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Copyright of Reti Medievali is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From 25 May to 25 June 1964, the 2nd International Exhibition of Monumental Restoration was held in the historic Palazzo Grassi in Venice. This event accompanied the 2nd International Congress of Monumental Architects and Technicians, which gave rise to the International Charter on the Conservation and Restoration of Monuments and Sites, better known as the Venice Charter. Piero Gazzola, who chaired the Organising Committee of the conference, called Piero Sanpaolesi to direct the exhibition. Through the study of the letters exchanged between these two protagonists of 20th-century restoration, it is possible to reconstruct and clarify the events that led to the success of the Venetian conference. The cultural debate that took place in Venice in 1964, around the discipline of restoration and conservation, of the world's cultural heritage, allowed the development of heritage protection tools that remain highly topical today. [ABSTRACT FROM AUTHOR]

Il rapporto tra l’architetto veronese Bernardino Brugnoli e Andrea Palladio può essere configurato considerando alcune comuni vicissitudini su cantieri veronesi ed emiliani. In particolare, i due architetti nel settimo decennio del Cinquecento ebbero incarichi simili, furono chiamati talvolta dagli stessi committenti e impiegarono spesso le stesse maestranze. Attraverso un’indagine sulle fonti e su inediti documenti d’archivio il saggio mira a mettere in luce il rapporto tra i due architetti, divenuto particolarmente stretto dopo la morte di Michele Sanmicheli nel 1559, con particolare riguardo per il coevo contesto veronese, segnato da una riconfigurazione del ruolo di architetto. Dallo studio emerge un rapporto continuativo tra i due architetti e la versatilità di Bernardino Brugnoli, non solo architetto, ma anche ingegnere, perito idraulico e militare, cartografo.

Fra Rinascimento e secolo dei lumi lo spettacolo teatrale transita dall’immagine statica della scena fissa a quella mutevole, fatta di quinte mobili che simulano la centralità di spazi disposti frontalmente, evolvendosi nella vista d’angolo bibienesca. Teorie e metodi della prospettiva vengono progressivamente assorbiti dalle empiriche invenzioni scenografiche, mentre i bozzetti dei singoli apparati e delle macchine che ne svelano i cinematismi, spesso, sono frammentari. Ancor più i modelli analogici, di cui rimane traccia solo in sporadiche ricostruzioni esposte nelle mostre: sono scatole magiche adatte a recuperare la dimensione dello spazio prospettico, evocando le parvenze delle messe in scena originarie. Il saggio rilegge le maquette rapportandole alle fonti iconografiche e testuali che ne hanno determinato le logiche compositive. Si analizza la fiorente letteratura che, dalla seconda metà del Cinquecento in poi, riflette sulle pratiche della teatralità, per riscoprire i fondamenti della prospettiva solida e la determinazione del punto di vista ottimale, a partire dalle regole costruttive del palco, come ad esempio si evince nei trattati di Scipione Chiaramonti e Nicola Sabbattini. Ciò consente di risalire alle reali configurazioni spaziali dei contesti in cui gli spettacoli si sono svolti, verificando anche i rapporti di proporzionalità del proscenio e dell’arco scenico, desumibili dallo studio delle antiporte e delle incisioni che accompagnano i libretti delle opere.

Il saggio pubblica e commenta la sentenza pronunciata dai giudici del Procurator di Venezia del 13 luglio 1366, documento che entrerà a far parte del Codice Diplomatico Poliano in preparazione a cura dell’Istituto Veneto di Scienze, Lettere ed Arti. La sentenza condanna i Procuratori di S. Marco, esecutori testamentari di Marco Bragadin (morto a Candia nel 1360) a pagare a sua moglie Fantina, primogenita di Marco Polo, 80 lire di grossi (800 ducati), considerato che Bragadin si era appropriato illegalmente del terzo dei beni mobili spettante alla moglie in quanto co-erede, assieme alle sorelle Bellela e Moreta, del Viaggiatore. Il notaio di curia, Fantino Rizzo, nel testo della sentenza inserì una copia fedelissima dell’inventario dei beni trovati nella casa di Marco Polo, redatto da Marco Bragadin poco dopo la morte del suocero, avvenuta l’8 o il 9 gennaio 1324: un testo giustamente famoso perché mostra molti punti di contatto con il Milione (o Devisament dou monde), il celebre libro scritto nel 1298 da Marco Polo e Rustichello da Pisa prigionieri nelle carceri genovesi.

Copyright of Reti Medievali is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The city of Venice has historically been open to travellers and newcomers, and its stones have spoken in many languages, engendering a myriad of cross-cultural dialogues between the human and the nonhuman environment. With its waters reflecting multiple images, the city is an apt example for a proposed new theory on geometaphors that considers the poetic metaphors in their exact geographical and physical location. This essay applies this concept to Eugenia Bulat's contemporary poetry. A unique figure in the Italian literary landscape, Bulat invites an innovative geocritical reading of the city and her verses. In Moldova she was the first democratically elected mayor of her town, but in Venice she was a caretaker for the elderly. This experiential clash inspired three collections of poems. Through her gaze, elements of the amphibious Venetian ecosystem – water and stone – become metaphors of migrant femininity and stimulate an ethic of openness and respect. [ABSTRACT FROM AUTHOR]

Usando come bussola l’acqua, il rispecchiamento e il concetto di superficie, il saggio intende mettere in luce i punti di contatto fra la poetica di Iosif Brodskij, J.M.W. Turner, John Ruskin e Venezia, la città che accolse il loro sguardo.

Copyright of Santo: Rivista Francescana di Storia Dottrina Arte is the property of Associazione Centro Studi Antoniani and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Reti Medievali is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Alcune opere inedite da poco passate nel mercato antiquariale sono utili per approfondire spunti appena accennati nella recente monografia sul pittore veronese Alessandro Turchi (2019). Si tratta di dipinti e disegni che confermano il ruolo del giovane pittore all’interno della bottega di Felice Brusasorzi: prima come allievo, poi come chi assume il controllo delle commissioni nuove o da completare, arrivando ad imporsi nella considerazione dei committenti veronesi che lo accolgono tra gli accademici filarmonici. Qualche considerazione meritano pure i contatti veneziani che precedono il viaggio a Roma, vissuti in contatto con Palma il giovane e condivisi da un altro veronese che le fonti dicono allievo di Felice, Marcantonio Bassetti.

Copyright of Neohelicon is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’articolo tratta di elegie ed epigrammi scelti composti da Klemens Janicki, i quali contengono descrizioni di Padova, dell’Italia e di persone legate alla città di Antenore e a Venezia: Lazzaro Bonamico, Giovanni Battista Da Monte, Francesco Cassano, Pietro Bembo, Ludovico Dolce, Daniele Barbaro. L’Autrice sostiene che Janicki sia riuscito a creare un’immagine dell’Italia ed in particolare di Padova, una seconda patria, dove il poeta potè svilupparsi, studiare ed essere curato. Le poesie legate all’Italia e Padova contribuiscono inoltre ad arricchire la biografia letteraria di Janicki, un cittadino del mondo, un poeta laurato, uno studente allegro, un paziente felice, un amico e un collega delle persone legate alla Repubblica di Venezia nella prima metà del XVI secolo.

Purpose: To evaluate the ability of the Venezia advanced multichannel tandem and ring applicator to consistently produce dosimetrically comparable plans utilizing a reduced number of needle channels, to reduce the risk of secondary complications when boosting cervical cancer treatments with high dose rate (HDR) brachytherapy. Methods: We evaluated 26 fractions from 13 patients who were treated with HDR brachytherapy using the Venezia (Elekta) applicator. The original plans included a full load of 12–16 needles, including both parallel and 30‐degree oblique needles. We replanned each original to nine new configurations, with a reduced number of two, three, four, or six needles. Comparisons included differences in percentage dose coverage to 90% of the high‐risk clinical target volume, and percentage dose to 2 cm3 of the bladder, rectum, sigmoid, and bowel. We considered new plans "passing" if they remained within our standards (D90 > 100%; D2 cm3 < 85% bladder, <65% rectum, sigmoid, bowel) or did not perform worse than original. Results: Removing only the two most anterior or the two most posterior needles from both sides showed 80.8% and 61.5% overall passing rate. Removal of the most anterior and posterior four needles together showed 65.4% overall passing rate. Removing all oblique needles showed 19.2% overall passing rate. Removing only left‐sided or only right‐sided oblique needles showed 46.2% and 23.1% overall passing, respectively. Removing only right‐sided or only left‐sided parallel needles separately showed 19.2% and 34.6% overall passing, respectively. Removing all parallel needles showed 11.5% overall passing rate. Conclusions: As only two replans required a full needle load to maintain dosimetric quality and 40 (76.9%), 36 (34.6%), 18 (69.2%), and 10 (19.2%) replans passed with 2, 3, 4, and 6 needles removed respectively, this indicates the potential for using a lesser number of interstitial needles during combined intracavitary and interstitial HDR brachytherapy while maintaining dosimetric quality. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranea - Ricerche Storiche is the property of Mediterranea-Ricerche Storiche and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Composta da Lorenzo Venier (1510-1550) nel 1531, probabilmente con la com-plicità di Pietro Aretino, La Zaffetta è un poemetto in ottava rima, di intonazione morale e satirica, che racconta la violenza di gruppo contro la cortigiana veneziana Angela Zaffetta. Nel contributo il componimento viene riesaminato alla luce dei testimoni noti e contestualizzato nella Venezia del Cinquecento.

The aim of this study was to evaluate the clinical outcome in locally advanced cervical cancer (LACC) after image-guided adaptive brachytherapy (IGABT) with combined intracavitary and interstitial (IC/IS) techniques using the hybrid Venezia applicator (Elekta AB, Sweden). LACC patients (UICC Stage IIB – IVB) treated with radiochemotherapy followed by IGABT with the hybrid IC/IS Venezia applicator at a single institution were retrospectively analyzed. Treatment comprised EBRT of the pelvis with 45 Gy and concomitant weekly cisplatin chemotherapy (40 mg/m2) followed by MRI-based IGABT. Dosimetry, oncological outcome and toxicity were investigated. Forty-six patients underwent a total of 184 fractions of IGABT between 2017 and 2020. Median follow-up was 24 months. Combined IC/IS techniques were used in 40 patients (87%). The median HRCTV volume was 31.2 cm3 and the median HRCTV D 90% was 92.3 Gy (EQD2 10). The median D 2cm 3 was 74.8 Gy for bladder, 57.9 Gy for rectum, 60.0 Gy for sigmoid and 52.2 Gy for bowel (EQD2 3). The 3-yr actuarial rates were 97.6% for local control, 97.6% for pelvic control, 59.9% for distant metastasis-free survival and 81.6% for overall survival. The crude rate for G2 and G3 late toxicity was 21.7% and 4.3%. IGABT with the hybrid Venezia applicator and a pronounced use of a combined IC/IS technique achieved high target doses, while maintaining low doses to organs at risk, leading to excellent local control and overall survival rates with acceptable toxicity. • Combined intracavitary and interstitial brachytherapy achieves high target doses. • This leads to excellent local control. • Toxicity with this combined approach is acceptable. • Distant recurrence is common; improvements in distant control are warranted. [ABSTRACT FROM AUTHOR]

The known documentation about the brothers John and Windelin from Spira is reread here. This is above all informations obtained from the editions themselves, in addition to the famous privilege for the exclusive exercise of the printing in Venice. The occasion is gluttonous to highlight some respectable female figures in the family entourage of the from Spira, as well as the rich plot of German merchants underlying the landing of the typography in the lagoon (John from Köln, the Dinslakens, Peter Ugelheimer). In addition, it is thus possible to identify the proprium that characterized the production of Vindelino, whose slightly elusive figure usually seems to disappear in the face of his brother’s pre-eminence.

This study is based on research that provided precise insights into changes in social relations in Venice during the last war with the Ottoman Empire, known as the Second Morean War 1714–1718. The focus is on very complex relations between Daniel IV Dolphin (1656–1729) and Andrea Pisani (1662–1718), as representatives of the two strongest factions in the patriciate. British sources, more precisely than Venetian contemporaries, related the general crisis of government with most important personalities on whom the war efforts were based. This study seeks to underline the credibility and precision of British sources while using achievements of contemporary Italian historiography, with respects to the visible progress over the past decades in research of the various phenomena of the Venetian patriciate. [ABSTRACT FROM AUTHOR]

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Jacopo Sansovino, born Jacopo Tatti known as Sansovino (Florence, July 2, 1486 – Venice, November 27, 1570), was a Tuscan architect and sculptor active for a long time in several locations, where he has always been worthy of positions of great responsibility. On this occasion I will focus on the commission for the statue of Hercules requested from him in 1550 by Duke Ercole II d’Este through his ambassador to Venice, Girolamo Faruffini. The giant in Istrian stone will reach Brescello, the «nova Cittade Erculea», its definitive seat, in 1553. So far, the model for the head of Hercules is unpublished, and in a private collection, on this occasion he presents and confronts himself with the sculpture created.

In terms of the hitherto known body of Boccaccio Boccaccino’s drawings, the only support used was paper, clean, tinted, and colourfully prepared. Boccaccino drew, to a limited extent, using a metal stylus (lead stylus was also employed for squaring) and a pen. Much more often, he would use a brush, red chalk, or black chalk. The support used for Boccaccino’s drawing of St. Jerome, nowadays kept in Munich, was a green-ochre prepared paper.

L’ingegnere veronese Francesco Malacreda è conosciuto come responsabile della costruzione del forte di San Nicolò al Lido di Venezia su progetto di Sforza Pallavicino. In realtà questo incarico comportò alcuni dispareri tra Malacreda e Sforza Pallavicino, che portarono al licenziamento dell’ingegnere nel 1571. Malacreda rientrò dunque a Verona dove la sua posizione di integerrimo ufficiale pubblico era solida. Malacreda, infatti, scelse di non proclamarsi mai architetto e condusse la sua lunga carriera solo nel campo dell’ingegneria militare.

Sul finire del Cinquecento, Venezia apre i primi teatri pubblici a pagamento, ma ciò sembra presagire una storia fallimentare, a giudicare dalle entrate delle famiglie Michiel e Tron, perché il successo di un seguito interrotto per circa cinquantasette anni comincia a intravvedersi, nel 1637, con la riapertura del Teatro San Cassan che prende le distanze dal genere della commedia recitata, per abbracciare il melodramma in musica. La cultura dello spettacolo si impone in laguna e a fine secolo la città ospita circa 15 teatri musicali, di cui, purtroppo, non rimangono tracce tangibili. L’articolo delinea le traiettorie per la costruzione di un archivio digitale, capace di connettere un’eterogeneità di fonti utili alla ricostruzione dei teatri, delle macchine e delle scene che li hanno animati, in modelli 3D che si configurano come performativi spazi digitali di una memoria dalla quale estrapolare le dinamiche della sua attualizzazione. In questo modo le tracce materiali e immateriali delle architetture, delle scenografie e delle macchine, che hanno caratterizzato le origini e condizionato il successivo sviluppo del teatro pubblico, diventano i paradigmi di una nuova idea della scena dello spettacolo come immagine del mondo.

Copyright of Studi e Materiali di Storia delle Religioni is the property of Editrice Morcelliana S.p.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

[it] L’articolo prende in esame i documenti conservati che riportano le istruzioni impartite dalle autorità di tre poteri cristiani (Corona d’Aragona, Firenze e Venezia) ai loro ambasciatori diretti al sultanato musulmano mamelucco (Egitto-Siria, 1250-1517). Lo studio comparativo di tali fonti rivela come l’interazione con il sultano e i suoi funzionari fosse programmata nelle sue diverse fasi e secondo differenti modalità di comunicazione, sia verbali (messaggio orale e scritto) sia non verbali (regali, cerimoniale). L’analisi della funzione pratica e teorica delle istruzioni conservate mostrerà come questi documenti contengano indizi essenziali per decifrare i principi e le strategie che stavano alla base del dialogo diplomatico tra le potenze cristiane e i Mamelucchi.

La connessione tra la scrittura pubblica e la figura del notaio nella città di Ragusa (Dubrovnik) è l’argomento principale di questo contributo. Centro urbano posto all’esterno della giurisdizione del Sacro Romano Impero, l’evoluzione della pratica notarile conobbe qui percorso divergenti dal modello ideato dalla scuola giuridica bolognese, sebbene il peso della sua influenza raggiungesse anche le città della costa dalmata. Il risultato più evidente di questa tradizione peculiare fu l’assimilazione del notariato e del cancellierato all’interno di una sola figura professionale, assorbita all’interno della burocrazia dello stato. In ragione della loro esperienza e formazione maturata presso gli studi universitari, il governo raguseo decise alla fine del XIII secolo di affidare l’ufficio notarile ai soli notai italiani.

The urban redevelopment plan for Venice started after the passing of the special law for Naples (n. 2892, 1885, 15th January): in December 1886 the town council approved the resolution outlining forty projects for the city. After many difficulties, a few years later the Plan became public knowledge and a chorus of protest and concern for the “artistic integrity” of the city and the possibility of altering the character of the city irretrievably ensued. The Minister of Education intervened in November 1890 by creating, a mixed Commission composed of ten members – five appointed by the same Minister, two from the Ministry of Public Works, the others by the Municipality, – to examine the projects “in the field”, assess their feasibility and propose any changes to the plan. Thus Boito, D’Andrade and Berchet found themselves working in the mixed Commission. The Commission’s choices made the historical-artistic importance and the character of the city prevail over hygienic reasons. Straights, guttings and demolitions were examined by the Commission, which – from time to time – redesigned the proposed interventions because often, while ostensibly proposed for hygienic reasons, they were not conducive to a healthier historic centre for Venice. The Plan, implemented only in 1895, would start the urban redevelopment operations of the city with precise, targeted interventions, though without an overall plan for the city, adapting the project, rather than the urban tissue, as necessary

Il saggio presenta tutti i dati disponibili utili al ritrovamento di un testo per ora fantasma, quale la Risposta di Paolo Paruta (Venezia, 1540 - 1598) alla Lettera XXX dello pseudo-Dante, falso d’autore editando il quale nel 1547 il fiorentino Anton Francesco Doni scatenò una violenta polemica politica anti-veneziana. Nuove ricerche dimostrano come nella celebre biblioteca padovana di Gian Vincenzo Pinelli fosse conservata una copia della Risposta. Paruta e Pinelli, infatti, condividevano molti interessi e conoscenze negli ambienti della Padova e della Venezia del Secondo Cinquecento.

Notarial archives in the early-modern Alpine region were managed according to an extreme variety of styles. This paper presents the case of a community of the central Italian Alps, set at the north-western borders of the Republic of Venice. Focusing on the local response to a law promulgated by the venetian Senate in 1612, notarial archives and their preservation become, in an “institutional perspective”, a political weapon in defending local autonomies against the centripetal force exercised by urban cities.

The paper analyses offices of individual Venetian rectors in the eastern Adriatic cities of the 13th century, in the period after the IV Crusade, when Venice intensified its expansion toward the Levant. In this process, a very important role was played by representatives of the authorities (counts, podestàs, rectors) who supervised the areas entrusted to them and applied in them Venetian laws, as well as introducing the necessary institutions and urban models created in Venice. During the dogeships of Giacomo Tiepolo and later his son Lorenzo, the installation of patricians of certain families close to the new policy, but also of some other families from this area, is analysed. Some rectors were sent to the cities because of the doge’s policy or for military, economic reasons, or with the purpose of planning of the city. In any case, their circulation in the governmental positions of the eastern Adriatic and beyond had a great impact on the exchange of experiences and knowledge, but also on Venice’s relations with the local communities. [ABSTRACT FROM AUTHOR]

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Il poema, stampato a Venezia nel 1535 da Maffeo Pasini e Francesco Bindoni, è suddiviso in due parti, ciascuna di cento canti di cinquanta terzine l’uno e narra le «lotte dei paladini nel metro con cui Dante ha descritto le pene e i gaudi d’oltretomba». La scelta di adottare un metro narrativo di massima diffusione ha incoraggiato una serie di considerazioni molto concrete sulla maturazione del poema cavalleresco sia in termini formali sia tematici. Il rifiuto dell’ottava appare come una scelta risoluta: un’avvertenza che suggerisce al lettore non solo l’originalità dell’opera, ma anche la sua estraneità dalle tipiche continuazioni del romanzo di cavalleria. L’uso della terzina diventa il riflesso della coscienza poetica dell’autore che dichiara al pubblico la scelta di assumere delle auctoritates, e con esse dei modelli di riferimento, che infrangano le leggi dell’immaginario cavalleresco. Per soddisfare questa intenzione, orienta il proprio gusto verso un ventaglio di autori tra i quali spiccano Dante (Commedia), Brunetto (Tesoretto), Petrarca (Trionfi), Boccaccio (Amorosa visione), Fazio degli Uberti (Dittamondo) allontanandosi dalle novità dei poemi di Boiardo e Ariosto per avvicinarsi al più tradizionale Morgante.

The impresario Francesco Santurini quondam Antonio had gone down in history both by founding the Teatro di Sant’Angelo (1677), one of the long-lived and more lively opera theatres in Venice, and by reducing the ticket price to one quarter of a ducat. His marketing strategy, experimented back at the Teatro di San Moisè between 1674 and 1675, and realized at Sant’Angelo for seven years, made a small price revolution in the Venetian opera business. Through notarial and judicial acts, letters, literary sources, and ‘journalistic’ reports, it is possible to reconstruct a documentary balance of the business of Santurini as impresario until 1683. So it can be shown that, after deducting his new economic strategy, his productive effort and the quality of the spectacle offered by his theatre achieved a competitive level, at the cost of going bankrupt.

The present article proposes the edition and study of the only letter sent by a Venetian consul in Castile found until now. We reconstruct the life course of its author, Angelo Venier, and Luca Falier's, a Venetian merchant with interests in Andalusia, named in the letter. The richness of contents allows us to deal with many different and complex issues, such as Venetian private navigation in the Iberian peninsula; juridical mechanisms for the resolution of conflicts between foreign merchant nations in Castile; the Genoese situation; Venetian perspectives in Andalusia; and merchant and private businesses of other Venetians in Seville. The image that arises is much more detailed than what we knew up to this moment. [ABSTRACT FROM AUTHOR]

The Vienna and Venezia (Elekta) are hybrid intracavitary/interstitial brachytherapy (BT) applicators for cervical cancers unsuitable for intracavitary BT alone to improve target coverage or reduce critical organ dose. There is limited outcome data with the use of these applicators outside published experience of the EMBRACE group. We report feasibility and early outcomes with the use of these hybrid applicators at our institution. Hybrid applicators were used to treat 61 patients with cervical cancer from November 2011 to December 2019. Indications for hybrid applicator use were involvement of the vagina in 10 patients (16%), residual central or parametrial disease in 46 patients (75%), and a narrow introitus in 5 patients (9%). Toxicities were graded using the CTCAE v4.0. Outcomes were assessed with the Kaplan–Meier method. Median follow-up was 16 months (IQR 9–32 mos). Median HRCTV volume was 31.6 cm3 (IQR 25–48 cm3). Median HRCTV D90 was 86.1 Gy (IQR 84.3–88.0 Gy). In 54 patients with follow-up PET/CT at 3 months, complete initial imaging response locally was seen in 46 patients.Estimated 12-month Kaplan–Meier overall survival, locoregional control, distant control, and recurrence-free survival estimates were 86.9%, 80.6%, 73.8%, and 65.9%, respectively. The 12-month incidence of Grade 3+ GI/GU chronic toxicities was 5.7%, consisting of vesicovaginal fistula, rectovaginal fistula, and ureterovesical fistula. Our single-institution data support the use of the hybrid applicators, as an alternative to traditional BT applicators when clinically warranted. Use of hybrid applicators is feasible with adequate coverage of disease in the vagina and parametrium. [ABSTRACT FROM AUTHOR]

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on less studied aspects of the Church of Pius XII, the construction of churches and new parishes as a confessional response to urbanization processes. It focuses on the approach to building projects and on the economic relations adopted by the Venetian Church in terms of mainland developments between 1946 and 1958. It also mentions cooperation between the Venetian Church, the local authorities and private enterprise, there was an independent ecclesiastical project.

Copyright of Archeologia Postmedievale is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of INTRECCI d'Arte is the property of Universita di Bologna, Dipartimento delle Arti visive, performative e mediali, Alma Mater Studiorum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Archeologia Medievale: Cultura Materiale, Insediamenti, Territorio is the property of All'Insegna del Giglio s.a.s. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)