middle ages

Navigating through Byzantine Italy. An Online Catalog to Study and Enhance a Submerged Artistic Heritage / Navigare nell’Italia bizantina. Un catalogo online per la conoscenza e la valorizzazione di un patrimonio artistico sommerso

Navigating through Byzantine Italy. An Online Catalog to Study and Enhance a Submerged Artistic Heritage / Navigare nell’Italia bizantina. Un catalogo online per la conoscenza e la valorizzazione di un patrimonio artistico sommerso

Il patrimonio artistico di oggetti mobili bizantini conservati in Italia è straordinariamente ricco e articolato. Tuttavia tali opere, disseminate sul territorio all’interno di musei, chiese e raccolte pubbliche e private, formano una rete poco visibile e in certo senso sommersa, la cui conoscenza complessiva è ancora molto parziale nonostante l’abbondante letteratura scientifica.

In Reply to" A Limited Study on Brain Diseases in Kitāb al-Taysīr (Liber Teisir) of Ibn Zuhr (Avenzoar)"

Aciduman et al. made a very attentive and authoritative evaluation of our letter, “The ventricular system in the Renaissance”. Avenzoar reported the Nemesius of Emesa’s three brain compartments and In the chapter on de mania, Avenzoar also follows the Nemesius of Emesa’s brain cells theory. The absence of anatomical brain reference in Avenzoar’s writings other than anterior or posterior, prevents a document-based statement. Avenzoar followed the Nemesius of Emesa’s traditional teachings, and the location of functions in the brain cannot be attributed to him.

La ceramica di Cencelle nel medioevo. Alcune riflessioni di metodo per una questione ancora aperta

On the basis of recent archaeological evidence unearthed in the course of systematic excavations by the Cencelle (Tarquinia, Viterbo), Northen Latium, this paper attempts to pull together different strings of ceramic data in order to bridge the era between Early Middle Ages and Modern Ages (mid night century to seventeenth century AD). An attempt has been made to examine rigorously the stratigraphy and its contents to the known ceramic in context. Some different pottery types are presented, both kitchenwares and tablewares.

Marsilio Ficino’s portrait of Hermes Trismegistus and its afterlife

Marsilio Ficino’s Latin translation of the Greek Corpus Hermeticum was carried out in 1463 at Cosimo de’ Medici’s request and first printed in Treviso in 1471 without Ficino’s consent. This translation, together with Ficino’s preface running through Trismegistus’s life and writings, was the starting point of modern Hermetism. The striking success of the Pimander–by far the most widespread of Ficino's works–is demonstrated by more than 40 extant manuscripts, 24 printed editions up to the end of the sixteenth century, and renaissance translations in many vernacular languages.

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