Journal articles on the topic 'Mafia milano'

Nel 1964 Magistratura Democratica, un nuovo gruppo di giudici e procuratori, sostenne un "cambiamento radicale" all'interno dell'Associazione Nazionale Magistrati volto a far rispettare i nuovi principi della Costituzione democratica del 1948. Il "cambiamento radicale" sostenuto da Magistratura Democratica ebbe una forte influenza sulla dichiarazione finale redatta dal XII Congresso ANM organizzato a Gardone nel 1965. Per la prima volta le donne parteciparono al congresso: fino ad allora le donne erano scandalosamente discriminate nell'accesso alla magistratura. Studenti e movimento operaio (1968) scossero la società italiana e la magistratura non fu protetta. Gli anni tra il 1968 e il 1974, nonostante la "strategia della tensione" e le bombe (Milano Piazza Fontana 1969, Milano Centrale di Polizia 1973, Brescia Piazza della Loggia 1974), sono la stagione delle riforme, che riflettono il profondo cambiamento della società e danno un nuovo ruolo alla magistratura. La magistratura che nella seconda metà degli anni Settanta ha sfidato e combattuto il terrorismo e la mafia è stata la magistratura nata dal "cambiamento radicale" iniziato a metà degli anni Sessanta.

- Luigi Virgolin, Isabella Pezzini (a cura di), Usi e piaceri del turismo. Percorsi semiotici, Aracne, Roma, 2020.- Nicolette Mandarano, Musei e media digitali, Carocci, Roma, 2019.- Maria Elena Colombo, Musei e cultura digitale, Editrice bibliografica, Torino 2020.- Milly Buonanno, Franca Faccioli (a cura di), Genere e media: non solo immagini. Soggetti, politiche, rappresentazioni, FrancoAngeli, Milano, 2020

Writing in 1882, Edmond Vander Straeten was the first to argue that the name ‘Juschino’ among the singers of Galeazzo Maria Sforza's household chapel referred to the composer Josquin des Prez. Assuming a birthdate in the early 1450s, Vander Straeten found it easy to understand why the young Josquin was at the bottom of the salary scale in 1475, the date of the documents. Soon afterwards, Eugenio Motta provided new evidence to support that identification and stretch Josquin's Milanese career to 1479. Since then the years in Milan have had a fixed and central place in all studies of Josquin's life.

Extraídos de I volatili del beato Angelico e Sogni di sogni (Ana Elvira Luciano Gebara, Maria Cristina Milani de Moraes e Roberta Barni; revisão: MariarosaFabris; apresentação do autor: Loredana de Stauber Caprara)

Il momento più alto di elaborazione e manifestazione dell’immagine pubblica di Ippolita Maria Sforza, duchessa di Calabria, si realizzò in occasione del viaggio che nell’estate 1465, da Milano a Napoli, doveva condurla sposa ad Alfonso d’Aragona. Il lungo itinerario attraverso quasi tutti gli stati della Penisola fu caricato sia da parte sforzesca che aragonese di molteplici valenze politiche, collegate alle relazioni tra il ducato e il regno, così che l’imponente corteo che scortò Ippolita si configurò come una vera e propria ambasceria con la missione di rinforzare l’asse Napoli-Milano. Ma quella che doveva essere un’autentica marcia trionfale fu invece puntellata di ritardi, intimidazioni di arresto e minacce di dietro front, prima dell’ingresso trionfale nella capitale che, con la complessa e suggestiva simbologia del cerimoniale aragonese, doveva infine consacrare il ruolo politico della futura (ma prematuramente morta) regina di Napoli.

The cappella musicale at Santa Maria presso San Celso in Milan, also known as the church of the ‘Madonna of Miracles’, was originally charged with the performance of individual plainchant Masses on specified feasts, Vespers as a choir daily in the summer and on those specified feasts, and Compline as a choir during Lent. In 1535, however, its duties were expanded to include a High Mass and a Vespers service on the first Sunday of each month. With Carlo Borromeo's ascension to the seat of archbishop of Milan in 1560, the cappella's Vespers service became central to public worship, and attracted foreign visitors as well as the Milanese aristocracy. As a result, public worship services featuring the cappella were expanded to include a Compline service on Saturday evenings. Simon Boyleau, the first documented maestro di cappella at Santa Maria presso San Celso, was a madrigalist familiar to the Milanese aristocracy. His compositions for Santa Maria presso San Celso reflect not only Borromeo's attempts to shape the Milanese liturgical style according to Tridentine aims, but also Borromeo's desire to spiritualize and theologically educate the Milanese aristocracy. Boyleau's tenure at Santa Maria presso San Celso, which featured the cultivation of sacred and secular audiences alike, defined the activities of the church's composers for the next 50 years.

Bramante's illusionistic apse for Santa Maria presso San Satiro in Milan has long been understood as a triumph of Renaissance rationality. This essay shifts attention to the votive and cult contexts of the space and the miraculous image it enshrines. Thecoro fintoefficaciously enhanced the authority of the Madonna and her sponsors—the Sforza dynasty and a confraternity dedicated to the Virgin—by dramatically framing and amplifying the image's potency. Santa Maria presso San Satiro thus flourished as one of Milan's most intensely contested ecclesiastical arenas, in which devotees and institutions maneuvered for access to the potent cult image.

Abstract Recent developments in the biography of Josquin des Prez have focused new attention on the motet Ave Maria …… virgo serena. In 1974, Thomas Noblitt showed that watermark evidence assigned a copy of the piece in Munich, Bayerische Staatsbibliothek, Mus. ms. 3154 to 1476; the dating appeared unassailable philologically, and the style of the music tied it to a repertory created at the court of Milan in a period when Josquin supposedly worked there. But with the discovery by Lora Matthews and Paul Merkley that Josquin had no connection with Milan until 1484, a potential conflict between style, date, and perhaps authorship has emerged. Reexamination of the motet and its transmission affirms both the Milanese character of the music and Josquin's authorship; a more intensive investigation of the relationship between script and paper in Munich 3154, however, shows that the Ave Maria represents a previously unrecognized phase in the work of its copyist, datable to 1485 or an adjacent year. Even against this revised background, Munich 3154 remains the earliest securely datable source for any music of Josquin, and the Ave Maria seems in all likelihood the earliest composition of his that we can identify.

Augustin Berque, Ecumene. Introduzione allo studio degli ambienti umani, a cura di Marco Maggioli, traduzione di Claudio Arbore, Simone Gamba e Marco Maggioli. Milano, Mimesis, 2019.Tim Cresswell, Maxwell Street. Writing and Thinking Place. Chicago and London, University of Chicago Press, 2019.John van Wyhe, Wanderlust. The amazing Ida Pfeiffer, the First Female Tourist. Singapore, NUS Press, 2019.Lorenzo Bagnoli, Christian Garnier, géographe-geografo, 1872-1898. Parigi, Société de Géographie, 2020.Margherita Cisani, Paesaggi e Mobilità. Strumenti per le geografie del quotidiano. Milano, FrancoAngeli open access, 2020.Marcello Tanca, Geografia e fiction. Opera, film, canzone, fumetto. Milano, FrancoAngeli, 2020.Hamzah Muzaini, Claudio Minca, After heritage, critical perspectives on heritage from below. Cheltenham, UK - Northampton, MA, USA, Edward Elgar Publishing, 2020.Bernard Floris, Luc Gwiazdzinski, a cura di, Sur la vague jaune. L'utopie d'un rond-point. Seyssinet-Pariset, Elya Éditions, 2019.Maitane Ostolaza, La terre des basques: naissance d'un paysage (1800-1936). Rennes, PUF, 2018.Anna Casaglia, Nicosia beyond partition. Complex Geographies of a Divided City. Milano, Unicopli, 2020.Stelio Mangiameli, Andrea Filippetti, Fabrizio Tuzi, Claudia Cipolloni, Prima che il Nord somigli al Sud. Le Regioni tra divario e asimmetria. Soveria Mannelli, Rubbettino, 2020.Annibale Salsa, I paesaggi delle Alpi. Un viaggio nelle terre alte tra filosofia, natura e storia, Prefazione di Gianluca Cepollaro e Alessandro de Bertolini. Roma, Donzelli, 2019.Carlo Perelli, Il telaio e la trama. Reti di comunità e azione territoriale in Sardegna. Milano, FrancoAngeli, 2020.Carlo Cellamare, Francesco Montillo, a cura di, Periferia. Abitare a Tor Bella Monaca. Roma, Donzelli, 2020.Maria Ronza, Dalla via Appia alla città policentrica: Caserta e il suo territorio. Trieste, EUT - Edizioni Università di Trieste, 2019.

Depoimentos: habitação como patrimônio cultural Introdução: ideias e recortesMônica Junqueira de CamargoUniversidade de São Paulo, São Paulo, São Paulo Residências em São Paulo: 1947-1975Marlene Milan Acayaba Mais que a casa: dois conjuntos modernos de moradias norte-americanasMarc TreibUniversidade Da Califórnia, Berkeley, Estado Unidos O caso da Casa Olga BaetaAngelo BucciUniversidade de São Paulo, São Paulo, São Paulo, Brasil Experiência de moradia na Vila Maria ZéliaDoris LenateAssociação Cultural Vila Maria Zélia, São Paulo, São Paulo, Brasil Habitação de interesse socialJorge Mario JáureguiUniversidade de Buenos Aires, Buenos Aires, Argentina

IntroductionAfter several years of brain-sensing technology development and proof-of-concept studies, adaptive deep brain stimulation (aDBS) is ready to better treat Parkinson’s disease (PD) using aDBS-capable implantable pulse generators (IPGs). New aDBS devices are capable of continuous sensing of neuronal activity from the subthalamic nucleus (STN) and contemporaneous stimulation automatically adapted to match the patient’s clinical state estimated from the analysis of STN activity using proprietary algorithms. Specific studies are necessary to assess superiority of aDBS vs conventional DBS (cDBS) therapy. This protocol describes an original innovative multicentre international study aimed to assess safety and efficacy of aDBS vs cDBS using a new generation of DBS IPG in PD (AlphaDBS system by Newronika SpA, Milan, Italy).MethodsThe study involves six investigational sites (in Italy, Poland and The Netherlands). The primary objective will be to evaluate the safety and tolerability of the AlphaDBS System, when used in cDBS and aDBS mode. Secondary objective will be to evaluate the potential efficacy of aDBS. After eligibility screening, 15 patients with PD already implanted with DBS systems and in need of battery replacement will be randomised to enter a two-phase protocol, including a ‘short-term follow-up’ (2 days experimental sessions during hospitalisation, 1 day per each mode) and a ‘long-term follow-up’ (1 month at home, 15 days per each mode).Ethics and disseminationThe trial was approved as premarket study by the Italian, Polish, and Dutch Competent Authorities: Bioethics Committee at National Oncology Institute of Maria Skłodowska-Curie—National Research Institute in Warsaw; Comitato Etico Milano Area 2; Comitato Etico IRCCS Istituto Neurologico C. Besta; Comitato Etico interaziendale AOUC Città della Salute e della Scienza—AO Ordine Mauriziano di Torino—ASL Città di Torino; De Medisch Ethisch Toetsingscommissie van Maastricht UMC. The study started enrolling patients in January 2021.Trial registration numberNCT04681534.

The paper deals with issues of corruption in the planning domain. It centres on thorough analysis of the case of Desio (Milan, Italy), where a recent judicial inquiry discovered several instances of corruption related to the drafting of the local master plan, in an environment characterised by the rooted presence of a mafia-type organisation known as the ’Ndrangheta. The study sheds light on the various types of corrupt practices that prevail in the field of urban planning, the main issues at stake, and the key public agents involved. General hypotheses about the main internal and external factors fostering corruption in the planning domain are presented and discussed.

Neste artigo propomos uma dupla discussão sobre a estética de Gomes em sua ópera Maria Tudor. Primeiramente, desejamos atualizar as pesquisas musicológicas sobre as novas descobertas da contribuição de Carlos Gomes como artífice privilegiado de um período de profundas transformações pelas quais passou a ópera italiana na segunda metade do século XIX. O sucesso conquistado por Gomes por meio de algumas de suas óperas ainda eclipsa suas maiores contribuições contidas em óperas esquecidas. Em um segundo momento, propomos revisitar Maria Tudor (1879), considerada seu maior fracasso. Se Maria Tudor permanece na história como ópera ultrapassada pelos procedimentos usados em sua época, por outro lado esconde muito das modificações que a geração de Gomes pretendia para o novo formato de ópera. Consideramos necessário retomar os primeiros autores que publicaram sobre o assunto, como Nicolaisen (1980), Kimbell (1991) e Budden (2002), até autores mais recentes, como Faustini (2007) e Baragwanath (2011). Deu-se também atenção à crítica periodista do secondo ottocento nas figuras de Alberto Mazzucato (Gazzetta Musicale di Milano) e Abramo Basevi (La Musica) para uma necessária contextualização do cenário desse período. Conclui-se que Carlos Gomes sacrificava, quando necessário, versos líricos em favor de recitativos e parlanti para sua protagonista, muito embora não lhe faltem belas melodias. O libreto de Maria Tudor oferecia menos oportunidades de declamação do que Gomes de fato buscava para suas cenas dramaticamente mais intensas. Um caminho incontornável para o discurso que culminará na nova ópera à qual Gomes deu contribuição ímpar.

Among the early medals made by Pisanello (Antonio Pisano, c. 1395–c. 1455), considered as the “inventor of the modern medal”, there are two of mercenary captains, Niccolò Piccinino and Francesco Sforza (the future duke of Milan). At the alleged moment of the medals’ execution both condottieri were in the service of Filippo Maria Visconti, Duke of Milan, who appears to have been the most probable commissioner. The pairing of these two captains was not coincidental – they were successors to the leaders of the two greatest Italian military companies, the bracceschi (led by Braccio da Montone) and the sforzeschi (of Muzio Attendolo Sforza), whose juxtaposition soon became a topos among contemporary chroniclers and biographers. The article outlines the political background of the commission and discusses the content and iconography of the two medals.

Galeazzo Maria Sforza (1444–76), fifth Duke of Milan, set out when he acceded to power in 1466 to style himself as one of the most glorious of rulers and to make his court (in the words of the contemporary chronicler Bernardino Corio) one of ‘the most splendid in the universe’. Galeazzo, a contemporary of King Louis XI of France and Duke Charles the Bold of Burgundy, entertained grand designs of turning his ducal coronet into a king's crown and transforming Lombardy into a royal realm, just as Charles the Bold sought to elevate the duchy of Burgundy to a kingdom. The two dukes, as vassals of the Holy Roman Emperor Frederick III, relied on that monarch's power to bestow the kingly crown; both failed tragically in the end. As part of his design to impress his contemporaries with the princely splendour of his court, in 1471 Galeazzo focused his energies particularly on the ambitious project of developing the best musical chapel in Italy. During the course of the next two years he sent emissaries to the rulers of England, Flanders, France, Naples and his neighbour Savoy, seeking to hire (or borrow, in the case of Savoy) the best singers available. His cappella grew to include more than thirty singers, making it larger than any other in Italy, even the papal chapel.

Notwithstanding the reputation of Josquin’s Ave Maria…virgo serena as a touchstone of late–fifteenth-century musical style, little is known about the context in which the piece emerged. Just over a decade ago, Joshua Rifkin placed the motet in Milan ca. 1484; more recently, Theodor Dumitrescu has uncovered stylistic affinities with Johannes Regis’s Ave Maria that reopen the debate about the provenance of Josquin's setting. Stipulating that the issues of provenance and dating are for the moment unsolvable, I argue that the most promising way forward is to contextualize this work to the fullest extent possible. Using the twin lenses of genre and musical style, I investigate the motet’s apparently innovative procedures (e.g., paired duos, periodic entries, and block chords) in order to refine our understanding of how Josquin’s setting relates to that of Regis and to the Milanese motet cycles (motetti missales). I also uncover connections between Josquin’s motet and the music of earlier generations, above all the cantilena and the forme fixe chanson, that offer new insights into the development of musical style in the fifteenth century. The essay concludes by positioning the types of analyses explored here within a growing body of research that enables a revitalized approach to longstanding questions about compositional development and musical style.

The prehistory of the new Duomo constructed instead of the old Cathedral of Santa Maria Maggiore (winter cathedral) and the Basilica of Santa Tecla (summer cathedral) remains a matter of debate. For a long time historiography attributes the main role in the renovation of the Duomo to the first Duke of Milan, Giangaleazzo Visconti. The first attempts to reassess the contribution of Giangaleazzo to the founding of the cathedral met with radical rejection. The question of the origin of the project itself (whether it was developed by Lombard or foreign engineers), as well as whether it has undergone changes in the initial phases of construction and what this may be due to, remains controversial. The article presents an analysis of the latest historiography on the theme.

One of Britain's foremost directors, Katie Mitchell's career embraces a formidable repertoire of play and opera productions. She has a taste for Greek tragedy – her Phoenician Women (1995) won the Evening Standard Best Director Award – and takes in Gorky, Chekhov, Genet, and Beckett, as well as such contemporaries as Kevin Elyot, whose Forty Winks she directed at the Royal Court in 2004. She has worked in Dublin, Milan, and Stockholm, and is an Associate Director at the National Theatre. This interview with NTQ co-editor Maria Shevtsova shows Mitchell's lucid and passionate engagement with her craft. It took place in London in several stages from December 2004 to July 2005, during a period of intense activity for Mitchell. Maria Shevtsova wishes to thank her for so generously giving her time.

Bernardino Corio's late fifteenth-century history of Milan covers the city's past from its foundations to the collapse of the Sforza dynasty. Following the historiographic traditions established by Leonardo Bruni, its essential outlines are founded on careful use of sources and, for more recent events, contemporary memories and impressions. It is, however, also characterised by judicious revisionism and anecdotal invention. The careful reader always needs to ask why digressions have been included and what hidden points are being made. It is therefore well worth inquiring why Corio, a member of Duke Galeazzo Maria Sforza's court, chose to link his master's assassination on 26 December 1476 with a passage on his chapel choir and musical taste.

Although a number of motet, madrigal and lute collections supported by local Milanese patrons were printed in Milan and Venice during the first half of the sixteenth century, modern scholars continue to regard this period in Milanese history as fallow in musical activity. This phenomenon has resulted from a lack of documentary evidence regarding both the activities of the musicians who contributed to these collections and the musical institutions with which these musicians and their patrons were associated. While several studies on music at the Duomo of Milan during the first half of the sixteenth century do esixt, Guglielmo Barblan's poineering study remains the only comprehensive survey of civic and courtly music of the period, and it focuses primarily spon instrumental musicians, thus leaving largely unanswered the questions of where and by whom the aforementioned Milanese motests and madrigals were performed.

Abstract Immunological predictors of nodal response in breast cancer patients undergoing neoadjuvant therapy Maria Luisa Gasparri1, Ilary Ruscito2, Filippo Bellati2, Fabio Corsi3, Rosa Di Micco4, Oreste D. Gentilini4, Thorsten Kuehn5, Andrea Papadia1, Donatella Caserta2, Lorenzo Rossi6, Arianna Calcinotto7 1 Department of Gynecology and Obstetrics, Ente Ospedaliero Cantonale, Ospedale Regionale di Lugano, Lugano, Switzerland 2 Department of Medical and Surgical Science and Translational Medicine, Sapienza University of Rome, Azienda Ospedaliera Sant’Andrea, Rome, Italy 3 Breast Unit, Department of Surgery, Istituti Clinici Scientifici Maugeri IRCCS, Pavia, Italy; Department of Biomedical and Clinical Sciences "Luigi Sacco", Università di Milano, Milan, Italy 4 Breast Surgery Unit, San Raffaele University Hospital, Milan, Italy 5 Interdisciplinary Breast Center, Department of Gynecology and Obstetrics, Klinikum Esslingen, Esslingen, Germany 6 Oncology Institute of Southern Switzerland, Bellinzona, Switzerland 7 Cancer Immunotherapy lab, IOR Institute of Oncology Research, Bellinzona, Switzerland Background: Almost 20% of breast cancer patients present at diagnosis with clinically positive nodes. Most of these patients undergo neoadjuvant therapy in order to de-escalate the axillary surgery in case of response (sentinel lymph node biopsy, targeted axillary dissection or targeted axillary dissection, instead of an axillary lymphadenectomy). The conversion from positive to negative nodes after neoadjuvant therpy is expected in approximately the 60% of the cases, depending by tumor subtypes. Several models have been proposed with the goal of identifying predictors of nodal response prior to neoadjuvant treatment. The immune system plays a pivotal role in cancer invasion and progression. Its role in treatment response is currently under investigation in several settings. Primary endpoint: to identify a preoperative immune profiling of breast cancer patients with nodal involvement at diagnosis and to correlate the immune changes after neoadjuvant therapy with the nodal response (macrometastases, micrometastasis, isolated tumor cells, complete response). Trial design: It is an international prospective cohort study including breast cancer patients undergoing standard neoadjuvant therapy, who present initially with biopsy-proven axillary lymph node metastasis. Ten immune markers will be analyzed using immunohistochemistry and tissue microarray in primary tumor and nodal tissue samples (tumor associated neutrophils, CD4 lymphocytes, CD8 lymphocytes, T regulatory cells, Macrophages, Follicular dendritic cells(DC), plasmocytoid DC, interdigitant DC, mature DC, Lysosomal associated membrane protein 3). The tissue analysis will be performed on the biopsy collected at diagnosis (prior to neoadjuvant therapy) and during the axillary surgery (after neoadjuvant therapy). Target accrual/sample size: 210 patients Statistical analysis: To compare the distribution of immune cells according to the state of lymph node metastasis, Student’s t test will be performed. Pearson’s chi-square test will be used to evaluate the correlation between immune profile and nodal response, based on clinic-pathological features. Odds ratios (ORs) and 95% confidence intervals (CIs) will be calculated using logistic regression analysis. Multivariable analysis will be performed using the multivariable logistic regression model. Logistic regression models will be used to identify the clinical, pathologic and immunological variables associated with the nodal response. P-values less than 0.05 will be considered significant. Analyses will be performed using Microsoft IBM SPSS® version 20.0 for Mac. Current status: Recruitment has not started yet. Contact information: marialuisa.gasparri@eoc.ch Citation Format: Maria Luisa Gasparri, Ilary Ruscito, Filippo Bellati, Fabio Corsi, Rosa Di Micco, Oreste Davide Gentilini, Thorsten Kuehn, Andrea Papadia, Donatella Caserta, Lorenzo Rossi, Arianna Calcinotto. Immunological predictors of nodal response in breast cancer patients undergoing neoadjuvant therapy [abstract]. In: Proceedings of the 2022 San Antonio Breast Cancer Symposium; 2022 Dec 6-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2023;83(5 Suppl):Abstract nr OT3-12-01.

AbstractThis article examines drawings associated with the sixteenth-century Italian architect, Galeazzo Alessi, focusing primarily on two important collections: the 112 folios held in the Biblioteca Ambrosiana in Milan for the Milanese church of S. Maria presso S. Celso and the so-called Libro dei Misteri in Varallo's Biblioteca Civica, which contains 318 drawings for the pilgrimage site of the Sacro Monte there. By comparing Alessi's handwriting and drawing style across a variety of different letters and drawings present in archives in Genoa, Milan and Varallo, it is argued that all the drawings held in the Biblioteca Ambrosiana folder and in the Libro dei Misteri must be the work of Alessi himself. The article then moves on to a discussion of Alessi's use of drawings in his practice and the developing role of the architect in the sixteenth century , which, it is argued, was increasingly defined by the ability of the architect to invent and to draw rather than to build.

This essay explores the relationship between pictures and the lighting conditions in which they were originally viewed. The theoretical interrelationship between brightness, illumination and depiction is explored in a case study of Leonardo da Vinci’s Last Supper mural at the refectory of Santa Maria delle Grazie in Milan. Advanced rendering software allows for the reconstruction of the refectory as it stood when Leonardo painted The Last Supper and demonstrates the complex interaction between light and space in the mural. This analysis illustrates how digital humanities might bridge traditional art-historical methods and forensic visualization.

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<p class="VARAbstract">Can we preserve cultural heritage and, consequently, the memory of the past? To answer this question, one should look at the digital revolution that the world has gone through in recent decades and analyse the complex and the dialectical relationship between cultural heritage and new technologies. Thanks to these, increasingly accurate reconstructions of archaeological sites and historical monuments are possible. The resulting digital replicas are fundamental to experience and understand cultural heritage in innovative ways: they have complex and dynamic relationships with the original objects. This research paper highlights the importance and the scientific validity of digital replicas aimed at understanding, enhancing and protecting cultural heritage. The study focuses on the virtual reconstruction of the constructive phases, from the mid-15^th century to date, of one of the most emblematic Gothic-Renaissance buildings in the city of Milan (Italy): the convent of Santa Maria delle Grazie, famous worldwide for hosting Leonardo da Vinci's Last Supper painting. This site proved to be an ideal case study because of its troubled and little-known history that led to numerous changes over the centuries. Thanks to a methodological approach based on the analysis of the documentary sources and three-dimensional (3D) modelling, it was possible to outline the chronological succession of the convent transformations; the way in which these overlapped the pre-existing structures was described starting from the Renaissance harmonious and organic interventions, to finally reach 18^th-19^thcenturies inhomogeneous and incompatible additions. Finally, the research was completed by mapping the 3D models based on the sources used and their different levels of accuracy. The 3D models have thus become a valid tool for checking and verifying the reconstruction hypotheses.</p><p class="VARAbstract">Highlights:</p><ul><li><p>The study focused on the virtual reconstruction of the convent of Santa Maria delle Grazie, one of the most emblematicGothic-Renaissance buildings in the city of Milan.</p></li><li><p>By combining data from documentary sources, architectural treatises, period photos and digital survey, the mainbuilding phases of the convent, from the 15th century to date, were digitally reconstructed.</p></li><li><p>The 3D models are enriched with information about the accuracy of the digital reconstruction, creating 3D databasesthat can be easily consulted and updated.</p></li></ul>

Abstract Giovanni Maria Visconti, member of a prominent family of the Milanese patriciate, had an important career in his order as a teacher and spiritual director, and a valuable role in the internal government of the Society, between Milan and Genoa. After the death of Anton Giulio Brignole Sale, he was charged by his superiors with the task of writing a hagiographic biography of this famous man of letters and politician (son of a Genoese duke) who, after a long cursus honorum in the public offices of his republic and during a period of political crisis of the Genoese state, decided to end his career to become a diocesan priest, and, some years later, a member of the Society of Jesus. The work was published in 1666, with the title Alcune memorie delle virtù del padre Anton Giulio Brignole (Some memoirs of the virtues of Father Anton Giulio Brignole). It is an interesting book especially because the author, while describing Brignole Sale’s life and heroic virtues, also explained his transformation from the role of Catholic statesman to the role of religious preacher.

"This special issue of Acta ad archaeologiam et artium historiam pertinentia (from now on Acta) interrogates religious practices of reading, writing, praying and engaging with texts, images, architecture, music, and ritual spaces in late antique Rome and medieval Europe. More specifically, it aims to analyze and deepen our understanding of how liturgy and religious practice modeled and modified selves and communities, how they shaped and transformed identities and built communities - both individual and collective, religious and lay". On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

IntroductionPatients affected by severe manic episode, often with delusional symptoms, are commonly treated with a combination of mood stabilizers, antipsychotics and other sedatives. The choice of a specific drug, dose and term is still debated.ObjectivesA naturalistic study on a sample of 84 inpatients affected by acute severe mania treated with a combination therapy.AimsTo compare efficacy and tolerability of haloperidol/risperidone/quetiapine in association with lithium and/or valproate.MethodsEighty-four bipolar inpatients affected by a manic episode according to DSM-5 criteria. Drugs administered according to our best practice. Clinical course weekly monitored with Young Mania Rating Scale (YMRS) for 4weeks. Extrapiramidal side effects (EPSE) monitored with Saint Hans Rating Scale (SHRS).ResultsTwenty-five men (29.76%) and 59 women (70.24%); mean age 43.37 ± 13.58 years. Mean YMRS score T0 40.27 ± 9.04. Forty-one patients (48.81%) treated with haloperidol (3.4 mg/die); 16 (19.05%) with risperidone (4.3 mg/die); 27 (32.14%) with quetiapine (438 mg/die). The 3 groups showed no difference regarding clinical characteristics and YMRS basal scores. Chi2 analysis confirmed an higher response rate (50% of reduction of YMRS final score compared to T0) with haloperidol (χ2 = 14.88; P = 0.00). The repeated-measures model analysis showed a significant decrease (P < 0.05) in YMRS scores in haloperidol vs. risperidone vs. quetiapine patients for all time points from second week. No statistical difference for EPSE was found.ConslusionsWe suggest that haloperidol could be advisable in the treatment of severe mania, with rapid efficacy, even with low doses. Occurrence of EPSE was not considerable during the acute treatment. Studies with a larger sample size, randomization, fixed doses, double blind design are needed.Disclosure of interestThe authors have not supplied their declaration of competing interest.