Protein atlas of fibroblast specific protein 1 (FSP1)/S100A4

Fibroblast specific protein 1 (FSP1)/S100A4 is a calcium binding protein which has been linked to epithelial-mesenchymal transition, tissue fibrosis, pulmonary vascular disease, metastatic tumour development, increased tumour cell motility and invasiveness. This protein is reported to be also expressed in newly formed and differentiated fibroblasts and has been used in various studies to demonstrate epithelial-mesenchymal transition (EMT). We aimed to characterize S100A4 positive cells in different human tissue compartments, with the focus on fibroblasts/myofibroblast. We found S100A4 expression in a wide range of cells. Fibroblasts/myofibroblasts showed a broad spectrum of staining intensity, ranging from negative to strong expression of S100A4, with the strongest expression in smooth muscle actin positive myofibroblasts. Cells of haematopoietic lineage, namely CD4 and CD8 positive T-lymphocytes, but not B-lymphocytes expressed S100A4. All investigated monocytes, macrophages and specialised histiocytes were positive for S100A4. Even some epithelial cells of the kidney and bladder were positive for S100A4. Expression was also found in the vasculature. Here, cells of the subendothelial space, tunica adventitia and some smooth muscle cells of the tunica media were positive for S100A4. In summary, S100A4 is expressed in various cell types of different lineage and is not, as originally believed, specific for fibroblasts (FSP). Results attained under the premise of specificity of FSP1/S100A4 for fibroblasts, like the founding research on EMT type 2 in kidney and liver, therefore need to be reinterpreted

Displaying and Experiencing Dress Identities in Museums: Case Studies from the Etruscan Period to Modern Times

Dress, clothes, and accessories receive and give meaning through their nearness to the human body. As P. Stallybrass writes: “Bodies come and go: the clothes that have received those bodies survive.” It is through the close interaction between dress and person that they both receive their meaning. Clothes shape the human body, and we in return shape our clothes. Dress communicates class, gender, nationality, and marital status, and we leave behind parts of us in its smell, wrinkles, wear, and tear: “Clothes receive the human imprint.” Archaeological and historical dress — no matter how ancient — remain intrinsically linked to their wearers. These are objects of use, affection, value, and memory, and through the study of the dress of past people, we may wear their habits and inhabit their spaces however briefly. The visual appearance of people, in more recent times as well as throughout history, is a clear marker of identity and an important communication medium. For this reason, costume and jewelry serve as an “anchor point” to involve people of the 21st century in studies of the life of prehistoric and ancient societies. This is worth considering, as archaeological textile research needs a strong commitment to public outreach and education, as well as to be integrated into the challenges of our time and to participate in current debates. Through the lens of deep history, it can inspire people to think about such questions as identity, resource use, and shared heritage, among others. Dissemination of textiles and clothing for the broader public in museums is realized through various channels. These range from the exhibition of individual objects, such as textiles, garments, jewelry, and dress accessories, to virtual recreations, and encompasses workshops, citizen science projects for the recreation of historical garments, media-effective historical fashion shows, and reinterpretations of aspects of historical garments through contemporary fashion. This remains an ongoing process, since the interpretation of the past will never be complete, and every generation formulates new approaches. The EuroWeb COST Action (2020–2024) serves as an innovative hub to gain understanding of historical as well as recent dress identities. For this contribution, different aspects of the history of fashion from various museums have been selected as case studies, to demonstrate the wide span of possibilities for displaying and experiencing Dress Identities. Our journey starts with Etruscan jewelry as displayed at the Staatliche Antikensammlungen in Munich (Germany), leading to Early Medieval dress, recreated from various sources as a physical dress ensemble as well as a virtual one, and used for science communication at the Natural History Museum Vienna (Austria) and Halle an der Saale (Germany). As both of the first examples derive from archaeological contexts, we do not have complete garments. This was why we also wanted to explore the possibilities for dissemination of “folk historic costumes”, like a traditional mourning dress as displayed at the Museum Amager (Denmark)

Bilayer-spanning DNA nanopores with voltage-switching between open and closed state.

Membrane-spanning nanopores from folded DNA are a recent example of biomimetic man-made nanostructures that can open up applications in biosensing, drug delivery, and nanofluidics. In this report, we generate a DNA nanopore based on the archetypal six-helix-bundle architecture and systematically characterize it via single-channel current recordings to address several fundamental scientific questions in this emerging field. We establish that the DNA pores exhibit two voltage-dependent conductance states. Low transmembrane voltages favor a stable high-conductance level, which corresponds to an unobstructed DNA pore. The expected inner width of the open channel is confirmed by measuring the conductance change as a function of poly(ethylene glycol) (PEG) size, whereby smaller PEGs are assumed to enter the pore. PEG sizing also clarifies that the main ion-conducting path runs through the membrane-spanning channel lumen as opposed to any proposed gap between the outer pore wall and the lipid bilayer. At higher voltages, the channel shows a main low-conductance state probably caused by electric-field-induced changes of the DNA pore in its conformation or orientation. This voltage-dependent switching between the open and closed states is observed with planar lipid bilayers as well as bilayers mounted on glass nanopipettes. These findings settle a discrepancy between two previously published conductances. By systematically exploring a large space of parameters and answering key questions, our report supports the development of DNA nanopores for nanobiotechnology.The SH lab is supported by the Leverhulme Trust (RPG-170), UCL Chemistry, EPSRC (Institutional Sponsorship Award), the National Physical Laboratory, and Oxford Nanopore Technologies. KG acknowledges funding from the Winton Program of Physics for Sustainability, Gates Cambridge and the Oppenheimer Trust. UFK was supported by an ERC starting grant #261101.This is the final version of the article. It was first published by ACS under the ACS AuthorChoice license at http://dx.doi.org/10.1021/nn5039433 This permits copying and redistribution of the article or any adaptations for non-commercial purposes

Le riproduzioni di tombe etrusche nella Alte Pinakothek di Monaco attraverso disegni e fotografie

A partire dal 1840-1841 in cinque sale del pianterreno della Alte Pinakothek a Monaco furono esposti vasi antichi, mosaici e frammenti di pittura murale, con l’intento di illustrare gli esordi della pittura europea. Le pareti e i soffitti di tre sale vennero decorati con riproduzioni di pitture di tombe etrusche. L’architetto Leo von Klenze (1784-1864) aveva progettato lo schema decorativo senza considerare l’originaria disposizione dei dipinti nelle camere sepolcrali. Martin von Wagner (1777-1858), agente di Ludwig I di Baviera (1786-1868) a Roma, aveva segnalato al re l’artista Carlo Ruspi, che stava realizzando i facsimile delle pitture etrusche di Tarquinia su incarico del Vaticano. Nel 1835, Ludwig I volle che fossero realizzate le copie dei dipinti delle tombe della Querciola, del Triclinio, del Morto, delle Iscrizioni, del Barone e delle Bighe anche per la Alte Pinakothek. A causa dei gravi danneggiamenti subiti dal Museo durante la Seconda Guerra mondiale, negli anni Cinquanta del Novecento le cinque sale furono adibite ad altri usi e i dipinti dispersi.Reproductions of Etruscan tombs at the Alte Pinakothek in Munich through drawings and photographs. Since 1840/41 five halls on the ground floor in the Alte Pinakothek in Munich have housed ancient vases, mosaics and fragments of ancient wall paintings. These rooms embodied the beginning of European painting. The walls and ceilings of three of these halls have been decorated with copies of wall paintings belonging to Etruscan graves. The architect Leo von Klenze (1784-1864) designed the decoration pattern. It did not show the funeral paintings in their original arrangement, but rather fitted into a larger aesthetical concept. The art agent Martin von Wagner (1777-1858), who was working for Ludwig I (1786-1868) in Rome, called the king’s attention to the painter Carlo Ruspi. He was copying Etruscan wall paintings for the Vatican and making facsimiles of them. In 1835 Ludwig I also ordered from Ruspi facsimiles of paintings from the Tomba Querciola, del Triclinio, del Morto, delle Iscrizioni, del Barone, delle Bighe in Tarquinia. As the Old Pinakothek was badly damaged in the Second World War, the rooms have been used since the 1950s for other purposes. Thus the wall paintings have been lost

Archäologie und Restaurierung: die Skulpturenergänzungen in der Berliner Antikensammlung des 19. Jahrhunderts

Fendt A. Archäologie und Restaurierung: die Skulpturenergänzungen in der Berliner Antikensammlung des 19. Jahrhunderts. Transformationen der Antike ; 22. Berlin: De Gruyter; 2012

La non-restauration des statues antiques berlinoises à Paris

Cet essai rappelle l’histoire des spoliations napoléoniennes en Prusse dans le domaine de la sculpture antique. Il s’interroge sur les critères qui peuvent expliquer l’absence de restauration de certaines œuvres, alors que les peintures étaient au contraire très largement restaurées.<br>This essay summerizes the history of the Napoleonic spoliations in Prussia in the field of the ancient sculpture. It questiones the criteria that may explain the lack of restoration of certain works, while the paintings were instead largely restored

Die Wiederentdeckung der Etrusker

Fendt A. Die Wiederentdeckung der Etrusker. In: Kästner V, ed. Etrusker in Berlin. Etruskische Kunst in der Berliner Antikensammlung. Eine Einführung. Regensburg: Schnell und Steiner; 2010: 129-142

Alte und neue ‚Originale’. Zu den Marmorergänzungen der Rauch-Werkstatt in der Berliner Antikensammlung

Fendt A. Alte und neue ‚Originale’. Zu den Marmorergänzungen der Rauch-Werkstatt in der Berliner Antikensammlung. In: Bartsch T, ed. Das Originale der Kopie. Kopien als Produkte und Medien der Transformationen der Antike. Kolloquium, Humboldt-Universität zu Berlin, SFB 644 „Transformationen der Antike“, 2.-3.11.2007. Berlin: De Gruyter; 2010: 165-190

Umrestaurieren, entrestaurieren, konservieren. Zur Präsentation der Großplastik in der Berliner Antikensammlung des 19. Jahrhunderts

Fendt A. Umrestaurieren, entrestaurieren, konservieren. Zur Präsentation der Großplastik in der Berliner Antikensammlung des 19. Jahrhunderts. In: Peltz U, Zorn O, eds. kulturGUTerhalten. Restaurierung archäologischer Schätze an den Staatlichen Museen zu Berlin. Ausstellungskatalog. Mainz: Philipp von Zabern; 2009: 63-70