138 research outputs found
Noua iconologia di Cesare Ripa perugino, caualier de SS. Mauritio & Lazzaro : nella quale si descriuono diuerse imagini di virtù, vitij, affetti, passioni humane, arti, discipline, humori, elementi, corpi celesti, prouincie d'Italia, fiumi, tutte le parti del mondo, ed'altre infinite materie : opera vtile ad oratori, predicatori, poeti, pittori, scultori, disegnatori, e ad'ogni studioso : per inuentar concetti, emblemi, ed imprese, per diuisare qualsiuoglia apparato nuttiale, funerale, trionfale : per rappresentar poemi drammatici, e per figurare co'suoi propij simboli ciò, che puo cadere in pensiero humano: ampliata vltimamente dallo stesso auttore di trecento imagini, e arricchita di molti discorsi pieni di varia eruditione; con nuoui intagli, & con molti indici copiosi.
No full textIncludes errata, p. [46] and 644.Includes 12 indexes, p. [15]-[45] and 645-648.Woodcut t.p. vignette with coat of arms. Stipple engraved port. of Ripa, p. [8]. The woodcut allegories have decorative borders at the sides, printed from separate blocks. Head-pieces, floriated initials.1st ed. 1593, 1st illustrated ed. 1603. See Praz.Praz, M. Studies in 17th-cent. imagery (2nd ed.),Mode of access: Internet.Francesco Liviani's signature on t.p. and p. 146.Binding: old limp vellum. Author written at head of spine. Two pairs of holes at foredge for ties
Polimeri superassorbenti all'impianto: una nuova risorsa per migliorare la tolleranza del vigneto alla carenza idrica
No full textI risultati delle prove sperimentali, condotte all’interno del Progetto IN+VITE, in laboratorio, in ambiente controllato e in campo, in relazione a condizioni idriche limitanti – carenze e/ stress multipli estivi ad esempio -per lo sviluppo delle vit
Una nuova soluzione all’impianto del vigneto. Risultati del progetto IN+VITE
No full textN+VITE è un Gruppo Operativo per l’Innovazione finanziato dalla misura 16.1.01 delle Regione Emilia-Romagna (Focus Area 4B, bando 2022). L’obiettivo del partenariato è quello di individuare nuove soluzioni per migliorare la competitività e la sostenibilità della viticoltura non irrigua della collina Emiliana. Due azioni del progetto sono incentrate sulla verifica dell’efficacia e degli effetti di idrogel e polimeri superassorbenti su nuovi impianti e vigneti adulti, in relazione alle problematiche imposte dal cambiamento climatico. Il progetto è coordinato da Università Cattolica del Sacro Cuore, partner del progetto sono Azienda Agricola Lusignani, Azienda Agricola Baraccone e Fabrizio Camorali, Vinidea e Centro Tadini
Herrn Caesaris Ripa von Perusien, Ritters von St. Mauritio und Lazaro [et]c., Erneuerte Iconologia, oder, Bildersprach : worinen allerhand anmuhtige Aussbildungen ... erkläret werden /
No full textSignatures: )(⁴ A-Z 2A².Added engraved t.p. Woodcut emblems.The 9 indexes refer both to this pt. and the 2nd pt., which appeared the following year. See VD17.First German translation. Translator's dedicatory poem to his father Johann Ludwig Pöckhen of Ulm is signed: Laurentius Strauss/D.VD17Mode of access: Internet.Owner's stamp in black ink on t.p.: "AStB" in wreath. Initials D.P. written at foot of engraved title.Binding: old calfskin, the boards now covered in modern marbled paper to within 5.5 cm. of spine. Author & title in gilt on red goatskin spine label. Edges sprinkled brown.In library's copy some woodcuts are hand colored
Iconologia, ouero, Descrittione di diuerse imagini cauate dall'antichità, & di propria inuentione /
No full textErrata, p. [525]-[527].Signatures: [dagger]⁴ ²[dagger]⁸ A-2I⁸ 2K⁶.Numerous errors in pagination.Title within ornamental woodcut border incorporating small port. of Ripa at head. On t.p. verso are the woodcut arms of Lorenzo Salviati, to whom the work is dedicated. The allegorical illustrations have line borders, with additional decorative woodcut borders at right and left.First published Rome, 1593 (reprinted Milan, 1602). This is the first illustrated ed. See Praz.Praz, M. 17th-century imagery (2nd ed.)Mode of access: Internet.Ownership inscription on t.p. of Frater Josep. Marie ?Soritius, Ordinis Pred.Binding: 19th-century marbled paper. Sheepskin back and tips. Spine tooled in gilt, including author & title.Library's copy imperfect: leaf 2I1 with p. 501-502 wanting
Superabsorbent hydrogels: A new tool for vineyard water management?
No full textNew superabsorbent hydrogels (SH) could be groundbreaking technologies for the adaptation of agriculture to climate change, but knowledge about their physio-chemical traits, their effects on soil hydrology, and their efficacy on tree crop physiology is very limited. In this work, two potassium polyacrylate SH (SH1 and SH2) and an organic material derived SH (SH3) were tested for their water holding capacity and the capability to improve soil hydrology according to the water demands of cultivated grapevine, one of the most relevant rainfed tree crops. All SH absorbed a significant amount of water as compared to their relative weight (from 9.19 g H2O/g polymer of SH3, to 369.64 g H2O/g polymer of SH2) and made it available at water potential (Ψ) levels compatible with grapevine root system uptake. When incorporated to the soil, all SH successfully increased soil field capacity, affecting also wilting point, and increasing maximum plant available water (from +43 % of SH2 to +84 % of SH1). All SH increased stem Ψ of potted vines subjected to a progressive water deficit, as compared to controls (+0.25 MPa at four days from irrigation suspension, +0.2 MPa at eight days from water suspension, when Control vines showed a stem Ψ of −1.63 MPa).Our work demonstrated for the first time the potentialities of three different SH and their positive effects on soil water relations. Both synthetic and organic-derived SH could improve vine water status under limited water supply. While other studies are needed to clarify effects according to different rootstocks and soils, the results pave the way for the integration of SH in vineyard water management
Représenter la flaua bilis: le portait du colérique dans l’Iconologia de Cesare Ripa
No full textRepresenting the flaua bilis: the Portrait of the Choleric in Cesare Ripa’s Iconology. The theory of the four humours (blood, phlegm, yellow bile and black bile) forms the basis of ancient medicine. Coming from the Hippocratic corpus and completed by Galen of Pergamum (129–216 AD) in his De Temperamentis by means of individual complexions (blood, phlegmatic, angry, melancholic), this theory is essential in modern Europe after more than two thousand years of transmission, development and practice of medicine. Our article aims to examine its fortune in the Iconology of the Italian scholar Cesare Ripa (1555–1622). Starting with the Roman edition of 1603, he enriched his famous allegorical repertoire with a complex entry encoding the four temperaments: Collerico per il fuoco, Sanguigno per l’aria, Flemmatico per l’acqua, Malenconico per la terra. We work here only with the Choleric and undertake to determine the reasons which governed the choice of the attributes retained by C. Ripa (youth, nudity, sword, shield adorned with a flame, lion, fury in the gaze) to offer poets, painters and sculptors the archetype of a figure dominated by yellow, hot and dry bile. To this end, we analyze the medical, literary and iconographic sources on which the author relies, considering also the richness and complexity of the medical discourse he had at his disposal and the very purpose of his Iconology
Ernst H. Gombrich e il recupero dell’Iconologia di Cesare Ripa negli anni Settanta del Novecento: alcune congiunture
No full textDespite the affinities in contents and ambitions that link the Iconologia of Cesare Ripa and the studies initiated by Aby Warburg, the critical fortune of the ancient text in the varied field of iconological studies in Twentieth Century was hindered by a methodological gap, which has not been investigated. Some writings published in the Seventies by Ernst Gombrich, the latest representative author of that intercontinental line of research, are able to fill that gap as they recover and reassess the importance of Cesare Ripa’s Iconologia for coeval iconological studies and finally bring out its methodological value
Della novissima iconologia /
No full textText printed in double columns.Engraved title vignette, repeated on t.p. of each part; engraved portrait plate of the author (pi4 verso); numerous woodcut ill. of emblems, initials, head- and tail-pieces.Each part has a separate t.p.; parts 2 and 3 have imprint date 1624 and additional imprint statement on t.p.: "Nella stampa del Pasquati".Includes several indexes (1st count).Mode of access: Internet.Binding: contemporary full vellum, two old paper labels on spine, the lower label torn, bottom edge of the leaves inscribed in ink "Iconol. dt Ripa."
« “Dessins” et “desseins” : techniques d’impression chez Matteo Ripa et édition impériale en Chine (XVIIIe siècle) »
No full textInternational audienceThe Italian missionary Matteo Ripa (1682–1746) realized a set of engravings representing the Summer Palace at Jehol for the Emperor Kangxi (r. 1662–1723). These imprints are very often reproduced in the books about the history of printing in China, because they are the first examples of Western metal plates engraved in this country. They are also quoted in publications about cultural and artistic exchanges, since they were among the earliest representations of the empire and of the “Chinese gardens” brought in Europe by missionaries. But these prints can also be considered like the products of an unaccomplished technical transfer. Moreover, the author of this contribution tries to highlight the gap existing between personal narration of the facts related in the Journal of Matteo Ripa (a native of South Italy loyal to the Church of Rome but active within missionary circles at the Qing court) and much more impersonal story of this editorial work made under the patronage of the Manchu ruler. The various editions about the Summer Palace are just some of numerous collective publishing projects of the empire and they become the expression of “designs” that exceed the confined space of the courtyards where they were created.Cet article porte sur les gravures sur plaque de métal représentant le palais d’été au Jehol réalisées par le missionnaire italien Matteo Ripa (1682-1746) pour l’empereur Kangxi (r. 1662-1723). Leurs reproductions sont omniprésentes dans les ouvrages concernant l’imprimerie en Chine, car elles constituent les premiers exemples de l’utilisation de la technique occidentale dans ce pays. Elles apparaissent aussi souvent dans les études consacrées aux échanges culturels et artistiques, car les exemplaires rapportés en Europe par le missionnaire ont été parmi les premières représentations connues du « jardin chinois ». Un examen à nouveaux frais de cet ensemble gravé a été l’occasion d’étudier celui-ci comme un transfert technique demeuré inabouti. On a aussi cherché à mettre en avant la différence existante entre la narration «individuelle» des faits, élaborée par un homme ayant grandi dans le sud d’une Italie qui n’existait pas encore, soutenu par la foi, motivé le plus souvent par des raisons propres au cercle des missionnaires et à l’Église de Rome, et les travaux éditoriaux sous l’égide des souverains Qing, des entreprises collectives et multiples, véhicules de « dessins» qui dépassent l’espace de la cour où ils furent créés
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