88 research outputs found
Feste di Milano nel felicissimo nascimento del serenissimo principe di Spagna don Filippo Dominico Vittorio /
No full textLine omitted at foot of p. 64 supplied as printed cancel slip in c. 1, written in by hand in c. 2, blank in c. 3.Large woodcut of the princely arms on t.p. verso. Woodcut head- and tail-pieces, initials.Mode of access: Internet.Owner's inscription at foot of t.p. of c. 1: Fran.ci Gentilis J.C. et C.C. mtris.Binding, c. 2: old limp vellum. Page edges red.Binding, c. 1: decorated paper backed in vellum. Author & title in gilt on spine label.Library's c. 3 bound with: Relatione di quanto e' successo nella città di Vagliadolid. Milan: Bordoni & Lorcarni, 1608 (SPECIAL 89-B13585 c. 1)
Reporte del bautismo de setenta y tres indígenas en Misión San Fernando, 1775 octubre 20
No full textCarta al fraile dominico Vicente de Mora reportando el adoctrinamiento y bautismo de 73 indígenas, incluyendo a su líder llamado Vuilipacuai, capitán del arroyo de Las Palmas. Los líderes bautizados aparentemente aseguraron a los frailes que las comunidades indígenas en las regiones del norte hasta la sierra pronto reconocerán la misión. —— Letter to Dominican Fr. Vicente de Mora reporting the indoctrination and baptism of 73 Indigenous people, including their leader Vuilipacuai, Capitan of the stream of Las Palmas. The baptized Indigenous leaders apparently assured the friars that Indigenous communities in the northern regions will soon recognize the mission. 1 f. (2 p.
The spread of double-entry bookkeeping method in the 16th Century: "Quaderno doppio col suo giornale novamente composto et dilegentissimamente ordinato secondo il costume di Venetia" of Dominico Manzoni (1540)
No full textIn the history of accounting, the book of Dominico Manzoni, “Quaderno doppio col suo giornale novamente composto et dilegentissimamente ordinato secondo il costume di Venetia” (1540) has not had the recognition which probably would have deserved. The fame of the Paciolian “Summa”, which Manzoni constantly refers to in the theoretical part of his work, has obscured the role and importance of this book. However, there are many interesting profiles of analysis. Manzoni can be considered the first “accountant” or “quaderniere”. He used the double entry bookkeeping method serving the great merchants of the time. Then he decided to describe and to spread the accounting techniques according to the “Venice method”, for the benefit of all who were interested in.
But the central element of Manzoni’s work is, certainly, the exemplification that the Author presents. It has a sort of “educational” intention, based on Manzoni’s work experience at the company of the merchant Alvise Vallaresso in Venice. The aim was, firstly, to empirically apply what is described in the theoretical section, but also to make understandable some technical steps. These are related, for example, to the closure and the reopening of accounts, not supported by precise theoretical explanations. Through an analysis of Manzoni’s work, aim of this study is to understand how – and how deeply – the Author could have contributed to the advancement of accounting tecniques. These considerations are made also in light of the particular diffusion of the book in the years after its first edition of 1540, as evidenced by the numerous reprints and translations
Iconostasis of the Petersburg Saint Peter and Paul Cathedral in the light of Dominico Trezzini’s religious life
No full textАндреева Юлия Сергеевна, кандидат исторических наук, старший преподаватель кафедры искусствоведения и культурологии, Южно-Уральский государственный университет (г. Челябинск). Сфера научных интересов: история духовной культуры России, стиль барокко. E-mail: [email protected]
Yu. S. Andreeva, South Ural State University, Chelyabinsk, Russian Federation,
E-mail: [email protected]Впервые через призму религиозной жизни католика Доминико Трезини на предмет потенциального конфессионального влияния в статье исследуется иконостас петербургского Петропавловского собора. Установлено, что иконостас несет в себе барочную эстетику европейских католических стран, идущую вразрез с традициями русского православного зодчества. Иконостас вбирает в себя ряд идей, порожденных римской религиозной культурой, а именно содержит элементы католической сакраментологии (учения о Евхаристии), мариологии и
учения об апостоле Петре как невидимом главе христианского мира. Автор развивает гипотезу о привнесении зодчим Трезини католических идей в русское искусство в силу активной религиозной позиции прославленного мастера.For the first time this article examines the iconostasis of the Petersburg Saint Peter and Paul Cathedral through the Dominico Trezzini’s Catholic religious life and analyzes the iconostasis as to the potential confessional influence. The article found that the iconostasis carries the baroque aesthetics of European Catholic countries, which is contrary to many traditions of Russian Orthodox architecture. The iconostasis incorporates a number of ideas generated by the Roman Church religious
culture. Namely this iconostasis includes the elements of Catholic Sacramentology (the doctrine of the Eucharist), Mariology and the doctrine of the Apostle Peter as the invisible head of the Christian world. The author develops a hypothesis about the implantation by architect Trezzini some Catholic ideas into Russian art due to the active religious position of the famous craftsman
Painterly decorati on’s design of the Petersburg Saint Peter and Paul Cathedral in the context of Dominico Trezzini’s faith
No full textАндреева Юлия Сергеевна, кандидат исторических наук, старший преподаватель кафедры искусствоведения и культурологии, Южно-Уральский государственный университет (г. Челябинск). Сфера научных интересов: история духовной культуры России, стиль барокко. E-mail: [email protected]
Yu. S. Andreeva, South Ural State University, Chelyabinsk, Russian Federation,
[email protected]Статья посвящена анализу проекта живописного оформления Петропавловского собора в Петербурге в контексте религиозного мировоззрения и вероисповедного статуса его создателя Доминико Трезини. На основании подлинных реестров сюжетов картин, предназначавшихся для помещения в сводах и куполе собора, составленных Трезини в 1728 г., исследуется иконографическая программа храмовой живописи. В свете различий католической и православной эортологии было установлено, что программа цикла произведений на тему Страстей
Христовых под сводами собора изначально содержала в себе католическую интерпретацию событий Страстной седмицы. Выбор Трезини живописных сюжетов отвечал римской традиции изображать в костелах Крестный путь Спасителя (Via Crucis) и соответствовал последованию одноименного латинского богослужения, не повторяя, однако, классическую францисканскую схему «Четырнадцати стояний». Проект живописного убранства купола собора демонстрирует католическую акцентировку темы Победы Христа над смертью за счет полотна «Вознесение
Богоматери», задуманного не как Успение, а как телесное Вознесение Девы Марии. Автор заключает, что Трезини выступил одним из главных проводников духовно-нравственного и эстетического влияния Римского Запада на русское искусство XVIII в. The article is devoted to analysis of the design of painterly decoration in the Petersburg Saint Peter and Paul Cathedral in the context of Dominico Trezzini’s religious ideology and his confessional status. On the basis of original registers of the pictorial subjects, intended to be placed on the walls underneath the vaults and in the rotunda underneath the dome of the Cathedral, the author examines the iconographic program of the church painting. These registers were compiled by Trezzini in 1728. In the light of the differences of Catholic and Orthodox eortology this article found that the program of the Christ’s Passions underneath the vaults originally contained a Catholic interpretation of the
Holy Week. The choice of the painting’s subjects corresponded to the Roman tradition to represent the Way of the Cross in the churches and comported with the Roman Church Liturgy Via Crucis.At the same time Trezzini did not repeat the classic Franciscan scheme of Fourteen Stations of the Cross. The design of painterly decoration in the dome demonstrates the Catholic accent in the theme of the Christ’s Victory over death owing to the painting “The Assumption of the Virgin”, which was conceived not as a Dormition but as bodily Ascension of the Virgin Mary. The author concludes that Trezzini was one of the main conductors of Roman Catholic West’s spiritual and aesthetic influence
on the Russian art in the 18-th century
El Convento Dominico de Tecpatán: un sitio en el corazón zoque de la Sierra Norte de Chiapas
No full textTesis para optar por el grado de licenciatura en Arqueología</p
Pamphlets against the Dominican Francisco de Alvarado: Antonio López de Palma´s antischolastic satire, «P. Isla from Seville » (1789-1790)
Get PDFEste trabajo presenta un corpus de papeles críticos y satíricos inéditos referentes a la polémica de 1789 entre universitarios y escolásticos. Damos noticia biográfica y literaria de su autor, el
sevillano Antonio López de Palma que arremete en ellos contra el dominico Francisco de Alvarado, referente del movimiento antifilosófico.This paper presents a satiric and critical press corpus about the controversy of 1789 between university scholars and scholastics. This article reports on biographical and literary news of its author, the Sevillian Antonio López de Palma, who attack against the Dominican Francisco de Alvarado, leader of the antiphilosophical movement
Frei Manuel Mª Martínez O.P., O baionés defensor de Bartolomé de las Casas
No full textThe author brings us closer to the figure of Manuel Martínez González, borne in Baiona on the first days
of 1892. Dominican friar specialized in the work of Brother Bartolomé de Las Casas, whom he defended
orally and in writing. He practised his religious work in Central America and in numerous convents of the
Iberian Peninsula.Achéganos o autor á figura de Manuel Martínez González, baionés, nacido nos primeiros días de 1892.
Frade dominico, especializouse na obra de Frei Bartolomé de Las Casas, ao que defendeu de palabra
e na escrita. Exerceu o seu labor relixioso en Centro América e en numerosos conventos da Península
Ibérica
Reintroducing vacuum extraction in primary health care facilities: A case study from Tanzania
Get PDFBackground: In rural Tanzania access to emergency obstetric and newborn care is threatened by poor roads and understaffed facilities among other challenges. Districts in Kigoma, Pwani and Morogoro regions were targeted by a local non-governmental organization to assist local government to build capacity and improve access to clinical management of severe obstetric and newborn complications. The program upgraded ten primary health care centres to provide comprehensive emergency obstetric and newborn care. This paper describes the process of reintroducing vacuum extraction into ten health centres and five hospitals, highlighting patterns in uptake, mode of delivery and lessons learned. Methods: This observational study uses facility-based trend data collected between 2011 and 2016.Descriptive outcomes include institutional caesarean delivery rates, vacuum extraction rates, and the ratio of caesareans to vacuum-assisted deliveries. Results: Institutional caesarean delivery rates remained stable at about 10-11% and the vacuum extraction rate rose from virtually no procedures in 2011 to about 2% in 2016. The increase was more visible in upgraded health centres than in hospitals. In 2016 vacuum extraction rates in newly upgraded health centres ranged from 0.5 to 7.8%. Between 2011 and 2016, the ratio of caesareans to vacuum extractions in hospitals changed from 304 caesareans to 1 vacuum extraction to 10:1, while in health centres the ratio changed from 22: 1 to 3: 1. Conclusions: Reintroduction of vacuum extraction into clinical practice in primary health care facilities with task-shifting is feasible. Reintroduction of this procedure was more successful when part of an integrated upgrading of health centres to provide comprehensive emergency obstetric care than when reintroduced into busy hospital environments. Turnover of trained staff in hospitals contributed to the uneven uptake of vacuum extraction. Lessons learned are applicable to further national scale up and to other countries
Sobre la ruina y desaparición del pueblo y el Santuario de la Piedad de la Ciudad de México en 1942. Boletín de Monumentos Históricos. Num. 44 (2018) (Tercera Época) mayo-agosto
No full textEl templo del convento dominico de la Piedad sería más conocido como sede del santuario mariano de origen milagroso, por lo que formaría parte de los cuatro baluartes que protegían a la Ciudad de México. Sin embargo, la documentación muestra que el pueblo se caracterizaba por una acentuada pobreza, incluso los frailes se veían en la necesidad de pedir limsosna. A estas adversidades habría que sumar los efectos de las inundaciones del río, por lo que todos estos elementos contribuirían a su ruina. Al iniciar el siglo XX, el surgimiento de los nuevos asentamientos denominados “colonias”, transformaría el paisaje de las antiguas haciendas en urbanizaciones, y de manera especial la aplicación del Plano Regulador para fomentar el uso del automóvil. A este proceso se sumó tardíamente el pueblo de la Piedad, y en 1942 se expropiaría para fundar la colonia Piedad Narvarte, siendo demolido y sus bienes inmuebles por destino, trasladados a diferentes sitios.The temple of the Dominican convent of La Piedad was famous because of the Marian sanctuary of miraculous origin. Therefore, was part of the so-called “cuatro baluartes” that supposedly protected Mexico´s City. However, the historical documents show that the town suffered poverty; actually, the friars had to beg. We should add the effects of the flooding of the river, so all these elements contribute to his ruin. At the beginning of the 20th century, the emergence of urbanization projects called “colonias”, transformed the landscape of old haciendas. Also did the application of the “Regulatory Plan” to encourage the use of the automobile. To this urbanization process, the town of the Piedad was incorporated in 1942. When it was expropriated to create the Colonia Piedad Narvarte, the reason why it was demolished and its historic furniture were transferred to different places
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