Documentary Support Research Articles

Elemente de datare a hanurilor Patria şi Neculescului

"Paradoxically, when speaking about the urban architecture of Wallachia, we refer to buildings that transpose into the urban space the characteristics of vernacular architecture. However, the modelling infl uences of this type of formal expression are multiple and owe much to the transit of Bulgarian and Macedonian master masons through the Ottoman Empire. Representing the typical built stock of Bucharest up to the fi rst half of the nineteenth century, this architecture is going to be almost totally replaced by neoclassical, neo-Gothic and eclectic buildings. The late recognition of the value of town architecture is mostly due to causes linked to “the image” of Bucharest. At the turn of the nineteenth century, the city wanted to erase its rural aspect and emphasize the importance of its recently built representative great eclectic palaces. Nevertheless a parallel reality constituted by its rural character impregnates the city up to the present day. “Europe did never have, since the end of World War II, a capital more submissive to the rural than Bucharest.” Until the 70’s urban architecture was still perceived as minor and somewhat insignifi cant. Then a major change in trend appeared, while Romania underwent a period dominated by protocronism - a theory aiming at emphasising Romanian priorities in the most diverse domains. Th is period overlaps the restoration campaign in the Historic Centre of Bucharest, conducted by architect Constantin Joja. Its goal was to convey the “true image” of the town, by eliminating some of the eclectic façades and reconstituting building fronts in the style called urban architecture. Th is controversial restoration approach resulted in very successful examples (as in the case of Manuc Inn, based on consistent iconographic data) but also in the creation of a series of new façades designed by the architects. Under these circumstances the conservation of the few examples of authentic urban architecture becomes even more signifi cant. Two of the buildings erected in the style, belong to a program that was still representative for Bucharest in the fi rst decades of the 19th century: the commercial inn – a late and small scale version of the Great Inns described by Frederic Damé as characteristic buildings of the 18th century Bucharest. Both are to be found in Calea Moşilor (Podul Târgului de Afară), in different stages of use and conservation. Because it belongs to traditional typologies, dating urban architecture is particularly diffi cult. Based mainly on the characteristics of the buildings, with little or irrelevant documentary support, the supposed construction dates of the two inns are in fact, signifi cantly prior to the real date of their completion. Establishing the exact building date does not diminish their value, demonstrating the late persistence of local models. "

Darktongues:Fulfulde and Hausa inFinnegans Wake

Starting perhaps as early as 1927, but particularly after1932, using F.W. Taylor's A Grammar of the Adamawa Dialect of the Fulani Language (1921), and his Fulani English Dictionary (1932) and its antecedents, Joyce began working Fulfulde and Hausa languages and Fulani and Hausa history into passages in Finnegans Wake . This article examines a number of such passages using textual evidence of associations that are greater than chance, with some documentary support. One of these passages is analyzed as a direct claim for the use of Fulfulde based on its co-occurrence with Joyce's satire on Irish eclipsis. There is also a brief examination of his associated use of Chamba/Sama and of his association of the Sama with the Same (Lapp) people (with a pun on same).

Communications

To the Editors: I recently came across James C. Schneider's reply to my reply to his AHR review of my book Hitler Attacks Pearl Harbor: Why the U.S. Declared War on Germany (AHR, October 2004, 1367). I write you now to reply to his last reply. Please let me respond to his criticisms point by point. Professor Schneider asserts that I lacked support for my argument that the U.S. public essentially accepted Hitler's denial/retraction of his declaration of war. The fact is that I did provide some documentary support for that part of the story in my book, in that I cited a few pertinent examples from the U.S. press. However, Professor Schneider is correct if he is arguing that what I cited was not nearly enough evidence to support my contention. However, and as I explained repeatedly throughout my book, the evidence to support my contention is...

Creating Norms for Indo-Portuguese Architecture: TheLivro de Acordãos e Assentos da Câmara de Goa, 1592–1597

Architecture is testimony to the passage of time, to social relations and ways of doing things. Architecture is responsible for the morphology of cities; it constitutes a fundamental element in the city's image and of the urban landscape. In the context of Indo-Portuguese culture, architecture—emerging as the sedimentation of different ways of doing things—appears from a research perspective as a particularly delicate issue because of the shortage of specific documentary information. Given the difficulty of access to documentary support, the study of architecture often falls back on the descriptions and accounts of travellers which are almost inevitably constrained by an interpretive vision that speaks more of the observer's own mindset than of the object itself.

Práxedes Mateo Sagasta y Escolar. Estudio y análisis de las características extrínsecas e intrínsecas halladas en la documentación electoral sagastina (1854-1901) ubicada en el Archivo Histórico del Congreso de los Diputados de España

The subject of the article is based on the parliamentary activity developed by D. Praxedes Mateo- Sagasta y Escolar, parliamentary activity reflected, shaped and conserved, —from half of the S.XIX to principles of the S.XX— in handwritten electoral documents, that they justify all the events of par- liamentary character that happened during the presidency in Spanish Parliament of the investigated deputy.The Historic Archive of the Congress of the Spain Deputies conserves within the Section of Parliamentary Documentation (Series of Electoral Documentation) Sagasta’s electoral documentation (1854/1901), which is conserved in printed format, in the same documentary support in which it was deposited in the moment of its elaboration. For that reason, the objective of the present article is to manifest the intrinsic and extrinsic characteristics found in such documentary collection. Once discovered, studied and/or analyzed these characteristics establish theoretic solutions and in practice immediately, they may eliminate the found deficiencies in the different administrative processes and of classification that has applied on this unique and irreplaceable documentary treasure in the parliamentary history and of the Spanish constitutional law.

Pre-admission nursing assessment in a Welsh Medium Secure Unit (1991–2000): Part 2—comparison of traditional nursing assessment with the HCR-20 risk assessment tool

Pre-admission forensic nursing assessment is a tradition that has no research evidence base, little documentary support and is an expensive drain on nursing resources from clinical environments. Such an expensive practice warrants some evaluation of the quality of these nursing assessments. This study assessed the quality of nursing risk assessments through comparison with the HCR-20, a well-established and widely validated violence risk assessment instrument. There was a high degree of correspondence between nurse assessments and the contents of the HCR-20. The results offer support for forensic nurses’ abilities to develop effective measures and practices based upon nursing knowledge and experience where no formal evidence base previously existed.

The Rival "Canterbury Pilgrims" of Blake and Cromek: Herculean Figures in the Carpet

Out of his long list of enemies, William Blake came to hate none more passionately than the engraver-turned-publisher Robert Hartley Cromek. He came to regard Cromek as someone determined to obstruct his artistic advancement and, more broadly, as representative of a self-serving strain of entrepreneurship infecting the English marketplace. Alexander Gilchrist and subsequent biographers have uncritically accepted Blake's charges against Cromek and have repeated them without documentary support.' New information relating to their rival projects to publish by subscription prints of paintings both titled The Procession of Chaucer's Pilgrims to Canterbury shows, however, that the idea to paint an illustration of the Canterbury pilgrims and make an engraving of the painting originated with Cromek, not Blake; that everything Blake did in his Canterbury Pilgrims project was an attempt to surpass corresponding parts of Cromek's project; and that Blake allegorized his version of his dispute with Cromek in Milton. In fact, the problems Blake encountered during this period caused not so much by Cromek as by the economically and aesthetically inhospitable climate for all artists, and especially for engravers, in early nineteenth-century England. But apart from the question of whether Blake is justified in his hatred of Cromek, it is unquestionably the case that Blake's Canterbury Pilgrims project can be understood only in the context of Cromek's Canterbury Pilgrims project-and of Blake's consuming enmity toward Cromek. To many other contemporaries, however, Cromek was an energetic figure with much to recommend him. After his marriage to his first cousin, Elizabeth Charge, on October 24, 1806 in Wakefield, Cromek and his bride moved into a house at 64 Newman in London. Cromek, then thirty-six, was ready to make his mark as a publisher and editor, having toiled as an engraver of indifferent talents for more than a decade. Mrs. Martha Eastwick recalled in a letter to Cromek's son many years later that the bride and groom were handsomeyour father, in particular, had a small Classical head, with most gentlemanly manners, and took much in society.2 Cromek no doubt had chosen his new residence with an eye to its social and professional advantages. Newman was popularly called Artists' Street because about forty painters, sculptors, engravers, and others practicing the arts lived along its two-block length. Benjamin West, President of the Royal Academy,

The Inevitable Failure of Cost-Containment Strategies

To the Editor.— Dr Schwartz 1 in the article entitled "The Inevitable Failure of Current Cost-Containment Strategies: Why They Can Provide Only Temporary Relief" nicely provides documentary support for "Baumol's disease," a condition that has been used in the past to explain the high cost of hamburgers in New York ( Forbes , Aug 15, 1983, p 92; Forbes , Sept 15, 1977, p 166). William Baumol, an economist at New York University and Princeton (NJ) University, notes that "any service that is inherently labor-intensive will tend to rise in cost faster than the general rate of inflation." He explains that a person can provide only so many units of a labor-intensive service during a day. Since each person must eat and partake of the other basic goods and services of society, each will demand sufficient compensation to permit this. He claims that investment in capital goods, education, and technology is required to

Henry George and ‘Rerum Novarum’

Abstract. Students of the life and thought of Henry George have accepted too readily his own opinion, expressed in the Open Letter that he addressed to Pope Leo XIII in 1891, that the Pope's epoch making encyclical Rerum novarum was aimed at Georgism The disposition of the Open Letter in Vatican circles remains obscure, perhaps because the Holy Office had so recently decided that George's works were deserving of condemnation. But there is documentary support for only an allusion to George's views on property in the encyclical. Nor can the reinstatement of Father Edward McGlynn and the reappraisal of George that it signaled be attributed to the Open Letter. George's views may have had significant indirect influence, however, through (1) national land reform movements insofar as they affected the course of Catholic social thought, and (2) the discussion of Georgism as a form of socialism. These possibilities need to be investigated.

The Placement of Michelangelo'sDavid: A Review of the Documents

In reading Saul Levine's recent article on “The Location of Michelangelo's David,”1 I was made once more keenly aware of how much in the David remains misunderstood and subject to disagreement, even on the most basic level of documentary support (the two widest poles of debate: was it made as an ornament for the Cathedral, or as an anti-Medici symbol for the Palazzo de' Signori?). As for myself, I disagree with most of Levine's proposals, indeed so radically and exhaustively that it is difficult to know where to begin.

Marianne Ehrenström och hennes konsthistoria

Summary Notices sur la Littérature et les Beaux‐Arts en Suède by Marianne Ehrenström née Pollet, was published in Stockholm in 1826. The book, written in French, is divided into three sections: literature, 157 pages; theatre and music, 79 pages; and finally painting and sculpture, 111 pages. The last section has been selected for attention in this paper. The authoress had a Swedish father and a German mother. In 1792 at the age of nineteen she came to Stockholm from Stralsund in order to be maid of honour to the queen dowager, Sofia Magdalena. Highly educated, she took an active part in the cultural life of Stockholm. In the course of events she became a pupil of the French landscape painter, Louis Bélanger, who came to the Swedish capital in 1798. She even exhibited some of her works at the Royal Academy of Fine Arts, where she was elected a member. Her contemporaries appreciated her talents and she was considered a rather gifted “dilettante” (cf. Joseph Acerbi. Travels through Sweden, Finland and Lapland to the North Cape I, London 1802, p. 167). When she first thought of writing about Swedish cultural personages it was only in order to provide a friend with information about Swedish poets and artists. But, according to the letter she herself wrote to Johann Wolfgang von Goethe in 1826, she was encouraged by many interested notable persons to expand her work and to publish it. Marianne Ehrenström's book is not the first work gathering and binding together Swedish art as a whole. In 1817 Lorenzo Hammarsköld published a history of art, the last section of which is dedicated to art and artists in Sweden. His work, as well as articles and critiques in different publications were of great use and value to Marianne Ehrenström when she was searching for documentary support for Notices ... especially with reference to earlier Swedish art. However, interest in her work rests primarily in the fact that she presents many of the well‐known contemporary Swedish artists who are not mentioned in Hammarsköld's book. Her friendship with many artists as well as with their patrons enabled her to assemble facts and information, thus being able to give a rather good picture of how artists in the first decades of the 19th century were appreciated by most of the art lovers of their time. With great feeling and liveliness she describes many works of art thus compensating the reader for the lack of illustrations in her book. Generally she seems to be interested in the motif of a work of art, even if she occasionally tries to analyse her impressions and to give an observation of more technical nature. The Swedish contemporary criticism of Notices ... was in some cases rather severe; for instance, blaming the authoress for giving too much praise to everyone. The merits, however, were acknowledged in Sweden as well as abroad (cf. Revue Encyclopédique Tome XXXV, Paris 1827) where information on Swedish cultural life was not often mentioned. The book was also reviewed in Germany, in England, and as late as 1839 in Italy. In 1856 the French art historian, Charles‐Philippe de Chennevières, refers with delight to Notices ... (cf. Revue Universelle des Arts). There were other authors who did not openly refer to Marianne Ehrenström; still she was of great help to them in their own writings. The most flagrant example is given in J. P. Miller's Danish booklet, De skjönne Kunsters Tilstand i Sverrig published in 1831. A good part of the contents is borrowed word for word from Notices ... The French archaeologist, Philippe Le Bas, apparently consulted Marianne Ehrenström's book about Swedish artists and writers (cf. Suède et Norwège Paris, 1838), and Notices ... appears in the bibliographies of French books on art as late as in the 1920's and 1930's (cf. notes 169, 170). From then on and even today, naturally Swedish art historians also have cited or referred to Marianne Ehrenström's opinions on her own time and contemporary artists. This paper makes no pretense at being final or conclusive in regard to the enumeration and mention of authors of different nationalities who have found interest in Notices ... Nevertheless these references are perhaps sufficient to show that the living interest and enthusiasm that Marianne Ehrenström proved for Swedish art and Swedish artists a hundred and fifty years ago have finally imparted something of value to posterity. Apparently there was a great amount of work entailed and expended in the production of her book. It should be judged as the pioneer work it is, as an informative cultural document appropriate for its time, written during an epoch when literature on Swedish art still was very rare.

THE ANTIVIVISECTION BILL AGAIN.

The Senate Committee on the District of Columbia will hear arguments for and against the Gallinger antivivisection bill on some day in February, the exact date not given. We may assume it as certain that the zoöphiles will be there in force, with all the documentary support they can command, to reinforce their personal efforts. It is not too late to ask all physicians, medical societies and organizations that have not yet spoken to exert their influence by resolutions, memorials and direct individual work against the bill. Its possibilities for evil have been well pointed out in the medical press, but it is essential that the committee be collectively and individually enlightened. Whoever, therefore, like Dr. R. T. Morris, whose communication has already been noticed inThe Journal, can give his personal testimony as to the value of animal experiments should do so at once. Society resolutions and memorials are