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Although incomparably richer than it has ever been before, ours is still a world of tremendous deprivation and disturbing inequality. In addition to being composite and irregular, inequality is also "slippery", both due to the multiplicity of terrains, often inaccessible and unknown in which it is born, and the way it evolves and is perceived. In this work, starting from the images of the national photography competition promoted in 2017 by the NGO Oxfam Italia, those same inequalities made up of numbers and percentages are "brought into focus" through the approach of visual sociology. The interpretative analysis carried out on the images has provided elements to go beyond the external datum, offering the possibility to advance, through a work of perceptual organization, classification, interpretation and attribution of meanings, to the discovery and explanation of the deeper meaning of inequalities. What will emerge will be a multidimensional imaginary, consisting not only of poverty and marginalization but also of indifference, loneliness and vulnerability. [ABSTRACT FROM AUTHOR]

The sonnet Io mi son tutto dato a trager oro, included among Cino's poems until the critical edition edited by Guido Zaccagnini (1925), was definitively expelled from the lyrical corpus thanks to Luigi Di Benedetto, who excluded it from his anthology Rimatori del dolce stil novo (1939). Despite the lack of strong arguments for its exclusion, the poem does not appear in subsequent anthologies of Cino's work, not even in section dedicated to texts of uncertain attribution. This article examines the stylistic, philological and thematic reasons that suggest that Cino was, after all, the author of this text. [ABSTRACT FROM AUTHOR]

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The role of Giulio Mancini as the father of connoisseurship has been recently questioned on the grounds that Mancini never aimed to discuss the attributions of contemporary works of art. Generally the birth of modern connoisseurship, with figures such as the Richardson brothers, has been linked to the growing art market of the 18th century, and the most important 17th-century forerunners, such as Marco Boschini, acted as dealers as well: all these connoisseurs dealt with the attributions of paintings of the previous centuries. This paper explores the roots of connoisseurship in the topography work of Mancini, author of the first modern artistic guide to Rome. Mancini, studying the early Renaissance frescoes in Rome (Jacopo Ripanda, Pastura, Pinturicchio, Baldassarre Peruzzi), discussed Vasari's biographies and suggested new attributions with a modern approach that clearly anticipates the method of later connoisseurs. [ABSTRACT FROM AUTHOR]

The article discusses documents relating to the decorations of the ceilings in the Scuola Grande di San Rocco, a building in Venice, Italy, and to the artists responsible for that decoration. Among other topics addressed are archival sources for the history and attribution of the artistic works on the building's ceilings, the ceiling of the room called the Albergo specifically, and specific artistic attributions. Pictures of the ceilings are also included.

The article discusses the fragmented group of sculptures Strage degli Innocenti housed in the palace the Ca' d'Oro in Venice, Italy. Among other topics addressed are attempts to date the work by the clothing styles depicted on the statues and the composition of the statues as a group, where the work was originally located, and the circumstances of its composition.