Articoli di riviste: "Villa Monticello (Rome, Italy)"

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Crupi, Vincenza, Barbara Fazio, Giacomo Fiocco, Giuliana Galli, Mauro Francesco La Russa, Maurizio Licchelli, Domenico Majolino et al. "Multi-analytical study of Roman frescoes from Villa dei Quintili (Rome, Italy)". Journal of Archaeological Science: Reports 21 (ottobre 2018): 422–32. http://dx.doi.org/10.1016/j.jasrep.2018.08.028.

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Collier, W. O. "The Villa of Cardinal Alessandro Albani, Hon.F.S.A." Antiquaries Journal 67, n. 2 (settembre 1987): 338–47. http://dx.doi.org/10.1017/s0003581500025440.

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Cardinal Alessandro Albani was probably the most renowned collector of antiquities in eighteenth century Italy. His Roman villa, planned to display them, was built at various dates here discussed in the light of Albani's antedecents, upbringing and career as diplomatist, antiquary and amateur architect. The stylistic origins of the villa are considered together with its influence on later architects, notably Percier and Fontaine and the brothers Adam. Excerpts are given from the course of visits to Roman sites by the cicerone James Byres which illustrate the climate of informed opinion on architecture in late eighteenth-century Rome, where the works of the Cardinal's painter Mengs and librarian Winckelmann were receiving wide acclaim.

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Alberti, R., V. Crupi, R. Frontoni, G. Galli, M. F. La Russa, M. Licchelli, D. Majolino et al. "Handheld XRF and Raman equipment for the in situ investigation of Roman finds in the Villa dei Quintili (Rome, Italy)". Journal of Analytical Atomic Spectrometry 32, n. 1 (2017): 117–29. http://dx.doi.org/10.1039/c6ja00249h.

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A variety of fragments of frescoes coming from the Villa dei Quintili in Rome and dating back to the II century A.D. were subjected to, first of all, an X-ray fluorescence (XRF) analysis by optimizing a portable spectrometer for non-destructive investigation in the field of cultural heritage.

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Crupi, Vincenza, Giuliana Galli, Mauro Francesco La Russa, Francesca Longo, Giacomo Maisano, Domenico Majolino, Marco Malagodi et al. "Multi-technique investigation of Roman decorated plasters from Villa dei Quintili (Rome, Italy)". Applied Surface Science 349 (settembre 2015): 924–30. http://dx.doi.org/10.1016/j.apsusc.2015.05.074.

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Gaeta, Mario. "Petrogenetic implications of Ba-sanidine in the Lionato Tuff (Colli Albani Volcanic District, Central Italy)". Mineralogical Magazine 62, n. 5 (ottobre 1998): 697–701. http://dx.doi.org/10.1180/002646198547927.

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AbstractA vitric fiamme containing BaO-bearing sanidine (BaO = 11 wt.%) was sampled (via di Fioranello, Rome) in the pyroclastic products of the Lower Flow Unit (LFU) belonging to the Villa Senni Eruption Unit in the Colli Albani Volcanic District (Roman Comagmatic Province, Central Italy). The fiamme of the LFU is essentially made up of glass, in which scarce phenocrysts of BaO-bearing sanidine, leucite and Al2O3-bearing Ca-clinopyroxene occur. In this paper the various parameters controlling barium partitioning between alkali feldspar and LFU liquid, are discussed.

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Bartoli, Flavia, Luca D’Amato, Arianna Nucera, Giulia Albani Rocchetti e Giulia Caneva. "Understanding the Lost: Reconstruction of the Garden Design of Villa Peretti Montalto (Rome, Italy) for Urban Valorization". Plants 13, n. 1 (26 dicembre 2023): 77. http://dx.doi.org/10.3390/plants13010077.

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Urbanization and urban regeneration can significantly impact cultural heritage, but a greater knowledge of the past natural and historical features is needed to value the past and understand the present. The lost Villa Peretti Montalto in Rome, once located in the area that corresponds to the current front side of Termini station, deserves great attention due to its cultural value. This work aimed to provide a floristic and functional reconstruction of the gardens of the villa during the XVI and XVII Centuries. From several bibliographic and iconographic sources, a critical analysis and interpretation of plant names was conducted. A list of 87 species and their location in the different garden sectors, during different periods with their specific uses, is provided. The arboreal design was made by classical species in the Roman context, like Cupressus sempervirens, Pinus pinea, Quercus ilex, and Ulmus glabra. In addition, ancient lost varieties of fruit trees (mainly Pyrus communis and Ficus carica) and several species of conservation interest were found. The knowledge of the ancient flora in historical gardens could be a key tool in urban greenery planning and touristic and cultural valorization.

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Van Oyen, Astrid. "The moral architecture of villa storage in Italy in the 1st c. B.C." Journal of Roman Archaeology 28 (2015): 97–123. http://dx.doi.org/10.1017/s1047759415002421.

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The Late Republican villa acted as a scene for the projection and contestation of moral values. Villas continued a long-standing association between the physical appearance and the concept of the house, on the one hand, and the moral positioning of its owner, on the other. Ancestral homes in particular proved symbolically salient mechanisms for claims of identity. In a Late Republic characterised by the extension of citizenship and influx of new wealth, this moral and socio-political representation became more contested. Physically and conceptually at some distance from Rome, rural estates provided a canvas for self-definition by old landed aristocrats andnouveaux richesalike, on which the boundaries of an ever-changing ‘elite’ were sketched, as well as the sense of belonging to that élite.

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Corazziari, Enrico. "XV International Symposium on Gastrointestinal Motility, 5-9 November 1995, Hotel Villa Pamphili, Rome, Italy". Neurogastroenterology & Motility 6, n. 4 (28 giugno 2008): 321. http://dx.doi.org/10.1111/j.1365-2982.1994.tb00199.x.

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Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century". Prospects 28 (ottobre 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.

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After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.

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Bartolini, Flaminia. "From Iconoclasm to Museum: Mussolini’s Villa in Rome as a Dictatorial Heritage Site". Martor. The Museum of the Romanian Peasant Anthropology Review 23 (15 novembre 2018): 163–73. http://dx.doi.org/10.57225/martor.2018.23.09.

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In the last couple of years, public attitudes towards Fascist material legacies in Italy have been at the centre of a heated debate in the academic world, which has by now grown to involve the press and social media. This paper will look specifically at how this is reflected in a museum display at a heritage site that was once Mussolini’s residence in Rome. The underlying question of this paper is what role museums as heritage sites play in the renegotiation of a problematic past, and whether they can also have an active role in either supporting or challenging the official narrative. As heritage is socially constructed and defined through present circumstances, the narratives of this particular museum reveal a conflicting past as mirrored by the national narrative. The paper also questions whether public perception of this site has changed over time and considers how the recent transformation into a museum signifies a shift from the post-war interpretation, which may or may not reflect a high-level political agenda.

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Tsirogiannis, Christos, e David W. J. Gill. "“A Fracture in Time”: A Cup Attributed to the Euaion Painter from the Bothmer Collection". International Journal of Cultural Property 21, n. 4 (novembre 2014): 465–80. http://dx.doi.org/10.1017/s0940739114000289.

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Abstract:In February 2013 Christos Tsirogiannis linked a fragmentary Athenian red-figured cup from the collection formed by Dietrich von Bothmer, former chairman of Greek and Roman Art at New York’s Metropolitan Museum of Art, to a tondo in the Villa Giulia, Rome. The Rome fragment was attributed to the Euaion painter. Bothmer had acquired several fragments attributed to this same painter, and some had been donated to the Metropolitan Museum of Art as well as to the J. Paul Getty Museum. Other fragments from this hand were acquired by the San Antonio Museum of Art and the Princeton University Art Museum. In January 2012 it was announced that some fragments from the Bothmer collection would be returned to Italy, because they fitted vases that had already been repatriated from North American collections. The Euaion painter fragments are considered against the phenomenon of collecting and donating fractured pots.

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Ceschin, Simona, Alma Kumbaric, Giulia Caneva e Vincenzo Zuccarello. "Testing flora as bioindicator of buried structures in the archaeological area of Maxentius’s villa (Rome, Italy)". Journal of Archaeological Science 39, n. 5 (maggio 2012): 1288–95. http://dx.doi.org/10.1016/j.jas.2011.10.036.

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Ormos, Bálint. "„Ezt a Gyönyör tervezte veled...”". Belvedere Meridionale 30, n. 2 (2018): 5–30. http://dx.doi.org/10.14232/belv.2018.2.1.

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This study is about the poetry of Publius Papinius Statius at the end of the first century AD. Statius’s poetry was closely linked to the Flavian-dinasty and also to the emperor Domitianus. In this study I am going to examine Statius’s collection of occasional poems, named Silvae (Forest). From this collection I choose one particular piece of work: a poem about the luxurious villa of Manilius Vopiscus at Tibur (today Tivoli, 30 km far from Rome, at Lazio). Now I am going to write about the possible functions of this collection as a communication form for the contemporary elite. As a social group this elite was based upon different elements, for example traditionally old noble families (like senators or knights), wealthy and talented men from another regions of the ancient Italy or from the romanized provinces of the Empire and the liberated slaves. The collected verses with the establishment of the cliental poetry offered a way for the elite to represent its wealth, taste of art, education and prestige in the roman society. The villa as a poetic motive and a real estate was able to express its owners’ material aboundance and also their philosophical and literary interest. Statius’s villa-poem created not only a toleranted (against Horatius’s poetry) but a celebrated literary image of a lavish villa, like Pliny the Younger about his villas in Latium and Etruria in his letters.

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Amici, Carla Maria. "Unusual Examples of Sophisticated Iron Technology in the Heating Systems of Roman Imperial Baths". European Journal of Archaeology 18, n. 4 (2015): 658–78. http://dx.doi.org/10.1179/1461957115y.0000000002.

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In Roman imperial times, metallurgy reached a high degree of specialization and complexity. The use of iron extended even to building technology, leading to some very particular results, achieving a sophisticated mastery of the technology with a complete understanding of metal properties, in a social and economic context characterized by large financial resources and a high level of creativity applied to architectural projects. A still unpublished device was found in the construction of several floors in the Villa of Giulia, Augustus' daughter, in Ventotene (Italy). In the thermal area, the concrete floors of the bath tubs are supported by an iron grid held in place by vertical iron posts strongly fixed in the underfloor, allowing both widespread hot air circulation and support for superimposed loads. A curvilinear metal grid supported by metal hooks was also used to obtain a tile-line vault, creating an interspace for the circulation of hot air in calidaria; a careful analysis of the remains of two vaulted systems in Villa Adriana, Tivoli (Italy), allows a clear reconstruction of this device. The building process was difficult and complex, requiring careful planning and great accuracy in execution. However, after nearly a century of experimentation, it is possible to propose the hanging ceiling built over the calidarium of the Baths of Caracalla in Rome as the most imposing example of the grid system ever realized.

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Ricca, Michela, Giuseppe Paladini, Natalia Rovella, Silvestro Antonio Ruffolo, Luciana Randazzo, Vincenza Crupi, Barbara Fazio et al. "Archaeometric Characterisation of Decorated Pottery from the Archaeological Site of Villa dei Quintili (Rome, Italy): Preliminary Study". Geosciences 9, n. 4 (16 aprile 2019): 172. http://dx.doi.org/10.3390/geosciences9040172.

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This work focused on the study of decorated pottery dated back to the 16th century from the Roman archaeological site of Villa dei Quintili, a monumental complex located in the south-eastern part of Rome (Italy). A minero-petrographic and geochemical study was undertaken to analyse five archaeological samples in order to define textural features and raw materials used for their production, along with the chemical and physical composition of the superficial decorative glazed coatings. For this purpose, different analytical methods were used, such as polarising optical microscope (POM), X-ray diffraction (XRD), micro-Raman spectroscopy, X-Ray fluorescence (XRF), and electron microprobe analysis coupled with energy dispersive spectrometry (EMPA-EDS). The results of such a multidisciplinary approach allowed us to achieve important results crucial to recognise the shards as majolica of the Renaissance period, improving knowledge about manufacturing processes of these renowned painted ceramic artefacts.

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Belfiore, Cristina Maria, Michela Ricca, Mauro F. La Russa, Silvestro Antonio Ruffolo, Giuliana Galli, Donatella Barca, Marco Malagodi, Mattia Vallefuoco, Mario Sprovieri e Antonio Pezzino. "Provenance study of building and statuary marbles from the Roman archaeological site of "Villa dei Quintili" (Rome, Italy)". Italian Journal of Geosciences 135, n. 2 (giugno 2016): 236–49. http://dx.doi.org/10.3301/ijg.2015.19.

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Winkler, Aldo, Tania Contardo, Virginia Lapenta, Antonio Sgamellotti e Stefano Loppi. "Assessing the impact of vehicular particulate matter on cultural heritage by magnetic biomonitoring at Villa Farnesina in Rome, Italy". Science of The Total Environment 823 (giugno 2022): 153729. http://dx.doi.org/10.1016/j.scitotenv.2022.153729.

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Columbu, S., C. Lisci, F. Sitzia, G. Lorenzetti, M. Lezzerini, S. Pagnotta, S. Raneri et al. "Mineralogical, petrographic and physical-mechanical study of Roman construction materials from the Maritime Theatre of Hadrian's Villa (Rome, Italy)". Measurement 127 (ottobre 2018): 264–76. http://dx.doi.org/10.1016/j.measurement.2018.05.103.

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Dobosi, Linda. "The architectural parallels of the mausoleum of Iovia (Pannonia) revisited – Experimenting with the hexagon in late antique architecture". Acta Archaeologica Academiae Scientiarum Hungaricae 75, n. 1 (11 luglio 2024): 73–95. http://dx.doi.org/10.1556/072.2024.00010.

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AbstractThe curious shape of the so-called early Christian mausoleum of Iovia, Pannonia has attracted much attention since its discovery in the 1980s. The main part of the building, a hexagon flanked by alternating semi-circular and rectangular rooms was complemented by a bi-apsidal vestibule and a rectangular peristyle courtyard. The hexagon was a relatively rarely used form in late antique architecture compared to the octagon, however, hexagons can still be detected in all parts of the Roman Empire in all kinds of architectural contexts: they appeared in late Roman villae, baths, funerary buildings, early Christian mausolea and baptisteries.The architectural parallels of the mausoleum of Iovia are traced among the thin-walled hexagons that were flanked by protruding semi-circular and rectangular rooms. The buildings closest in shape were the pagan mausoleum of Louin in France and the trefoil hall of the Villa of Aiano in Italy. Other related structures include the so-called Stibadium A of the Villa with Peristyle in Mediana in Serbia, the reception rooms of the Keynsham villa in England, the hexagonal hall of the Palace of Antiochus in Constantinople, the Domus delle Sette Sale in Rome, the baptistery of Limoges in France, and the cella quinquichora of Aquincum in Hungary. Although similar in general layout, they had different functions: early Christian mausoleum, baptistery, pagan mausoleum, and foremost dining halls or reception rooms. This warns us that it is essential to study early Christian buildings in the context of late antique architecture in its complexity and not only in the limited context of other early Christian buildings. Late antique architects seem to have been fascinated by the opportunities offered by the different polygonal or central-plan halls and buildings and used them for different purposes.

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Cipriani, L., S. Bertacchi e G. Bertacchi. "AN OPTIMISED WORKFLOW FOR THE INTERACTIVE EXPERIENCE WITH CULTURAL HERITAGE THROUGH REALITY-BASED 3D MODELS: CASES STUDY IN ARCHAEOLOGICAL AND URBAN COMPLEXES". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (4 maggio 2019): 427–34. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-427-2019.

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<p><strong>Abstract.</strong> The paper compares two workflows for the achievement of 3D models aimed at in-depth studies on the geometric features of Cultural Heritage artefacts and their dissemination. The purpose is the outlining of pros and cons of different techniques coming from entertainment and video games industry, starting from highly reliable 3D documentation of cultural assets, i.e. architectural/archaeological/urban sites. Two different possible applications are described: (i) procedural modelling used for understanding and visualising reconstruction hypotheses of the vaulted pavilions at Hadrian’s Villa, Tivoli, Rome; (ii) optimisation of 3D high-detailed models, as input files, turned into visual reliable and highly portable assets for game-engines. The first case study is focussed on creating a flexible model for evalueting reconstruction hypotheses and supplying restorers with useful hints for shape completion of ruined pavilions. The second case study makes available detailed digital contents for storytelling historical and cultural events in an attractive way, as in the case of the urban explorative model of Chiuro, a small town in northern Italy.</p>

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Leonardi, Andrea, Giuseppe De Sandi e Claudia Colella. "Ephemeral Museums in Pandemic Era: Bari and the Museo Provinciale that Was There, that Has Been and Has Never Been". European Journal of Interdisciplinary Studies 7, n. 1 (15 maggio 2021): 124. http://dx.doi.org/10.26417/241tmv41h.

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The proposal introduces the theme of the communicative resilience of exhibitions during the Pandemic Era. On March 7, 2020, Italy and its museums, as well as the countless exhibitions housed in their rooms, were closed leaving hundreds, perhaps thousands, of works without the public: from the paintings of Raphael (Rome, Scuderie del Quirinale), to the tables of the Griffoni Polyptych assembled after three hundred years (Bologna, Palazzo Fava), to the statues of Canova (Rome, Palazzo Braschi), to the Sant'Antonio by Antonio Vivarini and to the San Felice in the chair by Lorenzo Lotto chased by Bernard Berenson in his Apulian 'pilgrimages' (Bari, Palazzo Ateneo). Indeed, the latter is the exhibition to which particular attention is paid here. The spaces of the ancient Museum have come back to life with the exhibition “Il Museo che non c’è. Arte, collezionismo, gusto antiquario nel Palazzo degli Studi di Bari 1875-1928”. The exhibition involved lenders institutions such as Villa I Tatti - The Harvard University Center for Italian Renaissance Studies, the Central State Archive in Rome, the Pinacoteca of Bari 'Corrado Giaquinto' and several others. The exhibition in Bari was inaugurated on February 28th. After the first five days only the exhibition was closed for the advance of COVID 19 virus. In the 'great hall' - as the main space of the ancient Provincial Museum was called - everything remained suspended and perfectly finished: showcases, exhibitors, paintings, statues, clay and stone art objects. However, there was no longer the possibility of letting people, visitors enter. We said that it would have been wonderful to be said that it would have been wonderful to be able to reopen it at least 'virtually'. And so we did, with an immersive and advanced teaching perspective.

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Rodari, Paola. "Birth of a science centre. Italian phenomenology". Journal of Science Communication 05, n. 02 (21 giugno 2006): F. http://dx.doi.org/10.22323/2.05020901.

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In May 2004 the Balì Museum, Planetarium and interactive science museum, was opened to the public in Italy: 35 hands-on exhibits designed according to the interactive tradition of the Exploratorium in San Francisco, an astronomic observatory for educational activities, a Planetarium with 70 places. With a total investment of about three million euros, about two thirds of which were spent on restructuring the splendid eighteenth-century villa in which it is housed, the undertaking may be considered a small one in comparison with other European science centres. Three million euros: perhaps enough to cover the cost of only the splendid circular access ramp to the brand-new Cosmocaixa in Barcelona, an investment of one hundred million euros. But the interesting aspect of the story of the Balì Museum (but also of other Italian stories, as we shall see) lies in the fact that this lively and advanced science centre stands in the bucolic region of the Marches, next to a small town of only 800 inhabitants (Saltara, in the Province of Pesaro and Urbino), in a municipal territory that has a total of 5000. Whereas in Italy the projects for science centres comparable with the Catalan one, for example projects for Rome and Turin, never get off the ground, smaller ones are opening in small and medium-sized towns: why is this? And what does the unusual location of the centres entail for science communication in Italy? This Focus does not claim to tell the whole truth about Italian interactive museums, but it does offer some phenomenological cues to open a debate on the cultural, economic and political premises that favour their lives.

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Serpe, Brunella. "Montessori’s Children’s Houses in Calabria at the beginning of the twentieth century in the Historic Archive of the ANIMI". Rivista di Storia dell’Educazione 8, n. 2 (4 novembre 2021): 97–107. http://dx.doi.org/10.36253/rse-10369.

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The birth of Montessori’s Case dei Bambini (“Children’s Houses”) and the adoption of her innovative teaching method constitute an interesting chapter in the renewal of educational practices in Italy in the early years of the 20th century. Spreading from North to South, the biggest impact was felt where the social question was most acute. Milan, Rome and Città di Castello (the location of the Villa Montesca belonging to Leopoldo Franchetti and his wife Alice Hallgarten), together with very small communities such as those of Ferruzzano and Saccuti in the province of Reggio Calabria, were ideal contexts in which to test the assumptions of Maria Montessori’s approach to pedagogy. Specifically, this paper examines the experience of the Children’s Houses and nursery schools set up in Calabria by the Associazione Nazionale per gli Interessi del Mezzogiorno d’Italia (ANIMI, the National Association for the Interests of the Italian Mezzogiorno). The use of partly unpublished materials kept in the Association’s Historic Archive makes it possible to reconstruct the enthusiasm for the Montessori method of some teachers who were not from Calabria and to assess its positive effects on the children, who were among the country’s most neglected, often condemned to a series of privations.

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Arangio, Susanna. "Collecting Mussolini: The Case of the Susmel–Bargellini Collection". Ex Novo: Journal of Archaeology 5 (24 maggio 2021): 7–18. http://dx.doi.org/10.32028/exnovo.v5i.408.

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Heritage Studies has dealt with Italian Fascism in different ways but paying little attention to the movable items linked to the regime, such as paintings, sculptures and memorabilia. Over the last decade, private collections linked to the Mussolini iconography have emerged, owing to a renewed social acceptance of it and more items of Mussoliniana being readily available. Due to the reluctance of experts to confront this issue and the expansion of private museums in Italy, spontaneous initiatives have sprung up including a permanent exhibition of Mussolini iconography as part of the MAGI’900 Museum in Pieve di Cento, which consists of approximately 250 portraits of the Duce in different media. The nucleus of the original collection once belonged to the historian Duilio Susmel and was part of a large documentary collection put together during the 1960s and 1970s. Susmel hoped it would become a museum or a centre for Fascist studies, but ultimately it remained in his private villa near Florence until the 1990s. The archive is now split between Rome and Salò, and the Mussoliniana was purchased by Bargellini, who added busts, paintings and knick-knacks. Since 2009 it has been on display in a section of Bargellini’s museum entitled Arte del Ventennio. Therefore, the Italian State tolerates its existence but sadly it is ignored by most experts, despite the study opportunities it offers.

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Duran, Kevin. "Reviewer Acknowledgements for International Business Research, Vol. 11, No. 12". International Business Research 11, n. 12 (3 dicembre 2018): 157. http://dx.doi.org/10.5539/ibr.v11n12p157.

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International Business Research wishes to acknowledge the following individuals for their assistance with peer review of manuscripts for this issue. Their help and contributions in maintaining the quality of the journal are greatly appreciated. International Business Research is recruiting reviewers for the journal. If you are interested in becoming a reviewer, we welcome you to join us. Please find the application form and details at http://www.ccsenet.org/journal/index.php/ibr/editor/recruitment and e-mail the completed application form to ibr@ccsenet.org. Reviewers for Volume 11, Number 12 Abderrazek Hassen Elkhaldi, University of Sousse, Tunisia Ajit Kumar Kar, Indian Metal & Ferro Alloys Ltd, Bhubaneswar, Odisha, India Alina Badulescu, University of Oradea, Romania Anca Gabriela Turtureanu, “DANUBIUS” University Galati, Romania Andrea Carosi, University of Sassari, Italy Andrei Buiga, “ARTIFEX University of Bucharest, Romania Antonio Usai, University of Sassari, Italy Ashford C Chea, Benedict College, USA Celina Maria Olszak, University of Economics in Katowice, Poland Chemah Tamby Chik, Universiti Teknologi Mara (Uitm), Malaysia Christos Chalyvidis, Hellenic Air Force Academy, Greece Cristian Rabanal, National University of Villa Mercedes, Argentina Duminda Kuruppuarachchi, University of Otago, New Zealand Federica Caboni, University of Cagliari, Italy Federica De Santis , University of Pisa , Italy Fevzi Esen, Istanbul Medeniyet University, Turkey Filomena Izzo, University of Campania Luigi Vanvitelli, Italy Florin Ionita, The Bucharest Academy of Economic Studies, Romania Francesco Scalera, University of Bari "Aldo Moro", Italy Georges Samara, ESADE Business School, Lebanon Giuseppe Granata, University of Cassino and Southen Lazio, Italy Hanna Trojanowska, Warsaw University of Technology, Poland Hejun Zhuang, Brandon University, Canada Imran Riaz Malik, IQRA University, Pakistan Ionela-Corina Chersan, “Alexandru Ioan Cuza” University from Iași, Romania Isam Saleh, Al-Zaytoonah University of Jordan, Jordan Joseph Lok-Man Lee, The Hong Kong Polytechnic University, Hong Kong Khaled Mokni, Northern Border University, Tunisia L. Leo Franklin, Bharathidasn University, India M. Muzamil Naqshbandi, University of Dubai, UAE Marcelino José Jorge, Evandro Chagas Clinical Research Institute of Oswaldo Cruz Foundation, Brazil Maria Teresa Bianchi, University of Rome “LA SAPIENZA”, Italy Michele Rubino, Università LUM Jean Monnet, Italy Miriam Jankalová, University of Zilina, Slovakia Mohamed Abdel Rahman Salih, Taibah University, Saudi Arabia Mongi Arfaoui, University of Monastir, Tunisia Muath Eleswed, American University of Kuwait, USA Ozgur Demirtas, Turkish Air Force Academy, Turkey Prosper Senyo Koto, Dalhousie University, Canada Radoslav Jankal, University of Zilina, Slovakia Rafiuddin Ahmed, James Cook University, Australia Riaz Ahsan, Government College University Faisalabad, Pakistan Roxanne Helm Stevens, Azusa Pacific University, USA Sang-Bing Tsai, University of Electronic Science and Technology of China, China Sara Saggese, University of Naples Federico II, Italy Sumathisri Bhoopalan, SASTRA Deemed to be University, India Wejdene Yangui, Institute of High Business Studies of Sfax _ Tunisia (IHEC), Tunisia Yan Lu, University of Central Florida, USA Yasmin Tahira, Al Ain University of Science and Technology, Al Ain, UAE

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Vitrano, Angela, Rita Barone, Antonino Giangreco, Rosario Di Maggio, Luca Castagna, Gianluca Forni, Emanuele Angelucci, Franco Locatelli e Aurelio Maggio. "Overcoming the Cost Barrier for Thalassemia Innovative Treatments". Blood 142, Supplement 1 (28 novembre 2023): 5200. http://dx.doi.org/10.1182/blood-2023-180708.

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Background: It has been estimated that 5-7% of the world's population carries a mutated gene affecting the production or function of the haemoglobin molecule, and that around 56,000 new individuals affected by Thalassemia Dependent Transfusion (TDT) are born every year worldwide. Innovative treatment (IT), such as gene addition therapy (GT), gene editing (GE) and ineffective erythropoiesis modulating drugs (IEMD), have been developing for the cure of TDT patients, offering chances for obtaining durable transfusion independence (TI). The possibility of bringing IT to the “bed-site” of the patient requires sustainable cost for the worldwide health systems. The accessibility to IT may be different according to the private or public organization of the different Country's health systems, this heterogeneity representing one of the main issues to be solved, even in Countries with high gross domestic product like many of those present in Europe. Therefore, the precise definition of the current costs for TDT lifetime treatment in Countries where thalassemia is common is pivotal for the accessibility of IT to the National Health System. Methods: The main aim of this study was to provide an updated information on the current direct cost of TDT patient management, in a region (Sicily, Italy), where there is a Western Public Funded Healthcare System (WPFHS), high incidence of TDT, with well-organized prevention and treatment program, and accurate control of TDT/birth-rate incidence, implemented from 1983 by the Regional Registry on Thalassemia, for assessing the economic impact of well-organized TDT management in a WPFHS. This monocentric study involved adult TDT patients undergoing regular and intensive treatment, at Campus Hematology Franco and Piera Cutino, AOR Villa Sofia-V. Cervello- Palermo (Italy), from 1980 to today. The estimated costs of management of TDT patients included, besides red blood cell transfusions, staff salary, iron chelation with necessary equipment, side-effects monitoring and complications costs (assumed to be equal in Italy, as estimated by Alta Scuola di Economia e Management dei Sistemi Sanitari, Catholic University of the Sacred Heart, Rome, Italy). Results: The summary of results of calculated direct costs for TDT patients management, estimated on 135 patients, are reported on Table I. The overall cost of the lifetime treatment was calculated for the median life (44 years) of TDT patients in Italy, for the 1 st (30.5 years) and 3 rd quartile (53.5years) of our population, respectively. The blood requirement of 2 blood units, with an interval between transfusions of 15 days, was considered as the standard cost for transfusion treatment. Therefore, the transfusion cost for pediatric patients will be less, while a small cohort of adult patients may have higher cost. Table I shows how the cost for managing complications increases with patient age. The direct cost of oral iron chelators, Deferiprone and Deferasirox, was updated, because chelator patents expired (Tab. I). It is noteworthy to underline how, after oral chelators patents expired, DFO is today the most expensive chelation treatment (Tab. I). The social cost and those related to the loss of working days was not calculated in this study. The three estimation costs may be useful for comparing cost of TDT according to the variation of the median life among different Countries.Conclusion: The cost of TDT patient in WPFHS decreased over the last years, because of the oral iron chelator patents expiring. This cost changes according to age, because of the different incidence of complications, increasing from € 1.035.422,49 (30.5 years) to € 1.816.232,89 (53,5 years)with a median life cost of € 1.493.724,24.These data support the concept that any kind of IT has to be offered at competitive cost in comparison with that of conventional treatment. Finally, considering the permanence of “uncertainty area” for the sustained patient benefit, a reimbursement based on the “pay at result” approach should be considered.

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Fentress, Elizabeth. "Stately Homes: recent work on villas in Italy - HENRI BROISE and XAVIER LAFON, LA VILLA PRATO DE SPERLONGA (Collection de l'École Française de Rome 285, 2000 [2003]) Pp. 210, 302 figs., 7 fold-out plans. ISBN 2-7283-0595-1. $59 (paperback). - MARA STERNINI (ed.), LA VILLA ROMANA DI COTTANELLO (L'Edipuglia, Bari 2000), Pp. 207, 67 pls. (some in color). ISBN 88-7228-273-X. $44 (hardback). - DAVID and NOELLE SOREN, A ROMAN VILLA AND A LATE ROMAN INFANT CEMETERY. EXCAVATION AT POGGIO GRAMIGNANO (LUGNANO IN TEVERINA) (L'Erma di Bretschneider, Roma 1999) Pp. 687, plus 310 figs. and 269 pls. ISBN 88-7062-989-9. $597 (hardback). - XAVIER LAFON, VILLA MARITIMA. RECHERCHES SUR LES VILLAS LITTORALES DE L'ITALIE ROMAINE (IIIe SIÈCLE av. J.-C. / IIIe SIÈCLE ap. J.-C.) (Bibliothèque des Ecoles françaises d'Athènes et de Rome fasc. 307; Ecole française de Rome 2001). Pp. 527, figs. 217, 3 pls. hors-texte. ISBN 2-7283-0618-4. $99 (hardback)." Journal of Roman Archaeology 16 (2003): 545–56. http://dx.doi.org/10.1017/s104775940001343x.

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Kordovska, P. A. "Italian singer Daisy Lumini as an interpreter of the post-avant-garde music". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, n. 56 (10 luglio 2020): 253–66. http://dx.doi.org/10.34064/khnum1-56.16.

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Introduction. In the music of the late twentieth century the realization of the creative potential of performers is rarely limited with the framework of direction which was chosen in the beginning of career. The field of the academic music may be too narrow for the artist, but this does not mean a definitive departure from this area. The life and performances of Italian singer, actress and composer Daisy Lumini (1936–1993) could be considered as one of the examples of the twentieth century “variability” of the artist’s way. She developed from a graduate of the Conservatory to a pop star and a cabaret singer, from a medieval folklore performer to an interpreter of contemporary academic music. Daisy Lumini’s unique performing experience led her to collaborate with Italian composers of the late twentieth century. Theoretical background. The extraordinary personality of Daisy Lumini received a certain resonance in the European press. High historical value is the biographical essay “Daisy e la musica. Una grande e tragica storia” (2019) by Chiara Ferrari, based on the memories of Beppe Chierici. Daisy Lumini and her works are mentioned in digest “The Singer-Songwriter in Europe: Paradigms, Politics and Place” (2016) and in Jacopo Tomatis’s “Storia culturale della canzone italiana” (2019). The purpose of this paper is to reveal the specifics of the interaction of the composer and performer in the post-avant-garde music based on the creative collaboration of Daisy Lumini and Italian composers of the late twentieth century (Franco Mannino, Luciano Berio, Salvatore Sciarrino). This study requires the use of analytical, style and performing methods of scientific research. Results of the research. Daisy Lumini’s singing style has implicated using a lot of types of intonational practices which is usually associated with the mass twentieth century culture (including pop songs, folk music, cabaret aesthetic etc.). Nevertheless, she had started her musician career with getting education (as a composer and pianist) in totally academic environment in Luigi Cherubini Conservatory (Florence, Italy). Being a daughter of the Florentine painter Vasco Lumini, Daisy Lumini had would be able to continue a calm and comfortable existence in Florence. However, after she had been graduated from the Conservatory in late 1950s she decided to change her life vector, moved to Rome, started her activity as a cantautrice (female singer-songwriter) and produced her first singles. During this period, Lumini found success in collaboration with lyric writer Aldo Alberini and well-known Italian singers Mina Mazzini and Claudio Villa. Along with traditional vocal techniques, Lumini used the whistling technique, due to which she got the nickname “l’usignolo di Firenze” (“the Florentine nightingale”) and was invited by Ennio Morricone to whistle in the soundtrack of Lina Wertmüller’s “I Basilischi” (“The Lizards”, 1963). In 1960s a work in Gianni Bongiovanni’s Derby Club Cabaret (Milan) and a collaboration with the RCA (Radio Corporation of America) turned into the fields of Lumini’s creative activity. The acquaintanceship with Beppe Chierici, an actor, who would become her husband, lead to a new “folklore” stage of Lumini’s career. As a result of careful research of Italian folk music founded on the materials of Conservatory Santa Cecilia Library (Rome), the singer together with Beppe Chierici had produced several musical performances in the aesthetics of poor theater based on the Tuscan and Piedmontese songs of the XV–XIX centuries, as well as the Songs of Minstrels album based on the texts of the XII–XIV centuries. There was DaisyLumini’s gradual return to the environment of academic music in 1970s. Singer’s friendly communication with conductor Gianluigi Gelmetti, composers Franco Mannino, Domenico Guaccero and others, who represented Santa Cecilia Conservatory, has resulted in a number of creative collaborations. In 1973, even being immersed in ethnographic research, Daisy Lumini performed as mezzo-soprano in Franco Mannino’s “Il diavolo in giardino”. Another milestone in Daisy Lumini’s work became 1982, when director Roberto Scaparro invited the singer to participate in the Italian premiere of Luciano Berio’s “La vera storia”. In the opera, which is a creative reinterpretation of Verdi’s “Troubadour”, Daisy Lumini played the role of one of the cantastorie – singing storytellers or narrators describing and commenting events of the plot. Daisy Lumini achieved a real success as a performer of the post-avant-garde music in the 1980s, in collaboration with Salvatore Sciarrino. Daisy Lumini has premiered a great number of his chamber works, such as “Efebo con Radio”, “Canto degli specchi”, “Vanitas”, “Lohengrin” and some others. Conclusions. Although Daisy Lumini is an individual case, the phenomena and strategies discussed here may turn out to be symptomatic for contemporary music practice. Performers may rarely allow themselves to remain within the same intonational practice in the contemporary music art. It is especially important if it comes to the first performing of the post-avant-garde music that requires a certain congeniality of the performer and the author. The interaction of the composer and the performer is often a factor affecting the creation of a musical work at all stages, from the appearance of an idea for a premiere performance. The musician with a rich life experience and wide range of performing techniques may be considered as the co-author of the score.

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Witcher, Robert. "F. Cambi, Archeologia dei paesaggi antichi: fonti e diagnostica. Rome: Carocci, 2003. Pp. 128. ISBN 8-8430-2499-x. €8.50. - S. L. Dyson, The Roman Countryside. London: Duckworth, 2003. Pp. 128. ISBN 0-7156-3225-6. £10.99. - R. Francovich and R. Hodges, Villa to Village. The Transformation of the Roman Countryside in Italy c. 400–1000. London: Duckworth, 2003. Pp. 128. ISBN 0-1756-3192-6. £10.99." Journal of Roman Studies 95 (novembre 2005): 321–22. http://dx.doi.org/10.1017/s007543580000321x.

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Griffith, Alison B. "ARCHITECTURAL TERRACOTTAS - P. Lulof, C. Rescigno (edd.) Deliciae Fictiles IV. Architectural Terracottas in Ancient Italy. Images of Gods, Monsters and Heroes. Proceedings of the International Conference held in Rome (Museo Nazionale Etrusco di Villa Giulia, Royal Netherlands Institute) and Syracuse (Museo Archeologico Regionale ‘Paolo Orsi’), October 21–25, 2009. Pp. xiv + 634, ills, maps, colour pls. Oxford: Oxbow Books, 2011. Cased, £40, US$80. ISBN: 978-1-84217-426-5." Classical Review 63, n. 1 (1 marzo 2013): 243–45. http://dx.doi.org/10.1017/s0009840x12003228.

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Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra". Aspects of Historical Musicology 16, n. 16 (15 settembre 2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.

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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Pierné (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Pierné: musicien lorrain” by G. Masson was created in 1987, and the publication of the composer’s letters named as “Correspondance romaine” was published in 2005. In the 2000s, a lot of audio recordings of his best works were published, which testifies to the relevance of the author’s heritage and confirms the urgency of present topic of article. Objectives of this study is to focus researchers on G. Pierné’s personality and art, to consider his works for piano and symphonic orchestra – Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, Symphonic Poem. Methods. The research is based on the historical biographical, the intonational, the comparative research methods. Results. C. Debussy, M. Ravel and composers of “Les Six” at their time outshined Pierné’s work. But years have passed and interest in the personality of this author has appeared. During his training in Paris Conservatory (1871–1882), G. Pierné achieved excellent results, having won in many student competitions. He studied composition in the class of J. Massenet (together with E. Chausson, G. Charpentier, G. Ropartz). Having won the competition for the Prix de Rome (1882), the young author was given the opportunity to live at Villa Medici (1883–1885). Spent time in Rome was one of the best episodes of his life. The first concert work by G. Pierné – Fantasy-Ballet (1885) for piano and orchestra was written there. The composition is based on the sequence of contrasting dancing episodes in the character of march, gallop, waltz, tarantella. It is significant that the ballet genre took pride of place in the work of G. Pierné later. The composer’s staying in Italy caused visibility, colorfulness, cheerfulness, feed activity, energy of images, using of genre motifs in FantasyBallet. The series of various episodes conveys a whimsical change of mood and resembles a sketches of impression. Returning to Paris in 1885, G. Pierné sought to strengthen his reputation as a soloist by entering the salon circles. At this time, he created many piano works, including the three-movement Piano Concerto c-moll (1886). This composition contains many dramatic moments which concentrated in the first and third movements of the cycle. However, as is often the case with French Romantic composers, such using of dramatic elements has a somewhat superficial, rhetorical character. The first movement is written in sonata form. The theme of the main subject (in c-moll), expounded by the piano octaves, is active and boisterous. And the secondary Es-dur subject is peaceful and lucid. There is the same entrancing serenity as in the lyrical theme of the E. Grieg’s Piano Concerto finale. In the first movement, the development is very short, and the recapitulation is abridged. It should be noted that G. Pierné refused to use the cadence of the soloist. The second movement is written in a three-part form with elements of variation and rondo. This light scherzo takes the listener away from the anxieties of previous movement. Every bar of this music, in which everything is made with elegant French taste, caresses the ear. The main theme, including the dotted rhythm, serves as a refrain that permeates the entire movement. The finale is distinguished by its developmental forcefulness and truly symphonic reach. So, the continuation of C. Saint-Saëns’s covenants is in the concentration of thematic material, the observableness of form, the rhetorical syllable, and rhythmic activity at the Pierné’s Piano Concerto. Scherzo-Caprice (1890) enriched the French miniature line. The image sphere of this opus is lucid lyrics, good-gentle jocosity, and solemnity. The melodic talent of the composer proved itself very convincing here. The theme of the waltz echoes the waltz episode from the Fantasy-Ballet in some details. Being written also in A-dur, it contains the upward melody moves with a passing VI# (fisis), and also diversions into the minor (cis-moll in Scherzo-Caprice, fis-moll in Fantasy-Ballet). At the turn of the century, the influence of C. Franck’s music was produced on the G. Pierné’s style. This is reflected in such works as the Symphonic Poem “L’An Mil” (1897), Violin Sonata (1900), oratorio “Saint François d’Assise” (1912), and Cello Sonata (1919). An appeal to the Symphonic Poem for piano and orchestra (1903) is also a clear sign of rapprochement with the late romantic branch (C. Franck, E. Сhausson). Here we see a departure of G. Pierné from the C. Saint-Saëns’s concert traditions, which he held before. In the Poem, such qualities as virtuosity, concert brilliance, and representativeness are somewhat leveled, which is caused with the narrative character of this work. Conclusions. During the “Renovation period” of French music, the piano and orchestra compositions experienced a real upsurge in its development. Composers began to turn more often not only to the Piano Concerto genre, but also to non-cyclic works – Fantasies, Poems, Rhapsodies, etc. G. Pierné contributed much to this branch along with C. Saint-Saëns, B. Godard, Ch.-M. Widor. In his Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, we find the continuation of C. Saint-Saëns’s instrumental traditions. This is manifested in the moderation of the musical language, the normative character of harmonious thinking, the absolute clarity of discourse, concern for the relief of the melodic line. In the Symphonic Poem, contiguity with the musical aesthetics of С. Franck is revealed, which is reflected in harmony modulation shifts, appeal to polyphonic technique, differentiated and more powerful orchestration.

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Laurence, Ray. "V. M. Strocka, Casa del Labirinto (VI, 11, 8–10). (Häuser in Pompeji iv). Munich: Hirmer, 1991. Pp. 143, 92 pls, numerous illus. ISBN 3-7774-5230-4. DM 278. - D. Michel, Casa dei Cei (I, 6, 15). (Häuser in Pompeji III). Munich: Hirmer, 1990. Pp. 95, 58 pls, 47 illus. ISBN 3-7774-5040-5. DM 198. - J. L. Franklin, Pompeii: The ‘Casa del Marinaio’ and its History (Soprintendenza Archeologica di Pompei Monografie III). Rome: ‘L’Erma’ di Bretschneider, 1990. Pp. 70, 12 pls, 13 figs, ISBN 88-7062-697-0. L 70,000. - J. R. Clarke, The Houses of Roman Italy, 100 B.C.–A.D. 250: Ritual, Space, and Decoration. Berkeley: University of California Press, 1991. Pp.xxxii + 411, 24 pls, 227 figs, 3 maps, ISBN 0-520-07267-7. $65.00. - E. K. Gazda (ed.), Roman Art in the Private Sphere: New Perspectives on the Architecture and Decor of the Domus, Villa, and Insula. Ann Arbor: University of Michigan Press, 1991. Pp. 156, 76 figs. ISBN 0-472-10196-X. £29.95." Journal of Roman Studies 83 (novembre 1993): 227–29. http://dx.doi.org/10.2307/301018.

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James, N. "Mediterranean - Stuart Swiny (ed.). The earliest prehistory of Cyprus: from colonization to exploitation (Cyprus American Archaeological Research Institute Monograph 2/American Schools of Oriental Research Archaeological Report 5). xiv+171 pages, 34 figures. 2001. Boston (MA): American Schools of Oriental Research; 0-89757-051-0 hardback $84.95 & £65. - Curtis Runnels & Priscilla M. Murray Greece before history: an archaeological companion and guide, xv+202 pages, 104 figures. 2001. Stanford (CA): Stanford University Press 08047-4036-4 hardback $45 & £35, 08047-4050-X paperback $17.95 & £11.95. - Yannis Hamilakis (ed.). Labyrinth revisited: rethinking ‘Minoan’ archaeology, x+237 pages, 39 figures, 4 tables. 2002. Oxford: Oxbow; 1-84217-061-9 paperback £28. - Paul Äström (ed.). The chronology of base-ring ware and bichrome wheel-made ware: proceedings of a colloquium held in the Royal Academy of Letters, History & Antiquities, Stockholm, May 18–19 2000 (Conferences 54). 251 pages, 54 figures, 9 colour plates, 9 tables. 2001. Stockholm: Royal Academy of Letters, History & Antiquities; 91-7402-320-9 (ISSN 0348-1433) paperback Kr239 (+VAT). - Charlotte Scheffer (ed.). Ceramics in context: proceedings of the Internordic Colloquium on ancient pottery, held at Stockholm. 13–15 June 1997 (Acta Universitatis Stockholmiensis Stockholm Studies in Classical Archaeology 12). 170 pages, 62 figures, 3 colour illustrations, 14 tables. 2001. Stockholm: Stockholm University; 91-22-01913-8 (ISSN 0562-1062) paperback Kr 223 (+VAT). - Edward Herring & Kathryn Lomas (ed.). The emergence of state identities in Italy in the first millennium EC (Accordia Specialist Studies on Italy 8). vii+227 pages, 50 figures, 3 tables. 2000. London: Accordia; 1-873415-22-2 paperback. - Birger Olsson, Dieter Mitternacht & Olof Brandt (ed.). The synagogue of ancient Ostia and the Jews of Borne: interdisciplinary studies (Skrifter Utgivna av Svenska Institutet i Rom 4° LVII/Acta Instituti Romani Regni Sueciae ser. in 4° LVII). 202+v pages, 141 figures, 2 tables. Stockholm: Swedish Instilulein Rome; 91-7042-165-X (ISSN 0081-993X) paperback Kr450. - José María Blázquez. Religiones, ritos y creencias funerarias de la Hispania prerromana. 350 pages, 3 tables. 2001. Madrid: Biblioteca Nueva; 84-7030-7975 paperback. - Simon Keay, John Creighton & José Remesal Rodríguez. Celti (Peñaflor): the archaeology of a Hispano-Roman town in Baetica (University of South-ampton Department of Archaeology Monograph 2). xii+252 pages, 216 figures. 2000. Oxford: Oxbow; 1-84217-035-X paperback £35. - Janet Burnett Grossman. Greek funerary sculpture: catalogue of the collections at the Getty Villa. xi+161 pages, b&w illustrations. 2001. Los Angeles (CA): Getty; 0-89236-612-5 hardback £42.50. - Marion True & Mary Louise Hart (ed.). Studia varia from the J. Paul Getty Museum (Vol. 2; Occasional Papers on Antiquities 10). ii + 166 pages, 191 figures, 5 tables. 2001. Los Angeles (CA): Getty; 089236-634-6 paperback £38.50. - Jairus Banaji. Agrarian change in late antiquity: gold, labour, and aristocratic dominance, xvii+286 pages, 1 map, 12 tables. 2001. Oxford: Oxford University Press; 0-19-924440-5 hardback £50. - Maria Wyke. The Roman mistress: ancient and modern representations, x+452 pages, 32 figures. 2002. Oxford: Oxford University Press; 0-19-815075-X hardback £40." Antiquity 76, n. 292 (giugno 2002): 567–68. http://dx.doi.org/10.1017/s0003598x00119416.

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Zerbi, Tommaso. "A Home in Rome: Villa Mills and The Palatine Hill". Papers of the British School at Rome, 3 luglio 2023, 1–55. http://dx.doi.org/10.1017/s0068246223000041.

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Prior to the acts of demolition pursued in the ventennio to recover and celebrate the heirlooms of antiquity as the simulacra of a fascist restoration of the Roman Empire, a Gothic Revival villa stood atop the Palatine Hill. A transhistorical palimpsest, this edifice incorporated a portion of the imperial palace that was erected for Domitian after his accession to power (AD 81). Through the disclosure of groundbreaking archival documentation, this article reveals that the Gothic Revival mansion, commonly known as ‘Villa Mills’, can be renamed ‘Villa Smith’. It was Robert Smith (1787–1873), a lieutenant-colonel of the East India Company, who embarked on the medievalist makeover rather than the previous owner, a fellow Englishman named Charles Andrew Mills (1770–1846). In spite of an exceptional location in the imperial heart of the Eternal City, knowledge of the nineteenth-century history of the site is very limited and tends to be derived from hearsay and hypothesis, rather than primary information. Drawing on broad textual and iconographical sources, this article aims to fill this gap by reflecting closely upon the relationships in pre-unification Rome between architecture and political and cultural intent, between Italy and Britain, and between modernity and antiquity. After a reconstruction of British presence above the Domus Augustana and an investigation of the person behind the neo-Gothic reworking, the study offers a critical reconsideration of Villa Mills and the character of (Charles Andrew) Mills.

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Privitera, Antonella, Simone Bernardini, Giancarlo Della Ventura, Paolo Ballirano, Elena Arbolino, Caterina Coletti, Lorenzo Conte, Francesco Pacetti, Simona Morretta e Armida Sodo. "A multi‐analytical investigation of Imperial (I‐II century AD) Roman cooking ware from ‘Villa della Piscina’ and the so called ‘Minerva Medica Temple’ (Rome, Italy)". Journal of Raman Spectroscopy, 3 luglio 2024. http://dx.doi.org/10.1002/jrs.6718.

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AbstractA multi‐analytical approach based on colourimetry, micro‐Raman spectroscopy, scanning electron microscopy, optical microscopy and powder X‐ray diffraction, has been applied to investigate Roman cooking ware samples dating back to imperial age (I‐II century AD). In particular, the highly distinctive production of pots coming from two different archaeological sites, ‘Villa della Piscina’ at Centocelle district and the so called ‘Minerva Medica Temple’ at Esquilino district (Rome, Italy), was studied characterising the colour, the chemical, mineralogical and petrographic distinctive properties of the investigated samples, in order to compare technological and provenance aspects. Classification of ceramic fragment by colorimetry, integrated by compositional studies with a main contribution of micro‐Raman spectroscopy, allows to discriminate between superior and inferior quality cooking ware and evaluate the compatibility of the investigated samples with some pottery realised in known manufacturing sites in Lazio. Compositional and petrographic features allow assignment of samples from ‘Villa della Piscina’ testifying productions in the surroundings of Rome, while an importation from outsider workshops is hypothesised for the ceramic fragments from the so called ‘Minerva Medica Temple’. For these, an importation from outsider workshop is hypothesised.

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"8th International Symposium on Kinetics in Analytical Chemistry, University of Rome Tor Vergata, Villa Mondragone, Rome, Italy, July 8–10, 2004". Analytical Letters 37, n. 1 (gennaio 2004): 175–77. http://dx.doi.org/10.1081/al-120028763.

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