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Copyright of Italian Journal of Medicine is the property of PAGEPress 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.)

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Copyright of Journal of Wound Management is the property of Cambridge Publishing 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.)

Claudio Ridolfi as painter is particularly interesting for art historians because he trained in Paolo Veronese's workshop in Venice, where he also later worked with Jacopo Palma, and subsequently in Urbino with Federico Barocci. This essay re-attributes to Ridolfi several works formerly given to Veronese and Palma. Like Veronese, Ridolfi was the illegitimate son of an aristocrat, and he imitated the great Paolo not only in style, but also in the lavish character of his artistic representations, especially with regard to costume and textiles. [ABSTRACT FROM AUTHOR]

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Copyright of SCENARIO: Official Italian Journal of ANIARTI is the property of ANIARTI 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 Giornale Italiano di Medicina del Lavoro ed Ergonomia is the property of Giornale Italiano di Medicina del Lavoro ed Ergonomia Editorial Board 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 SCENARIO: Official Italian Journal of ANIARTI is the property of ANIARTI 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.)

Roger Rearick, one of the few scholars who understood the artistic prominence of the Cinquecento Veronese, apart from Paolo Caliari, would have undoubtedly been interested in the painting we are publishing here. The painting, a Santa Maria Maddalena, which comes from a still unknown villa in the Verona area, brings to mind the prototype of the long-haired Maddalenas by Gianfrancesco Caroto, master of Domenico Brusasorci. In addition, the nearly square-shaped canvas (114 × 107 cm), seems to perfectly suit the sense of carnality emphasized in the figure. The work can be dated to the artist's juvenile years, definitely before 1554 when his distinguished benefactor, Gerolamo Fracastoro, died. It is probable that the painting could be identical with the one mentioned by Bsrtolomeo dal Pozzo in 1718, "una mezza figura di Maria Maddelena. Di Domenico Brusasorzi bells al pari di Raffaello", and seen in Verona in the collection of Count Alvise Fracastoro, "in casa del Conte Alvise Fracastoro a' SS.Apostoli". At the beginning of that century the collection was described ass small 16th century interesting selection of works by Domenico and Felice Brusasorci and of Sante Creara, pupil of the latter. There is a charming possibility that the patron could reasonably have been that Gerolamo Fracastoro (1478-1554), eminent humanist and physician, depicted in the frescoes of Patazzo Fiorio della Seta in Verona by Domenico between 1553 and 1554. After 1568 Gerolsmo was also portrayed in the altarpiece for the Loggia del Consiglio in Verona painted by Orlando Flacco together with Bernardino India. Moreover he also received the honour of a statue by Danese Cattaneo, ordered in 1555 and placed on the arch of the Logge in Piazza dei Signori four years later in 1559. Gerolamo was the author of the dialogues: Della poetica, D'intellezione, Dell'anima ("On Poetics", "On the Intellect", On the Soul"), but above all he was famous for his short poem Della Sifilide, over morbo Gallico ("On Syphilis or French pox"), Alvise, the owner of the Palace at Santi Apostoli at the time of Bartolomeo's description, descended from a collateral branch of the Fracastoro family different from the one Gerolamo belonged to. At Santa Maria ad Nives del Pavarano in Campiglia dei Berici, a Maddalena, probably by Domenico's son, Felice, but still echoing the father's style, is portrayed in the version of the penitent, aged and ugly though gracefully dressed woman, with the skull, the crucifix and the vase of ointments. The painting is on an altar of the Caliari di Cologna Veneta, now covered, where it stands as a warning to believers. The monumental tension present in these works does not persist in the art of Domenico Brusasorci. We can still trace it in a preparatory drawing for an altarpiece, ignored among the painter's recently discovered works. It describes the Madonna di Loreto with two monumental figures, Giovanni Battista and a martyr, standing prominently in the foreground. The only possible chance of identification seems to be with that of the Vergine di Loreto, a painting that Saverio Dalla Rosa remembers in San Clemente in Verona, notwithstanding the fact that sources never mention the presence of saints in this canvas. The work is now placed on a side altar of the church, opposite a work by Felice. The small altarpiece made for Sant'Egidio at Tregnago, Sante Agata, Caterina e Lucia, now enclosed in a 17th century mixtilinear stucco frame, shows elegant references to the Santa Cecilia by Raffaello in Bologna, which are rare in Veneto. Nevertheless it bears witness of a provincial patronage with social and devotional claims but totally lacking in any cultural pretension. [ABSTRACT FROM AUTHOR]