The Boston Handel and Haydn Society collection of church music : being a selection of the most approved psalm and hymn tunes, anthems, sentences, chants, &c. : together with many beautiful extracts from the works of Haydn, Mozart, Beethoven, and other eminent composers, harmonized for three and four voices, with a figured base for the organ and piano forte /

Mode of access: Internet.

Connecting works of art within the semantic web of symbolic meanings

My doctoral research is about the modelling of symbolism in the cultural heritage domain, and on connecting artworks based on their symbolism through knowledge extraction and representation techniques. In particular, I participated in the design of two ontologies: one models the relationships between a symbol, its symbolic meaning, and the cultural context in which the symbol symbolizes the symbolic meaning; the second models artistic interpretations of a cultural heritage object from an iconographic and iconological (thus also symbolic) perspective. I also converted several sources of unstructured data, a dictionary of symbols and an encyclopaedia of symbolism, and semi-structured data, DBpedia and WordNet, to create HyperReal, the first knowledge graph dedicated to conventional cultural symbolism. By making use of HyperReal's content, I showed how linked open data about cultural symbolism could be utilized to initiate a series of quantitative studies that analyse (i) similarities between cultural contexts based on their symbologies, (ii) broad symbolic associations, (iii) specific case studies of symbolism such as the relationship between symbols, their colours, and their symbolic meanings. Moreover, I developed a system that can infer symbolic, cultural context-dependent interpretations from artworks according to what they depict, envisioning potential use cases for museum curation. I have then re-engineered the iconographic and iconological statements of Wikidata, a widely used general-domain knowledge base, creating ICONdata: an iconographic and iconological knowledge graph. ICONdata was then enriched with automatic symbolic interpretations. Subsequently, I demonstrated the significance of enhancing artwork information through alignment with linked open data related to symbolism, resulting in the discovery of novel connections between artworks. Finally, I contributed to the creation of a software application. This application leverages established connections, allowing users to investigate the symbolic expression of a concept across different cultural contexts through the generation of a three-dimensional exhibition of artefacts symbolising the chosen concept.

Dynamics and orchestral effects in late Eighteenth-Century portuguese organ music: the works of José Marques e Silva (1782-1837) and the organs of António Xavier Machado e Cerveira (1756-1828)

A maioria dos órgãos históricos portugueses data dos finais do século XVIII ou do princípio do século XIX. Durante este período foi construído um invulgar número de instrumentos em Lisboa e nas áreas circundantes por António Xavier Machado e Cerveira (1756-1828) e outros organeiros menos prolíficos. O estudo desses órgãos, muitos dos quais (restaurados ou não) se encontram próximos das condições originais, permite a identificação de um tipo de instrumento com uma morfologia específica, claramente emancipada do chamado «órgão ibérico». No entanto, até muito recentemente, não era conhecida música que se adaptasse às idiossincrasisas daqueles instrumentos. O recente estudo das obras para órgão de José Marques e Silva (1782-1837) permitiu clarificar esta situação. Bem conhecido durante a sua vida como organista e compositor, José Marques e Silva foi um dos ultimos mestres do Seminário Patriarcal. A importância da sua produção musical reside não só num substancial número de obras com autoria firmemente estabelecida – escritas, na maior parte, para coro misto com acompanhamento de órgão obbligato – mas também na íntima relação entre a sua escrita e a morfologia dos órgãos construídos em Portugal durante a sua vida. Este artigo enfatiza a importância de José Marques e Silva (indubitavelmente, o mais significativo compositor português para órgão do seu tempo) sublinhando a relevância das suas obras para órgão solo, cujo uso extensivo de escrita idiomática e indicações de registação fazem delas um dos mais importantes documentos só início do século XIX sobre a prática organística em Portugal.

Application of ionic liquids and enzymes for the removal of proteinaceous layers from polychrome of works of art and evaluation of the cleaning effectiveness

Dissertação Apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa para obtenção do grau de Mestre em Ciências da Conservação, especialização em Pintura

Life, letters, and works of Louis Agassiz, by Jules Marcou.

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The works of Francis Maitland Balfour ... Edited by M. Foster ... Adam Sedgwick.

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The works of Francis Maitland Balfour ... Edited by M. Foster ... Adam Sedgwick.

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Life, letters, and works of Louis Agassiz, by Jules Marcou.

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The works of Francis Maitland Balfour ... Edited by M. Foster ... Adam Sedgwick.

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Select works of the emperor Julian, and some pieces of the sophist Libanius, translated from the Greek, with notes from Petau, La Bleterie, Gibbon, etc., to which is added the History of the emperor Jovian from the French of the abbé de La Bleterie, by John Duncombe...

Comprend : The History of the emperor Jovien

Translating from India and the Moving Space of Translation (Illustrated by the Works of Ajñeya)

The inadequacies and obsolescence of Eurocentric theories based on a binaryand static worldview have become a staple topic of postcolonial studies, and tosome extent also of translation studies. Nonetheless, the literary texts that arecalled upon in order to show the dynamism and hybridity of (post)modern worksbelong for the most part to the languages of the former colonial powers, especiallyEnglish, and remain inserted in a system that construes literatures interms of opposition. As a consequence, there is outside India a doubly misleadingunderstanding of Indian literatures other than those written in English:firstly, that translations of works in Hindi and in the Indian bhāṣā seem to belacking, if not inexistent, and secondly, that these "minor" literatures - as theyare regularly termed - are still often viewed as being highly dependent on theidea of "tradition," in opposition to the "postmodern" hybridity of the literatureswritten in the "dominant" languages, such as English or French. Againstthese views and supported by the analysis of Ajñeya's works in Hindi togetherwith their English translations, this paper aims to show: 1) that translationsfrom Hindi, which are not in fact non-existent, are mainly carried out in India,and 2) that Ajñeya's works, while representing a significant instance of the effectivehybridity present in Indian literatures, help to illustrate the moving spaceof translation. This demonstration effectively invalidates the above-mentionedoppositional standpoint.

A study of the effects of PVAC on works of art on paper and wood: pH and colour change

This paper presents the preliminary findings of pH and colour measurements carried out on artworks on paperand on wood that had been treated with a poly(vinyl acetate) (PVAC) based adhesive in the 1980s. In both cases, areas treated with PVAC proved to be less acidic than untreated areas. Contrary to expectations, the conservation treatments have not, as yet, increased acidity levels in the objects under study. Colour measurements of the works on paper showed that those that had been backed with a cotton fabric using a mixture of methylcellulose and PVAC were less yellow than those from the same print run that had not been backed. This finding suggests that the backing somehow prevented the natural degradation of the support. In view of these preliminary results, further research is clearly needed. This study forms part of a broader ongoing project to assess the role of PVAC in the conservation of a range of cultural assets.