In the late 14th century, Barcelona had a network of care centers for the most disadvantaged, but they had become too small and inefficient. The black plague and crop-damaging plagues took a terrible toll: around 1340 the city had about 40,000 inhabitants, but by the mid-15th century the figure had fallen to 20,000; that is, it had lost 50% of its inhabitants in just one century. "More than an absolute degradation, the real problem was the lack of efficiency," explains Antoni Conejo, an art historian specializing in medieval architecture and hospitals. Faced with this, it was proposed to merge six of these small centers into a single institution: the Hospital de la Santa Creu. The first stone was laid on April 17, 1401, 625 years ago. The official foundation took place on September 5 of the same year with the authorization of Pope Benedict XIII. The great hospital was one of the first, if not the earliest, on the European continent to promote a merger of this type. The black plague and plagues that damaged crops caused real havoc: around 1340 the city had about 40,000 inhabitants, but by the mid-15th century the figure had fallen to 20,000; that is, it had lost 50% of its inhabitants in just one century. "More than an absolute degradation, the real problem was the lack of efficiency," explains Antoni Conejo, an art historian specializing in medieval architecture and hospitals. Faced with this, it was proposed to merge six of these small centers into a single institution: the Hospital de la Santa Creu. The first stone was laid on April 17, 1401, 625 years ago. The official foundation took place on September 5 of the same year with the authorization of Pope Benedict XIII. The great hospital was one of the first, if not the earliest, on the European continent to promote a merger of this type.

The comic will once again be the absolute protagonist of ARA's pages next week. To mark the opening of the major sector fair, Còmic Barcelona, on Friday, May 15, the entire newspaper will be illustrated by cartoonists. On this occasion, the bulk of the images are part of the history of Catalan comics through the archive of the Generalitat de Catalunya, which is collaborating on this special edition. In fact, past and present will go hand in hand because, as we have done in the already increasingly long tradition of special comic newspapers, the cover and the day's dossier will be the work of a comic author: Paco Roca, along with Valencian journalist Rodrigo Terrasa, will give their vision of a current topic, and it will be demonstrated once again that comics are also a journalistic genre.

Very good news for Catalan heritage: the Library of Catalonia has purchased and digitized the magnificent Book of Hours GrallaAn illuminated manuscript from the 16th century, considered one of the jewels of the Renaissance in Catalonia. In March, the book was for sale at the stand of antiquarian Jörn Günther. at the Tefaf fair for 430,000 euros, where the Generalitat bought it, although it has not made the price public.

Back to Eduardo. Back to NataleLike Famosa dolls when Christmas approaches, the Library of Catalonia hosts Eduardo De Filippo's hilarious three-act comedy. Natale en casa CupielloThe fourth season of a show that premiered in 2010, was revived in 2011 and 2012, and could very well become a Christmas classic. "We'll do it every year as long as my body holds out," Pep Cruz told us after the performance. Perhaps so, because the comedy works wonderfully. Even better than ever, now that Pep Cruz's Luca—like a fine vintage wine—has gained in humanity and wit. The actor is one of the original cast members, along with Marissa Josa, Joan Arqué—the only two actors who have appeared in all four revivals—Màrcia Cisteró, Ramon Vila, Navidad Olivé, and Jordi Coromina. Now Lluís Marquès and Eduard Paredes join the cast, which is very well integrated thanks to the intelligent direction of Oriol Broggi, who carefully manages the histrionics, sets the gags, and even elicits an unusual round of applause for a bed during the transition from the first to the second act. A transition, like that from the second to the third act, that leaves a lasting impression due to its original, organized chaos with a distinctly Neapolitan feel.