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Arsenal Hvar ist eine Gebäudegruppe in der kroatischen Stadt Hvar. Ursprünglich war es ein Gebäude mit einer Gleitbahn, wo Schiffe eingestellt waren. Im Laufe der Zeit hat es sich zu einem multifunktionalen Ganzen entwickelt. In die erste Bauphase (1292/1317-1331) sind die heute existierenden nördlichen und südlichen Mauern im Bereich des 2.–8. Jochs erstellt worden. Die Gleitbahn wurde in einem Winkel gebaut und mit einer Lehmschicht bedeckt. Das erste Arsenal war eine Gleitbahn, die durch zwei Mauern und ein Dach vor dem Wetter geschützt war. Das Arsenal ist trotz des mehrfachen Herrschaftswechsels auf der Insel Hvar bis ins 16. Jh. erhalten und von der Gemeinde genutzt worden. Ein Ausbau wurde durchgeführt im Periode 1528 – 1559, weil gesellschaftliche und politische Umständen größere Anforderungen an das Arsenal gestellt haben. In dieser zweiten Bauphase wurde Arsenal um das heutige erste Joch verlängert und erhöht. Eine innere Terrasse wurde im ersten Joch zur Versorgung erstellt. Das Gebäude wurde mit der neugebauten westlichen und östlichen Fassade geschlossen. Das Arsenal wurde in dem osmanischen Angriff von 1571 auf die Stadt Hvar niedergebrannt und zusätzlich durch eine Kriegspulver-Explosion am 1. Oktober 1579 beschädigt. Ein dritter Aufbau war nötig, um das Gebäude wieder im Betrieb zu setzen. In die dritte Bauphase (1575 – 1612) wurde inneres Stockwerk im Innenraum des existierenden Arsenals, auf seiner ganzen Länge gebaut. Es wurde in zwei Teile, den östlichen und den westlichen geteilt. Lager an der nördlichen Arsenal-Fassade wurden von der Gemeinde gekauft und zu einem kommunalen Lager umgebaut. Vielleicht die wichtigste Arsenal-Erbschaft, das historische Theater, wurde in der dritten Bauphase im östlichen Teil des ersten Stocks gebaut. Der Eingang zum Theater war das Belvedere, die monumentale Terrasse auf der Fontik-Seite. In historischen Quellen ist erwähnt, dass das Dach 1727 abgerissen und wiederaufgebaut wurde. Seit 1716 hatte die Hvar Gemeinde keine Pflicht mehr, eine Galeere auszurüsten und zu behalten. Das Gebäude wurde weiterhin als Lager genutzt. Das Arsenal wurde nach dem Wiener Kongress von 1814 von der österreichischen Armee besetzt und ihren Zwecken angepasst. Der Theater Raum befand sich außerhalb des österreichischen Besitztums und war der Theater-Gesellschaft (Societa del Teatro) zur Verwaltung überlassen. Im ersten Stock des östlichen Teils, dem ehemaligen Lager, wurden Büros eingebaut. Treppen wurden im Inneren, zwischen dem ersten Stock des Arsenals und dem Fontik-Gebäude erstellt, um Zugang zur neu eingebauten Toilette im Fontik-Gebäude zu schaffen. Fontik als ein Gebäude, das zusammen mit dem Arsenal funktioniert hat, wurde auch von der Österreichischen Armee in Besitz genommen. In der Zeitspanne von 1801-1803 hat die Societa del Teatro den Theater-Innenraum errichtet. Ein Holzstruktur-Auditorium mit 33 Logen auf zwei Etagen wurde nach einem Vertrag mit Petar Crescini erstellt. Eine gründliche Reparatur / ein Theater Wiederaufbau wurde in der Zeitspanne von 1888-1900 durchgeführt. Die hölzerne Struktur des Auditoriums wurde komplett in neobarocken Stil wiederaufgebaut (Es ist das heutige Auditorium des Theaters). Das Erdgeschoss des Arsenals wurde im 20. Jh. vielfältig verwendet. Meistens war es ein Lager. In der zweiten Hälfte des 20. Jahrhunderts war ein Kino eingebaut. Der Raum wurde und wird noch heute für verschiedene Aufführungen und Ausstellungen genutzt. ; Arsenal Hvar is a building in the Croatian town of Hvar. Originally it was a building with a slipway where ships were set. Over time, it has become a multifunctional whole. The existing ground floor walls in the area of the 2. - 8. Bay are built in the first construction phase (1292 / 1317-1331). The slipway was covered with a clay finish and was used as a work surface for the maintenance of the galley. The first, 14th century arsenal was essentially a slipway protected from the weather by two walls and a roof. The arsenal has been preserved and used by the municipality despite the multiple changes of rule on the island until the 16th century. An expansion was carried out in the period of 1528-1559, because social and political circumstances made greater demands on the building. In this second construction phase, Arsenal was extended and increased by today's first yoke. An inner terrace was created in the first yoke to supply. The building was closed with the newly built western and eastern facade. The arsenal was burnt down in the Ottoman attack of 1571 on the city and additionally damaged by a war powder explosion on 1 October 1579. A rebuilding was necessary to put the building back into operation. In the third construction phase (1575 - 1612) the inner floor was built in the interior of the existing arsenal, along its entire length. It was divided into two parts, the eastern and the western. Warehouses on the northern Arsenal façade were bought by the municipality and converted into a municipal warehouse. Perhaps the most important arsenal inheritance, the historic theater, was built in the third phase on the eastern side of the first floor. The entrance to the theater was the Belvedere, the monumental terrace on the Fontik side. In historical sources is mentioned that the roof was demolished and rebuilt in 1727. Since 1716, the Hvar community had no longer a duty to equip and maintain a galley. The arsenal continued to be used as a warehouse for the fleet and the residents. The Arsenal was occupied by the Austrian army after the Congress of Vienna in 1814 and adapted to their purposes. The theater room was outside their rule and was given to the theater company (Societa del Teatro). Offices were built on the eastern part of the first floor. Stairs were buit inside, between the first floor of the arsenal and the Fontik building to provide access to the newly built toilet in the Fontik building. Fontik as a building that worked together with the Arsenal was also taken over by the Austrian Army. In the period of 1801-1803, the Societa del Teatro built the theater interior. A wooden structure auditorium with 33 lodges on two floors was created after a contract with Petar Crescini. A thorough repair / theater reconstruction was carried out in the period of 1888-1900. The wooden structure of the auditorium was completely rebuilt in neo-baroque style (it is the theater's current auditorium). The ground floor of the arsenal was widely used in the 20th century. It was mostly a warehouse. In the second half of the 20th century a cinema was built. The room was and is still used today for various performances and exhibitions.

Cholera: "a crucial and revealing challenge, helpful to measure the bravery and intellectual value of the Navy's physicians". According to Jacques Leonard's word, cholera defied the French Navy as a whole. It questioned the French naval instrument and actions beyond the mere issues of sea hygiene or the spreading of the epidemic through sailing. It was both a field issue, as well at a local level as at the individual and collective ones, and a meaningful issue in international relations. It required a constant and deep commitment from the military health service in general, and from the Navy health service in particular. It contributed to weakening the Mediterranean area in a period of reconstruction as post-1815 France intended to seize opportunities to become again a prominent member in the community of Nations through a stronger commitment in the crises that were then striking its southern part. This pro-active policy, combining military intervention and conventional diplomacy, the preservation of trading interests and the renewal of an expansionist and even imperialist policy, partly relied on the appeal to restructuring naval forces. By studying the confrontation between French naval power in the Mediterranean and the spreading of cholera from 1831 to 1856, the purpose, here, will be to understand, mainly through a naval perspective, how those successive epidemics evolved from the status of threats to public health to that of becoming an unexpected opportunity to stand a sanitary power, as two international conferences on health were to take place in Paris (1851 and 1859). The history of confrontations between the French navy and cholera tells about a human scale struggle. Beyond the human and scientific challenges it represented, beyond all the individual struggles, beyond the specific mobilization that it implied, cholera always represented an impediment to the smooth functioning of the missions devoted to the French Navy in the Mediterranean. It forced the Navy to curb its medical procedures and sanitary strategies. It revealed the French efforts towards a unified sanitary space supported by a set of rules built upon quarantines. The Navy did not only help preserving France from the epidemics but also took part in the development of a sanitary expansionism tinged with imperialism (or the other way round). The incorporation of Algeria into the French sanitary space materialized the will to build up a zone of sanitary influence in the Mediterranean thanks to an active diplomacy ; Le choléra, « épreuve cruciale et révélatrice […] pour apprécier la valeur intellectuelle et le courage des officiers de santé de la Marine », selon l'expression de Jacques Léonard, met au défi la Marine française dans son ensemble. Le choléra est une épreuve qui interroge l'instrument naval français et ses actions au-delà des seules problématiques de l'hygiène navale ou de la contribution des navigations à la diffusion de l'épidémie. Il est à la fois une épreuve de terrain, locale, collective comme individuelle, et un enjeu de relations internationales. Il requiert un engagement constant et en profondeur de la part du service de santé des Armées en général, de la Marine en particulier. Il contribue à la fragilisation d'un espace méditerranéen en pleine recomposition alors que la France de l'après 1815 cherche à y saisir des opportunités pour peser à nouveau dans le concert des nations à travers une plus grande implication dans les crises qui secouent sa façade méridionale. Cette politique offensive, faite de diplomatie conventionnelle et d'interventions militaires, de défense des intérêts commerciaux et de relance d'une politique expansionniste sinon impérialiste, repose en partie sur la sollicitation de forces navales en cours de relèvement. En proposant une étude sur la confrontation entre la puissance navale française en Méditerranée et la circulation du choléra entre 1831 et 1856, il s'agit de comprendre, essentiellement à travers un regard naval, comment, au-delà du péril majeur que ces épidémies successives constituent pour la santé publique en France et en Méditerranée, elles en viennent à représenter une formidable opportunité offerte à la France de s'affirmer comme une puissance sanitaire de premier plan, alors que se préparent deux premières conférences sanitaires internationales de Paris (1851 et 1859) . L'histoire de la confrontation entre la Marine française et le choléra est celle d'un combat au ras des flots, et à l'échelle humaine, sur le front cholérique naval. Au-delà de l'épreuve humaine et scientifique qu'il représente, des sommes de combats individuels et de mobilisations spécifiques des personnels soignants qu'il suscite, le choléra représente toujours – quelle que soit l'intensité de sa manifestation – une entrave au bon déroulement des missions assignées à la Marine française en Méditerranée. Il oblige la Marine à adapter ses modes de prise en charge médicale et ses stratégies sanitaires. Il révèle les efforts français pour élaborer un espace maritime sanitaire national unifié reposant sur une réglementation sanitaire elle-même articulée autour du principe des quarantaines. En plus de sa contribution à la défense de l'intégrité cholérique du pays, la Marine participe à la projection d'un expansionnisme sanitaire français patinée d'impérialisme (ou inversement). Il repose sur l'élargissement à l'Algérie de l'espace maritime sanitaire français et sur la tentative, par une diplomatie active sur le terrain, de construire un espace d'influence sanitaire en Méditerranée.

Housing abandonment is one of the social and physical problems in some of neighborhoods than others today. Housing abandonment emerged as problem in such areas due to wide range of factors such as social, economic and physical forces and public policies. Neighborhood is a place where people and residents spend their majority of life times in. Accordingly, it is a small community that people are gathered in and sharing their emotional feelings and things. Both in modern and tradition cities, neighborhood satisfaction depends on physical, social and economical overall condition of specific neighborhood. In addition, when housing abandonment appears in a neighborhood, it dramatically affects on neighborhood satisfaction that heading into decline of quality of life as well as neighborhood. Not only physical condition, social and economic conditions of the neighborhood had negatively affected by the housing abandonment. Any problems that can happen in these three structures of a neighborhood are directly decreasing the neighborhood satisfaction among residents. Accordingly, main aim of this study is to analyze the effects of housing abandonment on the neighborhood satisfaction. For this study, Walled City of Famagusta as a one of important historical and traditional part of the Famagusta City, is selected as a case study area. This thesis is carried on three residential districts among nine districts that each district has a dense housing pattern. Also, existence of residential abandonment in the selected districts is another reason for this selection. Thus, the case study areas are analyzed through series of analyses and the effects of housing abandonment on neighborhood satisfaction in Walled City is tried to be achieved. Accordingly, this thesis is composed of five chapters. The first chapter is included with introductory part, that relates to aim and objectives and method of the study. Chapter two defines the abandonment issue, its negative consequences and reasons. Chapter three explains the neighborhood satisfaction and its indicators. As a result of the theoretical part, it is achieved that reasons of housing abandonment relies on the neighborhood satisfaction. In the fourth chapter, case study areas are analyzed by using the indicators that are achieved at the end of the literature review in chapter three. Physical and social analyses technique-questionnaire survey is used for gathering data from the selected districts. Conclusion and recommendations are given in the fifth chapter. The findings from physical and socio-economic analysis show that, the physical and socio-economic conditions of neighborhood give impetus to increase the housing abandonment and at the same time decrease the neighborhood satisfaction. It means that residential districts of Walled City have highly deteriorated façade and structural condition, locational obsolescence, lack of environmental standards, fair level of place attachment, lack of safety and health and moderate level of new houses in housing market. Accordingly, these negative impacts are causing housing abandonment in the neighborhood. Due to this growth of housing abandonment that is obtained, from the results of analysis the residents are not satisfied to live in the neighborhoods. Keywords: Historical neighborhood, housing abandonment, neighborhood satisfaction, Walled City of Famagusta ; ÖZ : Terk edilmiş konutlar bazı mahallelerde sosyal ve fiziksel problem olarak görülebilmektedir. Bu mahallerde terk edilmiş konutların problem olarak görülmesi farklı sosyal, ekonomik ve fiziksel baskılar ve devlet politikaları nedeni ile ortaya çıkmaktadır. İnsan, yaşamlarının büyük bir kısmını mahallede geıçmektedir. Ayrıca mahalle, içinde insan topluluklarının buluştuğu, duygusal anların ve olayların paylaşıldığı kent parçasıdır. Hem geleneksel hem de modern kentlere, mahalle memnuniyeti bütün mahallenin sosyal, ekonomik ve fiziksel koşullarının sağlıklı olmasına bağlıdır. Buna ek olarak, konutların terk edilmesi mahalle memnuniyetini dramatic bir şekilde etkilemekte ve fiziksel çevrede kalitenin azalmasına neden olmaktadır. Sadece fiziksel çevrede değil, sosyal ve ekonomik çeverenin de olumsuz yönde etkilenmesine neden olmaktadır. Mahalleyi oluşturan bu üç yapısal çevrede ortaya çıkacak problemler, burada yaşyanların memuniyetini de etkilemektedir. Bu bağlamda, tez çalışması terk edilmiş konutların mahalle memnuniyetine etkisini analiz etmeyi hedeflemektedir. Bu tez kapsamında Mağusa kentinin tarihi ve geleneksel merkezi olan Surlariçi çalışma alanı olarak seçilmiştir. Terk edilmiş konutların yoğun olduğu üç konut mahallesi tüm surlariçerinde bulunan dokuz mahalle arasından seçilmiştir. Böylece, seçilen üç konut mahallesinde yapılan bir seri analizler sonucu, buradaki konut terk edilme sorununun mahalle memnuniyetine etkisi elde edilmeye çalışılmıştır. Bu bağlamda, çalışma beş ana bölümden oluşmaktadır. İlk bölümde tezin amacı, metodu ve araştırma sorularının yer aldığı giriş verilmektedir. İkinci ve üçüncü bölümde tez çalışmasının kuramsal çerçevesini oluşturan konular tartışılmıştır. Buna göre, terk edilmiş konut tanımı, ortaya çıkan olumsuz etkileri ve nedenleri açıklanmıştır. Üçüncü bölümde, mahalle memnuniyeti ve göstergeleri ile ilgili literatur araştırması verilmiştir. Bu tartışmalar sonucu, konut terk etme nedenlerinin, mahalle menuniyetsizliğini ortaya çıkaran nedenlerle örtüştüğü ortaya çıkmıştır. Dördüncü bölümde, çalışma alanı olarak belirlenen Surlariçi Mağusa'da bulunan konut mahalleleri üçüncü bölüm sonunda elde edilen kriterler açısından incelenmiştir. Alan çalışması için fiziksel analiz yöntemleri ve anket çalışması kullanılmıştır. Tezin son bölümünde ise sonuç ve öneriler yer almaktadır. Yapılan fiziksel ve sosyal analizler sonucunda konut mahallelerinin fiziksel, sosyal ve ekonomik durumumları, buralarda meydana gelen konut terk edilmesi hızlanmış ve aynı zamanda mahalle memnuniyeti azalmıştır. Bu sonuçlara göre Surlariçi Mağusa'da bulunan konut mahallelerinde yüksek oranda cephe ve strüktür eskimesi, bölgesel eskime, çevresel standartların eksikliği, yer/aidiyet duyusunun azlığı, sağlık ve emniyet gibi sosyal ihtiyaçların eksikliği gibi sorunlar görülmüştür. Tüm bu problemlerin var olduğu bu alanlarda yaşanların, memuniyetsizliklerinin olduğu da ortaya konmuştur. Anahtar kelimeler: Tarihi mahalle, konut terk edilmesi, mahalle memnuniyeti, Surlariçi Mağusa. ; Master of Science in Architecture. Thesis (M.S.)--Eastern Mediterranean University, Faculty of Architecture, Dept. of Architecture, 2014. Supervisor: Assoc. Prof. Dr. Beser Oktay Vehbi.

The end of the Cold War represented an apparent victory for NATO, capitalism, free enterprise, and democracy over the Warsaw Pact, Marxism-Leninist communism, and the Russian-Soviet empire. In 1991, five newly independent republics of Central Asia (Kazakhstan, Kyrgyzstan, Turkmenistan, Tajikistan, and Uzbekistan) emerged from the wreckage of that watershed event. Each new government proclaimed its commitment to free enterprise economic systems and democratic governance. Western democracies, nongovernmental organizations (NGOs), and human rights groups lauded that commitment to democratic mass media systems as stabilizing, modernizing, and nation-building tools. Unfortunately, significant obstacles remain to functional and effective press systems able to maintain economic, editorial, and political autonomy. Because Russian and Soviet-era press conventions still strongly influence the press in Central Asia, this article begins with a brief overview of the Russian colonial and czarist press system from the 1860s to the Russian Revolution of 1917. It then presents a brief history of press controls under the Soviet Union. Thus, forms of Russian domination of Central Asian journalism persisted for almost 130 years, leaving deeply entrenched czarist-Soviet press methods, controls, and traditions. The study then summarizes significant arenas of contemporary research on Central Asian mass media, including detailed evidence of the complexity, diversity, and depth of barriers to free and effective press systems. It establishes that imposed Soviet-era journalism philosophy and practices remain much of the foundation for current professional ideology. Although there were some positive aspects to the Soviet press system, inherited professional habits, conventions, ideology, and socialist economics still obstruct adoption of aspects of Western models hallmarked by independent journalism and advocacy of a more operative form of social responsibility to audiences. The article then outlines the conflict between external and internal pressures to establish free and democratic press systems where regimes actively resist such efforts. That resistance includes formal and informal policies of censorship and repression that restrain journalists and the mass media they serve. Despite outside efforts to promote democratization of the press, these repressitarian governments remain highly authoritarian and exert varying but high degrees of direct and indirect censorship and content control. Among them are onerous libel laws, fabricated criminal charges against journalists, unfair tax audits, license terminations, and pressure on advertisers and printing houses when media content is deemed overly critical and adversarial. Recent murders of journalists further chill independent reporting. This synthesized examination of recent mass media research makes clear that five separate systems have replaced the unitary Soviet one, but with such shared attributes as official or quasi-official censorship; self-censorship; lack of free-market sustainability; constraints on independence and professionalism; and a press ideology that values service to the state above independence, fairness, balance, and accuracy. Distinctions among the systems include the presence or absence of independent and opposition media outlets; degrees of public access to the Internet and foreign media; and availability of university and professional education and training. Collectively, this research illustrates the limited success of external forces in furthering media pluralism. Those forces are foreign governments and multi-governmental entities, international media-building and civil society-building NGOs, Western journalism trainers and professors, and foreign media outlets that disseminate print, broadcast, and Internet content. In addition, these studies summarized demonstrate how regimes and elites use—and abuse—the law to control news and information about public affairs, controversy, and public issues and how they disregard constitutional and statutory assurances of press freedom. Democratization of the press will also require changing journalists' widely accepted role as acquiescent or reluctant—let alone enthusiastic—apparatuses of the state. The impetus and energy for developing free press systems in Central Asia are primarily external. Since the breakup of the Soviet Union, the region has been under pressure, mostly from the United States and Western Europe, to create and sustain "free press" systems essential to civil society. To a great extent, such external advocacy manifested the neo-conservative U.S. foreign policy ideology promulgated by former President George W. Bush and his advisors. Their interest was to democratize authoritarian nations when politically and economically expedient, as in oiland mineral-rich Central Asia. Intensive Western efforts to encourage marketor advertising-supported media in former communist nations generally succeeded in Eastern and Central Europe. Such efforts failed in Central Asia, where media generally lack mass audiences and economic resources to attract advertisers and support the free market concept of news as a commodity. Supporters and funders of democratic press projects in the region include the Council for the International Exchange of Scholars; British Broadcasting Corporation; Organization for Security and Cooperation in Europe; Civic Education Project (Soros Foundation); International Research and Exchanges Board; Cable News Network; Freedom House; Internews; and the International Center for Journalists. Other NGOs, such as the Committee to Protect Journalists, Amnesty International, International PEN, Reporters Sans Frontières, and Human Rights Watch do not directly engage in journalism education and training but monitor press freedom and advocate against harsh restraints. Some regimes recognize advantages of modernizing media content, even while controlling it, by allowing journalists to learn Western news writing and reporting styles and conventions. Professional writing and reporting skills are useful to journalists, even if they are not permitted to report in an unfettered manner, and to propagandists. Western educators have taught in otherwise tightly controlled newsrooms and universities because of donor nation and funder pressure; allowing democratic journalism trainings to take place presents at least a façade of a commitment to free press systems. Yet it remains relatively easy for authorities to censor media content that is too reflective of Western news values and reporting conventions. That is particularly true if content criticizes the regime or other powerful interests. Journalists are often punished for stories they print or broadcast. Not surprisingly, self-censorship remains a domineering force, even in the absence of official censorship. We now discuss the Soviet colonial period and its influence on contemporary Central Asian media.

Kameni ciborij iznad glavnog oltara korčulanske katedrale je remek-djelo najvećega korčulanskog klesara i graditelja Marka Andrijića, s proporcijama zlatnog reza i elementima pravog renesansnog stila. Potkraj 18. stoljeća četvrti, završni kat krova ciborija je uklonjen, a neki dijelovi su nestali. Donji dio ciborija je besprijekorno isklesan, dok je osmerostrani krov izrađen znatno lošije, s brojnim nedovršenostima, pogreškama, preklesavanjima i skraćivanjima. Na temelju detaljne analize tragova klesarskog alata i promjena geometrije kamenih elemenata, te studije izvornog ugovora o gradnji, donesen je zaključak da je donji dio ciborija izradio Marko Andrijić sa svojom radionicom, a gornji dio klesari koji nisu razumjeli njegov nacrt, odnosno konvenciju prikazivanja projekcije kosih površina u skraćenju. Srećom, iako je radi ispravka klesarske pogreške gornji dio ciborija malo sužen i snižen, ukupna proporcija nije se zbog toga bitno promijenila, pa je nakon restauracije izvornog stanja to najbolje djelo korčulanske renesanse ponovo zasjalo izvornim sjajem. ; The most prominent member of a large family of stonemasons, and certainly the greatest stonemason and builder from Korčula, Marko Andrijić learned his trade not only in the workshop of his father, the famous stonemason Andrija Marković, but also working on numerous commissions throughout Dalmatia and all the way to Italy. In his home town of Korčula, he gained fame by working on the modernization of the city fortifications and the cathedral, which is why the Venetian government appointed him lifelong protomaster of all public buildings. His work on the completion of the bell tower on the Cathedral of St. Mark stands out, because he did it in an unprecedented way, combining an octagonal loggia with a dome, lantern and promenade surrounded with a balustrade that served as an observatory. In addition to the bell tower, Andrijić transformed the entire cathedral: he placed vaults above the side aisles and galleries above them, raised the nave, and decorated the upper part of the façade with richly carved stonework. He added a sacristy to the cathedral, a ciborium over the main altar, and a bridge over the street towards the bishop's court, and built a tomb for Bishop Malumbra. In 1486, Andrijić agreed to design and build a magnificent ciborium above the main altar of the cathedral. The extraordinary proportions and brilliantly executed details of the ciborium, combining the Gothic and Renaissance styles, surpass local significance. This was the first time that a classical pillar with entasis and genuine Corinthian capitals, as well as composite capitals with dolphin and siren motifs, had appeared in Croatian art. The ciborium's appearance was significantly changed during the complete redesign of the cathedral's interior in the Baroque style, undertaken by Bishop Josip Kosirić at the end of the 18th century. In order for a sculpture of the Risen Christ to be placed on top, the upper tier of the ciborium roof was replaced with awkward, curved stone elements that belonged to older church furniture and had been re-carved to fit the ciborium. Joško Belamarić found the final tier of Andrijić's ciborium roof in the lapidary of the abbey collection, turned upside down and converted into a baptismal font. This discovery made it possible to make an ideal reconstruction of the original appearance by completing the natural sequence of four openings in the surface of the first-tier of the ciborium roof to one opening the surface of the fourth-tier. In order to re-establish the integrity of Andrijić's masterpiece, and taking into account the angle of parts of the roof on the ciborium and its proportions, a draft was made with the reconstructed missing elements: eight segments of the third-tier roof and the small dome. After the upper part of the ciborium was disassembled to preserve the stone and consolidate the structure, all the stone elements, holes for fixing metal joints, traces of masonry tools, damage, re-carving and shortening were inspected and analysed in detail. A stonemason's mark was found on the upper surface of the architrave, which determined the position of the elements of the first tier of the roof, which, according to the original design, should have been about 9 cm wider on all sides. It was concluded that the perfectly carved lower part of the ciborium was made by Marko Andrijić in his workshop, and the inferior roof was made by stonemasons who did not understand his design. In order to understand what exactly happened and to be able to make the right conservation decision on how to restore the ciborium, it was necessary to return to the original construction contract, kept in the Zadar State Archives. A complete transcription and translation of the contract, with the payments written in the margins, was made. Master Marko Andrijić committed to carving a ciborium of stone from Vrnik and based on the design he had made, in the following two years for the price of one hundred and fifteen ducats. If he failed to complete the ciborium within the agreed time, the master had to pay a fine, but he was allowed to let other master stonemasons complete the work in that case. Judging by the recorded payments, the construction of the ciborium took six years instead of two, and Marko did not pay a fine, and he even received about seven ducats more than the agreed price. The excess payment probably relates to the statues of the Annunciation, which had to be contracted subsequently with an annex that has not yet been found. After about two-thirds of the ciborium was complete, the work was stopped, and after more than two years, work was continued, probably by one of Marko's brothers, but he was not up to the task. Due to an error in transferring the dimensions and angle of inclination of the roof surfaces from the draft, the replacement masters had to re-carve the already-executed elements of the first-tier roof and improvise to fill the resulting cavities. As a result of these errors, the roof of the ciborium was narrowed and lowered. However, viewed as a whole, the proportional system of the ciborium, consisting of four rectangles of the golden ratio placed one above the other, is not significantly affected by a small but proportional reduction in the dimensions of the roof. Between 2014 and 2019, the Croatian Conservation Institute repaired the damaged elements, carved the missing parts, and re-assembled and connected the upper part of the ciborium with metal clamps filled with lead, with all the necessary reinforcement of the structure. After more than two centuries, the best work of Korčula's architectural and stoneworking art was once again made whole.

Zagrebački Botanički vrt Prirodoslovno-matematičkog fakulteta sačuvan je u urbanističko-arhitektonskoj koncepciji u gotovo izvornom obliku, kako je izgrađen 1892. godine. Članak donosi sažeti prikaz specifične povijesne arhitekture koja je dio Vrta. Građevine su opisane na temelju istraživanja arhivske građe, analize sačuvanih prvotnih i novijih projekata te izvedenih građevina od nastanka Vrta. Obuhvaćene su sve za Botanički vrt značajne građevine: izložbeni staklenici, vrtlarska kuća, izložbeni paviljon, fiziološki laboratorij, javni zahod te bazeni s "vodometom", uresna ograda, mostić, sjenice i vodosprema. Vrijedna povijesna arhitektura postupno se obnavlja pod konzervatorskim nadzorom nadležne službe za zaštitu kulturnih dobara od 1998. godine do danas. ; Almost the entire original layout of the urban and architectural concept of the Zagreb Botanical Garden of the Faculty of Science has been preserved as it was conceived in 1889 by its founder, Prof. Antun Heinz, a professor of botany at the University of Zagreb. The Garden was designed and built in accordance with contemporary European standards for the design of botanical gardens. From its foundation until today, the Garden has retained its multiple purposes. As an integral part of the Faculty of Science of the University of Zagreb for more than a century, the Garden has played an extremely important role in university teaching and scientific research in the field of botany, as well as education of the general public. The Garden also has cultural, historical and touristic value for the city of Zagreb and the Republic of Croatia. Since it was founded, it has remained open to the public free of charge, providing visitors with numerous educational and popular activities. It is part of the Green Horseshoe in Donji grad, a cultural good inscribed in the Register of Cultural Goods of the Republic of Croatia as an original architectural achievement, and as a completed, urbanistic, architectural space in the form of a park in the centre of Zagreb, and also as a horticultural monument in the botanical-garden category. In the first decades after its foundation, a series of functional buildings and structures of park architecture, such as a gazebo, a lookout and small bridges on the lake, shelters and similar elements in various historic styles, were built in the Botanical Garden. As a permanent residence for gardeners, a garden house was built in 1890 in the west part of the Garden, in the direction of Savska cesta. Later, greenhouses were erected and the pavilion was transported from the Second Jubilee Exhibition of Economy and Forestry held in Zagreb in 1891. A rare example of a communal building, a public toilet for parks, based on the 1905 project by Milan Lenuci, has been preserved. The last two buildings were designed by professors from the Faculty of Architecture. In 1933, in the south part of the Garden, Prof. Juraj Denzler built the well of the City Water Supply Network, used by the Garden to this day; and, in 1942, along with the already-built physiological laboratory, Prof. Zvonimir Vrkljan started building the Division of Botany. Buildings, park architecture, parterre and installation network were reconstructed and renovated over the past twenty years in accordance with the defined priorities and conservation guidelines, projects and supervision of the City Institute for the Conservation of Cultural and Natural Heritage. Several selected examples present recent projects and renovations. Industrial development in the late 18th and early 19th centuries, and new materials – iron and glass – enabled the construction of large halls illuminated from above. Constructors applied this type of knowledge to build greenhouses, essential for the successful cultivation of tropical, subtropical and Mediterranean plants in botanical gardens. Often, this type of old greenhouse is a valuable example of specific architectural heritage. A unique historical structure of this type is preserved in the Botanical Garden of the Faculty of Science in Croatia. Professor Dr. Antun Heinz took a sabbatical in 1889 and visited European botanical gardens in order to gather experience and the latest ideas he needed for the design and construction of the Botanical Garden of the University of Zagreb. He chose a situational solution, a combination of geometric and landscape style. He decided to design the largest part of the Garden in the landscape – or socalled English – style, with randomly planted groups of trees and shrubs, and curving paths. Only the parterre (ornamental flower beds), located in the west part of the Garden, was built in the French style, with a strict geometric and symmetrical ground plan. Around the long central axis, a conception typical of Baroque park heritage of the 17th and 18th centuries, he placed the main building of the Garden and the greenhouses with a geometric floral parterre with two symmetrical paths on each side, and most of that open surface is a free composition of the parterre with high and low greenery. The original shape of the exhibition greenhouses built at the end of the 19th century was preserved, but they were in very bad condition. Therefore, renovation was planned and is underway in order to restore the original condition of the complex of exhibition greenhouses. Fence around the Botanical Garden was gradually added as the city in the immediate vicinity of the Garden developed. In 1900, after the construction of the new street (today's Mihanović Street), the north fence of the Garden was built with the main entrance portal based on a design by the Royal Building Department of the Land Government, and then the east and west fence were built. Since the aesthetically shaped southern fence did not exist, it was designed as a public walkway with a pergola, and the construction began in 2018. The oldest fair building in Croatia was preserved in the Botanical Garden of the Department of Biology, Faculty of Science in Zagreb, and restored in 2007. The wooden pavilion was presented at the international exhibition in Vienna in 1890, and in Zagreb in 1891. In 1892, it was moved to the Garden as a building where plants susceptible to frost were kept during winter. Over time, the domes and façade were removed. However, the roof structure and the volume of the building were preserved, and all characteristic elements of the lining were found before the 2005 reconstruction. Based on sufficient data and archival photographs, it was possible to restore the exhibition pavilion to its original form. Reconstruction and renovation of the Botanical Garden complex and functional historic buildings will continue and contribute to the preservation of the complete historical architectural heritage in the park section of the Green Horseshoe of Zagreb Donji Grad.

Purpose. The paper studies the problem of death penalty justifiableness in terms of democratic society from the metaphysical viewpoint. Philosophical argumentation to justify death penalty is proposed as opposed to the common idea of inhuman and uncivilized nature of court practice of sentencing to death. The essence of the study is not to rehabilitate law-based murder but to explain dialectic relation of the degrees of moral responsibility of criminals and society nourishing evildoers. The author believes that refusal from death penalty under the pretence of rule of humanism is just a liberal façade, plausible excuse for defective moral state of the society which, rejecting its own guiltiness share as for current disregards of the law, does not grow but downgrades proper human dignity. Methodology. The author applies an approach of dialectic reflection being guided by the perception of unity, relativeness and complementarity of evil and good striving to determine efficient way of resolving their contradictions in the context of moral progress of the society. Originality. Proposing philosophic approach to a death penalty problem instead of legal one, the author is not going to discuss the role of horrification, control or cruelty of the measure of restraint; moreover, he does not consider the issue of its efficiency or inefficiency. The author also does not concern vexation of mind of a criminal sentenced to life imprisonment for "humanitarian" reasons. The purpose of the author is to demonstrate that aim of the punishment is to achieve justice which becomes spiritual challenge and moral recompense not only for the criminal but for the whole society. Conclusions. Crime is first of all a problem of a society; thus, criminal behaviour of certain individuals should only be considered through a prism of moral state of the whole community. Attitude to a death penalty is the problem of spirituality and its dramatic sophistication. The author thinks that moral standards exclude any sentimental interpretation of humanism and mercy. Humanism is the imperative requiring both personal and social responsibility for the things humiliated in a victim and human dignity downtrodden in a criminal. Law-breaker cannot be liquidated without judicial safeguards as a dangerous animal. Severe punishment of the society adequately compensates a murderer his/her human dignity. As the society is guilty partially in the existing criminality, it accepts the fact of cruel punishment applied to redress an injustice. ; Цель. Исследовать вопрос о допустимости смертной казни в демократическом обществе с метафизической точки зрения. В противоположность убеждению о негуманном и варварском характере судебной практики приговоренных к смерти предложить философскую аргументацию за смертный приговор. Смысл данного исследования не в реабилитации убийства на базе вроде бы устаревшего права, а в раскрытии внутренней диалектической взаимосвязи степени моральной ответственности преступников и общества, что порождает преступников. Автор настаивает, что отказ от смертной казни под прикрытием торжества гуманности – лишь либеральная видимость, благовидное прикрытие недостатков нравственного состояния общества, которое, отказываясь от своей части ответственности за существующие беззаконие, не возрастает, а, наоборот, уменьшается в человеческом достоинстве. Методология. Автор использует метод диалектической рефлексии, осознавая единство, относительность и дополнительность добра и зла и стремится определить продуктивный путь решения противоречий между ними в нравственном развитии общества. Научная новизна. Предлагая философский подход к проблеме допустимости смертной казни, автор не прибегает к обсуждению роли устрашения, сдерживания или жестокости этой меры наказания, а также не рассматривает вопрос о ее эффективности, или наоборот. Автор не касается темы душевных страданий преступников, что обречены на пожизненное лишение свободы с учетом «гуманных» соображений. Задача автора показать, что цель наказания – достижение справедливости, которая становится нравственным испытанием не только для преступников, но и для всего общества. Выводы. Преступность – это в первую очередь общественная проблема и только через призму духовного состояния общественного целого следует рассматривать уголовное поведение отдельный индивидов. Отношение к смертной казни – это вопрос духовности и ее драматического осложнения. Требование нравственности, к убеждению автора, включает сентиментальное толкование человечности и милосердия. Гуманность – это императив, который требует личной и общественной ответственности за приниженное в жертве и отброшенное в преступнике человеческое достоинство. Преступник не уничтожается как опасное животное без суда и следствия. В суровом наказании общество по адекватной цене возвращает убийце человеческое достоинство. С другой стороны, общество смиряется с суровой расплатой, к которой оно вынуждено прибегать, осуществляя справедливость, поскольку оно само несет долю вины в существующей преступности. ; Мета. Дослідити питання про припустимість смертної кари у демократичному суспільстві з метафізичної точки зору. На противагу переконанню про негуманний і варварський характер судової практики засудження на смерть запропонувати філософську аргументацію за смертний вирок. Сенс даного дослідження не у реабілітації вбивства на базі ні би то застарілого права, а в розкритті внутрішнього діалектичного взаємозв'язку ступенів моральної відповідальності злочинців і суспільства, що породжує злодіїв. Автор наполягає, що відмова від смертної кари під привидом торжества гуманності – лише ліберальна видимість, благовидне прикриття недоліків морального стану суспільства яке, відмовляючись від своєї частки відповідальності за існуючи беззаконня, не зростає, а навпаки принижується у людської гідності. Методологія. Автор використовує метод діалектичної рефлексії, усвідомлюючи єдність, відносність і додатковість добра і зла і прагне визначити продуктивний шлях вирішення суперечності між ними у моральному розвитку суспільства. Наукова новизна. Пропонуючи філософський підхід до проблеми припустимості смертної кари, автор не вдається до обговорення ролі страхання, стримування чи жорстокості цієї міри покарання, а також не розглядає питання про її ефективність, чи навпаки. Автор не торкається теми душевних страждань злодіїв, що приречені на довічне позбавлення волі з урахування «гуманних» міркувань. Завдання автора показати, що ціль покарання – досягнення справедливості, яка стає моральним випробуванням не тільки для злочинців, але і для всього суспільства. Висновки. Злочинність – це насамперед суспільна проблема і тільки крізь призму духовного стану суспільного цілого слід розглядати кримінальну поведінку окремих індивідів. Ставлення до смертної кари це питання духовності та її драматичного ускладнення. Вимога моральності, за переконанням автора, виключає сентиментальне тлумачення людяності і милосердя. Гуманність це імператив, що вимагає особистої і суспільної відповідальності за принижену у жертві і відкинуту у злодії людську гідність. Злодій не знищується як небезпечна тварина без суду і слідства. У суворому покаранні суспільство за адекватною ціною повертає вбивці людську гідність. З іншого боку суспільство примиряється з брутальною розплатою, до якої воно змушено удаватися, здійснюючи справедливість, оскільки воно само має частку вини у існуючої злочинності.

The doctoral thesis analyses the Anjou-Durazzo dynasty, in particular from the point of view of the construction of the legitimation of power and consensus around the sovereign. The perspective selected depends on awareness of the urgency of issues relating to legitimation and consensus, considering that today the economic crisis, migration and a pandemic are exhausting governments and national and supranational institutions in the West. The problem of legitimation and consensus as the founding elements of power was present also in the Middle Ages. The central point of the thesis is the understanding of the political and symbolic instruments used by the Anjou-Durazzo in order to give a basis for their domination."Writing" was the first field of study considered. I focused on the analysis of documentary production from the Chancellery of Anjou-Durazzo. I did a serial investigation of the acts of, in particular on the preamble or arenga, considered to be the rhetorical part of the document. My hypothesis was that in their recursion they contributed to composing the ideal portrait of the princeps.I analysed other themes, that is to say royal ceremonies, monarchical knightly orders and heraldry. Among the monarchical rituals I have taken into consideration especially the coronations and funerals, which were fundamental events during the life of a kingdom in which many people participated,and where therefore the symbolic communication had a potentially wider effect to manifest the perenniality of royalty. Among the first acts of the dynasty there was also the foundation of a chivalric order that brought with it not only a ceremoniality restricted only to the group of members, but also constituted a reference point immediately recognizable through clothing. This attention to the communicative value of belonging to a circle is the same that is found in heraldry. In the Durazzo period, an innovative use of blazons and coats of arms was found on the facades of noble residences, where the presence of lilies and the tripartite coat of arms of Hungary, France and Jerusalem served to demonstrate loyalty to the Durazzo dynasty.The commissioning of the Durazzo also refers to symbolic communication. However, I did not limit myself to reviewing the works commissioned by the dynasty, but I wanted to link them to the analysis of the devotional choices of this Angevin branch, on which above all the location of their tombs illuminates us, extending the research to the whole history of the Durazzo.The thesis also took into consideration the structures of power that could transmit and implement royal orders in the territory, trying to reconstruct some reforms, implemented or attempted, in the belief that even the "bureaucracy" could contribute in giving a representation of the Durazzo power, given that changes in the organization and practices of the royal administration had consequences in the institutional balance. This analysis is preceded by a historical profile that offers an in-depth analysis of some key events in the events of the dynasty.From this thesis it emerges how the Durazzo desperately chased a legitimacy and a consensus that stabilized their power. Documents, ceremonies, chivalric orders, heraldry, tombs, foundations of churches and commissions, all contributed to contrasting the instability that hit the continental Mezzogiorno starting from the Great Schism. Ultimately, the project of Durazzo failed due to the absence of a biological heir, and Giovanna II, the last ruler of the dynasty, ended up involved in the war of the Two Hundred Years between the Angevins and the Aragonese.11-05-2020 ; Cette thèse de doctorat a pour objet l'étude de la dynastie Anjou-Durazzo, et aborde plus spécifiquement l'angle de la construction de la légitimation du pouvoir et du consensus autour du souverain. La perspective choisie découle de la prise de conscience des défis liés à la légitimation et au consensus du pouvoir devenus peut-être encore plus pressants de nos jours, alors que la crise économique, les phénomènes migratoires et l'actuelle pandémie déstabilisent les gouvernements, les institutions nationales et supranationales de l'Occident. La problématique de la légitimation et du consensus comme éléments fondateurs du pouvoir était déjà présente au Moyen Âge et comprendre les instruments politiques et symboliques utilisés par les Anjou-Durazzo, base de leur domination, est l'idée maîtresse de la thèse .Les textes ont été le premier champ d'étude pris en considération. Je me suis focalisé sur l'analyse de documents de la chancellerie des Anjou-Durazzo. J'ai mené une enquête en série sur les actes, en particulier sur le préambule ou harangue, considéré comme la partie rhétorique du document. Mon hypothèse a été que leur présentation sous forme répétitive donnait une représentation idéale du prince. J'ai analysé d'autres thématiques telles que les cérémonies royales, les ordres chevaleresques et l'héraldique. Les rituels monarchiques que j'ai pris en compte sont essentiellement les couronnements et funérailles, événements fondamentaux de la vie d'un royaume, auxquels les personnes participaient en plus grand nombre, où la communication symbolique avait une portée plus vaste pour manifester la pérennité de la royauté. Parmi les premiers actes de la dynastie, on retrouve celui de la fondation d'un ordre chevaleresque, qui avait son propre cérémonial, réservé à ses membres, mais aussi, identifiable à son habillement. Cette attention portée à la valeur communicative de l'appartenance à un clan est typique de l'héraldique. Pendant la domination des Anjou-Durazzo est apparue l'utilisation innovative des armoiries sur les façades des maisons nobles, où la présence des fleurs de lys et du blason tripartite de Hongrie, France et Jérusalem manifestait la fidélité à la dynastie. Le mécénat des Anjou-Durazzo aussi renvoie à la communication symbolique. Je ne me suis cependant pas limité à l'étude des œuvres commissionnées par la dynastie. Je les ai analysées en les mettant en lien avec les choix dévotionnels de cette branche de la dynastie angevine, à propos desquels on est renseigné par la localisation de leurs tombeaux. Cette recherche a été étendue à toute l'histoire des Anjou-Durazzo. La thèse analyse aussi les structures du pouvoir mis en place par les ordres royaux sur l'ensemble du territoire, au regard des réformes, réalisées ou tentées. Je suis convaincu que la « bureaucratie » participait à la représentation du pouvoir des Anjou-Durazzo, puisque les changements dans l'organisation et les pratiques de l'administration royale concourraient aux équilibres institutionnels. Cette analyse est précédée d'une histoire politique qui offre des approfondissements sur des événements-clés de la dynastie. La thèse montre à quel point les Anjou-Durazzo cherchèrent désespérément une légitimation et un consensus afin de stabiliser leur pouvoir. Les documents, les cérémonies, les ordres chevaleresques, l'héraldique, les tombeaux, les fondations d'églises et le mécénat participèrent à la lutte contre l'instabilité en Italie du Sud pendant la période du Grand Schisme d'Occident. Au final, le projet des Anjou-Durazzo échoua faute d'un héritier de sang, car Jeanne II, dernière souveraine de la dynastie, fut impliquée dans la guerre des Deux Cent Ans entre les Angevins et les Aragonais.

The doctoral thesis analyses the Anjou-Durazzo dynasty, in particular from the point of view of the construction of the legitimation of power and consensus around the sovereign. The perspective selected depends on awareness of the urgency of issues relating to legitimation and consensus, considering that today the economic crisis, migration and a pandemic are exhausting governments and national and supranational institutions in the West. The problem of legitimation and consensus as the founding elements of power was present also in the Middle Ages. The central point of the thesis is the understanding of the political and symbolic instruments used by the Anjou-Durazzo in order to give a basis for their domination."Writing" was the first field of study considered. I focused on the analysis of documentary production from the Chancellery of Anjou-Durazzo. I did a serial investigation of the acts of, in particular on the preamble or arenga, considered to be the rhetorical part of the document. My hypothesis was that in their recursion they contributed to composing the ideal portrait of the princeps.I analysed other themes, that is to say royal ceremonies, monarchical knightly orders and heraldry. Among the monarchical rituals I have taken into consideration especially the coronations and funerals, which were fundamental events during the life of a kingdom in which many people participated,and where therefore the symbolic communication had a potentially wider effect to manifest the perenniality of royalty. Among the first acts of the dynasty there was also the foundation of a chivalric order that brought with it not only a ceremoniality restricted only to the group of members, but also constituted a reference point immediately recognizable through clothing. This attention to the communicative value of belonging to a circle is the same that is found in heraldry. In the Durazzo period, an innovative use of blazons and coats of arms was found on the facades of noble residences, where the presence of lilies and the tripartite coat of arms of Hungary, France and Jerusalem served to demonstrate loyalty to the Durazzo dynasty.The commissioning of the Durazzo also refers to symbolic communication. However, I did not limit myself to reviewing the works commissioned by the dynasty, but I wanted to link them to the analysis of the devotional choices of this Angevin branch, on which above all the location of their tombs illuminates us, extending the research to the whole history of the Durazzo.The thesis also took into consideration the structures of power that could transmit and implement royal orders in the territory, trying to reconstruct some reforms, implemented or attempted, in the belief that even the "bureaucracy" could contribute in giving a representation of the Durazzo power, given that changes in the organization and practices of the royal administration had consequences in the institutional balance. This analysis is preceded by a historical profile that offers an in-depth analysis of some key events in the events of the dynasty.From this thesis it emerges how the Durazzo desperately chased a legitimacy and a consensus that stabilized their power. Documents, ceremonies, chivalric orders, heraldry, tombs, foundations of churches and commissions, all contributed to contrasting the instability that hit the continental Mezzogiorno starting from the Great Schism. Ultimately, the project of Durazzo failed due to the absence of a biological heir, and Giovanna II, the last ruler of the dynasty, ended up involved in the war of the Two Hundred Years between the Angevins and the Aragonese.11-05-2020 ; Cette thèse de doctorat a pour objet l'étude de la dynastie Anjou-Durazzo, et aborde plus spécifiquement l'angle de la construction de la légitimation du pouvoir et du consensus autour du souverain. La perspective choisie découle de la prise de conscience des défis liés à la légitimation et au consensus du pouvoir devenus peut-être encore plus pressants de nos jours, alors que la crise économique, les phénomènes migratoires et l'actuelle pandémie déstabilisent les gouvernements, les institutions nationales et supranationales de l'Occident. La problématique de la légitimation et du consensus comme éléments fondateurs du pouvoir était déjà présente au Moyen Âge et comprendre les instruments politiques et symboliques utilisés par les Anjou-Durazzo, base de leur domination, est l'idée maîtresse de la thèse .Les textes ont été le premier champ d'étude pris en considération. Je me suis focalisé sur l'analyse de documents de la chancellerie des Anjou-Durazzo. J'ai mené une enquête en série sur les actes, en particulier sur le préambule ou harangue, considéré comme la partie rhétorique du document. Mon hypothèse a été que leur présentation sous forme répétitive donnait une représentation idéale du prince. J'ai analysé d'autres thématiques telles que les cérémonies royales, les ordres chevaleresques et l'héraldique. Les rituels monarchiques que j'ai pris en compte sont essentiellement les couronnements et funérailles, événements fondamentaux de la vie d'un royaume, auxquels les personnes participaient en plus grand nombre, où la communication symbolique avait une portée plus vaste pour manifester la pérennité de la royauté. Parmi les premiers actes de la dynastie, on retrouve celui de la fondation d'un ordre chevaleresque, qui avait son propre cérémonial, réservé à ses membres, mais aussi, identifiable à son habillement. Cette attention portée à la valeur communicative de l'appartenance à un clan est typique de l'héraldique. Pendant la domination des Anjou-Durazzo est apparue l'utilisation innovative des armoiries sur les façades des maisons nobles, où la présence des fleurs de lys et du blason tripartite de Hongrie, France et Jérusalem manifestait la fidélité à la dynastie. Le mécénat des Anjou-Durazzo aussi renvoie à la communication symbolique. Je ne me suis cependant pas limité à l'étude des œuvres commissionnées par la dynastie. Je les ai analysées en les mettant en lien avec les choix dévotionnels de cette branche de la dynastie angevine, à propos desquels on est renseigné par la localisation de leurs tombeaux. Cette recherche a été étendue à toute l'histoire des Anjou-Durazzo. La thèse analyse aussi les structures du pouvoir mis en place par les ordres royaux sur l'ensemble du territoire, au regard des réformes, réalisées ou tentées. Je suis convaincu que la « bureaucratie » participait à la représentation du pouvoir des Anjou-Durazzo, puisque les changements dans l'organisation et les pratiques de l'administration royale concourraient aux équilibres institutionnels. Cette analyse est précédée d'une histoire politique qui offre des approfondissements sur des événements-clés de la dynastie. La thèse montre à quel point les Anjou-Durazzo cherchèrent désespérément une légitimation et un consensus afin de stabiliser leur pouvoir. Les documents, les cérémonies, les ordres chevaleresques, l'héraldique, les tombeaux, les fondations d'églises et le mécénat participèrent à la lutte contre l'instabilité en Italie du Sud pendant la période du Grand Schisme d'Occident. Au final, le projet des Anjou-Durazzo échoua faute d'un héritier de sang, car Jeanne II, dernière souveraine de la dynastie, fut impliquée dans la guerre des Deux Cent Ans entre les Angevins et les Aragonais.

The doctoral thesis analyses the Anjou-Durazzo dynasty, in particular from the point of view of the construction of the legitimation of power and consensus around the sovereign. The perspective selected depends on awareness of the urgency of issues relating to legitimation and consensus, considering that today the economic crisis, migration and a pandemic are exhausting governments and national and supranational institutions in the West. The problem of legitimation and consensus as the founding elements of power was present also in the Middle Ages. The central point of the thesis is the understanding of the political and symbolic instruments used by the Anjou-Durazzo in order to give a basis for their domination."Writing" was the first field of study considered. I focused on the analysis of documentary production from the Chancellery of Anjou-Durazzo. I did a serial investigation of the acts of, in particular on the preamble or arenga, considered to be the rhetorical part of the document. My hypothesis was that in their recursion they contributed to composing the ideal portrait of the princeps.I analysed other themes, that is to say royal ceremonies, monarchical knightly orders and heraldry. Among the monarchical rituals I have taken into consideration especially the coronations and funerals, which were fundamental events during the life of a kingdom in which many people participated,and where therefore the symbolic communication had a potentially wider effect to manifest the perenniality of royalty. Among the first acts of the dynasty there was also the foundation of a chivalric order that brought with it not only a ceremoniality restricted only to the group of members, but also constituted a reference point immediately recognizable through clothing. This attention to the communicative value of belonging to a circle is the same that is found in heraldry. In the Durazzo period, an innovative use of blazons and coats of arms was found on the facades of noble residences, where the presence of lilies and the tripartite coat of arms of Hungary, France and Jerusalem served to demonstrate loyalty to the Durazzo dynasty.The commissioning of the Durazzo also refers to symbolic communication. However, I did not limit myself to reviewing the works commissioned by the dynasty, but I wanted to link them to the analysis of the devotional choices of this Angevin branch, on which above all the location of their tombs illuminates us, extending the research to the whole history of the Durazzo.The thesis also took into consideration the structures of power that could transmit and implement royal orders in the territory, trying to reconstruct some reforms, implemented or attempted, in the belief that even the "bureaucracy" could contribute in giving a representation of the Durazzo power, given that changes in the organization and practices of the royal administration had consequences in the institutional balance. This analysis is preceded by a historical profile that offers an in-depth analysis of some key events in the events of the dynasty.From this thesis it emerges how the Durazzo desperately chased a legitimacy and a consensus that stabilized their power. Documents, ceremonies, chivalric orders, heraldry, tombs, foundations of churches and commissions, all contributed to contrasting the instability that hit the continental Mezzogiorno starting from the Great Schism. Ultimately, the project of Durazzo failed due to the absence of a biological heir, and Giovanna II, the last ruler of the dynasty, ended up involved in the war of the Two Hundred Years between the Angevins and the Aragonese.11-05-2020 ; Cette thèse de doctorat a pour objet l'étude de la dynastie Anjou-Durazzo, et aborde plus spécifiquement l'angle de la construction de la légitimation du pouvoir et du consensus autour du souverain. La perspective choisie découle de la prise de conscience des défis liés à la légitimation et au consensus du pouvoir devenus peut-être encore plus pressants de nos jours, alors que la crise économique, les phénomènes migratoires et l'actuelle pandémie déstabilisent les gouvernements, les institutions nationales et supranationales de l'Occident. La problématique de la légitimation et du consensus comme éléments fondateurs du pouvoir était déjà présente au Moyen Âge et comprendre les instruments politiques et symboliques utilisés par les Anjou-Durazzo, base de leur domination, est l'idée maîtresse de la thèse .Les textes ont été le premier champ d'étude pris en considération. Je me suis focalisé sur l'analyse de documents de la chancellerie des Anjou-Durazzo. J'ai mené une enquête en série sur les actes, en particulier sur le préambule ou harangue, considéré comme la partie rhétorique du document. Mon hypothèse a été que leur présentation sous forme répétitive donnait une représentation idéale du prince. J'ai analysé d'autres thématiques telles que les cérémonies royales, les ordres chevaleresques et l'héraldique. Les rituels monarchiques que j'ai pris en compte sont essentiellement les couronnements et funérailles, événements fondamentaux de la vie d'un royaume, auxquels les personnes participaient en plus grand nombre, où la communication symbolique avait une portée plus vaste pour manifester la pérennité de la royauté. Parmi les premiers actes de la dynastie, on retrouve celui de la fondation d'un ordre chevaleresque, qui avait son propre cérémonial, réservé à ses membres, mais aussi, identifiable à son habillement. Cette attention portée à la valeur communicative de l'appartenance à un clan est typique de l'héraldique. Pendant la domination des Anjou-Durazzo est apparue l'utilisation innovative des armoiries sur les façades des maisons nobles, où la présence des fleurs de lys et du blason tripartite de Hongrie, France et Jérusalem manifestait la fidélité à la dynastie. Le mécénat des Anjou-Durazzo aussi renvoie à la communication symbolique. Je ne me suis cependant pas limité à l'étude des œuvres commissionnées par la dynastie. Je les ai analysées en les mettant en lien avec les choix dévotionnels de cette branche de la dynastie angevine, à propos desquels on est renseigné par la localisation de leurs tombeaux. Cette recherche a été étendue à toute l'histoire des Anjou-Durazzo. La thèse analyse aussi les structures du pouvoir mis en place par les ordres royaux sur l'ensemble du territoire, au regard des réformes, réalisées ou tentées. Je suis convaincu que la « bureaucratie » participait à la représentation du pouvoir des Anjou-Durazzo, puisque les changements dans l'organisation et les pratiques de l'administration royale concourraient aux équilibres institutionnels. Cette analyse est précédée d'une histoire politique qui offre des approfondissements sur des événements-clés de la dynastie. La thèse montre à quel point les Anjou-Durazzo cherchèrent désespérément une légitimation et un consensus afin de stabiliser leur pouvoir. Les documents, les cérémonies, les ordres chevaleresques, l'héraldique, les tombeaux, les fondations d'églises et le mécénat participèrent à la lutte contre l'instabilité en Italie du Sud pendant la période du Grand Schisme d'Occident. Au final, le projet des Anjou-Durazzo échoua faute d'un héritier de sang, car Jeanne II, dernière souveraine de la dynastie, fut impliquée dans la guerre des Deux Cent Ans entre les Angevins et les Aragonais.

The doctoral thesis analyses the Anjou-Durazzo dynasty, in particular from the point of view of the construction of the legitimation of power and consensus around the sovereign. The perspective selected depends on awareness of the urgency of issues relating to legitimation and consensus, considering that today the economic crisis, migration and a pandemic are exhausting governments and national and supranational institutions in the West. The problem of legitimation and consensus as the founding elements of power was present also in the Middle Ages. The central point of the thesis is the understanding of the political and symbolic instruments used by the Anjou-Durazzo in order to give a basis for their domination."Writing" was the first field of study considered. I focused on the analysis of documentary production from the Chancellery of Anjou-Durazzo. I did a serial investigation of the acts of, in particular on the preamble or arenga, considered to be the rhetorical part of the document. My hypothesis was that in their recursion they contributed to composing the ideal portrait of the princeps.I analysed other themes, that is to say royal ceremonies, monarchical knightly orders and heraldry. Among the monarchical rituals I have taken into consideration especially the coronations and funerals, which were fundamental events during the life of a kingdom in which many people participated,and where therefore the symbolic communication had a potentially wider effect to manifest the perenniality of royalty. Among the first acts of the dynasty there was also the foundation of a chivalric order that brought with it not only a ceremoniality restricted only to the group of members, but also constituted a reference point immediately recognizable through clothing. This attention to the communicative value of belonging to a circle is the same that is found in heraldry. In the Durazzo period, an innovative use of blazons and coats of arms was found on the facades of noble residences, where the presence of lilies and the tripartite coat of arms of Hungary, France and Jerusalem served to demonstrate loyalty to the Durazzo dynasty.The commissioning of the Durazzo also refers to symbolic communication. However, I did not limit myself to reviewing the works commissioned by the dynasty, but I wanted to link them to the analysis of the devotional choices of this Angevin branch, on which above all the location of their tombs illuminates us, extending the research to the whole history of the Durazzo.The thesis also took into consideration the structures of power that could transmit and implement royal orders in the territory, trying to reconstruct some reforms, implemented or attempted, in the belief that even the "bureaucracy" could contribute in giving a representation of the Durazzo power, given that changes in the organization and practices of the royal administration had consequences in the institutional balance. This analysis is preceded by a historical profile that offers an in-depth analysis of some key events in the events of the dynasty.From this thesis it emerges how the Durazzo desperately chased a legitimacy and a consensus that stabilized their power. Documents, ceremonies, chivalric orders, heraldry, tombs, foundations of churches and commissions, all contributed to contrasting the instability that hit the continental Mezzogiorno starting from the Great Schism. Ultimately, the project of Durazzo failed due to the absence of a biological heir, and Giovanna II, the last ruler of the dynasty, ended up involved in the war of the Two Hundred Years between the Angevins and the Aragonese.11-05-2020 ; Cette thèse de doctorat a pour objet l'étude de la dynastie Anjou-Durazzo, et aborde plus spécifiquement l'angle de la construction de la légitimation du pouvoir et du consensus autour du souverain. La perspective choisie découle de la prise de conscience des défis liés à la légitimation et au consensus du pouvoir devenus peut-être encore plus pressants de nos jours, alors que la crise économique, les phénomènes migratoires et l'actuelle pandémie déstabilisent les gouvernements, les institutions nationales et supranationales de l'Occident. La problématique de la légitimation et du consensus comme éléments fondateurs du pouvoir était déjà présente au Moyen Âge et comprendre les instruments politiques et symboliques utilisés par les Anjou-Durazzo, base de leur domination, est l'idée maîtresse de la thèse .Les textes ont été le premier champ d'étude pris en considération. Je me suis focalisé sur l'analyse de documents de la chancellerie des Anjou-Durazzo. J'ai mené une enquête en série sur les actes, en particulier sur le préambule ou harangue, considéré comme la partie rhétorique du document. Mon hypothèse a été que leur présentation sous forme répétitive donnait une représentation idéale du prince. J'ai analysé d'autres thématiques telles que les cérémonies royales, les ordres chevaleresques et l'héraldique. Les rituels monarchiques que j'ai pris en compte sont essentiellement les couronnements et funérailles, événements fondamentaux de la vie d'un royaume, auxquels les personnes participaient en plus grand nombre, où la communication symbolique avait une portée plus vaste pour manifester la pérennité de la royauté. Parmi les premiers actes de la dynastie, on retrouve celui de la fondation d'un ordre chevaleresque, qui avait son propre cérémonial, réservé à ses membres, mais aussi, identifiable à son habillement. Cette attention portée à la valeur communicative de l'appartenance à un clan est typique de l'héraldique. Pendant la domination des Anjou-Durazzo est apparue l'utilisation innovative des armoiries sur les façades des maisons nobles, où la présence des fleurs de lys et du blason tripartite de Hongrie, France et Jérusalem manifestait la fidélité à la dynastie. Le mécénat des Anjou-Durazzo aussi renvoie à la communication symbolique. Je ne me suis cependant pas limité à l'étude des œuvres commissionnées par la dynastie. Je les ai analysées en les mettant en lien avec les choix dévotionnels de cette branche de la dynastie angevine, à propos desquels on est renseigné par la localisation de leurs tombeaux. Cette recherche a été étendue à toute l'histoire des Anjou-Durazzo. La thèse analyse aussi les structures du pouvoir mis en place par les ordres royaux sur l'ensemble du territoire, au regard des réformes, réalisées ou tentées. Je suis convaincu que la « bureaucratie » participait à la représentation du pouvoir des Anjou-Durazzo, puisque les changements dans l'organisation et les pratiques de l'administration royale concourraient aux équilibres institutionnels. Cette analyse est précédée d'une histoire politique qui offre des approfondissements sur des événements-clés de la dynastie. La thèse montre à quel point les Anjou-Durazzo cherchèrent désespérément une légitimation et un consensus afin de stabiliser leur pouvoir. Les documents, les cérémonies, les ordres chevaleresques, l'héraldique, les tombeaux, les fondations d'églises et le mécénat participèrent à la lutte contre l'instabilité en Italie du Sud pendant la période du Grand Schisme d'Occident. Au final, le projet des Anjou-Durazzo échoua faute d'un héritier de sang, car Jeanne II, dernière souveraine de la dynastie, fut impliquée dans la guerre des Deux Cent Ans entre les Angevins et les Aragonais.

Na temelju otkrića stupa s natpisom SCRIB COS, scrib(a) co(n)s(ularis) don Frane Bulić ubicirao je palaču namjesnika provincije Dalmacije gdje je potom pronađeno više slojeva mozaika s figuralnim prikazima (Apolona, Tritona i Orfeja) i geometrijskom ornamentikom. Analizom dokumentacije napravljene za vrijeme istraživanja 1942. godine, može se razlučiti osnovni oblik građevine, tj. klasični tip rimske vile sa središnjim atrijem, koja se nalazila uz glavni dekuman. Već na prvi pogled primjećuju se tijekom vremena znatna preuređenja pojedinih prostora i dvorana osnovnog korpusa palače, a osobito u vrijeme cara Dioklecijana. To nedvojbeno potvrđuje carev gentilicij Valeria u službenom nazivu grada naveden na reljefu salonitanske Tihe koji je tvorio dio lučnog ukrasa ulaza u namjesnikovu palaču. Autorica rekonstruira izgled monumentalnih vrata gdje se u ključnom kamenu nalazio prikaz Rome čiji je lik flankirao treći, zasad nepoznati reljef. ; Following up on an accidental discovery of a column that had on it the inscription SCRIB COS, scrib(a) co(n)s(ularis) back in 1916, Frane Bulic located the office of the governor's secretary, in other words, the palace of the governor of Dalmatia. In this place several layers of mosaics were found, Bulić focusing on those with depictions of Apollo, Triton and Orpheus, but in spite of all his efforts, he did not manage to buy the land. During World War II, Italian archaeologists carried out excavations in the palace during 1942 and at that time, extracted numerous mosaics, today partially exhibited in the Archaeological Museum in Split. Unfortunately, no accounts of the results of the Italian excavations were ever published, and it is only recently that Emilio Marin has provided part of the documentation of this research. Only a preliminary account of the governor's palace revealed in the Ilinac neighbourhood (Zubanovac, cadastral parcel 3551/1) has been published. Hence it is not possible to comprehend the totality of this monumental public building, or the unique stratigraphic relation of the individual mosaic fields with figural depictions or those with geometrical ornamentation that also formed a considerable part of the whole of the arrangement of the flooring. However, through an analysis of the architectural and photographic documentation made during the excavations known so far, it is possible to distinguish the basic shape of the building. It is a classic type of Roman villa with a central atrium. At first glance it is possible to make out the considerable remodelling of individual rooms and halls of the basic corpus of the 2nd century AD palace that took place over the course of time. The entry was on the northern façade, and then through the vestibule there was access into the atrium, the central space with porticos, around an impluvium enabling access to the other rooms. One the west side of the atrium is a series of four rectangular rooms, while on the eastern side was a room of much bigger dimensions with built square pylons regularly distributed around the central pylon. These are structural elements, i.e., bearers of the cross vaults that spanned the largest hall and on the floor above it was a room of the same size. The main hall was decorated with floor mosaics with rich floral ornamentation. These elements show the final renovation of the grand hall in Late Antiquity, undoubtedly influenced by the architecture of Diocletian's Palace. Belonging to the first layer is a mosaic showing the mythical singer Orpheus, over which is a mosaic with Triton, in the extension of which was a mosaic featuring Apollo. According to archival photography, mosaics with Triton and Apollo are above any of the other mosaics and probably belong to the last renovation of the mosaic floors of the governor's palace. The question here arises as to whether the placing of the figure of Triton is to be linked with inscriptions of a college from the time of Diocletian: sailors who served on ships called tritons, the names of which are written on altars during the annual ceremonies of Kalendis febr(aris) menestravinus at Tritonis. The governor's palace was much renovated, like other public buildings, in the time of Emperor Diocletian. Although for the moment only modest remains of his well known architectural activity have been confirmed in Salona, the emperor's gentile name in the official name of the city is stated in the relief of the Salona Tyche, confirming this beyond a doubt. Since the relief belongs to the arcuate decoration of the monumental gate, and is found by what are called Five Bridges, it has been assumed that it was originally placed on the nearby city gate, Porta Caesarea. But in the immediate vicinity of the site of the discovery of the arcuate relief there was the governor's palace. What was actually shown on the keystone of the arch beside the relief of the Salona Tyche? In a study dedicated to monuments of Minerva, D. Rendić-Miočević provides the information that together with the relief of Salonitan Tyche there was a relief found that had a depiction of a bust of Minerva or Roma on the arch stone of one of the gates in Salona. This relief of Roma is also displayed in the lapidarium of the Archaeological Museum, but is wrongly entered into the museum inventory (Cat. D 480), which has entirely suppressed its origins in Salona. That it belonged to the decorative parts of the same arch is shown beyond a doubt by the identical lines of the moulding around similarly formed niches and the stylistic characteristics of the female deities. It was above the main entrance into the governor's palace that there were prominent relief depictions of Roma, personification of the Roman state, and Salonitan Tyche, patroness of the city. This correlates very well with the context of the propaganda and religious programme of the residence of the governor of the province of Dalmatia. Over the main entrance, then, were displayed the official symbols of Roman rule. From this point of view it can be hypothesised what there might be on the third relief, which undoubtedly flanked the goddess Roma on the other side. Since in the name of Salona there was Diocletian's gentilicium, Valeria, which is an essential element for the time of the origin of the relief, that is, the decoration over the entrance of this important building for the government of the whole province, one should assume there was some symbol of the ruler, i.e., the emperor. It is an open question whether in this place one is to look for the figure of the ruler so present in and responsible for the renovation of not only this public building but of the whole of the capital, Salona, whence, when he stepped down from the throne, he was able still to take part in the government of the Empire.

Architectural surfaces of the Villa Imperiale in PesaroThe present study addresses the importance of plaster and colour in Renaissance architecture. The starting point of examination is the Villa Imperiale in Pesaro, which belongs to the incunabula of the Italian High Renaissance and which is still preserving a variety of architectural features until this day due to its history of owners and restorations. Especially the architect Girolamo Genga stands for the examined topic. Therefore, his career as well as his work will be presented exemplarily in this study.The Villa Imperiale is well known for its sophisticated fresco structures in relevant art historical literature. According to unanimous opinion of historical research, these structures are referring to the eventful life of Francesco Maria della Rovere, Duke of Urbino. In this context mostly the question of authorship was discussed without regarding the exterior appearance in form of the architectural surfaces and their effect on the viewer. These simply don't exist for the science of art until now. From this very narrowed point of view, the villa is seen as an ideal example of material shown architecture how it is often claimed for the Renaissance. However, can this claim really be sustained? To firstly examine this question, the existing theoretical knowledge of that time was examined under the viewpoint of plaster and colour in architecture. Hereby it was found that primarily G. A. Rusconi made some more than vague comments regarding this topic, even though especially plaster and colour were used as means of architectural design in the Renaissance. Besides Rusconi, it was S. Serlio who surprisingly made the usage of plaster and colour as a means of designing architectural frontages his subject of discussion. For him both materials either used individually or combined, were an effective instrument in architecture to standardise frontages and on the other side to individualise them. Regarding architectural treatises, it can be ascertained that a majority of them refused to interpret the different levels of meaning of plaster and colour in architecture and thus deny their relevance for the exterior appearance. Only the very precise information about production and application of plaster and colour highlight their unexpressed artistic and iconographic importance in former times. This information must also be known by the architect of the Villa Imperiale, Girolame Genga. He was born in 1476 in the little town Urbino in the Markes, which experienced the first period of political and artistic prosperity under the rule of Federico da Montefeltros. At that time whole areas of the town were built from anew and remodelled in the style of that time. Simultaneously, Urbino became one of the leading centres of Humanism in Italy. In this cosmopolitan environment the young Genga learned the art of pictorial design. Hereby especially multi-figured paintings belonged to his strengths whereas his attempts in architecture oftentimes appear weak and flat.However, over the years he changed over to produce stage- and festival decorations. The emphasis of his work was laid on creating illusionistic pictures as before. His paintings of sceneries and decorations should later shape his architectural work. Similar to his illusionistic paintings, his buildings have no plastic depth. This becomes only clear for the observers by viewing the interaction of light and shadow on the planar and large building surfaces.Remaining faithful to his formation, also the Villa Imperiale, his major work, got only weakly textured reliefs, which can only unfold their full potential in the interaction of light and shadow similar to a large stage. The integral part of this staging is the still rudimentary existing and very differentiated handling of architectural surfaces of the villa, which shows the artist's background as a painter.The weakly textured relief of the villa Nuova is only perceivable by a monochrome, harmonised suspender beam in the play of the sun on its frontage. It marks a contrast to the older Villa Sforza, which was transformed into a "medieval estate" as Renovatio of an already existing Casa Rurale. Outwardly it looks like a well-fortified castell, inside like a valuable precious item, which tells the history of the owner to its visitors. For this, Genga used his education as an artist and created a connection between illusion and reality.Observing both buildings, various traces of former plaster can be detected. However as the covering plaster has diminished today it has mostly been ignored by art science. The plaster's existence can alone be perceived by the mere size of the building, as for its construction millions of bricks would have to be produced on site. Since a process as such would have cost several years, demolition material was used, which can be clearly seen by observing the masonry bond. To create a uniform and cohesive surface - material was only means to an end - the façades got a light plaster that let the building appear like a large, prismatic body from nearby and far off. This picture again appears like a view of one of the various paintings of their master, like a piece of staffage architecture in a magnificent landscape.Now the question has to be raised whether this was a mere coincidence or whether it can be seen as a specific selection of designed surfaces. As it can be derived from the above mentioned literature, during the whole renaissance period the topic was not part of any theoretical consideration. Instead the impression is created as if the usage of plaster and colour was taken for granted and not being worth to discuss. Only in Alberti's references evidence can be found indicating a preferred application of these materials. Primarily, the brick limited the production of certain forms of design due to its small formats. With the aid of plaster and colour remedy could be provided despite this deficit and even larger stone formats could be imitated in a deceptively real looking way. And the fact that Genga made use of these means goes without saying considering his education. Changing the focus away from his person, it can be stated that the application of plaster and colour has become one of the essential forms of design media in architecture of the Renaissance. Virtually all great architects of that time made use of them for an effective and simultaneously economic design of their buildings. By this, they gained independence from certain, only regionally available construction materials and were able to bring themselves more into line with antique architecture, which itself aimed to create effects with plastered or stuccoed surfaces it would never have achieved with mere material.On the scale of things it can be justifiably claimed that plaster and colour represent the actual exterior of a building and contribute essentially to the appearance of its architecture. They determine perception of the building's architecture as well as its perspective. For this reason plaster and colour inseperably belong to the architectural plan and are in no sense exchangeable surfaces how modern architectural theory likes to proclaim.

When Napoleon Bonaparte staged a coup d'état to oust the civilian government of the Directorate in France, he justified his actions as necessary to save the spirit of the Revolution. The army, in Napoleon's view, had a solemn obligation to defend the nation against threats both at home and abroad.The notion that a military, as guardians of a national spirit, has the right to seize the authority of the state became known as Bonapartism. This seemingly persistent belief in certain militaries in Africa emphasizes the need for comprehensive reform.Military regimes can perceive themselves to be better at governance than civilians. The simplicity of efficiently carrying out orders stands in stark contrast to the seemingly endless bureaucracy impeded by incompetence and corruption. In crises where politics leads to impasses in service delivery, the military's projection as being "above politics" can help it seize and keep power in fragile states.Despite the anti-French rhetoric of coup leaders in Africa, many of them nonetheless invoke this spirit of Bonapartism in acting to "save" the state. As the French Revolution began to eat itself under the Reign of Terror, for Napoleon the only means to preserve the Revolution was for its defenders to remove the civilian leadership by force.This was no singular event. Several times in the 19th and 20th centuries, the French army forced dramatic changes in the state whenever the national spirit had been challenged. Bonapartism furthermore formed a significant part of military formation in France's colonies, particularly in Africa.The problem with Bonapartism is that it has greatly undermined attempts to professionalize security forces. When we speak of professional soldiers outside of a (former) colonial setting, we mean a trained soldier who readily accepts and defends civilian authority. Such a situation is so taken for granted today that we do not always appreciate how necessary this is for a thriving democracy.If a military perceives itself to be better, more competent, or in some way less fallible than the civilian government, then a risk of Bonapartism can persist regardless of how well trained they might be. U.S. training of officers, such as those in Niger, may unintentionally lead to a growing confidence in the military about their competence and increase the risk of a takeover.The officers leading the coups in Niger and Gabon cite persistent civilian misrule, aided in no small part by continued French dominance in domestic political and economic policies in both countries, as the primary justification for their intervention. They present themselves as acting in the best interests of the nations they are nominally intended to protect. Seizing power away from incompetent civilians is merely a continuation of their duty.Scenes of crowds celebrating the removal of decades-long dictatorships do indicate at least a modicum of legitimacy for the military's actions in Gabon. Many coup leaders across Africa have justified their actions on the demonstrable misrule by civilian governments. In almost every scenario, however, the coup leaders merely became the new dictators. These actions further emulate Napoleon's hold on power, although few did so as blatantly as Jean-Bedel Bokassa of the Central African Republic, who declared himself Emperor 4 December 1977.Bonapartism is not solely a francophone problem and can exist in any state with weak democratic institutions. In the cases of Zimbabwe and Egypt, despite the civilian façade, the spirit of Bonapartism still lingers. For both states, the military has long been the true source of the state's authority.Zimbabwe's elections are a mere formality, a political tradition rather than any substantive effort to change the civilian authority. Aside from the Egyptian military's brief foray into relinquishing power to the Muslim Brotherhood in 2012, the civilian leadership serves at the pleasure of the military, not the electorate. When the military felt that Egypt was at risk under the leadership of the Brotherhood, they acted to save the state by retaking authority, a quintessential Bonapartist action.The coup in Sudan that ousted Omar al-Bashir was a remarkably similar instance of a military acting to change the civilian leadership during a crisis. However, the current infighting among senior officers points to an entirely different matter. It's actually a misnomer to refer to states like Sudan as "weak." Rather, the problem lies in the fact that the state is too powerful in relation to other aspects of the society, particularly the economy.Such states are the 'only game in town' in terms of attaining mobility, income, and basic security. Fights over who controls the state become so violent because of a lack of options. As long as other sectors remain underdeveloped, the risks of coups will persist. In such cases, it may well be counter-productive to invest too much in the militaries, and making control of the military all the more tempting.There are steps the African Union and other international bodies can take to militate against Bonapartism. The first concerns the AU's Lomé Declaration of 2000, which established a norm against unconstitutional regime changes by stating that any extra constitutional changes in a government is grounds for immediate suspension. In practice, this commitment has been far from rock solid, with the AU making numerous exceptions over the years.Moreover, tougher penalties could be applied, especially in the form of mandating Security Sector Reform (SSR) as necessary processes to return to the AU.SSR entails a comprehensive overhaul of a state's security sector. The security sector includes not only the military but also the police, judiciary, and any intelligence services. Importantly, SSR requires more than mere training, as the Niger and Burkina Faso cases demonstrate. Therein lies the rub of military governance and strengthening democracies: the only body with the authority to restructure the military is the military itself.Save for the odd counter-example, democratic promises by army officers have rarely been realized. Even in instances where elections have been held, the military nonetheless retains inordinate influence over the civilian leadership, and the threat of future coups persists.SSR is neither cheap nor easy to adequately implement. One of the most important factors is rewriting a constitution with sufficient judicial strength to ensure that an elected legislative body has the ultimate authority over all security forces. Doing so must result in the end of Bonapartism for the military and the conclusion that they are not the sole nor ultimate defenders of the nation.The rush to hold elections after a coup is often seen as an act of good faith by coup-leaders to return a country to democracy. However, to be a democracy does not only mean having elections, as democracy contains a set of values, including civilian oversight and regulation of all coercive forces in a state.Every soldier needs to be educated on the importance of civilian leadership as they are far more likely to know what is in the best interests of the civilian population than a general. Military training by foreign experts without complementary democracy training is, as Niger bears out, counter-productive to the overall mission objectives of combating Islamist insurgencies. US foreign military training reportedly includes instruction on safeguarding democracy and human rights.While US policy is to immediately halt all military aid following a coup, the policy has not always been strictly enforced, more rigorous enforcement may be more effective in the long term. These recent coups raise the difficult question on the efficacy of democracy and human rights training for militaries who are evidently not receptive to the message.Louis-Napoleon Bonaparte attempted a similar overthrow of a civilian government as his more illustrious uncle in 1851. This more foolhardy power grab led Karl Marx to quip that "history repeats itself, the first as tragedy, the second as farce." Unless the right lessons are learned, the Bonapartism lurking in African militaries will continue the tragedy of military rule.

Text en anglès i castellà. La consulta íntegra de la tesi, inclos l'article no comunicat públicament per drets d'autor, es pot realitzar prèvia petició a l'Arxiu de la UPC ; The overall aim of the thesis is to encourage the presence of sunlight into indoor spaces. The specific objective is to show that, from the lighting point of view, a good design can harness the solar reflection on the surfaces and increase the overall light level, without provoking the excessive contrast that causes glare. A literature review shows off the value of sunlight. The testimony of professional photographers describes its contribution to the visual interest. The scientific works stress the predilection that users feel in relation to the presence of sunlight, and inform about its healthy effects. People spend more and more time indoors and, therefore, require the introduction of sunlight. Ajourney through the history discovers the works and rules that are exemplary examples of good design. Nevertheless, the current legislation shows gaps when it only faces quantitative aspects (distribution of minimum light levels). The qualitative aspects (linked to the vision of light interest) should be part of the design more often. The challenge implies to be provided with tools to assess the balance of visible light into the spaces. The purpose of the glare formulations is to warn if a light contrast is excessive. The difficulty of its purpose is notable as it intends to assess the perceptive reaction of human vision, partially subjective. The attempts to validate a formulation are numerous. The thesis analyses eight indices of glare and chooses two to be included in an assessment methodology based on the reading of HDR images. The development of a script allows a data-processing succession, using the tools of Radiance, Webhdrtools and Evalglare. The methodology includes the assessment of the impact of different calibration parameters belonging to the camera (centre of bracketing) and those of the calculation instructions (calibration factor and threshold definition of glare source) to ensure the reliability of the calculations under sunlight conditions. The measurements were made in summer, at various scenarios located in two cities. In London, the first case considered a singular office lit thanks to roof and side windows (two façades). The outcome was compared with the perception of users with different nationalities and lighting cultures. Then, two meeting rooms permitted the assessment of the perception of a significant number of visual fields. The different orientation of the rooms (north and south) allowed the comparison of the effects of the solar presence inside or outside. In both cases, two variables were included: the window size and the contribution of the artificial light. In Barcelona, two other meeting rooms were studied, having both deeper solar penetrations due to the west orientation. This feature led to the consideration of the effects of several sunlight control devices: roller shutters, roller screens and vertical slats . Finally, in Barcelona, a final case served to judge a space under new conditions, characterized by an intermediate orientation (southwest) that, according to the time of day toggled the solar presence inside and outside, and a small window ratio in relation to the total facade. The results lead to specific conclusions depending on the type of solar penetration, due to the orientation, and the position that users occupy. Their joint contribution permits to suggest that the glare indexes rarely describe a disturbing or intolerable situation that would complicate a visual task. Therefore, except for the situations where the radiation falls on working surfaces, the design can incorporate the solar presence in the interiors in order to improve the lighting and thermal conditions. ; El objetivo general de la tesis es fomentar la presencia de la luz solar en los espacios interiores. El objetivo específico es demostrar que, desde el punto de vista lumínico, un buen diseño puede aprovechar la reflexión solar en las superficies y aumentar el nivel lumínico general sin que el contraste sea excesivo y cause deslumbramiento. Una revisión bibliográfica pone en valor la luz solar. El testimonio de fotógrafos profesionales describe su contribución en el interés visual. Los trabajos científicos destacan la predilección que sienten los usuarios por la presencia de la luz solar e informa de sus efectos saludables. Los individuos pasan cada vez más horas en espacios interiores y, por tanto, requieren la introducción de la luz solar. Un recorrido por la historia descubre obras y normas que son muestras ejemplares de buen diseño. Pese a ello, la legislación actual muestra carencias cuando únicamente afronta aspectos cuantitativos (reparto de niveles lumínicos mínimos). Los aspectos cualitativos (interés vinculado a la visión de la luz) deberían formar parte del diseño más a menudo. El reto implica dotarse de herramientas de evaluación del equilibrio de la luz visible en los espacios. El propósito de las fórmulas de deslumbramiento es advertir si un contraste lumínico es excesivo. La dificultad de su propósito es notable ya que pretenden evaluar la reacción perceptiva de la visión, parcialmente subjetiva. Las tentativas para validar una formulación son numerosas. La tesis analiza ocho índices de deslumbramiento y escoge dos para introducirlos en una metodología de evaluación basada en la lectura de imágenes HDR. El desarrollo de un script permite encadenar procedimientos informáticos que aprovechan herramientas de Radiance, Webhdrtool y Evalglare. La metodología incluye la valoración de la repercusión de diferentes parámetros de calibración propios de la cámara (centro del horquillado) y de las instrucciones de cálculo (factor de calibración y umbral de definición de la fuente deslumbramiento) para garantizar la fiabilidad de los cá lculos en condiciones de luz solar. Las mediciones sucedieron en verano, en escenarios diversos ubicados en dos ciudades. En Londres, el primer caso consideró una oficina singular, con luz cenital y lateral (dos fachadas). La obtención de resultados fue comparada con la percepción de unos usuarios de nacionalidades y culturas lumínicas distintas. A continuación, dos salas de reunión permitieron evaluar la percepción de un notable número de campos visuales. La distinta orientación de las salas (norte y sur) permitió comparar los efectos de la presencia solar en el interior o en el exterior. En ambos casos, dos variables fueron incorporadas: el tamaño de ventana y la contribución de la luz artificial. En Barcelona, dos otras salas de reunión fueron estudiadas, ambas con penetraciones solares más profundas a causa de la orientación oeste. Esta particularidad dio lugar a la consideración de los efectos de diferentes dispositivos de control de la luz solar: persianas o cortinas enrollables y lamas verticales. Finalmente, en Barcelona, un último caso sirvió para juzgar un espacio con condiciones distintas a las anteriores, caracterizado por una orientación intermedia (suroeste), que según la hora del día compaginaba la presencia solar en el interior y en el exterior, y por una proporción de ventana pequeña en relación a la totalidad de la fachada pequeña. Los resultados dan lugar a conclusiones específicas en función del tipo de penetración solar según las orientaciones y de la posición que ocupan los usuarios. Su contribución conjunta permite afirmar que los índices de deslumbramiento describen situaciones molestas o perturbadoras para una tarea visual en muy pocas ocasiones. Por tanto, exceptuando las situaciones en que la radiación incide sobre las superficies de trabajo, el diseño puede incorporar la presencia solar en los interiores con el fin de contribuir lumínicamente o térmicamente. ; Postprint (published version)