Sinuous Line Research Articles

Short Communication: A novel hypopigmentation for southeast Pacific humpback whales

Southeast Pacific humpback whales (Megaptera novaeangliae) migrate annually to breeding grounds in Machalilla, Ecuador, and Uramba Bahía Málaga, Colombia. This species usually displays a black/ grey body colouration with its dorsal and caudal fins exposed above water. Between 2005 and 2023, whales in these regions were studied and photographed on 1,627 days. Results indicated that 29 whales have novel body markings, including white spots, irregular circles and sinuous lines, which resemble the paintings of 20th Century artist Jackson Pollock. While this novel ‘Pollock‐style’ pigmentation does not appear to cause health problems, we recommend further studies to evaluate its origin and effects.

EASTER SPRING SONGS IN THE INTERFLUVE OF THE LOWER PRIPYAT, UZH AND TETERIV RIVERS

The northern lands of the modern Kyiv region, located between the Pripyat, Uzh, and Teteriv rivers in their downstream, historically and geographically belong to Polissia. Ethnographers rightly consider this territory a reserve of ancient Slavic traditions. In the life of local residents, various calendar rites of pre-Christian origin continued to function until the beginning of the 21st century. Among all the calendar seasons, spring was particularly diverse. Rituals and spring songs changed at different stages of the spring season and reflected the state of nature and the aspirations of people, first of all young people: first to summon spring, and later to activate its signs.
 The article is devoted to consideration of the songs of the middle phase of spring in this territory – from the Easter holiday to the Trinity. They are noticeably different from the songs сalling for spring at the beginning of the season. The girls did not just sing Easter songs, but accompanied them with a ritual dance, roundelays. They held each other`s hands and moved in a circle or along a sinuous line, and sometimes imitated work in the field using special gestures. The content of these songs is wide – from children's game plots to small performances on the topic of relations between a boy and a girl. Songs also differ in musical features. The song material in the article is presented according to the rhythmic-structural typology principles. Songs were recorded by the author in the years 1979–2007. At the end of the article, music samples are provided (transcribed by the author). Abbreviations mean the names of the districts of the Kyiv region for the time of recording (Pls = Polisky district, Chnb = Chornobylskyi district, Ivn = Ivankivskyi district). Song forms are encoded using system of special characters developed by I. Klymenko (2008; 2020).

Analysis of compositional lines in natural landscapes

Nature was and remains an eternal companion of man, but at the same time, it is also a constant enigma. Man’s connection with nature is ancestral, and the need for this connection is constantly proven. Landscape design is the field where art (human creation) and nature meet, creating a field of endless possibilities in the development of outdoor spaces, but while the artistic side of the field is constantly improved and developed, sometimes the exploration of the natural side is left behind. The present study aims to identify and analyse the types of compositional lines that can be found in natural landscapes. For this, different photos from natural parks or Romanian reserves were selected and subjected to visual analysis. In the examined scenes, vertical, horizontal, diagonal, straight or sinuous lines (the most dominant) were identified, being suggested by tree trunks or logs, water beds or streams, paths, the topography of the land or the contour of the crown. Their properties, such as thickness or repetition, can provide diversity, animate a scene, and generate visual movement or invite further exploration. This work can serve as a basis for a more thorough study of natural landscapes and is relevant to landscape architects who support the use of natural style in their work or are interested in integrative landscape design for a better understanding of natural features, as well as researchers who want to explore the aesthetics of natural landscapes.

Telangiectasias in a row

A 29-year-old man presented with an 11-year history of asymptomatic venous telangiectasias forming a sinuous line along the anterolateral part of the thorax at the level of the lower ribs and xiphoid process (Fig. 1). He also stated that his 22-year-old brother had the same condition. Physical examination revealed no other abnormalities. Abdominal ultrasound and complete blood tests including liver profile, full blood count and coagulation indexes were all normal; screening tests for HIV and hepatitis B and C virus were also negative.

New enigmatic geoglyphs in the Indian Thar Desert: The largest graphic realizations of mankind?

A meticulous survey of the Indian Thar Desert with Google Earth led us to identify eight sites in the Jaisalmer District, with clear geometrical lines that may resemble geoglyphs. The data collected in the field, together with images taken by a drone, revealed the exceptional character of the graphic patterns near the village of Boha. Two remarkable geometrical figures: a giant spiral adjacent to an atypical serpent shaped drawing, are connected with a cluster of sinuous lines. This triad extends over 20.8 ha and totals more than half of the 48 km of lines observed. Three memorial stones positioned at key points, give evidence that planimetric knowledge has been used to create this elaborate design. These artifacts allow us to envisage hypothetical modalities of edification. We collected indicators of antiquity suggesting that these lines may be at least 150 years old and possibly linked to the Hindu memorial stones surrounding them. The lack of visibility from the ground raises the question of their function and meaning. So far, these geoglyphs, the largest discovered worldwide and for the first time in the Indian subcontinent, are also unique as regards their enigmatic signs.

On the River Pluss: Interior of the Malay Peninsula

On the River Pluss:Interior of the Malay Peninsula X. Brau de Saint-Pol Lias Translated by Colin Dyer Editor's note: The author of this article, Marie François Xavier Joseph Jean Honoré Brau de Saint-Pol Lias (1840-1914),1 visited Sumatra and the Malay Peninsula c. 1881–81 together with J. Errington de la Croix looking for potential investing opportunities in mining or commercial agriculture. Brau d Saint-Pol Lias published several articles and books about his travels, including Perak Et Les Orangs-Sakeys: Voyage dans l'intérieur de La Presqu'ile Malaise (1883). He was active in several organizations devoted to exploration and the commercial exploitation of colonial territories, including the Société de géographie, the Société d'études colonials, and the Société de géographie commerciale. Translator's note: Unless otherwise indicated, footnotes in this translation are those of Xavier Brau de Saint-Pol Lias. Names are spelled as in the original French text. The Virgin Forest Monday 7 and Tuesday 8 February 1881 – Lying in wait for animals At first, only one elephant is on the riverbank. This is Poulo-Ganti, a small bad-tempered elephant, an old acquaintance who roars like several tigers. We refrain from mounting it with Mr Low, and the Governor settles himself on its panniers.2 And then, before we have gone ten paces, we meet the people coming to fetch us. At their head is an enormous animal, on which it seems as though the Radjah Mouda is on a second-floor balcony.3 The Governor, a very good man with the [End Page 159] Click for larger view View full resolution Perak c. 1910. Sungei Plus joins Sungei Perak north of Kuala Kangsar. Source: Map of the Malay Peninsula. London: Edward Stanford, 1910. [End Page 160] indigenous people as well as with the Europeans, strives to salute the Radjah by waving to him: 'Good day, good evening' [sic]. But the Radjah persists in not seeing the Governor, who is in front of him, and in fact well below him. He makes his elephant lie down, talking all the while to the Resident, without understanding any of the signals being made to him, and dismounts, gruffly taking his leave to hand over his animal. If one has lived outside the bounds of civilized society at any time in life, then it is not surprising to return to that again in the forest we are now penetrating.4 At first it consists of bamboo trees in large clusters, but soon it becomes a great beautiful virgin forest, like at Bédagué; because at the start of my first expedition, I had encountered nature at its most luxuriant and grandiose, it is scarcely possible to see anything more perfect. Here are giant trees that rise to prodigious heights, with a powerful thrust, and form domes of greenery impenetrable to the sun's rays. Down below are trunks with vertical compartments and jutting ridges and buttressing. Surprisingly high roots trace sinuous lines on the ground and form the veritable foundations for the construction of these colossal trees. Magnificent plants abound: the tchombang with its big red edible flower, the bretam with its immense leaves, and the great ferns. And the vines! Under the foliage they can be seen everywhere; at once graceful and terrible, these strange horizontal plants wrap themselves around others and devour them. They go upwards, downwards, they hang and they swing, passing from one tree to another, assuming diverse and bizarre shapes, flat or round, rough or smooth, green, white or dark, slender threads, wide ribbons or enormous cables. Here are soft suspensions, but elsewhere they look like the interlacing reptiles, or pythons crushing their prey. They require support from fragile shrubs but also entwine, with inextricable knots, a strong and robust hundred-year-old tree which will succumb to their grip! There are rattans, with their vast leaves slightly jagged but well armed with thorns all along the sides. These palm-vines with their long creeping stems and bristling prickles are as abundant here as on the river we have just come up. They form impenetrable, dense growths. They envelope clumps of trees...

Cupule isolée, groupe de cupules isolées, plage de cupules juxtaposées et chevauchantes, nuage de cupules éparses sur les roches gravées de la région du mont Bego. Représentation de l’amas stellaire des pléiades

The protohistoric rock engravings of the region of Mount Bego, located in the Alpes-Maritimes, in the municipality of Tende, include more than 40,000 figurative engravings, such as corniforms, daggers, halberds, axes, reticulates, appendage reticulate, rectangular or oval beaches, anthropomorphs, geometric figures and radiant circles that we consider as an ideogram and more than 60,000 non-figurative signs, such as isolated cupules, isolated cupules of cells, small beaches of cupules, scattered clouds of cupules, bars, which although not figurative are all highly significant. All these engravings, inscribed on more than 4150 rocks spread over 1500 hectares, in eight high mountain valleys, most often made with small cups, were not carried out at random. They have been traced in relation to economic concerns, cosmogonic myths and cultural traditions of the farming and pastoral peoples of the Copper Age and the Early Bronze Age of the Southern Alps during propitiatory rites. It was a period corresponding to the climatic optimum of Chalcolithic where during the summer, in the lower valleys, cultivated fields and pastures dried up. The economic preoccupations of the populations who then occupied the regions located on both sides of the Southern Alps were essentially turned towards the search for water to irrigate cultivated fields and pastures, as evidenced by the petroglyphs inscribed on the rocks: sinuous lines evoking creeks or irrigation canals, rectangular or oval beaches, water catch basins, isolated wells, isolated wells, wells or scattered cups of rain or reticulates, which represent cultivated fields and pastures connected to natural holes or cracks that evoke springs and streams. During propitiatory rites, the engravers addressed the god of the storm, master of the lightning and dispenser of the fertilizing rain, to the great goddess, goddess-mother or goddess-Earth, arms raised in a position of receptivity for collect rain from the sky and bring in spring, with the return of vegetation, abundance to humans.

Description of a New Species of Ponyfish (Teleostei: Leiognathidae: Equulitini: Photolateralis) from the Gulf of Oman

A new species belonging to the leiognathid genus Photolateralis, collected from the coastal waters of Oman, is described herein. Photolateralis is unique among leiognathid genera in possessing a species-specific translucent midlateral flank stripe that may be comprised of either multiple independent translucent windows (P. stercorarius, P. moretoniensis, and the new species) or a continuous translucent lateral band (P. antongil). Photolateralis polyfenestrus, new species, is distinguished from congeners by the presence of a short, composite midlateral stripe comprised of three small, rounded translucent windows (vs. numerous windows in both P. stercorarius and P. moretoniensis, or a continuous translucent stripe in P. antongil), and that is confined to the midflank (vs. extending a majority of the length of the flank in congeners). The new species is further distinguished from both P. moretoniensis and P. antongil by a shallower body, and from both P. stercorarius and P. moretoniensis by a pigmentation pattern above the lateral midline comprised primarily of larger rounded blotches (vs. smaller sinuous lines and markings comprising a vermiculated pattern). Photolateralis polyfenestrus is characterized by a lower jaw that is deep and convex in lateral view (vs. mostly straight in congeners, excluding P. antongil), and that forms an angle of between 60°–70° to horizontal (vs. less than 45° in congeners, excluding P. antongil). The only other species of Photolateralis reported from the Western Indian Ocean is P. antongil, to date only known from the coastal waters of Madagascar, whereas both P. stercorarius and P. moretoniensis have ranges restricted to the western Pacific and extending into the eastern Indian Ocean.

The Economy of Sustainability: Some Consequences on the Economic Theory

The economy of sustainability is usually portraying the tendency to stability as a universal law regulating the development of the mankind and nature relationship. The trend towards the stability of economic systems is the guarantor of a constant and regular growth, in accordance with the evolution of the environment around us. It follows that the deviation from the stability rule is certainly possible but with some penalties. The main penalty is the transformation of the linear and constant growth into the conjuncture sinuous movement, so that the corrective recession would be introduced into the economic circuit. Recession intended as a tool to bring the deviated system back to the natural condition of stability. According to this point of view, the recession is a sin to be paid in the economy management and there would be no way to avoid to pay this price. Therefore, attempts to avoid the penalties imposed to correct the system may be reckless. Trying to avoid the penalty means only to refuse now that damage which would allow the following return to the serenity of natural stability. It follows that the inexhaustible attempts to correct the economic trend in favor of a constant growth line do not take into due consideration that only the stable condition of the economy can guarantee that tomorrow wouldn’t be worse than today. Therefore, attempting to straighten the sinuous line of the cycle is absurd, at least if we continue to remain inside the instability sub-world. The result is that the ultra-Keynesian policies to support the cycle correspond to an irrepressible desire to take action in order to mitigate the damage. But the recession is a cure that sooner or later must be adopted. So, the options offered by the fiscal and monetary policies to support the cycle can have some effect, even satisfactory, but only in the short term. That is, they offer the possibility to drag over time the showdown with the immanent tendency towards stability. But sooner or later the tendency towards recession will return even more urgent and it would be therefore appropriate to accept a present damage for an advantage (constant growth) in the future, within an economic scenario once again stable.

Art in Science: The Artist and The Disease: The Exemplary Cases of Renoir and Toulouse-Lautrec.

Art in Science: The Artist and The Disease: The Exemplary Cases of Renoir and Toulouse-Lautrec.

Identification of CD146 as a novel molecular actor involved in systemic sclerosis

We highlight for the first time that CD146/sCD146 is involved in fibrotic process during SSc. sCD146 could thus constitute a new biomarker to assess disease activity, and potentially a new target for therapeutic applications.

Tectonic and chemical implications of cathodoluminescent microstructures in quartz, Parry Sound domain, Ontario, Canada

Cathodoluminescence (CL) imaging of quartz in orthogneiss of the Parry Sound domain, Grenville Province, Ontario, Canada, reveals four dark microstructures—medium-dark grains, mantles, sinuous lines, and straight lines. The Parry Sound domain experienced granulite-facies deformation and metamorphism followed by variable degrees of amphibolite-facies retrogression associated with the development of retrograde shear zones. We integrate our observations of CL-visible quartz microstructures with structures observable with optical and scanning transmission electron microscopy, analyses of water species concentration, and trace element distribution in quartz, as well as with microstructures in plagioclase, to determine their characteristics and elucidate their timing and mechanisms of formation relative to the deformational history. Medium-dark grains are primarily located in and near kilometer-scale shear zones at the margins of the Parry Sound domain, have notably darker cores than most samples in the interior, and may have higher water contents than other samples in the interior. These grains formed during late shearing, at a lower temperature than CL-bright grains; they thus provide evidence that the large shear system narrowed with time. Dark mantles occur at grain boundaries and correlate with higher concentrations of Fe. They formed after the first shearing event, but while still at amphibolite facies, and they provide evidence for post-kinematic alteration at grain boundaries. Dark sinuous lines correspond to subgrain boundaries that formed after retrograde shearing, but while still at amphibolite facies. Dark straight lines correspond to fluid inclusion trails and most likely formed at low temperatures and pressures during exhumation.

Integrated Analytical Techniques for the Study of Colouring Materials from Two Megalithic Barrows

We have determined the composition of rock art pigments from two megalithic barrows located in the north of Portugal. The use of XRD, SEM–EDS and FT–IR spectroscopy confirmed the presence of hematite and kaolinite in the red pigments from the Eireira barrow, and kaolinite in the white pigment from the Leira das Mamas barrow. The organic composition of the pigments was studied by GC–MS, suggesting that the red sinuous lines and dots from the Eireira barrow were prepared with cooked or heated algae and/or aquatic plants, with egg as binder, while the white pigment from the Leira das Mamas barrow revealed a mixture of vegetable oils for kaolinite moulding, which could be stabilized by temporary exposure to high temperatures. The multi‐analytical approach used on this study of megalithic pigments allowed the recovery of important data about north‐western prehistoric communities, namely the way in which they exploited existing resources and their ability to transform them.

Cinnamon by Neil Gaiman

Reviewed by: Cinnamon by Neil Gaiman Karen Coats Gaiman, Neil Cinnamon; illus. by Divya Srinivasan. Harper/HarperCollins, 2017 [40p] ISBN 978-0-06-239961-8 $17.99 Reviewed from galleys R 6-9 yrs In this original folk-type tale (available previously only online or as an audio file), Cinnamon is a South Asian princess who is blind and mute. Her father offers treasures for anyone who can teach her to speak, but all fail until a self-proclaimed man-eating tiger appears. When he proffers love, Cinnamon speaks, and when he describes to her the lush world outside the palace, she decides that she will leave with him. A nagging aunt and the tiger himself provide wry dark humor, and the tale’s trajectory offers a fairly oblique message about disability; the tiger’s love and the promise of walking a larger world alongside a fearless companion who handily dispatches naysayers will resonate deeply with children facing similar limitations. Stylized settings use flattened perspective to foreground the theatricality of the tale; most scenes contain a window or door in the background through which the foregrounded action is being observed. The overall effect is one of controlled serenity, but the windows in Cinnamon’s bedroom also serve to highlight her isolation from the outside world in sharp contrast to the cooling, lush greens of the jungles where she longs to be after meeting the tiger. Portraits of Cinnamon emphasize her beauty, while scale and the careful drafting of sinuous lines and a compelling [End Page 361] illusion of eye contact make the tiger a powerfully arresting figure; child viewers will have no trouble understanding why Cinnamon chooses to leave with him. Copyright © 2017 The Board of Trustees of the University of Illinois

Ensaio Visual: Com quantas janelas? Homenagem a Ana Mae Barbosa

Nós tentamos fazer uma homenagem a Ana Mae Barbosa partindo da poética de sua própria imagem em ação, mas isso não é uma tarefa fácil, principalmente, se pensarmos em como ela tem dedicado a sua vida a nos mostrar a importância da Arte na Educação. Percebendo a dificuldade que seria a criação de um ensaio significativo que contemplasse o tempo e o espaço é que ficamos somente a abrir janelas! As janelas compartilhadas com artistas, pesquisadores e arte educadores adquiriram horizontes com linhas sinuosas, hibridizadas, que, por vezes passaram ao som, nos levando da visão à audição, e, do som, conseguimos atingir também o aroma! Talvez os artistas surrealistas tenham também aberto janelas! Pois, é certo que com Magritte nós conseguimos sentir o cheiro do mar, e, com Max Ernst, tocamos a textura da terra. Mas, é somente com João Jardim que passamos a buscar a “Janela da alma”! E, é dessa forma que alguns vão orientar o seu olhar no ensaio em que homenageamos a Barbosa. Alguns caminhos da construção do olhar se darão de dentro para fora, outros de fora para dentro, e, é nesse vai e vem da construção dos percursos em que os sentidos vão multiplicando as janelas. Ana Mae Barbosa tem criado novas janelas e também tem nos levado a construir novas miradas. Com o GEARTE tentamos encontrar o tom, o tempo certo da grandeza de uma vida que sabe dar valor ao sonho no compasso da realidade de seu país.

Excessive Resolution: From Digital Streamlining to Computational Complexity

Is the term ‘ornament’ set to become redundant in architecture? With the sinuous lines produced by CNC milling machines giving way to the ever more weirdly figural products of algorithmically controlled 3D printing, decoration is increasingly an integral part of form, rather than supplementary to it. Mario Carpo – Reyner Banham Professor of Architectural Theory and History at the Bartlett School of Architecture, University College London – investigates this voxellisation, and how it drives architecture beyond human comprehension.

A Second Reunion

10 WLT JANUARY / FEBRUARY 2016 global frequency A Second Reunion by Rob Vollmar THE SAROD IS AN INSTRUMENT used in North Indian classical music whose origin is shrouded in mystery and no small amount of controversy. What is not in dispute is Amjad Ali Khan’s status as a living master of the instrument and Infinite Hope (2015), his second collaboration with Iraqiborn oud player Rahim AlHaj, as extending upon the Grammy-nominated successes of their first outing, 2009’s Ancient Sounds. Infinite Hope’s compositions, seven in total and adding up to more than an hour of new music, are simultaneously rooted in the traditional and the contemporary. The instrumentation, featuring sarod, oud, a variety of percussion instruments, and the occasional voice accompaniment, exudes a classical Indian soundscape—sinuous lines unspooling over deceptively complex accompaniments that add and subtract layers in response to subtle rhythmic shifts in the melodies. Despite this clear nod to the core traditions of Indian classical music, AlHaj contributes to Infinite Hope as both performer and composer in ways that might not be evident upon an initial cursory listen. Both Indian and Arab classical music is often composed through a structured improvisation wherein the composer explores a predetermined set of melodic material, resulting in a piece known in the Indian tradition as the raga and in the Arab tradition as a taqsim. These compositions can easily stretch on for thirty minutes or more and, unless the listener is knowledgeable about the conventions of the forms, can seem to meander without purpose. AlHaj, a 2015 NEA National Heritage Fellow, has taken a different approach in his recorded output—creating pieces with more obviously structured melodies that leave a door open for uninitiated listeners to appreciate the melodic and rhythmic specificities of Arab music. On Infinite Hope, he exerts this compositional influence after the fact, taking recordings made by Khan (as well as his sons Amaan and Ayaan, who contribute on four tracks) and reorganizing them around strong central melodies while adding his oud parts in response to the composed final product. While the method may horrify purists, the result is anything but inauthentic. AlHaj is a sensitive curator of these melodies and brings a compositional focus to the songs—some of which still stretch into the twelve-minute territory —that is often difficult to produce from a pure improvisational recording. Some musicologists believe that the sarod is an Indian variant of a Central Asian adaptation of the ancient oud. As such, these collaborations between AlHaj and the Khan family may represent the first reunion of the popular Hindustani instrument with its musical forebear. There is an unmistakable beauty in the juxtaposition of the sarod’s fat, quicksilver tones against the more percussive oud lines, which dance deftly around them, that would have remained unheard without this compositional process. Whatever traditional conventions that had to be sacrificed in order to realize this sweet homecoming must surely be acknowledged as being for the greater good. Rob Vollmar is WLT’s book review editor. Notebook Amjad Ali Khan Rahim AlHaj Listen to a Spotify playlist highlighting the career of Rahim AlHaj on the WLT website. ...

About the Cover

About the Cover Catherine Raymond, curator Click for larger view View full resolution Front Cover. Cover: Obverse and reverse of two Pyu coins, silver, apparently counterfeits of coins popular in First Millennium. BC. 87.04.01 and BC. 87.04.02. Courtesy of the Center for Burma Studies, Northern Illinois University. Cover design: Jeff Strohm, Northern Illinois University These two Pyu coins are exemplars of the coins found in Central and Upper Burma, minted in the First Millennium under the Pyu Kingdom, c.500–800 CE. Called Rising Sun/Srivatsa, their stamped design bears on the obverse a stylized rising sun with 12 rays separated by a dot; the whole enclosed by a solid circular line beads in the perimeter, and a raised outer rim. A horizontal line divides the coin. On the reverse is the Srivatsa symbol, viewed by some numismatic scholars as a reference to the temple of Sri, goddess of fertility with the sun and moon above and several ancillary symbols at the sides: the swastika with a dot at each end on the left, and the bhadrapitha throne on the right, placed below a line of three dots. Srivatsa comprising combinations of triangles and sinuous lines, have been interpreted variously as micro-cosmic symbols which might be associated with either Hinduism or Buddhism. As early as the sixth and seventh centuries CE, Chinese sources noted the Pyao (Pyu) for their silver coinage. Alternatively, they called themselves the Tircul, which was the name given to the Pyu by Arab merchants. It is thus unsurprising to have found examples of this type of rising sun coinage in following the actual trade route from important Pyu sites, but encountered also in Dvaravati (now in Thailand), up to the tip of the former Funan kingdom (now southern Cambodia and Vietnam). However, these raise a question of authenticity: the two coins depicted here each in obverse and reverse, although quite similar to unquestioned originals found in the Pyu archaeological sites, could be fakes but were presented to us specifically to be used for educational purposes. They thus raise the question of “ethics and authenticity” which is in part the main theme of this issue: a topic which should be also examined within the world of Art and Culture, no less than within the ambit of the Social Sciences. Catherine Raymond, curator Burma Art Collection at Northern Illinois University Copyright © 2014 Center for Burma Studies, Northern Illinois University

The comparative morphology of epidermal glands in Pentatomoidea (Heteroptera)

The Heteroptera show a diversity of glands associated with the epidermis. They have multiple roles including the production of noxious scents. Here, we examine the cellular arrangement and cytoskeletal components of the scent glands of pentatomoid Heteroptera in three families, Pentatomidae (stink bugs), Tessaratomidae, and Scutelleridae (shield-backed bugs or jewel bugs). The glands are; (1) the dorsal abdominal glands, (2) the tubular glands of the composite metathoracic gland, and (3) the accessory gland component of the composite metathoracic gland. The dorsal abdominal glands are at their largest in nymphs and decrease in size in adults. The metathoracic gland is an adult-specific gland unit with a reservoir and multiple types of gland cells. The accessory gland is composed of many unicellular glands concentrated in a sinuous line across the reservoir wall. The lateral tubular gland is composed of two-cell units. The dorsal abdominal glands of nymphs are composed of three-cell units with a prominent cuticular component derived from the saccule cell sitting between the duct and receiving canal. The cuticular components that channel secretion from the microvilli of the secretory cell to the exterior differ in the three gland types. The significance of the numbers of cells comprising gland units is related to the role of cells in regenerating the cuticular components of the glands at moulting in nymphs.

A Tidy Affair

A Tidy Affair