EVOLUTION HUMANHUMAN EVOLUTION EVOLUTION Humanvol.Vol

Total Page:16

File Type:pdf, Size:1020Kb

EVOLUTION HUMANHUMAN EVOLUTION EVOLUTION Humanvol.Vol Coperta HE_1 4 2006.qxd 6 04 2010 6:46 Pagina 1 Coperta HE_1 4 2006.qxd 6 04 2010 6:46 Pagina 1 Coperta HE_1 4 2006.qxd 6 04 2010 6:46 Pagina 1 ISSN 0393 - 9375 ISSN 0393 - 9375 ISSN 0393 - 9375 HUMAN EVOLUTION HUMANHUMAN EVOLUTION EVOLUTION HUMANVol.Vol. 25 25EVOLUTION - -n. n. 1-2 1-2 - -2010 2010 VOL.Vol. 25 31 - - n.N. 1-23 - 2016- 2010 Longo L. Longo L. The Leonardo Project HUMAN IntegratedLongo L. methodological approaches to the study of lithic tools 1 - 12 HUMAN Integrated methodological approaches to the study of lithic tools 1 - 12 HUMAN Integrated methodological approaches to the study of lithic tools 1 - 12 SPECIAL ISSUE AndrefskyAndrefsky W. W. Jr. Jr. HumanAndrefskyHuman Land Land W. Use Jr. Use Strategies Strategies and and Projectile Projectile Point Point Damage, Damage, Resharpening Resharpening Human Land Use Strategies and Projectile Point Damage, Resharpening EVOLUTION andAusubel, Discard PatternsJ. 13 - 30 EVOLUTION and Discard Patterns 13 - 30 EVOLUTION andIntroduction Discard Patterns 13 - 30 JaubertUsingJaubert J.,New J.,O’Farrell O’FarrellAnthropological M. M. and Biological Tools VOLUMEVOLUME 25 25 JANUARY-JANUARY- JUNE JUNE - N.1-2 - N.1-2 - 2010 - 2010 VOLUMEVOLUME 25 31 JANUARY-JULY - SEPTEMPER JUNE - N.1-2 2016 - 2010 - N. 3 TerritoriesJauberttoTerritories Learn J., and aboutO’Farrell and settlement settlementLeonardo M. dynamics: dynamics: da Vinci Amethodological Amethodological background background 125 - 131 andTerritoriesand diachronic diachronic and perspectivesettlement perspective dynamics: of ofthe the Paleolithic Paleolithic Amethodological background 3131 -- 4848 and diachronic perspective of the Paleolithic 31 - 48 King, R. García-AntónLeonardo’sGarcía-Antón Bones: Trassierra Trassierra Myth, D. D.History, and Evidence 133 - 147 MethodologicalGarcía-AntónMethodological Trassierra Approach Approach toD. tothe the Selection Selection of of Palaeolithic Palaeolithic Raw Raw Material Material inMethodological Supplyin Supply Areas Areas ApproachLocated Located in to inSecondary the Secondary Selection Deposits Deposits of Palaeolithic Raw Material 4949 -- 6666 inLeader, Supply Areas A. Located in Secondary Deposits 49 - 66 RuggeriTracingRuggeri D., the D., Whallon DaWhallon Vinci R. TombR. in the Badia Fiorentina 149 - 158 Ruggeri D., Whallon R. Sant’AngeloSant’Angelo Cave Cave - a - Gravettiana Gravettian hunting hunting and and raw raw material material procurement procurement site site Sant’Angelo Cave - a Gravettian hunting and raw material procurement site in Minucci,thein the Maiella Maiella S., Mountains, Colonna,T. Mountains, Abruzzo Abruzzo (Italy) (Italy) 6767 -- 8282 inA the Ground Maiella Penetrating Mountains, RadarAbruzzo (GPR) (Italy) Survey of the Florentine Abbey 67 - 82 Giunti–Giunti the P.,Badia P., Longo Longo Fiorentina L. L. (Italy) – as Part of the Search for the Family Giunti P., Longo L. TheTombThe Production Production of Leonardo System System Da of ofVincithe the Mousterian Mousterian Lithic Lithic Industry Industry of of Layer Layer III III 159 - 168 The Production System of the Mousterian Lithic Industry of Layer III from from the the Mezzena Mezzena rockshelter rockshelter (Verona, (Verona, northern northern Italy) Italy) 8383 -- 9696 from the Mezzena rockshelter (Verona, northern Italy) 83 - 96 Vezzosi, A. Aranguren B., Revedin A. ArangurenArangurenLeonardo B.,Da Revedin Vinci and A.A. his Family from the 14th Century until BilancinotheBilancino Present-Day settlement: settlement: Integrated Integrated Methodological Methodological Approaches Approaches 169 - 189 Bilancinofor the historicalsettlement: reconstruction Integrated Methodological Approaches 97 - 106 forfor thethe historicalhistorical reconstruction 9797 - 106- 106 MesterMester Zs. Zs. MesterTechnological Zs. analysis of Szeletian bifacial points from Szeleta Cave (Hungary) 107 - 124 TechnologicalTechnological analysis of SzeletianSzeletian bifacialbifacial points points from from Szeleta Szeleta Cave Cave (Hungary) (Hungary) 107 107 - 124- 124 Gassin B., Léa V., Astruc L., Linton J. Gassin B., Léa V., Astruc L., Linton J. Gassin Lithic B., Management Léa V., Astruc in the L., Chassey Linton Culture J. Neolithic 125 - 142 Lithic Management in the Chassey Culture Neolithic 125 - 142 Lithic Management in the Chassey Culture Neolithic 125 - 142 Conati Barbaro C., Cristiani E., Lemorini C. Conati Barbaro C., Cristiani E., Lemorini C. Conati The Lithic Barbaro Perspective: C., Cristiani Reading E., LemoriniCopper Age C. Societies by Means The Lithic Perspective: Reading Copper Age Societies by Means Theof Lithic Techno-Function- Perspective: alReading Approach Copper Age Societies by Means 143 - 154 ofof Techno-Function-Techno-Function- al Approach 143143 - 154- 154 Lucarini G., Mutri G. LucariniLucariniSite SJ-00-56: G., Mutri Débitage G. Analysis and Functional Interpretation HUMAN EVOLUTION - Vol. 25 N.1-2 2010 HUMAN EVOLUTION - Vol. 25 N.1-2 2010 SiteSite SJ-00-56:SJ-00-56: Débitage Analysis andand FunctionalFunctional Interpretation Interpretation HUMAN EVOLUTION - Vol. 25 N.1-2 2010 of a Later Stone Age Campsite in the Jebel Gharbi (Libya) 155 - 166 HUMAN EVOLUTION - Vol. 31 n. 3 2016 ofof aa LaterLater Stone Age Campsite inin thethe JebelJebel Gharbi Gharbi (Libya) (Libya) 155155 - 166- 166 ANGELO PONTECORBOLI EDITORE ANGELO PONTECORBOLI EDITORE ANGELO PONTECORBOLIFIRENZE EDITORE FIRENZEFIRENZE International Institute For Humankind Studies HUMAN EVOLUTION Edited by: B. CHIARELLI Lab. of Anthropology and Ethnology, Univ. of Florence Via del Proconsolo,12 - 50122 Firenze - Italy Tel. 0039 055 2757747 E-mail: [email protected] Editorial Secretary: C. Stypulkowski HUMAN EVOLUTION FOUNDING MEMBERS Y. Coppens, France M. Day, England H. De Lumley, France M. Goodman, USA P. Tobias, South Africa International Panel of Referees (2013-2016): Anemone, R.L. (USA), Attanasio, A. (Italy), Ayala, F.J. (USA), Bernis, C. (Spain), Chauhan, P.R. (USA), Coppens, Y. (France), Cormack, J.L. (USA), Crawford, M. (UK), Cunha, E. (Portugal), Demeter, F. (France), Dell’Orco, S. (Italy), de Waal, F.B.M. (USA), Falk, D. (USA), Franciscus, R.G. (USA), Giacobini, G. (Italy), Giuditta, A. (Italy), Güleç, E. (Turkey), Hilloowala, R. (USA), Ijegbai, M. (UK), Islam, R. (Bangladesh), Maldonato, N.M. (Italy), Martínez Fuentes, A.J. (Cuba), Parker, S. (USA), Pepeu, G. (Italy), Rhys-Evans, P. (UK), Rickards, O. (Italy), Salzano, F.M. (Brazil), Schwartz, J.H. (USA), Sugiyama, Y. (Japan), Ubelaker, D.H. (USA), Verano, J.W. (USA), Wolpoff, M.H. (USA). HUMAN EVOLUTION is published as one volume per annum in four issues. For subscription prices and information: www.pontecorboli.com To subscribe write to: EDAP/Angelo Pontecorboli Editore - Firenze Fax 0039 055 5528456 - Email: [email protected] On cover: Drawing by Leonardo da Vinci (1452-1519) - Study of the human body. Direttore Responsabile: Brunetto Chiarelli Aut. Trib. Firenze 3880 del 07.07.90 HUMAN EVOLUTION Vol. 31 n.3 (125-131) - 2016 Using New Anthropological and Biological Tools to Learn about Leonardo da Vinci INTRODUCTION J. Ausubel Vice Chairman, Richard Lounsbery Foundation, 1020 19th St NW # Ll60, Washington, DC 20036, USA. His life marked the rebirth of Western civilization, but no gravestone marks with certainty the final resting place of Leonardo da Vinci. Now using modern techniques, an- thropologists and geneticists are seeking Leonardo’s remains not simply to mark the spot but also to study and better understand his remarkable abilities and talents. The work underway resembles in complexity recent projects such as the exhumation and reburial of Leonardo’s English contemporary, King Richard III, in March 2015 some 500 years after his death. Like Richard, Leonardo was born in 1452, and like Richard he was given a Chris- tian burial in a setting that underwent changes in subsequent years such that the exact location of the grave became lost. And this is where science and technology come to the aid of history. In November 2014 an international team of specialists embarked on the first phase of a project to identify conclusively the alleged remains of Leonardo da Vinci at Am- boise Castle in the Loire Valley southwest of Paris. They aim to compare DNA yet to be found there with the DNA of Leonardo’s father and several close relatives whose remains are buried in Florence, and possibly his mother, in Milan. They hope to acquire an extensive enough genetic profile to understand better his abilities and visual acuity. The project brings together experts from France, Italy, Spain, the United States, and Canada. Participating organizations include the Institut de Paléontologie Humaine in Paris, the International Institute for Humankind Studies in Florence, the Laboratory of Molecular Anthropology and Paleogenetics at the Biology Department of the University of Florence, Museo Ideale Leonardo Da Vinci in Vinci, J. Craig Venter Institute in La Jolla, California, Laboratory of Genetic Identification at the University of Granada, and the Rockefeller University in New York. Initial support comes from the Richard Lounsbery Foundation in Washington D.C. Work proceeds along several fronts from Leonardo’s family tomb in Florence, to Leonardo’s presumed remains at Amboise Castle, and to Milan where there might be the remains of Leonardo’s mother, Caterina. Team members are also pursuing traces of 126 AUSUBEL her children by a later marriage. The study team plans to verify whether DNA extracted from the remains at Amboise Castle matches that of remains from Florence and possibly
Recommended publications
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • Vezzosi A. Sabato A. the New Genealogical Tree of the Da Vinci
    HUMAN EVOLUTION Vol. 36 - n. 1-2 (1-90) - 2021 Vezzosi A. The New Genealogical Tree of the Da Vinci Leonardo scholar, art historian Family for Leonardo’s DNA. Founder of Museo Ideale Leonardo Da Vinci Ancestors and descendants in direct male Via IV Novembre 2 line down to the present XXI generation* 50059 Vinci (FI), Italy This research demonstrates in a documented manner the con- E-mail: [email protected] tinuity in the direct male line, from father to son, of the Da Vinci family starting with Michele (XIV century) to fourteen Sabato A. living descendants through twenty-one generations and four Historian, writer different branches, which from the XV generation (Tommaso), President of Associazione in turn generate other line branches. Such results are eagerly Leonardo Da Vinci Heritage awaited from an historical viewpoint, with the correction of the E-mail: leonardodavinciheritage@ previous Da Vinci trees (especially Uzielli, 1872, and Smiraglia gmail.com Scognamiglio, 1900) which reached down to and hinted at the XVI generation (with several errors and omissions), and an up- DOI: 10.14673/HE2021121077 date on the living. Like the surname, male heredity connects the history of regis- try records with biological history along separate lineages. Be- KEY WORDS: Leonardo Da Vinci, cause of this, the present genealogy, which spans almost seven Da Vinci new genealogy, ancestors, hundred years, can be used to verify, by means of the most living descendants, XXI generations, innovative technologies of molecular biology, the unbroken Domenico di ser Piero, Y chromosome, transmission of the Y chromosome (through the living descend- Florence, Bottinaccio (Montespertoli), ants and ancient tombs, even if with some small variations due burials, Da Vinci family tomb in Vinci, to time) with a view to confirming the recovery of Leonardo’s Santa Croce church in Vinci, Ground Y marker.
    [Show full text]
  • Imagines-Numero-4-Maggio-2020.Pdf
    Imagines è pubblicata a Firenze dalle Gallerie degli Uffizi Direttore responsabile Eike D. Schmidt Redazione Dipartimento Informatica e Strategie Digitali Coordinatore Gianluca Ciccardi Coordinatore delle iniziative scientifiche delle Gallerie degli Uffizi Fabrizio Paolucci Hanno lavorato a questo numero 4 Andrea Biotti, Antonella Madalese, Gianluca Matarrelli, Patrizia Naldini maggio 2020 ISSN n. 2533-2015 indice n. 4 (maggio 2020) 6 EIKE D. SCHMIDT TRA SPECCHIO E SMARTPHONE. UNA PARTITA DA VEDERE 112 ISABELL FRANCONI “[…] RIDURRE A MAGGIOR PERFEZIONE E SOMIGLIANZA”? 10 Le modalità di ricezione degli autoritratti d’artista degli Uffizi FABRIZIO PAOLUCCI nel Museo Fiorentino e la definizione del termine “somiglianza” nel Settecento MARMORA AURATA L’uso della doratura nella statuaria classica delle Gallerie degli Uffizi: i risultati di un decennio di ricerche 134 ANNA MARIA PROCAJLO 54 LEOPOLDO DE’ MEDICI E LA SUA RICERCA SISTEMATICA SILVIA MALAGUZZI DEL “RITRATTO FATTO DI SUA PROPRIA MANO” RAFFAELLO E I GIOIELLI ALLE GALLERIE DEGLI UFFIZI Elisabetta Gonzaga, Maddalena Doni e la Velata 152 GIULIA COCO 76 “A DONATELLO NELL’ARTE RINASCENTE SCULTORE” GAIL FEIGENBAUM L’omaggio dell’Accademia del Disegno a cinquecento anni dalla nascita AN EVANESCENT CORPUS OF SELF-PORTRAITS BY ANNIBALE CARRACCI IN THE UFFIZI 180 GIANLUCA SPOSATO 98 GLI UOMINI ILLUSTRI DI ANDREA DEL CASTAGNO ANNALENA DÖRING ALLE GALLERIE DEGLI UFFIZI GLI ESPERIMENTI CROMATICI DI CARLO LASINIO Vicende conservative, collezionistiche e museografiche Eike D. Schmidt TRA SPECCHIO E SMARTPHONE. UNA PARTITA DA VEDERE Nell’evoluzione della specie umana, per milioni di anni il volto è stato il “punto cie- co” nella percezione delle proprie sembianze. Ancora poche migliaia d’anni fa, il ri- specchiamento di sé su una superficie riflettente – il fenomeno che nella mitologia greca si traduce nel caso tragico ed emblematico di Narciso – è stata un’esperienza impressionante e fuori dal comune, paragonabile per rarità al fenomeno acustico dell’eco che si verifica solo in rare situazioni.
    [Show full text]
  • LEONARDO, POLITICS and ALLEGORIES Marco Versiero
    LEONARDO, POLITICS AND ALLEGORIES Marco Versiero To cite this version: Marco Versiero. LEONARDO, POLITICS AND ALLEGORIES. De Agostini. 2010, Codex Atlanticus, 978-88-418-6391-6. halshs-01385250 HAL Id: halshs-01385250 https://halshs.archives-ouvertes.fr/halshs-01385250 Submitted on 21 Oct 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Catalogo_Leonardo_04B@1000-1003 24-05-2010 11:45 Pagina 1 04 L’esposizione dei fogli del Codice Atlantico, The exhibition of folios from the Codex LEONARDO, LA POLITICA E LE ALLEGORIE l’incredibile raccolta di disegni Atlanticus, Leonardo da Vinci’s amazing LEONARDO, LA POLITICA di Leonardo da Vinci, vuole mettere collection of drawings, offers the public a disposizione del pubblico uno spaccato an authentic insight into the genius 04 E LE ALLEGORIE del genio del Maestro che, meglio of the great master. It was he, more than any DISEGNI DI LEONARDO DAL CODICE ATLANTICO di ogni altro, seppe intuire la connessione other, who perceived the interconnections fra le forze della natura e i benefici between the forces of nature and the benefits LEONARDO, POLITICS AND ALLEGORIES che l’umanità avrebbe potuto trarne.
    [Show full text]
  • Indipendenza
    ItinerariItinerari PIAZZE FFIRENZEIRENZE e 17th may 2009 nell’nell’800 MUSICA Piazza dell’Indipendenza The 19th Century Florence itineraries: Squares and Music ThTTheh brass band of the Scuola Marescialli e Brigadieri deddeie Carabinieri is one of the fi ve Carabinieri bands whwwhoseh origin lies in the buglers of the various Legions TheTh 19th19th CenturyC t FlorenceFl ititinerariesi i – 17th1717 h may 2009200009 of the Carabinieri, from which the fi rst bands were designed signifi cantly to coincide with Piazza later formed with brass and percussion instruments. the150th anniversary of the unifi cation of dell’Indipendenza, Today the Brass Band – based in Florence at the Tuscany to the newly born unifi ed state (1859 11.00 am-12.30 am School with the same name – is a small band with – 2009) – will take citizens and tourists on the a varied repertoire (symphonies, operas, fi lm sound discovery of the traces of a Century that left a Fanfara (Brass tracks as well as blues and jazz), especially trained for profound impression on the face of Florence. band) of the its main activity: the performance of ceremonies with The idea is to restore the role of 19th Century Scuola Marescialli assemblies and marches typical of military music. The band wears the so-called Grande Uniforme Speciale, a Florence within the collective imagination, e Brigadieri alongside the Florence of Medieval and very special uniform with its typical hat known as the Renaissance times. This is why one of the dell’Arma dei “lucerna” (cocked hat) and the red and white plume Carabinieri that sets it apart from the musicians of other units of Century’s typical customs will be renewed: the Carabinieri (red-blue plume).
    [Show full text]
  • Ourishing Extravaganza Opens WUWHS 2016
    FLORENCE, ITALY WUWHS 2016 27 September 2016 I wuwhs.org 5 Vox populi ... 10 Around 15 South Koreans are in town That means you! Florence Heart full of Seoul You have come to Poison of democracy Founded in 2002, the Florence from all over the Cellini’s beautiful Korean Society for world and our journalists statue of Perseus is an Wound Management are keen to get your allegory of aristocracy (KSWM) is a views, so we can share triumphing over the multidisciplinary them with your fellow evils of democracy. Not society, founded to delegates: don’t be shy relevant today, then ... exchange experiences ALLEVYN LIFE’s All-singing, flag- ourishing Mechanical performance in debridement wound care extravaganza opens WUWHS 2016 with Medaxis On Sunday evening at 17.15, an and prevention impressive and moving opening debritom+ ceremony heralded the opening of fi ve days’ intensive work on wound healing, as the 2016 Congress of the World Union of Wound Healing Societies (WUWHS) was offi cially opened. Delegates had already spent their Sunday in numerous meetings, run by WUWHS sister societies. The crowd cheered as the Japanese and Italian delegations together entered Medaxis staff demonstrating mechanical the aptly named Renaissance Hall water jet debridement system, Stand 211 Delegates fl ock to the Smith & Nephew at the historic Fortezza da Basso. It Debridement is the fi rst step of stand to see its latest offerings seemed fi tting that Florence, the city every wound care programme. We Musical welcome from Pisa University Choir (left) and then fl ag-wavers strut their stuff Hundreds of delegates swarmed of the Renaissance, be home to the have known for a long time that through the Smith & Nephew opening of WUWHS 2016.
    [Show full text]
  • Leonardo and the Whale
    Biology Faculty Publications Biology 6-17-2019 Leonardo and the Whale Kay Etheridge Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/biofac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Biology Commons, Ecology and Evolutionary Biology Commons, and the Marine Biology Commons Share feedback about the accessibility of this item. Recommended Citation Etheridge, Kay. "Leonardo and the Whale." In Leonardo da Vinci – Nature and Architecture, edited by C. Moffat and S.Taglialagamba, 89-106. Leiden: Brill, 2019. This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/biofac/81 This open access book chapter is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Leonardo and the Whale Abstract Around 1480, when he was 28 years old, Leonardo da Vinci recorded what may have been a seminal event in his life. In writing of his travels to view nature he recounted an experience in a cave in the Tuscan countryside: Having wandered for some distance among overhanging rocks, I can to the entrance of a great cavern... [and after some hesitation I entered] drawn by a desire to see whether there might be any marvelous thing within..." [excerpt] Keywords Leonardo da Vinci, fossils, whale Disciplines Ancient, Medieval, Renaissance and Baroque Art and Architecture | Biology | Ecology and Evolutionary Biology | Marine Biology Comments Please note that that this is pre-print version of the article and has not yet been peer-reviewed.
    [Show full text]
  • Newsletter Nov 2015
    Leonardo da Vinci Society Newsletter Editor: Matthew Landrus Issue 42, November 2015 Recent and forthcoming events did this affect the science of anatomy? This talk discusses the work of Leonardo da Vinci, The Annual General Meeting and Annual Vesalius and Fabricius and looks at how the Lecture 2016 nature of the new art inspired and shaped a new wave of research into the structure of the Professor Andrew Gregory (University College, human body and how such knowledge was London), will offer the Annual Lecture on Friday, transmitted in visual form. This ultimately 13 May at 6 pm. The lecture, entitled, ‘Art and led to a revolution in our under-standing of Anatomy in the 15th & 16th Centuries’ will be anatomy in the late 16th and early 17th centu- at the Kenneth Clark Lecture Theatre of the ries. Courtauld Institute of Art (Somerset House, The Strand). Before the lecture, at 5:30 pm, the annual Lectures and Conference Proceedings general meeting will address matters arising with the Society. Leonardo in Britain: Collections and Reception Venue: Birkbeck College, The National Gallery, The Warburg Institute, London Date: 25-27 May 2016 Organisers: Juliana Barone (Birkbeck, London) and Susanna Avery-Quash (National Gallery) Tickets: Available via the National Gallery’s website: http://www.nationalgallery.org.uk/whats- on/calendar/leonardo-in-britain-collections-and- reception With a focus on the reception of Leonardo in Britain, this conference will explore the important role and impact of Leonardo’s paintings and drawings in key British private and public collec- tions; and also look at the broader British context of the reception of his art and science by address- ing selected manuscripts and the first English editions of his Treatise on Painting, as well as historiographical approaches to Leonardo.
    [Show full text]
  • Notes on a Florence Visit
    Notes on A Florence Visit For Great Views of Florence without the Steps Frescoes of the Last Supper in Florence Roof of the Rinascente Department store Roof of the Ospedele degli Innocenti Upper floor of the Orsanmichele Church Recectory at San Marco Piazzale Michelangelo – take the #12 or #13 bus Refectory at St. Maria del Carmine Roof of the Oblate Library – 2 blocks from Duomo Refectory of Ognissante Church Take the bus from San Marco up to Fisole Refectory at Santa Maria Novella -painted by a nun- Sister Trattoria Le Mossacce Nelli Refectory at Santa Croce Videos to View Refectory of San Salvi Refectory at Sant’Apollonia Cenacolo of Fuligno The Medicis – on Netflick Rick Ruggiero on Road Scholar’s Virtual Lecture Medici: Godfathers of the Renaissance -PBS YouTube – 3 hour walking tour of Florence Room With a View Secrets of Florence (on Hoopla) Books To Read Brunelleschi’s Dome – Ross King The Lives of the Artists – Vasari The Stones of Florence – McCarthy Birth of Venus – Dunant Looking at Painting in Florence – Paterson The Light in the Piazza - Spencer Places Not to Miss Mercato Centrale –Market, Food Court, Cooking School Grom Gelato Badia Fiorentina - for Night Vespers Duomo – inside without line – side entrance for English Mass on Sat. PM or Sun. Amici Card at the Uffizi for immediate entry Officina Profumo-Farmaceutica di Santa Maria Novella Ognissante Church – tomb of Botticello Giotto Crucifix Pazzi Chapel next to Santa Croce Leather School and Factory behind Santa Croce Vasari Corridor – expected to be opened this year Galileo Museum San Miniato Church Santissima Annunziata Church – painting of Mary completed by an angel Museum of Precious Stones Riccardo- Medici Palace – Chapel of the Magi San Maria dell Carmine Church -Brabcacci Chapel Santo Spirito Church – Michelangelo’s Crucifix .
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • Illustrations Ij
    Mack_Ftmat.qxd 1/17/2005 12:23 PM Page xiii Illustrations ij Fig. 1. Expulsion of Adam and Eve from Paradise, ca. 1015, Doors of St. Michael’s, Hildesheim, Germany. Fig. 2. Masaccio, Expulsion of Adam and Eve from Paradise, ca. 1425, Brancacci Chapel, Church of Santa Maria del Carmine, Flo- rence. Fig. 3. Bernardo Rossellino, Facade of the Pienza Cathedral, 1459–63. Fig. 4. Bernardo Rossellino, Interior of the Pienza Cathedral, 1459–63. Fig. 5. Leonardo da Vinci, The Last Supper, 1495–98, Refectory of the Monastery of Santa Maria delle Grazie, Milan. Fig. 6. Anonymous Pisan artist, Pisa Cross #15, late twelfth century, Museo Civico, Pisa. Fig. 7. Anonymous artist, Cross of San Damiano, late twelfth century, Basilica of Santa Chiara, Assisi. Fig. 8. Giotto di Bondone, Cruci‹xion, ca. 1305, Arena (Scrovegni) Chapel, Padua. Fig. 9. Masaccio, Trinity Fresco, ca. 1427, Church of Santa Maria Novella, Florence. Fig. 10. Bonaventura Berlinghieri, Altarpiece of St. Francis, 1235, Church of San Francesco, Pescia. Fig. 11. St. Francis Master, St. Francis Preaching to the Birds, early four- teenth century, Upper Church of San Francesco, Assisi. Fig. 12. Anonymous Florentine artist, Detail of the Misericordia Fresco from the Loggia del Bigallo, 1352, Council Chamber, Misericor- dia Palace, Florence. Fig. 13. Florentine artist (Francesco Rosselli?), “Della Catena” View of Mack_Ftmat.qxd 1/17/2005 12:23 PM Page xiv ILLUSTRATIONS Florence, 1470s, Kupferstichkabinett, Staatliche Museen zu Berlin. Fig. 14. Present-day view of Florence from the Costa San Giorgio. Fig. 15. Nicola Pisano, Nativity Panel, 1260, Baptistery Pulpit, Baptis- tery, Pisa. Fig.
    [Show full text]
  • La Serva Padrona Set by Pergolesi
    !"#$"%&'($)*($+"#+,#(-&#./&*($+"#+,# 0/*1*#$"#/&.$(*($%&#(-/+2)-# .+13*/*($%&#*"*45'$'6!"#!$%&'#! (#)&*+#!'&(#75#8&/)+4&'$#9:;<<=#*"0# 8*$'$&44+#9:;>:=? !2(-+/6#@*A/&".&#B+-"#C*5' D271$((&06#!2)2'(#EF:E !#(-&'$'#'271$((&0#,+/#(-&#0&)/&&#+,#C*'(&/#+,#8-$4+'+3-5#+,# G-&#!2'(/*4$*"#H*($+"*4#I"$%&/'$(5? !"#$%&'()*+($,- !"#$%&'"&()*"+$"+,-.)/" 0+*1,*."2*..*++3"45"6$(7*"+*-7,*83"9$8",(:"-::(:+-.7*"(."18*1-8-+($."9$8"+,*" 1*89$84-.7*"8*;%(8*4*.+:"$9"+,(:"+,*:(:<" =8">$.-+,-."?$#&*:3"7,-(8"$9"45":%1*86(:$85"1-.*&3"9$8",(:"-::(:+-.7*"(."7$41&*+($." $9"+,*"#8(++*."+,*:(:< =8"0+*1,*."@(&'*"9$8",(:"A%('-.7*"$."+,*"-'4(.(:+8-+(6*"-:1*7+:"$9"+,*"7$%8:*< B,*":+-99"$9"+,*"C%:(7"D(E8-85"$9"+,*"F%:+8-&(-."G-+($.-&"H.(6*8:(+53"-.' =-4(*."0,-.-,-."9$8"18$$9I8*-'(.AJ !.-,/0", B,*":%E+&*+5"$9"*(A,+**.+,I7*.+%85"$1*8-"8*7(+-+(6*3"*:1*7(-&&5"!"#$%&%$'() *"+,-$#"."4-5"*:7-1*"4$:+"+#*.+5I9(8:+"7*.+%85"&(:+*.*8:"-.'"1*89$84*8:J"K$41$:*8:"(." &-+*":*6*.+**.+,I7*.+%85"!+-&5"7$.7*(6*'"$9"8*7(+-+(6*"-:"-"4%:(7":+5&*"+,-+"#-:"9&*L(E&*" *.$%A,"+$"-77$44$'-+*"+,*";%(7)"7,-.A*:"(."7,-8-7+*8:M"*4$+($.:"-.'"(.+*.+:"+,-+"+,*" +*L+"$9"-"7$.+(.%$%:&5"%.9$&'(.A"'8-4-"8*;%(8*'J"N::*.+(-&"*&*4*.+:"$9"+,*":+5&*" (.7&%'*'"18*:*86-+($."$9"+,*".-+%8-&"8,5+,4"$9":1**7,"-.'"+,*"98**"%:*"$9"'(::$.-.7*"+$" ,*(A,+*."+,*"(41-7+"$9"#$8':J"F&+,$%A,"(+"%.'*8#*.+"-".%4E*8"$9"7,-.A*:"(."+,*" 9$&&$#(.A"+#$"7*.+%8(*:3"8*7(+-+(6*"8*4-(.*'"-":(A.(9(7-.+"6*,(7&*"9$8"+,*"'8-4-+(7"-7+($." $9"7,-8-7+*8"*L1$:(+($.3"*4$+($.3"(.+*.+"-.'"1,5:(7-&"(.+*8-7+($."(."$1*8-J"K$41$:*8:" '*6*&$1*'"-."-84-4*.+-8(%4"$9"#*&&I%.'*8:+$$'"7$41$:(+($.-&"'*6(7*:"9$8":*++(.A"
    [Show full text]