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

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

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 (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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2

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 tha

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3

Lezzerini, Marco, Mirco Ramacciotti, Federico Cantini, et al. "Archaeometric study of natural hydraulic mortars: the case of the Late Roman Villa dell’Oratorio (Florence, Italy)." Archaeological and Anthropological Sciences 9, no. 4 (2016): 603–15. http://dx.doi.org/10.1007/s12520-016-0404-2.

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4

Cecchi, Alberto, Alessio Passerini, and Daniele Salvestrini. "The Suspension Iron Bridge of the Early 19^th 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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5

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 part

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6

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 (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

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7

Schlenker, Dieter. "The Historical Archives of the European Union in Florence: Research in a Multilingual and Transnational Archives." Atlanti 26, no. 2 (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 the

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8

Cieminska, Joanna. "Chinese porcelain 'embrechados' in Portuguese garden architecture." Orientations 54, no. 3 (2022): 142–49. https://doi.org/10.5281/zenodo.7695666.

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Chinese porcelain began to be integrated into the decoration of Italian, Portuguese, and Spanish palace interiors in the 16th century, but the use of porcelain for exterior decoration, such as in garden architecture, cannot be observed in the early modern times outside Portugal. Intact porcelain plates and the cut out wells (bottoms) of plates and bowls would be stuck in the character of medallions on internal and external surfaces of garden pavilions, chapels, and fountains, with tiny pieces of broken borders applied together to fill out cartouches. This technique of applying shells, stones,

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9

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 M

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10

Hatchfield, Pamela, Briana Feston, Diana Johnson Galante, 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 (2014): S227—S229. http://dx.doi.org/10.1179/204705814x13975704319992.

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11

DaCosta Kaufmann, Thomas. "Péter Farbaky and Louis A. Waldman, eds. Italy and Hungary: Humanism and Art in the Early Renaissance. Villa I Tatti: The Harvard University Center for Italian Renaissance Studies 27. Florence: Villa I Tatti, 2011. xli + 728 pp. $85. ISBN: 978–067406346–4." Renaissance Quarterly 65, no. 3 (2012): 874–76. http://dx.doi.org/10.1086/668309.

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12

Duran, Kevin. "Reviewer Acknowledgements for International Business Research, Vol. 12, No. 4." International Business Research 12, no. 4 (2019): 196. http://dx.doi.org/10.5539/ibr.v12n4p196.

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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.   Reviewer

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13

Locker, Jesse. "Jonathan K. Nelson, ed. Plautilla Nelli (1524–1588): The Painter-Prioress of Renaissance Florence. The Villa Rossa Series: Intercultural Perspectives on Italy and Europe 4. Syracuse: Syracuse University Press, 2008. xv + 210 pp. index. illus. bibl. $24.95. ISBN: 978–88–9525003–8." Renaissance Quarterly 62, no. 2 (2009): 532–33. http://dx.doi.org/10.1086/599901.

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14

Kordovska, P. A. "Italian singer Daisy Lumini as an interpreter of the post-avant-garde music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 253–66. http://dx.doi.org/10.34064/khnum1-56.16.

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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

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15

Bignami, Giovanni. "Giuseppe Paolo Stanislao Occhialini. 5 December 1907 – 30 December 1993." December 19, 2006. https://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 tha

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16

Schlenker, Dieter. "The Historical Archives of the European Union in Florence: Research in a Multilingual and Transnational Archives." May 22, 2019. https://doi.org/10.33700/2670-451x.26.2.59-64(2016).

Full text

Abstract:

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 the

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17

"Academy of European Law - European University Institute, Villa Schifanoia, Via Boccaccio, 121, I - 50133 Florence, Italy - website: Information: Secretariat fax: 30 055 4685517 - e-mail: or." Uniform Law Review - Revue de droit uniforme 4, no. 1 (1999): 106–7. http://dx.doi.org/10.1093/ulr/4.1.106.

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