From EHR to EDC - The Experience at the Policlinico Hospital in Milan.

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The EU Center of Excellence for Exascale in Solid Earth (ChEESE): Implementation, results, and roadmap for the second phase

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From the 3rd to the 2nd Millennium BC: An Assessment on Area A Pottery Assemblage from Trench 1

The archaeological excavation conducted in 2015 in Trench 1 in area A, at the southeastern footstep of the main Mound A revealed no structural evidence, but a series of accumulation layers probably coming from the collapse and the erosion of the upper part of the mound itself. A preliminary analysis of the pottery assemblage recovered shown the presence of materials dated from the Early Dynastic I period to the Isin-Larsa/Old Babylonian Period, revealing that this part of the site was probably occupied until the first half of the 2nd millennium BC

Adaptation of the Winged Disk in the Old Syrian Glyptic: A Study of Cultural Interaction in the Eastern Mediterranean

The winged disk first appears in Egypt, as a royal icon around the notion of divine kingship. It then appears in Syria during the Middle Bronze Age period, on a group of cylinder seals and seal impressions belonging to a royal environment, probably as an effect of the Egyptian influence. Starting with a study of the winged disk in Egyptian art, the paper analyzes the iconography and the occurrence of the winged disk in the Old Syrian glyptic, with the purpose of identifying its symbolic meaning in the Old Syrian culture. The winged disk symbol will be at first analyzed individually; afterwards, the relationships between the winged disk and the other symbolic elements present in the scene will be highlighted, with the aim of identify its meanings and evolution in the Old Syrian art together with its relationship with the Egyptian prototypes

Colours in Late Bronze Mesopotamia. Some Hints on Wall Paintings from Dur Kurigalzu, Nuzi and Kar-Tukulti-Ninurta

Archaeological excavations of the Mesopotamian palaces usually give us a monochrome image faded by time. Rare findings of plaster, whose colours are preserved, have permitted us to return to this image its original colours. The II millennium B.C. provides more examples of palatine wall paintings belonging to the three prominent cultures of the Late Bronze Period: Mitannian, at Nuzi, Kassite, at Dur Kurigalzu, and Middle-Assyrian, at Kar-Tukulti-Ninurta. By analyzing those fragmentary painted plasters and the careful reconstructions made by the scholars, it’s possible to note some differences in the use of colours and in drawing patterns according to the culture we’re referring to. Aim of this paper is to analyze and to compare wall paintings belonging to these three main cultures, trying to find analogies and differences especially in connection to the use of colours