This article features Stats Insider's free betting tips for the Stefanini vs Kudermetova match Using trusted computer power and data, Stats Insider has simulated the outcome of Wednesday's Stefanini-Kudermetova women's singles match 10,000 times Our proven predictive analytics model currently gives Kudermetova an 81% chance of beating Stefanini at the WTA Italian Open tournament The latest betting odds in Australia for Wednesday's WTA Italian Open match between Stefanini and Kudermetova are shown below: Odds are correct at the time of publication and subject to change TAB currently has Stefanini at $4.33 and Kudermetova at $1.22 TAB currently has odds for Stefanini to win the first set at $3.50 and odds for Kudermetova to win the first set at $1.30 Our Lucrezia Stefanini vs Veronika Kudermetova betting tips are based on detailed modelling and betting experience to give you the best possible advice 24/7/365 While Kudermetova is more likely to win the first set on this occassion our suggested bet of Kudermetova ($1.83) is based on the likelihood of that happening Stats Insider provides full coverage of the Lucrezia Stefanini vs Veronika Kudermetova match at the WTA Italian Open tournament including data-driven predictions and free betting tips so refresh this article for the latest betting predictions before the Stefanini-Kudermetova match at the WTA Italian Open tournament As always, see Stats Insider's Best Bets for betting tips on every tennis match as well as predictions for a wide range of other sports The 2025 WTA Italian Open match between Lucrezia Stefanini and Veronika Kudermetova is scheduled to begin at 6:00pm AEST All dates and times mentioned in this article are in Australian Eastern Standard Time (AEST) Our Lucrezia Stefanini vs Veronika Kudermetova predictions have been made based on 10,000 data-driven simulations of the game, carefully curated by our team of skilled data scientists and analysts. We use cutting-edge technology and machine learning to ensure our tennis tips are trustworthy and reliable giving you the knowledge you need to make informed decisions with confidence If you choose to use our tennis predictions for betting purposes, it's important that you gamble responsibly and know when to stop. For free and confidential support, call 1800 858 858 or visit gamblinghelponline.org.au Stats Insider is your home for betting on tennis in Australia, with the latest tennis betting news, tips for every tennis tournament, and our in-house approach to accurately ranking the world's top 100 men's and women's players. Australia's leading predictive analytics website offers Australian sports fans innovative tools and content to enhance their enjoyment of major sporting events both domestically and internationally Our goal is to transform the sports fan experience by providing readily accessible data-driven content for sports enthusiasts like us © 2015-2025 Hypometer Technologies Pty Ltd (ABN 78 609 507 744) Proudly part of Cipher Sports Technology Group « Back Assistant Professor in the Department of Transnational Italian Studies Thanks to her 12 years of female leadership in teaching Italian through online platforms Lucrezia Oddone will discuss women's participation in modern technologies as well as the possibilities offered to humanities and romance languages by digital tools You are cordially invited to join the Department of Transnational Italian Studies for this timely event which in the week of Bryn Mawr’s presidential inauguration will offer food for thoughts on crucial issues at the core of our mission as cross-cultural learners and instructors of the 21st century An aperitivo "Italian style" and a book signing will follow at 6-7 p.m which broadcasts on Rai Italia in English every day and recounts Italy to viewers from across the world Transnational Italian Studies LITS Comparative Literature Romance Languages Praxis Film Studies Gender and Sexuality Studies Bryn Mawr College welcomes the full participation of all individuals in all aspects of campus life. Should you wish to request a disability-related accommodation for this event, please contact the event sponsor/coordinator. Requests should be made as early as possible. where artisans crafted footwear from leftover fabric and old bicycle tires Legend has it that gondoliers in Venice favored the shoes for their firm grip and boat-friendly soles Red Cross nurses embraced the style for its practicality the furlane has evolved into a symbol of effortless elegance Vogue100 joined forces with Vera Arrivabene to host an intimate celebration at her boutique, a jewel box nestled on the cobbled Via del Carmine. The afternoon, co-hosted by Vogue Italia’s Lucrezia Malavolta, brought together a stylish crowd for conversation, creativity, and Venetian charm. Guests mingled over expertly crafted cocktails (naturally, mixed with Campari) and delicate canapés as they explored the boutique’s vibrant selection. Hippolyte Petit/BFA.com1/13Hippolyte Petit/BFA.com2/13Vera Arrivabene, Maddalena Arrivabene Hippolyte Petit/BFA.com3/13Irina Kro Eicke Hippolyte Petit/BFA.com4/13Paula La Croix, Luchino Bonaccorsi Hippolyte Petit/BFA.com5/13Louca Latouche, Emily Cheong Like all super-rich dynasties, the Wildensteins have always operated on a strict code of omertà. So this meeting is rare: the first on-the-record interview with any member of the family in decades. But today, as a battle rages in a Parisian court – Wildenstein vs le fisc français – David engages. The thing is, he says, ‘If you’ve had a black sheep in the family, you inherit that black sheep, even if you are a good person.’ It’s the reason why David’s father, Guy Wildenstein, is currently fighting for his fate – and that of his dynasty – in that Paris courtroom 4,500 miles away. By the time you read this, Guy may have been sentenced to a year in a French jail and ordered to pay some €750 million in back taxes and fines that prosecutors claim are owed. Real-life princesses, queens of the scene and It-girls galore: 2024 proved to be a catalyst for decadence and debutantes… At issue now is whether the family’s trusts were independently managed. To be exempt from taxation, ‘irrevocable’ trusts must be run by trustees without interference from the beneficiaries.Guy, 77, the Franco-American patriarch of the family, is accused of having directed trustees to carry out his will. A faltering fairytale? Everything you need to know about the first year of King Frederik and Queen Mary of Denmark's rollercoaster reignBy Ben JureidiniRead MoreThese charges have been levied before Guy was acquitted after trials in 2017 and 2018 when judges ruled that at the time his father died – in 2001 and 2008 respectively – there was no law in France requiring him to declare assets held in foreign trusts the so-called ‘Wildenstein law’ was enacted in France requiring foreign trusts to be declared to authorities.) the country’s highest court cancelled those exonerations prompting the retrial that began on 18 September this year Guy’s co-defendants in the case include Alec’s son Liouba Stoupakova – they are collectively referred to in the French press as ‘les W’ – as well as two of Guy’s lawyers and a notary It’s a saga that begins in the 1870s, in Alsace, where Nathan Wildenstein, a French Jew and a tailor by trade, began scooping up 17th- and 18th-century French paintings by the likes of Fragonard and Watteau, which had fallen out of fashion reselling his marked-up stock to the nouveaux riches Thanks to a web of spies that he established throughout Europe Wildenstein & Co developed a vast information directory that enabled them to locate artistic treasures to buy and sell the operations of which became headquartered in New York after the family fled France in 1941 (Georges has been accused of collaborating with the Nazis to traffic art – an accusation the family denies.) POWER COUPLE: David and Lucrezia married in 2013 two years after meeting on a blind date in New York Eventually, the boys rebelled and wed. In 1978, Alec eloped to Las Vegas with the daughter of a Swiss department store salesman, one Jocelyn Périsset, whose extravagance and extreme plasticsurgery became world-famous around the time of the couple’s sensational divorce in 1999. Not long after Alec’s secret wedding, Guy married Kristina Hansson, a Swedish former model. The ill-fated Empress Elisabeth ‘Sissi’ of Austria has had her story retold countless times on screen. Now, on the anniversary of her wedding to Emperor Franz Joseph I of Austria, what is the truth behind the drama? They holidayed together, too, at Ol Jogi, their 66,000-acre ranch in Kenya, and at their 18-acre compound in the British Virgin Islands. Between these properties, they could float on the 168-foot yacht Southern Breeze or fly on their Gulfstream IV with the family’s insignia of three blue horseshoes on its tail the obsessively secretive family was worth some $5 billion But drawing an estimate of the Wildenstein fortune has always involved guesswork since muchof that wealth lies in their immense inventory of masterpieces much of which has been hidden away for generations in lead-lined vaults and in freeports around the world the Wildensteins sell a painting whose whereabouts were last accounted for 40 or 50 years ago “So that’s where it was,”’ art dealer Eugene Thaw once claimed any fifth-generation Wildenstein could easily have issues Lucrezia apologises for the mix-up that morning We were supposed to meet in Palm Beach all along But perhaps her London-based publicist confused Palm Island for Palm Beach the couple relocated to a rental house in Palm Beach where they have enrolled their sons in school and where Lucrezia can be close to the equestrian mecca of Wellington where they gather for holidays and special occasions (and where this photoshoot took place prior to our interview) the pricey but nondescript restaurant they have chosen is located in the commercial hub of downtown West Palm Beach across the bridge from the society bastion itself Lucrezia (‘Lulu’ to her friends) was born in Miami, where her mother, who is of Cuban extraction, married her father, Andrea Buccellati. The family soon relocated to Milan where Lucrezia’s great-grandfather Mario founded his jewellery and goldsmithing business in 1919 he revived techniques rarely used since the Renaissance who included members of the royal families of Italy and Spain as well as popes and cardinals The couple, who are both dynastic scions, spoke out for the first time in decades in an exclusive interview with Tatler ‘We’re people who feed off of adrenaline rushes,’ explains Lucrezia. Both dynastic scions, they found common ground there, too. ‘We definitely connected on that,’ recalls David. ‘We understood the family values, what was expected, and how family businesses operate. We talked about the generational aspects of family businesses. We both know what it’s like to be the firstborn in our generation. You have all the pressures applied.’ ‘We were both going through the same kind of struggles, trying to find our identities, our niches in our families,’ adds Lucrezia. When Lucrezia was a girl, she would play after school in the office of her grandfather Gianmaria, who took over the Buccellati workshops after his father, Mario, died in 1965. She would finger through a huge safe that held a treasure trove of jewels and gold. The only daughter of Queen Elizabeth II’s late sister, Princess Margaret, Lady Sarah is close to the King and often joins the royals for events like Christmas and Easter ‘It was his way or the highway,’ Lucrezia remembers he was not ready to accept women in the workplace When Lucrezia expressed a desire to join the company But after studying at the Fashion Institute of Technology in New York ‘Our clients were getting old,’ she explains ‘We had to modernise without changing the house’s DNA.’ In 2010 she was appointed co-creative director and US brand ambassador And David? ‘I grew up with, “You will be an art dealer. There are no other choices for you.”’ Though he says he had a passion for history, which dovetailed with the Old Masters side of the family business, he admits: ‘I don’t necessarily have the same passion for art.’ After graduating from New York University he came to realise that the family owned another big asset: a portfolio of prime real estate but there were properties they’d bought up over the years that were more or less sitting around a large building in the prime shopping district “Let’s take the real estate portfolio and optimise it,”’ explains David 740 Madison now earns big rents from Bottega Veneta and other tenants David convinced the family to sell the gallery building at 19 East 64th Street It was no longer necessary to have all that space which was at the time the highest price ever paid for a townhouse in New York HNA sold it for $90 million to Len Blavatnik – who had been outbid for the property in 2017 Some of the profits from these sales have been reinvested in real estate of a different ilk such as large rental apartment buildings in once-rough but now up-and-coming neighbourhoods such as Bushwick ‘I’ve been a big proponent of not having all your eggs in the same basket,’ says David have reportedly hired lawyers to protect their interests Alain just purchased the remaining parts of the Wildensteins’ fabled thoroughbred racing and breeding concerns.) this massive liquidation of assets suggests that the family might be preparing to pay a large bill one soon to be ordered by a judge in Paris if they are found to be liable As one speculates about the future of the dynasty it’s illuminating to consider the family dynamics that played out under the roof of #11 ‘A lot ofit probably has to do with my grandfather an autocrat… a little bit like [Lucrezia’s] grandfather,’ recalls David Guy stayed largely with his mother while ‘my uncle ending up going with his dad’ Grandfather wanted to be the ultimate playboy.’ But Guy did have at least one extravagance – polo on which he employed as his principal player Julian Hipwood the highest post-war handicap of an English player Another player was Prince Charles. In 1986, they captured the Queen’s Cup – a match that Charles’s father Winning the Queen’s Cup was the pinnacle of the then Prince of Wales’s polo career Picture shows Prince Charles (left) leaving the polo field with his friend possibly Guy Wildenstein (right in the suit) (Photo by Bill Rowntree/Mirrorpix/Getty Images) Which leads to how the King of England became David’s godfather ‘My father had a very close relationship with him,’ explains David David would always receive a thoughtful gift on his birthday – cufflinks or a book of Charles’s watercolours He’d ask me about my interests and what I was doing.’ When David wrote back his father would insist his letter had to be ‘perfect’ ‘So I’d have to redo it and redo it until it was.’ But to get back to family matters, Alec and Guy’s wives could not have been more different, either. Everything about Jocelyn Wildenstein has always been flamboyant, from her couture wardrobe (one of her Chanel gowns reputedly cost $350,000) to her widely reported plastic surgery ‘She wasn’t exactly the maternal type,’ David recalls I always had a very respectful rapport with her I don’t have anything negative to say about her Alec married Russian-born actress Liouba Stoupakova.) Kristina – still married to Guy – is ‘the complete opposite’ of Jocelyn ‘She shuns the spotlight; she’s always been a real stay-at-home mom She’s always been very present for her children and grandchildren.’ Then there are the cousins is said to be the driving force behind Wildenstein & Co today with a focus on contemporary art; Olivia is an author of romance novels; Samantha is a social worker.) Jocelyn Wildenstein became a tabloid fixture in the late 1990s thanks to her $2.5 billion divorce from David’s uncle ‘The bond in the family is between him and me got intoa lot of trouble together [as kids] We’re very similar in terms of how we think ‘it was two very different vibes growing up’ at #11 who had a very complicated childhood because of my uncle and aunt [Alec and Jocelyn] But sometimes the drama from one family would end up spilling over (French prosecutors have also requested that Alec Jr serve a six-month suspended sentence for his role in the alleged tax evasion.) It is only towards the end of lunch that David agrees to comment on the current situation in Paris It’s an inheritance tax case – that’s what it boils down to,’ he says it goes back to my grandfather having set things up in trusts which most people use nowadays to organise their estates and English countries operate on common law.’ he proceeds to proffer his views of what a trust is – ‘a well-known instrument that has been used for over 1,000 years’ – and the case in Paris: ‘I think France just has a hard time wrapping its head around it because they look at trusts as foreign to their law; they look at it as a way for people to shield their estate from tax The French have been having to learn a little bit about how trusts work Does being a beneficiary mean you’re a shareholder of that trust Being a beneficiary means you have a beneficial interest if the trustee decides to distribute anything to you That’s something that’s been very difficult for [the French] to understand.’ He says his father is ‘doing as well as one could expect’ David is conscious that today is Yom Kippur court would not be in session today,’ he says my father is not fasting and is in court.’ That’s France As for the state of Wildenstein & Co’s legendary inventory It’s generations and generations of people buying art,’ he says it’s got just about every artist you could think of in there Regarding the extreme mystery that surrounds it he says: ‘I think the reason for the secrecy is we try to keep the works… fresh So that’s where the secrecy [comes from].’ It remains to be seen if the Wildenstein empire will be toppled by events in Paris the future of the dynasty seems uncertain at best But one art world figure who has known the family for decades says: ‘She’s the first Wildenstein wife who’s an equal.’ ‘We definitely give each other business advice,’ says David She didn’t have a formal education in business but she’s got a great comprehension of the deal.’ Any major decisions ‘I’m definitely not following my forefathers’ way of doing things without talking to their spouses.’ They appear to be engaged parents, too, as they talk about taking their boys, Nathan, 10, and Daniel, seven, to various school and sporting events ‘You have to honour and respect your forefathers,’ says David People will always judge you by your family name a lot of times people will say it comes from their family you’re never going to be that self-made guy This feature appeared in full in the January 2024 issue of Tatler Our latest Scholar Athlete of the Week hails from Brighton High School as the Bruins and star outside hitter Lucrezia Pavan hope to continue making school history in her senior year Lucrezia Pavan is now a Section V champion it’s pretty obvious what makes her so dominant on the hardwood.  “Every single ball she wants to smash through the floor,” said Brighton head coach Andrew Guthrie She wants to put holes in the floor.” Pavan has been on varsity since eighth grade Now a senior leader who stacked up over 1000 kills in her career.  “She is the leader of our pack,” said junior Charlotte Goldfeder “I can’t put her in any other words.” But the Brighton captain had to wait until her senior year to hoist a Section V championship So I’m just so happy that I got to win with this team Pavan gets at least one more weekend with that group when the Bruins head to the state semifinals.  “A once-in-a-lifetime opportunity for me “It’s my last year and it’s an amazing way to end And I’m just so happy that I got to do it.” Lucrezia and the Bruins have already made Brighton school history and an impression that’ll last a lifetime.  “I’m going to miss her a lot,” Guthrie said “She’s the one that brings them together and is like Pavan will take her talents to Division II Bentley next fall.  “I loved the location and I want to study business finance so it was a perfect fit for me,” Pavan said Lucrezia and the Brighton Bruins will head to Cool Insuring Arena in Glens Falls this Friday for Class AA state semifinal play Any person with disabilities who needs help accessing the content of the FCC Public file should contact Richard Reingold at rreingold@whec.com or 585-546-1701 Spread from sideline to sideline of the Semmes Athletic Center nearly two dozen Episcopal seniors put pen to paper Wednesday to confirm their college sports destinations Senior Eagles Lucrezia Gowdy and Alexander Hillyard are both heading a little off the beaten path athletically for the next steps in their careers with Gowdy signing for Denver's women's triathlon team and Hillyard off to the University of British Columbia for football The road from triathlon novice to college signee spanned less than two years for Gowdy A top runner for Episcopal with regional runner-up finishes in both cross country and track she added the triathlon to her schedule in the summer of 2023 "I had a friend that said she was signing up for one I'll do it with you,' and I loved it," she said "I ended up training by myself for the next one later that summer then I just started training really hard and I started looking at colleges and talking to college coaches among the strongest of a small number of colleges competing in NCAA triathlon Queens University of Charlotte and TCU at November's national championships in Clermont and then I started doing cross country in high school so having the ability to go and compete in a sport that's a combination of things I've done most of my life is a blessing," she said The college triathlon season takes place in fall with stops including the Angostura State Recreation Area in Hot Springs and the Marine Creek Reservoir in Fort Worth found a destination even more distant than Denver In spite of his two-time All-First Coast kicking career converting 10 field goals as a junior and 13 this fall with a pair of 52-yarders Following some family research into the British Columbia program "They gave me a good opportunity for success," he said there's a lot of good kickers on every roster and I wanted to play at a place where I could play as a freshman and then all four years." Hillyard will be racking up some serious mileage UBC competes in the Canada West conference against the universities of Alberta and reached the semifinal of this year's Hardy Cup Hillyard is already processing the adjustments to the Canadian football rulebook which includes goalposts on the goal line rather than the end line as well as the one-point single or rouge for punts or kicks that the receiving team cannot clear from the end zone so probably some of the punts are going to be directional and a few kickoffs are directional," he said Hillyard — who also leads the forward line on the Episcopal soccer team — doesn't expect a major change in approach Bartram Trail earned 87 points for top honors in the St Johns County Championships for girls wrestling Vivian Williams went unbeaten in the 140/145-pound division to lead the Bears Other division winners were Beachside's Gabriela Gill (130/135) Creekside's Alyssa Latorre (105/110) and Zara Exilus (155/170) Augustine's Trinity Wanamaker (115/120) and Taylor Pelchat (125) and Tocoi Creek's Kassidy Grundy (100) beginning district tournaments on Wednesday across Northeast Florida at Middleburg; and District 4 starts at 2:30 p.m That's the first step leading to regionals and ultimately to the state championships from March 6-8 in Kissimmee Johns County added two more members of the 1,000-point club Tocoi Creek's Audrey Beyer scored her 1,000th in Thursday's semifinals of the District 3-6A girls basketball tournament has a year left to further boost her total and perhaps make a run at 1,500 points as a senior Beachside senior Kendall Kane also hit the 1,000-point mark as Beachside won the District 4-5A tournament Her career includes 222 points in her freshman season at Bartram Trail 112 with non-FHSAA program DME Academy and 730 over the past two years at Beachside Those schools might be celebrating 1,000 again before long: Tocoi Creek's Gabi Iturralde and Beachside's Morgan Cremen are both on pace to attain 1,000 points at some point in 2025-26 You are using an outdated browser. Upgrade your browser today or install Google Chrome Frame to better experience this site It is with heavy hearts that the Mastrorocco family announces the peaceful passing of their beloved wife 2024 at the age of 97 surrounded by her family Loving wife to Tommaso (2016) with whom she had celebrated almost 71 years of marriage Dear mother to 7 children: Rosa Mastrorocco (Francesco) of Italy Proud nonna to 21 grandchildren: Rocco (Mina) Cherished bisnonna to 22 great grandchildren and 1 great great granddaughter.  She immigrated with her family to Canada in 1970 at the age of 43 to provide her children the opportunity of a better life She cherished being surrounded by her family and found joy in cooking A woman of strong will and traditional values she held deep respect for manners and family gatherings In Italy she leaves behind her brother Vincenzo (Chella) and numerous nephews and nieces Clair – Kingville for their care and compassion and making her time there comfortable.  Get Directions Central Chapel | (519) 253-72341700 Tecumseh Rd Banwell Chapel | (519) 253-723511677 Tecumseh Rd South Chapel | (519) 253-72363048 Dougall Avenue Proudly Canadian | Owned & Operated by Arbor Memorial Inc With over 11,000 votes, Lucrezia Pavan is the Section V's Girls Athlete of the Week for Sept. 23-29 presented by Faber Builders She eclipsed 1,000 career points for Brighton in a straight sets win over Irondequoit then put down 22 kills in a five-set win over Churchville-Chili During the fall season, the poll launches on Mondays at democratandchronicle.com to determine the Athlete of the Week from the previous week's top performances. Your vote determines who is honored as Section V's best The poll is live until 8 p.m. Tuesday. The winner is announced first on our Instagram page, found at instagram.com/dandcsports Discover the world's largest classical music catalogue with Presto Music If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information Lucrezia Stefanini beat Aleksandra Krunic 7-6 (3) She’ll face the winner of the match between Australian Maya Joint and Spanish wildcard Aliona Bolsova in the next round Italian Lucrezia Stefanini advanced to the last 16 of the Catalonia Open by beating Serb qualifier Aleksandra Krunic 7-6 (3), 7-5 on Tuesday will face the winner of the match between Australian Maya Joint Website#a8d26b7bb5572e18e44e8ac2{display:none} Rebecca Sramkova at the 2025 Miami Open presented by Itau: Live Stream 37 in the world) takes on Lucrezia Stefanini (No 146) in the Round of 128 at the Miami Open presented by Itau Stefanini enters the Round of 128 after her two-set victory on Monday over Ysaline Bonaventure (6-3 Sramkova heads into this match after a three-set loss to Lulu Sun (3-6 2025 in the Round of 128 at the BNP Paribas Open Watch Tennis Channel on Fubo! Stefanini vs. Sramkova futures oddsTennis odds courtesy of Tipico Sportsbook Tennis odds courtesy of BetMGM Sportsbook. Odds updated Tuesday at 12:56 AM ET. For a full list of sports betting odds, access USA TODAY Sports Betting Scores Odds Hub The European Central Bank faces three major challenges in the short and medium terms The first is to conduct monetary policy in an environment of much tighter fiscal policy meaning that European Union governments may be constrained in supporting the ECB’s price stability objective if interest rates fall back to the zero lower bound (Darvas and Zettelmeyer The second is the perennial problem of conducting monetary policy in the presence of fragmentation risk a problem that the euro area has still not overcome and is unlikely to fully overcome in the medium term the ECB must adapt its monetary strategy to an environment of inflation volatility driven by supply shocks and structural changes on the supply-side of the economy.  The first two problems are generally well understood The ECB has worked extensively to tackle them in the past and through the 2022 Transmission Protection Instrument (see Reichlin et al This does not mean that there are easy solutions in an environment of high debt and constrained national fiscal policies durable solutions would require politically difficult steps outside the control of the central bank including establishing a central fiscal capacity and a euro-area safe asset Although the subject of a growing literature it is not yet reflected in the ECB’s monetary strategy and has not fully ‘hit’ the reality of monetary policy making Monetary policy in the face of supply shocks: the traditional problem and its solution Monetary policy acts mainly through its impact on aggregate demand A negative supply shock increases prices while reducing purchasing power Whether a monetary contraction is needed to further reduce demand and contain inflation is not clear The conventional view is that central banks should accommodate supply shocks (do nothing initially) and take action only if there is a danger that the price push leads to a wage-price spiral creating rising unemployment beyond what normally would have occurred as a result of the supply shock.  This view can to some extent explain why the ECB initially did not react to higher inflation resulting from higher energy prices in late 2021 and even after Russia’s invasion of Ukraine (the other reason was worry about fragmentation risks; see Reichlin et al Once inflation had shot up much more than expected however – and as the labour market continued to be tight – the ECB sought to pre-empt a wage-price spiral by raising rates quickly and sharply even though inflation expectations had not moved much though at the cost of a sharp economic slowdown Monetary policy in the face of supply constraints: new problems and their implications  The textbook view may no longer be helpful for at least five reasons.  Second, supply constraints are likely to affect different sectors asymmetrically While sectors hit by a supply shock may experience shortages and inflationary pressure others may experience insufficient demand and unemployment. In this situation aiming to reach the inflation target too rapidly could make it more difficult for the system to return to equilibrium as this will require changes in relative prices (Guerrieri et al headline inflation increased immediately but was only slowly propagated to services via the goods market (Guerrieri et al 2023). This suggests that when shocks hit the economy asymmetrically monetary authorities should lengthen the horizon for achieving the inflation target in order to facilitate the relative price adjustment.  an important consequence of tight financial conditions discouraging investment is that the energy transition will happen more slowly Preliminary evidence shows that the number of green patents is indeed affected negatively by changes in the tightness of financial conditions and that this effect is larger than for non-green patents (Fornaro et al monetary policy will face a potential conflict between the primary objective of price stability and the secondary objective of successful emissions reduction Since the ECB’s mandate does not allow it to compromise price stability addressing this trade-off is mainly a task for fiscal policy there is also a role for ECB policies in ameliorating the trade-off Implications for monetary policy and the monetary-fiscal policy mix The above discussion is relevant for at least three policy problems that the ECB’s next strategy review should address 1 The horizon for reaching price stability While the ECB’s mandate rules out a trade-off between price stability and secondary objectives there can be a trade-off in terms of the speed with which the primary mandate is attained (because it must hold over the medium term and the definition of the medium term is a matter of judgment) Depending on whether it helps or hurts the secondary objective the return to price stability could be accelerated after a negative supply shock that hurts both output and raises inflation After a negative demand shock that drives interest rates close to the zero lower bound and creates problems for financial stability There is a need to establish a framework for flexible inflation targeting in which the time horizon for reaching the objective is linked to the cost in terms of secondary objectives Relative price changes have an impact on the optimal level of inflation targeting In a realistic situation in which prices are sticky systematic firm-level productivity trends imply higher optimal trend inflation and therefore a higher inflation target As Adam and Weber (2019) showed empirically for Italy and the UK that level should be higher than 2 percent.  This does not necessarily mean that the euro-area inflation target should be raised But it suggests that the inflation target should be reviewed in light of the changing structure of the economy and of the economic shocks driving inflation To allow the ECB to do this without risking a loss of credibility – as may occur if the inflation target is seen as ‘following’ actual inflation – it would be advisable to revise the numerical inflation target regularly on the basis of a calendar established in advance (Reichlin et al 3 Reinforcing monetary-fiscal coordination monetary policy may have non-neutral effects on productivity and the reallocation of investment sluggish aggregate demand driven by contractionary monetary policy may penalise green investment and slow the energy transition the appropriate response would not be to rely on monetary policy alone but rather to design an appropriate monetary-fiscal mix with targeted fiscal policy offsetting the undesirable effects of price-stabilising monetary policy the ECB should consider the combined effects of monetary and fiscal policy on prices productivity and whether green investment happens in sufficient amounts.  With a single monetary authority and several independent fiscal authorities Better coordination among fiscal authorities and/or a larger EU budget would help but this is politically difficult because the motivation would be to reconcile price stability emissions reduction and productivity growth it may be less difficult than common fiscal policy for the purpose of raising aggregate demand among several challenges ahead for the ECB the toughest relates to the increasingly important links between monetary policy and the supply side of the economy This will make inflation control harder and will increase the impact of ECB policy beyond the short and medium terms Amador, S. (2022) ‘Hysteresis, endogenous growth, and monetary policy’, Working Paper 348, University of California, Davis, Department of Economics, available at https://ideas.repec.org/p/cda/wpaper/348.html   Benigno, G. and L. Fornaro (2018) ‘Stagnation traps’, Review of Economic Studies 85(3): 1425–1470 Pandalai-Nayar (2022) ‘Convex Supply Curves’ American Economic Review 112(12): 3941–3969 Comin, D.A., R.C. Johnson and C.J. Jones (2024) ‘Import Constraints’, Working Paper 32072, National Bureau of Economic Research, available at https://www.nber.org/papers/w32072  Darvas, Z. and J. Zettelmeyer (2023) The economic governance review and its impact on monetary-fiscal coordination, study for the European Parliament Economic and Monetary Affairs Committee, available at https://www.europarl.europa.eu/RegData/etudes/IDAN/2023/747863/IPOL(2023)747863_EN.pdf Demertzis, M. (2024) ‘The European Central Bank, inflation tolerance and the last mile’,  Blog, Cyprus Economic Society, 29 March, available at https://cypruseconomicsociety.org/the-european-central-bank-inflation-tolerance-and-the-last-mile/  Fatás, A. and S. Singh (2022) ‘Supply or Demand? Policy Makers’ Confusion in the Presence of Hysteresis’, CEPR Discussion Papers 17232, Centre for Economic Policy Research, available at https://ideas.repec.org/p/cpr/ceprdp/17232.html  Reichlin (2024) ‘Monetary Policy for the Energy Transition’ Romei (2023) ‘Monetary Policy in an Unbalanced Global Economy’ Universitat Pompeu Fabra Department of Economics and Business  Fornaro, L. and M. Wolf (2023) ‘The scars of supply shocks: Implications for monetary policy’, Journal of Monetary Economics 140 (Supplement): 18-36 Grimm, N., L. Laeven and A. Popov (2022) ‘Quantitative Easing and Corporate Innovation’, CEPR Discussion Paper 17280, Centre for Economic Policy Research, available at https://econpapers.repec.org/paper/cprceprdp/17280.htm Guerrieri, V., G. Lorenzoni, L. Straub and I. Werning (2021) ‘Monetary Policy in Times of Structural Reallocation’, Proceedings of the Jackson Hole Symposium, available at https://www.kansascityfed.org/documents/8322/JH_Guerrieri.pdf  Guerrieri, V., M. Marcussen, L. Reichlin and S. Tenreyro (2023) Geneva 26: The Art and Science of Patience: Relative prices and inflation, CEPR Press, available at https://cepr.org/publications/books-and-reports/geneva-26-art-and-science-patience-relative-prices-and-inflation Jordà, Ò., S.R. Singh and A.M. Taylor (2023) ‘The long-run effects of monetary policy’, Federal Reserve Bank of San Francisco Working Paper 2020-01, available at https://doi.org/10.24148/wp2020-01  Ma, C.S. (2023) ‘Firm Liquidity and the Innovation Channel of Monetary Policy’, Working Paper, Korea Development Institute, available at https://changseok.github.io/ChangseokMa_MI.pdf Ma, Y. and K. Zimmermann (2023) ‘Monetary Policy and Innovation’, NBER Working Paper 31698, National Bureau of Economic Research, available at https://www.nber.org/papers/w31698  Pisani-Ferry, J., L. Reichlin and J. Zettelmeyer (2024) The Euro at 25: Fit for purpose? study for the European Parliament Economic and Monetary Affairs Committee, available at https://www.europarl.europa.eu/thinktank/en/document/IPOL_STU(2024)747834  Reichlin, L., K. Adam, W. McKibbin, M. McMahon, R. Reis, G. Ricco and B. Weder Di Mauro (2021) The ECB strategy: The 2021 review and its future, CEPR Press, available at https://cepr.org/publications/books-and-reports/ecb-strategy-2021-review-and-its-future  Stadler (1990) ‘Business Cycle Models with Endogenous Technology’ Lucrezia Reichlin is a Non-Resident Fellow at Bruegel and a Professor of Economics at the London Business School a trustee of the Center of European Policy Research (CEPR) and of the International Financial Reporting Standards (IFRS).  Lucrezia’s research is in applied time series Her work at Bruegel will focus on monetary policy and fiscal policy in particular in Europe and on disclosure standards for climate related risks. She is an applied macroeconomist and econometrician who has pioneered methods for forecasting with large datasets and for now-casting She is a Fellow of the British Academy and of the Econometric Society and an honorary International Fellow of the American Economic Association Reichlin was Director General of Research at the ECB from 2005 to 2008 and she co-founded Now-Casting Economics in 2011 Lucrezia is a member of a few commercial boards and research institutes and advises central banks and governments on issues related to macroeconomy policy and the financial sector In 2021 she was a member of the G20 high Level Independent Panel on financing the Global Commons for Pandemic Preparedness and Response and a panel member of the G7 Impact task force She is a member of the French national productivity council Jeromin Zettelmeyer has been Director of Bruegel since September 2022 Jeromin was previously a Deputy Director of the Strategy and Policy Review Department of the International Monetary Fund (IMF) he was Dennis Weatherstone Senior Fellow (2019) and Senior Fellow (2016-19) at the Peterson Institute for International Economics Director-General for Economic Policy at the German Federal Ministry for Economic Affairs and Energy (2014-16); Director of Research and Deputy Chief Economist at the European Bank for Reconstruction and Development (2008-2014) in economics from MIT (1995) and an economics degree from the University of Bonn (1990) He is a Research Fellow in the International Macroeconomics Programme of the Centre for Economic Policy Research (CEPR) and a member of the CEPR’s Research and Policy Network on European economic architecture He has published widely on topics including financial crises His recent research interests include EMU economic architecture and the return of economic nationalism in advanced and emerging market countries By Joseph Tulloch in Rome and Linda Bordoni in Dili Pope Francis met with a group of young people in Dili his last event in the country before he headed to Singapore The Pope gave the young people two pieces of advice: ‘Make a mess’ and ‘respect your elders’ Among those in attendance was 24 year-old Lucrezia Cesar Maria Assunção Neci She spoke to Vatican News’ Linda Bordoni about her hopes for the Pope's visit.  “There’s a lot of conflict between the youth,” Ms Assunção Neci said “Our unity and fraternity is getting a little bit lost The population of Timor-Leste is overwhelmingly – around 98% – Catholic or nearly half of the country’s population attended an open-air Mass celebrated by the Pope on Tuesday Assunção Neci expressed her hope that the Pope’s visit might be able to build on this shared faith to promote harmony in the country is that Pope Francis might “encourage young people to live out our faith in love Assunção Neci also noted that “a lot of people” felt “very blessed” by the Pope’s visit “It's like a dream come true,” she enthused She noted how happy the hope Pope seemed while in the country saying she had been struck by “how he smiled at us When he smiles he transmits positive energy Assunção Neci responded in the Pope’s native Spanish: “Thank you Pope Francis for visiting our country – we love you so much!” Thank you for reading our article. 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Just click here lucreziacafe.com Michael and Nada Karas have long had a passion for serving delicious Italian fare “We opened our flagship restaurant in Chesterton charming historic house almost 22 years ago,” Nada Karas said we decided to open our second location in Crown Point The Crown Point location has been open for nearly 17 years and the Lucrezia Trattoria has been in operation for about four years in Culver She said all of the food at Lucrezia is baked or sauteed so we make everything including our desserts,” Nada Karas said The commitment to providing high-quality meals has been firm since Lucrezia opened “We believe our food has been quite consistent over all these years,” Nada Karas said we don't try to buy a cheaper version of any key ingredient.” She said Lucrezia is an informal restaurant but there is a heavy focus on detail and service “We believe that our service is just as important as the quality of our food “Our wait staff has been working at Lucrezia for many years.” dyerlittleitaly.com Get up-to-the-minute news sent straight to your device Account processing issue - the email address may already exist Invalid password or account does not exist Submitting this form below will send a message to your email with a link to change your password An email message containing instructions on how to reset your password has been sent to the email address listed on your account United States President Donald Trump’s aggressive trade strategy will soon face a fundamental contradiction: imposing tariffs and rejecting multilateralism in the name of protecting American jobs clash with his stated goal of maintaining the dollar’s role as the world’s dominant reserve currency and the dollar – despite its current strength – will most likely take the hit The dollar’s role as the dominant medium of exchange in global trade has fuelled the growth of the offshore eurodollar market While this market provides the world with much-needed liquidity it operates beyond the reach of US regulation and thus lacks direct access to the US Federal Reserve’s liquidity facilities the Fed must act as the world’s lender of last resort by extending swap lines – essentially short-term loans – to other central banks enabling them to funnel dollar liquidity to commercial banks facing shortages the stability of the international financial system depends on the certainty of the Fed’s safety net Backstopping the international financial system is the price the United States pays for what Valéry Giscard d’Estaing France’s finance minister at the time famously called the “exorbitant privilege” of the dollar’s global hegemony the greenback’s status has translated into an enormous and persistent financing advantage for both the US government and US companies have long sought to reduce their dependence on the dollar coupled with his apparent willingness to exploit the size and power of the US economy to secure better trade terms that does not necessarily mean that Trump poses a serious threat to the dollar’s international standing no clear alternative to the dollar has emerged this is not the first time that the US has unilaterally disrupted the global financial system then-President Richard Nixon – perhaps Trump’s most obvious historical parallel – abandoned the Bretton Woods system without consulting America’s European allies leaving them to deal with the sudden appreciation of their currencies worked: the world embraced flexible exchange rates and the dollar’s supremacy was actually reinforced But the world looked very different back then International trade was far less integrated and economic ties between the West and Soviet bloc countries were virtually non-existent The only potential threats to America’s economic dominance came from Japan and Europe – both allies that the so-called ‘Nixon Shock’ had far-reaching consequences one could argue that it led to the creation of the euro with China and other emerging economies commanding a growing share of global GDP and trade it is difficult to imagine that efforts to develop payment systems independent of the dollar won’t accelerate if Trump continues to weaponise the greenback Using the threat of tariffs to browbeat countries into compliance – as he did when Colombia briefly refused to accept deportation flights carrying Colombian migrants who had entered the US illegally – is a sure-fire way to fuel the search for alternative reserve currencies Trump’s enthusiastic embrace of cryptocurrencies suggests that he and his administration see them as a solution to this problem share many of the characteristics and advantages that once drove the growth of the eurodollar market issuers operate free of regulatory constraints and do not benefit from direct access to the Fed’s liquidity facilities but with the additional advantage – for some – of complete anonymity The combination of stability and secrecy has already made stablecoins appealing to libertarians and criminals the same characteristics could also make them useful for settling international trade and serving as a repository of global reserves thereby indirectly reinforcing dollar supremacy such a scenario would not make the global economy any safer Since stablecoin issuers’ balance sheets include short-term Treasury bills and short-term collateralised loans (repos) they are vulnerable to runs – much like money-market mutual funds which forces them to rely on the certainty of Fed intervention during crises This risk may explain Trump’s opposition to a Fed-issued CBDC or central bank digital currency Such a currency could enhance financial stability but would not guarantee anonymity making it unpopular with cryptocurrency advocates and Perhaps that is why Trump has favoured a private-sector-driven crypto policy who – as the Bretton Woods system unravelled in the early 1970s – rejected a multilateral solution in favour of a unilateral shift to flexible exchange rates such a strategy might be his best chance to preserve the dollar’s global status without embracing the multilateralism he reviles Lucrezia Reichlin, a former director of research at the European Central Bank, is professor of economics at the London Business School.© Project Syndicate 2025www.project-syndicate.org View the discussion thread. Second-round matches begin at the Guadalajara Open There are eight exciting matches to look forward to 1 seed Jelena Ostapenko and Caroline Garcia we here at LWOT will offer our predictions for every match on the slate for day 3 Marie Bouzkova has faced some tough losses since reaching the finals in Washington last month but her dominant performance in the first round should boost her confidence She is a former semifinalist at the Guadalajara Open and likes the fast conditions Lucrezia Stefanini did well in getting her first main draw win on hard courts this year Bouzkova has a clear advantage at this level and should win comfortably [tgdcta items=”1″ id=”170468″] Ashlyn Krueger was down and out in the first set This could be a real confidence-boosting win for Krueger who lost many points this week and hopes to finish in the top 50 Magdalena Frech has lost in the second round the last two years at this event and will look to get past that hurdle She got the better off Krueger earlier this year on clay but this should be a closer match on hard courts Caroline Garcia is on a three-match losing streak but this is a great opportunity for her to get some match wins The super high altitude conditions should suit her attacking game style but it might take some time to get used to it Ena Shibahara did extremely well in qualifying Shibahara will look to get her first main draw win at the Guadalajara Open something she failed last year after qualifying but Garcia should win against an inexperienced opponent It’s hard to predict Jelena Ostapenko’s level this is a great opportunity for her to get back in form She had a good opening match against the talented Marina Stakusic who won her second main draw match of this year Stakusic has had the most success on hard courts so this would be an interesting battle The super high altitude conditions could go either way for the #1 seed She might end up hitting a lot of winners or a lot of unforced errors as the balls will fly from her racquet The match will be on Ostapenko’s racquet [tgdcta items=”1″ id=”170476″] Main Photo Credit: Geoff Burke – USA TODAY Sports Last Word On Sports is back with more action in our best bets column It promises to be an exciting opening day of WTA Rome action ATP Masters 1000 Rome 1/64-Finals Diallo – Giron: Time TBA H2H: first meeting Gabriel Diallo has won four of his last five matches there are no matches available for this year individual player stats are cumulative for the calendar year and not calculated using a minimum match requirement Pietro Rigolo is the new head of Pinacoteca Agnelli’s collection and chief curator of the institution; he will thus take over from Lucrezia Calabrò Visconti chief curator and head of the curatorial department of Pinacoteca Agnelli since 2021 who is about to embark on a new career path.Pietro Rigolo studied at the University of Padua he worked for eleven years at the Getty Research Institute (GRI) in Los Angeles serving since 2013 as head of curator Harald Szeemann’s archive and other modern and contemporary art collections and He has also contributed substantially to the growth of the Getty Research Institute’s collections with over two hundred acquisitions He co-curated the exhibitions Harald Szeemann: Museum of Obsessions (2018 presented at Castello di Rivoli in 2019) and Barbara T In 2025 he will open the exhibition $3 Bill: Evidence of Queer Lives Her writings have appeared in publications edited by Fondazione Nicola Trussardi and Institute of Contemporary Art Los Angeles “We are very happy to welcome Pietro Rigolo to the team,” said Pinacoteca Agnelli Director Sarah Cosulich “His vision and experience will allow us to continue to bring the Pinacoteca’s contemporary programming closer to the historical legacy of its permanent collection cultivating and amplifying the path of experimentation and quality that we have undertaken and exploring new directions with which to contribute to the institution’s mission.” “We are deeply grateful to Lucrezia Calabrò Visconti for her three years at Pinacoteca Agnelli,” Cosulich added competence and passion with which she has carried out her role have enabled us to achieve many significant goals and we wish her every success in the new professional challenges she will encounter on her path.” Lucrezia Calabrò Visconti has contributed significantly to the success of the institution collaborating on the definition of its new identity and the conception of projects such as the Beyond the Collection exhibition she curated the monographic exhibitions Sylvie Fleury Strike (Pinacoteca Agnelli and La Bourse - Pinault Collection curated Dominique Gonzalez-Foerster’s new commission PISTARAMA and the exhibition project Lucy McKenzie and Antonio Canova He developed the scholarly design of the publications and curated talks and events in the public program of Pinacoteca He also co-curated installations on Runway 500 by Shirin Aliabadi and Rirkrit Tiravanija; and new commissions to Nina Beier He curated together with Sarah Cosulich and Beatrice Zanelli the projects Pablo Picasso and Dora Maar and Tiepolo X Starling Lucrezia is from a prominent hospitality group in Mexico City Named after its founder's first restaurant which opened in 1993 in the Mexican capital Grupo Hunan has since expanded to more than a dozen restaurants across Mexico City spanning several different cuisines It also operates two outposts of the acclaimed sushi spot Nobu The family-run group recently debuted its inaugural restaurant in the U.S. — a splashy new Mexican spot called Alma at the Grove in Los Angeles Their menu for Lucrezia, created in collaboration with culinary partner Caccio Pizza & Rotisserie a popular Italian restaurant with two locations in Tijuana and Neapolitan pizza topped with prosciutto di San Daniele and rocket Featured mains range from grilled branzino to Jidori rotisserie chicken with salsa verde and an aged bistecca alla Fiorentina for two “After years of deliberating on the idea of opening a restaurant in La Jolla we stumbled upon the iconic Westfield UTC Mall We knew immediately this was the place to bring Lucrezia to life We’re so fond of this town,” Grupo Hunan told Eater in an exclusive Known for its no-expense-spared interiors, Grupo Hunan’s restaurants are designed by its award-winning sister company Cuaik Comprehensive Design Studio which encompasses about 10,000 square feet of indoor and outdoor space and overhanging plants that will beautify the al-fresco dining terrace Another sophisticated dining area with architecturally-curved ceilings will feature a grand piano simplicity is the ultimate sophistication,” Grupo Hunan tells Eater Grupo Hunan may look open other dining concepts in San Diego “when the time is right” Lucrezia’s upscale menu features Florentine steak A chic, upscale Italian restaurant that’s set to reveal itself on Thursday, August 3 at the Westfield UTC Mall is the first San Diego establishment for a major hospitality collective based out of Mexico City. Lucrezia is the newest offering from Grupo Hunan which runs 30 restaurants across nearly a dozen brands spanning Italian and Chinese cuisines and also operates acclaimed sushi spot Nobu throughout Mexico The family-owned empire introduced the first Chinese restaurant to Mexico City in 1993, which became popular for its roast duck dishes. After the pandemic, the group debuted its inaugural U.S. restaurant in Los Angeles, the splashy Alma restaurant which anchors the Grove with a casual taqueria on the ground floor and fine-dining space upstairs Cuaik Comprehensive Design Studio (Cuaik CDS) Both Grupo Hunan and Cuaik CDS are run by three brothers and their sister whose families all have homes in the San Diego area The Italian restaurant exudes the spirit of “la dolce vita,” capturing the vintage look of a Fellini film with servers dressed in white jackets and narrow black ties Culinary and wine director Miguel Torres Flores lends his expertise to Lucrezia after launching two restaurants in Tijuana — Caccio Pizza and Rotisserie — and will next be helping the group to open another restaurant in Mexicali Executive chef Paulo Sergio Mendoza is helming the San Diego kitchen and handling the day-to-day operations Highlights from the menu include dishes like grilled baby lamb chops and Neapolitan-style pizza from its green-tiled Marraforni pizza oven glass-enclosed wine cellar boasts a collection of over 65 wines showcasing Italian varietals and served in signature crystal limited-edition glasses Sitting adjacent are cozy “date-night” tables for two alongside a model of a vintage red-and-white-striped Italian speedboat the street-level restaurant seats up to 300 people in its indoor dining area and piazza-style outdoor terrace ceramics like playful rooster jugs and candle bases A large wrap-around bar made with Italian marble is surrounded by swiveling green-striped stools Two private indoor and outdoor dining areas are also available with the enclosed indoor dining area featuring its own bar and TV Lucrezia will eventually be open daily for lunch and dinner offering a midday happy hour featuring specials on cocktails Lucrezia Menu Lucrezia Celebrity Hunted is making a return to Channel 4 as some of the nation's most famous faces go on the run and become wanted fugitives the celebrities are tasked with hiding out across mainland UK all while an elite task force of Hunters try to track them down This year's Hunters are handpicked from the police and military all armed with the powers of the state to hunt down the celebrities and stop them winning the show Read on to find out more about the cast of Celebrity Hunted 2025 Instagrams: @giovannipernice and @kaiwidd Professional dancers Giovanni Pernice and Kai Widdrington are joining the Celebrity Hunted 2025 line-up The pair have both appeared on Strictly Come Dancing with Pernice winning the show back in 2021 This marks Pernice's television comeback after he exited the dancing show in 2024 Instagrams: @denise_welch and @lincolntownley Denise Welch is an actress best known for her roles in various soaps including Coronation Street She is also a regular panellist on Loose Women Welch will be joined by husband and painter Lincoln Townley Townley is known for his art work that explores the darker side of the human personality and painting abstract celebrity portraits Instagrams: @mrduncanjames and @mrsmcguinness Duncan James is a singer and actor who rose to fame as a member of Blue He later starred in Hollyoaks as Ryan Knight Christine McGuinness is a model and TV personality who appeared on The Real Housewives of Cheshire and has taken part in The Games and Celebrity MasterChef Instagrams: @davidwhitely and @zezemillz David Whitely is a comedian who rose to fame by posting amusing clips on social media who is best known for hosting The Zeze Millz Show She recently appeared on Celebrity Big Brother Instagrams: @danielle_harold and @kimberly_h_s Danielle Harold is best known for her role as Lola Pearce in EastEnders which she bowed out of in 2023 following her character's death It was her portrayal of Lola's brain tumour storyline that saw her win the Serial Drama Performance award at the National Television Awards She will be joined by Kimberly Hart-Simpson who is best known for her role as Nicky Wheatley in Coronation Street Instagram: @lucreziaitv Simon McCoy is a journalist and former newsreader for BBC News He will be joined by Lucrezia Millarini who is a journalist who presents on ITV News and has previously taken part in Dancing on Ice and The Games Celebrity Hunted begins on Channel 4 on Sunday 5th January at 9pm Celebrity Hunted 2025 cast: Meet the famous fugitives of season 6Who will be running from Hunted HQ as some of the nation's most famous faces go on the run and become wanted fugitives This year's Hunters are handpicked from the police and military Instagrams: @giovannipernice and @kaiwidd This marks Pernice's television comeback after he exited the dancing show in 2024 Instagrams: @denise_welch and @lincolntownley Instagrams: @mrduncanjames and @mrsmcguinness Instagrams: @davidwhitely and @zezemillz Instagrams: @danielle_harold and @kimberly_h_s which she bowed out of in 2023 following her character's death It was her portrayal of Lola's brain tumour storyline that saw her win the Serial Drama Performance award at the National Television Awards Instagram: @lucreziaitv Katelyn MensahSenior Entertainment WriterKatelyn Mensah is the Senior Entertainment Writer for Radio Times covering all major entertainment programmes reality TV shows and the latest hard-hitting documentaries with a focus on reality TV and showbiz news and has obtained a BA (Hons) in Journalism you are agreeing to site title privacy policy This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. 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Holiday brochuresNeed inspiration of where to go next Request a free brochure and start your journey Please enable JS and disable any ad blocker This site uses technical (necessary) and analytics cookies Sito ufficiale Ambasciata d'Italia a Washington On the occasion of the Week of Women in Science 2024 the Italian Ambassador to the United States hosted the first edition of the Elena Lucrezia Cornaro Piscopia International Award at Villa Firenze honoring Italian women scientists working in the US Director of the National Institute of Health “STEM disciplines are pivotal in today’s societal transformation however they encounter a persistent challenge which is the gender gap” highlighted the Ambassador noting that “only 33% of the world’s researchers are women” Emphasizing the centrality of the challenge within the framework of the partnership between Italy and the US in the scientific and technological field and in the year in which Italy holds the presidency of the G7 the Ambassador noted that “The underrepresentation of women in STEM is widely recognized as a loss of valuable talent hindering the overall progress of our countries” Following the Ambassador’s opening remarks representatives from the three institutions promoting the award who also spoke included: Fabio Finotti Director of the Italian Cultural Institute of New York Director of the Elena Cornaro University Center at the University of Padua The Elena Lucrezia Cornaro Piscopia International Award is named after the first woman in the modern world who received a doctoral degree in Padua The award celebrates the contribution of women scientists and scholars to research and the development of a scientific culture based on equality Today Elena Lucrezia Cornaro Piscopia is portrayed as an extraordinary example of intellectual power and as an early symbol of a society’s recognition of a woman’s capacity to leave a mark in subjects traditionally precluded to women Golub Family Professor and Chair of the Department of Stem Cell and Regenerative Biology at Harvard Conte Professor of Computer Sciences at Purdue University The award ceremony was followed by a panel discussion between the two awardees and Jeanne Marrazzo Director of the National Institute of Allergy and Infectious Diseases at the National Institute of Health author and former New York Times science reporter the conversation highlighted the stories of the four panelists as a source of inspiration and encouragement for young girls to pursue studies and careers in science The Week of Women and Girls in Science has been built around the celebration of February 11th the International Day of Women and Girls in Science under the umbrella of Women in Science Diplomacy (WiSDA) in collaboration with the Embassy of Argentina Children’s National Research Institute of Children’s National Hospital have promoted a series of initiatives promoting equal access for women to science and looking at equal study and career opportunities in the field of science and science diplomacy In addition to the Elena Lucrezia Cornaro Piscopia International Award at Villa Firenze Italian Ambassador to the United States Mariangela Zappia is visiting Chicago starting today and will.. The Italian Scientists & Scholars in North America Foundation (ISSNAF) annually awards the Young Investigator.. The Embassy of Italy in Washington hosted the annual meeting of the Council for the.. launched by a video message from Italian Minister of.. Tel:+1 (202) 612-4400 E-mail: washington.ambasciata@esteri.it PEC: amb.washington@cert.esteri.it Contact our offices Farnesina – the MAECI Diplomatic network Viaggiare sicuri Dove siamo nel mondo  Italian Government  Europa.eu Faqs – MAECI About us Italy and USA Consular Services and Visas Contacts Transparent administration Transparent administration – MAECI We use cookies to help you navigate efficiently and perform certain functions You will find detailed information on all cookies under each consent category below “Necessary” cookies are technical cookies stored in your browser as they are essential for enabling the basic functions of the website We also use analytics cookies to collect information about the number of users visiting the site and how they interact with it In order to respect the privacy of our users the IP addresses of those who browse the website are made anonymous You can choose whether to enable or disable analytics cookies Susan Broomhall receives funding from the Australian Research Council Carolyn James receives funding from the Australian Research Council Monash University provides funding as a founding partner of The Conversation AU Australian Catholic University provides funding as a member of The Conversation AU View all partners Wartime has often presented opportunities for women to step into leadership roles denied them in peacetime. The Italian Wars a series of military conflicts fought mainly in Italy between 1494 and 1559 by Europe’s dominant political powers By the end of the wars, many parts of Italy had fallen under Hapsburg rule joining an empire that stretched across much of the European continent and even to the Americas shaping Europe’s power hierarchies for centuries to come Men deputised women to free themselves up to fight They knew these women were well educated and would handle affairs competently The women we examined made important administrative diplomatic and financial contributions to retain power in small Italian states often perilously close to the front line remaining in the control of the Gonzaga and Este families This was in no small part because of the work of the prominent women within these ruling dynasties Following her marriage in 1502 to Alfonso I d'Este Lucrezia Borgia made important economic and political contributions to the war effort Ferrara was threatened first by its neighbour, the Republic of Venice, intent on expanding its land borders, and later by Pope Julius II, who wished to reclaim Ferrara as territory for the Papal States Lucrezia invested her dowry in land reclamation and food production This was crucial to her husband’s capacity to pay for innovative new cannons which proved lethal in a surprise attack in 1509 destroying the invading navy of the powerful Venetian republic Alfonso was lured to Rome by the Pope to negotiate a peace settlement only to find himself arrested and imprisoned This left the duchess to oversee military preparations With the Pope’s army occupying nearby towns Lucrezia quickly organised the fortification of bastions on Ferrara’s borders She also outwitted the Pope’s spies by using an ingenious secret code Lucrezia secretly updated him about the war Lucrezia’s worked by providing seemingly innocuous family news about their son the state of her health and that of other family members Alfonso finally escaped the Pope’s clutches with the help of Rome-based allies and returned to Ferrara and the defence of the city-state he ruled who became marchioness of Mantua when she married Francesco Gonzaga in 1490 She was 20 when Charles VIII of France invaded the Italian peninsula in 1494 and assumed increasingly weighty political responsibilities while her husband devoted himself to fighting The citizens of Mantua were sceptical of the capacity of such a young woman So Isabella commissioned works of art that associated her with virtues such as prudence This self-fashioning is on display in a medallion by Gian Cristoforo Romano The obverse portrait evokes ancient Roman empresses and an illustrious dynastic pedigree The reverse features Sagittarius flying above a winged female victory an allusion to the marchioness’s fitness to exercise authority the French military campaign to take territory in northern Italy collapsed The victorious Spanish-led league – a coalition of powers including the papacy – convened a congress in Mantua to divide the spoils of war Pope Julius II – an ally of the Spanish Holy Roman Emperor and determined to reclaim the duchy of Ferrara – demanded the imperial army oust Ferrara’s Este rulers as soon as the congress concluded Isabella could not hold an official role at the congress she worked diplomatically behind the scenes to save the Este regime of her brothers Isabella focused her diplomacy on the imperial general and Spanish viceroy of Naples, Ramón de Cardona Personally guiding Cardona and his entourage around her prized collection of antiquities and paintings by leading contemporary artists she convinced her foreign visitors to take her seriously as a woman of diplomatic consequence and eventually persuaded Cardona to delay the attack on Ferrara The reprieve Isabella achieved proved lasting. Julius II died in early 1513 and his successor, Pope Leo X did not pursue the restoration of papal rule in Ferrara The Italian Wars provided women with opportunities to showcase their administrative competence and diplomatic talents manipulate their own public image and associate themselves with attributes that would bolster their legitimacy in similar ways to male leaders Many placed emphasis on advancing themselves as women of influence could be protagonists of war as well as peacemakers Looking through the lens of gender and at the activities of women permits a reconsideration of where and how early modern war was conducted It shows the conflicts played out not just on the battlefield and during official diplomatic encounters but also through cultural forms of politics and the dynastic service of female as well as male actors own shares in or receive funding from any company or organisation that would benefit from this article and has disclosed no relevant affiliations beyond their academic appointment In her latest novel, The Marriage Portrait, Maggie O'Farrell takes readers to Renaissance Italy. Lush metaphors and minute description of life in ducal palaces abound in her reimagining of the life of Lucrezia de’ Medici, daughter of the Grand Duke of Florence, Cosimo I de’ Medici In 1558, Lucrezia wed Alfonso II d’Este, Duke of Ferrara It was a marriage of political convenience but rumours abounded that Alfonso had killed his wife in a fit of jealous rage Review: The Marriage Portrait – Maggie O'Farrell (Hachette) O’Farrell opens The Marriage Portrait with Lucrezia seated at a long dining table The couple are at Alfonso’s hunting lodge on the outskirts of his duchy and he is regaling his wife with tales of his childhood hunting prowess The duchess is distracted by the manner in which the duke will murder her He will have make it look like an accident O’Farrell is not the first writer to be inspired by the life and death of Lucrezia. Speculation about the duchess was fuelled in 1842 by Robert Browning’s popular poem My Last Duchess Alfonso d’Este reveals a smiling portrait of his late wife hidden behind a curtain He claims that in life she smiled too much; now The picture in question, from which The Marriage Portrait derives its title, is probably the work of Alessandro Allori, produced in the studio of Agnolo di Cosimo, known as Bronzino It was painted for Lucrezia’s brother Francesco on the eve of her departure for Ferrara A companion portrait depicting Francesco also features a miniature of Lucrezia Francesco holds a golden locket embellished with his sister’s features Her serious gaze shows no creasing at the edges her portrait displays the opulence of her family She is dressed in black velvet and wears a string of pearls Her hand delicately rests upon a crystal orb set upon a marble table Lucrezia’s only surviving contemporaneous portrait inspires Browning and O’Farrell in significantly different ways Browning’s dramatic monologue is centred on Alfonso’s resentment; O’Farrell is interested in the young duchess’s subjectivity What emerges from O'Farrell’s novel is a literary portrait of an isolated and inexperienced young woman O’Farrell depicts the pressures faced by dynastic wives with a deft hand while imaginatively recreating the finery and personalities of Renaissance Italy O’Farrell has claimed that she was struck by the sad circumstances of Lucrezia’s marriage Her imaginative connection to the duchess is palpable in the way she takes us into the mind of Lucrezia as with much beautifully drawn historical fiction the historical facts have been significantly altered and embellished to appeal to a 21st-century audience The wedding of Alfonzo and Lucrezia was a late consequence of the Italian Wars (1494-1559), a series of conflicts fought between the monarchs of France and Spain for dominance of the Italian peninsula. The Spanish emerged victorious and former French allies, like the aristocratic Estes were forced to make a series of concessions as part of the peace treaties One such concession was the union of the Este dynasty with the Spanish-aligned Medici family It was initially proposed that Alfonso marry Lucrezia’s older sister Maria but Maria died in 1557 before the marriage could take place O’Farrell’s novel is replete with interactions between Alfonso and Lucrezia but in reality the couple barely saw one another Alfonso left Florence three days after their wedding and rarely corresponded with his wife who lived with her mother and her sister Isabella for two years in relative isolation at the Medici palazzo When Alfonso’s father Ercole II d’Este died, Alfonso was forced to return from his war games to take control of the duchy in late November 1559. Lucrezia finally joined him in February 1560, but Alfonso was rarely at court and his sisters, Eleonora and Lucrezia d'Este, spent little time with the Medici transplant. Lucrezia died on April 21 1561 after two months of illness. She had been a poorly child and had frequent health complications since birth. That she likely died of tuberculosis was no surprise to those who knew her. The doctor sent by her father provided regular updates on her worsening condition. News of her demise must have been anticipated in Florence. We do not know what Lucrezia thought about her fate. In the absence of extant sources from the duchess’s perspective, The Marriage Portrait fleshes out the loneliness she must have felt. O’Farrell acknowledges that she has altered details of Lucrezia’s life in the name of fiction. She has simplified Lucrezia’s marriage so the wedding and departure took place at the same time, rather than in 1558 and 1560. Alfonso’s sisters are renamed to avoid confusion, and a crime of passion depicted in the book took place in 1575, not 1561. These alterations do not detract from O’Farrell’s immersive depiction of Lucrezia’s short life, but it must be stressed that the author’s intention to depict the duchess as a resilient young woman who is seeking to liberate herself is a wholly modern concern. Much is made of the duchess’s innocence and simplicity – O’Farrell even writes that she is barely out of the nursery. But people in early modern times had vastly different ideas of childhood and adolescence. Some scholars have claimed that the latter concept did not exist. In the eyes of her contemporaries, Lucrezia was very much an adult, ready for the obligations that came with being a dynastic wife. Of course, it is likely she possessed a degree of naïveté, but the infantilisation of Lucrezia is probably at odds with the duchess’s experiences. She would have received a courtly and spiritual education that emphasised her role in the dynastic system. The individualism espoused in O’Farrell’s novel was not as starkly evident in the early modern period, in which collective familial identity drove decision-making and defined a person’s sense of self. The duchess must have felt unease and insecurity when travelling to a new court after spending most of her time alone with her sister and mother. Given the gravity of the marriage and her understanding of her dynastic role, however, such emotions were likely infused with a sense of reassurance that she was assisting her family with an important task. O’Farrell’s prose draws the reader in, inviting us to sympathise with the young duchess. The Marriage Portrait rails against the dynastic system that produced a child bride. The novel is extraordinarily successful in this regard. O'Farrell has written an effective feminist account of the trauma of political marriages for inexperienced girls who have no notion of love and know only obedience and duty. Yet inscribing Lucrezia’s story with this kind of sentiment risks erasing the real Lucrezia. It replaces her with a character who meets the modern expectations of a naïve young heroine who suffers a tragic fate. The Marriage Portrait reflects the way popular culture tends to romanticise women from this period. Such reimagining can make it difficult for historians to communicate the complexities of past lives to modern audiences. Even when depictions are ostensibly positive, in the sense they reconstruct the agency of young women in contexts where they had very little, the heavy-handed contrasts between oppression and freedom do not allow much room for the shades of grey present in early modern courts. Popular depictions of young women from the early modern era as spirited and driven say something about how our society tends to project its moral concerns onto the past. In 21st-century Western societies, pop culture tells us women should reject misogynistic structures and seek out opportunities to be themselves. When we superimpose such expectations on different historical periods, we get a distorted portrait of individuals like Lucrezia. O’Farrell’s novel is a page-turner and a fine example of literary historical fiction, but readers should keep in mind that giving a voice to forgotten individuals of the past is a delicate enterprise. Modern hopes for a character may not always align with the character’s hopes. For the dinner that followed the ceremony, Lucrezia wore a haute couture dress from 1995 crafted from a fragile tulle with lace inserts. Giulio, meanwhile, opted for a cream linen suit that he had made while he was traveling in India. “He spent hours with this very small tailor, Sipi from Jaipur,” Lucrezia remembers. “We showed him a traditional Caraceni picture, and we tried to explain to him that we don’t like tight jackets and skinny trousers as are so popular nowadays.” Lucrezia had her heart set on an open-air wedding, so to achieve this, her mother Luisa Beccaria transformed their family church into a luxurious garden with plants and real grass. “The ceremony was very nice and intimate,” Lucrezia says. “The priest let us do our vows facing our guests, creating an inclusive moment.” After the church service, a procession took the newlyweds to the Belvedere, a garden overlooking the sea where a Madonna statue is placed. There, Giulio gave a surprise—and very emotional—speech, honoring Lucrezia and her family, followed by fireworks with colored paper ribbons. and felt that the plot was a little heavy-handed I’ve come back to images from the show repeatedly for ideas for 15th/16th century hairstyles and thus was inspired to share my Borgias hair lust with y’all I can get a little OCD about this kind of thing so I thought I’d better split things up into the three seasons (although I am having a hard time finding screencaps for season 3 — anyone have a source?) If you’d like more background on the series and the hair design, check out our post on season 1 where you’ll also find more historical research Now I want to move on to the main female characters in season 2 and compare their hair to historical sources of the period As I said about the first season: if there’s one thing I’ve learned from studying Italian fashion of the 16th century it’s that there’s tons of variation depending on what city/city-state you’re in and I’m guessing that holds true for the late 15th century as well I’m not going to get all “here’s what was worn in Rome here’s what was worn in Milan” because I’ve got a life to live but do note that the historical images I’m pulling are those that seem similar and you may know more than me (if so I also want to compare the hairstyles to real images of these real historical figures… the problem being most of the historical imagery is “POSSIBLY” a portrait of X I do think there must have been a change in hair designer going into season 2 or the hair designer wanted to shake things up because you get an almost totally new look that’s consistent across all the main characters Lucrezia gets my platonic ideal of Renaissance hair in season 2 a little bit of hair down to soften the look (yes not historically accurate but soooo pretty)… GAH Was Lucrezia Borgia this blonde (not that it really matters) There are two images that are supposed to maybe be her that show her as a really light blonde so the hairstyles shown should be compared to the above masquerade style and not the below everyday styles other “supposedly Lucrezia” images show a much darker blonde or even light brown: Let’s look at Lucrezia’s FAAAAABULOUS styles in the TV series then we’ll come back around to those portraits: two portraits that might be Lucrezia ain’t much to go on But comparing them to the (gorgeous) hairstyles above and one with a much simpler waved style with a small twist around the face: Still loving Giulia, because Team Redhead if the presumed portraits of her are anything to by: Giulia’s hair in season 2 is in some ways very similar to Lucrezia’s; on the other hand she does more twists than braids (I think as a character differentiation) and also starts wearing her hair all-up (I think to make her look more mature; at least It’s interesting to see the fishtail braid that Lucrezia sometimes wears on this portrait of Giulia: This portrait seems allegorical to me (check those Princess Leia buns!) but the pearls as decoration is something the show uses: someone decided Vanozza gets to be glam this season 2… which is weird because she’s been firmly dumped by the Pope I think it does help you understand (in part) that he is still attracted to her Vanozza’s hair is more interesting than Giulia’s this season Comparing her with the real (maybe) Vanozza again you’ve got a fishtail braid across the top of the head This really looks like a smaller version of (and potential inspiration for?) the show styles: Caterina also gets to get more exciting hair in the same styles as Lucrezia and Giulia you’ve got short curls around the face and a back-of-the-head bun of some kind: Who, I recently realized, is the same actress who played the awkward daughter of Kirstin Scott Thomas’s character in Gosford Park I’m still looking for screencaps from season 3 What do you think of the different hairstyles in season 2 of The Borgias goes online to order hair-growing supplements Wouldn’t they have sewn their hairstyles then I am over the moon on the hair of Lucrezia Lucrezia looks to be a strawberry blonde in the Dossi portrait And it has to be dated from 1505 and after as Lucrezia didn’t become Ferrara’s duchess until 1505 I have no idea if any of it is historically accurate but I do know that Holliday Granger has never looked more gorgeous than she does on this show If you want Caterina Sforza depicted with hair like in her portraits Pretty sure that hair bleach was a thing in 16th century Italy which might account for the variation/lack of agreement on Lucrezia’s hair color Not to mention that it isn’t at all unusual for hair to get darker after a pregnancy (and sometimes to get darker after each kid) and she had a lot of pregnancies You’ve also got the real historical example of Catherine of Valois who wore blonde wigs despite having dark brown hair Apparently Giulia Farnese was a mediterranean beauty even if she wasn’t in line with the aesthetic canon of those times Supposedly Lucrezia’s hair was very fair There is a lock of it displayed at the Pinacoteca Ambrosiana in Piazza Pio XI in Milan It was also seen by Lord Byron who described it as very fair Those gold hair pins are historically accurate They are based on finds from Finsbury Circus dated to the 14th century Federico Gonzaga was married to Isabella d’Este (When Lucrezia married the duke of Ferrara Keep the snark flowing by supporting us with a small one-time donation on Ko-fi After graduating from the Silvio D'Amico National Academy of Dramatic Art in Rome she moved to New York where she continued her training at the Lee Strasberg Theatre and Film Institute she worked with big names of the Italian and international scene and made her debut as a leading actress with Luca Ronconi in the role of Figliastra in "In cerca d'autore" by L in 2013 she appeared on stage at the Piccolo Teatro in Milan in "Panico" by Rafael Spregelburd and in 2014 in "Celestina" by Michel Garneau With Federico Tiezzi she played Rosaura in "Calderon" by Pier Paolo Pasolini a role for which she received the "Le Maschere del Teatro Italiano" award for Best Actress she played Jelena in "Uncle Vanya" by Anton Chekov directed by the Hungarian director Kristza Szekely She was also awarded the Virginia Reiter Prize and the Duse Prize for her theatre career she staged the Campiello Prize-winning novel "L'Arminuta" by Donatella Di Pietrantonio in which she not only played the absolute leading role but also directed for the first time She is the founder and artistic director of TheLab the film department of the Point Zero drama school in Rome.  She alternated between theatre and film work appearing in successful Italian and international productions and winning the Flaiano Award for Best Actress for the film “Noi4” by Francesco Bruni She starred in the film “La ragazza nella nebbia” alongside Toni Servillo Natalia Aspesi presented her with the La Repubblica “Young Talents” award at the Festival dei due Mondi in Spoleto in 2017 and in the same year she also won the Best Leading Actress award for "Time zone inn" at the Melbourne Film Festival in Australia for 'Time zone inn' she was "Emaciata" in the Sky series "Dov'è Mario" directed by Edoardo Gabbriellini After participating in the Netflix series "Luna Nera" and "Summertime" in 2022 she starred in the series "Fedeltà" based on the homonymous novel by Marco Missiroli produced by Eliseo Entertainment and directed by Giacomo Campiotti and the film Eravamo bambini by Marco Martani she appeared as one of the main characters in the third season of the TV series “Mare Fuori" she returned to the stage with Shakespeare's Romeo and Juliet in the role of  Donna Capuleti In June 2023 she returned to the set of the fourth season of Mare Fuori “To me, jewelry is not about the stone—it is the workmanship around the stone that matters,” says Lucrezia Buccellati Wildenstein, co-creative director and ambassador for Buccellati a century-old Italian jeweler renowned for its ancient goldsmithing techniques Founded by Mario Buccellati in Milan in 1919 lighter touch to the artful bijoux she conceives alongside her father “When you make an investment in jewelry we believe that there has to be high craftsmanship Buccelatti Wildenstein studied at FIT in New York but never set out to join the family business full time “I always thought I might work for another brand the Buccellati DNA is so imprinted.” With a philosophy that jewelry should be effortless and worn every day she has sparked the interest of younger clients by updating some of the signature motifs and introducing the more accessible Blossoms designs in silver and gold when she was just 21 years old “My first experiment was with the honeycomb we usually use honeycomb in a very perfect why don’t we try to create movement and lightness I wanted it to feel light and fresh.” features house classics rendered in a palette drawn from Impressionism “Before it was more about one designer with one artisan but now there are so many more people involved,” she says “Sometimes my dad and I will meet in Italy after time apart with sketches of exactly the same pieces If he says we can’t do something,I tell him “Jewelry is not about the stone—it is the workmanship around the stone that matters” Ultimately Wildenstein gets most of her inspiration from everyday life “I love to study what people are wearing around me and how they live,” she says Whether they are going to a big event or just picking up their kids from school the pieces should feel part of your personality” A version of this article first appeared in print in our 2021 Fall Issue under the headline “Family Treasures.” Subscribe to the magazine © 2023 Hudson One Media, LLC. All rights reserved. Privacy Policy Lucrezia Crescenzi-Lanna and the Child Tech Lab team analyze the impact of ICT on early childhood Children come into direct contact with technology from the moment a parent lets their baby play with a mobile phone Children are now interacting with a greater number of technological devices at an increasingly early age Concerns about their potential impact have also grown Is it right to offer mobile apps to our children Child Tech Lab, the Universitat Oberta de Catalunya (UOC) Faculty of Psychology and Education Sciences' new research group Through research in nurseries in the United Kingdom they have analysed the impact of tech in early childhood on activities such as play The multidisciplinary team is now delving deeper into the study of children's interaction with technologies such as artificial intelligence, to find out what children need and how best to use technology It is an internationally pioneering project The Lab's principal investigator, Dr Lucrezia Crescenzi-Lanna a member of the UOC's Faculty of Psychology and Education Sciences answered some questions about the group's discoveries and its next challenges who trained in developmental psychology and wrote her doctoral thesis on the quality of children's television programmes is aware of the growing concern among educators and families: "There is confusion about whether we are exposing children to new risks." What risks are we exposing children to by allowing them to interact with technology For children under the age of six to eight stereotyped and sexualized content that contributes to representing a distorted reality at this early age This is in addition to the possible development of unhealthy habits in the use of technology with the construction of one's own digital identity and digital socialization risks such as those related to privacy and data protection We live in a digital society where everyone work and find information and entertainment The news that appears in some media amplifies the state of alarm and does not always help us to focus on solutions Educating children may be the only way to prevent these risks What can tech offer young children in different settings (school Children show great interest in digital content and technology can be a very effective tool for collaborative learning Early childhood teachers are already using apps in their classes to create explore the environment and train their students to improve their problem-solving skills apps) can provide a source of entertainment and shared learning and can be an additional resource for family activities with children How will the use of artificial intelligence affect children's development and education It's hard to predict what will happen in five or ten years' time because technology is evolving so quickly the number of teenagers and young people undergoing lip augmentation procedures has increased because they are used to using filters in their photos and no longer fully recognize themselves in non-digital images There are also many positive applications in education that are beginning to be appreciated, such as the personalization of learning where tasks are not the same for the whole class but specific to each student With the rapid proliferation of augmented reality and artificial intelligence tools we need to ensure that future citizens have transferable skills and knowledge to face a society in constant change In the App2five project you researched apps for children under six What should we consider when choosing an app for a child of this age We found that the educational apps most preferred by children were those that were adapted to their level of knowledge and user experience and also avoided reiterating negative emotions for example by providing only neutral feedback (simply pointing out the error) or positive feedback (motivating) What would you recommend regarding the use of television Child Tech Lab has also analysed television series aimed at young children Children watch less and less television. From the age of four, they spend just over three and a half hours a week doing so the use of video-on-demand services and sharing platforms for viewing a variety of content (such as YouTube or TikTok) is increasing The recommendations to promote healthy habits for television use as well as for the other screens we all use at home The most important ones in my opinion are: developing critical thinking in children acting as a role model when it comes to screen use agreeing on both the times and places of use (e.g and selecting quality content that is age appropriate and in line with the values you want to convey there is a problem here: age ratings are based solely on the absence of explicit and inappropriate content If a television series or video game doesn't feature any scenes with sex it is rated "for children" or "for all audiences" without taking into account the differences between a four-year-old and a six-year-old It is necessary to start changing this age rating system to take into account the characteristics of children's development at each stage Social or digital media perpetuate many gender stereotypes How are these stereotypes reproduced and what can be done to prevent this Gender stereotypes are consolidated at very early ages The socio-emotional education that schools work on from early childhood is fundamental to the construction of a person's identity and social relationships The same applies to digital identity and online interaction with others How do children and young people learn to be empathetic and respectful in a digital environment I believe that media literacy is still an unresolved issue in current public education although there is a lot of pressure from families to change in this direction as soon as possible What other topics are you researching at Child Tech Lab Our group is using advanced technology to study children's spontaneous behaviour when learning with technology We're interested in identifying the characteristics of the highest quality content and helping to improve the age rating systems for this content based on children's cognitive and emotional development levels we can help educators select effective resources for different ages and ways of learning (individually We're also looking at how some experiences with technology can help develop other skills or break down stereotypes we are investigating how gender stereotypes associated with STEAM can be reduced through an intervention with educational robotics in early childhood Another line of research relates to the risks and opportunities of using digital games with elements of artificial intelligence such as the recognition of emotional expressions that could make it possible to personalize communication and learning for children One of the things we are most proud of is the fact that we use mixed-method, non-invasive research designs in natural settings with preschool children, which is not always easy the ethical and data protection issues associated with research with and for children are central to our studies How did you become interested in the topic of young children's technology use In a course in the bachelor's degree in Evolutionary Psychology that I took at the Università La Sapienza I was struck by the fact that there was no bridge between knowledge about child development and digital content designed for each age language and/or complexity of the story was not appropriate for children's development digital content created by educators tended to be very poorly designed and unattractive both the production and study of digital content used to be carried out from an adult-centric perspective I believe that we have a duty to recognize children as active subjects capable of expressing their opinions and participating in research from a very young age It's true that doing research with young children is extremely costly in terms of time and resources We've found that advanced technology can be helpful in this process although its usefulness is limited by its accuracy and must be complemented by more traditional methods What is the profile of the people at Child Tech Lab Child Tech Lab is an interdisciplinary and international environment What we all have in common is an interest in applying the results of our research to educational settings the gender perspective and the use of technology The group includes not only experts in design education and engineering but also psychologists We also typically collaborate with other research groups working on the psychology of language or computer vision as well as with a network of international collaborators French President Emmanuel Macron suggested that European leaders should consider broadening the European Central Bank’s mandate to include decarbonisation targets His proposal has mostly been ignored; for many it probably seems too radical to be worth discussing and disregarding it would amount to a major missed opportunity has been always considered “untouchable” But the pursuit of price stability does not happen in a vacuum which established the legal framework for Europe’s monetary union While the treaty states that the ECB’s primary objective must be to maintain price stability “without prejudice to” that objective the ECB should support the European Union’s broader economic policies with a “view to contributing to the achievement” of the bloc’s objectives This has always been interpreted as a hierarchical mandate: price stability comes first but other objectives – such as employment and financial stability – should also be pursued that it would incorporate “climate change considerations” into its policy framework it was operating on the assumption that climate would be secondary to price stability But what happens when the ECB’s objectives clash Yet there is currently no established ECB procedure for setting monetary policy when the quest for price stability conflicts with other EU priorities Macron’s provocative proposal should force European leaders to reckon with this gap – beginning at the next ECB strategy review Pure inflation-targeting central banks – such as the Bank of England or Nordic country central banks – and the US Federal Reserve These central banks pursue their inflation targets on a medium-term horizon but allow some divergence in the short term precisely in order to avoid or reduce transitional costs As former BOE Governor Mervyn King once said “an inflation targeter is not an inflation nutter” these central banks might need a more nuanced and flexible approach when getting inflation back to target quickly is likely to have large costs – in terms of employment and efforts to combat climate change – it might be wise to prolong the central bank’s time horizon formal criteria for linking costs to time horizons would have to be formulated Accounting for the climate transition will not be easy Consider the impact of regulatory constraints on the use of fossil fuel technology – a key component of net-zero strategies These work just like supply constraints arising from supply chain disruptions or geopolitical shocks shifting the supply curve to the left and making it steeper changes in demand could lead to price volatility and inflation-targeting monetary policy might adversely affect employment when inflation is caused by supply-side factors so other instruments must be used to ease the constraint Though mainstream macroeconomic models assume that monetary policy does not affect potential output there is empirical evidence suggesting that steep interest rate increases might reduce investment in sectors that are perceived to be riskier even if they might prove more productive in the long run Perhaps most important in our example is investment in research and development in green technology Monetary policymakers must therefore ensure that efforts to achieve the inflation target do not impede such investment While investment in green tech can be encouraged using financial and fiscal instruments it remains sensitive to financial conditions in order to control inflation in the short run they risk undermining productivity and sustainability an economy that is less productive and more exposed to both supply constraints and climate risks will be more vulnerable to inflation there are also costs to delaying anti-inflationary interventions Far from being an esoteric topic for academic economists to discuss among themselves this is a serious practical challenge that central banks will have no choice but to face in the coming decades Because the green transition involves the rebalancing of production away from ‘dirty’ processes it is likely to be characterised by temporary inflationary pressures Central banks must ensure that their response does not amplify the disruption and increase output costs some central banks have already incorporated flexibility into how they approach their mandates But now they must operationalise that flexibility by devising a transparent and research-based framework for managing the costs and benefits of inflation and other objectives Macron’s suggestion should kick-start this process Lucrezia Reichlin, a former director of research at the European Central Bank, is Professor of Economics at the London Business School.© Project Syndicate 2024www.project-syndicate.org View the discussion thread. More by this contributorClare Bucknell26 December 2024 Newsletter Preferences This site requires the use of Javascript to provide the best possible experience Please change your browser settings to allow Javascript content to run The series covers the papacy of Rodrigo Borgia (Jeremy Irons) who becomes Pope Alexander VI in the first episode and he uses his power to secure position and wealth for himself The storyline covers actual historical events everything from the warring Italian city-states and their conflicts with France to Savonarola and his Bonfire of the Vanities But the focus is on the Borgia family who are framed like an Italian mob family out of The Godfather or The Sopranos with the Pope as the boss must marry according to what alliances are most advantageous for the Pope In the forward to his published screenplay show-runner and chief writer Neil Jordan said that when he had the chance to make a cable series on the topic for Showtime: “I saw it as a unique opportunity to write a 40-hour film It would be as lurid and dramatic as any Jacobean drama long enough to do justice to the complexity of the times and the family.” The show leans hard into the rumors and myths about the Borgias buying and murdering their way into power and having sex with anything that moves (including a sibling) Yet it’s all based on their deep family ties and the Borgias aren’t painted as the villains in this world where everyone else is out for themselves too it plays fast and loose with history at times Showtime declined to produce a fourth and final season of The Borgias due to production costs “The series was expensive to produce since we always did our utmost to do justice to the architecture however free we allowed ourselves to be with the actual events.” “Never did I think of the costumes for the TV Never in my long years of doing this job did I ever have this number of costumes plus doubles and more costumes for the stunt people.” I can’t cover all the costumes in 30 hours of TV not even in a Patreon post (that’d be at least seven posts worth You know we tend not to look too much at men’s fashions so that cuts down some things — though a fair number of the male characters in The Borgias are wearing priest’s cassocks I’m going to focus on just three female characters to keep it real here: Their costumes show the youngest woman (who is I’ll go somewhat chronologically through the series the costumes don’t necessarily scan with the historical fashions of the time I’ll state now that women’s fashions didn’t change dramatically in the nine-year-span the show covers There were more regional differences in fashion than anything so what was worn in Venice might be somewhat different than in Florence or in Rome the clothing styles didn’t change dramatically across the Italian city-states And showing what those historical references actually are Of course, Gabriella Pescucci knows the history because she does the research, as shown in her previous works like The Age of Innocence (for which she won an Oscar) “A lot of painters’ work from that period are in museums and online we made photocopies to get the women’s faces … If you are looking in the right way you are always surprised by something you find something you didn’t think would be in that period And in a conversation with WWD the costume designer gave further details: all of whose portraits feature noblemen with their ladies and the lifestyle of that world That became for me the main inspiration for ‘The Borgias.’ Paintings are very important during any research process for me to get inspiration of any kind But it’s more difficult getting the fabrics and the colors of that period because they are no longer made in the same way … That usually pushes me to search and choose materials to see what they will look like after the aging and dyeing process that is needed to create the look and taste of the period I am aiming to re-create I am constantly guessing the final result.” I’ll refer to these painters as I go through individual costumes Lucrezia goes on the biggest journey of growth starting as a sheltered young girl and becoming an experienced woman capable of manipulating situations as deftly as anyone else in her family Her costumes likewise go from sweet pastels in flowing The main type of dress during this period in the Italian city-states was called a gamurra and it had a high waist with a usually front-lacing bodice fitted to and supporting the bust The skirts were cut separately so they could be quite full (more so for the upper-classes) and the skirt might be closed or split in the front to show off a fancy petticoat This pale blue gown on Lucrezia has all of these elements Key in this first season for all the women, but particularly Lucrezia, is the use of these narrow, multi-part sleeves with puffs of her chemise (called a camicia) showing through. It’s a style that’s seen throughout the late 15th to early 16th century in Italian fashions among the wealthy elite The style is also seen in one of the few period images of Lucrezia herself: She’s not the only female character to wear this sleeve Just that combined with her loose hair and the soft colors But it’s her pretty-in-pink gowns that make her look incredibly young and almost saccharine sweet These are for scenes where she flirts with the Ottoman heir rounded neckline of those pink gowns is a bit more common for Venetian women at this time period That all leads up to Lucrezia’s wedding gown (her first) and we get an extended scene of the dress being made that camicia she’s wearing should be made of a very fine linen not what looks to be a sheer chiffon or organdy something-or-other Many of the women’s camicias are made of modern sheer fabric probably for an extra light and puffy look as they’re drawn through the sleeves Compare with an extant camicia from later in the period though the use of linen embroidered in silk and full shape would be the same in the 1490s: There’s surprisingly few gowns with a front-lacing closure when that was common in period imagery of gamurra you’d think they’d have used front-lacing for easy access here’s a similar front-lacing gamurra that’s also split down the front skirt: That marriage goes bad fast, and it’ll be annulled in a hilariously humiliating way for her husband that’s based in historical fact. But post-wedding and before that marriage ends, she returns to Rome for her little brother Joffre’s arranged wedding. Now that she’s seen some things, Lucrezia wears brighter colors and her hair is up. I feel like this green-and-gold fabric is an Indian sari material Vanozza begins the series as the beloved but cast-aside mother of the Pope’s children past her sexual prime in men’s eyes (fucking patriarchy!) including her sons and possibly her ex-lover Her clothes show that she’s well taken care of She kind of wears variations of the same dress for a while dark colors with a modest amount of decoration multi-part sleeves with her camicia puffed through Vanozza wears this gown that looks blue onscreen but pix of it on display show it’s a cool lilac tone This is her most elaborate costume in the first season which makes sense because this is the most formal event she’s allowed to be part of where she wears refined but unembellished garments Given that she’s so often seen at home it’s too bad she doesn’t wear the long sleeveless overgown called a giornea that’s seen in period imagery the giornea would be made of beautiful fabric which would add even more to her style as an elegant queen bee this bedside scene by Ghirlandaio shows a lovely pink giornea worn over a white-and-red patterned gamurra Vanozza gets some gold trim on a few of her at-home dresses like this one. And is that a partlet I spy That was called a fazzoletto in an Italian wardrobe I wonder if the horizontal trim is supposed to mimic front lacing front-lacing was really common for gamurra She gets a somewhat fancier dress when Cesare sneaks his mom into Lucrezia’s wedding against the Pope’s wishes Then Vanozza plays a larger role in her youngest son’s wedding escorting him down the aisle in this royal blue gown and matching veil “La Bella” Farnese was a legendary beauty who insinuated her way into the Pope’s bed Giulia’s costumes have some of Lucrezia’s youthfulness but none of the sweet naïveté She spends a lot of scenes half-naked in Roderigo’s bed Lucrezia first meets Giulia when the later is having her portrait painted Giulia will become a friend and confidante for the younger woman throughout the series This scene must be inspired by several paintings that are supposedly of Giulia Farnese although these were painted later than the scene is set Her dress in the TV scene seems to take some very loose inspiration from the red and green colors in this Raphael painting Lucrezia wears an outfit that reminds me of the Pinturicchio painting of her For Lucrezia’s wedding, Giulia is prominently at the Pope’s side while Vanozza is excluded. Giulia wears this orange gamurra with lots of trim and beading. Also, she’s Team Head Necklace here and throughout the series — and she’s doing it in a historically accurate fashion because let’s talk about coats for you and me and with or without sleeves was called a zimmara this was closed up the sides and intended to be worn outside the home So it’s appropriate now that Lucrezia has married However the snug buttoned front reads more mid-16th-century than late 15th-century to me Both Lucrezia and Giulia wear coats lined in fur (or at least trimmed in fur to make it look like they have a fur lining) Compare with this fur-lined zimmara from a later date but similar style: Lucrezia wears another sleeveless zimmara at the end of this season to flirt with an artsy fellow this coat shows off the triple-puffed sleeves of her gown Reminiscent of the scarlet zimmaras favored by Florentines some 50 years later like… how about a giornea type robe to help makeover an old gown from last year that bodice and skirt are the same as the blue dress she wore in season 1 but with the giornea and new puffy sleeves added Here’s the dress on display with the S2 sleeves: the big difference in costumes from season one to season two is the big puffy sleeves on most of the women’s gowns sometimes in costume re-wears but sometimes in new outfits round puff at the top and then a narrow part from the elbow and below are really a fashion that starts in the 1520s and goes through the 1540s in Italy puffed sleeves are slashed to show her camicia The full gown has the general shape of the later period as well: Here’s a full view of a gown with big sleeves: Another dress Lucrezia wore last season gets updated with big Lucrezia’s last significant costume of this season is this icy silvery-blue dress she wears for her betrothal celebration It’s almost a throwback to her first wedding gown with a similar bodice shape with center decoration puffed-and-slashed sleeve isn’t really seen at this time in Italian women’s wear — not until almost a century later Vanozza still has the more-appropriate-to-the-supposed-period narrower sleeves puffy sleeves outside the home for more formal events like this celebration of Lucrezia’s son in episode 7 There’s only one image I know of that might be Vanozza herself and it’s from the big-sleeve era with slashes too It looks very much of the 1530s or later though Then Vanozza wears one of my very favorite outfits Giulia gets some competition in the Pope’s bed thus I didn’t find as much of interest to screencap with her as the series goes on But I found it interesting how she shows up in several scenes that display the different sleeve styles used simultaneously Giulia is wearing one of her very first gowns there’s a full lineup of all three women’s sleeves The final season starts with Lucrezia’s second wedding But she still gets a fabulous costume because she’s the heart of this show Her wedding gown is all in gold and white with big and she’s wearing her hair entirely up and with a balzo headdress Like the big, puffy sleeves, the balzo is a fashion from the 1530s. I called The Borgias out during Snark Week for as a show using the wrong hat for the period I guess the idea is to make more of a distinction between “young” Lucrezia and “mature” Lucrezia but I think the other costume changes do that well enough these photos of the costume on display show the beautiful fabrics and trim Lucrezia’s costumes go dark this season to suit her plotline At various times, costumer friends and I have debated the really low bodice line on gowns like this in the show. It’s dramatic (hi, boobs!) and we wonder how it’s achieved from a construction point of view It does seem to be based on historical images may have artistic license and be exaggerated to promote the beauty ideal of the time Compare with the bustline and camicia in this painting: Also, there’s some structure going on underneath that bodice. According to costume designer Gabriella Pescucci in a conversation with WWD … Double canvas stitched together first then steamed to shape them up to be finally hard-sticked [boned] in order to softly push the breasts up and frame the bosom within a gentle roundness or sometimes for a more squared-neck line … I understand that it feels like torture but the warmth of the body helps make it more bearable — the actresses can confirm that it will never feel like a soft sweater.” Lucrezia practically goes goth here in a gown that’s either super-dark brown or black Perhaps it’s a reimagining of one of the period paintings thought to be of her I’m contractually obliged to love this purple dress It’s not as shiny as my other faves in this show but notice how much it’s toned down when combined with brown Miles away from that first pastel blue costume Her narrow bodice that exposes a camicia-covered bosom is seen in historical images like this one from about 30 years later: This dark gold and black gown shimmers dangerously… Showtime released a few promo sheets about the costume and production design for season 3 which shows Gabriella Pescucci’s design sketches for this outfit Lucrezia also wears this dress with a balzo Let’s close out Lucrezia’s costume journey with more outerwear She has a new zimmara (it has a different collar and narrow gold trim) worn over the same gown with triple-puffed sleeves she wore at the end of season 2 And it’s fitting to end with a picture of Cesare and Lucrezia since they have the final scene in the series This blue is the brightest thing she’s worn since her second wedding as if her life is about to change again … but we’ll never know (OK Neil Jordan did write a screenplay for the supposed series finale but I can’t bear to read it based on the reviews) Early in the season, Vanozza is having a new dress made, and we love a dressmaking scene on film around here Note that her new gown will have narrow sleeves So there’s no rhyme nor reason about this that I can figure out She even repeats a narrow-sleeved gown from season 2 While she also wears a new puffy-sleeved gown The embroidered camicia and square neck of that gown remind me of this later painting: Guilia makes one major appearance at the end of the show just to get the Pope’s approval of her fiancé She wears a dress with that 1520s-40s silhouette using the same orangey color scheme she wore much of the series I’m reminded of this kind of dress shape plus the braids (but do check out Kendra’s series for details about the show’s hairstyling): You can see Gabriella Pescucci’s design sketches for this outfit in another of Showtime’s season 3 promo sheets: What do you love about the costumes in The Borgias The Borgias is my platonic ideal of Italian Renaissance energy I was wondering when you would write a post on the costumes London Eloise Lally straightforwardly tells this convoluted story of concealed identity ending in a mass poisoning Victor Hugo – on whose play it was based – got an injunction to stop it being performed so perhaps even he realised that its plot was something to blush about it’s a convoluted story of concealed identity ending in a mass poisoning but with all but one of the deaths offstage; in between there’s an elaborately set-up execution that’s easily foiled when Eloise Lally’s straightforward production doesn’t lift this quite enough dark and atmospheric though it is in Adam Wiltshire’s sets with their flaming torches and stained-glass windows and therefore of any real sense of public versus private The party in the final act seems to be taking place in a men’s steam room Necessarily lean … the ETO’s Lucrezia Borgia. Photograph: Richard Hubert SmithNone of this is really the point of the opera, though; it’s written to be a display case for a stunning voice. Paula Sides perhaps lacks the last bit of fierceness to pin you to your seat but her voice has plenty of edge nonetheless; she sings the role beautifully wrapping her supple soprano round all of Donizetti’s roulades and leaps and almost making her character sympathetic She’s supported by the period-instrument players of the Old Street Band sounding characterful and transparent in the pit as conducted by Gerry Cornelius There’s some stylish and honeyed singing from the tenor Thomas Elwin who warms into the role of gormless Gennaro and the mezzo Katie Coventry as Orsini makes a nice buddy pairing with him Aidan Edwards makes you wish there was more music for Alfonso – Lucrezia’s fourth husband Don’t ask what happened to the other three English Touring Opera’s Lucrezia Borgia is on tour until 26 May Search for shows online and experience them offline Il Tacco di Bacco is a tool designed to enhance the quality of our lives A fulfilling existence is built on authentic connections which we believe can only arise in the real world This is why we’ve created a guide to help you navigate We provide the means; you discover the purpose.