[Voyage en Italie : 1824-1830]. , Musée des Etudes, Bronzes : [un motif de vase] : [dessin] / h. L. [Henri Labrouste]

Référence bibliographique : Weigert, 258

[Voyage en Italie : 1824-1830]. , [Musée des Etudes : femme à sa toilette, portée par deux personnages ailés] : [un motif : vase] : [dessin] / [Henri Labrouste]

Référence bibliographique : Weigert, 249

[Voyage en Italie : 1824-1830]. , Musée des Etudes, Etrusques : [un motif de vase] : [dessin] / h. L. [Henri Labrouste]

Référence bibliographique : Weigert, 267

[Voyage en Italie : 1824-1830]. , Musée des Etudes : [vase avec un satyre et des bacchantes] : [dessin] / h. L. [Henri Labrouste]

Référence bibliographique : Weigert, 263

Gray mold severity and vase life of rose buds after pulsing with citric acid, salicylic acid, calcium sulfate, sucrose and silver thiosulfate

Gray mold of roses (Rosa hibrida) caused by Botrytis cinerea requires many management strategies for its control. The effect of pulsing rose cv. Kiss with solutions of citric acid, salicylic acid, sucrose, calcium sulfate, and silver thiosulfate (STS) on disease severity and vase life of the flowers was evaluated. The solutions were applied to cut stems at different stages of harvest, the variation in the opening stage of harvest did not affect the results. Pulsing with STS reduced the values of area under the disease progress curve (AUDPC) and of severity of disease by 15% and 55%, respectively, and increased the vase life of the flowers by 20%. Calcium sulfate consistently reduced AUDPC by 66% and maximum severity by 88%, and increased vase life of the flowers by 37%. Therefore, pulsing rose buds with solutions of STS and calcium sulfate is potentially useful in reducing losses due to gray mold after harvest and in extending the vase life.

Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)

Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687. Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque. Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle.

Vase Life of New Tropical Cut Foliage: Cordyline terminalis

Cordyline terminalis is a tropical ornamental with high decorative value due its variety of colors and foliar patterns. This ornamental is new in the Brazilian market and has large potential to be exported. The lack of studies on postharvest aspects is a problem for new crops, and the development of good post-production techniques can reduce costs due to loss of unsalable, damaged plants. The present work aimed to characterize the vase life of red and green cultivars of C. terminalis. Conservation techniques, such as pulsing with gibberellic acid (GA(3)), wax spray, and cold storage for 10 and 20 days at 5, 10, and 13 degrees C were tested. Also, macro-and micronutrients concentration was tracked during the senescence process. In the water-based treatment (control), both cultivars had a vase life of 21 days. Vase life was not influenced by wax spray, GA pulsing, or cold storage for 10 days at 5, 10 or 13 degrees C. In both cultivars, the postharvest techniques used did not improve the vase life on this species. on the other hand, by cold storing the foliage for 20 days in any of the tested temperatures, the vase life was shortened one week, with a total of 14 days longevity compared with all other treatments. Color changes were not correlated with senescence of the foliage. Nutrients did not change during the evaluation period. C. terminalis had a vase life long enough for export, supported by cold storage up to 10 days, which did not shorten the vase life.

Effect of different pulse treatments on vase life of inflorescences of oncidium varicosum 'Samurai'

Oncidium varicosum is a species of orchid that is prevalent in South America. This species produces yellow flowers, which are commonly named golden shower, ballet dancer and Anita's flower. The study of the post-harvest physiology of flowers involves examination of factors related to quality loss of cut flowers, which is related not only to several physiological processes but also to interactions between the floral components and qualitative factors. In this context, our research involved the study of physiological aspects of the post-harvest physiology of cut inflorescences of Oncidium varicosum ('Samurai') after treatment with pulsing solutions containing silver salts, 8-HQC and sucrose. A reduction of relative water content of Oncidium flowers treated with pulsing STS (2 mM) was observed. The soluble carbohydrates and reducing sugars content decreased, and higher contents were measured in flowers treated with STS (2 mM). All parameters related to flower coloration were reduced in all treatments. Similar results were obtained for carotenoid content, except for the STS treatment (2 mM), which differed significantly from the other treatments on the 8th and 12th days of vase life. The inflorescences' longevity varied from 12 days (distilled water) to 15 days (STS 2 mM).

Lisianthus vase life after 1-methylcyclopropene and salicylic acid postharvest treatment

This study evaluated the effects of application of 0.5 µl L-1 1-methyl-cyclopropene (1-MCP), 1000 mg L-1 salicylic acid (SA) and the interaction between the two products at room temperature and pre-exposure at 9±2°C for 24 h in maintaining postharvest quality of lisianthus flowers. After applying the treatment, the flowers were kept in jars with water, stored at 24±2°C. The SA treatments proved ineffective, presenting symptoms of phytotoxicity, with high rate of bent neck and yellowing of petals, both at room temperature and in cold storage, and propitiate the emergence of pathogens. The association between 1-MCP in pre-exposure to 9±2°C for 24 h increased the durability of the stems in six days compared to the control treatment, with less symptoms of bent neck and swelling of stems.

Vase [Illustration]

Henryk Glicenstein

Vase in Bronze [Illustration]

Henryk Glicenstein

Vase [Illustration] : Nach einem Entwurf ...ausgeführt durch Manufacture nationale du Sèvres

Simon Lissim