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Australia recently experienced its worst pertussis epidemic since introduction of pertussis vaccine into the National Immunisation Program. This study aimed to determine factors associated with severe pertussis in hospitalized children during an epidemic using a novel pertussis severity scoring (PSS) system.

Persistence of seroprotective bactericidal antibody titers is important for long-term protection against meningococcal serogroup C disease in young children. Antibody persistence values were determined in children up to 3 years after vaccination with a single dose of the combined Haemophilus influenzaetype b (Hib)–Neisseria meningitidisserogroup C (MenC)-tetanus toxoid (TT) conjugate vaccine (Hib-MenC-TT; www.ClinicalTrials.gov:NCT00326118).

A bivalent, recombinant, factor H–binding protein (rLP2086) vaccine was developed to protect against invasive Neisseria meningitidisserogroup B (MnB) in children and adolescents.

Neisseria meningitidisis a leading cause of meningitis and septicemia globally. Recent shifts in serogroup dominance in some settings highlight the desirability of polysaccharide-conjugate vaccines with broader meningococcal coverage than serogroup C vaccines in widespread use.

The article traces the history of the subject of the painting "The Fountain of Youth," by William Haussoullier and discusses the impact of the painting in the 1840s. It tackles the criticism of the painting by Charles-Pierre Baudelaire in a four-page eulogy related to the 1845 Paris Salon held in France. It cites that the painting was also the subject of a poem by Théodore de Banville. Also noted is the interpretation of its various details such as the ivories, the fountain capped by a statue of Cupid and the women.

The article discusses the biography of art historian Graham Reynolds. He was born in 1914 and studied literature at Cambridge University. He joined the Victoria and Albert Museum in London in 1937 and went on to be the director of the museum. Reynolds is best known for his studies of the John Constable collection and portrait miniatures. In his focus on Constable, he set new standards of connoisseurship. Among the new connoisseurs who built the Constable archives were David Thompson and Larry Salander.

Neonatal necrotising enterocolitis is a serious, commonly fatal disease in premature neonates. Although feeding with expressed breast milk and other good nursery practices are partly protective, preventive measures are needed. Treating neonates enterally with a mixture of human IgA and IgG, prepared from donated blood, has been claimed to protect against necrotising enterocolitis. However, no IgA preparation is available in Australia. Our aim, therefore, was to identify whether or not enteral IgG could prevent the disorder.

We describe a sporadic case of lethal prenatal onset infantile cortical hyperostosis (Caffey disease), which resulted in early postnatal death at 30 weeks gestation. The mother presented with antepartum haemorrhage and preterm labour. She was found to have polyhydramnios. The infant showed extensive symmetrical diaphyseal subperiosteal cortical thickening throughout the skeleton with short extremities. Hepatomegaly and lung hypoplasia were present. Currently, in the absence of a specific marker, diagnostic ultrasound offers the only prospect of prenatal diagnosis. This diagnosis should be considered in infants with short angulated long bones, where the diaphyses are irregular and echodense, and where there is no sign of fractures.

Abstract.: This paper describes an event-based synchronization mechanism, which is at the core of the inter-media synchronization in the upcoming standard for multimedia presentation, PREMO. The synchronization mechanism of PREMO is a powerful tool, based on a small number of concepts, and on cooperation among active objects, and represents a synthesis of various synchronization models described in the literature. This model can serve as a basis for the implementation of complex synchronization patterns in multimedia presentations, both purely event-based, as well as time-based.

The article focuses on the factors that contributed to the underserved reputation of painter William White Warren as a forger. It details a lawsuit heard in 1915 which has given rise to the false assertion that he was a John Constable faker. The topographical interest on the Venetian subjects of Warren encouraged Paul Wallraf to add them to his collection. It cites the influence of Constable on mid-nineteenth century art in Great Britain.

The article explores the relationship between the artist William Mulready and his most generous patron John Sheepshanks. Sheepshanks, a wealthy clothier in London, England, was the most consistent collector of Mulready's paintings. Their first dated contact occurred in 1826 when Mulready, as chairman of the Artists' Benevolent Fund, thanked Sheepshanks for helping in the publication of an engraving of Landseer's "The Cat's Paw." Mulready painted Sheepshanks' portrait, which was completed in 1834. Sheepshanks had acquired thirty of Mulready's oils by 1857.

The article features the artist James Tissot and his works. The recognition for his works began when the Leicester Galleries exhibited his modern genre paintings in 1933, three decades after the artist's death in 1902. His paintings include "Le Cercle de la Rue Royale", "Jeunes Femmes regardant des objets Japonais", and "Le Matin". He was said to be well regarded by the social leaders of the Second Empire. He was known not just as an artist but as an accomplished etcher as well.

The article discusses the exhibition of British landscape drawings from Paul Mellon collection and the importance of the genre within the two centuries of the nation's art. The primary emphasis of the selection is placed in water- colour where it was the primary national mode of expression between the mid- eighteenth and mid- nineteenth centuries. Furthermore, British landscape drawings tell much about the temperaments and taste of the time when it was made.

The article highlights the portrait miniature collections of Dutch graphic arts author and expert Frederik Johannes Lugt. According to the author, Lugt expressed his appreciation of this collection by drawing special attention to the need for their leisurely contemplation. Lugt apparently stated that miniatures do not impose themselves and are extremely modest. Some of the most notable portrait miniatures in Lugt's collection are described.

The article focuses on the painting techniques of John Constable. The customary analysis of his manner of painting places the beginning of his creative style in the sketches he made in the fields, either in oils or in pencil which were product of concentration and execution. It gave an idea of the complexity of his personal approach both to Nature and to the art, his fondness for panoramic vision and his affinity with 17th century Dutch masters including Philip Koninck and Jacob van Ruysdael.

The article attempts to describe various paintings and drawings from the private collection that will be on view in the exhibition "The Pre-Raphaelites as Painters and Draughtsmen" at the Fermoy Art Gallery in King's Lynn, England on July 24 to August 8, 1971. These include works of Pre-Raphaelite painters Edward Burne-Jones, Arthur Hughes and James Smetham.

The article features the British paintings at the Frick Collection in New York City. It is noted that the British paintings formed a substantial proportion of the whole collection of paintings. Some of these British paintings include "Sir Thomas More," by Hans Holbein and "James, Earl of Derby, his Lady and Child," by Anthony van Dyck.

The article focuses on the endeavor of author Charles Dickens to try his hands in art criticism. The author claims that Dickens has been considered to have lacked artistic judgment as depicted in his adverse review of John Millais' "Christ in the House of His Parents" painting. He is also criticized for offer negative remarks on various works of art that include the frescoes in the Cathedral at Parma by Antonio da Correggio.

The article focuses on the collection of British paintings at the Royal Academy of Arts in Great Britain. The first scriptural subject acquired is one of J. S. Copley's rare excursions into Biblical history titled "The Tribute Money." "The Sixth Trumpet soundeth," by Henry Howard was presented to the Academy in 1808. It is the presence of the scriptural and historical subjects which enables the Academy collection to give a rounded survey of British painting.

The article presents information on portrait miniatures in Elizabeth and Jacobean life, as painted by Nicholas Hilliard, in London, England. The author states, Hillard's single minded devotion to the small scale portrait virtually created the vogue for the Elizabethan miniatures. Moreover, the miniatures were well-known as love-tokens. Thus, the miniatures was considered as a fetish presentation of a beloved akin to the religious tokens of saints, as well as a redolent premival form of magic.

Hib-primed but MenC-naive toddlers (N 433) were randomized to receive 1 dose of Hib-MenC-TT or separate Hib-TT and MenC-CRM197vaccines. One month later, noninferiority was demonstrated for serum bactericidal anti-MenC antibodies (rSBA) and Hib antipolyribosylribitol phosphate (PRP) antibodies; >99% in both groups had rSBA titer ≥8 or anti-PRP concentration ≥0.15 g/mL. After 12 months, rSBA titer ≥8 persisted in 86.7% and 76.4%, and anti-PRP concentration ≥0.15 g/mL persisted in 98.8% and 100% of children, respectively.

(Abstracted from N Engl J Med2017;377:2445–2455)Systemic reviews have shown that delaying the time of umbilical cord clamping can improve outcomes of preterm newborns. One such study found enhanced placental transfusion through delayed cord clamping, cord-palpation, or a combination of the 2 practices caused a lower infection and mortality rate when compared with immediate clamping.

The article deals with the last notable instance of the royal patronage of miniature painter William Charles Ross. His connection with Queen Victoria seems to have started in the year of her accession. Ross continued to receive commissions from her until 1857. Queen Victoria employed Ross to paint her closest friends, such as Princess Feodore. Further, he painted the children of the royal nursery and the Queen's closest relatives.

AbstractWhen Dr W. H. Thompson, the Master of Trinity College, Cambridge was preaching in the college chapel on the parable of the talents he began ‘It would be obviously superfluous in a congregation such as that which I now address to expatiate on the responsibilities of those who have five, or even two, talents. I shall therefore confine my observations to the more ordinary case of those of us who have one talent’. Had Samuel Butler been in a position to walk over from Stjohn's College to hear this sermon he would have listened with an ironic smile. In an age of polymaths he was outstanding in the activities in which he engaged. He composed music, he wrote novels, he contributed to the theory of evolution, he was an accomplished classical scholar. The subtitle of this book records his threefold contribution to the visual arts to which he was addicted throughout his life in preference to his other interests.

The article features the late painter Anthony Gross. His first published etching, "Serbian Street," was made in 1931 while he was studying at Repton in England. He went to France to study painting at the Académie Julien and engraving at the Ecole des Beaux-Arts. He made over seventy etchings before the Second World War in which he explored the poetry of the French banlieue.

The article features artist George Stubbs. It notes that aside from painting horses, Stubbs can also create portrait and genre painting as well as practice print-making, enameling and anatomical drawing. It adds that the art of Stubbs was influenced by his association with artist Hamlet Winstanley. It mentions that Stubbs tend to create art on canvases with the absence of a background such as "Whistlejacket."

The article discusses the interpretation of some Pre-Raphaelites paintings exhibited at the Tate Gallery in Great Britain. It cites that the aim of the exhibition is to reestablish the beliefs of painters as a brotherhood with similar ideals. Christ's cut hand in the painting "Christ in the House of His Parents" represents the anticipation of His Crucifixion. It explains that the tenseness depicted in the drawings by John Everett Millais is attributed to the painter's emotional attachment to artist Effie Ruskin.

The article features the artist John Constable. After his death, numerous imitations and fake works have been associated with him. His name has been attached to some real works of artists, including F. W. Watts, and was verified by a false signature. His works include "Nachlass," and "Near Stoke-by-Nayland."

The article discusses market needs and technical challenges in home drug reconstitution. Several challenges in medication issues include safety, ease of administration and cost. The article explains the need for reconstitution systems. It adds that reconstitution devices can be sterile and fully supported by appropriate regulatory filings.

The author reflects on the mysteries of taste in art especially in cardinal pictures, which are known in the trade as "starters." He cites that there is a range of genres like the "Venetian genre" and says that some subjects are more amenable to acceptable pictorial treatment. He disagrees with the views of other authors on cardinal pictures.