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

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.

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.

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.

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.

<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>

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.

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.

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.

International Business Research wishes to acknowledge the following individuals for their assistance with peer review of manuscripts for this issue. Their help and contributions in maintaining the quality of the journal are greatly appreciated. International Business Research is recruiting reviewers for the journal. If you are interested in becoming a reviewer, we welcome you to join us. Please find the application form and details at http://www.ccsenet.org/journal/index.php/ibr/editor/recruitment and e-mail the completed application form to ibr@ccsenet.org. Reviewers for Volume 12, Number 4 &nbsp; Alireza Athari, Eastern Mediterranean University, Iran Anna Paola Micheli, Univrtsity of Cassino and Southern Lazio, Italy Antonio Usai, University of Sassari, Italy Ashford C Chea, Benedict College, USA Aurelija Burinskiene, Vilnius Gediminas Technical University, Lithuania Bazeet Olayemi Badru, Universiti Utara Malaysia, Nigeria Bruno Ferreira Frascaroli, Federal University of Paraiba, Brazil Celina Maria Olszak, University of Economics in Katowice, Poland Christopher Alozie, Tansian University, Nigeria Cristian Rabanal, National University of Villa Mercedes, Argentina Francesco Ciampi, Florence University, Italy Francesco Scalera, University of Bari &quot;Aldo Moro&quot;, Italy Haldun Şecaattin &Ccedil;etinarslan, Turkish Naval Forces Command, Turkey Hanna Trojanowska, Warsaw University of Technology, Poland Henrique F&aacute;tima Boyol Ngan, Institute for Tourism Studies, Macao, Macao Herald Monis, Milagres College, India Hillary Odor, University of Benin, Nigeria Imran Riaz Malik, IQRA University, Pakistan L. Leo Franklin, Bharathidasn University, India Ladislav Mura, University of Ss. Cyril and Methodius in Trnava, Slovakia Leow Hon Wei, SEGi University, Malaysia Luisa Pinto, University of Porto School of Economics, Portugal M- Muzamil Naqshbandi, University of Dubai, UAE Manuel A. R. da Fonseca, Federal University of Rio de Janeiro (UFRJ), Brazil Marcelino Jos&eacute; Jorge, Evandro Chagas Clinical Research Institute of Oswaldo Cruz Foundation, Brazil Marco Valeri, Niccol&ograve; Cusano University, Italy Marta Joanna Zi&oacute;lkowska, Warsaw School of Economics (Szkoła Gł&oacute;wna Handlowa), Poland Michele Rubino, Universit&agrave; LUM Jean Monnet, Italy Mohamed Abdel Rahman Salih, Taibah University, Saudi Arabia Mohsen Malekalketab Khiabani, University Technology Malaysia, Malaysia Muath Eleswed, American University of Kuwait, USA Nicoleta Barbuta-Misu, &ldquo;Dunarea de Jos&rdquo; University of Galati, Romania Ozgur Demirtas, Turkish Air Force Academy, Turkey Pascal Stiefenhofer, University of Brighton, UK Radoslav Jankal, University of Zilina, Slovakia Razana Juhaida Johari, Universiti Teknologi MARA, Malaysia Riaz Ahsan, Government College University Faisalabad, Pakistan Roxanne Helm Stevens, Azusa Pacific University, USA Serhii Kozlovskiy, Donetsk National University, Ukraine Slavoljub M. Vujović, Economic Institute, Belgrade, Serbia Stephen Donald Strombeck, William Jessup University, USA Sumathisri Bhoopalan, SASTRA Deemed to be University, India Wejdene Yangui, Institute of High Business Studies of Sfax _ Tunisia (IHEC), Tunisia Yan Lu, University of Central Florida, USA

Introduction. In the music of the late twentieth century the realization of the creative potential of performers is rarely limited with the framework of direction which was chosen in the beginning of career. The field of the academic music may be too narrow for the artist, but this does not mean a definitive departure from this area. The life and performances of Italian singer, actress and composer Daisy Lumini (1936–1993) could be considered as one of the examples of the twentieth century “variability” of the artist’s way. She developed from a graduate of the Conservatory to a pop star and a cabaret singer, from a medieval folklore performer to an interpreter of contemporary academic music. Daisy Lumini’s unique performing experience led her to collaborate with Italian composers of the late twentieth century. Theoretical background. The extraordinary personality of Daisy Lumini received a certain resonance in the European press. High historical value is the biographical essay “Daisy e la musica. Una grande e tragica storia” (2019) by Chiara Ferrari, based on the memories of Beppe Chierici. Daisy Lumini and her works are mentioned in digest “The Singer-Songwriter in Europe: Paradigms, Politics and Place” (2016) and in Jacopo Tomatis’s “Storia culturale della canzone italiana” (2019). The purpose of this paper is to reveal the specifics of the interaction of the composer and performer in the post-avant-garde music based on the creative collaboration of Daisy Lumini and Italian composers of the late twentieth century (Franco Mannino, Luciano Berio, Salvatore Sciarrino). This study requires the use of analytical, style and performing methods of scientific research. Results of the research. Daisy Lumini’s singing style has implicated using a lot of types of intonational practices which is usually associated with the mass twentieth century culture (including pop songs, folk music, cabaret aesthetic etc.). Nevertheless, she had started her musician career with getting education (as a composer and pianist) in totally academic environment in Luigi Cherubini Conservatory (Florence, Italy). Being a daughter of the Florentine painter Vasco Lumini, Daisy Lumini had would be able to continue a calm and comfortable existence in Florence. However, after she had been graduated from the Conservatory in late 1950s she decided to change her life vector, moved to Rome, started her activity as a cantautrice (female singer-songwriter) and produced her first singles. During this period, Lumini found success in collaboration with lyric writer Aldo Alberini and well-known Italian singers Mina Mazzini and Claudio Villa. Along with traditional vocal techniques, Lumini used the whistling technique, due to which she got the nickname “l’usignolo di Firenze” (“the Florentine nightingale”) and was invited by Ennio Morricone to whistle in the soundtrack of Lina Wertm&#252;ller’s “I Basilischi” (“The Lizards”, 1963). In 1960s a work in Gianni Bongiovanni’s Derby Club Cabaret (Milan) and a collaboration with the RCA (Radio Corporation of America) turned into the fields of Lumini’s creative activity. The acquaintanceship with Beppe Chierici, an actor, who would become her husband, lead to a new “folklore” stage of Lumini’s career. As a result of careful research of Italian folk music founded on the materials of Conservatory Santa Cecilia Library (Rome), the singer together with Beppe Chierici had produced several musical performances in the aesthetics of poor theater based on the Tuscan and Piedmontese songs of the XV–XIX centuries, as well as the Songs of Minstrels album based on the texts of the XII–XIV centuries. There was DaisyLumini’s gradual return to the environment of academic music in 1970s. Singer’s friendly communication with conductor Gianluigi Gelmetti, composers Franco Mannino, Domenico Guaccero and others, who represented Santa Cecilia Conservatory, has resulted in a number of creative collaborations. In 1973, even being immersed in ethnographic research, Daisy Lumini performed as mezzo-soprano in Franco Mannino’s “Il diavolo in giardino”. Another milestone in Daisy Lumini’s work became 1982, when director Roberto Scaparro invited the singer to participate in the Italian premiere of Luciano Berio’s “La vera storia”. In the opera, which is a creative reinterpretation of Verdi’s “Troubadour”, Daisy Lumini played the role of one of the cantastorie – singing storytellers or narrators describing and commenting events of the plot. Daisy Lumini achieved a real success as a performer of the post-avant-garde music in the 1980s, in collaboration with Salvatore Sciarrino. Daisy Lumini has premiered a great number of his chamber works, such as “Efebo con Radio”, “Canto degli specchi”, “Vanitas”, “Lohengrin” and some others. Conclusions. Although Daisy Lumini is an individual case, the phenomena and strategies discussed here may turn out to be symptomatic for contemporary music practice. Performers may rarely allow themselves to remain within the same intonational practice in the contemporary music art. It is especially important if it comes to the first performing of the post-avant-garde music that requires a certain congeniality of the performer and the author. The interaction of the composer and the performer is often a factor affecting the creation of a musical work at all stages, from the appearance of an idea for a premiere performance. The musician with a rich life experience and wide range of performing techniques may be considered as the co-author of the score.

The image of one of the greatest actresses, Audrey Hepburn, is presented in different ways: actress, model, dancer, the Goodwill Ambassador for UNICEF. Audrey Hepburn, who loved nature and gardens, saw a rare opportunity to bring forth their beauty in poetic and meaningful ways in Gardens of the World. Her unique vision of the series included fusing the historical and aesthetic aspects with the arts of literature, music and painting. Gardens of the World was filmed on location around the world, including:- Claude Monet s garden at Giverny; George Washington s Estate at Mount Vernon; the ancient moss temple garden Saiho-ji in Kyoto Japan; gardens at Mottisfont Abbey, Tintinhull House, Chilcombe Garden, Hidcote Bartram Village and Hidcote Manor in England; the Keukenhof Garden and the Tulip Fields of Lisse in the Netherlands, Villa Pancha in the Dominican Republic; Giardini di Ninfa and Villa Gamberaia in Italy; La-Roseraie de L Haÿ-les-Roses, Chateau de Courances, Jardin du Luxembourg, and Jardin du Luxembourg in France. The 8 episodes explore: Roses & Rose Gardens, Formal Gardens, Tulips and Spring Bulbs, Country Gardens Japanese Gardens Flower Gardens, Tropical Gardens, Public Gardens and Trees. Each episode presents a different garden theme as well as broader concepts of aesthetic, botanical, cultural or environmental significance.