Shakespeare at the Festival d'Avignon : the Poetics of Adaptation of L. Lagarde (Richard III, 2007), T. Ostermeier (Hamlet, 2008) and I. van Hove (The Roman Tragedies, 2008)

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Neohornibrookella sorrentae (Chapman and Crespin, 1928) and allied ostracod taxa from the Neogene of southeastern Australia: systematic and palaeoceanographical relationships, palaeoecology and palaeobiogeography

Three closely allied shallow marine taxa, Neohornibrookella sorrentae (Chapman and Crespin), Neohornibrookella glyphica (Neil), and Neohornibrookella nepeani sp. nov. are recorded from latest early Miocene to late Pliocene strata in southeastern Australia. These taxa, together with Neohornibrookella quadranodosa (Holden) from the Miocene of Midway Island (Northwestern Hawaiian Islands), form a morphologically distinct group of relatively large species (the sorrentae-group) within the genus Neohornibrookella Jellinek. Latitudinal expansion of the subtropical and warm-temperate climatic belts together with the influence of warm western boundary surface currents associated with the North and South Pacific gyres, are likely to have played key roles in the Miocene dispersal of this species group. Species of the sorrentae-group first migrated south from equatorial west Pacific regions into southeastern Australia during the early Miocene, under the influence of the East Australian Current. During three time intervals (i) latest early Miocene, (ii) latest late Miocene and (iii) earliest late Pliocene, forceful pulses of the East Australian Current played a significant role in propelling the widespread distribution of thermophilic Neohornibrookella species across southeast Australian shallow marine realms. During intervening middle and late Miocene times, Neohornibrookella species are only sporadically present across the Bass Strait region of southeast Australia, indicating a weaker East Australian Current influence and the cooling influence of coastal upwelling. During the mid early Pliocene Neohornibrookella species disappeared from the western Bass Strait region, suggesting the complete exclusion of East Australian Current waters from this region. This was probably due to the counteracting influence of the eastward flowing Zeehan Current (extension of the Leeuwin Current) impinging on the western Bass Strait region. This mid early Pliocene palaeobiogeographical partition in Bass Strait, defined by the distribution of sorrentae-group species, is here termed the Bassian Gateway. The two species, N. sorrentae and N. glyphica, occur concurrently during the mid Miocene in southeast Australia, but are associated with different lithofacies. It is hypothesised that there is a heterochronic evolutionary relationship expressed in the ornament of these two species. The thaerocytherid genera Neohornibrookella Jellinek, Tenedocythere Sissingh and Bosasella Bonaduce are here included in the new ostracod subfamily Tenedocytherinae.

Uncover the mantle: rediscovering Gregório Lopes palette and technique with a study on the painting “Mater Misericordiae”

Grego´rio Lopes (c. 1490–1550) was one of the most prominent painters of the renaissance and Mannerism in Portugal. The painting “Mater Misericordiae” made for the Sesimbra Holy House of Mercy, circa 1535–1538, is one of the most significant works of the artist, and his only painting on this theme, being also one of the most significant Portuguese paintings of sixteenth century. The recent restoration provided the possibility to study materially the painting for the first time, with a multianalytical methodology incorporating portable energy-dispersive X-ray fluorescence spectroscopy, scanning electron microscopy–energy-dispersive spectroscopy, micro-X-ray diffraction, micro-Raman spectroscopy and high-performance liquid chromatography coupled to diode array and mass spectrometry detectors. The analytical study was complemented by infrared reflectography, allowing the study of the underdrawing technique and also by dendrochronology to confirm the date of the wooden panels (1535–1538). The results of this study were compared with previous ones on the painter’s workshop, and significant differences and similitudes were found in the materials and techniques used