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Catalogo dei tipi della collezione aentomologica Mario Pavan nel Museo di Storia naturale dell'Università di Pavia
No full textThe Restoration of the Osteological Primate Collection of the Natural History Museum of the University of Pavia.
No full textSome years ago, the University of Pavia started a project aimed to restore the numerous collections of the Natural History Museum, established by Lazzaro Spallanzani in 1771. The samples of the collections were in a rather bad state of conservation, due to either an insufficient maintenance or the inadequacy of the rooms in which the samples were stored.
The present report deals with the restoration and re-establishment of the primate osteological collection, belonging to the collections of the Institute of Comparative Anatomy, which, in 1875, became an independent section of the Museum, under the direction of Leopoldo Maggi.
Since 1960, the collections of the Natural History Museum have been moved to the garret of the Visconti Castle of Pavia, except for a small amount of specimens which were left in the Botta Palace, just for educational and research purposes.
As to primates, it was possible to bring skeletons and skulls to their ancient condition and this allowed the realization of a digital catalogue, never published till now.
At present, the osteological collection includes 59 skulls and 63 skeletons, most of them belonging to catarrhine monkeys (94 samples); there are also samples from 7 strepsirrhines and 21 platyrrhines. Among the catarrhines, 30 samples are from Asian and African apes.
Therefore, the primate osteological collection of the Pavia Natural History Museum is of great historical and scientific value, and, surely, it is one of the most important collections in Italy as the number of specimens and their representativeness of primate species are concerned.
Key words: Lazzaro Spallanzani collections ∙ Restoration ∙ Primate skeletons ∙ Primate skulls
POETRYAND TERATOLOGY: LORENZO MASCHERONI'S "INVITO A LESBIA CIDONIA" IN ANATOMICAL PREPARATIONS
No full textIn 1793 Lorenzo Mascheroni, appointed to the chair of Mathematics at the University of Pavia and well-known poet, wrote "L'invito di Dafni Orobiano a Lesbia Cidonia". In the poem he described the beauty of the University of Pavia and its wonders gathered in the scientific collections of the museums. From the beginning, one of the glass cases of the Museum for the History of the University of Pavia shows some of the preparations described in the Mascheroni's verses. In addition to some fossils, human teratological preparations are also exposed: they recall the verses of the poem dedicated to the description of "monstrous" preparations. However, after a detailed scientifc and historical research, the traditional association of the exposed anatomical preparations with the verses is questioned
La collezione primatologica del Museo di Storia Naturale dell’Università degli Studi di Pavia
Full text linkL'articolo presenta il lavoro di sistemazione, manutenzione e riclassificazione della collezione primatologica conservata presso il Museo di Storia Naturale dell'Università di Pavia. La collezione è da considerare fra le più rilevanti presenti in Italia, soprattutto per il numero di specie di primati rappresentate. Il Museo di Storia Naturale dell’Università degli Studi di Pavia, fondato nel 1771 da Lazzaro Spallanzani, comprende ricche collezioni di grande valore storico scientifico raccolte dallo stesso Spallanzani durante gli anni della sua direzione (1771 – 1799) e, nel XIX secolo, dai suoi successori: Gian Maria Zendrini, Giuseppe Balsamo Crivelli, Pietro Pavesi e Leopoldo Maggi. Tra le diverse tipologie di reperti è significativa la collezione primatologica che consta di 146 scheletri e crani, 3 esemplari in liquido, 179 organi conservati in alcool o a secco e 86 scimmie tassidermizzate. Buona parte del materiale è stato recentemente restaurato a scopo conservativo e sarà prossimamente oggetto di studio e catalogazione nella finalità di una esposizione permanente a completa fruizione pubblica
Accuracy in quantitative phase analysis of mixtures with large amorphous contents. The case of stoneware ceramics and bricks
Full text linkFor the first time, this work inspects the accuracy of quantitative phase analysis of both crystalline and amorphous components of stoneware tiles and bricks. A number of variables were considered: the nature of the internal standard, experimental conditions and counting statistics. The so-called G-factor method has also been applied. The results of the X-ray powder diffraction analysis have been compared with the results obtained with optical microscopy and image analysis. Only the mixtures spiked with corundum and silicon yielded accurate weight estimates of the amorphous fraction, whereas the use of highly X-ray absorbing internal standards (such as fluorite, rutile and zincite) resulted in gross underestimations. In fact, microabsorption effects are found to drastically reduce the accuracy of the results when standards with linear X-ray absorption coefficients higher than 100 cm-1 are employed. It was found that very low counting statistics reduced the calculated amorphous fractions in both bricks and stoneware tiles owing to partial masking of the major peak of the internal standard, namely corundum. The application of the G-factor method to the systems investigated was also evaluated. The results are poorer than those obtained using the internal standard
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Le collezioni ittiologiche storiche e le carte ittiche attuali utilizzate come strumenti per lo studio di alterazioni nell’ittiofauna della Lombardia
No full textIchthyological collections and current fish management plans used as tools for the study of alterations of fish populations in Lombardy.
New local fish management plans and unpublished observations provide new data regarding changes in fish populations in Lombardy of the last decade. The endemic goby Knipowitschia punctatissima was found in the area of the province of Mantova, Cremona and Lodi. Aspius aspius and Misgurnus anguillicaudatus are two recently introduced non-native species that invaded all southern provinces of the region. The Museum of Natural History of Pavia preserves specimens of Lepomis gibbosus, Micropterus salmoides and Sander lucioperca collected in Lombardy in the early twentieth century; these specimens could be used to obtain accurate information about the introductions of alien species that occurred in that age
Variations on the Author
Full text link“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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