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In a long and generous review 44 For example, on the vexed question of the inserted duernion, see Wilkins a 75—76, , , — More recently, Storey a, —47; and a and Zamponi , 32—38 address additional material issues, such as ruling and the newly discovered catchword erased on c.

Furthermore, one of the most important practical aspects of the daily life of any medieval author such as Petrarch was the preparation of his texts, once completed, for circulation.

As well as refining his handwriting and even changing his customary script in mid-life,54 Petrarch would have routinely downloadd paper and parch- ment and mixed ink. He copied assiduously himself, supervised those who copied for him, searched for binders55 and, as Brugnolo, Petrucci, and Storey have demonstrated, designed his own elegant mise en page for Vat. He held that the extant drafts give evidence of four such collections, which he outlines as follows: Wilkins gave a careful account of the fold- ing of paper in Vat.

However, two show that they were once also folded in half horizontally, and two and a half have also been folded in quarters. The foldings—after the initial folding of a sheet to create a bifolium—are as follows: In Ernesto Monaci edited a heliotype facsimile in separate sheets Fascicles 5—6. The edition, Il manoscritto vaticano latino autografo di Francesco Petrarca riprodotto in eliotipia a cura della Biblioteca Vaticana was a bound version executed from the same plates.

It is this edition that Wilkins used. This detail concerning this bifo- lium cc. Felt- and mould-side correlations have been checked for every leaf, as well as compared with the record of watermarks described by Pelaez , A in his first refer- ence collection all the leaves have no further fold, except for c.

Thus, not only were 15 and 16 never conjunct, but they too have separate histories; D reference collection IV c. And it need not be taken by itself, because cc. As they exist today, cc. Charta 6 consists of a single leaf framing within it a smaller fragment containing verses from Rvf 73 Poi che per mio destino , and on its verso the fragment of the littera familiaris XVI 6.

The fragment in the frame is actually a cedula, a type of small slip sometimes found tucked into medieval manuscripts and containing some additional afterthought pertaining to the text. The heliotype facsimiles of Monaci and clearly show c. For it seems that as well as drafting and revising on folded sheets of paper, not all of which he filled completely as the original blank leaf of c. The cedula in question is more likely to have been originally associated with c. Charta 15, it will be recalled, is one of those leaves which were once folded in quarters.

What they remind us of, rather, is the picture of Petrarch rummaging through his dusty study and confused papers in the first letter of the Familiares.

Yet with that picture in mind, what are we to make of the fact that the poet stated later in life that he habitually kept his writings in chronological order? In a letter of about — to his friend Philippe de Cabassoles, who had requested copies of some old verses, Petrarch complained: And what about the critical closure effected when we assume that Vat. For any author, this is a potent moment when what had seemed scattered 66 See especially Barolini In the textual culture of the Trecento, Petrarch was not alone in compiling a book of lyrics, but as Furio Brugnolo shows, he has been the most influential,69 not least because of the intense irony with which he dilates this scribal moment to encompass both the scattered fragments and the desire to gather them up.

Those who knew Wilkins testify that he himself was a model of stability and order. As an academic during the dirty thirties and war-torn forties, Wilkins provided an exemplary instance of scholarly leadership to his colleagues both nationally and at Oberlin. A retired college president who must have been a veteran of a thousand faculty wrangles, in old age he could, without apparent irony, send his love to the Oberlin Board of Trustees. Ullman to represent him in Italy, because by now he was unable to travel anywhere at all.

Indeed there are copies even facsimiles of almost all the materials that Spiegelman stole from Columbia, some of which were never recovered, so we still have their contents. See Del Puppo and Storey In one of his collection of letters, the Familiares, Petrarca complains about the practice of his epistles being waylaid so that admirers can have copies made of his missives or, even worse, simply filch them.

The rubric, partially erased, is found on c. There is certainly good reason for such research. Petrarca declared often that writing was his all-absorbing form of expression. For him, writing was all: Moreover, and this is a point we should keep in mind throughout our discussion, he was a particularly avid corrector of his own manuscripts and a meticulous glossator of codices that came into his hands.

And do last copies represent definitive versions for an author profoundly dedicated to continuing experimentation with his works? The implications of this veneration of the holograph and the treat- ment of erasure in Vat. For a review of relevant bib- liography, see Belloni , 58— On the history of the codex, see Nolhac and Belloni For Petrarca, at the time of his death, the Rerum vulgarium fragmenta was a collection of ten unbound fascicles or, more accurately, 36 bifolia, without the formal closures typical of medieval manuscripts, still open to additions, erasures, and further lyrical and organizational experimentation.

See Storey a, But the transparency in such applications is preferable to textual conjectures never explained or even mentioned in the critical apparatus. It is an elegant but very plain, virtually unadorned manuscript with little interest, say, for col- lectors of pretty books. At one point in the project, consideration was given to the option of producing a virtual restoration of the entire manuscript since a good number of its chartae are severely damaged and some parts practically illegible with- out the aid of ultraviolet light.

The results of the restoration proved to be seriously flawed. There are so many textual errors and false readings in the 18 chartae bundled with the facsimile, that I had only enough space in my own essay in the Commentario to present a list of the types of errors. The internal bifolium, cc. For a manuscript that is constructed on an extraordinarily articulated system of mise en page, it contains a very large number of erasures, corrections, revisions, and addenda that are not implemented to correct or maintain the layout, or mise en page, of the codex.

Ideally, even in our best reproductions and editions, erasure is a prob- lematic presence. As many know, Petrarca uses it skillfully on c. Moreover, the hair side of parchment provided an additional benefit: With these factors in mind, it should not surprise us that those sections of MS Vat.

However, see also Troncarelli and Troncarelli The disturbing truth about Vat. These interventions in the text constitute a subsequent cultural erasure to which I shall return in a few pages. For while corrections might not have caused great consternation in the medieval reader, medieval manuscripts themselves tell us that dramatic shifts from one hand to another, and from script to script, alerted the reader to significant changes in genre or to a work copied perhaps by a workshop as a master, but not a fair, copy.

Over-writes over erasures are in bold and underscored for clarification. For more examples and more detailed explanations, see Belloni and Storey b. Their editorial transparency is guaranteed. Radically deep erasures, such as the elimina- tion of sonnet and the insertion of Laura gentil che rasserena i poggi on c.

We should note, however, that 26 Once Petrarca takes over the task of acting as his own scribe in this codex, it is difficult to imagine that he would have involved an additional corrector. But we have to keep open the possibility that he did not execute the erasures himself. In , without the advantage of ultraviolet light, Ettore Modigliani read prevo for provo in the verse. The specific case of c. Indeed it is the bleed-through of the ink of the first verse of In quel bel viso Rvf that Petrarca is trying to avoid in his transcription of verses Modigliani , ad loc.

See, however, Belloni , n, which retracts the error that originates with Modigliani , ad loc. And while it is difficult to tell exactly where after Rvf O bella man [c. Curiously, while maintaining his traditionally intricate transcriptional systems that integrate layout of the charta, and even groups of chartae, with textual signficance, Petrarca now allows himself greater latitude in form and care.

On the same bifolium, c. Fenzi , ; Dotti , 2: Only Bettarini , 2: Instead he draws a separation line between the end of verse 3 and the beginning of verse 4 and then fills the awkwardly empty space with dashes. The text of De! The example of De! Nevertheless, the inserted bifolia were not designed as part of a fair copy: Rather these bifolia function as a material model for the insert that Petrarca describes in his letter to Pandolfo Malatesta, Varia IX.

The erasure of Petrarca does not, alas, end there. We should note that the caution imposed by librarians today around ancient codices was not always observed by previous owners and readers of medieval manuscripts. Moreover, rather amazingly, every manuscript and edition I have examined before Modigliani and Contini, have the same reading: Let us begin by remembering two distinct moments in the textual editing of Italian literary works.

I quote the note in its entirety: Yet the only information that is the product of a direct examination of the materials are: All the rest, from Modigliani to Santagata, is conjecture: In , following Contini, Santagata read: Though tampered with by later hands, the legitimate lectio is the one we find in MS Vat.

The distinction will not change our reading of the work, but it does speak volumes about the difference between the production of a commentary and textual editing, especially within the context of the national traditions of literary icons such as the Rerum vulgarium fragmenta. We might pose the following question: Is philological method based on the paleographic and codicological observation of the witnesses a fundamental part of editing canonical works in a national tradition?

Received critical tradition, even in its most innovative moments of conjecture and theory, still needs to be tested against the material facts of the witnesses. We now have the tools to be able to see better what, for example, Modigliani could not see at all in That it has distantly spawned new creative processes, critical and artistic, should not surprise us. However, that critical process should not necessarily guide us in editing its results. I cannot prove or disprove what Petrarca wanted or forgot to do, nor—to be crystilline on this point—is this kind of conjecture methodologically sound enough to enter a diplomatic or a critical edition.

There are times in a text when we have to dig deep below the erasure to discover uncertainty itself and then, perhaps uncomfortably, report it to readers who will eventually have the tools to read it better.

Early Renaissance editorial practice erased that entire system of Petrarchan poetics, an erasure editors continue to ignore today. There are levels of erasure in Vat. Many of these instances were identified by Modigliani and additional cases located in the recent Commentario of Often two or three of these levels of punctuation converge.

Going against the rules of authorial editions, my own diplomatic-interpretative edition of the Rerum vulgarium fragmenta, still in preparation, turns in some cases to these codices for their solutions to editorial problems that simply cannot be solved solely with the data supplied by the holograph. That most important shift from fair to service copy, as well as that ruled but unused bifolium cc. Vatican Library, Latino , c.

Reprinted by kind permission of the Biblioteca Apostolica Vaticana. It is also a reflection on the interre- lation between texts be they literary or non-literary and the material documents that contain them. All three are preserved in the Beinecke manuscript and rare book collection at Yale University: Facsimile del codice autografo Vaticano Latino vol.

Like other contemporary critics, I too harbor skepticism about the philological method and the difficulties in establishing texts that are accurate to an original. My use of traditional vocabulary does however reflect the belief that literary scholars must test the limits of what is historically accurate and possible.

In terms of content, script, and codicological features, they are sufficiently different from one another and, therefore, represent different typologies of manuscripts containing his vernacular poems. As the author and copyist of many works, Petrarca challenges read- ers with his pragmatics of writing and, of course, with his thematic and stylistic innovations. His publication strategies assume a profound understanding of the dynamics of literary production, circulation, and consumption and compel us to consider what we can refer to as his strategic interaction with readers.

The Familiares are translated in their entirety into English in Bernardo — For the Seniles, in spite of modern abridged versions and partial translations into Italian and English, it is worth citing the only complete Latin text of Petrarca and its recent reprint in The reasons for this psychological disposition are many and complex and are not purely literary.

Crafting a grand narrative of the Self requires first and foremost attention to the details about how that narrative will be perpetuated and interpreted. Communication networks in the age of the handwritten book relied less on mechanization than does print culture, but codices were not any less complex.

Because of the subjectivity inherent to scribal tran- scription, guaranteeing the integrity and authenticity of any text was a challenge.

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And Petrarca understood this. He was obsessed with the form in which his Fragmenta and other literary works circulated during his lifetime and even with their fate after his death. Although structurally and thematically different works, they were frequently paired together in manuscripts.

The Triumphi deal with mythological motifs and classical culture and seems to have been a Medieval and Renaissance bestseller of sorts, and it quite possibly enhanced the reproduction of copies of the Fragmenta.

DDIS Doodle Study mentioned in press Written in the vernacular, the Triumphi made classical culture accessible to non- Latinists in an age when classical art and thought were in vogue. One can imagine fifteenth-century Florentine merchants wanting their own copies of both works, especially of the Triumphi with all of its references to Roman pageantry and grandeur. The many illustrated copies of the work are testimony to its popularity among elite and wealthy readers.

There was a wide range of urban bookmaking and bookselling experiences, especially in university towns, from personal unadorned copies to deluxe manuscripts copied for elite collectors.

The practice of serial book production epitomized in the pecia system used to reproduce legal, theological, philosophical, and scientific tracts in academic environments meant that scribes became proficient at copying technical works.

As a poet who was very knowledgeable and concerned with transcription, this trend among scribes would have made Petrarca more than a little nervous because copying and formatting technical literature was different from copying and formatting poetry, in which the graphic layout of poems is itself a purveyor of textual meaning.

Cheap paper codices of both works were available at the shops of stationers like that of Gherardo e Monte di Giovanni in A couple of methodological observations about descriptive manuscripts are in order before discussing specific codices of the Fragmenta. She also advises editors to use as much caution in declaring a manuscript descriptus as in affirming an authorial autograph. In the Lachmannian method, the aim is to produce a text that is as close to the original as possible.

This mechanistic approach to editing is necessarily pragmatic and has little regard for codices descripti. And therein lies the problem. Nineteenth- and early twentieth-century philologists with nationalistic interests therefore were concerned primarily with authorship and with establishing the Ur-text. But there has been a gradual shift in focus among literary scholars and historians that mirrors the evolution of other disciplines in the humanities, from an emphasis on author-centered texts as the product of a single author to the transcription, circulation, and re-interpretation of texts in the complex chain of cause and effect.

A mid-to-late fifteenth-century copy of a fourteenth- century text whose readings are generally less reliable or authoritative may nevertheless have an authorial variant and, thus, help the editor to emend the authorial text. Conversely, what is the status of a codex that is textually unreliable but accurately reproduces the layout of the text and other graphic features? We call such manuscripts scribal copies. But scribal copies of a text frequently differ widely among themselves.

There is much interesting work being done by manuscript scholars who are examining the theory and practice of editing medieval texts along the lines being proposed in this paper, i. See, for example, the interesting case studies in Echard and Partridge The majority of fourteenth- and fifteenth-century Italian poetry has come down to us in anthologies that were produced by scribes. Indeed, they are com- plex literary and cultural artifacts because the same manuscript may be thought to have a reliable reading of the poems of one author, but not that of another author included in the compilation.

By comparison to ancient and early medieval manuscripts, there is a seemingly inexhaustible supply of manuscripts from the fourteenth through sixteenth centuries. And with the advent of printing in the mid-fifteenth century those numbers increased exponentially.

This wide- spread production and circulation of multiple copies of manuscripts and printed books promoted literature and other genres as consumer goods. From the differences between manuscript versions of a work literary historians learn much about readership and about the development of the literary canon.

Research in manu- script studies tends to focus on codices that have a philological and literary pedigree. Given the objectives of critical editing this makes sense. The ancient, but not necessarily original, numbering is in the upper right hand corner in the same color of ink as the text, whereas the modern numbering to which we will refer is written in pencil in the lower right hand corner of each recto.

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There are several blank leaves toward the end of the document. The quire structure varies throughout, although the sester- nian a quire of six folded folios, or six bifolia is the most prevalent basic unit of the book. Almost all the quires have catchwords, which are written horizontally in the middle of the bottom margin with simple pen flourishes for decoration.

The light pencil rulings are functional and often barely visible. There is a pretense of decorum, but certainly not of deluxe decoration, as the drawing is rapidly, but expertly executed. Throughout the manuscript there are spaces left unfilled for initials although guide letters are frequently evident. Nonetheless, it is one thing to study a manuscript because of its relation to a prestigious model; it is quite another to study the same manuscript because of its own status as a document about literary taste in the case of literary manuscripts and about transcription, reading, and circulation.

Just as there has been a shift in focus from authorial to non-authorial texts and skepticism directed toward the literary canon is now the norm, there needs to be greater emphasis in manuscript studies on those texts and documents especially of anthologies, miscellanies, and the process of anthologization in general that have been considered genealogically unimportant.

Indeed, the language and material features strongly suggest that the book was produced in northeastern Italy in the first quarter of the Quattrocento. Watermarks are of little help, although they do not dispel the general dating.

The scribes make several changes to the ordering of the poems with respect to the modern edited versions of the Fragmenta. In Figure 2 we see that the scribe picks up his pen and copies on c.

He then transcribes vv.

Almost certainly, the error in the sequence of the text exists in the exemplar from which the scribe made his copy. He, or a cor- rector, makes note of this fact. What is perplexing about this error is that it disrupts the flow of the rhyme and meaning of the poems and yet this otherwise competent scribe either ignores his own mistake or chooses to continue his copy in this fashion.

And this particular scribe tends to be mindful of the textual errors he makes, making emendations in the interlinear spaces. Another glaring example highlights formatting difficulties.

The Marston scribe of the sestina A qualunque animale Rvf 22; c. Philologists look for textual errors or different readings in judging the worthiness of a manuscript. Codicologists, on the other hand, examine material features. And material philologists try to make sense of the interplay between texts and their material formats. With regards to later, non- authoritative manuscripts, the material philologist is intent on revealing the particular incarnation of a text as a circulating cultural artifact.

At first blush, if all manuscripts are equally worthy of careful analysis, not only would the task of generalizing from the study of different manuscripts of the same work not be pos- sible, it seems that the philologist suspends his critical and historical judgment.

But this is a narrow interpretation of the philological method. In practice we frequently make judgments based on the aims of our inquiry or according to a hypothesis. MS of the Beinecke Library previously owned by the bibliophile Sir Thomas Phil- lipps , a composite manuscript in two parts written on paper.

The first 21 See Storey b, for Vat.

More than half of the poems 19 in this collection are anonymous. The editor of the interpretive edition of this Trecento anthology, Rigo Mignani, states that the Beinecke codex reflects typical themes of the period and that there is a concentration of poems dealing with Pisa and the Holy Roman Emperor, Lodovico il Bavaro.

La riflessione in corso, tuttavia, e proprio sui temi del classico capolavoro di Hungtinton6, segue un altro percorso. Simmel, Filosofia del denaro a cura di A. Ma penso anche alla creazione di nuove cerchie sociali e di reti di riferimento politico, con leaders intermedi delle organizzazioni partitiche che garantivano la redistribuzione di risorse dal centro. Sant Cassia with C. Esso ha consentito a immense masse di resistere ai disagi della crescita in un ambiente arretrato, minizzando i costi sociali e sviluppando strategie di autodifesa individuali e collettive che hanno reso meno penoso il cammino vero la completa intersezione nel circuito del meccanismo di mercato.

Pardo, Managing Existence in Naples. Tai Landa, Trust, Ethnicity and Identity. Eppure ci ostiniamo a non applicare i suoi modelli analitici. Chayanov, The Theory of Peasant Economy, ed. Ethnic Communities in Business.

Alternative al degrado, al declino, alla marginalizzazione Sapelli, Southern Europe, cit. Si guardi ai destini tanto diversi di Barcellona e di Instanbul. Certo,si deve sempre affermare che: Klapsich-Zuber, Tuscans and their Familie: E le eccezioni sono le eccezioni dello Hinterlandindustriale piuttosto che rurale- e caratterizzano le esperienze di Barcellona, di Genova, di Trieste, di Smirne Izmir.

Essa ha subitamente abbandonato quella configurazione sociale industriale per assumere quella della neo- industria e del declino, quindi, della popolazione industriale rispetto a quella del settore terziario. Conflitti, sviluppo e dissociazione dagli anni cinquanta a oggi,Marsilio, Venezia, Si pensi alla siderurgia napoletana, per esempio.

Social Change and Urban Development,cit. Anfossi, Prefazione, ad A.

Translators’ Identities within Approaches to Translation Sociology:

Oommen, a cura , Azioni politiche fuori dai partiti. La politica di grandi costruzioni ad uso In una pagina fondamentale dell'Etica a Nicomaco Aristotele aveva 1 collocato la ricchezza elargitrice al centro della citt e del sistema sociale.

Bekker, Berlin, II, pp. Ricchezza e povert nel cristianesimo primitivo, a cura di M. Mara, Roma, III ed. Dark — Anthea L. Orselli, I Beni culturali nella committenza e nella cura dei vescovi. Donciu, L'empereur Maxence, Bari , pp.

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Brodskij, Fuga da Bisanzio, tr. Forti, Adelphi edizioni 6 Milano , p. Brodskij esiliato dalla Russia nel ha avuto il Premio Nobel per la Letteratura nel Malgrado le sue professioni di antibizantinismo si fatto seppellire a San Michele di Murano, nella Venetia alterum Byzantium. Maltezou, Venezia , pp.

Di Branco, con una nota di B. Hemmerdinger, testo greco a fronte, postfazione di G. Pertusi, Il pensiero politico bizantino, Edizione a cura di A. Volpe Cacciatore, Napoli con sunto alle pp. Traduzione in tedesco in W. Su questa proposta di Tomaso Magistros cfr. Culte des saints et monarchie byzantine et post-byzantine, Bucarest, , pp.

Si veda la bibliografia relativa al voivoda in A. Carile, Teologia politica bizantina, Spoleto , pp. PG 86, ristampa della notizia del Galland , cc. Riedinger, Athenai , e di varie traduzioni cfr. Rocca, Un trattatista di et giustinianea: Bell, Glasgow , pp. Per la tradizione letteraria e politica di Agapeto rimane fondamentale cfr.

Pertusi, Il pensiero politico bizantino, a cura di A. Carile, Bologna, , p. Thessalonike, con aggiunta di due articoli e prosqnkev di Aikaterine Christophilopoulou , ed. Laiou Editor in Chief, Washington, , pp. Ospedali, ospizi per viaggiatori, lebbrosari, nella capitale e lungo le vie di comunicazione, vennero eretti.

Speciale cura si ebbe dei profughi e degli orfani, cui si provvedeva anche ad una forma di educazione, oltre che di mantenimento Carile, Materiali di storia bizantina, Bologna , rist. Miller, The Orphans of Byzantium. Child Welfare in the Christian Empire, Washington , pp. Finn, Almsgiving in the Later Roman Empire.

Christian Promotion and Practice , Oxford Nel pensiero e nella vita dei bizantini la philanthropia era: Ecco le regole della filosofia filantropica bizantina: Farsi monaco e vivere una vita di di preghiera e mortificazione dei bisogni materiali e distribuire le ricchezze proprie ai poveri significava raggiungere la perfezione.

Brown, Povert e leadership, cit. Arangio-Ruiz, I, Napoli , pp. Carile, Bologna , p. Alessio I Comneno consiglia al figlio: La filantropia costituiva una delle prerogative 31 J. Patlagean, Santit e potere a Bisanzio, tr. Child Welfare in the Christian Empire, Washinton , pp.

Ma anche i dignitari laici assumevano una connotazione socialmente accettabile mediante operazioni filantropiche. Basilio il Grande, Giovanni Crisostomo, Sansone, Giovanni il Misericordioso, Stefano parakoimomenos di Maurizio, Dexiocrate, Michele Attaliata e molti altri si illustrarono con private fondazioni caritatevoli Licentiam igitur damus praedictis venerabilibus domibus non solum ad tempus emphytheosin facere immobilium rerum sibi competentium, sed perpetue haec emphytheotico iure volentibus dari.

XII con la relativa bibliografia sul tema della ideologia politica. Diamo licenza alle predette istituzioni venerabili di stipulare delle enfiteusi dei beni immobili di loro propriet non solo a tempo ma anche in perpetuo a favore di chi le vuole.

Anche gli xenones o xenodocheia e gerocomeia offrivano servizi medici. Ospedali, cliniche, e ricoveri di Chiesa, imperatori e laici, erano usualmente annessi a luoghi di culto e di pellegrinaggio e anzi si riteneva che alcuni santi, e relative reliquie e alcune colonne avessero poteri curativi miracolosi Freu, Les figures du pauvre dans les sources , cit.

Miller, The birth of the Hospital, cit. Brown, Povert e leadership nel tardo impero romano, cit. Constantelos, Byzantine Philanthropy, cit. Due fratelli della Isauria, Teodulo e Gelasio furono gli architetti del complesso e vennero definiti i nuovi Beseel e Eliab, i biblici architetti del Tabernacolo.

Carestia, locuste, peste e quindi fame, malattia e morte. Wright, Cambridge , p. Gli schiavi bambini valevano meno della met di un adulto, perch presentavano un rischio pi grande di sopravvivenza.

A met del prezzo legale si potevano acquistare presso il gran principato di Kiev nel X secolo gli schiavi russi da rivendere al mercato di Costantinopoli, cfr. Nel sobborgo costantinopolitano Irion sorgeva un leprocomion ospedale per lebbrosi denominato Zoticon. Una fonte citata dal Preger 46 afferma che fosse stato fondato da Giustino II e sua moglie Sofia Il protovestiarios Zotico ne era stato il suo primo direttore.

Un altro ptochotropheion con lebbrosario si trovava nella regione di Argyronium, sulla costa del Ponto Eusino oltre la chiesa di San Panteleimon. Aerio, che a causa del suo arianesimo dovette lasciare il posto. Non mancano esempi di ricchi laici fondatori di ospedali.

Otto letti del secondo reparto erano a disposizione delle affezioni oculari e intestinali. Dodici letti nel terzo reparto erano riservati alle donne. Altri venti letti in due reparti servivano per malattie generali. Ogni reparto disponeva di un letto libero per emergenze e altri sei per malattie terminali. Gli altri reparti erano dotati allo stesso modo. In un ospedale di di sessantun letti operavano trentacinque dottori.

Il Typicon prescrive inoltre che di notte cinque dottori, quattro maschi e una femmina, fossero presenti in ospedale. Ogni letto era dotato di una coperta distesa su un tavolato al modo orientale, una coperta, un cuscino e una coperta di pelo di cavallo mentre in inverno venivano fornite due imbottite. Il direttore si doveva curare della biancheria mentre i vestiti dei pazienti dovevano essere puliti e stirati. La dotazione del letto veniva rinnovata anno per anno. I vestiti scartati venivano donati ai poveri.

Nel reparto donne operavano due dottori, una levatrice e quattro aiuti, due sovrannumerari e due infermiere. Miller, The Orphans of Byzantium, cit. Dottori e personale erano organizzati in due turni che cambiavano ogni mese. Justine lawrence durrell epub. Digital fortress book read online. Ebook reader vergleichstest roller. Antygona audiobook chomik. Henri viernes epub format. Childhood end ebook pdf biz. Download ebook php mysql.

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