The Renaissance artists and antiquarians who descended into the earth and into the ruins of the Domus Aurea the palace of the first-century Roman emperor Nero found themselves in a strange space where their present was collapsed with the ancient Roman past and surrounding them was fantastical and bizarre painted decoration This rediscovery in the late 1400s of an ancient Roman structure with extant examples of grotesque painting expanded and spurred interest in this style and technique of decoration it became a pronounced and ubiquitous feature of Renaissance interior spaces.1 Rather than trace the development and diffusion of this decorative mode or stylistic exercises of fantasia about space itself and about the complex relationships between spaces as negotiated through the artistic practice of imitation and the Renaissance archaeological imagination.2 The Loggetta of Cardinal Bibbiena in the Vatican (fig vaulted space covered in grotesque decorations designed by the famed Renaissance artist Raphael and his workshop around 1516 provides an intriguing case study due to its mirroring of the form and decoration of the Domus Aurea’s similarly long this subterranean ruin had become an example of what Foucault describes as a “heterotopia,” a “different place” at variance with the norms of time and reality.3 The translation and transposition of this space into the Vatican is not a simple anachronism or copy of this heterotopic place It is a physical product of the Renaissance task of imagining a re-completed and living antiquity Foucault’s concept of heterotopia seeks to define different spaces in relation to broader cultural norms and social functions This model assumes that the spaces we inhabit are laden with “bundles of relations” that both demarcate them as discrete and localizable as well as tie them together through proximal connections.4 In this way space is organized in a manner that makes sense But within this model there are certain spaces at variance with other sites; these spaces neutralize or reverse these relations with other spaces because they are utterly different or different places.5 They can contain a sense of the uncanny where people are expected to behave differently or where multiple spaces are juxtaposed into one The underground ruins of the Domus Aurea can be read as such a location It exists alongside the history of the city of Rome yet is locked within a different archaeological stratum An anonymous fifteenth-century artist who visited this place poetically described this experience of difference and the oddities of being there: “[I]n every season the rooms are full of painters looking more bizarre than the grotesques.”7 For the Renaissance visitors the Domus Aurea was a place where time was confused Here the present and past collided in new temporal-spatial connections and fantastical decoration charged this space with a strangeness that the visitors saw in themselves this type of decoration was the antithesis of what the Renaissance had understood as classical and sought to implement through its antique vocabulary was employed in fresco or sculpted on walls and human forms; metamorphic and sprawling ornamental candelabra motifs; and illogical and irrational compositions All of these are noticeable in an anonymous sixteenth-century French artist’s drawings from the cryptoporticus (figs the grotesque presented an inversion of the classical aesthetic ideals of naturalism And yet this antithesis emerged from the Roman earth and directly out of the classical past greatly shifting attitudes around this decorative mode through the significance of the discovery of the ruin.9 prior to the finding of the Domus Aurea and before other archaeological projects of exhumation the work of reconstructing ancient spaces was less architectural this reconstruction occurred within the mind and was transmitted through writing and poetry To Petrarch and his scholarly contemporaries in the mid-fourteenth century any restoration ought to rely on imagination and literary invention.10 Reading and writing in fourteenth- and early fifteenth-century humanist philological practices were the keys to a Roman resurrection—not as a physical location but as an idealized and re-completed mental form based on the contemplation of the material remains.11 the work of subsequent fifteenth-century humanists laid the groundwork for a shift from imagination to outward reality Flavio Biondo presented a literary construction arguing for a unity of authority between Rome’s pagan and Christian histories.12 This was a mode of thought by which the Roman past would become more clearly part of a contemporary Christian reality through the juxtaposition of the ancient city and early modern theology new vigor and expanded license would be added to the project of resurrection that shifted from humanist fiction to a reality mediated by the visual arts and the curation of spaces The figurative culmination of this project was the letter of Baldassare Castiglione and Raphael to Pope Leo X where the humanist-diplomat and the artist describe their work of restoring and fleshing out the “lacerated corpse” of Rome as the obligation of the moderns.13 Sixteenth-century artists went beyond the humanist literary imagination which had conjured a vision of both present and past engendered by the study of ancient materials and worked instead directly into the physical urban fabric in order to resurrect the body of ancient Rome This is what we see in the Loggetta of Cardinal Bibbiena a space constructed by Raphael14 and decorated by the grotesque specialist of his workshop Giovanni da Udine.15 Raphael and Giovanni had descended into the heterotopic Domus Aurea sometime around 1510 reemerging with the imagined and idealized mental forms of the spaces they encountered and transformed these concepts into tangible forms in the current time and space of the Vatican.16 The shape of the Loggetta clearly recalls that of the cryptoporticus and the ethos of the former’s decorations are inspired by the latter’s ceilings and walls in a manner that most closely imitated the original space to date.17 Thin garlands hang between delicate architectural forms birds and animals perch on curling acanthus leaves plants transform into animals and faces appear from vegetation All of this seems to hang in space in an arrangement showcasing the stylistic expansion of the Renaissance grotesque into a largely unbound emerging from ground lines are seen in both the pages of the French sketchbook (fig 3) and in the top register of a wall segment of the Loggetta (fig winged beasts from the same sketchbook (fig 4) bear strong visual resemblance to the forms on the bottom register of the same segment much of the work here was done in the classical rapid technique of grotesque painting wherein an artist works directly on the wall and produces forms free-hand thus mirroring the ancient manner of execution in addition to the mode of decoration and architectonics.18 Yet this architectural and decorative transposition from the ruins to the Vatican leaves traces of the heterotopia from whence its imagining came within this space Indeed it is much like Foucault’s example of the museum where the decoration from an “anti-classical” classical past haunts and mingles with the present.19 It is also a place of multiple places as part of a curial apartment suite and a projection of a ruined But the relationship between these spaces is more complicated; here an understanding of the Renaissance mindset regarding time and art is crucial.20 This period’s valuation of the past allows for what Thomas Greene terms a “creative anachronism,” which is the conscious and productive use of chronological difference in the making of a synchronous present,21 a mode of thought whereby the calculated imitation of classical art already collapses time.22 Thus this reimagining of the cryptoporticus and the resurrection of its decorative mode and means of execution in effect suspend the heterotopic temporal difference at play between the Loggetta and the Domus Aurea They reintroduce some proximal bundles of relations that tie this space to the larger fabric of the Renaissance This is what lies in between these spaces: an awareness of the past and the utility of art in mediating temporalities Tyler Rockey is a PhD student at Temple University specializing in the art of early modern Italy His research interests include the persistence of the classical tradition Renaissance-era philosophy and theories of art and semiotic instabilities of ancient sculptures in the early modern context For comprehensive discussions of the grotesque style of decoration La Découverte de la Domus Aurea et la Formation des Grotesques à la Renaissance (London: Warburg Institute The Understanding of Ornament in the Italian Renaissance(Boston Ornament and the Grotesque: Fantastical Decoration from Antiquity to Art Nouveau (London: Thames and Hudson Conventions: Representation in the Visual Arts (Cambridge 4. Ibid., 176. “Fantasies so Varied and Bizarre: The Domus Aurea and the ‘Grotesque,’” in A Companion to the Neronian Age “Grotesque,” in The Oxford Encyclopedia of Aesthetics Michael Kelly (New York: Oxford University Press www.oxfordreference.com.libproxy.temple.edu/view/10.1093/acref/9780199747108.001.0001/acref-9780199747108-e-344 Unearthing the Past: Archaeology and Aesthetics in the Making in Renaissance Culture (New Haven 10. Thomas Greene, “Resurrecting Rome: The Double Task of the Humanist Imagination,” in Rome in the Renaissance: The City and the Myth, ed. P. A. Ramsey (Binghamton, NY: Center for Medieval and Early Renaissance Studies, 1982), 42. The Renaissance Discovery of Classical Antiquity The Understanding of Ornament in the Italian Renaissance The Loggia of Raphael (New York: Abbeville Press Publishers Per la Storia delle Grottesche: La Riscoperta della Domus Aurea (Rome: Istituto Poligrafico dello Stato “Medieval Culture and Mentality According to the New French Historiography,” European Journal of Sociology 24 The Vulnerable Text: Essays on Renaissance Literature (New York: Columbia University Press Anachronic Renaissance (New York: Zone Books View all posts Pen and brown and black ink with gray wash New York – The Morgan Library & Museum proudly presents Architecture and Fantasy: Bibiena Drawings from the Jules Fisher Collection The exhibition explores the elaborate stage design drawings produced by the Bibiena family and collected by the internationally acclaimed lighting designer Jules Fisher It marks the first exhibition dedicated to Bibiena drawings in the United States in more than thirty years members of three generations of the Bibiena family were the most highly sought theater designers in Europe Their revolutionary stage designs were used for operas and courtly performances across Europe: from their native Italy to cities as far afield as Vienna While some of these productions are recorded in engravings the Bibiena style survives above all in the family’s extraordinary drawings which demonstrate the range of their output—from energetic sketches to highly finished watercolors With representations of imagined palace interiors and lavish illusionistic architecture this group of drawings highlights the visual splendor of the Baroque stage Many demonstrate the family’s signature invention: the scena per angolo or “scene viewed at an angle.” Replacing the static symmetry of earlier theater designs the scena per angolo used multiple vanishing points to imagine sets of unprecedented monumentality with a complexity of space never previously seen on the stage The Bibiena family of artists traces its origins to Giovanni Maria Galli (1618–1665) who was born in the Tuscan town of Bibbiena but moved to Bologna where he worked under the painter Francesco Albani he came to be known in his adopted city by a toponymic surname Galli da Bibiena (with “Bibbiena” shortened to “Bibiena”) continued to use “Galli Bibiena,”or simply “Bibiena,”as the family name and Fantasy celebrates the promised gift to the Morgan of twenty-five drawings by members of the Bibiena family from the collection of Jules Fisher During a career spanning more than sixty years Fisher has designed the lighting for over three hundred Broadway and off-Broadway shows including the original productions of Hair Fisher’s long-standing fascination with the Bibienas was notably encouraged by his late brother Roy Fisher a much-respected art historian and drawings expert who worked for Wildenstein & Company and the J and as an independent dealer.The Fisher gift finds an ideal home at the Morgan which already holds one of the largest collections of Bibiena drawings outside of Europe I have always been enchanted by the Bibienas’ masterly use of light and shade to communicate the three-dimensionality of space The Morgan’s major collection of work in this genre makes it the perfect place for the addition of my collection The Morgan has my gratitude for protecting and sharing this treasure.” “The Morgan is delighted to present twenty-five exquisite drawings by the Bibiena family from the collection of Jules Fisher This most generous gift promised by Jules to the museum represents outstanding examples from this dynasty of theater designers.With an award-winning career in lighting design spanning over 60 years Jules’s long-standing fascination with the Bibienas finds perfect expression in this remarkable survey and Fantasy: Bibiena Drawings from the Jules Fisher Collection.” the Charles W.Engelhard Curator and Head of the Drawings and Prints Department at the Morgan formerly the Moore Curatorial Fellow at the Morgan professor emerita at the Graduate Center of the City University of New York professor emeritus of theater at Columbia University An array of engaging public programs will also accompany the exhibition Please visit www.themorgan.org for further details Tonight, we may see two worlds collide Is this the end of the large sales areas as we knew them? But would they really want to go? Ready, set, bet! On this occasion, we spoke with street artist Davide Vavalà China focuses on in transit shopping From Instagram sponsorship to million-dollar ads In Italy, there are figures embodying this vision, yet the fashion industry continues to overlook them The example of four emerging brands that challenge convention The brand new leather good from the French fashion house in the colours of Indian summer Following in the footsteps of Léna Situations, Mister V, Amixem and Andie Ella, Squeezie is now launching his new brand From Dubai to Brignoles, the revenge of a forgotten fruit From those for the pope's funeral to those for the inauguration of a government, to simple toasts The US President's attempt to save Hollywood passes, not surprisingly, through duties Which promises to reveal the whole truth about the rapper's famous “parties” Between bad experiences and a few too many statements about Anna Wintour And why it is important to constantly update your bio While in Italy university graduates are seeking their fortune abroad, US researchers are fleeing from Trump From May the 2nd to 4th Its two co-founders tell us why you should apply to it Interview with Samuel Ross Interview with Willy Chavarria Interview with Louis Gabriel Nouchi Interview with Mowalola Interview with Marni’s Francesco Risso Interview with Jean-Charles de Castelbajac Interview with Byredo’s Ben Gorham Interview with Ottolinger Interview with Massimo Giorgetti Beyond the traditional realms of fashion The eight finalists tell their stories A record year at the competition for young designers in Trieste The Chinese designer debuted at Milan Fashion Week with the support of Dolce&Gabbana Fashion might have forgotten the art of fantasy, but the Shanghai-based designer hasn’t Interview with Hillary Taymour, founder and creative director of Collina Strada The collab between Napapijri and PDF by Domenico Formichetti was the first chapter of a new way of making fashion Interview with the PROTOTYPES Duo Y2K satire by Shukri Lawrence and Omar Braika in collaboration with Barragàn The Danish brand that questions contemporary manufacturing When personalisation and durability come together in your virtual dressing room, and not only the world of Made in Italy had welcomed worrying news about the future of one of its historic factories the Manifattura del Casentino in Soci di Bibbiena which was in danger of closing due to bureaucratic problems leaving one hundred employees without work Which would have been tragic both because the company is the last to produce this particular fabric along with two other factories that instead made clothes from it for numerous brands; and because there was actually no shortage of orders and orders-especially from prominent clients such as King Charles III who last September had requested a coat in that fabric shifting the press spotlight on the struggling company Then a lifeline had arrived with the takeover of the woolen mill by one of its longtime customers and a few days ago local newspapers reported an order of 600 pieces from Gucci which used the Tuscan fabric to produce a new accessories collection in the color British green And orders are increasing with orders for about thirty kilometers of fabric to be delivered within the year The history of the production of Casentino cloth is that of one of the oldest handicrafts in Italy with commercial documents testifying to its production as far back as the 14th century - a period when it was already famous for its fluffy texture due to the woolen curls obtained through a type of combing of the fibers known as "rattling." Casentino cloth has been used for centuries for coats and outerwear precisely because this technique makes the fabric warmer and After the fabric was used in the Renaissance for the cassocks of the monks of La Verna and Camaldoli the cloth became popular among Italian and English nobles and then took on its traditional form (with the two classic colors of orange and green) in the nineteenth century when the famous double-breasted coats began to be produced.  Get access to exclusive contents and keep yourself updated Get access to exclusive contents and keep yourself updated Select the topics in which you are interested: Every month a newsletter to receive updates from our creative media agency So you don't miss the chance to attend nss world events Every month the latest news from the French vertical of nss December 01, 2016 Each year millions of people spend bucketfuls of their hard-earned cash to travel to famous landmarks and then wonder what the hell else they're going to do until the flight back home those people are obviously unaware that cool little secrets lurk all around you -- if you know where to look Designed by architect Henry Bacon (designer of a little thing known as the Lincoln Memorial) in 1907 the base of each street lamp bears a plaque inscribed with a mysterious number you probably assumed it was some kind of serial number or perhaps a running tally of how many times that particular lamp has been peed on by a random drunk Actually, those numbers are there to help you escape from New York quicker than Kurt Russell can slap on a badass eyepatch Here's the secret: The first two (sometimes three) numbers on the post indicate the nearest cross street while the last number indicates which side of the park you're on -- odd numbers for west while post number 6666 means you're about to get tossed off a balcony by a demonic toddler you can close Google Maps and conserve your phone battery for more important tasks we're betting approximately not a one of them suspects that they're just steps away from Christendom's bawdiest bathroom after which Bibbiena proceeded to hop in the bath and do whatever it is a highly sexually repressed man does when naked and surrounded by a full 360 degrees of smut the so-called Stufetta della Bibbiena has sort of become the Vatican's dirty little secret The chamber has been stripped of its bath and other accoutrements Its walls have been painted over and then restored in the mid-19th century by a Catholic art expert -- because porn painted by Raphael is still porn painted by goddamned Raphael If you'd like to take in some papal porn firsthand (so to speak), good luck: the holy types at the Vatican open the Stufetta almost never and some of the most risque frames -- such as the mid-rape of Minerva by Vulcan -- have been destroyed at least one attempt at such censorship utterly backfired: An effort to cover up Pan's weird index-finger-looking boner with white paint only succeeded in making it appear as if history's most famous satyr was packing a meat missile capable of rendering any nymph incapable of sitting for a week If you ever get a tour of the Pixar offices there are a couple of spots they're probably not going to let you see The backstory is that one day, Pixar animator Andrew Gordon discovered a hatch in his office revealing a passageway just large enough to accommodate a human-sized creature Gordon was in fact a human-sized creature himself so he crawled right on through to what would surely be either Narnia or the slavering jaws of some awaiting hellbeast stark room providing access to the building's air-conditioning valves after presumably clearing out all the janitor skeletons Gordon set straight to hauling in a full bar Thus was born the Love Lounge, and -- as the signatures on the walls can attest -- over the years it's been a happenin' hangout for the likes of Tim Allen, Michael Eisner, Roy Disney, and Steve Jobs, who preferred to call it the Meditation Room whatever makes you feel better about masturbating at work Sadly, Gordon eventually upgraded to an office not connected to the air vent room so he transformed the space neighboring his new digs into the Love Lounge's spiritual successor Visitors are no longer forced to crawl through a cramped duct instead entering via a sliding bookcase activated by a button hidden within a Shakespearean bust -- which is the proper way to enter a top-secret watering hole for animators and Batmen alike Your first indication that this ain't your granddaddy's Buddhist temple comes the moment you arrive as demonic traffic cones lead you to your parking space: Things only get weirder when, as you approach the temple, you're startled by a goddamned Predator returning from the grave: you must cross over the "cycle of death and rebirth," which is a fancy metaphysical way to describe a horrific pit of ghostly hands that reach for you in seek of handouts (donations may be made in US Dollars Believe it or not, the temple gets even more bizarre once you're inside. That's where Kositpipat has splashed the walls with elaborate murals depicting the destructive effects of worldwide greed and desire a message that is bafflingly conveyed with the help of pop icons such as Michael Jackson It's all fun and games until you round a corner and are greeted by a detailed depiction of the 9/11 attacks ... being perpetrated by Angry Birds Right about now is when you might decide that perhaps the type of "enlightenment" Chalermchai Kositpipat really needs is a good ol' kick in the dick Being the largest lake in South America and sitting at more than 12,000 feet above sea level Lake Titicaca bears the dual distinction of being both breathtakingly beautiful and a self-contained punchline Once you're done giggling like a schoolboy we'd like to tell you about the lake's islands Now, it's not unusual for a lake the size of Titicaca to have islands and, if you're visiting, you probably would feel no need to investigate them. What is unusual, however, is that Titicaca's are handmade. Even more unusual, they're handmade entirely out of reeds The Uros tribe predates the Inca civilization and -- if you ask them -- even predates the sun As has been their custom since before the solar system even existed (somehow) the Uros spend their days hunting the shores of Titicaca and building every damn thing out of the reeds that grow alongside it That's right: Everything from their homes to the islands on which they're built is composed entirely from the totora plants that grow abundant and thick in the lake's shallow waters Since the reeds lack the longevity of more durable the islands must be replenished with fresh totora several times a year While we might all lament our perpetual struggle to stay afloat in regard to bills and such Though they list "lake" in the residence box on their tax returns and live in domiciles built from Ice Age materials, modernity is gradually creeping into the Uros' lifestyle which breaks all the islands' latest (presumably reed-related) news They still maintain that whole "older than the sun" thing which is a good thing in the cases of "it costs an arm and a leg" and "a penny for your gonads." But the origin of the phrase "all roads lead to Rome" is quite literal: In 20 BCE Emperor Caesar Augustus erected the Golden Milestone the point to and from which all distances in the Empire would be measured but the idea of the Zero mile marker carried on you can find one at the dead center of many major cities America's most prominent Zero Milestone lies in Washington, D.C., commemorating the starting point of the first transcontinental motor convoy. While it was intended to be the radiating point for all measured distances in the nation today it's a mostly forgotten hunk of granite -- though it would probably come in handy for getting a clear pic of the White House over the heads of other tourists: Other cities followed suit and designated their own Zero milestones was unveiled by the creepy ghost twins from The Shining: Similar markers can be found throughout the world nations other than America use pagan measurements so theirs are generally known as Kilometer Zero While the Germans' girthy example is the milestone equivalent of an earsplitting Mustang driven by a former high school quarterback with inadequacy issues: yet fairly pointless in the grand scheme of things they were largely pointless even back before the days of GPS when an old-timey constable was stationed round-the-clock to guard the so-called London Stone: For more actual easter eggs, check out 5 Cool Secret Codes Hiding In Plain Sight Around The World and Crazy Secret Places Hidden In The Middle Of Famous Locations Subscribe to our YouTube channel, and check out The 7 Creepiest Easter Eggs Hiding In Kids' Video Games and other videos you won't see on the site Follow us on Facebook Charlie stumbled onto something big happening inside an abandoned warehouse. Specifically, SOMEONE big. Check out the audiobook of Chris Pauls and Matt Solomon's YA novel The Giant Smugglers FREE with a 30-day free trial of Audible It is called “Progetto Ospedale Verde [Green Hospital Project]” and it is an initiative put in place by the Local Health Unit – Azienda USL Toscana Sud Est to render the hospitals more efficient and welcoming This activity centers on the management and reduction in heat and energy consumption as well as the focus on the lightning We talk about this with Daniele Giorni Energy Manager at USL 8 Toscana Sud Est, land and environmental engineer since 2004 who after an experience at Publiacqua SpA (Operator of Integrated Water Services in the Area of Florence) and Nuove Acque SpA (Operator of Integrated Water Services in the Area of Arezzo/Siena) in the sector of plant and energy efficiency optimization of water supply systems and reduction in the so-called Non Revenue Water in 2008 was appointed Director for Energy Saving and Rational Use of at the former Health Unit Azienda USL 8 in Arezzo (currently Health Unit Azienda USL Toscana Sud Est) Did your unit put in place a structured project of energy efficiency which recently merged with the Health Unit Azienda USL Toscana Sud Est put in place a structured project of energy efficiency called “Progetto Ospedale Verde” that in the first place involved the hospital premises that the Health Unit owns in: Arezzo Then it was extended to other buildings of: Health and Social Care Districts Residential Care Units and Houses of Health Could you describe in detail the advantages that you observed after implementing the new measures The main intervention that was carried out was the installation of electric and thermal power cogeneration plants fueled by methane at the Hospitals in Arezzo and Valdarno (the two most important hospitals in terms of energy consumption) they allow us to produce within the hospital complex about half of the electricity that both hospitals need This undertaking was followed by the energy upgrading of the thermal power plant of 5 hospitals Cortona) saw a shift from the antiquated steam/superheated water thermal plants to new hot water power plants with modern boilers and modulating burners Valdarno) obsolete hot water boilers were replaced with new high efficiency boilers coupled with modulating burners A photovoltaic plant of 47 kWp was installed at the Hospital of Arezzo and there begun the procedures to award a contract for the provision of another one of 50 kWp at the Hospital of Cortona.  Moreover the refrigerating stations at the Hospitals of Arezzo and Bibbiena were upgraded in that the obsolete refrigerating groups were replaced with the new high efficiency magnetic levitation water condensers (Bibbiena) and air condensers (Arezzo) the system of domestic hot water production was upgraded by replacing the traditional boiler system with that of plate exchangers (Bibbiena These measures were implemented in 5 hospitals On other premises (Health and Social Care Districts Residential Care Units and Houses of Health) interventions related to energy efficiency and rational use of energy concerned thermal power stations in that condensing boilers (former Maternity Ward – Arezzo) or high energy efficiency thermal groups (other buildings) were installed The Hospital of Arezzo is about to implement a project called “Illumination” to reduce electricity consumption caused by the lightning The measure that was implemented in a wide-ranging manner in all buildings consisted in stipulating a contract with a high efficiency energy service which allowed our Health Unit to considerably reduce thermal energy consumption with respect to the past expenses Did you estimate the economic impact of these activities on the budget The return time on the investments made is as follows: electric and thermal power cogeneration plants fueled by gas for the hospitals of  Arezzo and Valdarno: slightly more than 2 years; upgrading of steam thermal station for the Hospital of Bibbiena: slightly more than 2 years; upgrading of thermal power stations for the Hospital of Arezzo Sansepolcro and Valdarno: about 5 years; upgrading of thermal power stations (Health and Social Care Districts Residential Care Units and Houses of Health): about 6 years; photovoltaic plants for the Hospitals of  Arezzo and Cortona (forecast): 7.5 years; “Illumination” project: 4 years; refrigerating stations for the Hospitals of Arezzo and Bibbiena: 9 years What type of financing did you choose for this activity The costs of activities were covered partly (80%) thanks to the financing from a non-refundable grant of the Ministry of the Environment intended for energy efficiency improvement in the public administration and the remaining part (20%) was covered by the Health Unit Do you think that your Health Unit will be able to develop new investment opportunities in terms of energy efficiency?   I believe that the Health Unit will be able to develop new investment opportunities in terms of energy efficiency How a land and environmental engineer sensitize the unit’s decision makers to rational policies in the field of energy use the most important instrument is to show clearly the advantages that can derive from implementation of such policies that is: the reduction of the unit’s energy costs and the improvement of its image with external players Per ricevere quotidianamente i nostri aggiornamenti su energia e transizione ecologica basta iscriversi alla nostra newsletter gratuita REbuild 2025: laboratorio di idee e soluzioni per la trasformazione sostenibile dell’ambiente costruito Bioteli innovativi per impacciatura Into the Sun”con Elmec Solar +: un’immersione nel futuro del fotovoltaico residenziale Le isole minori del mondo si incontrano a Capraia CIRCONOMIA 2025: il festival dell’economia circolare compie dieci anni Tutti gli Eventi We may receive a commission on purchases made from links this pornographic bathroom had no official recognition for years A few murky photographs circulated in the 1930s but they were impossible to verify: No one who wanted to know ever had access and those with access were not about to speak The bathroom in question is known as "la stufetta del Bibbiena." "Stufetta" is a diminutive of "stufa," which means stove; today it refers to a space heater, but in the 16th century it was used to describe a small heated room (per Treccani) "Il Bibbiena" was the Cardinal Bernardo Dovizi di Bibbiena, who lived in the late-15th to early-16th centuries. Bibbiena was a humanist and an able politician, rising to fame at the court of the Medici in Florence, as Florida International University explains hand-wringing moralizer was he: He fought in Florence's wars with Urbino and is believed to have been poisoned by his enemies at the age of 50 Bibbiena had once been the tutor of the future Pope Leo X who relied on the cardinal so heavily for administrative duties that he called him "alter papa," the "other pope." But Bibbiena had another friend at the Vatican who would bring him fame: the painter Raphael Educated men across Europe grew up unscandalized by sex Bibbiena's "stufetta" was an emblem of that high point in our history The secrecy around it points to our decline.