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The Comedy Store
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This article is about the comedy club located in the United States. For the comedy club with the same name located in London, England, see The Comedy Store, London. For the Ugandan Live and TV comedy show, see Comedy Store Uganda.
The Comedy Store
The Comedy Store in 2006
Former names
Ciro's
Address
8433 West Sunset Boulevard
Location
West Hollywood, California
Coordinates
34°05′42″N 118°22′26″W / 34.09510°N 118.37384°W / 34.09510; -118.37384Coordinates: 34°05′42″N 118°22′26″W / 34.09510°N 118.37384°W / 34.09510; -118.37384
Owner
Mitzi Shore
Type
Comedy club
Capacity
Main room: 450
Construction
Opened
April 1972 (1972-04)
Renovated
1976
Website
www.thecomedystore.com
The Comedy Store
The Comedy Store is a comedy club located in West Hollywood, California, at 8433 Sunset Boulevard on the Sunset Strip. It has a sister comedy club in La Jolla, San Diego, California.[1]
Contents
[hide]
1 History
2 Job action
3 Notable alumni
4 References
5 External links
History[edit]
The Comedy Store was opened in April 1972 by comedians Sammy Shore and Rudy DeLuca. The building was formerly the home of Ciro's, a popular Hollywood nightclub owned by William Wilkerson, and later a rock and roll venue,[2] where The Byrds were discovered in 1964.
When the venue reopened as The Comedy Store in 1972, it included a 99-seat theatre, where Johnny Carson was one of the first comics to perform.[3] As a result of a divorce settlement, Sammy Shore's ex-wife Mitzi Shore began operating the club in 1973, and she was able to buy the building in 1976. She immediately renovated and expanded the club to include a 450-seat main room.[3]
In 1974, The Comedy Store hosted the wedding reception of newlyweds Liza Minnelli (daughter of Judy Garland) and Jack Haley, Jr., (son of Jack Haley who played "the Tin Man" in the 1939 movie, "The Wizard of Oz" which starred Liza's mother). The Comedy Club signage was covered, for the evening, by signs reading "Ciro's", denoting the venue's prior identity. The event was attended by many dozens of Hollywood glitterati, including Elizabeth Taylor, Sammy Davis Jr., Cher, Bob Fosse, Johnny Carson, Goldie Hawn, Cesar Romero, Priscilla Presley and other stars, past and present. The soiree was so grand that Sunset Boulevard was temporarily blocked by police to allow Hollywood royalty to arrive in their limos unmolested by photographers and reporters.
Jennie and Terrie Frankel perform at The Comedy Store in the late 1970s
Job action[edit]
Beginning in 1979, The Comedy Store served for many years as the host location for the annual HBO Young Comedians specials.
Also in 1979, stand-up comedians formed a short-lived labor union and demanded to be paid for their appearances at The Comedy Store. For six weeks (beginning in March),[4][4] several famous comedians staged a protest in front of the club, while others crossed the picket line.[4] The comedians involved formed a union called Comedians for Compensation and fought for pay where they had received none before. They eventually picketed in front of the club when their demands were not met. Jay Leno and David Letterman were among those on the picket line while Garry Shandling and Yakov Smirnoff crossed the line.[5]
The job action was not legally a strike as the comedians were classified as "independent contractors" and were not under contract with the club.
Mitzi Shore argued that the club was and had always been a showcase and training ground for young comedians and was not about profits. She alleged that comedians came to the club and could work on their material in front of casting agents and other talent scouts who would possibly hire them as professionals if they were good enough.
The comedians at the club became unhappy when the club was expanded several times and it was perceived that Shore's profits were quite substantial. Shore also paid the rest of her staff, including waitresses and bartenders.
After the strike some comedians were no longer allowed to perform at the club, including Steve Lubetkin, who committed suicide by jumping off the roof of the Continental Hyatt House next door. His suicide note included the line: "My name is Steve Lubetkin. I used to work at The Comedy Store."[6] Lubetkin hoped that his suicide would resolve the labor dispute. He also cited Shore as the reason he no longer had a job.
The union ceased to exist in 1980, although from the time of the job action onward, comedians in Los Angeles were paid for their shows. This included The Comedy Store and The Improv.
Notable alumni[edit]
Tim Allen
Louie Anderson
Don Barris
Roseanne Barr
Joy Behar
John Belushi
Richard Belzer
Sandra Bernhard
Mike Binder
Elaine Boosler[3]
David Brenner
Bill Burr
Joe Rogan
Bryan Callen
George Carlin
Jim Carrey
Johnny Carson
John Caparulo
Dave Chappelle
Chevy Chase
Margaret Cho
Louis CK[7]
Tom Davis
Andrew Dice Clay
Jenn Colella
Dane Cook
Doug Benson
Blake Clark
Whitney Cummings
Billy Crystal
Rodney Dangerfield
Ellen DeGeneres
John Del Rico
Chris D'Elia
Joey Diaz
Andy Dick
Gaylord Dingler
Tom Dreesen
Will Durst
Redd Foxx
Al Franken
Gallagher
Janeane Garofalo
Whoopi Goldberg[3]
Kathy Griffin
Arsenio Hall
Argus Hamilton
Chelsea Handler
Kevin Hart
Tony Hinchcliffe
Bill Hicks
Joel Hodgson
Dom Irrera
Martin Lawrence
Freddy Lockhart
Andy Kaufman
Michael Keaton[3]
Sam Kinison
Steve Landesberg
Bobby Lee
Jay Leno[3]
David Letterman[3]
Richard Lewis
Jay London
Bill Maher
Howie Mandel
Marc Maron
Steve Martin
Ralphie May
Edie McClurg
Jason Mewes
Dennis Miller
George Miller
Paul Mooney
Eddie Murphy[3]
Rosie O'Donnell
Patrice O'Neal
John Pappas
Russell Peters
Dat Phan
Ollie Joe Prater
Richard Pryor[3]
Chris Rock
Paul Rodriguez[3]
Ray Romano
Chris Rush
Bob Saget
Amy Schumer
Jerry Seinfeld
Garry Shandling[3]
Iliza Shlesinger
Pauly Shore
Sarah Silverman
Sinbad
Brad Slaight
Yakov Smirnoff
Kevin Smith
Phil Snyder
Freddy Soto
Doug Stanhope
Sarah Tiana
The Unknown Comic
Jimmie Walker
Damon Wayans
Jeff Wayne
Robin Williams
Thomas F. Wilson
The history of the young comedians coming to Los Angeles in the 1970s and performing at the club is told in the book I'm Dying Up Here by William Knoedelseder.
References[edit]
Jump up ^ "The Comedy Store, La Jolla". The Comedy Store. Retrieved 2009-05-28.
Jump up ^ Ogden, Tom (1999). "The Comedy Store". The Complete Idiot's Guide to Ghosts and Hauntings. Alpha Books. p. 284. ISBN 978-0-02-863659-7. OCLC 42714505.
^ Jump up to: a b c d e f g h i j k Lord, Rosemary (2003). Hollywood Then and Now. San Diego, CA: Thunder Bay Press. pp. 140–141. ISBN 1-59223-104-7.
^ Jump up to: a b c Zoglin, Richard (2008-02-04). "The First Comedy Strike". Time. ISSN 0040-781X. Retrieved 2016-10-06.
Jump up ^ "Jokers Wild". New York Post. April 30, 2009. Retrieved May 17, 2015.
Jump up ^ Knoedelseder, William (2009). I'm Dying Up Here: Heartbreak and High Times in Stand-up Comedy's Golden Era. New York, NY: PublicAffairs. ISBN 1586488961.
Jump up ^ http://hollywood.thecomedystore.com/comedian.cfm?id=180
External links[edit]
An Interview with Sammy Shore, Comedy Store Founder, June 2011
The Comedy Store
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Illuminated manuscript
From Wikipedia, the free encyclopedia
Jump to: navigation, search
In the strictest definition of illuminated manuscript, only manuscripts with gold or silver, like this miniature of Christ in Majesty from the Aberdeen Bestiary (folio 4v), would be considered illuminated.
The decoration of this page from a French Book of Hours, c. 1400, includes a miniature, initials and borders
An illuminated manuscript is a manuscript in which the text is supplemented with such decoration as initials, borders (marginalia) and miniature illustrations. In the strictest definition, the term refers only to manuscripts decorated with gold or silver; but in both common usage and modern scholarship, the term refers to any decorated or illustrated manuscript from Western traditions. Comparable Far Eastern and Mesoamerican works are described as painted. Islamic manuscripts may be referred to as illuminated, illustrated or painted, though using essentially the same techniques as Western works. This article covers the technical, social and economic history of the subject; for an art-historical account, see miniature.
The earliest surviving substantive illuminated manuscripts are from the period 400 to 600, produced in the Kingdom of the Ostrogoths and the Eastern Roman Empire. The significance of these works lies not only in their inherent artistic and historical value, but also in the maintenance of a link of literacy offered by non-illuminated texts. Had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished in Europe. As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians. Illumination of manuscripts, as a way of aggrandizing ancient documents, aided their preservation and informative value in an era when new ruling classes were no longer literate, at least in the language used in the manuscripts.
The majority of surviving manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from Late Antiquity. The majority of these manuscripts are of a religious nature. However, especially from the 13th century onward, an increasing number of secular texts were illuminated. Most illuminated manuscripts were created as codices, which had superseded scrolls. A very few illuminated manuscript fragments survive on papyrus, which does not last nearly as long as vellum or parchment. Most medieval manuscripts, illuminated or not, were written on parchment (most commonly of calf, sheep, or goat skin), but most manuscripts important enough to illuminate were written on the best quality of parchment, called vellum.
Beginning in the late Middle Ages manuscripts began to be produced on paper.[1] Very early printed books were sometimes produced with spaces left for rubrics and miniatures, or were given illuminated initials, or decorations in the margin, but the introduction of printing rapidly led to the decline of illumination. Illuminated manuscripts continued to be produced in the early 16th century, but in much smaller numbers, mostly for the very wealthy. Manuscripts are among the most common items to survive from the Middle Ages; many thousands survive. They are also the best surviving specimens of medieval painting, and the best preserved. Indeed, for many areas and time periods, they are the only surviving examples of painting.
Contents
[hide]
1 History
2 Techniques
2.1 Text
2.2 The process of illumination
2.3 Use of color in illuminated manuscripts
2.4 Paints
2.5 Gilding
3 Patrons of illumination
4 Gallery
5 References
6 Further reading
7 External links
7.1 Images (mostly)
7.2 Resources
7.3 Modern
History[edit]
Main article: History of miniature (illuminated manuscript)
Art historians classify illuminated manuscripts into their historic periods and types, including (but not limited to) Late Antique, Insular, Carolingian manuscripts, Ottonian manuscripts, Romanesque manuscripts, Gothic manuscripts, and Renaissance manuscripts. There are a few examples from later periods. The type of book that was most often heavily and richly illuminated, sometimes known as a "display book", varied between periods. In the first millennium, these were most likely to be Gospel Books, such as the Lindisfarne Gospels and the Book of Kells. The Romanesque period saw the creation of many huge illuminated complete Bibles – one in Sweden requires three librarians to lift it. Many Psalters were also heavily illuminated in both this and the Gothic period. Single cards or posters of vellum, leather or paper were in wider circulation with short stories or legends on them about the lives of saints, chivalry knights or other mythological figures, even criminal, social or miraculous occurrences; popular events much freely used by story tellers and itinerant actors to support their plays. Finally, the Book of Hours, very commonly the personal devotional book of a wealthy layperson, was often richly illuminated in the Gothic period. Other books, both liturgical and not, continued to be illuminated at all periods. The Byzantine world also continued to produce manuscripts in its own style, versions of which spread to other Orthodox and Eastern Christian areas. See Medieval art for other regions, periods and types. Reusing parchments by scraping the surface and reusing them was a common practice; the traces often left behind of the original text are known as palimpsests.
The Muslim World and in particular the Iberian Peninsula, with their traditions of literacy uninterrupted by the Middle Ages, were instrumental in delivering ancient classic works to the growing intellectual circles and universities of Western Europe all through the 12th century, as books were produced there in large numbers and on paper for the first time in Europe, and with them full treatises on the sciences, especially astrology and medicine where illumination was required to have profuse and accurate representations with the text.
The Gothic period, which generally saw an increase in the production of these beautiful artifacts, also saw more secular works such as chronicles and works of literature illuminated. Wealthy people began to build up personal libraries; Philip the Bold probably had the largest personal library of his time in the mid-15th century, is estimated to have had about 600 illuminated manuscripts, whilst a number of his friends and relations had several dozen.
Illuminated manuscripts housed in the 16th-century Ethiopian Orthodox church of Ura Kidane Mehret, Zege Peninsula, Lake Tana, Ethiopia
Up to the 12th century, most manuscripts were produced in monasteries in order to add to the library or after receiving a commission from a wealthy patron. Larger monasteries often contained separate areas for the monks who specialized in the production of manuscripts called a scriptorium. Within the walls of a scriptorium were individualized areas where a monk could sit and work on a manuscript without being disturbed by his fellow brethren. If no scriptorium was available, then “separate little rooms were assigned to book copying; they were situated in such a way that each scribe had to himself a window open to the cloister walk.”[2] The separation of these monks from the rest of the cloister indicates just how revered these monks were within their society.
By the 14th century, the cloisters of monks writing in the scriptorium had almost fully given way to commercial urban scriptoria, especially in Paris, Rome and the Netherlands.[3] While the process of creating an illuminated manuscript did not change, the move from monasteries to commercial settings was a radical step. Demand for manuscripts grew to an extent that the Monastic libraries were unable to meet with the demand, and began employing secular scribes and illuminators.[4] These individuals often lived close to the monastery and, in certain instances, dressed as monks whenever they entered the monastery, but were allowed to leave at the end of the day. In reality, illuminators were often well known and acclaimed and many of their identities have survived.[5]
First, the manuscript was “sent to the rubricator, who added (in red or other colors) the titles, headlines, the initials of chapters and sections, the notes and so on; and then – if the book was to be illustrated – it was sent to the illuminator.”[2] In the case of manuscripts that were sold commercially, the writing would “undoubtedly have been discussed initially between the patron and the scribe (or the scribe’s agent,) but by the time that the written gathering were sent off to the illuminator there was no longer any scope for innovation.”[6]
Techniques[edit]
The author of a manuscript at his writing desk. 14th Century
Illumination was a complex and frequently costly process. It was usually reserved for special books: an altar Bible, for example. Wealthy people often had richly illuminated "books of hours" made, which set down prayers appropriate for various times in the liturgical day.
In the early Middle Ages, most books were produced in monasteries, whether for their own use, for presentation, or for a commission. However, commercial scriptoria grew up in large cities, especially Paris, and in Italy and the Netherlands, and by the late 14th century there was a significant industry producing manuscripts, including agents who would take long-distance commissions, with details of the heraldry of the buyer and the saints of personal interest to him (for the calendar of a Book of hours). By the end of the period, many of the painters were women, perhaps especially in Paris.
Text[edit]
In the making of an illuminated manuscript, the text was usually written first. Sheets of parchment or vellum, animal hides specially prepared for writing, were cut down to the appropriate size. After the general layout of the page was planned (e.g., initial capital, borders), the page was lightly ruled with a pointed stick, and the scribe went to work with ink-pot and either sharpened quill feather or reed pen.
The script depended on local customs and tastes. The sturdy Roman letters of the early Middle Ages gradually gave way to scripts such as Uncial and half-Uncial, especially in the British Isles, where distinctive scripts such as insular majuscule and insular minuscule developed. Stocky, richly textured blackletter was first seen around the 13th century and was particularly popular in the later Middle Ages. Palaeography is the study of historical handwritten scripts, and codicology the related study of other physical aspects of manuscript codexes.
One of the most important features in the production of an illuminated manuscript is the amount of time that was spent in the pre-production stages outlining the work. Prior to the days of such careful planning, “A typical black-letter page of these Gothic years would show a page in which the lettering was cramped and crowded into a format dominated by huge ornamented capitals that descended from uncial forms or by illustrations.”[7] To prevent such poorly made manuscripts and illuminations from occurring a script was typically supplied first, “and blank spaces were left for the decoration. This pre-supposes very careful planning by the scribe even before he put pen to parchment.” If the scribe and the illuminator were separate labors the planning period allowed for adequate space to be given to each individual.
The process of illumination[edit]
A common process of manuscripts illumination from the creation of the quire to the binding
ILLUMINATION EXECUTION
I. Graphite powder dots create the outline II. Silverpoint drawings are sketched III. Illustration is retraced with ink IV. The surface is prepared for the application of gold leaf V. Gold leaf is laid down VI. Gold leaf is burnished to make it glossy and reflective VII. Decorative impressions are made to adhere the leaf VIII. Base colors are applied IX. Darker tones are used to give volume X. Further details are drawn XI. Lighter colors are used to add particulars XII. Ink borders are traced to finalize the illumination
A 13th-century manuscript illumination, the earliest known depiction of Thomas Becket's assassination
The following steps outline the detailed labor involved to create the illuminations of one page of a manuscript:
Silverpoint drawing of the design were executed
Burnished gold dots applied
The application of modulating colors
Continuation of the previous three steps in addition to the outlining of marginal figures
The penning of a rinceaux appearing in the border of a page
The final step, the marginal figures are painted[8]
The illumination and decoration was normally planned at the inception of the work, and space reserved for it. However, the text was usually written before illumination began. In the Early Medieval period the text and illumination were often done by the same people, normally monks, but by the High Middle Ages the roles were typically separated, except for routine initials and flourishes, and by at least the 14th century there were secular workshops producing manuscripts, and by the beginning of the 15th century these were producing most of the best work, and were commissioned even by monasteries. When the text was complete, the illustrator set to work. Complex designs were planned out beforehand, probably on wax tablets, the sketch pad of the era. The design was then traced or drawn onto the vellum (possibly with the aid of pinpricks or other markings, as in the case of the Lindisfarne Gospels). Many incomplete manuscripts survive from most periods, giving us a good idea of working methods.
At all times, most manuscripts did not have images in them. In the early Middle Ages, manuscripts tend to either be display books with very full illumination, or manuscripts for study with at most a few decorated initials and flourishes. By the Romanesque period many more manuscripts had decorated or historiated initials, and manuscripts essentially for study often contained some images, often not in color. This trend intensified in the Gothic period, when most manuscripts had at least decorative flourishes in places, and a much larger proportion had images of some sort. Display books of the Gothic period in particular had very elaborate decorated borders of foliate patterns, often with small drolleries. A Gothic page might contain several areas and types of decoration: a miniature in a frame, a historiated initial beginning a passage of text, and a border with drolleries. Often different artists worked on the different parts of the decoration.
Use of color in illuminated manuscripts[edit]
While the use of gold is by far one of the most captivating features of illuminated manuscripts, the bold use of varying colors provided multiple layers of dimension to the illumination. From a religious perspective, "the diverse colors wherewith the book is illustrated, not unworthily represent the multiple grace of heavenly wisdom."[2] While religious authors view themselves as instilling a part of God's vast glory on the work, many illustrations can be linked to "the history of the texts that were required to be illustrated and the needs and tastes of the readers of those manuscripts."[9] Color brought the images on the page to life and captivated the readers. Without color the impact of the image would have been completely lost.
Paints[edit]
The medieval artist's palette was broad; a partial list of pigments is given below. In addition, unlikely-sounding substances such as urine and earwax were used to prepare pigments.[10]
Color
Source(s)
Red
Insect-based colors, including:
Carmine, also known as cochineal, where carminic acid from the Dactylopius coccus insect is mixed with an aluminum salt to produce the dye;
Crimson, also known as kermes, extracted from the insect Kermes vermilio; and
Lac, a scarlet resinous secretion of a number of species of insects.
Chemical- and mineral-based colors, including:
Red lead, chemically lead tetroxide, Pb3O4, found in nature as the mineral minium, or made by heating white lead;
Vermilion, chemically mercury sulfide, HgS, and found in nature as the mineral cinnabar;
Rust, chemically hydrated ferric oxide, Fe2O3·n H2O, or iron oxide-rich earth compounds.
Yellow
Plant-based colors, such as:
Weld, processed from the Reseda luteola plant;
Turmeric, from the Curcuma longa plant; and
Saffron, rarely due to cost, from the Crocus sativus.
Mineral-based colors, including:
Ochre, an earth pigment that occurs as the mineral limonite; and
Orpiment, chemically arsenic trisulfide, As2S3.
Green
Verdigris, chemically cupric acetate, Cu(OAc)2·(H2O)2, made historically by boiling copper plates in vinegar;
Malachite, a mineral found in nature, chemically basic copper carbonate, Cu2CO3·(OH)2; and
China green, a plant-based pigment extracted from buckthorn (Rhamnus tinctoria, R. utilis) berries.
Blue
Plant-based substances such as:
Woad, produced from the leaves of the plant Isatis tinctoria;
Indigo, derived from the plant Indigofera tinctoria; and
Turnsole, also known as folium, a dyestuff prepared from the plant Crozophora tinctoria.
Chemical- and mineral-based colors, including:
Ultramarine, made from the minerals lapis lazuli or azurite; and
Smalt, now known as cobalt blue.
White
White lead, chemically basic lead carbonate, 2PbCO3·Pb(OH)2, and historically made by corroding sheets of lead with vinegar, and covering that with decaying matter, such as dung, to provide the necessary carbon dioxide for the chemical reaction; and
Chalk, chemically calcium carbonate, CaCO3.
Black
Carbon, from sources such as lampblack, charcoal, or burnt bones or ivory;
Sepia, from the ink produced by the cuttlefish, usually for an escape mechanism; and
Iron gall ink, where in medieval times iron nails would be boiled in vinegar; the resulting compound would then be mixed with an extract of oak apple (oak galls).
Gold
Gold leaf, gold hammered extremely thin, or gold powder, bound in gum arabic or egg; the latter is called shell gold.
Silver
Silver, either silver leaf or powdered, as with gold; and
Tin leaf, also as with gold.
Gilding[edit]
The 11th century Tyniec Sacramentary was written with gold on purple background.
An illuminated manuscript is not considered illuminated unless one or many illuminations contained gold foil or was brushed with gold specks, a process known as burnishing. The inclusion of gold on an illumination alludes to many different possibilities for the text. If the text is of religious nature the gold is a sign of exalting the text. In the early centuries of Christianity, “Gospel manuscripts were sometimes written entirely in gold.”[11] Aside from adding flashy decoration to the text, scribes during the time considered themselves to be praising God with their use of gold. In one particular instance, “The life of Christ executed on gold backgrounds with much greater richness in the midst of innumerable scenes of the chase, tourneys, games and grotesque subjects.”[12] Furthermore, gold was used if a patron who had commissioned a book to be written wished to display the vastness of his riches. Eventually, the addition of gold to manuscripts became so frequent, “that its value as a barometer of status with the manuscript was degraded.”[13] During this time period the price of gold had become so cheap that its inclusion in an illuminated manuscript accounted for only a tenth of the cost of production.[14] By adding richness and depth to the manuscript, the use of gold in illuminations created pieces of art that are still valued today.
The application of gold leaf or dust to an illumination is a very detailed process that only the most skilled illuminators can undertake and successfully achieve. The first detail an illuminator considered when dealing with gold was whether to use gold leaf or specks of gold that could be applied with a brush. When working with gold leaf the pieces would be hammered and thinned until they were “thinner than the thinnest paper.”[14] The use of this type of leaf allowed for numerous areas of the text to be outlined in gold. There were several ways of applying gold to an illumination one of the most popular included mixing the gold with stag’s glue and then “pour it into water and dissolve it with your finger.”[15] Once the gold was soft and malleable in the water it was ready to be applied to the page. Illuminators had to be very careful when applying gold leaf to the manuscript for fear ruining the color already placed in the illumination. Gold leaf is able to “adhere to any pigment which had already been laid, ruining the design, and secondly the action of burnishing it is vigorous and runs the risk of smudging any painting already around it.” The careless implementing of gold could ruin the labor already placed in the illumination and thus cause the entire folio to be discarded.
Patrons of illumination[edit]
Monasteries produced manuscripts for their own use; heavily illuminated ones tended to be reserved for liturgical use in the early period, while the monastery library held plainer texts. In the early period manuscripts were often commissioned by rulers for their own personal use or as diplomatic gifts, and many old manuscripts continued to be given in this way, even into the Early Modern period. Especially after the book of hours became popular, wealthy individuals commissioned works as a sign of status within the community, sometimes including donor portraits or heraldry: "In a scene from the New Testament, Christ would be shown larger than an apostle, who would be bigger than a mere bystander in the picture, while the humble donor of the painting or the artist himself might appear as a tiny figure in the corner."[9][16][17] The calendar was also personalized, recording the feast days of local or family saints. By the end of the Middle Ages many manuscripts were produced for distribution through a network of agents, and blank spaces might be reserved for the appropriate heraldry to be added locally by the buyer.
Displaying the amazing detail and richness of a text, the addition of illumination was never an afterthought. The inclusion of illumination is twofold, it added value to the work, but more importantly it provides pictures for the illiterate members of society to "make the reading seem more vivid and perhaps more credible.”[18]
Gallery[edit]
The illuminated letter P in the Malmesbury Bible. The script is blackletter, also known as Gothic script.
Saint Bernard of Clairvaux, in a medieval illuminated manuscript.
A monk-cellarer tasting wine from a barrel while filling a jug. From Li Livres dou Santé by Aldobrandino of Siena (France, late 13th century).
The Book of Dimma, an 8th-century Irish pocket Gospel Book.
Georgian Adysh Gospels, 897
Jewish Illuminated manuscript of the Haggadah for Passover (14th century).
The Pentecost, from an illuminated Catholic liturgical manuscript, c.1310-1320.
The marriage of Girart to Bertha from the Roman de Girart de Roussillon, c. 1450
An illuminated capital letter P in a Bible of 1407, Malmesbury Abbey, Wiltshire, England
Armenian manuscript of 1053. Work of Johannes.
15th century Flemish illumination depicting Alexander the Great’s third victory over Darius
Founders' and benefactors' book of Tewkesbury Abbey, early 16th century
The Rochefoucauld Grail, about 1315
Battle of Ménfő, in the Hungarian Chronicon Pictum of 1360
Ethiopian, Illuminated Manuscript, 18th century, Princeton University Art Museum
References[edit]
Jump up ^ The untypically early 11th century Missal of Silos is from Spain, near to Muslim paper manufacturing centres in Al-Andaluz. Textual manuscripts on paper become increasingly common, but the more expensive parchment was mostly used for illuminated manuscripts until the end of the period.
^ Jump up to: a b c Putnam A.M., Geo. Haven. Books and Their Makers During The Middle Ages. Vol. 1. New York: Hillary House, 1962. Print.
Jump up ^ De Hamel, 45
Jump up ^ De Hamel, 57
Jump up ^ De Hamel, 65
Jump up ^ De Hamel, Christopher. Medieval Craftsmen: Scribes and Illuminations. Buffalo: University of Toronto, 1992. p. 60.
Jump up ^ Anderson, Donald M. The Art of Written Forms: The Theory and Practice of Calligraphy. New York: Holt, Rinehart and Winston, Inc, 1969. Print.
Jump up ^ Calkins, Robert G. "Stages of Execution: Procedures of Illumination as Revealed in an Unfinished Book of Hours." International Center of Medieval Art 17.1 (1978): 61–70. JSTOR.org. Web. 17 April 2010. <https://www.jstor.org/stable/766713>
^ Jump up to: a b "Manuscript." http://arts.jrank.org/pages/9716/Manuscript.html. Web. 17 April 2010.
Jump up ^ Iberian manuscripts (pigments) Archived 29 March 2003 at Archive.is
Jump up ^ De Hamel, Christopher. The British Library Guide to Manuscript Illumination: History and Techniques. Toronto: University of Toronto, 2001. Print,52.
Jump up ^ Brehier, Louis. “Illuminated Manuscripts.” The Catholic Encyclopedia. Vol.9. New York: Robert Appelton Company, 1910. 17 April 2010 http://www.newadvent.org/cathen/09620a.htm
Jump up ^ De Hamel, Christopher. Medieval Craftsmen: Scribes and Illuminations. Buffalo: University of Toronto, 1992. Print,49.
^ Jump up to: a b Brehier, Louis. “Illuminated Manuscripts.” The Catholic Encyclopedia. Vol.9. New York: Robert Appelton Company, 1910. 17 April 2010 http://www.newadvent.org/cathen/09620a.htm, page 45.
Jump up ^ Blondheim, D.S. "An Old Portuguese Work on Manuscript Illumination." The Jewish Quarterly Review, New Series 19.2 (1928): 97–135. JSTOR. Web. 17 April 2010. <https://www.jstor.org/stable/1451766>.
Jump up ^ Hamel, Christopher de (29 December 2001). The British Library Guide to Manuscript Illumination: History and Techniques (1 ed.). University of Toronto Press, Scholarly Publishing Division. p. 20. ISBN 0-8020-8173-8.
Jump up ^ "Heraldry". Glossary for Illuminated Manuscripts. British Library. n.d. Retrieved 14 December 2015.
Jump up ^ Jones, Susan. "Manuscript Illumination in Northern Europe". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/manu/hd_manu.htm (October 2002)
Further reading[edit]
Bland, David. A History of Book Illustration: The Illuminated Manuscript and the Printed Book (London: Faber & Faber, 1958)
Coleman, Joyce, Mark Cruse, and Kathryn A. Smith, eds. The Social Life of Illumination: Manuscripts, Images, and Communities in the Late Middle Ages (Series: Medieval Texts and Cultures in Northern Europe, vol. 21. Turnhout: Brepols Publishing, 2013). xxiv + 552 pp online review
De Hamel, Christopher. A History of Illuminated Manuscript (Phaidon, 1986)
De Hamel, Christopher. Medieval Craftsmen: Scribes and Illuminations. Buffalo: University of Toronto, 1992.
Lazaris, Stavros. "L’illustration des disciplines médicales dans l’Antiquité : hypothèses, enjeux, nouvelles interprétations", in: La Collezione di testi chirurgici di Niceta (Firenze, Biblioteca Medicea Laurenziana, Plut. 74.7). Tradizione medica classica a Bisanzio, M. Bernabò (ed.), Roma, 2010, p. 99-109 [1].
Lazaris, Stavros. "L’image paradigmatique: des Schémas anatomiques d’Aristote au De materia medica de Dioscoride", Pallas, 93 (2013), p. 131-164 [2].
Lazaris, Stavros. "Art et science vétérinaire à Byzance: Formes et fonctions de l’image hippiatrique". Turnhout: Brepols, 2010 [3]
Morgan, Nigel J., Stella Panayotova, and Martine Meuwese. Illuminated Manuscripts in Cambridge: A Catalogue of Western Book Illumination in the Fitzwilliam Museum and the Cambridge Colleges (London : Harvey Miller Publishers in conjunction with the Modern Humanities Association. 1999- )
Rudy, K.M. Piety in Pieces: How Medieval Readers Customized their Manuscripts (Open Book Publishers, 2016)
Wieck, Roger. "Folia Fugitiva: The Pursui of the Illuminated Manuscript Leaf". The Journal of the Walters Art Gallery, Vol. 54, 1996.
External links[edit]
Wikimedia Commons has media related to Illuminated manuscripts.
Images (mostly)[edit]
Medieval Illuminated Manuscripts Digitized illuminated manuscripts from the Dutch Royal Library
Museum of the Book, The Hague. Thematic introduction, with many examples illustrated
Project from Cambridge University – colored numbers are links to good images from various collections; good for finding images of specific subjects quickly
Illuminated Manuscripts in the J. Paul Getty Museum – Los Angeles
Portal to manuscripts in French public collections huge databases, in French
Illuminating the Manuscript Leaves Digitized illuminated manuscripts from the University of Louisville Libraries
[4] Digitized illuminated manuscript from Kathrine Zipista
Medieval and Renaissance manuscripts, including lavishly decorated Books of Hours, Vulgates, and Medicinal Texts, 12 - 17th century, Center for Digital Initiatives, University of Vermont Libraries
Illuminated Manuscripts digital collection from the Ball State University Digital Media Repository
Spanish Chant Manuscript – A collection of Spanish illuminated manuscripts from the UBC Library Digital Collections
Digitized Illuminated Manuscripts – Complete sets of high-resolution archival images of entire manuscripts from the collection of the Walters Art Museum
Manuscripts of Lichfield Cathedral - Digital facsimile of the St Chad Gospels, 2010. Includes the ability to overlay images captured with 13 different bands of light, historical images (starting in 1887), multispectral visualizations, sixteen interactive 3D renderings, and sixteen interactive RTI renderings for revealing dry-point writing. University of Oklahoma
Historical Image Overlays - See how an illuminated manuscript ages
Resources[edit]
UCLA Library Special Collections collection of Medieval and Renaissance manuscripts
Digital Scriptorium
British Library, catalogue of illuminated manuscripts
Collection of illuminated manuscripts. From the Koninklijke Bibliotheek and Museum Meermanno-Westreenianum in The Hague.
On-line demonstration of the production of an illuminated manuscript from the Fitzwilliam, Cambridge
On-line demonstration of the production of an illuminated manuscript from the BNF, Paris. Text in French, but mostly visual.
Nancy Ross, Resources for English Illuminated Manuscripts.
British Library, Glossary of Manuscript Terms, adapted from Michelle Brown, Understanding Illuminated Manuscripts: A Guide to Technical Terms (1994), ISBN 0-89236-217-0
Herbert, J. A. (1911), Illuminated Manuscripts, online book.
Illuminated Manuscripts', Book by John W. Bradley, from Project Gutenberg
CORSAIR. Thousands of digital images from the Morgan Library's renowned collection of medieval and Renaissance manuscripts
Herbermann, Charles, ed. (1913). "Illuminated Manuscripts". Catholic Encyclopedia. New York: Robert Appleton Company.
Diringer, David. The Book Before Printing: Ancient, Medieval and Oriental. New York: Dover Publications, Inc, 1982. Print.
Greenia, George D. "The Politics of Piety: Manuscript Illumination and Narration in the Cantigas of De Santa Maria." Hispanic Review 61.3 (1993): 325–44. JSTOR. Web. 17 April 2010. <https://www.jstor.org/stable/475069>.
3D for Presenting Illuminated Manuscripts - Explains 3D modeling for the 8th-century illuminated St Chad Gospels
ABC of Medieval Manuscripts Sandra Hindman, AbeBooks.com
Beginner's Guide to Medieval Manuscripts Sandra Hindman, AbeBooks.com
Modern[edit]
The Saint John's Bible: an illuminated Bible project
Ellen Frank Illumination Arts Foundation: the art of illumination
Illumination Documentary produced by Full Focus About St John’s Abby Illuminated Bible Project
Making Manuscripts video by the Getty Museum
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Thorax
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the anatomy concept. For other uses, see Thorax (disambiguation).
"Chest" redirects here. For the furniture used for storage, see Chest (furniture). For other uses, see Chest (disambiguation).
Thorax
Chest
X-ray image of the chest showing the internal anatomy of the rib cage, lungs and heart as well as the inferior thoracic border–made up of the diaphragm.
Surface projections of the organs of the trunk, with the thorax or chest region seen stretching down to approximately the end of the oblique lung fissure anteriorly, but more deeply it its lower limit rather corresponds to the upper border of the liver.
Details
Identifiers
Latin
thorax
Greek
θώραξ
TA
A01.1.00.014
FMA
9576
Anatomical terminology
[edit on Wikidata]
The thorax or chest (from the Greek θώραξ thorax "breastplate, cuirass, corslet"[1] via Latin: thorax) is a part of the anatomy of humans and various other animals located between the neck and the abdomen.[2][3] The thorax includes the thoracic cavity and the thoracic wall. It contains organs including the heart, lungs, and thymus gland, as well as muscles and various other internal structures. Many diseases may affect the chest, and one of the most common symptoms is chest pain.
Contents
[hide]
1 Structure
1.1 Contents
1.2 The chest
1.3 Bones
1.4 Anatomical landmarks
2 Clinical significance
2.1 Injury
2.2 Pain
2.2.1 Non-cardiac causes of chest pain
2.3 Atelectasis
2.4 Pneumothorax
3 Other animals
3.1 In tetrapods
3.2 In arthropods
4 Additional Images
5 See also
6 References
7 External links
Structure[edit]
In humans and other hominids, the thorax is the chest region of the body between the neck and the abdomen, along with its internal organs and other contents. It is mostly protected and supported by the rib cage, spine, and shoulder girdle.
Contents[edit]
An X-ray of a human chest area, with some structures labeled
The contents of the thorax include the heart and lungs and the thymus gland); the (major and minor pectoral muscles, trapezius muscles and neck muscle); internal structures such as the diaphragm, esophagus, trachea and a part of the sternum known as the xiphoid process). Arteries and veins are also contained – (aorta, superior vena cava, inferior vena cava and the pulmonary artery); bones (the shoulder socket containing the upper part of the humerus, the scapula, sternum, thoracic portion of the spine, collarbone, and the rib cage and floating ribs).
External structures are the skin and nipples.
The chest[edit]
In the human body, the region of the thorax between the neck and diaphragm in the front of the body is called the chest. The corresponding area in an animal can also be referred to as the chest.
The shape of the chest does not correspond to that part of the thoracic skeleton that encloses the heart and lungs. All the breadth of the shoulders is due to the shoulder girdle, and contains the axillae and the heads of the humeri. In the middle line the suprasternal notch is seen above, while about three fingers' breadth below it a transverse ridge can be felt, which is known as the sternal angle and this marks the junction between the manubrium and body of the sternum. Level with this line the second ribs join the sternum, and when these are found the lower ribs can often be counted. At the lower part of the sternum, where the seventh or last true ribs join it, the ensiform cartilage begins, and above this there is often a depression known as the pit of the stomach.
Bones[edit]
The bones of the thorax, called the "thoracic skeleton" is a component of the axial skeleton.
It consists of the ribs and sternum.The ribs of the thorax are numbered in ascending order from 1-12. 11 & 12 are known as floating ribs because they have no anterior attachment point in particular the cartilage attached to the sternum, as 1-7 are, and therefore are termed "floating". Whereas ribs 8-10 are termed false ribs as their costal cartilage articulates with the costal cartilage of the rib above.
Anatomical landmarks[edit]
The anatomy of the chest can also be described through the use of anatomical landmarks. The nipple in the male is situated in front of the fourth rib or a little below; vertically it lies a little external to a line drawn down from the middle of the clavicle; in the female it is not so constant. A little below it the lower limit of the great pectoral muscle is seen running upward and outward to the axilla; in the female this is obscured by the breast, which extends from the second to the sixth rib vertically and from the edge of the sternum to the mid-axillary line laterally. The female nipple is surrounded for half an inch by a more or less pigmented disc, the areola. The apex of a normal heart is in the fifth left intercostal space, three and a half inches from the mid-line.
Clinical significance[edit]
High-resolution computed tomographs of a normal thorax, taken in the axial, coronal and sagittal planes, respectively. Click here to scroll through the image stacks. This type of investigation can be used for detecting both acute and chronic changes in the lung parenchyma.
Different types of diseases or conditions that affect the chest include pleurisy, flail chest, atelectasis, and the most common condition, chest pain. These conditions can be hereditary or caused by birth defects or trauma. Any condition that lowers the ability to either breathe deeply or to cough is considered a chest disease or condition.
Injury[edit]
Injury to the chest (also referred to as chest trauma, thoracic injury, or thoracic trauma) results in up to ¼ of all deaths due to trauma in the United States.[4]
The major pathophysiologies encountered in blunt chest trauma involve derangements in the flow of air, blood, or both in combination. Sepsis due to leakage of alimentary tract contents, as in esophageal perforations, also must be considered. Blunt trauma commonly results in chest wall injuries (e.g., rib fractures). The pain associated with these injuries can make breathing difficult, and this may compromise ventilation. Direct lung injuries, such as pulmonary contusions (see the image below), are frequently associated with major chest trauma and may impair ventilation by a similar mechanism.
Pain[edit]
Chest pain can be the result of multiple issues including respiratory problems, digestive issues, musculoskeletal complications. The pain can trigger cardiac issues as well. Not all pain that is felt is associated with the heart, but it should not be taken lightly either. Symptoms can be different depending on the cause of the pain.[5] While cardiac issues cause feelings of sudden pressure in the chest or a crushing pain in the back, neck and arms, pain that is felt due to non cardiac issues gives a burning feeling along the digestive tract or pain when deep breaths are attempted. Different people feel pains differently for the same condition. Only a patient truly knows if the symptoms are mild or serious.
Chest pain may be a symptom of myocardial infarctions. If this condition is present in the body, discomfort will be felt in the chest that is similar to a heavy weight placed on the body. Sweating, shortness of breath, lightheadedness, and irregular heartbeat may also be experienced. If heart attack occurs, the bulk of damage is caused during the first six hours, so getting the proper treatment quickly as possible is important. Some people, especially those who are elderly or have diabetes, may not have typical chest pain but may have many of the other symptoms of a heart attack. It is important that these patients and their care givers have a good understanding of heart attack symptoms.
Non-cardiac causes of chest pain[edit]
Just like with a heart attack, not all chest pain is suffered because of a condition involving the heart. Chest wall pain can be experienced after an increase in activity. Persons who add exercise to their daily routine generally feel this type of pain at the beginning. It is important to monitor the pain to ensure that it is not a sign of something more serious. Pain can also be experienced in persons who have an upper respiratory infection. This virus is also accompanied by fever and cough. Shingles is another viral infection that can give symptoms of chest or rib pain before a rash develops. Injuries to the rib cage or sternum is also a common cause of chest pain. It is generally felt when deep breaths are taken or during cough.
Atelectasis[edit]
Another non cardiac cause of chest pain is atelectasis. It is a condition that suffered when a portion of the lung collapses from being airless. When bronchial tubes are blocked, this condition develops and causes patients to feel shortness of breath. The most common cause of atelectasis is when a bronchi that extends from the windpipe is blocked and traps air. The blockage may be caused by something inside the bronchus, such as a plug of mucus, a tumour, or an inhaled foreign object such as a coin, piece of food, or a toy.[6] It is possible for something outside of the bronchus to cause the blockage.
Pneumothorax[edit]
Pneumothorax is the condition where air or gas can build up in the pleural space. It can occur without a known cause or as the result of a lung disease or acute lung injury.[7] The size of the pneumothorax changes as air or gas builds up, so a medical procedure can release the pressure with a needle. If it is untreated, blood flow can be interrupted and cause a drop in blood pressure known as tension pneumothorax. It is possible for smaller cases to clear up on their own. Symptoms of this condition are often felt only on one side of the lung or as a shortness of breath.
Other animals[edit]
The trilobite body is divided into three major sections, a cephalon with eyes, mouthparts and sensory organs such as antennae, a thorax of multiple similar segments (that in some species allowed them to roll up into a ball), and a pygidium, or tail section.
In the worker ant, the abdomen consists of the propodeum fused to the thorax and the metasoma, itself divided into the narrow petiole and bulbous gaster.
In tetrapods[edit]
In mammals, the thorax is the region of the body formed by the sternum, the thoracic vertebrae, and the ribs. It extends from the neck to the diaphragm, and does not include the upper limbs. The heart and the lungs reside in the thoracic cavity, as well as many blood vessels. The inner organs are protected by the rib cage and the sternum. Thoracic vertebrae are also distinguished in birds, but not in reptiles.
In arthropods[edit]
Main article: Thorax (insect anatomy)
In insects, crustaceans, and the extinct trilobites, the thorax is one of the three main divisions (or tagmata) of the creature's body, each of which is in turn composed of multiple segments. It is the area where the wings and legs attach in insects, or an area of multiple articulating plates in trilobites. In most insects, the thorax itself is composed of three segments; the prothorax, the mesothorax, and the metathorax. In extant insects, the prothorax never has wings, though legs are always present in adults; wings (when present) are restricted to at least the mesothorax, and typically also the metathorax, though the wings may be reduced or modified on either or both segments. In the Apocritan Hymenoptera, the first abdominal segment is fused to the metathorax, where it forms a structure known as the propodeum. Accordingly, in these insects, the functional thorax is composed of four segments, and is therefore typically called the mesosoma to distinguish it from the "thorax" of other insects.
Each thoracic segment in an insect is further subdivided into various parts, the most significant of which are the dorsal portion (the notum), the lateral portion (the pleuron; one on each side), and the ventral portion (the sternum). In some insects, each of these parts is composed of one to several independent exoskeletal plates with membrane between them (called sclerites), though in many cases the sclerites are fused to various degrees.
Additional Images[edit]
Volume rendering of a high resolution computed tomography of the thorax. The anterior thoracic wall, the airways and the pulmonary vessels anterior to the root of the lung have been digitally removed in order to visualize the different levels of the pulmonary circulation.
Thorax. Anterior view.
Thorax. Anterior view.
See also[edit]
This article uses anatomical terminology; for an overview, see Anatomical terminology.
Pectus carinatum
Pectus excavatum
Thoracic cavity
References[edit]
Jump up ^ θώραξ, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library
Jump up ^ "thorax" at Dorland's Medical Dictionary
Jump up ^ Thorax at the US National Library of Medicine Medical Subject Headings (MeSH)
Jump up ^ Shahani, Rohit, MD. (2005). Penetrating Chest Trauma. eMedicine. Retrieved 2005-02-05.
Jump up ^ Chest Diseases Retrieved on 2010-1-26
Jump up ^ Atelectasis Lung and Airway Disorders. Retrieved on 2010-1-26
Jump up ^ Pleurisy Lung Diseases. Retrieved on 2010-1-26
External links[edit]
Look up thorax in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Chests (human torso).
Sam Gon III. "A guide to the Orders of Trilobites". Retrieved August 23, 2005.
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