2,372 research outputs found

    La vita in villa

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    Studio dei disegni di apparati effimeri eseguiti in relazione alle feste organizzate nella villa durante il Cinque e Seicent

    (Table 2) Calcareous nannofossil datums of ODP Hole 113-689D from Maud Rise, Southern Ocean

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    The evolution of the Southern Ocean climate during the late Eocene–late Oligocene interval is examined through highresolution, quantitative calcareous nannofossil analyses on samples from the Southern Ocean sections on Maud Rise and Kerguelen Plateau. We determined the abundance patterns of the counted species to clarify the biostratigraphy, which we correlated with high-resolution magnetostratigraphy [Roberts, A.P., Bicknell, S.J., Byatt, J., Bohaty, S.M., Florindo, F., Harwood, D.M., 2003a. Magnetostratigraphic calibration of Southern Ocean diatom datums from the Eocene–Oligocene of Kerguelen Plateau (Ocean Drilling Program Sites 744 and 748). In: Florindo, F., Cooper, A.K., O’Brien, P.A. (Eds.), Antarctic Cenozoic Palaeoenvironments: Geologic Record and Models. Palaeogeogr., Palaeoclimatol., Palaeoecol. 198 145–168; Florindo, F., Roberts, A.P., in press. Eocene–Oligocene magnetobiochronology of ODP Sites 689 and 690, Maud Rise, Weddell Sea, Antarctica. Geol. Soc. Am. Bull.], and used this data to interpret paleoceanographic changes through the late Eocene to late Oligocene. Percentage plots of the individual species, compared with R-mode principal component and cluster analysis results, allowed us to divide the assemblages into three groups: temperate-water taxa, cool-water taxa, and no temperature-affinity taxa. We attempt correlations between these paleoecological groups and the major sea-surface temperature (SST) variations with tectonic and paleoceanographic changes in the Southern Ocean. During the late Eocene, the nannofossil assemblage data reveal that there were several minor SST decreases (coolings) from 36 to 34 Ma, before the Eocene/Oligocene (E/O) boundary. A sharp cooling event, dated at 33.54 Ma (earliest Oligocene), occurred about 160 kyr after the E/O boundary, which is dated at 33.7 Ma. Relatively stable, cool conditions are interpreted to persist until the latest Oligocene, when an increase in abundance of temperate-water taxa, which corresponds to an antithetical decrease in abundance of cool-water indicators, is recorded. On the basis of our dating, the opening of the Drake Passage, allowing shallow-water circulation, began by 33.54 Ma at the latest, while the establishment of deep-water connections through the Tasmanian Gateway occurred at 33 Ma, as suggested by Exon et al. [Proc. ODP, Init. Rep. 189 (2001) 1]

    Temi e significati. Il programma iconografico delle sale interne

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    Studio iconografico delle decorazioni a fresco presenti nelle sale della villa messe in relazione con le vicende biografiche del cardinale Filippo Guastavillan

    Late Oligocene climatic changes: Evidence from calcareous nannofossils at Kerguelen Plateau Site 748 (Southern Ocean).

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    Palaeoecological changes in nannofossil assemblages in the Southern Ocean during Oligocene times are examined through high-resolution, quantitative analyses of samples from Ocean Drilling Program (ODP) Site 748 (Kerguelen Plateau). We quantitatively characterized the palaeoecological preference of groups of species and compared their general trends with those determined at Maud Rise (ODP Sites 690 and 689) (Persico, D., Villa, G., 2004. Eocene–Oligocene calcareous nannofossils from Maud Rise and Kerguelen Plateau (Antarctica): palaeoecological and palaeoceanographic implications. Marine Micropaleontology 52, 153–179). We then attempt a correlation between the main assemblage variation and sea-surface temperature (SST) changes in the Southern Ocean at this time. Relatively stable, cool conditions are interpreted to have persisted from earliest to late Oligocene times, when an increase in abundance of temperate-water taxa is recorded, both at Maud Rise and Kerguelen Plateau, before the Mi-1 event. This reveals a climatic event that probably involved both sites, and which is comparable to that indicated by the global oxygen isotope curve ([Miller, K.G., Wright, J.D., Fairbanks, R.G., 1991. Unlocking the Ice House: Oligocene–Miocene oxygen isotopes, eustasy, and margin erosion. Journal of Geophysical Research, 96, 6829–6848; Zachos, J., Pagani, M., Sloan, L., Thomas, E., Billups, K., 2001. Trends, rhythms, and aberrations in global climate 65 Ma to present. Science, 292, 686–693.]). In the uppermost Oligocene at Site 689, the temperate-water taxa index ([temperate / temperate+cool]*100) increases from 25.2 Ma. Similarly, at Site 748, the temperate-water taxa index indicates an increase in SST in the late Oligocene, from about 26.5 Ma, at the base of Chron C8n.2n, which is offset by about 1 m.y. between the two areas. The reason for this time difference can probably be found in the location of Site 748 with respect to Site 689, and in the palaeoceanographic setting, taking into account that Site 748 lies north of a deep water passage that separates Kerguelen Plateau from Antarctica, and north of the present day front of the Antarctic Circumpolar Current. The presence of warm-water taxa, exclusively at Site 748, corroborates this hypothesis

    Gli interventi di Tommaso Laureti nell'impianto idrico della villa

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    Analisi degli interventi architettonici (la sala musiva e la grotta artificiale) e idraulici progettati da Tommaso Lauret

    Praeconium pro P.M. di Emilio Villa

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    Il saggio – presentato al convegno dedicato a Piero Manzoni il 25 novembre 2014 – si concentra sui rapporti tra Piero Manzoni e l’ambiente romano e in particolare su quelli con il poeta e critico d’arte Emilio Villa. Uno scambio non sempre facile (fino alla rottura definitiva), ma molto significativo e denso. Nel 1959 Piero Manzoni strinse rapporti con l’ambiente artistico e culturale romano, non solo attraverso la crescente collaborazione con il “Pensiero Nazionale” dell’amico Antonio Caputo, ma anche grazie alle esposizioni presso la Galleria Appia Antica, diretta da Villa. Del rapporto dei due vengono ricostruite e contestualizzate varie tappe: la mostra “Bonalumi, Castellani, Manzoni” tenutasi alla Galleria Appia Antica dal 3 al 15 aprile 1959 con una presentazione di Leo Paolazzi in catalogo, e la tappa italiana della mostra Zero, versante olandese, dal 24 ottobre al 4 novembre 1959; il fascicolo-libro donato da Manzoni a Villa, intitolato “PMP Piero Manzoni Pirla”, sempre del 1959; il testo dedicato a Manzoni, Castellani, Angeli, Festa, Schifano, Uncini e Lo Savio, pubblicato su “Aujourd’hui” nel settembre 1960; il lungo testo di Villa su Manzoni, scritto e rivisto a più fasi tra il 1960 e il 1961; la mostra “Castellani e Manzoni” alla Galleria La Tartaruga inaugurata il 22 aprile 1961, quando Manzoni firmò le proprie Sculture viventi, tra cui lo stesso Villa. In particolare il saggio si sofferma e analizza da un punto di vista contenutistico, stilistico e linguistico il testo di Villa su Manzoni, proponendo una lettura filologica che identifichi e recuperi specifici riferimenti al lavoro dell’artista e definisca le caratteristiche e il livello di rielaborazione da parte di Villa, il quale non descrive o spiega le opere di un artista, ma le analizza e rielabora all’interno di un discorso verbale di grande sperimentazione, che offre aperture significative per la comprensione del lavoro di Manzoni.The essay - proposed to the conference Piero Manzoni on November 25, 2014 - focuses on the relationship between Piero Manzoni and the poet and art critic Emilio Villa; a relationship non really easy, but so important. Piero Manzoni established direct inks with artistic panorama in Rome in 1959: with his frined Antonio Caputo, art critics for "Piero Nazionale" journal, with Appia Antica Gallery, directed by Villa. The essay highlights the steps of the realtionship between Manzoni and Villa: the show "Bonalumin, Castellani, Mnazoni" held at Appia Antica Gallery from Aril 3 to 15 april (foreword in catalogue by Leo Paolazzi), exhibition of Zero Group (October 24-November 4, 1959), the handbook "PMP. Piero Manzoni Pirla" donated by Manzoni to Villain 1959; the Villa's essay dedicated to Manzoni, Castellani, Angeli, Festa, Unicini, and Lo Savio, published in "Aujourd'hui" art magazine on september 1960; a long essay on Manzoni wrote by Villa on 1960-61; the show "Castellani and Manzoni" held at La Tartaruga Gallery on April 22 1961, when Manzoni signed the Living Sculptures, among Villa. The essay analyses Villa's text on Manzoni, pointing out the specific features of Manzoni's art works and the linguistic and Villa's point of wiew
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