Zeitschriftenartikel zum Thema „Giovanni Battista (Lecce, Italy)“
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Andjelkovic, Sladjana, Cedo Vuckovic, Suzana Milutinovic, Tomislav Palibrk, Marko Kadija und Marko Bumbasirevic. „Giovanni Battista Monteggia (1762-1815)“. Srpski arhiv za celokupno lekarstvo 143, Nr. 1-2 (2015): 105–7. http://dx.doi.org/10.2298/sarh1502105a.
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Giovanni Battista Monteggia was born in Laverne on the 8th of August 1762. Monteggia started his education in the School of Surgery at the Hospital Maggiore in Milano in 1779. This hospital was called ?Big House? and it is one of the oldest medical institutions in Italy. He passed exam in surgery in 1781. Monteggia was promoted to assistant at surgery in Maggiore hospital in 1790. He was among the first who gave a complete clinical description of polio. He described traumatic hip dislocation and special forearm fracture which was named after him. Strictly speaking, a Monteggia fracture is a fracture of the proximal third of the ulna with an anterior dislocation of the radial head. Monteggia became a member of the renewed Institute of Science, Literature and Art in Milano in 1813.
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Favero, Giancarlo, und Sandro Baroni. „Giovanni Battista Lacchini: An Amateur Astronomer from Italy“. International Astronomical Union Colloquium 98 (1988): 44–45. http://dx.doi.org/10.1017/s0252921100092149.
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Clerici, Carlo Alfredo, Laura Veneroni und Marco Poli. „Giuseppe Pasta (1742–1823): protophysician and pioneer of psychological studies in the medical field“. Journal of Medical Biography 17, Nr. 4 (November 2009): 189–94. http://dx.doi.org/10.1258/jmb.2009.009011.
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Giuseppe Pasta was a pioneer of psychological support in physical disease. Born in Bergamo, Italy, he was a cousin of the physician Andrea Pasta who was a pupil of Giovanni Battista Morgagni. Giuseppe's cultural and clinical resources were the teachings of Francesco Redi's medical school in Tuscany. This paper discusses the courage and philosophical tolerance of disease and the etiquette of the physician.
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TUBBS, R. S., R. G. LOUIS, M. LOUKAS, A. A. GUPTA, M. M. SHOJA und J. OAKES. „The First Description of the Palmaris Brevis Muscle“. Journal of Hand Surgery (European Volume) 32, Nr. 4 (August 2007): 382–83. http://dx.doi.org/10.1016/j.jhse.2007.04.020.
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Giovanni Battista Canano was born in Italy in 1515 and his work has gone mostly unknown. Very few copies of this anatomist and physician's book are known to exist. Interestingly, Canano reported and depicted what we believe, to be the first description of the palmaris brevis muscle. This description would be some 200 years prior to what is thought to be the earliest mention of this muscle by William Cheselden in his book, The Anatomy of the Human Body, published in 1713.
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Pinheiro, Maciel. „Relation among Theology, Natural Philosophy and New Science in Giovanni Battista Riccioli (1598-1671)“. Circumscribere International Journal for the History of Science 30 (12.07.2023): 38. http://dx.doi.org/10.23925/1980-7651.2022v30;p38.
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This essay tries to analyse the way in which the Jesuit priest Giovanni Battista Riccioli (1598-1671) and his ideas were evaluated by traditional and modern Historiographies, from seventeenth to twentieth century, in secular and ecclesiastic ambiances in Italy, having in mind the possibility of historical forgetfulness of the contribution this Jesuit offered to modern science in his century. For this, the use of Contextual, Historiographical and Epistemological approaches aims to understand more deeply the man Riccioly, his ideas in the debates of his time, from his Cosmology, Jesuit Mystic, Education according to the contemporary Ratio Studiorum and Position in Jesuit Order. In fact, he established an interchange of speech among Theologians, Philosophers and Mathematicians, relating Scholastic Theology, Natural Philosophy and New Science, elaborating a solid scientific knowledge, which didn’t contradict the Holy Scriptures.
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Majori, Giancarlo. „SHORT HISTORY OF MALARIA AND ITS ERADICATION IN ITALY“. Mediterranean Journal of Hematology and Infectious Diseases 4, Nr. 1 (10.03.2012): e2012016. http://dx.doi.org/10.4084/mjhid.2012.016.
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In Italy at the end of 19th Century, malaria cases amounted to 2 million with 15,000-20,000 deaths per year. Malignant tertian malaria was present in Central-Southern areas and in the islands. Early in the 20th Century, the most important act of the Italian Parliament was the approval of laws regulating the production and free distribution of quinine and the promotion of measures aiming at the reduction of the larval breeding places of Anopheline vectors. The contribution from the Italian School of Malariology (Camillo Golgi, Ettore Marchiafava, Angelo Celli, Giovanni Battista Grassi, Amico Bignami, Giuseppe Bastianelli) to the discovery of the transmission’s mechanism of malaria was fundamental in fostering the initiatives of the Parliament of the Italian Kingdom. A program of cooperation for malaria control in Italy, supported by the Rockefeller Foundation started in 1924, with the establishment of the Experimental Station in Rome, transformed in 1934 into the National Institute of Public Health. Alberto Missiroli, Director of the Laboratory of Malariology, conducted laboratory and field research, that with the advent of DDT brought to Italy by the Allies at the end of the World War II, allowed him to plan a national campaign victorious against the secular scourge.
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Boffano, Paolo, Fabio Roccia, Cesare Gallesio, K. Karagozoglu und Tymour Forouzanfar. „Inferior Alveolar Nerve Injuries Associated with Mandibular Fractures at Risk: A Two-Center Retrospective Study“. Craniomaxillofacial Trauma & Reconstruction 7, Nr. 4 (Dezember 2014): 280–83. http://dx.doi.org/10.1055/s-0034-1375169.
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The aim of the study was to investigate the incidence of the inferior alveolar nerve (IAN) injury in mandibular fractures. This study is based on two databases that have continuously recorded patients hospitalized with maxillofacial fractures in two departments—Department of Maxillofacial Surgery, Vrije Universiteit University Medical Center, Amsterdam, the Netherlands, and Division of Maxillofacial Surgery, San Giovanni Battista Hospital, Turin, Italy. Demographic, anatomic, and etiology variables were considered for each patient and statistically assessed in relation to the neurosensory IAN impairment. Statistically significant associations were found between IAN injury and fracture displacement ( p = 0.03), isolated mandibular fractures ( p = 0.01), and angle fractures ( p = 0.004). A statistically significant association was also found between IAN injury and assaults ( p = 0.03). Displaced isolated mandibular angle fractures could be considered at risk for increased incidence of IAN injury. Assaults seem to be the most important etiological factor that is responsible for IAN lesions.
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BACCIAGALUPPI, CLAUDIO. „CLASSIFYING MISATTRIBUTIONS IN PERGOLESI’S SACRED MUSIC“. Eighteenth Century Music 12, Nr. 2 (24.08.2015): 223–29. http://dx.doi.org/10.1017/s1478570615000329.
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On 16 March 1736 Giovanni Battista Pergolesi died from consumption at age twenty-six in the Franciscan monastery of Pozzuoli near Naples, leaving a considerable number of compositions in all genres: stage works, cantatas, instrumental music and sacred music. On account of the success these compositions had enjoyed in Italy during his life, and the extraordinary fame they achieved in the rest of Europe after his death, a multitude of works bearing his name continued to be disseminated, many of which had little, if any, connection with Pergolesi himself. This phenomenon invites us to question what mechanisms are at work when a piece of music is misattributed, for if spurious or doubtful works can be classified according to their origin, then the identification of recurring patterns may help disentangle similar cases. This essay aims to classify the origins of misattributed sacred works from the first decades of Pergolesi's posthumous reception.
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Merlo, Elisabetta, und Valeria Pinchera. „Configuring Cultural Emerging Industries: A Comparison of the French and Italian Fashion Industries“. Business History Review 97, Nr. 4 (2023): 779–807. http://dx.doi.org/10.1017/s0007680523000880.
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AbstractThis paper builds on a body of multi-disciplinary literature to analyze and compare the emergence of the prêt-à-porter industry in France and the ready-to-wear industry in Italy from their founding to their growth stages in the mid-twentieth century. The comparison demonstrates the significant impact that the French Chambre Syndicale de la Couture, des Confectionneurs et des Tailleurs pour Dame, and the National Chamber of Italian Fashion had on the trajectories of the fashion industry for each country. The article focuses on foundational entrepreneurs within the industry such as Giovanni Battista Giorgini, Jean Patou, Coco Chanel, Christian Dior, and others. It analyzes how these chambers supported the emergence of differentiated firms within the fashion industry, and how the industry responded to the business conditions in the international economy of the post-World War II period through the global recession of the 1970s.
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Cecalupo, Chiara. „The Rome Pavilion at the Italian General Exhibition in Turin in 1884: the exposition of Maps and Plans of Rome by Giovanni Battista de Rossi and the City Museum“. ACME 75, Nr. 2 (05.10.2023): 129–45. http://dx.doi.org/10.54103/2282-0035/21302.
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The paper contributes to the reflection on how the 19th-century national events of wider appeal such as the Art and Industrial Exhibitions fostered the dissemination and enhancement of archaeological discoveries. The specific case of the ‘Exhibition of the City of Rome’, held during the Turin Exhibition in 1884, is examined as a paradigmatic example of the archaeologist Giovanni Battista de Rossi’s commitment to promoting Rome in united Italy, using archive and press documents of the time. The Roman pavilion at Turin in 1884, for which de Rossi was responsible for the medieval section, is presented as a key event in the dissemination of Roman archaeological discoveries after 1870 and as a major event in the promotion of studies of Roman topography strongly desired by de Rossi, and which can be read as the starting point for the setting up of the Museum of the City of Rome.
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Vacca, G., und A. Dessi. „GEOMATICS SUPPORTING KNOWLEDGE OF CULTURAL HERITAGE AIMED AT RECOVERY AND RESTORATION“. International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2022 (30.05.2022): 909–15. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2022-909-2022.
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Abstract. The study presented aims a practical contribution to the use of the Terrestrial Laser Scanner and the Close Range Photogrammetry geomatic techniques and to their integration for the knowledge and development of the historical-architectural heritage, both in the step of planning a restorative conservation project, and in the subsequent step of the restoration works. In particular, these techniques and their integration were applied at the process of study, planning and execution of the restoration of the San Giovanni Battista church in Fonni (Sardinia, Italy), founded in the 16th century. The building, due to structural problems and humidity infiltrations, was subject to a serious intervention for consolidation and conservative restoration.In the first phase of the work, preliminary to the design, a TLS survey was made that allowed to obtain an accurate 3D model of the church. In a second phase, during the restoration work, CRP surveys were carried out and the accuracy of this technique was verified through a comparison with TLS surveys. The integration of the two techniques to improve the texture of point clouds detected with TLS was also tested.
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Castriota, Marco, Emanuela Meduri, Tiziana Barone, Giuseppe De Santo und Enzo Cazzanelli. „Micro-Raman investigations on the fresco ‘Trapasso della Vergine’ in the Church of ‘S. Giovanni Battista’ of Paterno Calabro in southern Italy“. Journal of Raman Spectroscopy 39, Nr. 2 (2008): 284–88. http://dx.doi.org/10.1002/jrs.1888.
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Brignardello, Enrico, Marco Gallo, Ileana Baldi, Nicola Palestini, Alessandro Piovesan, Emidio Grossi, Giovannino Ciccone und Giuseppe Boccuzzi. „Anaplastic thyroid carcinoma: clinical outcome of 30 consecutive patients referred to a single institution in the past 5 years“. European Journal of Endocrinology 156, Nr. 4 (April 2007): 425–30. http://dx.doi.org/10.1530/eje-06-0677.
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Objective: Treatment options for anaplastic thyroid carcinoma (ATC), which is one of the most lethal human malignant tumors, include surgery, chemotherapy and radiotherapy usually combined in a multimodal approach, to improve survival and avoid death from local invasion. However, there is no standard protocol for ATC treatment and the optimal sequence within multimodal therapy is debated. We retrospectively report the clinical outcome of 30 ATC patients referred consecutively to the Oncological Endocrinology Unit of San Giovanni Battista Hospital (Turin, Italy) between 2000 and 2005. Design: Patients were treated by one of the following approaches: i) surgery followed by adjuvant-combined chemoradiotherapy; ii) neo-adjuvant chemoradiotherapy followed by surgery and adjuvant chemotherapy; or iii) chemotherapy alone. The surgical procedures were classified as ‘maximal debulking’ or ‘palliative resection’. Maximal debulking entailed total or near-total thyroidectomy and complete resection of all gross tumor or minimal residual disease adherent to vital structures, independently of the presence or absence of distant metastases. In palliative resections, macroscopic residual disease was left in the neck. Survival of patients stratified by treatment was assessed. Results: Analysis of multivariate hazard ratios showed that maximal debulking followed by adjuvant chemoradiotherapy was the only treatment that modified survival of ATC patients (hazard ratio= 0.23, 95% CI: 0.07–0.79), even if factors determining poor prognosis or increased surgical risk were present. Conclusions: Despite the overall grim outcome of ATC, these results justify an attempt at maximal debulking surgery, followed by adjuvant chemoradiotherapy, possibly in all ATC patients.
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Коваль, В. Ю. „SEARCHING THE «ITALIAN TRACE» IN THE WOOD AND EARTH FORTIFICATION OF THE MEDIEVAL RUSSIA“. Краткие сообщения Института археологии (КСИА), Nr. 267 (04.10.2022): 410–18. http://dx.doi.org/10.25681/iaras.0130-2620.267.410-418.
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Трактат итальянского архитектора первой половины XVI в. Д. Б. Белуцци, в котором изложена технология строительства земляных стен с деревянными внутренними конструкциями, демонстрирует ее принципиальные отличия от средневековой русской древо-земляной фортификации. На территории Руси имеется пока только один пример применения такой технологии при строительстве не сохранившегося до наших дней вала Китай-города в Москве в 1534 г. (да и тот - лишь в летописном тексте). Появление в Италии такой оригинальной технологии связано с противодействием огнестрельной артиллерии, а применение дерева в земляных насыпях может объясняться как отсутствием опыта использования древесины в насыпях, так и следованием рекомендациям Вегеция (V в.), предназначавшимся для строительства валов вокруг лагерей римских войск. The treatise of Giovanni Battista Belluzzi, an Italian architect of the 16th century, that describes the technology of constructing earth walls with wooden structural elements placed inside the walls, demonstrates its principal differences from the medieval Russian wood and earth fortifications. So far, only one example of this technology applied in practice has been recorded for Medieval Russia, it is a Kitai-gorod rampart in Moscow built in 1534 that has not survived (it is mentioned only in a chronicle). Appearance of this original technology in Italy was caused by a need to find protection against fire artillery, while the use of wood in earth ramparts can be explained both by a lack of experience in using wood in earth walls and recommendations of Vegetius (5th century) developed specifically for construction of ramparts around the camps of the Roman troops.
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Saleem Mohammed AIi, Nuha. „Correlation Betveen Erythromycin- Resistance Phenotypes ofStreptoco cc us Pne unrc nifi e ancl the Invitro Activitl' of Telith romycineand Azithrornycine“. Tikrit Journal of Pharmaceutical Sciences 3, Nr. 2 (09.04.2023): 127–34. http://dx.doi.org/10.25130/tjphs.2007.2.6.127.134.
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Tow principal mechanisms have so far been found to be responsible for acquired macrolide ,lincosamide and streptogramin B (MLSB) antibiotics resistance in Streptococcus pneumoniae : target site modification and active drug efflux .the target site modification is due to methylase prevents the binding of the antibiotic to its ribosomal target and can be expressed either in a constitutive (cMLS phenotype) or inducible (iMLS phenotype ) manner .the macrolide efflux system,M phenotype ,is mediated by a membrane protein responsible for the efflux resistance. Although the incidence of resistance to macrolides was low in the past today the incidence reported by several countries shows a sensible increase. Thus it is necessary to search and test novel antimicrobial agents characterized by a spectrum of activity against the most common respiratory pathogens. This study compared the invitro activity (MIC and MBC) of telithromycin with activity of azithromycin against Streptococcus pneumoniae recently isolated from San Giovanni Battista Hospital (Turin, Italy). Erythromycin — resistance phenotypes were determined through a triple — disk test to correlate a potential different bacterial pattern to antimicrobial s sceptibility. The incidence of erythromycin-resistance was 26.66% .In the group of Ery-R Streptococcus pneumoniae 58.33% strains belonged to ¢MLS phenotype, 33.33% to M phenotype and 8.33% to iMLS phenotype. Telithromycin presented MIC values lower than those detected with azithromycin against all isolated strains . Telithromycin appeared to be highly active against Streptococcus pneumoniae, in particular when resistance is mediated by the efflux system confirming its clinical efficacy among respiratory streptococcal infections.
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Kaleciński, Marcin. „Italian Inspirations in Speymann’s House and Its Alleged Role as a Museum“. Porta Aurea, Nr. 22 (29.12.2023): 101–14. http://dx.doi.org/10.26881/porta.2023.22.05.
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While choosing the theme of reliefs which were to decorate his house, Johann Speymann, the mayor of Gdańsk, educated in Italy, drew inspiration from such works as De veri precetti della pittura by Giovanni Battista Armenini (1587) and Trattato dell’arte della pittura by Gian Paolo Lomazzo (1584). Speymannhaus, also known as Steffenshaus, was built in the years 1609–1618 and designed by Abraham van den Blocke and Hans Voigt. In the façade Speymann presented a gallery of Roman consuls and other viri illustres whose lives abounded in Republican exempla virtutis. As the first patron in the history of art in Poland, he made a virtue of his foundation, magnificence, which directly evokes the image of Lorenzo the Magnificent and makes the house of a Protestant patrician bear a resemblance to an Italian palazzo.
The façade was treated as an ideal museum (facciata come museo ideale) and decorated in antique style with pseudospolia (paraphrase of reliefs on Roman sarcophagi and imagines clipeatae ) which related in an iconographic manner to the general outline of Gdańsk as the New Rome.
In accordance with the will of Johann Speymann dated January 27th 1625, his home at Długi Targ ceased to serve its primary function and was transformed into a communally accessible collectors’ cabinet and library. Along with the owner’s wish, it became a public building having the function of a pioneer protomuseum. Moreover, an Italian‑trained curator was to show visitors around the premises.
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Zuccotti, Susan. „Cardinal Pietro Boetto: A Life of Service to the Society of Jesus, the Catholic Church, and the People of Genoa“. Journal of Jesuit Studies 7, Nr. 4 (03.07.2020): 616–41. http://dx.doi.org/10.1163/22141332-00704006.
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Cardinal Pietro Boetto, archbishop of Genoa from 1938 until his death in 1946, was an unusual Jesuit priest in several respects. First, although from humble origins, trained in seminaries other than the most prestigious Jesuit institutions, and not given to complex theological writings, he rose through the ranks of the Society’s administration to attract the notice of Pope Pius xi and be elevated to the cardinalate in 1935. The elevation was in itself highly unusual, given standard Jesuit policy and the expressed reluctance of the order’s Superior General Włodzimierz Ledóchowski at the time. Equally unexpected is the fact that the Jesuit Father Pietro Tacchi Venturi, the pope’s liaison with Mussolini, furnished intriguing background testimony about the elevation itself, which provides new insight into the pope’s policies and modes of operation. Finally, Cardinal Boetto was unusual for the clandestine assistance to Jews and anti-Fascists he provided as archbishop during the German occupation, for the broad range of rescue activities he allowed to his heroic secretary don Francesco Repetto and other priests, and for the wide-spread support networks that resulted throughout Northern and Central Italy. This article tells the story of a competent administrator with immense hidden skills and profound humanity. Sources include the memoirs of Boetto’s aide, Brother Giovanni Battista Weidinger; a biography by his associate Father Arnaldo Lanz; testimony by don Francesco Repetto; documents in the Archivum Romanum Societatis Iesu in Rome and the Archivio Diocesano di Genoa; and secondary studies by historians interested in the Second World War and the rescue of Jews in Genoa.
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Johnson, Janet. „Donizetti's first ‘affare di Parigi’: an unknown rondò-finale for Gianni da Calais“. Cambridge Opera Journal 10, Nr. 2 (Juli 1998): 157–77. http://dx.doi.org/10.1017/s0954586700004912.
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Donizetti's involvement with Paris has been understood to date from February 1834, when Rossini, acting as the Théâtre Italien's music director, commissioned Marino Faliero for performance the following winter. Though written in Italy, the work was substantially revised in Paris during the two months Donizetti spent there before the première on 12 March 1835, hence William Ashbrook's assertion that Donizetti ‘wrote for the first time for Paris, absorbing the musical tastes of that city, when he presented Marino Faliero at the Théâtre Italien’. While this opera unquestionably remains the one that officially launched the composer's Parisian career, new manuscript and printed musical sources reveal that Donizetti's ties to the city actually date back to 1833, when plans were laid for productions of two of his earlier operas: Gianni di Parigi (1831) and Gianni da Calais (1828). Like Marino Faliero, the first of these works was composed in Italy with a Paris (or a London) première in mind, Donizetti having hoped diat Giovanni Battista Rubini would introduce it at one of his benefit performances soon after rejoining the Italiens (part of the troupe spent spring and summer seasons at the King's Theatre). A close study of the work might shed light on the composer's understanding (or ignorance) of operatic practice in the city at this point in his career; indeed, it was precisely because Gianni di Parigi was so French at least in terms of its libretto (Felice Romani's adaptation of Claude Godard d'Aucour de Saint-Just's libretto for Boieldieu's classic and closely protected Jean de Paris, in the repertory of the Opéra-Comique since 1812) that the comic melodramma was never mounted in Paris. But it was the second work, composed for the Teatro del Fondo in Naples (where it was premièred on 2 August 1828), and performed at the Théâtre Italien twice, on 17 December 1833 and 4 January 1834, that Donizetti actually helped adapt to Parisian taste.
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Gómez Gómez, María Belén. „El proyecto religioso del cardenal Montini a la vanguardia de la arquitectura milanesa. El caso de Mater Misericordiae, icono de la modernidad | Cardinal Montini´s Religious Project, on the avant-garde of Milanese architecture. The study case of Mater Misericordiae, an icon of modernity“. ZARCH, Nr. 8 (02.10.2017): 300. http://dx.doi.org/10.26754/ojs_zarch/zarch.201782168.
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Durante la década de los años cincuenta del pasado siglo la ciudad de Milán creció a un ritmo acelerado al tratar de acomodar a la población que, como consecuencia de los movimientos migratorios acaecidos al final de la Segunda Guerra Mundial, se había ido alojando en la periferia. Algunas entidades, como la Diócesis de esta ciudad, trataron de dar ayuda espiritual a los habitantes de estas áreas en crecimiento, consolidándose esta iniciativa en un plan de construcción de nuevos complejos parroquiales en los alrededores de la ciudad. En el año 1955 es nombrado Arzobispo de Milán Giovanni Battista Montini, futuro Papa Pablo VI, que será una figura clave, el verdadero artífice tanto de este plan de construcción de iglesias como de la modernización de la imagen de la arquitectura sacra en Milán. Montini encargó muchos de los proyectos a arquitectos innovadores de experiencia probada, que trabajaban habitualmente en Milán o en otras zonas de Italia, pero también solicitó la redacción de algunos proyectos a jóvenes arquitectos que apenas tenían experiencia en el campo de la arquitectura eclesiástica. Con él, el ritmo de construcción de iglesias se incrementó considerablemente en los alrededores de la ciudad, llegando a levantarse en esos años más de cien nuevos edificios sacros. La intención de este texto es señalar, a través de una serie de ejemplos relevantes, entre los que destaca la iglesia Mater Misericoridae, cómo la Diócesis de Milán contribuyó, mediante una renovación de la imagen de la Iglesia como institución a través de su arquitectura, a definir la identidad de algunos barrios periféricos de la ciudad. En ellos, las nuevas construcciones eclesiásticas se convirtieron en hitos, símbolos de una importante renovación litúrgica que se había iniciado unas décadas antes en otros puntos de Europa Algunas de las nuevas propuestas arquitectónicas, en las que la Iglesia Católica apostó por apoyar la reconciliación entre arte moderno y arte sacro, se convirtieron en modelos de referencia en los que confluían tradición y modernidad. El caso concreto de la Iglesia Mater Misericordiae permite reconocer un alto grado de experimentación, muy por encima de otras arquitecturas coetáneas, tanto religiosas como civiles, muestra de la apuesta que la Diócesis milanesa, y en concreto el Cardenal Montini, hizo al apoyar la construcción de un proyecto renovador de verdadero carácter vanguardista.PALABRAS CLAVE: Milán de posguerra, arquitectura sacra, renovación litúrgica, iglesia y modernidad. During the 50s’ the city of Milan experienced a fast growth to accommodate the population that arrived into the city as a consequence of the migratory movements that took place at the end of the Second World War. Some organizations, such as the Archbishopric of the city, tried to provide with spiritual help to the inhabitants of this developing areas. This initiative turned into a plan for the construction of new parish churches in the settlements around the city. In the year 1955 Giovanni Battista Montini - who a few years later would become pope Paulus VI- Became archbishop of Milan and took over the management and planning for the construction of new churches. He was responsible for the modern image of sacred architecture in this city. Montini commissioned a group of innovative architects with proven experience that had already worked in Milan or other parts of Italy to deliver some of the Projects. At the same time, he appointed a group of young architects with relatively little experience in the field of ecclesiastical architecture and put them in charge of a second group of projects projects. Under Montini the rhythm of churches construction in the neighborhoods around Milan increased considerably and more than one hundred churches were constructed during this period and the following years. This paper discusses the contribution of the Diocese of Milan, within the renovation of the church as an institution through its architecture, to define the identity of some of the new peripheral areas of the city. For this purpose, some of the most interesting examples of architecture constructed during this period have been selected. Among all this constructions the church of Mater Misericordiae can be singled out for a number of reasons. These new sacred constructions became symbols of the important Liturgical renewal that had started a few decades before in some other parts of Europe. Some of these new architectural proposals, in which the Catholic Church tried to reconcile modern and sacred art, became new models of reference in which tradition and modernity went hand by hand. In the case of the church of Mater Misericordiae a high level of experimentation, well above some other contemporary sacred and civil constructions, can be recognized. This is an evidence of Montini’s commitment, to support a really avant-garde renewal project.KEYWORDS: Post-war Milan, Sacred Architecture, Liturgical renewal, church and modernity.
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Mishyn, Viktor. „ORPHEUS: THE SYMBOL OF A NEW MUSIC ERA“. Bulletin of the Lviv University. Series of Arts Studies 280, Nr. 20 (2019): 20–28. http://dx.doi.org/10.30970/vas.20.2019.10649.
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The purpose of the article is to analyse the philosophical and aesthetical processes, which at the beginning of Modern Times had led to the formation of new musical-aesthetical paradigm, thereby changing the world of music and resulting in creating of the emotionally colored music as we know it. This belated Renaissance in music is inextricably linked to the emergence of opera and to the reconstructions of the antique musical-aesthetical philosophical ideas, attitudes and values in Northern Italy at the end of the 16th and beginning of the 17th century. One of the first scholars who appealed to the long-abandoned ancient Greek philosophical doctrine of ethos was Nicola Vicentino (1511-1572). In his magnum opus L’antica musica ridotta alla moderna prattica (1555) he insisted that music should be connected to the lyrics (i.e. to the passions and ideas contained in it). The same position defended Girolamo Mei (1519-1594), who clearly states on it in his multiple letters to Vincenzo Galilei (1520-1591). Vincenzo Galilei, in turn, was the mastermind and inspirer of famous Florentine Camerata (also known as Camerata de’ Bardi) – the club of thinkers, poets and composers, which was founded in 1573 in order to put into practice ancient Greek musical aesthetical principles. The most famous members of Camerata – Giulio Caccini, Jacopo Peri, Vincenzo Galilei, Giovanni Battista Doni, Ottavio Rinuccini, Piero Strozzi. Of course, the most visible result of the activity of Camerata was creating the first works of dramma per musica – “Dafne” (1598), “Euridice” (1600) by Jacopo Peri and “Euridice” (1602) by Giulio Caccini. But the most important and widely disseminated at the time experimenting in the field of new musical art was concentrated in the genre of madrigal. Due to such activity at the late XVI – early XVII centuries arises new musical-aesthetical paradigm, which on the external level has revealed itself in emerging of the new, mostly homophonic representative stile (stile rappresentativo) as opposition to the old polyphonic stile (stile antico, stile grave, stile osservato). In this new representative style musical content is subordinate to lyrics. Most clearly the switch of musical-aesthetical paradigm was manifested in the MonteverdiArtusi controversy between the greatest composer of the time Claudio Monteverdi and the scholar Giovanni Artusi, who was criticizing new music. Monteverdi, as an apologist of a new musicalaesthetical principles described his famous concept of Seconda pratica (the Second Practice) in the following texts: Afterword for the 5th Book of Madrigals (1605), Forward for the 8th Book of Madrigals, The Letters to Unknown, 22 October 1633 and 2 February 1634. But the most complete statement of his ideas can be found in Dichiarazione of his brother Giulio Monteverdi, which was published in the collection of pieces Scherzi musicali by Claudio Monteverdi (1607). As the result of such philosophical and practical activity at the late XVI – early XVII centuries, the emotionally neutral consonant church polyphony was replaced by new affective musical material based not on the perfect ratios and proportions, but on the affect as a reflection of the human nature. The article focused on the reflection of this transitional period in the history of music, which conditionally ends with the creation of the first-ever true musical drama – “L’Orfeo” by Claudio Monteverdi (1607).
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Hughes, Byron D., und Don Nakayama. „Giovanni Battista Morgagni and the Morgagni Hernia“. American Surgeon, 22.04.2021, 000313482110111. http://dx.doi.org/10.1177/00031348211011108.
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Giovanni Morgagni remains an eminent figure in the field of pathological anatomy. Born in Forli, Italy, he excelled as a child. He entered medical school at the age of 16 years old in Bologna. By the age of 31 he held the chair position at the University of Padua. During his tenure, he discovered many anatomical and pathological findings, with the most widely known discovery being the Morgagni Hernia. Morgagni first described this eponymic hernia in an adult stonecutter during an autopsy. In addition to his many discoveries, his most esteemed written contribution to the field of medicine came in the form of a five-volume book titled De Sedibus et Causis Morborum per Anatomen Indagatis, in which he correlated cadaveric anatomy and symptomatology revealed upon autopsy. He remained on faculty at the University of Padua for over five decades until his death in 1771.
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Sanguineti, Alessandro. „Giovanni Battista Vitali’s Violone in the Accademia“. Journal of the Society for Musicology in Ireland, 17.07.2017, 3–29. http://dx.doi.org/10.35561/jsmi12161.
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This article discusses the background and content of Se le passioni amorose si debbano scoprire all’amico, ‘Olà, saggi, tacete’, an accademia set by Giovanni Battista Vitali, preserved in the Biblioteca Estense Universitaria, Modena, Mus. E. 245. Presumably performed during the period 1690–92, this special type of cantata includes one of the earliest examples, hitherto unnoticed, of a solo-obbligato bass-violin aria. Such arias were increasingly included in operas and oratorios composed in northern Italy from the late 1680s, but rarely in cantatas, and the present article explores the possible reasons behind the introduction of the bass violin as an obbligato instrument in dramatic settings. The aria in question, ‘Non hà compagno amor’ for bass and obbligato violone (the accademia’s second aria), is here examined and provided, in transcription, as a supplement to this article. The use of the Modenese tuning BBflat–F–c–g and of double-stops and chords closely relate Vitali’s writing in this aria to his other music for violone. A study of the aria’s musical content provides further confirmation of the organological type of Vitali’s violone, clearly a vertically-played bass violin that corresponds to the violoncello. Indeed, there are striking similarities between Vitali’s aria and the solo-obbligato violoncello arias in operas and oratorios by Domenico Gabrielli and Giovanni Bononcini.
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Arrigo Caserta, Fawzi Doumaz, Antonio Costanzo, Anna Gervasi, William Thorossian, Sergio Falcone, Carmelo La Piana, Mario Minasi und Maria Fabrizia Buongiorno. „Assessing soil-structure interaction during the 2016 Central Italy seismic sequence (Italy): preliminary results“. Annals of Geophysics 59 (05.12.2016). http://dx.doi.org/10.4401/ag-7250.
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<p><em>We used the moderate-magnitude aftershocks succeeding to the 2016 August 24<sup>th</sup>, Mw = 6.0, Amatrice (Italy) mainshok to asses, specially during an ongoing seismic sequence, the soil-structure interaction where cultural Heritage is involved. We have chosen as case study the</em><em> San Giovanni Battista</em><em> church (A.D. 1039) in Acquasanta Terme town, about 20 Km northeast of Amatrice. First of all we studied the soil shaking features in order to characterize the input to the monument. Then, using the recordings in the church, we tried to figure out how the input seismic energy is distributed over the different monument parts. Some preliminary results are shown and discussed.</em></p><p><em><br /></em></p>
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Ostapkowicz, Joanna, und Cecilia Pennacini. „Collecting “Remembrances of these Isles”: Tracing the Post-1880 History of a Taíno Cotton Cemí in the Dominican Republic and Italy“. Latin American Antiquity, 25.04.2023, 1–17. http://dx.doi.org/10.1017/laq.2022.106.
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Abstract This article charts the collection history of the only surviving precolumbian cotton reliquary (cemí) from the Dominican Republic, establishing its provenance from the mid-nineteenth century through a previously unpublished manuscript written by the collector, Rodolfo Domingo Cambiaso Sosa, and using archival documents in Italy. The cemí, found in a cave in the southwest of the country near the town of Petitrou (Enriquillo), was purchased in 1882 by Admiral Giuseppe Giovanni Battista Cambiaso, one of the founders of the Dominican Navy. It emerged in international publications commemorating the quadricentennial of the Spanish–Indigenous encounter in 1892 and shortly thereafter was sent to Genoa, Italy. It entered the collections of Turin's Royal Museum of Antiquities in 1928 before being passed to the newly established Museum of Anthropology and Ethnography. It was rediscovered by Dominican scholars in the 1970s and has inspired numerous investigations since, including renewed collaborative links between the Dominican Republic and Italy.
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Rodríguez-Mesa, Francisco José. „Un ginepro per Ginevra: appunti sulle donne Sforza protagoniste nella Gynevera de le clare donne“. Estudios Románicos 31 (01.05.2022). http://dx.doi.org/10.6018/er.498611.
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Giovanni Sabadino degli Arienti wrote, around 1490, the Gynevera de le clare donne, a collection of exemplary female biographies dedicated to Ginevra Sforza, wife and counsellor of Giovanni II Bentivoglio, de facto lord of Bologna. Unlike Boccaccio’s De mulieribus claris (archetype of this type of works), the women appearing in Sabadino’s work do not seem to have been chosen for their crucial contributions to our civilization, but for a rather different purpose, since most of them are connected to the courtly milieu of northern Italy or directly linked to the dedicatee herself. In this study we aim to examine the four biographies of the Gynevera devoted to the women belonging –as the dedicatee– to the Sforza family, i.e., the four chapters describing the lives of Bianca Maria Visconti (Francesco Sforza’s wife), Battista Sforza, Elisa Sforza, and Ippolita Maria Sforza. In these biographies the elements that contribute to praise the Sforza lineage as a whole will be analysed in order to deepen in the encomiastic approach of the work. Giovanni Sabadino degli Arienti scrive, circa nel 1490, la Gynevera de le clare donne, una silloge di biografie muliebri esemplari dedicata a Ginevra Sforza, moglie e consigliera di Giovanni II Bentivoglio, signore de facto di Bologna. A differenza di quanto avviene nel De mulieribus claris boccaccesco, archetipo di questo tipo di cataloghi, le donne che popolano le pagine dell’opera di Sabadino non sembrano scelte per la loro indelebile traccia nella nostra civiltà, ma con uno scopo alquanto diverso, poiché la maggior parte di esse sono collegate all’ambiente cortigiano dell’Italia settentrionale o direttamente vincolate alla dedicataria stessa. In questo studio ci proponiamo di esaminare le quattro biografie della Gynevera dedicate a donne appartenenti alla famiglia Sforza, casato della destinataria della silloge. Le protagoniste di queste vite sono Bianca Maria Visconti (moglie di Francesco Sforza), Battista Sforza, Elisa Sforza e Ippolita Maria Sforza. In questi capitoli verranno analizzati gli elementi che contribuiscono a elogiare la stirpe sforzesca nel suo insieme per approfondire l’approccio encomiastico con cui l’autore affronta l’opera.
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Everett, Paul. „Vivaldi’s Bohemian Manuscripts“. Journal of the Society for Musicology in Ireland, 14.06.2013, 41–50. http://dx.doi.org/10.35561/jsmi08123.
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The present article was originally published in Czech translation by Michaela Freemanová: ‘Vivaldiho bohemikální rukopisy’, Opus musicum, 44/3 (2012), 14-25. It concerns the several manuscripts - mostly autographs - of Antonio Vivaldi that appear to originate from Bohemia and the time of the composer’s visit, accompanied by his father Giovanni Battista Vivaldi, to ‘Germania’ in 1729-30. Besides three manuscripts of compositions with lute (RV 83, 85 and 93), whose association with Count Johann Joseph von Wrtby (Jan Josef z Vrtba, 1669-1734) had been recognized in the 1970s, there are eleven further manuscripts (of RV 155, 163, 186, 278, 282, 288, 330, 380, 473, 500 and 768) discovered to be of similar, putatively Bohemian provenance that survive in Vivaldi’s personal archive of music, now preserved in Turin. Through the examination of their paper-types and rastrographies (utterly distinct from those of the music papers Vivaldi typically used in Italy), a clear picture emerges of the near-contemporaneity and common origin of these fourteen manuscripts.
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Bezerra, Alexandra M. R., Edoardo Di Russo und Riccardo Castiglia. „Disseminating “hidden” scientific collections: the medium and large-sized terrestrial mammals at the Museo di Anatomia Comparata “Giovanni Battista Grassi”, Roma, Italy“. Biodiversity Data Journal 12 (05.07.2024). http://dx.doi.org/10.3897/bdj.12.e124810.
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The dissemination of specimen data in scientific collections is a crucial step in making them available to the scientific community. However, even today, especially in some countries, little or nothing is known about the contents of the naturalistic collections of some museums. This is regrettable, especially in cases where the collections include historic specimens and endangered species. The Museum of Comparative Anatomy “Giovanni Battista Grassi”, situated in Rome, Italy, houses historical anatomical and didactic collections, with specimens gathered from 1600s and almost worldwide. The collection holds 444 specimens of medium and large-sized terrestrial mammals, comprising 25 fossils, 40 skins, 186 skulls, 70 skeletons and 123 anatomical pieces, representing 63% of recent mammal orders, mainly from localities of Africa and Europe. A list of this material, indexed by the orders and families, is provided, as well as comments on the conservation status of the species. Remarkable data are summarised, including new data on a hippopotamus specimen from an extinct population and the record of three rhinoceros species from 1600s. Besides comparative anatomical studies, the Museum of Comparative Anatomy of Sapienza University emerges as a source of important material for biodiversity genomics.
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Selvafolta, Ornella. „ARTE, POLITICA, CULTURA NEI GIARDINI DI VILLA MELZI D’ERIL A BELLAGIO. IL MONUMENTO A DANTE E BEATRICE DI GIOVANNI BATTISTA COMOLLI, 1810“. Istituto Lombardo - Accademia di Scienze e Lettere • Rendiconti di Lettere, 10.02.2022. http://dx.doi.org/10.4081/lettere.2021.779.
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On the occasion of the double anniversary - the seven hundred years since the death of Dante Alighieri and the two hundred years since the death of Napoleon Bonaparte - the essay deals with the monument of Dante and Beatrice sculpted by the neoclassical artist Giovanni Battista Comolli in 1810. His client was Francesco Melzi d’Eril, former Vice President of the Italian Republic (1802-1804), then Grand Chancellor Keeper of Seals of the Kingdom of Italy (1805-1814). Located in the gardens of the Villa Melzi d’Eril in Bellagio on Lake Como, the monument features the meeting of Dante and Beatrice in Canto XVIII of Paradiso, when the woman soothes the poet for the prophecy of exile announced by his ancestor Cacciaguida. The paper highlights how this subject implies on the part of the client the desire to celebrate the poet and his work as expressions of Italian values, at a time when Napoleon’s authoritarian turn had disappointed his aspirations for the country’s greater independence. The sculpture also marks some artistic novelties and, as a whole, can be considered an early example of a monument specifically designed around Dante and his Commedia, anticipating the artistic success of the poet in the following decades of the Nineteenth century.
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Marzi, Tanja, Clara Bertolini-Cestari und Olivia Pignatelli. „Learning from tradition: a case study of the diagnosis, dendrochronological dating, and intervention on a 16th-century timber roof structure in the western Italian Alps“. Rivista Tema SI, Nr. 2022 (15.02.2023). http://dx.doi.org/10.30682/tema08sit.
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The paper presents a significant case study: the Church of San Giovanni Battista in Salbertrand dates back to the 16th century and constitutes one of the most interesting examples of religious architecture in the Susa Valley of the western Italian Alps. Its historic timber roof structure was once at risk of demolition, but in 2000 finally became the object of necessary preservation and reinforcement works. Here, the interdisciplinary studies carried out for the diagnosis and assessment of the state of conservation are presented, starting with the identification of the wood species used, the geometrical survey, the visual and NDT diagnosis of the timber elements, and the structural evaluation. A special section is dedicated to the dendrochronological analysis, with a comparison of different case studies regarding larch roof structures of other historic architectures located in the northwest of Italy. The tree-ring sequences obtained from the buildings presented have also been used to define a larch chronology of the Susa Valley in Piedmont. Following the first assessment phase, a second phase involved defining the restoration and reinforcement interventions. The reinterpretation of historic craftsmanship rules and traditions, which already contemplated the use of steel devices, attempted to offer alternative design solutions. This reinterpretation constituted the basis of the reinforcement interventions carried out in Salbertrand in the early 2000s. This paper highlights the importance of learning from historical treatises, showing how, even in modern reinforcement interventions, the application of traditional carpentry rules can achieve the aims of preservation and structural efficiency with overall cost-effectiveness and durability, resulting in a favorable balance between tradition and innovation.