Journal articles on the topic 'Confraternita di Maria SS'

Pełny tytuł: [Recenzja]: Cronotassi degli Arcipreti della Basilica Papale Santa Maria Maggiore, a cura di Mons. Michał Jagosz, contributi di Andreas Rehberg, Giovanni Sicari (biografie e ritrattistica), Vincenzo Parrino (elaborazioni araldiche) (Studia Liberiana • Studie documenti sulla storia della Basilica Papale e del Capitolo di Santa Maria Maggiore • Edizioni Capitolo Liberiano, vol. XI), Roma 2017, ss. 184 [liczne ilustracje]

Questo contributo mette in luce la molteplice funzione politica di uno schema agiografico centrale nella rappresentazione della giovinezza di Bernardino da Siena: il suo servizio durante la peste del 1400 presso l’Ospedale di Santa Maria della Scala di Siena. La memoria di questo episodio si prestava ad essere utilizzata tanto dall’Osservanza minoritica quanto in diversi contesti locali. In questo racconto Bernardino è presentato come capace di rispondere ai bisogni della città non solo attraverso le proprie virtù, ma radunando altre persone e convincendole a impegnarsi per il bene comune, anche a rischio della propria vita. L’episodio, così come è raccontato dagli agiografi, incorpora la prima predica fatta dal giovane Bernardino (ancora laico) ai membri della confraternita dell’Ospedale. Il testo indica programmaticamente la necessità per i laici di anteporre il <em>bonum commune </em>al <em>bonum proprium</em> e delinea un ruolo di leadership dei frati dell’Osservanza nel cuore delle città. Inoltre, se a Siena la memoria della peste del 1400 serviva a sottolineare il rapporto tra il santo e le istituzioni della città, la raffigurazione di tale episodio in alcuni affreschi dipinti a Lodi nel 1476 non soltanto veicolava un modello di spiritualità laicale ma serviva a promuovere e legittimare la riforma ospedaliera in corso a Lodi.

Karyawan Rumah Sakit Umum Gunung Maria Tomohon (RSUGMT) melakukan pengambilan barang di ruangan Logistik menggunakan alat bantu troli dan keranjang barang. Troli tersebut tidak dapat difungsikan di tangga, sehingga untuk memindahkan barang seperti Galon Aqua untuk melewati tangga tanpa menggunakan alat bantu, cara kerja tersebut merupakan carakerja yang salah, begitu juga dengan menggunakan keranjang barang yang sudah terlalu berat, Sehingga mengakibatkan terjadinya rasa sakit pada bagian tubuh. Laporan Kerja Praktek inihanya sampai pada Usulan Desain Alat Bantu Troli Barang. Dengan menggunakan dua kuisioner, kuisioner Tingkat Keluhan untuk mengetahui Tingkat keluhan dari para karyawan dan Kuisioner Nordic Body Map (NBM) untuk mengetahui bagian tubuh yang merasa sakit (30 Karyawan/Keponden). 96.67% karyawan pernah merasa sakit saat melakukan pengambilan barang, 83.33% karyawan perempuan meminta bantuan kepada karyawan laki-laki untuk memindahkan barang dari ruangan Logistik, 70% karyawan memindahkan barang melewati tangga. Hasil kuisioner Nordic Body Map (NBM), 75.83% sakit pada bahu kanan dengan skalajawaban Sangat Sakit (SS), 77.50% sakit pada lengan atas kanan termasuk skala Sangat Sakit (SS), 78.33% sakit pada pergelangan tangan dengan skala Sangat Sakit (SS). Antropometri digunakanuntuk mengetahui dimensi tubuh karyawan RSUGMT yang melakukan pengambilan barang (30 Karyawan/Keponden), pengukuran dimensi Galon Aqua dan pengukuran dimensi keranjang barang serta dimensi tangga digunakan sebagai acuan untuk rancangan Alat Bantu Troli Barang. Dari hasil pengukuran yang telah diolah datanya (Persentil dan Allowence) didapat dimensirancangan atau Desain Alat Bantu Troli Barang, Tinggi Troli/Tinggi Pegangan Troli 110.1Cm, Lebar Troli 44.8Cm, Tinggi Roda Troli 42.5Cm.

Nel 1572 la Vergine appare nelle acque di una fonte a Caltagirone; l'edificazione di un santuario, l'azione dei Gesuiti, la venerazione popolare ne hanno mantenuto intatto il culto per secoli e le brocche - quartare nel dialetto locale - un tempo usate per attingere acqua, sono diventate il simbolo della devozione a Maria. Obiettivo del contributo è mostrare come questi oggetti devozionali - in terracotta e maiolica policroma - possano essere valorizzati realizzando un itinerario turistico-culturale nel quale l'intimità spirituale della comunità e la valenza dei maestri ceramisti s'incontrano per raccontare memorie, religiosità e bellezza.

The chapel dedicated to Beata Lucia in the cathedral of Narni has been attributed to Nicola Michetti on the basis of both style and the fact that he had worked elsewhere for the patron, Cardinal Giuseppe Sacripante. The configuration of the altar surround, however, is not typical of Michetti's work. That structure, in fact, is by Carlo Rainaldi and originally stood in the chapel of S. Antonio di Padova in SS. Apostoli in Rome. Sacripante purchased the altar surround in October 1711 and had it set up in Narni sometime between 1712 and 1714. Michetti's contribution to the design of the chapel, therefore, is limited to the revetment of the walls, the windows, and the transverse oval dome. Rainaldi's altar surround is an important find. Conceived in 1652 and constructed between 1654 and c. 1656, it is the immediate forerunner of his urbanistic masterpieces of the early 1660s, S. Maria di Montesanto and S. Maria dei Miracoli, on piazza del Popolo.

Background:Hip Osteoarthritis (OA) is a widespread disease characterized by pain and functional impairment, which, particularly in the elderly, may compromise overall health and quality of life. In the last decades, Intra-articular (I.a.) injections of hyaluronic acid (HA) gained more space among the conservative treatment of OA because of their beneficial effects and positive outcomes without relevant complications. (1,2). An innovative and patented formulation containing hybrid cooperative complexes of sodium hyaluronate 2.4% + sodium chondroitin non-sulfated 1.6% of biotechnological origin (HA-SC) has been recently developed for the I.a. treatment of hip OA and evaluated in a pilot study (3).Objectives:1) Primary aim: Evaluation of the safety of HA-SC in the treatment of symptomatic hip OA; 2) Secondary aim: Evaluation of the efficacy of HA-SC in terms of pain reduction (VAS) and function improvement (Lequesne) of the affected hip joint.Methods:This is a pilot, multicentric, open, prospective study. The following inclusion criteria were established: Patients (both genders) aged ≥ 40 years suffering for primary hip OA confirmed by X-Ray; Grade I-II-III according to K&L grading scale; Basal VAS pain at the target hip > 40 mm; Failure of at least two lines of conservative treatments. All patients underwent a single I.a. hip injection of a 3mL vial of HA-SC and followed-up for six months.Results:48 patients have been enrolled and completed the study. The treatment was generally well-tolerated, with only ten patients out of 48 (20.8%) reporting local effects mainly consisting of injection site pain and arthralgia localized in the treated area. All these patients completed the study. The treatment with HA-SC was associated with a statistically significant decrease of VAS scale from a basal value of 67.5 (mean) to 22.8 (mean, p<0.0001) at the end of the observation period at six months, with a statistically significant decrease at seven days of follow-up evaluation (29.3, mean, p<0.0001). The mean Lequesne’s Index total score after the single injection of HA-SC decreased from a baseline value of 10.4 (mean) to 5.1 (mean, p<0.0001) at six months. The decrease was marked and significant also at any of the other evaluated time point (p<0.0001).Conclusion:A single I.a. injection of the innovative formulation containing hybrid cooperative complexes of sodium hyaluronate + sodium chondroitin non-sulfated (HA-SC) showed to be well tolerated and safe in the treatment of symptomatic hip OA. A rapid and significant decrease in hip pain (VAS) and Lequesne’s Index was also observed starting immediately after the I.a. injection and lasting until the end of the follow-up period. However, conservative treatment of hip OA is still challenging. This new formulation could represent a promising, long-lasting, and effective I.a. treatment.References:[1]Papalia R. et al. J. Biol. Regul. Homeost. Agents 2017; 31 (4 Suppl. 2): 103-109.[2]Abate M. et al. Int. J. Immunopathol.Pharmacol. 2017; 30 (1): 89-93.[3]IBSA Data on file.Acknowledgments:The author thanks all the investigators of the study: Costantino Cosimo, UO Medicina Riabilitativa, Azienda Ospedaliero-Universitaria di Parma, Italy; Fortina Mattia, Unità di Ortopedia Universitaria, AOU Senese Policlinico Santa Maria alle Scotte, Italy; Sadile Francesco, II Ortopedia - Ortopedia Infantile, Università degli studi di Napoli Federico II, Italy; Salini Vincenzo, Clinica Ortopedica e Traumatologica, Ospedale SS Annunziata di Chieti, Italy; Voglino Nicola, UO Ortopedia e Traumatologia, Ospedale Alto Tevere Città di Castello Azienda USL Umbria 1, ItalyDisclosure of Interests:Rocco Papalia Speakers bureau: Speaker for IBSA

Background:Patient reported outcome measures (PROM) are important for clinical practice and research. Given the unmet need for a comprehensive PROM for systemic sclerosis (SSc), the ScleroID questionnaire was developed by a joint team of patients with SSc and medical experts. This is intended as a brief, specific, patient-derived, disease impact score for research and clinical use in SSc.Objectives:Here, we present the validation and final version of the ScleroID.Methods:This EULAR-endorsed project involves 9 European expert SSc centers. Patients fulfilling the ACR/EULAR 2013 criteria were prospectively included since 05/16 in a large observational cohort study. Patients completed the ScleroID and comparators SHAQ, EQ5D, SF36. They also weighted the 10 dimensions of the ScleroID by distributing 100 points according to the perceived impact on their health. The final score calculation is based on the ranking of the weights. The validation study included a reliability arm and a longitudinal arm, looking at sensitivity to change at follow-up.Results:Of the 472 patients included at baseline, 109 patients also had a reliability visit and 113 patients a follow-up visit. 84.5% of patients were female, 29.8% had diffuse SSc, mean age was 54.6 years, and mean disease duration 9.5 years. The highest weights were assigned by the patients to Raynaud`s phenomenon, fatigue, hand function and pain, confirming our previous results. The total ScleroID score showed good Spearman correlation coefficients with the comparators (SHAQ, 0.73; EQ5D -0.48; Patient’s global assessment, VAS 0.77; HAQ-DI 0.62; SF36 physical score -0.62; each p<0.001). The internal consistency was good: Crohnbach’s alpha 0.866, similar to SS-HAQ (0.88) and higher than EQ5D (0.77). The ScleroID had a very good reliability: intra-class correlation coefficient 0.839 (ranging 0.608 to 0.788 for the individual items), superior to all comparators. Twenty of 113 patients reported a change in their disease status at follow up. Sensitivity to change: the standardized response mean was 0.34 for the total ScleroID score and highest for lower GI (0.633) and life choices domains (0.521), superior to all other PROM. Figure 1 shows the final ScleroID.Figure 1.Conclusion:The EULAR ScleroID is a novel PROM designed for use in clinical practice and clinical trials to reflect the disease impact of SSc, showing good performance in the validation study. Importantly, Raynaud syndrome, impaired hand function, pain and fatigue were the main patient reported drivers of disease impact.Disclosure of Interests:Mike O. Becker: None declared, Rucsandra Dobrota: None declared, Kim Fligelstone: None declared, Annelise Roennow: None declared, Yannick Allanore Grant/research support from: BMS, Inventiva, Roche, Sanofi, Consultant of: Actelion, Bayer AG, BMS, BI, Patricia Carreira Grant/research support from: Actelion, Roche, MSD, Consultant of: GlaxoSmithKline, VivaCell Biotechnology, Emerald Health Pharmaceuticals, Boehringer Ingelheim, Roche, Speakers bureau: Actelion, GlaxoSmithKline, Roche, László Czirják Consultant of: Actelion, BI, Roche-Genentech, Lilly, Medac, Novartis, Pfizer, Bayer AG, Christopher Denton Grant/research support from: GlaxoSmithKline, CSL Behring, and Inventiva, Consultant of: Medscape, Roche-Genentech, Actelion, GlaxoSmithKline, Sanofi Aventis, Inventiva, CSL Behring, Boehringer Ingelheim, Corbus Pharmaceuticals, Acceleron, Curzion and Bayer, Roger Hesselstrand: None declared, Gunnel Sandqvist: None declared, Otylia Kowal-Bielecka Consultant of: Bayer, Boehringer Ingelheim, Inventiva, MSD, Medac, Novartis, Roche and Sandoz, Speakers bureau: Bayer, Boehringer Ingelheim, Inventiva, MSD, Medac, Novartis, Roche and Sandoz, Cosimo Bruni Speakers bureau: Actelion, Eli Lilly, Marco Matucci Cerinic: None declared, Carina Mihai: None declared, Ana Maria Gheorghiu: None declared, Ulf Müller-Ladner Speakers bureau: Biogen, Joe Sexton: None declared, Turid Heiberg: None declared, Oliver Distler Grant/research support from: Grants/Research support from Actelion, Bayer, Boehringer Ingelheim, Competitive Drug Development International Ltd. and Mitsubishi Tanabe; he also holds the issued Patent on mir-29 for the treatment of systemic sclerosis (US8247389, EP2331143)., Consultant of: Consultancy fees from Actelion, Acceleron Pharma, AnaMar, Bayer, Baecon Discovery, Blade Therapeutics, Boehringer, CSL Behring, Catenion, ChemomAb, Curzion Pharmaceuticals, Ergonex, Galapagos NV, GSK, Glenmark Pharmaceuticals, Inventiva, Italfarmaco, iQvia, medac, Medscape, Mitsubishi Tanabe Pharma, MSD, Roche, Sanofi and UCB, Speakers bureau: Speaker fees from Actelion, Bayer, Boehringer Ingelheim, Medscape, Pfizer and Roche

Recent conservation and restoration work on the icon of the Virgin and Child which stood on the altar in the Church of St. Nicholas at Prijeko in Dubrovnik has enabled a new interpretation of this paining. The icon, painted on a panel made of poplar wood, features a centrally-placed Virgin holding the Child in her arms painted on a gold background between the two smaller figures of St. Peter and St. John the Baptist. The figures are painted in the manner of the fifteenth- and sixteenth-century Dubrovnik style, and represent a later intervention which significantly changed the original appearance and composition of the older icon by adding the two saints and touching up the Virgin’s clothes with Renaissance ornaments, all of which was performed by the well-known Dubrovnik painter Nikola Božidarević. It can be assumed that the icon originally featured a standing or seated Virgin and Child. The Virgin is depicted with her head slightly lowered and pointing to the Christ Child whom she is holding on her right side. The chubby boy is not seated on his mother’s lap but is reclining on his right side and leaningforward while his face is turned towards the spectator. He is dressed in a red sleeveless tunic with a simple neck-line which is embroidered with gold thread. The Child is leaning himself on the Virgin’s right hand which is holding him. He is firmly grasping her thumb with one hand and her index finger with the other in a very intimate nursing gesture while she, true to the Hodegitria scheme, is pointing at him with her left hand, which is raised to the level of her breasts. Such an almost-realistic depiction of Christ as a small child with tiny eyes, mouth and nose, drastically departs from the model which portrays him with the mature face of an adult, as was customary in icon painting. The Virgin is wearing a luxurious gold cloak which was repainted with large Renaissance-style flowers. Her head is covered with a traditional maphorion which forms a wide ring around it and is encircled by a nimbus which was bored into thegold background. Her skin tone is pink and lit diffusely, and was painted with almost no green shadows, which is typical of Byzantine painting. The Virgin’s face is striking and markedly oval. It is characterized by a silhouetted, long, thin nose which is connected to the eyebrows. The ridge of the nose is emphasized with a double edge and gently lit whilethe almond-shaped eyes with dark circles are set below the inky arches of the eyebrows. The Virgin’s cheeks are smooth and rosy while her lips are red. The plasticity of her round chin is emphasized by a crease below the lower lip and its shadow. The Virgin’s eyes, nose and mouth are outlined with a thick red line. Her hands are light pink in colour and haveelongated fingers and pronounced, round muscles on the wrists. The fingers are separated and the nails are outlined with precision. The deep, resounding hues of the colour red and the gilding, together with the pale pink skin tone of her face, create an impression of monumentality. The type of the reclining Christ Child has been identified in Byzantine iconography as the Anapeson. Its theological background lies in the emphasis of Christ’s dual nature: although the Christ Child is asleep, the Christ as God is always keeping watch over humans. The image was inspired by a phrase from Genesis 49: 9 about a sleeping lion to whom Christ is compared: the lion sleeps with his eyes open. The Anapeson is drowsy and awake at the same time, and therefore his eyes are not completely shut. Such a paradox is a theological anticipation of his “sleep” in the tomb and represents an allegory of his death and Resurrection. The position, gesture and clothes of the Anapeson in Byzantine art are not always the same. Most frequently, the ChristChild is not depicted lying in his mother’s arms but on an oval bed or pillow, resting his head on his hand, while the Virgin is kneeling by his side. Therefore, the Anapeson from Dubrovnik is unique thanks to the conspicuously humanized relationship between the figures which is particularly evident in Christ’s explicitly intimate gesture of grasping the fingers of his mother’s hand: his right hand is literally “inserting” itself in the space between the Virgin’s thumb and index finger. At the same time, the baring of his arms provided the painter with an opportunity to depict the pale tones of a child’s tender skin. The problem of the iconography of the Anapeson in the medieval painting at Dubrovnik is further complicated by a painting which was greatly venerated in Župa Dubrovačka as Santa Maria del Breno. It has not been preserved but an illustration of it was published in Gumppenberg’sfamous Atlas Marianus which shows the Virgin seated on a high-backed throne and holding the sleeping and reclining Child. The position of this Anapeson Christ does not correspond fully to the icon from the Church of St. Nicholas because the Child is lying on its back and his naked body is covered with the swaddling fabric. The icon of the Virgin and Child from Prijeko claims a special place in the corpus of Romanesque icons on the Adriatic through its monumentality and intimate character. The details of the striking and lively Virgin’s face, dominated by the pronounced and gently curved Cimabuesque nose joined to the shallow arches of her eyebrows, link her with the Benedictine Virgin at Zadar. Furthermore, based on the manner of painting characterized by the use of intense red for the shadows in the nose and eye area, together with the characteristic shape of the elongated, narrow eyes, this Virgin and Child should be brought into connection with the painter who is known as the Master of the Benedictine Virgin. The so-called Benedictine Virgin is an icon, now at the Benedictine Convent at Zadar, which depicts the Virgin seated on a throne with a red, ceremonial, imperial cushion, in a solemn scheme of the Kyriotissa, the heavenly queen holding the Christ Child on her lap. The throne is wooden and has a round back topped with wooden finials which can also be seen in the Byzantine Kahn Virgin and the Mellon Madonna, as well as in later Veneto-Cretan painting. The throne is set under a shallow ciborium arch which is rendered in relief and supportedby twisted colonettes and so the painting itself is sunk into the surface of the panel. A very similar scheme with a triumphal arch can be seen on Byzantine ivory diptychs with shallow ciborium arches and twisted colonettes. In its composition, the icon from Prijeko is a combination ofthe Kyr i ot i ss a and the Hodegitria, because the Virgin as the heavenly queen does not hold the Christ Child frontally before her but on her right-hand side while pointing at him as the road to salvation. He is seated on his mother’s arm and is supporting himself by pressing his crossed legsagainst her thigh which symbolizes his future Passion. He is wearing a formal classical costume with a red cloak over his shoulder. He is depicted in half profile which opens up the frontal view of the red clavus on his navy blue chiton.He is blessing with the two fingers of his right hand and at the same time reaching for the unusual flower rendered in pastiglia which the Virgin is raising in her left hand and offering to him. At the same time, she is holding the lower part of Christ’s body tightly with her right hand.Various scholars have dated the icon of the Benedictine Virgin to the early fourteenth century. While Gothic features are particularly evident in the costumes of the donors, the elements such as the modelling of the throne and the presence of the ceremonial cushion belong to the Byzantine style of the thirteenth century. The back of the icon of the Benedictine Virgin features the figure of St. Peter set within a border consisting of a lively and colourful vegetal scroll which could be understood as either Romanesque or Byzantine. However, St. Peter’s identifying titulus is written in Latin while that of the Virgin is in Greek. The figure of St. Peter was painted according to the Byzantine tradition: his striking and severe face is rendered linearly in a rigid composition, which is complemented by his classical contrapposto against a green-gray parapet wall, while the background is of dark green-blue colour. Equally Byzantine is themanner of depicting the drapery with flat, shallow folds filled with white lines at the bottom of the garment while, at the same time, the curved undulating hem of the cloak which falls down St. Peter’s right side is Gothic. The overall appearance of St. Peter is perhaps even more Byzantine than that of the Virgin. Such elements, together with the typically Byzantine costumes, speak clearly of a skilful artist who uses hybrid visual language consisting of Byzantine painting and elements of the Romanesque and Gothic. Of particular interest are the wide nimbuses surrounding the heads of the Virgin and Child (St. Peter has a flat one) which are rendered in relief and filled with a neat sequence of shallow blind archesexecuted in the pastiglia technique which, according to M. Frinta, originated in Cyprus. The Venetian and Byzantine elements of the Benedictine Virgin have already been pointed out in the scholarship. Apart from importing art works and artists such as painters and mosaic makers directly from Byzantium into Venice, what was the extent and nature of the Byzantineinfluence on Venetian artistic achievements in the thirteenth and fourteenth centuries? We know that the art of Venice and the West alike were affected by the Fourth Crusade and the sack of Constantinople in 1204, and by the newly founded Latin Empire which lasted until 1261.The Venetians played a particularly significant political and administrative role in this Empire and the contemporary hybrid artistic style of the eastern Mediterranean, called Crusader Art and marked by the strong involvement of the Knights Templar, must have been disseminated through the established routes. In addition to Cyprus, Apulia and Sicily which served as stops for the artists and art works en route to Venice and Tuscany, another station must have been Dalmatia where eastern and western influences intermingled and complemented each other.However, it is interesting that the icon of the Benedictine Virgin, apart from negligible variations, imitates almost completely the iconographic scheme of the Madonna di Ripalta at Cerignola on the Italian side of the Adriatic, which has been dated to the early thirteenth century and whose provenance has been sought in the area between southern Italy (Campania) and Cyprus. Far more Byzantine is another Apulian icon, that of a fourteenth-century enthroned Virgin from the basilica of St. Nicholas at Bari with which the Benedictine Virgin from Zadar shares certain features such as the composition and posture of the figures, the depictionof donors and Christ’s costume. A similar scheme, which indicates a common source, can be seen on a series of icons of the enthroned Virgin from Tuscany. The icon of the Virgin and Child from Prijeko is very important for local Romanesque painting of the late thirteenth and early fourteenth century because it expands the oeuvre of the Master of the Benedictine Virgin. Anicon which is now at Toronto, in the University of Toronto Art Centre Malcove Collection, has also been attributed to this master. This small two-sided icon which might have been a diptych panel, as can be judged from its typology, depicts the Virgin with the Anapeson in the upper register while below is the scene from the martyrdom of St. Lawrence. The Virgin is flanked by the figures of saints: to the left is the figure of St. Francis while the saint on the right-hand side has been lost due to damage sustained to the icon. The busts of SS Peter and Paul are at the top.The physiognomies of the Virgin and Child correspond to those of the Benedictine Virgin and the Prijeko icon. The Anapeson, unlike the one at Dubrovnik, is wrapped in a rich, red cloak decorated with lumeggiature, which covers his entire body except the left fist and shin. On the basis of the upper register of this icon, it can be concluded that the Master of the Benedictine Virgin is equally adept at applying the repertoire and style of Byzantine and Western painting alike; the lower register of the icon with its descriptive depiction of the martyrdom of St.Lawrence is completely Byzantine in that it portrays the Roman emperor attending the saint’s torture as a crowned Byzantine ruler. Such unquestionable stylistic ambivalence – the presence of the elements from both Byzantine and Italian painting – can also be seen on the icons of theBenedictine and Prijeko Virgin and they point to a painter who works in a “combined style.” Perhaps he should be sought among the artists who are mentioned as pictores greci in Dubrovnik, Kotor and Zadar. The links between Dalmatian icons and Apulia and Tuscany have already been noted, but the analysis of these paintings should also contain the hitherto ignored segment of Sicilian and eastern Mediterranean Byzantinism, including Cyprus as the centre of Crusader Art. The question of the provenance of the Master of the Benedictine Virgin remains open although the icon of the Virgin and Child from Prijeko points to the possibility that he may have been active in Dalmatia.However, stylistic expressions of the two icons from Zadar and Dubrovnik, together with the one which is today at Toronto, clearly demonstrate the coalescing of cults and forms which arrived to the Adriatic shores fromfurther afield, well beyond the Adriatic, and which were influenced by the significant, hitherto unrecognized, role of the eastern Mediterranean.