Decorative Devices Research Articles

Text technologies, illustrated editions as multi-technological hybrids, and William Falconer's The Shipwreck, 1762–1808

This article aims to demonstrate the usefulness of text-technological research for book-historically informed literary and textual studies by examining a “multitechnological hybrid” – the illustrated edition featuring copper- and subsequently wood-engraved illustrative plates – and the role it played in mediating William Falconer's maritime georgic, The Shipwreck (Falconer, 1762), from 1762 to 1808. By focusing on the multi-technological hybridity of the visual apparatuses of these editions, issues related to readership and readability, as well as publishing formats and strategies, can be addressed that will facilitate insight into the intermedial reception of Falconer's production. The adoption of different substrates – ranging from copperplates to woodblocks – reflects not only technological innovations but economic factors, including the simplification of production processes as well as the rise of the cheaply produced printed image that would, in the Victorian period, culminate in the 1858 Edinburgh edition of The Shipwreck featuring more than 30 illustrations, as well as numerous decorative devices, by Birket Foster. Above all, it will be demonstrated that publishers utilised specialist bibliographical discourses of materiality that helped potential purchasers to develop a material literacy with which they were able to understand the text-technological encoding of each illustrated edition, including its particular cultural and symbolic value.

54‐3: A Full‐Color Decorative Display Integrated with Anti‐Reflection Film

The low reflectivity decorative device composed of aluminum or molybdenum metal layer and anti‐reflection film layer has been reported in this work. Anti‐reflection film stacks with different thicknesses have been demonstrated to be able to make devices with different colors, such as navy blue, dark blue‐violet, and brown etc., where the lowest reflectance is about 9% and the transmittance (devices without metal substrate) is about 40%. An AMOLED full‐color decorative display, with an anti‐reflection film layer integrated on the panel, has been fabricated. An ITO film layer is applied between the metal and the anti‐reflection film to make a colorful decorative device with high transmittance and low reflectivity. The lowest reflectance is 14‐16% and the transmittance is 73%‐74%.

From Function to Form: Chini-khana in Safavid and Mughal Architecture

Undertaking a comparative examination of a particular decorative form in the architecture of the sixteenth- and seventeenth-century Persianate world, this paper briefly introduces the appearance of Chini-khana in the Timurid era before examining its subsequent use in Safavid and Mughal structures. Originally created by Timurid patrons as a specific building or room to display precious Chinese porcelains, how the Chini-khana underwent parallel evolutions in Safavid and Mughal architecture is examined. While the same, or similar, architectural forms and decorative devices were at times used in different areas of the Persianate World, their evolution of form and function sometimes altered; this was the case for chini-khana. While both the Safavids and Mughals derived their awareness of it from the first Timurid Chini-khanas, each then adopted and/or adapted the original idea for their own purposes. In the architecture of both is present the continuation of an architectural device from a shared cultural history, but with differences in form, function and aesthetic desires.

Неоклассика в творческой практике мастеров Королевской Копенгагенской фарфоровой мануфактуры

The history of applied art of the 19th century is traditionally described as a period of Historicism which revived interest to the styles of previous centuries. In the art of porcelain, particularly in Denmark, neoclassical traditions were the most popular ones. Actually studying the Royal Copenhagen Porcelain Manufactory items (produced in 1830 –1880) shows that the form-making traditions and decorative devices preferred by artists, designers, and sculptors, were often far from classical traditions. As a result, porcelain pieces usually known as neoclassical should be in fact described more accurately as a mere part of material culture, rather ephemera than art works.

The Place of Art in Parlance of Environment and Human Health

The ultimate of arts or art work is aesthetics enhancement. Aesthetic is a major determinant when considering a built up environment. It is also important to note that a serene and friendly environment is another determinant of people’s good health. This paper looks at the work of arts in terms of all artistic creativities in homes and cities, and their relevance to the present day environmental beautification, which equally has direct attribute to human health. An examination of artistic work and decorative devices right from individual homes (where available) is made. This was extended to the entire city in attempt to determine the aesthetic quality added to the environmental landscape. The contribution of aesthetic and good planning to the health of people was discussed. It was also pointed out that good art work constitutes aesthetic, and if well planned and articulated make a pleasant environment which in turn had a positive attribute to improved human health. It was therefore concluded that for a person to enjoy a complete good health, he/she needs beatified or aesthetic supportive environment. “It is a common feeling that most urban places are less than satisfactory – uncomfortable, ugly, or dull – as if they were being measured on some absolute scale. Only fragments of Settled world are generally excepted from this dismal view: an affluent suburb, a fine park, a historic town, the vital centre of some great city, an old farming region. If we could be articulate about why we feel that way, we might be prepared to make effective changes” (Lynch, 1981, p.1) DOI: 10.5901/mjss.2014.v5n20p2261

‘Ornamental’ Horns on Phoenician Warships

This article seeks to demonstrate that Phoenician vessels were considered to be more than just planks of timber fashioned together to form a platform on which mariners could conduct their daily lives whilst at sea; it will show, rather, that they were thought of as self-contained entities that were imbued with a living spirit that needed the protection of a number of maritime deities. By emphasizing the zoomorphic and anthropomorphic aspects of Canaanite and Phoenician vessels, it is possible to challenge previous suggestions that the horns mounted on a vessel’s prow were either part of its superstructure or simply a decorative device, and instead establish their specific religious significance. By integrating a study of the horns found on warships into wider scholarly discourses exploring the symbolic significance of horns and cornute imagery in the ancient Near East, this article will demonstrate that the horns adorning warships were not simply intended to denote the presence of the divine or to avert evil but were actually considered to imbue the vessel with the strength, power and virility of a bull. It will therefore argue that it was this ability to infuse a vessel with bull-like qualities which first prompted the inclusion of horns on the prows of Canaanite and Phoenician warships. Moreover, it will suggest that the mounting of horns on the prows of warships was likely prompted by the development of the embolon, an innovation which meant that warships were now expected to ram an enemy vessel in a manner reminiscent of a charging bull. An investigation of this type therefore helps to illuminate Phoenician maritime religious beliefs and practices and provides further support for the disputed view that Phoenician warships were not fitted with a ram until the late 6th century BC.

Biblical Period Personal Seals in the Shlomo Moussaieff Collection

Biblical Period Personal Seals in the Shlomo Moussaieff Collection, by Robert Deutsch and Andrew Lemaire. Tel Aviv: Archaeological Center Publications, 2000. Pp. 228. $180.00. Messages From the Past: Hebrew Bullae from the Time of Isaiah through the Destruction of the First Temple, by Robert Deutsch. Tel Aviv: Archaeological Center Publications, 1999. Pp. 205. $80.00. These two volumes represent catalogues of the seals and bullae of one person's private collection. For this reason one might expect that the publication would be more of a vanity press collection rather than something of scholarly value. This is clearly not the case-the Moussaieff collection consists of 109 bullae (out of the 510 that have been published to date) and 203 seals. This is the largest collection of seals and bullae in the world. Assuming that these epigraphic items are authentic, the publication of this collection would rank next to N. Avigad and B. Sass's Corpus of West Semitic Stamp Seals (Jerusalem, 1997) as the most important and extensive of its kind. Unfortunately, the authenticity of all of the seals and bullae is in question. All of the items originate from illicit excavations or so-called chance finds and not from controlled excavations. One must thus entertain the possibility that some or even many of the items in this collection are forgeries (see discussion below). The two volumes are treated together in this review because they present one collection, but there are features of the two books that make them distinctive and different from each other. The volume of seals is written jointly by Robert Deutsch and Andrew Lemaire, and it consists almost entirely of a catalogue or listing of the inscriptions with little or no epigraphic commentary and bibliography. As most of the names from the seals have been treated previously and the discussion is included in the indexes, this method of listing is understandable. The photographic presentation of each seal in the corpus is excellent. In every case there is a color photograph of the seal, a black-and-white photograph of an impression from the seal, and a line drawing of the impression. In many cases there are color photographs of the side and top of the seal. The photographs and drawings are nothing short of lavish. In almost every instance the photographs of the impressions contain all the readable letters, and the color photographs allow the reader to have an idea of the character of the entire seal and not just the seal's impression. The line drawings are also accurate. Other information included in each entry includes a brief description of the seal, a classification of the seal material, measurements, a tentative dating, place where the seal was purchased, and a bibliography. Further discussion or analysis is not provided, and the onomastic notes and index at end of the volume are extremely brief. There is a notable absence of detailed indices and discussion that treat features such as iconography, word dividers, number of registers, orthography, decorative devices, and paleography. While this reviewer recognizes the value of simply listing the seal, brief indices and discussions of the topics mentioned above would have greatly enhanced the usefulness of the volume. The editors have rightly avoided assigning precise dates to the seals, yet in many cases even their general dates can be called into question since very few isolated seals contain letters that are diagnostically significant and conclusive for a particular period. For example, seal #31 contains letters that are more common in the late eighth century, but they are also found with much less frequency in seals and seal impressions from the late seventh century. Since there are no clearly diagnostic letters in this seal, it is really impossible to it precisely. It is clearly preexilic, but even the editors' date to be considered of ca. 700 B.C.E. is too precise. One of the real problems with seals of unknown provenance is that many of them cannot be dated precisely within even one hundred years (see A. …

The Chronology and Context of Pictish Relief Sculpture

Several alternative schemes for the dating if Pictish relief sculpture have been advanced during the last century. Representations if artifacts which can be dated archaeologically, decorative devices associated with the Viking Period and details if animal ornament are used to provide new date-ranges for some stones usually dated earlier. The early dating often advanced for some low-relief sculptures is accordingly questioned, and a tentative scheme for the dating if Pictish relief sculpture proposed.

Metaphor and the Making of Sense: The Contemporary Metaphor Renaissance

����� �� Metaphor has gained a new lease on life through the revival of rhetoric in recent decades. For promoters of “la nouvelle rhetorique,” such as Gerard Genette and Roland Barthes, rhetoric came to coincide with a total science of language that is practically coextensive with all social and human knowledge, while in the Anglo-Saxon world, Wayne Booth, in the wake of Kenneth Burke, repristinated rhetoric as, not just a technical discipline, but a moral one, and, in fact, an all-embracing criticism of the humanities. 1 The fortunes of metaphor have revived and flourished in tandem with those of rhetoric as a whole. Over the more than two millennia of a progressive eclipse of rhetoric, during which it shrank from its original primacy as the master art of persuasion in law, literature, and politics and, moreover, as the general framework of culture, to the status of an ancillary art of elocution of exclusively formal import, metaphor was eventually confined to being just one particular instance within the schemes of classifications of tropes. It became an affair of style, an ornament of decorative discourse, as rhetoric came to be identified with mere elocutio and was no longer essentially also inventio—the finding of arguments, in which metaphor’s role is actually paramount—and dispositio—the ordering of discourse into its syntactic parts, such as exordium, narration, discussion, peroration. As the originally tripartite art and science of rhetoric was amputated of two of its main divisions in the classical model established on the basis of Aristotle’s three-book treatise, 2 metaphor became a merely formal enhancement and lost its roles as substantive and structuring for knowledge and discourse. The decline of interest in philosophical, Aristotelian rhetoric had much to do with metaphor’s reduction to a merely technical or decorative device. But with the recent widening practically without limit of the terrain of rhetoric, and particularly with its restoration to its original standing as a philosophical discipline comprehending the substance of argument, metaphor

The Corbel Table

The corbel table is the most characteristic feature of early Romanesque architecture in southern Europe. This article considers the corbel table as more than a separate decorative device, in the context of Lombard structure, construction, and design. The corbel table served a structural function similar to that of a relieving arch over doors and windows, and masons used it to stabilize vaults and walls. Later in the eleventh century, Burgundian masons refined the structure of the corbel table, and merged it with ashlar supports, to create the fully vaulted three-story elevation of Cluny III.

The Revival of a Victorian Art: Waterlining with a Computer

This paper introduces two automated procedures that work in vector made throughout. The first procedure traces waterlines, the decorative device with which copper engravers differentiated water areas in maps before the introduction of screen-printing. The second procedure resorts to waterlines to perform the Medial-Axis Transformation (MAT), a centrelining operation originally proposed by Pattern Recognition workers. Both procedures are described at a rather high level. Noted as important is the passing on of pointers from the input shapes to the Medial-Axis via the waterlines. Those pointers are characterized as fundamental to the straightforward definition of the Medial-Axis from waterlines. The analogy between a well-known raster method and the vector waterlining and MAT are discussed and their relative merits compared. In this context, the thesis is advanced that that analogy is the reason for the universal applicability of the proposed vector method. Cartographic and Geographic Information Systems (GIS) application, such as the delimitation of sea boundaries and the centrelining of streams and streets, are illustrated and outlined in brief manner. Even briefer are the references to, as yet undeveloped, applications in those same fields. To conclude, some thoughts are ventured on the use of MAT in related disciplines, such as Pattern Recognition, Geology, and Mining.

The Huntington Library Part Books, Ellesmere MSS EL 25 A 46-51

While the early printed music in the Huntington Library is known to scholars through the published catalogue of 1949 compiled by Edythe N. Backus,' it is not so well known that the library has a small collection of music manuscripts, of which one of the most interesting older items is a group of English part books with music by Italian and English composers. These part books are catalogued as Ellesmere MSS EL 25 A 46-51 and have been known to a number of scholars for some time. However, scholarly references to these part books are extremely brief, if not tantalizing, and appear without any investigation of the manuscripts and without any list of their contents.2 In view of the importance of these manuscripts to scholars interested in the composer John Coprario (ca.1575-1626), and in view of the absence of any published study of their physical characteristics, copyists, provenance, and contents, it seems timely that a detailed notice should be recorded in print. Ellesmere MSS EL 25 A 46-51 comprise six part books which are identical in size and have individual leaves measuring 301mm. x 202mm. with the outside covers measuring 308mm. x 206mm. The volumes are bound identically in dark brown leather with a gilt-stamped oval decorative device between the initials W H on both the front and back covers. Each volume also bears the voice for which it was intended stamped in gilt above the oval decorative device, and these are designated respectively: Canto, Quinto, Basso, Tenore, Alto, and Sesto. These six part books are foliated as follows: EL 25 A 46: ii + 72 + ii [the paste-down in this volume is still pasted down but has been counted here to be consistent with the other volumes in which the paste-down is free and hence counted] EL 25 A 47: ii+71+ii EL 25 A 48: ii+69+i EL 25 A 49: ii+70+ii EL 25 A 50: ii+72+ii EL 25 A 51: i+68+i

Veritas Rerum: Contrasting Cosmic Truth in Hellenistic and Christian Thought

VERITAS RERUM: CONTRASTING COSMIC TRUTH IN HELLENISTIC AND CHRISTIAN THOUGHT The Truth in Things: Ontology THE DELIBERATE and systematic reflection of hinking believers on their lived belief, theology can choose from among many ways (hodoi) or methods of reflecting. Various historical forces have conspired to provide the preponderance to a particular kind of philosophizing theology , wherein deductive, syllogistic reasoning predominates. Valid and inevitable in itself, this type of theology is not simply sufficient, and if, falsely supposed sufficient, thins theological reflection and, ultimately, religious experience, of their proper profundity and richness. Other approaches to the meaning of being are not only helpful, but necessary. As J. N. Findlay has recently admonished us, Platonic myths " represent, with some decorative devices, a very serious ontology . . . and theology which we moderns would do well to take seriously, since they may well be true." 1 Centuries before , Dante's Divine Comedy had made it clear to Boccaccio that "poetry is theology." This idea was later elaborated by Charles Maurras, who suggested that "Ontology would perhaps be a better name, for poetry inclines above all to the roots of the knowledge of Being." 2 Not that poetic reflection and description are without their own proper dangers, both in discovery and in communication. Even (or perhaps, precisely) in the utterly symbolist mentality of the Middle Ages, Alain t J . .K. :Findlay, " The Myths of Plato," in Myth, Symbol and Reality, ed. Alan Olson (Notre Dame: University of Notre Dame Press, 1980) 165. 2Cited by Jacques Maritain, Art and Ffoholasticism (London: Sheed and Ward, 1949) 173. 1 ROBERT L. KRESS de Lille cautioned that "poetry's lyre rings vibrantly with falsehood in the external literary shell." Nevertheless, "internally it communicates a hidden and profound meaning.... Whoever reads with penetration, having discarded the external shell of falsehood, finds the sweet tasting fruit of truth enclosed within." 3 Why is this the case? For two reasons. First of all, both philosopher and poet are petitioners of the truth, propelled thereunto by their experience of the cosmos which prompts in them wonderment (admiratio). St. Thomas Aquinas, commenting on Aristotle, well remarks: It is clear that puzzlement (dubitatio) and wonderment (admiratio ) proceed from ignorance. For when we encounter effects whose cause is hidden from us, then we wonder about their cause. And, insofar as wonderment was the cause leading to philosophy, it is clear that the philosopher is in some sense or other a philomythes , that is, a lover of fable (story), which is the property (the hallmark or characteristic) of poets. For this reason, the first who considered the principles of things (de principiis rerum) in a narrative (or story: fabularem) form were called theologizing poets, as were Perseus and certain others who were [known as] the seven wise ones. The reason why (causa quare) the philosopher is compared to the poet is this: both are concerned with mirandathings which evoke puzzlement and wonderment. For the stories with which poets are concerned are composed of certain " wonderfull " things. Philosophers, too, have been moved from wonderment to philosophizing. And because wonderment_ proceeds from lack of knowledge, it is clear that they have moved to philosophize in order to escape ignorance.4 The second reason poets and philosophers enjoy perichoresis in the pursuit of truth is the perichoresis of truth and being itself . According to the Scholastics, "ens et verum convertuntur ." 5 That is, being and true are interchangeable terms, for, 3 Alain de Lille, De Planotu Naturne, PL CCX, 451 C. 1 Thomas Aquinas, In XII Libras Metaphysicor11-1n Aristotelis EJJpositio, L.I,1.3 (Marietti 55) . 5 On this, see Joseph Pieper, Wahrheit der Dinge (Munich: Kosel, 1947) 11-27, 107. VERITAS RERUM 3 as Thomas Aquinas notes, " The name truth expresses the congeniality and coming together of being and intellect." 6 Later, he emphasizes that " each and every thing is true and no thing is false." 7 In a word, truth is a disposition of being which neither adds to being nor specifies a special mode of being. It describes, rather" what is found in being in general." For, as "the philosopher concludes, the same order obtains in being (esse) and truth (veritate) ... and thus the nature (ratio) of...

Petrographic and Physico-chemical Studies of Early Pottery from south-western Kenya

The research of Dr. Robertshaw, the Institute's Assistant Director, on pre-Iron-Age sites and their pottery in the Loita-Mara region has already figured in Azania. In 1983 the fortunate presence in Nairobi of Jean Langdon (who has been working with the National Museums of Canada in Ottawa) led to the collaborative analytical work described here on locating sources of potting clay and by extension the provenances of archaeological pots. Although the main conclusions are not surprising, in that they confirm our expectations of local rather than distant places of manufacture, it is instructive nevertheless to see both the methods and the conclusions demonstrated. The interest of the article therefore will not be confined to this one region of Kenya. Moreover, for students of the pottery sequence of the high East African grasslands, especially enlightening is the observation about the role of mica temper in the ‘plain’ Elmenteitan pottery, being in effect a decorative device appreciated by its makers and users—but not till now by archaeologists! Abstract Pottery of Stone Age pastoral communities in south-western Kenya is examined by petrographic analysis, x-ray fluorescence (XRF) and atomic absorption spectrometry, mechanical separation, and x-ray diffractometry. Petrographic analysis combined with XRF is found to be the most suitable method for defining ceramic fabrics. Pottery traditions in the region, established on the basis of vessel shape and decoration, are characterised by different fabrics. Analyses of clay samples collected near the archaeological sites indicate that the pottery was probably made from very local clays, except for some distinctively decorated vessels known as Akira pottery. Mica temper was often added to vessels of the Elmenteitan tradition, presumably for its decorative, ‘glitter’ effect.

Early Arabic Inscriptions in Libya

With financial aid from the Society for Libyan Studies I was able to visit Libya on special leave from the British Museum between 21 April and 11 May. The object of the visit was to examine early Islamic epigraphic material, in particular any that might contribute to a knowledge of the archaeology of Ajdabiyah and contemporary sites. One week was spent in Tripoli as a guest of the Department of Antiquities, one week with Dr Whitehouse's team at Ajdabiyah and several days at Cyrene, Tolmeita and in other parts of Cyrenaica.At Tripoli Museum a fine collection of Kufic gravestones collected in and around the city was examined. These can be divided into two chronological and stylistic groups. The earliest pieces of the period of Aghlabid and Fāṭimid domination (third–fourth centuries A.H./ninthtenth centuries A.D.), are roughly incised rectangular or irregular slabs of stone or marble. The Kufic is plain, ornament being generally limited to bifurcation of the terminals; however, elements of foliation are discernible, notably on an example dated 248/862 (Rossi, Iscrizioni arabi e turchi del museo di Tripoli (1953) no. I). By contrast, those inscriptions which belong to the Khazrūnid and Muwaḥḥid periods (fifth-sixth centuries A.H./eleventh–twelfth centuries A.D.) are carved in relief on finely shaped marble blocks of a distinctive elongated type. The lettering is in the floriated style with additional decorative devices such as loops and right-angled bends in the uprights. Borders are adorned with vine-leaf or geometric motifs. The apparently abrupt transition to this evolved type of funerary monument is striking evidence of the high cultural level attained in Tripoli soon after the rise to power of an independent local dynasty.

In defense of modesty

People ordinarily assume that clothes are worn as a means of protection against the elements of nature. Though such protection is obviously needed in arctic climates, it does not explain the use of clothes in tropic regions or heated homes. Clothes serve two other irnportant functions, they draw attention to a person's individuality at the same time that they hide the secret core of his personality. To understand the complex role that clothes play in our lives we need to study the antithetical tendencies of bodily display on the one hand and bodily modesty on the other. The desire to draw attention to the body and to display its charms reflects an exhibitionistic impulse that is found in all people. Among primitives there is an almost universal tendency to decorate the body with such devices as paints, ornaments, garlands, etc. This feeling for displaying the body is common to many animals and man. Among the animals it is closely related to the sexual drive and follows an instinctive pattern. Nature has endowed many animals, especially the males, with decorative features which serve this display function. Among human beings, display is a more conscious activity which employs many external agents to enhance the appeal of the individual. Psychologists and anthropologists generally agree that the primary function of clothes is to serve this display function. Display emphasizes the uniqueness and superiority of the individual over the rest of the group. It often takes the form of physical exllibition as in the display of dancing ability or athletic prowess but in daily life the main reliance is upon decorative devices or clothes. In all primitive societies, the ruler or tribal leader is more elaborately decorated than his subjects or followers. In civilized societies, organized on a class basis, status and rank are expressed by the costliness and elaboration of dress. The king's royal robes and the courtiers' ornate costumes distinguished them from the common man. These distinctions of dress tend to disappear in democratic societies, where they are displaced by fashion, which serves as a status symbol. To be dressed in the height of fashion is some indication of social superiority for it often requires more money and time than the

An Interpretation of the Medusa

THE meaning of the medusa has both tempted and tantalized the interpreter because, in the first place, it appears as a decorative device on vases and architecture; the ambivalent character of the features has also presented a challenge while it seems to inspire fright, even terror at first sight, there is also a trace of ironic sadness which conveys another meaning somewhere below the grimacing surface. From another standpoint it mirrors a stratum of bitter melancholy mixed with the glowing elixir of happiness; much depends on the date of the particular image. The popularity of the face in the archaic period, when orientalizing devices appeared on vases, and the stark ugliness of the features suggest an eastern origin. In Greece a decided change was effected by the craftsman from the early, bizarre creature of the Corcyra pediment to the Rondanini version in Munich, which Furtwaengler' has associated with Kresilas. Since much of the frightful element had been eliminated by the fifth century, it follows that the meaning of the face should be sought in the older examples, especially on vases where more interesting details are revealed than in sculpture. For the mythological background the reader is referred to Roscher's Lexikon. What do we know about the medusa? Various theories have been

Peter Maxwell Davies's Five Motets

The first version of the Five Motets, completed in 1959 while Maxwell Davies was still at Cirencester, was laid out for two choirs, a cappella, and four soloists. Realising the difficulty of the work as it stood however, the composer withheld it for the time being, and eventually re-wrote it in 1962 immediately after reaching Princeton, adding instrumental accompaniments to each of the three groups. These parts double the voices, but at the same time achieve a life of their own by means of the interchange of parts and other unobtrusive decorative devices. Stylistically the work moves away from the strict techniques characteristic of the composer's preceding works (isorhythm, canon, serialism, etc.) towards a greater freedom of melodic and harmonic expansion. One important factor in the articulation of this new manner is the all-pervading use of cori spezzati effects, the three groups of performers being directed to be placed as far apart as is reasonably practical to obtain true antiphony. The central group comprises SATB soloists and string quintet; the left hand group choir I (SATB), 2 trumpets, 2 trombones and chamber organ I; and the right hand group choir II (SATB), flute, oboe, clarinet, bassoon, double bassoon and chamber organ II.

Peopled Scrolls: a Hellenistic Motif in Imperial Art

The peopling of floral scrolls with living creatures is a decorative device which enjoyed unrivalled popularity throughout the whole history of Imperial art and in almost every country of the Empire. Its full cultivation and flowering were achieved in the Roman age; but its roots, like those of nearly every Roman art-motif, are in the late classical Greek and Hellenistic worlds. These roots were varied and complex. The primitive notion of spirits indwelling in trees and plants, and at a later stage personified in visible shape, may have played a part; some of the constituent elements can certainly be traced back to religious symbolism; and more immediate was the influence of the naturalistic trend of fourth-century art, which favoured the idea of rendering birds, insects, and small beasts in their native setting. In Hellenistic and Imperial times, as these elements mingled and the motif became more widespread, fancy came gradually to outweigh fact; and a delight in incongruity for its own sake found ready expression in the peopling of vine- and acanthus-rinceaux with mythological and genre scenes and figures, framed in the foliage or poised on slender stems, or with human figures and such solid quadrupeds as dogs, bulls, horses, bears, panthers, and lions, careering through the leafy whorls or springing from the hearts of flowers.

Industrial and Engineering Chemistry

INDUSTRIAL AND ENGINEERING CHEMISTRY, including the Analytical Edition , in 1941 received 878 manuscripts for consideration. Approximately 60 per cent of these manuscripts have been or will be accepted, some of them still being in process of review and revision which occasionally volves adding experimental work, delaying publication for soi ... onths aftei the receipt of the manuscript. This constitutes the largest member: of papers received in any one year since records have been including the index and contents pages, the volume for the year exceeded 1600 pages for the Industrial Edition and was 948 for the Analytical Edition . This is a large return for the cost to the members, and well illustrates what is accomplished through the teamwork of members of the AMERICAN CHEMICAL SOCIETY. Among the features were 13 symposia, some of them emphasized by the use of special inks in printing, decorative typographical devices, or extra illustration. Care was exercised to cover as ...