Suchergebnisse

[EN] The objective of this research is regarding the construction techniques used in the military architecture of Cittadella-Fortezza (Ancona, Marche, Italy). In this case, attention will focus primarily on historical, bibliographic and archive research, then through a comprehensive analysis of building methods used in the sixteenth century and on the strategic function that this fortification covered in the coastal strip of the Middle Adriatic. Together with Rocca Paolina (Perugia) and Fortezza da Basso (Florence), it has in fact a remarkable importance in the military architecture's history, as it was one of the first experiments of fronte bastionato all'italiana. Built from 1532 by Antonio da Sangallo il Giovane, it rises on the top of Astagno hill in a panoramic and defensive position, overlooking the city and the port. It clearly distinguishes itself from the surrounding building fabric as it is characterized by five mighty bastions in bricks and by the central bulwark with the vaulted ground floor. The study aims to investigate the structural details of Ancona's fortress such as the modeling of walls, the suppression of protruding volumes, the extension and rounding of the corner towers and the introduction of the central type plan. A great understanding of this research will be analyzed in the drawings and the volumes' reliefs, which highlighted the general geometric data, the materials used for the realization of the work, the angle of the curtain walls and the technical/constructive strategies. Therefore, the methodical-metric knowledge of the parts will be made more accessible also in relation to the three-dimensional modeling of the fortress, in addition to the critical comparison based on other historical examples of military architecture in the Renaissance period. ; Rinaldi, S. (2020). L'architettura militare italiana della Cittadella di Ancona: tecniche costruttive e sistemi difensivi del XVI secolo. Editorial Universitat Politècnica de València. 825-832. ...

Il salvataggio dei capolavori dei principali musei italiani durante i nove mesi dell'occupazione nazista di Roma viene ricostruito mediante documenti d'archivio inediti che testimoniano gli accordi tra il Vaticano e i funzionari italiani.The rescue of italian masterpieces in main museums during nine months of nazi occupation of Rome is reconstrued by means unpublished documentary sources testifying the agreements between Vatican museums and italian government officials of administration to the Fine Arts.

La traduzione inglese del 1930 del trattato sulle tecniche della pittura medievale redatto da Cennino Cennini alla fine del Trecento, alimentò la diffusione della pittura a tempera che veniva insegnata nei corsi tenuti alla Yale University da Daniel Varley Thompson. Un impulso ulteriore venne dalle sperimentazioni che erano condotte dai pittori tedeschi fuorisciti dalla Germania nazista e dalla politica del New Deal a favore dell'arte pubblica. In 1930s English translation of the treatise on medieval painting techniques by Cennino Cennini (end XIV century) fed the diffusion of tempera painting taught by Daniel Varley Thompson in Yale University courses. Another impulse came from sperimentations carried out by dutch painters escaped from nazi German and from politics of New deal in favor of public art.

La prima circolare sul restauro pittorico emanata in Italia a seguito dei restauri ottocenteschi sulla Pietà di Sebastiano di Piombo a Viterbo viene confrontata con i provvedimenti successivi redatti da Giovan Battista Cavalcaselle dopo l'unificazione italiana. The first codified rule on painting restoration in Italy was promulgated during restoration of Pietà by Sebastiano del Piombo at Viterbo. That rule is compared with next legislative measures written by Giovan Battista Cavalcaselle in 1875-77 after italian state unification

I documenti d'archivio sui restauri ottocenteschi della Pietà di Sebastiano del Piombo a Viterbo evidenziano la promulgazione di una circolare a tutti i vescovi dello Stato Pontificio che diviene la prima circolare sul restauro pittorico in Italia. Archival documents on restorations executed in mid XIXth century on Pietà by Sebastiano del Piombo at Viterbo point out the promulgation of a circular to all bishops in Vatican State that become the firts codified rule on painting restoration in Italy.