This paper presents an overview of selected classic methods of microscopic imaging and possibilities for usage of data-projectors or diode matrices as illuminators of microscope’s condenser. and Tento článek představuje přehled vybraných klasických metod zobrazení v mikroskopii a následně možnosti použití dataprojektoru nebo maticového diodového pole jako osvětlovačů kondenzoru.
Introduction: Some characteristics and remarks about the satellite
of CEI (Central European Initiative),called CESAR (Central European Satellite for Advanced Research) are introduced in paper presented. First of all, they are connected with the planned registration of the acceleration caused by the non-gravitational forces acting on the motion of the near-Earth satellite. The
investigation will be realised by a very sensitive microaccelerometer
(Peřestý, Sehnal, [1]). Therefore we calculated and constructed the graphs of acceleration curves for input orbital elements and for the TD88 (Total Density 1988) atmosphere model (Sehnal, [2]).
We used a non-rotating and a rotating atmosphere. We paid attention to determination of the time interval of the CESAR satellite illumination during the year 1997, which is planned for its launching. The calculation of sun-synchronous orbital elements completes the preventing considerations.
By a detailed analysis of decoration and collation of this manuscript it was found out that three principal masters participated in its decoration. The top quality of the decoration can be found in the work of the first master continuing the Byzantine, Venetian, and Saxon-Thuringian creation. The second master uses the first master´s work. The work of the third master is quite different as it is connected with original Bohemian production – with the Mater verborum manuscript. This different quality of illuminations allows to suppose that the codex originated in a scriptorium acting somewhere in Bohemia and employing a number of artists and their helpmates.
By a detailed analysis of decoration and collation of this manuscript it was found out that three principal masters participated in its decoration. The top quality of the decoration can be found in the work of the first master continuing the Byzantine, Venetian, and Saxon-Thuringian creation. The second master uses the first master´s work. The work of the third master is quite different as it is connected with original Bohemian production – with the Mater verborum manuscript. This different quality of illuminations allows to suppose that the codex originated in a scriptorium acting somewhere in Bohemia and employing a number of artists and their helpmates.
By a detailed analysis of decoration and collation of this manuscript it was found out that three principal masters participated in its decoration. The top quality of the decoration can be found in the work of the first master continuing the Byzantine, Venetian, and Saxon-Thuringian creation. The second master uses the first master´s work. The work of the third master is quite different as it is connected with original Bohemian production – with the Mater verborum manuscript. This different quality of illuminations allows to suppose that the codex originated in a scriptorium acting somewhere in Bohemia and employing a number of artists and their helpmates.
The paper is engaged with a definition of the typolotgy and modifications fo the caligraphic initials, compared with the typology of painted initials, and also with a comparative study of the terminoloty used in different languages for the specific compositions. The interest is also focused on relations among countries, regions and workshops that participated in the transformations of the caligrafic initials. The subject is studied on a broad period, from the Late Antiquity till the 16th century, but without a typology of fleuronée, only compositions of the body of the initials have been taken into consideration.