Auswahl der wissenschaftlichen Literatur zum Thema „Museo Palladio“

The chapter titled the “Reading of Bookes” in Francis Meres'S 1598 Palladis Tamia offers two competing prescriptions for the allocation of readerly attention. The first suggests that too-close reading spoils some books: “As the s[c]ent of spices and flowers is more acceptable somewhat off then close to the nose: so there are some things that please, if they be lightly passed over; which being exactly looked into do loose their grace” (266v). The second reverses that logic by way of a fresh analogy: “Those things that live long, doe not soon spring up: so that worke which thou wouldst have alwaies to be read, ought to be throughly laboured in, and seriouslie scanned” (267r). On the face of it, Meres's book—a six-hundred-and-sixty-five-page-long compendium of moral and practical precepts, each cast in the repetitive syntax of the similitude—is evidently the first sort of text. At once dizzingly various and mind-numbingly repetitive, Palladis Tamia is a book to “be lightly passed over”—“scanned” in the modern, not the sixteenth-century, sense of the word. That is certainly the case today, when Palladis Tamia is known primarily for a single chapter, “A Comparative Discourse of Our English Poets, with the Greeke, Latine, and Italiane Poets,” Meres's pioneering survey of English Renaissance writing, and above all for a handful of sentences in that chapter, which offer a rare glimpse into the early career of William Shakespeare. “As the soule of Euphorbus was thought to live in Pythagoras: so the sweete wittie soule of Ovid lives in mellifluous and honytongued Shakespeare,” Meres declares. “As Epius Stolo said, that the Muses would speake with Plautus tongue, if they would speak Latin: so I say that the Muses would speak with Shakespeares fine filed phrase, if they would speake English” (281v, 282r).

72 early soybean varieties are included in the State Register of Plant Varieties of Ukraine Suitable for Cultivation in 2022, which is 25% of the total number of all soybean maturity groups. The growing season of all early soybean varieties comprises 86–105 days. Elena has the shortest growing season in the group – 87 days; Deni comes next as it requires 89 days to grow; it is followed by Avanturine and Sprytna the growing of which takes 94 days. Zhakhidka, ES Mentor, Opus, Maxus, ES Favour, Pallada, ES Director, AAC Invest 1605, and Oriana have the longest growing seasons and namely – 105 days. The highest-yielding early soybean varieties included in the State Register of Plant Varieties of Ukraine Suitable for Cultivation in 2022 are Estafeta and Sprytna – 3.70 t/ha. Pallada is their runner-up with a yield of 3.67 t/ha followed by Khvylia and Elena – 3.40 t/ha. Varieties with the highest protein content are Opus – 46.0%, AAC Invest – 44.5%, Sultana – 43.5% and ES Gladiator – 43.0%. As for fat, Almaz – 25.5% and Anthracite – 25.0% are leading. The most drought-resistant varieties include Pysanka, Bisser, Estafeta, Alinda, Avanturine, Balaton, Algiz, and ES Favour. The vast majority of soybean varieties are highly resistant to disease, except for Gallek, Opus, and Vilshanka. Varieties with the highest level of resistance to shedding include SVH16T00S2, Pysanka, Bisser, Symphony, Angelica, Estafeta, Sprytna, Phoenix, Alligator, Triad, Alinda, Muse, Ariadna, Avanturine, Furio, Etudes, Pallada. Such varieties as Pysanka, Bisser, Znakhidka, Angelica, Hoverla, Estafeta, Sprytna, ES Mentor, Alligator, Maxus, Sultana, Triad, Alinda, Avanturine, Furio, ES Gladiator, ES Albator, ES Governor, GL Melany, Adessa, Ambella, Raidho have the highest resistance to lodging. Varieties with the maximum lower beans attachment are NS Maximus – 22 cm, Znakhidka, Maxus, Sultana, Perlyna, and Oriana – 16 cm each. The above-listed varieties have higher productivity, better crop quality and agroecological properties, they are more sustainable and adaptable for harvesting.

El nuevo Palladio Museum, ubicado en el Centro Internazionale di Studi di Architecttura Andrea Palladio de Vicenza, ha iniciado su andadura con una tipología museológica muy novedosa y completamente dedicado a la arquitectura de Andrea Palladio. El allestimento (proyecto expositivo) propone una nueva tipología de museo-taller donde se une la valorización de la arquitectura con la propia investigación en curso sobre ella por parte de un centro de investigación con experiencia de más de medio siglo en la valorización y comunicación de la arquitectura ligada a Andrea Palladio.

Las representaciones de edificios, galerías, entornos pintados o enriquecidos con estatuas permiten reflexionar sobre un aspecto desatendido de los libros de caballerías españoles: los “templos de la memoria”. Se ponen en relación ejemplos tomados de Amadís de Gaula y Sergas de Esplandián (1496-1510); Clarián de Landanís (1518); Lisuarte de Grecia, Florisel de Niquea, Amadís de Grecia (1514-1535); Silves de la Selva (1546); Olivante de Laura (1564); Espejo de príncipes (1587) y las continuaciones italianas de Mambrino Roseo: Palmerino (1560) y Sferamundi (1558-1565) con la tratadística y artes plásticas de la época: el Teatro de la Memoria de Giulio Camillo Delminio (1480-1544); el cenotafio del emperador Maximiliano en la Iglesia de Innsbruck (1553); el proyecto de Anton Francesco Doni para Arquà Petrarca (h. 1560); el Teatro Olimpico de Andrea Palladio en Vicenza (1579); el Museo de Paolo Giovio cerca del lago de Como (1543) y el salón de los Fasti del palacio Farnese de Caprarola (1559-1575).

Since Homer was the main source for readers in primary education, the epigrammatist Palladas, who lived in Alexandria in the fourth century AD, exploited words or verses of the Homeric epics in his epigrams in order to refer to situations or examples which were familiar to all his readers. The Homeric heroes are revived in Palladas’ epigrams as caricatures through which he presents contemporaneous figures of his city. Therefore, issues of the Homeric epics become part of the reality of Palladas, but, since the figures are hidden behind the Homeric expressions, they are not immediately recognizable. In particular, the epigrammatist chose certain well-known female figures of the Homeric world and added a humorous element to the characteristics of these women. AP 9.395 is an example of such an epigram. “Odysseus said: “nothing is sweeter than a man’s fatherland”, for in Circe’s isle he never ate cheese-cake. If he had seen even the smoke curling up from that, he would have sent ten Penelopes to the deuce” (transl. Guichard). Palladas referred to two well-known verses of the Odyssey, 9.34 and 1.58 and used the figure of the Homeric Odysseus to remind the reader that this clever and strong hero never tasted Circe’s cakes, but just tasted the concoction that she offered him, and because of the antidote he had taken on Hermes’ advice, this drink had no effect on him. However, if he had tasted the concoction of Palladas’ Circe, he would never have returned to his own Penelope or other “Penelopes”. The aim of the poet by using this quip on Circe and his pun on the ἔκχυτον was to refer neither to Circes’ magic nor to Penelope’s patience, nor to Odysseus’ adventures during his wanderings. We could infer that ἔκχυτον in Palladas’ epigram was not the Homeric Circe’s potion in a cup from where Odysseus drank, but the juices poured out from the Palladian Circe’s vagina, when this latter Circe had sexual desires and excitement. The Homeric quotations may work as a springboard to describe a Circe of his city, probably a warm and seductive woman, or a prostitute. It is quite certain that not only whoever experienced the taste, but also all who could see the smoke (because of her hot excitement) rising up in the chimney of the house, were captivated so much that they would cheat on the most faithful wife many times to become her erotic slaves. The Homeric Odysseus is a man who would never return to his Penelope, if he had tasted the concoction prepared by Palladas’ Alexandrian Circe.

As of 2022, 72 early-maturing soybean varieties have been included in the State Register of Plant Varieties of Ukraine, which is 25% of the total number of all groups of varieties by maturity. The duration of the growing season of all early-maturing soybean varieties is 86-105 days. In the group of early-maturing soybean varieties, Elena has the shortest growing season - 87 days, Deni - 89, Aventurine and Sprytna - 94 days each. The longest growing season is established in the varieties Nakhodka, ES Mentor, Opus, Maxus, ES Favor, Pallada, ES Director, AAC Invest 1605, Oriana - 105 days each. Among the early-ripening soybean varieties included in the State Register of Plant Varieties of Ukraine for 2022, the highest seed yields are Relay, Dexterous - 3.70 t / ha, Pallas - 3.67 t / ha, Wave, Helen - 3.40 t / ha. The highest protein content in seeds was found in Opus varieties - 46.0%, AAC Invest - 44.5%, Sultana - 43.5%, EC Gladiator - 43.0%, fat - in Diamond varieties - 25.5%, Anthracite - 25.0%. The most drought-resistant varieties are Pysanka, Beads, Relay, Alinda, Aventurine, Balaton, Algiz, ES Favor. The vast majority of soybean varieties are highly resistant to disease, except for varieties Halleck, Opus, Vilshanka. Varieties СВХ16Т00С2, Pysanka, Beads, Symphony, Angelica, Relay, Dexterous, Phoenix, Alligator, Triad, Alinda, Muse, Ariadne, Aventurine, Furio, Etude, Pallada were the most resistant to seed shedding. Resistance to lodging was highest in the varieties Pysanka, Beads, Find, Angelica, Hoverla, Relay, Dexterous, EU Mentor, Alligator, Maxus, Sultana, Triad, Alinda, Aventurine, Furio, EU Gladiator, EU Albator, EU Governor, EU Governor, EU GL Melanie, Odessa, Ambella, Raido. The highest height of attachment of the lower beans was in the varieties NS Maximus - 22 cm, Find, Maxus, Sultan, Pearl, Oriana - 16 cm. These varieties are characterized by higher productivity, crop quality, manufacturability during harvesting and agri-environmental stability during cultivation.

A theoretical study on stereo and electronic properties of a series of six 1,2,4-triazole-derived carbenes bearing different N4-substituents, namely isopropyl (1), benzyl (2), phenyl (3), mesityl (4), 2,6-diisopropylphenyl (5) and 1-naphthyl (6), has been carried out. Structures of the six carbenes were first optimized using Gaussian® 16 at B3LYP level. Their molecular geometries and electronic structures of the frontier orbitals were examined. The results suggest the similarity in nature of their HOMOs, which all posses s symmetry with respect to the heterocycle and essentially be the lone electron pair on the Ccarbene. Steric properties of the NHCs was also quantified using percent volume burried (%Vbur) approach. The NHC 1 with isopropyl N4-substituent was the least bulky one with %Vbur of 27.7 and the most sterically demanding carbene is 6, which has large 2,6-diisopropylphenyl substituent (%Vbur = 38.4). 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Spesso il termine virtuale viene associato ad un mondo immateriale, lontano dalla realtà e distante dagli elementi più concreti che la caratterizzano. La virtualità, tuttavia, non è solo questo. Se considerata, come lo stesso Levy sostiene, un mondo che non si contrappone al reale (ma all’attuale), anzi lo potenzia e lo rafforza, il suo valore e l’idea di essa cambiano notevolmente. Già la fotografia, il cinema, la televisione possono essere considerate, ancora prima della più moderna realtà virtuale e delle innovative tecnologie forme di virtualità. Il loro utilizzo largamente diffuso ha ampliato le potenzialità del concreto ed è oggi apprezzato e utilizzato da tutti. Il nostro progetto nasce dalla volontà di sperimentare le nuove forme del virtuale associandole al campo dell’architettura per potenziarne la conoscenza didattica, la diffusione e trasmettere gli importanti contenuti che le sottendono in maniera chiara ed efficace. Il progetto sviluppato affronta un tema concreto di concept di museo virtuale su web e una proposta di installazione interattiva all’interno del salone di Palazzo Barbaran a Vicenza. A cardine di questi due lavori vi è il lascito Palladiano, a cominciare dallo sprawl di ville, palazzi e chiese diffusi nel paesaggio Veneto, passando per i progetti ideali rimasti solo su carta e concludendo con la sua opera bibliografica più famosa: I quattro libri dell’architettura. Palladio e il digitale è dunque un progetto che vuole dimostrare l’importanza e la versatilità delle installazioni virtuali, quali strumenti utili all’apprendimento e alla trasmissione della conoscenza, e dall’altro rispondere concretamente ai cambiamenti della società, cercando, attraverso queste sperimentazioni, di definire anche i nuovi caratteri dell’ evoluzione museale.