175,296 research outputs found
Pest categorisation of Ceroplastes rubens
No full textThe European Commission requested the EFSA Panel on Plant Health to conduct a pest categorisation of Ceroplastes rubens Maskell (Hemiptera: Coccidae), following the commodity risk assessments of Acer palmatum plants grafted on A. davidii and Pinus parviflora bonsai plants grafted on P. thunbergii from China, in which C. rubens was identified as a pest of possible concern to the European Union (EU). The pest, which is commonly known as the pink, red or ruby wax scale, originates in Africa and is highly polyphagous attacking plants from more than 193 genera in 84 families. It has been present in Germany since 2010 in a single tropical glasshouse. It is known to attack primarily tropical and subtropical plants, but also other host plants commonly found in the EU, such as Malus sylvestris, Prunus spp., Pyrus spp. and ornamentals. It is considered an important pest of Citrus spp. The pink wax scale reproduces mainly parthenogenetically, and it has one or two generations per year. Fecundity ranges from 5 to 1178 eggs. Crawlers settle usually on young twigs and later stages are sessile. All life stages of C. rubens egest honeydew on which sooty mould grows. Host availability and climate suitability suggest that parts of the EU would be suitable for establishment. Plants for planting and cut branches provide the main pathways for entry. Crawlers could spread over short distances naturally through wind, animals, humans or machinery. C. rubens could be dispersed more rapidly and over long distances via infested plants for planting for trade. The introduction of C. rubens into the EU could lead to outbreaks causing damage to orchards, amenity ornamental trees and shrubs. Phytosanitary measures are available to inhibit the entry and spread of this species. C. rubens satisfies the criteria that are within the remit of EFSA to assess for it to be regarded as a potential Union quarantine pest
Oral history interview with Sidney Michel Rubens
No full textTranscript, 155 pp. Audio file available at http://purl.umn.edu/95347Rubens discusses his career through his employment with Engineering Research Associates (ERA). He reviews his education in physics at the University of Washington, his work in ionization techniques, and his teaching position at UCLA beginning in 1937. In 1940, he joined the Naval Ordnance Laboratory, where he developed magnetic mine detection devices. There he met Howard Engstrom, Robert Gutterman, Howard Daniels, and William Norris. In 1945, under the sponsorship of the Office of Naval Research, this group formed ERA to continue their war-time work, and Rubens joined them in 1946. He first worked on magnetic techniques for computer storage as part of the Goldberg project, under the direction of John Coombs and C. B. Tompkins. Rubens discusses the magnetic tape equipment he used, some of which was war-time capture from German laboratories. He also discusses his contacts with the University of Minnesota computer center.Rubens, Sidney Michel. (1986). Oral history interview with Sidney Michel Rubens. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/107612
Rubens and England. A commentary by Gregory Martin - ACE048.2
No full textGregory Martin in the Banqueting Hall, Whitehall, London. Self Portrait by Peter Paul Rubens (1623). Details of ceiling paintings while Martin wonders why he is alone there, and why these paintings aren’t better appreciated. Portrait from ceiling of King James I; Martin points out that he wanted the Monarchy to take precedence over the House of Commons, and was thus against democracy. Engraving showing the Commons around 1628; the Petition of Right. More details from paintings. Martin believes that the decoration in the Banqueting House challenges the British ideal, and "has come to represent a dead idea". Charles I, King of England, from Three Angles (The Triple Portrait) by Anthony van Dyck (c.1636). Engraving of London Bridge. Rubens’s portrait of Thomas Howard, 2nd Earl of Arundel and Surrey (1629). Arundel admired Rubens and inspired others to commission work from him. Portrait of Charles I of England (1631) by Daniel Mytens (1631). A painting which Rubens gave to Charles, Minerva Protects Pax from Mars (Peace and War) (1629-1630); Martin talks about details of the painting in which Rubens used "a vocabulary of allegory and symbol … common to everybody that was educated in the classical tradition", explaining that Minerva personified wisdom, Hercules could personify strength, etc. He suggests that Rubens wanted to say to Charles that, as a wise man, he would favour peace over war, but did it in a way which had "drama … impact and relevance". Part of Rubens’s Landscape with St George and the Dragon (1629-1635) with Charles I as the Saint and Queen Henrietta Maria as the princess. Martin points out that the picture also shows the Thames and Lambeth Palace. Rubens’s oil sketch of George Villiers, Duke of Buckingham (1625). Painting, Minerva and Mercury conduct the Duke of Buckingham to the Temple of Virtue (c.1625). Martin explains the allegory and compares it to The Apotheosis of James I, the centrepiece of the Banqueting Hall ceiling. General view of the Banqueting Hall. The Peaceful Reign of James I (aka The Benefits of the Reign of James I), with Minerva repulsing Mars while James embraces Concord and Peace. The Union of the Crowns, in which James directs Minerva to present the crowns of England and Scotland to Charles I, while Hercules overcomes Evil. Martin compares the Hercules figure to that of Cain Killing Abel (c.1540) by Titian, shown as engraving. Rubens’s coat of arms. Details of canvases showing joins where sections were sewn together. Self portrait c.1638-1640. Details of paintings. Martin points out that there were very few working drawings but many oil sketches, probably used by studio assistants to help them in blocking in the large canvases while Rubens went over them later. The paintings were delivered and installed in 1635. Rubens’s painting, An Autumn Landscape with a View of Het Steen in the Early Morning (c.1636), of his country house at Elewijt, where he spent most of his last year before his death in 1640. Self Portrait. Edward Bower’s portrait of Charles I at His Trial (1648). Engraving of crowds. Engraving of Oliver Cromwell with head of executed king; Cromwell’s signature on execution order. Engraving of scenes at execution. Banqueting Hall where the paintings "express the highest aspirations of the early Stuarts and are also the silent witnesses to the collapse of those aspirations". Credits
Rubens and England. A commentary by Gregory Martin
No full textGregory Martin in the Banqueting Hall, Whitehall, London. Self Portrait by Peter Paul Rubens (1623). Details of ceiling paintings while Martin wonders why he is alone there, and why these paintings aren’t better appreciated. Portrait from ceiling of King James I; Martin points out that he wanted the Monarchy to take precedence over the House of Commons, and was thus against democracy. Engraving showing the Commons around 1628; the Petition of Right. More details from paintings. Martin believes that the decoration in the Banqueting House challenges the British ideal, and "has come to represent a dead idea". Charles I, King of England, from Three Angles (The Triple Portrait) by Anthony van Dyck (c.1636). Engraving of London Bridge. Rubens’s portrait of Thomas Howard, 2nd Earl of Arundel and Surrey (1629). Arundel admired Rubens and inspired others to commission work from him. Portrait of Charles I of England (1631) by Daniel Mytens (1631). A painting which Rubens gave to Charles, Minerva Protects Pax from Mars (Peace and War) (1629-1630); Martin talks about details of the painting in which Rubens used "a vocabulary of allegory and symbol … common to everybody that was educated in the classical tradition", explaining that Minerva personified wisdom, Hercules could personify strength, etc. He suggests that Rubens wanted to say to Charles that, as a wise man, he would favour peace over war, but did it in a way which had "drama … impact and relevance". Part of Rubens’s Landscape with St George and the Dragon (1629-1635) with Charles I as the Saint and Queen Henrietta Maria as the princess. Martin points out that the picture also shows the Thames and Lambeth Palace. Rubens’s oil sketch of George Villiers, Duke of Buckingham (1625). Painting, Minerva and Mercury conduct the Duke of Buckingham to the Temple of Virtue (c.1625). Martin explains the allegory and compares it to The Apotheosis of James I, the centrepiece of the Banqueting Hall ceiling. General view of the Banqueting Hall. The Peaceful Reign of James I (aka The Benefits of the Reign of James I), with Minerva repulsing Mars while James embraces Concord and Peace. The Union of the Crowns, in which James directs Minerva to present the crowns of England and Scotland to Charles I, while Hercules overcomes Evil. Martin compares the Hercules figure to that of Cain Killing Abel (c.1540) by Titian, shown as engraving. Rubens’s coat of arms. Details of canvases showing joins where sections were sewn together. Self portrait c.1638-1640. Details of paintings. Martin points out that there were very few working drawings but many oil sketches, probably used by studio assistants to help them in blocking in the large canvases while Rubens went over them later. The paintings were delivered and installed in 1635. Rubens’s painting, An Autumn Landscape with a View of Het Steen in the Early Morning (c.1636), of his country house at Elewijt, where he spent most of his last year before his death in 1640. Self Portrait. Edward Bower’s portrait of Charles I at His Trial (1648). Engraving of crowds. Engraving of Oliver Cromwell with head of executed king; Cromwell’s signature on execution order. Engraving of scenes at execution. Banqueting Hall where the paintings "express the highest aspirations of the early Stuarts and are also the silent witnesses to the collapse of those aspirations". Credits
Zetes rubens
No full text31. 10. Zetes rubens. Z. alatus, ovatus, fornicatus, nitidus, badius, dorso lucidior; thoracis seta laterali clavata, porrecta; pedibus ochraceis. Sehr klein, dem unbewaffneten Auge kaum sichtbar, kurz oval, gewoelbt, stark glänzend, mit zwei kurzen Flügelchen. Der Vorderleib an den Seiten mit einem stumpfen Eckchen; die zwei Kolbenborsten ziemlich stark, schief vorwärts stehend, gegen die Spitze keulenförmig verdickt; die zwei Stirnborsten kurz. Die Beine nicht aussergewöhnlich. Dunkel rostbraun, vorn mit einem roströthlichen oder röthlichgelben Rückenfleck, sich sanft in die rostbraune Farbe verlierend; ein solches Fleckchen auch auf dem Vorderleibc. Unten die Fläche gelbbräunlich, rundum verloren braun gerandet und mit einem schattenbraunen Mittelfleckchen. Die Flügel braun. Die Beine ochergelb. Zuweilen, doch selten, wird in dem hellen Rückenfleck ein braunes Schattenfleckchen wahrgenommen. In feuchten Wiesen. Bei Regensburg nicht gemein; kommt auch in dem dortigen Stadtgraben vor.Published as part of Koch, C. L., 1841, Zetes rubens, pp. 1 in Deutschlands Crustaceen, Arachniden und Myriopoden, Regensburg :Pustet on page
Rubens
No full textRubens (1577-1640) The life of Peter Paul Rubens was perhaps the most active and eventful of any artist in history. He is regarded as the chief exponent of the Baroque style, merging the grace of the Italian High Renaissance with the realism and landscapes genres of the northern tradition. His career mirrors rapidly developing politics of an emergent Europe, as not only did he paint for the Italian nobility, but for the Spanish, French and English courts. Born a Protestant and raised as a Catholic in Antwerp, Rubens found himself on the front line of the Counter Reformation, both as a painter and a diplomat. A highly versatile artist, Rubens was equally at home painting altarpieces, history and mythological scenes, portraits and landscapes. He is perhaps best known for the voluptuous female nudes, which are often found in his large-scale mythological allegories. In Antwerp Rubens ran a highly successful studio, employing many apprentices including Anthony van Dyck, who went on to become court painter to Charles I of England and Scotland. Rubens was the most celebrated painter of the early 17th century, one of the most prolific in history and an artist who did much to develop different genres of painting. Works featured in this program include Samson and Delilah (1609, National Gallery, London), Self Portrait with Isabella Brant (1609-10, Alte Pinakothek, Munich), The Descent from the Cross (1611-14, Antwerp Cathedral, Antwerp), The Life of Marie de'Medici (1621-25, Louvre, Paris), Peace and War (1630, National Gallery, London) and Het Pelsken (The Little Fur) (c.1635-40, Kunsthistorisches Museum, Vienna)
Sedum rubens Linnaeus 1753
No full textCrassula rubens (Linnaeus) Linnaeus, Systema Naturae, ed. 10, 2: 969. 1759. ["Habitat in Gallia, Italia."] Sp. Pl. 1: 432 (1753). RCN: 2254. Basionym: Sedum rubens L. (1753). Lectotype ('t Hart & Jarvis in Taxon 42: 405. 1993): Herb. Burser XVI(1): 62 (UPS). Current name: Sedum rubens L. (Crassulaceae).Published as part of Jarvis, Charlie, 2007, Chapter 7: Linnaean Plant Names and their Types (part C), pp. 370-473 in Order out of Chaos. Linnaean Plant Types and their Types, London :Linnaean Society of London in association with the Natural History Museum on page 454, DOI: 10.5281/zenodo.29197
Pest categorisation of Ceroplastes rubens
No full textThe European Commission requested the EFSA Panel on Plant Health to conduct a pest categorisation of Ceroplastes rubens Maskell (Hemiptera: Coccidae), following the commodity risk assessments of Acer palmatum plants grafted on A. davidii and Pinus parviflora bonsai plants grafted on P. thunbergii from China, in which C. rubens was identified as a pest of possible concern to the European Union (EU). The pest, which is commonly known as the pink, red or ruby wax scale, originates in Africa and is highly polyphagous attacking plants from more than 193 genera in 84 families. It has been present in Germany since 2010 in a single tropical glasshouse. It is known to attack primarily tropical and subtropical plants, but also other host plants commonly found in the EU, such as Malus sylvestris, Prunus spp., Pyrus spp. and ornamentals. It is considered an important pest of Citrus spp. The pink wax scale reproduces mainly parthenogenetically, and it has one or two generations per year. Fecundity ranges from 5 to 1178 eggs. Crawlers settle usually on young twigs and later stages are sessile. All life stages of C. rubens egest honeydew on which sooty mould grows. Host availability and climate suitability suggest that parts of the EU would be suitable for establishment. Plants for planting and cut branches provide the main pathways for entry. Crawlers could spread over short distances naturally through wind, animals, humans or machinery. C. rubens could be dispersed more rapidly and over long distances via infested plants for planting for trade. The introduction of C. rubens into the EU could lead to outbreaks causing damage to orchards, amenity ornamental trees and shrubs. Phytosanitary measures are available to inhibit the entry and spread of this species. C. rubens satisfies the criteria that are within the remit of EFSA to assess for it to be regarded as a potential Union quarantine pest
Ecophysiological response of Jania rubens (Corallinaceae) to ocean acidification
No full textCoralline algae (Rhodophyta) play a key role in promoting settlement of other benthic organisms, being the food source for herbivores, being involved in the stabilization of reef networks, and in carbonate production. They are considered a vulnerable group to ocean acidification due to the potential dissolution of their high-Mg calcite skeleton at lower pH. Nevertheless, different species of coralline algae showed different responses to low-pH/high-pCO2 environment. Here, we studied the physiological response of Jania rubens to the pH condition predicted for the year 2100. We used a natural CO2 vent system as natural laboratory to transplant J. rubens from pH 8.1–7.5 for 3 weeks. Maximal PSII photochemical efficiency showed a significant reduction in transplanted thalli at low pH (7.5-T) compared to other conditions; consistent with that result, also the pigments involved in the light-harvesting spectrum of J. rubens (i.e., chlorophylls, carotenoids, and phycobilins), exhibited a significant decrease under water acidification, highlighting the strong sensitivity of this species to the environmental change. A major understanding of the response of coralline algae at high CO2 will go through the impact of OA on benthic ecosystems in the next future. This contribution is the written, peer-reviewed version of a paper presented at the Conference “Changes and Crises in the Mediterranean Sea” held at Accademia Nazionale dei Lincei in Rome on October 17, 2017. © 2018 Accademia Nazionale dei Lince
Kombinationswirkungen von Temperatur und hydrostatischem Druck auf Asterias rubens
No full textKleine Exemplare des Seesterns Asterias rubens (5-10 mm Armradius) sind drucktoleranter als große (25-40 mm Armradius). Die Drucktoleranz nimmt bei dieser Art bei Erhöhung der Temperatur von 5 auf 15°C zu. Durch den Druck verursachte reversible Schädigungen werden bei der höheren Temperatur schneller „repariert". Irreversibel geschädigte Tiere sterben bei 15°C schneller ab als bei 5°C. Die Aktivität des Enzyms Lactat-Dehydrogenase von Asterias rubens wird mit abnehmender Temperatur und steigendem Druck zunehmend gehemmt.
Small specimen of the starfish Asterias rubens (radius: 5-10 mm) tolerate higher hydrostatic pressures than larger ones (radius: 25-40 mm). Pressure tolerance of this species increases with rising temperature from 5 to 15°C. Pressure induced reversible injuries are "repaired" more quickly at higher temperatures. Irreversible damaged starfishes die more quickly at 15°C than at 5°C. With decreasing temperature and augmenting hydrostatic pressure the activity of the enzyme Lactate-dehydrogenase of Asterias rubens is increasingly inhibited
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