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1
Tomicka, Joanna A. "Nadzwyczajna zwyczajność. Rembrandt rytownik. Nowatorstwo wobec tradycji." Artifex Novus, no. 3 (October 1, 2019): 114–29. http://dx.doi.org/10.21697/an.7068.
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SUMMARY
 The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre depicts ‘extraordinary ordinariness’ in the most multi-aspected and spectacular way. Rembrandt van Rijn was at once a traditionalist and innovator, both in regard to the range of employed subjects and compositional schemes and his craftsmanship. His knowledge of the achievements of his forerunners, continuously developed, inspired his own artistic quest. Despite the fact that he was a painter in the period when elaborated allegory was universally employed, he insisted on the realism of scenes and directness of compositions in order to bring out the extra-sensual dimension, based on symbolism hidden in prosaic life. His works open spaces of universal experiences and feelings, at the same time inclining us to pose questions concerning their complex intellectual interpretation or Rembrandt’s technique. His mastery is equally palpable in his biblical compositions, landscapes or brilliant psychological portraits, while each of the genres was depicted by him both in painting and in graphic arts, which was rare in the times when most artists specialized in only one medium, or even in one genre, like portraits or landscapes, in one medium. Rembrandt is one of the artists referred to as painters-engravers (peintre-graveur), like Albrecht Dürer or Lucas van Leyden before him. In graphic arts in particular, he introduced new technical and compositional solutions, issuing works that often astound with their innovative approach and extremely individual interpretation. Rembrandt’s versatility in terms of addressing various genres is particularly visible in his prints. Certain subjects were resumed by him as he looked for ever new solutions. Several chosen examples of graphic works depicting religious themes combining in various aspects traditionalism and innovation will be discussed to illustrate Rembrandt’s iconographic, compositional and technical concepts and search.
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Kohnle, U., J. A. Pajares, J. Bartels, H. Meyer, and W. Francke. "Chemical communication in the European pine engraver,Ips mannsfeldi(Wachtl) (Col., Scolytidae)." Journal of Applied Entomology 115, no. 1-5 (1993): 1–7. http://dx.doi.org/10.1111/j.1439-0418.1993.tb00357.x.
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Wu, Huiyi. "Alien Voices under the Bean Arbor: How an Eighteenth-Century French Jesuit Translated Doupeng xianhua 豆棚閒話 as the “Dialogue of a Modern Atheist Chinese Philosopher”*". T’oung Pao 103, № 1-3 (2017): 155–205. http://dx.doi.org/10.1163/15685322-10313p04.
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This article examines an eighteenth-century French Jesuit’s translation of the final chapter of the early Qing collection of vernacular stories Doupeng xianhua 豆棚閒話 (Idle Talks under the Bean Arbor), which became a “philosophical dialogue” of a “modern atheist Chinese philosopher.” The trajectory of the text is examined by analyzing the layers of meaning superposed upon it by a succession of agencies: the original author Aina Jushi 艾衲居士, a Jiangnan literatus who philosophized on the fall of the Ming dynasty; Father François-Xavier Dentrecolles, the Jesuit missionary who translated the text with extensive commentaries of his own to make a case against atheism; the Parisian editor Jean-Baptiste Du Halde who published the translation in the landmark of Jesuit sinology, Description de l’Empire de la Chine et de la Tartarie chinoise (1735); the engravers in Paris and the Hague who remolded its cosmological diagrams to conform to their own scientific and aesthetic standards; and finally, its European re-translators and readers, some of whom used it as a weapon against the Jesuits and the Catholic Church. The gains and losses of the Doupeng xianhua during this process are discussed, as well as the new light brought by the French translation on its circulation in Qing China. Finally, the challenge this atypical case poses to received narratives of the Sino-Western cultural exchange through the Jesuit mission is assessed. Cet article examine la traduction au XVIIIe siècle, par un jésuite français, du dernier chapitre du recueil de contes vernaculaires Doupeng xianhua 豆棚閒話 (Propos oisifs sous la tonnelle des haricots), qui devient un « dialogue philosophique » d’un « philosophe chinois athée moderne ». La trajectoire de ce texte est retracée en analysant les strates successives de sens superposées sur ce texte grâce à des acteurs divers : l’auteur de l’original Aina Jushi 艾衲居士, un lettré du Jiangnan qui a philosophé sur la chute de la dynastie des Ming ; le missionnaire jésuite François-Xavier Dentrecolles qui a traduit le texte avec une profusion de commentaires de son propre cru contre l’athéisme ; l’éditeur parisien Jean-Baptiste Du Halde qui a publié cette traduction dans la Description de l’Empire de la Chine et de la Tartarie chinoise (1735), un monument de la sinologie française ; les graveurs à Paris et à La Haye qui ont retravaillé les diagrammes cosmologiques conformément à leurs propres normes scientifiques et esthétiques ; et enfin, les re-traducteurs et lecteurs européens de ce texte, certains desquels l’ont utilisé contre les jésuites et l’Église catholique. La conclusion évoque les gains et les pertes du Doupeng xianhua au cours de ce processus et l’éclairage que peut apporter cette traduction française sur la diffusion de l’original dans la Chine des Qing. Elle envisage enfin le défi posé par ce cas atypique aux récits conventionnels sur la médiation des jésuites dans les échanges culturels entre la Chine et l’Europe.
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Kohnle, U., J. P. Vité, C. Erbacher, J. Bartels, and W. Francke. "Aggregation response of European engraver beetles of the genus Ips mediated by terpenoid pheromones." Entomologia Experimentalis et Applicata 49, no. 1-2 (1988): 43–53. http://dx.doi.org/10.1111/j.1570-7458.1988.tb02475.x.
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Yangwen, Zheng. "Chinese Collection 457: the Call for Global History." Bulletin of the John Rylands Library 91, no. 1 (2015): 35–44. http://dx.doi.org/10.7227/bjrl.91.1.3.
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With the help of the Jesuits, the Qianlong emperor (often said to be Chinas Sun King in the long eighteenth century) built European palaces in the Garden of Perfect Brightness and commissioned a set of twenty images engraved on copper in Paris. The Second Anglo-Chinese Opium War in 1860 not only saw the destruction of the Garden, but also of the images, of which there are only a few left in the world. The John Rylands set contains a coloured image which raises even more questions about the construction of the palaces and the after-life of the images. How did it travel from Paris to Bejing, and from Belgium to the John Rylands Library? This article probes the fascinating history of this image. It highlights the importance of Europeans in the making of Chinese history and calls for studies of China in Europe.
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Walravens, Hartmut. "Copper-engraving in China: The First Chinese-European Co-Operative Project in the Field of Art." Art Libraries Journal 22, no. 1 (1997): 16–19. http://dx.doi.org/10.1017/s0307472200010269.
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While copper-printing can be traced back to the Yuan Dynasty in China, the art of copper-engraving was introduced by the Italian missionary, Matteo Ripa, in 1711. The first work to be printed with this new technique was Illustrations of 36 Vista ofthejehol Palace (1712). The Qianlong emperor wanted pictures of his military campaigns in Eastern Turkestan engraved on copper, and so he arranged for a series of sixteen engravings to be executed in Europe. Following the success of this initiative, pictures of his subsequent military exploits were engraved on copper by Chinese artists. Thus, while the West learned a great deal from China about paper and printing, copper-engraving is a technique which China acquired from the West in spite of a supposed lack of interest in the West.
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Wallduck, Rosalind, and Silvia M. Bello. "An Engraved Human Bone from the Mesolithic–Neolithic Site of Lepenski Vir (Serbia)." Cambridge Archaeological Journal 26, no. 2 (2016): 329–47. http://dx.doi.org/10.1017/s0959774316000020.
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Post-mortem manipulations of the body were common at Mesolithic–Neolithic sites along the Danube River. During assessment of disarticulated human remains from Lepenski Vir, an unusual set of incisions (notches) were observed on the diaphysis of a human left radius along with a few cut-marks. Very few studies have attempted to distinguish clearly the characteristics of these modifications. All incisions were examined using a Scanning Electron Microscope and a Focus Variation Microscope that generated measurable three-dimensional digital models. Our results indicate that, on the basis of their micro-morphometric features, qualitative and quantitative distinctions can be made between cut-marks and notches, a methodology which can be applied to other engraved bones. Cut-marks, accidentally produced during flesh removal, were more irregular, longer, narrower and shallower than the notches. The notches, produced by a ‘nick and slice’ motion (pressure was applied to the bone, then the tool was pulled in one direction), were deliberately engraved. This engraved human bone is a rare example within a Prehistoric European context, possibly a form of notation, marking or counting a series of (important) events.
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Hulsenboom, Paul. "De Poolse Hercules. Romeyn de Hooghe en de Nederlandse receptie van Jan III Sobieski voorafgaand aan het Ontzet van Wenen." Neerlandica Wratislaviensia 29 (April 15, 2020): 87–109. http://dx.doi.org/10.19195/0860-0716.29.6.
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This paper explores the Dutch perceptions of the Polish king John III Sobieski before his famous victory over the Turks at the 1683 Battle of Vienna. Sobieski’s military triumphs and rise to power in the 1670s elicited various favourable responses from the Dutch Republic, most notably several prints by the etcher and engraver Romeyn de Hooghe. His prints laid the foundation for Sobieski’s image as a great European and Christian military leader, but also a specifically Polish and Catholic hero. Sobieski’s war efforts and the image formed of him by De Hooghe cohered with the negative Dutch perceptions of the Turks, as well as with Poland-Lithuania’s reputation as a bulwark of Christendom. The countless glorifying prints, poems and other European responses to Sobieski after his victory at Vienna were in many cases inspired by the image of the Polish monarch created in the Northern Netherlands during the 1670s.
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Marshack, Alexander. "Methodology and the search for notation among engraved pebbles of the European late Palaeolithic." Antiquity 69, no. 266 (1995): 1049–51. http://dx.doi.org/10.1017/s0003598x0008265x.
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Cafagna, Fabio. "Images of Transparency and Resurrection from Leonardo da Vinci to Crisóstomo Martínez." Nuncius 32, no. 1 (2017): 52–84. http://dx.doi.org/10.1163/18253911-03201003.
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The essay aims to discuss the fortune of the well-known iconography of the “transparent body” by Leonardo da Vinci, clearly and first of all in the field of artistic anatomy. Some of the most illuminating evidence of this legacy can be found in the plates realized in Paris at the end of the 17th century by the mysterious Valencian engraver Crisóstomo Martínez. These incredible documents are strictly connected to the odd vogue of transparency that, in the same years, seems to affect also European literature, e.g. the pastoral novel Le Berger extravagant by Charles Sorel, the science fiction stories by Cyrano de Bergerac and the famous and “exemplar” tale El licenciado Vidriera by Miguel de Cervantes.
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Bolgia, Claudia. "An Engraved Architectural Drawing at Santa Maria in Aracoeli, Rome." Journal of the Society of Architectural Historians 62, no. 4 (2003): 436–47. http://dx.doi.org/10.2307/3592496.
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The use of tracings-drawings engraved on floors or walls showing an architectural detail to scale-was an important stage of the Gothic building process. Although examples of such engravings have survived all over Europe, very few Italian tracings are preserved. Two hitherto unknown examples, found in the Roman church of Santa Maria in Aracoeli, are presented here for the first time. One portrays the profile of a small base and was probably a trial drawing. The other is a two-light-and-oculus tracery pattern, and is particularly interesting because it is drawn to full scale and was cut into a reused slab of ancient marble. In this essay, I reconstruct the geometric process of generating the design and analyze the position of the tracing, with its peculiar Roman features, within the European Gothic context. I also consider the engraved drawing's possible function (guideline for template- and stone-cutters, or slab from which the tracery was to be cut directly), destination (sepulchral monument, window, or ciborium), and dating.
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Zuber, M., H. Meyer, U. Kohnle, and W. Francke. "Odour production and pheromone response in the European engraver bark beetles,Ips amitinus(Eichh.) andIps amitinusvar.montanaFuchs (Col., Scolytidae)." Journal of Applied Entomology 115, no. 1-5 (1993): 462–65. http://dx.doi.org/10.1111/j.1439-0418.1993.tb00415.x.
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Simic, Vladimir. "Popular piety and the paper icons of Zaharija Orfelin." Balcanica, no. 51 (2020): 45–64. http://dx.doi.org/10.2298/balc2051045s.
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The paper deals with the phenomenon of popular piety in the eighteenth century and its reflections in art media through several prints made by the Serbian engraver Zaharija Orfelin. Paper icons, the cheapest means of meeting the spiritual needs of Orthodox Serbs in Hungary in the eighteenth century, were mass produced and easy to transport to remotest places. As they were the main channels of expressing piety, it is not unexpected that some artists-entrepreneurs such as Orfelin started such a lucrative production. Orfelin shaped the iconography of those images, combining the traditional Orthodox heritage and contemporary Baroque models that had migrated from Central European religious art. His imagery included particular national saints and their patriotic cults, dogmatic and doctrinal views of the church, as well as images of the Mother of God.
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Fuchs, Barbara, and Philip S. Palmer. "A Lettered Utopia: Printed Alphabets and the Material Republic of Letters." Renaissance Quarterly 73, no. 4 (2020): 1235–76. http://dx.doi.org/10.1017/rqx.2020.218.
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Several early editions of Thomas More's “Utopia,” first published in 1516, include the Utopian alphabet, as well as a quatrain of poetry in Utopian and its Latin transliteration. This essay traces the material conditions for the Utopian alphabet, exploring the intellectual contexts and epistemological questions that underlie its presence in these early editions and its absence in others. Reproduced by four early modern European printers via woodcut, metal type, or engraved plate, the alphabet in its materiality becomes a key component of “Utopia,” underscoring the intersection between print technology and an expansive humanism extending to ever wider intellectual and geographic horizons.
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Stepanchuk, Vadim N. "Prolom II, a Middle Palaeolithic Cave Site in the Eastern Crimea with Non-Utilitarian Bone Artefacts." Proceedings of the Prehistoric Society 59 (1993): 17–37. http://dx.doi.org/10.1017/s0079497x0000373x.
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The cave site Prolom II situated in the eastern part of the Crimean peninsula has produced evidence of repeated inhabitation during the Middle Palaeolithic. The stone artefacts permit a sure cultural identification and comparison with analogous material belonging to the Ak-Kaya culture. In a broader sense the Ak-Kaya culture of the Crimea may be regarded as one of the variants of the East European Micoquian. Unfortunately we do not at present have the natural science data which would allow us to define exactly the chronological position of Prolom II. The comparative typological and technical data allow us to connect the Middle Palaeolithic layers of the cave with the pre-Brörup period of the Early Würm. This is partly supported by the faunal data. The discovery of a curved arc-like deposit consisting of bones of mammoth, horse, bison and other animals in the second layer of the site, as well as a considerable collection of bone artefacts, both add to the unique character of the site. Some of the bone artefacts cannot reasonably be explained as utilitarian and may constitute evidence of a spiritual culture of Neanderthal Man. In this connection it is possible to enumerate two fragments of diaphyses with parallel and fan-shaped engraved lines, one distal fragment of Saiga tatarica first phalange with fan-shaped engraved lines, and one horse canine with deep subparallel engravings.
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Harring, Candace M. "Aggregation pheromones of the European fir engraver beetles Pityokteines curvidens, P. spinidens and P. vorontzovi and the role of juvenile hormone in pheromone biosynthesis1." Zeitschrift für Angewandte Entomologie 85, no. 1-4 (2009): 281–317. http://dx.doi.org/10.1111/j.1439-0418.1978.tb04040.x.
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Condello, Annette. "‘Sybaris is the land where it wishes to take us’: luxurious insertions in Picturesque gardens." Architectural Research Quarterly 15, no. 3 (2011): 261–69. http://dx.doi.org/10.1017/s1359135511000807.
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Towards the end of the eighteenth century, the discovery of Pompeii attracted European aristocrats to include the Kingdom of the Two Sicilies (Southern Italy) on their Grand Tour itinerary. Similarly, Sybaris, an ancient Greek colonial polis also directed aristocratic attention to the region. French painter and engraver Jean-Claude Richard de Saint-Non and his entourage of architects most famously documented the ruinous Sybaris and exported its imagery back to France. In parallel with these developments, interest in recreating sybaritic images within luxurious Picturesque gardens arose. Drawing upon a pair of garden case studies, Monsieur de Monville's Broken Column House (1780–81) at Désert de Retz, Chambourcy, and Queen Marie-Antoinette's hameau (1783) within the Petit Trianon Gardens at Versailles, this paper examines the sybaritic images, their influences and the ethical values of the creators of these gardens. Monville and Marie-Antoinette were, for instance, charged of excess. This paper is concerned with the way in which these sybaritic places were configured and how they encapsulated a mythic Sybaris, and argues that the charges of excess levelled against their creators partly stemmed from the unusual and sybaritic effects to be found at their private entertainment gardens.
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Layton, Robert. "Trends in the Hunter-Gatherer Rock Art of Western Europe and Australia." Proceedings of the Prehistoric Society 57, no. 01 (1991): 163–74. http://dx.doi.org/10.1017/s0079497x00004953.
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Rock art associated with modern human populations has a comparable antiquity in Western Europe and Australia (table 1). In Western Europe personal adornment, human and animal statuettes and some carved stone blocks date from the early Aurignacian. In Australia a date of 30,000 BP has been claimed for the origin of the geometric art tradition of the Olary Province of Southern Australia, a date which would make it contemporary with the modern human community at Lake Mungo 150 miles to the east, who were practising deliberate burial (Bowler and Thome 1976, 129,138). This date, however, depends on the cation ratio method, whose calibration is still open to question (Nobbs and Dorn 1988; Clarke 1989; Watchman 1989).Secure dates based on C14 measurements show that both geometric motifs and engraved animal silhouettes in northern Australia are contemporary with the flowering of European Palaeolithic art during the Magdalenian (for Dampier, see Lorblanchet 1988, 286; for Laura, see Rosenfeld 1981, 12, 53).
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Cassen, Serge, Carlos Rodríguez-Rellán, Ramon Fábregas Valcarce, Valentin Grimaud, Yvan Pailler, and Bettina Schulz Paulsson. "Real and ideal European maritime transfers along the Atlantic coast during the Neolithic." Documenta Praehistorica 46 (December 9, 2019): 308–25. http://dx.doi.org/10.4312/dp.46-19.
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The history of research on the Neolithic of the Atlantic façade shows how speculation about prehistoric mobility, especially across the sea, is mainly based on three types of archaeological evidence: megalithic monuments, rare stones, and pottery decoration. With the aim of approaching the issue from other perspectives, we have focused on the Morbihan area, a focal point of the European Neolithic during the mid-5th millennium BC. The analysis of this area has allowed us to grasp which objects, ideas and beliefs may have been desired, adopted and imitated at the time. We shall begin with an architectural concept, the standing stone. These were sometimes engraved with signs that can be directly compared between Brittany, Galicia (NW Spain) and Portugal, but for which there are no intermediate parallels in other areas of the French or Spanish coast. The unique accumulation and transformation of polished blades made of Alpine rocks and found inside tombs or in other sort of depositions in the Carnac region allowed us to establish a second link with Galicia and the Atlantic coast of the Iberian Peninsula, where certain types of the axes were imitated using a set of different rocks (sillimanite, amphibolite). Finally, the variscites and turquoises from different Spanish regions were used for the manufacture of beads and pendants at the Carnacean tombs, without it being possible – once again – to retrieve similar objects in the intermediate areas. The mastery ofdirect Atlantic sea routes is posed as an explanation for this geographical distribution. But, beyond the information drawn from specific artefacts – whose presence/absence should not be used in excess as an argument to endorse or underrate such movements across the ocean – we will return to a more poetic and universal phenomenon: the spell of the sea. Therefore, we will focus on the depictions of boats on the stelae of Morbihan to open such a debate.
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Cassen, Serge, Carlos Rodríguez-Rellán, Ramon Fábregas Valcarce, Valentin Grimaud, Yvan Pailler, and Bettina Schulz Paulsson. "Real and ideal European maritime transfers along the Atlantic coast during the Neolithic." Documenta Praehistorica 46 (December 9, 2019): 308–25. http://dx.doi.org/10.4312/dp.46.19.
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The history of research on the Neolithic of the Atlantic façade shows how speculation about prehistoric mobility, especially across the sea, is mainly based on three types of archaeological evidence: megalithic monuments, rare stones, and pottery decoration. With the aim of approaching the issue from other perspectives, we have focused on the Morbihan area, a focal point of the European Neolithic during the mid-5th millennium BC. The analysis of this area has allowed us to grasp which objects, ideas and beliefs may have been desired, adopted and imitated at the time. We shall begin with an architectural concept, the standing stone. These were sometimes engraved with signs that can be directly compared between Brittany, Galicia (NW Spain) and Portugal, but for which there are no intermediate parallels in other areas of the French or Spanish coast. The unique accumulation and transformation of polished blades made of Alpine rocks and found inside tombs or in other sort of depositions in the Carnac region allowed us to establish a second link with Galicia and the Atlantic coast of the Iberian Peninsula, where certain types of the axes were imitated using a set of different rocks (sillimanite, amphibolite). Finally, the variscites and turquoises from different Spanish regions were used for the manufacture of beads and pendants at the Carnacean tombs, without it being possible – once again – to retrieve similar objects in the intermediate areas. The mastery ofdirect Atlantic sea routes is posed as an explanation for this geographical distribution. But, beyond the information drawn from specific artefacts – whose presence/absence should not be used in excess as an argument to endorse or underrate such movements across the ocean – we will return to a more poetic and universal phenomenon: the spell of the sea. Therefore, we will focus on the depictions of boats on the stelae of Morbihan to open such a debate.
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Hartsiotis, Kirsty. "Emery Walker’s Counsel." Logos 31, no. 4 (2021): 7–38. http://dx.doi.org/10.1163/18784712-03104002.
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Abstract Process engraver and printer Emery Walker was a pivotal figure in the English, American, and continental European Private Press Movement from the 1880s until his death in 1933. This article looks at his theories for the typography, design, and production of books, and how those theories were developed by key designers and close associates of Walker such as William Morris, T. J. Cobden Sanderson, and Bruce Rogers and through the practical teaching of figures such as J. H. Mason and Edward Johnston. It examines how the theories were then taken up by the exponents of fine printing from the early 20th century through to the 1930s, focusing on the presses of Bernard Newdigate, Harry Kessler, Harold Curwen, and Francis Meynell. From these presses, and also via Stanley Morison and the Monotype Corporation, Walker’s theories are shown to have spread into mainstream book publishing in the first half of the 20th century. The article considers questions of whether the improvement in the readability of books in the early 20th century has had a continuing impact in book publishing, and makes suggestions how to access the incunabula referenced by the designers discussed, as well as collections of private press books and other early 20th-century fine printing.
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van der Lippe, Tanja, and Zoltán Lippényi. "Beyond Formal Access: Organizational Context, Working From Home, and Work–Family Conflict of Men and Women in European Workplaces." Social Indicators Research 151, no. 2 (2018): 383–402. http://dx.doi.org/10.1007/s11205-018-1993-1.
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AbstractWorking from home has become engraved in modern working life. Although advocated as a solution to combine work with family life, surprisingly little empirical evidence supports that it decreases work–family conflict. In this paper we examine the role of a supportive organizational context in making working from home facilitate the combination of work and family. Specifically, we address to what extent perceptions of managerial support, ideal worker culture, as well as the number of colleagues working from home influence how working from home relates to work–family conflict. By providing insight in the role of the organizational context, we move beyond existing research in its individualistic focus on the experience of the work–family interface. We explicitly address gender differences since women experience more work–family conflict than men. We use a unique, multilevel organizational survey, the European Sustainable Workforce Survey conducted in 259 organizations, 869 teams and 11,011 employees in nine countries (Bulgaria, Finland, Germany, Hungary, Netherlands, Portugal, Spain, Sweden, United Kingdom). Results show that an ideal worker culture amplifies the increase in work family conflict due to working from home, but equally for men and women. On the other hand, women are more sensitive to the proportion of colleagues working from home, and the more colleagues are working from home the less conflict they experience.
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Bussotti, Michela, and Isabelle Landry-Deron. "Printing Chinese Characters, Engraving Chinese Types: Wooden Chinese Movable Type at the Imprimerie Nationale (1715-1819)." East Asian Publishing and Society 10, no. 1 (2020): 1–72. http://dx.doi.org/10.1163/22106286-12341338.
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Abstract The collection of Chinese wooden movable types is among the oldest treasures of the Imprimerie Nationale. The types were carved in Paris between 1715 and 1819, and they are a legacy of the first French attempts to master the expertise necessary to print Chinese alongside Western alphabetic scripts. This article, which is the result of research conducted at the Imprimerie Nationale, combined with a study of historical and literary sources from various periods kept at the Bibliothèque nationale de France and at Italian libraries, provides a description of the types’ physical characteristics and relates how they were created, designed, organized, engraved, employed, classified and stored. Our research focuses on the attempts to include Chinese characters in publications in Western languages which were made in Europe and particularly in France from the beginning of the eighteenth century onwards. At a time when Europeans were beginning to expand their range of activities in Asia, printing in Asian scripts was a technical as well as a commercial, political and intellectual challenge. With no Chinese typographer to help, the French team modelled the types on characters found in a Chinese dictionary imported into France by missionaries, and at the beginning of the nineteenth century they published two dictionaries which included Chinese characters printed with wooden type.
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Davydenko, Kateryna. "A comparative characteristic of fungal communities associated with Ips acuminatus in different regions of Ukraine." Наукові праці Лісівничої академії наук України, no. 18 (March 28, 2019): 118–28. http://dx.doi.org/10.15421/411912.
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Pine bark beetles are typically associated with complexes of fungi that could reveal different functional interaction. Thus, previously nonaggressive bark beetle Ips acuminatus is considering now to be among the most serious pests of pine forest in Ukraine and other European countries and vectored fungal community is very important to assess total harm of this bark beetle. The aim of this study was to reveal the vectored fungal community associated with the pine engraver beetle, I. acuminatus with special emphasis on pathogenic fungi for further evaluation of harm bark-beetle - fungi association for Ukrainian forest.
 In total, 288 adult beetles were collected from Scots pine trees at six different sites through Ukraine. DNA sequencing as fungal culturing from all beetles resulted in 1681 isolates and amplicons representing 42 fungal taxa. NCBI BLAST search revealed that the overall fungal community was composed of 94 species, of which 80.85% were Ascomycota, followed by Basidiomycota and unidentified fungal group, which accounted for 10.6% and 8.5 % of the total sequences, respectively. Among these, the most commonly detected fungi for pooling dataset were Sphaeropsis sapinea (23.6%), Cladosporium pini-ponderosae (19.44%), Ophiostoma ips (19.1%), Ophiostoma canum (19.1%) and Cladobotryum mycophilum (18.06%). In the pooled dataset of isolates and amplicons for each site, Shannon diversity indices ranged between 1.9 and 2.9 while Simpson diversity index varied between 0.69 and 0.89 indicating rich species diversity.
 In total twelve ophiostomatoid species were detected. All ophiostomatoid fungi were showing varying degrees of virulence and O. minus was the most aggressive fungus in previous studies. It is concluded that I. acuminatus vectors a species-rich fungal community including pathogens such as ophiostomatoid fungi, Sphaeropsis sapinea, different needle pathogens and wood decay fungi that seems to be very important for the assessment of threat of I. acuminatus to the pine forest in Ukraine.
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Kazimierczak, Mariola. "MICHAŁ TYSZKIEWICZ (1828–1897): AN ILLUSTRIOUS COLLECTOR OF ANTIQUITIES." Muzealnictwo 60 (January 4, 2019): 64–77. http://dx.doi.org/10.5604/01.3001.0013.2202.
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Michał Tyszkiewicz was an outstanding collector of antiquities and a pioneer of Polish archaeological excavations in Egypt conducted in late 1861 and early 1862, which yielded a generous donation of 194 Egyptian antiquities to the Paris Louvre. Today Tyszkiewicz’s name features engraved on the Rotunda of Apollo among the major Museum’s donors. Having settled in Rome for good in 1865, Tyszkiewicz conducted archaeological excavations there until 1870. He collected ancient intaglios, old coins, ceramics, silverware, golden jewellery, and sculptures in bronze and marble. His collection ranked among the most valuable European ones created in the 2nd half of the 19th century. Today, its elements are scattered among over 30 major museums worldwide, e.g. London’s British Museum, Ny Carlsberg Glyptotek in Copenhagen, New York’s Metropolitan Museum of Art, or the Museum of Fine Arts in Boston. The latest investigation of M. Tyszkiewicz’s correspondence to the German scholar Wilhelm Froehner demonstrated that Tyszkiewicz widely promoted the development of archaeology and epigraphy; unique pieces from his collections were presented at conferences at Rome’s Academia dei Lincei or at the Académie des Inscriptions et Belles-Lettres in Paris, and published by Italian, French, Austrian, and German scholars. He was considered an expert in glyptic, and today’s specialists, in recognition of his merits, have called a certain group of ancient cylinder seals the ‘Tyszkiewicz Seals’, an Egyptian statue in black basalt has been named the ‘Tyszkiewicz Statue’, whereas an unknown painter of Greek vases from the 5th century BC has been referred to as the ‘Painter Tyszkiewicz’.
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Skrzecz, Iwona, and Aldona Perlińska. "Current Problems and Tasks of Forest Protection in Poland." Folia Forestalia Polonica 60, no. 3 (2018): 161–72. http://dx.doi.org/10.2478/ffp-2018-0016.
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Abstract Current problems of forest protection concern the declining health of forest stands due to climate change and the resulting extreme weather events such as heat waves, droughts, hurricane winds, heavy rainfalls and floods. Repeated impacts of these factors increase susceptibility of forest stands to pest insects and fungal pathogens. Norway spruce (Picea abies [L.] H. Karst) is sensitive to high air temperatures and water shortage. Long lasting droughts during the last two decades, have been one of the reasons behind Norway spruce dieback due to severe outbreak of European spruce bark beetle Ips typographus (L.) in the mountainous regions of southern Poland. In the Scots pine (Pinus sylvestris L.) stands, water balance disorders have enhanced the colonization of weekend trees by steelblue jewel beetle Phaenops cyanea (F.) and engraver beetle Ips acuminatus (Gyll.), as well as contributed to the spread of fungal diseases caused by Gremmeniella abietina (Lagerb.) Cenangium ferruginosum Fr. and Sphaeropsis sapinea Fr. fungi. Water related stress leads to weakening of oak stands, which are attacked by Agrilus spp. beetles and pathogens from the genus Phytophthora. It is possible that long lasting droughts initiated the spread of infectious ash disease caused by Hymenoscyphus fraxineus (= Chalara fraxinea), which resulted in the epidemic of ash dieback throughout Europe. Until recently, the use of plant protection products was the most common method of forest protection against pest insects and pathogens. Poland’s accession to the European Union has affected the marketing and use of plant protection products in the country. The implementation of the EU legislation (Directive 91/414/EEC, Directive 2009/128/ EC and Regulation No 1107/2009) has resulted in decreased assortment of pesticides registered for the protection of forests. High costs and long registration process considerably limited the interest of producers in placing the plant protection products on the market. Systematic decrease in the number of plant protection products possible to register for use in forestry, as well as the principles of integrated plant protection established in the EU in 2014 call for seeking plant protection methods based on the natural enemies of pests, such as pathogenic microorganisms, parasites and predators. Therefore, contemporary forest protection requires the advancement of integrated methods for pest insect and disease control through developing methods of forecasting forest dangers, the use of natural enemies and agro-technical methods for regulation of pests, as well as the development of decision support systems as a tool facilitating introduction of integrated forest protection principles. Such support systems help to establish optimal terms for the implementation of protection measures, so as to increase their efficiency while limiting the use of chemical pesticides to an absolute minimum.
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Sarbadhikary, Sukanya. "Shankh-er Shongshar, Afterlife Everyday: Religious Experience of the Evening Conch and Goddesses in Bengali Hindu Homes." Religions 10, no. 1 (2019): 53. http://dx.doi.org/10.3390/rel10010053.
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This essay brings together critical archetypes of Bengali Hindu home-experience: the sound of the evening shankh (conch), the goddess Lakshmi, and the female snake-deity, Manasa. It analyzes the everyday phenomenology of the home, not simply through the European category of the ‘domestic’, but conceptually more elastic vernacular religious discourse of shongshar, which means both home and world. The conch is studied as a direct material embodiment of the sacred domestic. Its materiality and sound-ontology evoke a religious experience fused with this-worldly wellbeing (mongol) and afterlife stillness. Further, (contrary) worship ontologies of Lakshmi, the life-goddess of mongol, and Manasa, the death-and-resuscitation goddess, are discussed, and the twists of these ambivalent imaginings are shown to be engraved in the conch’s body and audition. Bringing goddesses and conch-aesthetics together, shongshar is thus presented as a religious everyday dwelling, where the ‘home’ and ‘world’ are connected through spiraling experiences of life, death, and resuscitation. Problematizing the monolithic idea of the secular home as a protecting domain from the outside world, I argue that everyday religious experience of the Bengali domestic, as especially encountered and narrated by female householders, essentially includes both Lakshmi/life/fertility and Manasa/death/renunciation. Exploring the analogy of the spirals of shankh and shongshar, spatial and temporal experiences of the sacred domestic are also complicated. Based on ritual texts, fieldwork among Lakshmi and Manasa worshippers, conch-collectors, craftsmen and specialists, and immersion in the everyday religious world, I foreground a new aesthetic phenomenology at the interface of the metaphysics of sound, moralities of goddess-devotions, and the Bengali home’s experience of afterlife everyday.
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Bahn, Paul G. "Pleistocene Images outside Europe." Proceedings of the Prehistoric Society 57, no. 01 (1991): 91–102. http://dx.doi.org/10.1017/s0079497x00004904.
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At first sight it may seem a pointless exercise to produce a survey of late Pleistocene ‘artistic activity’ around the world, but there are two specific aims involved here: first, to show that human beings in different parts of the world were producing ‘art’ at roughly the same time, i.e. from about 40,000 BC onward, and particularly at the end of the Pleistocene, from about 12,0000 BC, and second, to show that the well known Ice Age art of Europe is no longer unique, but part of a far more widespread phenomenon (Bahn 1987; Bahn and Vertut 1988, 26–32). The European art remains supreme in its quantity and its ‘quality’ (i.e. its realism and its wide range of techniques), but that situation may well alter in the next decade or two as new discoveries are made elsewhere and new dating methods are refined and extended.Ironically, the first clue to Pleistocene art outside Europe was found as long ago as 1870, only a few years after Edouard Lartet's and Henry Christy's discoveries in southern France were authenticated. Unfortunately, the object in question was badly published, and dis-appeared from 1895 until its rediscovery in 1956, and consequently very few works on Pleistocene art mention it. This mineralized sacrum of an extinct fossil camelid was found at Tequixquiac in the northern part of the central basin of Mexico. The bone is carved and engraved (two nostrils have been cut into the end) so as to represent the head of a pig-like or dog-like animal (pl. 18a). The circumstances of its discovery are unclear, but it is thought to be from a late Pleistocene bone bed, and to be at least 11,000 or 12,000 years old (Aveleyra 1965; Messmacher 1981,94). At present it is on exhibit in Mexico's National Museum of Anthropology.
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Piskun, Valentyna. "MEMOIRS OF KOST’ MATSIEVYCH “LIFE OF MY CONTEMPORARY”: GEOGRAPHICAL COORDINATES OF EVENTS AND SPATIAL IMAGES." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 108–14. http://dx.doi.org/10.25264/2409-6806-2020-31-108-114.
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The article analyzes the memoirs of K. Matsievych “Life of my contemporary” and the introductory article by Maxym Slavinsky “Parallels and applications”. The researcher updates the content of the materials stored in the Central State Archives of Ukraine in the fund 4465 “Collection of documents and materials of Ukrainian nationalist emigrant institutions, organizations and individuals”. The main factors which the author considered decisive in the formation of the personality and keeping the individual in the vector field of the Ukrainian national culture are outlined. The geographical coordinates of the events within which the formation of K. Matsievych’s personality took place were analyzed, mainly the villages and towns of the Middle Dnieper region; the most impressive and memorable events that accompanied the stay in these places were described. For 69 years of his life K. Matsievych got to know different geographical places both in Russia and in European countries. However, nothing remained in his memory so vivid as that small world that his eyes first saw. That world “was Ukrainian, nature was Ukrainian, Ukrainian landscapes, Ukrainian people around, with its own psyche, traditions, language and even clothes”. We consider spatial images as a plurality of things, objects and as a form of perception of the existing reality, which together form the human mindset. The main spatial images that influenced the formation of a character, according to K. Matsievych, were: the house as a locus of economic, cultural and spiritual action; the family as a kind of community of people with its special folk traditions and rituals on holidays and weekdays; nature landscapes, engraved in the memory, the formation of a sense of dignity. Among the negative factors that influenced the formation of a personality was the Russification of education and the church. Key words: Kostyantyn Matsievych, memoirs, Maksym Slavinsky, geographical coordinates, the Middle Dnieper region, spatial images, family, the Ukrainian language, dignity.
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Kuyvenhoven, Fransje. "De aan Hendrik Voogd (1768-1839) toegeschreven tekeningen in de Gallerie dell'Accademia te Venetië Hun herkomst en hun ware auteur: Francesco Londonio." Oud Holland - Quarterly for Dutch Art History 106, no. 1 (1992): 20–31. http://dx.doi.org/10.1163/187501792x00136.
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AbstractIn 1956 Ilaria Toesca published an article in Bolletino d'Arte on a group of 19th-century drawings of North European origin cntitled : 'Alcuni disegni delle gallerie di Venezia. The drawings in question were by the Englishman William Young Ottley and the Dutchmen David Pierre Giottin Humbert de Superville and Hcndrik Voogd. I confine my remarks to the latter, who lived in Rome from 1788 until his death in 1839. The drawings come from the bequest of the Milan art-lover Giuseppe Bossi, with whom Voogd had a good business relationship. Discussing a signed drawing by Voogd, Toesca attributed 21 other drawings to him. The signature on the Venetian sheet is not the only proof of Voogd's authorship. Further evidence is provided by the circumstance that it is a preliminary study for a worked-up wash drawing in Hamburg (Kunsthalle) and also that it was preceded by a sketch in the Amsterdam Historical Museum. The topographical particulars of these three drawings arc discussed here. The attribution of the other 21 drawings is made 'dubitativamente' by Toesca. In my opinion her doubts are justified. Neither stylistically nor technically do they bear a resemblance to the rest of Voogd's oeuvre. The fact that the motifs (landscapes, cattle, studies of trees and plants) do occur in Voogd's work probably led to the attribution. The back of one of the drawings is inscribed 'Londonio'. The sale catalogue of Bossi's bequest (1818) lists both the Voogd drawing and work by Londonio. Francesco Londonio (1723-1783) was a Milan engraver and draughtsman who is chiefly known for his prints. Various print rooms in Europe possess work by him. It appears that the drawings attributed to Voogd are really preliminary studies by Londonio which he used for his oeuvre of prints. Indeed, some of the motifs in a series of etchings in the Rijksprentenkabinet in Amsterdam derive from the Venetian drawings. I therefore conclude that the Gallerie dell'Accademia in Venice own only one (signed) drawing by Hendrik Voogd, purchased by Bossi personally from the artist during his second visit to Rome (1810), and that the name of the true artist - Francesco Londonio - was lost when the sheets were removed from the original collector's albums.
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Суворова, Евгения Юрьевна. "Features of the Theotokos Iconography “Cover us with the Shelter of Your Wing” (“The Protecting Veil”) of the Second Half of XVII-XIX centuries in the Eastern European Orthodox Culture." Вестник церковного искусства и археологии, no. 1(1) (June 15, 2019): 76–101. http://dx.doi.org/10.31802/2658-5111-2019-1-76-101.
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Статья посвящена актуальной проблеме - появлению новых и нетрадиционных икон Пресвятой Богородицы в России в эпоху династии Романовых. Автор поднимает и изучает вопрос о происхождении и развитии новой иконографии Богородицы «Покрый нас кровом крылу Твоею» во второй половине XVII-XIX вв. в православной культуре Восточной Европы. На рубеже XVII-XVIII вв. в русской культуре появилась новая иконография Богоматери, получившая впоследствии наименование «Покров». Самым ранним русским памятником этой иконографии является, образ Богоматери «Покрой нас кровом крылу Твоею» начала XVIII в., выполненный мастером Оружейной Палаты, из собрания музея МДА (Церковно-археологический кабинет). Мастер Оружейной палаты при создании иконы из собрания музея МДА в качестве образца использовал графический лист малороссийского происхождения. В пятом издании сборника сказаний свт. Димитрия Ростовского «Руно орошенное» подготовленном к публикации в типографии Лазаря (Барановича) в Чернигове в 1696 г., в качестве иллюстрации была дана гравюра с образом Богоматери «Покрый нас кровом крылу Твоею», иконографически близким к иконе из музея МДА. Практически идентичными иконографическими копиями этой гравюры являются икона «Покрой нас кровом крилу Твоею» второй половины XVIII в. из собрания Исторического музея, шитый медальон для облачения с изображением Богоматери с крыльями из собрания Национального музея во Львове имени Андрея Шептицкого и чудотворный образ Богоматери, написанный на стене храма в 1700-1711 гг. в румынском монастыре Говора. The article is devoted to a topical problem - the appearace of new and non-traditional icons of the Theotokos in Russia in the epoch of the Romanovs dynasty. The author of the article raises and studies the question concerning the origin of a new iconography of the Theotokos “Cover us with the shelter of Thy wing” in the end of the XVII-th century. At the turn of XVII-XVIII centuries there is a new iconography of the Theotokos in the Russian culture, which later received the name “The Protecting Veil”. The earliest Russian icon of this iconography is the image of the Theotokos “Cover us with the shelter of Thy wing” of the beginning of XVIII century, made by the master of the Armory chamber, from the collection of the название Museum of Moscow Theological Academy (Church-Archeological Room). The icon-painter of the Kremlin Armoury used an engraving of Ukrainian origin. In the fifth edition of the collection of legends of Holy Dimitry of Rostov “Bedewed fleece” (Chernigov, 1696), an engraved image of the Theotokos “Cover us with the shelter of Thy wing” was published, which are close to the icon of the Museum of Moscow Theological Academy. The almost identical iconographic copies of this engraving are the icon “Cover us with the shelter of Thy wing” of the second half of the XVIII century from the collection of the Historical Museum, the medallion from the collection of the National Museum in Lviv, the miraculous image of the Virgin, painted on the wall in 1700-1711 in the Romanian monastery Govora.
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Meshkova, Valentyna, and Ivan Bobrov. "Parameters of Pinus sylvestris health condition and Ips acuminatus population in pure and mixed stands of Sumy region." Наукові праці Лісівничої академії наук України, no. 20 (June 4, 2020): 131–40. http://dx.doi.org/10.15421/412012.
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Outbreaks of bark beetles have increased in recent years in various regions. Pine engraver beetle (Ips acuminatus (Gyllenhal, 1827); Coleoptera: Curculionidae: Scolytinae) is most common in the pine forests of many European countries. Research on its biology and spread carried out in different natural conditions, phases of pest outbreak and considered various parameters to characterize the population of the pest and forest health condition.
 The aim of the research was to compare the health condition of Scots pine stands and population parameters of I. acuminatus in its two generations in pure and mixed stands in Polissya and Forest-steppe parts of Sumy region. Research was carried out in 2017 in the pure Scots pine stands and mixed stands with Scots pine and other forest species in Polissya (State Enterprise "Seredyno-Budsky Agroforest Economy"; State Enterprise "Seredyno-Budsky Forest Economy") and Forest-steppe parts (State Enterprise "Velykopysarivske Agroforest Economy"; State Enterprise "Okhtyrske Forest Economy") of Sumy region at 26 sample plots. In sample plots, parameters of forest health condition and bark beetle population were assessed in June and in September, after completion of development of spring and summer generation of I. acuminatus. 
 By most of the parameters assessed, significant differences between sample plots in Forest-Steppe and Polissya parts of Sumy region were not found. In pure Scots pine stands the mean area of bark beetles’ foci and bark beetles’ production were larger in Forest-steppe in June, and the density of Ips acuminatus nuptial chambers in June and September. 
 In pure Scots pine stands the area of I. acuminatus focus, the number of colonized trees, the proportion of recently died trees, health condition indices, the density of egg galleries and nuptial chambers as well as young beetle’s production increased from June to September. In mixed stands the focus area, the number of colonized trees and health condition index increased insignificantly, and population parameters of I. acuminatus decreased from June to September. Pure Scots pine stands changed the health condition from "severely weakened" to "drying up" in three months, and mixed ones remained in the "weakened" category.
 In pure pine stands, the density of egg galleries and beetles of the young generation increased for three months from the lower limit of a moderate level to a high level, the density of nuptial chambers – from low to a high level. In mixed stands, all population parameters of I. acuminatus correspond to a low population level. The parameters characterizing the investigated foci of I. acuminatus in the Sumy region significantly correlated with the participation of pine in the stand composition, and in September the correlation is closer than in June. The data obtained indicate the feasibility of creating predominantly mixed pine stands.
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Pernek, Milan, Nikola Lacković, Ivan Lukić, Nikola Zorić, and Dinka Matošević. "Outbreak of Orthotomicus erosus (Coleoptera, Curculionidae) on Aleppo Pine in the Mediterranean Region in Croatia." South-east European forestry 10, no. 1 (2019): 19–27. http://dx.doi.org/10.15177/seefor.19-05.
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Background and Purpose: Orthotomicus erosus, Mediterranean pine engraver, is widely distributed across the Mediterranean and southern Europe, Asia and North Africa. It is considered as secondary pest found on recently dead or felled trees, but can also attack weakened living trees. In high population levels this species can attack healthy trees and cause their dieback. Severe outbreaks occur after dry periods, or after fire in adjoining stands in warmer parts of the Mediterranean region, while this scenario has never happened in Croatia up to now. Bark beetles are important forest pests which have already been researched and discussed in relation to climate change, indicating that the predicted increase in temperature would lead to higher survival rates and faster development, thus directly influencing their population dynamics. Increase in temperature may stimulate changes in insects’ rate of development, voltinism, population density, size, genetic composition, extent of host plant exploitation, longitudinal and latitudinal distribution. Since climate conditions might have changed in the last few years as predicted in the Mediterranean region, the aim of our research is to document the first outbreak with high population levels of O. erosus in Croatia. Materials and Methods: The extent of dieback was evaluated by counting trees with dieback symptoms on diagonal transects plotted through each of 33 forest management sections of Marjan Forest Park (Split). Trunk sections from several trees with early stage symptoms were collected for further laboratory analysis, which consisted of incubation phase and subsequent morphological identification. During regular yearly surveys in forests of Croatia, the pest was observed on several sites and damages were recorded for both years 2017 and 2018. The records were entered into a map using QGIS version 3.2.1-Bonn. Spatial data was downloaded from DIVA-GIS server. Monitoring efforts were initiated in affected areas where 13 flight barrier pheromone traps (Theyson®) equipped with pheromone lure Erosowit® (Witasek, Austria) were set-up in late March in state-owned and privately owned forests across Dalmatia. Catches in the traps were collected and O. erosus adults were counted on a weekly basis in order to identify the abundance of the pest in monitored sites, as well as to obtain the first information about population dynamics and to assess voltinism. Results: On-site survey and the evaluation of dieback extent included sampling of 5% of all trees in Marjan Forest Park ,and the results showed that 23% of all trees in the forest park were affected by dieback symptoms. Visual examination of trunks, branches and bark showed symptoms of bark beetle infestation, while preliminary on-site examination of the observed adults pointed out to O. erosus. After two weeks in controlled conditions, bark beetle adults started to emerge from trunk sections which were placed in several mesh cages for incubation. Morphological identification by using stereomicroscope and the key for European bark beetles resulted in identification of O. erosus species. Over the course of the year 2017 one more site was reported to be infested with O. erosus, and eight additional sites were reported over the course of year 2018. In total, 446 ha were reported as infested, varying in intensity, in several different management units of state-owned and privately owned forests. The total number of trapped beetles in pheromone traps varied largely among sites. Our data indicate that several generations (at least 5 generations per year) were present in the year 2018. Conclusions: Sudden surge in observed damages, as well as the number of beetles trapped during monitoring, in years 2017 and 2018 throughout Aleppo pine forests in Dalmatia are the first record of O. erosus outbreak in Croatia. O. erosus is native to Croatia and so far it has been considered only as a minor pest whose outbreaks have never been recorded. Drought intensity and frequency and aridification trends in the research area (Dalmatia, Croatia) cause cumulative stress to trees and have increased O. erosus occurrence. O. erosus is expected to exhibit increased voltinism, better overwintering performance and earlier spring flights. Our first results confirm this epidemic stage of O. erosus with high abundances in Dalmatia in 2018 and at least 5 generations per year, which alter the population level of this pest. Finally, with high dispersal abilities of O. erosus through active flight and easy transportation with infested material (logs and branches with bark), O. erosus has the potential to become an important forest pest in Croatia. Thus, extensive studies on its biology, ecology, natural enemies and interaction with ophiostomatoid fungal species are needed in order to predict further spread and suggest viable and effective management measures.
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Эсоно, Александр Флорентинович. "Topographic views in German broadsheets of the 17th century: “Portrait of the city” and the verisimilitude of Baroque." Искусство Евразии, no. 1(16) (March 30, 2020). http://dx.doi.org/10.25712/astu.2518-7767.2020.01.010.
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Статья посвящена особому подвиду немецких летучих листков XVII века с изображением городов. Включение подобных произведений в общепринятое понятие летучего листка требует убедительных доказательств, так как город является также объектом топографической гравюры. Однако анализ особенностей таких летучих видов позволяет воспринимать их как синтетическое произведение барокко, которое с помощью различных методов превращало топографическое изображение города в своеобразный портрет, узнаваемый из-за своей характерности. Таким образом, подобные портреты городов становились частью массовой культуры, являлись не только проявлением обобщенного интереса Нового времени к окружающему миру, но и выступали как развлекательная, возможно, даже туристическая продукция, создатели которой неизменно следовали барочным правилам правдоподобия. Одним из самых удачных для изучения примеров может служить издательство Пауля Фюрста в Нюрнберге, которое специализировалось на создании высококачественных летучих листков, привлекая к работе профессиональных граверов и поэтов. Из издательства Фюрста вышло значительное число летучих листков с изображением европейских городов, которые базировались на современных топографических гравюрах. The article is concerned to a special subspecies of German broadsheets of 17th century which were depicting cities. The inclusion of such works in the generally accepted concept of a broadsheet requires convincing evidence, because the city is also an object of topographic views. However, an analysis of the characteristics of such this subspecie of German broadsheets allows us to perceive them as a synthetic work of Baroque, which, using various methods, turned the topographic view of the city into a kind of portrait, recognizable because of its specificity. Thus, such portraits of cities became part of popular culture, they were not only a manifestation of the generalized interest of the Modern era to the world, but also was kind of entertainment, perhaps even a tourist product, and the creators of it invariably followed the rules of Baroque verisimilitude. One of the most successful cases for studying concrete examples is the publishing house of Paul Furst in Nuremberg, which specialized in creating high-quality broadsheets, involving professional engravers and poets in his work. A significant number of Fursts broadsheets which were depicting European cities were based on modern topographic views.
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Rosa, Giovanna. "LA “CITTÀ PIÙ CITTÀ D’ITALIA” E L’ESPOSIZIONE DEL 1881." Istituto Lombardo - Accademia di Scienze e Lettere - Incontri di Studio, December 21, 2016. http://dx.doi.org/10.4081/incontri.2016.257.
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Considered within the long process through which Milan has become a “city of exhibitions”, the “Mostra nazionale delle Arti e dell’Industria” 1881 is of crucial relevance. On that occasion, twenty years after the country’s unification, the roaring Excelsior Ball in the background, Milan displayed its self-portrait in the pavilions under the motto “Labor vincit omnia”, standing as “moral capital of Italy”. Such an ambitious project relied on a series of volumes – Mediolanum (Vallardi), Milano 1881 (Ottino), Milano e i suoi dintorni (Civelli), – offering the radiant image of a close and hard-working community. In this perspective, such a close collaboration between the ruling class and Milan-based intellectuals during the exhibition represented a model: promoted by a state-of-the-art publishing industry, the initiative fostered a synergy between the educated members of society, be them Milan-born or adoptive, who gathered in institutional venues as well as within the “repubblica della carta sporca”. Writers and journalists, engineers and economists, technicians and scientists, engravers and artists were all committed to sketch the portrait of the “città più città d’Italia” (Verga). They all stood on the common ground provided by a sound value system, never giving way to bombastic statements, and by the shared interests of a modern civil society: a common ground made firmer by the Enlightenment and Romantic tradition and a Smilesian confidence in positivist culture. Milan’s hard-working ethics is well summarized in the slogans of Milanese pride: initiative, inter-class solidarity, lay tolerance and charitable philanthropy; a strong tie to “cose serie, cose sode”; an idea of progress meant as cautious evolution; the promotion of a wide-ranging knowledge able to combine the humanities with “utili cognizioni”, strongly suspicious of any kind of abstraction. Common sense, intended as the combination of balance and integrity, was considered as the rule of daily life, while the public sphere was governed by an efficient local government priding itself on being miles away from the idle talk of the political capital. Recovering Cattaneo’s motto - “convertire il mondo moderno in mondo nostro” - the “moral capital” rose to the challenge of industrial progress within the European context, against any form of short-sighted and regressive entrenchment.
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Walters, Mark. "Late Titus Phase Sites Along Caney Creek in Northern Wood County, Texas." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State, 2007. http://dx.doi.org/10.21112/.ita.2007.1.25.
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There are a number of seemingly late Titus phase (ca. after A.D. 1670) Caddo sites clustered on the middle to upper reaches of Caney Creek in northern Wood County. This is based on a large collection of grave goods amassed by a collector in the 1960s from Caddo sites in this area. No European goods were reported from any of the sites but several of the vessel types have been shown to often occur in association with a few European trade goods at other published Caddo sites. There are examples in the collection of Ripley Engraved carinated bowls with inverted rims (and often with red-filming) that seem to indicate a transition from Ripley Engraved scrolls to motifs such as ticked horizontal lines also seen on historic Caddo pottery types Natchitoches Engraved and Patton Engraved.
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Perttula, Timothy K. "Historic Caddo Archaeology on the Red and Lower Sulphur River Areas of Northeast Texas." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State, 2008. http://dx.doi.org/10.21112/.ita.2008.1.28.
Full textAbstract:
Post-ca. A.D. 1685 Caddo archaeological sites are somewhat surprisingly uncommon on the Red and lower Sulphur rivers in Northeast Texas compared to other parts of this broad region. For instance, there are more Historic Caddo sites known in Nacogdoches County in the Neches and Angelina river basin in East Texas than there are in all of the Red and lower Sulphur river regions. The low density of Historic Caddo archaeological sites on the Red and lower Sulphur river areas of Northeast Texas is a product of several factors, the most important likely being the rapid abandonment of much of the area after ca. A.D. 1685 because of regional depopulation caused by the introduction of European epidemic diseases. Other factors would include the effects of looting and river flooding that has destroyed sites and collections before they could ever be documented, as well as the overall sporadic nature of professional archaeological research along these rivers in the Caddo area. A committed and long-term Historic Caddo archaeological and ethnohistorical research program along the Red and lower Sulphur rivers is long overdue. Post-ca. A.D. 1685 Historic Caddo sites on the Red and lower Sulphur are recognized from two kinds of archaeological materials. These include European trade goods of glass, metal, and wheelmade ceramics, generally more common in post-A.D. 1720 contexts, as well as certain kinds of distinctive decorated Caddo pottery wares, particularly engraved fine wares such as Natchitoches Engraved and varieties of Simms Engraved and Avery Engraved, along with Keno Trailed, var. Phillips. Emory Punctated-lncised (some with constricted necks), Nash Neck Banded, and McKinney Plain types are important decorated utility wares in these two locales. In this article, I provide short summaries of the current state of archaeological knowledge about the Historic Caddo settlement of the Red and lower Sulphur river areas of Northeast Texas. Most of that knowledge, for better or worse, from some specific areas derives from the excavation of Caddo burials, rather than from detailed investigations of habitation contexts.
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Perttula, Timothy K., and Robert Z. Selden. "Glass Beads from Kinsloe Focus Sites in Gregg, Harrison, and Rusk Counties, Texas." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State, 2014. http://dx.doi.org/10.21112/.ita.2014.1.54.
Full textAbstract:
European glass beads are one of the most common artifact categories found on historic Caddo sites in the middle reaches of the Sabine River basin in East Texas on what Jones had dubbed Kinsloe focus sites. Several thousands beads were found by Jones in his investigation of burial features at these sites, along with other European trade goods and Caddo ceramic vessels, pipes, and chipped stone tools. In Jones’ description of the beads from the Kinsloe focus sites, he relied on the analytical and chronological interpretations of John Witthoft, then of the Pennsylvania Historical and Museum Commission, although he did seek the advice of R. K. Harris, a notable glass beads expert who had worked on numerous historic Caddo and Wichita sites in eastern and northern Texas. Witthoft’s interpretations of the age of the beads from the sites tended to suggest that the Kinsloe focus sites dated to the early 17th century—when beads of such types tended to date in aboriginal sites in the Northeast U.S.—while Harris suggested that the glass beads on the Kinsloe focus sites dated from no earlier than the early 18th century, and likely dated in several cases after ca. A.D. 1750. Given the likely late 17th to late 18th century ages of the engraved ceramic vessels found on the Kinsloe focus sites, based in large measure on their occurrence on a wide range of Historic Caddo sites, Harris’ temporal interpretations of the glass bead assemblages are consistent with these ceramic temporal ranges, and thus the Kinsloe focus sites are seen as indicative of Caddo settlements postdating the beginning of intensive contact between Europeans and Caddo peoples that began after A.D. 1685.
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Perttula, Timothy K. "The Joe M. Smith Collection from the Roseborough Lake Site (41BW5), Bowie County, Texas." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State, 2014. http://dx.doi.org/10.21112/.ita.2014.1.34.
Full textAbstract:
The Joe M. Smith collection is held by the Texas Archeological Research Laboratory at The University of Texas at Austin. It appears to have been given by Mr. Smith to A. T. Jackson in the early 1930s, around the time of The University of Texas excavations at the nearby Eli Moores site (41BW2). The collection is said to have come from the Rochelle Plantation, which is an earlier name for the Roseborough Lake site (41BW5). The Roseborough Lake site is on an old meander of the Red River “that was cut off in 1872 and named Roseborough Lake." It lies a few miles west of other important Caddo sites, a few miles west of Texarkana in Bowie County. The Roseborough Lake site is a large historic Caddo village occupied from the 17th century until the late 18th century, with habitation features and cemeteries. It also is the location of a Nassonite post established by the French in the 1720s, known by the Spanish as San Luis de Cadohadacho. Investigations at the Roseborough Lake site by Miroir and Gilmore recovered Historic Caddo ceramics, mainly shell-tempered, of the types Emory Punctated-Incised, McKinney Plain, Keno Trailed, Simms Engraved, Natchitoches Engraved, Womack Engraved, and Avery Engraved, along with brushed, incised, punctated, and red-slipped body sherds and clay figurines and pipes. The chipped stone tool assemblage included Fresno and Maud arrow points, drills, large knives, many end/side scrapers, as well as a diorite celt. European trade goods are particularly abundant at the Roseborough Lake site, and they include iron axes and scrapers, iron bridle bits and knives, iron strike-a-lights, scissors, iron kettle pieces, pendants, many flintlock gun parts, gunflints, lead balls, brass rings, tinklers, bells, and rivets, brass and iron arrow points, metal buttons, green wine bottle glass and mirror glass, faience, majolica, and delft ceramics, along with many glass beads (n=2958) and shell beads (n=18). Substantial samples of animal bones are also present in the archaeological deposits at the site, along with carbonized maize cob fragments.
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Da Prato, Simone, and Ilaria Baneschi. "The coastal wetland systems of northern Tuscany: Massaciuccoli Lake and ex Porta Lake. State of knowledge and new opportunities for multidisciplinary approach." Acque Sotterranee - Italian Journal of Groundwater 9, no. 3 (2020). http://dx.doi.org/10.7343/as-2020-478.
Full textAbstract:
The Massaciuccoli lake of and the ex Porta Lake have been selected as Sites of Importance of the European Community for the particular biocommunities that they host. These areas have a complex history that has seen man intervening constantly over the centuries with reclamation operations, so that the landscape we see today is the result of a natural environment strongly shaped by man. Recent studies, conducted using a sequential stratigraphic approach, show that the depositional architecture of the Versilia Plain is determined by the variation in relative sea level, the amount of sedimentary input and the erosive capacity of the main watercourses, which have led to the formation of engraved paleovalleys. By using the stratigraphies collected in the IGGDATABASE, an attempt of stratigraphic reconstruction of the subsurface has been carried out in this work, underling that multidisciplinary detailed studies are necessary to better define the recent palaeoenvironmental evolution (Pleistocene-Holocene) and the depositional architecture of the subsurface of these areas. Moreover, a detailed monitoring of these systems both for abiotic and biotic parameters is needed as essential mean for their protection and preservation.
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Cherry, John F., Krysta Ryzewski, Susana Guimarães, Christian Stouvenot, and Sarita Francis. "The Soldier Ghaut Petroglyphs on Montserrat, Lesser Antilles." Latin American Antiquity, February 24, 2021, 1–9. http://dx.doi.org/10.1017/laq.2020.102.
Full textAbstract:
Only five years ago, Montserrat was a blank spot on the distribution map of islands in the Lesser Antilles where petroglyphs were known. In January 2016, hikers in Soldier Ghaut, a deeply incised watercourse in the northwest of the island, came upon a panel of nine petroglyphs engraved on a nearly vertical wall of volcanoclastic tuff. Soon afterward the petroglyphs were documented by the Survey and Landscape Archaeology on Montserrat project (SLAM). Then in January 2018 an additional petroglyph was spotted on a large slab of rock, detached from the rock wall on the opposite side of the ghaut. At the invitation of the Montserrat National Trust (MNT) and with European Union funding, Susana Guimarães and Christian Stouvenot traveled to Montserrat in 2018 to assist in further studies at the site. They conducted photogrammetric documentation and photography under enhanced lighting conditions and inspected the petroglyphs and their context in detail in order to advise MNT about their conservation and provisions for public access. This report presents this new group of petroglyphs and their landscape setting and considers questions of dating and interpretation.
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Верхоланцев, Михаил Михайлович. "Applied and easel in the woodcut." Искусство Евразии, no. 1(12) (March 30, 2019). http://dx.doi.org/10.25712/astu.2518-7767.2019.01.006.
Full textAbstract:
Европейская графика, как и все изобразительное искусство, всегда стремилась к станковости, к максимальному освобождению от пут прикладничества (Вильям Моррис с его идеями внедрения искусства в промышленность – редкое исключение). Станковая графика в Европе так и называется «Freigraphik», то есть свободная, вольная графика. Русское искусство, напротив, долго оставалось в рамках восточных традиций декоративной двухмерности. Только после реформ патриарха Никона русское изобразительное искусство бросилось догонять «западный прогресс», давно устремившийся к веризму и фотографии. Именно плоскостной подоплекой русской графики и объясняется популярность в России гравюры на дереве. Ксилография, даже репродукционная, имитировавшая в XIX веке фотографическую трехмерность, упрямо вцепившись в плоскость листа, не давала разыграться духу станковости. Начало XX века вернуло ксилографию на плоскость листа, а эстетику репродукционной гравюры сочло безнадежным анахронизмом. Художник – гравер или резчик, столкнувшийся с технологическими особенностями гравирования на дереве, поневоле умнеет как художник, выбирая оптимальный путь достижения цветовой и линейной выразительности. Европейское книгопечатание целиком обязано гравюре на дереве. Подвижные литеры суть маленькие гравюры на дереве, ныне отливаемые в металле, но бывшие когда-то вырезаемы на единой доске. Еще один пример упрямого устремления ксилографии к утилитарности – это попытка уже в XVI веке употреблять ее как репродукцию живописи. В статье упоминается об изобретении кьяроскуро Уго да Карпи. Следует обратить внимание на то, что именно прикладники – ювелиры, витражисты и архитекторы XVI века широко использовали ксилографию как средство репродуцирования и широкой популяризации своих идей и изобретений. Удивительно, что эти гравюры-чертежи в наше время воспринимаются как чисто станковые произведения. Многие из авторов этих гравюр упомянуты в публикации. Художники нашего времени заметили, что гравированная или нарезанная доска гораздо красивее оттиска с нее. Это явление натолкнуло на мысль украшать громадными ксилографиями интерьеры. Так ксилография вторглась в архитектуру. В этом и состоит парадокс: ксилография большого формата, казалась бы, должна быть идеально станковой, но нет, она сохраняет за собой функции прикладничества. European graphics, like all fine arts, has always sought to easel, to maximize their freedom from practical application (William Maurice, with his ideas of introducing art into industry, is a rare exception). The easel graphics in Europe is called «Freigraphik», i.e. free graphics. Russian art, on the contrary, has long remained within the Eastern traditions of decorative two-dimensionality. Only after the reforms of Patriarch Nikon Russian art rushed to catch up with the «Western progress», long since striving for to verism and photography. It is the planar background of the Russian graphics that explains the popularity of woodcutting in Russia. Woodcut, even reproduction, imitating photographic three-dimensionality in the 19th century, stubbornly clinging to the plane of the sheet, did not let the spirit of easel play its role. The beginning of the 20th century returned woodcuts to the plane of the sheet, and considered the aesthetics of a reproductive engraving a hopeless anachronism. An engraver or a carver, faced with the technological features of wood engraving, willy-nilly becomes wiser as an artist, choosing the best way to achieve color and linear expressiveness. European typography is entirely due to woodcut. The moving letters are small woodcuts, now molded in metal, but the former were once carved on a single board. Another example of the stubborn aspiration of woodcuts to utility is an attempt in the 16th century to use it as a reproduction of painting. The article mentions the invention a chiaroscuro by Hugo da Carpi. Attention should be paid to the fact that it was applied painters-jewelers, stained glass artists and architects of the 16th century who widely used woodcuts as a means of reproducing and widely popularizing their ideas and inventions. Surprisingly, these engravings-drawings nowadays perceived as a purely easel works. Many of the authors of these prints are mentioned in this publication. Artists of our time have noticed that the engraved or chopped board is much more beautiful than the print from it. This phenomenon prompted the idea to decorate interiors with huge woodcuts. So xylography invaded architecture. This is a paradox: large-format woodcuts, it would seem, should be ideally easel, but no, it retains the functions of applied art.
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Perttula, Timothy K. "Documentation of Ceramic Vessels and Projectile Points from the C. D. Marsh Site (41HS269) in the Sabine River Basin." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State, 2014. http://dx.doi.org/10.21112/.ita.2014.1.65.
Full textAbstract:
A total of at least eight Caddo burials were excavated at the C. D. Marsh site on Eight Mile Creek, a southward-flowing tributary to the Sabine River, by Buddy C. Jones in 1959-1960. This includes Burial 1, an historic (dating after ca. A.D. 1685) Nadaco Caddo burial; European trade goods found with this burial include two small silver disks. The other burials (Burials 2-8) are part of an earlier Caddo cemetery that is thought to be associated with the ca. A.D. 1350-17th century Pine Tree Mound community along the Sabine River and its tributaries. Jones suggests that these latter burials are from a ca. A.D. 1200-1500 Caddo cemetery. According to Jones and notes on file at the museum, Burials 2-8 are located ca. 120 m east-southeast from the one Historic Caddo burial at the site. The burials were placed in extended supine position in north-south oriented pits in rows, with the head of the deceased at the southern end of the burial and facing north. Funerary offerings included ceramic vessels and mussel shells. In this article, we describe eight ceramic vessels in the Gregg County Historical Museum collections from Burials 1, 4, and 7, as well as projectile points from habitation contexts at the C. D. Marsh site; the location of Burial 7 relative to Burial 4 is not known. There are also six other ceramic vessels from the ca. A.D. 1200-1500 burials at the site that are unassociated funerary objects in the Gregg County Historical Museum collections. This includes one vessel each from Burials 5 and 8; the provenience of the other vessels at the site is unknown. One of the unassociated funerary object ceramic vessels at the C. D. Marsh site is a Ripley Engraved, var. McKinney carinated bowl. Such vessels would not be expected in a ca. A.D. 1200-1500 Caddo cemetery, and although this type of fine ware is commonly seen on post-A.D. 1600 Titus phase sites in the region, it is rarely found in association with European trade goods. Therefore, it may represent a burial from a third temporal component (ca. A.D. 1600-1685) at the site.
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Perttula, Timothy K., and Tom Middlebrook. "Radiocarbon Dates from the Henry M. Site (41NA60), Nacogdoches County, in East Texas." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State, 2016. http://dx.doi.org/10.21112/.ita.2016.1.29.
Full textAbstract:
1980s and early 1990s excavations at the Henry M. site (41NA60) on Bayou Loco in the Angelina River basin exposed a well-preserved Historic Caddo midden deposit that partially overlapped a ca. 8.8 m circular Caddo structure (apparently rebuilt to some extent) marked by a variety of cultural features and stains, including two central posts from sequent structure use. There is a probable storage platform or arbor just outside the north wall of the structure. The Patton Engraved sherds in the recovered ceramic assemblage, the two gunflints, and one European glass bead suggests that the Henry M. site was occupied by a Caddo group in the late 17th century. Given that Caddo wood structures would probably only last at most 20 years before they begin to deteriorate (see Good 1982:69), available feature evidence suggests that the houses and midden deposit were created over a ca. 20-40 year period, at most, by one or two Caddo families that lived at the site year-round. Sherd midden accumulation rates suggest that the occupation may have lasted less than 10 years. Recovered archaeological materials from the site are representative of Historic Caddo Allen phase domestic activities, including food processing, cooking, and serving foods, hunting, and animal procurement and trash disposal. Maize and other plant foods were grown at the site during the occupation, and a variety of wild plant foods were also gathered, particularly hickory nutshells. With respect to the animal species that were gathered by the Caddo during the occupation, white-tailed deer was particularly important, both for meat as well as probably for its pelts. Other important animal food sources include a variety of fish (including freshwater drum, gar, and catfish), turtles (notably the box turtle), turkey, and several mammals, among them opossum, rabbit, and raccoon. Technological, functional, and stylistic comparisons of the ceramic assemblages between the Henry M. site and nearby Caddo settlements at the Deshazo (41NA27), and Spradley (41NA206) sites, and then with other Historic Caddo sites in Nacogdoches County indicated that: (a) the closest ceramic comparisons between the Henry M. site and the other known Nacogdoches County historic Caddo sites is with the Deshazo site; (b) Bayou Loco and Angelina River sites are dominated by brushed utility wares; and (c) the Lanana Creek Caddo sites, Legg Creek sites, and Attoyac Bayou sites are part of a different local ceramic tradition, where brushed pottery is much less important. The Henry M. site appears to be part of temporally and culturally related communities of Caddo peoples within a small part of the Angelina River basin, although at present it is not known which of the many related tribes in the Hasinai Confederacy they are affiliated with. It is suspected that the Henry M. and Deshazo sites are affiliated with the Hainai tribe.