In 1902 the first published flora of Queensland was completed. This work, written by F. M. Bailey, Colonial Botanist of Queensland, was compiled largely from Bentham's Flora Australiensis. Our knowledge of the flora has increased substantially since then. In Bailey's Queensland Flora approximately 4500 species of flowering plants were described; it is now estimated there are at least twice as many recognizable taxa growing in the State. This has largely resulted from further exploration and more detailed taxonomic studies but, as well, a considerable number of alien plants have since become naturalized. In addition, many of the botanical names used by Bailey are no longer currently used so that his flora has become a scientist's tool rather than a work of utilitarian value. eo iV Map 3
Brought to you by | University of Pittsburgh Authenticated Download Date | 6/3/15 8:47 PM of the confluence of many cultures that were involved in its creation such as those of the Timurid, Tabrīz, Herāt, Shirāz and Mughal styles. Influential shahs and sultans generously supported the various centers for book and manuscript arts.Paper is the starting material for any manuscript and a variety of plant fibers were used such as cotton rag, jute, flax, and bamboo that were used in local paper mills. Millstones were employed to prepare the pulp fiber. Sizing material varied as albumen or egg white was used in Iran, and rice-water, a starch solution, was used in India. Paper mills in the region produced sheets of varying thickness and quality. Papers for producing manuscripts were highly polished, which made the surface extremely receptive for the brush when applying pigment or the reed pen for writing calligraphy with inks.Reed pens were used to produce the calligraphy. The manner in which the pens were produced was an art form itself. The consistency of the reed was very important. The nib had to be expertly cut because various styles of calligraphy called for different nibs. There were strict rules for how letters were executed. Therefore, the appropriate design of the nib was extremely important. Carbon black ink was used, composed of lampblack, water and gum Arabic acting as the binder to hold the particles of soot in suspension. Rock alum, gall-nuts and vitriol were also sometimes used.Crafting fine brushes for applying pigment was a very carefully performed task. Hair from squirrels or longhaired cats were gathered and inserted into a quill made of a pigeon feather. Various types of brushes were used for outlining, stippling, coloring and finishing. Often the artist would use a single brush for each color in order to keep the color pure and avoid having it muddied.Mineral pigments were carefully prepared for Persian miniatures. Minerals were prepared by skillfully grinding them down to a fine soft powder on a hard stone. It was then sifted, washed and then mixed with a binder such as gum Arabic. Mineral pigments were opaque and applied in layers. Tempera was also used as it had an albumen binder.Before creating a full-blown miniature the artist would often make a number of practice sketches for the composition. Subjects such as leaves, trees, animals and figures would be drawn in order for the artist to visualize how he would want them to look in the final composition. Next, a full-scale preliminary drawing would be produced for the intended composition before beginning the actual painting.
Princeton University Library's rare sixteenth-century polychrome Aztec picture map on deerskin vividly portrays the conversion of the Aztecs to Catholicism during the Early Colonial Period of the Spanish Conquest. A non-invasive technical examination was conducted to identify the colourants and the species of the animal hide support used in the creation of the map. Analysis included spectroscopic techniques such as attenuated total reflectance-Fourier transform infrared spectroscopy and ultraviolet-visible spectroscopy. Light microscopy and UVA fluorescence were also employed as tools. Results of the technical examination found the presence of cochineal, bone black, Maya blue, which are indigenous colourants traditionally associated with Mesoamerica, and a layer of an unknown greenishyellow dye over Maya blue to create the colour green. The examination also discovered what appears to be an orange-yellow gamboge-like substance known as American (sometimes called Mexican) gamboge, which is indigenous to Mexico and parts of Central and South America. Its plant family is Hypericaceae, which is very closely related to Clusiaceae. Clusiaceae is the Southeast Asian and Indian plant family of gamboge, which is commonly used as a pigment in Western, Indian and Asian art. The study's exposure of the obscure substance may spur more research into its use as a colourant of the Mesoamerican palette. The paper also hopes to add to the overall knowledge of Mesoamerican materials in order to better understand aspects of their conservation and preservation.
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