DOCSLIB.ORG

Instruments De Marine Galiléo .Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Instruments De Marine Galiléo .Pdf November 2010 © Museo Galileo - Istituto e Museo di Storia della Scienza. Room I The Medici Collections Filippo Camerota Over the years the Medici Family, patrons of art and science, formed a superb collection of scientific instruments. Some elegant, refined pieces from this collection are displayed in this room. For nearly two centuries the instruments were kept in the Uffizi Gallery, alongside masterpieces of ancient and modern art. Begun by the founder of the Grand Duchy of Tuscany, Cosimo I de' Medici, the collection was further enriched by his sons and successors: Francesco I, interested mainly in natural-history collections and alchemy, and Ferdinando I, who bought numerous mathematical, nautical and cosmographical instruments. Cosimo II had the honour of adding Galileo's revolutionary instruments to the collection. Later, superbly original glass thermometers blown in the Palazzo Pitti glassworks were fabricated for the Accademia del Cimento, founded by Grand Duke Ferdinando II and Prince Leopoldo de' Medici. Memorable among the later Medici rulers is Cosimo III, patron of the mathematician Vincenzo Viviani, Galileo's last disciple. © Museo Galileo - Istituto e Museo di Storia della Scienza 1 Room I ‐ The Medici Collections Astrolabe [Inv. 3361] Setting: Room I Maker: Egnazio Danti or Giovanni Battista Giusti [attr.] Place: Florence Date: 16th cent. Materials: brass, wood Dimensions: diameter 840 mm, height 860 mm Inventory: 3361 Astrolabe with a single tympanum for latitude 43°40' (Florence). It is placed on an octagonal table, whose inclination is adjustable. There are a rete and an alidade. The planisphere is surrounded by: the calendar with the names of the months; a shadow square engraved on an arc in an eccentric position; a zodiac circle; a Tychonic scale for dividing the degrees into twelve parts; a windrose; and a degree scale. Originally attributed to Egnazio Danti, it is now regarded by G. L'E Turner—on account of the punch-marks and the engraving characteristics—to have been made in the Florentine workshop that produced the instruments signed by Giovanni Battista Giusti. The instrument was preserved in the Uffizi Gallery, and Galileo himself used it for astronomical calculations. For this reason it is known as "Galileo's astrolabe." Binocular telescope [Inv. 2563] Setting: Room I Maker: Chérubin d'Orléans Place: French Date: ca. 1675 Materials: wood, leather, grained leather Dimensions: length c. 1050 mm Inventory: 2563 The instrument consists of four rectangular tubes containing two small telescopes: the eyepieces are at the larger end, the objectives at the smaller. All the tubes are made of wood and painted black on the inside. The largest tube is covered with black grained leather. The others are covered with green leather with gold tooling, and bear the Medici coat of arms in the center. On the edges is the image of a cherub, the maker's symbolic signature. The two inner tubes, in parchment, are now missing some parts. The compound eyepiece comprises three lenses. The magnification is 15. This binocular telescope was first described in the work by the Capuchin friar Chérubin © Museo Galileo - Istituto e Museo di Storia della Scienza 2 Room I ‐ The Medici Collections d'Orléans, La dioptrique oculaire [Ocular dioptrics], (Paris, 1671). The presence of the Medici coat of arms indicates that Chérubin himself made the instrument for Cosimo III de' Medici, probably in the 1670s. Provenance: Medici collections. Ciphering device [Inv. 1312] Setting: Room I Maker: unknown Place: Italian Date: 17th cent. Materials: brass Dimensions: diameter 100 mm Inventory: 1312 Ciphering device comprising two superposed disks of different diameters. Each disk carries three concentric rings divided into twenty-four cells containing the letters of the alphabet. The larger, fixed disk carries a suspension ring; the smaller, revolving disk has a small index on its rim. At the center is hinged an index arm that can rotate on both disks. The instrument made it possible to develop coded languages through the coordinated substitution of the letters of the alphabet shown by the index arm and the index of the smaller disk. Provenance: Vincenzo Viviani bequest. Clinometer [Inv. 148] Setting: Room I Maker: unknown Place: Italian Date: 16th cent. Materials: gilt brass, iron Dimensions: length 760 mm, max. height 255 mm Inventory: 148 Clinometer consisting of a long iron bar, fitted with sights at both ends, maintained in a horizontal position by a large weight placed on the lower half of the instrument. On the upper half are two opposing triangles. One side of each triangle carried finely engraved dolphins; the other two sides carried horizontal and vertical graduated slits for lodging holders for movable sights (now missing). The brass parts are finely worked. Antonio Santucci, in his Trattato di diversi strumenti matematici [Treatise of various mathematical instruments] (a manuscript datable to 1593), illustrates the uses of the instrument, © Museo Galileo - Istituto e Museo di Storia della Scienza 3 Room I ‐ The Medici Collections which included the measurement of heights and distances as well as leveling. Provenance: Medici collections. Folding rule [Inv. 2511] Setting: Room I Maker: Antonio Bianchini Place: Italian Date: 1564 Materials: gilt brass Dimensions: length 375 mm Inventory: 2511 Folding rule consisting of two wide, flat legs engraved with: the degree scale, the shadow square, the windrose, a scale of equal parts, and a list of forty-two European cities with their respective latitudes. On the legs are four folding viewers. The leg joint holds a magnetic compass complete with glass cover and magnetic needle; the hours are inscribed on the rim. Around the compass mount is a motto recalling the brevity of life. The instrument is signed by its maker, Antonio Bianchini, and dedicated to Cosimo I de' Medici. It appears in the Trattato di diversi istrumenti matematici (a manuscript dated to 1593) by Antonio Santucci under the name of "Gran Regola di Tolomeo" [Great rule of Ptolemy]. The instrument was used to measure terrestrial and astronomical distances with the help of a ruler (now missing) hinged to one of the legs. The ruler served as the base of the many triangles formed by folding the instrument. The base represented a measure proportional to the distance to be calculated. Identical to item inv. 2514, apart from the material and the format of the maker's signature. Provenance: Medici collections. Instrument of the "Primum Mobile" [Inv. 2643] Setting: Room I Inventor: Peter Apianus Maker: Egnazio Danti Place: Florence Date: 1568 Materials: brass Dimensions: height 279 mm © Museo Galileo - Istituto e Museo di Storia della Scienza 4 Room I ‐ The Medici Collections Inventory: 2643 The Instrument of the Primum Mobile is also called the quadrant of Petrus Apianus, because he invented it and described it in the treatise Instrumentum primi mobilis (Nuremberg, 1524). The instrument is used to find sines and cosines. It bears the initials "F.E.D.P.F." [Frater Egnatius Dantis Predicatorum Fecit]. Egnazio Danti dedicated it to Grand Duke Cosimo I de' Medici, as attested by the Medici coat of arms engraved on the front. The instrument was depicted on the ceiling of the Stanzino delle Matematiche in the Uffizi Gallery. Provenance: Medici collections. La perspectiue curieuse…, Jean François Niceron (facsimile) [Firenze, Museo Galileo, MED 2135] Setting: Room I Author: Jean François Niceron Place: Paris Date: original 1638 / facsimile 2008 Dimensions: facsimile 35x24 cm Inventory: Firenze, Museo Galileo, MED 2135 First book specifically dedicated to the perspective technique of "anamorphosis". A copy was donated by the author to Prince Leopoldo de' Medici in 1643. The plate on display illustrates the dioptric artifice allowing to see the hidden portrait of Ferdinando II. Map of the Danube [Inv. 3715] Setting: Room I Author: Carlo Giovanni Gibertoni Date: 1694 Materials: scagliola Dimensions: 1465x793 mm Inventory: 3715 The lower left corner of the scagliola table carries a dedication in French by the mapmaker, Carlo Giovanni Gibertoni, to Grand Prince Ferdinand de' Medici, son of Cosimo III. The course of the Danube is shown against a white background. There is a fairly detailed description of the areas © Museo Galileo - Istituto e Museo di Storia della Scienza 5 Room I ‐ The Medici Collections traversed by the river: towns, tributaries, physical features, etc. The Adriatic coast of Italy, the gulf of Venice, and a portion of the Dalmatian coast are outlined. Optical toy [Inv. 3196] Setting: Room I Inventor: Jean-François Niceron Maker: Jean-François Niceron Date: 1642 Materials: wood Dimensions: 700x430x530 mm Inventory: 3196 An optical toy designed and made by Jean-François Niceron. The apparatus consists of an oil painting on a wooden board, fixed vertically to a second horizontal board carrying a wooden support. The painting represents a series of turbaned heads with a flag display in their midst. The support originally carried a tube containing a polyhedral lens and a diaphragm (the tube was lost in the 1966 flood). If the painting was observed through the tube, the portrait of Ferdinand II de' Medici appeared. The portrait was actually composed of separate fragments assembled through the multiple refractions produced by the polyhedral lens. Thanks to the refractions of a prismatic lens, this toy generates an optical illusion similar to anamorphoses. On the horizontal table is a partially deleted inscription praising Ferdinand II. Optical toy [Inv. 3197] Setting: Room I Author: Ludovico Buti Place: Italian Date: 1593 Materials: wood, glass Dimensions: 815x500x1120 mm Inventory: 3197 The wooden frame carries a board holding wooden sticks of triangular section. If we view the board from the top toward the lower front, the row of visible sides of the painted sticks displays the portrait of Charles III, Duke of Lorraine; if, using the mirror placed in front, we observe the arrangement from the opposite side, we see the portrait of the Grand Duchess Christina of Lorraine, daughter of Charles III and wife of Ferdinand I de' Medici.
Load more

Recommended publications
  • Grade 7 Work Packet
    Grade 7 Work Packet Student Name:_____________________________ Dear Student, The work in this packet will help you continue to practice what you have been learning in school. We recommend that you complete the assignments for each subject based on the schedule below. You can use the Table of Contents on the next page to quickly move through the packet. Packets are due completed to your teacher when you return to school. Thank You, Teaching and Learning Team Day Assignments Day 1/2 ● ELA: Text Reading and Questions ● Math: Fluency Practice and Mixed Practice ● Science: Earth’s Structure Reading and Questions Day 3/4 ● ELA: Text Reading and Questions ● Math: Fluency Practice and Mixed Practice ● Science: Changing Earth Reading and Questions Day 5/6 ● ELA: Text Reading and Questions ● Math: Fluency Practice and Mixed Practice ● Science: Energy Transformation Reading and Questions Day 7/8 ● ELA: Text Reading and Questions ● Math: Fluency Practice and Mixed Practice ● Science: Thermal Energy Transfer Part 1 Day 9/10 ● ELA: Text Reading and Questions ● Math: Fluency Practice and Mixed Practice ● Science: Thermal Energy Transfer Part 2 1 Table of Contents: ● ELA Day 1/2……………………………………………………………………………………….Page 3 ● Math Day 1/2………………………………………………………………………………………Page 6 ● Science Day 1/2…………………………………………………………………………………..Page 11 ● ELA Day 3/4……………………………………………………………………………………….Page 16 ● Math Day 3/4………………………………………………………………………………………Page 24 ● Science Day 3/4…………………………………………………………………………………..Page 29 ● ELA Day 5/6……………………………………………………………………………………….Page 35 ● Math
    [Show full text]
  • Thermometer 1 Thermometer
    Thermometer 1 Thermometer Developed during the 16th and 17th centuries, a thermometer (from the Greek θερμός (thermo) meaning "warm" and meter, "to measure") is a device that measures temperature or temperature gradient using a variety of different principles.[1] A thermometer has two important elements: the temperature sensor (e.g. the bulb on a mercury thermometer) in which some physical change occurs with temperature, plus some means of converting this physical change into a numerical value (e.g. the scale on a mercury thermometer). A clinical mercury-in-glass thermometer There are many types of thermometer and many uses for thermometers, as detailed below in sections of this article. Temperature While an individual thermometer is able to measure degrees of hotness, the readings on two thermometers cannot be compared unless they conform to an agreed scale. There is today an absolute thermodynamic temperature scale. Internationally agreed temperature scales are designed to approximate this closely, based on fixed points and interpolating thermometers. The most recent official temperature scale is the International Temperature Scale of 1990. It extends from 0.65 K (−272.5 °C; −458.5 °F) to approximately 1358 K (1085 °C; 1985 °F). Thermometer Thermometer 2 Development Various authors have credited the invention of the thermometer to Cornelius Drebbel, Robert Fludd, Galileo Galilei or Santorio Santorio. The thermometer was not a single invention, however, but a development. Philo of Byzantium and Hero of Alexandria knew of the principle that certain substances, notably air, expand and contract and described a demonstration in which a closed tube partially filled with air had its end in a container of water.[2] The expansion and contraction of the air caused the position of the water/air interface to move along the tube.
    [Show full text]
  • Galilei-1632 Dialogue Concerning the Two Chief World Systems
    Galileo di Vincenzo Bonaulti de Galilei ([ɡaliˈlɛːo ɡaliˈlɛi]; 15 February 1564 – 8 January 1642) was an Italian astronomer, physicist and engineer, sometimes described as a polymath, from Pisa. Galileo has been called the "father of observational astronomy", the "father of modern physics", the "father of the scientific method", and the "father of modern science". Galileo studied speed and velocity, gravity and free fall, the principle of relativity, inertia, projectile motion and also worked in applied science and technology, describing the properties of pendulums and "hydrostatic balances", inventing the thermoscope and various military compasses, and using the telescope for scientific observations of celestial objects. His contributions to observational astronomy include the telescopic confirmation of the phases of Venus, the observation of the four largest satellites of Jupiter, the observation of Saturn's rings, and the analysis of sunspots. Galileo's championing of heliocentrism and Copernicanism was controversial during his lifetime, when most subscribed to geocentric models such as the Tychonic system. He met with opposition from astronomers, who doubted heliocentrism because of the absence of an observed stellar parallax. The matter was investigated by the Roman Inquisition in 1615, which concluded that heliocentrism was "foolish and absurd in philosophy, and formally heretical since it explicitly contradicts in many places the sense of Holy Scripture". Galileo later defended his views in Dialogue Concerning the Two Chief World Systems (1632), which appeared to attack Pope Urban VIII and thus alienated him and the Jesuits, who had both supported Galileo up until this point. He was tried by the Inquisition, found "vehemently suspect of heresy", and forced to recant.
    [Show full text]
  • How Does the Thermometer Work?
    How Does the Thermometer Work? How Does the Thermometer Work? A thermometer is a device that measures the temperature of things. The name is made up of two smaller words: "Thermo" means heat and "meter" means to measure. You can use a thermometer to tell the temperature outside or inside your house, inside your oven, even the temperature of your body if you're sick. One of the earliest inventors of a thermometer was probably Galileo. We know him more for his studies about the solar system and his "revolutionary" theory (back then) that the earth and planets rotated around the sun. Galileo is said to have used a device called a "thermoscope" around 1600 - that's 400 years ago!! The thermometers we use today are different than the ones Galileo may have used. There is usually a bulb at the base of the thermometer with a long glass tube stretching out the top. Early thermometers used water, but because water freezes there was no way to measure temperatures less than the freezing point of water. So, alcohol, which freezes at temperature below the point where water freezes, was used. The red colored or silver line in the middle of the thermometer moves up and down depending on the temperature. The thermometer measures temperatures in Fahrenheit, Celsius and another scale called Kelvin. Fahrenheit is used mostly in the United States, and most of the rest of the world uses Celsius. Kelvin is used by scientists. Fahrenheit is named after the German physicist Gabriel D. Fahrenheit who developed his scale in 1724.
    [Show full text]
  • WHERE WAS MEAN SOLAR TIME FIRST ADOPTED? Simone Bianchi INAF-Osservatorio Astrofisico Di Arcetri, Largo E. Fermi, 5, 50125, Flor
    WHERE WAS MEAN SOLAR TIME FIRST ADOPTED? Simone Bianchi INAF-Osservatorio Astrofisico di Arcetri, Largo E. Fermi, 5, 50125, Florence, Italy [email protected] Abstract: It is usually stated in the literature that Geneva was the first city to adopt mean solar time, in 1780, followed by London (or the whole of England) in 1792, Berlin in 1810 and Paris in 1816. In this short paper I will partially revise this statement, using primary references when available, and provide dates for a few other European cities. Although no exact date was found for the first public use of mean time, the primacy seems to belong to England, followed by Geneva in 1778–1779 (for horologists), Berlin in 1810, Geneva in 1821 (for public clocks), Vienna in 1823, Paris in 1826, Rome in 1847, Turin in 1849, and Milan, Bologna and Florence in 1860. Keywords: mean solar time 1 INTRODUCTION The inclination of the Earth’s axis with respect to the orbital plane and its non-uniform revolution around the Sun are reflected in the irregularity of the length of the day, when measured from two consecutive passages of the Sun on the meridian. Though known since ancient times, the uneven length of true solar days became of practical interest only after Christiaan Huygens (1629 –1695) invented the high-accuracy pendulum clock in the 1650s. For proper registration of regularly-paced clocks, it then became necessary to convert true solar time into mean solar time, obtained from the position of a fictitious mean Sun; mean solar days all having the same duration over the course of the year.
    [Show full text]
  • Tesi Dottorato.Pdf
    DOTTORATO DI RICERCA IN STORIA DELLE ARTI E DELLO SPETTACOLO (Curriculum Storia dell’arte) CICLO XXX COORDINATORE prof. Andrea De Marchi PERCORSI ARTISTICI TRA FIRENZE E GLI STATI UNITI, 1815-1850. NUOVE PROSPETTIVE DI RICERCA Settore Scientifico Disciplinare L-ART/03 Dottorando Tutore dr. Michele Amedei prof. Antonio Pinelli Coordinatore prof. Andrea De Marchi a. a. 2014-2015/2016-2017 A Carlo Del Bravo Intendo ringraziare, in ordine sparso, quanti hanno contribuito, in vario modo, alla riuscita di questo lavoro; sono particolarmente grato a Cinzia Maria Sicca, Giovanna De Lorenzi, Karen Lemmey, Eleanor Harvey, Cristiano Giometti, Joe Madura, Alan Wallach, William Gerdts, William Truettner, Daniele Mazzolai, Anne Evenhaugen, Alexandra Reigle, Anna Marley, Crawford Alexander Mann III, Silvestra Bietoletti, Melissa Dabakis, Michele Cohen, Amelia Goerlitz, Tiziano Antognozzi, John F. McGuigan, Jr., Mary K. McGuigan, Kent Ahrens, Liletta Fornasari, Sandro Bellesi, Ettore Spalletti, Elisa Zucchini, John Allen, Fabio Cafagna, Valeria Bruni, Enrico Sartoni, Caterina Del Vivo e Simona Pasquinucci. Indice Introduzione................................................................................................p. 1 Capitolo 1. La colonia statunitense nel Granducato di Toscana nel primo Ottocento. Parte I. Statunitensi a Firenze. I-A. Cenni storici.....................................................................................................p. 9 I-B. Giacomo Ombrosi, console degli Stati Uniti d'America a Firenze................p. 17 Parte
    [Show full text]
  • 9-10 Ottobre 2017 FIRENZE
    GONNELLI CASA D’ASTE FIRENZE GONNELLI CASA D’ASTE 9-10 Ottobre 2017 9-10 Ottobre ASTA 23 ASTA ASTA 23 LIBRI E GRAFICA PARTE I: Stampe, Disegni, Dipinti Via Ricasoli, 6-14/r | 50122 FIRENZE CASA D’ASTE tel +39 055 268279 fax +39 055 2396812 | www.gonnelli.it - [email protected] 9-10 Ottobre 2017 Gonnelli Casa d’Aste è un marchio registrato da Libreria Antiquaria Gonnelli FIRENZE GONNELLI Charta 153.qxp_[Gonnelli 195x280] 27/07/17 14:04 Pagina 1 GONNELLI CASA D’ASTE Via Ricasoli, 6-14/r | 50122 FIRENZE tel +39 055 268279 fax +39 055 2396812 www.gonnelli.it - [email protected] LEGENDA Ove non diversamente specificato tutti i testi (2): il numero fra parentesi dopo la descrizione del lotto indica la e le immagini appartengono a Gonnelli Casa quantità fisica dei beni che lo compongono. Ove non indicato si d’Aste, senza alcuna limitazione di tempo e di intende che il lotto è composto da un singolo bene. confini. Pertanto essi non possono essere ripro- dotti in alcun modo senza autorizzazione scritta Annibale Carracci: è nostra opinione che l’opera sia eseguita di Gonnelli Casa d’Aste. dall’Artista; Annibale Carracci [attribuito a]: è nostra opinione che l’opera sia probabilmente eseguita dall’Artista; Annibale Carracci In copertina particolare del lotto 967 [alla maniera di] [scuola di] [cerchia di]: l’opera per materiali, stile- mi, periodo e soggetti è accostabile alla scuola dell’Autore indicato; Annibale Carracci [da]: indica che l’opera è tratta da un originale riconosciuto dell’Autore indicato, ma eseguita da Autore diverso anche, eventualmente, in periodo diverso.
    [Show full text]
  • LAVOISIER-The Crucial Year the Background and Origin of His First
    LAVOISIER-THE CRUCIAL YEAR: The Background and Origin of His First Experiments on Combustion in z772 Antoine Laurent Lavoisier, 17 43-1794, a portrait by David (Photo Roger-Viollet) LA VOISIER -The Crucial Year The Background and Origin of His First Experiments on Combustion in 1772 /J_y llenr_y (Juerlac CORNELL UNIVERSITY CORNELL UNIVERSITY PRESS Ithaca, New York Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. This work has been brought to publication with the assistance of a grant from the Ford Foundation. Copyright © 1961 by Cornell University First paperback printing 2019 The text of this book is li censed under a Creative Commons Attribution- NonCommerciai-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/. To use this book, or parts of this book, in any way not covered by the li cense, please contact Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu. Printed in the United States of America ISBN 978- 1-501 7-4663-5 (pbk.: alk. paper) ISBN 978-1-5017-4664-2 (pdf) ISBN 978-1-5017-4665-9 ( epub/mobi) Librarians: A CIP catalog record for this book is available from the Library of Congress TO Andrew Norman Meldrum (1876-1934) AND Helene Metzger (188g-1944) Acknowledgments MUCH of the research and much of the writing of a first draft of this book was completed while I was a mem­ ber of the Institute for Advanced Study, Princeton, in 1953-1955.
    [Show full text]
  • Ancient, Islamic, British and World Coins War Medals and Decorations Historical Medals Banknotes
    Ancient, Islamic, British and World Coins War Medals and Decorations Historical Medals Banknotes To be sold by auction at: The Conduit Street Gallery Sotheby’s 34-35 New Bond Street London W1A 2AA Days of Sale: Tuesday 20th May 2003 10.00 am and 2.30 pm Wednesday 21st May 2003 10.00 am and 12.00 noon Public viewing: 45 Maddox Street, London W1S 2PE Thursday 15th May 10.00 am to 4.30 pm Friday 16th May 10.00 am to 4.30 pm Monday 19th May 10.00 am to 4.30 pm Or by previous appointment Catalogue no. 3 Price £10 Enquiries: James Morton, Tom Eden, Paul Wood or Stephen Lloyd Cover illustrations: Lot 9 (front); Lot 1005 (back) in association with 45 Maddox Street, London W1S 2PE Tel.: +44 (0)20 7493 5344 Fax: +44 (0)20 7495 6325 E-mail: [email protected] This auction is conducted by Morton & Eden Ltd. in accordance with our Conditions of Business printed at the back of this catalogue. All questions and comments relating to the operation of this sale or to its content should be addressed to Morton & Eden Ltd. and not to Sotheby’s. Morton & Eden Ltd. is grateful to Sotheby’s for making its rooms and facilities available for this auction. Important Information for Buyers All lots are offered subject to Morton & Eden Ltd.’s Conditions of Business and to reserves. Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”.
    [Show full text]
  • “Buon Compleanno Galileo” È Un Programma Di Divulgazione Scientifica Realizzato in Occasione Animali E Bellezza
    • 6 marzo “Buon compleanno Galileo” è un programma di divulgazione scientifica realizzato in occasione Animali e bellezza. La percezione estetica nelle diverse specie del 450° anniversario della nascita di Galileo Galilei, promosso dalla Regione Toscana in collaborazione con Museo Galileo–Istituto e Museo di Storia della Scienza, Museo di Storia Laura Beani, Università di Firenze Naturale dell’Università di Firenze, Il Giardino di Archimede–Un museo per la matematica, “Buon compleanno Giorgio Vallortigara, Università di Trento Museo FirST–Firenze Scienza e Tecnica, Comune di Firenze, Associazione culturale Caffè- Franco Bagnoli (animatore), Università di Firenze Scienza Firenze. • 11 marzo Media partner: intoscana.it alileo” Neuroestetica. Come il cervello percepisce l’arte Cinzia Di Dio, Università di Parma Informazioni e prenotazioni Andrea Pinotti, Università di Milano Tel. 055 2756444; [email protected] G Marco Ferrari (animatore), Focus (a partire dal 3 febbraio; lunedì-venerdì 9.00-17.00; sabato 9.00-13.00) febbraio - marzo • 20 marzo https://sites.google.com/site/compleannogalileo 15 20 2014 Lo spettacolo della scienza. Scienza e teatro La prenotazione è necessaria per tutte le attività del programma, tranne per le conferenze. Introduzione di Cinzia Belmonte, FormaScienza, Roma Performances di Zauberteatro e di Riccardo Pratesi, Museo Galileo Museo Galileo Piazza dei Giudici 1 E inoltre www.museogalileo.it • 13 febbraio Museo di Storia Naturale, Sezione di Zoologia “La Specola” Dai mosaici di Penrose ai ghiacciai siberiani: la straordinaria ricerca dei quasicristalli naturali Via Romana 17 - Ore 17.00, Museo di Storia Naturale, Sezione di Mineralogia e Litologia (via G. La Pira 4). www.msn.unifi.it Visita alle collezioni Il Giardino di Archimede–Un museo per la matematica - Ore 18.00, Aula Magna dell’Università (piazza San Marco 4).
    [Show full text]
  • Musei, Uffizi Acquistano Il Ripudio Di Agar Di Giuseppe Bezzuoli
    20 dicembre 2019 14:49 Musei, Uffizi acquistano Il ripudio di Agar di Giuseppe Bezzuoli Entra a far parte della collezione degli Uffizi il dipinto ‘Il ripudio di Agar’ di uno dei maggiori esponenti della pittura romantica dell’Ottocento italiano, Giuseppe Bezzuoli (1784-1855). Il capolavoro, che le Gallerie hanno acquistato dal collezionista emiliano Enrico Giordani, sarà una delle opere di punta della prima mostra mai dedicata all’artista fiorentino: insegnante all’Accademia d’Arte del capoluogo toscano, fu anche maestro di grandi nomi quali Giovanni Fattori, Luigi Ademollo, Silvestro Lega, Antonio Ciseri. Per la limpidezza del suo stile, Giuseppe Mazzini non esitò a paragonarlo a Francesco Hayez. L’esposizione, che si terrà agli Uffizi, accoglierà oltre 100 opere di Bezzuoli tra dipinti e disegni: tra questi, oltre al Ripudio di Agar, vi saranno anche altre due recenti acquisizioni delle Gallerie, l’ Eva tentata dal serpente ed il bozzetto preparatorio per Giovanni dalle Bande al passaggio dell’Adda. Curata da Vanessa Gavioli, Elena Marconi ed Ettore Spalletti, la mostra sarà aperta dal 2 aprile al 31 luglio. IL RIPUDIO DI AGAR Il soggetto dell’opera (olio su tela, cm110 x140), è tratto dalla Genesi e descrive l’episodio in cui Abramo, assecondando il volere di Sara, ripudiò Agar e suo figlio Ismaele. La scena scelta da Bezzuoli, spiegano i curatori, è quella commovente del commiato, quando Abramo si congeda da Agar, mentre Isacco dice addìo al fratellastro maggiore Ismaele. La tenerezza dell’affettuoso abbraccio tra i due fratelli è il momento più toccante della scena, tutta giocata sui contenuti psicologici, sulle diverse reazioni da parte dei personaggi, sugli sguardi.
    [Show full text]
  • Leading Italian Dealer Carlo Orsi Unveils Historic Florentine Masterpiece at Tefaf 2016
    LEADING ITALIAN DEALER CARLO ORSI UNVEILS HISTORIC FLORENTINE MASTERPIECE AT TEFAF 2016 Taking pride of place on Carlo Orsi’s stand at TEFAF 2016 will be a vast and impressive oil on canvas of The Death of Filippo Strozzi by the Florentine artist Giuseppe Bezzuoli (1784- 1855), price in the region of 300,000 euro. Carlo Orsi joins other international dealers at TEFAF, the world’s leading art and antiques fair, at the Maastricht Exhibition & Congress Centre (MECC), from 10 to 20 March 2016, Stand 344. The centrepiece of leading Italian dealer Carlo Orsi’s stand at TEFAF 2016 is an impressive oil on canvas of The Death of Filippo Strozzi by the Florentine artist Giuseppe Bezzuoli (1784- 1855), price in the region of 300,000 euro. Commissioned by the philanthropist Niccolo Puccini, this powerful historical painting was known only to a small circle and has never been on public view before. Strozzi (1428-1491) was an Italian banker and statesman banned from Florence as a young man by the Medici because of his family’s opposition to Cosimo de’Medici. It was in Naples that Strozzi established his successful career as a respected banker and when he returned to Florence he commissioned Benedetto da Maiano to build the splendid family home, Palazzo Strozzi, though sadly did not live to see it completed. Puccini, a leading intellectual and supporter of the Risorgimento, found Strozzi’s courage against tyranny a fitting subject with which to endorse his own political leanings. Giuseppe Bezzuoli, The Death of Filippo Strozzi, oil on canvas, 193.5 x 258 cm Visitors to the stand will also have their eye drawn to the jewel-like wooded landscape with Saint John the Baptist by the Flemish master Jan Brueghel the Elder (1568-1625).
    [Show full text]