Добірка наукової літератури з теми "Maria delle Grazie (Este, Italy)"

The inner Abruzzo region, corresponding to the province of L’Aquila, is a land of mountains and highlands in central Italy. Its environmental conditions greatly foster spontaneous mummification, and the area is well known for the human mummies found in the last decades. We present a newly discovered collection of mummified remains in the village of Calascio, located 1,210 meters above sea level, near Gran Sasso Mountain. Here, the Franciscan convent of Santa Maria delle Grazie was built in 1594. The preliminary survey of a crypt in the conventual church allowed us to observe wooden coffins with at least seven mummified bodies still in their clothes, and several bony remains. Most likely, the mummies date back to the second half of the 19th century, and belonged to laypersons. Preservation was certainly due to the cold dry environment of the crypt. The recovery of the entire series will take place through speleological techniques according to stratigraphic relationships, in order to trace a bioanthropological profile of this small community members.

This paper presents a chemical-mineralogical characterization of construction materials from medieval Renaissance buildings of Ferrara (NE Italy) to provide an insight into the nature and provenance of the raw materials used. Biagio Rossetti was an Italian architect and urbanist from the city of Ferrara. From 1483, he was the architect of the Duke of Ferrara Ercole I d’Este who in 1492 assigned him the project of enlarging the city of Ferrara. Biagio Rossetti is still famous because he designed and built many notable palaces and churches in Ferrara, e.g., the Palazzo Roverella, the monastery of Santa Maria delle Grazie and the renovation of the church of San Andrea. To date, only the first two historic buildings are still in use and consequently restored, while the church of San Andrea has been abandoned over the years and the remains have been subject to decay. Different kinds of samples (bricks, cotto, plaster and mortars) were collected from the three sampling sites and analyzed in X-ray fluorescence and X-ray diffractometer to investigate the construction materials through the evaluation of their chemical composition, historic building activity and degradation degree. These investigations should provide knowledge useful for restoration and conservation processes.

This paper presents a chemical-mineralogical characterization of construction materials from medieval Renaissance buildings of Ferrara (NE Italy) to provide an insight into the nature and provenance of the raw materials used. Biagio Rossetti was an Italian architect and urbanist from the city of Ferrara. From 1483, he was the architect of the Duke of Ferrara Ercole I d’Este who in 1492 assigned him the project of enlarging the city of Ferrara. Biagio Rossetti is still famous because he designed and built many notable palaces and churches in Ferrara, e.g., the Palazzo Roverella, the monastery of Santa Maria delle Grazie and the renovation of the church of San Andrea. To date, only the first two historic buildings are still in use and consequently restored, while the church of San Andrea has been abandoned over the years and the remains have been subject to decay. Different kinds of samples (bricks, cotto, plaster and mortars) were collected from the three sampling sites and analyzed in X-ray fluorescence and X-ray diffractometer to investigate the construction materials through the evaluation of their chemical composition, historic building activity and degradation degree. These investigations should provide knowledge useful for restoration and conservation processes.

<p class="VARAbstract">Can we preserve cultural heritage and, consequently, the memory of the past? To answer this question, one should look at the digital revolution that the world has gone through in recent decades and analyse the complex and the dialectical relationship between cultural heritage and new technologies. Thanks to these, increasingly accurate reconstructions of archaeological sites and historical monuments are possible. The resulting digital replicas are fundamental to experience and understand cultural heritage in innovative ways: they have complex and dynamic relationships with the original objects. This research paper highlights the importance and the scientific validity of digital replicas aimed at understanding, enhancing and protecting cultural heritage. The study focuses on the virtual reconstruction of the constructive phases, from the mid-15^th century to date, of one of the most emblematic Gothic-Renaissance buildings in the city of Milan (Italy): the convent of Santa Maria delle Grazie, famous worldwide for hosting Leonardo da Vinci's Last Supper painting. This site proved to be an ideal case study because of its troubled and little-known history that led to numerous changes over the centuries. Thanks to a methodological approach based on the analysis of the documentary sources and three-dimensional (3D) modelling, it was possible to outline the chronological succession of the convent transformations; the way in which these overlapped the pre-existing structures was described starting from the Renaissance harmonious and organic interventions, to finally reach 18^th-19^thcenturies inhomogeneous and incompatible additions. Finally, the research was completed by mapping the 3D models based on the sources used and their different levels of accuracy. The 3D models have thus become a valid tool for checking and verifying the reconstruction hypotheses.</p><p class="VARAbstract">Highlights:</p><ul><li><p>The study focused on the virtual reconstruction of the convent of Santa Maria delle Grazie, one of the most emblematicGothic-Renaissance buildings in the city of Milan.</p></li><li><p>By combining data from documentary sources, architectural treatises, period photos and digital survey, the mainbuilding phases of the convent, from the 15th century to date, were digitally reconstructed.</p></li><li><p>The 3D models are enriched with information about the accuracy of the digital reconstruction, creating 3D databasesthat can be easily consulted and updated.</p></li></ul>

This work presents the results of the in situ, non-invasive diagnostic investigations performed on the canvas oil painting depicting Madonna and Child, venerated as ‘Maria Santissima delle Grazie’ by the local religious community. The work of art (72 cm × 175 cm) is located on the high altar of the main Church in Mirabella Imbáccari, near Catania (Sicily, Italy). The painter is anonymous, and the supposed dating is the late eighteenth century. Although the painting has never been studied before, it has been attributed to a Sicilian workshop in the literature, raising the doubts of the art historian who conducted this study and who hypothesized a Neapolitan manufacture. Furthermore, due to the good conservation state detected by a macroscopic examination, doubts also arose about dating. To shed light on these aspects, a technical-scientific examination proved necessary. Multispectral imaging techniques (IR Reflectography, UV-induced visible Fluorescence, X-ray) are carried out for the study of the execution technique, the identification of underlying remakes, sketch drawing and the evaluation of the conservation conditions. XRF spectrometry analysis is performed for the identification of the chemical elements constituting the pigments (inorganic chromophores). The diagnostic results allowed this research to confirm the dating suggested by the historical-stylistic knowledge and to highlight new technical peculiarities supporting the attribution to a Neapolitan workshop.

This work investigates the possibility of implementing a nature-based solution (NBS) based on the photosynthetic process of Laurus nobilis L. (common laurel), for reducing peak CO2 concentrations in an air-tight museum environment, namely the Refectory of the Santa Maria delle Grazie Church (Milan, Italy), home of Leonardo da Vinci’s painting “Last Supper”. The phytoremediation potential of laurel plants was evaluated at CO2 ≅ 1000 ppm under controlled environmental conditions. Furthermore, light-saturated net assimilation (Pnmax) was measured at two CO2 concentrations (380 and 1000 ppm) during the growing season. Steady-state gas exchanges were not affected by elevated CO2 in the short-term, while Pnmax was significantly increased, also showing higher values in spring and autumn, and a reduction during summer. Our estimated CO2 removal rates indicate that, in order to control visitors’ respiratory CO2 emissions in view of an increase in visitor numbers in the Refectory, a possible NBS in the form of an external greenhouse, connected to the HVAC system of the museum, should allocate from 58 to 112 young laurel plants, depending on their seasonal phytoremediation capacity. These results, although preliminary, allow to hypothesize the possibility of controlling CO2 indoors through a combination of traditional air-cleaning systems and a properly designed NBS, thus increasing the sustainability of air-tight museum environments.

The Sanctuary of “Santa Maria delle Grazie” at Fornò is in the countryside near Forlì (Italy). The first edification time was in 1450, the today's configuration was reached at the beginning of the sixteenth century, due to various modifications: from static necessities to changes in tastes related to the time, as well as natural disasters and war damage. From a structural point of view, the Sanctuary is constituted by two masonry cylinders, without horizontal floors in elevation: the exterior cylinder around 33m diameter and 15m in height, with four semicircular niches protruding outwardly; the interior cylinder, the oldest temple, about 14m diameter and 20m tall, covered by a dome supported by an octagonal masonry structure. The space between the two circular structures is covered with a wooden roof resting on thirty-six main wooden beams. In the last years the Sanctuary has been subjected to numerous studies, surveys and analysis, including FEM structural analysis. In the latest studies we have assumed the Guidelines (2011) for the "Evaluation and Reduction of Seismic Risk of Cultural Heritage.". In the present work, following the entry into force of the new Italian rules NTC2018 and, more recently (February 2019), of the Explanatory Circular, which among other topics introduced significant changes in the field of existing buildings and in particular in the non-linear analysis mode, we have made a new update of the structural analysis and designed a series of works for restoration and anti-seismic improvement (also dehumidification works to mitigating the effects of decay caused by soaking on the mechanical characteristics of the masonry).

Il saggio presenta il lavoro di un giovane fotografo del Nord Est italiano, Giovanni Pasinato (Venezia 1974-), attraverso l’analisi della sua opera e un’intervista all’autore, impegnato in un’attività dalle consistenti valenze cognitive ed etiche, ascrivibile alla Scuola italiana di fotografia del paesaggio (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), ma dotata di tratti originali in forte sviluppo. Il contributo intende mostrare come la fotografia di Pasinato—dalle esplorazioni del “terzo paesaggio” lungo strade e autostrade, alla ricerca condotta sulle scene urbane di Treviso e Venezia Mestre, fino alla più recente perlustrazione dell’antico bosco del Montello (sulla cui esistenza minacciata si era levato altissimo anche il canto poetico di Andrea Zanzotto, scomparso nel 2011)—sia tutta incentrata sulla funzione fondamentale dello “sguardo,” grazie alla quale il suo lavoro si caratterizza come indagine e strumento di consapevolezza, in senso lato “politica,” sul rapporto fra l’essere umano e i luoghi. Le immagini di Pasinato, sommesse, limpide e allo stesso tempo avvolte da vaghezza, interrogano l’osservatore, proponendogli un dialogo con gli spazi fotografati ed evidenziando l’inscindibilità stilistica fra forma e contenuto; si distinguono per l’assenza di ogni compiacimento soggettivistico ed estetico, a favore della riscoperta, realizzata per mezzo di una essenziale valorizzazione della “visione,” dello stretto nesso fra cultura e natura, fra l’essere umano e gli altri viventi. Proprio mentre sollecitano il senso della nostra responsabilità collettiva, tralasciando ogni cedimento sentimentalistico e nostalgico, queste fotografie invitano ad avere coscienza e perciò, in ultima analisi, speranza. Pasinato rivendica così alla fotografia un’alta funzione artistica e civile, spesso misconosciuta proprio da quegli enti e istituzioni che dovrebbero avere a cuore il bene comune. Abstract The analysis and the interview of the author contained in this essay portray the work of a young Italian photographer, Giovanni Pasinato (Venice 1974-), who lives in the North East of Italy and who devotes himself to an activity encompassing important cognitive and ethical aspects. His work can be included within the Italian School of Landscape Photography (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), but has original features in robust development. This essay will show how Pasinato’s photography—from his explorations of the “third landscape” along roads and highways, through his research in the urban scenes of Treviso and Venice Mestre, up to the latest reconnaissance of the Montello’s ancient wood (on whose endangered existence, Andrea Zanzotto, who died in 2011, wrote wonderful poems)—is entirely focused on the fundamental function of the “look,” thanks to which his work characterizes itself as an investigation, an instrument of the awareness, in the broad sense “political,” of the relationship between human being and place. Pasinato’s whispered, limpid yet at the same time ambiguous images, question their beholders, offering them a dialogue with the photographed spaces, underlining the stylistic indivisibility between form and content. In comparison to other landscape photography experiences, Pasinato’s works stand out, thanks to the absence of any subjective and aesthetic self-gratification and by favouring, through an essential enhancement of the “vision,” the revival of the close relationship between culture and nature and between human beings and other living beings. Just as his photographs stress the importance of our collective responsibility, ignoring any sentimental or nostalgic concession, they are an exhortation to raise awareness and, ultimately, hope. Thus, Pasinato ascribes to photography a highly artistic and civil function, which is often disregarded by those organizations and those authorities that should really care for the common good. Resumen El análisis y la entrevista del autor en que se centra este ensayo presentan la obra de un joven fotógrafo del noreste de Italia, Giovanni Pasinato (Venecia, 1974-), que se dedica a un actividad que abarca importantes aspectos cognitivos y éticos. Su trabajo puede incluirse en la Escuela Italiana de Fotografía del paisaje (Luigi Ghirri, Guido Guidi, Giovanni Chiaramonte), pero tiene rasgos originales en fuerte desarrollo. Este ensayo mostrará como la fotografía de Pasinato—desde sus exploraciones del "tercer paisaje" en el camino de carreteras y autopistas, la investigación en las escenas urbanas de las ciudades de Treviso y Venecia Mestre, hasta la más reciente exploración del antiguo bosque de la colina llamada Montello (sobre el riesgo de su desaparición, también el poeta Andrea Zanzotto, fallecido en 2011, escribió algunas de sus mejores obras)—está completamente enfocada en la función fundamental de la observación, gracias al que su trabajo se caracteriza como una investigación, un instrumento de la concienciación, en el amplio sentido “político”, de la relación entre ser humano y lugar. Las imágenes de Pasinato, suaves, claras y al mismo tiempo envueltas en vaguedad, questionan a quien observa, le proponen un dialogo con los espacios fotografiados y subrayan la inseparabilidad estilística entre forma y contenido. En comparación con otras experiencias de fotografía del paisaje, las representaciones de Pasinato destacan gracias a la ausencia de autocomplacencia subjetivista y estética, tratando de descubrir nuevamente la estrecha interrelación entre naturaleza y cultura, entre los seres humanos y otros seres vivientes. En cuanto instan nuestro sentido de la responsabilidad colectiva, dejando de poner la atención en sentimentalismos y nostalgias, estas fotografías invitan a adquirir conciencia y, además, esperanza. Pasinato reclama para la fotografía una importante función artística y civil, muchas veces ignorada por las instituciones que deberían preocuparse por el bien común.

e4884048One of the impacts of the pandemic caused by Covid-19 is the decrease in internationalization via academic mobility and the need to consolidate other forms of internationalization, such as “internationalization at home” – IaH. In this context, this article discusses an internationalization experience between Brazil and Colombia, with the aim of offering subsidies to the concept of internationalization at home. To reach the proposed objective, qualitative research was carried out, through a case study, in the discipline of Education in Non-Formal Spaces, in a community university. The experience took place in March and April 2019 and was supported by Meet software from Google's Classroom package. The methodology adopted was embodied in a Trail for Internationalization at Home, through the proposition of four stages: Knowledge and evaluation of the proposal; Brazil-Colombia joint planning; Virtual experience; and Evaluation of experience. As results of the investigation, challenges are pointed out, such as the consolidation of an online and/or hybrid teaching culture in on-site courses, the possibility of expanding internationalization actions through technology; in addition, the contribution that the perspective of internationalization at home can make possible the improvement of the quality of higher education, especially considering South-South internationalization, deserves to be highlighted.ResumoUm dos impactos da pandemia ocasionada pela Covid-19 é a diminuição da internacionalização via mobilidade acadêmica e a necessidade da consolidação de outras formas de internacionalização, como “internacionalização em casa” – IaH. Neste bojo, o presente artigo discute uma experiência de internacionalização entre Brasil e Colômbia, com o fito de oferecer subsídios à concepção de internacionalização em casa. Para o alcance do objetivo proposto, foi realizada uma pesquisa qualitativa, por meio de estudo de caso, na disciplina de Educação em Espaços não Formais, em uma universidade comunitária. A experiência ocorreu nos meses de março e abril de 2019 e teve como suporte o aplicativo Meet do pacote Classroom da Google. A metodologia se consubstanciou numa Trilha para a Internacionalização em Casa, mediante a proposição de quatro etapas: Conhecimento e avaliação da proposta; Planejamento conjunto Brasil-Colômbia; Vivência virtual; e Avaliação da experiência. Como resultados da investigação, são apontados desafios, tais como a consolidação de uma cultura de ensino online e/ou híbrido nos cursos presenciais, a possibilidade de ampliação das ações de internacionalização por intermédio da tecnologia; outrossim, merece destaque a contribuição de que a perspectiva da internacionalização em casa pode possibilitar o aprimoramento da qualidade da educação superior, considerando principalmente a internacionalização Sul-Sul.ResumenUno de los impactos de la pandemia provocada por Covid-19 es la disminución de la internacionalización a través de la movilidad académica y la necesidad de consolidar otras formas de internacionalización, como la “internacionalización en casa” - IaH. En este contexto, este artículo analiza una experiencia de internacionalización entre Brasil y Colombia, con el objetivo de ofrecer subsidios al concepto de internacionalización en casa. Para alcanzar el objetivo propuesto, se realizó una investigación cualitativa, a través de un estudio de caso, en la disciplina de Educación en Espacios No Formales, en una universidad comunitaria. La experiencia tuvo lugar en marzo y abril de 2019 y fue respaldada por el software Meet del paquete Classroom de Google. La metodología adoptada se plasmó en un Camino de Internacionalización en el Hogar, a través de la propuesta de cuatro etapas: Conocimiento y evaluación de la propuesta; Planificación conjunta Brasil-Colombia; Experiencia virtual; y Evaluación de la experiencia. Como resultados de la investigación se señalan desafíos como la consolidación de una cultura docente online y/o híbrida en los cursos presenciales, la posibilidad de ampliar las acciones de internacionalización a través de la tecnología; Además, merece destacarse el aporte que la perspectiva de internacionalización en casa puede hacer posible la mejora de la calidad de la educación superior, especialmente considerando la internacionalización Sur-Sur.Palavras-chave: Educação superior, Internacionalização em casa, Educação em espaços não formais, Global Sul.Keywords: Higher education, Internationalization at home, Education in non-formal spaces, Global South.Palabras claves: Educación superior, Internacionalización en casa, Educación en espacios no formales, Sur global.ReferencesALMEIDA, Joana; ROBSON, Sue; MOROSINI, Marília Costa; BARANZELI, Caroline. Understanding internationalization at home: from perspectives the global north and south. European Educational Research Journal. 1-18. 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Lisboa: Dom Quixote, 1997.ROBSON, Sue. Internationalization at home: internationalizing the university experience of staff and students. Educação, Porto Alegre, V. 40, n. 3, p. 368-374, set.-dez. 2017.TEICHLER, Ulrich. The changing debate on internationalization of higher education. Higher Education, Kluwer Academic Publishers, v. 48, 2004. p. 5-26.UNESCO. Educação para a cidadania global: preparando alunos para os desafios do século XXI. Brasília: Unesco, 2015.YIN, Robert K. Estudo de caso: planejamento e métodos. 5. ed. Porto Alegre: Bookman, 2015.ZABALZA, Miguel B. Innovaciones didácticas para la nueva universidad del S. XXI. In: ENGERS, M. E. A.; MOROSINI, M. C.; FELICETTI, V. L. (orgs.). Educação Superior e Aprendizagem. Porto Alegre: EdiPucrs, 2015.

As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on the top of the inner side of the arch in the sanctuary of Zadar’s church of Our Lady of Health (Kaštel) at the end of Kalelarga (Fig. 1). Both marble statues were obviously adjusted and then placed next to the marble cartouche with a subsequently added inscription from 1938, which tells of a reconstruction of the church during the time it was administered by the Capuchins. The drapery of the right angel-putto bears the initials I. G., which should be interpreted as the signature of the Venetian sculptor Giuseppe Groppelli (Venice, 1675-1735). This master signed his full name as IOSEPH GROPPELLI on the base of a statue of St Chrysogonus, now preserved in the Permanent Exhibition of Religious Art in Zadar (Fig. 2). Same as the signed statue of St Anastasia by master Antonio Corradini (Fig. 3), it used to form part of the main altar in Zadar’s monumental church of St Donatus, desacralized in 1798. Recently, two more angels have been discovered, inserted in the tympanum of the main altar in the church of Madonna of Loreto in Zadar’s district of Arbanasi, the one to the right likewise bearing the initials I. G. (Fig. 4). Undoubtedly, these two artworks were once part of a single composition: the abovementioned former altar in the church of St Donatus, transferred to the cathedral in 1822 and reconstructed to become the new altar in the chapel of St Anastasia. Giuseppe and his younger brother, Paolo Groppelli, led the family workshop from 1708, producing and signing sculptures together. Therefore, the newly discovered statues produced by Giuseppe are a significant contribution to his personal 174 Damir Tulić: Nepoznati anđeli Giuseppea Groppellija u Zadru... Ars Adriatica 6/2016. (155-174) oeuvre. It is difficult to distinguish between his statues and those by his brother, but it is generally believed that Paolo was a better artist. It is therefore important to compare the two sculptures, as they are believed to have been made independently. Paolo’s statue of Our Lady of the Rosary (1708) was originally located in the former Benedictine church of Santa Croce at Giudecca in Venice, and acquired early in the 19th century for the parish church of Veli Lošinj. If one compares the phisiognomy of the Christ Child by Paolo to that of Giuseppe’s signed sculpture of angel-putto in Zadar, one can observe considerable similarities (Figs. 5 and 6). However, Paolo’s sculptures are somewhat subtler and softer than Giuseppe’s. The workshop of Giuseppe and Paolo Gropelli has also been credited with two large marble angels on the main altar of the parish church in Concadirame near Treviso, as they show great similarity in style to the angels in Ljubljana’s cathedral, made around 1710 (Figs. 7, 8, 9, and 10). The oeuvre of Giuseppe and Paolo Gropelli can also be extended to two kneeling marble angels at the altar of the Holy Sacrament in the Venetian church of Santa Maria Formosa, with their marble surface somewhat damaged (Figs. 11 and 12). Coming back to the former main altar in Zadar’s church of St Donatus, it should be emphasized that it was erected following the last will of Archbishop Vettore Priuli (1688-1712), that contains a clearly expressed desire that the altar should be decorated as lavishly as possible. As the construction contract has been lost and the appearance of the altar remains unknown, it can only be supposed what it may have looked like (Fig. 13). It is known that the altar included an older, 13th-century icon of Madonna with the Child, which was later transferred to the Cathedral and is today preserved in the Permanent Exhibition of Religious Art. Scholars have presumed that the altar may had the form of a triumphal arch, with pillars enclosing the pala portante with an older icon and statues placed lateraly. However, it can also be presumed that the executors of the archbishop’s last will, canons Giovanni Grisogono and Giovanni Battista Nicoli, found a model for the lavish altar in Venice, in the former altar of the demolished oratory of Madonna della Pace. That altar had been erected in 1685 and included an older Byzantine icon of Madonna with the Child. It was later relocated to Trieste and its original appearance remains unknown, but can be reconstructed on the basis of its depiction on the medal of Doge Alvise IV Mocenigo (1764), preserved in the parish church of Plomin (Fig. 14). This popular solution undoubtedly served as a model for the main altar in the church of Madonna delle Grazie at Este (Fig. 15), constructed between 1692 and 1697. Today’s appearance of the chapel of St Anastasia does not reveal much about its previous altars (Fig. 16). A recently discovered document at the State Archive of Zadar sheds a new light on the hypothesis that the old main altar was transferred from St Donatus in 1822 and became, with minor revisions, the new altar of St Anastasia, demolished in 1905. According to a contract from 1821, the saint’s altar was designed by Zadar’s engineer and architect Petar Pekota, and built by parish priest Giovanni Degano by using segments from older altars, including that of St Donatus. The painting ordered for the new altar, Martyrdom of St Anastasia by Giuseppe Rambelli from Forli (Fig. 17), is the only surviving part of the 19thcentury altar. The overall reconstruction of the chapel of St Anastasia took place between 1903 and 1906, according to a project of architect Ćiril Metod Iveković, which intended to have the chapel covered in mosaics ordered from Venice. However, during the reconstruction works, remnants of 13th-century frescos were discovered in the apse and the project had to be altered. The altar from 1822 was nevertheless demolished and a new marble mensa was built, with a new urn for the saint’s relics, made in the Viennese workshop of Nicholas Mund, as attested by receipts from 1906 (Fig. 18). A hundred years after the intervention, another one took place, in which the marble altar was disassembled and replaced by a new one, made of glass and steel, yet bearing the old marble urn of Bishop Donatus.

This chapter combines traditional artificial intelligence (AI) concepts, i.e., computational ontologies, with more recent trends, i.e., deep learning for content-based semantic retrieval in Cultural Heritage. More specifically, the proposed AI-empowered system employs computational ontologies for modelling photographs of religious historical buildings. The ontology, besides supporting data-modelling and concept-level annotation, guides a learning process – implemented through Convolutional Neural Network (CNN) – for automated image categorization and retrieval. The whole system has been tested on the ruins of the church of Santa Maria delle Grazie in Misterbianco, Catania, Italy, showing satisfactory performance.

Chapter 2 surveys Machiavelli’s critical assessment of Italy’s princes and republics. He faults Venice for insatiable ambition for expansion without adequate arms. He criticizes Florence for inconsistent policies in its regional dominion, which produced the rebellions of Pisa (1494) and Arezzo (1502). Florentine policy in Italy he saw as controlled by private interests after Cosimo’s controversial decision to abandon Venice and support Francesco Sforza. The Milanese duchy under the Visconti and Sforza was frequently beset by succession crises and family rivalries. Machiavelli faults Sforza (before he seized the duchy) for practicing war as a full-time profession (“arte”) and highlights his brutality, and that of his heirs, Galeazzo Maria and Ludovico, against perceived threats. Italy’s central regions, including the papal states, produced many mercenaries who aspired to become rulers and also the so-called “minor princes,” who hired themselves out as professional soldiers, including Federico da Montefeltro of Urbino, Sigismondo Malatesta of Rimini, the Vitelli of Città di Castello, and the Este of Ferrara. Because Italy’s “principal states,” Machiavelli says with some exaggeration, were “unarmed,” the “arms of Italy” were in the hands of these two groups whose ambitions and betrayals frequently disrupted alliances and sparked wars among the “principal states.” The kingdom of Naples was agitated by revolts of the barons and by succession crises between Angevin and Aragonese contenders who embroiled other states in wars to defeat their rivals. Machiavelli portrays the Aragonese monarchs Alfonso I and Ferdinand I (Ferrante) as obsessed with aggressive territorial ventures.