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The brief life of the Accademia del Cimento (1657-1667), the first known society with a purely experimental programme, 1 is entangled with the most surprising advancements in the history of scientific instruments of that century, from the telescope to the microscope, the thermometer to the barometer, the hygrometer to the pendulum as a time-regulator, and more. The making of instruments at the Florentine court shows the interaction of princely, scholarly and artisanal actors. This paper explores this collaboration and shows how the supposed "invisibility' of artisans depended on their proximity to the academicians and princes, who mainly communicated verbally with them, directly or through middlemen. The visibility of artisans increases proportionally to their physical distance from the Court. In this essay I unveil the identity of the artisans of the Cimento and, finally, attempt to attribute five instruments (some lost and others still extant) to specific makers, shedding light also on relations between the artisan and his patron.

Studying highly valuable and fragile Renaissance drawings requires a non-invasive contactless analytical approach. In this work, we study an early drawing by Raffaello Sanzio, one of the most important artists of the Italian Renaissance, realized during his stay in Florence (1504-1508). Our analyses aimed to reveal the features of the paper support significant for its dating, identify and map the drawing media to understand the artist's technical approach, and document the drawing condition with imaging and single-sited optical methods. Reflectance Vis-NIR multispectral imaging spectroscopy elaborated with False-Colour and Principal Component Analysis provided information about the paper support and the drawing media. Laser scanning micro-profilometry and Optical Coherence Tomography allowed revealing the superficial micro-scale features of the support. The chemical composition of the different drawing materials was characterized by μ-Raman spectroscopy, which provided also some evidence of the conservation history of the drawing. Integration of spectroscopic and imaging data shows that Raffaello used different dry drawing media (carbon-based and Pb stylus) to sketch the figure and then refined the details and shadows with iron-gall ink. The paper presents a methodological approach for the analytical examination of fragile paper artworks., (© 2022. The Author(s).)

Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]

This paper focuses on urban regeneration practices based on adaptive reuse projects in culture and the arts, where new forms of social entrepreneurship emerge. Through in-depth qualitative research, we develop three case studies in three different urban contexts in Italy: Turin, a large and highly industrialised city in one of the country's north-west regions; Terni, a medium-sized city in central Italy; and Favara, a small town in the province of Agrigento on the island of Sicily. Building on the case studies, we outline a possible taxonomy of urban remains, entrepreneurship, and adaptive reuse models, reflecting on the role of social entrepreneurship and its peculiar governance and business models, the specific features of adaptive reuse and urban regeneration processes, and the relationship between art and urban regeneration. Some closing remarks focus on how social entrepreneurship in the cultural field challenges both scholars and decision-makers. [ABSTRACT FROM AUTHOR]

In this paper I'm going to illustrate my experience related to the six month narrative laboratory with the psychiatric patients of the Daily Psychiatric Center located in Rutigliano. This project originated from my own way of conceiving the concept of Psychiatric and Psychosocial Rehabilitation in terms of Therapeìa, that is in my view the regaining "sense and meaning" as the essence of rehabilitation therapy. My goal was to awaken thoughts, words, gestures, emotions in order to reconnect an interrupted dialogue with themselves and start an initial storytelling experience. By telling this new story the relationship between the Self, the Story and the Character is recreated so that freedom and life planning are generated again. In order to "gather unspoken yet deeply felt experiences" I used artworks extracted from the catalogue "tutti uguali, tutti diversi"; catalogue created during the awareness campaign and the fight against social stigma and social exclusion by Art, that the Center of Mental Health 3 - CSM 3 - in Troia (Puglia, Italy) held in 2007 in synergy with the School of Fine Art and with the Monuments and Fine Art Department.

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aim: to finding what young patients with type-1 diabetes (T1D) knows about their body and also on their illness in perspective to tailor educational interventions to their real ability to understand., Methods: the present study involved 68 children with T1D , 5 to 14 years old with a duration of diabetes ranging from 2 to 6 years and a total HbA1c mean value of 7.96±0.87%. The sample was divided into two age Groups: 28 children 5 to 10 years old were gathered in the Group 1 and 40 teenagers aged from 11 to 14 years in the Group 2. These patients were invited to draw over a white paper using a black pencil "The human body as it is made inside". Subsequently they were asked to explain: "what is diabetes?" and "where does insulin go?". According to the methodology of the "interactive drawing", the interviewer interacted with the children while drawing, forcing them to verbalize the reasons for their choices, to justify their proceeding, to explain their plan and then to explicit their theories. Drawings and replies were classified as Correct, Correct-but-Incomplete and Incorrect., Results: the overall production of correct/correct-but-incomplete drawings was 83.82% vs 16.20% of the incorrect ones. One-hundred of the children who have produced a correct drawing supplied also a correct verbal reply, whereas 100% of the children who have produced an incorrect drawing was unable to supply any information on diabetes or about insulin. Both younger and older subjects who produced a complete-but-incorrect drawing appeared to have misunderstood the action of insulin therapy (only 23% and 17% of correct replies). Children who produced incomplete drawings and provided incorrect replies to the questions about their disease showed also a HbA1c mean value higher (8.36±0.97%) compared to the children who drew and answered correctly (p=0.0023)., Conclusions: the operative epistemic approach could represent a promising tool for a health professional team to verify the real understanding acquired by a child about T1D, and to provide pediatrician a guideline to directly communicate with his patient.

How do we display the uncanny? During the Second World War the medical school of Queen's University (Canada) commissioned artist Marjorie Winslow to make a series of wax teaching models to illustrate childbirth, in three dimensions, for the benefit of medical students. How have curators displayed these obstetric waxworks, which provoke strong feelings of disgust or of horrified empathy? Even in storage in the Museum of Health Care at Kingston, the Winslow waxworks remain concealed behind a curtain, and when they are on display, they are now far more likely to be part of an art exhibition than a medical history display. This paper uses the early history of obstetric waxworks and their display in eighteenth-century Italy to show how medical waxworks have always challenged the disciplinary divide between art and science. This historical context informs our understanding of the display history of the Winslow waxworks and of uncanny objects in general. [ABSTRACT FROM AUTHOR]

This article analyses experimental institutionalism in the city of Rome, focusing on artistic practices of the C.S.O.A. Centro Sociale Autonomo Occupato (Squatted Autonomous Social Centre) Forte Prenestino and the three-year occupation of Valle theatre, Teatro Valle Occupato. In scholarly research on art institutionalism, artistic practices in squatted spaces are often overlooked. While the 1990s European wave of experimental institutionalism transformed the concept of an art museum or art institution into a processed-based, community-oriented, and participatory platform, in Rome, the collectives of activists and artists used more autonomous endeavours, such as processes of instituting, to affirm how artistic practices' use of radical imagination can foster collective agency, creativity, and radical statecraft. In the following, radical statecraft is understood as a political act that reclaims and creates anew institutional infrastructures. Teatro Valle Occupato's experimental cultural institution of the commons at the 17th-century theatre Valle from 2012 to 2015, and the projects of artists and musicians of the European underground cultural hub C.S.O.A. Forte Prenestino at the squatted 19th-century military fort in the working-class, peripheric neighbourhood of Centocelle, are crucial examples of artistic, cultural, and institutional experimentation, whereby artistic and cultural practices foster social relationships based on freedom, mutualism, solidarity, and the commons. In both cases, the contingency to grassroots politics forged the desire and imagination to either create anew or carve out a social space. By reclaiming spaces in which art is used as a means of radical statecraft, these practices reimagine society fostering non-market-driven social relationships becoming pivotal in the struggles against the neoliberal turn in Italy. [ABSTRACT FROM AUTHOR]

Copyright of Dos Algarves: A Multidisciplinary e-Journal is the property of Dos Algarves: A Multidisciplinary e-Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Geoheritage is a geotourism resource that could lead to the sustainable development of society, and could contribute to information on geological and geomorphological characteristics, education, public awareness on geoconservation, and landscape protection. Understanding this cultural wealth is still limited, since the information available is often specialized. Communication addressed to the emotional sphere can profoundly engage people, and technical information can be transmitted more effectively. For several years, our research group dealt with geoheritage and geotourism in central Italy. This work aimed to investigate different communication methods, such as publications, announcements through social media, conferences, live performances, and field excursions aimed at the emotional involvement of the public. Furthermore, the emotional response of the public was explored through a digital survey. These communication methodologies enabled a broad public reach, without any distinction based on social origin, cultural background, or age. Narrating the landscape through different forms of art creates a personal relationship with the audience. The emotional participation of the people demonstrates the effectiveness of the method in transmitting scientific and cultural themes, such as the origin of the geological landforms, the culture and the traditions that the site generated, and the problems pertaining to its protection and conservation. [ABSTRACT FROM AUTHOR]

Art, the language of ideas and concepts, comprises a multitude of means of manifestation through sound, word, color, gesture, etc., between which there is often an interconnection. This article highlights some aspects of the aesthetics of the Renaissance period in which artists, starting from Italy, focused on realism and human emotion in art, but also on the interconnection between two arts - painting and music. In this sense, we turned our attention to identifying the symbolic role of the musical instruments of that period represented in paintings by some notable masters from Italy, Flanders and Germany. [ABSTRACT FROM AUTHOR]

Art, the language of ideas and concepts, comprises a multitude of means of manifestation through sound, word, color, gesture, etc., between which there is often an interconnection. This article highlights some aspects of the aesthetics of the Renaissance period in which artists, starting from Italy, focused on realism and human emotion in art, but also on the interconnection between two arts - painting and music. In this sense, we turned our attention to identifying the symbolic role of the musical instruments of that period represented in paintings by some notable masters from Italy, Flanders and Germany. [ABSTRACT FROM AUTHOR]

In the nineteenth century, when the theatre arts were at their peak, Milan was considered the intellectual and artistic capital of Italy. This article explores the objectives and the functioning of an important mutual aid company based in Milan – the Pio Istituto Teatrale – through its accounting system. These accounting documents clearly convey the dual nature of this organization, which was dedicated to protecting both social welfare and the arts. This study confirms the social role of accounting and its implications. In recent years, the attention paid to accounting in artistic institutions has been increasing. However, while many studies have explored Italian mutual aid societies in general, few have considered those in the artistic field specifically. This article attempts to rectify this oversight by examining a mutual aid society functioning in the world of theatre via its accounting records. [ABSTRACT FROM AUTHOR]

A thermographic non-destructive inspection conducted during the winter season on precious walls confined to an indoor environment (Baiocco room, L'Aquila, Italy) is illustrated herein. The use of a heat conveyor ad hoc selected has produced a particular benefit in terms of defect detection after the application of advanced algorithms because the thermal stimulus coming from an air heater hit the finishing layer under a laminar flow regime. Thermocouples registered both the heat-up and cool-down phases to confirm the numerical simulations conducted via Comsol Multiphysics® software. The results obtained by applying the principal component thermography (PCT) technique to raw data registered in the time domain were a priori studied through thermographic simulations. Defects were modelled on the basis of results already shown in a previous work centred on the Baiocco room, too. A comparison between the results obtained from PCT and the innovative sparse principal component thermography (SPCT) technique was also added to the discussion. The SPCT results show their benefits above all when they are supplemented with ground-penetrating radar results. The experimental analyses were conducted on a multi-layer wall called thereafter rectangular portal, in which the instant thermal conductance was experimentally measured. Subsurface cracks were detected using a long heating-up phase. This procedure is preferred by the Monuments and Fine Arts Department with respect to the use of flash lamps. Indeed, short energy pulses should be avoided on finishing layers having low emissivity values because producing spurious reflections affecting the thermographic results. A discussion on this point is also provided. On the basis of the data analysis, it is possible to say that the thermal waves should arrive at the interface between the masonry and its top layer in order to obtain a clear thermal map of the defects present at different depths. As shown, this goal can be realized through a smart solution based on: (a) the inverse knowledge of the aedicula via thermal analyses, (b) the best mesh to be selected for the numerical model, and (c) the optimal type of thermal stress to be delivered to the object under inspection. [ABSTRACT FROM AUTHOR]

This article analyzes twenty-one works belonging to the collection "The Italian Costumes," made by Victor Meirelles in Italy between 1853 and 1856 and preserved in the museum named after the artist in Florianopolis, Brazil. The analysis focused on the identification of the common components of the works in terms of six aspects: ambience, position, body, costumes, colors, and shapes. In this article, only the first two aspects are addressed. The traces that indicate some of the artist's motivation when producing the collection are highlighted: the conjectural, which is linked to the sale of engravings of regional human types in Italy in the nineteenth century; the structural, or the education offered during the artist's era; and the ideological, including national and romantic propositions, biased toward the Nazarene movement. From the analysis of ambience and position, two hypotheses are discussed to demonstrate that the collection is not only focused on the improvement of the drapery technique but also a source of income and inspiration for Victor Meirelles that defined his poetics during his life. The divulgation of the results also aims to methodize the collection's knowledge and encourage deeper studies of the same or similar collections. Future work is justified and important, given the fact that the current research is the only work of this magnitude about the Italian Costumes collection. [ABSTRACT FROM AUTHOR]

It has long formed an art-historical truism that Ferrara’s notable Jewish history reinvigorated Giorgio de Chirico’s Metaphysical painting after 1915, when he settled there to serve during World War I. ‘It was not simply the workshops, the streets, or the people which drew [him] to it’, wrote the art historian Paolo Fossati on de Chirico’s time in the city’s former ghetto, ‘but a certain culture and a precise intelligence’. How, precisely, did such an intelligence manifest itself? What formed the extant dimensions of such a culture? What, in short, is actually ‘Jewish’ about de Chirico’s painted Jewish Angel, or his professed pictorial ‘evangelism’, or the increasingly involuted spaces of his painting after 1915? To reduce the question of Jewishness solely to its symbolic content is to miss a vital facet of Metaphysical imagery; for de Chirico’s avowed ‘Israelite system’ distills ostensibly Jewish moral and cultural tendencies not simply to an arcane iconography, but – more ambitiously and ineffably – to an ‘ascetic’ economy of painted form. [ABSTRACT FROM AUTHOR]

The article offers an overview of Futurism, the revolutionary aesthetic movement that began in 1909 and brought a new vitality to the Italian art scene. One of the least familiar aspects of the movement was the focus that its founder Filippo Tommaso Marinetti and his followers espoused for promoting sport and physical education – both in schools and in workers' free time. The artistic efforts of the Futurists were quite innovative as they invented new forms of literature, poetry, theatre, music, dance, sculpture, painting, and architecture, as well as supporting the 'minor arts'. Many of their works employ the simultaneity of art and the celebration of such modern concepts as speed, dynamism, and flight. All these are combined with an amazing burst of creativity and surreal 'physico-follies' to create a new futurist vision of humanity. However, for the country as a whole Futurism was considered too elitist and it never really gathered much popular support. Surprisingly, some of its concepts were skilfully absorbed by the fascist movement lead by Benito Mussolini. [ABSTRACT FROM AUTHOR]

We conducted a second National survey in all Italian Infectious Disease clinics to assess the number of people diagnosed and linked to care and, among these, the number of people on antiretroviral therapy and viral load suppressed. In 2014, 100,049 (0.16 per 100 residents) people diagnosed and linked to care were estimated, corresponding to an increase of 6.3% compared to the survey conducted in 2012. Among people diagnosed and linked to care, 91.9% were on antiretroviral therapy (increase of 11.4% compared to 2012), and among these, 87.7% were viral load suppressed. Overall, the majority were males (72.1%), Italians (82.7%), aged 25-49 years (45.6%); the most common HIV mode of transmission was reported to be in heterosexual contact (37.9%) and men who had sex with men (31.3%); 8.8% had less than 350 CD4 cells/μL, 82.4% had VL <50 copies and 22.9% had a CDC stage C. In conclusion, the number of people diagnosed and linked to care was increasing. The vast majority of them was receiving ART but the percentage of people still with a detectable viral load was lower than the 90-90-90 WHO target. [ABSTRACT FROM AUTHOR]

The Villa Laurentina project seeks to present Count S. K. Potocki's brilliant vision of the legendary villa of Pliny the Younger at Laurentum near Rome, first rendered in the 1770s in over thirty colour drawings. This unique work, amazing in its formal and stylistic homogeneity, was produced in Rome, in collaboration with two Italian artists - Giuseppe Manocchi and Vincenzo Brenna - and probably Franciszek Smuglewicz, a Polish painter active in Rome. All the architectural plans, sections of façades and walls of the rooms are provided with scale bars in palmi romani and braccia polacche. The first stage of the project was to transfer the eighteenth-century drawings on to programs used in architectural planning studios. For this purpose, scans of the plates were transferred to a CAD programme, which enabled the plan traces, sections and renditions of the walls to be made. Historical systems of measurement were calculated according to the metric system. [ABSTRACT FROM AUTHOR]

In his little-known essay published posthumously in 1849, Über die Eintheilung der schönen Künste (On the Classification of the Beautiful Arts), Bernard Bolzano proposes an explication of the concept of beautiful art as well as a classification of these arts. Bolzano's divisions allowed him not only to provide a principled and comprehensive classification of actual, well-established arts, but also to anticipate kinds of beautiful art that would not exist or be widely recognized until decades after his death, such as moving pictures, abstract paintings, and what he called 'the arts of pure thought'. [ABSTRACT FROM AUTHOR]

Francesco I de' Medici (r. 1564-87), the second Grand Duke of Tuscany, commissioned a private studiolo in the Palazzo Vecchio that united his personal passion for collecting objects of natural wonder with the Medici tradition of utilizing art to proclaim authority. Cabinets lining the walls protected the Grand Duke's collection of rare, precious, and exotic works of art and natural specimens. With the objects dispersed over time, art historians have until now only been able to guess at the kinds of objects on display. In 2014, the author discovered in the Archivio di Stato di Firenze a previously unpublished inventory from June 1574 that documents the objects contained within Francesco's studiolo, shedding light on both objects and organization within and contributing to our understanding of what studioli looked like at a moment of transition from the Renaissance focus on antiquities towards a 17th century fascination with the natural sciences. [ABSTRACT FROM AUTHOR]

This article considers the display of art as a ceremonial performance and a means of establishing social and political interaction between collectors and visitors. It demonstrates that in early modern Italy the actors of these mises en scène did not improvise, but would rather know their lines by heart. By the beginning of the seventeenth century they also relied on treatises on gesture such as Giovanni Bonifacio’s L’arte de’ cenni. They were trained to behave in such situations according to shared social practices. The hosts would show with pride their collections, while guests were required to gaze at objects and to comment on them. The examples analysed in this contribution will help us to understand that showing art and being shown art in sixteenth- and seventeenth-century Italy was primarily a social experience. [ABSTRACT FROM PUBLISHER]

The article offers the author's insights about the eighteenth-century antiquities in Naples, Italy. Topics discussed include iconographies that have affinity with musical themes, Parthenopean Republic, and the publication "Disegni intagliati in rame di pitture antiche ritrovate nelle scavazioni di Resina."

Building upon discourses on trauma, art, and architecture, this work examines how the design and construction of buildings mediate the cultural, social, and political changes that occur after a catastrophe. It takes as its case study the reconstruction of Sicily's Val di Noto following an earthquake in 1693 and the role that the Baroque architectural style played in it. In this study, Sicilian Baroque building decoration emerges as a medium that facilitated the reconciliation of tensions that inhered among survivors of the earthquake and their social and material milieus. [ABSTRACT FROM AUTHOR]