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  1. CREATE TABLE IF NOT EXISTS `works` (
  2.   `id` INT(10) UNSIGNED NOT NULL,
  3.   `reference` VARCHAR(20) COLLATE utf8mb4_unicode_ci NOT NULL,
  4.   `name` text COLLATE utf8mb4_unicode_ci NOT NULL,
  5.   `author_id` INT(10) UNSIGNED DEFAULT NULL,
  6.   `is_category_style` tinyint(4) NOT NULL DEFAULT '0',
  7.   `size_id` INT(10) UNSIGNED DEFAULT NULL,
  8.   `property_id` INT(10) UNSIGNED DEFAULT NULL,
  9.   `category_id` INT(10) UNSIGNED NOT NULL,
  10.   `type_id` INT(10) UNSIGNED NOT NULL,
  11.   `century` INT(11) NOT NULL,
  12.   `width` DOUBLE(8,2) NOT NULL,
  13.   `height` DOUBLE(8,2) NOT NULL,
  14.   `depth` DOUBLE(8,2) NOT NULL,
  15.   `url` VARCHAR(100) COLLATE utf8mb4_unicode_ci DEFAULT NULL,
  16.   `app_page` longtext COLLATE utf8mb4_unicode_ci,
  17.   `missing_resources` VARCHAR(150) COLLATE utf8mb4_unicode_ci DEFAULT NULL,
  18.   `created_at` TIMESTAMP NULL DEFAULT NULL,
  19.   `updated_at` TIMESTAMP NULL DEFAULT NULL
  20. ) ENGINE=InnoDB AUTO_INCREMENT=37 DEFAULT CHARSET=utf8mb4 COLLATE=utf8mb4_unicode_ci;
  21.  
  22. --
  23. -- Dump dei dati per la tabella `works`
  24. --
  25.  
  26. INSERT INTO `works` (`id`, `reference`, `name`, `author_id`, `is_category_style`, `size_id`, `property_id`, `category_id`, `type_id`, `century`, `width`, `height`, `depth`, `url`, `app_page`, `missing_resources`, `created_at`, `updated_at`) VALUES
  27. (2, '25_25_EV_M', 'Pan bust', NULL, 1, 2, 1, 4, 7, 18, 28.80, 40.80, 21.90, 'pan-bust-25', 'This bust artfully displays the traditional standards used to represent the God Pan, the prototypes of which date back to the Hellenistic period of Greek art. The short ruffled locks of hair, the deep furrows on the brow, the highlighted and encircled eyes, the flat nose, the thick smiling lips, the large ears twisted into goat''s horns are sculpted in marble with great delicacy, breathing life into a mocking but certainly not fearful figure. The bust also features leafy shoots, to remind us of the mythological character''s close links to nature and the ever present flute, a metaphor of one of the God''s more celebrated erotic adventures with his Nymphs.', NULL, '2017-10-25 13:00:34', '2018-09-27 08:22:28'),
  28. (3, '23_23_EV_M', 'Portrait of Lucius Caecilius Iucundus', NULL, 1, 2, 1, 13, 9, 19, 21.70, 34.20, 20.40, 'portrait-of-lucius-caecilius-iucundus-23', 'Art is an unlimited source of Beauty and History: this bronze head of banker Lucius Caecilius Iucundus provides a striking instance of this. It is a copy of a portrait of a rich banker who lived in the Augustan age. The original, now located in the National Archaeological Museum of Naples, was found in Pompei and is in the form of a herma, a bronze portrait mounted on a small marble pillar. \nIt''s interesting to note how this copy manages to combine elements that belong to the personality of the person portrayed and to the aesthetic taste of the 19th century. The bronze face of Lucius Caecilius Iucundus is described in the original bronze like that of a "craftily simple peasant", writes the archaeologist Amedeo Maiuri, a sly attitude and a rotundity that gives the impression of a heavy body. In this bronze however the face is thinned out, the hair is brushed back in a very modern way, the eyes seem to be engrossed in some very some focused activity, while the forehead and the face,  scored with wrinkles, and the large verruca on the left of the chin are very accurately reproduced almost as if to prove the identity of the model. \nMany 19th century copies of the head of Lucius Caecilius Iucundes were made, seeing as the original was discovered during the archaeological digs in Pompei at that time, but we are also under the impression that the model himself, the character who lived in Pompei in the 1st century A.D. was interesting in his own right.\nLucius Caecilius Iucundus,  an "Argentarium", meaning a banker, was himself the son of bankers and in various documents is termed as a "coactor", in other words someone who lends money at vast interest to people, but is also trusted to preserve the considerable capital wealth of many of the rich inhabitants of Pompei. It is therefore obvious that Lucius Caecilius Iucundus enjoyed an excellent reputation among his fellow citizens, who entrusted him with their assets. The banker had a beautiful home on via Vesuvio, one of the smarter neighbourhoods of Pompei in the 1st century. One of the finds made during the excavations was a trunk containing one hundred and fifty wax tablets etched with the loans and deposit contracts that the banker stipulated with the rich inhabitants of Pompey, as well as the town''s public institutions. In the one hundred and twenty tablets there are mentions of approximately four hundred rich inhabitants of Pompei, a sign that the economy, shortly before the infamous Vesuvius eruption, was flourishing to say the least. \n', NULL, '2017-10-25 13:00:34', '2018-09-27 08:22:28'),
  29. (5, '81_26_GT_S', 'Corpus Christi', 9, 0, 1, 1, 4, 10, 18, 10.00, 10.00, 10.00, 'corpus-crucifix-81', 'The features of this Crucifix are typical of Baroque representations, and not just in Sicily: the anatomical aspects are enhanced, the gaze is turned towards the heavens, the crown of thorns is very detailed, the loincloth has its knot in the centre, Christ''s expression is both touching and heroic.  These are all details that recur in the work of important ivory craftsmen such as the sculptor Alberto Tipa, who may have provided the inspiration for this crucifix. \nDuring the course of the centuries, the representations of Christ on the Cross has changed in many ways, though not that radically. The first Christians, when Christianity was still a forbidden religion, would represent Crucifixion using a symbolic lamb accompanied by a cross. The image of the Cross bearing the figure of Christ, as we know it today, first appeared in the 6th century and was still rare until the 10th century, when it became more popular, mainly through engraved ivory figurines, decorations on metal and in manuscripts.  A new image of Christ on the Cross, with a withered body and clear indications of suffering, was developed during the 10th century. The loincloth was indeed an invention of Medieval artists to avoid representing a naked Christ. The crown of thorns motif was instead introduced to the West in the 13th century, when Louis IX of France returned from a Crusade with the sacred relic. Only since the Renaissance is the Crucified Christ represented as deceased and with his head bowed to the right.\n', NULL, '2017-10-25 13:00:34', '2018-09-27 08:22:28'),
  30. (6, '103_48_GT_M', 'Coral candlestick', 11, 0, 2, 1, 4, 11, 17, 10.00, 10.00, 10.00, 'coral-candlestick', 'The Jewish families that had emigrated to Trapani in the 15th C. were fundamental in spurring the production and sale of works made out of coral, establishing this particular area as the ultimate in terms of the refinement and elegance of the works it created. This candlestick was created when the production of coral objects in the Trapani area was at its peak and presents the typical elements of the sacred tradition: a triangular base with three feet, a tapered shaft featuring three differently shaped elements, a circular  disc at the top and a cylinder to house the candle. The coral decoration is created using beads, chevrons and strips attached to the copper. The manufacture is based on the ''retroincastro'' technique, which involved setting small coral elements onto thin sheets of metal using fish glue, wax and cloth. The effect of this technique, which is very old and widespread in the Trapani area, harks back to carpet designs of the Arab-Islamic tradition. \n', '3x2', '2017-10-25 13:00:34', '2018-09-27 08:22:28'),
  31. (7, '115_60_GT_S', 'Vergin of the Immaculate Conception', 11, 0, 1, 1, 4, 10, 18, 10.00, 10.00, 10.00, 'immaculate-conception-statue-115', 'In 18th century Sicily, under the reign of the Bourbons, devotional art enjoyed a moment of great splendour thanks to the ostentatiously Catholic nature of the dominant classes. The many representations of the Madonna, a subject particularly worthy of devotion seeing as she was a symbol of mercy, were only just tolerated by the Church and were essentially commissioned for private worship. What''s more these interpretations, once introduced and accepted within a certain social milieu, became a model that spread rapidly given the universal nature of its message. \nThis Immaculate Conception was in all likelihood a precious decoration of a private chapel, or could have even been located in the private boudoir of a noblewoman. Its wooden pedestal, carved in a polygonal shape, employs the typically Trapanese technique of ''reincastro'' involving drops and chevrons of coral set in what are clearly medal shaped designs. \nThe figure or the Virgin, in ivory, is wrapped in a richly pleated and swirling drape, which forms a simple yet precious dress, which leaves the neck and part of the bosom uncovered. The face,  framed by a hairdo that was very much in fashion in the Bourbon court is sculpted with great detail, while the figure wears a very innocent expression and appears to be deep in prayer, an attitude that is reinforced by the position of the hands crossed in front of her.  \n', NULL, '2017-10-25 13:00:34', '2018-09-27 08:22:28'),
  32. (9, '145_76_GT_L', 'Cherub', 3, 0, 3, 1, 4, 10, 18, 10.00, 10.00, 10.00, 'cherub-145', 'Ignazio Marabitti, a very productive Palermo sculptor working between 1745 and 1797, the year of his death, was considered a great innovator, as can be clearly seen in this sculpted Cherub. \nUnlike his contemporaries, often influenced by the very powerful naturalistic trends of the time, Marabitti''s marble figures reveal a yearning for formal balance that owes a great deal to the classicism of the Roman school where he trained. If we look at the posture of this Cherub''s limbs, we notice how the slight arching of the back is balanced by the bending of the left knee, how the volume of the left arm folded at the shoulder is matched by the other arm extended along the figure''s side and how the slight tilting of the head to the left is figuratively supported by the abundant folds of the drape on the figure''s right. The result of this dynamic play and juxtaposition of forms is a sculpture that in its inimitable way prefigures the imminent Neoclassicism of the 19th C.', NULL, '2017-10-25 13:00:34', '2018-09-27 08:22:28'),
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