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On a 13-meter-high white monolith screen, a succession of shots of tall objects, such as trees, a fountain, scaffolding, an industrial smokestack, a cathedral window and an escalator appear for a f...

The iconic Charleston Pineapple Fountain, installed in 1990 at Waterfront Park in downtown Charleston, stands as a symbol of the history and hospitality of the Palmetto State.From the beautiful bea...

Fountains and water features have had a prominent and enduring presence in Australian cities yet have received little critical historical attention. This article develops the novel concept of civic...

The presence of urban blue space is highly important for human health and wellbeing even more so within densely built-up environments and the semi-arid climatic conditions in Malta. Drawing on qual...

In about 1871 Sir Samuel Ferguson conceived a plan for a co-publishing venture, allying Dublin and London publishers in order to create better opportunities for Irish writers. The writers would be ...

A statue known locally as the ‘Piel Roja’ (‘Red Skin’, a Native American in leggings, mocassins, cape, and carrying a bow and arrow) stood atop the Belle Epoque fountain in the centre of Cusco’s Pl...

This article focuses on the experience of finding a new source of water since the fountain fed by the neighbor’s source dried up in the middle of an alpine summer of farming in the Swiss Alps. This...

Urban media interfaces can assume many forms, offering rich possibilities for interactions and social encounters. We focus on a particular type of urban interfaces, namely urban media installations...

FIGURE 1. Unknown artist, Lettice Newdigate aged two, 1606. Arbury Hall, Warwickshire. Photograph reproduced by kind permission of the owner.A small girl stands at the door to a walled garden (Figu...

A study has been carried out on the influence process conditions and design parameters have on the drying in a conical spouted bed. Optimum parameters have been determined for the draft tub...

During the intervening years between the last update to this handbook catalogers experienced substantial changes to cataloging standards and practice. In response, editors of the sixth edition asse...

In Remembering Elizabeth Bishop, an oral biography assembled by Gary Fountain and Peter Brazeau, the literary critic David Kalstone recalls a conversation with Bishop in which he praised her poem “...

This article by the late Nora Mindell was first published in The Fountain of the Love of Wisdom: An Homage to Marie-Louise von Franz (2006). Nora Mindell recounts her first meeting with Marie-Louis...

Manneken Pis, a Renaissance fountain in Brussels depicting a urinating boy, is a “floating signifier”, attracting multiple symbolic meanings from its earliest appearance. There is a surprising degr...

In his Ars praedicandi sermones, in traditional yet rich metaphoric language, Ranulf Higden compares Christ to a fountain, a shepherd, a rock, a lily, a rose, a violet, an elephant, a unico...

This article investigates the gendering of the fountain pen as a product category mainly used in the office environment. It draws on hobbyists’ accounts and evaluations of fountain pen use from onl...

During the last restoration of the Fontana di Trevi -Rome (2014–2015), it has been performed a diagnostic investigation to characterize the materials used to build and obtain the colors of the surfaces of some architectural elements of this fountain. According to the restoration teamwork needs, we focussed our efforts on the dome over the central statue of Oceanus, on the bas-relieves on the sides of the dome, and on the cliff where the water flows. Several samples were collected from these elements and therefore, they were subjected to an analytical approach including infrared spectroscopy, optical and scanning electron microscopy. The achieved results indicated the use of red earth pigments on the dome. The same pigment has been revealed on the bas-relieves, although their colors have an additional contribution due to degraded layers. Samples taken from the cliff showed a complex stratigraphy, although a white scialbo has been identified as original layer, testifying the intentions of the author...

Recently the Victoria and Albert Museum (V&A) restored and reconstructed a lost ceramic masterpiece for the new Europe 1600–1815 Galleries. It is a porcelain table fountain made at Meissen for an i...

Hanging on the wall in my office is a framed print of Arthur Szyk’s illuminated edition of Israel’s Declaration of Independence. In the lower right-hand corner, written in Hebrew with a fountain pe...

The Fountain of Public Prosperity is the crowning achievement of Stuart Piggin and Robert Linder's monumental project to chart the place of evangelicalism in the history of Australia's social, cult...

Why are images of the Trevi Fountain so potent and exploitable? Addressing this critically unexplored aspect, I draw on concepts from memory studies of shared and performative memory to reveal the shaping of the Fountain in eighteenth-century Rome as a powerful vehicle for prevailing ideologies, now masked by its many manifestations as a populist monument. First constructed as an ephemeral presence in elitist imagination to replace its medieval form, it slowly emerged as a showy edifice displaying potential for propaganda. I focus on the groups of fountain designers and their papal patrons who reconfigure water-associated myths in constructing the Fountain. It becomes a purveyor for their own and, unintentionally, future ideological discourses also assisted by its illusory design and gendered iconography. Sometimes the inventive practices of memory undermined official culture, and appropriating the Trevi uncovered ambiguities and new meanings generated during the production of self-serving papal pasts.

The Stone Fountain is situated in the historical centre of Kutna Hora, a UNESCO listed town, and one of the most important monuments in Bohemia. The fountain was constructed from 1493 to 1495 and was originally built of biodetritic limestone. During extensive reconstruction in the nineteenth century a substantial part of the ornamentation was replaced with fine-grained sandstone of inferior quality, resulting in a range of problems at a later date. During the twentieth century, the fountain underwent several repairs which failed to halt the process of degradation, and conversely had a negative effect on the condition of the monument. The last restoration intervention, undertaken from 2010 to 2011, resulted after a thorough examination of the monument documenting the damage and establishing the principal causes of the damage. The subsequent conservation, proposed on the basis of the aforementioned examination, revolved around the extensive cement repairs and acrylic coatings covering the surface, causing s...

This article deals with the history of a frontier Arab town—Khalsa—which was the centre of the Huleh Valley and the connection between Galilee, Southern Lebanon and the Golan Heights during the British Mandate in Palestine (1918–48). This article aims to explore the changes and transformations that occurred in the town and the Huleh Valley in general, and tries to show that, during that period, this remote and peripheral area underwent many social and economic changes. It also demonstrates that these changes not only occurred in the central areas in Palestine but also reached the northern parts. In addition, this article tells the ‘story’ of how this Arab town, which has not been addressed in earlier studies, grew rapidly, and why it collapsed quickly in the 1948 war. It examines what the role of its leader, Kamil Hussein, was and how his relationship with the Bedouin tribes and the Jewish settlements and leaders in the valley affected the results of the war. The story of Khalsa is, to some extent...

Since its inauguration, in 1993, the horizontal weir crest of the Olympic fountain in Lausanne has suffered from differential settlings leading to a difference in level of more than 30 mm. The settling involves a visible non-uniform discharge distribution along the weir crest. In order to maintain the aesthetics, the discharge has to be increased leading to a high-energy consumption. To reduce the energy consumption, a rehabilitation of the weir crest is needed. A series of numerical simulations are run using the solver FLOW-3D. The obtained results are validated with a circular round crest shape as found in the literature. The numerical and experimental results of the flow behaviour are in good agreement. Two different rehabilitation measures have been proposed. The proposition to install a Plexiglas plate as a correction of the lower profile section has been disregarded in favour of a complete renewal of the entire weir crest.

Versailles in the 1660s, the decade of Louis XIV’s earliest involvements, is often called the ‘Premier Versailles’. The designation applies as much to the festive spirit of the place as to an inter...

The present research explored the impact of nostalgia on feelings of youthfulness, as well as the health benefits of nostalgia-induced youthfulness. Previous research indicates that feeling younger than one’s current age has positive implications for health. We predicted that, relative to ordinary autobiographical memories, nostalgic memories would make people feel more youthful. Further, we predicted that feelings of youthfulness would in turn lead to more positive attitudes about health and physical ability. Studies 1 and 2 demonstrated that, as people get older, nostalgic reverie relative to a control makes them feel more youthful. In Study 3, adults 40 and older who recalled a nostalgic memory from high school reported feeling more youthful than those who recalled an ordinary high school memory. Nostalgia-induced youthfulness in turn predicted the extent to which participants felt healthy, confident about their physical abilities, and optimistic about their future health. These findings sugges...

This article uses textual methodologies adapted from postcolonial studies to explore the colonialist aesthetics of mid-century American cinema. It focuses on This is Cinerama (Merian C. Cooper, independent, 1952) and Three Coins in the Fountain (Jean Negulesco, Fox, 1954) – two films with early widescreen formats that engage with the techno-aesthetic tradition of the silent film travelogue, and that depict European space. These films confer power and metropole status not simply on the West but specifically on America, performing an imaginative act of appropriation of European space and culture. This is Cinerama engages with the long tradition of ethnographic cinema, mobilizing tropes of the racialized other in representing Europeans and constructing a mapping of European space that centres on the controlling gaze of the white American man. Three Coins deploys the colonial aesthetic tradition of the picturesque and its haptic corollary, the stroll, as a mode for managing the Italian landscape. It d...

Although the painter Joseph Severn left little in the way of textual commentary on Keats’s poetry in his extensive body of letters and memoirs, he did offer a rich analysis and response to the poet’s verse in his artwork, especially his portraits and his best early painting, The Fountain (1828). The picture not only provides a sophisticated reading of “Ode on a Grecian Urn” (1819) but also offers a coded assessment of Keats’s legacy. Further, it wrestles with the public debate over the causes of Keats’s death and, in the end, acts as a complex private memorial to the intense friendship between painter and poet. Severn’s picture takes as its textual source an influential poem by Samuel Rogers and as its visual sources a network of paintings, sculpture, and sketches that lend a multidimensional context to what appears at first to be a straightforward Italian genre scene. Together with key passages from his letters, these artworks persuade us that Severn had more on his mind than a pastoral landscape...

An important way to determine the authenticity and validity of documents is by the sequence of lines. Many factors have been found to determine line order by observing the heterogeneous morphological characteristics of crossing points. However, to date, few methods have been applied to the sequence of laser printing and fountain pen writing without a crossing line. The sequence is more difficult to examine if there is no intersecting line. In this study, a series of experiments were conducted to survey the microscopic shape of ink lines, toner particles and paper fibres using a video tomography microscope. Several factors, such as the types of ink and laser printer, the difference of writer and the class of fountain pen, were analysed to determine whether they might affect the formation of characteristics. The final experimental result demonstrates that there are many differences among the samples made by different sequences. These factors have only a slight effect on the examination. After blind testing,...

In the fields of rhetoric, composition, technical communication, communication studies, writing studies, and iterations of similar related fields, disciplinary boundary-marking has provided ongoing...

The encounter between youth and age is familiar to any reader of Wordsworth, who populated his early poetry with figures of advanced age. Readers of Lyrical Ballads will recall Walter Ewbanks, Michael, and Simon Lee. The dramatic energy of the poems often arises from the gap between such imagined figures of age and a callow narrator, as in Resolution and Independence. The configuration attests to Wordsworth's urgent search in his 20s and 30s to discover how one gets from an unsettled here to an unknown there, but it is a strategy that became less available as the poet aged and became a public figure. To shed light on this significant trajectory, I bring to bear a variety of perspectives, including close reading, biography, textual and book history, the relations of word and image, and reception, on a juxtaposition of The Two April Mornings and The Fountain (both 1800) and one of Wordsworth's least-known poems, To an Octogenarian (1846).

This paper examines some of the public debates about girls' education that took place in Dunedin, a provincial city in southern New Zealand, to establish Otago Girls' High School, reputedly the oldest public secondary school for girls in Australasia. In assessing Victorian colonial girlhood in the nexus of national and imperial attitudes towards the education of young women in the New Zealand colony, it explores how Learmonth White Dalrymple (1827–1906), together with a Committee of Ladies, waged a seven-year campaign for girls' secondary education in the province. In the resulting school system, the growing awareness of physical education that came about on one hand mirrored similar trends in British schools, but on the other hand, what consequently emerged was a distinct New Zealand girl – an inimitable version of colonia girlhood – that was a product of her celebrated physical health and robustness. Although the implications of teaching physical education receive extended treatment here, this paper als...

Children playing and screaming under a water fountain, a fog horn in the distance, traffic noises, a wave of swing music, the voice of a street peddler, church bells, the rumbling of a train. These...

The authors have updated and expanded their original (2005) workbook with a timely 2nd edition that supports cataloging instruction after the release of new cataloging rules, Resource Description a...

This essay inquires into attention and detail as aesthetic categories in the nineteenth-century reception of photography in Scandinavia. It circles around what is generally considered to be Sweden’s first book with original photographs, Johannes Jaeger’s Molin’s Fountain in Photographs, with text (1866), read through two articles on the aesthetic potential of the photographic medium written by two contemporary Scandinavian art critics. In seven albumen print photographs, the book documents a fountain sculpture by Swedish sculptor Johan Peter Molin, exhibited at the first Scandinavian Art and Industrial Exhibition in 1866. However, the book also includes poetry; each photograph is juxtaposed with a poetic stanza that describes the part of the sculpture that the photograph reproduces. This paper studies the close relation between image and text in Jaeger’s volume. It argues that a contemporary view of the photographic image, also articulated by the Scandinavian art critics, can be discerned from the layout ...

In the 1830s, Cuban and Spanish patrons sponsored three public fountains, designed and carved in Italy, for new and redesigned urban spaces in Havana. In their reconfiguration of international forms, materials, and iconographies, the fountains reveal diverging notions of the patria (motherland or homeland) within the Spanish Empire. The iconography of the works partook of broader visual and textual rhetorics that speak to a burgeoning Atlantic world city renegotiating its engagement with empire and its growing conception of itself as a distinctive, local setting. Employing transatlantic discourses, the classicizing fountains addressed the center-periphery dialectic established by Spanish colonialism.

What explains the durability of the small Good Templar grand lodge in Florida and the larger Virginia-based True Reformer grand fountain? Other black Templar lodges and True Reformer fountains had brief lives. The dedicated leadership of W. M. Artrell appears to have been the key to the Florida lodge's survival into the twentieth century. William Washington Browne's charismatic leadership, combined with his pioneering life insurance scheme, explains the success of his Virginian organization.

This article examines the production of sacrality in the context of globalization, through the case of encounters between international spiritual tourists and Chinese monks. The sacred mountain of Huashan has historically been localized in the context of Daoist cosmology, Chinese imperial civilizing, socialist nation-building and, now, global capitalism. While the monks experience Huashan as a gateway for embeddedness into Daoist lineage, ritual, and cosmology, the spiritual tourists approach it as a fountain of raw, consumable energy on a path of disembedding and individuation. But encounters between the two groups lead to the mutual interference and interpenetration of both trajectories. Undermining dichotomist concepts of the sacred which define it as either essentially Other or as socially constructed and contested, the sacrality of Huashan serves as both an anchor for multiple centralizing projects and forces, and as a catalyst and node for the formation of interconnecting and expanding horizontal ne...

As a fountain has been a key, often focal, element in Western garden tradition, it may be helpful to study its development in ancient Greece where a number of fountain types emerged. These were, at...

Few fountains attract such contrasting readings as Bernini's Fontana della Barcaccia (1627–29) in Piazza di Spagna in Rome. Located at the foot of the Spanish Steps (1723–25), this fountain, commis...

Zoë Wicomb's short story ‘There's the Bird that Never Flew’ engages with one of Glasgow's most prominent pieces of public art. Unveiled as part of the 1888 Empire Exhibition, the Doulton Fountain commemorates Queen Victoria's colonial achievements with terracotta representations of Britain's overseas territories. Among these, is a depiction of South Africa featuring a white farmer, a girl of mixed race and an ostrich, a metonymic evocation that triggers Wicomb in an exploration of the relationships between Glasgow and South Africa. Her postcolonial revision of the fountain imbricates the colonial monument in a complex series of spatial, bodily, textual and temporal connections that destabilise the totalizing ambitions of the Empire. In approaching Wicomb's interspatial figuration of Doulton's work, we draw on archival material emerging from the exhibition and on Michael Foucault's concept of heterotopia and investigate Wicomb's challenge to the effacement of the body and the obliteration of voices endorsed by municipal Glasgow.

Built by the emperors of the Flavian dynasty, the conical fountain known in antiquity as the Meta Sudans appears on imperial coins and medallions issued by the emperors Titus, Domitian, Alexander Severus, and Gordian III. The enduring imperial interest in the fountain can be attributed to the monument's topographic and ideological associations with Augustus and the legacy of imperial Rome, associations that inspired the building of similar fountains in North Africa as well as the use of conical fountains as numismatic symbols of Rome in the cities of Corinth in Achaea and Nikopolis in Epirus.

For centuries ugogo (grandmother), mothers, aunts and other black African storytellers have entertained and informally educated children by means of folktales. Folktales form a substantial part of African folklore and they are an essential genre of African traditional children's literature. Folktale performance was combined with mimicry, gesticulations, song and poetry. Many Zulu tales have songs as one of their distinctive features, which is vital in the interaction that takes place between the performer and her audience. Folktales are regarded as narrative fiction because they tell a story which is not real but taken as something that took place in the remote past. Like in all communities, Zulu folktales are a fountain of knowledge of days gone by. They are the treasure of the nation that was not recorded but passed on from one generation to the next by the spoken word. The aim of this paper is to investigate the various roles played by songs in the narration of folktales.

Precious information about hydraulic displays in the garden of Versailles during the early years of Louis XIV's personal reign is provided by inventories drawn up by the hydraulic engineer Denis Jo...

Despite the widespread interest in Italian Renaissance and Baroque fountain design, the description and analysis of individual fountains (whether in popular guidebooks or in academic publications) ...

As early as the fourteenth century, Piero de Cescenzi praised garden fountains in his Ruralium commodorum liber, recommending them for the herb garden where ‘if possible, a running fountain should ...

Public memorials often have “spectacular” forms: visitors' feelings are affected primarily through relatively passive, distant reception of visual depictions and symbols. At London's Lady Diana Memorial fountain and Berlin's Holocaust Memorial, the visual message is intentionally reduced to almost nothing. Instead, these designs present visitors' bodies with intense and varied stimuli to hearing, touch, temperature and kinaesthesia. This undermines contemplation or introspection. Visitors explore a variety of physiological feelings, both pleasurable and unpleasurable. These physical feelings are intended to stimulate emotional ones; people should feel the purpose of the memorials rather than think them. But they come away with different impressions; most visitors' actions appear hedonistic rather than mournful.

When I was about nine or ten, I was given my first fountain pen. It was somehow conveyed to me that an instrument of such weight and delicacy was meant for epic work. I duly bought a thin red exerc...