{"id":673,"date":"2020-05-27T17:02:39","date_gmt":"2020-05-27T15:02:39","guid":{"rendered":"http:\/\/www.siscaonline.it\/joomla\/2019\/?page_id=673"},"modified":"2020-05-27T17:02:39","modified_gmt":"2020-05-27T15:02:39","slug":"editing-guidelines","status":"publish","type":"page","link":"https:\/\/www.siscaonline.it\/joomla\/2019\/editing-guidelines\/","title":{"rendered":"Editing guidelines"},"content":{"rendered":"\n

Texts<\/strong><\/p>\n\n\n\n

Texts are to be written using standard type, only introducing italics where necessary (title of a work of art, title of a book, title of a chapter, title of a poem, title of an exhibition, title of a film, word in a foreign language\u2026). The punctuation after the italics is in standard type. Do not use bold type, CAPITAL LETTERS, small capitals or tabs.<\/p>\n\n\n\n

Images<\/strong><\/p>\n\n\n\n

If the images to accompany essays and\ninformation sheets are provided by the author, it is necessary for these to be in\nJPG or TIFF format, of quality and dimensions that are sufficient for printing;\nthese characteristics will be evaluated by the prepress department, together\nwith the graphic and DTP artist. For images provided in electronic or digital\nformat, considering the dimensions in which they will be reproduced, a minimum resolution\nof 300 dpi is necessary, with a minimum width of 20 cm.<\/p>\n\n\n\n

If tables are provided, these must\nbe in Word, while graphs must be presented in a separate file in Word, Excel or\nPDF, with a resolution of 300 dpi.<\/p>\n\n\n\n

Characterisation of the text<\/strong><\/p>\n\n\n\n

Cited passages<\/em><\/p>\n\n\n\n

The passages by other authors shown\nin the text must be in standard type, between quotation marks \u00ab\u00bb.<\/p>\n\n\n\n

Three dots in square brackets [\u2026] are\nused to indicate words omitted in the quotation.<\/p>\n\n\n\n

All the additions that the author makes\nto the cited text are to be in square brackets []. In the case of a quotation\nwithin a quotation, a different type of quotation marks must be used: \u00ab\u2026 \u201c\u2026\u201d\u2026\u00bb.<\/p>\n\n\n\n

In the note that closes the first\nquotation present in each contribution, the author must explain the criteria\nfollowed in the transcribing of the documents concerned, indicating, for example,\nwhether the capitals and lower case letters, punctuation, accents and obsolete graphic\nforms present in the original text have been respected or whether the decision\nhas been made to modernise them.<\/p>\n\n\n\n

Foreign words<\/em><\/p>\n\n\n\n

If words from a language other than Italian\nare included in the discourse, and are not therefore text quotations, these\nmust be in italics. If the non-Italian terms have entered common use, these are\nnot to be written in italics and are to be left invariable in the plural. If, on\nthe other hand, they are quotations of text, they must be in standard type, between\nquotation marks.<\/p>\n\n\n\n

Punctuation, accents and the use of\ncapital letters<\/em><\/p>\n\n\n\n

Punctuation marks must follow brackets,\nquotation marks and note numbers.<\/p>\n\n\n\n

We refer your attention to the\ncorrect use of acute and grave accents.<\/p>\n\n\n\n

Except in cases in which proper names\nare used, the use of capital letters in the Italian language is conventional\nand none of the various systems commonly practised can be considered entirely satisfactory.\nBroadly speaking, the following criteria will be followed:<\/p>\n\n\n\n

a. The names of positions and\nqualifications are put in the lower case; capital letters as a form of respect are\nnot used.<\/p>\n\n\n\n

b. Substantivised adjectives that indicate\nthe inhabitants of a territory or state are put in the lower case.<\/p>\n\n\n\n

c. Substantivised adjectives that indicate\na geographical area are put in capital letters.<\/p>\n\n\n\n

d. Capital letters are used for\nterms that indicate ages or historical periods.<\/p>\n\n\n\n

e. Years are always in the lower\ncase.<\/p>\n\n\n\n

f. The words Stato and Chiesa only are\nput in capital letters when they indicate the body institutionally.<\/p>\n\n\n\n

g. A common name that indicates\nterritorial areas generically goes in the lower case, whereas it goes in\ncapital letters if it indicates a specific institution.<\/p>\n\n\n\n

h. In the case of names of offices, bodies and authorities, each author is left free to use capitals and lower case letters as he or she sees fit; obviously, each choice must be used consistently\u00a0 within each essay.<\/p>\n\n\n\n

i. The words santo, santi, santa, sante,\nsan, santissimo and santissima are not put in capital letters. Capitals are\nonly used in the following cases: if the case concerns a geographical name, the\nnames of churches or if it concerns a name used as antonomasia, not followed\nnot by a proper name: la basilica del Santo (to indicate, for example, la\nbasilica di Sant’Antonio di Padova).<\/p>\n\n\n\n

l. The names of buildings, villas,\nchapels, streets, squares are put in the lower case.<\/p>\n\n\n\n

m. The names of museums, galleries,\nfoundations\u2026 follow the capitals or lower case letters of the original name.\nThe simple words for museum, gallery, foundation\u2026 in the discourse will,\nhowever, be in the lower case.<\/p>\n\n\n\n

n. To indicate synods, councils\u2026\ncapitals will be used if one in particular is indicated and lower case if the\nwords synod, council\u2026 are used in the discourse.<\/p>\n\n\n\n

o. In geographical names, the common\nname will be lower case, the proper name with an initial capital letter.<\/p>\n\n\n\n

p. The compass points have capitals\nif they indicate a geographical area, whereas they have lower case if they indicate\nthe direction: a sud in Firenze, si diresse verso nord.<\/p>\n\n\n\n

Use of numbers<\/em><\/p>\n\n\n\n

Numbers are always given in figures\nwhen dates, statistical data, quantities preceded by the respective measurements\nare indicated. For the discursive use of numbers in the text, generally\nspeaking the name in letters is preferred: ventitr\u00e9, trentatr\u00e9\u2026 will be written\nwith an acute accent. Double dates are written in full and separated by a hyphen.\nUnits of measurement are to be abbreviated when technical data are involved and\nwritten in full inside the discourse. In the case of abbreviations, these are never\nto be followed by a full stop.<\/p>\n\n\n\n

Use of the euphonic \u201cd\u201d<\/em><\/p>\n\n\n\n

The euphonic \u201cd\u201d is to be used when\nthe preposition \u201ca\u201d and the conjunction \u201ce\u201d are followed by a word that begins\nwith the same vowel. The exception is \u201cad esempio\u201d, which retains the \u201cd\u201d. The\nuse of \u201cod\u201d is always to be avoided.<\/p>\n\n\n\n

Use of dashes and hyphens <\/em><\/p>\n\n\n\n

The dash is only to be used for interpolated\nclauses and in lists; the hyphen divides words or numbers without the use of\nspaces.<\/p>\n\n\n\n

The use of the hyphen is to be\navoided in the case of compound words.<\/p>\n\n\n\n

Reference to names<\/em><\/p>\n\n\n\n

The proper name followed by surname must\nalways be indicated in full in the text, never solely with the initial followed\nby a full stop; if the author does not know the proper name, then he or she is\nto only indicate the surname. If reference is made in the discourse to people\nonly indicating them with their surname, always proceed by avoiding placing the\narticle before the surname.<\/p>\n\n\n\n

Use of quotation marks<\/em><\/p>\n\n\n\n

Quotation marks \u00ab \u00bb: these are used\nfor quotations and direct speech.<\/p>\n\n\n\n

Inverted commas \u201c\u201d: these are used\nfor incorrect, emphatic or ironic expressions and for a quotation within a\nquotation between quotation marks.<\/p>\n\n\n\n

Single quotation marks \u2018\u2019: these are\nused within quotation marks.<\/p>\n\n\n\n

Miscellaneous <\/em><\/p>\n\n\n\n

The following spellings are\npreferred:<\/p>\n\n\n\n

a.\nCon il, con i, con gli, con la, con le (not col, coi, colla, colle).<\/p>\n\n\n\n

b.\nMedievale (not Medioevale).<\/p>\n\n\n\n

c.\nSia\u2026 sia\u2026 (not sia\u2026 che).<\/p>\n\n\n\n

d. For quotations of passages from\nthe Gospels, see the following example: (Mt. 18,16-17).<\/p>\n\n\n\n

e.\nInside round brackets, use square brackets: (cfr., a tale proposito, C.\nBertelli, Lombardia medievale<\/em>, cit. [vedi nota 9], p. 48).<\/p>\n\n\n\n

f. The use of abbreviations should preferably\nbe avoided.<\/p>\n\n\n\n

g.\nCrocifissione not crocefissione; resurrezione not risurrezione; san Gerolamo\nnot Girolamo.<\/p>\n\n\n\n

Captions for images and the technical part of data sheets<\/em><\/p>\n\n\n\n

When the caption is the technical\npart of a catalogue data sheet, the number is placed at the beginning and followed\nby a full stop and a new line. All the parts are separated by a new line, with a\nlower case letter at the beginning of the line. The caption is not closed with\na full stop.<\/p>\n\n\n\n

The following examples concerning\ncaptions in essays must be considered in a similar way for the captions of data\nsheets, as indicated for the first two examples. Particular cases different\nfrom those mentioned here are to be discussed and resolved with the editor-in-chief\non each occasion.<\/p>\n\n\n\n

Paintings and sculptural works<\/em><\/p>\n\n\n\n

Name and surname of the painter(s) or\nsculptor(s) in full (standard type); title of the work (in italics). Where a detail\nof a work is concerned, write \u201cdetail\u201d, between commas, in standard type and\nthe title immediately afterwards. After the date there follows the location of\nthe work, giving the information according to an order going from the general\nto the particular: the city where the work is located (in Italian), the\nbuilding or museum (in the original language, possibly followed by the\nindication of the section or collection) or the church (possibly followed by\nthe indication of the specific location: chapel, cloister\u2026) where the work is conserved.\nThe technique of execution and the measurements, if indicated, are to follow\nthe date of the work and precede the location.<\/p>\n\n\n\n

1.\nDefendente Ferrari, Sant\u2019Eusebio<\/em>, particolare, XVI secolo, Vercelli,\nMuseo Borgogna<\/p>\n\n\n\n

2.\nFrancesco Hayez, Il bacio<\/em>, particolare, 1859, olio su tela, 110 x 88\ncm, Milano, Pinacoteca di Brera<\/p>\n\n\n\n

3.\nVincenzo Danti, Madonna con il Bambino<\/em>, 1568, Firenze, basilica di\nSanta Croce<\/p>\n\n\n\n

Architectural works<\/em><\/p>\n\n\n\n

City where the building is located,\nname of the building (in standard type), indication of the part of the building\nrepresented in the image reproduced.<\/p>\n\n\n\n

Miniatures<\/em><\/p>\n\n\n\n

Author in standard type, subject of\nthe miniature in italics, followed by the author (in standard type) and the\ntitle of the manuscript to which the miniature belongs (in italics), preceded\nby the word da (in standard type). There follow the city (in Italian), the\nmuseum (in the original language) where the manuscript is located (and possibly\nmore specific indications of the section or collection), the signature mark of\nthe text, the indication of the sheet number preceded by c. (carta) and\nfollowed by r\/v (recto\/verso) in italics.<\/p>\n\n\n\n

1.\nIgnoto miniatore del XV secolo, Galeazzo Maria Sforza in trono riceve da\nGerolamo Mangiaria una copia della sua opera<\/em> (da Gerolamo Mangiaria, De\nimpedimentis matrimonii<\/em>, Parigi, Biblioth\u00e8que Nationale de France, ms. Lat. 4586, c. 1r)<\/p>\n\n\n\n

Drawings<\/em><\/p>\n\n\n\n

Name and surname of the author in\nfull, followed by the title of the drawing (in italics), date, technique,\nmeasurements in millimetres, museum where it is conserved and inventory number.<\/p>\n\n\n\n

Gian\nLorenzo Bernini, San Gerolamo adora il Crocifisso<\/em>, 1665, inchiostro\nbruno acquerellato su carta, 392 x 294 mm, Parigi, Mus\u00e9e du Louvre, inv. 9575<\/p>\n\n\n\n

Engravings<\/em><\/p>\n\n\n\n

Name and surname of the author in\nfull, followed by the title of the engraving (in italics), date, printing technique,\nmuseum where it is conserved and inventory number.<\/p>\n\n\n\n

Luigi\nSabatelli, La peste di Firenze<\/em>, 1801, acquaforte, Firenze, Gabinetto\nDisegni e Stampe degli Uffizi, inv. 1234<\/p>\n\n\n\n

Photographic credits<\/em><\/p>\n\n\n\n

For each photograph to be published that\nis delivered to the editorial office, the author is to indicate exactly the archive,\nmuseum, government department, etc. from where the photograph has been\nacquired, or the name of the photographer who has taken it, or the\nbibliographical details of the book from which it is taken.<\/p>\n\n\n\n

General rules for drafting bibliographical\nnotes<\/strong><\/p>\n\n\n\n

The bibliographical item is cited in\nfull in the first note and abbreviated in the subsequent ones with reference to\nthe first note in which it is cited in full, as in the following example:<\/p>\n\n\n\n

1<\/sup>\nG. Berra, Il giovane Caravaggio in Lombardia. Ricerche documentarie sui\nMerisi, gli Aratori e i marchesi di Caravaggio<\/em>, Firenze 2005, pp. 33-40.<\/p>\n\n\n\n

3<\/sup>\nBerra, Il giovane Caravaggio<\/em>, cit. (vedi nota 1), pp. 50-57.<\/p>\n\n\n\n

In citing a work, it is important to\nkeep to what is shown in the frontispiece of the text. The publishing house\nmust not be indicated.<\/p>\n\n\n\n

The number of the page(s) referred\nto must be preceded by \u201cp.\u201d and \u201cpp.\u201d and must be indicated in Arabic numbers,\nseparated by a hyphen (-); the number after the hyphen must always be indicated\nin full. You may also use \u201cs.\u201d (seguente), \u201css.\u201d (seguenti) or \u201cpassim\u201d: p. 25;\npp. 25-27; pp. 345-349; pp. 23 ss.; pp. 87 passim.<\/p>\n\n\n\n

Author<\/em><\/p>\n\n\n\n

a. Initial of the name followed by a\nfull stop, then followed by the surname.<\/p>\n\n\n\n

b. In the case of a double name, the\ntwo initials must not be separated by a space.<\/p>\n\n\n\n

c. If there are two or three authors,\nseparate with a comma.<\/p>\n\n\n\n

Curator or translator<\/em><\/p>\n\n\n\n

The name of the curator or the\ntranslator is placed after the title of the work, with the initial of the name followed\nby a full stop and the surname, preceded by the phrase \u201ca cura di\u201d or \u201ctraduzione\ndi\u201d in standard type.<\/p>\n\n\n\n

Preface\/Introduction<\/em><\/p>\n\n\n\n

When citing the preface or the\nintroduction of a work, the initial of the name followed by a full stop and the\nsurname are shown, followed by the words \u201cPrefazione\/Introduzione a.\u201d<\/p>\n\n\n\n

Title<\/em><\/p>\n\n\n\n

This is separated from the author\u2019s name\nby a comma and is always given in italics. The punctuation is shown as in the frontispiece;\nif this is lacking, separate the component parts with a full stop.<\/p>\n\n\n\n

Typographical notes<\/em><\/p>\n\n\n\n

These are shown in the language in\nwhich they appear in the frontispiece, in the following order: place of publication\nand date, not separated by a comma.<\/p>\n\n\n\n

Publisher<\/em><\/p>\n\n\n\n

The publisher is not indicated for\nmodern publications; the name of the publisher is to be cited before the place\nof publication solely for old printed works for which this reference proves\nsignificant.<\/p>\n\n\n\n

Place of publication<\/em><\/p>\n\n\n\n

The publisher\u2019s registered office must\nbe indicated, not the printing location; when this is lacking, use the initials\n\u201cs.l.\u201d (senza luogo).<\/p>\n\n\n\n

Date<\/em><\/p>\n\n\n\n

If the publication has no date but\nit is possible for this to be deduced, it is shown between square brackets; when\nit is uncertain, use the initials \u201cs.d.\u201d (senza data).<\/p>\n\n\n\n

Date and place<\/em><\/p>\n\n\n\n

If both the date and place of publication\nare lacking, use the initials \u201cs.n.t.\u201d (senza note tipografiche).<\/p>\n\n\n\n

Editions<\/em><\/p>\n\n\n\n

If an edition following the first is\ncited, the number of the edition is to be shown, adding the year.<\/p>\n\n\n\n

Works in a number of volumes<\/em><\/p>\n\n\n\n

In the case of works in a number of volumes,\npublished in different places and years, the typographical notes must be those\nrelating to the volume that is cited. The volume is cited with a Roman numeral shown\nafter the title (not preceded by the abbreviation vol.), followed by any particular\ntitle of the volume itself and by the specific typographical notes.<\/p>\n\n\n\n

G.\nCandeloro, Storia dell\u2019Italia moderna<\/em>, IV, Lo sviluppo del\ncapitalismo e del movimento operaio<\/em>, Milano 1986.<\/p>\n\n\n\n

Anastatic reprint<\/em><\/p>\n\n\n\n

After showing the details of the\noriginal volume, the typographical notes of the anastatic reprint are indicated\nin round brackets, preceded by the words \u201crist. anast.\u201d and by a comma.<\/p>\n\n\n\n

S.\nPellico, Il Sacro Monte di Varallo. Carme<\/em>, Varallo 1836 (rist. anast.\nBorgosesia 1979).<\/p>\n\n\n\n

Series of bibliographical citations<\/em><\/p>\n\n\n\n

Bibliographical references in\nsequence are separated by a semicolon and given in chronological order.<\/p>\n\n\n\n

How to indicate a text cited in the\nprevious note<\/em><\/p>\n\n\n\n

Rather than repeat the author\u2019s\nsurname, use Id. and Ead.<\/p>\n\n\n\n

Ibidem<\/em>, on the\nother hand, is used when the same text is cited in two consecutive notes with\nthe same page numbers, and \u201civi\u201d with different page numbers.<\/p>\n\n\n\n

1\nV. Castronovo, La revoluci\u00f3n industrial<\/em>, Barcelona 1975.<\/p>\n\n\n\n

2\nId., Il Piemonte<\/em>, Torino 1977.<\/p>\n\n\n\n

3\nIvi, pp. 38-42.<\/p>\n\n\n\n

4\nG. Bataille, Obras escogidas<\/em>, Barcelona 1974.<\/p>\n\n\n\n

5\nIvi, p. 12.<\/p>\n\n\n\n

6\nIbidem<\/em>.<\/p>\n\n\n\n

Miscellaneous\nvolumes<\/em><\/p>\n\n\n\n

Pio\nII e le arti. La riscoperta dell\u2019antico da Federighi a Michelangelo<\/em>, a\ncura di A. Angelini, Siena 2005.<\/p>\n\n\n\n

Essays\nin miscellaneous volumes<\/em><\/p>\n\n\n\n

G.\nGentilini, Virt\u00f9 ed eroi di un\u2019impresa dimenticata: il monumento di\nVitaliano e Giovanni Borromeo<\/em>, in I monumenti Borromeo. Scultura\nlombarda del Rinascimento<\/em>, a cura di M. Natale, Torino 1997, pp. 47-82.<\/p>\n\n\n\n

Exhibition\ncatalogues<\/em><\/p>\n\n\n\n

Matteo\nCivitali e il suo tempo. Pittori, scultori e orafi a Lucca nel tardo\nQuattrocento<\/em>, catalogo della mostra (Lucca, Museo Nazionale di Villa\nGuinigi, 3 aprile-11 luglio 2004), a cura di M.T. Filieri, Cinisello Balsamo\n2004.<\/p>\n\n\n\n

Essays\nin exhibition catalogues<\/em><\/p>\n\n\n\n

F.\nCaglioti, Su Matteo Civitali scultore<\/em>, in Matteo Civitali<\/em> e\nil suo tempo <\/em>[\u2026] or, if the catalogue is being cited for the second time,\nF. Caglioti, Su Matteo Civitali scultore<\/em>, in Matteo Civitali e il\nsuo tempo<\/em>, cit. (vedi nota 1), pp. 12-35.<\/p>\n\n\n\n

Data\nsheets in exhibition catalogues<\/em><\/p>\n\n\n\n

F.\nCaglioti, in Matteo Civitali<\/em> e il\nsuo tempo <\/em>[\u2026], p. 334, n. 2.2; or, if the catalogue is being cited for the\nsecond time, F. Caglioti, in Matteo Civitali e il suo tempo<\/em>, cit.\n(vedi nota 1), p. 334, n. 2.2.<\/p>\n\n\n\n

Conference\npapers<\/em><\/p>\n\n\n\n

Benvenuto\nCellini. Kunst und Kunsttheorie im 16. Jahrhundert, <\/em>Atti del convegno\n(Frankfurt am Main, 2-5 novembre 2000), a cura di A. Nova, A. Schreurs,\nK\u00f6ln-Weimar-Wien 2003.<\/p>\n\n\n\n

Articles\nin periodicals<\/em><\/p>\n\n\n\n

A.\nAngelini, Il busto marmoreo di Alessandro VII scolpito da Gian Lorenzo\nBernini<\/em>, \u201cProspettiva\u201d, 89-90, 1998, pp. 184-192.<\/p>\n\n\n\n

Articles\nin daily newspapers<\/em><\/p>\n\n\n\n

M.\nMorasso, La nuova pittura al Salon d\u2019Automne. Un consiglio agli ordinatori\ndella Esposizione di Venezia<\/em>, \u201cIl Marzocco\u201d, 23 ottobre 1904, p. 3.<\/p>\n\n\n\n

Headwords\nin dictionaries or encyclopaedias<\/em><\/p>\n\n\n\n

G.\nDe Caro, ad vocem Borghese, Marcantonio<\/em>, in Dizionario biografico\ndegli italiani<\/em>, XII, Roma 1970, p. 602.<\/p>\n\n\n\n

Auction catalogues<\/em><\/p>\n\n\n\n

Sotheby\u2019s, London, 21 maggio 2007, Important\nEuropean Sculpture<\/em>, lotto n. 10.<\/p>\n\n\n\n

Printed works from the 15th<\/sup>-18th<\/sup>\ncenturies<\/em><\/p>\n\n\n\n

a. Author<\/p>\n\n\n\n

If the author\u2019s name appears in\nLatin, show it in the nominative case (if it is deemed appropriate to retain the\nLatin form), or in the vernacular form if this is the one most commonly used. However,\nextrapolate it from the title that appears in the frontispiece and in which it\nis normally shown in the genitive or in another case.<\/p>\n\n\n\n

In the frontispiece: Dictionarii\nseu repertorii moralis Petri Berchorii<\/em>\u2026<\/p>\n\n\n\n

Citation: P. Berchorius, Dictionarii\nseu repertorii moralis Petri Berchorii<\/em>\u2026<\/p>\n\n\n\n

If the author\u2019s name does not appear\nin the frontispiece, but is obtained from another part of the book, show this\nwithout square brackets; if it is obtained from sources external to the\npublication, use square brackets.<\/p>\n\n\n\n

b. Title<\/p>\n\n\n\n

The title, both in Latin and in the\nvernacular form, may be abbreviated, provided it fully makes sense. Omissions\nare indicated with three dots.<\/p>\n\n\n\n

c. Place of publication<\/p>\n\n\n\n

Show as it appears in the\nfrontispiece: in Latin (Romae; Venetiis; Francofurti\u2026) or in the vernacular form\n(in Fiorenza; in Vinegia\u2026).<\/p>\n\n\n\n

d. Publisher or typographer<\/p>\n\n\n\n

For these publications, the name of\nthe printer\/publisher is also indicated, showing it after the place of publication\nin the form in which it appears in the frontispiece.<\/p>\n\n\n\n

e. Date of publication<\/p>\n\n\n\n

The year of publication or printing\nmust always be shown in Arabic numbers (excluding the day and the month if these\nare given, and possibly also expressions such as \u201canno domini\u201d, \u201canno salutis\u201d,\n\u201cstampato nell\u2019anno\u201d).<\/p>\n\n\n\n

If the place of publication,\npublisher, typographer and date are obtained from the colophon rather than from\nthe frontispiece, these are to be shown without square brackets. In the event\nof the absence of one or all of these elements, use the abbreviations s.l.,\ns.e., s.d., s.n.t., as for modern works.<\/p>\n\n\n\n

Archive citations<\/em><\/p>\n\n\n\n

Institute that conserves the\ncollection<\/p>\n\n\n\n

This is indicated with an\nabbreviation separately in the table of abbreviations that each author must\nenclose with their contribution. In the event that the name of the institute\ndoes not contain the location where it is to be found, this must be indicated.<\/p>\n\n\n\n

ASMi\n= Archivio di Stato di Milano<\/p>\n\n\n\n

BNB\n= Milano, Biblioteca Nazionale Braidense<\/p>\n\n\n\n

Collection<\/em><\/p>\n\n\n\n

The name of the collection, the\nseries and any sub-partitions, separated by commas, must be given in full, in italics\nand with the beginning of each partition in capital letters.<\/p>\n\n\n\n

ASMi,\nAtti di governo<\/em>, Uffici e tribunali regi<\/em>, Parte antica<\/em>,\n\u2026<\/p>\n\n\n\n

Archive unit <\/em><\/p>\n\n\n\n

The indications of the envelope (or\nseries, bundle, pack, cluster or box), file and possibly sub-file and insert,\nvolume or register are to be shown in standard type separated by a comma; the\nnumber is shown in standard type. For abbreviations with which to indicate the various\nunits, refer to the table of abbreviations. When it is necessary to show the\nobject or title of the unit, use quotation marks \u00ab\u00bb.<\/p>\n\n\n\n

When it is necessary to indicate the\npaper inside a register, use \u201cc\u201d followed by a full stop, followed by the\nnumber; where necessary, the number of the paper is followed, without spaces\nand on the same line, by r to indicate the recto (front) and by v to indicate\nthe verso (rear), in italics without a full stop. In the event that the sheet needs\nto be indicated, use \u201cf\u201d followed by a full stop; for the page, use \u201cp\u201d followed\nby a full stop. In the plural these are abbreviated as cc. and ff.<\/p>\n\n\n\n

Details of the document<\/em><\/p>\n\n\n\n

To indicate the individual document,\nthe following details are to be provided.<\/p>\n\n\n\n

a. Type of document in standard type\n(report, minutes, telegram, note, letter, etc.) or any title in italics.<\/p>\n\n\n\n

b. Any author, sender and recipient\nof a document.<\/p>\n\n\n\n

c. Any topical date, followed by\nday, month and year.<\/p>\n\n\n\n

Ibidem and ivi<\/em>\n\nThe\nuse of ibidem<\/em> is only permitted if the\ncitation of the same document must be repeated immediately. If two documents contained\nin the same archive unit are cited, the indication of the institute, collection,\nseries and other possible sub-partition and unit are to be replaced with ivi in\nthe citation of the second.\n\n\n\n<\/p>\n","protected":false},"excerpt":{"rendered":"

Texts Texts are to be written using standard type, only introducing italics where necessary (title of a work of art, title of a book, title of a chapter, title of a poem, title of an exhibition, title of a film, word in a foreign language\u2026). The punctuation after the italics is in standard type. Do […]<\/p>\nRead More Editing guidelines<\/span><\/a>","protected":false},"author":1,"featured_media":36,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/pages\/673"}],"collection":[{"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/comments?post=673"}],"version-history":[{"count":1,"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/pages\/673\/revisions"}],"predecessor-version":[{"id":674,"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/pages\/673\/revisions\/674"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/media\/36"}],"wp:attachment":[{"href":"https:\/\/www.siscaonline.it\/joomla\/2019\/wp-json\/wp\/v2\/media?parent=673"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}