Tours & Sightseeing Milan
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Report 2003 Attività Clinico-Scientifica E Di Ricerca Sperimentale Editorial Board
c Istituto Nazionale Neurologico “Carlo Besta” Istituto di Ricovero e Cura a Carattere Scientifico di Diritto Pubblico Report 2003 Attività Clinico-Scientifica e di Ricerca Sperimentale b Istituto Nazionale Neurologico “Carlo Besta” Istituto di Ricovero e Cura a Carattere Scientifico di Diritto Pubblico Report 2003 Attività Clinico-Scientifica e di Ricerca Sperimentale Editorial board Graziano Arbosti Ferdinando Cornelio Marco Triulzi Roberto Pinardi Coordinatore editoriale: Monica Cremonesi Coordinatore scientifico: Matilde Leonardi Editing : Donatella Panigada Traduzioni: Patrizia Meroni Progetto grafico e impaginazione: Lara Angonese - Accademia di Comunicazione, Milano Fotografie: Studio Danilo Fasoli (Archivio Besta) Direzione Generale: [email protected] Direzione Scientifica: [email protected] Istituto Nazionale Neurologico “C. Besta” Via Celoria, 11, 20133 , Milano tel. 02 23941 www.istituto-besta.it DALL’ARCHIVIO STORICO DELL’ISTITUTO NAZIONALE NEUROLOGICO “C.BESTA” 3 Carlo Besta durante la Grande Guerra 1915-18, (ArchivioBesta) Attestato conferito al Dr. Carlo Besta dai Reduci di Guerra. 1927 (Archivio Besta) 4 Progetto degli architetti Tenci e Faravelli della nuova sede dell’Istituto (Archivio Besta) Posa della prima pietra nel reparto Infantile (Archivio Besta) 5 Il dr. Besta davanti al nuovo Istituto di via Celoria con benefattori, medici e pazienti, (Archivio Besta) Carlo Besta, 1929 (Archivio Besta) 6 Visita del Re Vittorio Emanuele III all’Istituto Neurologico “Pro feriti cerebrali di guerra”, (Archivio Besta) 7 Convegno, 1938 (Archivio Besta) Certificato di iscrizione del Dr. Besta alla Società Italiana di Neurologia. 1907, (Archivio Besta) 8 Direzione generale 2003 da sinistra Prof. F. Cornelio, Direttore Scientifico Prof. G. Arbosti, Commissario Straordinario Dott. R. Pinardi, Direttore Amministrativo Dot. M. Triulzi, Direttore Sanitario 9 INDICE 3 Passato e presente: Immagini dell’Archivio fotografico dell’Istituto 12 Eccellenze, Network e Traslazionalità: il 2003 dell’Istituto Nazionale Neurologico “C. -
Gitec Relazione Sull'attivita' Svolta Milano 12 Luglio 2010
GITEC RELAZIONE SULL’ATTIVITA’ SVOLTA MILANO 12 LUGLIO 2010 LA NOSTRA ASSOCIAZIONE, LA GITEC, GUIDE ITALIANE TURISMO E CULTURA, È NATA A MILANO IL 26 GIUGNO 2009, ED È L’ASSOCIAZIONE DI CATEGORIA A LIVELLO NAZIONALE CHE TUTELA E VALORIZZA LA PROFESSIONE DELLE GUIDE TURISTICHE. L’ASSOCIAZIONE È NATA PER FAR FRONTE ALLA NECESSITÀ DELLE GUIDE TURISTICHE DI AVERE UNA RAPPRESENTANZA A LIVELLO NAZIONALE CHE AIUTI LA CATEGORIA NELLA RISOLUZIONE DELLE PROBLEMATICHE CHE SI PRESENTANO NELLO SVOLGIMENTO DELLA PROFESSIONE. IN MODO PARTICOLARE L’ASSOCIAZIONE SI STA OCCUPANDO DELLA TUTELA DELLA FIGURA PROFESSIONALE IN RELAZIONE ALLA EMANAZIONE DELLA DIRETTIVA 2005/36/CE RELATIVA AL RICONOSCIMENTO DELLE QUALIFICHE PROFESSIONALI E DELLA DIRETTIVA 2006/123/CE RELATIVA AI SERVIZI NEL MERCATO INTERNO, ATTUALMENTE IN FASE DI ATTUAZIONE E TENUTO CONTO CHE LA RECENTE SENTENZA 271/2009 EMANATA DALLA CORTE COSTITUZIONALE HA CONFERMATO CHE IN MATERIA DI PROFESSIONI COMPETE ALLO STATO L’INDIVIDUAZIONE DEI PROFILI PROFESSIONALI E DEI REQUISITI NECESSARI PER IL RELATIVO ESERCIZIO, PRINCIPIO APPLICABILE ANCHE CON RIGUARDO ALLE PROFESSIONI TURISTICHE, SENTENZA CONFERMATA DAL DISEGNO DI LEGGE COMUNITARIA 2010 CHE HA DELEGATO AL GOVERNO ITALIANO IL RIORDINO DELLA PROFESSIONE. L’ASSOCIAZIONE ADERISCE A LIVELLO NAZIONALE ALLA CONFCOMMERCIO E TRAMITE ESSA, ALLE SEDI TERRITORIALI CHE RAPPRESENTA. ALL’ASSOCIAZIONE POSSONO LIBERAMENTE ADERIRE TUTTI COLORO CHE, MUNITI DI REGOLARE ABILITAZIONE, SVOLGONO QUESTA PROFESSIONE IN TUTTA ITALIA. 2 GITEC NASCE A MILANO, MA È ESTESA SUL TERRITORIO NAZIONALE E LE ADESIONI DALLE VARIE SEDI TERRITORIALI ITALIANE PREVEDONO LA NASCITA DI UFFICI LOCALI, LEGATI AL TERRITORIO DI COMPETENZA E DI ESERCIZIO DELLA PROFESSIONE. L’ASSOCIAZIONE SI PROPONE OGGI COME INTERLOCUTORE UNICO PRESSO LE VARIE SEDI ISTITUZIONALI PER RAPPRESENTARE LE ESIGENZE, LE PROPOSTE E LE PROBLEMATICHE DELLE GUIDE TURISTICHE ADERENTI AL NOSTRO SISTEMA CONFEDERALE. -
Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Presenta… “Scegli La TUA Milano”
Presenta… “Scegli la TUA Milano” www.artemidearte.com Per info e prenotazioni: [email protected] Che cos’è “Scegli la tua Milano”? “Scegli la tua Milano” è un PACCHETTO-REGALO per un’occasione speciale, un anniversario, un compleanno, un regalo di Natale ecc. che consenrà ai fortuna desnatari di scegliere il loro inerario preferito a Milano e provincia tra 40 PROPOSTE , ingressi inclusi - alcuni dei quali con coffee break o aperivi - CON GUIDA PRIVATA a DISPOSIZIONE! Non sarà una visita di gruppo, i fortuna desnatari saranno GLI UNICI protagonis del tour!!! Gli inerari propos tra i quali poter SCEGLIERE sono: Cosa è incluso? Passeggiate e chiese Milano dall'alto: a spasso sui t e della Galleria Viorio Emanuele la storia della Galleria e lo skyline della cià: dalle chiese agli anchi ascensore + ingresso ad Highline palazzi fino ai nuovi graacieli Galleria Milano dall'alto: la Torre Branca e il Castello Sforzesco la Torre Branca. un panorama completo di Milano a 108 m di altezza + visita al NB: il biglieo di ingresso ai musei Castello Sforzesco del Castello è escluso Milano dall'alto: Le Terrazze del Duomo tra guglie e statue... il panorama di Milano ascensore per le Terrazza del Duomo A spasso per Milano: La Milano Romana Museo Archeologico + Cappella dei dalla Basilica di San Lorenzo all'anco Circo romano mosaici romani di Sant'Aquilino Cappella Pornari presso la Basilica di A spasso per Milano: Il Quarere di Porta Ticinese Sant'Eustorgio e dalla Basilica dei Re Magi, Sant'Eustorgio, fino alla Basilica di San Cappella di Sant'Aquilino -
Grazia International @ MILAN FASHION WEEK February 2012
Grazia International @ MILAN FASHION WEEK February 2012 Celebrating Grazia SOUTH AFRICA and SLOVENIA Walking down the street WHITE fashion exhibition 1-Eureka Zandberg (Grazia South Africa ADV Sales Director), Danielle Weakley (Grazia SA Editor-in-chief), Erika Fantauzzi (Grazia SA Brand Manager), Liezl De Swardt (Grazia SA Publisher), Sandra Gotelli (International Publisher). 2-Liezl De Swardt and Carla Vanni (Grazia International Editor-in-chief) 1 2 Im fuga. Nequis dias dignam que WELCOME NEW EDITIONS sust quia sunt ut ...we’are 20! iumendant faciet Grazia International Network inaugurated the MFW with the launch party for its 2 future editions: Grazia South Africa and Grazia Slovenia reaching the goal of 20 editions worldwide. For the occasion Grazia International Network organized a cocktail party at the exclusive Armani Bamboo bar. The event had an overwhelming response from major advertising clients as well as from Grazia Family in town for fashion week. Easy chic, in Grazia style! 6 1-Jackie Ji (Grazia China Mktg Manager). 2-Lara Milanovic and Svetlana Preradovic (Grazia Serbia). 3-Mario Boselli(President 7 of Camera della Moda Italiana). 8 4-Aeffe team with 5 Mattia Mondani 1 (ADV International 2 Manager). 5-Tamu 3 McPherson (Head of Grazia.it). 4 6-Mattia Mondani, Patrizia Migliorini and Riccardo Sciutto (Tod’s Group).7- Vera MOntanari (Grazia Italy Editor-in- chief), Patrizia Migliorini and Ugo Tizzani (Who‘s Who). 8-Julia Chayko (Grazia Russia Fashion Editor), Dragana Andjic (Grazia Brand Manager), Amalia Mariotti (Sales Manager), Aliona Peneva (Grazia Russia Editor-in-chief). Conquering the streets at MFW STREET MARKETING DAY ONE Grazia International Network kick started the fashion week with a colourful “attack”! The lenses of the numerous photographers were all for our seven models who made their street runaway in front of the main Milanese catwalks, holding each a pink fluorescent letter composing Grazia International Network logo. -
Illinois Classical Studies
i 11 Parallel Lives: Plutarch's Lives, Lapo da Castiglionchio the Younger (1405-1438) and the Art of Italian Renaissance Translation CHRISTOPHER S. CELENZA Before his premature death in 1438 of an outbreak of plague in Ferrara, the Florentine humanist and follower of the papal curia Lapo da Castiglionchio the Younger left behind three main bodies of work in Latin, all still either unedited or incompletely edited: his own self-collected letters, a small number of prose treatises, and a sizeable corpus of Greek-to-Latin translations. This paper concerns primarily the last of these three aspects of his work and has as its evidentiary focus two autograph manuscripts that contain inter alia final versions of Lapo's Latin translations of Plutarch's Lives of Themistocles, Artaxerxes, and Aratus. In addition, however, to studying Lapo's translating techniques, this paper will address chiefly the complexities of motivation surrounding Lapo's choice of dedicatees for these translations. The range of circumstances will demonstrate, I hope, the lengths to which a young, little-known humanist had to go to support himself in an environment where there was as yet no real fixed, institutional place for a newly created discipline. Lapo and Translation: Patronage, Theory, and Practice Of the three areas mentioned, Lapo's translations represent the most voluminous part of his oeuvre and in fact it is to his translations that he owes his modem reputation. But why did this young humanist devote so much energy to translating? And why were Plutarch's Lives such an important part of his effort? An earlier version of this paper was delivered as an Oldfather Lecture at the University of Illinois at Urbana-Champaign on 8 November 1996. -
Welcome to Milan
WELCOME TO MILAN WHAT MILAN IS ALL ABOUT MEGLIOMILANO MEGLIOMILANO The brochure WELCOME TO MILAN marks the attention paid to those who come to Milan either for business or for study. A fi rst welcome approach which helps to improve the image of the city perceived from outside and to describe the city in all its various aspects. The brochure takes the visitor to the historical, cultural and artistic heritage of the city and indicates the services and opportunities off ered in a vivid and dynamic context as is the case of Milan. MeglioMilano, which is deeply involved in the “hosting fi eld” as from its birth in 1987, off ers this brochure to the city and its visitors thanks to the attention and the contribution of important Institutions at a local level, but not only: Edison SpA, Expo CTS and Politecnico of Milan. The cooperation between the public and private sectors underlines the fact that the city is ever more aiming at off ering better and useable services in order to improve the quality of life in the city for its inhabitants and visitors. Wishing that WELCOME TO MILAN may be a good travel companion during your stay in Milan, I thank all the readers. Marco Bono Chairman This brochure has been prepared by MeglioMilano, a non-profi t- making association set up by Automobile Club Milan, Chamber of Commerce and the Union of Commerce, along with the Universities Bocconi, Cattolica, Politecnico, Statale, the scope being to improve the quality of life in the city. Milan Bicocca University, IULM University and companies of diff erent sectors have subsequently joined. -
Italian Fashion & Innovation
Italian Fashion & Innovation Derek Pante Azmina Karimi Morgan Taylor Russell Taylor Introduction In Spring 2008, the Italia Design team researched the fashion industry in Italy, and discussed briefly how it fits into Italy’s overall innovation. The global public’s perception of Italy and Italian Design rests to some degree on the visibility and success of Fashion Design. The fashion and design industries account for a large percentage of Milan’s total economic output— as Milan goes economically, so goes Italy (Foot, 2001). Fashion Design clearly contributes to “brand Italia,” as well as to Italian culture generally. Yet, fashion is not our focus in this study: innovation and design is. Fashion’s goals are not the same as design. For one, fashion operates on “style,” design works on “language,” and style to a serious designer is usually the opposite of good design. Yet to ignore the area possibly creates a blind spot. With the resource this year of some students with great interest in this area it was decided that we should begin to investigate how fashion in Italy contributes to innovation, and how fashion in Milan and other centers in the North of Italy sustain “Creative Centers” where measurable agglomeration (a sign of innovation) occurs. Delving into Italian Fashion allowed us to rethink certain paradigms. For one, how we look at Florence as a design center. Florence has very little Industrial Design and, because of the city’s UNESCO World Heritage designation, has very little contemporary architectural culture. This reality became clear after four years of returning to the Renaissance city. -
City of Water. Uncovering Milan's Aquatic Geographies. a Digital Humanities Lab
Ferrando 1 City of Water. Uncovering Milan’s Aquatic Geographies. A Digital Humanities Lab. In the fall of 2016, I led a Digital Humanities Lab where students explored the cultural history of water in Milan, Italy’s self-described ‘city of water.’ The result of our work was an annotated, thick map of Milan that is available here. At the time of their largest expansion, the waterways of Milan (called navigli) extended for approximately 96 miles. By the mid-1930s, the entire network of canals encircling the city had been filled in with the exception of one section of a naviglio which is still visible today. When the controversial covering of the canals took place during the 1920s and 1930s, a strong sense of nostalgia for the now-disappeared water emerged among the citizens. Milanese poets and writers but also ordinary people that work or live in the city show an emotional attachment to water and are concerned with its conservation, not for obvious reasons of survival, but for cultural reasons. In Milan, a special bond exists between water and people, and the goal of our lab was to study and create a visualization of this bond. Our work was based on the premise that literature and cultural artifacts not only reflect but also influence the way a community relates to its natural or urban environment. The premise of our DH lab was ecocritical. We observed how poetry, in the case of Alda Merini, Daria Menicanti, and Milo De Angelis as well as in the case of Futurist artists, is the vehicle for a cultural meditation on water by an entire community that is involved with its surrounding space. -
Strumenti Per La Didattica E La Ricerca
strumenti per la didattica e la ricerca – 94 – Brand-building: the creative city a critical look at current concepts and practices edited by serena Vicari Haddock Firenze university press 2010 Brand-building : the creative city : a critical look at current concepts and practices / a cura di serena Vicari Haddock. – Firenze : Firenze university press, 2010. (strumenti per la didattica e la ricerca ; 94) http://digital.casalini.it/9788884535405 isBn 978-88-8453-524-5 (print) isBn 978-88-8453-540-5 (online) cover illustration @ phil Haddock, city of Words, detail. the publication of this book was made possible by a financial contribution coming from the eu research training network: Urban Europe between Identity and Change (UrbEurope); contract nr: HPRN-CT-2002-00227 (01-09-2002 - 31-08-06), and from the EU coordina- tion action: Growing Inequality and Social Innovation: Alternative Knowledge and Practice in Overcoming Social Exclusion in Europe (Katarsis); contract nr: cit5-ct-2006-029044 (05-01- 2006 – 30-11-2009). progetto grafico di alberto pizarro Fernández © 2010 Firenze university press università degli studi di Firenze Firenze university press Borgo albizi, 28, 50122 Firenze, italy http://www.fupress.com/ Printed in Italy ContentsCapitolo Foreword 7 introduction 13 M. d’Ovidio, S. Vicari Haddock chapter 1 Branding the creative city 17 S. Vicari Haddock chapter 2 the creative city imaginary 39 A. Vanolo chapter 3 site-specificity and urban icons in the light of the creative city marketing 61 B. Springer chapter 4 creating a creative city: discussing the discourse that is transforming the city 83 J. Kulonpalo chapter 5 the city that Was creative and did not Know: manchester and popular music 1976-1997 95 G. -
Lapo's Life and Work
ch1.qxd 10/18/1999 2:02 PM Page 1 CHAPTER 1 Lapo’s Life and Work In the years that preceded the more or less permanent reentry of Pope Eugenius IV into Rome, the Renaissance humanist movement was in the middle of an interesting phase. At that time a large component of its members consisted of intellectuals who lacked ‹xed institutional places. Humanism—this new ars whose curricular focus was the studia humani- tatis—had still to ‹nd its place in society and was dependent largely on patrons. One practitioner of this new art was the Florentine Lapo da Cas- tiglionchio the Younger, who died in 1438 at the age of thirty-three. One of his most interesting cultural bequests to us is a treatise that he wrote in the year of his death, entitled De curiae commodis, or On the Bene‹ts of the Curia. In this dialogue, Lapo offers us a portrait of the papal curia that is written elegantly, learnedly, earnestly, and even angrily. It is a human document that is alive with information not only for intellectual historians but for social and cultural historians as well. The goal of this study is to discuss this dialogue in its intellectual and social contexts. A critical edition of the Latin text along with an annotated English transla- tion follows the discussion. This ‹rst chapter offers an examination of Lapo’s life and work, fol- lowed by a brief look at the historiography on the dialogue. Chapter 2 deals with the literary context of the dialogue and examines a compli- cated passage on the virtues, which I believe can serve as an interpretive key for the piece as a whole.