of networks and communities, which entails both courtly circles and London-based practitioners. Another prominent topic is a consideration of native art production and its relationship with Continental visual culture. Finally, there is a reflection on artistic practices widely viewed as of lesser interest to modern writers, such as copies and the art produced by amateurs.
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    May Morris and the Making of Art, c. 1880 - 1938
    Cooper, Thomas
    This thesis presents a new, critical study of the career and work of May Morris (1862-1938), an artist, writer, lecturer and leading figure of the Arts and Crafts Movement. Interest in Morris has grown in recent years, principally through the major exhibition *May Morris: Art & Life* (2017) and the accompanying publication *May Morris: Arts & Crafts Designer* (2017), which positioned the artist as an expert embroiderer and accomplished designer. Expanding on this scholarship, this study seeks to understand what the making of art meant for Morris and provides new information on and critical interpretation of her textiles, designs, making practices and writings. Textiles, above all embroidery, were the artist’s primary media, and this project focuses on her complex and persistent engagement with textile production. Concerned with questions of making and materiality, it adopts an innovative thematic structure that mirrors the layers of an embroidery – stitch, design and ground – through which the breadth and complexities of the artist’s practices and priorities as a designer, maker, lecturer and writer are explored. The first chapter provides an overview of Morris’s career, which is examined through her principal contexts, spheres of activity and areas of enterprise. The following chapter addresses stitching as a form of artmaking that is expressive of the maker’s creative agency and reveals how Morris and her peers understood needlework within narratives of art’s prehistoric origins and its contemporary forms at the end of the nineteenth century. Chapter three focuses on the artist’s ambition and stylistic eclecticism in her design practice, and demonstrates the ways in which imagination and enlivenment were central to her designs as well as her interpretation of historical sources of ornament. Comparison is undertaken between the artist and her contemporary makers, scholars, curators and archaeologists, situating her thought within larger art historical debates. The final chapter, on ground, assesses the ways in which Morris kept pace with the revival of handweaving in the twentieth century, and her role within a culture of ethnographic research concerned with forms of spinning, dyeing and weaving by hand in the Outer Hebrides. Collectively, these chapters demonstrate that, for Morris, the making of art was multivalent and entangled in a syncretic mesh in which meanings were activated by and mobilised different conceptions of the ancient, modern, global and local, and which were variously changeable, competing and co-existent.
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    Displacement and Reconfiguration: The Effects of the Florentine Guasto of 1529 on Devotional Spaces and Networks of Artistic Patronage
    Capulli, Chiara
    On 29 September 1529, with Charles V’s troops marching towards Florence, the city authorities decided to implement a dramatic military strategy called *guasto*. Under this blanket decree all buildings within a mile of the city walls were to be demolished for purposes of defence. The decree affected some of the most eminent suburban monasteries, including the Vallombrosan nunnery of San Giovanni Evangelista, the Clarissan convent of Monticelli, the monasteries of the Gesuati (San Giusto), the Camaldolese (San Benedetto Fuori alla Porta Pinti), the Augustinians (San Gallo), and the house of the Canons Regular of San Donato a Scopeto. Nuns, monks, and canons had to decide quickly which objects to take with them when they evacuated, choosing to save from ruin what was essential and what could be used later to perpetuate their collective memory. My research has considered the displacement of religious communities and their possessions, as well as their reinstatement into new contexts enacted by the *guasto*, in all but one case to sites within the walls, as a fundamentally interdisciplinary area of research calling for consideration of the social, liturgical and artistic factors that led to the selective preservation of material heritage. Displaced communities needed to shape and maintain their institutional memory through identity-creating visual means, making ‘the lived visible’ at their destination sites. In addition, objects had to respond to new liturgical needs and rarely retained a connection to the patron who paid for their production, requiring a change in both their everyday use by the community and their reception as objects of self-promotion. Through three thematic chapters focussing respectively on altarpieces, relics, and architectural fragments, the thesis integrates traditional art historical methods with approaches from Digital Art History – in particular non-invasive archaeological surveying to investigate underground remains of demolished buildings, and 3D modelling for lost churches whose appearance is only known from archival documents – to bring together heterogeneous source materials. The dissertation assesses the impact of the unprecedented obliteration of entire suburban neighbourhoods and the subsequent movement of people and goods. In addition, it reveals and analyses the strategies adopted by each of the religious communities affected to perpetuate their corporate identity after the destruction. Ultimately, the thesis reflects on loss and displacement as central to Florentine sacred geography. More broadly, it reconsiders the Florentine case alongside other similar *guasti* as key disruptions in the urban and artistic development of Renaissance cities, challenging the dominant narrative of continuous urban expansion during the early modern period.
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    Domenico Veneziano and his public commissions in Florence
    Aimi, Francesca
    This thesis is a monographic study of the life of Domenico Veneziano (†1461) and his Florentine public works. It aims both to bring the study of Veneziano’s fragmentary oeuvre up to date and to correct the persistent and prevailing historiographic tendency to interpret his painting within a teleological narrative of progress in naturalism and perspective. The thesis opens with a chapter on Veneziano’s education and arrival in Florence. The following four chapters each deal with one of his public commissions. Chapter 2 addresses the fresco cycle in the main chapel of Sant’Egidio, the church of the hospital of Santa Maria Nuova. The third chapter focuses on the Carnesecchi tabernacle, which was at the homonymous Canto (street junction) near Florence’s Cathedral. Chapter 4 deals with Veneziano’s masterpiece, the Saint Lucy altarpiece, realised for the main chapel of the parish church of Santa Lucia de’ Magnoli. The fifth and final chapter concerns the fresco with *Saints John the Baptist and Francis* in the Cavalcanti chapel in Santa Croce. Veneziano’s works are not studied in isolation. They are instead examined within their particular contexts, considered here to be inseparable from the works themselves. This context-driven approach is guided by an interest in better understanding not only Veneziano’s work but also some more general themes, which are addressed in the conclusion. The first of these is the experimentation with perspective that took place in mid-fifteenth-century Florence. The second is the dialogue between old and new, tradition and innovation, that was created when artworks were commissioned for contexts that were not pristine. A third, closely related theme, is the concept of innovation itself and the ways in which Veneziano’s works call into question our often-inflexible definition of it.
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    The stones of Roger II. A reappraisal of sculpture programmes and their architectural contexts in Norman Sicily
    Capitummino, Francesco
    Over the past century, the visual culture of Norman Sicily has been widely scrutinized and a coherent interpretative framework established primarily through the study of architecture and mosaic. By comparison, scholarship on Sicilian sculpture has lagged behind and uncertainty persists about the origins and development of the medium on the island. Most recently, in 2019, Francesco Gandolfo published a two-volume work aiming to fill this gap. Gandolfo’s study certainly constitutes a fundamental point of reference for this thesis, but it also raises as many questions as it resolves. The aim of this project is to conduct a fresh analysis of Romanesque sculpture in Sicily and to evaluate the contribution that this analysis can make to our broader understanding of the artistic production of Norman Sicily as a whole. This dissertation is divided into three parts, preceded by a prologue. The Prologue aims to outline the era of conquest spanning from 1061 to the commencement of Roger II’s rule in 1130. Parts I and II are devoted to the reign of Roger II (1130-1154), covering sculptural production in Cefalù and Palermo respectively, while Part III addresses the period following Roger’s death in 1154. This study aims to enhance the understanding of sculpture alongside architecture and other related decorative media, building on the syncretic approach emphasized by William Tronzo. Furthermore, this thesis aims to consider sculpture in Sicily in the context of the phenomenon of importations identified by Jeremy Johns, a cultural strategy that was launched as early as the 1130s, immediately after the foundation of the Kingdom, and whose shrewd director was George of Antioch, admiral of the Kingdom. Finally, the role that sculpture plays within the material production in Sicily during the Kingdom of Roger II will be situated both in a local and broader European context.
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    Scandinavian Women Artists in and beyond Paris, c. 1900-1930
    Bornø, Aisha Lovise Maud
    This thesis examines the experiences of Scandinavian women artists who travelled to Paris in the early twentieth century and encountered new freedoms, opportunities, and inspirations away from their home countries. A rich international field of study already positions women artists in histories of modernism, yet feminist approaches have had little landfall in Scandinavia where accounts of modern art remain defined by national boundaries and the consideration of the activities and contributions of women is minimal. This thesis challenges prevailing paradigms by centring Scandinavian women as agents of international modernism and by analysing their strategic pathways to achieve their artistic goals and find recognition. Using extensive primary and archival sources, the thesis traces Scandinavian women’s experiences before, during, and after a period of working in Paris. The first chapter describes women’s limited access to artistic training and their exclusion from exhibition groups at home and probes their motivations for expatriating. The second and third chapters examine ways in which Scandinavian women engaged with the Paris art world, focusing on their experiences in independent art schools and on their exhibition activities, arenas where foreign women could experiment with new artistic tendencies, develop their careers, and establish new networks and collaborations. The fourth chapter turns to the process of homecoming, an essential yet understudied aspect of artistic mobility, to explore how cosmopolitan women in the modernist vanguard navigated the return to their home countries. One of the primary outcomes of this thesis is a critical history of the structures that affected women artists and their work in Scandinavia. The thesis also provides the first extensive study of Scandinavian women’s engagement with the international avant-garde in Paris. Ultimately, the project sheds new light on the conditions of production and reception for radical women artists, women’s involvement in Franco-Scandinavian artistic exchange, and on the diverse aesthetics and politics of Scandinavian modernism.
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    James Gibbs's Early Career: The Formation of a European Architect
    Aslet, William Kenneth Samuel
    James Gibbs was the most successful architect working in England of his generation. This thesis looks at a period of his career that was of fundamental importance to his success, but that has received insufficient coverage in the scholarship: his formation and, particularly, his training in Rome. In the first chapter, new detail is added the early circumstances of Gibbs’s life in his native Aberdeen, and an exploration of his education there given. It then considers how he travelled and what might have motivated him to travel abroad. The chapter that follows focusses on Gibbs’s years in Rome and on his connections with English and Scottish communities there, and how he could have served them as a potential cultural agent. From this, the thesis proceeds to look at the architectural context of Rome in the early eighteenth century and at the identities of Gibbs’s architectural masters. Honing in on the most important of them, Carlo Fontana, it gives an account of Fontana’s studio, how it functioned, and who its most important members were during Gibbs’s years in the city. The fourth chapter then outlines Gibbs’s Roman training in clearer detail than before, which it does by drawing on a wide range of material relating to other architects’ experiences in the city, particularly the entries made by young students for the Concorsi Clementini competitions at the Accademia di San Luca, which was closely connected to Fontana. The succeeding chapter looks at the five or so years following Gibbs’s arrival in England in 1708 in which he sought fruitlessly to establish himself, which it terms ‘years of synthesis’ for the way in which Gibbs accommodated his Roman training to a new cultural context. In particular, it looks closely at a recently-discovered journey to Scotland made by Gibbs, during which he encountered a number of important architects there. The final chapter takes as its focus an idea for a type of building – a church in the manner of a classical temple – that Gibbs first unsuccessfully proposed in 1713, but was ultimately realised as the Church of St Martin’s-in-the-Fields, completed over a decade later. Here, the thesis juxtaposes Gibbs’s work to that of his contemporaries in England, particularly Colen Campbell, to illustrate how his approach was at variance from theirs. It argues that this can be accounted for by Gibbs’s training in Rome, and the different understanding of the concept of architectural invention he learned there. The thesis concludes by looking at the Radcliffe Library, Oxford, which was completed only five years before Gibbs died, to show how Gibbs’s training continued to influence his work even as his career reached its maturity.
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    Fashion, Art and the Early Modern Court, Frans Pourbus the Younger (1569 - 1622)
    Malusà, Alessandro Nicola
    Working at the turn of the seventeenth century, the painter Frans Pourbus the Younger (1569-1622) portrayed several members of Europe’s courtly societies. His crisp and intricate portraits responded to the demand for highly symbolic and representational images that intertwined politics, social economics, and notions of status and beauty. Originating from a family of Netherlandish artists his eye was particularly attuned to the representation of his sitters’ dress. This thesis argues that Pourbus the Younger’s professional trajectory, beginning in the mercantile hub of Antwerp and traversing employment at the courts of Brussels, Mantua, and Paris, traces the role of the portraitist in mediating the social capital of his clients by capturing their manner of dress in a highly detailed way that evoked veracity. The research focuses on works from his employment at the courts of Mantua and Paris. Working for Vincenzo I Gonzaga, Duke of Mantua, Pourbus traveled extensively to foreign courts to execute portraits that fostered inter-dynastic alliances involving the Gonzaga. Thus, by portraying foreign princes, Pourbus performed the role of artistic ambassador; his diplomatic representation both reflected Vincenzo Gonzaga’s shrewd artistic patronage and lofty political ambitions. Pourbus’ portraits of the Gonzaga family captured their sumptuous sartorial practices and mirrored their extravagant expenditure on attire. The Gonzagas’ consumption of princely wares and art was recorded in the rich correspondence exchanged between Mantua and its broad network of ambassadors, agents and representatives, of which Pourbus himself was part. Pourbus’ permanent move to the royal court in Paris coincided with Marie de’ Medici’s coronation as queen in 1610. His depiction of the last crowned queen of France comprises a visual hyperbole of Marie de’ Medici’s monarchic aspirations expressed through the agency of her coronation robes. A rediscovered and unedited manuscript held in the French national archives records the expenditures of the French court for the year 1610 and uncovers the lavish sums allocated to the dressing of all members of Marie de’ Medici’s coronation retinue. Paired with Pourbus’ portraits of the French royal family, the manuscript testifies to his depiction of dress and poses questions on the symbolic and material significance of portraiture; noteworthy when considering portraiture’s negligible material cost in relation to the splendid expense for dress. By situating this analysis of his work in a dense archival and historical context this study reveals the documentary value of portraiture as sound historical evidence of early modern court culture and societal self-fashioning practices. This thesis intervenes in the study of dress within stately portraiture and expands our understanding of the value of investigating material culture as a tool for broader interdisciplinary historical research.
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    Choir Screens and Digital Technologies: Reconstructing Church Interiors and Mendicant Altarpieces in Medieval Pisa
    Giles, Lucas
    This thesis reconstructs the interior spaces of mendicant churches from medieval Pisa, particularly utilising digital technologies to study destroyed choir screens. Known as *tramezzo* screens, they played a fundamental role in the formation of sacred space, serving to articulate various liturgical areas whilst containing significant works of devotional art. *Tramezzo* studies has become an important area of research in the field of Italian medieval art and architecture. However, minimal evidence for these structures survives above ground. Over the course of the fifteenth and sixteenth centuries, they were systematically removed from Italian churches, leaving little trace of their prior existence. Today, only a handful of surviving examples remain in situ. New reconstructions are proposed for three choir screens from Santa Caterina, San Francesco and Santa Maria del Carmine in Pisa. In combination with traditional archival research, emerging digital technologies are integral to the research methodology, particularly ground-penetrating radar, LiDAR scanning and 3D modelling techniques. The research is sub-divided into four principal parts. In Part I, a review of the *tramezzo* studies field is outlined. It is proposed that research has reached a ceiling in terms of documentary discoveries, with new technologies - specifically non-invasive archaeology - required to overcome the limitations in surviving physical evidence. Part II examines the Dominican church of Santa Caterina, providing a digital reconstruction of the church’s destroyed *pulpitum*, including its disposition of altars, artworks, and shrines circumnavigating the screen. This includes panel paintings by Lippo Memmi and Deodato Orlandi and a sepulchral monument comprising the tombs of Archbishop Simone Saltarelli and Fra Giordano. Part III focuses on San Francesco, presenting a hypothetical proposal for the screen including a pair of gabled panels by Giotto and Cimabue above the *tramezzo*. Finally, Part IV analyses the interior of Santa Maria del Carmine, outlining a hypothetical location for the destroyed *tramezzo*. A new 3D visualisation of Masaccio’s Pisa Polyptych is presented, an altarpiece which was described by Vasari on the screen. Two alternative hypotheses are presented for how the chapel may have appeared on the *tramezzo* based on the patron Giuliano degli Scarsi’s detailed but ambiguous records of the project.
  • ItemControlled Access
    Reanimating the Renaissance: Aesthetes and Art History, 1873-1914
    Dytor, Frankie; Dytor, Frankie [0000-0001-5005-4910]
    This thesis examines responses to the Italian Renaissance by aesthetes in the late nineteenth and early twentieth century. It argues that aesthetes ‘reanimated’ the renaissance across diverse genres and media by negotiating the boundaries between art and life. Moving away from a discourse-centred approach, the thesis concentrates on the experience of historical work, often as it took place outside of textual accounts. In doing so, it proposes a new story of renaissance reception centred around surprising claims for its enlivenment, revealing the unstable borders between amateur and expert, scholar and enthusiast in the period. Looking at a range of sources including performance, fashion, and fiction, the thesis suggests that a reconsideration of these imaginative and embodied historiographies sheds new light on the making of art history at the end of the nineteenth century. By centring the work of ‘non-experts’ such as Vernon Lee, Natalie Barney, and Isadora Duncan, women are shown to have had an active role in the recovery of the renaissance. Considering the role of historical desire, the thesis underscores the significance of the Italian renaissance for queer and trans subjectivity in the life and work of figures including Michael Field, Olive Custance, Alexander Sacharoff, and J. A. Symonds. At the same time, the thesis shows how the desire for, and fear of, an animated renaissance was situated within contemporary concerns over heredity, degeneration, and atavism.
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    A New Narrative of Historical Styles in Nineteenth-Century Britain
    Huits, Elisabeth
    For most of the twentieth century, historicism – understood here as the conscious use of forms and styles from the past – was seen as an outdated, reactionary, and backward mode of design. Closely associated with the architecture and decorative arts of the nineteenth century, it has led to an understanding of historicist objects as being about empty retrospection and a lack of invention, evidence of a temporary lapse in artistic progress before the advent of modernism at the end of the century. This dissertation challenges these notions by examining how the use of historical styles and forms was perceived and understood in the nineteenth century itself, incorporating both debates on architecture and on the design of decorative arts. As the nineteenth century marked an explosive growth in printed matter of all sorts, the (illustrated) press played an increasingly important role as the public arena in which debates surrounding style played out. This dissertation therefore utilizes this broad archive to explore the use of historical style through three aspects: the language used around the revival and adaptation of historical styles; specific narratives of identity that surrounded historicizing objects; and the underlying logic of appropriation that underlay the use of historical forms. The first chapter sets out the wider debate surrounding the use of style in British design and manufacturing, focusing on four main stakeholders: government-sponsored reformers and educators, in particular those involved in the Great Exhibition of 1851 and the South Kensington project; the art press, as embodied by *The Art-Journal*; manufacturers and artisans; and finally, the ‘silent majority’ of the consuming public. Subsequent chapters present a kaleidoscopic view of the treatment of various historical styles in the nineteenth century. The second chapter, on the ‘Alhambresque’, contrasts the theories and artistic practice of Owen Jones (1809-1874) to the reception of his architectural schemes by (near) contemporary audiences, to examine what it means for a modern building to be understood through the framework of a historical referent. The third chapter, on ‘Archaeological Styles’, considers the question of adaptation of historical ornament through the lens of jewellery, examining the range of language used to describe the appropriation of historical forms and the transhistorical relationships between the nineteenth-century object and its historical model this implies. The fourth and final chapter, on ‘Modern Gothic’, considers the tension between historical ornament and modern circumstances, examining to what extent the use of modern manufacturing techniques and materials, and adaptation to modern uses impacted perceptions of objects made in medieval styles, focusing particularly on those exhibited in the international exhibitions between 1851 and 1871. Together, these chapters present a new understanding of the use of historical styles as operating within a manifold debate that looks both forward to the future and back towards the past, and is deeply concerned with its purpose for the present.
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    Fragments and Assemblages: The Display of Ancient Sculpture in the Vatican’s Museo Chiaramonti
    Vos, Koenraad
    In 1805 Pope Pius VII directed the sculptor Antonio Canova to begin organising the Museo Chiaramonti in a wing of the Vatican’s Belvedere Courtyard. The result was a new museum display of ancient sculpture, the first that included fragments on a wide scale, while at the same time restorations continued to play an important role. It is this duality between fragments and assemblages that is the central theme of this thesis. Founded in a time of anxiety about the loss of Rome’s artistic heritage and more general concerns about the negative effect of the institution of the museum on art, the Chiaramonti confronts both of these problems. In the Chiaramonti fragments enter the museum to an unprecedented extent, while at the same time there is an awareness that museums fragment the objects they display. This interest in fragmentation builds on developments of the preceding decades, when ruins and fragments were objects of great intrigue. The Chiaramonti engages with the display of ruins and fragments in the work of Piranesi and with the artificial ruins of eighteenth-century Rome, not only through the centrality of the visibly fragmented form to its display, but also because it conceived of the function of these fragments among similar lines. In the Chiaramonti fragments inspire the imagination and serve as sources of knowledge, be it artistic or historical. At the same time the Chiaramonti brings those fragments together, both in assemblage-objects such as restored statues and in its display techniques, which assemble fragments into shelves and stack them on top each other. Seen through the lens of the history of restoration and alongside contemporary design practices, these assemblages are another way of creating objects that are true to antiquity. Looking at the image of ancient art that the Chiaramonti creates in parallel with the creation and use of images in Enlightenment natural history highlights how intervention was central to the production and dissemination of truth. Within an eighteenth-century framework interventions such as restoration were thus necessary to arrive at truth and beauty. In light of the growing concerns about the practice of restoration that emerged around 1800, the Chiaramonti experimented with new ways to enact this intervention. Its assemblages continue the framework of earlier restorations, while experimenting with forms that include the visibly fragmentary, thus acknowledging the fragmentation that happens when objects enter the museum.
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    'Facile Princeps': The Country Houses of David Bryce (1803–1876)
    Wade, Ralph St Clair
    This thesis offers the first doctoral study of Scotland’s leading Victorian architect, David Bryce, R.S.A. (1803–1876). Its scope is Bryce’s extensive country house practice. Despite being praised by obituarists as the head of the Scottish profession, Bryce has yet to be the subject of a full-length book, or of an indexed journal article. Accordingly, this thesis represents the most extensive work on Bryce since the publication of a well-produced exhibition catalogue in 1976. The work is monographic insofar as Bryce’s artistic character must be established largely from scratch, without the support of an extensive secondary literature. Its achievements fall into two categories: points of historical record which, in turn, support the critical narrative of the thesis. The historical achievements are biographical, attributional – but principally archival. Bryce’s unpublished manuscripts are presented, for the first time, as a systematic corpus. This has been enabled by the discovery of a collection of Bryce drawings in the British Architectural Library, hitherto misattributed to William Burn. This discovery forms part of an extensive programme of archival and material fieldwork which, in turn, has enabled twenty-one new or revised attributions to David Bryce. These are presented systematically in the Gazetteer, and have in two cases informed the revision of the Buildings of Scotland (Lothian). These evidential achievements buttress the critical contribution of the thesis. This is tripartite in structure. The first section treats the early years, and newly argues that Bryce was an early revivalist of Elizabethan and Jacobean architecture. The second section treats the mature practice. This argues that Bryce was not only the leading re-interpreter of the Scottish baronial, but that he did so according to a strictly taxonomical method. This formulaic method is tempered by Bryce’s particular concern for the landscape, a hitherto unappreciated part of his practice. The third section, on planning and interiors, develops the same thematic point: of a paradigm creatively adapted to a given context. Bryce’s formulaic planning, for instance, has its roots in the English regency but nonetheless, cleverly accommodated the requirements of a high-Victorian composition. Bryce’s interiors, finally, bring the narrative of the thesis full circle; his decorative work builds, with growing facility, on the newly established manuscript corpus in Chapter 1.
  • ItemControlled Access
    City of Stone: The Materiality of St Petersburg in Print, c. 1703-1830
    Roy, Emily
    As print culture flourished in St Petersburg in the eighteenth and nineteenth centuries, an image emerged of the young capital as an elegant, modern city, dressed in stone. Though there has been much scholarship on this imagery, it has focused on the depiction and organisation of urban space or has taken the printed views as evidence of St Petersburg’s changing architecture. My thesis redresses the privileging of space by focusing on the materiality of the city through a study of the imagery of stone. The celebration of stone can be seen throughout the period, from the transportation and erection of enormous monoliths to the gradual cladding of the river embankments in granite, and the recurring motif of the stonemason at work. The thesis takes as its primary material an extraordinary collection held at the Ashmolean Museum, Oxford. The Talbot Collection includes over a thousand prints and illustrated books collected by Gwenoch David Talbot (1883-1974) over a forty-year period and bequeathed to the museum on his death. It is probably the most important collection of such material outside of Russia and provides a uniquely rich resource to study the changing image of St Petersburg. The thesis has a tripartite structure. Part I centres on the close association between the imagery of St Petersburg and that of its founder, Peter the Great, and outlines a specific symbolic vocabulary around stone. Part II focuses on technology, exploring images of the extraction, transportation, and working of stone. Part III looks at stone as an index of the imperial capital’s place in history and geography and addresses the complicated relationship of the city to the classical tradition alongside narratives of mineral wealth. It considers the place of ruins, fashionable in Russia as in Western Europe, in contrast to ideas of permanence and memory attached to stone, particularly in the erection of monuments. The thesis argues that stone, in opposition to water, underpins the Petersburg myth. Imbued with symbolism, stone was central to state narratives about the might of the city, but also generated anxiety about its unnaturalness and vulnerability.
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    The Representation of Battles and War in Late Quattrocento and Cinquecento Venice
    Scheidt, Luise
    This PhD examines the representation and perception of battle and war in late fifteenth and sixteenth century Venice, exploring the relationship between the historical situation and the artistic representation of the military culture in a variety of visual representations. Tracing different functions and uses of the depiction of battle themes throughout the various contexts and commissions, this dissertation examines how different individuals and agents utilised the representations of Venetian warfare and battles in different ways to benefit their own ambitions and agencies. The scope for this thesis is reflected by crucial changes in the Republic’s political history. The first part focuses on the last quarter of the quattrocento which manifests the beginning of Venice’s military decline, going hand in hand with the Ottomans’ conquest of the eastern Mediterranean as well as instability in Venice’s position within the states of Europe. It is especially in the commissions by individual Venetian patricians and communities that we find scenes of key battles against the Ottomans, such as the tomb monument for Doge Pietro Mocenigo and the Scuola degli Albanesi. The second part examines the aftermath of the wars against the League of Cambrai (1509-1516), representing the most vulnerable situation in Venice’s history. The commissions for the Palazzo Ducale, such as Titian’s Battle ofSpoleto, adhere to traditional narratives in order to maintain Venice’s position among the states of Europe, while the tomb for Doge Leonardo Loredan includes a direct allegory of these wars in unprecedented ways, commissioned decades after his death. The final part of this thesis focuses on the representations of battles in the new decorative cycle for the Great Council chamber in the Palazzo Ducale, commissioned after 1577. Through a detailed analysis of the surviving manuscript of the iconographical scheme for the council chamber, the study outlines how the overarching programme adheres to the military successes of the Republic’s past in the face of the decline after Lepanto. The PhD dissertation draws on primary evidence such as original artwork (paintings, sculptures, preparatory drawings and prints), personal wills and testaments, confraternities’ founding mariegole, contemporary editions of Venetian history, personal diaries and guidebooks, and surviving iconographical programmes to conduct a comparative art historical analysis that anchors the case-studies more firmly in the historical situation in Venice.
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    Visualising, Perceiving, and Interpreting Smell in Seventeenth-Century Dutch Art
    Marx, Elizabeth
    This thesis explores the ways in which artworks described invisible scents, how the depicted scents were perceived, and what interpretations and meanings they held. As research into representations of the olfactory is a relatively novel approach in the History of Art, this thesis proposes a methodology for identifying and interpreting visual allusions to smell. It draws together some of the most compelling cases of manifestations of smell in the art of the Dutch Republic by artists including Rembrandt van Rijn, Jan Steen, and Hendrik Goltzius. Over four studies, smell is visualised through a range of olfactory allusions, among them tobacco smoke, incense, pomanders, flowers, fruit, flies, smoking fires, chimneys, smelling salts, beached whales, and cadavers. The thesis uncovers the ways in which depicted scents were once perceived, where studies of Early Modern viewing dynamics suggest that artworks were understood to provoke olfactory experiences. The artists’ perception of depicted scents is also considered, where painted ephemeral fumes can be read as a rhetorical device to express the aspiration to depict the olfactory. Experiments and collaborations with perfumers to reconstruct a selection of scents depicted in key artworks also offer some insight into historic sensory experience. The thesis discusses how olfactory imagery was once interpreted. Artworks express the associations that individuals had with the olfactory, including writers, such as Constantijn Huygens, and physicians, such as Frederik Ruysch, as well as broader groups of consumers within the Dutch Republic. The extensive body of artworks that draw on the olfactory to develop the interpretation or narrative are traced across time and context to reveal the meanings they once held, and their changing significance. By exploring the olfactory in the art of the Dutch Republic, new olfactory iconographies are uncovered, historical multisensory modes of viewing are revived, and entire interpretations, which have faded over the centuries, are restored.
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    Cantering Amidst Art, Science, And Aesthetics: Early Modern Equestrian Visual Culture
    Didouan, Amandine
    Whether touring the Louvre, London’s National Gallery, or the Rijksmuseum, one cannot help but notice one ubiquitous non-human subject standing out amongst the others. For centuries, the horse (with or without rider) has been depicted in sculpture, portraits, drawings, and engravings, achieving a notable stance from the fifteenth century onwards. While this iconographic popularity has spurred art historians to focus on specific equestrian works of art, there is a lacuna of scholarship delving into equestrianism and the equine subject’s extended influence on visual culture produced in Europe during the early modern period. In equestrian portraits of the European nobility, the apparent grace and control of the rider (and horse) have occluded the culture that inspired the poses and postures of the subjects. These depictions might be dismissed as a flattering fantasy of an elite in effortless control, or mere illusions of power with little basis in corporeality. In the context of early modern equitational theory, however, these iconographic choices reflected not only an achievable aspiration but an elite ideal. At the end of the sixteenth century, the rapid growth of an emerging equestrian style (termed manège) involved a complex negotiation of social roles that partook of publishing, visual strategies for disseminating and understanding information, and the rise of formalized physical instruction. The primary aim of my thesis is to offer an innovative re-reading of well-known early modern equestrian portraits through the lens of this understudied manège culture. On the easel, the posture and expressions of grace and nonchalance had their roots in the phenomenal spread and influence of this evolving equestrian style. Manège had an influential role in the epoch’s vibrant fields of court culture, conduct and behaviour, as well as on the proliferation of a pan-European knowledge exchange. Subjects in early modern equestrian portraits were not simply ‘any horse’ ridden ‘any which way’; their manner of depiction (human and equine) was a reflection of rigorous physical training in a highly codified and theoretically outlined activity.
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    The Heraldic Imagination in German-speaking Lands, c.1480-c.1560
    Rothwell Hughes, Frances
    This thesis brings to light the extraordinary artistic transformation of heraldic imagery in German-speaking lands from circa 1480 to circa 1560, tracing how artists and designers engaged with heraldry as a category of image capable of inciting visual and intellectual pleasure. Coats of arms are often viewed as a distinctly medieval and utilitarian category of image, at odds with the cultural changes associated with the ‘Renaissance’. However, renowned artists and thinkers of this period dedicated much attention to heraldry as artistic subject matter, bringing it into dialogue with newly emergent genres, cultural concerns and social networks. The first chapter brings together a disparate corpus of material and textual sources, ranging from heraldic parody to heraldic defamation, in order to probe changing critical attitudes towards coats of arms across the period under study. Causal factors behind the expansion of heraldic criticism are also examined, including the impact of print, the rise of humanist satire, the early Reformation and shifts in societal structures. The second chapter homes in on the relationship between artistic identity and coats of arms. Renowned artists like Albrecht Dürer, Niklaus Manuel, Sebald Beham and Virgil Solis thematised their vocation as creators and authors through heraldic imagery, especially in the depiction of non-attributed, fictional coats of arms aimed at a burgeoning connoisseurial audience. The third chapter turns to consider the interpretation of heraldic images by humanist scholars within the intellectual circles of the universities of Vienna, Ingolstadt and the imperial court. The heraldic graphic computational instruments designed by the cosmographer Peter Apian are my central visual case studies. The second half of the chapter assesses the epistemic appeal of heraldry for this scholarly milieu by examining the discourses surrounding coats of arms in poetic, cosmographic, philological and genealogical texts. Overall, the thesis shows that heraldry was a prevailing catalyst for the artistic imagination(s) of the German Renaissance.
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    Gender Ambiguity in Early Modern English and French Art, 1530-1630
    Blow, Alice
    In early modern England and France, diverse literature, from pamphlets to poetry, links gender ambiguity to its ability to evade categorisation, blur boundaries or deceive. While previously gender ambiguity in art has often been dismissed as the product of historical distance, or discussed primarily in terms of sexuality, these literary and social contexts suggest that ambiguity was central to how contemporaries considered this subject. Drawing on recent literature on ambiguity in art, this thesis explores the potential of ambiguity as a period-appropriate context for studying early modern images of androgynous figures, cross-dressing, and gender transformation. By exploring, rather than resolving, their ambiguity, this thesis aims to shed new light on objects whose challenging effects have often led them to be oversimplified or set aside. The first chapter places Francesco Primaticcio’s complex and ambiguous frescoes of Hercules Cross-dressing, c.1535, in the context of fascination with ambiguous images and their potential to spark learned discussions, feeding the socially competitive court of François I. The next two chapters use French renaissance and English Ovidian poetry to explore how two understudied depictions of androgynous sitters in the Triple Profile Portrait in Milwaukee Art Museum, c.1570, and The Cobbe Portrait of Henry Wriothesley, c.1590-1593, paralleled contemporary poetry that admired gender-ambiguous figures for their pleasurable capacity to confound expectations. The final chapter addresses how Jacobean prints and pamphlets targeted masculine women as a cipher for a range of social and political ambiguities produced by the legacy of Elizabeth I. These four case studies examine the possibilities of using cultures of enigmatology, and attitudes towards ambiguity, as a platform for understanding a variety of meanings that images of gender ambiguity could possess for early moderns.
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    Reassembling the Sacred: The Murano Master and the Illuminated Choir Books of Camaldolese House of San Mattia di Murano
    (2021-10-22) Azzarello, Stephanie
    This dissertation presents a partial reconstruction of a now-dismembered series of lavishly illuminated and large-scale choir books made for the Camaldolese monastery of San Mattia di Murano ca. 1400–ca. 1445. These manuscripts are attributed to Cristoforo Cortese and the so-called ‘Master of the Murano Gradual,’ and now exist as two intact volumes and thirty-eight excised historiated initials found in public and private collections all over the globe. This thesis mines the dense, visual religious elements of these understudied images in order to investigate the use of monastic corporate iconography by the monks at San Mattia. In this thesis, I argue that the brothers at San Mattia commissioned these manuscripts, not only as necessary liturgical tools, but also as a means of expressing complex ideas about self-identity within both Benedictine monasticism and Christianity, more broadly. This thesis also examines and compares the iconographic programme and stylistic features of the San Mattia volumes with choir books belonging to its nearby sister house San Michele in Isola, and with the lavish series owned by a third Camaldolese monastery: Santa Maria degli Angeli in Florence, whose manuscripts were a model for both the sets commissioned for the houses in the Venetian lagoon. The results of this analysis show that the monks at San Mattia appear to have wanted their choir books’ visual scheme to reflect spiritual values and ideas with specific significance for their own house and which deviate from the iconographic model of the Florentine series. This study also investigates the San Mattia visual corpus within the framework of select examples of monumental painting, particularly frescos and altarpieces, as a means of probing the influences of other media on the work of the Murano Master. Ultimately, this study not only offers the first-ever reconstruction of the San Mattia choir books, but it also provides new insights into their significance in terms of the Camaldolese use of monastic corporate iconography within the context of early Quattrocento Venice.