North American herpetology : or, A description of the reptiles inhabiting the United States / by John Edwards Holbrook.

2

The Indo-Chinese forest ox or kouprey / by Harold Jefferson Coolidge, Jr.

v.54:no.6 (1940)

A revision of the Ceratopsia or horned dinosaurs.

3 pt.3

A valorização da função do objecto de design em contexto museológico : lógicas expositivas - a museologia do design industrial

The design objects give us a testimony of those who imagined, designed, developed, manufactured and used them. Each object, intentionally or not, portrays its own story, all the visible details are part of a decision taken by someone at some time of its chronology. The act of collecting objects, as well as private collections are the basis for the creation of museums as we know them today. Musealization - taking objects into a museum - means that one is restoring, preserving, enhancing some objects compared to others. And when restoring these objects, one is restoring their symbolic capacity, i.e. the fact that they tell a story, means you are restoring its message. In a museum, although out of context and deprived of most of the functions to which they had been designed for, the objects acquire other function(s), preserving their importance. Design museums give us the possibility to have a closer view of the objects, rather than just look at them, along with the pedagogical function. Thus presents a proposal for museography regarding industrial design, which is based on the appreciation of the function of anonymous design objects, based on expository logic, that takes the visitor to see, instead of just looking at objects, offering the possibility of interaction with the same, increasing the relationship between human being - object - museum, including groups with special needs, which are often forgotten in these exhibitions. This dissertation is a reflection and a projectual intervention on the design object in a museum, clarifying the concepts of object and museum, covering issues regarding the relevance of design museums, and culminating in the presentation of a museography project, where the function of an object prevails

O tríptico da paixão de Cristo do Palácio Nacional da Ajuda: história, estudo material, iconografia e filiação estílistica

O objeto de estudo desta dissertação é um pequeno tríptico do Palácio Nacional da Ajuda, provavelmente dos finais do séc. XV, sobre o qual existe pouca informação. A obra pertence ao acervo de pintura antiga deste palácio/museu (inv. 3540) e encontra-se exposta no “Atelier de Pintura de D. Luís”. Trata-se de uma pintura sobre tábua de carvalho, em mau estado de conservação, representando cinco episódios relativos à Paixão de Cristo: a Flagelação, a Coroação de Espinhos, o Caminho do Calvário e duas cenas relativas à Ressurreição. Apresenta uma iconografia singular, mas as suas características gerais indicam tratar-se de uma pintura tardo-gótica do Norte da Europa, nomeadamente da Alemanha. O objetivo desta tese de mestrado em História da Arte, Património e Teoria do Restauro, consiste na investigação histórica e material desta obra, sobre a qual existe pouca informação. Por ser desconhecida a sua cronologia, autoria e local de produção, além de não haver qualquer documentação ou bibliografia sobre a mesma, iremos estudar esta obra a partir da sua materialidade, iconografia e estilo, na medida em que a obra é um “documento vivo”. Tendo sido agora encontrada a única e a mais antiga referência documental relativa a esta obra, nos arrolamentos de 1913 do palácio (Inventário Judicial), este tríptico consta na "Galeria de Quadros”, indicando ter pertencido à coleção de pintura de D. Luís I. Interessa, então, focar a política de aquisições de pintura antiga nórdica desenvolvida pelo monarca, tentando perceber porque é que o tríptico não consta nos catálogos das exposições (duas edições dos catálogos, 1869 e 1872) da “Galeria de Pintura no Real Paço da Ajuda”, aberta ao público em1869. Porque a interdisciplinaridade entre arte e ciência é fundamental para um conhecimento mais profundo da História da Arte, esta obra foi objeto de um estudo material que consistiu no levantamento in situ da pintura (exames de área e de ponto), na análise laboratorial (estratigrafia, pigmentos e aglutinantes) e na integração dos resultados, para compreender a técnica pictórica, que se articula com a análise iconográfica e de filiação estilística, contribuindo para a integração da obra no seu contexto histórico-cultural de origem, como pintura devocional germânica.

Gazprom’s expansion in the EU: co-operation or domination? OSW Report, October 2009. Second edition, revised

Introduction. The energy sector, especially with regard to the gas trade, is one of the key areas of co-operation between the EU and Russia. However, the form this co-operation has taken has been giving rise to some concern, both in Brussels and in the EU member states. Questions arise as to whether the EU has not become excessively dependent on Russia for energy, and whether the presence of the Russian gas monopoly in the EU does not enable Russian interference with the development of EU energy policy. The objective of this series of OSW reports (for the previous edition,see Gazprom’s expansion in the EU: co-operation or domination? April 2008 – pdf 1.2 MB) is to provide facts which will permit an accurat answer to these questions to be formulated. Over the course of last year, two new factors strongly affected Gazprom’s capability to operate on the EU market. One was the ongoing global economic crisis, which has depressed demand for gas both in Russia and in Europe. Gazprom has cut both its own production and the quantities of gas it purchases from the Central Asian states, and the decrease in export revenues has forced the company to modify some of its current investment plans. Less demand for gas and the need to reduce production are also having a positive impact – the Russian company is likely to avoid the difficulties in meeting all of its export commitments which, only a year or so ago, it was expected to experience. The other factor affecting Gazprom’s expansion in Europe is the observed radicalisation of the rhetoric and actions of both the company itself and of the Russian authorities with regard to the gas sector as broadly understood. The gas crisis between Russia and Ukraine in January 2009, which resulted in a two-week interruption of gas supplies from Russia to Europe via Ukraine, was the most prominent example of this radicalisation. The hardening of rhetoric in the ongoing energy talks with the EU and other actors, and increased political and business activities designed to promote Russian gas interests in Europe, in particular the lobbying for the Nord Stream and South Stream projects, are further signs of this shift in tone. These issues raise the question of whether, and to what extent, the current condition of Gazprom’s finance will permit the company to implement the infrastructural projects it has been endorsing and its other investment plans in Europe. Another important question is whether the currently observed changes in how Gazprom operates will take on a more permanent character, and what consequences this will have for the European Union. The first part of this report discusses Gazprom’s production and export potential. The second comprehensively presents the scope and nature of Gazprom’s economic presence in the EU member states. Finally, the third part presents the Russian company’s methods of operation on foreign markets. The data presented in the report come mainly from the statistics of the International Energy Agency, the European Commission and Gazprom, as well as the Central Bank of Russia and the Russian Statistical Office. The figures presented here also include proprietary calculations by the OSW based on figures disclosed by energy companies and reports by professional press and news agencies.

[Calligraphic specimen, 1205?, i.e. 1790 or 1791?].

Exquisite album of calligraphy (muraqqaʻ or murakkaa) with design for a monumental inscription to appear in stone on a commemorative range marker (menzil taşı) of Bilâl Ağa (d.1807?), likely executed by Yesari Mehmed Esad Efendi (d.1798), the great Ottoman master of nastaʻlīq (talik).

Koran : manuscript, [1887 or 8].

Illumination on pp. [1-2]; chapter headings illuminated; gold dots and foliate flourishes mark verse and chapter endings; text enclosed in wide gold borders; illuminated marginal rosettes mark division of text into thirtieths (juzʼ) and sixtieths (ḥizb); gilder's name at bottom of p. [522]: dhahhabahu Bahāʼ al-Dīn bin Tawfīq; edges gilded with foliate patterns; green leather endpages painted with gold and silver sunburst designs; binding gold-stamped and painted in silver and gold foliate designs.

[Calligraphic specimen, 1206, i.e. 1791 or 1792].

Exquisite album of calligraphy (muraqqaʻ / murakkaa) employing ḥadīth of the Prophet executed by the celebrated Ottoman calligrapher Mahmud Celâleddin Efendi (d.1829) in imitation of a model executed by the master calligrapher Hafız Osman Efendi (d.1698).

[al-Qurʼān, 9th or 10th century].

Fragment from an Early ʿAbbāsid Qur’ān carrying final words of Sūrat al-Mulk (67) verse 23 through opening word of Sūrat al-Qalam (68) verse 19.

Illustrated catalogue of the exhibition of portraits on loan in the new galleries of art, Corporation buildings, Sauchiehall Street.

Exhibition of portraits from Scotland and England "of deceased persons, especially of those who have been connected with Glasgow...." -- P. [iii].

Portrait of a Man, Possibly an Architect or Geographer

Peter Paul Rubens; 8 1/2 in.x 5 3/4 in.; oil on copper

Ship Burial, Mound 1, excavated artifact, Buckle or clasp

Sutton Hoo, England; 1 1/32 in.x 2 63/64 in.; cloisonné, gold, garnet

Catalogues of the Hindi, Panjabi, Sindhi, and Pushtu printed books in the Library of the British Museum.

Accompanied by "A second supplementary catalogue of printed books in Hindi, Bihari (including Bhojpuria, Kaurmali and Maithili), and Pahari (including Nepali or Khaskura, Jaunsari, Mandeali, &c.) in the Library of the British Museum. Compiled by L.D. Barnett, J.F. Blumhardt, and J.V.S. Wilkinson." (viii p., 1678 columns. 29 cm.) Published: London, Trustees of the British Museum, 1957.