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Bacteria and catacombs

All'interno delle catacombe di San Callisto, a Roma, sulle pareti tufacee del "cubicolo Oceano", sono state individuate due nuove specie di batteri appartenenti al genere Kribbella che, in onore del luogo della scoperta, sono state chiamate Kribbella catacumbae e Kribbella sancticallisti. Clara Urzì, autrice della scoperta e docente di Microbiologia in the Department of Life Sciences, University of Messina, recently published in the journal "International Journal of Systematic and Evolutionary Microbiology" the details of his research carried out under the project "Cats" (Cyanobacteria Attack Rocks). These bacteria, which have favorable climatic conditions found in the catacombs with photosynthetic organisms (cyanobacteria and algae), are particularly harmful because they penetrate into the substrate tuff and disrupt the superficial part of frescoes and wall decorations. According to Patrick Albert, Professor of Botany at the University of Rome Tor Vergata, to preserve the frescoes and decrease cyanobacteria blue-green patina that create alle pareti, sarebbe necessario utilizzare un'illuminazione monocromatica, simile a quella proiettata nei nightclub.

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Botany and Zoology in ancient Greece

Teofrasto, scienziato greco allievo di Aristotele (IV-III secolo a.C.), in un'epoca in cui non esistono lenti o microscopi, conduce ricerche accuratissime in particolare sul mondo vegetale. Nelle sue opere descrive dettagliatamente almeno 500 specie diverse di piante, distinguendo radici, fusto, rami, foglie, fiore, frutto; studia le condizioni climatiche loro favorevoli, le possibilità di utilizzo alimentare o industriale, le loro proprietà medicinali, contribuendo così al progresso della scienza medica. Il grande Aristotele si occupa, invece, di zoologia, lasciando uno studio del animal kingdom that will remain unsurpassed for twenty centuries.

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The National Archaeological Museum of Cagliari

The history of the National Archaeological Museum of Cagliari began in 1800, when Ludovico Baille Carlo Felice viceroy proposed to create a museum to collect archaeological collections and to preserve the testimonies of Natural History of the island. His project was approved and a room of the Viceregal Palace was intended to the Cabinet of Archaeology and Natural History, under the direction of Leonardo De Prunner. This first collection of antiquities from increased donations from private individuals, was opened to the public in 1802. A few years later, in 1806, Carlo Felice gave to the collection all of its collections and the remarkable increase in items necessitated his transfer to a room of the Museum of Mineralogy. In 1806 he was replaced by Louis De Prunner Baille, but soon switched to the direction of the museum Gaetano Cara. They ruled it until 1858, and to enrich the collections, was also responsible, since 1841, to conduct excavations at the site of Tharros. Only in 1859 was separated from the archaeological to the Natural History and was appointed director Patrick Gennari, then replaced again by Cara in 1862. The Canon Giovanni Spano, founder of Sardinian, donated to the museum in 1859 his large collection. Over the years the collection continued to grow rich through donations and materials from the excavations and chance discoveries of those years. In 1875, Spano was appointed Commissioner to the museum and the ruins of ancient Sardinia. He was succeeded by Philip Vivanet and during his leadership of the rich collections were acquired Timon, Caput, Cara and Cugia medals. In 1883 the historian Ettore Pais compiled the first inventory of the Royal Museum. Two years later the collection was transferred to the Palace Vivanet, in Rome, where he remained until 1904. But now, the museum had grown up and deserves a home of its own: it was created and designed by Dionigi Scano, the Archaeological Museum in Independence Square, Reinvents the building, until the early twentieth century, and housed the mint ' armory. It was Antonio Taramelli, Superintendent of Antiquities of Sardinia from 1901 to 1931, maintain the new exhibition: the museum is divided into rooms devoted to pre-Roman Sardinia, the Punic Sardinia, in the living room where they were collected by categories Punic and Roman objects in the three rooms and finally to the subject: the lapidary, the room-Roman Christian, the medal count. In those years there was an enrichment of the extraordinary number and quality of the exhibits. In the 30s and 40s of the twentieth century alternated several directors: Doro Levi, Pauline Mingazzioni, Salvatore Puglisi, Massimo Pallottino, Raphael Delogu. In 1959 he became superintendent Gennaro Fish, who held the Superintendent and the Museum until 1967, making excavations primarily at Nora and Tharros. The successor to Gennaro Pesce, Ferruccio Barreca, ebbe il delicato compito di indagare i siti di Monte Sirai, Antas, Bithia, Sulci. Il museo fu soggetto a vari riordinamenti, con l'esposizione di contesti preistorici individuati dalle ricerche universitarie e degli oggetti rinvenuti nei nuovi scavi. Alla scomparsa di Barreca, nel 1986, successe Vincenzo Santoni, sotto il quale è avvenuto il trasferimento dalla vecchia sede, ormai insufficiente per spazio e servizi, in quella nuova e prestigiosa della Cittadella dei Musei.

L'idea di realizzare un nuovo Museo Archeologico Nazionale nell'attuale Cittadella dei Musei era nata negli anni Cinquanta del Novecento, con l'intento di creare una struttura culturale polivalente, che accogliesse la sede museale, la Pinacoteca Nazionale, the Department of Archaeological and Historical Art, the Institute of Sardis. The structure, designed by architects Piero Gazzola and Free Cecchini, was inaugurated in 1979 but, since 1986, it was decided to adapt the structure of the new archaeological museum standards for usability and security, until the inauguration in 1993.

The new National Archaeological Museum of Cagliari, where the exhibition was curated by archaeologists Tronchetti Carlo and Luisa Usai, has four floors: the first is devoted to an educational-didactic presentation of the sequence of ancient cultures in Sardinia, starting from Neolithic Age until the Byzantine age, while the other three floors are dedicated all'illustrazione dei diversi settori territoriali, con l'esposizione dei materiali rinvenuti nelle diverse località.

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The Seven Wonders of the Ancient World Archaeological Investigations at

Sono sette monumenti dell'antichità che per le dimensioni imponenti e la straordinaria bellezza si sono guadagnati l'appellativo di "meraviglia". Il primo elenco con i nomi di questi capolavori compare in un frammento di papiro di età tolemaica (II secolo a.C.) che riporta elenchi di persone o cose significative. Il testo, noto come "Laterculi Alexandrini", menziona anche le Sette Meraviglie, ma si conservano soltanto tre nomi: le Piramidi, l'Artemision, il Mausoleo di Alicarnasso. Il più antico elenco completo è, invece, contenuto in un epigramma di Antipatro di Sidone, conservato in the Anthology Palatine, dating from the second century BC (some scholars would, instead, Antipater of Thessalonica, for which the date would fall by a century). Here are cited: the walls of Babylon, the Zeus of Olympia, the Hanging Gardens of Babylon, the Colossus of Rhodes, the Pyramids of Egypt, the Mausoleum of Halicarnassus and the Artemision of Ephesus. In this list appear in the walls of Babylon, long lists included in the oldest, and lacks the Lighthouse of Alexandria, built in the first half of the third century BC, will last on the list of ancient wonders and is absent in the early lists. There are also many Latin authors that mention the Seven Wonders, just think of Vitruvius (first century BC) and Pliny the Elder (first century AD). A certain variability of the list (while remaining fairly constant number seven) is also documented in Roman and late ancient: they are mentioned in the Palace of Cyrus Ecbatana, the Colosseum, the Capitol. The lack of a fixed fee goes to the Middle Ages and beyond, but the interest in Wonderland does not seem to ever stop and still attract the attention of historians, archaeologists, writers and fans, although many of them are lost.

The only one still intact is the pyramid of Cheops at Giza (Egypt). Served ten years to build and millions of blocks of stone brought from distant quarries also. Built during the reign of Pharaoh Khufu (2551-2520 a.C.), è alta 146,6 metri.
I giardini pensili di Babilonia (oggi in Iraq). Fatti costruire da Semiramide, nel IX secolo a.C., erano palazzi sulle cui terrazze crescevano fiori, alberi da frutta e zampillavano fontane. Secondo alcuni elenchi la meraviglia erano le mura di Babilonia, fatte costruire da Nabucodonosor nel VI secolo a.C.. Erano fatte di mattoni d'argilla e il muro orientale era spesso 12 metri. Non ne rimane nulla.
L'Artemision di Efeso (Turchia). Il tempio dedicato alla dea Artemide venne realizzato nel VI secolo a.C.: era largo 50 metri, lungo 109 e le sue colonne erano alte 19 metri. Rimangono le sue rovine.
La statua di Zeus ad Olimpia (Grecia). Scolpita dal greco Fidia, intorno alla metà del Fifth century BC, was made of gold and ivory and 12 meters high. It too has been lost. The tomb of Mausolus
at Halicarnassus (now Bodrum, Turkey). Mausoleum, King of Caria (first half of the fourth century BC), built as a tomb a palace of gold and marble (since he entered the mausoleum as a common language with the meaning, of course, the tomb), which became famous for the decorations. Some fragments of them are in the British Museum in London.
The Colossus of Rhodes. It was a giant bronze statue, 32 meters high, placed at the entrance of the port of Rhodes (Greece). Built by the sculptor Chares in 290 BC, represented the god Helios (sun). Is not nothing.
The Lighthouse of Alexandria Egypt. Built in the third century BC on a reef near the island of Faro (hence the name passed to all buildings of this type), was to monitor the port of Alexandria. The tower was 120-140 meters high. Several earthquakes did collapse, but remain underwater ruins.