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Clonal hematopoiesis predisposes to hematological malignancies. However, clonal hematopoiesis is understudied in classical Hodgkin lymphoma (cHL), a mature B-cell neoplasm exhibiting the most abundant microenvironment. We analyzed clonal hematopoiesis in 40 cHL cases by sequencing microdissected tumor cells and matched normal cells from blood and/or lymph nodes. Five patients had blood and/or tissue clonal hematopoiesis. In three of five patients (all failing first-line therapy), clonal hematopoiesis spread through the tissue microenvironment extensively, and featured mutant DNMT3A(R882H), KRAS(G60D) and DNMT3A(R882H)+TET2(Q1274)* in 33%, 92% and 60% of non-neoplastic cells, respectively. In the latter case, DNMT3A/TET2-mutant clonal hematopoiesis seeded the neoplastic clone, which was infected by the Epstein-Barr virus and showed almost no other somatic mutations exome-wide. In the former case, DNMT3A-mutant clonal hematopoiesis did not originate the neoplastic clone despite dominating the blood and B-cell lineage (~94% leukocytes; ~96% mature blood B cells), yet led to NPM1-mutated acute myeloid leukemia 6 years after therapy for cHL. Our results expand to cHL the spectrum of hematologic malignancies associated with clonal hematopoiesis.

Con la presente ricerca si propone quindi uno studio sulle immagini di Antinoo, con lo scopo di ricostruirne la storia, cercando di risolvere le questioni finora lasciate aperte e approfondendo aspetti fino ad oggi rimasti inesplorati o non sufficientemente indagati. La prima parte della tesi è dunque dedicata alla formazione di tali immagini, soffermandosi sulle forme delle rappresentazioni e sulla loro creazione. Poiché si ritiene che la comprensione delle immagini non possa prescindere dai contesti nei quali e per i quali esse furono realizzate, la seconda sezione è incentrata sulla diffusione delle raffigurazioni di Antinoo e, in particolare, sul rapporto tra queste ultime e i loro contesti di destinazione. Infine, nella terza e ultima parte del lavoro viene trattata la fortuna delle immagini del favorito di Adriano, intendendo per quest’ultima non la fortuna moderna, sulla quale gli studiosi si sono già soffermati, ma piuttosto la trascurata fortuna antica, prendendo in esame la riproduzione e la fruizione di raffigurazioni di Antinoo sia durante che dopo il regno di Adriano, nonché l’influenza esercitata dal ritratto del giovane sulla ritrattistica privata di epoca adrianea e postadrianea. Per raggiungere lo scopo di tale ricerca, fornendo un quadro che sia più completo possibile, vengono esaminate tutte le rappresentazioni di Antinoo note: non solo le sculture, che sono state le immagini finora più studiate, ma anche le monete e le altre tipologie di oggetti recanti l’effigie del giovane.

Edition and commentary of "Delos. Specifications for a building"

It is generally considered probable that the portraits of Augustus, Livia and Tiberius in the Ny Carlsberg Glyptotek come from the ancient amphitheatre of Arsinoe, the most important ancient city in the Fayum region (Egypt). However, after a detailed study of the letters written by the art dealer who sold the sculptures to the museum and an analysis of the archaeological, papyrological and epigraphic documentation, it is clear that this supposed provenance was only a conjecture of the seller, without any foundation.

This article focuses on the three marble portraits of Augustus, Livia and Tiberius, nowadays displayed at the Ny Carlsberg Glyptotek. The busts are commonly labeled as the "Group from Fayum" because of their supposed provenance. However, some data make us doubt that they were originally made to form this group. First of all, since they come from the antiquities market, it is not possible to be sure that the three pieces were found in the same spot. Moreover, from technical and stylistic points of view, the busts present several differences and only those of Livia and Tiberius share some affinities. To this evidence it is now possible to add the results of the marble analysis, published for the first time here, which show that the busts of Livia and Tiberius are made of the same type of marble, the precious lychnites, that is to say Parian marble from the underground quarries of Stephani, while the portrait of Augustus is also made of Parian marble, but from the by far larger and open pit quarries of Lakkoi. Therefore, thanks to the archaeometric identification, it is possible to definitively state that only the busts of Livia and Tiberius were originally made together, while the portrait of Augustus was added to this group in a later phase, in antiquity or in modern times.