Tropical, de Anita Malfatti

A partir da análise de Tropical, tela pintada por Anita Malfatti em 1917, este artigo propõe que a artista procedia a uma mudança em sua linguagem pictórica, afastando-se das concepções de vanguarda que adotara até então para, aderindo ao clima de retorno à ordem internacional, aproximar-se das discussões sobre o nacionalismo na arte, presentes na cena paulistana. Assim, a imagem de mulher insegura que mudou sua perspectiva por causa da crítica de Monteiro Lobato adquire outra conotação. Os modernistas teriam preferido essa interpretação a efetuar uma análise da obra de Anita Malfatti, por meio da qual se poderia desvelar uma deserção do programa vanguardista feita de forma consciente pela artista

Resistance of Cyanobacterial Fouling on Architectural Paint Films to Cleaning by Water Jet

Mortar panels painted with three different white acrylic coatings were exposed to the environment in urban (So Paulo) and rural (Pirassununga) sites in Brazil for 7 years. After this time, all panels were almost equally discoloured, and paint detachment was observed to only a small degree. The biofilms were composed mainly of cyanobacteria and filamentous fungi, principal genera being Gloeocapsa and Chroococcidiopsis of the cyanobacteria, and Cladosporium and Alternaria of the fungi. Two of the three paints in Pirassununga became covered by a pink film that contained red-encapsulated Gloeocapsa and clay particles. The third, an 800% elastomeric matt formulation, became discoloured with a grey, only slightly pink, film, although the same cyanobacteria were present. The levels of paint detachments from all films in both locations were low, with rating range of 0-1 of a maximum 5 (100% detachment). After high-pressure water jetting, paint detachments increased at both locations, up to 2 in Pirassununga and 3 in So Paulo. Discoloration decreased; L*A*B* analysis of surface discoloration showed that Delta E (alteration in colour from the original paint film) changed from 28-39 before cleaning to 13-16 afterwards. The pink coloration was not entirely removed from Pirassununga samples, suggesting that cyanobacterial cells are difficult to detach, and microscopic analysis of the biofilms confirmed that Gloeocapsa was still present as the principal contaminant on all surfaces, with Chroococcidiopsis being present as the second most common. Almost no fungi were detected after water jet application.

Two new species of Tornidae (Caenogastropoda, Rissooidea) from Espirito Santo, Brazil

Two new species of shallow water Tornidae are found in Espirito Santo state, Brazil, formally described herein. They belong to a complex group of tiny gastropods, in such the taxonomy is very confused. Cyclostremiscus mohicanus sp. n. is characterized by three well-developed spiral, equidistant carinas, working as base of three series of tall, aligned periostracal rods. Episcinia itanhuna sp. n. has as single sculpture a series of pustules in periphery, but the periostracum bears three series of peripheral fringes with irregular rods. The new species are compared with the allies, showing a close relation with Caribbean fauna, but possessing worthy differences. These similarities have raised misidentifications.

Thermal efficiency of fiber cement corrugated sheets applied to individual housing for calves exposed to sun and shade

This research presents a study of roof thermal efficiency in individual housing for calves exposed to sun and shade through infrared thermography, internal temperature and thermal comfort indexes. Four different individual housing for calves covered with asbestos-free fiber-cement corrugated sheets were evaluated. Three of them were directly exposed to the sun: (i) corrugated sheets painted white in the external surface, (ii) corrugated sheets without painting and (iii) with screen shade fabric installed 0.10m under de internal surface of the corrugated sheet. The fourth individual housing was installed in the shade area and covered with unpainted corrugated fiber-cement sheets. The analysis was taken for 21 days at 11h00min, 14h00min and 17h00min. The results indicate significant variations in the roofing surface temperature and thermal comfort indexes among the treatments exposed to the sun and shade, for all the evaluations during the day. The infrared thermography images were effective for better understanding the heat transfer processes from the roof to the internal environment of the housing.

Taxonomic study on the molluscs collected in Marion-Dufresne expedition (MD55) to SE Brazil: Xenophoridae, Cypraeoidea, mitriforms and Terebridae (Caenogastropoda)

The deep-water molluscs collected during the expedition MD55 off SE Brazil have been gradually studied in some previous papers. The present one is focused on samples belonging to caenogastropod taxa Xenophoridae Troschel, 1852, Cypraeoidea Rafinesque, 1815, mitriforms and Terebridae Morch, 1852. Regarding the Xenophoridae, Onustus aquitanus n. sp. is a new species, collected off the littoral of Espirito Santo and Rio de Janeiro, Brazil, 430-637 m depth (continental slope). The main characters of the species include the small size (c. 20 mm), the proportionally wide shell, the white colour, the short peripheral flange, the oblique riblets weakly developed and a brown multispiral protoconch. This appears to be the smallest living species of the family, resembling in this aspect fossil species. In respect to the Cypraeoidea, the following results were obtained: family Cypraeidae Rafinesque, 1815: Erosaria acicularis (Gmelin, 1791) and Luria cinerea (Gmelin, 1791) had the deepest record, respectively 607-620 m and 295-940 m, although the samples were all dead, eroded shells. Family Lamellariidae d'Orbigny, 1841: a total of three lots were collected, provisionally identified as Lamellaria spp. as the samples consist of only vestigial shells; possibly each lot represents a different species. Family Pediculariidae Gray, 1853: a sample of Pedicularia tibia Simone, 2005 was found, expanding the range c. 1000 km southwards, from Ceara to Espirito Santo. Family Ovulidae Fleming, 1822: Pseudosimnia lacrima n. sp., collected off Espirito Santo, 607-620 m depth, is described here and is mainly characterised by its strong biconic outline, small size (c. 7 mm), and a thick peripheral callus. Family Triviidae Troschel, 1863: Cleotrivia antillarum (Schilder, 1922) is recorded for the first time as deep as 620 m, and its distribution expanded from Rio Grande do Norte to Espirito Santo; Dolichupis akangus n. sp. with rounded outline and c. 15 transverse ribs; D. pingius n. sp. with the outer lip expanded posteriorly and c. 10 ribs. In respect to the mitriform neogastropods, the following species are emphasised: family Costellariidae MacDonald, 1860: Vexillum sp., 607-620 m depth; Turricostellaria amphissa n. sp., 295 m depth; T. jukyry n. sp.; T. apyrahi n. sp., both 790-1575 m depth; T. ovir n. sp., 1200 m depth; Nodicostellaria crassa (Simone, 1995), 240-600 m depth, with extension northwards of the range up to Espirito Santo; Austromitra decresca n. sp., 60-105 m depth. Family Mitridae Swainson, 1829: Subcancilla joapyra n. sp., 295 m depth; S. cf. straminea (Adams, 1853), 607-620 m depth. Family Volutomitridae Gray, 1854: Microvoluta corona n. sp., 1500-1575 m depth. Family Mitromorphidae Casey, 1904: Mitromorpha sama n. sp., 607-940 m depth; M. mirim n. sp., 60105 m depth. Regarding the conoidean Terebridae, this paper is a complement of a previous study. It deals with a new species Terebra assu Simone n. sp., from the Abrolhos Bank, 295 m depth, characterised by its narrow outline, yellowish colour, weak sculpture on the last whorls, and a proportionally broad, paucispiral protoconch. A second finding of Terebra alagoensis Lima, Tenorio & Barros, 2007 expands the geographic range from Alagoas to north Espirito Santo. A discussion on the systematics of the "complex Terebra doellojuradoi" in South American coast is also provided, highlighting the improbability of synonymy between T. leptapsis Simone, 1999 and T doellojuradoi Carcelles, 1953. Differences in size, sculpture, spire angulation, aperture, and mainly in protoconch, indicate specific separations. The presently studied terebrids belong to the "complex Terebra doellojuradoi", which encompasses closely related, deep-water, small species, possessing a relatively high degree of endemicity.

Taxonomical study on a sample of pulmonates from Santa Maria da Vitória, Bahia, Brazil, with description of a new genus and four new species (Mollusca: Orthalicidae and Megalobulimidae)

A sample of Pulmonata collected in Santa Maria da Vitória, interior of Bahia, Brazil, in Caatinga semi-arid environment, is studied taxonomically. From the five species, four are revealed as new, including a new genus. The new taxa are the Bulimulidae (1) Kora corallina gen. et sp. n. characterized by the elongated shell with aperture somewhat dislocated from the shell axis, and an oblique tooth in middle level of inner lip; (2) Spixia coltrorum, mainly characterized by an uneven spire, delicate sculpture and peristome with 4 equidistant teeth; (3) Anostoma tessa, mainly characterized by a broad spire and well-developed anal canal; and the Megalobulimidae (4) Megalobulimus amandus, mainly characterized by pointed protoconch sculptured by dense quantity of axial cords. Rhinus suturalis is the only previously known species, but its geographic distribution is expanded southwards to Bahia state. A discussion with respect to necessity for improving the study on the malacofauna from the interior region of the Brazilian Northeast and the importance for preservation of the Caatinga biome is also provided.

Planteamiento experimental de la experiencia del modelado con barro en la Facultad de Formación del Profesorado durante el curso 2012-2013

[ES] Con motivo de la práctica docente universitaria en la Facultad de Formación del Profesorado con alumnos del grado de Primaria, en el ámbito de las artes plásticas, tuvimos la idea y la oportunidad de reforzar y ampliar los recursos didácticos planteados a priori en la investigación, experimentándolos con un sector más amplio que el de los alumnos de especialidades específicamente artísticas, a quienes iba dirigido en un principio la creación de recursos didácticos relacionados con la tesis titulada: “Escultura pública en Gran Canaria entre 1980-2010: recursos didácticos para la enseñanza de algunos procedimientos usados en ellas.” [EN] In the context of teaching activities to Primary Education students at the Teacher Training College in the field of plastic arts and in reference to the thesis called 1980-2012 Public Sculpture in Gran Canaria, Didactic Resources for the Teaching of some of the Procedures Applied in their Making geared towards students whose specialties were specifically artistic, we had the op ortunity to reinforce and increase the methodological resources considered within the research but with students different to those of the speciality of plastics arts.

Orígenes de la cabra paleo-canaria de villaverde (Fuerteventura)

[EN] After comparing the features of the group of goats from Villaverde ( osseous remains from the beginning of our era), -La Palma (recently extinct), and - Desertas (descendants of the anciet Canarian goat ), all of them cosidered to be of the same breed, with those of the neolithic and protohistoric goats from North Africa, greater affinity is found with the mamber goat of the predinastic Egypt and the Ancient Egyptian Empire, represented in King Ranusir's tomb (V Dinasty) 4.500 years ago, and affinity is also found with the neolithic goat painted in Amguid (Central Sahara) and the modern Sahel goats, although the paleo - Canarian goat has its own features.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Trasmission and Reflection (ATR)Far-Infrared Spectroscopy Applied in the Analysis of Cultural Heritage Materials

FIR spectroscopy is an alternative way of collecting spectra of many inorganic pigments and corrosion products found on art objects, which is not normally observed in the MIR region. Most FIR spectra are traditionally collected in transmission mode but as a real novelty it is now also possible to record FIR spectra in ATR (Attenuated Total Reflectance) mode. In FIR transmission we employ polyethylene (PE) for preparation of pellets by embedding the sample in PE. Unfortunately, the preparation requires heating of the PE in order to produces at transparent pellet. This will affect compounds with low melting points, especially those with structurally incorporated water. Another option in FIR transmission is the use of thin films. We test the use of polyethylene thin film (PETF), both commercial and laboratory-made PETF. ATR collection of samples is possible in both the MIR and FIR region on solid, powdery or liquid samples. Changing from the MIR to the FIR region is easy as it simply requires the change of detector and beamsplitter (which can be performed within a few minutes). No preparation of the sample is necessary, which is a huge advantage over the PE transmission method. The most obvious difference, when comparing transmission with ATR, is the distortion of band shape (which appears asymmetrical in the lower wavenumber region) and intensity differences. However, the biggest difference can be the shift of strong absorbing bands moving to lower wavenumbers in ATR mode. The sometimes huge band shift necessitates the collection of standard library spectra in both FIR transmission and ATR modes, provided these two methods of collecting are to be employed for analyses of unknown samples. Standard samples of 150 pigment and corrosion compounds are thus collected in both FIR transmission and ATR mode in order to build up a digital library of spectra for comparison with unknown samples. XRD, XRF and Raman spectroscopy assists us in confirming the purity or impurity of our standard samples. 24 didactic test tables, with known pigment and binder painted on the surface of a limestone tablet, are used for testing the established library and different ways of collecting in ATR and transmission mode. In ATR, micro samples are scratched from the surface and examined in both the MIR and FIR region. Additionally, direct surface contact of the didactic tablets with the ATR crystal are tested together with water enhanced surface contact. In FIR transmission we compare the powder from our test tablet on the laboratory PETF and embedded in PE. We also compare the PE pellets collected using a 4x beam condenser, focusing the IR beam area from 8 mm to 2 mm. A few samples collected from a mural painting in a Nepalese temple, corrosion products collected from archaeological Chinese bronze objects and samples from a mural paintings in an Italian abbey, are examined by ATR or transmission spectroscopy.

The Effect of Preservative Interventions on the Chemical- Physical and Structural Characteristics of Panel Painting

This work studies the impact of two traditional Romanian treatments, Red Petroleum and Propolis, in terms of real efficiency and consequence on the wooden artifacts. The application of these solutions is still a widely adopted and popular technique in preservative conservation but the impact of these solutions is not well known. It is important to know the effect of treatments on chemical-physical and structural characteristics of the artifacts, not only for understanding the influence on present conditions but also for foreseeing the future behavior. These treatments with Romanian traditional products are compared with a commercial antifungal product, Biotin R, which is utilized as reference to control the effectiveness of Red Petroleum and Propolis. Red Petroleum and Propolis are not active against mould while Biotin R is very active. Mould attack is mostly concentrated in the painted layer, where the tempera, containing glue and egg, enhance nutrition availability for moulds. Biotin R, even if is not a real insecticide but a fungicide, was the most active product against insect attack of the three products, followed by Red Petroleum, Propolis and untreated reference. As for colour, it did not change so much after the application of Red Petroleum and Biotin R and the colour difference was almost not perceptible. On the contrary, Propolis affected the colour a lot. During the exposure at different RH, the colour changes significantly at 100% RH at equilibrium and this is mainly due to the mould attack. Red Petroleum penetrates deeply into wood, while Propolis does not penetrate and remains only on the surface. However, Red Petroleum does not interact chemically with wood substance and it is easy volatilized in oven-dry condition. On the contrary Propolis interacts chemically with wood substance and hardly volatilized, even in oven-dry condition and consequently Propolis remains where it penetrated, mostly on the surface. Treatment by immersion has impact on wood physical parameters while treatment by brushing does not have significant impact. Especially Red Petroleum has an apparent impact on moisture content (MC) due to the penetration of solution, while Propolis does not penetrate so much and remains only on surface therefore Propolis does not have so much impact as Red Petroleum. However, if the weight of the solution penetrated in wood is eliminated, there is not significant difference in MC between treated and untreated samples. Considering physical parameters, dimensional stability is an important parameter. The variation of wood moisture content causes shrinkages/swelling of the wood that polychrome layer can only partially follow. The dimension of wooden supports varied under different moisture conditioning; the painted layer cannot completely follow this deformation, and consequently a degradation and deterioration caused by detachment, occurs. That detachment affects the polychrome stratification of the panel painting and eventually the connections between the different layer compositions of the panel painting.

Matters of taste: the neoclassical furniture in the Italian portraits from the late eighteenth century to the Restoration

Analysis and description of the furniture shown on Italian portraits from the late eighteenth century to the period of the Restoration. We have studied real examples of environments still exist with their furniture, chairs, mirrors, lamps, etc. in different areas of Italy. All this to explain the refined taste and cosmopolitan of the characters painted in the portraits, that for this reason they were considered fashionable

I manoscritti miniati dell'Illustratore nella cultura figurativa del secondo quarto del XIV secolo

La tesi è dedicata alla personalità artistica dell’Illustratore, tra i protagonisti della miniatura bolognese degli anni trenta e quaranta del Trecento, così felicemente soprannominato da Roberto Longhi. Dopo un capitolo dedicato alla vicenda critica dell’artista, la tesi affronta il percorso artistico dell’Illustratore nell’ambito della decorazione libraria bolognese del secondo quarto del XIV secolo. Ho trattato le opere attribuite al’Illustratore insieme agli esempi contemporanei della miniatura bolognese, in modo da far emergere il ruolo di questo maestro nelle relazioni con il contesto cittadino. Nella successione cronologica dei manoscritti, emerge un nuovo sconvolgimento caotico che scardina l’ordine spaziale e compositivo delle opere iniziali debitrici del giottismo del Maestro del 1328. Il capitolo si conclude con alcune osservazioni sui rapporti tra il maestro e i suoi aiuti e sul rapporto con Buffalmacco. In questo capitolo sono inoltre presentate due nuove attribuzioni. Gli ultimi due capitoli sono un approfondimento sull’interazione tra il linguaggio figurativo dell’artista e la funzione dell’immagine quale forma di comunicazione visiva in stretta relazione con i testi scritti che accompagnano e sui caratteri della committenza, là dove è possibile definirli. La prima parte del terzo capitolo è dedicata all’illustrazione dei libri legales, mentre nella seconda parte si tratta di un caso particolare, le iniziali istoriate dell’Inferno e del Purgatorio di Dante Alighieri della Biblioteca Riccardiana di Firenze (ms. 1005), per molti aspetti riconducibili all’illustrazione giuridica. La mia intenzione in questo capitolo è di verificare come il caratteristico linguaggio narrativo espressivo e diretto dell’Illustratore abbia risposto alla funzione delle immagini dipinte nei codici giuridici di offrire una struttura materiale alla memorizzazione visiva per via di luoghi e figure dei contenuti di studio del diritto comune. In appendice alla tesi si trova un catalogo dei manoscritti decorati da miniature dell’Illustratore, comprensivo anche di una sezione per le opere di dubbia o erronea attribuzione.

Erasmo come Ercole nell'adagio Herculei labores

Il lavoro consiste nella traduzione dell’adagio 2001, Herculei labores con commento delle righe 1-116, che comprendono il racconto della fatica di Ercole contro l’idra di Lerna e le interpretazioni che Erasmo ne fornisce per introdurre la filologia come impresa erculea in chiave autobiografica. L’introduzione ha lo scopo di presentare una sintesi degli elementi notevoli del commento e alcune osservazioni sull’autorappresentazione di sé dell’umanista. Erasmo fa dell’identificazione con Ercole un topos della propria descrizione in chiave ironica, ma si propone anche come emulo di Girolamo, di cui cura l’edizione delle lettere. Questo lavoro prende in considerazione infine il ritratto di Erasmo dipinto da Holbein e custodito a Longford Castle in relazione al testo dell’adagio, al quale allude con la scritta in primo piano, ΗΡΑΚΛΕΙΟΙ ΠΟΝΟΙ.

L’instrumentum fittile inscriptum della colonia romana di Mutina e del suo territorio

Il presente lavoro è incentrato sulla raccolta e l’analisi dell’instrumentum fittile inscriptum – in particolare laterizi, dolia, lucerne, ceramica fine da mensa, anfore e tappi d’anfora - rinvenuto a Modena e nel suo territorio. L’attenzione è stata concentrata sul materiale bollato e, per quanto riguarda le anfore, anche sullo studio degli esemplari recanti tituli picti. Si è proceduto ad una raccolta di tutto il materiale edito, a cui si è aggiunto lo studio di un’ingente quantità di reperti provenienti da due recenti scavi suburbani: quello presso il Parco Novi Sad, che si segnala soprattutto per la ricchezza del materiale anforico, e quello di Viale Reiter, ove sono venuti alla luce numerosi scarti di cottura di lucerne a canale recanti le firme di alcuni dei più noti produttori di tali oggetti nel mondo romano. A ciascuna categoria di instrumentum è stato dedicato un capitolo, corredato di tabelle in cui è stato raccolto tutto il materiale considerato; inoltre, per i reperti del Parco Novi Sad e di Viale Reiter, è stato realizzato un catalogo corredato di riproduzioni grafiche e fotografiche. Per quanto concerne le iscrizioni dipinte, un capitolo è stato dedicato a quelle presenti sulle anforette adriatiche da pesce; quanto ai tituli picti su anfore di morfologia betica per il trasporto di salse di pesce è stato effettuato un confronto con esemplari rinvenuti in due scavi inediti a Parma, che presentano significative analogie col materiale modenese. Dall’analisi dell’instrumentum inscriptum di Mutina, pur consapevoli dei limiti insiti in una ricerca incentrata unicamente su tale tipo di materiale, è emersa un’immagine della colonia, tra la tarda età repubblicana ed il I sec. d.C., congruente con quella delineata dalle fonti letterarie, dall’epigrafia lapidaria e dai rinvenimenti archeologici, ossia di una città di notevole importanza e ricchezza.