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In Type 3 DESD there is a crescendo–decrescendo pattern of sphincter contraction which results in urethral obstruction throughout the entire detrusor contraction. In patients with sufficient manual dexterity the most reasonable treatment option is to abolish the involuntary detrusor contractions (to ensure continence) and then to institute.
Abstract
In this essay I argue--on the basis of several well-known scenes in the Arena Chapel ('Joachim Among the Shepherds, Annunciation to Anna, Raising of Lazarus, Kiss of Judas, Last Judgment')--that Giotto's celebrated 'wit,' or ingegno, consisted in far more than the shrewd humor attributed to him by Trecento sources. In analogy to the Plinian artistic virtue of 'ingenium' (the ability to suggest more than is depicted), Giotto's wit was also the specifically pictorial resourcefulness that enabled him to use the devices of a newly-perfected illusionism (foreshortening, lost profiles, effects of illumination) to evoke 'invisible' realities. In support of this interpretation, I refer Cennino Cennini's definition of painting as an art of 'cloaking' the unseen in the 'shadow' of appearances, to the dematerialization of the surface of representation achieved by early Trecento modeling practices. The Arena Chapel as a whole may be viewed as a 'theater of illusion' for the staging of the individual beholder's journey towards salvation. I suggest that Giotto's visualizations of the invisible had a fruitful afterlife; we should be attentive to their persistence in the art of the Quattro- and Cinquecento, since they play an especially powerful (though frequently overlooked) part in the 'animation' of narrative sequences.