17 research outputs found
La Cronicha di Giorgio Dolfin (origini-1458) nel contesto culturale della Venezia del sec. XV
No full textA copy (XVI cent.) of a work entitled La Cronicha dela nobil cità de Venetia et dela sua provintia et destretto is preserved in the ms. It. VII, 794 (=8503), located at the Biblioteca Nazionale Marciana of Venice. The text documents the history of the city from its origins up to 1458. Its main author is Giorgio Dolfin (1396-1458), member of one of the most important Venetian aristocratic families; other contributors are Dolfin’s son Pietro, and Andrea and Nicolò Gussoni, the later owners of the volume containing the Cronicha. The chronicle remained unpublished up to the present day, although it represents a key source in the analysis of the work of Marin Sanudo the Younger (1466-1536), especially in regards to his digressions on number and inner workings of those Venetian judicial institutions assuring the good functioning of the Serenissima. Dolfin’s point of view is a profoundly religious one, aiming to represent Venetians as “veri et boni Christiani” and at the same time to celebrate their political and administrative independence. The events in the time of doge Francesco Foscari (1423-1457) are narrated in a truly passionate and affected manner, not only because the author and the Doge lived in the same period, but also because their two families were also related.La Cronicha dela nobil cità de Venetia et dela sua provintia et destretto (origini-1458) è conservata in una copia del XVI sec. nel manoscritto della Biblioteca Nazionale Marciana di Venezia It. VII, 794 (=8503) e racconta la storia di Venezia dalle origini al 1458. Il suo autore principale è Giorgio Dolfin (1396-1458), appartenente ad una delle maggiori famiglie del patriziato veneziano, ma contiene anche interventi del figlio Pietro e di Andrea e Nicolò Gussoni, successivi possessori del codice in cui è contenuta. La cronaca è rimasta inedita fino ai nostri giorni, pur costituendo una delle fonti principali per l’opera di Marin Sanudo il giovane (1466-1536), in particolare per la parte in cui si si dilunga ad elencare e spiegare le magistrature che riescono a garantire a Venezia il buon funzionamento dello Stato. Il punto di vista del Dolfin è profondamente religioso e mira a mettere in luce i Veneziani come “veri et boni Christiani” e la loro indipendenza politica ed amministrativa. Gli episodi relativi alle vicende del doge Francesco Foscari (1423-1457) sono raccontate in modo più accorato e commosso, sia perché contemporanee all’autore, sia perché i Dolfin erano legati da vincoli di parentela al doge
Tra Venezia e Mantova. Confronti per l’attribuzione dell’Angelo Annunciante di Palazzo Ducale
No full textGigliola Gorio aims to attribute the Archangel Gabriel of Palazzo Ducale in Mantua to the Venetian artist Andrea da San Felice, the author of the Doge Giovanni Dolfin monument, whose catalogue has been studied and deepened in recent years. The attribution is supported by stylistic analogies with the indisputable works of the artist, who belonged to Andriolo de Santis’ workshop. There are a lot of references to Gothic Venetian artists in 14th century sculptures in Mantova, for example in what remains of the monument to Guido, Francesco and Ludovico Gonzaga once in the church of San Francesco. A new fragment that belonged to this monument has been discovered in a private collection
Automated Solution of Partial Differential Equations with Discontinuities using the Partition of Unity Method
No full textAlthough computers were invented to automate tedious and error-prone tasks, computer programming is a tedious and error-prone task itself. This is a well-known paradox in the field of computational mathematical modelling. Recently, automatic code generation has been proposed to solve this paradox. In this approach, a required code to model physical problems is generated by compiling an input file which mimics mathematical notations. In this thesis, the automatic code generation has been extended to support developing models for problems with discontinuities. Examples of this kind of problems in real world are cracks, slip planes and singularities in materials as well as phase interfaces in multiphase flows. This framework is designed in the context of the FEniCS project, an open source project in the Automation of Computational Mathematical Modelling (ACMM). The automated framework has been implemented in two packages which are licensed as open source software and they can be downloaded for free. - A compiler (in Python) for generating C++ low-level code to model discontinuities from the high-level code close to mathematical notations https://launchpad.net/ffc-pum - A solver library (in C++) to use the generated code from the PUM compiler in combination with other reusable components of DOLFIN to model discontinuities https://launchpad.net/dolfin-pum This framework provides required tools and functionalities to fast and efficient development of the partition of unity models for physical problems represented by partial differential equations in domains with discontinuity surfaces. Developing such models especially for coupled problems, in which different combinations of continuous/discontinuous spaces may exist, is a time consuming and difficult task. Using the automated framework moves the focus from implementation to modeling. Therefore, different models can be simulated and tested quickly with minimum reworks. The examples, presented in this thesis, were limited to non-branching discontinuity surfaces with the Heaviside enrichment function. A novel algorithm is also proposed to keep track of three-dimensional propagating surfaces. However, the solver library is designed such that it can be relatively easily extended to support other types of problems.Structural EngineeringCivil Engineering and Geoscience
Trial protocol: DOLFIN trial: Developmental Outcomes of Long-term Feed Supplementation in Neonates—A UK multicentre, blinded, stratified, randomised controlled trial
No full text\ua9 The Author(s) 2025. Background: Infants born extremely preterm (EP; < 28 weeks of gestation) or term born infants with hypoxic-ischemic encephalopathy (HIE) have increased risk of long-term cognitive and learning deficits. Early supplementation with long chain polyunsaturated fatty acids (LCPUFAs) docosahexaenoic acid (DHA), eicosapentaenoic acid (EPA), and arachidonic acid (ARA), choline, uridine-5′-monophosphate (UMP), and cytidine-5′-monophosphate (CMP), zinc, iodine, and vitamin B12 may improve cognitive and language outcomes in these populations. Methods: This multicentre, blinded, stratified, randomised controlled trial, including an economic evaluation, will investigate the impact of nutritional supplementation on cognitive development in infants born EP or term born infants with HIE. The planned sample size is 1010 (538 EP, and 472 HIE) infants from up to 40 National Health Service neonatal units in the UK. The trial patient populations are infants born EP (preterm stratum) and term infants (born at or more than 35 weeks of gestation) with HIE who received therapeutic hypothermia (HIE stratum). Patient strata were chosen to include infants at high risk of adverse neurodevelopmental outcomes by virtue of EP birth, or HIE requiring therapeutic hypothermia. Infants are randomly assigned, in a 1:1 allocation ratio, to receive either the active supplement or a matched control, in addition to standard care. Families, clinical teams, investigators, and Clinical Trials Unit staff are blinded to allocation. Only the Senior Trials Programmer and Trial Statisticians have access to allocation information. The active supplement is a nutrient powder formulated to be mixed with breast milk, infant formula, or food, containing LCPUFAs (including DHA, EPA, and ARA), choline, UMP, CMP, zinc, iodine, and vitamin B12. Supplementation commences once infants achieve full milk feeds and continues until 12 months post-estimated date of delivery (EDD), with a daily dosage of 1 g per kilogram of body weight. The primary outcome is the Parent Report of Children’s Abilities-Revised non-verbal cognitive scale at 24 months post-EDD. EP and HIE patient population comparisons have been appropriately powered and will be analysed separately. Discussion: Findings from the DOLFIN trial will inform international neonatal and infant nutritional and feeding policy and practice. Learnings from the trial will inform the design and delivery of future neonatal nutritional intervention trials. Trial registration: ISRCTN62323236. Registered 16 May 2022, https://www.isrctn.com/ISRCTN62323236
Andrea Galeazzo i spomenici generalnim providurima Leonardu Foscolu i Lorenzu Dolfinu u Šibeniku
No full textBased on new archival findings, the paper examines the activity of Venetian stone carver and sculptor Andrea Galeazzo (c. 1614 – after 1653), author of the today lost monuments of governors general of Dalmatia (Provveditori Generali di Dalmazia) Leonardo Foscolo (1647) and Lorenzo Dolfin (1653) in Šibenik, and discusses the typology of such public monuments in Dalmatia in relation to important examples of funerary monuments in Venice.U radu se na osnovi novih arhivskih istraživanja govori o venecijanskom klesaru i kiparu Andrei Galeazzu (oko 1614. – nakon 1653.), autoru danas nestalih spomenika generalnim providurima Leonardu Foscolu (1647.) i Lorenzu Dolfinu (1653.) podignutih u Šibeniku. Na osnovi nekih važnih venecijanskih primjera nadgrobnih spomenika raspravlja se i o tipologiji ove vrste javnih spomenika u Dalmaciji
Venetian cardinals at the Papal Court during the pontificates of Sixtus IV and Innocent VIII : 1471-1492
No full textThe histories of particular cities and states within that myriad-faceted
slice of civilisation, the Renaissance in Italy, have received
more scholarly attention than have the diplomatic, ecclesiastical and
cultural connections between them. This study is part of a balance-redressing
process. Senior clerics traversed frontiers, owing
allegiance to their native state, their benefices and, above all, to
the Papacy. The purpose of this exploration of the curial careers of
four later quattrocento Venetian cardinals is essentially twofold : to
account for relations between Venice and the Papacy with reference to
individuals who were at once Venetian patricians and princes of the
Church; and to examine the cardinals' responses to this situation in
terms of political, ecclesiastical and cultural patronage. Where did
their loyalty lie? To Venice, with its perennial suspicion of the
Church and peculiar notion of the characteristics of a Venetian
cardinal? Or to the Pope, expressing overt hostility towards the
Republic in the War of Ferrara and placing it under an interdict?
Chapter one sets Merco Barbo, Pietro Foscari, Giovanni Michiel and
Giovanni Battista Zeno in a Venetian context. Chapters two and three
chart relations between the two powers, from the exposure of Cardinal
Zeno's involvement in a scheme to transmit Venetian state secrets to
Rome in exchange for ecclesiastical preferment, through to Ermolao
Barbaro's controversial appointment to the patriarchate of Aquileia,
via the short-lived Papal-Venetian league negotiated by Cardinal
Foscari in 1480. The fourth chapter considers their proximity to the
Supreme Pontiff and how their material fortunes varied under popes
Sixtus and Innocent, after which an assessment of the nature, extent
and effectiveness of their patronage is divided between chapters five
and six, focussing pa.rticularly on Venetian connections. Despite
diverging careers, it is concluded that all were bound by variations
of the Venetian inheritance
In aduentu clarissimi uiri Aloysii Capello, Spalatine urbis prętoris dignissimi
No full textU radu se predstavlja dosad nepoznati latinski govor In aduentu clarissimi uiri Aloysii Capello, Spalatine urbis prętoris dignissimi, napisan 1504. Nakon opisa rukopisa daju se podatci o autoru Ivanu Rozanu (Ioannes Rosanus) iz Splita, o splitskom knezu Alvizu Cappellu te o mletačkom kroničaru i bibliofilu Marinu Sanudu, kojemu je autor odaslao svoj govor s popratnim pismom i u čijoj su se rukopisnoj ostavštini oba teksta sačuvala. Rozanov se govor zatim smješta u kontekst ceremonijalnoga govorništva u Mletačkoj Republici, pobliže u skupinu govora u čast dolaska novoga ili odlaska staroga gradskog kneza (orationes in adventu / in discessu praetoris); ocrtavaju se osnovne njegove značajke, nadasve autorovo ostentativno nastojanje da pokaže svoju humanističku učenost. Na kraju studije iznose se načela po kojima se pismo i govor objavljuju. Slijedi editio princeps tih dvaju tekstova s usporednim hrvatskim prijevodom i bilješkama. Iako se ne može sa sigurnošću kazati je li Ivan Rozan svoj govor uistinu održao, taj se splitski građanin-pučanin pojavljuje kao novo, dosad potpuno nepoznato ime splitskoga, pa onda i hrvatskoga humanizma.The topic of this paper is the oration In aduentu clarissimi uiri Aloysii Capello, Spalatine urbis prętoris dignissimi, the author of which was Ioannes Rosanus (Ivan Rozan) of Split. The speech is extant in a handwritten codex kept in the Marciana National Library in Venice, call no. Marc. Lat. Cl. XIV, 246 (= 4683), on ff. 146r-150r. It was first mentioned by Giuseppe Praga in 1930, but has never been published or subjected to scholarly study. The oration is accompanied by Rosanus’s letter to Marin Sanudo the Younger (f. 145v). Taking everything into account, the text of the oration is autographic, while the epistle to Sanudo was written by another hand (cf. Fig. 1 and Fig. 2). That the oration is an autograph can be concluded from the corrections put into the text of the speech by the same hand (cf. the notes in the edition of the text appended here). These, together with the untidiness of the handwriting and certain mistakes show that we are dealing with a working copy.
Little is known about Ioannes Rosanus. In 1499, Ser Ioannes Rosanus went with Ser Cyprianus the dyer (tintor) as envoy from the commoners of Split to the Venetian syndics intra Culphum Bernardo Loredan and Nicolò Dolfin. From the title of Ser it can be concluded that he was both well reputed and probably wealthy, which is also borne out by the circumstance of his having been selected as envoy. These two representatives of the commoners asked the syndics permission for the commoners to meet in »a congregation«, i.e., that the right that they had during the time of Count Giovanni Bollani (1481-1484) be revived. On June 30, 1499, the syndics granted the request and instructed the Split Count Marino Moro (1497-1499) accordingly. In the census of Split of 1507, Ioannes Rosanus was recorded as Ser Zuan Rosan, who lived in civitate veteri, that is, the part of Split within Diocletian’s Palace.
It can be seen from the oration that Rosanus had been educated in the studia humanitatis, but no other works of his are known. Still there was a certain poet Rosanus that was praised in their epigrams by Gilberto and Marco Antonio Grineo, humanists and teachers who were active in Trogir and Split around 1496 to 1501. From one of the epigrams we learn that Rosanus wrote a poetic panegyric to the »Venetian Moro« (that is, the Split count, Marino Moro, who is known to have been, like Bollani, well inclined to the commoners). It is reasonable to conclude that Rosanus the representative of the commons, Rosanus the poet and Rosanus the orator were one and the same person.
Venetian Count Alvise Cappello (son of Francesco), in whose honour the oration was composed, arrived in Split on May 13, 1504 and remained in this post until May 31, 1507. Rosanus is not the only writer in Split to have praised Cappello: in two of his poems Franciscus Natalis (Frane Božićević) wrote extensive panegyrics on him (nos. 33 and 46 in the edition of Miroslav Marković of 1958). It is not known what Cappello’s attitude to the commons was, whether, in other words, he went on with the policies of Bollani and Moro.
Rosanus’s oration is interesting for several reasons. It is a previously unknown text of an author who has himself been unknown to literary history. In terms of literary genre, it is an oration in adventu, a panegyric in honour of the arrival of a count from Venice at post. It accordingly belongs to a group of occasional ceremonial speeches that were a salient part of Venetian social rituals and that appeared with the oncoming of the humanist movement. Particularly important are the speeches related to the proclamation of a new doge or the arrival of a new, or the departure of the old, local governor (the count). The first kind is called orationes in creatione ducis and the second might be named orationes in adventu / in discessu praetoris. The first kind is well known and richly documented, at least in connection with orators from the Venetian Terraferma (to date, only seven speeches concerning a newly elected doge given by representatives of the Dalmatian commune have been identified). As for the other kind, the orationes in adventu / in discessu praetoris, the information is a good deal less extensive for the records have not yet been thoroughly researched, but all speeches known to date derive from the Venetian mainland possessions. Rosanus’s oration is the first known speech in adventu written in Dalmatia, and is interesting if only because of that uniqueness. It is given additional interest by its writer having been not a patrician but a commoner.
The contents and structure of the speech, and the Biblical, Patristic and classical references with which it is densely studded, undoubtedly identify Rosanus as an author educated in the humanist tradition. The speech is characterised by his ostentatious need to show off the diversity of his learning: in the little space of the text he quotes a string of Greek, Roman and Early Christian writers (Plato, Diodorus of Sicily, Plutarch, Cicero, Catullus, Virgil, Horace, Livy, Propertius, Ovid, Seneca, Pliny the Elder, Martial, Juvenal, St Jerome, (Pseudo-)Augustine and so on; he is liberal in his quotes from the Bible; he mentions lesser known facts from ancient history, introduces allusions to myth and astronomy. Attention is drawn by Rosanus’s programmatic invocation (in the letter to Sanudo) of St Jerome, as a literary model, which might at first sight, considering the genre of epideictic oratory, confuse the reader. What is particularly fascinating is the fact that the Split orator clearly knew the works of Francesco Filelfo (1398-1481), one of the most celebrated humanists of the Italian Quattrocento, responses to whom on this side of the Adriatic are little known. Of course, it will be necessary to place Rosanus’s panegyric in adventu in the generic context of occasional oratory in the Venetian Republic and to analyse the extent to which he had adopted the then omnipresent Ciceronian rhetorical model. However, such tasks remain outside to the first edition of the oration for Alvise Cappello. It brings Ioannes Rosanus before us as a new and previously totally unknown name of Split and also, then, of Croatian humanism.
Alongside the study, the editio princeps of Rosanus’s oration is printed. Since I consider the Marciana manuscript to be a (partial) autograph, I have retained author’s non-classical orthography with all its inconsistencies. The notes beneath the Latin text contain the textual apparatus (printed in bold) and the sources of quotations and allusions (in italics); where it seemed useful, I have added some factual data and explanations (also in italics)
Le sepolture dei dogi nel contesto della scultura veneziana. Da Marino Falier a Michele Steno (1355 - 1413)
No full textLa ricerca è dedicata alle tombe dei nove dogi di Venezia che ressero la Repubblica dal 1355 al 1413, con particolare riferimento agli scultori che le realizzarono.
Le date sono state scelte a proposito: delimitano, innanzitutto, un periodo che si apre con la morte di Marino Falier e di Filippo Calendario, l'architetto di Palazzo Ducale, condannati a seguito della celebre congiura ordita contro lo Stato. A questo avvenimento chiave per la storia della Serenissima sono legate due circostanze importanti nella valutazione dei monumenti ducali considerati. Come ha ben illustrato Debra Pincus, nella sua monografia del 2000, i dogi, da quel momento, infatti, non avrebbero più ricevuto sepoltura nella basilica di San Marco, forse anche per un divieto imposto dal Maggior Consiglio: le loro tombe si trovano, o si trovavano, nelle chiese cittadine degli ordini mendicanti, i Santi Giovanni e Paolo, Santa Maria dei Frari e Santo Stefano, e in quelle che erano le parrocchie di riferimento del casato di appartenenza, la Celestia e Santa Marina. In secondo luogo, al 1355 va fatta risalire, come hanno chiarito Wolfgang Wolters (1976) e Guido Tigler (1999), la conclusione dei lavori per la decorazione scultorea delle due facciate di Palazzo Ducale, avviati negli anni quaranta del Trecento, che coincise con la violenta uscita dalla scena artistica veneziana di Filippo Calendario. Il 1413, invece, corrisponde alla fine del governo di Michele Steno il cui complesso funebre, nella tipologia, si rivela ancora legato a soluzioni diffuse nel secolo precedente, a differenza del sepolcro del successore Tommaso Mocenigo († 1423), di gusto rinascimentale.
Lo studio di ciascun monumento, a cui è riservato un capitolo monografico, è stato orientato in maniera da mettere a fuoco le maestranze veneziane che ricevettero l'incarico di erigerli: per la loro valutazione stilistica, si è ritenuto, però, necessario anteporre alla questione attributiva la considerazione di altre problematiche.
Ogni saggio inizia con un breve ritratto della vita del doge che introduce all'analisi del suo testamento - quando pervenuto - e che approfondisce il suo contesto familiare: in questo modo, infatti, è possibile chiarire la scelta del luogo per la sepoltura, chi furono i committenti delle tombe e avere delle date di riferimento per la loro cronologia.
Ampio spazio si è dato, inoltre, alle manomissioni e alle traslazioni subìte, nel corso dei secoli, dai sepolcri: dalla ricerca emerge che tutti, con interventi più o meno invasivi, sono stati rimaneggiati, anche in tempi precoci. Questo lavoro permette di giudicarne correttamente l'attuale aspetto, di ipotizzarne la collocazione e forma originarie - quando non rispecchiano l'odierne - ma anche di contestualizzarli all'interno della facies funeraria medievale che caratterizzava l'edificio nel quale erano stati eretti e, per le perdute arche di Giovanni Gradenigo e di Lorenzo Celsi, di comprendere le circostanze che ne hanno causato la dispersione.
Riguardo agli scultori coinvolti si conoscono i nomi di Nino Pisano, che realizzò le cinque statue del monumento di Marco Corner, su una delle quali rimane la sua firma, e di Andrea da San Felice, il lapicida di Venezia documentato autore di quelli di Giovanni Dolfin († 1361) e di Lorenzo Celsi († 1365). Anche per gli altri monumenti furono coinvolte maestranze lagunari che è possibile inserire, coerentemente, nella vasta produzione scultorea veneziana del Trecento e dell'inizio del secolo seguente che ha conosciuto, dopo Wolters, un moltiplicarsi di studi da parte, in particolare, di Laura Cavazzini, Wladimiro Dorigo, Aldo Galli, Renzo Grandi, Alberto Rizzi, Anna Maria Spiazzi e Guido Tigler.
I protagonisti del contesto artistico veneziano, coevo alle tombe esaminate, furono Andriolo de' Santi (1342-1375), a cui si propone di riferire la tomba di Giovanni Gradenigo († 1356) e il progetto di quella di Marco Corner († 1368) e che si suggerisce di riconoscere come maestro di Andrea da San Felice, e i fratelli Pierpaolo e Jacobello Dalle Masegne (1383-1403/1409) che dovettero realizzare, all'inizio del XV secolo, il monumento funebre di Antonio Venier. I sepolcri di Andrea Contarini e di Michele Morosini, eretti attorno al 1382, si devono, invece, a scultori che appartengono alla generazione di lapicidi successiva all'ampia decorazione di Palazzo Ducale (1340-1355), mentre quello di Michele Steno ad un maestro contemporaneo a Filippo di Domenico.The research regards the graves of the nine Doges of Venice who ruled the Republic from 1355 to 1413, with particular reference to the sculptors who realized them.
The dates were chosen with the aim to define a period that opens with the death of Marino Falier and the architect of the Palazzo Ducale Filippo Calendario, both condemned after the famous conspiracy carried out against the State. This key event of the history of the Serenissima Republic, is hence connect with two important issues related with the analysis of the Ducal monuments taken into consideration. First of all since that moment on, as Debra Pincus well demonstrated in his monograph published in 2000, the doges were no longer buried in the Basilica of San Marco due probably to a ban imposed by the Great Council. Their graves are or were located in the city churches of the mendicant orders: at Saints John and Paul, Santa Maria dei Frari and St. Stephen; and in those parish churches connected with the relative House as Celestia and Santa Marina. Secondly as Wolfgang Wolters (1976) and Guido Tigler (1999) clarified, the completion of the sculptural decoration of the two sides of Palazzo Ducale, that begun during the Forties of the Fourteen century, can be traced back to 1355 and coincided with the violent passing of Filippo Calendario and his subsequent disappearing from the art scene of Venice. Nevertheless in 1413 at the end of the government of Michele Steno, the typology of his funerary complex, differently from the tomb of his successor Tommaso Mocenico (died in 1423) decorated in Renaissance style, still shows popular solutions linked to the previous century.
The study of each monument was developed through a monograph chapter oriented to focus on the Venetian masters who where in charge of the construction, while for the stylistic analysis it was decided to put the attribution issue before any other matter.
Each essay begins with a brief portrait of the Doge's life introducing, if documented, the analysis of his last will, and examining his family background: thanks to this was hence possible to explain the choice of the location for the burial and to understand who commissioned the graves and therefore set the reference dates for their history.
The violations and removals carried out over the centuries on the tombs, were widely examined and the research shows that more or less invasive interventions, were done on all of them just in early times. This work allowed to judge precisely the current status of the monuments and to hypothesize both the original location and the shape, when they were different from the present situation, to actualize them into the medieval funerary facies characterizing the building in which they were built and finally, in the specific case of the lost arks of Giovanni Grandenigo and Lorenzo Celsi, to understand the conditions that caused their dispersion.
With regards to the identity of the sculptors we know the names only of Nicola Pisano, who created the five statues of the monument of Marco Correr upon one of which he left his signature, and Andrea da San Felice, the stone-cutter from Venice just documented as the author of the tombs of Giovanni Dolfin (died 1361) and Lorenzo Celsi (died 1365). Even for the other monuments were involved those masters from Venice that can coherently be included into the wide panorama of the Venetian sculpture production between the Three Hundred and the beginning of the following century and that were object, after Wolters, of an increasing number of researches carried out in particular by Laura Cavazzini, Wladimiro Dorigo, Aldo Gali, Renzo Grandi, Alberto Rizzi, Anna Maria Spiazzi and Guido Tigler.
The protagonists of the Venetian artistic context contemporary with the tombs examined, were Andriolo de' Santi (1342-1375), to which we propose the attribution of the tomb of Giovanni Gradenigo (died in 1356), the project for the Marco Corner's (died in 1368) one, and we suggest him to had been the master of Andrea da San Felice, and the brothers Pierpaolo and Jacobello Dalle Masegne (1383-1403/1409) who were supposed to have carried out tomb of Antonio Venier at the beginning of the fifteenth century. The tombs of Andrea Contarini and Michele Morosini, built around 1382, should be referred to sculptors belonging to the next generation of stone-cutters following the wide decoration of the Palazzo Ducale (1340-1355), while the tomb of Michele Steno should be attributed to a master contemporary with Filippo di Domenico
FACTORS ASSOCIATED WITH CLIMATERIC SYMPTOMS IN WOMEN AROUND MENOPAUSE ATTENDING MANOPAUSE CLINICS IN ITALY
No full textObjective: To obtain data on correlates of climacteric symptoms in women around menopause attending menopause clinics in
Italy.
Methods: Since 1997 a large cross sectional study has been conducted on the characteristics of women around menopause
attending a network of first level menopause outpatient’s clinics in Italy. A total of 66,501 (mean age 54.4 years) women are
considered in the present paper.
Results: The odds ratios of moderate and severe hot flashes/night sweats were lower in more educated women and (for severe
symptoms only) in women reporting regular physical activity. Depression, difficulty to sleep, forgetfulness and irritability tended
to be less frequent in more educated women and (depression only) in women reporting regular physical activity. Parous women
reported more frequently these symptoms.
Conclusions: This large study confirms in Southern European population that low education, body mass index and low physical
activity are associated with climacteric symptoms. Parous women are at greater risk of psychological symptoms.
© 2005 Elsevier Ireland Ltd. All rights reserved
Factors associated with climacteric symptoms in women around menopause attending menopause clinics in Italy
No full text
