30,766 research outputs found
LA GEOMETRIA E LA PITTURA DELLE VOLTE AD OMBRELLO: CAMERA DI SAN PAOLO E PALAZZETTO S. VITALE A PARMA
No full textDal segno al simbolo: la geometia delle superfici voltate
La geometria e la pittura delle volte ad ombrello: Camera di S. Paolo e Palazzetto Eucherio S. Vitale a Parma.
Ilaria Fioretti, Maria Evelina Melley, Daniela Paltrinieri
La volta ad ombrello è nella realtà una volta a crociera su base poligonale, erroneamente denominata ad “ombrello” per il sistema di archi diametrali dai quali è costituita.
Si propone di approfondire la genesi e conformazione geometrica di queste volte molto particolari, nonchè indagare ed analizzare il loro apparato pittorico con il quale sono decorate. Il rapporto struttura ed ornamento e/o decoro appare assai interessante proprio per la conformazione a spicchi di tali strutture.
Analizzando la conformazione geometrica delle volte composte (a raggiera, a ventaglio) quelle ad ombrello hanno come loro genesi geometrica la cupola ed appartengono alle superfici quadriche, che si caratterizzano per avere come direttrici e generatrici delle coniche non degeneri.
Il loro utilizzo quale sistema di copertura di particolari ambienti, già presente nell’architettura gotica, si evolve anche in quella successiva, lasciandoci numerosi esempi.
Nello specifico del contributo si analizzano due esempi significativi di volta ad ombrello: quella presente nel complesso di San Paolo e quelle poste a coperture di alcuni vani nel Palazzetto Eucherio S. Vitale a Parma
I grammatici tra libro e testo. Il caso di Orso beneventano
No full textThe codex 1086 of the Biblioteca Casanatense of Rome, with the Adbreviatio artis gramaticae of Ursus Beneventanus, is a case study particularly significant to deepen the relationship between author, text and book: in its first part the manuscript is an 'idiografo d'autore' because it reports the text 'fired' by the author; in the second one it collects the notes of the author himself, working materials stopped at a stage of sketch or partial drafting. A reconstruction of the figure of Ursus is attempted, a grammar teacher active in Benevento in the first half of the IXth century, and the didactic nature of his manual is deepened. Finally, some reservations are proposed at the recent critical edition of Barbara Maria Tarquini
Le pitture murali del sito archeologico di S. Maria Veterana: indagini archeometriche per la conoscenza e la ricostruzione storica del sito
No full textNel presente lavoro, si riporteranno i risultati delle indagini archeometriche
effettuate sui dipinti murali del sito archeologico di S. Maria Veterana, al
fine di fornire un apporto scientifico alle attuali conoscenze storiche e storicoartistiche, attraverso la caratterizzazione chimico-mineralogica e petrografica
e all’analisi tessiturale e stratigrafica di campioni di pitture murali
Individual Contacts, Collective Patterns. Prato 1975-97, a story of interactions.
No full textThis article presents an agent-based model (ABM) of an Italian textile district where thousands of small firms specialize in particular phases of fabrics production. It is an empirical model because it reconstructs the communications between firms when they arrange production chains. In their turn, production chains reflect into the pattern of road traffic in the geographical areas where the district extends. It is a methodological model because it aims to show that ABMs can be used to reconstruct a web of movements in geographical space. ABMs are proposed as a tool for Hägerstrand’s “time-geography”.Industrial districts, Industrial clusters, Agent-based models, Prato
Maria Bersani
No full textLa voce illustra la biografia e l'apporto letterario dato da Maria Bersani alla letteratura per l'infanziaThe headword explains the biography and the contribution of the author Maria Bersani to the children's literatur
Cristiani, ebrei e musulmani nell'Adriatico. Identità culturali, interazioni e conflitti in età moderna
No full textDigital photogrammetry as tool for mensiochronological analysis: The case of st. Maria Veterana archaeological site (Triggiano, Italy)
No full textThis paper presents an experimental multidisciplinary approach consisting of archaeological, lithological and
mensiochronological analysis, directly performed on orthophotos of masonries obtained from a 3D model of the
St. Maria Veterana site in Triggiano (Bari, Italy). The aims of this research were, on the one hand to date the
several rooms of this very articulate archaeological complex (11th-19th century) and on the other hand to
improve the photogrammetric workflow and instrumental conditions. Representative areas of numerous rooms
were selected, and lithology and masonry textures analysis were carried out. After, orthophotos corresponding to
the selected areas were extrapolated from the 3D model and digital measurement of block sizes was achieved and
dimension dataset was statistically elaborated. The comparison of experimental results with historical sources
allowed to propose a chronological hypothesis on dating of the rooms of the site and to contribute to the building
modus operandi knowledge in Apulia
Studio dei materiali legati ad attività metallurgiche dall’isola di S. Andrea, Loppio (TN): risultati preliminari.
No full textMetallurgical activities leave several types of traces in the area in which they take place: remnants of structures of various nature such as plain burnt, furnaces or forges, holes/containers for the collection of the products deriving from pyrotechnologic activities (charcoal, mineral, fluxing, etc.), pits for placement or storing of tools functional to the metallurgic activity, such as hoods, anvil, benches or plain of support in wood; remains of discard materials such as cinders, mineral slag, charcoal, fragments of crucibles and tuyeres, more rarely real metallic cuttings, directly related to the raw material, the semi-worked or the final products of the metallurgic activity, or tools related to the specific metallurgic job. In this paper we present the results of investigations carried out to characterize some products of metallurgic activities identified on the site of Loppio. Our results indicate that the majority of the remnants of metallurgic processes found in Loppio are associable to iron working activities, and only a minor amount to the copper or copper alloy working process. In both the cases they are not related to reduction processes (primary working), but derive from secondary working process, such as smithing activities of iron. Based on morphological and physical parameters we classified and grouped the residues of metallurgical activity found in Loppio in 11 classes, 10 of which related to the ironworking. The results of petrographic, chemical and mineralogical investigations carried out on a few samples belonging to significant classes of materials provided the early specific information on the phases and the working processes. The chemistry and the mineralogy of two samples of plano-convex bottom (PCB) smithing slag, their morphology and the abundance of this specific class of slags in the site, all suggest that the iron smithing was related to ingots of metal and /or to recycled iron, but probably not to the bloom. Further bulk analyses on these class of slags are needed to confirm this observation. Moreover the two investigated PCB slags show different mineralogical composition, compatible with different oxi-reductive conditions of production, and in one case result similar to the SFR type and in the other to the SGD one described by Serneels and Perret (2003). The presence of various types of PCB indicate a variety of ironworking processes, at various temperature, oxidation condition and produced by the use of different amounts of flux. The flux used has a silica-lime rich composition. Mineralogical analysis indicate that the temperatures of formation of the slag in the forge range between 1100-1200°C, coherently with ‘optimum’ temperature reported in literature for iron smithing. Since the excavations have not shown holes of forge, the identification of numerous remnants of walls of forge allows to hypothesize the presence of raised forges that, based on iconographic evidences are known to be used since the Roman age. In similar way the use of tuyeres, not recovered in the site, can be proven by negative imprints observed a the edges of some slag. A preliminary statistic analysis of spatial and chronological distribution of the investigated materials, suggests that the metallurgic activity possibly begun in the III Period of the Loppio site, in an area corresponding or close to the building IIIc.; evidence of metallurgical activity are also observed in contexts related to the Periods V and VI, mainly in the Buildings IIIb and IIIc and in the corridor IIIb /c and, less abundant, in the area III and possibly in the building V. However, the phenomenon of the redistribution of metallurgical remains in a working site, and the stratigraphic disturbance due to the different life phases of the site do not allow to attribute with certainty such finding to the Longobard period. The same consideration holds for the slags found in building V in layers ascribed to the VII Period, as a reworking cannot be excluded. The workmanship of the copper and /or of its leagues, is testified finally only in Buildings IIIb and IIIc and in the corridor IIIb/c, relatively to the Period V. Finally, no trace of metallurgic activity has been observed around Building I of sector A, where two metal bars were recovered from (Maurina this vol. ), indicating that the presence of metal bars in this area is not related to working activities
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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