Giovanni Battista Montano as Architectural Draughtsman: Recording the Past and Designing the Future

Giovanni Battista Montano (1534-1621), who was born in Milan and trained as a woodcarver, relocated permanently to Rome in the early 1570s where his interest in sculpting was replaced by intense study of the city’s antique monuments and ruins. Although Montano carried out several sculptural and architectural projects during his time in Rome, it is his surviving corpus of drawings that testifies to his passion of exploring ancient architecture through the medium of drawing. While Montano was not famous during his lifetime, a large body of his intriguing designs became celebrated and widely circulated after his death thanks to the 1624 publication of Montano’s designs by his loyal pupil, Giovanni Battista Soria. Montano’s lifelong work differs from virtually all of his predecessors and contemporaries in its “fantastical” and ornamental nature. This thesis explores Montano’s artistic training as it relates to his later interest in imaginatively reconstructing antique buildings, along with his disregard for archaeological or historical accuracy. The subject matter upon which Montano focused is discussed, along with his objective in creating a large corpus of half-historical, half-invented drawings. His drawing techniques are explored with specific reference to the largest group of extant Montano drawings, today housed in Sir John Soane’s Museum, London, England, and also in reference to three original Montano drawings in the Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal. Also explored is the legacy and impact of Montano’s drawings and the later publications of his designs on the works of Roman Baroque architects, specifically Borromini and Bernini. This thesis ultimately attempts to understand the impact of the intellectual and artistic environment surrounding Montano in late sixteenth and early seventeenth century Rome, his drawing techniques, his choice of subject matter, and the reception that his unique works received from contemporary artists and intellectuals, along with those of the following generation.

Christian Gottlob Neefe and the Early Reception of Le nozze di Figaro and Don Giovanni

A brief account of Christian Gottlob Neefe's engagement with Mozart's Le nozze di Figaro and Don Giovanni as exemplified in his correspondence.

Archevêque John Bonzano [Giovanni Vincenzo Bonzano, délégué apostolique aux Etats-Unis] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60424

[4 lettres de Giovanni Sgambati à Jules Massenet, 1886-[1912]]

f.1, 3-4 : lettres écrites en italien, f.2 : lettre adressée à Madame Massenet, f.5 : daté d'après la période d'activité de Massenet

Giovanni Boccaccio, Il Decameron .

F. Iv : titre du XVIe siècle : « Italien Le decameron de Brocasse les cent nouvelles de Bocasse ».F. 1-5 : table des matières.F. 1-182 : "Inchomincia ilibro chiamato Dechameron principe ghaleotto nel quale si chontengono ciento novelle dette da sette donne e tre giovani uomini ...-... Qui finisce la decima e ultima giornata del decameron, cognominato principe galeotto chompiltato e fatto per messer Giovanni Boccacci da Ciertaldo. Amen. Amen".F. 182 : indication biffée à l'encre brune d'une écriture cursive (ex libris) : "Questo libro e di simbaldo ... di filipo di simone ..."

Defensio musices ([Reprod.]) / Johannes Sparadus [Giovanni Sparato]

Collection : Italian books before 1601 ; 86.21

Ante el jardín. Sobre las expediciones de lugar de Alejandro Mancera y Giovanni Vargas.

Programas, proyectos y red de portales

Análisis de dos sistemas de producción de plántulas de tres especies de leguminosas en el matorral tamaulipeco, Linares, Nuevo León, México Francisco Giovanni Reyes Flores

Tesis (Maestría en Ciencias Forestales) U.A.N.L. Facultad de Ciencias Forestales

Don Giovanni an opera in two acts libretto by Lorenzo da Ponte; music by Wolfgang Amadeus Mozart

UANL