Owl-like plaques of the Copper Age and the involvement of children.

In the Copper Age, slate engraved plaques were produced massively in the southwestern corner of the Iberian Peninsula. Researchers have speculated about the function of these palm-sized stone objects for more than a century, although most have favored the idea that they represented goddesses, and served ritual purposes. The plaques are engraved with different designs of varying complexity. In some of them, the ones sporting two large frontal eyes, we clearly see owls modelled after two species present in the area: the little owl (Athene noctua), and the long-eared owl (Asio otus). These two species, living in semi-open habitats, were possibly the most abundant owls around the human settlements and surrounding cultivated fields of the Chalcolithic period. People must have been aware of the owl presence and possibly interacted with them. Why owls but no other animals have been the models may relate to the fact they are the most anthropomorphic of all animals, with large frontally-placed eyes in their enormous heads. In the iconography, owls are systematically represented, even today, with their two eyes staring at the observer, as opposed to the lateral view used for any other animal. Additionally, slate is one of the commonest surface rocks in southwestern Iberia, and it provides a blank canvas for engraving lines using pointed tools made of flint, quartz or copper. The way slates exfoliate makes easy to craft owl-looking plaques. To silhouette animals other than owls in a recognizable way would request extra carving abilities and specific tools. Plaque manufacture and design were simple and did not demand high skills nor intensive labor as demonstrated in replication experiments. Owl engravings could have been executed by youngsters, as they resemble owls painted today by elementary school students. This also suggests that schematic drawings are universal and timeless. We propose that the owl-like slate plaques are the remains of a set of objects used in both playful activities and in ritual ceremonies. The actual engraving of the plaques may have been part of the game. Owlish slate plaques were often perforated twice at the top. We interpret this as insertion points for actual bird feathers added to the plaques, right at the place where tufts emerge in live owls. The frontier among play and ritual is diffuse in liminal societies and there is no contradiction in playing with animal-like toys and, at some point, using them as offerings as part of community rituals related, for instance, to the colossal megalithic tombs so characteristic of the Copper Age.

Una aportación al origen de las mascarillas / A contribution to the origin of masks

Las mascarillas, de demostrada eficacia a partir del siglo XIX (antisepsia-asepsia), se han visto reactualizadas debido a la pandemia COVID-19. En 1897, el cirujano Jan Mikulicz (1850-1905) fue el creador de las mascarillas quirúrgicas, al demostrar la teoría de la infección por las gotas de saliva (Flügge). No obstante, existen precedentes «pre-científicos» que conocemos fundamentalmente a través de grabados (s. XVII) y pinturas (s. XVIII). Presentamos una obra del pintor barroco Michel Serre (1658-1773), donde se observan personas utilizando mascarillas durante la gran peste de Marsella de 1720. (AU)

The masks, of proven efficacy from the 19th century (antisepsis-asepsis), have been updated due to the COVID-19 pandemic. In 1897, the surgeon Jan Mikulicz (1850-1905) was the creator of surgical masks, by demonstrating the theory of infection by drops of saliva (Flügge). However, there are «pre-scientific» precedents that we know mainly through engravings (17th century) and paintings (18th century). We present a work by the Baroque painter Michel Serre (1658-1773), where people are seen wearing masks during the great plague of Marseille in 1720. (AU)

Redefining shared symbolic networks during the Gravettian in Western Europe: New data from the rock art findings in Aitzbitarte caves (Northern Spain).

The renewal of the archaeological record, mainly through the discovery of unpublished sites, provides information that sometimes qualifies or even reformulates previous approaches. One of the latter cases is represented by the three new decorated caves found in 2015 in Aitzbitarte Hill. Their exhaustive study shows the presence of engraved animals, mainly bison, with formal characteristics unknown so far in the Palaeolithic art of the northern Iberian Peninsula. However, parallels are located in caves in southern France such as Gargas, Cussac, Roucadour or Cosquer. All of them share very specific graphic conventions that correspond to human occupations assigned basically to the Gravettian cultural complex. The new discovery implies the need to reformulate the iconographic exchange networks currently accepted, as well as their correspondence with other elements of the material culture at the same sites. Thus, we have carried out a multiproxy approach based in statistical analysis. The updated data reveals a greater complexity in artistic expression during the Gravettian that had not been considered so far, and also challenges the traditional isolation that had been granted to Cantabrian symbolic expressions during pre-Magdalenian times.

The evolution of early symbolic behavior in Homo sapiens.

How did human symbolic behavior evolve? Dating up to about 100,000 y ago, the engraved ochre and ostrich eggshell fragments from the South African Blombos Cave and Diepkloof Rock Shelter provide a unique window into presumed early symbolic traditions of Homo sapiens and how they evolved over a period of more than 30,000 y. Using the engravings as stimuli, we report five experiments which suggest that the engravings evolved adaptively, becoming better-suited for human perception and cognition. More specifically, they became more salient, memorable, reproducible, and expressive of style and human intent. However, they did not become more discriminable over time between or within the two archeological sites. Our observations provide support for an account of the Blombos and Diepkloof engravings as decorations and as socially transmitted cultural traditions. By contrast, there was no clear indication that they served as denotational symbolic signs. Our findings have broad implications for our understanding of early symbolic communication and cognition in H. sapiens.

The early drawings and prints of Santiago Ramón y Cajal: a visual epistemology of the neurosciences

Santiago Ramón y Cajal created histological images using a variety of artistic techniques and methods. In order to contextualise his practice, I have selected a set of drawings and prints of cartilage cells that were used in Cajal's reference handbooks. I then introduce a lithograph representing an inflamed cartilage included in Cajal's first publication. This technique enabled the publishing of graphic information in colour. By reviewing images included in the material that Cajal consulted during his pre-graduate years, I show that he participated in the transnational production of drawing and made use of the printing techniques available to present his research. By analysing a set of original drawings included in Cajal's notebook, Diario de Observaciones, and his first published lithographs of cartilage cells and neurons, I reveal the graphic specificities of his transition from handmade drawings to print representations. Cajal's drawing and lithographing relate directly to artistic interests developed in his youth (López Piñero, 1985), and these skills facilitated the technical transit between notebook and published images, enabling him to formalise his knowledge by including histological results in printed material. A determining factor in Cajal's graphic production relating to the nervous system was his expertise in using chemical silver nitrate, resulting from his interest in photography. Finally, his colour selection is discussed, in order to demonstrate that, even when Cajal drew black lines, he was using black as a specific colour, one he observed through the microscope after staining histological samples

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Pre-Solutrean rock art in southernmost Europe: Evidence from Las Ventanas Cave (Andalusia, Spain).

The south of Iberia conserves an important group of Palaeolithic rock art sites. The graphisms have been mostly attributed to the Solutrean and Magdalenian periods, while the possibility that older remains exist has provoked extensive debate. This circumstance has been linked to both the cited periods, until recently, due to the transition from the Middle to Upper Palaeolithic in the extreme southwest of Europe as well as the non-existence of some of the early periods of Palaeolithic art documented in northern Iberia. This study presents the results of interdisciplinary research conducted in Las Ventanas Cave. These results enabled us to identify a new Palaeolithic rock art site. The technical, stylistic and temporal traits point to certain similarities with the range of exterior deep engravings in Cantabrian Palaeolithic rock art. Ventanas appears to corroborate the age attributed to those kinds of graphic expression and points to the early arrival of the Upper Palaeolithic in the south of Iberia. Importantly, the results provide information on the pre-Solutrean date attributed to trilinear hind figures. These findings challenge the supposed Neanderthal survival idea at one of the main late Middle Palaeolithic southern Iberian sites (Carigüela) and, due to the parallels between them and an engraving attributed to this period in Gibraltar, it raises the possibility of interaction between modern humans and Neanderthals in the extreme southwest of Europe.

Two new cellulolytic fungal species isolated from a 19th-century art collection.

The archive of the Universidad de Costa Rica maintains a nineteenth-century French collection of drawings and lithographs in which the biodeterioration by fungi is rampant. Because of nutritional conditions in which these fungi grew, we suspected that they possessed an ability to degrade cellulose. In this work our goal was to isolate and identify the fungal species responsible for the biodegradation of a nineteenth-century art collection and determine their cellulolytic activity. Fungi were isolated using potato-dextrose-agar (PDA) and water-agar with carboxymethyl cellulose (CMC). The identification of the fungi was assessed through DNA sequencing (nrDNA ITS and α-actin regions) complemented with morphological analyses. Assays for cellulolytic activity were conducted with Gram's iodine as dye. Nineteen isolates were obtained, of which seventeen were identified through DNA sequencing to species level, belonging mainly to genera Arthrinium, Aspergillus, Chaetomium, Cladosporium, Colletotrichum, Penicillium and Trichoderma. For two samples that could not be identified through their ITS and α-actin sequences, a morphological analysis was conducted; they were identified as new species, named Periconia epilithographicola sp. nov. and Coniochaeta cipronana sp. nov. Qualitative tests showed that the fungal collection presents important cellulolytic activity.

Surprising origin of two carved bones donated to the Buchenwald Memorial Museum.

Unidentified bones were donated to the Buchenwald Memorial Museum in Weimar, Germany. The donor thought the bones may have belonged to internees of the concentration camp and had been decoratively carved by camp personnel. Non-destructive forensic anthropological examination was carried out on the bones to identify their possible origin. Comparative human and non-human bones samples were used to determine the provenance of the bones and the anatomical region they may have come from. Literature and internet searches were conducted to trace the origin of the carved motifs on the bones. The bones were determined to belong to the lower limb region of bovids. The carvings were found to correspond with those of existing bone examples found in some museums in the UK. They were traced to German prisoners of war dating to the First World War. An in-depth examination of the donated bones revealed their non-human provenance. It further showed that no link existed between the bones, internees of the concentration camp, and the time of the camp's existence. It was discovered that they belonged to the period 1914-1918 and form an important part of German prisoner of war history in the UK.

Matthew baillie's specimens and engravings.

In 1799, Matthew Baillie, William Hunter's nephew, published his famous atlas of pathology. It was entitled A Series of Engravings Accompanied with Explanations which are Intended to Illustrate the Morbid Anatomy of Some of the Most Important Parts of the Human Body. The present study aims to match the illustrations to extant specimens in the collections of William and John Hunter, preserved at the University of Glasgow and at the Royal College of Surgeons of England respectively. Baillie's book contains 10 fasciculi, consisting of 73 plates and 206 figures. The specimens Baillie illustrated came from his own collection and those of ten others, including his uncles, William and John Hunter. The book was illustrated by William Clift and engraved by James Basire, William Skelton and James Heath. Excluding eight illustrations of intestinal worms where the provenance of the specimens is uncertain, a total of 98 specimens from William Hunter's collection were illustrated in 104 figures. Eight of the specimens were calculi impossible to identify specifically. Excluding worms and calculi, 72 of William Hunter's specimens illustrated by Baillie are extant in the Hunterian Collection at the University of Glasgow. All but one of the 20 specimens illustrated that had belonged to John Hunter were identified in the on-line catalog of the Royal College of Surgeons of England. Baillie's own collection was destroyed when the Royal College of Surgeons of England was bombed in 1941. Baillie is credited with being the first to produce an illustrated systematic textbook of morbid anatomy and probably the first to illustrate emphysema and transposition of the great vessels. His book, however, was not comprehensive. It did not cover a number of topics such as muscles and bones and there is little coverage of the nervous system. Baillie's book, however, was an original concept as an atlas of morbid anatomy and showed his deep insight into pathology. Clin. Anat. 31:622-631, 2018. © 2017 Wiley Periodicals, Inc.

Divergence in the evolution of Paleolithic symbolic and technological systems: The shining bull and engraved tablets of Rocher de l'Impératrice.

The development of the Azilian in Western Europe 14,000 years ago is considered a "revolution" in Upper Paleolithic Archaeology. One of the main elements of this rapid social restructuring is the abandonment of naturalistic figurative art on portable pieces or on cave walls in the Magdalenian in favor of abstract expression on small pebbles. Recent work shows that the transformation of human societies between the Magdalenian and the Azilian was more gradual. The discovery of a new Early Azilian site with decorated stones in France supports this hypothesis. While major changes in stone tool technology between the Magdalenian and Azilian clearly mark important adaptive changes, the discovery of 45 engraved schist tablets from archaeological layers at Le Rocher de l'Impératrice attests to iconographic continuity together with special valorization of aurochs as shown by a "shining" bull depiction. This evidence suggests that some cultural features such as iconography may lag far behind technological changes. We also argue that eventual change in symbolic expression, which includes the later disappearance of figurative art, provides new insight into the probable restructuring of the societies.

AN AUTOPSIC ART: DRAWINGS OF 'DR GRANVILLE'S MUMMY' IN THE ROYAL SOCIETY ARCHIVES.

In 1821 Augustus Bozzi Granville FRS unwrapped and dissected an ancient Egyptian mummy, presenting the results of his examination to the Royal Society in 1825. He commissioned artist Henry Perry to draw the process in stages; these drawings were subsequently engraved by James Basire for publication in Philosophical Transactions. This article presents the original drawings for the first time, allowing comparison with their engravings. Taken together with Granville's accounts of the unwrapping of the mummy, the drawings demonstrate the significant role of illustration and other visual practices in anatomical argumentation in the early nineteenth century, as well as the prestige that commissioned illustrations lent to the performance and dissemination of scientific expertise. Moreover, the drawings include one of the key visual tropes of race science--a skull in left-facing profile, mapped with a facial angle--and thus indicate the early incorporation of Egyptian mummies into typologies of race.

The Encounter of the Emblematic Tradition with Optics. The Anamorphic Elephant of Simon Vouet.

In his excellent work Anamorphoses ou perspectives curieuses (1955), Baltrusaitis concluded the chapter on catoptric anamorphosis with an allusion to the small engraving by Hans Tröschel (1585-1628) after Simon Vouet's drawing Eight satyrs observing an elephant reflected on a cylinder, the first known representation of a cylindrical anamorphosis made in Europe. This paper explores the Baroque intellectual and artistic context in which Vouet made his drawing, attempting to answer two central sets of questions. Firstly, why did Vouet make this image? For what purpose did he ideate such a curious image? Was it commissioned or did Vouet intend to offer it to someone? And if so, to whom? A reconstruction of this story leads me to conclude that the cylindrical anamorphosis was conceived as an emblem for Prince Maurice of Savoy. Secondly, how did what was originally the project for a sophisticated emblem give rise in Paris, after the return of Vouet from Italy in 1627, to the geometrical study of catoptrical anamorphosis? Through the study of this case, I hope to show that in early modern science the emblematic tradition was not only linked to natural history, but that insofar as it was a central feature of Baroque culture, it seeped into other branches of scientific inquiry, in this case the development of catoptrical anamorphosis. Vouet's image is also a good example of how the visual and artistic poetics of the baroque were closely linked--to the point of being inseparable--with the scientific developments of the period.

CRAFTING THE MICROWORLD: HOW ROBERT HOOKE CONSTRUCTED KNOWLEDGE ABOUT SMALL THINGS.

This paper investigates the way in which Robert Hooke constructed his microscopical observations. His Micrographia is justifiably famous for its detailed engravings, which communicated Hooke's observations of tiny nature to his readers, but less attention has been paid to how he went about making the observations themselves. In this paper I explore the relationship between the materiality of his instrument and the epistemic images he produced. Behind the pictures lies an array of hidden materials, and the craft knowledge it took to manipulate them. By investigating the often counter-theoretical and conflicting practices of his ingenious microscope use, I demonstrate the way in which Hooke crafted the microworld for his readers, giving insight into how early modern microscopy was understood by its practitioners and audience.

Two bullets to the head and an early winter: fate permits Kutuzov to defeat Napoleon at Moscow.

General Mikhail Kutuzov (circa 1745-1813) brilliantly repelled Napoleon's invasion of Russia. Honored as a national hero and a savior of Russia, Kutuzov has a unique medical story. He was shot in the head twice while fighting the Turks (1774 and 1788) and survived the serious injuries seemingly against all odds. The first bullet "ran through the head from one temple to the other behind both eyes." The second bullet entered the cheek, destroyed upper teeth, traveled through the head, and exited the occiput. Massot, a French surgeon with the Russian army, wrote after treating Kutuzov's seemingly two mortal wounds: "It must be believed that fate appoints Kutuzov to something great, because he was still alive after two injuries, a death sentence by all the rules of medical science." Aided by Massot's expert surgical technique, Kutuzov lived to become intimately engaged in events that altered world history. His health did, however, suffer significant effects due to the bullet wounds. In 1812, as Napoleon's Grande Armée approached, Kutuzov realized he could not confront Napoleon and he strategically retreated from Moscow, submitting the French to the harsh winter and Russian cavalry. Napoleon's devastated army retreated to Paris, and Kutuzov became the personification of Russian spirit and character. Kutuzov's survival of two nearly mortal head wounds created the legends, additional mystery, and drama surrounding him, not the least astonishing of which was the skilled neurosurgical care that probably saved his life.

[The engraving of pharmacopoeia between XVIth-XVIIIth Century]. / La pharmacopée et son illustration du XVIe au XVIIIe siècle.

The pharmacopea is mainly known like a book containing descriptions of drugs and preparations of medicines. During the XVIth-XVIIIth centuries, some of these books were illustrated with engraving frontispieces. This study shows the meaning of these pictures, the composition and the artists and the messages which are incorporated.

Pectus excavatum in relief from Ancient Egypt (dating back to circa 2400 BC).

Pectus excavatum is one of the most common congenital deformities of the chest wall. The aim of the study was to analyse 621 artefacts (reliefs, sculptures, paintings) from Ancient Egypt in terms of anatomical defects of the chest. The team which analysed artefacts consisted of historians of medicine and thoracic surgeons. The researchers found a relief, depicting a man with an abnormal shape of the chest. The relief was from Niankhkhnum and Khnumhotep mastaba and dates back to circa 2400 BC. The authors think it is possible that the relief may represent a pectus excavatum deformity and believe the image will open up debate on the occurrence of this deformity in ancient times.