Journal articles on the topic 'Brass founders'

The purpose of the article is to study the activities of the military musician, conductor of the brass band of the Chernihiv Higher Military Aviation College of Pilots, one of the founders of the modern orchestral culture of the Chernihiv region, Major Gryhory Borysovych Kunkin (1927–2009) in the context of the development of military music of Chernihiv region, his contribution to the formation of regional cultural space of the second half of 20th century. The author examines the life of G. Kunkin against the background of the development of the military-musical performance of the Chernihiv region. The methodology is based on historical-chronological, source-study, logical-generalizing, and comparative methods for elucidating the chronology of the development of military musical art of Chernihiv region of the 20th century, the study of G. Kunkin's creative biography, and generalization of information about military conductors of Chernihiv region – his contemporaries, memoirs of G. Kunkin's colleagues, identification of factors influencing his work on the development of the cultural space of Chernihiv region. The scientific novelty of the publication lies in the first domestic musicology study of the life of G. Kunkin as one of the prominent figures of the military-musical culture of the Chernihiv region. Conclusions. The results of the study indicate that G. Kunkin during his career as a military conductor had a significant impact on the development of the military and musical culture of the Chernihiv region. With his activity he revived the regional military-musical life, outlined the main directions of its further development, which were realized in the works of military conductors of Chernihiv region at the beginning of the 21 century; G. Kunkin's concert activity of the military brass band popularized the brass art among the population of the region and, as a result, conditioned the social demand for learning to play wind instruments, intensifying the activity in this direction in art schools of Chernihiv region and music college named after L. Revytsky. The successful combination of musical experience, personal qualities, and organizational abilities allowed G. Kunkin to make a significant contribution to the potential of the spiritual culture of the Chernihiv region, which is worthily presented in Ukraine and abroad by military brass bands of the region.

We present a framework for expressing bottom-up algorithms to compute the well-founded model of non-disjunctive logic programs. Our method is based on the notion of conditional facts and elementary program transformations studied by BRASS and DIX (Brass and Dix, 1994; Brass and Dix, 1999) for disjunctive programs. However, even if we restrict their framework to nondisjunctive programs, their ‘residual program’ can grow to exponential size, whereas for function-free programs our ‘program remainder’ is always polynomial in the size of the extensional database (EDB). We show that particular orderings of our transformations (we call them strategies) correspond to well-known computational methods like the alternating fixpoint approach (Van Gelder, 1989; Van Gelder, 1993), the well-founded magic sets method (Kemp et al., 1995) and the magic alternating fixpoint procedure (Morishita, 1996). However, due to the confluence of our calculi (first noted in Brass and Dix, 1998), we come up with computations of the well-founded model that are provably better than these methods. In contrast to other approaches, our transformation method treats magic set transformed programs correctly, i.e. it always computes a relevant part of the well-founded model of the original program. These results show that our approach is a valuable tool to analyze, compare, and optimize existing evaluation methods or to create new strategies that are automatically proven to be correct if they can be described by a sequence of transformations in our framework. We have also developed a prototypical implementation. Experiments illustrate that the theoretical results carry over to the implemented prototype and may be used to optimize real life systems.

Small and Medium Enterprises (SME) brass foundry in Ngawen Sidokarto, District of Godean, Sleman, Yogyakarta mostly produced cow necklace accessories (klonthong) and jathilan accessories (klinthing). Te industry and business management are arranged within the scope of family. Te products are relatively low in quality and its market share is limited and tend to be traditional. Tis condition is caused by the weak knowledge of the management and the method of casting metals and metal science. Brass casting methode, that was used at IKM partner, is casting with mold of sand or soil. Tis process requires the making process of sand molds, that is removed afer the brass solidify. For large quantities products, this process is inefcient and takes a long time. It would require a more efcient and faster method in the production process. Method of sand casting and ceramics have been used by SMEs cast brass in Yogyakarta, however it has many disadvantages in terms of increased productivity and quality as well as the expansion of product applications. Te permanent mold casting of iron is a casting method which has many advantages over other methods, but the use for SMEs has not been applied in the SME of cast brass. Te permanen mold casting methods was introduced to SME partners. Tis replaces the sand mold materials and molding sand. It is expected the casting process is faster because the mold can be used for a large number of products. Te results show that the application of the technology results in products with precision and consistent in shape and size. Community Service of UGM with Appropriate Technology has also collaborated with Industry and Trade service of Yogyakarta donation of production machinery for making permanent mold. It can be concluded that the application of permanen mold in the brass foundry industry improve the product precision and the speed of produsction.

Effect of bismuth on the microstructure and performance of Cu-Se-Bi brass were studied. The microstructure analysis and fracture observation indicated that the content of bismuth has obvious effect on the foundry property of Cu-Se-Bi brass. The bismuth distributes on the boundary of α and β phrase and when the content of bismuth is below 1.0wt%,bismuth freezes on the phrase boundary in form of granule; when the content of bismuth amounts to 2.0wt%,bismuth presents in form of blocks; while when the content of bismuth is beyond 2.5wt%,bismuth lies on the phrase boundary in form of continuous films. The solidification mechanism of bismuth in Cu-Se-Bi brass was discussed through the thermodynamics analysis.

The article presents the results of a research of the chemical composition of brass foundry grade LS, supplied by domestic and foreign producers, as well as the chemical composition of brass lead grade LC4C used for the manufacture of stop valves. The research was made with use of optical emission spectrometers of various models and a scanning microscope. It was established that the pig delivered by the domestic producers corresponds to parameters of chemical composition for the pig’s foundry brand LS, while in the pig supplied by foreign producers there were found disparities of the chemical composition of certain basic elements. The results of the studies showed that the pig supplied by all producers, as well as the melt obtained with its use, contain in its composition such harmful impurities as S, Bi and P in the amount of 0.001%, 0.0017% and 0.0045%, respectively, that can lead to a decrease in the technological properties of products. It has been established that the use of ARL 3460 and OBLF-QSW 750 emission spectrometers and the Tescan VEGA II LMU scanning electron microscope makes it possible to obtain practically identical values of the content of the main elements and impurities in pigs of foundry and brass lead grade LC40C in studies on determining the chemical composition of the materials under study.

Thermal deformation process of H62 brass is studied, multi-scale simulations of macro-forming property and microstructure distribution are carried out for the hot-extrusion process of double cups part with flange utilizing numerical simulation technology, the process parameters are determined and the microstructure of extruded parts is predicted. The constitutive equation of H62 brass under high temperature deformation is established with isothermal compression test, and the results indicate that the flow stress accords to Arrhenius hyperbolic sine functions. The model of microstructure evolution during hot-deformation is founded and the influence of process parameters on microstructure is revealed. The microstructure prediction on extruded part shows that the simulated results agree well with the experimental results. The high-quality products are obtained using the optimal process parameters.

The purpose of this article is to study the life and activity of Friedrich Wilhelm Brass, founder of Genossenschaft for Proletarian Art in Berlin (1920). Friedrich Wilhelm Brass (1873–1931) throughout his life sought to combine the commercial interests of a contemporary art dealer with the ideas of the social reorganization of the world. One of the first to call himself a communist in Germany, he created in 1920 in Berlin the Genossenschaft for Proletarian Art, the collection of which became the first contemporary western art brought to Soviet Russia. On the basis of this collection kept in the Hermitage and the Russian Academy of Arts, archival materials and work in museum collections in Germany, the history of the emergence of the Genossenschaft in Berlin in 1920, the composition of the participants and the biography of its creator are reconstructed. The relevance and novelty of the article is due to the lack of scientific research on this issue discovered by the author in his works. The life path of F.W. Brass is consistently considered. Trained as a craftsman in Krefeld, Brass made several attempts to establish an art trade there, primarily aimed at the workers’ milieu. A member of the Social Democratic Party of Germany, he tried to interest the party in the prospect of such educational and agitational work. These initiatives proved to be financially untenable. Brass later worked at the German Workshops Hellerau, where the manufacturer Karl Schmidt implemented a project for the mass production of furniture designed by leading European designers and oriented to the widest and most democratic market. During the First World War, Brass was mobilized and spent several years in captivity in Russia, where he met the revolution and returned to Germany in 1919 as a convinced supporter of the communist reorganization of the world. After the November Revolution, several artistic organizations arose in Berlin, whose activities were directed towards the proletariat (the Workers’ Council for Art, the Association of Socialist Artists, the Union for Proletarian Culture, the Proletarian Theatre of Erwin Piscator, etc.). Among them was the Genossenschaft for Proletarian Art of the communist Brass, who collected the works of left-wing artists, mainly expressionists of the first and second generation. Like most of these artistic initiatives, the Brass Genossenschaft could not survive the economic crisis. The unique collection of the Genossenschaft was acquired during a trip to Germany by Comintern Chairman G. Zinoviev in October 1920 and brought to Soviet Russia. Later, during the years of the Weimar Republic, Brass no longer undertook such ambitious projects, continuing to trade in the works of left-wing artists. He worked in Hagen and Düsseldorf, where he died in 1931. The author comes to the conclusion that the figure of Brass represents a new type of entrepreneur for the art market of the 20th century, focused primarily on the promotion of the latest art among the workers, agitation for a new life in the language of art.

The history of John York and the Sydney Brass Musical Instrument Factory contains familiar elements of a quintessential nineteenth-century Australian narrative. It features a skilled English immigrant who brought his family to a developing capital city and became a manufacturer and small business owner. It is an unusual story in that York practised the specialised skill of brass instrument making and repairing and was one of a handful of brass instrument makers known to have operated in Sydney at the time. At the end of the nineteenth century the significant purchasing power of an expanding Australian middle class, and a strong demand for the many musical instruments required for home entertainment, generated vigorous competition amongst Sydney’s music retailers. Cheaper British mass produced instruments were aggressively marketed by Palings and Nicholsons whose ‘emporiums’ were located at the more fashionable northern end of George Street. In order to succeed in this market, John York’s reputation as an instrument maker and repairer was paramount. This was largely founded on the promise of consistent, high quality workmanship and superior, personalised service. Even after his death in 1910, this enduring reputation sustained loyalty from York’s customers well into the middle of the twentieth century when the business continued under the management of his wife and sons.

Copper alloys are widely used in mechanical engineering. In the article it is shown that the requirements of consumers to properties of alloys are constantly increasing. Complex alloyed brasses have a high wear resistance and corrosion resistance. The wear resistance is a basic property of an alloy. This characteristic determines the operating life of parts working in the wear conditions. The wear resistance is supported by phase composition of alloy, uniformity of distribution of phase in the structure of alloy, their volume fraction, their morphology and their dimensions. At present time the technology of continuous casting of ingots of alloys Cu59Zn34.6Mn3.5Al2.5Fe0.5Ni0.4, Cu70Zn13Mn7Al5Fe2Si2Pb1, Cu58Zn36Mn2Pb2Si1Al1 and Cu58Zn35Mn3Si1.5Ni1.5Pb1 is developed. However, the need to use new alloys for manufacturing of critical parts requires the development of technology for their production, taking into account the composition of alloy and the features of formation of structure. Therefore, it is necessary to establish well-founded technological parameters of melting and casting of ingots of complex alloyed brass Cu62Zn31.6Mn3Al2Si0.8Ni0.4Cr0.2. For determination of temperatures of phase transformations in the structure of alloy, the differential thermal analysis was carried out. Liquidus and solidus temperatures of alloy were determined. The crystallization range of alloy was established. This brass in a solid state undergoes two phase transformations. The temperature of the first phase transformation is 750 oC. The temperature of the second phase transformation is 515 oC. The obtained experimental data make it possible to describe the proposed mechanism of phase transformations in alloy Cu62Zn31.6Mn3Al2Si0.8Ni0.4Cr0.2 during crystallization and following cooling.

Václav František Červený became the founder of the Austro-Czech tradition of manufacturing chromatic brass instruments, which represented in their day an alternative to Adolph Sax’s system. Červený’s innovations were realised successively from the 1840s through the ’80s. Many of these instruments are still being made and used mainly in the successor states of Austro-Hungarian Empire, Germany, and eastern Europe. The study focuses on Červený’s main innovations. Thanks to the solving of the technical problems associated with instrument bodies with a conical bore, Červený succeeded at creating a complete family of wide-bored instruments ranging from the flugelhorn to the contrabass tuba. These instruments became the foundation of Austro-Czech wind music and of its style of instrumentation.

Abstract Objectives The most pronounced occupational exposure routes for lead (Pb) are inhalation and gastrointestinal uptake mainly through hand-to-mouth behaviour. Skin absorption has been demonstrated for organic Pb compounds, but less is known about inorganic Pb species. Several legislative bodies in Europe are currently proposing lowering biological exposure limit values and air exposure limits due to new evidence on cardiovascular effects at very low blood Pb levels. In light of this, all exposure routes in occupational settings should be revisited to evaluate how to lower the overall exposure to Pb. Methods The aim of the study was to investigate the possible exposure routes in workers operating computer numerical control-machines in a brass foundry and specifically to understand if metal cutting fluids (MCFs) used by the workers could lead to skin absorption of Pb. The different bronze alloys at the facility may contain up to 20% Pb. After obtaining written informed consent from the workers (n = 7), blood, skin wipes, and personal air samples were collected. In addition, MCFs used on the day of exposure measurements were collected for in vitro skin absorption studies using stillborn piglet skin mounted in static Franz diffusion cells (n = 48). All samples were analysed for Pb content using inductively coupled plasma mass spectrometry. Results Pb air concentration (<0.1–3.4 µg m−3) was well below the Swedish occupational exposure limit value. Blood Pb was in the range of <0.72–33 µg dl−1, and Pb on skin surfaces, after performing normal work tasks during 2 h, was in the range of 0.2–48 µg cm−2. Using the MCFs in diffusion cells showed that skin absorption had occurred at very low doses, and that up to 10% of the Pb content was present in the skin after 24 h exposure. Using these results in the US EPA adult lead model, we could estimate a contribution to blood Pb from the three exposure routes; where hand-to-mouth behaviour yielded the highest contribution (16 µg Pb dl−1 blood), followed by skin absorption (3.3–6.3 µg Pb dl−1 blood) and inhalation (2.0 µg Pb dl−1 blood). Conclusions This case study shows that MCF may lead to skin absorption of inorganic Pb and contribute to a systemic dose (quasi-steady state). Furthermore, even though good hand hygienic measures were in place, the workers’ skin exposure to Pb is in all likelihood an important contributor in elevating blood Pb levels. Skin exposure should thus be monitored routinely in workers at facilities handling Pb, to help reducing unnecessary occupational exposure.

Abstract The development of economy and industry introducing new technologies and materials often means the increased threat of occurrence of factors harmful to humans and environment. Workers employed in foundries as mould pourers are the group of high professional risk. Foundry moulding sands when poured with liquid metal are a source of the emission of harmful, toxic and carcinogenic (benzene, PAHs) compounds. The paper presents the results of studies on the concentration of chemical compounds emitted in the process of casting aluminium alloy and brass using moulding sands with the new inorganic binders. The specific values of the exposure indices were compared with the limit values. This enabled an assessment of the impact of moulding sands on work environment. The obtained results were compared with the values of contaminants emitted when pouring foundry moulds made from furan sands and bentonite sands with an addition of coal dust. Studies were carried out under the project POIG.01.01.02-00-015/09 "Advanced materials and technologies."

This research aimed to lower the cost of smelting using flex foam material (poliestireno) for the production of models in foundry processes aluminum and brass. The importance of using this type of material is emphasized, as it reduces the time of process models design and implementation of this method which makes a contribution to the environment by reducing deforestation and pollution. The conclusions of this article point to the vital importance of implementing this new method because it reduces the great mountains of scrap aluminum, bronze and flex foam waste, helping to develop new methods of casting and caring for the environment and the community to do use of it.. Index Terms— Metallurgy, scabs, manufacture, scrap, wash

Archaeological excavations and historic-building recording at the site of Greyfriars Kirkhouse, Candlemaker Row, Edinburgh (NGR: NT 25556 73371), provided a rare opportunity to investigate the history of an area within Edinburgh's Old Town. Evidence was found for unexpectedly early activity on the site from the 11th or 12th century onwards. The nature of early activity is enigmatic but the area appears to have been largely rural, at the confluence of two major cattle-droving routes into the town. Urban development came in the late 15th century, with the division of the land into burgage-plots and construction of a tenement, at which point the area seems to have been occupied by merchants and burgesses. The late 18th and early 19th centuries saw the redevelopment of the site and evidence for the use of the area as a brass foundry.

AbstractThrough the medium of a brass candlestick made in a sixteenth-century German foundry, I discuss the Christian European household’s sensory engagement and spatial control of the Muslim body. I argue that the Europeans’ sensory experience of the turbaned candlestick reflects and reinforces their conceptualization of Islamic culture, which is a blend of fear and fascination. The turbaned candlestick allows us to explore issues rarely discussed in the study of metalwork and the European imagery of ‘the East’. The shape and scale of the candlestick suggest that it could have been treated both as a statuette and as a piece of furniture. The inanimate candlestick would have felt livelier when the user touched its body and felt heat, flame, light and smoke from the candlestick. My analysis of the candlestick suggests that it might have been experienced through a comprehensive play of senses.

In water tap production 0.5 mm of material needs to be ground off from the surface of LPDC (Low Pressure Die Casting) brass castings in order to remove the defects deteriorating the quality of later applied coating. In order to minimize the amount of removed material the causes of these defects need to be discovered and properly connected with the process parameter window. At Oras Oy foundry in Finland, nearly 100 castings were produced under actual process conditions. To monitor the process seven thermocouples were inserted into the die. Thermal camera was also used for monitoring the die conditions during the open time of the die. Castings were divided into sets of ten pieces for statistical reasons. A few key process parameters were selected based on the basis of earlier knowledge and they were systematically varied during casting experiments. Each cast piece was marked and later analysed in order to find the dependencies between detected defects and process parameters. Computer simulations of the process were conducted to study the possibility to use numerical simulations for defect prediction. It was found that shrinkage defects could be reasonably well predicted and the influence of the process parameters on their formation was also apparent. The predictability of surface defects, however, was poor and only indirect conclusions could be made. Observations were made using as cast, ground and polished and cut surfaces from certain sections of the castings. It is very difficult to make any conclusions on surface defect formation based on parameter variation. One reason probably is the too narrow process window, but several promising ideas on the influence of e.g. mould shape, temperature and composition of the graphite coating on the defect formation was discovered.

The purpose of this study was to document the history of the band founded at the Chicago Reform School (CRS) circa 1862. Research questions focused on the ensemble's (1) origin and time frame, (2) service to the school and community, (3) instructors, (4) instrumentation, (5) performances, (6) funding, and (7) influence on other school bands. The Chicago Reform School was established in 1855 to provide a home and education for juvenile offenders. In addition to their academic study and vocational training, several students participated in a band that was organized around 1862 and modeled after military bands of the time. By 1866, this ensemble consisted of a fife and drum corps and a brass band that were funded by performances given throughout the city. Alfred D. Langan was the first known director, followed by Thomas P. Westendorf and Hugh Goodwin. Instrumental music continued at the CRS until around 1872, when the institution was closed due to legal issues and the partial destruction of its facilities by the Great Chicago Fire.

The Beijing Sunshine Wind Band performs in community concerts in Beijing year round. The band began in 2007, founded by Lin Yi and her husband Zhao Yinglin. Lin Yi underwent cancer surgery in 1995 and recovered to form the band of around 100 retirees. Members begin musical training in retirement, and as adult learners practice hours gaining musical profi ciency. The music is Chinese and in jianpu numerical notation, but all of their instruments are Western woodwinds, brass, and percussion. The band performs at national events, museums and libraries, and toured Taiwan, Korea, Hong Kong, and Macau. Concert bands are civilian versions of military bands. Their marches include “The People’s Liberation Army March,” and lyrical songs such as “My Country” from a 1956 fi lm. Their performances draw revolutionary sentiments in suites such as The Red Detachment of Women, and the band performs songs from post-Mao decades, such as “Dare to Ask the Way,” from the television series Journey to the West. Trevor Herbert stated that concert bands serve communities as “rational recreation.” The goal of this article is show how a Chinese national concert band reached and created healthy lifestyles for retired workers recovering from cancer and other disabilities.

The concentrations of carbohydrates and nitrogen in leaves or needles of Betula pubescens Ehrh., Betula pendula Roth, Picea abies (L.) Karst., and Pinus sylvestris L. were studied in two industrial areas in Sweden. One of the sites, the Gusum brass foundry in SE Sweden, is polluted by Cu and Zn, the other site, the Rönnskär smelter in NE Sweden, by SO2 in addition to several heavy metal elements. Leaves and needles were sampled during the main growing season at different distances from the sources and analysed for starch, sugars, total nitrogen, and heavy metals. In most leaf or needle samples nearest to the sources, the concentrations of starch and total sugars were significantly higher than in the controls. Of the sugars, sucrose concentration was usually elevated, while glucose and fructose were lower than in the controls. The effects observed were already evident at the beginning of the season, but were usually more pronounced later on. Of the tree species sampled, conifers appeared to be more affected than deciduous trees, and pine more than spruce. The mechanisms of the disturbances are probably complex, but heavy metals and SO2 may inhibit several processes such as hydrolysis of starch and sucrose as well as the transport of sucrose. Increased carbohydrate concentrations may also be secondary effects of a disturbed nitrogen metabolism, as nitrogen concentrations were lower in polluted tree leaves or needles than in controls, and severe inhibition of the soil nitrogen mineralization rate has been recorded in other studies. Key words: starch, sucrose, glucose, fructose, nitrogen, birch, pine, spruce, Cd, Cu, Pb, Zn, SO2.

The environmental legacy of 100 years of a metal processing industry is evaluated, based on a case study of ecotoxicological research that has been carried out in the area surrounding a copper refinery, a cadmium alloying plant, and a brass foundry at Prescot, northwest England. Aerial fallout of particulate copper and cadmium has been very localized, but soluble and potentially more toxic forms of the metals have been transported further. Accumulation of Cu and Cd in soils to exceptionally high levels has occurred, with Zn and Pb also highly elevated, but depth profiles, spatial dispersion patterns, mobility, and speciation vary between metals. A very limited effect on tree growth is apparent, although phytotoxic symptoms are readily observed in tree seedlings. Site contamination is reflected in metal concentrations in tree rings. Significant food chain transfer of Cu and Cd to invertebrates and small mammals has occurred, affecting population sizes of invertebrates and producing toxicological symptoms in shrews. Copper may have been a cause of concern for livestock in surrounding rural areas and human ingestion of metals may have been significant in the past, but currently both are likely to be negligible. Impingent metals have led to selection for metal resistance in some plant species; metal tolerance traits in grasses appeared rapidly in lawns in the area and the intensity of tolerance in plants directly reflects the localized degree of contamination. Cellular metal tolerance traits have been induced in trees as an acclimation response to metal contamination. Declining industrial activity in recent years has resulted in unexpected pulses of plant-available soil Cd and of several other metals including Mn, Ca, Mg, and Ni. Metal disappearance rates from surface horizons are also higher than expected following recent cessation of metal processing, and the fate of these transitory metals presents further cause for concern.Key words: heavy metals, ecosystem, food chains, pollution, metal tolerance.

The purpose of this paper is to report on the process and results of locating the Russian fortress of Tarkhansky Ostrog of the 17th–18th centuries on the basis of information from written sources and cartographic materials directly related to the location of the site. The objectives of the research included preliminary identification of the presumable remains of the object by means of reconnaissance (20 sq. m) archaeological excavations and the use of geophysical methods (magnetometer mapping with Gem Systems GSM-19WG). This paper considers the information from chronicles, cartographic and written sources of the end of the 17th–19th centuries about Tarkhansky Ostrog, situated at the confluence of the Tura and Tobol Rivers in Western Siberia; the key milestones of its search, undertaken by our research team, and its prospective location and identification are reported. The basis of the investigation was formed by scanty written information about Tarkhansky Ostrog and by the cartographic materials of S.U. Remezov, as well as archaeological reconnaissance works carried out in modern times in the area of confluence of the rivers in the Yarkovsky district of Tyumen Oblast. G.F. Miller was mapping the Russian fortress to the place of the Tatar settlement of Tarkhan-kala, not far from the mouth of the river Tura, on the southeast side of Tobol. According to his description, the fortress was founded in 1628 and represented a citadel with a wooden fence and two turrets. P. A. Slovtsov wrote that Trakhansky Ostrog “at the mouth of the river Tura” was founded in 1631. Following the extensive analysis of the descriptions and cartographic materials, and as the result of the terrain analysis, an ancient butte (250 m  40 m) of a suplra-floodplain terrace was discovered in 2020 on a floodplain inundable during seasonal floods to the southwest of the village of Tarkhany. It corresponds with the description of Yatman hill given by G.F. Miller; even today some traces of, seemingly, “Kuchum’s outpost” can be seen on this height. In the southern part of the butte, we carried down a 4 m  5 m reconnaissance dig. The cultural deposit yielded scanty fragments of the Koptyaki Culture, Late Bronze Age, and Medieval ceramics, although mainly represented by shards of crockery manufactured on a potter’s wheel. Of the artefacts, a clasp knife, a brass thimble, a lead bullet, a gun flint, a lead strap seal, and a silver kopeck of Tsar Fyodor III Alekseyevich have been found. All the articles are dated to the 17th c., with the exception of the lead seal which belongs to the 19th c. With a high probability, we assume that the butte is associated with Tarkhansky Ostrog, although one can only talk about its decisive identification after large-scale archaeological investigations.

Abstract Abstract 3179 Ineffective erythropoiesis in congenital dyserythropoietic anemia type I (CDA I) is characterized by increased iron absorption mediated by down-regulation of hepcidin. It has been suggested that growth differentiation factor 15 (GDF15) contributes to the inappropriate suppression of hepcidin. Hemojuvelin (HJV), an important regulator of hepcidin production, is highly expressed in skeletal muscle and the liver. Mutations in the gene encoding HJV lead to severe hepcidin deficiency and juvenile hemochromatosis. Membrane-bound HJV (m-HJV) acts as a co-receptor for bone morphogenetic proteins (BMPs). HJV also exists in a soluble form (s-HJV) which competitively down-regulates hepcidin by interfering with BMP signaling. At least two proteases, furin and matriptase-2, cleave m-HJV into s-HJV. Recently, Brasse-Lagnel et al. (Heamtologica 95:2031–7, 2010) reported a new assay for measuring both the furin- and the matriptase-2-cleaved forms of s-HJV. The aim of the present study was to evaluate the possible role of s-HJV in the development of iron overload in CDA I. The study group included eight (8) Israeli Bedouins with CDA I who were homozygous for the founder mutation, c.3124C>T. All were young adults of mean age 27 years. One patient had undergone splenectomy and is currently transfusion-dependent; 3 female patients required occasional blood transfusion during intercurrent infection, pregnancy, and delivery. Nine healthy volunteers served as the comparative group. Laboratory data, including levels of serum hepcidin, ferritin, erythropoietin, soluble transferrin receptor (sTfR), and GDF 15, were previously collected in both groups (Tamary et al. Blood 112:5241–4, 2008). Serum levels of s-HJV were measured in stored frozen samples using a competitive ELISA assay based on an anti-HJV polyclonal antibody (Brasse-Lagnel et al. Heamtologica 95:2031–7, 2010). Compared to the healthy volunteers, the patient group was characterized by significantly higher levels of s-HJV (1.99±0.98mg/L vs 0.36±0.25mg/L; p=0.001), significantly lower level of hemoglobin, and significantly higher levels of serum ferritin, erythropoietin, GDF 15, and sTfR. Serum hepcidin levels were similar in the CDA I patients and the healthy volunteers, but the hepcidin-to-ferritin ratio was significantly lower in the patient group, suggesting that serum hepcidin concentrations were inappropriately low. Levels of s-HJV negatively correlated with hemoglobin levels (R= −0.69 p=0.002) and positively correlated with the iron loading parameter, serum ferritin (R=0.73 p=0.000), and parameters of erythropoiesis, such as serum erythropoietin (R=0.63 p= 0.006) and sTfR (R=0.66 p= 0.008). Additionally, GDF 15 level was positively correlated with s-HJV level (R= 0.64 p=0.006), whereas the hepcidin-to-ferritin ratio (R=−0.797 p=0.000) was negatively correlated with s-HJV level. In summary, our study suggests that s-HJV is overexpressed in patients with CDA I and probably contributes to the down-regulation of hepcidin and the iron-loading pathology. To our knowledge, this is the first study to analyze s-HJV levels in a disease characterized by ineffective erythropoiesis. The main limitation of our study is the small number of patients. Larger studies including patients with CDA and thalassemia are indicated. The source of serum s-HJV and the trigger for its overexpression in CDA I still need to be established. Disclosures: No relevant conflicts of interest to declare.

<p>W czasach Rusi Halicko-Włodzimierskiej osadnictwo ruskie na terenie dzisiejszej Lubelszczyzny posuwało się systematycznie na zachód. W XV i XVI w. dotarło do doliny Wieprza. W jego środkowym biegu powstało wówczas kilka parafii prawosławnych – Łęczna, Puchaczów, a także Milejów. Parafie te po przystąpieniu diecezji chełmskiej do unii brzeskiej stały się unickimi. Usytuowanie ich na terenie ze wzrastającą przewagą osadnictwa polskiego spowodowało przechodzenie wiernych na rzymsko katolicyzm. Proces ten szczególnie widoczny jest w 2 połowie XVIII w. i 1 połowie XIX w. Parafia w Milejowie należąca do najstarszych na tym terenie, pod koniec XVIII w. liczyła zaledwie kilku parafian, a na początku XIX w. rezydował tu jedynie proboszcz unicki, ks. Bazyli Hrabanowicz. W 2 dekadzie XIX w. ówczesny właściciel dóbr milejowskich – Adam Suffczyński – rozpoczął starania o przekształcenie parafii unickiej w parafię rzymskokatolicką, a cerkwi unickiej w kościół. Okazało się to dosyć skomplikowane. Najpierw parafię unicką należało zamknąć, a dopiero potem utworzyć parafię rzymskokatolicką. Proces ten kontynuowała siostra Adama – Helena Chrapowicka, która wkrótce przekazała to zadanie kuzynowi Antoniemu Melitonowi Rostworowskiemu, a po jego śmierci założeniem parafii i budową kościoła zajęła wdowa po nim – Maria z Jansenów, a następnie ich syn Antoni Rostworowski. Parafia unicka została zamknięta w 1852 r., cerkiew rozebrana, a murowany kościół został wzniesiony w latach 1855-1856. Po śmierci wspomnianego proboszcza unickiego w 1832 r. (ostatniego tutejszego parocha), cerkwią opiekował się proboszcz Dratowa. Część wyposażenia cerkwi milejowskiej została przeniesiona do świątyni dratowskiej, gdzie spłonęło ono w roku 1886 r., w pożarze tamtejszej świątyni. Część wyposażenia zabezpieczona została we dworze milejowskim i po wybudowaniu kościoła przeniesiona do niego. Wśród tego wyposażenia wyróżnia się pochodząca z 2 połowy XVII w. ikona Matki Boskiej z Dzieciątkiem (w typie Eleusy), odnowiona w latach 2012-2013 staraniem ówczesnego proboszcza – ks. Andrzeja Juźko. Po akcji rozbiórkowej cerkwi w 1938 r. to jedna z wyjątkowo nielicznych, ocalałych ikon dawnej diecezji Kościoła wschodniego na Lubelszczyźnie.</p><p><strong>On the Religious Borderland. A Defunct Uniate Church under the Invocation of St. Praxedes the Martyr in Milejów and its Equipment</strong></p>SUMMARY<p>The parish in Milejów was one of the early Orthodox parishes in the Wieprz valley, recorded in the 1470s. The presence of the Orthodox priest in Milejów is documented in tax registers in the 16th century. More information on the Uniate parish and its Orthodox church can be found in the documents of the 18th-19th centuries. The author presents the history of the Milejów Uniate church and the parish with particular reference to the equipment of the church. First, the old Uniate church is described (the last quarter of the 17th and the fi rst half of the 18th century). The church had the high altar and three side altars; in addition, there were inter alia, liturgical vessels, altar bells, the bells on the belfry, liturgical books, an perhaps an iconostasis. The new Uniate church (the second half of the 18th and the fi rst half of the 19th century) – erected in the second half of the 18th century in place of the old one (which burnt down in ca. 1760) contained the high altar with the picture of Our Lady (painted on canvas) and two side altars. The equipment also included, inter alia, a silver and gilded pro Venerabili vessel, a chalice with a paten and a spoon, a can “for sick people”, an altar tin cross, a brass thurible, a metal swag lamp, three altar bells, a bell at the sacristy, four reliquaries, two small brass candlesticks, a processional cross, pictures, liturgical books. The next described stage is the end of the Uniate parish and the beginnings of the creation of the Roman-Catholic parish in the 19th century, founded in 1858. The new church – erected a few hundred meters from the place of the Uniate church – was consecrated in 1859. The equipment of the Uniate church before its demolition (the second quarter of the 19th century) included in 1828, inter alia, the above mentioned three altars, a new choir, a crucifi x, a confessional, a pulpit, candlesticks, pictures, and a new umbraculum. The inventory of 1847 also mentioned, inter alia, four icons situated near the high altar, a stoup, four benches, twenty candlesticks, and a porcelain chandelier. In the next part of the text the author describes the icons preserved in the Milejów church: „Matka Boska z dzieciątkiem” [Madonna and Child] and „Przemienienie Pańskie” [the Transfi guration of the Lord]. In the next parts of the article the author describes the history of the owners of Milejów, patrons and parish priests. At the end of the article he synthetically presents the history of the Milejów parish.</p>

AbstractIn 1623 the Lutherans formed a community in Gouda. They appointed a minister, Clemens Bijleveld from Essen, and held their services in private houses at first. In 1640 'Dc Drie Tafelkaarsen', a house on the Lage Gouwe, was converted into a permanent church for them. Thanks to the Groot Protocol, in which the minutes of the church administration were recorded from this donation until the end of the eighteenth century, it is possible to reconstruct the history of the community. The manuscript also documents important gifts of works of art and church furnishings. In 1642 and 1643 seven large paintings were donated. As we know, Luther did not object to depictions which served to illustrate the Word of God as preached in the sermon. The Dutch Lutheran churches, although more austerely furnished than, say, their German or Norwegian counterparts, were certainly more richly decorated than they are today. The Lutheran church in Leiden houses the most intact ensemble of works of art. Of the seven aforementioned paintings in Gouda, one was donat ed by the preacher himself. It is by the Gouda painter Jan Duif, who depicted Bijleveld as a shepherd (fin. I). The iconography and the biblical captions show that he was presenting himself as a follower of Christ in his quality of a teacher. Two figures in the background, likewise gowned, might be Bijleveld's successors: his nephew (minister from 1655 to 1693) and his nephew's son, both of whom were called Clemens Bijleveld. They were probably added to the panel after the latter's premature death in 1694. The other six paintings were donated bv members of the community and churchwardens. In some of them the donors can be identified with characters in the illustrated episodes from the bible. From the spinsters of the parish came a work depicting the parable of the wise and foolish virgins; the churchwardens, evidently seeing themselves in the guise of the apostles, gave a pedilavium. The widow Hester Claes van Hamborg donated a painting of Simon in the Temple (in which the widow Anna figures prominently), and Catharina Gerdss Rijneveld, probably also widowed, gave Elijah and the widow of Zarephath. The unmarried men of the community presented a painting with a more general subject, the Last Judgment, perhaps intended to be hung above the pulpit. The wealthy Maria Tams gave a work described as 'cen taeffereel of bort van de christ. kercke' la scene or panel of the Christian church]. Exactly what it depicted is unclear. The same Maria Tams was a generous donor of church furniture. She presented a brass chandelier, two brass lecterns (fig. 4), a bible with silver fittings and a clock to remind the preacher of the limited time allotted to his sermon. Important gifts of ecclesiastical silver were made from 1655 on. The most striking items are an octagonal font of 1657 (fig. 5) and a Communion cup of 1661 (fig. 6), both paid for by the proceeds of a collection held among the unmarried men and women of the parish. The decorations on the font include a depiction of Christ as the Good Shepherd. There is also shepherd on the lid of the Communion cup. This element (in view, too, of the indication of the shepherd 'als 't wapen van de kerk' [the church arms] in the Groot Protocol) came to occupy a special place in the imagery of the Lutheran community. More space was required for the growing congregation, In 1680 there was an opportunity to purchase from the municipal council St. Joostenkapel, a mediaeval chapel used as a storeroom at the time. The building, situated on the river Gouwe which flows through the old town centre, was ready for the inaugural service in 1682. It was given ten staincd-glass windows, the work of the Gouda glass painter Willem Tomberg. The glass (along with six of the seven paintings) was sold during the course of renovations in 1838, but thanks to the later secretary of the community, D.J. van Vreumingen, who madc drawings of them and copied the inscriptions, we have an approximate idea of how they looked. Their original positions can also be reconstructed (fig. 13). The windows were largely executed in grisaille, except for the second and eighth, which were more colourful. The seven side-windows with scenes from the life of Christ and the Passion (figs. 8-11) were presented by the minister, his wife and other leading members of the community. The inscriptions on these windows referred to the bible passages they illustrated and to the names of the donors. The three windows at the front were donated by the Gouda municipal council (window 10, fig. 12) and the sympathetic Lutheran communities of Leiden and Essen (windows 8 and 9, figs. 11 and 12). The depiction on the window from Leiden was a popular Lutheran theme: John's vision on Patmos. The candle-stick featuring in this vision was a symbol (as in a print of 1637, for instance) for the Augsburg Confession, on which the Lutheran church was founded. In the eighteenth century occasional additions were made to the inventory, but the nineteenth century was a period of growing austerity. However, the Groot Protocol and Van Vreumingen's notes facilitate the reconstruction of the seventeenth-century interior to a large extent. The iconography of the works of art collected in the course of the years underlined the community's endeavour, in following the teachings of its earthly shepherd, to live according to the Holy Word.

Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Com&#233;die de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Th&#233;ophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “&#201;maux et Cam&#233;es” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each m&#233;lodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each m&#233;lodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity

Abstract UNS No. Z35630 is a zinc-aluminum-copper foundry alloy recommended for general-purpose castings of high strength at moderate cost. It was designed for use in nonferrous foundries to compete with cast-iron, bronze, brass and aluminum castings. This datasheet provides information on composition, physical properties, hardness, elasticity, tensile properties, and compressive and shear strength as well as fracture toughness and fatigue. It also includes information on corrosion and wear resistance as well as casting, forming, heat treating, machining, and surface treatment. Filing Code: Zn-43. Producer or source: Zinc alloy producers.

Near a brass foundry, the soil is severely polluted by the heavy metals cadmium, copper, and zinc which have been emitted for more than 80 years. Lime and clay present in the soil result in high pH and high adsorption capacity, leading to a small mobility of the metals. Therefore, the heavy-metal pollution is localized in the upper 25 cm of the soil. The enrichment of the metals in the topsoil substantially decreases biological decomposition rate and breakdown of the litter. The fertility of the soil is disturbed and the meagre vegetation on the site is strongly polluted.The three metals differ in their binding forms and their mobility. Cadmium is particularly adsorbed in the diffuse layer of the cation exchanger or associated with carbonates, which results in a relatively high plant availability. On the other hand, the exchangeable amounts of copper and zinc are small. Main binding forms of these metals are association with carbonates or iron oxides and especially in the case of copper the complexation by humic substances. In the soil solution, hydrated ions are the main species of cadmium and zinc, whereas copper is almost exclusively complexed by dissolved organic matter (DOC). As hydrated ions are preferentially taken up by plants, the availability of cadmium and zinc is greater than that of copper.

Generative Adversarial networks (GANs) are algorithmic architectures that use dual neural networks, pitting one in obstruction to the other (therefore the “opposing”) with a intent to produce new, artificial times of evidences that can avoid for real proofs. They are used significantly in image group. In the scope of therapeutic imaging, creating precise technical impulsive shots which are dissimilar from the Adversarial exact ones, signify an inspiring and esteemed goal. The consequential artificial pics are probably to expand analytical reliability , permitting for data augmentation in computer-aided estimation in addition to medic trial. There are optimistic hard states in producing unreal multi-collection awareness Magnetic Resonance (MR) photos. The main trouble being low difference MR photos, dynamic steadiness in attention framework, and private-series volatility. In this paper, we realization on Generative Networks (GANs) for generating artificial multi-series attention Magnetic Resonance (MR) images. This comprises snags largely as a result of small dissimilarity MR pictures, durable correctness in Brain composition, and private-series inconsistency. This effort proposes a kind novel GAN founded deep learning mark that syndicates GAN group, augmentation, detection and gathering of suspicious regions. The proposed stroke is measured with the aid of pictures developed from BRATS (Multimodal Brain Tumour Image Segmentation Challenge) and dataset IXI in 2015. The usefulness of the future process is added and the outcomes are discussed limited the paper..

Currently, the gun collection of the Banat Museum in Timişoara holds 16 items that can be classified as hunting rifles, all of them being inventoried in the registers of the History Department.Chronologically speaking, the hunting rifles held by the museum’s collection can be dated between the 18thcentury and the late 19th century. e most ancient piece is a flintlock rifle dating from the second half of the 18thcentury, followed by six percussion guns built during the first half of the 19th century. e museum’s collection holds a Berenger system hunting rifle, a Flobert type weapon and a Tabatiére system gun – exhibits that can be dated from the second half of the 19th century. A Hammerless double-barreled shotgun comes from the second half of the 19th century. Also, the collection contains three sporting rifles dated from the first half of the 19th century and two compressed air guns, one coming from the beginning of the 19th century and the other one dating from the mid – 19th century. Concerning the manufacturing workshop of these hunting rifles held by the museum’s collection from Timişoara, it should be noted that only some of these pieces display various inscriptions or badges of the armourers. More accurately, nine of the guns exhibit the names of the armourers and the manufacturing site inscribed on the barrels or the mechanism. e name of the Viennese armourer Johann Fruwirth is displayed on two of the guns. Both weapons are inscribed with the manufacturing site, the city of Vienna. e mechanism of the most beautiful gun of the collection is inscribed with the name of the Vienese armourer Johann Baptist Strixner. One of the sporting rifles was manufactured by Johann Peter from Weiskirchen. A double-barreled percussion gun comes from St. Etienne. One of the two compressed air guns, held by the collection, was manufactured by G. Leute, an armourer from Munich. Another weapon from the collection bears an inscription with the name of Johann Peterlongo, the founder of the “Tiroler Waffenfabrik” factory from Innsbruck. e Tabatiére gun – the commercial version – was manufactured in Liege, Belgium. e last detected workshop belongs to G. Teschner from Frankfurt, which produced the Hammerless gun. In conclusion, we may assert that the vast majority of the hunting rifles identified in the collection of the Banat Museum were manufactured in the Central European workshops. As to the ornaments and embellishments displayed by the collection from Timișoara, it should be mentioned the fact that the most beautiful exhibits are the guns dating from the first half of the 19th century. Two of them, manufactured by the Vienese armourers Johann Fruwirth and J.B. Strixner, bear highly rich embellishment displayed on the barrels and mechanism as well as on the wooden part of the weapon. Both exhibits are engraved with floral and vegetal motifs, carved with stylized vegetal and zoomorphic motifs, inlaid with multiple pearl and brass elements. e other guns from the collection are less decorated, most of them bearing engravings, grooves and inlays. As regards the history of the hunting rifles up until now we know the origin of only six of the 16 items submitted in the present article. ree of the six weapons mentioned above became part of the collection during the pre-war period, one of the guns was donated during the first half of the 20th century, while the last two were also donated during the 7th and the 8th decades of the last century. As a conclusion, we acknowledge the fact that the present hunting rifle collection represents a very interesting set, due to the diversity of the existing models but also to some of the exhibits’ rarity, among the Romanian borders, as the example of the Girardoni compressed air gun.

! e yataghan falls into the category of large knives, usually presenting a curved blade, made of high quality steel. ! is kind of weapon consists of a single-edged blade, necessarily disposed inward. An important characteristic of the yataghan is represented by the hilt that stands out due to the specifi c pommels, that spreads at the top intosmall wings curved inwards, usually known as ‘ears’. ! e pommels are perfectly shaped to allow the weapon’s easy handling, the ears having the role to prevent the hilt slipping out of the hand when used in battle. If necessary, the yataghan’s ‘ears’ might prove themselves useful as bolsters for shooting the longrifl e. In time, specialized literature has presented some confusions regarding the name and the shape of the yataghan. Studying this type of weapon, many authors did not make a clear distinction between yataghans and handjars, often the term ‘yataghan’ being used erroneously to designate all oriental swords. Regarding the roots of this type of weapon, the yataghan is a sabre of Oriental origin, according to some sources originating from India wherefrom it was expanded through the whole East. ! e shape of the yataghans have not changed much in time, the specifi c characteristics of this kind of weapon contributing mainly in this respect: the remarkable force to strike and chop. Due to the weapon’s particular shape, the force of impact is concentrated at the tip of the blade. ! e yataghan was the perfect choice for a close fi ght but also during a skirmish. Even when fi rearms gained supremacy in the battlefi eld, the yataghan was also kept in the janissary standard harness especially due to its remarkable technical qualities. As it concerns the color and the material used to craft the pommels, the Serbo-Croatian-Bosnian specialized literature (excepting Constantinople, most of the Balkan yataghans were crafted in the former Yugoslav territory during the XVIII and XIX centuries, the most famous manufactory being at Foča – today in Bosnia and Herzegovina) classifi es yataghans as it followes: belosapce (having the pommels made of ivory or of other bones of light color), crnosapce (having ears made of buff alo black horn or of wood) and those with metallic hilts, often overlaid with silver. ! ere are also brass-hilted yataghans. Regarding the shape of the blades, yataghans can be classifi ed into straight blades and curved blades. ! ere were many manufactories in the Balkan Peninsula: Travnik, Foča, Sarajevo, Herceg Novi, Kotor, Risan, Užice, Prizren and Skopje. ! e yataghans produces in these manufactories were exclusively handicraft products. ! e collection of weapons held by ! e Banat Museum owns 30 yataghans, recorded in the History Department’s fi les. An important particularity of the museum’s collection is given by the great number (17 of 30 weapons) of crnosapci yataghans, horn-hilted or dark bone-hilted weapons. Unlike ! e Banat Museum collection, the belosapci with ears made of ivory or other types of white bone, prevail in the yataghans collection from Zagreb (! e Croatian History Museum). ! e Belgrade researchers’ explanations regarding the small number of crnosapci yataghans from the Military Museum’s collection together with the informations recorded in the 1st fi le of the Banat Museum’s fi les clarify the existence of a great number of dark/brown and black pommeled yataghans in the Banat Museum’s collection. Given the fact that the crnosapci yataghans were used in fi ghts, they are much more rare, theory that comes to complement the informations supplied by the archives held by the Banat Museum, informations that highlight the fact that the weapons achived during the pre-war period represented spoil of war resulted from the AustroHungarian military campaign held during the summer of 1978 to pacify the Bosnian territory. We can also add to the 17 crnosapci yataghans another 9 belosapci yataghans, two metal hilted weapons, one presenting some changes at the hilt (instead of the characteristic pommels the yataghan has a wooden hilt with a rectangular section). To all these weapons we can also add a yataghan blade whose pommels are missing.Among ! e Banat Museum’s yataghan collection, 20 weapons exhibit ornaments and encrusted inscriptions, two weapons being encrusted with golden thread, the other ones decorated with silver thread. ! ere other weapons show engraved ornaments while the other seven have no decorations on the blades (some of them presenting the armourer’s stamp, at most).! e specialized literature highlights the fact that the yataghans with straight blade (pravci) are very rare, this fact being confi rmed at Timisoara where we can fi nd only 5 weapons presenting this kind of blade. Among the ornate yataghans, the researches managed to discover the year of manufacture only in the case of 8 weapons, the oldest yataghan held by ! e Banat Museum was dated in the year 1204 (according to the Islamic calendar), corresponding the Christian period of 1789–1790, while the most recent weapon dates from the Muslim year of 1280, representing the years of 1863–1864 according to the Gregorian calendar.Regarding the history of yataghans collection held by the Banat Museum, we also have to consider that the vast majority of weapons comes from the old collection of the museum, especially from the pre-war period. ! e 1stfi le of inventory held by the museum (the inventory of the Museum Society of History and Archeology) includes a series of weapons brought from Bosnia after the military campaign held in the summer of 1878 (spoil of war from Tuzla, Travnik etc). ! ese weapons were either donated to the museum or purchased. ! e two metal-hilted yataghans had also been registered in the pre-war period. During the interwar, especially between 1930–1935, while Ioachim Miloia has served as director of the museum, have been purchased another series of yataghans. A last important batch of weapons entered the Museum’s collection after World War II, in 1959, following a transfer from the Home Offi ce represented by the Timisoara 232 Unit. ! e „piece de resistance” of ! e Banat Museum’s collection is certainly represented by the weapon that was held, for a short time, by the leader of the fi rst Serbian anti-Ottoman movement Đorđe Petrović Karađorđe. ! e founder of the South Hungarian Society of History and Archeology and also the donor of this yataghan, dr. Ormós Zsigmond, remarks that the weapon’s value is increased by the fact that it belonged to Karađorđe (Cerni György). ! e letter of donation also asserts that the yataghan was taken by the Serbian leader „from the hands of a Turk” during a fi ght, without off ering further information regarding the year and the place of the specifi c battle. We can also fi nd out from this specifi c letter information regarding the purchase of the weapon and its previous owner. Ormós purchased the yataghan on June 23rd, 1876 at Orşova, from the widow Schevits who held the weapon as an heirloom. ! ese informations have been published in the specialized magazine of the Museum Society of History and Archeology in the year 1889, while in the 1st fi le of inventory held by the Banat Museum the yataghan is recorded as a „Turkish yataghan”. We have to underline the fact that Karađorđe’s yataghan represents the only Oriental weapon of the collection whose inscriptions had been translated and recorded in the old files of the Banat Museum.

At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offered whilst they were abroad and, at the same time, a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London would have a significant impact on male Australian artists, as it offered a space where they were integrated into the English art world, which enhanced their experience whilst abroad.Artists were seldom members of Australia’s early gentlemen’s clubs, however, in the late nineteenth century Melbourne, artists formed less formal social groupings with exotic names such as the Prehistoric Order of Cannibals, the Buonarotti Club, and the Ishmael Club (Mead). Melbourne artists congregated in these clubs until the Melbourne Savage Club, modelled on the London Savage Club (1857)—a club whose membership was restricted to practitioners in the performing and visual arts—opened its doors in 1894.The Melbourne Savage Club had its origins in the Metropolitan Music Club, established in the late 1880s by a group of professional and amateur musicians and music lovers. The club initially admitted musicians and people from the dramatic professions free-of-charge, however, author Randolph Bedford (1868–1941) and artist Alf Vincent (1874–1915) were not content to be treated on a different basis to the musicians and actors, and two months after Vincent joined the club, at a Special General Meeting, the club resolved to vary Rule 6, “to admit landscape or portrait painters and sculptors without entrance fee” (Melbourne Savage Club). At another Special General Meeting, a year later, the rule was altered to admit “recognised members of the musical, dramatic and artistic professions and sculptors without payment of entrance fee” (Melbourne Savage Club).This resulted in an immediate influx of prominent Victorian male artists (Williams) and the Melbourne Savage Club became their place of choice to gather and enjoy the fellowship the club offered and to share ideas in a convivial atmosphere. When the opportunity arose for them to travel to London in the early twentieth century, they met in London’s famous art clubs. Membership of the Melbourne Savage Club not only conferred rights to visit reciprocal clubs whilst in London, but also facilitated introductions to potential patrons. The London clubs were the venue of choice for visiting artists to meet their fellow artist expatriates and to share experiences and, importantly, to meet with their British counterparts, exhibit their works, and establish valuable contacts.The London Savage Club attracted many Australian expatriates. Not only is it the grandfather of London’s bohemian clubs but also it was the model for arts clubs the world over. Founded in 1857, the qualification for admission was (and still is) to be, “a working man in literature or art, and a good fellow” (Halliday vii). If a candidate met these requirements, he would be cordially received “come whence he may.” This was embodied in the club’s first rules which required applicants for membership to be from a restricted range of pursuits relating to the arts thought to be commensurate with its bohemian ideals, namely art, literature, drama, or music.The second London arts club that attracted expatriate Australian artists was the New English Arts Club, founded in 1886 by young English artists returning from studying art in Paris. Members of The New English Arts Club were influenced by the Impressionist style as opposed to the academic art shown at the Royal Academy. As a meeting place for Australia’s expatriate artists, the New English Arts Club had a particular influence, as it exposed them to significant early Modern artist members such as John Singer Sargent (1856–1925), Walter Sickert (1860–1942), William Orpen (1878–1931) and Augustus John (1878–1961) (Corbett and Perry; Thornton; Melbourne Savage Club).The third, and arguably the most popular with the expatriate Australian artists’ club, was the Chelsea Arts Club, a bohemian club formed in 1891 by local working artists looking for a place to go to “meet, talk, eat and drink” (Cross).Apart from the American-born founding member, James McNeill Whistler (1834–1903), amongst the biggest Chelsea names at the time of the influx of travelling young Australian artists were modernists Sir William Orpen, Augustus John, and John Sargent. The opportunity to mix with these leading British contemporary artists was irresistible to these antipodean artists (55).When Melbourne artist, Miles Evergood (1871–1939) arrived in London from America in 1910, he had been an active exhibiting member of the Salmagundi Club, a New York artists’ club. Almost immediately he joined the New English Arts Club and the Chelsea Arts Club. Hammer tells of him associating with “writer Israel Zangwill, sculptor Jacob Epstein, and anti-academic artists including Walter Sickert, Augustus John, John Lavery, John Singer Sargent and C.R.W. Nevison, who challenged art values in Britain at the beginning of the century” (Hammer 41).Arthur Streeton (1867–1943) used the Chelsea Arts Club as his postal address, as did many expatriate artists. The Melbourne Savage Club archives contain letters and greetings, with news from abroad, written from artist members back to their “Brother Savages” (Various).In late 1902, Streeton wrote to fellow artist and Savage Club member Tom Roberts (1856–1931) from London:I belong to the Chelsea Arts Club now, & meet the artists – MacKennel says it’s about the most artistic club (speaking in the real sense) in England. … They all seem to be here – McKennal, Longstaff, Mahony, Fullwood, Norman, Minns, Fox, Plataganet Tudor St. George Tucker, Quinn, Coates, Bunny, Alston, K, Sonny Pole, other minor lights and your old friend and admirer Smike – within 100 yards of here – there must be 30 different studios. (Streeton 94)Whilst some of the artists whom Streeton mentioned were studying at either the Royal Academy or the Slade School, it was the clubs like the Chelsea Arts Club where they were most likely to encounter fellow Australian artists. Tom Roberts was obviously attentive to Streeton’s enthusiastic account and, when he returned to London the following year to work on his commission for The Big Picture of the 1901 opening of the first Commonwealth Parliament, he soon joined. Roberts, through his expansive personality, became particularly active in London’s Australian expatriate artistic community and later became Vice-President of the Chelsea Arts Club. Along with Streeton and Roberts, other visiting Melbourne Savage Club artists joined the Chelsea Arts Club. They included, John Longstaff (1861–1941), James Quinn (1869–1951), George Coates (1869–1930), and Will Dyson (1880–1938), along with Sydney artists Henry Fullwood (1863–1930), George Lambert (1873–1930), and Will Ashton (1881–1963) (Croll 95). Smith describes the exodus to London and Paris: “It was the Chelsea Arts Club that the Heidelberg School established its last and least distinguished camp” (Smith, Smith and Heathcote 152).Streeton, who retained his Chelsea Arts Club membership when he returned for a while to Australia, wrote to Roberts in 1907, “I miss Chelsea & the Club-boys” (Streeton 107). In relation to Frederick McCubbin’s pending visit he wrote: “Prof McCubbin left here a week ago by German ‘Prinz Heinrich.’ … You’ll introduce him at the Chelsea Club and I hope they make him an Hon. Member, etc” (Streeton et al. 85). McCubbin wrote, after an evening at the Chelsea Arts Club, following a visit to the Royal Academy: “Tonight, I am dining with Australian artists in Soho, and shall be there to greet my old friends. How glad I am! Longstaff will be there, and Frank Stuart, Roberts, Fullwood, Pontin, Coates, Quinn, and Tucker’s brother, and many others from all around” (MacDonald, McCubbin and McCubbin 75). Impressed by the work of Turner he wrote to his wife Annie, following avisit to the Tate Gallery:I went yesterday with Fullwood and G. Coates and Tom Roberts for a ramble … to the Tate Gallery – a beautiful freestone building facing the river through a portico into the gallery where the lately found turners are exhibited – these are not like the greater number of pictures in the National Gallery – they represent his different periods, but are mostly in his latest style, when he had realised the quality of light (McCubbin).Clearly Turner’s paintings had a profound impression on him. In the same letter he wrote:they are mostly unfinished but they are divine – such dreams of colour – a dozen of them are like pearls … mist and cloud and sea and land, drenched in light … They glow with tender brilliancy that radiates from these canvases – how he loved the dazzling brilliancy of morning or evening – these gems with their opal colour – you feel how he gloried in these tender visions of light and air. He worked from darkness into light.The Chelsea Arts Club also served as a venue for artists to entertain and host distinguished visitors from home. These guests included; Melbourne Savage Club artist member Alf Vincent (Joske 112), National Gallery of Victoria (NGV) Trustee and popular patron of the arts, Professor Baldwin Spencer (1860–1929), Professor Frederick S. Delmer (1864–1931) and conductor George Marshall-Hall (1862–1915) (Mulvaney and Calaby 329; Streeton 111).Artist Miles Evergood arrived in London in 1910, and visited the Chelsea Arts Club. He mentions expatriate Australian artists gathering at the Club, including Will Dyson, Fred Leist (1873–1945), David Davies (1864–1939), Will Ashton (1881–1963), and Henry Fullwood (Hammer 41).Most of the Melbourne Savage Club artist members were active in the London Savage Club. On one occasion, in November 1908, Roberts, with fellow artist MacKennal in the Chair, attended the Australian Artists’ Dinner held there. This event attracted twenty-five expatriate Australian artists, all residing in London at the time (McQueen 532).These London arts clubs had a significant influence on the expatriate Australian artists for they became the “glue” that held them together whilst abroad. Although some artists travelled abroad specifically to take up places at the Royal Academy School or the Slade School, only a minority of artists arriving in London from Australia and other British colonies were offered positions at these prestigious schools. Many artists travelled to “try their luck.” The arts clubs of London, whilst similarly discerning in their membership criteria, generally offered a visiting “brother-of-the-brush” a warm welcome as a professional courtesy. They featured the familiar rollicking all-male “Smoke Nights” a feature of the Melbourne Savage Club. With a greater “artist” membership than the clubs in Australia, expatriate artists were not only able to catch up with their friends from Australia, but also they could associate with England’s finest and most progressive artists in a familiar congenial environment. The clubs were a “home away from home” and described by Underhill as, “an artistic Earl’s Court” (Underhill 99). Most importantly, the clubs were a centre for discourse, arguably even more so than were the teaching academies. Britain’s leading modernist artists were members of the Chelsea Arts Club and the New English Arts Club and mixed freely with the visiting Australian artists.Many Australian artists, such as Miles Evergood and George Bell (1878–1966), held anti-academic views similar to English club members and embraced the new artistic trends, which they would bring back to Australia. Streeton had no illusions about the relative worth of the famed institutions and the exhibitions held by clubs such as the New English. Writing to Roberts before he joins him in London, he describes the Royal Academy as having, “an inartistic atmosphere” and claims he “hasn’t the least desire to go again” (Streeton 77). His preference lay with a concurrent “International Exhibition”, which featured works by Rodin, Whistler, Condor, Degas, and others who were setting the pace rather than merely continuing the academic traditions.Architect Hardy Wilson (1881–1955) served as secretary of The Chelsea Arts Club. When he returned to Australia he brought back with him a number of British works by Streeton and Lambert for an exhibition at the Guild Hall Melbourne (Underhill 92). Artists and Bohemians, a history of the Chelsea Arts Club, makes special reference of its world-wide contacts and singles out many of its prominent Australian members for specific mention including; Sir John William (Will) Ashton OBE, later Director of the Art Gallery of New South Wales, and Will Dyson, whose illustrious career as an Australian war artist was described in some detail. Dyson’s popularity led to his later appointment as Chairman of the Chelsea Arts Club where he initiated an ambitious rebuilding program, improving staff accommodation, refurbishing the members’ areas, and adding five bedrooms for visiting members (Bross 87-90).Whilst the influence of travel abroad on Australian artists has been noted, the importance of the London Clubs has not been fully explored. These clubs offered artists a space where they felt “at home” and a familiar environment whilst they were abroad. The clubs functioned as a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London had a significant impact on male Australian artists as it offered a space where they were integrated into the English art world which enhanced their experience whilst abroad and influenced the direction of their art.ReferencesCorbett, David Peters, and Lara Perry, eds. English Art, 1860–1914: Modern Artists and Identity. Manchester: Manchester University Press, 2000.Croll, Robert Henderson. Tom Roberts: Father of Australian Landscape Painting. Melbourne: Robertson & Mullens, 1935.Cross, Tom. 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London: New English Art Club, Curwen Press 1935.Underhill, Nancy D.H. Making Australian Art 1916–49: Sydney Ure Smith Patron and Publisher. South Melbourne: Oxford University Press, 1991.Various. Melbourne Savage Club Correspondence Book: 1902–1916. Melbourne: Melbourne Savage Club.Williams, Graeme Henry. "A Socio-Cultural Reading: The Melbourne Savage Club through Its Collections." Masters of Arts thesis. Melbourne: Deakin University, 2013.