Friday, December 12, 2008

Blueprints On How To Build A Dunk Tank



With the launch of Google Trends for Web sites , we are now able to check the popularity of a website in each country. Entering a domain in search of "Google Trends for Web Sites", we get a detailed report with information on countries and cities that generate Busiest, estimated volume of search sites, and keyword search-related domain. This allows us to publish some interesting data on the popularity of online travel agencies and tourism search engine in the European market.

continues on:



Thursday, December 11, 2008

How Long Does It Take For Cistitus To Go

GOOGLE SOCIAL MEDIA (MARKETING) - WHAT '? WHY FRANCHISING

We faced an unconventional marketing strategy in the fairy tale The confectioner 2.0, Buzz Marketing. We have also established that the word needs a network through which social spread. Without social network, no word of mouth.
The social network based primarily on the Web (Social Media) is a communication tool to share and discuss content between people. Compared to the mass media such as newspapers, television and film, social media is easily accessible by anyone (whether companies or organizations, individuals) want to publish or read information. The industrial instruments of communication are extremely costly. Require significant capital to publish economic information and achieve significant coverage. Those "social" rather they are much cheaper.
However, they have one thing in common. Comparing for example the Blog Space with a TV, with both you can reach millions of users as well as zero users. The only difference: the Blog Space allows you to accurately measure the return on investment, if there are business objectives. The Social Media Web
takes different forms like Internet forums, message boards, Blogs, Wikis, Podcasts, images and video, and use different technologies such as blogs, share images and audio files, videoblogs, wall-postings, email, chat, Crowdsourcing, Voice Over IP, etc..

Monday, December 8, 2008

Anniversary Sheet Cakes Designs



... .. WHAT 'THE FRANCHISE ... ..
Definition of Franchise, Franchise or franchise (in Italian words) most widely used in our country is that proposed by the Italian Association of Franchising:

"THE FRANCHISE (franchising) is a formulation of continuous collaboration for the DISTRIBUTION OF GOODS AND SERVICES BETWEEN A CONTRACTOR (franchisor or franchisor) and one or more contractors (FRANCHISEE or affiliates), legally and economically independent of each other, that enters into a special contract, through which the FRANCHISOR GRANTS TO THE FRANCHISEE 'THE FORMULA USED FOR COMMERCIAL Including the right to exploit the know-how and distinctive signs, together with other services and assistance to the franchisee in order to enable the management of its activities with the same image of the franchisor for the mutual benefit of the Contracting Parties and the final consumer, and respect for freely negotiated the contract terms. "


The law of 21/04/2004, taking a cue from the above has defined the formula:


" The franchising (FRANCHISE) It is the contract, however described, BETWEEN TWO LEGAL ENTITIES, Economic and Legal INDEPENDENT UNDER WHICH THE GRANTS AVAILABLE TO THE OTHER PART, TO THE CONSIDERATION OF A SERIES OF INTELLECTUAL OR INDUSTRIAL PROPERTY RIGHTS RELATING TO TRADE MARKS, TRADE NAMES, SIGNS, UTILITY MODELS, DESIGNS, COPYRIGHTS, KNOW-HOW PATENTS , SERVICE OR TECHNICAL ADVICE AND COMMERCIAL BY ENTERING THE AFFILIATE IN A SYSTEM CONSISTING OF A PLURALITY OF AFFILIATES territorial distribution, the aim of marketing goods or services. "

KNOW HOW ... .. ... ..

The know-how ("know how") is the set of knowledge and techniques to start and run an effective, in un determinato settore. Errore comune da parte delle imprese affilianti è quello di ritenere elementi sufficienti, per “fare franchising”, la propria esperienza in un settore o la capacità di produrre determinati beni o servizi.L’effettivo know how è quello sperimentato con successo in proprie unità pilota, che ricalcano con assoluta fedeltà gli elementi che saranno proposti ai futuri affiliati. Il Franchisee deve aspettarsi che la casa madre metta a disposizione le conoscenze acquisite con queste unità pilota, fornendo corsi di formazione pre-apertura, manuali operativi, sistemi, attrezzature, procedure e metodi di lavoro collaudati, attività di affiancamento, momenti di aggiornamento, consulenza e assistenza.

... .. WHY 'IS FRANCHISING? ... ..
always new companies and entrepreneurs find the "vocation" to the franchise, the franchise companies come from different directions. Fields, experience, organizational structures and motivations underlying the formula are different answers to the achievement of proper operating obiettivi.Si takes account of the origin of the franchisor and the type of product or service that the contraddistingue.Quello Franchise service is a universe particularly complex and composite in origin, size of holdings, sector characteristics. Even the object of activity is greatly variabile.E 'a distortion of the concept Franchise particularly widespread in the Italian tourism. In absolute defiance of the very definition of franchising, as mentioned, provides for the legal autonomy of the franchisee and business are set franchise or affiliation of the collaboration at least "abnormal". The "pseudo-affiliate" has hired several ways, ranging from contractual form joint venture to a Business, from the seller to that of external partners, for the opening and conducting new business. In fact, the company's goal is to recruit staff to work in their branches, waving the Lark mirror of entrepreneurship altogether fictitious, because not sanctioned by the ownership of the new company. The business benefits are numerous: from the economic point of view, you get a share of the employee / manager in business risk with both forms of payment and / or investment (sometimes even by requiring entry fee! ) is at a premium are the result (variable and therefore more effective) paid work, in terms of motivation and attractiveness, it offers an apparently attractive status is better than those of the individual, and finally, from the point of view organizational and bureaucratic We will ensure all facilities (type of legislation for tourism) already provided for those working in the industry and penalize those who open a company from scratch.

MORE ... .. '... .. EASY RETRIEVAL OF LOCATION
The use of franchising to find interesting locations un'escamotage is mainly used by brands in order to seek new commercial space qualified. In this case, the objective is achieved by recruiting affiliates, by offering seemingly favorable conditions. Over time, these benefits are transformed into penalty entrepreneur affiliate, which is "driven" to divest the business.

…..AUTOFINANZIARE IDEE D'IMPRESA…..
Alcuni “progetti di franchising” sono in realtà semplici trasposizioni sulla carta di idee imprenditoriali che non riescono a trovare finanziatori e/o che non sono mai state concretamente realizzate. Si vuole accollare all’”affiliato” l’onere di sperimentare sulla propria pelle la validità di un’idea,senza prima averne testato su proprie unità dirette o pilota la fattibilità e la risposta di mercato nelle nuove aree di interesse.

…..CAPITALIZZARE UN KNOW HOW INESISTENTE…..
Alla base di qualche iniziativa non c’è un reale progetto imprenditoriale, ma solo la convinzione che la formula sia un buon pretesto per rimediare denaro. Nascono così delle aziende di “franchising” il cui obiettivo è essenzialmente quello di “vendere” diritti di entrata, attrezzature, beni e di incassare corrispettivi di servizi mai erogati.

…..IL PILOTAGE…..
La configurazione tipo delle future unità affiliate va sperimentata sul campo. Quando il progetto nasce come replica di attività consolidate di proprietà dell’affiliante è possibile effettuare una sperimentazione parziale su loro, ma si deve tener conto che la simulazione sarà inevitabilmente inficiata dal fatto che esiste già un avviamento. Al contrario di quanto accade nel caso di unità affiliate ex novo. Il test migliore is realized by reproducing in every way the average conditions that will lay the franchisee, the franchisor avian and manages the pilot units, or delegated to a trusted third party involved in the project, to verify the actual validity and effectiveness in the market. The moment of pilotage is extremely important and should be fully exploited. Generally we tend to underestimate the value of this phase and compress as much as possible the duration, for a faster start-up of the network. Actually you should consider the objectives planned for the pilot points as a "conditio sine qua non" for the later stages. It makes no sense to involve entrepreneurs affiliati in un progetto che non sta mantenendo le promesse: si rischia di replicare solo l’insuccesso. Meglio allora estendere la durata del pilotage, introdurre i necessari correttivi e attendere gli esisti sperati Si avrà modo in ogni caso di effettuare miglioramenti che potranno essere messi al servizio della futura rete, arricchendone il valore e la capacità di stare sul mercato.

…..STANDARIDIZZARE IL SISTEMA…..
Il prodotto “franchising” non si vende a un cliente. Il destinatario è un partner commerciale, con il quale si instaura un rapporto di collaborazione duraturo nel tempo. L’affiliato richiede formazione adeguata, addestramento del personale, assistenza sulla gestione della propria firm for the duration of the contract, update, ad-supported systems, information exchange and communication is very altro.Uno focal point is the standardization of the transmission path of the know-how. A bill is to provide a training course a few days "at home, another is to follow a detailed training program that provides theoretical training sessions, activities directed at a center or affiliate and seasons coaching on the spot, or rather in the center affiliate in goodwill. And 'this one of the "painful notes" of the Italian franchise. Tuti ifranchisor promise training, many refer, few know how to do them. Teaching is one of the favorite sports our countrymen, but in practice, few spend time, resources, expertise and approach to developing an effective route. Yet it is the stone upon which to build an effective working relationship.

HOW TO CHOOSE A PROJECT ... .. ... ..
The purchase of a license, know-how, brand, etc.. requires an investment challenging. Hence the need to carefully assess the quality of the franchisor, its formula, the agreement that you are about to firmare.C 'is of course the other: after checking the possible economic and structural soundness of the franchisor the validity of his system, correct form and substance of the proposed contract, it remains to consider the acceptance of the project from its market locale.Punto key part of the agreements between franchisors and franchisees is that of promotional and advertising contributions. Unless the franchisor is not working directly with local planning, advertising royalty demands made by investors with no reason for being. The promotion of the brand should be managed locally by the franchisee and the franchisor, because usually the 'effectiveness of advertising and promotional campaigns designed elsewhere may be ineffective or limited because of the cultural differences between local area and another. And' therefore essential familiar with the franchisor before facing the adventure of a contractual agreement of franchising.Sebbene Italian law has taken a step forward in this direction, much needs to be done to allow greater trasparenza.Il franchisor is required to provide the candidate an affiliate much more detailed documentation of its activities. In the United States, this documentation is called disclosure documents to perspective buyers, or documentation of transparency to potential buyers. Is embodied in a statement called the UFOC (Uniform Offering Circular) which contains a company history, listing the units affiliated with, a list of possible lawsuits incurred in the past and / or in progress, the composition of the management team, commitments and obligations to third parties, and more. This is required for transparency and ethical correctness, to operate the franchise in Italy during the duration of any contract already signed.
The preliminary contract of franchising. The start of the training contract.

In practice, the franchise contract shall be preceded by a letter of intent or a preliminary agreement (preliminary agreement for the franchise). Letters of intent are no documents, particularly experienced in quei rapporti contrattuali che necessitano di lunghe ed elaborate trattative, che le parti contestualmente sottoscrivono o si scambiano reciprocamente nella fase delle trattative; esse contengono dichiarazioni d’intenzione sulla conclusione di un accordo o di più accordi fra le parti stesse. Il problema giuridico delle dichiarazioni d’intenti è stabilire se siano o meno vincolanti: in proposito prevale l’argomento per il quale tali intese, essendo emerse in sede di trattative, possono dare luogo solo a responsabilità precontrattuale ex art. 1337 c.c. Tali dichiarazioni, comunque le si consideri, producono il duplice effetto di determinare un rafforzamento dell’obbligo precontrattuale, comprimendo l’ambito entro il quale the parties may distance themselves from the negotiations in progress without incurring liability pursuant to art. 1337 cc and mitigating the inviolability of the principle of freedom not to contract, and to feed the expectations of the parties regarding the conclusion of the contract. In any case, when the contract document contains all the elements of the contract and is not subject to further negotiation should be said to be in the presence of a preliminary contract, despite the naming of the document as a letter of intent. The preliminary contract is an agreement under which the parties agree to enter into a subsequent contract, and its actual impact in their legal situation will occur only with the final contract. The preliminary franchise is, therefore, an agreement whereby the parties define their obligations and are committed to signing the final contract. The franchise must be distinguished from the preliminary figures, US-style of contract "pre - franchising" and "pilotage". These figures characterize negotiation of weapons to which the franchisor, in particular, used to test the model and conditions of the franchise system that wants to implement. While the object of the contract prior to franchising is the obligation to provide consent to the arrangement of a future franchise, the subject of pre - franchising and pilotage is the subject of the franchise, ie the transmission by the franchisor to the franchisee, rights, rights, assets that it could not otherwise acquire. However, because there is almost never provided nor a free entry or the payment of any royalties, and because the function of the contract as a mere trial of appalesa economic report, the transfer of rights, rights, goods will be limited and of short duration. The contract for the pre - franchising is an invitation by the franchisor to a farmer to participate in the trial of the model that will lead to develop the know - how the future distribution network. The contract will match more or less, the content of the contract franchise, with the clauses about the signs, trade names and other distinctive signs. If, after testing, not to enter into a genuine contract of franchising, the franchisor and the franchisee must be free to leave any inventory and restructuring charges of the premises, while the franchisee may no longer use the brands and intangibles of the franchisor . If, however, that the trial is successful, the formula will belong to both parties that the contract would have to allocate the ownership and use. The contract for "pilotage" the franchisor has already found the idea or formula, and entrusts to a third party at your own risk, exploitation pilot contract generally does not last more than a year, is the exclusive franchisee in favor of, the obligation of secrecy, and a division of profits, and losses can be set against the franchisee. The preliminary contract of franchise, although part of the stage of progressive formation of the franchise agreement and as this causally dependent, is also a perfect contract itself, once signed, obliges the parties to conclude the final contract. The aspects covered by the preliminary franchise not only express the mere function requires the conclusion of the final contract, but also express a series of tasks of implementation are very important, with which you also define le obbligazioni, la ripartizione dei compiti e dei costi di gestione, le opzioni e gli obblighi di riservatezza che devono vincolare i contraenti anche nel periodo precedente la stipulazione del contratto definitivo. Di questi ultimi aspetti si ricordano gli impegni assunti dal franchisor col patto d’opzione (In base al quale patto il franchisor si obbliga a concludere il contratto definitivo nel caso in cui il potenziale franchisee abbia adempiuto a quanto previsto nel preliminare e a non concludere, per la durata dell’opzione, un altro contratto di franchising nella zona d’attività del potenziale franchisee) e le disposizioni relative alle conseguenze della eventuale mancata conclusione del contratto definitivo (Se uno dei soggetti obbligati a contrarre The franchise does not comply, the other will ask both the enactment of a constitutional ruling that, pursuant to Art. 2932 cc, replaces the agreement and have the same effect of the final contract is not concluded prior to the resolution of the breach, in which case it should also follow the damages that the other party proves that he has suffered, whether the actual damages, ie the costs of meeting the obligations of the preliminary implementation, or lost profits, loss of earnings that is the part that would stretch from the conclusion of the final contract. However, in Italy the instrument of the prior franchise is not used much, preferring to enter directly into contract definitivo, una clausola per la quale l’efficacia dell’accordo si intende sospesa se non si saranno verificate tutte le condizioni preliminarmente previste come indispensabili per la verificazione e la prosecuzione degli effetti del contratto.

Monday, December 1, 2008

Does Cisco Vt Camera Ii Work As Web Camera

TEMPOHOUSING

Tempohousing inventa, disegna e costruisce sempre nuove soluzioni di moduli abitativi nel suo unico housing system. “Tempo” significa velocità e soluzioni abitative applicate ai più diversi settori come case studenti, appartamenti di città, hotel di lusso, equipaggiamento di base per strutture ricettive o chalet resort sulla neve, giusto per menzionarne alcuni. Termini brevi di costruzione e un sistema flessibile and modular are the strengths, as well as the units of measurement universal containers of 40 feet (standard) that can be transported by sea in the world as a load on any standard merchant vessel, train or road.

Thursday, November 27, 2008

Receiding Gums - Wisdom Teeth

Glomera

The easiest way to create the Professional vost WEB-TV.
Create your corporate video or travel reportage.
glomerata and your Web-TV interactive and customizable that you can publish on your site.

Monday, November 24, 2008

How Does The Occlusal Guard Work ?

DIGITAL WORLD

The Digital World Foundation works for an inclusive knowledge society, combining innovation, education, inclusion and fundamental values. The benefits of that knowledge, new technology and innovation must be to the benefit of all persons without discrimination of any kind.

Who Buys Sports Cards In Mo

Eldy - EASY PC

Eldy is the first free software dedicated to those not familiar with computers and particularly to those who have little or no familiarity with computers.
is designed by the association, which is responsible for bringing le persone alle nuove tecnologie perché queste diventino uno strumento di inclusione e miglioramento sociale e venga a ridursi il digital divide che coinvolge una larga fascia della popolazione.

continua su: www.eldy.org

Thursday, November 13, 2008

How Long Does It Take For Kidney Cancer To Grow

The first new story on- The first line

Ariadne's Thread - Author Abstract

“Il racconto è un omaggio al paese dove vivo, ai giovani che tutti i fine settimana riempiono le strade del centro del paese e ai meno giovani che si dilungano nelle loro passeggiate sulla strada pedonale lungo il fiume. Proprio i giovani e i meno giovani mi hanno fatto pensare di offrire questo breve racconto a quelli che non si sono avvicinati alla lettura del personaggio del commissario Cantagallo. Avvicinare alla lettura i giovani e i meno giovani non è un’impresa facile e certi addetti ai lavori mi hanno suggerito di scrivere un breve racconto per facilitarne la conoscenza. Ringrazio l’ editore Antonio Lalli , della casa editrice Lalli Editore , che ha varato tale iniziativa e ha consentito la promozione free of the character. For the media propaganda has been chosen for their dissemination through the Internet. In this sense, thank you very much the director Federico Bertolucci the newspaper " Valdelsa.net - daily on-line information" that has permission to publish the story online. The story is set in their normal places of Commissioner Cantagallo and the characters are the same as the first novel. The story is part of the series already published two novels: Inside a dead end (Lalli - 2007) and Murder in the sun (Lalli - 2008) that are inserted in the series "Fiction books - Library of Yellow" of the publishing house. The racconto è un omaggio in tutti i sensi perché il testo è completamente gratuito, “free” come si dice oggi per fare capire a tutti che una cosa è di libero utilizzo senza soldi da pagare, e tutti possono leggerselo comodamente senza spendere un euro. Buona lettura a tutti”.
Fabio Marazzoli

Il racconto può essere letto GRATIS su Valdelsa.net http://www.valdelsa.net/speciali/libri/arianna/libro-filo-arianna-parte-1.htm
da venerdì 7 novembre 2008.

Il racconto in sintesi

Niente arma del delitto e niente testimoni in un’indagine che è appesa a un filo. Il delitto di una donna e il rapimento di una ragazza s’intrecciano in this new mystery of the Commissioner Cantagallo. But the crimes are not the only ones to intertwine in this story. Baste the coiled wire found at the crime scene attracts the attention of the commissioner, and a grandmother who is a dressmaker, two spry gentleman and a strange man in the gas round the plot of this survey. Cantagallo holds few clues and asking for more time at District Zondadari, but receives only talk smoky dark and phrases in Latin. The Quaestor wants to convince the inspector that she has been kidnapped by traffickers of the white slave trade and that are now part of a harem of a rich nabob. Cantagallo does not agree and eventually convinces the Quaestor to grant him two days to resolve the case. The investigative skills but not enough to unravel the commissioner and Cantagallo draws on school memories to understand the meaning of certain tracks. Clues "speak" to the Commissioner and every single piece of evidence is a large mosaic that Cantagallo likes to define as the "mosaic criminal." Completed the survey answered the mosaic and the culprit was arrested. Cantagallo much wire in his hand and as a skilled weaver can weave a dense web to trap the murderess. The commissioner is a weaver who does not give up and just read a few pages while reading the Divine Comedy comes to mind a great idea to expose the guilty and free the girl. You'll wonder, but that has to do with the Divine Comedy and the solution of the crime of kidnapping? You will know soon, but for now, "so willed there where is power what you want ... and ask no more."

November 8, 2008 - Presentation in San Gimignano

The story was presented during the meeting held at the Biblioteca Comunale di San Gimignano. The presentation was directly supervised by Dr. Graziella Japanese who lent his work and his professionalism to the success of the event. The new story has been provided to the Director of Federico Bertolucci Valdelsa.net thanks to its attention for national and local cultural activities has allowed the free dissemination of the story of the Commissioner Cantagallo via the Internet. This initiative is unique in publishing at the national level. This is the first time a traditional editor and online editorial director decides to launch a project like this together, sharing the same passion for the book and the same cultural interests.




In the picture a moment of presentation: (left to right) the publisher of Antonio Lalli Lalli Editore, author Fabio Marazzoli, the Councillor for Culture of the Municipality of San Gimignano Dr. Gianna Coppini, the presentation of the books Prof. Maria Luisa Highs and the Director of Federico Bertolucci Valdelsa.net


The dir. Lalli has praised the initiative of free dissemination of the character of Commissioner Cantagallo by Valdelsa.net.
The dir. Bertolucci its part stressed such cultural initiative sees Valdelsa.net and publisher Lalli toghether firsthand for encourage free dissemination's internet new character novels yellows.


Photo: Antonio left the editor Lalli Lalli Editore and right of the author Fabio Marazzoli


November 7, 2008 - Initiative "Freedom to Read"

On this date kicks off the initiative that aims to disseminate the story for free. The initiative concerns dissemination complimentary locally of tale yellow unpublished entitled "wire Arianna. The story, like the other novels in the series, is set in a small country invented, but not that much of central Tuscany.

This initiative was volute by writer Fabio Marazzoli and was promoted from daily online Valdelsa.net under great sensitivity argument Culture on Director Federico Bertolucci of newspaper online http://www.valdelsa.net/ . The story has spread freely and for free on internet by the same newspaper. The initiative takes advantage of the courtesy of the publisher Antonio Lalli Lalli Editore publishing house http://www.lallieditore.it/ Poggibonsi. The initiative also saw the co-dell'IIS Roncalli Sarrocchi Poggibonsi that will print, from February 2009 and monthly in three parts, the hard copy of the unpublished short story in school newspaper "The Voice of the Lion." The story will be made available to all students of the school attached to the Newspaper in the format "flyer" to facilitate the layout "journalism."

The initiative also involves the collection of Poggibonsi Centre which will promote the reading of the story among its members with the two paper sizes that have been made available by the author, a brochure format in normal type and a particular format "BODY 16 "with very large fonts for easy reading of elderly and visually impaired.


The image above was extracted from the manifest of the "Freedom to Read". The design-black and white symbol was created by the author's son, Marco Marazzoli.

Monday, July 14, 2008

Prince 03 Speedport Red

Inquiry Commissioner Cantagallo


Ma è possibile che il commissario Cantagallo non possa stare fuori dai guai nemmeno durante un fine settimana al mare?
Sembra di no, almeno a sentire quello che dice il maresciallo Guerra della Stazione dei Carabinieri di Castiglioni Marina.
Nel piccolo borgo marinaro della Toscana, a Cantagallo viene chiesto di fare solo un “controllino” su una ragazza trovata morta annegata nella piscina dell’hotel Mirage.
Il maresciallo Guerra non dispone subito di un medico legale sul posto e, come sempre, fa esaminare la vittima a un medico generico del paese che fa servizio al Pronto Soccorso del porto: il dottor Lanzara. Il medico è un tipo sbrigativo e superficiale, e dice che la ragazza è morta for a trivial incident on the edge of the pool. Dr. Lanzara sure it a tragic fatality like many others who captain Castiglioni summer. But things are really as they seem? This is a bad fall in the pool or something else in there?
This is what the commissioner must find Cantagallo in this investigation, which sees him in the role of investigative consultant "Praise".
Cantagallo carefully analyzes the facts and reconstruct what actually happened. His technique of investigation is special: each track and follow up any indications that the pieces of his "mosaic criminal." When the "mosaic" is completed, the investigation is resolved and the culprit is unmasked. It will happen so for this strange coincidence? A stroke of genius Cantagallo solve the mystery of the drowned.
For the moment: "Water in the mouth."

Friday, June 20, 2008

Completion Of Community Service Hours

Stemmi dei della Faggiola e dei Prefetti di Vico

A. Conti
Notes heraldry: the Faggiola and Vico.
In AL Hermes and D. Sacco (ed.), Landscape Archaeology in the territory of Casteldelci, Montefeltro, ArcheoMed, Series of Studies of the Teaching of Medieval Archaeology, II - 2007, Walter Stafoggia Publisher, Pesaro, 2007, pp. 21-29.
E 'now available on the second volume of "ArcheoMed" Necklace of the Teaching of Medieval Archaeology, University of Urbino "Carlo Bo".
From this volume, after the previous dedicated to the excavation of the castle Montecopiolo , the series takes on the commitment to become a real "atlas of the medieval sites of Montefeltro.
Here, considering direct and indirect sources of heraldry, I soffermarmato on the crests of the families who had a feud in Casteldelci Montefeltro: the Faggiola and Vico, also known as prefects of Vico.
is the index of paragraphs:
- Two families in a summary comparison.
- The emblem of the Faggiola.
- The emblem of Vico.


Coats of arms of Faggiola and Agnesina Vico - Montefeltro. Drawing A. Conti

Friday, June 13, 2008

Brian And Andrew A Place In Greece

Il mio stemma nell'Armoriale della Società Svizzera di Araldica

For several years I am honored to be writing to the Swiss Society of Heraldry. Since 1932, this company has its own Armorial where members can ask to see represented their coat of arms made dall'araldista responsible pro tempore by the Company.
The first charge was Paul Boesch and further Everilda de Fels (1969), Gastone Gambin (1979), Fritz Brunner (1993) and since 2004 Rolf Kälin. At
of renewing membership for 2008 I decided to request the inclusion of my arms, on the origins of which refer to the post Presentation .
Rolf Kälin has thus made this wonderful representation of my arms ( Swiss Society of Heraldry ).
I take this opportunity to thank Mr. Kälin for its work and publicly to congratulate him.

Sunday, May 11, 2008

Propellerheads Record

San Crescentino patrono di Urbino. Iconografia e attributi araldici.

From Città di Castello in Urbino.
In September 2003, was held in the Town of Castle on Saint Crescenziano a major conference whose proceedings were published in 2005 by Andrea Czortek and Pierluigi Licciardello. San
Crescenziano is one of the patrons in Città di Castello, a town near which was martyred around the year 287. During the conference Tifernate was pointed out that if the origin of the cult was born in the upper valley of the Tiber, " is not in Città di Castello will find that the holy His center of worship, playing a role historically significant, but in Urbino, which since 1068 elected him as the patron protector , "and in this city as" the new cult requires next to Our Lady and St Sergius, introduced Holy Military possibly in Urbino in the Byzantine era, which came from Ravenna (Licciardello, 2005, pp. 118 and 119).
E 'Everyone knows that in Urbino San Crescenziano acquired the name of San Crescentino for unknown reasons. Given the diversity onomastics was accompanied perhaps some iconographic diversity? Judging by the activation of Mirko Santanicchia Tifernate the conference it would seem not, but it is the recognition iconographic Santanicchia conducted by giving notice to our investigation that this provides an additional contribution to the knowledge of the tradition of St. Creswell focusing in particular on the appearance and iconography to arms.

representation of a military saint.
From the first note iconographic evidence, dating from the years between the thirteenth and fourteenth centuries, the representation of St. Creswell is that of a knight riding his steed is intent on defeating a dragon (Santanicchia, 2005, pp. 175, 177 and 178). Yet, from what seems to emerge from the research conducted so far, the first proof of the biographical legend of the dragon dates back only to 1567, contained in a work intended dall’arcivescovo urbinate Felice Tiranni. Appare perciò evidente che lo scopo del Tiranni fu quello di riprendere una tradizione ben più antica ormai consolidata (Licciardello, 2005, pp. 128 e129; Santanicchia, 2005, p. 176).
Al primo modello rappresentativo se n’è successivamente affiancato un secondo. Il santo è ritto in piedi e senza il cavallo e il drago giace a terra morente. Notiamo come nel primo modello iconografico il drago è trafitto dalla lancia. Non così nel secondo modello, laddove il santo mostra a Dio le spoglie del drago sconfitto (Santanicchia, 2005, p. 182). In alcuni casi san Crescentino è raffigurato intento a calpestare il drago esanime come l’Immacolata calpesta il serpente.
San Creswell was a Roman soldier, and in fact is constantly represented in weapons, wearing armor mainly to fashion. So if in the fifteenth century knight wearing armor of the time (similar to the one worn by Duke Federico in the so-called Pala di Brera), since the sixteenth century, he wears a Roman-style breastplate. This second type of armor responded better to the ideal representation of a soldier of the third century, but in reality was nothing but a new model of stylish armor. Think armature Guidobaldo created by Bartolomeo II Della Rovere Fields in 1546 (Fig. 2) or the well-known portraits of the Medici princes carved by Michelangelo.


fig. 1 fig. 2
If the first is the saint appears bareheaded, from the Renaissance is mostly represented with a helmet on his head. According Santanicchia this news should have been introduced after 1520, probably as a result of the discovery of the alleged helmet Crescenziano occurred in 1524 (Santanicchia, 2005, p. 183). But we must note that the saint wears a helmet already in a currency Guidobaldo da Montefeltro (Fig.3) was coined between 1482 and 1508 (Cavicchi, 2001, p. 44, n. 28) (fig. 3), and maybe a helmet is also present in the image of an embossed seal of the city of Urbino in a letter dated August 12, 1502 (ASRSM, Correspondence of the Captains Regent, Busta 1990).

fig. 3

But the presence of the helmet, though frequent, is not constant. In addition to a seal used in the first half of the sixteenth century (but probably dates back to the previous century), the saint on horseback is devoid of the helmet and is characterized by a rather long hair (ASRSM, Correspondence of the Captains Regent, Busta 90, letter of March 28, 1507, letter dated May 4, 1508, Busta 91 / 2, letter 21 June 1522). The long hair also characterizes the saint in a currency Guidobaldo da Montefeltro (Cavicchi, 2001, p. 44, n. 27) (Fig. 7). We note here too, a match with the canons of taste of those years, expressed in particular by the hair of the same Duke of Urbino as represented in its coins.


fig. 7
About the helmet, we note that it is always a Burgundy, a type of helmet fashion that recalls a distant Roman helmet, in line with the use of the lorica. In general, the change
Apparel the saint is thus caused by the change of fashion, the recovery of old-style armor for the parade that have now replaced the old armor tournament.

San Creswell and St. George.
Santanicchia highlighted the fact that the representation of St. Creswell horse that draws much of St. George slaying the dragon "in determining the return iconography of the event, must have severely affected the reputation of St. George, whose story the common element of the dragon postponed so too inviting (Santanicchia, 2005, p. 176).
The story of St. George slaying the dragon to save the princess goes back only to the times of Crusades and was originated by " an erroneous interpretation of an image of Constantine. Therefore it's common attribute, the red cross on a white field , "the fame of the saint was then widely available around the middle of the thirteenth century, the Golden Legend by Jacopo da Varazze (d. 1298) (Licciardello, 2005, p . 132; Santanicchia, 2005, pp. 176 and 177).
Santanicchia also shows us the image of Saint George carved in the lunette of the portal of the cathedral of Ferrara between 1135 and 1140 (Fig. 8)

fig. 8

In this work is significant the absence of any reference to arms and even banners. The Saint shows the inside of the shield held by the arm, not an unequivocal sign of the importance of what you would possibly be represented (as in many equestrian seals of that time still largely prearaldica). So

Santanicchia second iconographic influence of St George on St Creswell was relevant and " persisted, generating sometimes confusion," but, according to this scholar, "what does not seem to ever entered the ranks of the attributes of Crescenziano, it is precisely the banner crucesignato, despite the sources they make explicit mention: in the text reviewed by the sixteenth century there is a definite Bollandists riferimento ad un segno di Cristo ricevuto dal soldato, Christi signaculo insignitis. Non è detto che fosse presente in questa forma anche nella versione più antica della passio, e non è del resto scontata una lettura troppo letterale dell’espressione, ma è raro che tali spunti non vengano colti nella trasposizione iconografica; viene a questo punto da domandarsi se fu omesso con lo scopo di limitare la confusione con san Giorgio, che invece mostra sovente questo attributo" (Santanicchia, 2005, p. 177).
Premesso che esistono importanti rappresentazioni di san Giorgio senza alcun attributo araldico, il punto, l’oggetto di questa nostra disquisizione è questo: non è esatto affermare che san Crescentino (ovvero St. Crescenziano) was never represented with the attribute of arms of the cross.
The presence of this emblem is found in the seals of the City of Urbino Santanicchia that Mirko did not take into consideration while wide iconographic analysis in his contribution to the conference Tifernate. In
of common seals in the Middle Ages and the Renaissance, were often represented the patron saints, and Urbino was no exception, indeed. Apart from the description of a seal of 1232 in which it was being represented eagle (Tonini, 1862, pp. 497 and 498), all known seals of the City of Urbino see represented St. Creswell on horseback slaying the dragon .
Among the prints that I could Sigillaria see during my research, many show the knight with shield and banner difficult to read, however, other, we clearly show the presence of a shield and a banner crusader. In the seal affixed in a letter dated March 28, 1507 can be seen, albeit with difficulty, the cross on the flag, while it is practically impossible to read the contents of the small shield rounded shouldered by the saint (ASRSM, Correspondence of the Captains Regent, envelope 90, letter of March 28, 1507) (Fig. 9).

fig. 9

much more clearly the flag and the shield plate, both crusaders are seen in other seals as the one printed in a document dated September 22 1568 (ASP-UP, Notaries Santinelli Orazio, No 1168).
According to our current knowledge mean we would not know what were the disposal of these coats of arms. They were probably the same as the sign of St. George. Moreover, the red cross on a silver is a typical representation of the sign of Christ (Fig. 10). (Fig. 10)
The seals on the letter of 1507, but also affixed to the letter of 1568 (unless the latter was not of recent construction) show that the presence of the attributes of arms crossed before the work of tyrants, and were not a consequence. The author of the biography of 1567 was therefore redone examples iconographic legacy. But how old?
Unfortunately, we came across hagiographic seal of the City of Urbino before 1502, and the sources of a more distinctly religious speech that is made from Santanicchia.
But among the documents examined by iconographic Santanicchia we highlight the likely presence of a standard in much older age. The document in question is the miniature decorates the antiphonary No Chapter 9 of the Archives of the Cathedral of Urbino, dated 1348, by Nicholas Saraceno from Bagnacavallo (Fig. 11).

fig. 11

As shown Pierluigi Licciardello this is the most Urbino ancient manuscript known to speak of St. Creswell (Licciardello, 2005, p. 120). The author found that nell'antifonario is not a biography of the saint, but only the lyrics and melodies of the songs. This, significantly, the author observed, provide metaphors and images of military life that " in this case [...] not only allude to the usual theme of the militia Christi, but refer, of course, also in the tradition of holy knights "which, by the author undergoes an" area of \u200b\u200binfluence supposedly free "(Licciardello, 2005, p. 125, note 133).
If this is not the story of legend of the dragon, the thumbnail says it all: St. Creswell horse is intent on killing the dragon. Appropriately
slip this image of the saint was placed on the cover of the volume of transactions we are dealing with (Fig. 12). Even as this image shows a curious thickening of the end of the spear upwards. What is the reason for quell'ispessimento?

fig. 12
Looking at the miniature we see that part of the field above the saint's head shows a lack of pigment that seems to be in the form of a long triangular flag waving to the right. The shortcoming of pigment is also seen in the figure below dragon.
We believe that we can not exclude that in place of that gap will be represented just a banner which has been paradoxically track because of the fall color. In this case, the thickening of the auction of the spear only represents the grafting of the same cloth.

The presence of the flag in miniature of 1348 should be tested with appropriate analysis, the fact remains that we still do not know which banner it must have been: If the standard cross-certificate later, or some other banner.
Incidentally we may note that the thumbnail of 1348 the saint does not wear the armor but a blue robe and a red coat lined with vair. The absence armor does not mean anything to the characteristic of a knight. In fact, even the count Galasso da Montefeltro (died right in 1348) was performed in a miniature wearing a robe and a cloak, with the characteristic spurs, sword in hand to the track and a club-at-arms (Franceschini, 1970) ( Fig. 13).
fig. 13
So, as we have seen, is not exactly what was claimed by Santanicchia " what you do not think has ever entered the ranks of the attributes of Crescenziano, it is precisely the banner crucesignato . Iconographic sources Urbino attest the use of that sign. As to the author's question: “ se fu omesso con lo scopo di limitare la confusione con san Giorgio, che invece mostra sovente questo attributo ” (Santanicchia, 2005, p. 177), si deve rilevare che l’omissione o la presenza di questa insegna risulta un difficile fattore discriminante nell’individuazione di un santo piuttosto che l’altro. Sia perché molti san Giorgio non inalberano il vessillo e non imbracciano lo scudo crociato, contrariamente alla più classica rappresentazione, sia perché anche san Crescentino venne rappresentato con quelle insegne.

Il tema della confusione tra i santi Giorgio e Crescentino torna, a me pare prepotentemente, nelle importanti notizie che Franco Negroni ha tratto dagli archivi notarili di Urbino.
8 settembre 1329 […] Rog. Benveduto notaio nella piazza del Comune, dove è la Maestade di S. Giorgio avanti alla stazione di Alessandro notaio […] ”; “ 1 gennaio 1408 […] in Civitate Urbini in platea magna ipsius Civitatis et prope trasanale positum ante maiestatem sancti Criscentini ubi priores populi dicte Civitatis iurant officium prioratus dicte Civitatis ”; “ 18 ottobre 1417 […] Urbini in trazanali Ecclesie maioris Katredalis Civitatis predicte ubi posita est figura Georgii aliis armigeris, cui trazanali a primo latere est dicta ecclesia […] ”; “ 29 giugno 1420 […] Urbini et in trazanali ecclesie Katredalis Civitatis Urbini ubi sunt picture hominum armigerum et sancti Georgii ”; “ 6 novembre 1428 […] Urbini in trazanali maioris ecclesie ubi et quo daur iuramentum prioribus iuxta ipsam ecclesiam, plateam et alia latera […] ” (Negroni, 1993, p. 25 nota 13).
I priori del popolo della città di Urbino, nell’atto di assumere il mandato, giuravano d’innanzi all’immagine maestà di San Crescentino. Questo dipinto si trovava nella piazza grande sotto il portico del duomo. Sempre sotto il portico del duomo queste fonti attestano la presenza di un immagine di San Giorgio con altri armigeri. Due maestà con santi pressoché identici, possible? In this regard
Franco Negroni wrote: "Surely the saints paintings in the gallery of the cathedral was not lacking S. George, but we are sure that the most prominent figure was that of S. Creswell, for the very close similarity with the iconography of St. George, notaries Urbino could not just be a matter of misunderstanding (Negroni, 1993, p. 25 note 13). They were thus represented both the Saints? Or some notary san incredibly confused and hastily Crescentino for St. George? In the latter case, the theme of the confusion mentioned by Santanicchia (Santanicchia, 2005, p. 177) appears to have found practical application.

In recent times much more in Peter Sella, autore della rinomata edizione della raccolta I sigilli dell’Archivio Vaticano, così scriveva a proposito di un sigillo del Comune di Urbino del 1735: “ Scudo sormontato da una corona sorretta da due angeli: San Giorgio che trafigge il drago; lo scudo di San Giorgio è a due bande ” (Sella, 1946, II, p. 281). In questo caso a confondere Sella non ci sono gli attributi araldici, ma la semplice figura del santo col drago, visto che egli stesso annota che lo scudo del santo è a due bande e non crociato. Il sigillo descritto da Sella deve essere stato quello che si trova ancora in un documento del 1722 custodito nella biblioteca universitaria di Urbino (BUU, Fondo del Comune, Busta 170, fasc. 1, c. 84).


To complement the analysis of the iconographic sources discussed in the meeting of Citta di Castello, I have to confirm the opinion given by Santanicchia reliability of the woodcuts of the seals of the bishops from Urbino Bramante Ligi published in 1953. They are, in fact, pleasing artistic interpretations of some original "can not be a reliable source of iconography in all its details" (Santanicchia, 2005, p. 181).
dell'inattendibilità An example is their by the seal of the bishop Bartolomeo Carusi Urbino (1347-1379) as quoted by Santanicchia containing the image of the patron saint of Urbino (Santanicchia, 2005, p. 181, Ligi, 1953, p. 69). Thanks
Prior authorization of the Brotherhood of Corpus Domini of Urbino, dr. Giuseppe Cucco, I was able to examine the seal of the bishop Carusi hung on a parchment dated July 16, 1348 (ACDU, parchment 1).

Well seal almond is divided into three registers: the upper one sees a representation of the Virgin, the middle shows St. Creswell on horseback slaying the dragon with his lance, and the bottom is largely missing, and we are not allowed to understand that What could be represented. Perhaps the image of the bishop who prays, perhaps the arms of the prelate? The woodcut published by Ligi entirely omitted from the lower register, as well not exist. In most places the saint and dragon in very different positions of the original. Ligi image released by the rider's helmet, in what is actually represented in the seal identifies a kind of headgear, but we can not say with certainty whether this is a helmet. In both representations the rider not Take up a shield, as the flag, the seal imprint can not determine the presence or absence, and is completely absent in the woodcut.

The author also cites another bishop's seal contains the image of St. Creswell, to Oddone Colonna (1380-1408), also published in woodcut from Ligi (Santanicchia, 2005, p. 181; Ligi, 1953). L’immagine pubblicata da Ligi mostra il santo con l’elmo, senza scudo e senza vessillo. Come sarà in realtà il sigillo appeso alla pergamena n. 7 dell’Archivio S. Croce di Urbino, datata 7 agosto 1406?
Carusi e Colonna furono vescovi negli anni del dominio di Antonio da Montefeltro (1375-1404), al quale è spesso attribuita una moneta citata anche da Licciardello e Santanicchia per via della rappresentazione del busto di san Crescentino (Licciardello, 2005, p. 126; Santanicchia, 2005, p. 181). Va detto però che questa moneta è stata da tempo attribuita al figlio di Antonio, il conte Guidantonio da Montefeltro (1404-1443) (Cavicchi, 2001, p. 33, n. 4) (fig. 14). Nella reproductive tract of the coin published by Reposa in 1772, the saint in armor in front (which in fact seems to be a horse) holding a spear with a banner bifid no figure (Repos, 1772, p. 125) (fig . 15).

fig. 14 fig. 15
in the currency of the lords of Urbino are also other representations of St. Creswell.
In two coins Guidobaldo (1482-1508): a saint is on horseback, the other is the saint on foot, but as seen in both cases the shaft of the spear has a banner, unfortunately unreadable (Cavicchi , 2001, p. 44, nos. 27 and 28).
Other coins san Crescentino a cavallo vennero coniate sotto tutti i duchi rovereschi tra il 1508 e il 1631 (Cavicchi, 2001, p. 59, n. 64, p. 60, nn. 65 e 66, p. 81, n. 121, p. 82, nn. 122, 123 e 124, p. 122, n. 224).
fig. 16

Imagine sancti Crescentini advocati et patroni.
Per antica tradizione si ha che gli urbinati, ogni volta che contro i nemici loro hanno spiegato lo stendardo del Gloriosissimo Martire s. Crescentino lor avvocato habbiano conseguite meravigliose vittorie ” (Santanicchia, 2005, p. 181). Questo è quanto venne scritto nel 1567 nell’opera commissionata dall’arcivescovo Tiranni, e al di là del pomposo language, it is certain that the patron was not only an icon for religious use. As mentioned above the image of the saint became (as has happened often) the symbolic heritage of the community. We have seen the case of the municipal seal in use until a few centuries ago, but it appears quite clearly in the statutes of the City of Urbino in 1559 in which the shift key is required, seal and banner at the outset of the Gonfaloniere new and where the patch is described " vexillu Sancti Crescentini (BOP, Statuta Civitatis Urbina, 1959, cc. 4v and 6v). But it can also be seen in the news reported by Franco Negroni about commissione (datata 1509) a Timoteo Viti e Girolamo Genga per la realizzazione di un nuovo vessillo comunale in seta rossa: “ vexillum pro dicta Comunitate cum imagine sancti Crescentini advocati et patroni huius nostrae civitatis ad utroque latere dicti vexilli super equo cum dracone sub pedibus dicti equi et aliis requisitis et cum arma dictae Communitatis deauratis et com aliis fulcimentis debitis ad eorum perfectionem infra terminum duorum mensium ” (Negroni, 1993, p. 14 e 15, nota 9).

A questo proposito, va infine ricordata un’immagine di san Crescentino con in pugno un vessillo con l’arma antica dei Montefeltro (bandata d’azzurro e d’oro con l’aquila nera sulla seconda bandwidth) in a framework of Timoteo Viti hours at the Brera Academy in Milan (Fig. 17).

fig. 17

The banner, gold with two long tails, shows the weapon in a circular shield. As I understand it is the first proof of the use of the accounts of the gun as a weapon in the city.
I believe that in the representation of the patron saint of Urbino hoist the weapon of the community ("cum dictae Communitatis weapon") and not really the weapon of gentlemen. Quet'arma town was borrowed by men in circumstances still unknown to us, probably in the late fifteenth and the early sixteenth century.
coat of arms was now the oldest of Urbino Montefeltro, while the latter used mostly (but not exclusively) the Quarterly since the first half of the fifteenth century. What are the arms of Urbino was now that band is demonstrated, inter alia, by the beautiful seal of the College of Surgeons of the City of Urbino mounted on a scroll of degree 1588 (F. Farina, 2005, pp. 86 and 169) ( Fig. 18).

Fig. 18.

archival sources
(ASRSM) State Archives of the Republic of San Marino, Correspondence of the Captains Regent.
(ASP-UP) State Archive of Pesaro, Section di Urbino.
(ACDU) Archivio Corpus Domini di Urbino, Pergamene.
(BUU) Biblioteca Universitaria di Urbino, Fondo del Comune.
(BOP) Biblioteca Oliveriana Pesaro, Statuta Civitatis Urbini.

Bibliografia
Cavicchi, 2001 - A. Cavicchi, Le monete del Ducato d’Urbino, Associazione Pro Urbino, Urbino, 2001.
Licciardello, 2005 - P. Licciardello, Culto e agiografia di san Crescenziano da Città di Castello a Urbino, in A. Czortek e P. Licciardello (a cura di), San Crescentino di Città di Castello, Diocesi di Città di Castello, Città di Castello, 2005.
Farina, 2005 - F. Farina (a cura di), Honor & meritus. Diplomi di Laurea dal Fifteenth to the twentieth century, Panozzo Editore, Rimini, 2005.
Negroni, 1993 - F. Negroni, The Cathedral of Urbino, Accademia Raffaello, Urbino, 1993.
Repos, 1772 - R. Repos, Mint Gubbio, vol. I, Bologna, 1772.
Santanicchia, 2005 - M. Santanicchia, The iconography of St. Crescenziano, in A. Czortek and P. Licciardello (ed.), San Crescentino Citta di Castello, Diocese of Città di Castello, Citta di Castello, 2005.
Sella, 1946 - P. Sella, The seals of the Vatican Archives, vol. II, Vatican City, 1946.
Tonini, 1862 - L. Tonini, history, civil and sacred Rimini, Rimini, 1862.
Link:

Friday, March 14, 2008

Letter For Wedding Ceremony And Reception

Ornatissimo Codice. La Biblioteca di Federico da Montefeltro

Last night was presented the exhibition to the public ornate Code. The Library of Frederick , staged in the Palazzo Ducale in Urbino. An exhibition that is well worth a visit.
The beauty of the fifteen manuscripts on show is spectacular, as well as consultation of the volumes through an ingenious computer system.
Read more here are some links:

However, I must note that the pages in the catalog all'araldica the show is disappointing.
exhibitions, especially those important as this should be an opportunity for new research and insights. Unfortunately, with regard to heraldry (the coats of arms and are among those most numerous in the miniatures of the Montefeltro codes) that did not happen.
I suggested a collaboration, offering some new features emerged in the course of my research, but the proposal was not even considered.
bad. A missed opportunity for the curators of the exhibition and for readers of the catalog.


Image linked from the site sullarte.it

Monday, March 10, 2008

How Do I Watch Avi Movies On My Tv

5.000 visite, grazie!

Today we have reached the number of 5,000 visits!
In late December, thanking the visitors the first year the network of this blog, I declare my appreciation for the almost three thousand hits, but in the early months of this year, the new trend has greatly increased in order to access today share five thousand .

Thanks! The hope is that more than one visitor has been able to find some interesting information, even if only a useful link.
I am indebted for some answers to some visitors that I have questioned ... I will as soon as compatible with my new work commitments.
Greetings! ;-)