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In this paper, I explore the iconographical relationship between the letters and the support on fol. 157r of the Morgan Gospels, written and illuminated in Westphalia, Germany during the mid-tenth century. On the basis of its formal properties and the iconographic meaning it takes, I will give particular attention to the materiality of the Latin text and its cultural and symbolic significance. The folio under study develops a form of ‘agency’. With this perspective, I hope not only to contribute to the important line of argument Joshua O’Driscoll develops in his iconic article, but also to explore the meaning of Latin as an iconological statement and hence to contribute with new methodological developments in the field of art history.

The suitability of the soils surrounding the sugarcane plantation at "Herois de Caxito" (7068 ha) is assessed. The main goal is to identify land suitability for the enlargement of the present plantation, using FAO land evaluation models (modified to suit Herois de Caxito conditions) and GIS. Calculations of the radiationthermal production potential (RPP), land production potential (LPP), irrigation suitability index, and evaluation of the irrigation water quality are done. The water-limited production potential (WPP) is found equal to the RPP, because water needs were fully met under irrigation. Maps showing the spatial distribution of the LPP and the suitability for irrigation are generated. The matching of irrigation and fertility indices has shown that, about 40% of the soils with good fertility for sugarcane production present low suitability for irrigation, the main limitations being the very fine texture and the drainage. The available surface water at Herois de Caxito (Dande river) is of very good quality for irrigation of sugarcane.

La représentation, l’évocation ou la suggestion du vent dans les arts plastiques remue pour ainsi dire des idées fondamentales relatives à l’anthropologie de la perception et à ses implications au registre visuel. En quel sens le vent a-t-il nourri la théorie de l’image? Y a-t-il lieu de parler d’un pneuma visuel? Enfin, le vent doit-il être tenu pour une composante substantielle ou plutôt pour une inflexion formelle dans les arts figuratifs?

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