Index
MU_EN_Operating_Manual_Canova_embedding module_Rev.I°emiss_031111
7.10
OVERHEATING ALARM .........................................................- 27 -
8.0
SWITCHING OFF PROCEDURE .....................................................- 27 -
9.0
PERFORMANCES AND LIMITATIONS...........................................- 28 -
10.0
QUALITY CONTROL .......................................................................- 29 -
11.0
SPECIFICS AND INSTALLATION...................................................- 30 -
12.0
CLEANING AND MAINTENANCE...................................................- 31 -
12.1.1
LCD display cleaning...................................................- 31 -
12.1.2
External surfaces ........................................................- 31 -
12.2
Instrument cleaning frequency.................................................- 31 -
13.0
FUSE REPLACEMENT....................................................................- 32 -
14.0
SCHEDULED MAINTENANCE........................................................- 33 -
14.1
Filter expiry..............................................................................- 33 -
14.2
Heated forceps & tamper expiry...............................................- 33 -
15.0
WEE DIRECTIVE .............................................................................- 34 -
16.0
TROUBLESHOOTING .....................................................................- 35 -
17.0
Spare part list..................................................................................- 37 -
18.0
MANUAL INFORMATION................................................................- 38 -
19.0
DEFINITION OF ADOPTED SYMBOLS...........................................- 39 -
20.0
Warranty..........................................................................................- 40 -
21.0
GENERAL INFORMATION..............................................................- 41 -
Inspired by:
Antonio Canova (Possagno, November,1,1757 – Venice, October,13,1822) was an talian sculptor,
considered the greatest exponent of Neoclassicism.
His art and his genius had a great and decisive influence in the sculpture of the era and was identified as
the "poet" of the ideal feminine beauty: it is enough to recall his works inspired by the
Three Graces
and
the
The bathing Venus.
He studied how to follow the techniques of the ancient Greek sculptors: from drawing to sketch in baked
clay, earth or wax, materializing at once the real shape of the work.
Another special feature of his talent was work dressing, always refined at best, giving a gloss effect, that
accentuated their natural and splendid beauty; a beauty radiant of purity, according to the standards of the
most orthodox classicism, the representation of the idealized, universal and eternal beauty.
Antonio Canova worked for popes, kings, emperors and princes from all over the world, and was under the
influence and charm of the seventeenth-century sculptor Gian Lorenzo Bernini, the undisputed master of
the Baroque style.
n his sculptures he used to use the white marble that, with incredible skill, was able to make smooth and graceful.
The anatomical forms of his works are perfectly unique, the gesture motion always contained and measured, and this feature is shown in
one of his most famous sculptures: Cupid and Psyche.
