scholarly journals THE WIND GOD AND THE DESCENT OF THE TZITZIMITL: NEW INSIGHTS ON THE ICONOGRAPHY AND PROVENANCE OF THE MOSAIC-ENCRUSTED BIRD HEAD AT THE FRIEDENSTEIN PALACE, GOTHA, GERMANY

2021 ◽  
pp. 1-26
Author(s):  
Davide Domenici ◽  
Élodie Dupey García
Keyword(s):  
Nineteenth Century ◽  
Central Area ◽  
Modern State ◽  
Not Given ◽  
Precious Stone ◽  
South Central ◽  
Late Postclassic ◽  
History Of ◽  
Collection History

Abstract The Friedenstein Palace in Gotha, Germany, holds a Late Postclassic Mesoamerican bird head sculpture made of wood encrusted with precious stone and shell mosaic. Although known since the nineteenth century, scholars have not given the artifact the attention it deserves. Based on observations made during a thorough in situ inspection, we provide a detailed description of the object, stressing both technological and aesthetic aspects, documented through new photos and reconstructive drawings prepared by Nicolas Latsanopoulos. Then, we offer an interpretation of the artifact's iconography, demonstrating it should be understood as a representation of the Wind God in its manifestation as a Tzitzimitl, a category of deities associated with creation and destruction; an aspect made evident in the small figure adorning the avian forehead. We finally reconstruct the collection history of the object, suggesting that the Giustiniani family, a prominent Roman noble family renowned for its collecting activities, once owned the sculpture; in turn, this proposal might imply that the Dominican friar Domingo de Betanzos brought the mosaic to Italy in 1532 and that it might be originally from the Puebla-Tlaxcala Valley or, more broadly, from the south-central area of the modern state of Puebla.

The Origin, Formation and Early History of the Chikunda of South Central Africa

1972 ◽  
Vol 13 (3) ◽  
pp. 443-461 ◽  
Author(s):  
Allen Isaacman
Keyword(s):  
Nineteenth Century ◽  
Historical Linguistic ◽  
Cultural Differences ◽  
Ethnic Groups ◽  
Large Scale ◽  
Central Africa ◽  
Military History ◽  
Early History ◽  
South Central ◽  
History Of

Although historians have examined the process of pre-colonial political integration, little attention has been paid to the complementary patterns of ethnic and cultural assimilation. The Chikunda, who were initially slaves on the Zambezi prazos, provide an excellent example of this phenomenon. Over the course of several generations, captives from more than twenty ethnic groups submerged their historical, linguistic, and cultural differences to develop a new set of institutions and a common identity. The decline of the prazo system during the first half of the nineteenth century generated large scale migrations of Chikunda outside of the lower Zambezi valley. They settled in Zumbo, the Luangwa valley and scattered regions of Malawi where they played an important role in the nineteenth-century political and military history of south central Africa.

Reevaluation of the Lake-Sediment Chronology in the Dead Sea Basin, Israel, Based on New 230Th/U dates

1992 ◽  
Vol 38 (3) ◽  
pp. 292-304 ◽  
Author(s):  
Aaron Kaufman ◽  
Yoseph Yechieli ◽  
Michael Gardosh
Keyword(s):  
Central Area ◽  
Dead Sea ◽  
Northern Region ◽  
The South ◽  
General Validity ◽  
Dead Sea Basin ◽  
South Central ◽  
History Of ◽  
The Dead ◽  
Lisan Formation

AbstractThe Dead Sea is surrounded by chemical and detrital sediments that were deposited in its larger precursor lakes, Lake Samra and Lake Lisan. The sedimentary history of these lakes was recon-structed by means of 230Th/234U ages of 30 samples, mostly of argonite laminae, from 8 columnar sections up to 110 km apart. The general validity of the ages was demonstrated by subjecting them to tests of internal isotopic consistency, agreement with stratigraphic order, and concordance with 14C ages. In the south, only the part of the Samra Formation older than 170,000 yr is exposed, while the aragonite-detritus rhythmites found in the central and northern region are generally younger than 120,000 yr. The Lisan Formation started accumulating about 63,000 yr B.P., with the clay and aragonite beds in the south-central area reflecting a rise in water level to at least −280 m. The upper part of the Lisan Formation, the aragonite-rich White Cliff Member, started accumulating about 36,000 yr B.P. The lake probably reached its highest level sometime after this, based on the ages of Lisan sediments preserved in the southernmost reaches of the basin.

A history of some fruit models in wax and other materials: scientific teaching aids and courtly table decorations

2003 ◽  
Vol 30 (2) ◽  
pp. 299-316 ◽  
Author(s):  
Hans-JüRgen Lechtreck
Keyword(s):  
Nineteenth Century ◽  
Fruit Trees ◽  
Visual Aids ◽  
Early Nineteenth Century ◽  
Teaching Aids ◽  
Scientific Teaching ◽  
Glass Marble ◽  
History Of ◽  
By Products ◽  
Wax Models

Two early nineteenth century texts treating the production and use of wax models of fruit reveal the history of these objects in the context of courtly decoration. Both sources emphasise the models' decorative qualities and their suitability for display, properties which were not simply by-products of the realism that the use of wax allowed. Thus, such models were not regarded merely as visual aids for educational purposes. The artists who created them sought to entice collectors of art and natural history objects, as well as teachers and scientists. Wax models of fruits are known to have been collected and displayed as early as the seventeenth century, although only one such collection is extant. Before the early nineteenth century models of fruits made from wax or other materials (glass, marble, faience) were considered worthy of display because contemporaries attached great importance to mastery of the cultivation and grafting of fruit trees. This skill could only be demonstrated by actually showing the fruits themselves. Therefore, wax models made before the early nineteenth century may also be regarded as attempts to preserve natural products beyond the point of decay.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

Correspondence between Adolphe Brongniart and Robert Schomburgk: trading natural history collections for honours

2002 ◽  
Vol 29 (3) ◽  
pp. 333-336
Author(s):  
PIOTR DASZKIEWICZ ◽  
MICHEL JEGU
Keyword(s):  
Nineteenth Century ◽  
Natural History ◽  
Dominican Republic ◽  
Southeast Asia ◽  
Herbarium Specimens ◽  
British Guiana ◽  
Natural History Collections ◽  
History Of ◽  
Source Of Information ◽  
German Naturalist

ABSTRACT: This paper discusses some correspondence between Robert Schomburgk (1804–1865) and Adolphe Brongniart (1801–1876). Four letters survive, containing information about the history of Schomburgk's collection of fishes and plants from British Guiana, and his herbarium specimens from Dominican Republic and southeast Asia. A study of these letters has enabled us to confirm that Schomburgk supplied the collection of fishes from Guiana now in the Laboratoire d'Ichtyologie, Muséum National d'Histoire Naturelle, Paris. The letters of the German naturalist are an interesting source of information concerning the practice of sale and exchange of natural history collections in the nineteenth century in return for honours.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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