Journal articles: 'Medieva Mosaics'

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Cantone, Valentina, Rita Deiana, Alberta Silvestri, and Ivana Angelini. "Obsidian and Obsidian-like Glass Tesserae: A Multidisciplinary Approach to Study the Dedication Wall Mosaic in the Church of St. Mary of the Admiral in Palermo (12th Century)." Open Archaeology 6, no. 1 (December 31, 2020): 403–16. http://dx.doi.org/10.1515/opar-2020-0116.

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AbstractPliny the Elder testifies that roman workshops used volcanic glass (obsidian), but also produced and used a dark glass (obsidian-like glass) quite similar to the natural one. In the context of the study on medieval mosaics, the use of the obsidian and obsidian-like tesserae is a challenging research topic. In this paper, we present the results of a multidisciplinary study carried out on the Dedication wall mosaic, realized by a byzantine workshop in the 12th century in the Church of St. Mary of the Admiral in Palermo, and where numerous black-appearing tesserae, supposed to be composed of obsidian by naked-eyes observation, are present. Historical documents, multispectral imaging of the wall mosaic, and some analytical methods (SEM-EDS and XRPD) applied to a sample of black tesserae, concur in identifying here the presence of obsidian and different obsidian-like glass tesserae. This evidence, although related to the apparent tampering and restoration, could open a new scenario in the use of obsidian and obsidian-like glass tesserae during the Byzantine period in Sicily and in the reconstruction of multiple restoration phases carried out between 12th and 20th century AD on the mosaics of St. Mary of the Admiral.

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Cantone, Valentina, Rita Deiana, Alberta Silvestri, and Ivana Angelini. "Obsidian and Obsidian-like Glass Tesserae: A Multidisciplinary Approach to Study the Dedication Wall Mosaic in the Church of St. Mary of the Admiral in Palermo (12th Century)." Open Archaeology 6, no. 1 (December 31, 2020): 403–16. http://dx.doi.org/10.1515/opar-2020-0116.

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AbstractPliny the Elder testifies that roman workshops used volcanic glass (obsidian), but also produced and used a dark glass (obsidian-like glass) quite similar to the natural one. In the context of the study on medieval mosaics, the use of the obsidian and obsidian-like tesserae is a challenging research topic. In this paper, we present the results of a multidisciplinary study carried out on the Dedication wall mosaic, realized by a byzantine workshop in the 12th century in the Church of St. Mary of the Admiral in Palermo, and where numerous black-appearing tesserae, supposed to be composed of obsidian by naked-eyes observation, are present. Historical documents, multispectral imaging of the wall mosaic, and some analytical methods (SEM-EDS and XRPD) applied to a sample of black tesserae, concur in identifying here the presence of obsidian and different obsidian-like glass tesserae. This evidence, although related to the apparent tampering and restoration, could open a new scenario in the use of obsidian and obsidian-like glass tesserae during the Byzantine period in Sicily and in the reconstruction of multiple restoration phases carried out between 12th and 20th century AD on the mosaics of St. Mary of the Admiral.

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Fatigati, Michael. "A Method for Reconstructing the Medieval Arabic Scientific Mosaic." Scientonomy: Journal for the Science of Science 1 (January 27, 2017): 19–28. http://dx.doi.org/10.33137/js.v1i0.27761.

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There are good reasons to think that there was a body of truths generally accepted by the scientific community under Abbasid rule during the middle ages. However, the indicators initially established by the scientonomy community to guide us in reconstructing past mosaics are not applicable in the case of the medieval Arabic scientific mosaic. Instead, by attending to the particular way that knowledge was disseminated in this community, we can see the primacy of the concepts passed down in authoritative texts. It is proposed here that a good way of determining which texts, and therefore theories, were accepted would be by tracking the unique record of licenses to teach [ʾijāzāt] particular texts that exist from this period.Suggested Modifications[Sciento-2017-0003]: Accept the following propositions concerning MASM in c. 750-1258 CE in the Abbasid caliphate:Authoritative texts are indicative of theories accepted in MASM.Licenses to teach [ʾijāzāt] are reliable indicators of which texts were considered authoritative in MASM.Accept that the following method ought to be employed when reconstructing the theories accepted in MASM:Teaching License Method: A proposition can be said to be accepted in MASM if the evidence of the licenses to teach [ʾijāzāt] indicates so.

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Harding, Catherine. "The Production of Medieval Mosaics: The Orvieto Evidence." Dumbarton Oaks Papers 43 (1989): 73. http://dx.doi.org/10.2307/1291605.

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Luo, Manling. "Remembering Kaiyuan and Tianbao: The Construction of Mosaic Memory in Medieval Historical Miscellanies." T'oung Pao 97, no. 4-5 (2011): 263–300. http://dx.doi.org/10.1163/156853211x604134.

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AbstractMedieval historical miscellanies have traditionally been seen as repositories of random historical information. This essay examines how the miscellany form makes possible a distinct mode of cultural memory construction, the piecing together of anecdotes gathered from oral and written sources to create a composite, multifaceted picture of the past, or "mosaic memory." Using as examples four monothematic post-An Lushan rebellion collections devoted to the memory of the Kaiyuan-Tianbao era (713-756), we may see how compilers created idiosyncratic versions of mosaic memory as a result of their personal motives and cultural positions. These individual versions also overlay and constitute a cumulative representation that reveals important features of mosaic memory as a communal discourse. The layered formation of mosaic memory helps to shed light on how the cultural memory of the Kaiyuan-Tianbao era took shape in the mid- and late-Tang periods and how medieval historical miscellanies functioned as an important site of cultural production.

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Algaze, Ariela. "The artistic program of the Baptistery of San Giovanni in Dante’s liturgical imagination." Forum Italicum: A Journal of Italian Studies 55, no. 2 (June 18, 2021): 399–427. http://dx.doi.org/10.1177/00145858211022577.

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This paper 1 re-examines the relationship between Dante’s Commedia and the Baptistery of San Giovanni from an art historical perspective. Drawing on –– and then departing from –– earlier work by Dante scholars who described figurative echoes between the Commedia and the Baptistery’s mosaic program, this article reconceptualizes the relationship between the two as not only figurative, but also liturgical. Using the texts of two extant medieval Florentine libri ordinales to reconstruct the liturgy of Holy Saturday, I document the ways in which the decorative mosaic imagery of the Baptistery is reflected in and reinforced by the multisensory performance of the baptismal rite. I argue further that Dante ekphrastically reimagines this rite in cantos 1–2 and 29–33 of Purgatorio. By exploring Dante’s liturgical imagination vis-à-vis the multivalent space of the Baptistery, this paper articulates and illuminates the profound interconnections that can exist between medieval art, architecture, liturgy, and poetry.

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Rocha, Larissa Rayane Mendes, Juliana Nunes Santos, Romana Francthesk Mendes da Cunha, and Rosane Luzia De Souza Morais. "EFEITOS DE UMA INTERVENÇÃO BASEADA EM BRINCADEIRAS NO DESENVOLVIMENTO DE CRIANÇAS NA PRIMEIRA INFÂNCIA EM RISCO PSICOSSOCIAL." e-Mosaicos 9, no. 22 (October 28, 2020): 120–37. http://dx.doi.org/10.12957/e-mosaicos.2020.47498.

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Viver continuamente em condições de desvantagem econômica pode impactar negativamente no desenvolvimento infantil. O objetivo deste estudo foi verificar se a introdução de uma rotina diária de brincadeiras influenciaria no desenvolvimento global de crianças em risco psicossocial frequentadoras de uma creche filantrópica. Participaram do estudo 17 crianças com mediana de idade de 17 meses. Procurou-se introduzir uma metodologia exequível dentro da realidade da creche, uma educadora para mais de 20 crianças com tempo disponível para o cuidado de higiene e alimentação. A intervenção ocorreu por 20 semanas, duas vezes/dia, durante 15 minutos. Foram ofertados brinquedos iguais para todas as crianças, que brincavam mediados pela educadora quando possível. Para avaliar o desenvolvimento foi utilizado o Denver II e para avaliar a qualidade do ambiente de casa e da creche, respectivamente, Recursos do Ambiente Familiar e Infant/Toddler Environment Rating Scale-Revised Edition. Os resultados evidenciaram uma melhora nos domínios da Linguagem e do Pessoal-Social.

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Galli, A., M. Martini, C. Montanari, and E. Sibilia. "Thermally and optically stimulated luminescence of early medieval blue-green glass mosaics." Radiation Measurements 38, no. 4-6 (August 2004): 799–803. http://dx.doi.org/10.1016/j.radmeas.2004.03.016.

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Andreescu-Treadgold, Irina. "Medieval Mosaics: Light, Color, Materials. Eve Borsook , Fiorella Gioffredi Superbi , Giovanni Pagliarulo." Speculum 78, no. 3 (July 2003): 840–41. http://dx.doi.org/10.1017/s0038713400131598.

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Zitová, Barbara, Jan Flusser, and Filip Šroubek. "An application of image processing in the medieval mosaic conservation." Pattern Analysis and Applications 7, no. 1 (February 24, 2004): 18–25. http://dx.doi.org/10.1007/s10044-003-0200-3.

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Bulas, Ryszarda M. "Wysokie krzyże iryjskie a grobowce Edessy." Vox Patrum 55 (July 15, 2010): 111–19. http://dx.doi.org/10.31743/vp.4328.

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The author in the article refers to a broad discussion on the origin of ideas and artistic inspiration for Celtic crosses. She refers to a Hilary Richardson of the Armenian and Georgian origin of the concept of the Celtic cross, also to the results of her book The symbols of pagan Celtic crosses. Myths, symbols, images. In this book she indicates a cultural affinity of Ireland and the Syria. She points to the compositional and iconographic parallels between the Early Medieval Irish crosses and tombs mosaics of Edessa, dated to the III century. Reinforcing the thesis of H. Richardson, indicates the possibility of the existence an artistic tradition, in Late Antiquity and Early Medieval Syria, which is able to reach Ireland. She indicates the Celtic crosses, which have the most parallels with Syrian decoration (monasteries from Arboe, Monasterboice, Kells, Clones). The author concludes that they are grouped only in the Middle East of Ireland, in several counties (Louth, Meath, Monaghan, Tyron).

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Olmo, Francisco Javier Calvo del. "As línguas românicas do/no Magrebe: percurso histórico e presença contemporânea." Caligrama: Revista de Estudos Românicos 20, no. 2 (January 27, 2016): 35. http://dx.doi.org/10.17851/2238-3824.20.2.35-52.

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Este artigo propõe-se reunir e examinar elementos que permitam traçar o percurso histórico das línguas românicas no Magrebe. Desde uma abordagem interdisciplinar, apresentam-se as comunidades latinizadas durante a dominação romana, os contatos linguísticos que produziram a Língua Franca mediterrânea no período medieval, as minorias de mouriscos e sefardim procedentes da Península Ibérica estabelecidas no norte da África nos séculos XIV e XV, o processo da colonização francesa nos séc. XIX e XX e o mosaico linguístico das últimas décadas, após a independência. Dessa forma, identificam-se os componentes linguísticos latinos e românicos, cindidos e descontínuos, constitutivos do Magrebe enquanto espaço geográfico, cultural e humano. This paper aims to gather and examine some elements to draw the historical course of the Romance languages in the Maghreb. It employs an interdisciplinary approach to present the Latinized communities during Roman domination, language contacts that produced the Mediterranean Lingua Franca during Middle Age, Moorish and Sephardic minorities settled in fifteenth and sixteenth centuries, the process of French colonization in nineteenth and twentieth centuries and the linguistic mosaic of last decades, after national independences. This itinerary permits to pinpoint a linguistic Latin-Romance component, fragmented and discontinuous, constitutive of the Maghreb as a geographic, cultural and human space.

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Gavrilovic-Vitas, Nadezda, Gordana Milosevic-Jevtic, and Vesna Crnoglavac. "Stibadium B of villa with peristyle at Mediana." Starinar, no. 66 (2016): 81–102. http://dx.doi.org/10.2298/sta1666081g.

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In the course of archaeological investigations of the villa with peristyle in 2010 and 2011, a room of circular plan in the north-western segment of the villa and to the north of room w-24, was discovered. The room had annexes in the east and west and is analogous to the stibadium A discovered in the north-eastern section of the villa. Further investigations of the room called stibadium B revealed that the stibadium walls were decorated with a facing of marble slabs and the floor was covered with exceptionally well preserved high quality mosaic. Archaeological excavations in 2015 defined completely the system of floor and wall heating. The mosaic floors in stibadium B are conserved. The area to the west of the stibadium has also been explored and a channel with the remains of a lead water pipe was discovered there. The terrain to the north of the northern wall of the villa with peristyle was also levelled.

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Tsykunov, I. V. "Prayer in stone: symbols cosmatesque in the Basilica of Santa-Maria-Maggiore in Rome." Язык и текст 3, no. 3 (2016): 31–72. http://dx.doi.org/10.17759/langt.2016030305.

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All the architectural elements of a medieval temple, like itself, are common symbolic space where all details represent the idea of God and face either the faithful or to the Creator himself. And in this system are not the masters of mosaic floors Cosmati alien element - in fact, it is nothing like prayer, created in stone, but the prayer of living presented in the complex language of mosaic figures of Christian imagery. In the article on the example of the Roman basilica of Santa-Maria-Maggiore are considered rich semiotic cosmatesque opportunity to express ideas and concepts of his age. Author restores the value style characters, based on the texts of the era and the reconstruction of views of the Middle Ages made by historians of art and religion.

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Daly, Kevin G., Pierpaolo Maisano Delser, Victoria E. Mullin, Amelie Scheu, Valeria Mattiangeli, Matthew D. Teasdale, Andrew J. Hare, et al. "Ancient goat genomes reveal mosaic domestication in the Fertile Crescent." Science 361, no. 6397 (July 5, 2018): 85–88. http://dx.doi.org/10.1126/science.aas9411.

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Current genetic data are equivocal as to whether goat domestication occurred multiple times or was a singular process. We generated genomic data from 83 ancient goats (51 with genome-wide coverage) from Paleolithic to Medieval contexts throughout the Near East. Our findings demonstrate that multiple divergent ancient wild goat sources were domesticated in a dispersed process that resulted in genetically and geographically distinct Neolithic goat populations, echoing contemporaneous human divergence across the region. These early goat populations contributed differently to modern goats in Asia, Africa, and Europe. We also detect early selection for pigmentation, stature, reproduction, milking, and response to dietary change, providing 8000-year-old evidence for human agency in molding genome variation within a partner species.

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Rees, Lawrence, and Michael J. T. Lewis. "A FRAGMENT OF COSMATESQUE MOSAIC FROM WIMBORNE MINSTER, DORSET." Antiquaries Journal 94 (April 23, 2014): 135–51. http://dx.doi.org/10.1017/s0003581514000225.

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It has hitherto been supposed that, north of the Alps, the elaborate medieval mosaic work known as Cosmatesque was confined to Westminster Abbey. An example with glass tesserae, however, has now come to light from Wimborne Minster, Dorset. This paper explores the circumstances of the rediscovery there in the eighteenth and nineteenth centuries of pieces of ‘rich mosaic’, describes the surviving fragment and compares it in style and function to counterparts in Rome and in the Confessor's Chapel at Westminster. It concludes that it dates, like those at Westminster, to the 1270s or 1280s. It suggests that it adorned the shrine of Wimborne's Saxon founder, St Cuthburga, and that the patron who commissioned it was most likely Henry de Lacy, Earl of Lincoln, lord of the nearby manor of Kingston Lacy and close associate of Edward i.

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Thunø, Erik. "Inscription and divine presence: golden letters in the early medieval apse mosaic." Word & Image 27, no. 3 (July 2011): 279–91. http://dx.doi.org/10.1080/02666286.2011.541122.

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Tsykunov, I. V. "The Birth of the cosmatesque style: Byzantium, Ancient Rus and Medieval Italy." Язык и текст 2, no. 4 (2015): 105–36. http://dx.doi.org/10.17759/langt.2015020411.

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Mosaic of the cosmatesque style has a conneticon with Italy a long time ago. However, the history of its creation is not so clear. The author argues that the basis of the cosmatesque style didn’t appeare in Italy, its geographical spread is much wider than Rome and the neighborhood, and the family marbler Cosmati not the creators, they are and followers of the centuries-old traditions of the Byzantine mosaicists, which were formed in VI-VIII centuries.

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Augenti, Andrea. "THE PALACE OF THEODERIC AT RAVENNA: A NEW ANALYSIS OF THE COMPLEX." Late Antique Archaeology 3, no. 2 (2006): 425–53. http://dx.doi.org/10.1163/22134522-90000073.

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The late antique domus known as the Palace of Theoderic at Ravenna was excavated in the early 20th c., according to methods that were considered advanced at the time, but which fall far short of modern stratigraphic excavation, depending for dating largely on the styles of mosaics. This article presents a re-analysis of the complex based upon observations from surviving field records. A new sequence of phases is presented, which reveals Early Roman domestic structures covered by a large domus of 4th c. date, which was embellished in the early to mid-5th c., the late 5th to early 6th c. and in the mid to late 6th c. A fountain was added in the Early Medieval period, after which the complex gradually deteriorated.

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Brajovic, Sasa, and Jelena Erdeljan. "Praying with the senses: Examples of icon devotion and the sensory experience in medieval and early modern Balkans." Zograf, no. 39 (2015): 57–63. http://dx.doi.org/10.2298/zog1539057b.

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This paper discusses sensory experience in the practice of devotion of two highly venerated icons in medieval and Early Modern Balkans: the mosaic icon of the Virgin Hodegetria from the monastery of Chilandar and the icon of Gospa of Skrpjela (Our Lady of the Reef) from the Bay of Kotor. Although part of two different, albeit historically intertwined and perpetually connected cultural and liturgical spheres, icon veneration in both the Orthodox and the Catholic community of the broader Mediterranean world and the Balkans in medieval and Early Modern times shares the same source. It relies on the traditional Byzantine manner of icon veneration. This is particularly true of highly venerated and often miracle working images of the Mother of God, identity markers of political, social and religious entities, objects of private devotion as well as performative objects around which are centered public rituals of liturgical processions and ephemeral spectacles.

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Arndt, Nadine, and Lydia Wegener. "Überlegungen zur digitalen Edition mystischer Mosaiktraktate des Spätmittelalters." Das Mittelalter 24, no. 1 (July 11, 2019): 15–30. http://dx.doi.org/10.1515/mial-2019-0003.

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Abstract The article presents the concept of a digital edition of late-medieval mystical mosaic treatises. These widespread publication, which are usually labelled as ‘pseudo-Eckhart’, are characterised by an almost unfathomable fluctuation between the manuscripts. Until today, this variance has prevented the publication of any traditional book editions and complicated any critical evaluation. The intended edition focusses on Pfeiffer’s treatise XI/2 (‘Von der übervart der gotheit 2’) as a test case. It will provide access to divergent versions of this treatise and enable modern readers to compare them on different textual levels.

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Buseva-Davidova, Irina. "The mosaic decoration of the Temple of Saint Sava." Napredak 1, no. 2 (2020): 17–46. http://dx.doi.org/10.5937/napredak2002017b.

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The Holy Synod of the Serbian Orthodox Church and the state representatives of the Republic of Serbia, with the brotherly aid of the Government of The Russian Federation and its Department for External Church Relations of the Moscow Patriarchy are nearing the completion of the Temple of Saint Sava. The unique style and artistic concepts of Nikolay Mukhin is in complete harmony with the architecture of Hagia Sophia in Constantinople, the foremost example of Byzantine and Serbian medieval art. There are four representations in the great arch of each cupola of the Temple of Saint Sava, grouped according to meaning and history as presented in the Holy Testament, with the aim of faithfully depicting the earthly life of Christ and the Mother of God. The rich and original iconography of the mosaics and iconostases is awe-inspiring in their artistry for the over three hundred artists engaged in their execution. The conceptual knot of the interior: the dome, the space below, the pendentive and main arches, with their beautifully decorated altar space, have enriched Serbia and the world with one of the most imposing and magnificent monuments of Christianity today.

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Strauch, Dieter. "Von der Geldbuße zu Gottes Gesetz: Die Reformation des schwedischen Strafrechts." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Kanonistische Abteilung 106, no. 1 (August 27, 2020): 263–347. http://dx.doi.org/10.1515/zrgk-2020-0009.

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AbstractFrom Fine to Gods Law: The Reformation oft the Swedish Penal Law. The medieval Swedish Landscape Laws punished criminal offences by fines. In early modern times the number of corporal punishments and especially death penalties increased. Only from the 14th century male and female offenders were punished alike. Further great changes were brought about by the Reformation as the biblical Mosaic death penalties were put into action for serious offences according to Guds och Sveriges lag (God’s and Sweden’s Laws). During the 16th and 17th centuries no pardon was given in cases of biblical serious offences. Only in the 19th and 20th centuries criminal law was humanized. Death penalties were not abolished before the twentieth century.

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Niewöhner, Philipp. "„Byzantinisch“ oder „germanisch“? Zur Ambivalenz wilhelminischer Mosaiken am Beispiel der Erlöserkirche in Bad Homburg." Byzantinische Zeitschrift 113, no. 3 (August 1, 2020): 905–22. http://dx.doi.org/10.1515/bz-2020-0039.

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AbstractThe Erlöserkirche at Bad Homburg was built between 1903 and 1908 at the instigation of Kaiser Wilhelm II. It combines a neo-Romanesque exterior with Norman-Sicilian mosaics inside. Both were „Germanic“ to the emperor, and the church embodied his all encompassing claim to the tradition of the medieval Holy Roman Empire of the German Nation. Alternatively, the contemporary Byzantinist Ernst Gerland pointed to a Byzantine origin of the Norman-Sicilian models (and thus subtly contradicted the „pan-Germanic“ myth). This „Byzantine“ reading has prevailed ever since, but does not stand up to scrutiny. It only serves to obscure the „pan-Germanic“ concept of the church. This contribution restores the „Germanic“ understanding and makes the point that the latter must be acknowledged in order to make proper sense of the church’s art and architecture, but also in order to face (rather than to downplay and conveniently forget) the racist-chauvinist character of German imperialism.

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Guo, Dongyan, Jinhui Tang, Ying Cui, Jundi Ding, and Chunxia Zhao. "Saliency-based content-aware lifestyle image mosaics." Journal of Visual Communication and Image Representation 26 (January 2015): 192–99. http://dx.doi.org/10.1016/j.jvcir.2014.11.011.

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Cherian, Cristina, Lavinia de Ferri, Giulio Pojana, Roberto Falcone, Alessandra Cianciosi, and Sauro Gelichi. "Preliminary non-invasive study of Roman glasses from Jesolo (Venice), Italy." February 2020 61, no. 1 (February 6, 2020): 1–15. http://dx.doi.org/10.13036/17533546.61.1.003.

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Archaeological excavations at ‘Le Mure’ site (Jesolo, VE, Italy) have followed each other since the sixties, when the first evidence of an Early Medieval church (6th–7th century AD) was found under the ruins of a Medieval Cathedral (11th–12th AD). The last few years of investigations by Ca’Foscari University have led to the collection of large amounts of glass fragments, including many tesserae, dating between the 4th and the 12th centuries AD. A selection of glass fragments and mosaic tesserae taken from the excavations performed in 2013–14 at this site were studied by means of reflectance spectroscopy in order to identify their chromophore ions, in particular Cu0, Cu2+, Co2+, Fe2+ and Fe3+, which were detected in both transparent and opaque samples. In addition, the use of high resolution close-up images allowed for the attribution of surface characteristics to specific manufacturing techniques, while glass chemistry was studied in order to group them into known compositional classes. This study, carried out by non-invasive analytical techniques that allowed for the acquisition of preliminary data, will prove useful in driving further methodologies involving other non-invasive and micro-invasive analysis in order to obtain archaeometric information that can be related to concurrent archaeological results.

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Ramos Machado Braga, Jacqueline, Moysés Sadigursky, and Aryon De Almeida Barbosa Junior. "O Mosaico Inflamatório nos Subtipos de Carcinoma Basocelular." Revista Brasileira de Cancerologia 59, no. 4 (December 31, 2013): 531–38. http://dx.doi.org/10.32635/2176-9745.rbc.2013v59n4.971.

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Introdução: O carcinoma basocelular (CBC) e definido como um tumor localmente invasivo e de progressão lenta. A medida que ele se espalha, inicia-se um processo inflamatório crônico com recrutamento de diversos tipos celulares. Objetivo: Caracterizar o infiltrado inflamatório, nos diferentes subtipos de CBC, através da identificação e quantificação de suas células. Método: Foi realizado estudo retrospectivo de 71 blocos de parafina de pacientes diagnosticados com CBC não recorrente. As analises imuno-histoquímicas foram realizadas pela técnica de estreptoavidina-biotinaperoxidase (CD3, CD20, CD68, CD8, CD4, Ki-67 e MAST cell), além da técnica do azul de toluidina para mastócitos. Resultados: Os subtipos mais frequentes foram o infiltrativo (26%) e o superficial (23%). Na composição do infiltrado inflamatório, os linfócitos TCD 4+ corresponderam a população mais numerosa (216,2 ± 22,23), seguida por mastócitos (111,0 ± 7,88), linfócitos TCD 8+ (57,38 ± 5,94), linfócitos B (55,9 ± 6,83) e macrófagos (21,18 ± 2,58). Houve uma baixa atividade proliferativa celular total (47,61 ± 7,48), no entanto em formas mais agressivas esse dado foi inverso e com infiltrado rico em mastócitos. O subtipo adenoide apresentou o mais denso infiltrado, enquanto o cístico apresentou o mais discreto. Observou-se relação inversa entre o número de mastócitos e de linfócitos T, sem correlação com agressividade. Conclusão: No CBC, o infiltrado inflamatório peritumoral sugere uma resposta imunológica mediada por células TCD 4+ e composição variando de acordo com o tipo de tumor. Sugere-se que as características de cada tumor possam promover diferenças no microambiente tecidual, induzindo alterações na composição do infiltrado que poderiam tanto auxiliar quanto impedir o crescimento tumoral.

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Morrison, Joseph Derek, and Jean-Marie Adrien. "MOSAIC: A Framework for Modal Synthesis." Computer Music Journal 17, no. 1 (1993): 45. http://dx.doi.org/10.2307/3680569.

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Goel, D. S. "Mental health legislation in contemporary India: the need for inter-sectoral dialogue." International Psychiatry 4, no. 4 (October 2007): 96–98. http://dx.doi.org/10.1192/s1749367600005294.

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It is said that war is far too serious a matter to be left to the generals alone. The same could be said for the interface between law and mental health. With our narrow, and sometimes myopic, treatment-centric vision we are ill equipped to claim hegemony over the complex domain of legislation as it relates to mental health, even more so in the multicultural Indian subcontinent, where the medieval exists alongside the modern and where abject poverty jostles with ostentatious wealth: ‘The mental health scene in India at the dawn of the twenty-first century is a bewildering mosaic of immense impoverishment, asymmetrical distribution of scarce resources, islands of relative prosperity intermixed with vast areas of deprivation, conflicting interests and the apparent apathy of governments and the governed alike.’ (Goel et al, 2004)

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Laffin, Josephine. "What Happened to the Last Judgement in the Early Church?" Studies in Church History 45 (2009): 20–30. http://dx.doi.org/10.1017/s0424208400002382.

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The Last Judgement was one of the most important themes in Christian art from the twelfth to the sixteenth centuries. It can be found in glittering mosaics on the west wall of the cathedral on the island of Torcello in the Venetian lagoon, on the sculptured centre portal of the west façade of Notre Dame in Paris, in Luca Signorelli’s haunting frescos in the Chapel of the Madonna of San Brizio in Orvieto, and in Michelangelo’s masterpiece in the Sistine Chapel. Numerous other churches had their own ‘dooms’. A dramatic but not untypical example from the twelfth century can be found above the entrance to the Church of Sainte-Foy at Conques. Christ is enthroned as an austere judge, dividing the saved from the damned. The procession to heaven is neat and orderly while hell is chaotic, being depicted as a hideous mouth devouring the damned, a common representation in medieval art. In ominous foreboding, this Romanesque Last Judgement rivals the thirteenth-century hymn, theDies Irae, as a reminder of the coming ‘day of wrath and doom impending’.

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Van Dijk, Ann. "Reading medieval mosaics in the seventeenth century: the preserved fragments from Pope John VII's oratory in Old St Peter's." Word & Image 22, no. 3 (July 2006): 285–91. http://dx.doi.org/10.1080/02666286.2006.10435758.

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Folescu, Tania Wrobel, Elizabeth de Andrade Marques, Márcia Cristina Bastos Boechat, Pedro Daltro, Laurinda Yoko Shinzato Higa, and Renata Wrobel Folescu Cohen. "Escore tomográfico em pacientes com fibrose cística colonizados por Pseudomonas aeruginosa ou Staphylococcus aureus." Jornal Brasileiro de Pneumologia 38, no. 1 (February 2012): 41–49. http://dx.doi.org/10.1590/s1806-37132012000100007.

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OBJETIVO: Comparar achados de TCAR em pacientes com fibrose cística (FC) colonizados cronicamente por Pseudomonas aeruginosa ou Staphylococcus aureus, empregando o escore de Bhalla modificado, e avaliar as confiabilidades intraobservador e interobservador do método. MÉTODOS: Estudo transversal retrospectivo incluindo 41 pacientes portadores de FC, 26 dos quais colonizados cronicamente por P. aeruginosa (grupo Pa) e 15 por S. aureus (grupo Sa). Dois radiologistas analisaram independentemente em duas ocasiões, as imagens de TCAR desses pacientes e aplicaram o escore de Bhalla modificado. As confiabilidades intra e interobservador foram avaliadas segundo o coeficiente de correlação intraclasse (CCI). RESULTADOS: Houve boa concordância intraobservador e interobservador (CCI > 0,8). Os resultados dos escores do grupo Pa foram mais elevados que os do grupo Sa para o observador 1 (média de 13,50 ± 3,90 e mediana de 13,5 vs. média de 5,0 ± 5,28 e mediana de 3,0) e para o observador 2 (média de 11,96 ± 5,07 e mediana de 12,0 vs. média de 5,07 ± 5,65 e mediana de 5,0). Alterações tomográficas, como bronquiectasias, espessamento das paredes brônquicas, formação de tampões mucosos, comprometimento de gerações de divisões brônquicas e padrão de atenuação em mosaico, foram mais prevalentes no grupo colonizado por P. aeruginosa. CONCLUSÕES: O escore de Bhalla modificado se mostrou reprodutível e confiável para a avaliação de TCAR e permitiu a diferenciação entre os pacientes incluídos nos dois grupos. Escores mais altos no grupo Pa evidenciaram maior comprometimento estrutural pulmonar nesse grupo.

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Tsykunov, I. V. "Cosmatesque matrix: syntax of style in Basilica of Santa Maria Maggiore in Rome." Язык и текст 4, no. 1 (2017): 83–94. http://dx.doi.org/10.17759/langt.2017040109.

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Cosmatesque style mosaic is not only the decorative ornament that has decorated medieval temples; it is the developed symbolical system, which represents religious concepts and ideas of a universe structure. Cosmatesque structure includes hierarchy of levels that is similar to phonetic, lexical and grammatical levels of language in its functions. Figures of this style can be include in composition, structurally and functionally corresponding to the sentences and texts developing in a narrative. This article to analyse Cosmatesque syntax and interpretation of concepts of craftsmen Cosmati, on the example of Basilica of Santa Maria Maggiore in Rome. The author of this article assumes that the basilica floor represents the Christological cycle made of plots of the New Testament. Nevertheless, as at that time there was a ban on images of the Scripture Christological cycle is presented by symbolical design of craftsmen Cosmati.

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Ha, Seong, Hyung Koo, Sang Lee, Nam Cho, and Soo Kim. "Panorama Mosaic Optimization for Mobile Camera Systems." IEEE Transactions on Consumer Electronics 53, no. 4 (November 2007): 1217–25. http://dx.doi.org/10.1109/tce.2007.4429204.

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Jinsoo Han, I. Han, and Kwang-Roh Park. "User-Configurable Personalized Mosaic Electronic Program Guide." IEEE Transactions on Consumer Electronics 54, no. 1 (February 2008): 192–96. http://dx.doi.org/10.1109/tce.2008.4470043.

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Casas, Lluís, Roberta Di Febo, and David Parcerisa. "Petrographic Markers for Archaeometric Identification of Montjuïc Sandstone, the Flagship Stone of Barcelona (NE Spain)." Minerals 10, no. 2 (February 11, 2020): 154. http://dx.doi.org/10.3390/min10020154.

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The present study deals with a particular clastic rock from the Montjuïc hill exploited since Roman times in Barcino (present-day Barcelona (NE Spain)). Polarized and cathodoluminescence microscopies have been used to describe the main petrographic features of Montjuïc sandstones. Several characteristic provenance markers have been identified; among them the most specifically restricted to Montjuïc sandstone are the K-feldspar clasts with authigenic overgrowths. A petrographic survey oriented to the detection of such markers has been fruitfully applied to sculptures, architectural elements, mosaics, and pottery. The petrographic approach has demonstrated that some Roman heritage materials had been erroneously assigned to Montjuïc sandstone and the revision of all the pieces macroscopically assigned to this provenance is advised. The use of Montjuïc sandstone in Roman tesserae has been reported for the first time with interesting implications on previously unreported evidence of Roman extraction at the bottom part of the Montjuïc cliff. Finally, Montjuïc crushed sandstone used as pottery temper has been also reported in the productions of a medieval (12–13th century) workshop in Barcelona. This encourages the study of the distribution of pottery with this particular temper.

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Costaridou, Lena, Spyros Stefanou, Joy Hirsch, and Stelios Orphanoudakis. "Image reconstruction based on human and monkey cone mosaics." Journal of Visual Communication and Image Representation 1, no. 2 (November 1990): 137–52. http://dx.doi.org/10.1016/1047-3203(90)90003-e.

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Gross, Vladimir P. "Laura Chinellato: L’ara di Ratchis a Cividale." Ars & Humanitas 10, no. 2 (December 22, 2016): 185–87. http://dx.doi.org/10.4312/ah.10.2.185-187.

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A good mosaic should have a clear-cut frame, a central panel proposing the main subject, and subsidiary ones amplifying the theme. Laura Chinellato’s L’ara di Ratchis a Cividale is indeed such a successful mosaic of words and ideas. Its frame is made up of a prelude and postlude by two distinguished medieval art scholars, Valentino Pace and Hjalmar Torp; its centerpiece consists of the author’s extensive and enlightened formal, iconographic, epigraphic and material analysis and is further amplified by experts in related areas – Stefano Gasparri (history), Laris della Pietra (liturgy), Maria Teresa Constantini, (conservation, restoration, reconstruction of polychromy), and Alessandro Princivalle and Davide Manzato (scientific analysis and measurements). All in all, this book is a model enterprise creating a material and spiritual ID, indeed a biography, of a key work of Pre-Romanesque figurative arts. As emphasized by Valentino Pace in his Preface, the Altar of Ratchis is “among the most important monuments of the 8th century”, one in which “epigraphy, figured images, signs, material and color converge to communicate a message of faith and prestige, which this book helps us understand”. But it is also a station on a way to the future, for, as stated by Hjalmar Torp in his concluding remarks, this is a work “based on twelve years of research which includes a detailed analysis of 300 years of scholarship constitutes … a firm point of continuous research.”

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Gross, Vladimir P. "Laura Chinellato: L’ara di Ratchis a Cividale." Ars & Humanitas 10, no. 2 (December 22, 2016): 185–87. http://dx.doi.org/10.4312/ars.10.2.185-187.

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A good mosaic should have a clear-cut frame, a central panel proposing the main subject, and subsidiary ones amplifying the theme. Laura Chinellato’s L’ara di Ratchis a Cividale is indeed such a successful mosaic of words and ideas. Its frame is made up of a prelude and postlude by two distinguished medieval art scholars, Valentino Pace and Hjalmar Torp; its centerpiece consists of the author’s extensive and enlightened formal, iconographic, epigraphic and material analysis and is further amplified by experts in related areas – Stefano Gasparri (history), Laris della Pietra (liturgy), Maria Teresa Constantini, (conservation, restoration, reconstruction of polychromy), and Alessandro Princivalle and Davide Manzato (scientific analysis and measurements). All in all, this book is a model enterprise creating a material and spiritual ID, indeed a biography, of a key work of Pre-Romanesque figurative arts. As emphasized by Valentino Pace in his Preface, the Altar of Ratchis is “among the most important monuments of the 8th century”, one in which “epigraphy, figured images, signs, material and color converge to communicate a message of faith and prestige, which this book helps us understand”. But it is also a station on a way to the future, for, as stated by Hjalmar Torp in his concluding remarks, this is a work “based on twelve years of research which includes a detailed analysis of 300 years of scholarship constitutes … a firm point of continuous research.”

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Seong Jong Ha, Sang Hwa Lee, Nam Ik Cho, Soo Kyun Kim, and Byungjun Son. "Embedded Panoramic Mosaic System Using Auto-Shot Interface." IEEE Transactions on Consumer Electronics 54, no. 1 (February 2008): 16–24. http://dx.doi.org/10.1109/tce.2008.4470018.

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Fu, Zhaoxia, and Liming Wang. "Optimized design of automatic image mosaic." Multimedia Tools and Applications 72, no. 1 (February 16, 2013): 503–14. http://dx.doi.org/10.1007/s11042-013-1387-y.

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Arifi, Arben, and Luan Tetaj. "The Monastery of Deçan and the Attempts to Appropriate It." Journal of International Cooperation and Development 3, no. 2 (November 23, 2020): 60. http://dx.doi.org/10.36941/jicd-2020-0015.

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The Monastery of Deçan is a monument of cultural heritage in Deçan-Kosova. The monastery was built in the 14th century, and is listed at the UNESCO monuments list. The monastery of Deçan is considered one of the most important cultural and monumental building pertaining to the medieval period in Kosova and in the region in general. The paper deals especially with the historical aspect of its existence as well as its architectonic properties. The architecture of monastery of Deçan is characterized by Byzantine elements, but one can also observe Roman Italian elements in its architecture. The attempts to appropriate and assimilate the historical and cultural background that is characteristic to the monastery, and classify it as a Serbian monastery are numerous and often times lack sufficient scientific basis. The monastery of Deçan, with its Roman-Gothic architecture and its unique history enriches the cultural mosaic of cultural heritage in Kosova, and as such it is part of the culture of all Kosovars.

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Schwartz, Yossef. "“From Moses to Moses”: Late Medieval Jewish and Christian Interpretation of Moses’s Prophecy." Religions 11, no. 12 (November 25, 2020): 632. http://dx.doi.org/10.3390/rel11120632.

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The paper examines how the figure of the biblical Moses was philosophically interpreted in medieval Jewish and Christian writings. It highlights a turning point in a new concept of prophecy and scriptural authority and suggests that this transformation was made complicated for both Jewish and Christian intellectuals by the appearance of Moses Maimonides, who was most influential in promoting the Muslim model of philosophic interpretation of prophecy, and at the same time confusingly emerged as a living manifestation of semi-biblical authority. Against Jewish exclusivist interpretation of Mosaic law as the leading polemical argument to encounter competing revelations, the first part of my paper points out a mechanism of “Jewish successionism”, i.e., the re-interpretation of the biblical Moses as an instrument for rationalizing normative paradigmatic shift. The second, main part of the paper turns to the Latin translation of Maimonides’s Guide of the Perplexed, placing it in the midst of a crucial western Latin turn into a new phase of engagement with Old Testament concept of prophecy. A short comparison between some prominent twelfth century figures and later Scholastic thought demonstrates the central role of the new Arab Aristotelianism in general, and that of Maimonides in particular. Maimonides reception among the schoolman will culminate in the writings of Meister Eckhart, exposing the full potentiality of the double appearance of the Egyptian (Rabbi) Moses.

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Milosz, Marek, Elzbieta Milosz, and Jerzy Montusiewicz. "Determination of ceramic tile colour surface areas on the medieval Sher-Dor Madrasah mosaic in Samarkand – Problems and solutions." Digital Applications in Archaeology and Cultural Heritage 16 (March 2020): e00134. http://dx.doi.org/10.1016/j.daach.2020.e00134.

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Belkin, Alan. "Composer's Mosaic and Performer Version 4 for Apple Macintosh Computers." Computer Music Journal 17, no. 1 (1993): 84. http://dx.doi.org/10.2307/3680582.

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Classen, Albrecht. "The Book of Kells - The Wonders of Early Medieval Christian Manuscript Illuminations Within a Pagan World." Mediaevistik 32, no. 1 (January 1, 2020): 55–69. http://dx.doi.org/10.3726/med.2019.01.02.

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For a long time now, we have been misled by the general notion that the fall of the Roman Empire at the end of the fifth century brought about a devastating decline of culture and civilization. The Germanic peoples were allegedly barbaric, and what they created upon the ruins of their predecessors could have been nothing but primitive and little sophisticated. Research has, of course, confirmed already in a variety of approaches and many specialized studies that the situation on the ground was very different,1 but it seems rather difficult to deconstruct this mythical notion even today, as much as it needs to be corrected and extensively qualified. Recently, Deborah Deliyannis, Hendrik Dey, and Paolo Squatriti have published a volume treating an intriguing selection of fifty objects that could represent the early Middle Ages, each one of them proving by itself that the arts and technology to produce those objects continued to be extraordinarily sophisticated and impressive, and this well beyond the Roman period and well before the rise of the Gothic era.2 Those objects include ceremonial regalia, mosaic pavements, medallions, coins, stirrups, buildings, fibula, tunics, oil lamps, ships, and castles. The quality and aesthetic appeal of all of them is stunning, but they make up, of course, only a selection and do not reveal the more common conditions of the ordinary people.

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Kang, Dongwann, Sanghyun Seo, Seungtaek Ryoo, and Kyunghyun Yoon. "A study on stackable mosaic generation for mobile devices." Multimedia Tools and Applications 63, no. 1 (March 24, 2012): 145–59. http://dx.doi.org/10.1007/s11042-012-1065-5.

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Hájková, Petra, Eva Jamrichová, Libor Petr, Lydie Dudová, Jan Roleček, Andrea Gálová, Petr Dresler, Jan Novák, and Michal Hájek. "Persistence of a vegetation mosaic in a peripheral region: could turbulent medieval history disrupt Holocene continuity of extremely species-rich grasslands?" Vegetation History and Archaeobotany 27, no. 4 (December 15, 2017): 591–610. http://dx.doi.org/10.1007/s00334-017-0660-9.

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Conde-García, Jesús. "Topologia e tipologia, a parcela gótica." Revista de Morfologia Urbana 6, no. 2 (May 11, 2020): e00130. http://dx.doi.org/10.47235/rmu.v6i2.130.

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O conceito de topologia encontra-se perfeitamente definido “estuda certas propriedades das figuras geométricas, entre elas estão aquelas que não variam quando as figuras são deformadas”, enquanto a tipologia tem uma acepción bem mais ampla e indefinida: “estudo dos traços característicos de uma série de dados”, no entanto sua visão conjunta ajuda-nos a aprofundar no entendimento do tipo arquitectónico. A cidade histórica européia apresenta uma série de características comuns: sua adaptação tanto geográfica como topográfica, e uma racionalidade construtiva onde os muros pétreos são os elementos fundamentais. Os diferentes esquemas viarios articulam um parcelario muito variado onde os grandes edifícios monumentales convivem com o caserío. A unidade elementar deste mosaico é a parcela gótica. No caso de Santiago de Compostela estas características estão muito acentuadas e a paisagem urbana vem determinado pelo contraste entre o caserío menudo -derivado da parcelación medieval- e as fábricas dos grandes monumentos religiosos. Deste modo um padrão singelo, baseado na relação entre parcela gótica e rua, somado a duas estratégias muito diferentes de adaptação topográfica, dá lugar a uma estrutura urbana extraordinariamente rica e complexa. A investigação sobre o tipo, que tem como suporte a realização de um projecto arquitectónico concreto, é o objeto deste artigo.

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Semaan, Ingrid. "The “Laurer” and the “Columbyn”: The Images of Frustrated Love in Chaucer's Merchant's Tale." Hawliyat 12 (November 19, 2018): 35–58. http://dx.doi.org/10.31377/haw.v12i0.216.

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«Rys up, my wyf, my love, my lady free» (1.2138) -however it has been the literary scholars who have followed old January with much greater alacrity than his «fresshe May» into the literary and rhetorical world of the wedding chamber and the garden that Chaucer lets the Merchant create for the married couple. The scholars, in turn, especially those interested in sources, metaphor, analogy, and allusion have been richly rewarded by the study of The Merchant's Tale, this «dense mosaic of references, allusions, quotations», as G. G. Sedgewick has described it. Unifying the richly structured composition of this «mosaic» is the theme of frustrated love, a concern to which many of these «ref- erences, allusions, quotations» point. One of the earlier critical concerns was to track down the analogues. It proved to be a fertile field; by now it has become a critical commonplace that one of the central motifs of Chaucer's tale—the blind man and the adulterous youth the pear-tree-cluster—is of Mid Eastern origin and can be found among the tales of the Disciplina Clericalis. This anthology of Eastern folklore—com- prising East Indian, Byzantine, Persian, Arabian, and Hebrew materials—was compiled in Latin back in the twelfth century by Petrus Alfunsus. Alfunsus, originally a Jewish scholar born in Spain, converted to Christianity, and eventu- ally emigrated to England where he became royal physician to King Henry I. He wrote the Disciplina while he resided in England. Alfonsi's collection of thirty- four tales is important as a bridge by which what is commonly called the literaty «matter of Araby» in both form and content became a tradition that supplied vernacular medieaval Europen writers.

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Journal articles on the topic 'Medieva Mosaics'

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