Relevant bibliographies by topics / Villa Gamberaia (Florence, Italy)

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Academic literature on the topic 'Villa Gamberaia (Florence, Italy)'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Villa Gamberaia (Florence, Italy)"

1

Kulhánková, Zora. "The work of Italian garden designer Pietro Porcinai." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 52, no. 1 (2004): 217–26. http://dx.doi.org/10.11118/actaun200452010217.

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Pietro Porcinai (1910 - 1986) was the Italy‘s most distinguished garden designer of the twentieth century. He was born in Settignano (Florence) and grew up in the ambience of Villa Gamberaia, where his father was a head gardener. He gained a diploma in agriculture in 1928 and left to the nothern Europe. He stopped in Germany where he worked a few years. In Belgium he met the new tendention of the „constructed garden“ and in Germany was influenced by Fritz Enchke and Karl Foerster. He started to practise in 1931. Pietro Porcinai was one of the founders of IFLA (International Federation of Landscape Architects) in 1948 and two years later he founded with Raffaele Vico and Michele Bussini the Italian Association of Landscape Architects (now AIAPP). Porcinai saw his method as the creation of garden spaces with plants, rather than architecture. There is 1,318 projects in his archive - private gardens, public parks, motorways, urban spaces, which reveal that his deep understanding of modern design was never surrended. In 1957 Porcinai bought Villa Rondinelli on a Fiesole hillside where he worked and lived until his death in 1986.
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MASSETI, MARCO. "Sculptures of mammals in the Grotta degli Animali of the Villa Medici di Castello, Florence, Italy: a stone menagerie." Archives of Natural History 35, no. 1 (April 2008): 100–104. http://dx.doi.org/10.3366/e0260954108000090.

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The Grotta degli Animali of the Villa Medici di Castello, Florence, Italy, houses a varied range of life-size mammals in polychrome marble, perhaps created by Cosimo Fancelli around 1555, on a model by Baccio Bandinelli. This paper describes and identifies the mammalian species portrayed, bearing in mind, however, the possible influence of an iconographic tradition, as well as the probable inspiration from mythological and legendary sources.
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Bignami, Giovanni. "Giuseppe Paolo Stanislao Occhialini. 5 December 1907 – 30 December 1993." Biographical Memoirs of Fellows of the Royal Society 48 (January 2002): 331–40. http://dx.doi.org/10.1098/rsbm.2002.0019.

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Giuseppe (Beppo) Occhialini was born in Fossombrone (Umbria) on 5 December 1907. He spent his childhood and adolescence following his father, Raffaele Augusto, around Italy from one university appointment to the next. Together with (Lord) Patrick Blackett, F.R.S. (P.R.S. 1965–70), his father was to be one of the people who most influenced Occhialini's life and way of thinking. Between 1911 and 1917 the family lived in Pisa; then Beppo (who was at that time still called Peppino) moved to Florence, where he lived with his mother, Etra, until he graduated from university in 1929. In the years that followed he worked at the Institute of Physics of the University of Florence, first as a temporary research assistant and later in a permanent appointment. The seat of the institute was then in Arcetri, very near the observatory and the ‘Gioiello’, the villa of Galileo's last years. The physics course had been established in Florence only a short time before, thanks to the influence of Antonio Garbasso and Enrico Persico, two charismatic figures in the incredible scientific ferment that was running through the Italy of the 1920s and 1930s. Years later, Beppo's romantic temperament was to recall, of the Physics Institute, that ‘the view from those windows made one forget the scantiness of the equipment, the lack of functionality of the convent-like structure and the difficulty of access’. To get to Arcetri, of course, he had to pedal up the hill on his bicycle from Florence.
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Lezzerini, Marco, Mirco Ramacciotti, Federico Cantini, Beatrice Fatighenti, Fabrizio Antonelli, Elena Pecchioni, Fabio Fratini, Emma Cantisani, and Marco Giamello. "Archaeometric study of natural hydraulic mortars: the case of the Late Roman Villa dell’Oratorio (Florence, Italy)." Archaeological and Anthropological Sciences 9, no. 4 (October 11, 2016): 603–15. http://dx.doi.org/10.1007/s12520-016-0404-2.

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Cecchi, Alberto, Alessio Passerini, and Daniele Salvestrini. "The Suspension Iron Bridge of the Early 19th Century Villa Borghese in Florence (Italy)." Advanced Materials Research 133-134 (October 2010): 143–48. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.143.

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Between the 1825 and the 1828, Antonio Carcopino, an engineer, designed a suspension iron cable bridge: this fact shows the interest of the Borghese family for the technological innovations of the 18th and of 19th century.
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Parisi, E. I., M. Suma, A. Güleç Korumaz, E. Rosina, and G. Tucci. "AERIAL PLATFORMS (UAV) SURVEYS IN THE VIS AND TIR RANGE. APPLICATIONS ON ARCHAEOLOGY AND AGRICULTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 5, 2019): 945–52. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-945-2019.

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<p><strong>Abstract.</strong> The paper presents multi-sensor applications of Unmanned Aerial Vehicles (UAVs) on three different cases of study, belonging to the wide category of Cultural Heritage (CH). The contribution aims to examine the efficacy of different methodological approach of surveys made in VIS and TIR range with aerial platforms. The use of UAV on two archaeological areas, Çatalhöyük site (Konya, Turkey) and the Medicean Villa of Pratolino (Florence, Italy) and an application of precision agriculture in Lamole (Greve in Chianti, Italy) will be presented. In particular, the analysis will focus on the accuracy of the obtained data, in terms of both metric and image quality, the possible information to extract from the IR imaging, the relationship between costs and benefits and the total amount of information that can be gained. The two different fields of research (archaeological and agricultural one) show that there are some similarities in the approaches and which could be the improving to obtain using the aerial survey in the visual and IR bands.</p>
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Masseti, Marco, and Cecilia Veracini. "The first record of Marcgrave's capuchin in Europe: South American monkeys in Italy during the early sixteenth century." Archives of Natural History 37, no. 1 (April 2010): 91–101. http://dx.doi.org/10.3366/e0260954109001673.

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Around the end of the second decade of the sixteenth century, in the Villa Medici of Poggio a Caiano in the vicinity of Florence, the Florentine artist Andrea del Sarto painted a great fresco, commissioned by Pope Leo X in honour of his late father, Lorenzo de’ Medici. This fresco contains one of the earliest representations in Europe of a living South American primate, which can easily be identified as Marcgrave's capuchin, Cebus flavius ( Schreber, 1774 ). The appearance is so accurate that we can assume that the painter was familiar with the animal, and may even have used a live monkey as a model. Marcgrave's capuchin is a taxon that was recently rediscovered in Brazil, where it has been found in fragments of the Atlantic Forest in the states of Rio Grande do Norte, Pernambuco, Alagoas and Paraíba. The portrayal of this species in the early sixteenth-century decoration of Poggio a Caiano raises interesting questions about the popularity of Brazilian primates in European artistic and scientific circles from the time of the discovery of the New World, and about the rapidity of the initial anthropogenic diffusion of some of these animals beyond their homeland.
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Schlenker, Dieter. "The Historical Archives of the European Union in Florence: Research in a Multilingual and Transnational Archives." Atlanti 26, no. 2 (October 25, 2016): 59–64. http://dx.doi.org/10.33700/2670-451x.26.2.59-64(2016).

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The Historical Archives of the European Union (HAEU) is a centre dedicated to the archival preservation and research on the history of European integration. In close cooperation with the Archives services of the EU Institutions, the HAEU preserves and make available to research the archival holdings of EU Institutions. Also, the Archives promotes research on the history of the EU Institutions, raises the public interest in the process of European integration and increases transparency in the EU Institutions’ work. Established following a decision by the European Communities in 1983 to open their historical archives to the public, the HAEU opened its doors in 1986. As part of the European University Institute, it is located in the historic Villa Salviati in Florence, Italy. The internet era and the modern information society have profoundly changed the research behaviour at the HAEU, in particular due to its unique character as transnational and multi-lingual archives. As central access point to EU institutional archives it is part of a network of more than 50 EU Institutions, Bodies and Agencies and seeks to respond, in close collaboration with its partners, to the challenges of the digital age. This paper outlines some key projects in terms of coping with research in an online archival database, the necessity to standardise and harmonise archival description, the added value of standardised vocabularies and the digitisation and online publication of paper archives.
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Arangio, Susanna. "Collecting Mussolini: The Case of the Susmel–Bargellini Collection." Ex Novo: Journal of Archaeology 5 (May 24, 2021): 7–18. http://dx.doi.org/10.32028/exnovo.v5i.408.

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Heritage Studies has dealt with Italian Fascism in different ways but paying little attention to the movable items linked to the regime, such as paintings, sculptures and memorabilia. Over the last decade, private collections linked to the Mussolini iconography have emerged, owing to a renewed social acceptance of it and more items of Mussoliniana being readily available. Due to the reluctance of experts to confront this issue and the expansion of private museums in Italy, spontaneous initiatives have sprung up including a permanent exhibition of Mussolini iconography as part of the MAGI’900 Museum in Pieve di Cento, which consists of approximately 250 portraits of the Duce in different media. The nucleus of the original collection once belonged to the historian Duilio Susmel and was part of a large documentary collection put together during the 1960s and 1970s. Susmel hoped it would become a museum or a centre for Fascist studies, but ultimately it remained in his private villa near Florence until the 1990s. The archive is now split between Rome and Salò, and the Mussoliniana was purchased by Bargellini, who added busts, paintings and knick-knacks. Since 2009 it has been on display in a section of Bargellini’s museum entitled Arte del Ventennio. Therefore, the Italian State tolerates its existence but sadly it is ignored by most experts, despite the study opportunities it offers.
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Hatchfield, Pamela, Briana Feston, Diana Johnson Galante, Erin Kitagawa, Jessica Pace, Amy Tjiong, Kristen Watson Adsit, et al. "Reduced, re-used and recycled: The treatment and re-display of a repurposed seventeenth-century Coromandel lacquer screen in the Acton Collection, Villa La Pietra, Florence, Italy." Studies in Conservation 59, sup1 (September 2014): S227—S229. http://dx.doi.org/10.1179/204705814x13975704319992.

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Books on the topic "Villa Gamberaia (Florence, Italy)"

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Osmond, Patricia. Villa Gamberaia: Sources and interpretations. London: Taylor & Francis, 2002.

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Pozzana, Maria Chiara. A guide to Villa Gamberaia. Firenze: Polistampa, 1999.

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3

J, Osmond Patricia, ed. Revisiting the Gamberaia: An anthology of essays on villa Gamberaia by Janet Ross, Edith Wharton, Evelyn March Phillipps, H. Inigo Triggs, Henry V. Hubbard, Geoffrey Jellicoe, Georgina Masson, Harold Acton. Firenze: Centro Di, 2004.

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A, Mandel Carol, ed. La Pietra: Florence, a family, and a villa. [Milan, Italy]: Edizioni Olivares, 2002.

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Russo, Giovanni Carlo. Villa Vogel: "Villa Capponi delle Torri". Firenze: Giorgi & Gambi, 1995.

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Turner, A. Richard. La Pietra: Florence, a family and a villa. Milano: Olivares, 2002.

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7

Godoli, Antonio. La villa di Galileo in Arcetri: Galileo's villa at Arcetri. Firenze, Italy: Firenze University Press, 2016.

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Centro internazionale congressi (Florence, Italy), ed. Una villa dal cuore antico verso il terzo millennio. Firenze: Loggia de' Lanzi, 1997.

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9

Marcaccini, Pierluigi. Villa delle Panche: Il restauro. Firenze: Centro Di, 1993.

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10

Luchinat, Cristina Acidini. La villa e il giardino della Petraia a Firenze. Firenze: EDIFIR, 1995.

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Book chapters on the topic "Villa Gamberaia (Florence, Italy)"

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Campbell, Gordon. "4. Italy." In Garden History: A Very Short Introduction, 50–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199689873.003.0004.

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‘Italy’ discusses the essential features of the 16th-century Italian Renaissance garden—terraces, symmetry, statues, water, and a balance between constructed and natural materials—that were to influence gardens all over the world both in layout and in content. The two best-known surviving gardens of 16th-century Italy are Villa d’Este in Tivoli and the Boboli Gardens in Florence. The design of Italian gardens through the 17th and 18th centuries is also considered, when there was a greater French influence. Many gardens became derelict during the political and economic difficulties of a fragmented Italy in the late 18th and early 19th centuries, but the past forty years have witnessed the restoration of many Renaissance gardens.
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