Search

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper delves into the iconography of two friezes adorning the rooms of two palazzi located in the Marca di Ancona, a peripheral region within the Papal States. All the scenes portrayed in the two friezes are inspired by the Ovid’s Metamorphoses. The purpose of this paper is to demonstrate the influence of the illustrations found in the vernacular translations of the Metamorphoses, which were spread around Italy from the end of the 15th century. Additionally, it aims to explore the impact of prints that circulated freely, reproducing models from renowned artists like Michelangelo. These prints disseminated iconographies throughout Italy, making them known even in the provincial areas. The clients used them in an attempt to adapt their taste to the prevailing fashions of the big centers. Meanwhile the artists – unable to rival their counterparts from the centers – were provided with models which, in some instances, they closely adhered to.

This paper explores the influence of Ovid's Metamorphoses on the Villa Durazzo Faraggiana in Albissola Marina, Liguria. It examines the interplay between text, materiality, and space, focusing on the Galleria delle Stagioni and its mythological decorations. Through textual and visual analysis, as well as material examination, the study reveals, how mythology becomes embedded in the physical environment of the villa, immersing viewers in the narrative conveyed through artistic objects. The Villa Durazzo Faraggiana is situated amidst the Ligurian landscape, and its decoration, including the mirror depicting Narcissus, showcases the interaction between Ovidian text and visual art. By comparing the text and the mirror, the study uncovers additional elements not explicitly depicted in the mirror, highlighting the narrative structure of the artwork. The paper concludes by emphasizing the contrast between naturalism and artificiality in both Ovid's text and the mirror's representation, underscoring the villa's role as an Arcadian place and a site of artistic creation and representation.

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper describes and expands on the contributions the research team at Technological University Dublin have made to the DICO Digital Career Stories Erasmus+ project from March 2021 through February 2023. This paper examines the TU Dublin presentation of specific Fine Art research methods and technical and practical tools, as a unique way to open these discussions around ethical teaching with regards to access, technology, gender, class, ethnic and racial diversity. This paper looks at some of the specific tools and methods common to fine art education and practice in the points of sharing sessions to ask how lecturing staff can deliver careers learning in the creative arts that is considerate and sensitive to the unique challenges that are presented in terms of equity and inclusion in third level creative arts education and careers stories creation.

The paper analyses the way in which UniMC students have used personal photos for the preparation of their Digital Career Stories during a workshop held in Macerata in January 2022. The phrase “flood of images” expresses the freedom with which students have used numerous photographs taken during their leisure time and travels. In this “flood of images” we can notice a predominant presence of a powerful image, which is recurrent in almost all the stories: it is based on the theme of a human being seen from behind, showing his/her back to the observer. In some images the protagonist (or the protagonists) is looking at an amazing landscape, while in other cases he/she is admiring a framed picture, a work of art in a museum. The figure of a human being seen from behind could be an effect of the significant impact of some Friedrich’s paintings (also in the European handbook of general history, literature, and art history). Within the frame of the “visual studies” (and using Mitchell, Freedberg, Lester and Belting categories), the paper deals with a singular case of the “power of images”.

Questo contributo vuol essere un omaggio alla studiosa fiorentina Giulia Brunetti, di cui ricostruisce la biografia umana e intellettuale sulla base di documenti, testimonianze e ricordi personali e attraverso la rilettura e la contestualizzazione dei suoi scritti, dedicati soprattutto alla scultura del Trecento e del Quattrocento, ma anche alla grafica e all’oreficeria. Si mette così in risalto il suo metodo di lavoro, fondato sull’osservazione meticolosa delle opere, l’esame di documenti e fonti e una scrupolosa attenzione per la bibliografia, oltre al dialogo e al confronto con gli altri studiosi. This paper is a tribute to the Florentine scholar Giulia Brunetti. Her main fields of interest were sculpture of the fourteenth and fifteenth centuries, as well as drawing and precious metalwork. Brunetti’s biography and studies are presented through archival papers, private memories and above all through her publications. These are put in their critical and historical context. This review emphasizes her working method, based on a meticulous observation of artworks, the examination of documents and sources and a scrupulous study of the previous literature, but also on the dialogue with other scholars.

This paper takes Greek philosopher Plato’s well-known observation that no living or- ganism stays actually the same throughout its lifetime since its fundamental nature is instead continuous change, and applies it to museum institutions. Museum institutions might be re- garded as living organisms as well and, from this perspective, we can ask what causes a mu- seum to be perceived as the same museum over time. In so doing, we can thus also analyse the conditions under which the balance between stability and change breaks down. Com- bining contextual analysis and a case study approach seems the most promising strategy to address these questions. In this paper, we analyse the debate over the function and mission of museums in post-Unification Italy to show that museums can serve multiple purposes, purposes which in turn might shape museums’ collections, visions, and display and narra- tive strategies. We also present the analysis of a case study which not only demonstrates that museums never stay the same but also allows us to draft an analytical model according to which the substantial changes museums undergo or trigger in interaction with and relation to societal changes enable us to identify the fields of force in any given concrete situation in which museums are located and act as institutions. Questo articolo prende la nota osservazione del filosofo greco Platone che nessun orga- nismo vivente rimane di fatto lo stesso nel corso della propria vita dal momento che la sua natura fondamentale è invece il cambiamento continuo e la applica alle istituzioni museali. Anche le istituzioni museali possono essere considerate come organismi viventi e, da questa prospettiva, possiamo quindi chiederci che cosa faccia sì che un museo sia percepito come lo stesso museo nel corso del tempo. Così facendo, possiamo dunque analizzare anche le condizioni in cui l’equilibrio tra stabilità e cambiamento si rompe. Combinare l’analisi del contesto con il metodo del caso di studio sembra la strategia più promettente per porsi queste domande. In questo articolo, analizziamo il dibattito sulla funzione e la missione dei musei nell’Italia post-unitaria per mostrare che i musei possono essere asserviti a molteplici obiettivi, obiettivi che, a loro volta, possono plasmare le collezioni dei musei, le loro visioni e loro strategie espositive e narrative. Presentiamo anche l’analisi di un caso di studio che non solo dimostra che i musei non rimangono mai gli stessi ma ci permette altresì di abbozzare un modello di analisi secondo il quale i cambiamenti sostanziali subiti o stimolati dai musei in relazione a cambiamenti sociali ci consentono di identificare i campi di forza in qualunque situazione concreta in cui i musei si trovano e agiscono come istituzioni.

Il saggio presenta i risultati preliminari di un progetto attualmente in corso che mira a costruire un geodatabase di toponomastica storica relativa al territorio della Provincia di Trento. Utilizzando un approccio basato sull’utilizzo di software GIS sono state georeferenziate tre fonti cartografiche storiche a copertura provinciale: le carte militari austriache (1801-1805), il Catasto Austriaco (1853-1861) e le tavolette IGM (1910-1931). I toponimi registrati sono stati vettorializzati in forma di elemento puntuale geolocalizzato, classificati secondo campi preordinati e integrati con il dataset della toponomastica della attuale Carta Tecnica Provinciale (2017). Attualmente i dati raccolti coprono le valli del Trentino orientale, pari a circa metà del territorio provinciale. Il contributo analizza quantitativamente la distribuzione sincronica e diacronica dei dati raccolti; due foci tematici esplorano le potenzialità euristiche del corpus tramite ricerche dei fitotoponimi relativi alla specie Larix decidua e degli antrotoponimi collegati agli insediamenti per la pratica della monticazione. Il progetto ha come duplice obiettivo finale il recupero e la salvaguardia del patrimonio rappresentato dalla toponomastica locale scomparsa e il supporto a ricerche interdisciplinari su tematiche di interesse territoriale. The paper presents the preliminary results of an ongoing project which aims to develop a geodatabase of historical place names relating to the territory of the Province of Trento. Using a GIS-based approach, three historical maps with provincial coverage were geo-referenced: the Austrian military maps (1801-1805), the Austrian Cadastre (1853-1861) and the IGM maps (1910-1931). The registered place names have been vectorized in the form of a geolocalized point element, classified according to pre-ordered fields and integrated with the toponymy dataset of the current Provincial Technical Charter (2017). Currently, the collected data cover the Trentino eastern valleys, equal to about half of the provincial territory. The paper quantitatively analyzes the synchronic and diachronic distribution of the collected data; two thematic focus explore the heuristic potential of the corpus through research on phytotoponyms related to the species Larix decidua and anthroponyms connected to the settlements for the practice of mountain climbing. The project has the dual final objective of recovering and safeguarding the heritage represented by the disappeared local toponymy and of promoting interdisciplinary research on issues of territorial interest.

Il testo richiama alcuni aspetti salienti del contributo dato da Massimo Montella all’applicazione operativa della “conservazione programmata”, intesa sia come una grande visione e come una strategia concretamente operativa. Montella ebbe modo di lavorare nei ruoli della Regione Umbria negli anni Settanta, quando le regioni italiane, appena costituite, stavano inventando il loro ruolo nelle politiche territoriali e culturali e, inoltre, quando l’Umbria assunse il ruolo dell’ala marciante delle azioni integrate nel campo del patrimonio, secondo la visione di Giovanni Urbani e Bruno Toscano. Emerge la coerenza etica tra l’azione di Montella come funzionario pubblico e le riflessioni teoriche che si ritracciano nei suoi scritti, che comprendono alcune chiare e avanzate indicazioni per una prevenzione condotta a scala territoriale. D’altra parte, lo scritto sottolinea che gli sviluppi del lavoro di Montella descrivono un sistema completo, dall’idea di fondo di un riconoscimento dei valori secondo un approccio antropologico a un modello di governance integrata: un sistema che spiega molti dei difficoltosi, ma innegabili progressi dell’idea di conservazione programmata in Italia negli ultimi vent’anni. The paper deals with some outstanding features of the contribution given by Massimo Montella to the implementation of “planned conservation”, meant both as a great vision and as a concrete operating strategy. Montella had the opportunity to work in the offices of Umbria Region in the Seventies, when just founded Italian Regions were building from scratch their role in territorial and cultural policies and, furthermore, when Umbria took the role of the marching wing of integrated actions in the field of cultural heritage, according to the views of Giovanni Urbani and Bruno Toscano. The ethical consistency emerges between his action as a civil servant and the theoretical reflections to be found in his writings, which encompass some extremely clear and advanced directions for a prevention carried out at territorial level. On the other hand, the paper underscores that the developments of Montella’s work describe a complete system, from the seminal idea of the recognition of values according to an anthropological approach to an integrated governance model, which explains many features of the difficult, but undeniable progress of the idea of planned conservation in Italy in the last twenty years.

Il lavoro dapprima ripercorre l’evoluzione delle politiche della ricerca europee, evidenziando la dinamica degli orientamenti maturati nel corso del tempo. Successivamente focalizza il ruolo della cultura, del patrimonio culturale e della creatività nell’attuale programma quadro Horizon Europe, anche evidenziando le positive modifiche apportate rispetto ad Horizon 2020. Quindi, analizza gli strumenti europei per la ricerca su cultura, patrimonio culturale e creatività nella fase attuativa del programma quadro, evidenziando le potenzialità di ricerca e le opportunità per la comunità scientifica, imprenditoriale e istituzionale italiana. Il lavoro si conclude infine con alcune considerazioni orientate ad un rafforzamento del posizionamento dei temi culturali e creativi nelle politiche della ricerca europee. The paper starts with an overview of the evolution of the European research policies over the time. Then, it focuses on the role of culture, cultural heritage and creativity in the current framework programme Horizon Europe, also through a comparison with its predecessor Horizon 2020. That leads the way to the analysis of the European tools for research on culture, cultural heritage and creativity in the implementing work-programmes, pointing out their potential as well as the opportunities for the scientific, entrepreneurial and institutional community. Finally, the paper raises some considerations on the potential actions aimed at strengthening the role of culture, cultural heritage and creativity in the European research policies.

In the last decades, the Internet and the Web have given citizens unprecedented possibilities of communication and contents co-creation, which produce a huge amount of data about the places which they live in. The advent of social Web has been recently upsetting patterns of re-territorialization, practices of urban experiences as well as uses of cultural heritage, growingly mediated by ICTs so that an extraordinary repository of online data and e-discourses has been affecting the imageries which territories are built on. As a result, analysing the territories and their tangible and intangible cultural assets through data retrieved from the Web has received considerable attention as a promising method for place-based applied researches focused on several territorial dimensions, ranging from sustainability to wellbeing and heritage. Particularly, this paper aims at critically exploring the role of cultural heritage in influencing the online narratives and perceptions of territorial wellbeing in two Italian provinces selected as case studies. Although the Web data use is not without its challenges, the paper is focused on a multi-method approach encompassing Web data retrieval, selection, classification and analysis, in addition to an exploration based on the Sentiment Analysis approach, aimed at investigating the online “sentiment” about local cultural heritage and its implications in terms of collective wellbeing in two selected Italian provinces. The main goal is to compare narratives about the interplay between cultural heritage and wellbeing in areas included in official rankings of quality of life, based on a set of indicators, with those co-created in the Web in order to provide new theoretical/methodological insights on the challenges and potentialities deriving from the use of web-based sentiment analysis methodologies in territorial research. Negli ultimi decenni l’avvento del Web sociale ha scompaginato i processi di territorializzazione, le esperienze urbane e le percezioni del patrimonio culturale in modo così pervasivo che la mole sempre più consistente di dati online e narrazioni digitali può influenzare il modo in cui i territori sono percepiti. Di conseguenza, i dati estrapolati dal Web rappresentano una base informativa sempre più largamente usata per l’analisi dei territori e del loro patrimonio culturale tangibile e intangibile. In particolare, questo articolo esplora criticamente il ruolo rivestito dal patrimonio culturale nell’influenzare le narrazioni online e le percezioni del benessere territoriale in due province italiane selezionate come casi di studio. Nonostante alcune limitazioni metodologiche, la ricerca si fonda su un approccio multi-metodo che include l’estrapolazione di dati dal Web, la loro selezione, classificazione e analisi attraverso la metodologia della Sentiment Analysis, finalizzata a cogliere il “sentiment” (opinione) online sul patrimonio culturale locale e sulle sue implicazioni in termini di benessere collettivo. L’obiettivo principale è comparare le percezioni di territori inseriti nelle classifiche sulla qualità della vita sulla base di una serie di indicatori con quelle co-create nel Web al fine di approfondire le nuove prospettive teorico-metodologiche derivanti dall’utilizzo della Sentiment Analysis nelle indagini territoriali.

This paper focuses on analysing fable II of Book IV of Ovidius moralizatus written by Petrus Berchorius (c. 1290-1362), in order to enlighten its uniqueness. I will discuss how Berchorius combined three mythological motifs – Juno’s gynogenesis of Vulcan as a direct response to the parthenogenesis of Pallas from Jupiters’ head, Vulcan’s fall at Lemnos, and his marriage to Venus – and how he allegorically interpreted them. The first part of the essay will adress the literary fortune of these three motifs. The survey of textual souces demonstrates that Berchorius combined a minor mythographic tradition with two more successful ones, resulting in a original narrative absent in both the Ovidian Metamorphoses, and Barchorius’s predecessors and contemporary moral commentaries. Secondly, I will explore the figurative tradition of the fable, unveiling the interrelation between text and images. In particular, I will focus on the illuminated Gotha and Bergamo manuscripts, which translated the Bersurian fable into images. After studying the iconographical fortune of these motifs, I will argue that the above-mentioned miniatures are the only medieval iconographical sources of the non-Ovidian myth of double parthenogeneis, thus testifying the undeniable originality of the case study.

In the rich 16th-century decoration of Palazzo del Principe in Genoa, scenes from the myth of Prometheus – a complex narrative shaped and disseminated by a number of different sources and mediation texts – are represented. In the context of the decoration campaign committed by Andrea Doria to Perino del Vaga and his équipe (1528-1533), the theft of fire and the gift of it to mankind, with the Titan’s punishment in the background, were depicted in the marble bas-relief of a monumental fireplace’s tondo, the earliest testimony of Promethean images in Genoa. In the 1590s, Giovanni Andrea Doria, Andrea’s heir, had two of the rooms he added to the palace decorated with plaster bas-reliefs on the ceilings, representing Prometheus’ deeds (the creation of man, the theft of the fire from the Sun’s chariot’s wheel, the animation of man) and his punishment, through the intervention of Mercury who is portrayed chaining him to the Caucasus rock. This paper aims to present and analyse the iconographies of these works, connecting them to the characters and purposes of Andrea Dorias’ strategy of images (closely related to his political role in the Genoese state), consistently continued by his successor.

The Labours of Hercules was a particularly prolific motif for tapestries in the Renaissance. The iconographic scheme of the Hercules series synthesized an enormous range of ancient and medieval philosophical and didactic erudition. This paper will examine an episode especially favoured in the sixteenth-century series: the fight between Hercules and the river-God Achelous (Metamorphoses, IX, 1-100). In scholarly literature, the scene has often been interpreted as the battle of Hercules against the Cretan bull. However, this episode was widely superseded by Hercules’ struggle against Achelous, due to the authority of Ovid’s texts. It will delve deeper in the matter by focusing on a curious detail: all tapestries depict Achelous with a human body and a bull’s head. This finding provides valuable new insights regarding this idiosyncratic and complex iconography.

Ovid made a rare appearance in the Hungarian countryside in the mid-18th century. Enlarged illustrations from the Metamorphoses formed a mythological cycle in the Ceremonial Hall of the late baroque mansion of the noble Ráday family. The mansion was built in the 1720’s in Pécel by Pál Ráday and was renovated later in the century by his son Gedeon. The original decoration consisted of 16 large frescoes and was inspired by two illustrated Ovid editions published in Amsterdam in the 1730’s. Each scene is supplemented with Gedeon’s verses in Hungarian. The wall paintings form a significant part of a larger decoration program, which aspires to present the encyclopaedic knowledge of the era. This paper aims to provide a comprehensive overview of the mythological cycle including its visual sources and textual additions, examine its historical and cultural context, analyse its program and acknowledge the role of the patron in the dissemination of classical knowledge in Hungary. It claims that the Ceremonial Hall provides a scenery for theatrical representations, encloses the idea of theatricality and outlines yet another important chapter in the afterlife of Ovid’s Metamorphoses.

The paper presents results of the first comprehensive analysis of the reception of Ovid’s Metamorphoses in Baroque art in Bohemia and Moravia. First aspects of the reception relate to the referentiality that is one of the essential characteristics of Baroque art in Central Europe, where various influences from both neighbouring and more distant regions intersect. Artists mainly used popular illustrated editions of the Metamorphoses: cycles by V. Solis, H. Goltzius, C. de Passe, A. Tempesta, J. W. Baur, and engravings from the 1676 Paris edition or the 1677 Brussels edition. Nevertheless, the receptive character of these works of art cannot be understood as a result of lack of artistic invention but it is quite often strongly rooted in the patrons’ requirements, as some preserved archive sources confirm. The article also tries to trace the popularity of editions among artists and patrons through the research of inheritance inventories of patrons and painters. The importance of Ovid’s works is also demonstrated on one of the most striking examples, the only existing early modern translation of full text of Metamorphoses to Czech language.

At the end of the third book and the beginning of the fourth book of the Metamorphoses, the particular Thebaid created by Ovid is narrated, with the entry of Bacchus into Thebes and the celebration of the Bacchic festivities. This paper aims to study the images in relation to this theme that are represented in fourteenth century illuminated manuscripts of Ovide moralisé and Ovidius moralizatus. In this analysis we will take several aspects into account: the different texts that illustrate the miniatures, the Ovide moralisé and the Ovidius moralizatus, for which the different texts will be compared; the lack of previous iconographic models of this myth, and the absence of key points in the narrative. As a consequence, each miniaturist, when converting the myth into an image, opts for a presentation of the god and his rites, with the consequent creation of different versions for this topic.

At a time of increasing ecological anxiety, Ovid’s Metamorphoses gains a new relevance for its distinct portrayal of the relationship between humanity and the environment. While the poem has exerted a significant historic influence in the visual arts, the text’s importance reemerges for artists today as they explore current preoccupations about anthropogenic climate change, environmental degradation and posthumanist futures. The significance of this 21st-century reception of Ovid in the visual arts, however, is yet to be fully examined. In this paper, I consider the work of three contemporary Danish artists,who draw the Metamorphoses into ecological discourse, representing the afterlife of the poem in the Anthropocene.

The objective of this paper is to put forward possible relationships of Bersuire's Ovidius moralizatus with other medieval works departing from two illustrations that accompany passages of the text in two different manuscripts: Bergamo, Biblioteca Civica Angelo Mai, Cassaforte 3.4, and Treviso, Biblioteca Comunale, 344. Therefore, analyzing the texts on which the two illustrations are based, we try to determine which works can be the source for them, and we also try to understand the figures represented in the illustrations. So, the figure of Vanity from the Treviso manuscript seems to be unique in its representation, but the text, with some distinctive features, seems to be based on the Ymagines Fulgencii. The representation of the story of Bacchus in the Bergamo manuscript is found in other illustrations, and its accompanied text seems to rely on the mythographical tradition present in an anonymous Liber de natura deorum of the twelfth century.

During the 16th century, Ovid’s Metamorphoses was the object of several translations and rewritings, either of single books or the whole Latin poem, which were often accompanied by valuable illustrative sets. This paper examines the different versions of Pluto’s abduction of Proserpina as described in the main Italian translations of Ovid’s Metamorphoses printed in the 16th century (Agostini, Dolce, Anguillara). My primary focus is on the illustrative sets which are essential to understanding to the transmission of classical mythology between the Middle Ages and the Renaissance. On the one hand, the article aims to understand the artists’ choices of which elements of the story to illustrate, and the relationship between the text and the images. On the other hand, my purpose is to situate these versions of the myth of Proserpina in both the literary and artistic history of the Italian Renaissance, by comparing the rewritings of Ovid’s Metamorphoses with other broadly contemporary works.

The Metamorphoses of the Italian Trecento preserved in the Marciana Library in Venice is one of the few manuscripts of the Ovid’s poem that includes illuminations of mythological themes illuminations. This paper aims to review the identifications proposed to date for its images to relate them to other miniatures of Metamorphoses cycle within the complex cultural environment of the Trecento in northern Italy, in close contact with Bologna and in constant dialogue with Avignon.

Il contributo intende ripercorrere le vicende critiche di uno degli edifici religiosi più significativi e interessanti dell’architettura medievale di Ascoli Piceno, caratterizzato da diverse fasi costruttive, non ancora ben definite e focalizzate e meritevoli di ulteriori approfondimenti e precisazioni. Attraverso la lettura degli apparati murari, in relazione anche agli interventi di restauro di fine Ottocento, mai presi in considerazioni in precedenza, e l’analisi comparata della scultura architettonica, lo studio si propone di verificare la possibile datazione al primo periodo carolingio del campanile della chiesa, come già proposto in passato da alcuni storici locali, ma di recente messa in discussione e negata. The aim of the paper is to trace the critical events of one of the most important and interesting religious buildings of the medieval architecture of Ascoli Piceno, characterised by different phases of construction, not yet well defined and focused, and worthy of further study and clarification. The study aims at verifying the possible dating of the bell tower to the early Carolingian period, as proposed in the past by some local historians, but recently questioned and denied, through the reading of the masonry apparatus in relation to the restoration interventions of the late nineteenth century, never considered before, and through the comparative analysis of the architectural sculpture.

Il contributo si propone di esplorare il concetto di ecomuseo come strumento per la trasformazione del capitale in patrimonio culturale, analizzando in questo contesto il ruolo chiave del geomediatore. L'obiettivo principale della ricerca è quello di comprendere come l'ecomuseo possa facilitare la conservazione, la valorizzazione e la trasmissione del patrimonio culturale, promuovendo allo stesso tempo lo sviluppo sostenibile delle comunità locali. La metodologia si basa su una revisione della letteratura disponibile sul concetto di ecomuseo, il suo ruolo nella valorizzazione del patrimonio culturale e la necessità del geomediatore come figura chiave. I risultati della ricerca indicano che l'ecomuseo può agire come catalizzatore per la trasformazione del capitale culturale in patrimonio culturale, coinvolgendo attivamente le comunità locali nella conservazione e nella valorizzazione dei loro territori. Le implicazioni della ricerca possono essere utili per gli studiosi, i professionisti e le istituzioni interessate alla conservazione e alla valorizzazione del patrimonio culturale attraverso l'implementazione di strategie ecomuseali e l'adozione della figura del geomediatore come facilitatore dei processi performativi. The paper aims to explore the concept of ecomuseum as a tool for the transformation of capital into cultural heritage, analysing in this context the key role of the geo-mediator. The main objective of the research is to understand how the ecomuseum can facilitate the conservation, valorisation and transmission of cultural heritage, while promoting the sustainable development of local communities. The methodology is based on a review of the existing literature on the concept of the ecomuseum, its role in the valorisation of cultural heritage and the need for the geo-mediator as a key player. The results of the research indicate that the ecomuseum can act as a catalyst for the transformation of cultural capital into cultural heritage by actively involving local communities in the conservation and enhancement of their territories. The research findings may be useful for scholars, professionals and institutions interested in the conservation and enhancement of cultural heritage through the implementation of ecomuseum strategies and the adoption of the figure of the geomediator as a facilitator of performative processes.

The debate on the digital transition of cultural heritage has often focused on the opportunities and challenges faced by cultural institutions, but in recent years a growing attention has been devoted to understanding the role of grassroots and collaborative initiatives in contributing to this process. In this article, we study the Wiki Loves Monuments (WLM) contest in Italy, one of the largest and most widespread collaborative projects to document cultural heritage through open access tools. Using quantitative and qualitative evidence collected from ten editions of the initiative, the paper investigates the contribution of collaborative digital communities in the production and sharing of knowledge about cultural heritage on the Internet. In particular, our findings point out to systematic differences in the rate of documenting monuments across regions and types of municipalities, as well as peculiar patterns of the WLM community in the contribution and re-use of images in Wikimedia projects. The analysis adds insights into the opportunities and challenges that collaborative projects through open access and re-use of digital content can offer for the enhancement of cultural heritage. Il dibattito sulla transizione digitale del patrimonio culturale si è spesso concentrato sulle opportunità e le sfide affrontate dalle istituzioni culturali, ma recentemente una sempre maggiore attenzione è stata dedicata alla comprensione del ruolo delle iniziative di base e collaborative nel contribuire a questo processo. Il presente contributo studia l’esperienza italiana di Wiki Loves Monuments (WLM), uno dei più ampi e diffusi progetti collaborativi per documentare il patrimonio culturale attraverso strumenti open access. Utilizzando dati quantitativi e qualitativi raccolti in dieci edizioni del concorso, l’articolo esplora il contributo delle comunità digitali collaborative nella produzione e condivisione di conoscenza sul patrimonio culturale su Internet. In particolare, i nostri risultati evidenziano differenze sistematiche nel tasso di documentazione dei monumenti tra le regioni e i tipi di comuni, così come modelli peculiari della comunità WLM nel contributo e nel riutilizzo delle immagini nei progetti Wikimedia. L’analisi contribuisce al dibattito sulle opportunità e le sfide che le iniziative collaborative attraverso l’accesso aperto e il riutilizzo dei contenuti digitali possono offrire per la valorizzazione del patrimonio culturale.