998 resultados para Italian Art
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OBJECTIVES: This study's aim was to describe the emotional status of parents to be before and after the first-trimester combined prenatal screening test. METHODS: One hundred three couples participated, of which 52 had undergone an in vitro fertilization/intracytoplasmic sperm injection treatment [assisted reproductive technology (ART)] and 51 had conceived spontaneously. Participants completed the state scale of the State-trait Anxiety Inventory, the Edinburgh Depression Scale, and the Maternal and Paternal Antenatal Attachment Questionnaire before the first-trimester combined prenatal screening test at around 12 weeks of gestational age (T1) and just after receiving the results at approximately 14 weeks of gestational age (T2). RESULTS: We observed a significant decrease in anxiety and depression symptoms and a significant increase in attachment from T1 to T2. Results showed no differences between groups at either time point, which suggests that ART parents are more similar to than different from parents conceiving spontaneously. Furthermore, given the importance of anxiety during pregnancy, a subsample of women with clinical anxiety was identified. They had significantly higher rates of clinical depression and lower attachment. CONCLUSIONS: These results indicate that, regardless of whether conception was through ART or spontaneous, clinical anxiety in women over the prenatal testing period is associated with more vulnerability during pregnancy (i.e. clinical depression and less attachment to fetus). © 2015 John Wiley & Sons, Ltd.
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This article presents a panoramic view of the development of the so-called serliana or Serlian motif throughout the Italian Renaissance, focusing on the most relevant examples in the architecture of that period. The use of this motif during the Early Renaissance was pioneered by Filippo Brunelleschi in religious buildings. As its employment become widespread in a range of different settings, architects frequently incorporated local building traditions. It was only during the last twenty years of the Quattrocento that Giuliano da Sangallo and Leonardo da Vinci adopted the Serlian arch in residential architecture designed for the ruling elites. Thanks to Bramante and other artists such as Raphael, Baldassare Peruzzi, Antonio da Sangallo the Younger and Giulio Romano, the motif was extraordinarily popular during the High Renaissance period. Ever-increasingly complex and monumental compositions eased the adaptation of the serliana to both exterior and interior spaces, and in works such as the design by Galeazzo Alessi in Genoa, the imperial connotation of the motif is clear. This process illustrates the progressive transfer from the religious to the courtly sphere, and, at the same time, the permeability between the sacred and the profane. During the sixteenth century, Spain too was at the European avant-garde, due to its contacts with Italy and the latest fashions, such as the employment of the serliana in residential architecture, were followed in the fortified palace at La Calahorra, the Vich palace in Valencia, or the palace of Charles V in Granada, as part of a complex iconography of power. Throughout the sixteenth century, the serliana featured in that specifically-Spanish typology, the monumental altarpiece or retablo, as well as in monumental tombs. Italy was certainly the leading force in the process and had an indisputable influence on Spanish art, but the latter would develop its own original solutions in the sixteenth century, which matched the innovative character of Italian creations.
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1858 (T5)-1859.
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1851 (T1)-1852.
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1857 (T5)-1858.
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1855 (T4)-1856.
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1897 (TABLE = 1851).
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1851 (T1)-1853.
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1859 (T6)-1860.
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1857 (T4)-1858.
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1861 (SER2,T1).
