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Journal articles on the topic 'Il parmigianino'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Ferrer-Ventosa, Roger. "The demiurge in the convex mirror. The Hermetic keys of Parmigianino’s Self-Portrait in a Convex Mirror." Eikon / Imago 13 (May 14, 2024): e90725. http://dx.doi.org/10.5209/eiko.90725.

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The article analyses the conceptual foundations of Parmigianino in relation to his Hermetic and Neoplatonic ideas and alchemical practice, which were important in Renaissance Italian culture. Parmigianino's Self-Portrait in a Convex Mirror is viewed as an embodiment of the artist as a demiurge, a creator of a brand new universe. The article highlights the symbolic and metaphysical significance of the convex mirror, reflecting the artist's creative power and the hidden values of reality. Melancholy, associated with Saturn, was a characteristic of artists and intellectuals in that cultural context. The article discusses Parmigianino’s frescos of Diana and Actaeon, a myth that symbolizes the pursuit of wisdom and the transformative process of the alchemist. Finally, it is also examined Parmigianino's potential interest in alchemy based on historical accounts. The controversy surrounding Parmigianino's involvement in alchemy is discussed, along with the opinions of various scholars

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2

Joost-Gaugier, Christiane L., and David Ekserdjian. "Parmigianino." Sixteenth Century Journal 39, no. 3 (October 1, 2008): 936. http://dx.doi.org/10.2307/20479125.

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3

Hughes, T. "Ekserdjian's Parmigianino." Oxford Art Journal 31, no. 1 (November 9, 2007): 153–57. http://dx.doi.org/10.1093/oxartj/kcn003.

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4

Land, Norman E. "PARMIGIANINO AS NARCISSUS." Source: Notes in the History of Art 16, no. 4 (July 1997): 25–30. http://dx.doi.org/10.1086/sou.16.4.23205150.

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5

BARRYTE, BERNARD. "PARMIGIANINO BY DAVID EKSERDJIAN." Art Book 14, no. 3 (August 2007): 30. http://dx.doi.org/10.1111/j.1467-8357.2007.00829.x.

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6

Ruiz Manero, José María. "«La Circuncisión» de Parmigianino estuvo en el Escorial." Archivo Español de Arte 71, no. 281 (March 30, 1998): 75–78. http://dx.doi.org/10.3989/aearte.1998.v71.i281.684.

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7

Duran, Jane. "ESCHER AND PARMIGIANINO: A STUDY IN PARADOX." British Journal of Aesthetics 33, no. 3 (1993): 239–45. http://dx.doi.org/10.1093/bjaesthetics/33.3.239.

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8

Turner, James Grantham. "AN EROTIC "ANNUNCIATION" BY PARMIGIANINO OR BEDOLI." Source: Notes in the History of Art 29, no. 2 (January 2010): 21–26. http://dx.doi.org/10.1086/sou.29.2.23208612.

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9

Konečný, Lubomír. ""CUPID CARVING HIS BOW" FROM PARMIGIANINO TO RUBENS." Source: Notes in the History of Art 34, no. 1 (September 2014): 24–31. http://dx.doi.org/10.1086/sou.34.1.23882372.

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10

Beguin, Sylvie. ""Portrait d'homme tenant un petit Petrarque" par Parmigianino." Artibus et Historiae 22, no. 43 (2001): 9. http://dx.doi.org/10.2307/1483647.

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11

Vaccaro, Mary. "Parmigianino and Andrea Baiardi: figuring Petrarchan beauty in Renaissance Parma." Word & Image 17, no. 3 (July 2001): 243–58. http://dx.doi.org/10.1080/02666286.2001.10435717.

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12

Lazzeri, D., P. Pozzilli, and P. Persichetti. "“The Annunciation”—Girolamo Francesco Maria Mazzola called Parmigianino (1503–1540)." Journal of Endocrinological Investigation 38, no. 11 (July 21, 2015): 1247–48. http://dx.doi.org/10.1007/s40618-015-0358-8.

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13

Pagliano, Éric. "Dessin de liaison – dessin de survivance. Deux formules de disposition intergénétique graphique." Studiolo 10, no. 1 (2013): 214–26. http://dx.doi.org/10.3406/studi.2013.904.

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Disegno di collegamento - disegno di sopravvivenza. Due criteri di collocazione grafica intergenetica. Studiare un disegno significa, dopo averne accertata l'attribuzione, identificare la "documentazione genetica" entro cui esso va inserito, tenendo conto del fatto che ogni fascicoli comprende l'insieme degli studi preparatori relativi a un'opera. Tuttavia accade spesso che, a una prima valutazione, alcuni disegni resistano a ogni forma di classificazione, o che comunque sia possibile includerli in due dossier differenti. L'articolo intende presentare due disegni di questo genere, assicurando il collegamento e il passaggio da una tipologia a un'altra. Il primo è di Cristoforo Roncalli, il secondo di Parmigianino.

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14

Vaccaro, Mary. "Artists as godfathers: Parmigianino and Correggio in the baptismal registers of Parma." Renaissance Studies 21, no. 3 (June 2007): 366–76. http://dx.doi.org/10.1111/j.1477-4658.2007.00418.x.

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15

Gabbarelli, Jamie. "A Solid Mistake: An Early State of Caraglio's Diogenes after Parmigianino." Journal of the Warburg and Courtauld Institutes 80, no. 1 (January 1, 2017): 231–41. http://dx.doi.org/10.1086/jwci44841050.

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16

Lee, Jiyeon. "Reception and Transformation of Grazia in Cinquecento Art: focusing on the Case of Parmigianino." Journal of the Association of Western Art History 58 (February 28, 2023): 99–118. http://dx.doi.org/10.16901/jawah.2023.02.58.99.

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17

Rodríguez Marín, Francisco José. "Arjones Fernández, Aurora: Santa Margarita de «Il Parmigianino» en la colección del Ayuntamiento de Málaga." Boletín de Arte, no. 37 (November 4, 2017): 279–81. http://dx.doi.org/10.24310/bolarte.2016.v0i37.3430.

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Las obras de arte, como las personas, arrastran a veces un largo y azaroso periplo vital que acaba constituyendo parte esencial de su acervo y de su valor patrimonial. Este es el caso de la pintura que da origen a este libro, conocida comúnmente como Desposorios místicos de santa Margarita, generada en el efervescente panorama artístico de la Roma del Renacimiento, y que recaló en Málaga en 1872 tras la donación de un súbdito inglés, Guillermo B. Newberry. Con ella quiso completar la obra benéfica de los legatarios del médico inglés Guillermo Noble, presidiendo, como cuadro de altar que es, la capilla del hospital benéfico creado en esta entonces bulliciosa ciudad portuaria.

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18

Tal, Guy. "Saint or Sinner? Enea Vico’s Old Woman with a Distaff after a Drawing by Parmigianino." Source: Notes in the History of Art 38, no. 3 (March 2019): 143–57. http://dx.doi.org/10.1086/703428.

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19

Kozyatincky, R. S. "BACKGROUND AND LINEAR PERSPECTIVE: SPACE IN SELFY." Aspirantskiy Vestnik Povolzhiya 19, no. 3-4 (June 15, 2019): 67–73. http://dx.doi.org/10.17816/2072-2354.2019.19.2.67-73.

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The article is devoted to the changes in the space representing the background in the selfie through the historical experience of the self-portrait in the visual culture. The digital photographic self-portrait (selfie), which has become one of the most striking phenomena of the visual culture of our time in the context of historical experience of visual representation in the context of a rapidly changing cultural situation (transition from “linguistic” to “iconic turn”) in the context of historical experience of visual representation allows the author to focus on those changes which occur between the viewer and the model, the selfi-maker. The author also pays attention to the role of linear perspective in the issue under consideration, techniques and ways of reflecting Euclidean and non-Euclidean spaces on the pictorial plane using examples of contemporary photography, paintings by Jan van Eyck (“Portrait of Arnolfini couple”) and Parmigianino (“Self portrait in a convex mirror”).

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20

Misery, Nicolas. "Le portrait de Galeazzo Sanvitale par Parmigianino (1524) : crise des identités nobiliaires à Parme (1520- 1540)." Europa Moderna. Revue d'histoire et d'iconologie 3, no. 1 (2012): 4–53. http://dx.doi.org/10.3406/emod.2012.856.

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21

Thimann, Michael. "A CLASSICAL SOURCE FOR A DRAWING BY PARMIGIANINO: A NOTE ON THE HISTORY OF THE FLORENTINE NIOBID." Source: Notes in the History of Art 19, no. 1 (October 1999): 13–19. http://dx.doi.org/10.1086/sou.19.1.23206712.

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22

Bacci, Mauro, Andrea Casini, Costanza Cucci, Andrea Muzzi, and Simone Porcinai. "A study on a set of drawings by Parmigianino: integration of art-historical analysis with imaging spectroscopy." Journal of Cultural Heritage 6, no. 4 (December 2005): 329–36. http://dx.doi.org/10.1016/j.culher.2005.07.002.

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23

Bersani, Danilo, Pier Paolo Lottici, Gianni Antonioli, Elisa Campani, Antonella Casoli, and Carla Violante. "Pigments and binders in the wall paintings of Santa Maria della Steccata in Parma(Italy): the ultimate technique of Parmigianino." Journal of Raman Spectroscopy 35, no. 89 (July 6, 2004): 694–703. http://dx.doi.org/10.1002/jrs.1156.

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24

Lopukhova, Marina A. "A PROVINCIAL TUSCAN PAINTER OF THE 1ST THIRD OF THE 16TH CENTURY IN SEARCH OF THE GRAND MANNER: THE CURIOUS CASE OF AGOSTINO MARTI." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 249–69. http://dx.doi.org/10.28995/2686-7249-2022-1-249-269.

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This paper concerns the paintings of Agostino Marti, who was active in Lucca in the 1510–1530s. His early work was based on local tradition at the turn of the 15th and 16th centuries, which was strongly influenced by Florentine models, though in the 1520s he began to adopt the visual language of the High Renaissance. The main source of his paintings in this period was the art of Fra Bartolomeo, who was well known in Lucca. But citations from Raphael’s and Michelangelo’s Roman works in his “Marriage of Virgin” (1523) and the evidence of Lucchese archives both suggest that he visited Rome in 1517. The image of St. Andrew from the Parish Church in Capannori provides further argument in favour of this suggestion. However, some spectacular details in Marti’s later paintings are similar to the prominent works of Rosso Fiorentino and Parmigianino, executed in Florence (1523) and Bologna (1527) respectively. So we may suppose that he also travelled much in the 1520s. Generally, his borrowings from High Renaissance and from Mannerist art were ingenuous and not systematic. They were anticipated by the eclectic character of late Quattrocento Lucchese painting, which was evidently more familiar to him. The use of older models, such as altarpieces painted by his teacher Michele Angelo di Pietro Membrini or by Filippino Lippi, who was an iconic figure for the Lucchese school, seems more natural for Agostino Marti.

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25

Hansen, Morten Steen. "Achim Gnann. Parmigianino: Die Zeichnungen. 2 vols. Petersberg: Michael Imhof Verlag, 2008. 544+700 pp. append. illus. bibl. €250. ISBN: 978–3–86568–170–6." Renaissance Quarterly 62, no. 3 (2009): 928–29. http://dx.doi.org/10.1086/647420.

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26

Meijer, Bert W. "Lambert Sustris in Padua: fresco's en tekeningen." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 3–16. http://dx.doi.org/10.1163/187501793x00072.

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AbstractThe Amsterdam painter Lambert Sustris stayed in Padua in the 1540s. During this period he worked, among other things, on a number of murals in palazzi and ville suburbane, and also in villas outside Padua and near Vicenza. Some of these murals still exist, others have vanished. A few drawings by Sustris associated with lost murals have however survived. In Padua, Sustris first worked in a subordinate position under Domenico Campagnola and Gualterio Padovano; later, having attained an independent status, he collaborated with the latter and with Andrea Schiavone, among others. Most of the buildings and mural decorations were designed to recreate and renew Classical Antiquity. Some were influenced by Raphael and the artistic climate in Rome and Mantua after 1530, in which followers such as Giulio Romano figured so prominently. Before going to Padua, Sustris had very likely been in Rome and perhaps in Mantua as well. His patrons in Padua, men like Alvise Cornaro and Marco Mantova Benavides, were members of the city's humanist circles, which were strongly orientated towards Rome and Classical Antiquity. The Amsterdam artist is largely responsible for the importance of the landscape in these paintings with their air of antiquity, paintings which in the case of the villas represent the earliest phase of villa decoration in the Veneto. Sustris' landscapes and figures alike clearly bear witness to a connection with Titian, whose paintings Sustris had probably furnished with landscapes earlier on. Further influences on Sustris' work during this period were primarily Raphael, Francesco Salviati and Parmigianino. Partly on the basis of the murals and drawings attributed here to Sustris, there are justifiable grounds for concluding that in recent decades the influence and position of Giuseppe Porta Salviati in Venice and Padua has been overestimated, to Sustris' disadvantage. Except for during his Padua period, the Amsterdam artist received few public commissions. He consequently sank into almost total oblivion fairly soon after his death. From as early on as the late sixteenth century some of his paintings, by virtue of their style and high quality, were taken for masterpieces by Titian.

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27

Turner, James Grantham. "Parmigianino’s Bitch." Source: Notes in the History of Art 40, no. 4 (June 1, 2021): 213–22. http://dx.doi.org/10.1086/716326.

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28

Franceschi, Piero, Massimo Malacarne, Paolo Formaggioni, Michele Faccia, and Andrea Summer. "Effects of Milk Storage Temperature at the Farm on the Characteristics of Parmigiano Reggiano Cheese: Chemical Composition and Proteolysis." Animals 11, no. 3 (March 19, 2021): 879. http://dx.doi.org/10.3390/ani11030879.

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Parmigiano Reggiano is a Protected Designation of Origin (PDO) cheese whose official production protocol provides that milk cannot be stored at less than 18 °C at the farm. The possibility of refrigerating milk at the farm is highly debated, since it should allow for the limiting of bacterial growth, thus improving the quality of the cheese. The present research aimed to study the influence of storing the milk at 9 °C on the chemical composition and proteolysis during the ripening of Parmigiano Reggiano cheese. The experimentation considered six cheese-making trials, in which both evening and morning milks were subdivided into two parts that were maintained at 9 and 20 °C. After Parmigiano Reggiano cheese-making, one of the twin wheels obtained was analyzed after 21 months of ripening. From each cheese, two different samples were taken, one from the inner zone, and the other from the outer zone. The results of the chemical analyses evidenced that milk storage at 9 °C significantly (p ≤ 0.05) influenced fat, crude protein, soluble nitrogen and peptone nitrogen contents. Nevertheless, the differences observed with respect to the cheese obtained with milk stored under standard condition were very small and should be considered within the “normal variations” of Parmigiano Reggiano chemical characteristics.

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29

Falker, Gerrit-Milena. "Schutzkonsortien bekommen mehr Macht." Lebensmittel Zeitung 76, no. 18 (2024): 24. http://dx.doi.org/10.51202/0947-7527-2024-18-024-2.

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30

Franceschi, Piero, Massimo Malacarne, Elena Bortolazzo, Fabio Coloretti, Paolo Formaggioni, Anna Garavaldi, Valeria Musi, and Andrea Summer. "Automatic Milking Systems in the Production of Parmigiano Reggiano Cheese: Effects on the Milk Quality and on Cheese Characteristics." Agriculture 12, no. 1 (January 12, 2022): 104. http://dx.doi.org/10.3390/agriculture12010104.

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The adoption of innovative processes, such as the automatic milking system (AMS), in the production of typical PDO cheeses, such as Parmigiano Reggiano, needs to be evaluated and tested, to verify its influence on milk quality and the typicality of the product. The present research was aimed to study the effect of the introduction of the AMS on the cheesemaking characteristics of the milk and the ripening process and the sensory properties of the Parmigiano Reggiano PDO cheese. Six cheesemaking trials were performed and, in each trial, two different separated pools of milk were submitted to the cheesemaking process in parallel, one from AMS and the other from a traditional milking parlor (TMP). AMS milk, in comparison with TMP one, showed higher content of lactose and calcium and lower contents of somatic cells, thermophilic lactic acid bacteria and chloride. Nevertheless, these changes were too small to influence the efficiency of the cheesemaking process and the cheese composition and its sensory profile. Moreover, cheeses made with AMS milk fully complied with the sensory characteristics of Parmigiano Reggiano cheese PDO, as defined by the PDO rules.

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31

Bender, Ralf. "Parmigiano Reggiano will Käse im Ausland bewerben." Lebensmittel Zeitung 75, no. 37 (2023): 52. http://dx.doi.org/10.51202/0947-7527-2023-37-052-1.

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32

BELLETTI, NICOLETTA, MONICA GATTI, BENEDETTA BOTTARI, ERASMO NEVIANI, GIULIA TABANELLI, and FAUSTO GARDINI. "Antibiotic Resistance of Lactobacilli Isolated from Two Italian Hard Cheeses." Journal of Food Protection 72, no. 10 (October 1, 2009): 2162–69. http://dx.doi.org/10.4315/0362-028x-72.10.2162.

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One hundred forty-one lactobacilli strains isolated from natural whey starter cultures and ripened Grana Padano and Parmigiano Reggiano cheeses were tested for their susceptibility to 13 antibiotics, in particular, penicillin G, ampicillin, amoxicillin, oxacillin, cephalotin, cefuroxime, vancomycin, gentamicin, tetracycline, erythromycin, clindamycin, co-trimoxazole, and nitrofurantoin. The strains belonged to the species Lactobacillus helveticus, L. delbrueckii subsp. lactis, L. rhamnosus, and L. casei. The strains of the first two species were isolated from whey starter cultures, and the strains of the last two species were from the ripened cheeses. Significant differences among the strains in their antibiotic resistance were found in relation to the type of cheese and, especially, the strains from Parmigiano Reggiano were more resistant to gentamicin and penicillin G. The strains isolated in the ripened cheese were generally more resistant than those isolated from natural whey starter cultures; in particular, significant differences regarding oxacillin, vancomycin, cephalotin, and co-trimoxazole were observed. Finally, no significant difference in relation to the type of cheese was found among the thermophilic lactobacilli isolated from whey cultures, while the facultatively heterofermentative lactobacilli isolated from Parmigiano Reggiano showed higher resistance toward gentamicin and penicillin G than did the same species isolated from Grana Padano.

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33

Bender, Ralf. "Lactalis stärkt sein Italiengeschäft." Lebensmittel Zeitung 74, no. 37 (2022): 50. http://dx.doi.org/10.51202/0947-7527-2022-37-050-1.

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34

Abbatangelo, Marco. "MOX Sensors to Ensure Suitable Parameters of Grated Parmigiano Reggiano Cheese." Proceedings 14, no. 1 (June 19, 2019): 38. http://dx.doi.org/10.3390/proceedings2019014038.

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35

Faustini, Massimo, Giovanni Quintavalle Pastorino, Carla Colombani, Luca Maria Chiesa, Sara Panseri, Daniele Vigo, and Giulio Curone. "Volatilome in Milk for Grana Padano and Parmigiano Reggiano Cheeses: A First Survey." Veterinary Sciences 6, no. 2 (May 9, 2019): 41. http://dx.doi.org/10.3390/vetsci6020041.

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Milk characteristics in terms of volatile compounds can influence the subsequent product characteristics and can give indications about metabolism. These features can strongly depend on feeding and management. In this perspective, the screening of milk samples intended for Parmigiano-Reggiano and Grana Padano located in Northern Italy was performed, focusing on a panel of volatile molecules. The work was carried out on a total number of 25 bovine milk samples for the production of Parmigiano-Reggiano and Grana Padano. Milk samples were collected from May to September and analyzed for volatile molecules using headspace gas chromatography mass spectrometry. A range of several volatile molecule classes was considered (aldehydes, ketones, alcohols, carboxylic acids, esters, aromatic hydrocarbons, solforates). Results showed a significant influence of the month and destination of milk due to the time period and subsequent use in cheesemaking (Parmigiano-Reggiano and Grana Padano). Significant differences between months were observed for all volatiles. These preliminary results indicate differences between the two types of milk due to the period and destination. The study of volatile molecules in milk will give important information about the physiology of milk and the evolution of dairy products. These features must be extended and confirmed by the sensory analysis of milk and derived products, leading to a more complete characterization of milk biology and derived products.

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36

Thimann, Michael. "Parmigianinos Rochusaltar. Ein Pestvotiv fur S. Petronio in Bologna." Zeitschrift für Kunstgeschichte 61, no. 3 (1998): 410. http://dx.doi.org/10.2307/1482993.

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37

Nagel, Alexander. "Parmigianino’s Madonna of the Rose." Res: Anthropology and aesthetics 75-76 (March 1, 2021): 291–303. http://dx.doi.org/10.1086/717460.

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38

Stefaniak, Regina. "Amazing Grace: Parmigianino's "Vision of Saint Jerome"." Zeitschrift für Kunstgeschichte 58, no. 1 (1995): 105. http://dx.doi.org/10.2307/1482748.

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39

Buhler, Sofie, Ylenia Riciputi, Giuseppe Perretti, Maria Fiorenza Caboni, Arnaldo Dossena, Stefano Sforza, and Tullia Tedeschi. "Characterization of Defatted Products Obtained from the Parmigiano–Reggiano Manufacturing Chain: Determination of Peptides and Amino Acids Content and Study of the Digestibility and Bioactive Properties." Foods 9, no. 3 (March 9, 2020): 310. http://dx.doi.org/10.3390/foods9030310.

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Parmigiano–Reggiano (PR) is a worldwide known Italian, long ripened, hard cheese. Its inclusion in the list of cheeses bearing the protected designation of origin (PDO, EU regulation 510/2006) poses restrictions to its geographic area of production and its technological characteristics. To innovate the Parmigiano–Reggiano (PR) cheese manufacturing chain from the health and nutritional point of view, the output of defatted PR is addressed. Two defatting procedures (Soxhlet, and supercritical CO2 extraction) were tested, and the obtained products were compared in the composition of their nitrogen fraction, responsible for their nutritional, organoleptic, and bioactive functions. Free amino acids were quantified, and other nitrogen compounds (peptides, proteins, and non-proteolytic aminoacyl derivatives) were identified in the extracts and the mixtures obtained after simulated gastrointestinal digestion. Moreover, antioxidant and angiotensin converting enzyme (ACE) inhibition capacities of the digests were tested. Results obtained from the molecular and biofunctional characterization of the nitrogen fraction, show that both the defatted products keep the same nutritional properties of the whole cheese.

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40

Bansal, Nidhi, Patrick F. Fox, and Paul L. H. McSweeney. "Comparison of the level of residual coagulant activity in different cheese varieties." Journal of Dairy Research 76, no. 3 (May 18, 2009): 290–93. http://dx.doi.org/10.1017/s0022029909004075.

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The coagulant retained in cheese curd is a major contributor to proteolysis during ripening. The objective of this study was to quantify residual coagulant in 9 cheese varieties by measuring its activity on a synthetic heptapeptide (Pro-Thr-Glu-Phe-[NO2-Phe]-Arg-Leu) assayed using reversed-phase HPLC. The level of residual coagulant activity was highest in Camembert cheese, probably due to its low pH at whey drainage and the high moisture content of the cheese, followed in order by Feta=Port du Salut=Cheddar>Gouda>Emmental=Parmigiano Reggiano=low-moisture part-skim Mozzarella=Mozzarella di Bufala Campana. The high cooking temperature (50–54°C) used during the manufacture of Emmental and Parmigiano Reggiano cheeses and the cooking and stretching step in hot water during the manufacture of Mozzarella cheese may be the reasons for the lowest residual coagulant activity in these cheeses. The level of residual coagulant activity was higher in Feta cheese made from milk concentrated by ultrafiltration than in conventional Feta.

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41

Malacarne, Massimo, Andrea Summer, Enrico Fossa, Paolo Formaggioni, Piero Franceschi, Mauro Pecorari, and Primo Mariani. "Composition, coagulation properties and Parmigiano-Reggiano cheese yield of Italian Brown and Italian Friesian herd milks." Journal of Dairy Research 73, no. 2 (February 14, 2006): 171–77. http://dx.doi.org/10.1017/s0022029905001688.

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The authors report the results of a study aimed at the comparison of the basic chemical composition, the main protein fractions distribution, rennet coagulation properties and Parmigiano-Reggiano cheese yield of vat milk from Italian Brown and Italian Friesian herds. Parmigiano-Reggiano cheese factories which manufacture milk separately from Italian Brown herds and Italian Friesian herds were used in the study. Thirteen cheesemaking trials were performed at 10 different commercial cheese factories. The study was carried out from March to October 2003. For each cheesemaking trial in each factory, approximately 1100 kg milk from Italian Brown cows and from Italian Friesian cows were processed in parallel. The animals involved in the study came from farms with comparable management practices, size, location, number of lactation and days in milking. Each vat contained milk obtained by combining milk collected during the evening milking (partially skimmed milk by natural creaming) and the following morning milking (full-cream milk), from at least 2 dairy herds. Milk from Italian Brown cows is characterised by a higher casein content (27·1 v. 23·7 g/kg; P[les ]0·0001) than Italian Friesian cows' milk. Curd firming time (k20) of Italian Brown cows' milk was markedly lower than that of Italian Friesian cows' milk (6·6 v. 10·0 min; P[les ]0·001). This implies a higher rate of aggregation of para-casein micelles for Italian Brown cows' milk. The coagulum of Italian Brown cows' milk had better rheological properties and lower losses of fat in the cheese whey. Parmigiano-Reggiano cheese yield at 24 h was also higher for Italian Brown cows' milk, +0·99 kg cheese for every 100 kg vat milk.

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Virgili, R., G. Parolari, L. Bolzoni, G. Barbieri, A. Mangia, M. Careri, S. Spagnoli, G. Panari, and M. Zannoni. "Sensory-Chemical Relationships in Parmigiano-Reggiano Cheese." LWT - Food Science and Technology 27, no. 5 (October 1994): 491–95. http://dx.doi.org/10.1006/fstl.1994.1098.

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Parmigiani, Matías. "Liberalismo, sanción y reproche en Motivos reprochables, de J. M. Peralta [2012, Marcial Pons, Madrid, 341 págs.]." Discusiones 15, no. 2 (March 1, 2021): 207–44. http://dx.doi.org/10.52292/j.dsc.2014.2439.

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En el presente trabajo, Parmigiani intentará argüir que la cita a Ferrajoli no solo no es necesaria para dotar de sustento a la argumentación de Peralta –ella sería independiente de lo que dice Ferrajoli– sino que ni siquiera resultaría útil en tanto criterio evaluativo tendiente a poner a prueba cualquier teoría penal que se precie de auténticamente liberal.

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Gatti, Monica, Juliano De Dea Lindner, Angela De Lorentiis, Benedetta Bottari, Marcela Santarelli, Valentina Bernini, and Erasmo Neviani. "Dynamics of Whole and Lysed Bacterial Cells during Parmigiano-Reggiano Cheese Production and Ripening." Applied and Environmental Microbiology 74, no. 19 (August 8, 2008): 6161–67. http://dx.doi.org/10.1128/aem.00871-08.

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ABSTRACT Microbial succession during Parmigiano-Reggiano cheesemaking was monitored by length heterogeneity PCR (LH-PCR), considering the intact and lysed cells at different stages of cheese production and ripening. When starter species underwent autolysis, species coming from milk were able to grow. For the first time, the LH-PCR technique was applied to study a fermented food.

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Loffi, Cecilia, Elena Bortolazzo, Anna Garavaldi, Valeria Musi, Paolo Reverberi, Gianni Galaverna, Stefano Sforza, and Tullia Tedeschi. "Reduction in the Brining Time in Parmigiano Reggiano Cheese Production Minimally Affects Proteolysis, with No Effect on Sensory Properties." Foods 10, no. 4 (April 3, 2021): 770. http://dx.doi.org/10.3390/foods10040770.

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Brine soaking is one of the most important steps in the production of Parmigiano Reggiano cheese, since it determines the amount of salt in the final product. Reduction in salt in Parmigiano Reggiano cheese might be important for improving its nutritional profile, but it could affect the manufacturing processes by altering proteolysis and consequently the product quality. In this study, for the first time, salt reduction was explored at the industrial level on real cheese samples manufactured in a local dairy. In particular, 20 wheels were produced with conventional (18 days, 10 wheels) and shorter (12 days, 10 wheels) brining steps. In every group, wheels were studied at two different ripening times, 15 and 30 months. A shorter brining time resulted in an average 12% decrease in salt content. A full characterization of free amino acids and peptides was performed by LC-MS on all samples. Free amino acids and peptides, as expected, increased with ripening, due to proteolysis, with samples having low salt content showing a slightly faster increase when compared to standard ones, hinting to a slightly accelerated proteolytic process. Nonetheless, low-salt and conventional cheeses shared similar sensory profiles at both ripening times.

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Menozzi, Davide, Ching-Hua Yeh, Elena Cozzi, and Filippo Arfini. "Consumer Preferences for Cheese Products with Quality Labels: The Case of Parmigiano Reggiano and Comté." Animals 12, no. 10 (May 18, 2022): 1299. http://dx.doi.org/10.3390/ani12101299.

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The paper examined the potential demand for a food specialty dairy product, cheese, with alternative multiple labels. A random-parameter logit model was applied to interpret the results of online discrete choice experiments (DCE) for the elicitation of the preference of the cheese consumers surveyed in two European countries, France (n = 400) and Italy (n = 408). We analyzed consumers’ choices of quality-labeled cheeses, i.e., protected-designation-of-origin (PDO)-labeled Parmigiano Reggiano and Comté. Other features were tested, such as organic (Comté) and Mountain Product (Parmigiano Reggiano) labels, companies’ brands and price. The paper contributes to the literature on credence attributes by examining consumers’ willingness to pay (WTP) for differentiated cheese products in two EU countries, and by identifying the effects of personal characteristics, in terms of socio-demographics and level of product involvement, on the differences in preferences. The results show that price was the most important attribute in both countries, followed by the PDO quality label, particularly when paired with the second quality feature. Two cheese consumer segments were identified via latent class models in each country, helping producers to improve their marketing of agri-food products with a high gastronomic value and differentiation potential.

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Franceschi, Piero, Massimo Malacarne, Paolo Formaggioni, Claudio Cipolat-Gotet, Giorgia Stocco, and Andrea Summer. "Effect of Season and Factory on Cheese-Making Efficiency in Parmigiano Reggiano Manufacture." Foods 8, no. 8 (August 3, 2019): 315. http://dx.doi.org/10.3390/foods8080315.

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The assessment of the efficiency of the cheese-making process (ECMP) is crucial for the profitability of cheese-factories. A simple way to estimate the ECMP is the measure of the estimated cheese-making losses (ECL), expressed by the ratio between the concentration of each constituent in the residual whey and in the processed milk. The aim of this research was to evaluate the influence of the season and cheese factory on the efficiency of the cheese-making process in Parmigiano Reggiano cheese manufacture. The study followed the production of 288 Parmigiano Reggiano cheese on 12 batches in three commercial cheese factories. For each batch, samples of the processed milk and whey were collected. Protein, casein, and fat ECL resulted in an average of 27.01%, 0.72%, and 16.93%, respectively. Both milk crude protein and casein contents were negatively correlated with protein ECL, r = −0.141 (p ≤ 0.05), and r = −0.223 (p ≤ 0.001), respectively. The same parameters resulted in a negative correlation with casein ECL (p ≤ 0.001) (r = −0.227 and −0.212, respectively). Moreover, fat ECL was correlated with worse milk coagulation properties and negatively correlated with casein content (r = −0.120; p ≤ 0.05). In conclusion, ECLs depend on both milk characteristics and season.

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Mancini, Maria, Davide Menozzi, Michele Donati, Beatrice Biasini, Mario Veneziani, and Filippo Arfini. "Producers’ and Consumers’ Perception of the Sustainability of Short Food Supply Chains: The Case of Parmigiano Reggiano PDO." Sustainability 11, no. 3 (January 30, 2019): 721. http://dx.doi.org/10.3390/su11030721.

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Recent literature has highlighted the importance of testing the sustainability performances of supply chains. Nevertheless, this field of research is still in its early stages, in particular with reference to short food supply chains (SFSCs). This research analyzed producers’ and consumers’ perception of the economic, social and environmental sustainability of two SFSCs of a specific quality of cheese (Parmigiano Reggiano PDO) placed in two different contexts: the first is a rural area in the Appennino Tosco-Emiliano National Park mountains and the second is a peri-urban area in Parma surroundings, both in Italy. The case study also analyzed the carbon emissions of shopping for Parmigiano Reggiano at dairy shops. Qualitative and quantitative methodologies were employed to achieve the aims of the present study. For producers in both areas, the SFSC is a successful strategy to sell a part of their output in their own outlets, gain reputation, reduce costs and at the same time increase their levels of self-esteem. Product quality is the biggest factor attracting consumers to the outlet; moreover, it is associated with trust in the producers and the idea of combining “leisure with pleasure”. However, the environmental impact of the consumers’ purchase activities is a drawback.

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Hull, Vida. "Parmigianino's »nymphs bathing« identified as »the discovery of Callisto's pregnancy«." Konsthistorisk Tidskrift/Journal of Art History 73, no. 1 (February 2004): 2–14. http://dx.doi.org/10.1080/00233600410026012.

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Morita, Aki, Fumiyo Hayakawa, and Midori Kasai. "Study of the Flavor of Bread Adding Parmigiano-Reggiano." Nippon Shokuhin Kagaku Kogaku Kaishi 67, no. 1 (January 15, 2020): 13–23. http://dx.doi.org/10.3136/nskkk.67.13.

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