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A Sociable MomentOpera and Festive Culture in Baroque Siena$

Colleen Reardon

Print publication date: 2016

Print ISBN-13: 9780190496302

Published to Oxford Scholarship Online: August 2016

DOI: 10.1093/acprof:oso/9780190496302.001.0001

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(p.273) Appendix Chronology of Opera in Siena, 1669–1704

(p.273) Appendix Chronology of Opera in Siena, 1669–1704

Source:
A Sociable Moment
Author(s):

Colleen Reardon

Publisher:
Oxford University Press

This chronology is intended to furnish basic information on works scheduled for performance or performed in Siena during the years listed above; it includes titles of operas, librettists, composers, dedicatees, performance dates, and performance sites when known. It gives the location of librettos for Sienese performances, privileging those preserved in Siena or among the Chigi collection of librettos in the Vatican; also listed is a Sartori number (if one exists). The only scores referenced below are manuscript copies still extant in the Chigi collection at the Vatican that can be shown to correspond closely to a Sienese libretto. Cast lists are culled from librettos as well as from letters, broadsides, and chronicles.

1669      L’Argia

  • Text: Giovanni Filippo Apolloni

  • Music: Antonio Cesti

The libretto was dedicated to the “Illustrissimi Signori Padroni miei Osservandissimi” (“my most illustrious and most respected lords and protectors”) and signed by Jacinto Ferrari on 26 May 1669.

The opera opened on 27 May and ran for six performances, the last on 16 June. It was performed to inaugurate the newly constructed theater in the Palazzo Pubblico and was sponsored by the Accademia degli Intronati.

  • Cast: Giacomo Campaluci (Selino-Lucimoro)

    • Elena Passarelli, “la Tiepola” (Laurindo-Argia)

    • Caterina Angiola Botteghi, “la Centoventi” (Dorisbe)

  • Libretto: I-Sc, Opere teatrali, vol. I, no. 1 (Sartori 2440)

(p.274) 1670      La Dori

  • Text: G. F. Apolloni

  • Music: A. Cesti

The opera was scheduled for performance in June 1670, but cancelled when Grand Duke Ferdinando II died.

  • Cast: Elena Passarelli, “la Tiepola”

1672      La Dori

  • Text: G. F. Apolloni

  • Music: A. Cesti

The opera was performed in June, in the Palazzo Pubblico, to celebrate the first visit to Siena by Maria Virginia Borghese, wife of Agostino Chigi.

  • Cast: Caterina Angiola Botteghi, “la Centoventi”

  • Libretto: None extant from Siena

1672      Il Tito

  • Text: Niccolò Beregan

  • Music: A. Cesti

The opera was performed in June, in the Palazzo Pubblico, to celebrate the first visit to Siena by Maria Virginia Borghese, wife of Agostino Chigi.

  • Cast: Caterina Angiola Botteghi, “la Centoventi”

  • Libretto: None extant from Siena

1672      Il Girello

  • Text: Filippo Acciaioli

  • Music: Jacopo Melani

The opera was performed in June and early July, in the Palazzo Pubblico, to celebrate the first visit to Siena by Maria Virginia Borghese, wife of Agostino Chigi.

  • Cast: Caterina Angiola Botteghi, “la Centoventi”

  • Libretto: None extant from Siena

(p.275) 1673      Il Tirinto

  • Text: G. F. Apolloni and F. Acciaioli

  • Music: Bernardo Pasquini

The libretto was dedicated to Virginia and Olimpia Chigi (Cardinal Sigismondo Chigi’s half-sisters) and signed by “L’Accademici del Tirinto” (“The academicians of Il Tirinto”).

The opera was performed in the Palazzo Pubblico, either in early June of 1673, to celebrate Sigismondo Chigi’s passage through Siena on the way to his legation in Ferrara, or during Carnival season, 1673–74.

  • Cast: “una nuova compagnia di accademici musici” (“a new company of academic musicians”)

  • Instrumentalists:

    • Giuseppe Fabbrini (continuo/director of the ensemble)

  • Libretto: I-Sc, Bargagli-Petrucci 1942

[1676]      Amare e fingere

  • Text: Giovanni Andrea Spinola?

  • Music: Alessandro Melani?

The libretto was dedicated to the Princess of Farnese (Maria Virginia Borghese, wife of Agostino Chigi), by the Accademia delle Assicurate.

The opera was performed in the Palazzo Pubblico in June when Maria Virginia Borghese, Agostino Chigi, and Cardinals Flavio and Sigismondo Chigi were all in Siena.

  • Cast: “le voci de’ più armoniosi cigni della nostra patria” (“the voices of the most harmonious swans of our city”)

  • Libretto: I-Rvat, Stamp. Chigi VI.1152, int. 1 (Sartori 1157)

  • Score: I-Rvat, Chigi Q.VIII.175 (“Artabano”)

1676–77      L’Orontea

  • Text: Giacinto Andrea Cicognini, revised by G. F. Apolloni

  • Music: A. Cesti

The opera was performed during Carnival season, probably in the Palazzo Pubblico.

  • Libretto: None extant from Siena

(p.276) 1677      Le reciproche gelosie

  • Text: Francesco Bartolomeo Nencini

  • Music: A. Melani

The libretto was dedicated to the “bellissime dame sanesi” (“the exceedingly beautiful ladies of Siena”) and signed by Bonaventura Zondadari, Pandolfo Spannocchi, and Mutio Ugurgieri on 27 February 1677.

The opera was performed in the Palazzo Pubblico for Carnival entertainment.

  • Libretto: I-Sc, Opere teatrali, vol. I, no. 2 (Sartori 19660)

  • Score: I-Rvat, Chigiano Q.VI.88 (“Scherzo pastorale a 5”)

1677      Gl’inganni innocenti overo L’Adalinda

  • Text: G. F. Apolloni and F. Acciaioli

  • Music: Pietro Simone Agostini

The libretto was dedicated to Flavio Chigi and signed by Giovanni Marsili on 1 October 1677.

The opera was performed on 9 and 12 October in the Palazzo Pubblico during Flavio Chigi’s fall visit to Cetinale; it was sponsored by Flavio Chigi.

  • Cast: Giacomo Campaluci (Adalinda)

    • Giovanni Domenico Graziani (Lucidalba)

    • Cavalier Vitali d’Orbetello (Alearco)

    • Giulio Brazzi (Giroldo)

    • Clemente (Alcea)

    • Don Bernardo (Sifrido)

    • Two unnamed boys who performed the intermedio

  • Instrumentalists:

    • Giuseppe Fabbrini (continuo/director of the ensemble)

    • Bambagini (violone)

    • Francesco Rampini (theorbo)

    • Galgano Rubini (violin)

    • Montolini from Pisa (violin)

    • Fabbrini from Pisa (violin)

    • Bomba (violin)

    • Unnamed Florentine musician (violin)

    • Unnamed Sienese musician (trumpet)

The production included a ballet choreographed by a dancing master and performed by “gentlemen.” (p.277)

  • Libretto: I-Vgc (Sartori 13141)

  • Score: I-Rvat, Chigi Q.VI.96-98

1680      Gli equivoci nel sembiante

  • Text: Domenico Filippo Contini

  • Music: Alessandro Scarlatti

The libretto was dedicated to the Princess of Farnese (Maria Virginia Borghese, wife of Agostino Chigi) and signed by Jacomo Fantini on 9 May 1680.

The opera was performed in the Palazzo Pubblico during the May–June visit of Agostino Chigi and Maria Virginia Borghese to Siena.

  • Libretto: I-Rvat, Stamp. Chigi VI.1156, int. 3 (Sartori 8995)

1681      Tullia superba

  • Text: Antonio Medolago

  • Music: Giovanni Domenico Freschi

The opera was performed in the Palazzo Pubblico in late May 1681, perhaps to celebrate Lorenzo Onofrio Colonna’s triumphant return to Italy.

  • Libretto: I-Sc, Misc. Senesi I.15, no. 5

1682      Ama chi t’ama

  • Text: F. B. Nencini

  • Music: A. Melani

The libretto was dedicated to Marchese Bonaventura Zondadari, “Principe dell’Accademia dell’Arti liberali” (“Prince of the Academy of Liberal Arts”) and signed by Angelo Pannilini, Giovanni Battista Cinughi, Antonio Della Ciaia, and Niccolò Piccolomini on 6 February 1682.

The opera was performed in the Palazzo Pubblico during Carnival.

  • Libretto: I-Rn, Misc. Teatr. Gabrielli 35.5.B.3.1 (Sartori 968)

1683      Tutto il mal non vien per nuocere

  • Text: Giuseppe Domenico De Totis

  • Music: A. Scarlatti

(p.278) The libretto was dedicated to Vittoria Della Rovere, Grand Duchess of Tuscany, and signed by “alcuni cavalieri” (“some gentlemen”).

The opera was performed in the Palazzo Pubblico, probably in early June, to celebrate the appointment of Francesco Maria de’ Medici as Siena’s new governor, and for the Sienese visit of his mother, the Grand Duchess of Tuscany. Agostino Chigi and Maria Virginia Borghese were also visiting Siena in May and June.

  • Libretto: I-Sc, Opere teatrali, vol. I, no. 3 (Sartori 24168)

1684      [Unnamed opera]

  • Music: Giacomo Simonelli

The opera was performed at Cetinale during Flavio Chigi’s autumn visit.

  • No libretto or score extant.

1686      “Operina sacra”

  • Music: Leopoldo Magini?

The opera was performed at the convent of S. Girolamo in Campansi, probably in June, for the clothing ceremony of Olimpia Chigi, daughter of Maria Virginia Borghese and Agostino Chigi.

  • Cast: Maria Maddalena Chigi (Amor Divino)

    • Teresa Chigi (Innocenza)

    • Geltrude Petrucci (Diletto)

  • Libretto: None extant.

  • Score: I-Rvat, Chigi Q.VI.84

1690      L’onestà negli amori

  • Text: Domenico Bernini

  • Text for prologue, intermedi, and all other additions: Francesco Maria Massini, Accademico Rozzo “il Penetrabile”

  • Music: A. Scarlatti

  • Music for prologue, intermedi, and all other additions: Giuseppe Fabbrini, Accademico Rozzo “l’Armonioso”

The libretto was dedicated to Cardinal Flavio Chigi and signed by the Accademici Rozzi on 24 May 1690.

(p.279) The opera was performed in the Palazzo Pubblico on 28 and 31 May, and on 4, 7, 11, and 18 June.

  • Cast: Maria Maddalena Fratini di Firenze (Rosmira)

    • Elena Garofalini, virtuosa del Duca di Mantova (Elisa)

    • Giovanni Battista Tamburini di Siena, Accademico Rozzo “l’Accarezzato” (Bacucco)

    • Ulivieri Matraia di Lucca, Accademico Rozzo “il Riservato” (Rosanno)

    • Antonio Dameli di Siena, Accademico Rozzo “il Domestico” (Giaser)

    • Mattia Bartali di Siena, Accademico Rozzo “il Griccioso” (Saldino)

    • Pier Francesco Gabbrielli (Alì)

  • Prologue: Giovanni Simone Britii di Siena (Onestà)

  • Intermedio: Garofalini’s sister

  • Choreographer (ballet): Giacomo Pietro Puccioni, Accademico Rozzo “il Danzoso”

  • Choreographer (battle scene): Alessandro Berti, Accademico Rozzo “l’Impaziente”

  • Libretto: I-Sc, Opere teatrali, vol. I, no. 6 (Sartori 17083)

  • [signed:] “Del nobile Signor Girolamo Gigli, Accademico Intronato”

1691      L’Aldimiro o vero Favor per favore

  • Text: G. D. De Totis

  • Music: A. Scarlatti

The libretto was dedicated to Cardinal Francesco Maria de’ Medici and signed by the Accademici Rozzi on 20 May 1691.

The opera was performed four times in the Saloncino and five times in the Palazzo Pubblico between late May and early July to celebrate Grand Duke Cosimo III’s transfer of control of the Saloncino, the little theater contiguous to the governor’s palace, to the Rozzi. Agostino Chigi and Maria Virgina Borghese were visiting Siena in May and June.

  • Cast: Antonio Maria Ristorini (Aldimiro)

    • Antonio Dameli (Rosmiro)

    • Anna Lisi, “la Brogina” (Arsinda)

    • Maria Caterina Gosler, “la Todeschina” (Dorisbe)

    • Maria Maddalena Fratini (Rondinella)

    • Ulivieri Matraia (Lucimoro)

    • Giovanni Battista Tamburini (Lisardo, six performances)

    • Mattia Bartali (Lisardo, three performances)

  • (p.280) Instrumentalists:

    • Giuseppe Fabbrini (continuo, director of the ensemble)

    • Giuseppe Ottavio Cini (violone)

    • Francesco Rampini (theorbo)

    • Galgano Rubini (violin)

    • Giacomo Pietro Puccioni (violin)

    • Andrea Pontolmi (violin)

    • Pietro francese (violin)

    • Francesco Pandini (trumpet)

    • Palafuti (mandolin)

  • Fencing master: Alessandro Berti

  • Choreographer: Giacomo Pietro Puccioni

  • Dancer: Giovanni Puccioni

  • Libretto: I-Sc, Opere teatrali, vol. I, no. 8 (Sartori 672)

    • [signed:] “Del nobile Signor Girolamo Gigli, Accademico Intronato”

1695      L’amante doppio

  • Music: A. Scarlatti

The libretto was dedicated “all’Illustrissime e Virtuosissime Signore, le Signore Accademiche Assicurate” (“to the most illustrious and most virtuous women of the Academy of the Assured Ones”) by the Accademici Rozzi.

The opera may have been performed as puppet theater in May.

  • Libretto: I-Sc, Opere teatrali, vol. II, no.1 (Sartori 1037)

    • [signed:] “Del nobile Signor Girolamo Gigli, Accademico Intronato”

1695      Il Pirro e Demetrio

  • Text: Adriano Morselli

  • Music: A. Scarlatti

The libretto was dedicated to Violante Beatrice di Baviera, wife of Prince Ferdinando de’ Medici, and signed by the Accademici Rozzi on 10 August 1695.

The opera was performed at the Palazzo Pubblico on 16, 21, and 28 August, and on 7, 11, and 18 September. Girolamo Gigli was the impresario.

  • Cast: Stefano Frilli (Pirro)

    • Giovanni Biagio Cappannini (Demetrio)

    • (p.281) Maria Rosa Bracci, virtuosa del Principe di Toscana, “l’Acciaiola” (Deidamia)

    • Maria Domenica Marini, “la Cappona” (Climene)

    • Giovanni Battista Tamburini, virtuoso del Cardinale di Toscana (Clearte)

    • Giacinto Guasti, “il Coccaro” (Mario)

    • Cherubina Bracci (Breno)

    • Unnamed tenor from Pistoia (Arbante)

  • Music for the prologue and intermezzi: Domenico Franchini, Accademico Rozzo

  • Choreographer: Giacomo Pietro Puccioni, Accademico Rozzo “il Danzoso”

  • Sets and machines: Vincenzo Ferrati, Accademico Rozzo “il Resoluto”

  • Libretto: I-Sc, Opere teatrali, vol. II, no. 3 (Sartori 18796)

    • [signed:] “Nobile Signor Girolamo Gigli, Accademico Intronato”

1695      Il Creonte

  • Text: Rinaldo Cialli

  • Music: Marc’Antonio Ziani

The libretto was dedicated to the Most Serene Prince of Tuscany, Ferdinando de’ Medici, by the Accademici Rozzi.

The opera saw one performance, on 4 September, in the Palazzo Pubblico. Gigli was the impresario.

  • Cast: same as for Pirro, with the addition of Giuseppe Passaglioni di Siena (specific roles unknown)

  • Libretto: I-Sc, Opere teatrali, vol. II, no. 2 (Sartori 6886)

    • [signed:] “Del nobile Signor Girolamo Gigli, Accademico Intronato”

1698      L’innocenza riconosciuta

  • Text: Teodoro Barbò (revised)

The opera was performed in the Saloncino on 30 August and on 4, 13, and 15 September for summer entertainment under the auspices of the Conversazione del Buon Umore. Fabio Spannocchi served as impresario, and Pietro Mozzi directed the production.

  • Cast: Pietro Mozzi (Ormondo)

    • Giuseppe Mozzi (Floridea)

    • (p.282) Tolomei

    • [Adriano?] Ballati

    • Nannini

  • Libretto: I-Sc, Misc. Senesi I. 16, no. 1 (Sartori 13350)

1700      Cammilla, regina de’ Volsci

  • Text: Silvio Stampiglia

  • Music: Giovanni Bononcini

The libretto was dedicated to Girolamo Pamphili and signed by “I colleghi della Conversazion’ del Buon Umore” (“Colleagues in the Academy of Good Spirits”) on 28 August 1700.

The opera was performed at the Palazzo Pubblico on 31 August, and on 4, 5, 8, 12, 15, 23, and 25 September. Gigli was the impresario, assisted by Girolamo Pamphili.

  • Cast: Maria Domenica Pini, detta la Tilla, virtuosa del Ser. Prencipe di Toscana (Camilla)

    • Maria Maddelena Vettori, virtuosa della medesima Altezza, “la Marsoppina” (Lavinia)

    • Pietro Mozzi, virtuoso del Serenissimo di Mantova (Latino)

    • Giacinto Guasti, “il Coccaro” (Prenesto)

    • Stefano Frilli (Turno)

    • Giuliano Albertini (Mezio)

    • Giovan Carlo Bernardi (Tullia)

    • Tommaso Bigelli (Linco) [replaced by Pier Francesco Gabbrielli]

    • Francesco Bernardi (Plautillo)

  • Libretto: I-Sc, Misc. Senesi I.15, no. 7 (Sartori 4612)

1702      Il Tullo Ostilio

  • Text: Adriano Morselli, with alterations by S. Stampiglia

  • Music: G. Bononcini, Giacomo Antonio Perti, Bernardo Sabadini, adapted by Giuseppe Maria Orlandini, director of the ensemble

The libretto was dedicated to Massimiliano Antonio Egidio Fugger of Kirchberg and Veissenborn, “Conte del S.R. Imperio, Signore di Wasserborg, Biberbach, Welden, Gablingen, Wellenborg, Reinershaufen, Rettenbach, Guetenhau, e Waldben, Cavaliere della Chiave d’oro di S.A.E. di Baviera” (“imperial count and lord of Wasserborg, Biberbach, Welden, Gablingen, Wellenborg, Reinerschaufen, Rettenbach, Guetenhau and Waldben, (p.283) knight of the golden key of His Royal Highness of Baveria”) and signed by “gl’interessati,” (“the interested parties”) on 12 June 1702.

The opera was performed at the Palazzo Pubblico during the last half of June and the first half of July. Gigli was the impresario, assisted by Pamphili.

  • Cast: Personaggi di Roma

    • Antonio Dameli (Tullo Ostilio)

    • Diamante Maria Scarabelli (Marzia)

    • Niccola Remolini (Valerio)

    • Francesco Passerini (Irene)

  • Personaggi d’Alba

    • Giovanni Battista Tamburini (Silvio)

    • Caterina Galerati (Ascanio)

    • Vittoria Costa (Sabina)

    • Stefano Coralli (Millo)

    • Marc’Antonio Berti (Ambasciador)

  • Libretto: I-Sc, Misc. Senesi I. 15, no. 6 (Sartori 24110)

1702      L’aiace

  • Text: Pietro D’Averara

  • Music: Paolo G. Magni, Carlo A. Lonati, Francesco Ballarotti

Although the opera is listed in a broadside, it is likely that it was never mounted and that La Giuditta di Baviera was performed in its place.

  • Libretto: None extant.

1702      La Giuditta di Baviera

The libretto was dedicated to Count Francesco Sansebastiani, “Maestro di campo, Governatore e Castellano per S.A.R. della Fortezza di Siena” (“captain of the troops and castellan at Siena’s fort, appointed by the Grand Duke of Tuscany”) and signed by “gl’interessati” (“the interested parties”) on 3 July 1702.

The opera was performed in the Palazzo Pubblico during the first half of July. Gigli was the impresario, assisted by Pamphili.

  • Cast: Diamante Maria Scarabelli, virtuosa del Sereniss. di Mantova (Giuditta)

    • Giovanni Battista Tamburini, virtuoso del Sereniss. Card. de’ Medici (Lotario)

    • Adriano Costa (Carlo)

    • Niccola Remolini della Maestà del Re de’ Romani (Adalgiso)

    • (p.284) Vittoria Costa (Edvige)

    • Caterina Galerati, virtuosa del Sereniss. Principe di Toscana (Berardo)

    • Antonio Dameli (Asprando)

    • Francesco Passerini (Nerina)

    • Stefano Corallo, virtuoso del Sereniss. di Mantova (Fronzo)

  • Libretto: I-Sc, Opere teatrali, vol. II, no. 4

1702      Il conte d’Altamura ovvero Il vecchio geloso

  • Text: Domenico Tornaquinci

The opera was performed at the Palazzo Pubblico on 30 August and on 3, 6, 10, and 13 September. Gigli was the impresario.

  • Cast: Stefano Coralli, virtuoso del Sereniss. di Mantova (Fulderigo)

    • Vittoria Costa (Tisbina)

    • Anna Marchesini, virtuosa del Sereniss. Card. de’ Medici (Leodilla)

    • Niccola Remolini della Maestà del Re de’ Romani (Iroldo)

    • Giovanni Battista Tamburini, virtuoso del Sereniss. Card. de’ Medici (Odauro)

  • Libretto: I-Sc, Opere teatrali, vol. II, no. 5

1704      La caduta dei decemviri

  • Text: S. Stampiglia

  • Music: A. Scarlatti

The libretto was dedicated to Camilla Antonia Griffoli Sozzifanti (wife of the Auditore Generale of Siena, Aurelio Sozzifanti) and signed by “gl’impresarii dell’opera” (“the impresarios of the opera”).

The opera opened on 30 December 1703 for six performances at the Palazzo Pubblico, closing on 17 January 1704. Gigli was the impresario.

  • Cast: Giacinto Guasti di Firenze (Appio Claudio)

    • Maria Anna Garberini Benti di Roma, “la Romanina” (Claudia)

    • Anna Maria Coltellini di Bologna detta la Serafina, virtuosa del Sereniss. Principe di Toscana (Valeria)

    • Girolamo Cerchi di Lucca (Lucio Virginio)

    • Vittoria Costa di Bologna, “la Vittorina” (Virginia)

    • Giovanni [Giovan Carlo] Bernardi di Siena (Icilio)

    • Ortenzia Beverini di Firenze, “la Lucertolina” (Servilia)

    • Filippo Rossi di Firenze (Flacco)

(p.285) N.B. Maria Maddalena Fratini replaced Costa for most performances of this opera.

  • Libretto: I-Sc, Opere teatrali, vol. II, no. 6 (Sartori 4337)

1704      La Griselda

  • Text: Apostolo Zeno

  • Music: Tommaso Albinoni

The libretto was dedicated to Flavia Petrucci Palleschi Borghesi, wife of the rector of the Hospital of Santa Maria della Scala, and signed by the impresarios on 16 January 1703/04.

The opera was performed at the Palazzo Pubblico for about six performances between 20 January and 5 February. Gigli was the impresario.

  • Cast: Giacinto Guasti di Firenze (Gualtiero)

    • Anna Maria Coltellini di Bologna detta la Serafina, virtuosa del Sereniss. Principe di Toscana (Griselda)

    • Maria Anna Garberini Benti di Roma (Costanza)

    • Giovanni [Giovan Carlo] Bernardi di Siena (Corrado)

    • Vittoria Costa di Bologna (Roberto)

    • Girolamo Cerchi di Lucca (Otone)

    • Filippo Rossi di Firenze (Elpino)

  • Ortenzia Beverini di Firenze (Lucilla)

N.B. Maria Maddalena Fratini replaced Vittoria Costa in all performances of this opera.

  • Libretto: I-Sc, Misc. Senesi I.15, no. 9

[1704]      La forza d’amore

  • Text: G. F. Apolloni

  • Music: B. Pasquini

The opera was performed for the May–June visit of Agostino Chigi and Maria Virginia Borghese, probably in a nontheatrical setting.

  • Cast: Maria Anna Garberini Benti di Roma, “la Romanina”

    • Vittoria Costa di Bologna, “la Vittorina”

    • Maria Maddalena Fratini, “la Fratina”

    • Antonio Dameli di Siena

  • Music director: Giuseppe Maria Orlandini

  • Libretto: I-Rvat, Stamp. Chigi VI.1152, int. 2 (Sartori 10822)

(p.286)