Giovanni Paolo Research Articles

M362 RETROSPECTIVE STUDY OF 769 PATIENTS FOLLOWED AT THE NATIONAL CANCER INSTITUTE IRCCS “GIOVANNI PAOLO II", BARI (ITALY)

International Journal of Gynecology & ObstetricsVolume 119, Issue S3 p. S647-S647 Poster presentations M362 RETROSPECTIVE STUDY OF 769 PATIENTS FOLLOWED AT THE NATIONAL CANCER INSTITUTE IRCCS “GIOVANNI PAOLO II”, BARI (ITALY) R. Loiacono, R. LoiaconoSearch for more papers by this authorG. Falco, G. FalcoSearch for more papers by this authorA. Kardhashi, A. KardhashiSearch for more papers by this authorM. Deliso, M. DelisoSearch for more papers by this authorN. Del Gaudio, N. Del GaudioSearch for more papers by this authorA.F. Laera, A.F. LaeraSearch for more papers by this authorM. Caponio, M. CaponioSearch for more papers by this authorG. Simone, G. SimoneSearch for more papers by this authorG. Trojano, G. TrojanoSearch for more papers by this authorV. Trojano, V. TrojanoSearch for more papers by this author R. Loiacono, R. LoiaconoSearch for more papers by this authorG. Falco, G. FalcoSearch for more papers by this authorA. Kardhashi, A. KardhashiSearch for more papers by this authorM. Deliso, M. DelisoSearch for more papers by this authorN. Del Gaudio, N. Del GaudioSearch for more papers by this authorA.F. Laera, A.F. LaeraSearch for more papers by this authorM. Caponio, M. CaponioSearch for more papers by this authorG. Simone, G. SimoneSearch for more papers by this authorG. Trojano, G. TrojanoSearch for more papers by this authorV. Trojano, V. TrojanoSearch for more papers by this author First published: 22 October 2012 https://doi.org/10.1016/S0020-7292(12)61553-7AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume119, IssueS3Abstracts of XX FIGO World Congress of Gynecology and ObstetricsOctober 2012Pages S647-S647 RelatedInformation

Italian (and related) instrumental music of the 17th century

The recordings reviewed here present a whole panoply of repertory, styles, genres and instrumentations from the Italian seicento (as well as Italian-inspired traditions). From violin sonatas accompanied by one plucked instrument to ensembles with a veritable menagerie of continuo instruments—and from strict interpretations of notation to improvised inventions—we can hear that early Italian instrumental music provides endless inspiration for performers and audiences alike. Although many discs reviewed here come from the familiar world (for this reviewer) of string-playing, we will begin with recordings that feature some fine performances on wind instruments. In Il Giardino del mondo: Giovanni Paolo Cima and his contemporaries (Pan Classics pc 10226, rec 2010, 64′), the Basel Baroque Consort indulges the listener in a stimulating survey of works by Cima, Alessandro Grandi and Tarquinio Merula. With the sonorous voice of countertenor Doron Schleifer and the articulate recorders of Anna Fusek and Janine Jonker accompanied by a colourful ensemble made up of varying combinations of viola da gamba, lirone, archlute, organ and harpsichord, the beautiful recorded acoustic allows the performers to luxuriate in this sumptuous and at times quixotic repertory. Various instrumental and vocal works by Giovanni Paolo Cima, selected from his important collection Concerti ecclesiastici (1610), find an ideal complement in the pieces by Merula, instrumental and vocal (from his Canzoni overo Sonate concertate, op.12) and four vocal works by Grandi (from his volumes of motets). It is both distinctive and refreshing to hear early Italian vocal works accompanied by recorders rather than violins; these players really understand how to support and emulate the voice with their fine breath control. The ensemble work is really exemplary, with perfectly synchronized phrasing and tastefully executed ornamentation. This disc is highly recommended.

Biomarkers for the targeted therapies of non-small cell lung cancer

Biomarkers for the targeted therapies of non-small cell lung cancer Antonio Rossi1, Domenico Galetta21Division of Medical Oncology, S.G. Moscati Hospital, Avellino, Italy; 2Department of Medical Oncology, Giovanni Paolo II Oncology Institute, Bari, ItalyAbstract: Targeted therapy includes new biologic agents specifically designed to selectively target molecular pathways responsible for, or that substantially drive, the malignant phenotype of cancer cells. A lot of new biologic agents have been introduced in clinical development for the treatment of advanced non-small cell lung cancer (NSCLC), but unfortunately negative results were more frequent than successes. Two pathways have been deeply studied and have led to the development of corresponding biomarkers for defining the most appropriate therapeutic approach in advanced NSCLC patients. The epidermal growth factor receptor (EGFR) pathway is targeted by tyrosine kinase inhibitors, gefitinib and erlotinib, and monoclonal antibody, cetuximab. EGFR mutation status, EGFR gene copy number determined by fluorescent in situ hybridization, and EGFR protein expression determined by immunohistochemistry have been evaluated as potential markers for clinical decision making regarding anti-EGFR therapy. Among these, EGFR mutation status resulted in the most important predictive/prognostic factor for EGFR-tyrosine kinase inhibitor therapy. EGFR protein expression seems to be important for cetuximab plus chemotherapy treatment, but further data are needed to define its role in this setting. In the last few years, the anaplastic lymphoma kinase (ALK) gene fusion is becoming an important biomarker in defining the specific NSCLC subtype to target with the corresponding inhibitor, crizotinib. To date, considering the EGFR activating mutations and the ALK gene fusion, generally mutually exclusive, and the availability of the correspondent inhibitors, 20% to 50% of advanced NSCLC could now be treated in Western and Eastern countries, respectively, with a targeted therapy.Keywords: biomarkers, EGFR, ALK, NSCLC, TKI, crizotinib

Zones of Authentic Pleasure: Gentrification, Middle Class Taste and Place Making in Milan

Zones of Authentic Pleasure: Gentrification, Middle Class Taste and Place Making in Milan

Artists and Knowledge in Sixteenth Century Milan: the Case of Lomazzo’s Accademia de la Val di Blenio

Giovanni Paolo Lomazzo’s writings (most notably the Trattato dell’Arte) provide striking illustrations of the tendency of writers on art in sixteenth-century Italy to consider theoretical knowledge as essential for artists. As both practitioner and theorist, Lomazzo embodies the need felt by Italian painters to gain a literary education and to be part of the intellectual life of the period. Focusing on Lomazzo’s activity as an academician, the article analyses the case of the Accademia de la Val di Blenio, where artists and artisans were well-received and held central roles. The main source on this academy is the peculiar book Rabisch (Arabesques), a collection of poems written by various members and published in 1589. The institution was characterised by the originality of its language as well as its structure and by the heterogeneity of its members. It offered to Milanese artists and artisans an environment where they could share opinions and write poems on different subjects.

Vindictive virgins: animate images and theories of art in some thirteenth-century miracle stories

Vindictive virgins: animate images and theories of art in some thirteenth-century miracle stories

Bolognese Instrumental Music 1660–1710: Spiritual Comfort, Courtly Delight and Commercial Triumph (review)

Reviewed by: Bolognese Instrumental Music 1660–1710: Spiritual Comfort, Courtly Delight and Commercial Triumph Carrie Churnside Bolognese Instrumental Music 1660–1710: Spiritual Comfort, Courtly Delight and Commercial Triumph. By Gregory Barnett. Burlington, VT: Ashgate, 2008. [xv, 394 p. ISBN 9780754658719. $114.95.] Illustrations, music examples, appendices, bibliography, index. The past decade has seen the appearance of various studies of genres or institutions in Bologna during the mid-baroque: a lengthy pause followed Anne Schnoebelen’s 1966 dissertation (“The Concerted Mass at San Petronio in Bologna ca. 1660–1730: A Documentary and Analytical Study” [Ph.D. diss., University of Illinois, 1966]), but a flurry of monographs from the late 1990s onwards have focused on music at the Arciconfraternita della Morte (Juliane Riepe, Die Arciconfraternita di S. Maria della Morte in Bologna: Beiträge zur Geschichte des italienischen Oratoriums im 17. und 18. Jahrhundert [Paderborn: F. Schöningh, 1998]), the oratorio in the city (Victor Crowther, The Oratorio in Bologna (1650–1730) [New York: Oxford University Press, 1999]), Giovanni Paolo Colonna and the cappella of San Petronio (Marc Vanscheeuwijck, The Capella musicale of San Petronio in Bologna under Giovanni Paolo Colonna (1674–95): History, Organization, Repertoire [Turnhout: Brepols, 2003]), and printed volumes of sacred cantatas (Carrie Churnside, “A Study of Sacred Cantatas Printed in Bologna (1659–1717)” [Ph.D. diss., University of Birmingham, 2008]). All of these studies have benefitted from the wealth of musical and archival sources that the city boasts. It is now the turn of the city’s rich instrumental tradition to come under scrutiny, and in his book Bolognese Instrumental Music 1660–1710: Spiritual Com fort, Courtly Delight and Commercial Triumph, Gregory Barnett proves himself more than equal to the task. Bologna’s pivotal role in the development of instrumental music during this period has long been acknowledged in the standard histories of the sonata and the concerto. Given the importance of the city’s musicians to the development of genres that have gone on to dominate Western art music ever since, it seems strange that we have had to wait so long for a book-length monograph placing these crucial developments in context. However, it has been well worth the wait. In the capable hands of Gregory Barnett we are guided not only through the works themselves but through various different ways of viewing the music in the context of late seicento society, largely based on, but not exclusively restricted to, the Bolognese environment. This book is divided into seven chapters, each a relatively self-contained look at one aspect of the repertory approached from a particular angle, ranging from baroque dances to organ music. Due to its wide scope, little time is spent in describing Bologna’s historical or political situation; such information is readily available from other sources. Instead Barnett draws on travel writing, libretti, and the abundance of pictorial depictions contained in the civic records of the Insignia degli Anziani to concisely make his case that Bologna (like virtually every other Italian city of the time) was home to numerous social events celebrated with great spectacle, corresponding to the “courtly delight” of the title. The focus swiftly moves to the key matter at hand: Barnett uses the introduction as an occasion to summarize the current state of knowledge during this crucial evolutionary period before he launches his own somewhat radical interpretations. Attention is also paid to the Bolognese printing industry (the “commercial success” of the title), which undoubtedly played a crucial role in the fostering and promotion of Bolognese music. After the tight focus of the introduction, the first chapter, a survey of the sorts of careers composers and musicians faced, may seem somewhat of a diversion, albeit one full of interest. By chapter 2, however, Barnett is in full flow in his examination of the sonata da camera. Acknowledging that work has already been done on the evolution of sonata forms, Barnett makes the decision to focus instead upon the contexts from which the dances originated. He comes tantalizingly close to being able to relate particular published dances to the original events for which they may have been composed, using surviving libretti and accounts of social entertainments. A large part of the repertory...

André Thevet's ‘true’ portrait of Moctezuma and its European legacy

André Thevet's ‘true’ portrait of Moctezuma and its European legacy

La bibliothèque de Saint-Victor et les Lumières

The accounts of many 17th- and 18th-century writers (Giovanni Paolo Marana, Robert Challe, Montesquieu) and of foreign travellers (the Englishman Martin Lister, the Italian Alfonso Bonfioli Malvezzi) indicate that Saint-Victor was among the most famous and most frequented Parisian libraries. Modern scholars had already located five “clandestine philosophical manuscripts” belonging to Saint-Victor. This was the name given to unpublished, anti-Christian texts —sometimes deist, sometimes atheistic and materialistic, always violently subversive— from which the philosophers of the Enlightenment drew inspiration. This article discloses the existence of five additional manuscripts of the same kind in the catalogues of Saint-Victor maintained at the Bibliothèque Mazarine. Their titles demonstrate that the canons of Saint-Victor were capable of making relevant selections among the manifestos of the most daring contemporary thought and were thus far from retreating to past knowledge.

Corneal surface reconstruction - a short review

Corneal surface reconstruction - a short review

The Architectural Piece in 1700: The Paintings of Alberto Carlieri (1672 - c. 1720), Pupil of Andrea Pozzo

This article presents a catalogue of 144 paintings by Alberto Carlieri (1672 - c.1720), a painter of architectural caprices whose paintings have frequently been misidentified as early works by Giovanni Paolo Panini (1691-1765) . Carlieri emerged from the workshop of Andrea Pozzo in the 1590s, and was apparently active in Rome until about 1720. Carlieri's sources in Pozzo are explored, and the architectural forms and compositions that form the primary subject of his pictures are subjected to a systematic 'transformational analysis' (to borrow a term from Hubert Damisch).

Tessin, Roman Decorative Arts and the Designer Giovanni Paolo Schor

No available.

The Renaissance in the Fields: Family Memoirs of a Fifteenth-Century Tuscan Peasant (review)

Reviews 125 Some readers might wish, in a work devoted to the construct of autobiography, for more discussion of the notion of feminine and masculine discourse. Abbott's Julian, however, works in a theological and psychological framework that is gender-neutral where 'the conscious realization of the soul is experienced indivisibly as a conscious realization of the indwelling Christ' (p. 160). In such a world personhood cannot be viewed only materialistically as validation of the human body by identity with the physical suffering of Christ. Abbott also eschews the simplistic division of male/raft'o and female!affectus as alternative approaches to understanding. Rather, for Julian the intellectus is the source of meaning, a faculty which requires both affectus and ratio (p. 83). The solid and scholarly book will be useful to those who study religious literature generally; the discussion of identity is a valuable case study for those interested in cultural and social aspects of the Middle Ages; and the subtle exploration ofthe continuity of a realist incarnational theology must be addressed by those who believe the late medieval church suffered disruption in a nominalistdominated world. There are some minor typographical errors, but this is a refreshing book which, as all good criticism should, urges a return to the sources. Rosemary Dunn School of Humanities James Cook University Balestracci, Duccio, The Renaissance in the Fields: Family Memoirs of a Fifteenth-Century Tuscan Peasant, trans. Paolo Squatrini and Betsy Meredith, University Park, The Pennsylvania State University Press, 1999; paper; pp. xxvi, 146, 5 b/w illustrations, 1 map; R R P US$14.95; ISBN 0271018798. Many historians dream of finding unknown sources that illuminate a poorly documented aspect ofthe past. Imagine then the excitement ofDuccio Balestracci when in the early 1980s he discovered at archives in Siena two volumes of memoirs kept by a family offifteenth-centurypeasants, yes, peasants! The resulting book, La Zappa e la Retorica: Memorie Familiari di un Contadino Toscano del Quattrocentro, appeared in 1984. The book under review is an abridged and revised version of the original, with 'the hoe and the rhetoric' of the original title replaced by the more commercially promising The Renaissance in the Fields. Rather than family memoirs, these are account books with entries 126 Reviews dating from 1439 to 1502, kept primarily by one member ofthe family, Benedetto del Massarizia. The Massarizia family lived and farmed in the three villages of Marciano, Montalbuccio, and Carciano located in the 'Masse,' the area within four tofivemiles of the walls of Siena. Neither Benedetto nor any other members of the family could write, although Benedetto could probably read the entries, which were written by those with w h o m he had business. As a result, the books contain none of the intimate details that occur in the inquisition registers of Jacques Fournier, which Emmanuel Le Roy Ladurie used to reconstruct peasant life at Montaillou, nor do they contain any of the information on family affairs that occur in the memoirs of Gregorio Dati and Buonaccorso Pitti. Balestracci edits one of the account books in the appendix, fourteen pages in length including Balestracci's lengthy introduction. Typical of the entries is one dated 1475: 'And I, Iachomo Pini, have received 4 lire from Benedetto de Masaritia for lady Giovanna degli Schotti, as he promised our Giovanni Pini. These are for a hayfield sold at Bascani.' A bit more revealing is the following, dated 1479: 'Giovanni Lapini and Paolo, his son and m y son-inlaw , who currently live on the edge of Uvile in their own house, are owed sixtytwo lire on November xxvi, which are for a hooded gown of French-style cloth, like new, one bed, one bedstead like new, assessed by Guido di Simone, jacketmaker , and Fruosino di Finuccio, as recorded by the contract drawn up by Bernardino Placiti, which is, by common agreement, a portion of the dowry of m y daughter Bernardina, as I promised.' Rather than using the account books to illuminate the lives of fifteenthcentury Italian peasants, Balestracci uses recent work on the social history of late medieval Italy to illuminate the account books. The best example of this is the short, seven-page chapter entitled...

Spying, Writing, Authority: Eliza Haywood's Bath Intrigues

Spying, Writing, Authority: Eliza Haywood's Bath Intrigues JULIETTE MERRITT In 1755, the year before her death, Eliza Haywood published The Invisible Spy. It was her final piece of spectatorial fiction, a form that had become popular in England following the translation in 1687-94 of Giovanni Paolo Marana's L'Espion turc (1684),' a text to which Haywood herself had turned from time to time throughout her long career. Haywood's own texts frequently feature an invisible or unnoticed observer. The narrator of Haywood's Memoirs of a Certain Island Adjacent to the Kingdom of Utopia (1725) is taken up by Cupid into a cloud where he can observe but cannot be seen, for example, because "Fate . .. had made choice of him to be the Discoverer of Secrets, to which the greater part of the world were wholly Strangers."2 In her Memoirs of a Certain Island, a scandal chronicle, Haywood followed most directly Delariviere Manley's New Atalantis ( 1709) where Astrea (goddess of Justice), Virtue, and Intelligence visit the earth and "pass unknown and unregarded among the crowd of mortals."3 Where the observing eye of Memoirs of a Certain Island gathers material for a scandalous discourse, Haywood's more polite and respectable periodical The Female Spectator (1744-46), has instead a reformist agenda. The Female Spectator, who alerts us to a network of spies which brings her back intelligence, intends to make her readership "acquainted with other People's Affairs" so that they may learn "to regulate their own."4 Whether scandalous or reformist (the distinctions are not always clear), the spectatorial text 183 184 / MERRITT creates its discourse out of the connection between seeing and writing. In Haywood's Bath Intrigues (1725), a relationship among the concepts of spying, authorship, and satire is assumed. In four letters to his friend Will, J.B., at his friend's request, relates a series of sexual escapades he has witnessed while visiting Bath. He is puzzled, however, as to why Will has selected him for an "Intelligence" who has "neither Wit enough to set up for an Author, nor Ill-nature for a Satyrist."5 This essay will examine Haywood's use of this relationship, a use in which J.B.'s doubt regarding his suitability becomes the first gesture towards an interrogation of the observer's discursive authority. In one of her dedications, Haywood claims for herself a "tolerable Share of Discernment."6 The apparent modesty of this profession is somewhat misleading. As one of the leading tropes of rationality in the seventeenth and eighteenth centuries, "discernment" was an essential component of judgement and reason. For Haywood to value herself on possessing such an attribute (even a "tolerable Share" of it) is an assertion of her intellectual abilities. "Discernment" is also a visual trope of perception and observation ; to invoke it underlines the importance of visual authority in her writing, and also signals Haywood's desire to colonize the privileged position of the spectator, a position conventionally regarded as male territory. In The Female Spectator Haywood consciously followed Addison and Steele's Spectator in constructing a discursive position based on the discerning spectator.7 Underlying this rhetorical strategy is an unquestioned confidence in the legitimate and unquestioned authority of vision. However , in Bath Intrigues, where the voyeuristic aspects of spectatorship are foregrounded and the ethical uncertainty of the spy's role is emphasized, Haywood interrogates this assumption. She adopts the figure of the observer /writer as her strategy for acquiring the authorial position. But given the notorious reputation of the spy, whose impulses are so often prurient and voyeuristic, there are certain risks in adopting such a persona as the basis for a public voice. As Virginia Swain emphasizes, the philosophical and social repercussions to the seventeenth-century developments in optics included the fact that "the role of the spectator [became] highly ambiguous ." Over the course of the seventeenth and eighteenth centuries, "viewing and voyeurism tend to merge": the rethinking of God's design which accompanied the new discoveries, and the new uncertainties surrounding the place of humankind in the natural order which followed from this rethinking, also made sight an instrument of self-doubt. Was the gaze...

The Reception of Canon Law and Civil Law in the Common Law Courts before 1600

English common law practitioners and judges borrowed much of the conceptual structure for their body of legal knowledge from the legal culture of continental Europe over the centuries. Their surviving writings show a marked increase in the use of Roman legal classifications in the century before 1600: public and private, criminal and civil, real and personal, property and possession, contract and delict, among other examples.1 Those who perpetuated the learning of the English royal courts in the sixteenth century had begun fitting it into a framework borrowed from the two great bodies of 'learned law' taught in the universities of Europe: civil (Roman) law and canon law. Common lawyers expressed the need for an 'institutes' of English law, a written introductory work that would survey the whole of the common law in its main classifications, comparable to Justinian's Institutes of Roman law (533 AD) and Giovanni Paolo Lancelotti's Institutes of canon law (1563). In the decades after 1600, such institutes of common law began to appear.2 This paper investigates the common lawyers' attitudes towards canon law and civil law' in the period from 1300 to 1600. How much canon law and civil law did

The diffusion of ostracode fauna in Lake Ragogna (Friuli, Italy)

BIOGEOGFIAPHIA - vol. XIII - 1987 Biogeografia delle Alpi Sud-Orientali The diffusion of ostracode fauna in Lake Ragogna (Friuli, Italy) (1) ESTER COLIZZA*, GIOVANNI PAOLO FANZUTTF‘, NEVIO PUGLIESE“? (*)Istz'tut0 (ii Geologic: e Pzzleoiztologzkz - Um’11eI'sz'tci di Trieste (q“q‘)Isz‘z'tut0 di Geologzkz, Paleontologia e Geogmfzkz — Um'versz'tc2 dz’ Pcmmz SUMMARY The study of 62 sediment samples collected in different seasons from 1981 to 1986 in lake Ragogna, has permitted the recognition of relationships between the biotopes and ostracode species belonging to the biocoenoses. In particular, the species idenfitied are 14, pertaining to 10 genera. The comparison between the Ostracoda found and those of other Italian and foreign lake environments has brought to light the existence of some species common to the central-northern European basin. The finding of Metacypris cordzzta for the first time in Italy results as being its most southern European location. Future research will be turned to the verification as to whether this species in Italy is exclusive to lake Ragogna or if it is present in other fresh-water environments within Friuli-Venezia Giulia, in order to determine if also among Ostracoda there exist microthermal species explainable as Ice Age relicts, as already proved in other vegetal and animal taxonomic groups. INTRODUCTION Papers concerned with fresh-water Ostracoda of the Friuli-Venezia Giulia region are still very rare. An exception are a few studies undertaken by Fox (1962) and Stoch (1983) which respectively describe the Ostracoda of the mouth of the river Timavo and those of the ponds and lilly pools of the Triestine Karst. The study of the Ostracoda of lake Ragogna is the first such contribution to knowledge about the systematic and environmental value of Ostracoda in the lake environments of Friuli-Venezia Giulia. This also per— mits a comparison with the Ostracoda of other fresh-water environments in Italy and abroad, in order to obtain an indication of their geographical diffu- sion. MATERIALS AND METHODS SiXty~two samples were taken by unsing different methodologies (grab, skin—diver, plankton net) over the four seasons in the biotopes recognized in the lake (Fig. 1). (1) Research supported by M.P.I. (60%) programmes «Dinarnica ed evoluzione degli ambienti umidi italiani» (Director: Prof. A. Brambati) and «Evoluzione delle microfaune marine dal Miocene all’Attualegg (Director: Prof. N. Pugliese). 529

Music

Journal Article Music Get access Messa a nove voci GIOVANNI PAOLO COLONNA Edited by Anne Schnoebelen A-R Editions, 1974 (Recent Researches in the Music of the Baroque Era, 17), $12.95 ELIZABETH ROCHE ELIZABETH ROCHE Search for other works by this author on: Oxford Academic Google Scholar Early Music, Volume 7, Issue 3, July 1979, Page 425, https://doi.org/10.1093/earlyj/7.3.425 Published: 01 July 1979

SOME UNPUBLISHED LETTERS OF CARLO LASINIO

Carlo Lasinio (plate Ia) is a name that is linked with the Camposanto in Pisa. Appointed Keeper in 1807, he retained that position until his death in 1838, concentrating his energies during this long period upon the restoration of the building and its contents. Notable among these were, of course, the frescoes and the antiquities of which both Carlo Lasinio and his son, Giovanni Paolo, made famous sets of etchings. By this means, as well as by his habitual concern for the upkeep of the building, Carlo Lasinio won for himself and for the Camposanto a considerable reputation, which was widely acknowledged in nineteenth-century travel literature and private journals, particularly those of English authorship. One such journal, that of an English eccentric, the Rev. Robert Finch (1783–1830), turns out to be an invaluable source for anyone interested in Pisa at this time.

The Late Style of Ambrogio Figino

Giovanni Ambrogio Figino (1548?–1608) was among the most highly admired of the painters active in Milan around the year 1600. His credentials were impeccable: he was a member of a prominent Milanese family; he was affluent, gracious, and reasonably handsome; he was Giovanni Paolo Lomazzo's most prized pupil and an experienced artist. Poems of praise were written about him; books were dedicated to him or included him among their characters; famous and talented men were his friends. He worked for cardinals, princes, and an emperor; and his pictures decorated many of the city's most prominent churches. Figino was the new Apelles whose studio was visited as one of the marvels of Milan, a city in which he was considered the peer of any painter, ancient or modern.