Synonyms for comparetti or Related words with comparetti

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Examples of "comparetti"
Domenico Comparetti (June 27, 1835January 20, 1927) was an Italian scholar. He was born at Rome and died at Florence.
Lorenzo Milani Comparetti (27 May 1923 – 26 June 1967) was an Italian Roman Catholic priest. He is best known as an educator of poor children and an advocate of conscientious objection.
Andrea Milani Comparetti (born 1948) is an Italian mathematician and astronomer based at Pisa University interested in topics as celestial mechanics, asteroids, Near Earth Objects (NEO), and the BepiColombo mission. Milani is an expert on asteroid impacts.
Power Admin also developed SpeedFanHttpAgent. The SpeedFan HTTP Agent exports and allows you to access SpeedFan's (utility by Alfredo Milani Comparetti) temperature data from across the network via a simple HTTP request.
There she met Federico Halbherr, a student of archeology from Florence's Domenico Comparetti. Guarducci began collaborating with Halbherr and became his favorite pupil during the excavations of the Cretan city of Gortyna. Her work there would continue after the death of Halbherr in 1930.
Federico attended the local schools in Rovereto for his primary and secondary education. He was known as being very bright, earning a "first class with eminence" in high school. First studying in Vienna with his friend and contemporary Paolo Orsi, he then moved to the University of Rome to become a student of Domenico Comparetti.
Lorenzo Milani was born in Florence in 1923 to a rich middle-class family (see the excellent biography by Neera Fallaci, 1993). His father, Albano Milani, and his mother, Alice Weiss, were staunch secularists. Alice Weiss was Jewish and a cousin of Edoardo Weiss, one of Sigmund Freud's earliest disciples and the founder of the Italian Psychoanalytic Association. Milani's paternal grandfather was Domenico Comparetti, a leading nineteenth-century philologist, and it is no accident that, as an educationist, Milani was a firm believer in the importance of learning how to use words effectively.
There has been less work on reverse-engineering of state-machines of protocols. In general, the protocol state-machines can be learned either through a process of offline learning, which passively observes communication and attempts to build the most general state-machine accepting all observed sequences of messages, and online learning, which allows interactive generation of probing sequences of messages and listening to responses to those probing sequences. In general, offline learning of small state-machines is known to be NP-complete, while online learning can be done in polynomial time. An automatic offline approach has been demonstrated by Comparetti et al. and an online approach very recently by Cho et al.
Recent productions have been mounted in the Berlin Staatsoper Unter den Linden (from 4 August 2000) under Sebastian Weigle, directed by Alexander Schulin with Gert Henning-Jensen (Chapelou), Simone Nold (Madeleine), Hanno-Müller Brachmann (Biju), Klaus Häger (Corcy), and Bernd Zettisch (Bourdon), and at the Grand Théâtre, Dijon (from 30 March 2004 under Philippe Cambreling, directed by Patrick Abéjean with Bruno Comparetti (Chappelou / Saint-Phar), Isabelle Poulenard (Madeleine / Madame de Latour), Laurent Alvaro (le Marquis de Corcy), Jean Vendassi (Biju / Alcindor), Michèle Dumont (Rose), and Matthieu Grenier (Bourdon). The latter was a co-production of Opéra Paris-Sud and Opéra de Dijon.
His "Researches concerning the Book of Sindibad" were translated in the "Proceedings of the Folk-Lore Society". His "Vergil in the Middle Ages" (translated into English by E. F. M. Benecke, 1895) traces the strange vicissitudes by which the great Augustan poet became successively grammatical fetich, Christian prophet and wizard. Together with Alessandro d'Ancona, Comparetti edited a collection of Italian national songs and stories (9 vols, Turin, 1870–1891), many of which had been collected and written down by himself for the first time.
In Pisa, in 1863, he met Leone Raffalovich, a businessman from Odessa. After a short engagement, he married Leone's daughter Elena on 13 August, and in 1865 their daughter Laura was born. Their different natures meant that the couple drifted apart, and in 1872 Elena left the family to settle in Venice. Laura married Luigi Adriano Milani and Domenico Comparetti, wishing that their last name should be was transmitted to her daughter's male descendants, got the royal concession to the addition of his name to those of the Milani grandchildren. His great-grandson was Don Lorenzo Milani.
With the birth of the Kingdom of Italy, the University of Pisa became one of the new state's most prestigious cultural institutions. The first European Institute of Historical Linguistics was founded in Pisa in 1890. Between the second half of the 19th century and first half of the 20th century, the prestigious lecturers who taught at Pisa included the lawyers Francesco Carrara and Francesco Buonamici; philologists Domenico Comparetti and Giovanni D'Ancona; historians Pasquale Villari, Gioacchino Volpe and Luigi Russo; philosopher Giovanni Gentile; economist Giuseppe Toniolo and mathematicians Ulisse Dini and Antonio Pacinotti.
Inside, the church has a nave with only five side chapels, three on the right, two on the left. The first on the right serves as a baptistry, the second is dedicated to St. Nicholas of Bari, the third to St. Anthony of Padua. On the left, the first chapel is dedicated to the Blessed Virgin of the Rosary and the second to St. Joseph. The high altar is in polychrome marble and was built by Giuseppe Buzzi Viggiù in 1747–1750. It bears the altarpiece depicting the Madonna enthroned, with St. George, by Alessandro Ferretti; an oil on canvas of 1750. The former altarpiece was painted by Giovanni Battista Bianchi of Moltrasio between 1636 and 1638. The vault of the chancel is decorated by a stucco of 1744 by Comparetti (a native of Pigra) depicting John the Baptist. The fresco of the Glory of St. George is by an anonymous painter. The frescoes on the ceiling of the chapel of St. Nicholas were made by Giovani Battista Vallisneri or Valnera, a native of La Verna. The altarpiece depicting the Crucifixion with Saints Nicholas and Apollonia is the work of Michelangelo Buzzi, paid for in 1659. The altar of St. Gaetano Thiene bears the painted wooden statue of the saint as well as the altar of St. Anthony of Padua. The apse was decorated with stucco on the ceiling and side walls by Giovanni Battista Comparetti of Laglio between October 1743 and April 1744, the pane on the left wall frames the frescoes by Alessandro Ferretti with the Torture of St George, while the pane on the left wall frames The Martyrdom of St. George. These two paintings are from the months of May and June 1744.
For all the time that he explored and excavated in Crete, and was accepted as a valued friend by the British and Americans, Halbherr was, strictly speaking, not Italian, but Austrian. His native city, Rovereto, was on the Austrian side of the border in what is now northern Italy. Halbherr's first education beyond secondary school was in Vienna. At heart, however, he was an Italian. He soon went to Italy to study with Comparetti. It was under the latter's auspices that he first excavated in Crete, to become known as an Italian archaeologist. He shared his deepest interests and also his politics with the English-speaking nationals. They were all against the Ottoman Empire.
Through her extensive contacts from Neuburg court, through Prague, Vienna and Wrocław, the hetmaness brought to Poland many renowned artists. Ádám Mányoki, Rákóczi's court painter, before he was appointed official court painter of Augustus II was at Sieniawska's service in Warsaw since 1713. She employed the most prominent artists active in the Commonwealth. Among them there were architects Giovanni Spazzio, Józef Fontana, Karol Bay, Efraim Szreger and František Mayer of Moravia, painters Jan Jerzy Plersch and Giuseppe Rossi, eminent sculptors of Bohemian Baroque Jan Elijáš and Hynek Hoffmanns, stucco decorators Francesco Fumo and Pietro Innocente Comparetti, gardener Georg Zeidler of Saxony. She also employed Dresden court artists such as Johann Sigmund Deybel, Louis de Silvestre and sculptor Jean-Joseph Vinache and was a patron of young talented artists, like Julius Perty son of her architect Jacob, who was trained in Charles de Prevot's atelier in Sandomierz between 1726–1730. Among her protegees was also a poet Elżbieta Drużbacka known as the "Sarmatian Muse".
In 1890 Sachs and Peterson first referenced to the term diplegia, along with the word paraplegia, for their cerebral palsy classification. In 1955 the word diplegia was used in the clinical field to describe a patient whose limbs were affected in a symmetrical way. This included limbs on the same side of the body thus including hemiplegia. Later in 1956 diplegia was presented as a form of bilateral Cerebral Palsy affecting like parts on either side of the body. In 1965 Milani Comparetti distinguished diplegia from tetraplegia by considering the patient’s upper limb’s ability to express a sufficient support reaction. Thus diplegia usually refers to just symmetry of one body part or limb, as the legs, or arms. While tetraplegia or quadriplegia refers to paralysis of all 4, both arms and legs.
Among the artists appointed for decoration of the palace's interiors in the 18th century were Giuseppe Rossi, an Italian fresco painter, who adorned the chambers with "trompe-l'œil" paintings and stucco decorators Francesco Fumo and Pietro Innocente Comparetti. Following the example of Queen Marie Casimire, who ordered a painting of herself as a goddess on the palace plafonds, Elżbieta Sieniawska embellished the Lower Vestibule with a fresco of Flora. On her initiative the walls in the royal chambers were covered with Genoan velvet. The walls of the second floor, that is the "Great Dining Room", were covered with frescoes depicting Apollo, Minerva and Hercules as an allegory of "Virtus Heroica" (Heroic Valor), Hebe symbolizing "Venustas" (Beauty) completed with panoplies. Sieniawska's daughter, Maria Zofia Czartoryska, furnished the palace with new fireplaces made of white-cherry marble and crowned with mirrors in rich rococo frames.
Pais was the son of Michele Pais Leoni, a nobleman from Sassari, Sardinia and Carlotta Tranchero, from Piemonte. He studied at Lucca and Florence from 1874, receiving his degree from Florence in 1878. Among his teachers were Atto Vannucci and the philologist Domenico Comparetti. After spending some years in Sardinia, he published "La Sardegna prima del dominio romano" in 1881. That same year he studied at Berlin with Theodor Mommsen and the two collaborated on the fifth volume the "Corpus Inscriptionum Latinarum" that was published in 1884. He began his teaching career in Palermo in 1886 and moved to Pisa in 1888 where he would become professor of ancient history. Pais stayed there until 1899, when he began teaching at Naples, and later the University of Wisconsin–Madison from 1905. From 1910 to 1914 he was director of the Naples National Archaeological Museum and the excavations at Pompeii. Pais studied as a visiting scholar at leading universities around the world and received many honorary degrees, including those granted to him by the following: professor of history and Roman law from the University of Wisconsin–Madison, honorary degrees at Oxford, Chicago and Paris. He taught courses in Paris at the Sorbonne, in Bucharest, Prague, Madrid, Barcelona, Boston, Cambridge, New York, and Chicago.
Wordsworth himself believed "The White Doe" to be one of his finest poems, but the reviewers were at best lukewarm. The "Eclectic Review" did concede that "where he comes in contact with the ordinary sympathies of human nature, no living poet leaves so strongly the impression of a master genius", but Francis Jeffrey of the "Edinburgh Review", a long-time foe of the Lake Poets, thought it had "the merit of being the very worst poem we ever saw imprinted in a quarto volume". Coleridge, by then in a state of uneasy reconciliation with Wordsworth, quoted a passage from "The White Doe" in his "Biographia Literaria", praising its beauty and imaginative power. John Ruskin, in a private letter, compared it favourably with Coleridge's "Christabel", calling it "a poem of equal grace and imagination, but how pure, how just, how chaste in its truth, how high in its end". Later in the century Leslie Stephen thought that the poem unduly exalted passive heroism at the expense of active heroism, and thought its "rough borderers" unlikely mouthpieces for Wordsworth's message of quietism and submission to circumstances. His wry comment was that ""The White Doe" is one of those poems which make many readers inclined to feel a certain tenderness for Jeffrey's rugged insensibility; and I confess that I am not one of its warm admirers". In the 20th century the critic Alice Comparetti and the poet Donald Davie were agreed in finding in "The White Doe" the melancholy of Thomson, Gray and Milton. Davie praised the purity of the poem's diction, which he thought unequalled in any other long Wordsworth poem; he summarised it as "impersonal and self-contained, thrown free of its creator with an energy he never compassed again".