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This blog post is the sixth in a series focusing on members of the Index staff. Today we will be introducing Fiona Barrett.
What is your role at the Index?
My role at the Index is that of Office Administrator/Coordinator. The exciting part of my job, which is not at all traditional (in the administrative sense), is that I am able to assist where/when needed in the Index database and library. If you've seen the #IndexHumpDay posts on social media, you'll see my weekly interaction with iconography—a variety of camels depicted across media, geographies, and time periods.
Before working for the Index, what was the most interesting job you had?
Before working for the Index, I worked in market research for twenty-five years, which—while interesting and challenging at times—in no way compares to my experience here at the Index. I'm very grateful to be exposed to all of this art history, and lucky enough to have colleagues who take the time to explain things to me when needed.
When you're not working at the Index, what do you like to do in your spare time?
Hmm … a few of my favorite things: cooking, eating, entertaining, reading, gardening, traveling, listening to music (especially my husband's 😊), and I love spending time with family and friends; they are one and the same.
Do you have a favorite work of art or favorite place you've visited?
I spent part of my childhood growing up in Ireland, but I truly didn't appreciate the country and the history until I was in my early thirties. I was lucky enough to travel back a few times, with my father and then with my son. I would go again in a heartbeat! This year I am planning to travel to Italy, which has been on my bucket list for quite some time.
What do you like best about being back on campus in person?
Now that we're back in person, and I am working with colleagues face-to-face, it's great to be able to have our in-person conferences and workshops once again. This past conference—"Looking at Language" in November 2022—brought together over fifty attendees, and seven of the eight speakers were able to present in person.
Coffee or tea?
We are excited to announce that the mosaics of St. Sophia Cathedral in Kyiv are now live in the Index database! Thanks to a Flash Grant from the Princeton University Humanities Council, Dr. Julia Matveyeva, Associate Professor in the Department of Fine Arts and Design of the O. M. Beketov National University of Urban Economy in Kharkiv, joined the Index remotely for the last five months to work on Ukraine's medieval cultural heritage. Find out more about St. Sophia Cathedral, the work of an Index cataloger, and Dr. Matveyeva's research at this link.
Registration for the November conference Looking at Language, taking place Saturday, 12 November 2022 is now live! The Index has two exciting announcements in connection to the conference:
For the first year, the Index will offer one graduate student travel grant for a non-Princeton student who wishes to attend the conferences but lacks the financial resources to do so. The grantee will be invited to participate in all aspects of the conference, including the speaker lunch, and to pursue research at the Index if their visit schedule permits. Review the eligibility requirements and the application process here.
On Tuesday, 8 November 2022, 12:00 – 1:00pm EDT, the Index will be holding a workshop on Zoom titled Looking at (Index) Language: A Dive into Taxonomy at the Index of Medieval Art. This workshop is open to anyone interested in learning about Index language standardization practices and preferred terms in Index cataloging. Find out more about the workshop and how to register here.
This blog post is the fifth in a series focusing on members of the Index staff. Today we will be introducing Pamela Patton.
What is your background and specialization?
I'm a medievalist who studies the visual culture of the Iberian Peninsula, a focus that began at Tufts University when my advisor Madeline Caviness pointed me toward the Pamplona Bibles as a research topic. I was fascinated, and still am, by the complexity of medieval Iberian culture and its historiography—the questions are constantly evolving. The decision served me well: after doing grad degrees at Williams College and Boston University, I was offered a fellowship at Southern Methodist University in Dallas, which then evolved into a split curatorial and faculty position in "Spanish Art." Although I shifted out of curatorial work after tenure, as a professor at SMU I was able to develop several courses on medieval Iberia as well as other aspects of the Middle Ages. Since coming to the Index in 2015, I've continued to research and occasionally teach medieval Iberian things, and I'm always happy to pitch in on cataloging works of art from Spain for the database. After 30+ years in the field, I do occasionally wonder if I should wander into some other part of the world, but then some great new Iberian question turns up, and back I go.
What research projects are you working on currently?
I've just wrapped up a project on how skin color and stereotype were used in thirteenth- and fourteenth-century Iberia to signal racial, social, and cultural difference, and that's inspired me to think further about the role of improvisation generally in Gothic manuscript illumination, specifically in the illustrated manuscripts of the Cantigas de Santa María, which were made for Alfonso X of Castile in the late thirteenth century. Illustrating the four hundred songs that were to be included in those two manuscripts must have been a massive task, and the artists met the challenge with some highly inventive iconography—giant silkworms, flying chairs, dancing pork chops, and the like. They must have had considerable latitude, in addition to a wonderful imagination!
What do you like best about working at Princeton?
Princeton does things for real. Very few universities so effectively hold teaching and research at their core, not to mention committing the resources that help them happen. As Index director, I especially appreciate the openness to new ideas, the support for scholarly initiatives, and the extraordinary research resources. These things don't happen by themselves; they take investment at the highest level. On a more personal note, I'm grateful every day that when I go to work I have the opportunity to hear and share ideas with so many bright, thoughtful people, both in the Index and throughout campus, and in such a beautiful place. It's a fine reason to get up in the morning.
What travel experience played a role in your becoming an art historian?
My mother had always wanted to travel, and when I was a child she and my father twice managed to put aside enough money to take the whole family to Europe. Remember Arthur Frommer's Europe on $10 a Day? My mother really did that. I loved visiting all the art museums and historic sites, but I think reading The Hobbit on the train between cathedral towns in England was probably what made me a medievalist. The line between history and fantasy obviously was very blurry for me then, but somehow I became absolutely certain I wanted to learn more about this stuff. Corny, okay, but give me a break—I was eleven.
What do you like best about being back on campus in person?
People and books. I really missed the easy discourse that comes with sharing a coffee, talking over a research question, or listening to Q&A after a lecture. Ideas flow so much more freely when you're in person and the moment has your full, active attention. And there is nothing more inspiring than walking into the library stacks to find the physical book you need: the excitement of spotting and opening it; the anticipation of what you'll find in its pages; the serendipity of seeing what else is on that shelf. And the lights! I really like how the lights in Firestone brighten gradually when you walk into an individual aisle. It's as if the light bulb that's about to go off in your head is already going off all around you.
Coffee or tea?
Yes, please, all of it. I would drink coffee all day if I could, especially if it's the cortados that I got hooked on during dissertation research in Spain. But to spare my co-workers a jittery colleague, in the afternoon I usually segue into tea, ideally a nice green jasmine.
This blog post is the fourth in a series focusing on members of the Index staff. Today we will be introducing Catherine Fernandez.
What is your background and specialization?
As a medieval art historian, I owe so much of my intellectual formation to the universities where I earned my degrees. Can I use this space to give a shout-out to all the medievalists—both past and present—at Florida State University and Emory University? My academic journey, so to speak, began at FSU with two BAs, one in English Literature and one in Art History. I earned my PhD in Art History at Emory and then headed up the east coast to join the Index research staff immediately after graduation. My current research interests center on medieval treasuries and French Romanesque art, but I am happy to get my thousand-year medieval "fix" through various Index projects. Based on cataloguing or classroom instruction needs, I might be simultaneously working on an Ottonian manuscript, a late-antique sarcophagus, or Gothic archivolts; it's an embarrassment of riches.
What research projects are you working on currently?
At the Index, I happily embrace a wide range of topics, but I am particularly thrilled to have worked with our IT guru Jon Niola in the development of a field within individual records that "maps" iconographic programs within medieval buildings and other structures. By highlighting the placement of in-situ works of art, the "Location in Structure" field can only amplify our understanding of medieval iconography's spatial dimension. With regard to my own research, I am currently working on my book project, entitled Charlemagne's Pectoral: The Presence of Carolingian Memory at Saint-Sernin of Toulouse. This monograph seeks to reintegrate a group of extraordinary treasury objects associated with the emperor Charlemagne within the liturgical space of the famous Romanesque shrine.
What do you like best about working at Princeton?
It remains an absolute pleasure to work with so many wonderful medievalists—both members of the local community and visiting scholars—and participate in the "Life of the Mind" on campus.
What travel experience played a role in your becoming an art historian?
I consider myself fortunate to have had an upbringing that included extensive global travel. Over the course of my childhood, my family visited countless monuments, museums, galleries, and archaeological sites around the world, and any number of these places could have infected me with the "art history bug." But humor me, if you will, when I give credit to the Metropolitan Museum of Art and E.L. Konigsburg's novel From the Mixed-Up Files of Mrs. Basil E. Frankweiler. I mean, what art historian hasn't fantasized about hiding out at the Met like the novel's two child protagonists?
What do you like best about being back on campus in person?
Close access to actual libraries and actual human beings, as I am rather fond of both.
Coffee or Tea?
Red Bull. Blueberry flavored. What? Was I supposed to wax poetic about some kind of refined oolong?
This post is the third in a series focusing on members of the Index staff. Today we will be introducing Henry D. Schilb.
What is your background and specialization?
Maybe I ought to have been a musicologist. Among other things that I almost got away with in my life, I once wrote, produced, and hosted a radio series about twentieth-century music. That was during the fifteen years that I worked as an announcer at a couple different public radio stations (among many other brutally low-paying jobs I've held down, often two or more at a time). In those heady days, I sneaked works by Ruth Crawford Seeger, Harry Partch, Iannis Xenakis, György Ligeti, Pierre Boulez, George Walker, and even James Tenney onto the airwaves, no mean feat at that time. Oh, how invigorating were the listener complaints! No composer younger than Brahms was safe from the acrid contempt of the average public radio listener, but I still especially cherish being told by one listener that I myself was what was wrong with the world—and this was in the early '90s, so the listener who lodged that complaint had no idea what was coming!
Although I always fear that too many minds nestled between incurious ears remain impervious to the pleasures of new music, or simply unaware of them, let me hope that there are some—among those who have survived more than twenty percent of the twenty-first century with a spirit of adventure intact—who will forgive me for seizing this moment to direct their attention to the music of George Lewis, Chaya Czernowin, Unsuk Chin, Rebecca Saunders, and Olga Neuwirth. I could go on, but that's a good start. You can thank me later.
But, for some reason, I'm an art historian now. I earned my PhD at Indiana University in 2009, and I specialize in late-Byzantine art, and embroidered liturgical textiles in particular. Yeah, I'm a real hoot at neighborhood parties.
What research projects are you working on currently?
Quite by mistake, I find myself the resident geographer at the Index of Medieval Art. Maybe I spend too many of my waking hours thinking about how to deal with location information in our database, but I rather like that part of my job. In my own research, however, I still focus on embroidered veils. Back in November, I presented a paper at the Index's conference on "Fragments, Art, and Meaning in the Middle Ages." I discussed, among other objects, a textile in the Princeton University Art Museum. I'm also optimistically planning a trip to Canterbury Cathedral to visit a post-Byzantine textile that has a very strange history indeed. Remind me to tell you about it sometime.
What do you like best about working at Princeton?
Even after ten years at Princeton, I still think it's pretty cool to work at the same university where Roger Sessions taught for many years. (Yes, he's another composer whose music I love.) Also, I like to go for a long run after work, down to the towpath, along the canal, and then back up through campus, through the majestic arches and under the leafy canopy. Like me, the campus is at its best in October.
What do you like best about being back on campus in person?
Although I thrived while working from home during the pandemic, and my productivity really went through the roof, I suppose that the return to campus back in September was inevitable. As for what I like best about The Return, I'll simply refer you to my comments above regarding running through campus. I have to say, however, that the experience now can be rather spoiled by all the construction…and those danged scooters.
What travel experience played a role in your becoming an art historian?
My honest answer to this question is boring. It's also probably cheating. It was not a literal journey, you see, but a slide show in the first art history course that I took in college in 1984. So, the first time I looked closely at a picture of Hagia Sophia in Istanbul—that's what's really to blame for my being at the Index of Medieval Art today.
But I've been traveling all my life. I said my first word at Expo 67 in Montreal. Well, two words, technically, I guess. What I said was "egg roll." And I meant it.
Of course, destiny-shaping travel needn't take you any great distance. When I was a kid in Lockport, Illinois in the '70s, every trip to the Field Museum in Chicago felt like a profoundly life-altering experience. I still keep a pair of Mold-A-Rama dinosaurs in my office at the Index.
Mold-A-Rama? Google it.
When I lived in England in the late '80s, I used to love to take a drive to Little Gidding, just to hang out, wander around, listen to the wind, ponder the landscape, and to think about poetry, music, history, and…just to think. I was always surprised that I never encountered another visitor there. Every trip to Little Gidding was very different from the Bloomsday I spent in Dublin, which must have been in '89. You couldn't sneeze without jostling some other tweedy nerd trying to wash down a gorgonzola sandwich with a glass of burgundy.
On research trips, I still always try to do something just for fun, something that has nothing to do with my research—even nothing to do with art history—but everything to do with who I am, so one of my favorite travel experiences was a visit in 2005 to Sighișoara, Romania, the birthplace of Vlad the Impaler. Good times!
Coffee or tea?
Yes, please.
This blog post is the second in a series focusing on members of the Index staff. Today we will be introducing Jessica Savage.
What is your background and specialization?
I am an Art History Specialist and Index cataloger of Western medieval art, specializing in the art of the medieval book in the later Middle Ages. My research focuses on topics of allegory, gender and personification, and text/image relationships, especially the deep-rooted iconography of personified virtues as they appear in the Psalms. My background is in studio art, and I initially trained as a painter and printmaker at Pratt Institute in Brooklyn, New York. My first art history survey course at Pratt, now twenty years ago, commenced with a discussion of the Venus of Willendorf and you could say I haven't looked back since! I completed my postgraduate training at Christie's Education in London and earned my MLitt degree in the History of Art from the University of Glasgow. Here, I wrote my thesis on the iconography of local popular saints depicted on pilgrim's souvenirs in late medieval England. In 2010, after briefly working as a manuscript specialist for an auction house in New York, I joined the Index to research manuscripts for the joint digitization project undertaken by the Index and the Morgan Library & Museum. This was an enriching start to my Index career, which allowed me great digital access to remarkable manuscripts and their iconography. Later, I pursued an education in library and information science at Rutgers and earned my MLIS degree with a focus on archives.
What research projects are you working on currently?
For the Index, I continue to catalogue illuminations of late medieval manuscripts photographed by James Marrow, Princeton History of Art Professor Emeritus, as well as contribute research for items in the Index card catalog not yet entered into the database, focusing on manuscripts and ivory objects. I am working on a few independent research projects for various conferences and publications. My first project, in collaboration with scholars at the University of Tübingen, is an article on the almsgiving Charity figure, wearing the olive-tree crown, in the forthcoming volume "Personifications in Text and Image." This study looks at the expression of this charitable personification in an early medieval illuminated Psalters and considers their representational potential and role in conveying meaning. A second project considers a little studied illuminated Prayer Book made in Prague for King George of Poděbrady (r. 1458–1471). The manuscript was made and presented to the king in the year 1466 and is now housed in the Morgan Library & Museum in New York as MS. M.921. This research focuses on the visual relationships within the small cycle of devotional illuminations produced at the fifteenth-century Bohemian court under queen Joanna's patronage. In early May, I'll be presenting in the sponsored session of the Society for Emblem Studies at the virtual Kalamazoo conference with new work on the medieval sources of emblematic images inscribed with psalm verse and finding their subject standards.
What do you like best about working at Princeton?
I like best that my days at the Index are full and interesting. Some days I spend looking at an object in our subject card catalog and photographic archive, making trips to the library to check bibliographic references, or answering a research question. Other days I might be editing images, or cleaning data so it is more easily searched in the database. The angles to searching Index information are adaptive, and it's rewarding to find a new route to discover parts of the collection and share these finds with researchers and colleagues. Moreover, Princeton fosters a supportive environment for research and learning with lectures, workshops, and conferences in any number of topics.
What travel experience played a role in your becoming an art historian?
There were several travels as a graduate student in the UK that played a role. However, one unexpected experience was more recent and closer to home. A few months ago, I rediscovered a statue of the Czech theologian, Church reformer, and martyr Jan Hus (1369–1415) in my hometown on Long Island. The statue of Hus, holding a chalice (the symbol of Utraquist belief in full communion), was erected in Bohemia, New York in 1893. It is known to be one of only two statues of Jan Hus in the United States and it predates the establishment of the Hus memorial in Prague's Old Town Square by twenty-two years. I am currently researching the 1466 Prayer Book of George of Poděbrady (Morgan Library & Museum, MS. M.921), belonging to George, the Utraquist king of Bohemia, who ruled in the turbulent decades after Jan Hus's death in 1415. I found it a happy occasion to pay a visit to the important local statue!
What do you like best about being back on campus in person?
After a long separation from the archive and face-to-face conversation with colleagues, it's wonderful to be back on campus and in the vibrancy of the Princeton community again. What I like best about working at the Index is the comradery over our projects and the rigor of the schedule, which makes every day feel like you're adding to the pot of progress. It's also been great settling into our new temporary space in Green Hall and being close to Firestone Library.
I drink tea most days and will have coffee, especially an espresso, on occasion. My regular teas are smoky Earl Grey, oolong tea, and an aged black tea from China called Pu-erh. I believe you also can't go wrong with the perfect cuppa and enjoy the Yorkshire Gold breakfast variety for that. Teas are wonderful from the blending to the infusion process. I'd almost say, it's an art!
This blog post is the first in a series focusing on members of the Index staff. Today we will be introducing Maria Alessia Rossi.
What is your background and specialization?
I joined the Index of Medieval Art initially as a Postdoctoral Researcher, and starting in September 2019, as an Art History Specialist. I earned my BA in History of Art from 'La Sapienza' University of Rome and my MA and PhD from The Courtauld Institute of Art. I work on medieval monumental art in the Byzantine and Slavic cultural spheres, cross-cultural contacts between the Eastern and Western Christian worlds, and the role of miracles in text and image.
What research projects are you working on currently?
For the Index, I research a wide range of medieval topics, but in my individual research and publications, I have been fascinated for a long time by the role of miracles in medieval society. During the Middle Ages, miracles played a crucial role in theology and propaganda, mirroring the needs, struggles, and desires of every social class. I have been surveying Christ's miracles in late Byzantine churches in Constantinople, Mystras, Thessaloniki, Mount Athos, Ohrid, and Kastoria, and pairing the visual evidence with textual commissions, dealing with miracles of contemporary and older saints. The underlying question is what does the interconnectedness of visual and literary evidence dealing with miracles tell us about the contemporary social, religious, and political circumstances? One major outcome of this is a monograph tentatively titled Visualizing Christ's Miracles: Art, Theology, and Court Culture in Late Byzantium.
Another topic I am passionate about is the rich, yet little-known art and architecture of Eastern Europe between the thirteenth and seventeenth centuries. Modern borders, patterns of polarizations, and ideological barriers have prevented scholars from seeing a fuller and broader picture of these regions. Yet their geographical, religious, political, and cultural histories prove the interconnectedness of those territories at the crossroads of the Byzantine, Mediterranean, and Western European cultural spheres.
In this spirit, I co-founded the initiative North of Byzantium (NoB) with Alice I. Sullivan, a project sponsored by a 3-year grant from the Mary Jaharis Center for Byzantine Art and Culture, and the digital platform Mapping Eastern Europe. The aim is to place Eastern Europe on the map of art history by fostering a dialogue between scholars, promoting a sense of community, and facilitating research, teaching, and the study of its visual culture among students, teachers, scholars, and the wider public.
What do you like best about working at Princeton?
What I like best about working at Princeton University, and specifically at the Index of Medieval Art, is the people! There is a unique and constant inflow of scholars and students from all over the world who come to use the Index card catalogue and database. As an Indexer, you learn about their fascinating work, you help them find new materials and discover the Index, and you get excited with them when they stumble across unexpected finds. Scholars also gather to attend the Index conference, and this is yet another opportunity to discover recent and original research and engage in exciting conversations. Every year we also see our medieval community growing, with the arrival of new students and fellows, coming in with new topics, questions, and iconographic riddles to be resolved!
What travel experience played a role in your becoming an art historian?
Ever since I was little, my parents have taken me along on their trips. But did our vacations include beaches or time off? No, they were an endless list of archaeological sites, museums, and cities to explore. This usually meant that lunches had to be delayed to accommodate the busy schedule that ended up always (and I do mean always) including the main archaeological sites between noon and two p.m. under the burning hot sun! You would expect this to have turned me away from art and archaeology, yet here we are…. In time, these trips became research-focused, and the schedule became packed with Byzantine art and architecture. On one of these occasions, we made it to the remote location of a fortress built in the fourteenth century by the Serbian king Milutin. Of course, we were exhausted, and it was the middle of a very hot summer day, but I was absolutely overjoyed (as you can see in the photo). At that moment I knew there was no going back!
What do you like best about being back on campus in person?
The best part of being on campus is resuming the conversations and debates that make the Index thrive, and with it, the Middle Ages. Screens and planned meetings have not allowed for many of the spontaneous interactions that are at the heart of what the Index is about. When we are cataloguing, working on taxonomy, or implementing changes in our browse lists, we encounter issues and questions that benefit from broader conversations with the other specialists at the Index, such as how do we differentiate between James Major, James Minor, and James Brother of the Lord, or would it be better to use scroll or roll in our controlled vocabulary? We have weekly meetings where we discuss for hours (not ideal with zoom-fatigue during the pandemic!) the topics that we have encountered during the week. And when you visit us at the Index, you may even catch us in the middle of impromptu conversations in the corridor, sipping cups of coffee or tea, and chatting about the role of Tristan's dog, Hodain, in the Legend of Tristan and Isolde, or about what work of art we should catalogue next and why.
Coffee or tea?
It's tough…. Being Italian I would be tempted to say that nothing beats a good cappuccino! However, I do love my tea. And by "tea" I mean any kind of infusion, including Earl Grey, matcha, mint tea, hibiscus, jasmine, and the Tough Chai from Small World, our local coffee shop. I love trying new teas and talking about tea. So yeah, probably my answer would have to be tea!
The Index staff is pleased to announce the relaunch of the Index's digital image collections, which have recently undergone a massive upgrade. The updated platform hosts ten collections of images generously donated to the Index and made freely accessible to the public through the Index website. These unique documentary resources include more than 50,000 images of medieval art and architecture and reflect the varied interests and travels of their twentieth-century photographers. They represent a range of subjects, techniques, and media, including English medieval embroidery, medieval and Byzantine manuscripts, European choir stall sculpture and stained glass, and Gothic and Romanesque architecture.
Although the images in these collections have not been cataloged with the same level of detail as those in the iconographic database, every effort has been made to assign them basic information regarding location, date, and in many cases, iconographic subjects. The latter can be found in browse lists that include a variety of iconographic topics, including saints and martyrs, animals, zodiac, occupations, and secular and religious scenes, all updated to follow the current subject standards of the main Index database. Browsing these subject lists reveals much about each collection. For instance, the subject list for the "Opus Anglicanum" database—an image collection of medieval English needlework on ecclesiastical and secular textiles—includes numerous saints especially venerated in England, with multiple scenes for Margaret of Antioch, Nicholas of Myra, and Thomas Becket.
Browsing the subject list of another collection, the Elaine C. Block database of misericords, reveals the wide variety of drôleries that decorated the wooden under-seat structures: fantastic creatures, battling animals, and figures playing in sports and games, engaged in occupations, or enacting proverbial lessons. John Plummer's database of medieval manuscripts includes large numbers of biblical and apocalyptic images, including scenes with Christ, David, and the Virgin Mary, and other popular saints found in late medieval prayer books. The subjects in Plummer's collection closely resemble those found in Jane Hayward's collection, perhaps reflecting the shared interests of two scholars were curators at major collections in New York City during the second half of the twentieth century.
The Gabriel Millet collection comprises the study and teaching images of that scholar, an important archaeologist and historian of the early twentieth century who specialized in Byzantine art. Subjects represented here include multiple biblical figures and scenes, but also Byzantine generals and emperors and several text subjects, such as the Chronicle of Manasses and the biblical psalms by number.
The Gertrude and Robert Metcalf Collection of Stained Glass is a documentary treasure for the study of Gothic stained glass. The Metcalfs, who were both stained glass artists and experienced photographers, took more than 11,000 images of stained glass from European monuments, covering sites in Austria, England, France, Germany, and Switzerland. Their images of stained glass windows are a fascinating record of a fragile artistic medium, captured during fragile times. Their travels coincided with the dawn of World War II in Europe over the years 1937 and 1939, and they produced a body of documentary evidence that became critical to postwar restoration efforts. A look at the Metcalf subject list reveals many of the expected themes in medieval iconography, but also significant iconographic cycles for several French bishops, such as Austremonius and Bonitus of Clermont, Germanus of Auxerre, and Martialis of Limoges.
Geographically, the collections cover country and city locations in four continents—Europe, Africa, Asia, and North America—from obscure sites to famous ones, and they include many types of repositories, from in-situ locations to museums, libraries, and private collections. To better accommodate browsing by region, locations in all the collections have been formatted to begin with the country. Each collection is introduced with general information about its history, scope, and image use policies. It has been satisfying to edit and release these collections—now with more consistent information and a more secure digital platform—knowing that they are now more useful to scholars. Your feedback on the collections is welcome via this form.
Continuing a series of blog posts introducing the new features of our online database.
The Index of Medieval Art database catalogs more than 26,000 subjects. For a long time, you could explore this vast taxonomy only by browsing the subject headings in alphabetical order. To make the data more accessible, the Index has developed a Subject Classification browse tool, which allows researchers to discover Index holdings by browsing through various categories of our hierarchical classification of subjects.
In this network, subjects are grouped under five top-level headings:
By browsing the contents of these categories, researchers can learn more about Index subjects as grouped by theme. Researchers interested in the "History" category, for example, will encounter individual subjects, such as the names of historical figures and their associated scenes within a medieval society, grouped under classifications such as "Heraldry," "Donors," "Founders," and "Nobility." Other groups in this category include "Those Who Pray" (including representations of religious clergy, pilgrims, missionaries, hermits and heretics), "Those Who Fight" (with admirals, generals, officers, etc.), "Those Who Rule" (with emperors, empresses, doges, despots, prefects, etc.), and "Those Who Work" (including medieval occupations by type, such as philosophers, physicians, and scholars).
The category "Religious Subjects" contains diverse subject matter, mainly figures and scenes, but also objects and rituals, not only for the three Abrahamic faiths of Christianity, Judaism, and Islam, but also for several other ancient religions, such as Greek, Roman, and Egyptian mythology. The unsurprisingly large iconographic groups for the Life of Christ and the Life of the Virgin Mary, which include the names of individual biblical figures and saints as well as biblical scenes, live in this part of the network and represent a wealth of catalogued examples in the database. Under "Religious Subjects," biblical scenes are also grouped by their numbered books and chapters. These classifications allow researchers who are broadly interested in the iconography from a biblical source, such as the Genesis narrative, to access "Biblical Books" then "Genesis, Book," and then go to a specific category. For example, the category "Genesis, Chapter 04" lists subjects of related figures and scenes appearing in Genesis 4, such as those for Adam, Eve, Cain, and Abel. Each biblical book with associated iconography in the database can be browsed for associated subject headings, including the subjects for the Psalms (following the Vulgate numbering 1–150). Researchers pursuing iconography related to texts other than the Bible will want to browse the "Literature and Legends" category, accessed from "Non-Biblical Texts" under "Society and Culture," which contains subjects relating to the Trojan War, the Aeneid, the Legend of the Argonauts, and Arthurian Legend, among others.
The "Society and Culture" category contains a wide variety of subject terms for representations of medieval daily life. Here you will find types of work, garments, objects, utensils, musical instruments, and furniture that the Index has identified in medieval works of art, plus an array of occupational activities, such as travel, sports, eating and feasting, and hunting scenes. Exploring the category "Sports and Games" might yield unexpected names of pastimes enjoyed in the Middle Ages. Subject terms for games such as "Chess" or "Draughts" are familiar, but others, such as "Whirligig," might invite a deeper look.
The "Nature" category is a treasure trove for anyone interested in medieval representations of animals, plants, geography, and astronomy. Here you will also find fascinating mythological creatures and hybrid figures alongside visualizations of the seasons, climate, and natural disasters. The "Symbol, Concept, and Ornament" category contains subjects for the more abstract topics in the Index collection. It currently organizes representations of allegories by name and personifications by type, including human characters for the arts, nature, places, time, virtues and vices. This category also includes maps and diagrams, monograms of individual figures, and various kinds of figured, floreate, and foliate ornament.
More a network than a strict hierarchy, the Subject Classification tool is designed to be flexible in its groupings, because the Index of Medieval Art recognizes that medieval iconography does not always fit into predetermined categories or may fit into many categories. For example, Charlemagne, the Carolingian King of the Franks and later Emperor of the Romans was also revered as a saint in some locations, so he appears in multiple parts of the network, including:
When clicking on the lowest-level subject heading, in this case "Charlemagne," a new page will appear displaying this subject heading's authority record. The authority record provides an array of useful information, including a Note field at the top offering a definition of the subject, or biographical details, followed by expandable fields containing select bibliographic citations, External References (cross-references to other authorities) and See Froms (alternative names and spellings of the subject). At the bottom of each subject authority is the Associated Works of Art field, an expandable field containing links to all the medieval works of art that feature this iconography.
The authority record's Subject Classifications field presents the lowest network category, or categories, to which the subject belongs. In the example of "Charlemagne," it is the name of the individual figure. In other instances, the Subject Classifications for a particular subject might appear on the authority as a broader grouping term. For example, the subject authority for "Drinking Horn" will use the subject classification "Utensils and Objects D–H," and the subject for "Robin" will use the classification "Birds H–Z." As noted in the example for biblical books, the subject classifications can also contain names of textual sources, including legends and other narratives.
The evolution of the Subject Classification tool is ongoing, allowing for continuous discovery by both those who use it and those who are building it. As branches of the network spread, new and surprising associations emerge, revealing the richness of the Index's subject taxonomy. We hope you will enjoy browsing the iconographic headings with this new database tool, which is openly accessible to anyone who visits the browse page of the Index of Medieval Art database.
The Index of Medieval Art Subject Classifications comprises a browsable network that organizes and associates subject terms from our vast taxonomy of medieval iconography. These classifications are descriptive and not prescriptive of medieval works of art cataloged into the Index collection. What follows is an outline of the top three levels of classifications to give Index researchers the broadest overview of subject content.
Heraldic Symbols
Heraldry of Miscellaneous Figures and Families
Identified Heraldry A–Z
Legendary Heraldry A–Z
Historical Figures
Donors A–Z
Founders A–Z
Those Who Fight
Those Who Pray
Those Who Rule
Those Who Work
Birds A–Z
Hunting and Other Scenes
Insects and Invertebrates
Mammals A–Z
Marine Creatures
Reptiles and Amphibians
Astronomy and Astrology
Planets and Other Celestial Objects
Sun and Moon
Geography and Geology
Minerals and Gems
Natural Elements
Sea and Ocean
Weather and Natural Disasters
Mythological Creatures and Hybrids
Animal Hybrids
Hybrid Figures
Mythological and Religious Creatures
Plants and Flowers A–Z
Trees and Their Fruits A–Z
Times of the Day
Biblical Books
Genesis, Book–Maccabees, Book
Matthew, Book–Apocalypse, Book
Angels and Devils
Christian Legends
Christian Objects and Rituals
Christian Religious Orders and Offices
Death and Afterlife
Divine Manifestations
Images and Attributes of Christ
Life of Christ
Life of the Virgin Mary
New Testament Apocrypha
New Testament Figures
Old Testament Apocrypha
Old Testament Figures
Types of the Virgin Mary
Greek and Roman Mythology
Mythological Figures A–Z
Mythological Narratives
Muslim Objects and Rituals
The Life of Muhammad
Jewish Biblical Figures and Narratives
Jewish Objects and Rituals
Other Ancient Religions
Egyptian Deities
Cities A–Z
Identified Buildings A–Z
Models of Buildings and Cities
Unidentified Buildings and Structures A–Z
Drolleries and Grotesques
Figure Types
Ethnic, National, Religious, and Social Types
Figure Types A–Z
Human Hybrids
Hybrid Figures
Imaginary Figures
Labors of the Month
Bed, Bench, Lectern, Throne, etc.
Garments and Accessories
Hats, Headgear, Jewelry, etc.
Human Activities
Eating and Feasting
Hunting and Other Scenes
Medicine and Medical Practices
Occupational A–Z
Social Activities
Sports and Games
Travel and Commerce
Non-Biblical Texts
Literature and Legends
Objects and Rituals
Christian Objects and Rituals
Jewish Objects and Rituals
Muslim Objects and Rituals
Utensils and Objects
Musical Instruments A–Z
Utensils and Objects A–Z
Arms and Armor
Military Figures
Military Scenes
Allegories and Personifications
Personifications of Arts
Personification of Christological, Symbolic, and Literary Concepts A–Z
Personifications of Nature
Personifications of Places
Personifications of Time
Personifications of Vices
Personifications of Virtues
Maps and Diagrams
Alchemical, Alphabetical, Geometric, Astronomical Diagrams, etc. and Maps
Monograms of Individual Figures A–Z and Symbols
Animal, Figured, Floreate, and Foliate Ornament


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You have to admit … not many employees want to spend one night of their weekend at the office, even if it is for a Christmas party. Employees would rather be home in front of a warm cozy fire or out shopping for Christmas presents. Of course, with times as tough as they are, most people won't want to buy any extra gifts for co-workers either. At this year's office Christmas party, you can enjoy the work party and begin decking the halls early.
Christmas Party Themes
We all know that most work Christmas parties are boring and very few people want to attend. The boss feels he needs to throw a Christmas party because his employees expect it. This year, try something different than the usually stand-around boring office Christmas party and throw a Christmas work party instead. What's the difference?
A Christmas work party is just what it sounds like. Employees will be working, well, sort of. Most offices don't decorate for Christmas themselves. Instead, the boss hires a decorating company to come in after hours and decorate before the next day. Then, the boss hires someone else to cater the food, plan the party, and even decide what Christmas gifts his employees get. Not this year.
This year, schedule one day after Thanksgiving to have the Christmas work party during regular working hours. That's right. Depending on what type of office you run, you can either continue on with the regularly scheduled work day or close the office for the day. The employees will still get paid, but not for normal everyday work.
Christmas Work Party Idea
Hold the Christmas party on your least busiest day of the week. Serve breakfast and lunch while the employees along with the boss can all decorate. Everyone can get the office ready for Christmas, have a casual light-hearted day at the office, listen to Christmas music, laugh, sing and not have to worry about buying an extra gift or finding a sitter on the weekend to attend the Christmas office party. The employees can be paid for decorating and the boss will not have to dish out all the extra cash for brought-in help.
Ideas For Christmas Party
A lot of offices have their own kitchen. This is a great time for some employees to show off their cooking skills while others are decorating the office or building for Christmas. For breakfast at the Christmas party, have a pancake breakfast with sausage, slices of ham, orange juice, tea and coffee. The pancakes don't have to be dull. Spice them up by adding pumpkin pie spice, cinnamon, canned pumpkin, blueberries, strawberries or other special ingredient. Have butter and syrup available. The boss can buy the breakfast ingredients as a treat for his employees.
For lunch, the employees can bring a covered dish from home while a turkey and/or ham bakes in the oven. Rolls can be baked just before serving, as well. There will be no need for formal dinnerware as thick paper or plastic plates will work just fine. While everyone is eating, pop a few pies in the oven for desert. The pies can be made fresh, store bought or frozen.
Have everyone take lunch at the same time at this special Christmas work party. By the time it would take for a regular work day, the employees would have had a Christmas party, Christmas breakfast, Christmas lunch, finished decorating the office, let of some stress and made the boss happy all while enjoying the company of their co-workers.
Pumpkin Pancake Recipe
It is easy to make these delicious pancakes and adjust them to feed a few or many. Start with self-rising flour. Whether you need a whole bowl full of mix or just a little depends on how much flour you use. Add pumpkin pie spice. Again, sprinkle the spice for a few pancakes or add several good shakes for a bowl full of mix. You can even wait until you pour the pancakes into the pan before sprinkling the pumpkin pie spice onto the batter.
Next, add one to two eggs and milk. Add milk and stir until the mixture is runny enough to pour. Sometimes, if the pan is not hot enough, the first pancake may turn out a little flat. Don't worry, just let it cook as usual and then begin with the next batch. Add your favorite toppings and have a merry Christmas!

subset: commoncrawl


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What is marketing for fashion?
Fashion Marketing Definition Fashion marketing, also referred to a fashion merchandising, is defined as the process of planning and promoting goods or services in the fashion industry to the right audience at the right time and place with the use of marketing and advertising tools and strategies.
What are the do's and don'ts of fashion?
There are a few things in fashion you'll want avoid as the air gets chillier.
- Don't Go Overboard With Fall Trends. ...
- Don't Store All Summer Clothing. ...
- Don't Show Too Much Skin. ...
- Don't Wear Unflattering Fashions. ...
- Don't Wear Tights as Pants. ...
- Don't Think You Have to Wear Dark Colors.
What jobs are in fashion merchandising?
Where Can a Career in Fashion Merchandising Take You?
- Retail Store Manager. ...
- Fashion Buyer. ...
- Showroom Sales Manager. ...
- Product Development Manager. ...
- Visual Merchandising Artists. ...
- Fashion Marketing. ...
- Account Executive. ...
- Fashion Coordinator / Director.
What qualifications do I need to be a fashion designer?
You will usually need a relevant higher education qualification, such as a foundation degree, HND or degree to be a fashion designer. A course that teaches both design and technical skills will give you the practical knowledge that you need to work in the industry.
What do you learn in fashion designing?
Aspirants need to possess some or all of the below-mentioned skills to become a fashion designer:
- Creativity and artistic taste.
- Knowledge of colours, textures, and shapes.
- Technical knowledge of tasks such as pattern cutting and sewing.
- Knowledge of fashion trends.
- Drawing and sketching skills.
What is BCOM in fashion?
COURSE OVERVIEW Our Bachelor of Commerce in Fashion (BCOM), is the only qualification of its kind that effectively merges the skills of fashion retail management, buying, merchandising, fashion practice and trend analysis, with the traditional in-demand commercial modules aligned to this kind of qualification.
Is fashion halal in Islam?
According to the Qur'an, both men and women should dress in ways that are halal, meaning permissible, throughout their lives. ... It is also mentioned in the hadith that it is haram (prohibited) for men to wear clothing articles made of silk or animal skin that has not been tanned.
19 Related Question Answers Found:
What is another word for fashion industry?
What is another word for fashion industry?
fashion business apparel industry garment industry rag trade clothes fashion design glamorUS couture clothes design glamourUK
How do I contact covet fashion support?
Please contact our Customer Support Team at [email protected] .com and include your Covet Fashion username.
What services do fashion forecasting companies provide?
The agencies primarily act as a medium that forecasts colours and trends, in advance of the current season. Their teams look further into the future via consumer trend research and trend- spotting as a result, they predict fabrics, colourways and fashion trends.
Do Fashion Nova sizes run big or small?
People who haven't tried it yet always ask, does Fashion Nova run small. Here's the answer to that question. Yes!
What are theories of fashion?
A theory is used to explain phenomena. Therefore, fashion theories are used to explain how and why styles and fashions diffuse across time and across cultures. Trickle-down is one example of a fashion theory (Simmel, 1904). This theory is based on ideas related to social class.
What is finishing touches in fashion?
Finishing touches - Accessories like belts and buckles as well as neckties and neckwear add critical finishing touches to many outfits. Walking aids- Items like canes and walking sticks have long been used, sometimes as an elegant accessory and other times out of medical necessity.
How does AI work in fashion industry?
AI-based predictive analytics enable fashion retailers to learn from prevailing customer behavior and plan their inventory stocks accordingly. AI-powered tools can help the fashion business identify their best- (& worst-) selling items and plan their inventories accurately.
Has the UK the largest fashion industry in the world?
Retail giant Marks & Spencer is number 3 in the Top 10 largest fashion companies in the UK. It is currently valued over 7 billion pounds and has annual sales of 10.3 billion pounds....Fashion companies.
2.Next Plc: 7.16 Billion 3. Mark & Spencer: 6.18 billion dollar 4. ASOS: 6.18 billion dollar
What do you say in a fashion show?
8 Things To Say To Make It Look Like You Were At Fashion Week
- 'It was all about bold lines and interesting textures' ...
- 'If I see another canapé again, I'll throw up' ...
- 'The FROW was interesting this year' ...
- 'I think a lot of it is going to translate to the high street raaahlly well' ...
- 'I haven't slept in a week'
How did avant-garde fashion start?
Avant Garde fashion traces back its roots to Japanese designers and is claimed to have began in the 1920's. Yohji Yamamoto, Rei Kawakubo and Junja Watanabe are few Japanese designers whose designs have been a great source of inspiration to many designers.
What do graphic designers do in the fashion industry?
Working closely with the shape Designers and reporting into a Fashion Design Manager/Director, a Graphic Designer is responsible predominantly for creating all over prints, placement prints and graphics for a variety of garments whether this is for womenswear, menswear, childrenswear, fashion accessories, footwear, or ...
How does fashion influence society?
Fashion Industry Contributes to Society: It's Personal, Fun, Political & Reflective. ... Fashion is more than amped up dress up for adults. It's a reflection of who we are and what we believe. The fashion industry contributes to society by allowing us to express ourselves, our creativity and our beliefs to the world.
What are fashion must haves?
We're listing the fashion essentials every girl should have in her closet for a classic, timeless wardrobe....And without further ado, let's jump right in!
- A Little Black Dress. ...
- Basic Cardigans. ...
- A White Dress Shirt. ...
- Loafers. ...
- A Tan Trench Coat. ...
- All-White Sneakers. ...
- Black or White Jeans.
How are fashion designers paid?
The average salary for a fashion designer is $15.98 per hour. The mean salary for fashion designers was $74,410 per year, or $6,200 per month. Fashion designers' median salary was lower at $64,260 per year, or $5,355 per month.
What is fashion designing for beginners?
Simply put, fashion designing is everything you can think of when you talk about clothes and accessories. It deals with applying the art form into creating designs that aesthetically take influence from social, geographical, economic, and cultural conditions.
Is designer clothing overrated?
A survey from the American Affluence Research Center found that the affluent believe most luxury brands are "overrated." The survey of 11.4 million households in the U.S. that represent the wealthiest 10% of Americans measured brand ownership, familiarity and knowledge for 17 luxury brands over a five-year period.
What makes an item of clothing high fashion?
Luxury fashion is characterized by high price points, placing it outside the category of goods that are simply necessary for daily life. Ideally, this high price point is justified by the quality of the item, which will typically use higher quality materials, design, and craftsmanship in its production.
Where can I study fashion in India?
A Quick Overview of Top 10 Fashion Institutes in India
- National Institute of Fashion Technology, Delhi (NIFT Delhi): ...
- Vogue Institute of Art and Design, Bangalore (VIFT): ...
- Army Institute of Fashion and Design, Bangalore. ...
- Symbiosis Institute of Design, Pune (SID): ...
- National Institute of Design, Ahmedabad:
What books should I read to become a fashion designer?
- The End of Fashion by Teri Agins. ...
- The little dictionary of Fashion: A guide to dress sense for every Woman by Christian Dior: ...
- Fashion - Oxford History of Art by Christopher Breward: ...
- The Beautiful Fall by Alicia Drake: ...
- The Battle of Versailles: The Night American Fashion Stumbled into the Spotlight and Made History.


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Numerous separate-sexed organisms have sex chromosomes managing intercourse dedication. Intercourse chromosomes usually have paid down recombination, specialized (frequently sex-specific) gene content, dosage settlement and size that is heteromorphic. Research on intercourse dedication and intercourse chromosome development has grown in the last ten years and it is today an extremely field that is active. But, some areas inside the industry never have gotten just as much attention as other people. We consequently think that a historic breakdown of key findings and empirical discoveries will place thinking that is current context which help us better understand where you can get next. Right Here, we provide a timeline of essential conceptual and models that are analytical in addition to empirical studies which have advanced level the industry and changed our knowledge of the development of sex chromosomes. Finally, we highlight gaps within our knowledge to date and propose some areas that are specific the industry that people suggest a better concentrate on as time goes on, such as the part of ecology in intercourse chromosome development and brand brand new multilocus different types of intercourse chromosome divergence.
Numerous pets plus some flowers have intercourse chromosomes. In these types, intimate development is determined from a significant sex-determining region 1, which triggers a cascade of sex-specific genes that control development as a male or female 2,3. Old sex chromosomes are extensively examined in animals and Drosophila 3, and they're acknowledged by their particular features, including paid off recombination, degeneration, heteromorphic size and specific, usually sex-specific, gene content and phrase 4. Research on intercourse dedication and intercourse chromosome development has grown within the last ten years and it is presently a field 1,2,5 that is dynamic. The analysis of intercourse chromosomes began within the belated 1800s and early 1900s, whenever these unique chromosomes had been found 6, and after this we now have a good knowledge of the basic steps tangled up in intercourse chromosome development. Nonetheless, some areas never have gotten just as much attention as other people, and now we therefore seek to remedy this oversight by presenting a perspective that is historical the introduction of intercourse chromosome development research. We offer a synopsis of crucial theories, models and empirical studies that have actually advanced level the industry and changed our comprehension of intercourse chromosome development. Finally, we highlight gaps inside our knowledge that is present and an increased future give attention to some certain areas in the industry. We begin with a short outline of just how sex chromosomes generally evolve.
Intercourse chromosome development
(a) hereditary intercourse dedication and recombination suppression
The accepted concept for the evolution of heteromorphic intercourse chromosomes (figure 1) begins with a set of homologous autosomes that gain a sex-determining that is major through one or a few genes 2,3,8. This may take place in a method that currently features a intercourse chromosome pair (plus in that instance it leads to an alleged turnover, figure 1c,d) or in an ancestor 2 that is hermaphrodite. Two mutations are expected to allow split sexes to evolve from hermaphroditism—one curbing fertility that is male one other suppressing feminine fertility, often at various loci—otherwise a blended mating system outcomes ( ag e.g. gynodioecy with females and hermaphrodites, which will be the most typical system that is mixed flowers) 8–10. The new sex-determining gene needs to cause a fitness increase compared to the old sex-determining gene in order to invade 1. in www.adult-friend-finder.org/about.html case of a turnover
Figure 1. breakdown of the dynamic development of intercourse chromosomes, illustrated in a male heterogametic system. Top corner that is left an autosome set in a hermaphrodite gains a sex-determining component that evolves in order to become a very heteromorphic set of intercourse chromosomes, via cessation of recombination, degeneration (a) and development of dosage payment (b). This development can but be perturbed by a return occasion, like the development of the neo-sex chromosome (c) or an increase of the brand new sex-determining element (d). In (c), the reasonably degenerated Y chromosome fuses with a current autosome, forming a fresh intercourse chromosome set having a classic sex-determining element. A new sex-determining factor, creating a completely new sex chromosome pair in(d), an autosomal pair gains. The Y that is old is. In both (c) and (d), the old X may ultimately gain diploidy through non-disjunction and subsequently lose dosage payment, becoming a typical pair that is autosome. Figure adapted from 7. Remember that although (c) and (d) are shown as leading to chromosome turnovers, this development just isn't unavoidable. SA, intimately antagonistic allele.
Next, sex-specific genes become connected to the sex-determining area, and suppression of recombination evolves within the heterozygous intercourse as it is beneficial for those genes become inherited together 2. Recombination involving the proto-X and sex that is proto-Y (proto-Z and -W in female heterogametic systems) could be hindered either through gradual decrease with hereditary modifiers or big inversions 8. The recombination suppression region of the proto-sex chromosomes can expand further through the accumulation of intimately genes that are antagonistici.e. genes which are very theraputic for one sex but harmful when it comes to other), nearby the sex-determining region 8,11.
(b) Degeneration and dosage settlement
The rise for the region that is non-recombining in highly differentiated sex chromosomes, as genes decay via accumulation of deleterious mutations in the sex-limited Y chromosome 2,11. After Y degeneration (figure 1a), the sex that is homogameticXX females) has two copies of X-linked genes when compared to heterogametic intercourse's (XY men) one, leading to unequal phrase involving the sexes. The option would be dosage compensation (figure 1b), and that can be accomplished in numerous means ( ag e.g. X chromosome inactivation in feminine mammals 12, or X hyperexpression in male Drosophila 12,13). Dosage payment is a common event taxonomically, but differs in its level; it really is nearly complete in animals, it is partial in wild wild wild birds plus some snakes 12.
(c) Intercourse chromosome turnovers
Though some organisms have actually lost the Y chromosome totally ( ag e.g. crickets and dragonflies), only a few intercourse chromosomes end up1,2 that is highly differentiated. There are 2 main hypotheses: periodic recombination between X and Y because of sex-reversals and regular return occasions. Sex chromosomes in sex-reversed feminine frogs (in other words. having A xy genotype) recombine just as much as in XX-females, presenting brand brand new hereditary variance in the Y 14. But, this just works for types with reasonably sex that is undifferentiated differentiated sex chromosomes cannot recombine successfully 14. Intercourse chromosome turnovers have become typical in fishes and might derive from the development of a new gene that is sex-determining an autosome or transposition of a sex-determining locus to an autosome (figure 1d), or fusions between autosomes and existing sex chromosomes 15.
(d) Our changing views of intercourse chromosomes
Although many research happens to be completed on extremely heteromorphic intercourse chromosomes, we do know for sure that intercourse chromosomes are diverse across residing organisms, through the mammal XY and bird ZW to your less-studied haplo
Reputation for key concept and empirical discoveries
(a) Intercourse determination
By the end for the 1800s, probably the most theory that is popular intercourse determination had been nutritional/metabolic 20, since bad larval or maternal nourishment leads to an overproduction of men in several types 85. It absolutely was perhaps not before the very early 1900s that the sex chromosomes were first connected with intercourse dedication. Interestingly, very very early names of these chromosomes mirror this particular fact and explain other traits that made them unique ( e.g. 'odd', accessory, idio- or heterotropic chromosomes) 18. McClung first recommended in 1902 that 'odd' chromosomes (discovered by Henking in 1891 6) might be connected with intercourse 24. He (improperly) proposed that the additional accessory (X) chromosome increased metabolism, indirectly inducing the zygote to produce being a male.
Early work with Drosophila by Stevens and Morgan (evaluated in 18) provided the empirical basis for the introduction of major brand brand new theories of intercourse determination by Stevens 26 and Wilson 27. Stevens favoured the view that is mendelian one or several particular facets in the X and Y determined intercourse. Wilson favoured an anti-mendelian dose-dependent view—the greater the whole-X dosage, the more the phenotype moves to the feminine end of this range. It is currently clear that both theories are proper; some types get one or perhaps a few intercourse dedication facets (figure 1), while some have actually polygenic intercourse determination 2. A series of experiments in the early 1900s 28,33,36 cemented the idea that the X is associated with female traits, and the Y with male traits 18 although we now know that sex in Drosophila is determined by the ratio of Xs to autosomes.
After the intercourse chromosomes were thought to be being intrinsic to intercourse dedication ( by the 1920s), certain theories of sex chromosome evolution could possibly be developed (although Wilson recommended in 1905 25 that XO systems most likely evolve from XY systems). Interestingly, it had been initially thought that the Drosophila and human XY chromosomes are homologous 18. It is maybe logical considering the fact that the evidence that is first of intercourse chromosome return and rearrangements failed to show up before the 1940s and 1950s. Likewise, 1st ZW systems had been discovered quite very very very early, nevertheless the first UV system had not been described until 1945 and blended XY and ZW systems within an individual types are not found before the 1960s.


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I think we certainly need such a thread now that traffic here is increasing all the time.
If you feel you've been quite nasty to a fellow TFK member, or even to someone else outside our little internet world, and you subsequently regret your choice words then please do not hesitate to register your apologies on this designated apologies thread.
I'm sure it will prove a useful thread.


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Author(s): MAPO Team
Date Created: Nov 19
Date Published: Nov 19
Ecosystem Dao should use 150 million $MAPO as votes for validators in MAPO DAO.
Ecosystem DAO has 1.789 billion $MAPO, which has not been sufficiently put into use. But the funds could be used for safeguarding the MAPO network. Especially since MAPO Relay Chain is a POS chain, the most important thing is that we have more than enough validators to secure the entire network. Therefore, we propose that Ecosystem Dao should use 150 million $MAPO as votes for validators in MAPO DAO.
- The 150 million $MAPO will be distributed to MAPO DAO validators within half a year
- All revenues generated in this process belong to Ecosystem DAO.
- The ownership of $MAPO in Ecosystem DAO is for all holders of MAP Protocol tokens, so the voting process will bypass the poll in discourse forum but start in idavoll directly.
What do you guys think of making tokens in Ecosystem DAO more useful? And how can we achieve that? Feel free to comment below and let's discuss!
Vote here: https://newspace.idavoll.network/proposal-detail/Qma97MhVRHd1qvp2HHKj1e4aYNj2RARJn6DtWo2dSWzsv4


text: huberp76 2,603 Posted August 25, 2021 Share Posted August 25, 2021 How long can a girl go - not to go? How long can a girl hold her pee, how long can she endure to overfill her bladder, or to get her bladder overfilled, how long can she keep her urine inside her? How long can she suppress her urge and her need to wee? How long can she keep her panties dry? Questions like this i am asking myself since i can remember. Whenever i spendet time with a girl which did not use a toilet for a long time, i asked myself " how full has her bladder to be after holding it for so long and how strong must her urge be?" Sometimes girls did not use a opportunity to go, not even if they already have not been for hours. The longer they were holding, the more i wanted to make them hold and to make them desperate. Not give them a chance to go anywhere, if it was procurable not to go for hours. It was like a addiction, it was so exciting for me to know that a girl did not wee for extreme long, it was exciting to wait what will she do, would she admit that she is needing to wee, would she ask for a loo? I did love it, if a girl said that it would be time for her to use a toilet, after don't go for so long, to tell her that she had so many opportunities, but now it is impossible for her to go, now she has to hold it. Deliberately bring her to a place where she could not go, where she had to hold it and where i wanted to stay with her for so long as possible. "How long can she go, not to go?" i wanted to know and i was curious what she would do if she reached her limit. I absolutely love longtime holding. If a girl tells me at noon that we should try to find a loo for her, because she is nearly doing it in her panties, if she tells me that she had no chance today for her morning wee, then it is like you push a button, i get horny at the moment. I would not try to find a toilet for her, i would try to make her wait and hold for so long as any possible. Sorry, but girls who are needing to wee are so exciting and so sexy. I love it too if a girl don't pee before sleeping, although she has not been for hours before. I can't wait until the morning, not let her out of the bed, don't let her to the loo, no wee for her before sex we had sex! I spendet time with girls who did know that some boys gets horny, if they know that a girl would need to wee, but don't go, if they know that a girl is holding a bursting full bladder in her belly. They told me that they would need to wee , but did not go. They did not use opportunities, they did hold it for hours longer.They talked about their strong urge and about their bursting full bladder and that they are afraid that they wet their panties if they don't go very soon. Some girls did exactly know what they did with a poor boy when they did it and if they talked like this. Other girls wanted to get made to hold it, they wanted to get tortured, they wanted to get their bladder tortured, pressed and pushed on it and some girls wanted full bladder sex. Rxtree, knarf11 and Kei 3 Quote Link to comment


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Behind The Pleasure Of Masturbation See The Effects & How To Quit / Danger Of Masturbation / 8 Negative Side Effects Of Masturbation (2) (3) (4)
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|2 "Health Benefits" Of Masturbation by Pope20Davy(m): 9:23pm On Jun 21, 2020
We've all heard of the dangers of masturbation but do you know it has benefits? Everything thing has pros and cons but depending on your need the even worst things can be beneficial to you.so let's get started
1. Helps in overcoming fatigue caused by oversleeping:we have all had that time we overslept and woke up on the wrong side of the bed, feeling tired,cold but guess what masturbating gives you a calm feeling which can help in giving some sort of comfort
2. Helps in some stomach troubles:about waking up on the wrong side of the bed, sometimes you get a 'bloated' stomach you are just full for no reason well a little didly doing might give you some comfort
DISCLAIMER:These claims have not been verified there are just my observations and what I mean by masturbation is not violently wanking the genitals with the aid of Vaseline but gently massage your genital without Vaseline until you get an erection but stop before ejaculation.note some hours before you do the deed ditch your underwear.
|Re: 2 "Health Benefits" Of Masturbation by DaInferno(m): 9:36pm On Jun 21, 2020
u just open mouth waaaaaaa
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|Re: 2 "Health Benefits" Of Masturbation by Pope20Davy(m): 1:38pm On Jun 23, 2020
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Summer camp returns to Lobs & Lessons in 2022! To celebrate being back together and in person, this year's theme is all about creating happy campers. This summer is a celebration of all things that make summer camp so amazing: meeting new friends, building life and tennis skills, and learning and growing together in a fun, outdoor environment. We are going back to our summer camp roots and re-engaging with one another to build up our happy campers. Welcome back everyone, we can't wait to see you this summer!
2022 Happy Campers will experience:
- Teambuilding and camp games
- College and career explorer activities
- Tennis skills and games
- Swimming
- Art activities
- Nutrition lessons
- Social and emotional learning activities
- Cross training activities
- Family celebration
Cost: $249 (Senior LOBsters $119)
Dates: July 5 – August 5 (closed Monday, July 4th)
July 5th-8th
Senior LOBsters (10th-12th grade) – 9am-12pm
July 11th-15th
Mini LOBsters (1st-2nd grade) – 9am-4pm
July 18th-22nd
Lil' LOBsters (3rd-4th grade) – 9am-4pm
July 25th-29th
Jr. LOBsters (5th-6th grade) – 9am-4pm
August 1st-5th
Top LOBsters (7th-9th grade) – 9am-4pm


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FST Special Addition Newsletter – 2022 Autumn Semester Graduation
is the people. My teammates and lab mates across my time at OSU are who made my experiences rich and ... encouragement during my time at OSU. Rahul received a master's degree and was advised by Dr. Rafael ... Jimenez-Flores. Huan Wei – There are so many good memories I can bring out during my study at OSU. I can never ...
Study Design and Quantitative Methods for Food Science
FDSCTE 6400 This graduate-level course is designed to introduce students to research study design and data analytic methods commonly used in food science. Since study planning is critical to the success of any research project, this course will focus prim ...
Food Composition and Function
FDSCTE 4600 This course provides a comprehensive introduction to diverse and modern topics in Food Composition and Function. At the end of the course, students should have clear understanding of the macro-components of foods, understand basic food chemist ...
Food Supply-Chain Equipment Operations
FDSCTE 3400 The focus of this course is description of equipment used throughout the food supply chain from harvest/assembly to preparation for consumption. After completing this course, students will recognize how equipment systems are assembled within a ...
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2023 OSU Harris Award for Excellence in Food Science & Technology. Review of the nominations will begin ... application can be sent to Kelly Elisar at firstname.lastname@example.com. Thank you for your nomination. Information ...
Metabolomics, Principles and Practice
FDSCTE 7600 Introduces students to the principles and practice of metabolomics. Metabolomics is the study of the totality of small molecules existing within a system. We will focus here on the application of metabolomics to plant, food, nutrition and heal ...
Food Carbohydrates
FDSCTE 7641 Chemical, physical, biological, and functional properties of food carbohydrates and their interactions with other food components. Prereq: 2400 or equiv., 5600 or equiv., or permission of instructor. Check with the FST graduate student coordin ...
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FDSCTE 7670 This course will provide students with an understanding of the chemical stimuli that impact flavor perception, analytical approaches to characterize flavor stimuli, mechanisms of flavor formation, flavor-ingredient interactions, and industrial ...
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Assn. Research Award Rafael Jimenez-Flores – 2009 Asian Institute of Technology Alumni Assn. ... 2020 OARDC Multi-disciplinary Team Research Award Ahmed Yousef- 1996 OSU Early Career Innovator of the ... Year Monica Giusti – 2013 OSU Lumley Interdisciplinary Research Award Luis Rodriguez-Saona- 2021 ...


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'Edmonton', Alberta · From May 2021
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1ST Quarter Exam RESEARCH 2017-18
Quiz by JUDY P. ARALAR
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- Q 1/30Score 0When researchers are interested in knowing more than just how well or how accurately something is done and they want to obtain a more holistic picture of what is happening in a specific setting or situation, what form of research is called for?29experimental researchcontent analysis researchqualitative researchsurvey research
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- Q1When researchers are interested in knowing more than just how well or how accurately something is done and they want to obtain a more holistic picture of what is happening in a specific setting or situation, what form of research is called for?experimental researchcontent analysis researchqualitative researchsurvey research120sEditDelete
- Q2Good research questions areclear, significant, and ethical.feasible, clear, significant, and ethical.feasible, clear, and ethical.feasible, clear, significant, and include an hypothesis.120sEditDelete
- Q3The group that receives the experimental treatment condition is the _____.Experimental groupControl groupIndependent groupParticipant group30sEditDelete
- Q4The group that does not receive the experimental treatment condition is the ________.Control groupExperimental groupTreatment groupIndependent group30sEditDelete
- Q5In an experimental research study, the primary goal is to isolate and identify the effect produced by the ____.Confounding variableDependent variableExtraneous variableIndependent variable45sEditDelete
- Q6A research which utilizes inferential statistics to determine the results of the study.Quantitative researchExperimental reportNon-quantitativeHistorical30sEditDelete
- Q7Which of the following research studies is most likely to be an experiment?A study of the leadership characteristics of successful high school studentA study to find out if using concept maps can increase achievementA study that compares the cholesterol levels of vegetarians and meat eatersA study to determine the number of hours student devote making assignments120sEditDelete
- Q8A combination of quantitative and qualitative approaches is known ascausal-comparative research.mixed-methods research.explanatory research.descriptive research.30sEditDelete
- Q9Which of the following are characteristics of quaLitative research?not generalizable, subjective, systematicsystematic, objective, generarizablesystematic, subjective, not generalizabledeductive, systematic, subjective60sEditDelete
- Q10The independent variable refers to:the variable which is only used in the control condition.the variable being manipulated or varied in some way by the researcher.the variable which shows us the effect of the manipulation.a variable which serves as the aim of an experiment.120sEditDelete
- Q11When would you write an abstract?Once you are aware of the results.After the introduction and method sections are completed.Before the introduction and after the title.After the experiments are done.120sEditDelete
- Q12What is the main job of the title?The title should be witty.The title should characterize the entire report.None of these.The title should give the reader a snappy version of all the results.60sEditDelete
- Q13Why is it important to read original articles when you are reviewing the literature?To obtain an overview of methods and procedures.To look for flaws (pagkakamali) in the method.To examine the validity of the conclusions.All of these.60sEditDelete
- Q14Plagiarism refers to the fabrication of data.falsetrue60sEditDelete
- Q15In a basic true experiment with only two conditions you are interested in the effects of noise on completing a comprehension task. You decide to play a tape recording of very loud music to which group of participants?Those participants in another random group.None of these. It is a trick question.Those participants in the control condition.Those participants in experimental condition.120sEditDelete
- Q16Which of the following references is the appropriate referencing format for education and social science research?APAHarvardMLAChicago30sEditDelete
- Q17Which of the following is NOT an ethical guideline for conducting research with humans?telling participants they must continue until the study has been completedgetting informed consent (pahintulot) of the participantkeeping participants' identity anonymous (lihim)telling participants they are free to withdraw at any time120sEditDelete
- Q18Which one of these is NOT normally associated with qualititative data?Narrative.Bar graphs.Words.Images.30sEditDelete
- Q19An advantage of conducting an interview via Skype rather than face-to-face is that:there is no need to transcribe (kopyahin/isalin) the datait saves time and money as no travelling is involved.informants have more time to give detailed, considered responses.all are correct120sEditDelete
- Q20Which of the following are important to consider in contacting those that will participate in your study?Interviewers should be prepared to work around the schedule the interview participants.Make it clear that you will be happy to find a time to interview to suit the respondent.Ensure your communication is well written and the purpose of the interview is clear.All are correct.120sEditDelete
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Easter 2023: No dining plans yet? Here are 94 suburban optionsMar 29, 2023 6:00 AM - It's time to start making Easter dining plans, if you haven't already. Now that life seems mostly back to normal with people out and about, suburban restaurant reservations will be filling up fast for brunch buffets, lunches and dinners on Sunday, April 9.
Woodlands Academy's Viennese exchange makes much anticipated returnMar 27, 2023 9:49 AM - Since its inception in 2008, the ongoing exchange program between Sacred Heart sister schools Woodlands Academy in Lake Forest and Sacré Coeur Wien in Vienna, Austria, has generated many invaluable academic and cultural experiences, including the lasting friendships that students and teachers alike have made.
300 Philanthropists Celebrate 'Israel at 75' at Annual Community BreakfastMar 27, 2023 9:09 AM - On Wednesday, March 22, 2023, 300 Chicago-area philanthropists attended Jewish National Fund-USA's annual Breakfast for Israel at the North Suburban Synagogue Beth El in Highland Park.
Protecting potential targets: State gives security grants to suburban synagogues, mosques and women's clinicsMar 23, 2023 6:29 PM - Numerous suburban groups are among the 116 recipients of a state grant aimed at helping nonprofit organizations enhance protections against security threats.
Esthetician vs. Aesthetician: What's the difference?Mar 23, 2023 8:49 AM - The New Age Spa Institute is an educational center that offers training for beauty and wellness professions. Located at 1870 Busse Highway in Des Plaine, IL, the training center's namesake centers on forward movement and a drive to innovate the beauty and wellness industry through exemplary education.
Two longtime Naperville area architects join in practice expansionMar 24, 2023 11:31 PM - Naperville-based Charles Vincent George Architects and Newman Architecture have joined their professional staffs and design portfolio as part of a strategic transitioning of resources and clients initiated by Chuck Newman, founding principal of his 40-year-old eponymous firm.
Local vocal coach Mary LeGere to guest on It's Showtime with Rikki LeeMar 23, 2023 9:03 AM - On Friday, March 24, 2023, renowned vocal instructor and performer Mary LeGere will guest on It's Showtime with Rikki - a radio program and podcast about the entertainment industry that airs out of the Chicago area.
Express services added at Deerfield driver's license facilityMar 22, 2023 12:58 PM - On March 7, Illinois Secretary of State Alexi Giannoulias established express service for certain routine tasks in a space next to the existing Deerfield Department of Motor Vehicles facility, 405 Lake-Cook Road.
NSYMCA April Community Gallery features Artist Karen BonnerMar 22, 2023 8:55 AM - The North Suburban YMCA Community Gallery is showcasing the artwork of local artist Karen Bonner during the month of April. The artwork is for sale with a portion of the proceeds benefitting the Y's Visual Arts Program.
St. Alphonsus Liguori School celebrated St. Joseph's Day March 20Mar 21, 2023 8:50 AM - Father Joseph Le led the students of Saint Alphonsus Liguori School in prayer on Monday, March 20 as they learned about the tradition of the St. Joseph Table.
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