P.H.J. Cuypers' bemoeienis met de gebrandschilderde ramen van de O.L. Vrouwekerk te Dordrecht

Restoring the Church of Our Lady at Dordrecht in 1903 Jos.Th.J. Cuypers and town-architect H.W. Veth provided every window with stone tracery and montants again. The stained-glass which had been removed with most of the traceries during the 17th and 18th centuries was renewed as well. The general activities on the choir's both and the chapels' window-panes continually proceeded in consultation with the Government Committee which functioned as an independent consultative council to the Minister of the Interior. Dr. P. J. H. Cuypers being an important member of this committee this article makes researches into his influence on the choice of style and subject of these stained-glass windows. In the choir geometrically set up floral motifs and symbols of professions contrast sharply with the luxuriant intertwined leafs and tendrils in Dutch Art Nouveau style. Cuypers disapproved of the windows with the abstract rigid design (1903-04) because they were lacking in the simplicity and colour range of their medieval predecessors. The stained-glass windows in the Choir of Our Lady show stylistic differences as well. Designed by H. Veldhuis and executed by J.L. Schouten the three windowpanes in the Chapel of Jerusalem (1909) represent events from Dordrecht's history in a historizing-eclectic way after 16th/17th century paintings. Cuypers severely criticized subject and style as unfit to the history of the church which criticism was opposed by the chairman of the Restoration-committee Mr. J.C. Overvoorde. Cuypers being in favour of the mosaic-like character of the 12th and 13th century art of glass-painting, a note by J.L. Schouten, defends the picturesque appearance of these windows comparing them with the beautiful 16th century window-panes in the Church of St. John at Gouda which also describe monumental historical events. The same discussion reflects the argumentation on the choice of subject and style at a Protestant and a Catholic church. Cuypers considering transparency and decorativeness the most important characteristics of the art of glass-painting very much rejected their colour range and representations because they did not harmonize with the 15th century monument they had to adorn and complete. The artist has to adjust himself to the style of the monument in order to acquire harmony. Therefore the stained-glass windows of 1912 show a completely different style. Again designed by H. Veldhuis and executed by J.L. Schouten the window-panes in the Chapel of Meerdervoort show central themes of the life of Christ with appropriate symbolism and cross references to texts. Influenced by the oeuvre of contemporary Symbolists the medieval style of these window-panes has been stylized by geometrical forms and abstract elements. The window-pane in the Chapel of St. Pancras (1914) was designed by Cuypers himself although the execution rested with J.L. Schouten again. The confrontation of Pancratius with the Roman emperor has been represented within a classical setting which contrasts remarkably with the architectural framing of medieval motifs designed to harmonize with the building's style. The classical elements, the style and spatial illusion are highly representative to the - at the time already conventional - 19th century art of glass-painting. Thus the conflicting opinions and following choices and actions by Cuypers, Overvoerde and Schouten reflect Dutch problemacy on the art of glass-painting of about 1910. While discussion focused on the choice of the medieval, 16th/17th century or modern style results finally also show the confrontation of an elder and a younger generation both mostly following their own personal taste

Impact of Facial Conformation on Canine Health: Corneal Ulceration

Concern has arisen in recent years that selection for extreme facial morphology in the domestic dog may be leading to an increased frequency of eye disorders. Corneal ulcers are a common and painful eye problem in domestic dogs that can lead to scarring and/or perforation of the cornea, potentially causing blindness. Exaggerated juvenile-like craniofacial conformations and wide eyes have been suspected as risk factors for corneal ulceration. This study aimed to quantify the relationship between corneal ulceration risk and conformational factors including relative eyelid aperture width, brachycephalic (short-muzzled) skull shape, the presence of a nasal fold (wrinkle), and exposed eye-white. A 14 month cross-sectional study of dogs entering a large UK based small animal referral hospital for both corneal ulcers and unrelated disorders was carried out. Dogs were classed as affected if they were diagnosed with a corneal ulcer using fluorescein dye while at the hospital (whether referred for this disorder or not), or if a previous diagnosis of corneal ulcer(s) was documented in the dogs’ histories. Of 700 dogs recruited, measured and clinically examined, 31 were affected by corneal ulcers. Most cases were male (71%), small breed dogs (mean± SE weight: 11.4±1.1 kg), with the most commonly diagnosed breed being the Pug. Dogs with nasal folds were nearly five times more likely to be affected by corneal ulcers than those without, and brachycephalic dogs (craniofacial ratio <0.5) were twenty times more likely to be affected than non-brachycephalic dogs. A 10% increase in relative eyelid aperture width more than tripled the ulcer risk. Exposed eye-white was associated with a nearly three times increased risk. The results demonstrate that artificially selecting for these facial characteristics greatly heightens the risk of corneal ulcers, and such selection should thus be discouraged to improve canine welfare

De Grote of Onze Lieve Vrouwekerk te Dordrecht

The Church of Our Lady at Dordrecht, one of the largest Dutch churches with a length of 106 m, is a three-aisled cross-basilica with side and radiating chapels, a tower on the west side and a large Maria chapel on the northern side of the choir. As can be read in the irregularities of the plan and in the differences of elevation and construction its building was determined by several phases. Records and the discovery of al large format bricks in the substructure of the Maria-choir were reason to date this church as built in the 12th and I3th centuries. The charter with mention of a ‘capella noviter constructa' was essential to ascertain the construction of the Church of Our Lady round 1120. Conclusions about the tower, the completion and consecration of the choir Mariachoir and cemetery could be drawn from the 'Stadsrekeningen' 1284-1297. As stated in f.e. the 'Statuten van het Kapittel' the extension with a new choir and choir chapels nearly coincides with the raised status of the Church of Our Lady to Kapittelkerk (1366- 67). Increasing building activities round 1400 could be concluded from proofs of donations and the recruitment of many craftsmen at that time. Activities on the tower are only mentioned from 1439 on, when the well-known city-architect Evert Spoorwater from Antwerpen was appointed 'Master of the Masonry'. Spoorwater played an important role at the restoration of the church after the city fire (29 june 1457), whereby only the tower, side chapels of the nave, transept and Maria-choir could be saved. At the new built parts his influence is clearly visible in the 'Brabantse' style of construction and articulation of the wall with columns and shafts, consisting of octagonal basement and cabbage leaf capitals. According to regulations concerning graves and altars in the Maria-choir at least this part of the church was in 1463-64 ready for liturgical use again. During the most recent restoration of the church (1983-87) research has however brought to light new facts with regard to her building history. The tuff walls, which were found in some of the grave cellars below the choir belong to the vaulted choir-apse of a Romanesque church (the 'capella noviter constructa'), extended later on with a tower, transept and choir. Because of changed demands the old parish church was demolished in 1366. According to the records both choir and Maria-choir of the new church must have been completed before the end of the 14th century. The drastic changes at the rebuilding of the choir as to plan, elevation and style date from after the fire (1457) and are also readable in the discovered building traces in the transept. The same new style of the columns and horizontal articulation of the wall with triforium had been applied in the middle nave. The older construction (without bunt-lines) of the roof in the eastern part of the church corresponds with the building news about the Maria-choir (1463-64). As to their details and construction the vaults in nave and transept must have been completed ca. 1500. In this way research has defined the Church of Our Lady as built on the remainders of a 12th century Romanesque church. Large building campaigns started in the second half of the 14th century. Radical changes have been carried out after the fire of 1457

P.H.J. Cuypers' bemoeienis met de gebrandschilderde ramen van de O.L. Vrouwekerk te Dordrecht

Restoring the Church of Our Lady at Dordrecht in 1903 Jos.Th.J. Cuypers and town-architect H.W. Veth provided every window with stone tracery and montants again. The stained-glass which had been removed with most of the traceries during the 17th and 18th centuries was renewed as well. The general activities on the choir's both and the chapels' window-panes continually proceeded in consultation with the Government Committee which functioned as an independent consultative council to the Minister of the Interior. Dr. P. J. H. Cuypers being an important member of this committee this article makes researches into his influence on the choice of style and subject of these stained-glass windows. In the choir geometrically set up floral motifs and symbols of professions contrast sharply with the luxuriant intertwined leafs and tendrils in Dutch Art Nouveau style. Cuypers disapproved of the windows with the abstract rigid design (1903-04) because they were lacking in the simplicity and colour range of their medieval predecessors. The stained-glass windows in the Choir of Our Lady show stylistic differences as well. Designed by H. Veldhuis and executed by J.L. Schouten the three windowpanes in the Chapel of Jerusalem (1909) represent events from Dordrecht's history in a historizing-eclectic way after 16th/17th century paintings. Cuypers severely criticized subject and style as unfit to the history of the church which criticism was opposed by the chairman of the Restoration-committee Mr. J.C. Overvoorde. Cuypers being in favour of the mosaic-like character of the 12th and 13th century art of glass-painting, a note by J.L. Schouten, defends the picturesque appearance of these windows comparing them with the beautiful 16th century window-panes in the Church of St. John at Gouda which also describe monumental historical events. The same discussion reflects the argumentation on the choice of subject and style at a Protestant and a Catholic church. Cuypers considering transparency and decorativeness the most important characteristics of the art of glass-painting very much rejected their colour range and representations because they did not harmonize with the 15th century monument they had to adorn and complete. The artist has to adjust himself to the style of the monument in order to acquire harmony. Therefore the stained-glass windows of 1912 show a completely different style. Again designed by H. Veldhuis and executed by J.L. Schouten the window-panes in the Chapel of Meerdervoort show central themes of the life of Christ with appropriate symbolism and cross references to texts. Influenced by the oeuvre of contemporary Symbolists the medieval style of these window-panes has been stylized by geometrical forms and abstract elements. The window-pane in the Chapel of St. Pancras (1914) was designed by Cuypers himself although the execution rested with J.L. Schouten again. The confrontation of Pancratius with the Roman emperor has been represented within a classical setting which contrasts remarkably with the architectural framing of medieval motifs designed to harmonize with the building's style. The classical elements, the style and spatial illusion are highly representative to the - at the time already conventional - 19th century art of glass-painting. Thus the conflicting opinions and following choices and actions by Cuypers, Overvoerde and Schouten reflect Dutch problemacy on the art of glass-painting of about 1910. While discussion focused on the choice of the medieval, 16th/17th century or modern style results finally also show the confrontation of an elder and a younger generation both mostly following their own personal taste