"Fascinating Voids: Alexander von Humboldt and the Myth of Chimborazo"

When Alexander von Humboldt reached the village of Calpi in the Andes on 22 June 1802, he was greeted with reverence and enthusiasm. Triumphal arches adorned with cotton, cloth, and silver decorated his path. The natives performed a dance in festive dress. A singer praised the explorer's expedition, which had departed three years earlier from the Spanish port of La Coruña. Like Odysseus on the isle of the Phaeacians, the traveler listened to a local rhapsodist singing about his heroic deeds. Before his adventure ended, it had already spun a popular myth. This episode, which Humboldt recorded in his diary, occurred at a significant moment. One day later, the “Second Discoverer of America” rose to even greater fame on an excursion marking in more ways than one the climax of his enterprise. Humboldt set out to climb Chimborazo (6,310 m/20,702 ft.), the mountain then thought to be the highest in the world. He was accompanied by the French botanist Aimé Bonpland (1773–1858) and the Creole nobleman and future activist Carlos Montúfar (1780–1816), as well as native guides and assistants. They climbed to heights never reached before, setting a new record and catapulting Humboldt to fame on both continents.

Printed Narrative: The Festival Books for Archduke Ernest of Austria from Brussels and Antwerp 1594

Workshop „The Narrative in Eastern and Western Art“, Graduate School of Letters, Kyoto, 2-5 December 2013 Abstract by Ivo Raband, University of Berne Printed Narrative: The Festival Books for Ernest of Austria from Brussels and Antwerp 1594 During the early modern period the medium of the festival book became increasingly more important as an object of ‘political narration’ throughout Europe. Focusing on Netherlandish examples from the sixteenth and seventeenth centuries, my talk will focus on the festival books printed for the Joyous Entries of Archduke Ernest of Austria (1553–1595). Ernest was appointed Governor General of the Netherlands by King Philipp II in 1593, being the first Habsburg Prince to reside in Brussels since 30 years. In Brussels and Antwerp, the Archduke was greeted with the traditional Blijde Imkomst, Joyous Entry, which dates back to the fourteenth century and was a necessity to actually become the sovereign of Brabant and Antwerp and to uphold the privileges of the cities. Decorated with ephemeral triumphal arches, stages, and tableaux vivants, both cities welcomed Ernest and, at the same time, demonstrated their civic self-assurance and negotiated their statuses. In honor of these events of civic power, the city magistrates commissioned festival books. These books combine a Latin text with a description of the events and the ephemeral structures, including circa 30 engravings and etchings. Being the only visual manifestation of the Joyous Entries, the books became important representational objects. The prints featured in festival books will be my point of departure for discussing the importance of narrative political prints and the concept of the early modern festival book as a ‘political object’. By comparing the prints from Ernest’s entries with others from the period between 1549 and 1635, I will show how the prints became as important as the event itself. Thus, I want to pose the question of whether it would have been possible to substitute a printed version of the event for the actual ceremony.

Liure d'architecture : contenant plusievrs portiques de differentes inuentions sur les cinq ordres de colomnes /

Portrait plate of Francine by Abraham Bosse; other plates by Tavernier after Francine's designs.

Applavsi festivi fatti in Roma per l'elezzione di Ferdinando III. al regno de' romani dal ser.mo princ. Mavrizio card. di Savoia /

Illustrations: allegorical title page and eleven plates, some of them numbered. Four plates depict decorations designed by the architect Orazio Turriani: the colonnade on the Piazza della Spada in Rome, two plates of a triumphal arch, and a fountain structured as a nymphaea. Seven plates depict temporary structures used for fireworks display, including 2 states of plate numbered "70" or "02". The plates are etched by Luca Ciamberlano after Niccolò Tornioli.

L'arco antico di Susa descritto e disegnato /

Signatures: pi² A-M².

A consistent model of isolated force-free magnetic arches

The magnetic flux tube concentrating strong magnetic field is the basic configuration of magneticfield in the solar atmosphere. In the present paper, the equilibrium of isolated magnetic flux tube inthe solar atmosphere is discussed. In the viewpoint of mathematics, the boundary condition is nonlinearand the position of boundary needs to be determined by the physical condition although the equation ofmagnetic potential is linear for the linear force-free field. Analytical solutions to the arches of bothuniform circular cross-section and non-uniform cross section have been obtained. The results show thatthe nonlinear problem may have or not have any solution according to different azimuthal components of the magnetic field; the number of solutions to the nonlinear problem is four at most, and two in some cases. In the present paper, the analytical solutions to the approximations of both fat and slender arches are given in detail, and the general features of magnetic arch structure are shown.

Graphics for engineers, architects, and builders : a manual for designers, an a text - book for scientific schools. Trusses and arches analyzed and discussed by graphical methods

UANL

Graphics for engineers, architects, and builders : a manual for designers, and a text-book for technical school, trussesand arches analyzed and descussed by graphical methods

UANL