Journal articles on the topic 'Tuscan and Latin'

AbstractJudging from the cultural and linguistic facts, an etymological relation between Italian utel/utello ‘oil jar’ (which is first recorded in the Decameron) and Arabic al-uṯāl ‘sublimation vessel’, as assumed by Alessio, must be rejected. The European reflexes of the Arabic term are marginal and strictly limited to the technical terminology of medieval alchemy. Italian utello shows significant semantic and morphological differences with respect to Arabic al-uṯāl. In addition, its presence in Tuscan dialects and its early metaphorical uses are clear indications of the popular roots of the term. Consequently, the utel of the Decameron is not to be considered a learned technicism of foreign origin, but a popular term that Boccaccio probably took from Tuscan colloquial speech. Etymologically it belongs to the family of Latin uter ‘leather bag for holding liquids’. For utello, an unattested *utellus is to be postulated, which corresponds to the well-known Latin derivational pattern of ager > agellus, niger > nigellus, culter > cultellus, etc.

The Etruscan culture developed in Central Italy (Etruria) in the first millennium BC and for centuries dominated part of the Italian Peninsula, including Rome. The history of the Etruscans is at the roots of Mediterranean culture and civilization, but their origin is still debated: local or Eastern provenance? To shed light on this mystery, bovine and human mitochondrial DNAs (mtDNAs) have been investigated, based on the well-recognized strict legacy which links human and livestock populations. In the region corresponding to ancient Etruria (Tuscany, Central Italy), several Bos taurus breeds have been reared since historical times. These breeds have a strikingly high level of mtDNA variation, which is found neither in the rest of Italy nor in Europe. The Tuscan bovines are genetically closer to Near Eastern than to European gene pools and this Eastern genetic signature is paralleled in modern human populations from Tuscany, which are genetically close to Anatolian and Middle Eastern ones. The evidence collected corroborates the hypothesis of a common past migration: both humans and cattle reached Etruria from the Eastern Mediterranean area by sea. Hence, the Eastern origin of Etruscans, first claimed by the classic historians Herodotus and Thucydides, receives strong independent support. As the Latin philosopher Seneca wrote: Asia Etruscos sibi vindicat (Asia claims the Etruscans back).

Before entering into the main study on aquatic animals included in Catalan bestiary texts, a brief summary is presented on the history of preserved Catalan texts that contain a bestiary: a list of real or imaginary animals with their characteristics and corresponding symbolic reference. The aquatic animals present in the Catalan bestiary are the frog, the sawfish, the whale; we also consider a hybrid, the mermaid, and the crocodile, an animal which is not a fish but is closely linked with the aquatic environment. In many cases we can speak about textual coincidences with different traditions, from Latin Physiologi to medieval European texts. Peculiarities of the Catalan version are studied in connexion with the Tuscan tradition.

In the case of Friuli, too, documents of practical use represent the source of greatest interest for the study of the ancient vernacular language. Their production increased between the second half of the 14th and the first half of the 15th century. It reflects specific sociolinguistic circumstances that saw opposition between Friulian and Latin being progressively replaced by opposition between Friulian and Tuscan-Venetian. This situation is reflected in the documents of the period. They oscillate between the interference of more or less influential alternative models and a more conscious and socially widespread practice of writing in Friulian, choosing it as the linguistic code in administrative and accounting documents. An example is the fruçon “fragment” which even on a preliminary level shows various elements of interest, not least of all the fact that it exhibits an intermediate language, semi-Latin or semi-vulgar. This can be attributed to the work of mediation of a sophisticated intermediary – the notary editor – who arranged the gramatica in order to make it comprehensible even to those less educated.

Abstract The article analyzes the way to introduce glosses in the vernacular treatises and it therefore concentrates both on Tuscan texts of the 13th and 14th centuries dealing with astronomy, physics, natural philosophy, moral and religious arguments and on the comments of Latin and vernacular works. Corpus OVI database (www.ovi.cnr.it) was used for text search. The study focuses on the connectors between the definiéndum and the defìniens and then deals with the particles or expressions that introduce a gloss and that we have named definition operators. Three operators in particular are used systematically in the vernacular treatises: cioè, tanto è a dire quanto e non è altro che. Cioè introduces a gloss that either simplifies the term being glossed, or provides a variant that facilitates the reader’s comprehension. Whereas tanto è a dire quanto is employed to define loan words from Latin, Greek, Arabic, sometimes even from French, namely terms external to the vernacular language in which the author is writing, while non è altro che introduces a definition based on authority, an undisputable truth, or one that is believed to be undisputable. The constancy and the frequency with which we find especially the last two operators (tanto è a dire quanto and non è altro che) in the genre of texts analyzed make us think of ways followed with awareness by authors, commentators and translators and easily recognized by readers.

In the introductory article to this special issue, the two editors first provide a brief insight into how it arose and then give an overview of the contents of the individual papers, all of which are dedicated to phraseography or metaphraseography. These two fields of linguistic research belong to both phraseology and (meta-)lexicography and deal with the inclusion of phrasemes in dictionaries and the corresponding practical and theoretical issues. The articles also have in common that they focus on various diatopic Romance varieties spoken in Italy (Genoese, Trentino, Piedmontese, Tuscan, regional Italian of Rome, Sardinian, Catalan of Alghero), Croatia (Istriot), Spain and Latin America (regional varieties of Spanish). Since the term phraseme is used in a broad sense in this publication, numerous different phraseological categories are discussed in the papers, including, for example, syntagmatic verbs and partially lexically filled constructions, in addition to more classical categories such as idioms, proverbs and collocations. Finally, it will be briefly argued why this special issue, which is inspired by the two research projects GEPHRAS and GEPHRAS2, can be regarded as particularly innovative.

The article provides an analysis of documents from the Datini archive, the purpose of which is to determine the prospects for studying the ethical views of a business person of the premodern era on their material. During the High and Late Middle Ages in Western Europe, there was a “rise of cities” due to the activities of the most mobile and creative social groups of medieval townspeople — merchants, and later entrepreneurs and financiers. Their occupations and way of life contributed to the development of a different type of behavior, new ethical attitudes. One of these business people was Francesco Datini (1335-1410). The methodological basis of the research was formed by the theory of the ethos of the Polish researcher Maria Ossovskaya, which was perceived by domestic scientists in the post-Soviet period. The analysis made it possible to establish the linguistic identity of 148265 letters from the archive. Most of them were written in Tuscan “volgare”. This confirmed the prevailing point of view in historiography about the formation of commercial and financial companies in the cities of medieval Tuscany mainly on the basis of family ties. There were also found letters in Latin, Catalan, Provencal and other languages. Due to the linguistic diversity of sources and the vast geography of their origin, it seemed the most promising to use the methods of “digital history” in further research, which implies the creation of a prosopographic database of Datini’s correspondents and the construction of a GIS on its basis. The linguistic affiliation of the letters was the main marker of the cultural and national identity of their authors, however, the supranational factor that united these people was their belonging to the ethos of a business man of the premodern era, which is characterized by a combination of irrational religiosity with the emerging rational pragmatics.

For James Haar on his 70th BirthdayThe sixteenth century in Italy was a time when academies of all kinds flourished as venues, and often as arbiters, of literature and high culture. A casual look at the academies might give the impression that they were mostly social in nature, that they functioned as a pastime for bored aristocrats and ambitious letterati. As originally constituted, the Accademia degli Umidi, founded 1 November 1540, indeed fitted this description, but with one difference characteristic of Florentine society - it was organised by twelve men of various social classes with a common interest in poetry and language. The academy expanded considerably under the patronage of Duke Cosimo I de' Medici and on 25 March 1541 was reconstituted as the Accademia Fiorentina. Its avowed purpose was to promote the Tuscan language as an instrument of literature and knowledge, in an age when mastery of Latin was required of any educated man. In advancing the cause of vernacular literature, the Accademia Fiorentina, like other academies of the time, greatly extended the programme of Italian humanism, making available the fruits of humanist thought and enquiry to a larger public.

Summary This article offers an introduction to Cicero’s philosophical writings in general and his Tusculan Disputations in particular. Two passages from this treatise are part of the set texts for the Dutch final school exam Latin in 2018 (1.96-104 and 5.57-62). After introducing Cicero philosophus, it offers a synopsis of the Tusculan Disputations and a selective discussion of the aforementioned passages, with some suggestions for the classroom.

Chagas disease is an endemic parasitosis in Latin America where the main route of transmission is vectorial. In Europe, due to migration phenomena, Chagas disease cases are increasing and the main way of transmission is mother-to-child, perpetuating the infection from one generation to the other. Congenital Chagas disease is in most cases asymptomatic at birth, but, if not diagnosed and treated early, it puts the child at risk of developing severe cardiac and gastrointestinal problems throughout life. According to the Regional Resolution throughout the territory of Tuscany, pregnant women born in continental Latin America (or born to a mother born in that area) should be offered free of charge serological test for Chagas disease during pregnancy or at delivery, with the main objective of controlling and stopping the transmission of the disease.

At the entrance of some churches in Tuscany (Italy), the reproduction of an apparently undecipherable inscription can be found. Beginning in the 18th century, this epigraphic puzzle has originated a debate on its interpretation. This study proposes a hypothesis based on the Latin alphabet used in texts contemporary to the churches where the inscription is reproduced and a possible interpretation of the message consistent with the official religious doctrine. The proposed deciphering is extended to the full text, including some signs that were previously considered geometric forms or a specific elaboration of letters not attested in other contemporary documents.

The amphorae collection of the Pushkin State Museum of Fine Arts (SMFA) stores the rarest for the Black Sea region sample of Roman amphora of the first half of the 1st century BC with the Latin stamp SES “anchor”. Judging by the presence of traces of marine mollusks on the outer surface, the vessel comes from the sea. Under the act of transfer the amphora was received in the Pushkin State Museum of Fine Arts from the Kremlin Museums in 1965. The stamp makes it possible to confidently define the vessels origin from the workshops of the Roman colony Cosa (modern Tuscany territory), which belonged to the famous plebeian Sestius family, who Cicero corresponded with. Additionally, it has been suggested that the amphora may originate from the famous Grand Congloue shipwreck near Marseille, explored in the post-war period by J.I. Cousteau.

Adopting an interdisciplinary approach and framing sustainability issues from a resilience perspective, our paper first aimed to highlight nature-based solutions (NBSs) as levers to foster sustainable cities consistent with Agenda 2030-SDG 11 (2015) and the New Urban Agenda (Habitat III, 2016). Second, we empirically analyzed two Italian municipalities that are experimenting with initiatives of sustainable urban management and planning based on NBSs: the Municipality of Lucca in Tuscany and the Municipality of Latina in the Latium Region. These municipalities present institutional and socioeconomic similarities, making them an interesting study setting that allows us to draw significant lessons. We conducted four research steps: (1) theoretical background analysis, including resilience thinking in sustainable urban management. We investigated the role of NBSs in enabling urban resilience according to the last level of resilience, i.e., the transformative level. (2) We studied the contributions of NBSs to sustainable cities and resilience thinking. (3) We analyzed the NBSs’ projects of Lucca and Latina, and (4) we proposed an urban managerial tool: the NBSs’ curve, which facilitates the estimation of the NBS ecosystem endowment. The results of the NBS initiatives presented in this study have a two-fold value. First, they aim to combine citizens’ well-being with ecological and environmental aspects by better managing urban spaces that facilitate interpersonal relationships and resource sharing. Second, they are developed to meet the needs of local groups by serving as a stimulus (Fridays For Future movement) and as enablers (local associations) of managed actions. The lessons learned about the enhancement of sustainable cities through NBSs were thoroughly debated.

Aims To evaluate survival in prostate cancer patients in the Province of Florence where the Tuscany Cancer Registry is active. Methods The survival of 777 patients with prostate cancer diagnosed in the period 1985-87 was evaluated. The observed and relative survival rates 1, 3 and 5 years after diagnosis were computed. Also the prognostic effect of age, disease extension, tumor grade, histological verification, place of residence and year of diagnosis were evaluated using univariate and multivariate analysis. Results The observed survival was 73.4% 1 year, 42.5% 3 years and 29.2% 5 years after diagnosis. The relative survival was respectively 78.7%, 53.0% and 43.0%. Significant independent risks were evident when the disease was extended out of the prostate, for patients older than 80 years, for high grade tumors and for patients without histological verification. Conclusion The 5-year relative survival rate in the province of Florence is similar to those from other European Registries and the Latina Registry, but much lower than the one reported by the SEER program in the US. Data on histological verification percentage, availability of information on disease extension, and tumor grade are discussed as indicators of the quality of the diagnostic approach in comparison with other registries.

The paper presents a distinct example of how the name of a well-known geographical area in the Durmitor Mountain (Old Herzegovina, today Montenegro) became distorted from ?Drovnjak? to ?Drobnjak?, to illustrate and discuss an enduring process of altering toponymswith Serbian linguistic basis, under Western, Latin, and Roman Catholic cultural influences, particularly in the last 100 years along with the establishment of Serbo-Croatian linguistic community. Here, the Old Church Slavonic (Serbian) geographical name ?Drovnjak?, which comes from the word ?tree? (?????), is considered as a Greek vitacism and changed to betacism ?Drobnjak?. Phoneme ?v? (vita) is replaced by phoneme ?b? (beta), the same as it is in the case of names: Byzantium (Vizantija, Serb.), Babylon (Vavilon, Serb.), Arabia and Arabian Sea (Aravija, Aravijsko more, Serb.), etc. The paper also presents other examples of the process of distortion of toponymswhere the phoneme ?nj? (pronounced /?/) changes to ?n? (pronounced /n/) (as in Tusinja-Tusina, Petnjica-Petnica) and ?lj? (pronounced /?/) to ?l? (pronounced /l/) (as in Pljevlja-Plevlja), etc. Clear orthographic norms of common standard language that required writing toponymsin the form used in the local dialect were not respected. This paper can be an incentive for similar researches in territories where Serbs predominantly live or used to live, so that such distorted toponymscould be restored to their original forms, as part of the process of new standardization of geographical names led by the Commission for the Standardization of Geographical Names of the Republic of Serbia.

A new methodology to map Italian coastal areas at risk of flooding is presented. This approach relies on detailed projections of the future sea level from a high-resolution, three-dimensional model of the Mediterranean Sea circulation, on the best available digital terrain model of the Italian coasts, and on the most advanced satellite-derived data of ground motion, provided by the European Ground Motion Service of Copernicus. To obtain a reliable understanding of coastal evolution, future sea level projections and estimates of the future vertical ground motion based on the currently available data were combined and spread over the digital terrain model, using a GIS-based approach specifically developed for this work. The coastal plains of Piombino-Follonica and Marina di Campo (Tuscany Region), Alghero-Fertilia (Sardinia), and Rome and Latina-Sabaudia (Lazio Region) were selected as test cases for the new approach. These coastal stretches are important for the ecosystems and the economic activities they host and are relatively stable areas from a geological point of view. Flood maps were constructed for these areas, for the reference periods 2010–2040, 2040–2070, and 2040–2099. Where possible, the new maps were compared with previous results, highlighting differences that are mainly due to the more refined and resolved sea-level projection and to the detailed Copernicus ground motion data. Coastal flooding was simulated by using the “bathtub” approach without considering the morphodynamic processes induced by waves and currents during the inundation process. The inundation zone was represented by the water level raised on a coastal DTM, selecting all vulnerable areas that were below the predicted new water level. Consequent risk was related to the exposed asset.

<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:DoNotShowInsertionsAndDeletions/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EL</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--> <p style="text-align: justify; text-indent: 42.55pt" class="MsoNormal"><span style="font-family: 'Palatino Linotype','serif'">P. <span style="font-variant: small-caps">Schreiner - D. Oltrogge</span>, <em>Byzantinische Tinten-, Tuschen- und Farbrezepte</em> [&Ouml;sterreichische Akademie der Wissenschaften. Philosophisch-Historische Klasse. Denkschriften, 419.Band. Ver&ouml;ffentlichungen der Kommission fur Schrift- und Buchwesen des Mittelalters, Reihe IV, Band 4], Wien 2011, </span><span style="font-family: 'Palatino Linotype','serif'">&sigma;&epsilon;&lambda;</span><span style="font-family: 'Palatino Linotype','serif'">. 156 + 12 </span><span style="font-family: 'Palatino Linotype','serif'">&pi;ί&nu;</span><span style="font-family: 'Palatino Linotype','serif'">. ISBN 978-3-7001-6903-1</span></p> <!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Κανονικός πίνακας"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]-->

Abstract Introduction: While previous studies propose pesticide exposure to be a risk factor for non-Hodgkin lymphoma (NHL) development, results are inconclusive. In addition, the impact of pesticide exposure on NHL survival is not well-established. Therefore, we identified NHL patients from the California Cancer Registry and linked these patients with the statewide pesticide use reporting database to determine the impact of pesticide exposure on NHL-related incidence and outcomes. Methods: Using the California Cancer Registry, we identified patients with a first primary diagnosis of NHL from 2010-2016 and linked these patients with CalEnviroScreen 3.0 to obtain production agriculture pesticide exposure to 70 chemicals from the state mandated Pesticide Use Reporting (PUR) by census tract from 2012-2014. In addition, data from PUR was integrated into a geographic information system that employs land use data to estimate cumulative exposure to specific pesticides previously associated with NHL (glyphosate, organophosphorus, carbamate, phenoxyherbicide and 2,4-dimethylamine salt) between 10 years prior up to 1 year after NHL diagnosis. SEER*Stat software was used to calculate NHL subtype incidence rates by census tract pesticide use level. Multivariable cox proportional hazards regression models were used to evaluate the impact of total pesticide exposure from CalEnviroScreen 3.0 and individual pesticide exposure from geographic land use data on lymphoma-specific and overall survival. Results: Among 35,808 NHL patients identified, 44.2% were exposed to pesticide in their census tract of residence. Pesticide exposure was higher in Hispanic/Latino (46.5%) and non-Hispanic white (45.6%) then Asian/Pacific Islander (37.2%) and African American (34.9%) patients with NHL. Glyphosate, organophosphorus, carbamate, phenoxyherbicide and 2,4-dimethylamine salt exposure was reported in 34.1%, 26.0%, 10.6%, 14.0% and 12.8% of NHL patients, respectively. Pesticide exposure was not associated with increased NHL incidence by NHL subtype or subgroups defined by sociodemographic factors. Total pesticide exposure at time of diagnosis was not associated with lymphoma-specific or overall survival. In addition, no association was consistently found between glyphosate, organophosphorus, carbamate, phenoxyherbicide and 2,4 dimethylamine salt exposure and lymphoma-specific or overall survival. Conclusion: In this large population-based study of neighborhood agricultural pesticide exposure, pesticide exposure was noted to be prevalent among patients diagnosed with NHL, with high pesticide exposure particularly observed in Hispanics/Latinos and non-Hispanic whites. However, pesticide exposure was not consistently associated with increased NHL incidence or worse NHL lymphoma-specific or overall survival. Disclosures Poh: Acrotech: Honoraria; Incyte: Research Funding; Morphosys: Consultancy. Tuscano: BMS: Research Funding; Seattle Genetics: Research Funding; Takeda: Research Funding; Acrotech: Research Funding; Genentech: Research Funding; Pharmacyclics: Research Funding; Abbvie: Research Funding.

Recent conservation and restoration work on the icon of the Virgin and Child which stood on the altar in the Church of St. Nicholas at Prijeko in Dubrovnik has enabled a new interpretation of this paining. The icon, painted on a panel made of poplar wood, features a centrally-placed Virgin holding the Child in her arms painted on a gold background between the two smaller figures of St. Peter and St. John the Baptist. The figures are painted in the manner of the fifteenth- and sixteenth-century Dubrovnik style, and represent a later intervention which significantly changed the original appearance and composition of the older icon by adding the two saints and touching up the Virgin’s clothes with Renaissance ornaments, all of which was performed by the well-known Dubrovnik painter Nikola Božidarević. It can be assumed that the icon originally featured a standing or seated Virgin and Child. The Virgin is depicted with her head slightly lowered and pointing to the Christ Child whom she is holding on her right side. The chubby boy is not seated on his mother’s lap but is reclining on his right side and leaningforward while his face is turned towards the spectator. He is dressed in a red sleeveless tunic with a simple neck-line which is embroidered with gold thread. The Child is leaning himself on the Virgin’s right hand which is holding him. He is firmly grasping her thumb with one hand and her index finger with the other in a very intimate nursing gesture while she, true to the Hodegitria scheme, is pointing at him with her left hand, which is raised to the level of her breasts. Such an almost-realistic depiction of Christ as a small child with tiny eyes, mouth and nose, drastically departs from the model which portrays him with the mature face of an adult, as was customary in icon painting. The Virgin is wearing a luxurious gold cloak which was repainted with large Renaissance-style flowers. Her head is covered with a traditional maphorion which forms a wide ring around it and is encircled by a nimbus which was bored into thegold background. Her skin tone is pink and lit diffusely, and was painted with almost no green shadows, which is typical of Byzantine painting. The Virgin’s face is striking and markedly oval. It is characterized by a silhouetted, long, thin nose which is connected to the eyebrows. The ridge of the nose is emphasized with a double edge and gently lit whilethe almond-shaped eyes with dark circles are set below the inky arches of the eyebrows. The Virgin’s cheeks are smooth and rosy while her lips are red. The plasticity of her round chin is emphasized by a crease below the lower lip and its shadow. The Virgin’s eyes, nose and mouth are outlined with a thick red line. Her hands are light pink in colour and haveelongated fingers and pronounced, round muscles on the wrists. The fingers are separated and the nails are outlined with precision. The deep, resounding hues of the colour red and the gilding, together with the pale pink skin tone of her face, create an impression of monumentality. The type of the reclining Christ Child has been identified in Byzantine iconography as the Anapeson. Its theological background lies in the emphasis of Christ’s dual nature: although the Christ Child is asleep, the Christ as God is always keeping watch over humans. The image was inspired by a phrase from Genesis 49: 9 about a sleeping lion to whom Christ is compared: the lion sleeps with his eyes open. The Anapeson is drowsy and awake at the same time, and therefore his eyes are not completely shut. Such a paradox is a theological anticipation of his “sleep” in the tomb and represents an allegory of his death and Resurrection. The position, gesture and clothes of the Anapeson in Byzantine art are not always the same. Most frequently, the ChristChild is not depicted lying in his mother’s arms but on an oval bed or pillow, resting his head on his hand, while the Virgin is kneeling by his side. Therefore, the Anapeson from Dubrovnik is unique thanks to the conspicuously humanized relationship between the figures which is particularly evident in Christ’s explicitly intimate gesture of grasping the fingers of his mother’s hand: his right hand is literally “inserting” itself in the space between the Virgin’s thumb and index finger. At the same time, the baring of his arms provided the painter with an opportunity to depict the pale tones of a child’s tender skin. The problem of the iconography of the Anapeson in the medieval painting at Dubrovnik is further complicated by a painting which was greatly venerated in Župa Dubrovačka as Santa Maria del Breno. It has not been preserved but an illustration of it was published in Gumppenberg’sfamous Atlas Marianus which shows the Virgin seated on a high-backed throne and holding the sleeping and reclining Child. The position of this Anapeson Christ does not correspond fully to the icon from the Church of St. Nicholas because the Child is lying on its back and his naked body is covered with the swaddling fabric. The icon of the Virgin and Child from Prijeko claims a special place in the corpus of Romanesque icons on the Adriatic through its monumentality and intimate character. The details of the striking and lively Virgin’s face, dominated by the pronounced and gently curved Cimabuesque nose joined to the shallow arches of her eyebrows, link her with the Benedictine Virgin at Zadar. Furthermore, based on the manner of painting characterized by the use of intense red for the shadows in the nose and eye area, together with the characteristic shape of the elongated, narrow eyes, this Virgin and Child should be brought into connection with the painter who is known as the Master of the Benedictine Virgin. The so-called Benedictine Virgin is an icon, now at the Benedictine Convent at Zadar, which depicts the Virgin seated on a throne with a red, ceremonial, imperial cushion, in a solemn scheme of the Kyriotissa, the heavenly queen holding the Christ Child on her lap. The throne is wooden and has a round back topped with wooden finials which can also be seen in the Byzantine Kahn Virgin and the Mellon Madonna, as well as in later Veneto-Cretan painting. The throne is set under a shallow ciborium arch which is rendered in relief and supportedby twisted colonettes and so the painting itself is sunk into the surface of the panel. A very similar scheme with a triumphal arch can be seen on Byzantine ivory diptychs with shallow ciborium arches and twisted colonettes. In its composition, the icon from Prijeko is a combination ofthe Kyr i ot i ss a and the Hodegitria, because the Virgin as the heavenly queen does not hold the Christ Child frontally before her but on her right-hand side while pointing at him as the road to salvation. He is seated on his mother’s arm and is supporting himself by pressing his crossed legsagainst her thigh which symbolizes his future Passion. He is wearing a formal classical costume with a red cloak over his shoulder. He is depicted in half profile which opens up the frontal view of the red clavus on his navy blue chiton.He is blessing with the two fingers of his right hand and at the same time reaching for the unusual flower rendered in pastiglia which the Virgin is raising in her left hand and offering to him. At the same time, she is holding the lower part of Christ’s body tightly with her right hand.Various scholars have dated the icon of the Benedictine Virgin to the early fourteenth century. While Gothic features are particularly evident in the costumes of the donors, the elements such as the modelling of the throne and the presence of the ceremonial cushion belong to the Byzantine style of the thirteenth century. The back of the icon of the Benedictine Virgin features the figure of St. Peter set within a border consisting of a lively and colourful vegetal scroll which could be understood as either Romanesque or Byzantine. However, St. Peter’s identifying titulus is written in Latin while that of the Virgin is in Greek. The figure of St. Peter was painted according to the Byzantine tradition: his striking and severe face is rendered linearly in a rigid composition, which is complemented by his classical contrapposto against a green-gray parapet wall, while the background is of dark green-blue colour. Equally Byzantine is themanner of depicting the drapery with flat, shallow folds filled with white lines at the bottom of the garment while, at the same time, the curved undulating hem of the cloak which falls down St. Peter’s right side is Gothic. The overall appearance of St. Peter is perhaps even more Byzantine than that of the Virgin. Such elements, together with the typically Byzantine costumes, speak clearly of a skilful artist who uses hybrid visual language consisting of Byzantine painting and elements of the Romanesque and Gothic. Of particular interest are the wide nimbuses surrounding the heads of the Virgin and Child (St. Peter has a flat one) which are rendered in relief and filled with a neat sequence of shallow blind archesexecuted in the pastiglia technique which, according to M. Frinta, originated in Cyprus. The Venetian and Byzantine elements of the Benedictine Virgin have already been pointed out in the scholarship. Apart from importing art works and artists such as painters and mosaic makers directly from Byzantium into Venice, what was the extent and nature of the Byzantineinfluence on Venetian artistic achievements in the thirteenth and fourteenth centuries? We know that the art of Venice and the West alike were affected by the Fourth Crusade and the sack of Constantinople in 1204, and by the newly founded Latin Empire which lasted until 1261.The Venetians played a particularly significant political and administrative role in this Empire and the contemporary hybrid artistic style of the eastern Mediterranean, called Crusader Art and marked by the strong involvement of the Knights Templar, must have been disseminated through the established routes. In addition to Cyprus, Apulia and Sicily which served as stops for the artists and art works en route to Venice and Tuscany, another station must have been Dalmatia where eastern and western influences intermingled and complemented each other.However, it is interesting that the icon of the Benedictine Virgin, apart from negligible variations, imitates almost completely the iconographic scheme of the Madonna di Ripalta at Cerignola on the Italian side of the Adriatic, which has been dated to the early thirteenth century and whose provenance has been sought in the area between southern Italy (Campania) and Cyprus. Far more Byzantine is another Apulian icon, that of a fourteenth-century enthroned Virgin from the basilica of St. Nicholas at Bari with which the Benedictine Virgin from Zadar shares certain features such as the composition and posture of the figures, the depictionof donors and Christ’s costume. A similar scheme, which indicates a common source, can be seen on a series of icons of the enthroned Virgin from Tuscany. The icon of the Virgin and Child from Prijeko is very important for local Romanesque painting of the late thirteenth and early fourteenth century because it expands the oeuvre of the Master of the Benedictine Virgin. Anicon which is now at Toronto, in the University of Toronto Art Centre Malcove Collection, has also been attributed to this master. This small two-sided icon which might have been a diptych panel, as can be judged from its typology, depicts the Virgin with the Anapeson in the upper register while below is the scene from the martyrdom of St. Lawrence. The Virgin is flanked by the figures of saints: to the left is the figure of St. Francis while the saint on the right-hand side has been lost due to damage sustained to the icon. The busts of SS Peter and Paul are at the top.The physiognomies of the Virgin and Child correspond to those of the Benedictine Virgin and the Prijeko icon. The Anapeson, unlike the one at Dubrovnik, is wrapped in a rich, red cloak decorated with lumeggiature, which covers his entire body except the left fist and shin. On the basis of the upper register of this icon, it can be concluded that the Master of the Benedictine Virgin is equally adept at applying the repertoire and style of Byzantine and Western painting alike; the lower register of the icon with its descriptive depiction of the martyrdom of St.Lawrence is completely Byzantine in that it portrays the Roman emperor attending the saint’s torture as a crowned Byzantine ruler. Such unquestionable stylistic ambivalence – the presence of the elements from both Byzantine and Italian painting – can also be seen on the icons of theBenedictine and Prijeko Virgin and they point to a painter who works in a “combined style.” Perhaps he should be sought among the artists who are mentioned as pictores greci in Dubrovnik, Kotor and Zadar. The links between Dalmatian icons and Apulia and Tuscany have already been noted, but the analysis of these paintings should also contain the hitherto ignored segment of Sicilian and eastern Mediterranean Byzantinism, including Cyprus as the centre of Crusader Art. The question of the provenance of the Master of the Benedictine Virgin remains open although the icon of the Virgin and Child from Prijeko points to the possibility that he may have been active in Dalmatia.However, stylistic expressions of the two icons from Zadar and Dubrovnik, together with the one which is today at Toronto, clearly demonstrate the coalescing of cults and forms which arrived to the Adriatic shores fromfurther afield, well beyond the Adriatic, and which were influenced by the significant, hitherto unrecognized, role of the eastern Mediterranean.

Abstract Background Relapsed/refractory (R/R) acute myeloid leukemia (AML) remains a challenge to cure. Prior studies of hypomethylating agent (HMA) decitabine (DEC), proteasome inhibitor bortezomib (BTZ), and anthracycline (AC) pegylated liposomal doxorubicin (PLD) monotherapy, as well as DEC + BTZ and BTZ + PLD regimens, have demonstrated safety and modest activity in R/R AML. Inhibition of NF-κB signaling by BTZ and DEC could prevent AC resistance resulting from NF-κB activity. Thus, we hypothesized that the DEC + BTZ + PLD (DBP) regimen would have activity in R/R AML. Methods We performed a phase II trial of DBP, with a safety lead-in cohort, in patients aged 18-90 with R/R AML. The original protocol called for 1-4 28-day (D) cycles of induction with intravenous (IV) DEC 20mg/m 2 on D1-10, subcutaneous (SQ) BTZ 1.3mg/m 2 on D1, 4, 8, and 11, and IV PLD 40mg/m 2 on D4. Dose-limiting toxicity (DLT) of grade 3 peripheral neuropathy (G3 PN) in the first 2 patients led to a revised schedule of BTZ on D5, 8, 12, and 15 and PLD on D12, eliminating simultaneous DBP dosing on any 1 day. Patients achieving a bone marrow blast count &lt;5% after any course of induction proceeded to the continuation regimen: 28-D cycles of DEC on D1-5, BTZ on D1 and 8, and PLD on D12. Treatment continued until progression, intolerance, bone marrow transplant (BMT), study withdrawal, or administration of 12 cycles. Patients reaching lifetime maximum AC exposure could remain on trial with PLD removed from their regimen. Primary endpoint was objective response rate (ORR), defined as complete remission (CR) + CR with incomplete hematological recovery (CRi) + partial remission. Response was based on International Working Group criteria and determined by blood count values between cycles. Secondary endpoints of overall and event-free survival (OS, EFS) were estimated by Kaplan-Meier method. Toxicity was monitored per Common Terminology Criteria for Adverse Events (AEs) v4.03. Results Ten patients were enrolled from May 2016 to February 2018, after which the sponsor closed the protocol. Median age was 57 years [range 27-69]. Patients were 50% female, 60% White, 10% African American/Black, 30% other/mixed race, and 40% Hispanic/Latino, with median baseline ECOG score of 1 [0-1] and median 2 [1-3] lines of prior therapy. Sixty percent had de novo and 40% had secondary disease. By WHO subtype, 30% had AML with MRC, 20% NPM1 mutation, 10% inv(3), 10% therapy-related, and 30% not otherwise specified. European LeukemiaNet 2017 risk was favorable in 20%, intermediate in 40%, and adverse in 40%. Median number of cycles completed was 2 [1-7] with a median time on study of 100.5 days [35-678]. One patient achieved CR and 2 achieved CRi for an ORR of 30%. An additional patient likely had a CR with &lt;5% blasts and count recovery but had a suboptimal aspirate differential. Including this unconfirmed CR, ORR was 40%. An additional 2 (20%) achieved morphological leukemia-free state (MLFS). Of the 6 patients with any response (CR + CRi + MLFS), 2 achieved best response after cycle 1, 2 after cycle 2, 1 after cycle 3, and 1 after cycle 4. Relapse occurred in 2 of 5 (40%) while on study, at 425 days after CRi and 83 days after MLFS. All 3 patients with prior HMA exposure were non-responders. All patients discontinued treatment. Reasons included BMT (40%), AE (30%), progression (20%) and insurance loss (10%). Half planned to bridge to BMT as next-line therapy following study treatment. When taken off study, 50% were alive while 20% had died from AML complications, 20% from graft-versus-host-disease post-BMT, and 10% after relapse post-BMT. Median OS was 6.67 months (95% confidence interval [CI] 6.07 to not reached [NR]). Median EFS was 3.22 months (95% CI 1.50 to NR), with a maximum EFS of 16.93 months. Following G3 PN in the first 2 patients, no DLTs occurred on the modified regimen. Seventy percent of patients experienced at least possibly related G3+ AEs or serious AEs (SAEs). Of the 22 related G3+ AEs, anemia and decreased platelet count were seen in 50% and dizziness in 20%. Of the 22 related SAEs, anorexia, fatigue, PN, febrile neutropenia, and bacteremia were most common, each occurring in 20%. Conclusion The DBP triplet demonstrated preliminary anti-AML activity in a R/R AML patient cohort. Staggered dosing was better tolerated than simultaneous DBP. DBP may serve as an effective bridge to BMT for some patients. This study supports further evaluation of DBP, or related combinations, in R/R AML. Disclosures Rosenberg: Takeda, Janssen: Speakers Bureau. Abedi: Seattle Genetics: Speakers Bureau; BMS/Celgene: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Abbvie: Speakers Bureau. Tuscano: BMS, Seattle Genetics, Takeda, Achrotech, Genentech, Pharmacyclics, Abbvie: Research Funding. Jonas: AbbVie, BMS, Genentech, GlycoMimetics, Jazz, Pfizer, Takeda, Treadwell: Consultancy; 47, AbbVie, Accelerated Medical Diagnostics, Amgen, AROG, Celgene, Daiichi Sankyo, F. Hoffmann-La Roche, Forma, Genentech/Roche, Gilead, GlycoMimetics, Hanmi, Immune-Onc, Incyte, Jazz, Loxo Oncology, Pfizer, Pharmacyclics, Sigma Tau, Treadwell: Research Funding; AbbVie: Other: Travel reimbursement. OffLabel Disclosure: Bortezomib is FDA-approved for the treatment of multiple myeloma in patients who have already been treated with 2 lines of prior therapy and progressed on the most recent therapy. Decitabine is indicated for treatment of patients with myelodysplastic syndromes. Doxorubicin is approved in AML among other cancers.

AbstractThe article examines the dual outcome of Latin intervocalic /p t k/ in Old Tuscan. While these stops remain voiceless in most of the Tuscan lexicon, a significant number of words are voiced. The prevailing opinion is that preservation of voicelessness is the native outcome, and that the words displaying voicing were borrowed from Romance languages in which intervocalic voicing was systematic. However, a number of facts militate against this hypothesis, including the presence of voicing in Tuscan words that are unattested or maintain a voiceless stop in the supposed donor languages. The results of a corpus-based analysis of an Old Tuscan lexicon show that the distribution of the voiced outcomes is phonologically conditioned (contra the borrowing hypothesis), as they are more likely if the stop was velar, next to low(er) vowels, next to stress and if followed by a liquid consonant. These results are also an example of sound change with clear and fine-grained phonological conditioning but a non-systematic outcome; irregularity was probably caused by the allophonic nature of Old Tuscan voicing and by its interaction with another lenition process.

Abstract This article contributes to the study of the relationship between Latin and Tuscan vernacular in the 16th century. We examine a set of almost neglected grammatical works (the Concetti, Supplimento, and Il grammatico) published between 1557 and 1567, and related to the Italian humanist Aonio Paleario. We adopt both a linguistic and literary approach to shed light particularly on the humanistic perspectives on language education and proficiency. After presenting a brief outline of the content of the three works and their problematic authorship, we focus on the dialogue Il grammatico. We conclude that, within the discussion on method for teaching Latin, the dialogue defines the humanist as the guardian of the best language for both Latin and vernacular.

Arriving in Italy following the expulsion of the Jesuits from all the territories of the Spanish crown, the Mexican Francisco Javier Clavijero did not delay much to conceive the work that earned him the fame of initiator of the modern Latin American historiography. Eager to correct the erroneous and, in many ways, teratological image that the philosophes had offered of America, he composed, in the Spanish language, his, still fundamental today, Historia antigua de México, which, however, for various reasons, had to remain manuscript for a long time. Instead, he published it in Italian (Storia antica del Messico, 4 vols., Cesena, Biasini, 1780-81), two years after finishing it, in March 1778. The considerable extension of the work certainly makes Clavijero credible when he claims to have imposed himself a “new and difficult task by translating [his books] into the Tuscan”. The solutions that he adopts for some translation problems in the field of the subject dealt with are preferibiles to those of most contemporary translators of similar works.

Torquato Tasso, Italy's foremost early modern poet, engaged with issues of otherness throughout his complicated life and career—in no small part because of his own itinerant and often marginalized status. His first try at what would eventually become his monumental Gerusalemme liberata—an unfinished poem he wrote when he was 16, called simply “Il Gierusalemme”—gives us a glimpse into an early attempt to define epic as a space for welcoming in the stranger. The stranger was as much a character for Tasso as it was a parola pellegrina or foreign word, the latter a particular obsession of Tasso's. Dedicated as he was to seeing the vernacular not as “just” Tuscan, but as capacious enough to include other dialects as well as Latin and neologisms, Tasso quickly found enemies in Florence's Accademia della Crusca, which insisted on a much purer view of the Italian tongue. By connecting Tasso's theory of hospitality to the questione della lingua as it was being fought over in late 16th-century Italy, this article argues for a capacious understanding of both this early experimental work of Tasso's, as well as his later poem.

AbstractImported allergens are involved in many allergic reactions, with unexpected and unusual implications. They can be involved in developing asthma, allergic rhinoconjunctivitis, Hymenoptera venom allergies and food allergies. Imported allergens can be implied in respiratory allergies attributable to commercial practices and accidental diffusion through air currents that have introduced non-native species in new geographical contexts. Ambrosia artemisiifolia L., a plant native to North America and currently in the western part of Lombardy, represents an example. Moreover, a variation in the pollen concentration in the Northwest Tuscany area and Trentino Alto-Adige was observed. Cannabis sativa is another imported allergen used frequently by adolescents. Regarding potential imported food allergens, there is no validated list. Imported food allergens derive from ethnic foods, referring to Mexican/Latin American, Chinese/Japanese, Southeast Asian, Arab/Middle Eastern and African cuisine. Four insect flours were recently introduced to the European and Italian markets (Acheta domesticus, Alphitobius diaperinus, Tenebrio molitor and Locusta migratoria). The association between the accidental introduction through commercial traffic, climate change, and the absence of natural enemies in the destination ecosystem is related to the introduction of a specific Hymenoptera, Vespa velutina, in Italy and Europe. External events attributable to human activities, such as climate change and the introduction of non-native plants, foods and Hymenoptera through trade, have contributed to the issue of imported allergens. Making the correct diagnosis and guiding the diagnostic and therapeutic path in this particular context represent the concerns of the pediatric allergist.

<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><p>A comparison between ground level total magnetic field intensity anomaly map (F) of Italy and the total intensity aeromagnetic map by ENI/AGIP, had shown that an anomaly pattern for the Albegna basin (South Tuscany), quite evident from ground measurements, doesn’t show in the aeromagnetic map. Ligurian units, made of ophiolite blocks (metagabbros, basalts, serpentinites), intrusives and subordinate volcanic products, all able to trigger a strong magnetic signal, could not be excluded in the area, and for this reason the magnetic anomaly estimated by ground level measurements was not considered unreasonable. In this paper the result of a magnetic survey finalized to verify the authentic existence of such a large magnetic total intensity anomaly in the Albegna basin, is reported. On the basis of the new result, the suspected ground level total intensity anomaly in the Albegna basin, was demonstrated to be non-existent and then the Italian Magnetic Database corrected accordingly. Measurements and procedures that brought to the magnetic elements elaboration and new anomaly maps for Albegna basin, are shown here.</p><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:DoNotShowRevisions/> <w:DoNotPrintRevisions/> <w:DoNotShowMarkup/> <w:DoNotShowComments/> <w:DoNotShowInsertionsAndDeletions/> <w:DoNotShowPropertyChanges/> <w:HyphenationZone>14</w:HyphenationZone> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>IT</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> <w:UseFELayout/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/> <w:LsdException Locked="false" Priority="39" Name="toc 1"/> <w:LsdException Locked="false" Priority="39" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" Name="toc 9"/> <w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/> <w:LsdException Locked="false" Priority="10" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Title"/> <w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/> <w:LsdException Locked="false" Priority="11" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/> <w:LsdException Locked="false" Priority="22" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Strong"/> <w:LsdException Locked="false" Priority="20" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/> <w:LsdException Locked="false" Priority="59" SemiHidden="false" UnhideWhenUsed="false" Name="Table Grid"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 1"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/> <w:LsdException Locked="false" Priority="34" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 3"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 3"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 4"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 4"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 5"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 5"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 6"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 6"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 6"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 6"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 6"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/> <w:LsdException Locked="false" Priority="19" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/> <w:LsdException Locked="false" Priority="21" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/> <w:LsdException Locked="false" Priority="31" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/> <w:LsdException Locked="false" Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabella normale"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]-->