Academic literature on the topic 'Francesco Margotti'

Abstract Given on the centenary of women's suffrage, this lecture explores the tensions and conflicts the claim for the vote raised among elite women already enmeshed in parliamentary and political circles. Drawing on the unbuttoned and sometimes angry correspondence among A.J. Balfour's suffragist sisters-in-law Lady Frances Balfour and Lady Betty Balfour, Frances' collaborator (and suffragist leader) Millicent Fawcett, Lady Betty's militant suffragette sister Lady Constance Lytton, and their old friend (and wife of the anti-suffragist Prime Minister) Margot Asquith, it explores the appeal but also the costs of this democratic claim for such “incorporated” women - and explains why some nevertheless supported it.

Este artículo compara dos obras: Teresa de Manzanares de Alonso de Castillo Solórzano y Margot la ravaudeuse de Louis-Charles Fougeret de Monbron. A lo largo del texto se revisan las características propias de las tradiciones picarescas española y francesa de los siglos XVII y XVIII. Se analizan los rasgos comunes, pero también las particularidades de cada uno de estos textos. Se contrasta la postura anticlerical de Fougeret de Monbron frente a la ausencia de crítica al respecto De Castillo Solórzano. Interesa ver los rasgos de cada uno de estos textos que anuncian la secularización de esta tradición.

Abstract Introduction. The two ETS transcription factors ETS1 and FLI1 are co-mapped in the 11q24.3 region recurrently gained in up to 25% of diffuse large B cell lymphomas (DLBCL) (Bonetti et al, 2013). The two proteins largely co-regulate a series of genes involved in B-cell signaling, differentiation and cell cycle (Priebe et al, 2020; Sartori et al, 2021). While FLI1 is expressed at a higher level in DLBCL of the germinal center B-cell (GCB) type than in the activated B-cell-like (ABC) DLBCL, ETS1 is more expressed in the latter subgroup. We and others have reported preclinical anti-tumor activity in lymphomas and other tumors with small molecules blocking the binding of ETS factors and RNA helicases (Erkizan et al, 2009; Spriano et al, 2019), and encouraging clinical data are coming from the first trials enrolling Ewing Sarcoma patients (Ludwig et al, 2020). Here, proteomic experiments were performed to investigate ETS1 interactome in DLBCL. Methods. To investigate interaction partners, protein precipitation was performed using streptavidin beads to pull down strep-tagged ETS1 in DLBCL ABC cell line, HBL-1, followed by Liquid Chromatography tandem Mass Spectrometry (LC-MS/MS). Shotgun proteomics analysis identified biologically relevant ETS1 protein interactors, with a spectral count above four, that were validated by normal and reverse co-immunoprecipitation experiments. Transcriptome analysis was done via RNASeq after DDX21 siRNAs silencing in four DLBCL cell lines, two derived from ABC (HBL1 and U2932) and two from GCB (OCI-Ly1 and VAL). Results. Identified ETS1 interactors in the ABC DLBCL HBL-1 included proteins related to RNA processing, more specifically in spliceosome (NOP56 and ALYREF) and in ribosome biogenesis (SF3B1 and DDX21). Among these, we focused on the novel interactor DDX21, an RNA helicase also regulated by FLI1 (Sartori et al, 2021). DDX21 was found differentially expressed between GCB and ABC DLBCL, with higher expression in the latter (P<0.001) (GSE98588: n= 117 cases, phs001444.v2.p1: n= 432 cases, GSE95013: n= 33 cases, and GSE10846, n= 350 cases). When we silenced DDX21 with siRNAs, toxicity was seen in both ABC and GCB cell lines. To better characterize the role of DDX21 as a transcriptional factor in DLBCL and to further investigate its link with ETS1 and FLI1 we obtained RNASeq transcriptome after DDX21 silencing. Transcriptional profiling and functional annotation of transcripts regulated by DDX21 identified genes coding proteins involved in cell cycle (FDR <0.001), ribosomes (FDR <0.001) and spliceosome (FDR <0.001).Conclusions. ETS1 interacts with proteins involved in spliceosome and in ribosome biogenesis, including DDX21. More expressed in ABC than GCB DLBCL, DDX21 appears essential for the survival of lymphoma cells by regulating cell cycle and RNA processing. The interaction between ETS1 and DDX21 offers an additional therapeutic opportunity against DLBCL cells. Citation Format: Giulio Sartori, Valdemar Priebe, Luciano Cascione, Elaine Y.L. Chung, Mélanie Favre-Juilland, Sara Napoli, Alberto Arribas, Andrea Rinaldi, Margot Thome Miazza, Francesco Bertoni. The RNA helicase DDX21 cooperates with ETS1 and FLI1 in cell cycle and RNA processing [abstract]. In: Proceedings of the Third AACR International Meeting: Advances in Malignant Lymphoma: Maximizing the Basic-Translational Interface for Clinical Application; 2022 Jun 23-26; Boston, MA. Philadelphia (PA): AACR; Blood Cancer Discov 2022;3(5_Suppl):Abstract nr A14.

Abstract Background: CTX + dual HER2-targeting monoclonal antibodies (mAb) remains a standard of care for treatment (Tx) of both HER2+ early-stage and MBC. However, when the SOPHIA trial was launched, limited Tx options existed after progression on T, pertuzumab (P), and ado-trastuzumab emtansine. M, an Fc-engineered anti-HER2 mAb, targets the same epitope as T and exerts similar antiproliferative effects. M enhances CD16A-mediated ADCC compared to T. Furthermore, M treatment is associated with increased HER2-specific T- and B-cell responses and increased T-cell clonality compared to baseline. The phase 3 SOPHIA (NCT02492711) study demonstrated PFS benefit of M vs T, both + CTX, in HER2+ MBC pts. M improved PFS over T, with a 24% relative risk reduction (HR .76; 95% CI .59-.98; P=.033; median, 5.8 [95% CI 5.5-7.0] months (mo) vs 4.9 [95% CI 4.2-5.6] mo (Rugo HS, et al. JAMA Oncol 2021), resulting in FDA approval. Median OS after 270 mortality events (2nd interim analysis) was 21.6 mo with M vs 19.8 mo with T (HR .89; 95% CI .69-1.13; P=.33). Here we report final OS after 385 events, as well as updated safety.Methods: Pts with disease progression after ≥2 lines of anti-HER2 Tx, including P, and 1-3 lines of Tx for HER2+ MBC were randomized 1:1 to CTX + either M (15 mg/kg) or T (8 mg/kg loading dose, then 6 mg/kg), both given IV every 3 weeks. Randomization was stratified by number of metastatic sites (≤2, >2), lines of Tx for MBC (≤2, >2), and CTX choice (capecitabine, eribulin, gemcitabine, or vinorelbine). Sequential primary end points were central-blinded review of PFS and OS.Results: The intent-to-treat (ITT) population comprised 536 pts (M, 266; T, 270). At the median follow-up of 20.2 mo among all ITT pts, pts received a median of 7 cycles of M + CTX vs 6 cycles of T + CTX. Median OS after 385 events in the ITT population was 21.6 mo with M vs 21.9 mo with T (HR .95; 95% CI .77-1.17; P=.62; Table). Based on a prespecified, non-α-allocated exploratory analysis, a numerical OS advantage in favor of the M arm was observed in the subgroup of pts homozygous for the CD16A-158F low-affinity allele (median OS, 23.6 vs 19.2 mo; HR .72; 95% CI .52-1.00; nominal P=.05). In contrast, in the small subgroup of CD16A-158V homozygotes, median OS was longer for T vs M (31.1 mo vs 22.0 mo; HR 1.77; 95% CI 1.01-3.12; nominal P=.04). Grade ≥3 adverse events (AE) occurred in 146 pts (55.3%) receiving M vs 141 pts (53.0%) receiving T. Serious AEs were seen in 47 pts (17.8%) receiving M vs 51 pts (19.2%) receiving T. Incidence of infusion-related reactions was higher with M (36 [13.6%]) vs T (9 [3.4%]). Left ventricular dysfunction requiring delay or cessation of M/T administration occurred in 4 pts (1.5%) receiving M and in 7 pts (2.6%) receiving T. Conclusions: The median OS in the ITT population was not statistically different between the 2 arms. An exploratory analysis of CD16A genotyping indicates a numerical OS advantage in favor of M in F homozygous pts, along with a numerical OS advantage in favor of T in V homozygous pts. Safety of M + CTX was similar to previous reports and consistent with M FDA-approved label. Studies of M in HER2+ breast cancer pts with different CD16A allelic variants are warranted, including MARGOT, the neoadjuvant investigator-initiated study on the efficacy of M vs T in pts carrying F-allelic variants of CD16A. Median OSITT analysisPrespecified, non-α-allocated exploratory analysis (n=506)N=536CD16A-158F carriers (F/F and F/V)(n=437)CD16A-158F homozygotes (F/F)(n=192)CD16A-158F/V heterozygotes(n=245)CD16A-158V homozygotes (V/V)(n=69)aM + CTX, mo21.6 (n=266)23.3 (n=221)23.6 (n=102)21.3 (n=119)22.0 (n=37)T + CTX, mo21.9 (n=270)20.8 (n=216)19.2 (n=90)22.0 (n=126)31.1 (n=32)HR (95% CI)0.95 (0.77-1.17)0.86 (0.69-1.08)0.72 (0.52-1.00)0.96 (0.71-1.30)1.77 (1.01-3.12)P value0.620.19b0.05b0.78b0.04bAbbreviations: CTX, chemotherapy; HR, hazard ratio; ITT, intent to treat; M, margetuximab; mo, months; OS, overall survival; T, trastuzumab. Cutoff date: June 14, 2021. aThis subgroup was characterized by an imbalance in poor prognostic features. bNominal P value. Citation Format: Hope Rugo, Seock-Ah Im, Fatima Cardoso, Javier Cortes, Giuseppe Curigliano, Antonino Musolino, Mark D. Pegram, Thomas Bachelot, Gail S. Wright, Cristina Saura, Santiago Escrivá-de-Romaní, Michelino De Laurentiis, Gary N. Schwartz, Timothy Pluard, Francesco Ricci, William Gwin, III, Christelle Levy, Ursa Brown-Glaberman, Jean-Marc Ferrero, Maaike de Boer, Sung-Bae Kim, Katarína Petráková, Denise A. Yardley, Orit Freedman, Erik H. Jakobsen, Einav Nili Gal-Yam, Rinat Yerushalmi, Peter A. Fasching, Emily Ashley, Shengyan Hong, Minori Rosales, William J. Gradishar. Phase 3 SOPHIA study of margetuximab (M) + chemotherapy (CTX) vs trastuzumab (T) + CTX in patients (pts) with HER2+ metastatic breast cancer (MBC) after prior anti-HER2 therapies: Final overall survival (OS) analysis [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr PD8-01.

Nell’ottobre del 1921 a Milano nacque la Scuola Superiore di Arte Cristiana Beato Angelico. Responsabili dell’iniziativa: don Giuseppe Polvara, l’architetto Angelo Banfi, il pittore Vanni Rossi, affiancati dallo scultore Franco Lombardi, dai sacerdoti Adriano e Domenico Bernareggi, dall’ingegner Giovanni Dedè, dal professor Giovanni Mamone e dall’avvocato Carlo Antonio Vianello. Gli allievi del primo anno scolastico furono nove, due dei quali (gli architetti don Giacomo Bettoli e Fortunato De Angeli) destinati a restare per lunghi anni nella Scuola come docenti: così avvenne anche col pittore Ernesto Bergagna, iscrittosi l’anno seguente. A partire da quell’avvenimento il contesto italiano dell’arte sacra poté contare su un elemento di indiscutibile novità, destinato nel giro di pochi anni a una rapida, diffusa e pervicace affermazione nella Penisola. La fondazione della Scuola Beato Angelico mise un punto fermo nell’annoso dibattito sul generale declino dell’arte sacra che andava in scena da lungo tempo in Italia così come nei principali Paesi europei. La formula ideata da don Polvara metteva a sistema le proprie esperienze personali, artistiche e professionali con la conoscenza del contesto internazionale, di alcuni modelli esemplari e il confronto con gruppi e singole figure (artisti, critici, uomini di Chiesa) animate dal comune desiderio di contribuire alla rinascita dell’arte sacra. A cento anni dalla sua nascita – e a settanta dalla scomparsa del suo fondatore – la Scuola Beato Angelico (coi laboratori di Architettura, Cesello, Ricamo, Pittura e Restauro) prosegue tuttora nel compito di servire la Chiesa attraverso la realizzazione di arredi e paramenti sacri contraddistinti da una particolare cura dell’aspetto artistico e liturgico, oggetto di ripetute attestazioni di merito e riconoscimenti in ambito ecclesiastico. Ciò che invece finora manca all’appello è un organico tentativo di ricostruzione delle vicende storiche che hanno segnato la genesi e gli sviluppi di questa singolare realtà artistica e religiosa. Scopo di questa tesi è quindi la restituzione di un profilo il più possibile dettagliato e ragionato della storia della Scuola Beato Angelico, tale da riportare questa vicenda al centro di una situazione storica e di un contesto culturale complesso, attraverso una prospettiva di lavoro originale condotta sul filo delle puntualizzazioni e delle riscoperte. Stante il carattere “pionieristico” di questa ricerca, la vastità dei materiali e delle fonti a disposizione e la conseguente necessità di assegnare un taglio cronologico riconoscibile al lavoro si è optato per circoscrivere l’indagine ai decenni compresi tra il 1921 e il 1950, ovvero tra la fondazione della Beato Angelico e la scomparsa di Giuseppe Polvara. Come si vedrà, il termine iniziale viene in un certo senso anticipato dall’esigenza di tratteggiare al meglio gli antefatti e il contesto da cui trae origine la Scuola (tra la fine del XIX e i primi decenni del XX secolo). L’anno assunto a conclusione della ricerca, invece, è parso una scelta quasi obbligata, coincidente col primo avvicendamento alla direzione della Beato Angelico oltre che dalla volontà di escludere dal discorso quanto andò avviandosi negli anni Cinquanta e Sessanta, ossia una nuova e diversa stagione nel campo dell’arte sacra (destinata, tra l’altro, a passare attraverso lo snodo rappresentato dal Concilio Vaticano II e dall’azione di S. Paolo VI), peraltro assai indagata dagli studi storico-artistici. Ciò che ha reso possibile la stesura di questa tesi è il fatto che essa si appoggi, in buona parte, su materiali archivistici inediti o, quantomeno, mai esaminati prima d’ora in modo strutturato. L’accesso ai materiali d’archivio più storicizzati e la loro consultazione (grazie alla disponibilità dimostrata dalla direzione della Scuola Beato Angelico) hanno condizionato in modo determinante la trattazione degli argomenti, la ricostruzione dei quali , in alcuni casi, è sostenuta esclusivamente dai documenti rinvenuti. La nascita della Scuola Beato Angelico non fu un accadimento isolato nel panorama della produzione artistica europea del tempo né un episodio estraneo a quanto, contemporaneamente, si andava dibattendo nel mondo ecclesiastico. La Scuola di Polvara nacque in un’epoca contrassegnata da grande fermento ecclesiale: si pensi agli Ateliers d’Art Sacré fondati da Maurice Denis e George Desvallières a Parigi nel 1919, solo due anni prima della Scuola milanese, i cui aderenti – tutti laici – professavano una religiosità intensa e devota. Ma, soprattutto, il modello determinante e più conosciuto da Polvara fu la Scuola di Beuron (Beuroner Kunstschule), nata nell’omonima abazia benedettina tedesca nell’ultimo quarto del XIX secolo a opera di padre Desiderius Lenz e sul cui esempio ben presto sorsero atelier specializzati nella produzione di arte sacra (arredi e paramenti a uso liturgico) in molte comunità benedettine dell’Europa centrale. L’affinità di Polvara con la spiritualità benedettina è un elemento-chiave della Scuola da lui fondata: dalla regola dell’ora et labora derivò infatti il concetto (analogo) di “preghiera rappresentata” (orando labora). L’organizzazione stessa della Scuola, impostata come in un’ideale bottega medievale dove maestri, apprendisti e allievi collaborano e convivono, riprende lo stile di vita monastico dei cenobi benedettini. Proprio al fine di conservare il più possibile il carattere della bottega medievale, il numero degli allievi ammessi alla Scuola non fu mai troppo elevato, così da mantenere un adeguato ed efficace rapporto numerico tra i discepoli e i maestri. Ancora, da Beuron la Beato Angelico trasse la particolare e inconfondibile forma grafica della lettera “e”, riconoscibile nelle numerose e lunghe epigrafi presenti in tante sue opere. Ultimo elemento in comune tra la Scuola milanese e quella tedesca – ma che si può imputare alla più generale fascinazione per l’epoca medievale – è l’unità di intenti che deve animare tutte le maestranze impegnate a creare un’opera collettiva e anonima ad maiorem Dei gloriam, dove il contributo del singolo autore rimane volutamente nascosto in favore del nome della Scuola. Ciò che differenzia, tuttora, la Scuola da analoghi centri di produzione di arte sacra è il fatto che essa poggi le fondamenta su una congregazione religiosa, la Famiglia Beato Angelico, un’idea a lungo coltivata da Polvara e approvata ufficialmente dall’autorità diocesana fra gli anni Trenta e Quaranta. Dalla comune vocazione alla creazione artistica sacra (“missione sacerdotale” dell’artista) discendono la pratica della vita comunitaria, la partecipazione ai sacramenti e ai diversi momenti quotidiani di preghiera da parte di maestri sacerdoti, confratelli e consorelle artisti, apprendisti, allievi e allieve. L’indirizzo spirituale tracciato dal fondatore per la sua Famiglia agisce ancora oggi a garanzia di una strenua fedeltà nella continuità di un progetto artistico e liturgico unico, messo in pratica da una comunità di uomini e donne legate fra loro dai canonici voti di povertà, castità e obbedienza ma soprattutto da un comune e più alto intento. Appunto per assicurare una prospettiva di sopravvivenza e futuro sviluppo della sua creatura, Polvara ebbe sempre chiara la necessità di mantenere unito l’aspetto della formazione (e quindi la didattica nei confronti degli allievi, adolescenti e giovani) con quello della produzione (spettante all’opera di collaborazione fra maestri, apprendisti e allievi). Dal punto di vista operativo le discipline artistiche, praticate nei vari laboratori in cui si articola la Scuola, concorrono, senza alcuna eccezione e nella citata forma anonima e collettiva, a creare un prodotto artistico organico e unitario, una “opera d’arte totale” che deve rispondere all’indirizzo dato dal maestro architetto (lo stesso Polvara), cui spettano devozione, rispetto e obbedienza. Alla progettazione architettonica viene dunque assegnata grande importanza e ciò comporta che le opere meglio rappresentative della Scuola Beato Angelico siano quegli edifici sacri interamente realizzati con l’intervento dei suoi laboratori per tutte o quasi le decorazioni, gli arredi, le suppellettili e i paramenti (come le chiese milanesi di S. Maria Beltrade, S. Vito al Giambellino, SS. MM. Nabore e Felice, o la chiesa di S. Eusebio ad Agrate Brianza e la cappella dell’Istituto religioso delle figlie di S. Eusebio a Vercelli). Quanto ai linguaggi espressivi impiegati dalla Scuola (il cosiddetto “stile”) si evidenziano la preferenza per il moderno razionalismo architettonico – un tema di stringente attualità, cui Polvara non mancò di dare il suo personale contributo teorico e pratico – e quella per il divisionismo in pittura, debitrice dell’antica ammirazione per l’opera di Gaetano Previati. Dall’interazione di queste due forme si origina un riconoscibile linguaggio, moderno e spirituale al tempo stesso, verificabile negli edifici come nelle singole opere, frutto di una profonda sensibilità che combina il ponderato recupero di alcune forme del passato (ad esempio l’iconografia paleocristiana reimpiegata nei motivi decorativi dei paramenti o nella foggia di alcuni manufatti, dal calice al tabernacolo, alla pianeta-casula) con lo slancio per uno stile moderno e funzionale adeguato ai tempi ma rispettoso della tradizione.
In October 1921, the Beato Angelico Higher School of Christian Art was born in Milan. Responsible for the initiative: Don Giuseppe Polvara, the architect Angelo Banfi, the painter Vanni Rossi, flanked by the sculptor Franco Lombardi, by the priests Adriano and Domenico Bernareggi, by the engineer Giovanni Dedè, by professor Giovanni Mamone and by the lawyer Carlo Antonio Vianello . There were nine pupils in the first school year, two of whom (the architects Don Giacomo Bettoli and Fortunato De Angeli) destined to remain in the School for many years as teachers: this also happened with the painter Ernesto Bergagna, who enrolled the following year. Starting from that event, the Italian context of sacred art was able to count on an element of indisputable novelty, destined within a few years to a rapid, widespread and stubborn affirmation in the Peninsula. The foundation of the Beato Angelico School put a stop to the age-old debate on the general decline of sacred art that had been staged for a long time in Italy as well as in major European countries. The formula conceived by Don Polvara put his personal, artistic and professional experiences into a system with the knowledge of the international context, some exemplary models and the comparison with groups and individual figures (artists, critics, men of the Church) animated by the common desire to contribute to the rebirth of sacred art. One hundred years after its birth - and seventy after the death of its founder - the Beato Angelico School (with the workshops of Architecture, Cesello, Embroidery, Painting and Restoration) still continues in the task of serving the Church through the creation of distinctive sacred furnishings and vestments. from a particular care of the artistic and liturgical aspect, object of repeated attestations of merit and acknowledgments in the ecclesiastical sphere. What is missing from the appeal so far is an organic attempt to reconstruct the historical events that marked the genesis and developments of this singular artistic and religious reality. The purpose of this thesis is therefore the return of a profile as detailed and reasoned as possible of the history of the Beato Angelico School, such as to bring this story back to the center of a historical situation and a complex cultural context, through an original work perspective conducted on thread of clarifications and rediscoveries. Given the "pioneering" nature of this research, the vastness of the materials and sources available and the consequent need to assign a recognizable chronological cut to the work, it was decided to limit the survey to the decades between 1921 and 1950, or between the foundation of Beato Angelico and the death of Giuseppe Polvara. As will be seen, the initial term is in a certain sense anticipated by the need to better outline the background and context from which the School originates (between the end of the 19th and the first decades of the 20th century). The year assumed at the end of the research, on the other hand, seemed an almost obligatory choice, coinciding with the first change in the direction of Beato Angelico as well as the desire to exclude from the discussion what started in the 1950s and 1960s, that is a new and different season in the field of sacred art (destined, among other things, to pass through the junction represented by the Second Vatican Council and by the action of St. Paul VI), which is however much investigated by historical-artistic studies. What made the drafting of this thesis possible is the fact that it relies, in large part, on unpublished archival materials or, at least, never examined before in a structured way. Access to the most historicized archive materials and their consultation (thanks to the availability shown by the direction of the Beato Angelico School) have decisively conditioned the discussion of the topics, the reconstruction of which, in some cases, is supported exclusively by documents found. The birth of the Beato Angelico School was not an isolated event in the panorama of European artistic production of the time nor an episode unrelated to what was being debated in the ecclesiastical world at the same time. The Polvara School was born in an era marked by great ecclesial ferment: think of the Ateliers d'Art Sacré founded by Maurice Denis and George Desvallières in Paris in 1919, only two years before the Milanese School, whose adherents - all lay people - they professed an intense and devoted religiosity. But, above all, the decisive and best known model by Polvara was the Beuron School (Beuroner Kunstschule), born in the homonymous German Benedictine abbey in the last quarter of the nineteenth century by father Desiderius Lenz and on whose example workshops specialized in the production of sacred art (furnishings and vestments for liturgical use) in many Benedictine communities in central Europe. Polvara's affinity with Benedictine spirituality is a key element of the School he founded: in fact, the (analogous) concept of "represented prayer" (orando labora) derived from the rule of the ora et labora. The very organization of the School, set up as in an ideal medieval workshop where teachers, apprentices and pupils collaborate and coexist, takes up the monastic lifestyle of the Benedictine monasteries. Precisely in order to preserve the character of the medieval workshop as much as possible, the number of students admitted to the School was never too high, so as to maintain an adequate and effective numerical ratio between disciples and masters. Again, from Beuron Fra Angelico drew the particular and unmistakable graphic form of the letter "e", recognizable in the numerous and long epigraphs present in many of his works. The last element in common between the Milanese and the German schools - but which can be attributed to the more general fascination for the medieval era - is the unity of purpose that must animate all the workers involved in creating a collective and anonymous work ad maiorem. Dei gloriam, where the contribution of the single author remains deliberately hidden in favor of the name of the School. What still differentiates the School from similar centers of production of sacred art is the fact that it rests its foundations on a religious congregation, the Beato Angelico Family, an idea long cultivated by Polvara and officially approved by the diocesan authority between the thirties and forties. From the common vocation to sacred artistic creation (the artist's "priestly mission") descend the practice of community life, the participation in the sacraments and the various daily moments of prayer by master priests, brothers and sisters artists, apprentices, pupils and pupils . The spiritual direction traced by the founder for his family still acts today as a guarantee of a strenuous fidelity in the continuity of a unique artistic and liturgical project, put into practice by a community of men and women linked together by the canonical vows of poverty, chastity. and obedience but above all from a common and higher intent. Precisely to ensure a prospect of survival and future development of his creature, Polvara always had a clear need to keep the training aspect (and therefore the teaching for students, adolescents and young people) united with that of production (due to the work of collaboration between teachers, apprentices and students). From an operational point of view, the artistic disciplines, practiced in the various laboratories in which the School is divided, contribute, without any exception and in the aforementioned anonymous and collective form, to create an organic and unitary artistic product, a "total work of art" which must respond to the address given by the master architect (Polvara himself), to whom devotion, respect and obedience are due. The architectural design is therefore assigned great importance and this means that the best representative works of the Beato Angelico School are those sacred buildings entirely made with the intervention of its laboratories for all or almost all the decorations, furnishings, furnishings and Milanese churches of S. Maria Beltrade, S. Vito al Giambellino, S. MM. Nabore and Felice, or the church of S. Eusebio in Agrate Brianza and the chapel of the religious institute of the daughters of S. Eusebio in Vercelli). As for the expressive languages used by the School (the so-called "style"), the preference for modern architectural rationalism is highlighted - a topic of stringent topicality, to which Polvara did not fail to give his personal theoretical and practical contribution - and that for Divisionism in painting, indebted to the ancient admiration for the work of Gaetano Previati. The interaction of these two forms gives rise to a recognizable language, modern and spiritual at the same time, verifiable in the buildings as in the individual works, the result of a profound sensitivity that combines the thoughtful recovery of some forms of the past (for example early Christian iconography reused in the decorative motifs of the vestments or in the shape of some artifacts, from the chalice to the tabernacle, to the chasuble-chasuble) with the impetus for a modern and functional style appropriate to the times but respectful of tradition.

Jean-Paul Margot, nacido en Francia y nacionalizado colombiano, es profesor titular jubilado del Departamento de filosofía, y profesor distinguido de la Universidad del Valle. Doctor en filosofía por la Universidad de Ottawa, Canadá. Maestría/Magister en filosofía Université de Paris I (Pantheon-Sorbonne). Licenciado en filosofía Université de Paris I (Pantheon-Sorbonne). Licenciado en filosofía escolástica Instituto Católico de París. Publicó, con Lelio Fernández, una traducción, con estudio preliminar, notas y comentarios, del Tratado de la reforma del entendimiento y otros escritos de Baruch Spinoza, Madrid, Tecnos, 1989 (2003), y los libros: La función epistemológica de la filosofía, Universidad del Valle, Cali, 1980, La modernidad. Una ontología de lo incomprensible, Universidad del Valle, Cali, 1995, (2 ed. 2004), Modernidad, crisis de la modernidad y postmodernidad, Universidad del Valle, Cali, 1999 (2 ed. 2007), Estudios cartesianos, México, Universidad Nacional Autónoma de México, Instituto de investigaciones filosóficas, 2003, Estudios de filosofía antigua (editor), 2007, Ensayos filosóficos, México, Porrúa 2011, Perspectivas de la Modernidad. Siglos XVI, XVII, XVIII (Jean-Paul Mar-got & Mauricio Zuluaga eds.), Cali, Programa editorial Universidad del Valle, 2011, Leiser Madanes, Una alegría secreta. Ensayos de filosofía moderna (Jean-Paul Margot compilador), Cali, Programa editorial Universidad del Valle, 2012, Laura Benítez, La modernidad cartesiana: fundación, transformación y respuestas ilustradas (Jean-Paul Margot editor), Cali, Programa editorial Universidad del Valle, 2013, además de unos ochenta artículos, en libros y revistas nacionales e internacionales, sobre filosofía antigua y medieval, siglo XVII, filosofía francesa contemporánea, ética y literatura. Es miembro del Grupo de investigación Ágora: diálogo entre antiguos y modernos de la Universidad del Valle. Vicepresidente de la Sociedad colombiana de filosofía 2006-2008 y 2008-2010.