1,355,811 research outputs found
Colours of the prosperity: Fruits from the old and new world
No full textThe Farnesina villa was built at the will of the wealthy Senegal banker Agostino Chigi. Designed by Baldassarre Peruzzi and frescoed by artists of the likes of Raffaello, Sebastiano del Piombo, Sodoma and Peruzzi himself, is one of the highest expressions of the Italian Renaissance. Since 1948 Villa Farnesina with its magnificent garden has been assigned to the National Academy of the Lincei, which uses it as its prestigious representative office. The vault of the main loggia inside it was frescoed by Raphael’s design inspired by the fable of Love and Psyche taken from the golden donkey by Lucio Apuleius (I century AD) and decorated with naturalistic motifs performed with extraordinary mastery by Giovanni da Udine to connect the interiors with the surrounding garden. The varied disposition and richness of plant species in which the painter could use a stylistic language and a chromaticity of absolute originality amount to about one hundred and eighty botanical entities. Exceptional is the presence of rare and exotic species from all the then known continents and especially American species to just 20 years after the discovery of the new world.
The Exceptionality of the Loggia is celebrated in the exhibition “The Colors of Prosperity: Fruits of the Old and New World”, from 20 April to 20 July 2017 at Villa Farnesina, curated by Antonio Sgamellotti (Prof. Emeritus of Inorganic Chemistry, University of Perugia ) And Giulia Caneva (Environmental and Applied Botanical Order, Univ. Roma Tre), who already authored a monograph on the flora represented in the Loggia.
The exhibition combines the iconographic variety and symbology associated with the results of a non-invasive XRF, IR and IRFC imaging campaign conducted in situ for material characterization and executive technique. Imaging analyzes, made possible by recent technological advances in the spectroscopic field, integrate those conducted during the last intervention of the ISCR (Institute for Conservation and Restoration) in the 90s of the last century and shed new light On this precious construction site, highlighting its unprecedented aspects. The exhibition’s path is divided into the private rooms of the magnificent residence and is complemented by an introductory video room on the gardens of Villa Farnesina, whose festoons constitute the prospective illusion inside and in a room where they are exposed Some sixteenth-century editions from the Library of the National Academy of the Lincei and Corsiniana to outline the artistic and scientific context in which the decorative masterpiece of the Loggia di Amore e Psyche fits in
Identity of a historic garden: The view of the international literature and committies on the role of the botanical elements
No full textElsevier
Urban Forestry & Urban Greening
Volume 101
, November 2024, 128501
Urban Forestry & Urban Greening
Identity of a historic garden: The view of the international literature and committies on the role of the botanical elements
Author links open overlay panel
Z. Hosseini a
,
F. Bartoli a b
,
M.A. Pontrandolfi a
,
G. Caneva a
Show more
Add to Mendeley
Share
Cite
https://doi.org/10.1016/j.ufug.2024.128501
Get rights and content
Abstract
Historic gardens are conceptualized within various cultural and legal frameworks. This research aims to unravel the complexities of the historic garden identity through the lens of international regulations, national laws, and scientific literature to reveal differences in the perception of their botanical elements. We employed a combined analytical approach, using recommendations from related international institutions (i.e. UNESCO, ICCROM, and ICOMOS), national legislation, and a review of scientific literature. The analysis identified 25 documents related to the keywords: nature, landscape, site, and garden; however, only six mentioned gardens, and just one (The Florence Charter., 1982) explicitly addressed historic gardens. Only 7 % of UNESCO member countries (197) have specific provisions for historic gardens. Within them, a diverse range of definitions and standards has resulted in discrepancies in how historic gardens are recognized and conserved across different jurisdictions. Some countries have well-defined categories for garden heritage, while others offer limited or broad categorizations that may obscure garden identities. The findings underscore the necessity for more coherent international regulations that adequately reflect historic gardens' cultural and botanical significance. The study also highlighted the overlooked role of botanical elements, since only four countries included botanical value as an explicit criterion in their legal designations, suggesting that the botanical aspect is often considered within a larger ecological and geographical context. The imperative to preserve these living legacies within the broader context of cultural heritage also became apparent
La voce di Demostene: strategie della performance nella lotta politica di IV secolo
No full textThe paper deals with the ancient evidence concerning Demosthenes’ training and performance strategies as a vivid example of the developments political oratory underwent in Athens during the 4th century. The focus is on the role of the orator’s voice in expressing emotional participation with, and ethical commitment to the internal and external dramatic events on which the People had to deliberate. Through the special lens of contemporary criticism expressed by rivals in the political and intellectual scene (especially Aeschines and Demetrios of Phalerum), it is possible to see how Demosthenes
consistently moved away from a paradigm of emotional self-restraint that was still defended by many traditionalist politicians, while also overtly contravening ideas about rhetoric to which the Peripatetic school had been giving credit and support
Dal monumento alla città. La Casa degli artisti di Hendrik Petrus Berlage
No full textLa Casa degli artisti progettata dall’architetto olandese Hendrik Petrus Berlage nel 1911 nei pressi dell’area dei Musei di Amsterdam riflette sulla possibilità di costruire un frammento di città coerentemente inserito in un contesto urbano storicizzato e identitario. Edificio rappresentativo della cultura artistica del paese, partecipa nella sua veste di monumento civile alla costruzione dello spazio della città.
Il progetto di architettura che qui viene indagato pone l’accento sulla forma come aspetto centrale per risolvere la relazione architettura-città. Una relazione che, ancora oggi, appare contraddittoria, facilmente riscontrabile nelle periferie o nei luoghi centrali della città dove si incontrano architetture moderne spesso percepite come giustapposizioni incoerenti di parti architettoniche monumentali dagli stessi cittadini che abitano questi luoghi, ma in cui non si riconoscono.
La Casa degli artisti rappresenta non tanto o non solo l’occasione per costruire un edificio monumentale che si erge autonomo nel contesto urbano, ma l’opportunità di definire un luogo o frammento urbano in continuità organica con gli spazi della città. La città a cui allude Berlage si manifesta come una successione di spazi concatenati che traggono origine dal medesimo principio. Quello dello spazio finito e delimitato che si ripete come motivo identitario nelle forme della costruzione dei luoghi urbani. In questo senso il progetto si pone in continuità con i principi formali espressi dalla città della storia che vengono interpretati alla luce delle esigenze del proprio tempo, materiali e spirituali. L’architettura così proposta incarna i valori della tradizione senza essere mimetica rappresentazione di forme passate, ma costruzione di forme nuove come sempre esistite
La morfologia urbana come strumento per la ricomposizione dello spazio pubblico nella città storica. Il caso di piazza Duomo a Padova
No full textIl luogo di studio presentato, piazza del Duomo a Padova, rientra tra i temi approfonditi nell’attività didattica svolta presso il corso di “Composizione architettonica e urbana 2” del Corso di laurea in Ingegneria Edile al Dipartimento di Ingegneria Civile, Edile, Ambientale dell’Università di Padova. L’insegnamento era specificamente orientato verso il tema dello spazio pubblico e della relazione di questo con gli spazi privati. Piazza del Duomo è stata studiata come un’opportunità per riconfigurare la perduta unità di un luogo della città di Padova particolarmente simbolico e rappresentativo, custode della sua memoria e identità. Piazza del Duomo è stata caratterizzata da una rapida ricostruzione successiva alla seconda guerra mondiale che si è risolta con la perdita dell’organica unitarietà delle parti componenti. L’ordine e la gerarchia degli elementi propri della forma di questo antico sito sono stati compromessi da successivi interventi speculativi operati nella seconda metà del secolo scorso. Piazza del Duomo, nei secoli passata punto di riferimento per la vita religiose della comunità, è qui adottata come caso di studio su cui si incentrano l’analisi e le successive proposte per un nuovo disegno urbano
Considerazioni sulla semnotes nel mondo greco classico ed ellenistico, tra attitudine politica e strategia negoziale
No full textThe couple of essays collected within this chapter deal with the vocabulary of semnotes as applied to political discourse and practice in the Greek world. Readers will be presented with two case-studies that investigate the theoretical and operational implications of the theme, which has not yet been the object of systematic research by modern scholars. Each section tackles different key-contexts of the political and diplomatic activities carried out by the Greek poleis, approaching them by different and complementary perspectives: A. Gandini deals with the internal dynamics of the Athenian democracy in the Classical period, while S. Caneva sets the vocabulary of semnotes against the background of the international politics of Hellenistic Peloponnese
Entrevista com Mário Caneva Moutinho
No full textMário Caneva Moutinho, 22 de Junho 2015, Reitoria da Universidade Lusófona de Humanidades e Tecnologias, Lisboa. Foto de Ana Carvalho [Entrevista originalmente publicada na revista Museologia & Interdisciplinaridade (2015, vol 4, n.º 8, p. 252–269, entrevista conduzida por Ana Carvalho] Mário Caneva Moutinho fez a sua formação em Paris, primeiro em Arquitectura e depois com um doutoramento em Antropologia Cultural (1983). Ao voltar a Portugal na década de 80 deu-se a descoberta pelo patrimóni..
Plants in the ancient artistic representations as a tool of communication and a cultural message
No full textWhat’s new on Arsinoe II: A review of research in 2013
No full textEgyptian stele from private collection (Caneva 2013) New studies: Caneva S.G., “Arsinoe divinizzata al fianco del re vivente Tolemeo II. Uno studio di propaganda greco-egiziana”, Historia 62.3, 280-322. Carney E.E., Arsinoë of Egypt and Macedon: A Royal Life, Oxford. Hauben H., “Callicrates of Samos and Patroclus of Macedon, Champions of Ptolemaic Thalassocracy”, in K. Buraselis, M. Stefanou, D.J. Thompson (eds), The Ptolemies, the Sea and the Nile: Studies in Waterborne Power, Cambridge, 39-..
Riti indicibili. La parola e l’abominio fra Baccanti e Heart of Darkness
No full textA study of the influence of Euripides' Bacchae on the narrative structure and the cultural world of Joseph Conrad's novel Heart of Darknes
- …
