A Comprehensive and Systematic Diagnostic Campaign for a New Acquisition of Contemporary Art—The Case of Natura Morta by Andreina Rosa (1924–2019) at the International Gallery of Modern Art Ca’ Pesaro, Venice

A multi-analytical approach has been employed to investigate the painting Natura Morta (1954–1955) by Andreina Rosa (1924–2019) to assess the state of conservation and to understand more about the painting materials and techniques of this artwork, which was recently donated by the painter’s heirs to the International Gallery of Modern Art Ca’ Pesaro (Venice-Italy). A comprehensive and systematic diagnostic campaign was carried out, mainly adopting non-invasive imaging and spectroscopic methods, such as technical photography, optical microscopy, Hyperspectral Imaging Spectroscopy (HIS), fiber optics reflectance spectroscopy (FORS), External Reflectance Fourier Transform Infrared (ER-FTIR), and Raman spectroscopies. Microsamples, collected from the edges of the canvas in areas partially detached, were studied by Attenuated Total Reflection Fourier Transform Infrared (ATR-FTIR) spectroscopy and Gas Chromatography-Mass Spectrometry (GC-MS). By crossing the information gained, it was possible to make inferences about the composition of the groundings and the painted layers, the state of conservation of the artwork, and the presence of degradation phenomena. Hence, the present study may be of interest for conservation purposes as well as for enhancing the artistic activity of Andreina Rosa. The final aim was to provide useful information for the Gallery which recently included this painting in its permanent collection

Pattern of response of unresectable and metastatic cutaneous squamous cell carcinoma to programmed death-1 inhibitors: A review of the literature

Cutaneous squamous cell carcinoma (cSCC) is the second most frequent nonmelanoma skin cancer (NMSC). The majority of in situ cSCC [cSCC (Tis)] can be cured surgically, while local advanced and metastatic ones require other treatments, but there are no therapies approved by U.S. Food and Drug Administration (FDA). Available treatments for these stages included radiotherapy, chemotherapy as cisplatin, but responses to these treatments are usually of short duration. Programmed death-1 (PD-1) inhibitors (pembrolizumab, nivolumab, and cemiplimab) are an innovative immunologic treatment that now has been shown to be useful for the treatment of advanced cSCC. Nowadays, data about the response rate with the use of PD-1 inhibitors in cSCC are still few and, especially, the duration of the response after the start of treatment is short. Moreover, the number of cases is too small to express the beneficial effects of these treatments, although most data reported in the literature show quite good response rates. This review focused on some of the studies and associated results through an interesting research on search engines of all the cases about these systemic drugs, analyzing effects and side effects, and the research has been conducted considering published cases since March 2016 to October 2019

Exploring emotional distress, psychological traits and attitudes in patients with chronic migraine undergoing OnabotulinumtoxinA prophylaxis versus withdrawal treatment

This explorative cross-sectional study aims at exploring emotional distress, psychological profiles, and the attitude towards receiving psychological support in eighty-seven patients with chronic migraine (CM) undergoing OnabotulinumtoxinA prophylactic treatment (OBT-A, n = 40) or withdrawal treatment (WT, n = 47). The outcomes were explored through a specific battery of questionnaires. 25% of patients undergoing OBT-A and almost half of the patients undergoing WT reported psychological distress of at least moderate-severe level, respectively. Coping strategies, self-efficacy, and perceived social support were similar in the two groups. Patients undergoing OBT-A presented lower psychological inflexibility than patients undergoing WT. Predictors of higher psychological distress were low perceived social support by friends, low self-efficacy, and higher avoidance strategies. In both groups, most of the patients evaluated receiving psychological support to be useful (79%). The potential beneficial effects of OBT-A on the severity of symptoms and psychological distress might further support its role in the multidisciplinary management of patients with CM. Identifying patients with psychological vulnerabilities who may benefit from psychological support is relevant in patients with CM

I materiali e la tecnica pittorica di Giulio Aristide sartorio nel ciclo “Il poema della vita umana” (1906-07): conoscenza e prevenzione per un progetto di musealizzazione

Summary In 1906 Giulio Aristide Sartorio created the pictorial cycle “The Poem of Human Life" for the Central Hall of the Venice Biennale. To complete the cycle (over 240 m2) in just nine months, he used a special painting technique: “a mixture of wax, mineral turpentine and oils”.This cycle has had a complicated history of conservation. A project involving conservation and maintenance is needed to access Sartorio’s paintings. The first step in the conservation project involves the study of the entire cycle to identify the materials and the painting techniques adopted by the artist and to understand the degradation processes present on the paintings. This knowledge makes it possible to suggest some general guidelines for the correct presentation of the cycle for public viewing in a museum. A priority is the prevention of future degradation processes, usually due to exhibition conditions themselves, including excessive exhibition stress. This research shows that any museum display project must consider the specific technical and material characteristics of the artworks prior to their exhibition. RiassuntoNel 1906 Aristide Sartorio dipinse il ciclo "Il poema della Vita Umana" per il Salone Centrale della Biennale di Venezia. Per completare il ciclo (di oltre 240 m2) in solamente nove mesi, egli ricorse ad una particolare tecnica pittorica: “ una mistura di cera, essenza di trementina e oli”. Questa opera attraversò complicate vicende conservative ed era necessario un progetto di  conservazione e manutenzione per renderla visibile. Il primo passo per la stesura del progetto conservativo ha riguardato lo studio dell’intero ciclo per identificare i materiali e la tecnica pittorica adottata dall’artista e comprendere i processi di degrado in atto. Queste conoscenze danno la possibilità di suggerire delle linee guida generali per la corretta musealizzazione del ciclo, considerando prioritaria la prevenzione di futuri processi di degrado, generalmente legati alle condizioni di esposizione e stress correlati ad esse. Questa ricerca mostra che ogniprogetto di musealizzazione deve considerare le specifiche caratteristiche tecniche dell’opera prima di prevederne l’esposizione. RésuméEn 1906, Aristide Sartorio réalisa le cycle de peintures « Il poema della Vita Umana » (Le poème de la vie humaine) pour le Salon central de la Biennale de Venise. Pour compléter ce cycle de plus de 240 m2 en neuf mois seulement, il utilisa une technique picturale particulière, « un mélange de cire, essence de térébenthine et huiles ». Au niveau de la conservation, cette œuvre connut de nombreuses difficultés. Un projet de conservation et d’entretien était nécessaire pour la rendre visible. La première étape de la rédaction du projet de conservation fut l’étude de l’ensemble du cycle, pour identifier les matériaux et la technique picturale utilisée par l’artiste, et pour comprendre les processus de détérioration en cours. Les connaissances ainsi obtenues permettent de préconiser des lignes directrices générales pour la bonne muséalisation du cycle, la priorité étant la prévention des détériorations à venir, le plus souvent associées aux conditions d’exposition et aux sollicitations correspondantes. Cette recherche montre que tout projet de muséalisation doit considérer les caractéristiques techniques spécifiques de l’œuvre avant d’envisager son exposition. ZusammenfassungIm Jahr 1906 malte Aristide Sartorio den Zyklus "Il poema della Vita Umana" (etwa “Das Gedicht des menschlichen Lebens”) für den Zentralen Salon der Biennale von Venedig.  Um diesen Zyklus (über 240 m² groß) in nur neun Monaten fertigstellen zu kennen, griff er auf eine besondere Maltechnik zurück: “ein Gemisch von Wachs, Terpentin und Ölen”.  Dieses Werk unterlag komplizierten Konservierungsarbeiten und es war ein Projekt für die Konservierung und Instandhaltung notwendig, um es sichtbar zu machen. Der erste Schritt zur Erstellung dieses Konservierungsprojekts bestand im Studium des gesamten Zyklus, um die Materialien und die vom Künstler angewandte Maltechnik zu bestimmen und den eingetretenen Verrottungsprozess zu begreifen.  Die Kenntnis dieser Faktoren bieten die Möglichkeit, allgemeine Leitlinien für die korrekte Musealisierung des Zyklus zu liefern, wobei als prioritär die Verhinderung zukünftiger Verrottungsprozesse betrachtet wurde, die generell mit den Ausstellungsbedingungen und der damit einhergehenden Belastung verbunden sind. Diese Forschungsarbeit bezeugt, dass jedes Musealisierungsprojekt die spezifischen technischen Merkmale des Werks berücksichtigen muss, bevor es ausgestellt werden kann. ResumenEn 1906 Aristide Sartorio pintó el ciclo "Il poema della Vita Umana" (El poema de la Vida Humana) para el Salón Central de la Bienal de Venecia. Para completar el ciclo (de más de 240 m2) en tan solo nueve meses, el artista recurrió a una técnica pictórica particular: "una mezcla de cera, esencia de trementina y aceites". Esta obra atravesó complicadas vicisitudes por lo que se refiere a su conservación y un proyecto de conservación y mantenimiento era necesario para hacerla visible. El primer paso de la redacción del proyecto de conservación se ha centrado en el estudio del ciclo en su totalidad para identificar los materiales y la técnica pictórica adoptada por el artista y comprender los procesos de deterioro en marcha. Estos conocimientos brindan la posibilidad de sugerir algunos principios generales para musealizar el ciclo correctamente y se considera prioritaria la prevención de procesos de deterioro en el futuro, los cuales están generalmente relacionados con las condiciones de exposición y el estrés provocado por las mismas. Esta investigación muestra que todo proyecto de musealización debe tener en cuenta las características técnicas específicas de la obra antes de disponer su exposición. РезюмеВ 1906 году Аристид Сарторио создал цикл «Поэма человеческой жизни» для Центрального зала Венецианской Биеннале. Для завершения цикла (более 240 кв. м) всего лишь за девять месяцев он прибег к особой технике живописи: «смеси воска, скипидара и масла». Это произведение имело сложную историю с точки зрения его сохранения и нуждалось в проекте по сбережению и поддержанию, чтобы оставаться видимым. Первым шагом в создании проекта по сохранению явилось изучение всего цикла для определения материалов и техники живописи, принятых мастером, и выявить причины действующих процессов деградации. Эти знания позволяют дать общие указания для правильной музейной экспозиции цикла, отдавая приоритет предотвращению будущих процессов деградации, обычно связанных с условиями экспозиции и стресса, связанного с ними. Это исследование показывает, что любой проект музейной экспозиции при его подготовке должен учитывать специфические технические характеристики произведения. 摘要于1906年Aristide Sartorio  (阿里斯蒂德·萨尔托里奥)为威尼斯双年展的中心展厅画了"Il poema della Vita Umana(人生的诗歌)"一系列画。为了在9个月内完成此系列(240 多平方米大)，他使用了一种特别的画画技巧: “ 蜡、松节油精华和油类的混合物”。这幅作品经历了许多复杂的保留程序，当时为了展览它需要一种合适的保养与保存项目。保存项目的第一步是通过整个系列的研究来识别画家采用的材料和作画技巧以及了解已开始的退化过程。这些研究的结果对于此系列画正确地展示在博物馆里提供了指导方针以及在预防退化过程的基础上，分析了与它有关的展示的条件。这个研究证明了每个博物馆展示项目在展示作品之前都应当考虑到有关作品的技术特点。Summary In 1906 Giulio Aristide Sartorio created the pictorial cycle “The Poem of Human Life" for the Central Hall of the Venice Biennale. To complete the cycle (over 240 m2) in just nine months, he used a special painting technique: “a mixture of wax, mineral turpentine and oils”.This cycle has had a complicated history of conservation. A project involving conservation and maintenance is needed to access Sartorio’s paintings. The first step in the conservation project involves the study of the entire cycle to identify the materials and the painting techniques adopted by the artist and to understand the degradation processes present on the paintings. This knowledge makes it possible to suggest some general guidelines for the correct presentation of the cycle for public viewing in a museum. A priority is the prevention of future degradation processes, usually due to exhibition conditions themselves, including excessive exhibition stress. This research shows that any museum display project must consider the specific technical and material characteristics of the artworks prior to their exhibition. RiassuntoNel 1906 Aristide Sartorio dipinse il ciclo "Il poema della Vita Umana" per il Salone Centrale della Biennale di Venezia. Per completare il ciclo (di oltre 240 m2) in solamente nove mesi, egli ricorse ad una particolare tecnica pittorica: “ una mistura di cera, essenza di trementina e oli”. Questa opera attraversò complicate vicende conservative ed era necessario un progetto di  conservazione e manutenzione per renderla visibile. Il primo passo per la stesura del progetto conservativo ha riguardato lo studio dell’intero ciclo per identificare i materiali e la tecnica pittorica adottata dall’artista e comprendere i processi di degrado in atto. Queste conoscenze danno la possibilità di suggerire delle linee guida generali per la corretta musealizzazione del ciclo, considerando prioritaria la prevenzione di futuri processi di degrado, generalmente legati alle condizioni di esposizione e stress correlati ad esse. Questa ricerca mostra che ogniprogetto di musealizzazione deve considerare le specifiche caratteristiche tecniche dell’opera prima di prevederne l’esposizione. RésuméEn 1906, Aristide Sartorio réalisa le cycle de peintures « Il poema della Vita Umana » (Le poème de la vie humaine) pour le Salon central de la Biennale de Venise. Pour compléter ce cycle de plus de 240 m2 en neuf mois seulement, il utilisa une technique picturale particulière, « un mélange de cire, essence de térébenthine et huiles ». Au niveau de la conservation, cette œuvre connut de nombreuses difficultés. Un projet de conservation et d’entretien était nécessaire pour la rendre visible. La première étape de la rédaction du projet de conservation fut l’étude de l’ensemble du cycle, pour identifier les matériaux et la technique picturale utilisée par l’artiste, et pour comprendre les processus de détérioration en cours. Les connaissances ainsi obtenues permettent de préconiser des lignes directrices générales pour la bonne muséalisation du cycle, la priorité étant la prévention des détériorations à venir, le plus souvent associées aux conditions d’exposition et aux sollicitations correspondantes. Cette recherche montre que tout projet de muséalisation doit considérer les caractéristiques techniques spécifiques de l’œuvre avant d’envisager son exposition. ZusammenfassungIm Jahr 1906 malte Aristide Sartorio den Zyklus "Il poema della Vita Umana" (etwa “Das Gedicht des menschlichen Lebens”) für den Zentralen Salon der Biennale von Venedig.  Um diesen Zyklus (über 240 m² groß) in nur neun Monaten fertigstellen zu kennen, griff er auf eine besondere Maltechnik zurück: “ein Gemisch von Wachs, Terpentin und Ölen”.  Dieses Werk unterlag komplizierten Konservierungsarbeiten und es war ein Projekt für die Konservierung und Instandhaltung notwendig, um es sichtbar zu machen. Der erste Schritt zur Erstellung dieses Konservierungsprojekts bestand im Studium des gesamten Zyklus, um die Materialien und die vom Künstler angewandte Maltechnik zu bestimmen und den eingetretenen Verrottungsprozess zu begreifen.  Die Kenntnis dieser Faktoren bieten die Möglichkeit, allgemeine Leitlinien für die korrekte Musealisierung des Zyklus zu liefern, wobei als prioritär die Verhinderung zukünftiger Verrottungsprozesse betrachtet wurde, die generell mit den Ausstellungsbedingungen und der damit einhergehenden Belastung verbunden sind. Diese Forschungsarbeit bezeugt, dass jedes Musealisierungsprojekt die spezifischen technischen Merkmale des Werks berücksichtigen muss, bevor es ausgestellt werden kann. ResumenEn 1906 Aristide Sartorio pintó el ciclo "Il poema della Vita Umana" (El poema de la Vida Humana) para el Salón Central de la Bienal de Venecia. Para completar el ciclo (de más de 240 m2) en tan solo nueve meses, el artista recurrió a una técnica pictórica particular: "una mezcla de cera, esencia de trementina y aceites". Esta obra atravesó complicadas vicisitudes por lo que se refiere a su conservación y un proyecto de conservación y mantenimiento era necesario para hacerla visible. El primer paso de la redacción del proyecto de conservación se ha centrado en el estudio del ciclo en su totalidad para identificar los materiales y la técnica pictórica adoptada por el artista y comprender los procesos de deterioro en marcha. Estos conocimientos brindan la posibilidad de sugerir algunos principios generales para musealizar el ciclo correctamente y se considera prioritaria la prevención de procesos de deterioro en el futuro, los cuales están generalmente relacionados con las condiciones de exposición y el estrés provocado por las mismas. Esta investigación muestra que todo proyecto de musealización debe tener en cuenta las características técnicas específicas de la obra antes de disponer su exposición. РезюмеВ 1906 году Аристид Сарторио создал цикл «Поэма человеческой жизни» для Центрального зала Венецианской Биеннале. Для завершения цикла (более 240 кв. м) всего лишь за девять месяцев он прибег к особой технике живописи: «смеси воска, скипидара и масла». Это произведение имело сложную историю с точки зрения его сохранения и нуждалось в проекте по сбережению и поддержанию, чтобы оставаться видимым. Первым шагом в создании проекта по сохранению явилось изучение всего цикла для определения материалов и техники живописи, принятых мастером, и выявить причины действующих процессов деградации. Эти знания позволяют дать общие указания для правильной музейной экспозиции цикла, отдавая приоритет предотвращению будущих процессов деградации, обычно связанных с условиями экспозиции и стресса, связанного с ними. Это исследование показывает, что любой проект музейной экспозиции при его подготовке должен учитывать специфические технические характеристики произведения. 摘要于1906年Aristide Sartorio  (阿里斯蒂德·萨尔托里奥)为威尼斯双年展的中心展厅画了"Il poema della Vita Umana(人生的诗歌)"一系列画。为了在9个月内完成此系列(240 多平方米大)，他使用了一种特别的画画技巧: “ 蜡、松节油精华和油类的混合物”。这幅作品经历了许多复杂的保留程序，当时为了展览它需要一种合适的保养与保存项目。保存项目的第一步是通过整个系列的研究来识别画家采用的材料和作画技巧以及了解已开始的退化过程。这些研究的结果对于此系列画正确地展示在博物馆里提供了指导方针以及在预防退化过程的基础上，分析了与它有关的展示的条件。这个研究证明了每个博物馆展示项目在展示作品之前都应当考虑到有关作品的技术特点

Exploring Emotional Distress, Psychological Traits and Attitudes in Patients with Chronic Migraine Undergoing OnabotulinumtoxinA Prophylaxis versus Withdrawal Treatment

This explorative cross-sectional study aims at exploring emotional distress, psychological profiles, and the attitude towards receiving psychological support in eighty-seven patients with chronic migraine (CM) undergoing OnabotulinumtoxinA prophylactic treatment (OBT-A, n = 40) or withdrawal treatment (WT, n = 47). The outcomes were explored through a specific battery of questionnaires. 25% of patients undergoing OBT-A and almost half of the patients undergoing WT reported psychological distress of at least moderate-severe level, respectively. Coping strategies, self-efficacy, and perceived social support were similar in the two groups. Patients undergoing OBT-A presented lower psychological inflexibility than patients undergoing WT. Predictors of higher psychological distress were low perceived social support by friends, low self-efficacy, and higher avoidance strategies. In both groups, most of the patients evaluated receiving psychological support to be useful (79%). The potential beneficial effects of OBT-A on the severity of symptoms and psychological distress might further support its role in the multidisciplinary management of patients with CM. Identifying patients with psychological vulnerabilities who may benefit from psychological support is relevant in patients with CM

Clinical Features, Cardiovascular Risk Profile, and Therapeutic Trajectories of Patients with Type 2 Diabetes Candidate for Oral Semaglutide Therapy in the Italian Specialist Care

Introduction: This study aimed to address therapeutic inertia in the management of type 2 diabetes (T2D) by investigating the potential of early treatment with oral semaglutide. Methods: A cross-sectional survey was conducted between October 2021 and April 2022 among specialists treating individuals with T2D. A scientific committee designed a data collection form covering demographics, cardiovascular risk, glucose control metrics, ongoing therapies, and physician judgments on treatment appropriateness. Participants completed anonymous patient questionnaires reflecting routine clinical encounters. The preferred therapeutic regimen for each patient was also identified. Results: The analysis was conducted on 4449 patients initiating oral semaglutide. The population had a relatively short disease duration (42%  60% of patients, and more often than sitagliptin or empagliflozin. Conclusion: The study supports the potential of early implementation of oral semaglutide as a strategy to overcome therapeutic inertia and enhance T2D management

Colorectal Cancer Stage at Diagnosis Before vs During the COVID-19 Pandemic in Italy

IMPORTANCE Delays in screening programs and the reluctance of patients to seek medical attention because of the outbreak of SARS-CoV-2 could be associated with the risk of more advanced colorectal cancers at diagnosis. OBJECTIVE To evaluate whether the SARS-CoV-2 pandemic was associated with more advanced oncologic stage and change in clinical presentation for patients with colorectal cancer. DESIGN, SETTING, AND PARTICIPANTS This retrospective, multicenter cohort study included all 17 938 adult patients who underwent surgery for colorectal cancer from March 1, 2020, to December 31, 2021 (pandemic period), and from January 1, 2018, to February 29, 2020 (prepandemic period), in 81 participating centers in Italy, including tertiary centers and community hospitals. Follow-up was 30 days from surgery. EXPOSURES Any type of surgical procedure for colorectal cancer, including explorative surgery, palliative procedures, and atypical or segmental resections. MAIN OUTCOMES AND MEASURES The primary outcome was advanced stage of colorectal cancer at diagnosis. Secondary outcomes were distant metastasis, T4 stage, aggressive biology (defined as cancer with at least 1 of the following characteristics: signet ring cells, mucinous tumor, budding, lymphovascular invasion, perineural invasion, and lymphangitis), stenotic lesion, emergency surgery, and palliative surgery. The independent association between the pandemic period and the outcomes was assessed using multivariate random-effects logistic regression, with hospital as the cluster variable. RESULTS A total of 17 938 patients (10 007 men [55.8%]; mean [SD] age, 70.6 [12.2] years) underwent surgery for colorectal cancer: 7796 (43.5%) during the pandemic period and 10 142 (56.5%) during the prepandemic period. Logistic regression indicated that the pandemic period was significantly associated with an increased rate of advanced-stage colorectal cancer (odds ratio [OR], 1.07; 95%CI, 1.01-1.13; P = .03), aggressive biology (OR, 1.32; 95%CI, 1.15-1.53; P < .001), and stenotic lesions (OR, 1.15; 95%CI, 1.01-1.31; P = .03). CONCLUSIONS AND RELEVANCE This cohort study suggests a significant association between the SARS-CoV-2 pandemic and the risk of a more advanced oncologic stage at diagnosis among patients undergoing surgery for colorectal cancer and might indicate a potential reduction of survival for these patients

Global disparities in surgeons’ workloads, academic engagement and rest periods: the on-calL shIft fOr geNEral SurgeonS (LIONESS) study

: The workload of general surgeons is multifaceted, encompassing not only surgical procedures but also a myriad of other responsibilities. From April to May 2023, we conducted a CHERRIES-compliant internet-based survey analyzing clinical practice, academic engagement, and post-on-call rest. The questionnaire featured six sections with 35 questions. Statistical analysis used Chi-square tests, ANOVA, and logistic regression (SPSS® v. 28). The survey received a total of 1.046 responses (65.4%). Over 78.0% of responders came from Europe, 65.1% came from a general surgery unit; 92.8% of European and 87.5% of North American respondents were involved in research, compared to 71.7% in Africa. Europe led in publishing research studies (6.6 ± 8.6 yearly). Teaching involvement was high in North America (100%) and Africa (91.7%). Surgeons reported an average of 6.7 ± 4.9 on-call shifts per month, with European and North American surgeons experiencing 6.5 ± 4.9 and 7.8 ± 4.1 on-calls monthly, respectively. African surgeons had the highest on-call frequency (8.7 ± 6.1). Post-on-call, only 35.1% of respondents received a day off. Europeans were most likely (40%) to have a day off, while African surgeons were least likely (6.7%). On the adjusted multivariable analysis HDI (Human Development Index) (aOR 1.993) hospital capacity > 400 beds (aOR 2.423), working in a specialty surgery unit (aOR 2.087), and making the on-call in-house (aOR 5.446), significantly predicted the likelihood of having a day off after an on-call shift. Our study revealed critical insights into the disparities in workload, access to research, and professional opportunities for surgeons across different continents, underscored by the HDI