Death is that state of a being, animal or vegetable, but more particularly of an animal, in which there is a total and permanent cessation of all the vital functions, when the organs have not only ceased to act, but have lost the susceptibility of renewed action. Death takes place either from the natural decay of the organism, as in old age, or from derangements or lesions of the vital organs caused by disease or injury. The signs of actual death in a human being are the cessation of breathing and the beating of the heart; insensibility of the eye to light, pallor of the body, complete muscular relaxation, succeeded by a statue-like stiffness or rigidity which lasts from one to nine days; and decomposition, which begins to take place after the rigidity has yielded, beginning first in the lower portion of the body and gradually extending to the chest and face. What becomes of the mind or thinking principle, in man or animal, after death, is a matter of philosophical conjecture or religious faith. Research Death
Factory Acts are acts passed for the regulation of factories and similar establishments. In the 18th and 19th century it was considered that women and children were not qualified fully to protect themselves against the strain of competition, and asa result the British legislature passed a series of acts to regulate the conditions of their employment in factories.
The immediate occasion of the first act passed to regulate factory employment in England was the outbreak of an epidemic disease which committed great havoc among the younger persons employed in factories in the district round Manchester at the beginning of the 19th century.
An act was passed in 1802, The Health and Morals of Apprentices Act, in which provision was made for the regular cleansing and ventilation of mills and factories, and also for limiting the hours of work to twelve daily and forbade night work for children, and made provisions for their proper accommodation.
In 1819 an act followed after Robert Owen, an important factory-owner in Scotland, demonstrated that it was possible to improve factory conditions and make profits at the same time, and later campaigned for State reform. This Act prescribed an hour and a half for meals in the course of a working day, and prohibited children under nine years of age being employed in factorywork at all.
Early Factory Acts were not enforced, and as such were impotent. In 1833 the first truly effective Factory Act was passed. This act applied to all textile factories, and stated that no child under the age of nine was to work in a mill; children under the age of 13 were restricted to working no more than nine hours in a day and children between the ages of 13 and 18 were restricted to working no more than 12 hours in a day. The vital feature of this Act was that it was successfully enforced by full-time inspectors, whose job was to see that it was obeyed in the factories.
Various acts were passed up to 1878, when a general factory and Workshop Act was passed, consolidating the previous series of statutes. Another general act was passed in 1901 and since then numerous regulations and acts have been introduced.
The original acts contained general provisions regarding drainage, sanitary conveniences, overcrowding, ventilation, fencing of dangerous machinery, etc. Addressing what we would now term health and safety.
Factories are distinguished from workshops as making use of, originally, steam or other mechanical power. In the 19th century British textile factories the hours of labour for women and young persons (the latter between 14 and 18 years of age) were restricted to 10, but only 6.5 on Saturday and 56 in the week. In 19th century British non-textile factories and workshops the hours permitted were 10.5 per day and 60 per week at most. Children (of 11 to 14 years) were still employed, but not allowed to be employed more than 6.5 hours on any one day. Provision was made for a certain number of annual holidays. Special provisions for particular kinds of factories were made by separate acts, and under these the employment of females and young persons was regulated in bleaching and dyeing works, lace-factories, manufactories of earthenware, Lucifer matches, percussion caps, cartridges, blast-furnaces, copper-mills, forges, foundries, manufactories of machinery, metal, India-rubber, gutta-percha, paper, glass, tobacco, letterpress printing, bookbinding, etc. The factory act of 1895 included laundries. Certain exceptions in regard to working overtime were provided for; thus women could sometimes work 14 hours a day. Before the start of the 20th century there was no direct interference in any of the factory acts with the labour of adult male persons but it was recognised that indirectly the position of the male-labourer was also affected by legislation of this sort, causing some consternation among the factory owners.
The factory acts were among the first employment laws formalised to protect workers, and while they originally sought to protect primarily women and children, during the 20th century they evolved into more general employment laws offering regulation and some protection to all employees, with the employment of children being stopped all together and later men being treated equally with women, an employee being considered a person irrespective of sex. Research Factory Acts
Function is the specific office or action which any organ or system of organs is fitted to perform in the animal or vegetable economy. Vital functions are functions immediately necessary to life, as those of the brain, heart, lungs, etc. Natural or vegetative functions, functions less instantly necessary to life, as digestion, absorption, assimilation, expulsion, etc. Animal functions are those which relate to the external world, as the senses, voluntary motions, etc. Research Function
Genre painting is a type of painting concerned with the realistic depiction of scenes from everyday life. Originally the term was applied to all paintings that were factual representations of nature (animals, fruit, and landscapes), as well as scenes of ordinary life, rather than to works of imagination, such as religious and historical paintings. Genre paintings deal with ordinary life, including family life, sports, street scenes, picnics, festivals, and tavern scenes. They are usually characterised by human interest and by the care and finish with which they are executed.
Genre painting originated in ancient times. Many of the scenes painted on the walls of Egyptian tombs represent the daily life of the people of ancient Egypt. Excavations in the ancient cities of Pompeii and Herculaneum have revealed many genre paintings, both conventional and erotic. In the late Middle Ages genre painting reappeared, represented chiefly in the religious calendars that formed part of the illuminations, or illustrations, of manuscript books; the calendars show people going about the occupations appropriate to each season of the year.
In Italy during the early Renaissance, many of the religious and historical pictures of such painters as the 15th-century Florentines Ghirlandaio and Benozzo Gozzoli and the later Venetians Giorgione and the Bassano family are considered genre paintings because of their contemporaneous backgrounds and costumes as well as their use of people of the times as models. In 17th- century Italy, Mannerist painters such as Caravaggio executed genre paintings of extreme realism and dramatic power. In the 15th century the Flemish painter Petrus Christus in some of his religious paintings represented scenes from ordinary life, and in the following two centuries genre painting rose to its highest level in history with the work of the Flemish artists Pieter Brueghel the Elder, David Teniers, and Adriaen Brouwer. The greatest national school of genre painting was that of the Netherlands in the 17th century. Probably never before or after was the ordinary life of a nation depicted so fully as was the Dutch life of this period. Not only the great masters but also the less outstanding Dutch painters excelled in it.
The most important of the Dutch genre painters were the so-called little masters, including Gerard Ter Borch, Jan Steen, Gabriel Metsu, Pieter de Hooch, Gerard Dou, and Adrian Van Ostade. The three leading 17th-century Dutch masters, Rembrandt, Frans Hals, and Jan Vermeer, also created genre paintings of unrivalled beauty. French genre painting showed a vital development in the work of Antoine Watteau, Nicolas Lancret, Jean Baptiste Chardin, and Jean Honore Fragonard. One of the most noted English genre painters was the great satirist William Hogarth. In the 19th century, genre painting was widely practised in both Europe and the USA Among the outstanding European painters in this style were the French painters Jean Leon Gerome and Jean Meissonier, the English painter William Powell Frith, and the American painter William Sidney Mount, known as the 'JanSteen of Long Island.' Among the many 19th- and 20th- century American painters whose work included genre painting were Robert Henri, John Sloan, George Wesley Bellows, George B Luks, Charles E Burchfield, Reginald Marsh, Grant Wood, and Thomas Hart Benton. Research Genre Painting
An animal is an organized and sentient living being. Life in the earlier periods of natural history was attributed almost exclusively to animals. With the progress of science, however, it was extended to plants. In the case of the higher animals and plants there is no difficulty in assigning the individual to one of the two great kingdoms of organic nature, but in their lowest manifestations, the vegetable and animal kingdoms are brought into such immediate contact that it becomes almost impossible to assign them precise limits, and to say with certainty where the one begins and the other ends. From form no absolute distinction can be fixed between animals and plants. Many animals, such as the sea-shrubs, sea-mats, etc, so resemble plants in external appearance that they were looked upon as such. With regard to internal structure no line of demarcation can be laid down, all plants and animals being, in this respect, fundamentally similar; that is, alike composed of molecular, cellular, and fibrous tissues. Neither are the chemical characters of animal and vegetable substances more distinct. Animals contain in their tissues and fluids a larger proportion of nitrogen than plants, whilst plants are richer in carbonaceous compounds than the former. In some animals, moreover, substances almost exclusively confined to plants are found. Thus the outer wall of Sea-squirts contains cellulose, a substance largely found in plant-tissues; whilst chlorophyll, the colouring-matter of plants, occurs in Hydra and many other lower animals.
Power of motion, again, though broadly distinctive of animals, cannot be said to be absolutely characteristic of them. Thus many animals, as oysters, sponges, corals, etc, in their mature condition are rooted or fixed, while the embryos of many plants, together with numerous fully developed forms, are endowed with locomotive power by means of vibratile, hair-like processes called cilia. The distinctive points between animals and plants which are most to be relied on are those derived from the nature and mode of assimilation of the food. Plants feed on inorganic matters, consisting of water, ammonia, carbonic acid, and mineral matters. They can only take in food which is presented to them in a liquid or gaseous state. The exceptions to these rules are found chiefly in the case of plants which live parasitically on other plants or on animals, in which cases the plant may be said to feed on organic matters, represented by the juices of their hosts. Animals, on the contrary, require organized matters for food. They feed either upon plants or upon other animals. But even carnivorous animals can be shown to be dependent upon plants for subsistence; since the animals upon which Carnivora prey are in their turn supported by plants. Animals, further, can subsist on solid food in addition to liquids and gases; but many animals (such as the Tapeworms) live by the mere imbibition of fluids which are absorbed by their tissues, such forms possessing no distinct digestive system.
Animals require a due supply of oxygen gas for their sustenance, this gas being used in respiration. Plants, on the contrary, require carbon dioxide. The animal exhales or gives out carbon dioxide as the part result of its tissue-waste, whilst the plant taking in this gas is enabled to decompose it into its constituent carbon and oxygen. The plant retains the former for the uses of its economy, and liberates the oxygen, which is thus restored to the atmosphere for the use of the animal. Animals receive their food into the interior of their bodies, and assimilation takes place in their internal surfaces. Plants, on the other hand, receive their food into their external surfaces, and assimilation is effected in the external parts, as are exemplified in the leaf-surfaces under the influence of sunlight. All animals possess a certain amount of heat or temperature which is necessary for the performance of vital action. The only classes of animals in which a constantly-elevated temperature is kept up are birds and mammals. The bodily heat of the former varies from 100 degrees Fahrenheit to 112 degrees Fahrenheit and of the latter from 96 degrees to 104 degrees. The mean or average heat of the human body is about 99 degrees Fahrenheit, and it never falls much below this in health. Below birds animals are named cold-blooded, this term meaning in its strictly physiological sense that their temperature is usually that of the medium in which they live, and that it varies with that of the surrounding medium, Warm-blooded animals, on the contrary, do not exhibit such variations, but mostly retain their normal temperature in any atmosphere. The cause of the evolution of heat in the animal body is referred to the union (by a process resembling ordinary combustion) of the carbon and hydrogen of the system with the oxygen taken in from the air in the process of respiration. Research Animal
Carinaria is a genus of gasteropodous molluscs, of the order called Heteropoda or Nucleobranchiata, whose shells are known as Venus' slipper and glass nautilus. The gills are protected by a small and very delicate shell of glassy translucence. The creature itself is about five centimetres in length, and is of oceanic habits. It is so transparent that the vital functions may be watched by the aid of a microscope. Research Carinaria
Holothuria is the typical type of an order of Echinoderms, the Holothurioidea or sea-cucumbers. This order is destitute of the calcareous plates typical of the class, but has a leathery integument open at both ends, and pierced by orifices through which suctorial feet or ambulacra protrude. They have the mouth surrounded by tentacula; a long convoluted alimentarycanal; respiratory organs near the anus, and generally in the form of two branching arborescent tubes (forming the respiratory tree) into which the water is admitted; and the organs of both sexes in each individual. They are capable of extending themselves to several times the length they have in a state of repose, and of extraordinary reproduction of parts, even of vital organs. The young undergo a metamorphosis during development. They abound in the Asiatic seas, the beche-de-mer or trepang being a member of the family. Research Holothuria
Nutrition is the strategy adopted by an organism to obtain the chemicals it needs to live, grow, and reproduce. The term is also applied to the science of food, and its effect on human and animal life, health, and disease.
Nutrition involves the study of the basic nutrients required to sustain life, their bio-availability in foods and overall diet, and the effects upon them of cooking and storage. It is also concerned with dietary deficiency diseases. There are six classes of nutrients: water, carbohydrates, proteins, fats, vitamins, and minerals. Water is involved in nearly every body process. Animals and humans will succumb to water deprivation sooner than to starvation. Carbohydrates are composed of carbon, hydrogen and oxygen. The major groups are starches, sugars, and cellulose and related material (or ' roughage'). The prime function of the carbohydrates is to provide energy for the body; they also serve as efficient sources of glucose, which the body requires for brain functioning, utilisation of foods, maintenance of body temperature. Roughage includes the stiff structural materials of vegetables, fruits, and cereal products. Proteins are made up of smaller units, amino acids. The primary function of dietary protein is to provide the amino acids
required for growth and maintenance of body tissues. Both vegetable and animal foods are protein sources. Fats serve as concentrated sources of energy, and protect vital organs such as the kidneys and skeleton. Saturated fats derive primarily from animal sources; unsaturated fats from vegetable sources such as nuts and seeds. Vitamins are essential for normal growth, and are either fat-soluble or water-soluble. Fat-soluble vitamins include A, essential to the maintenance of mucous membranes, particularly the conjunctiva of the eyes; D, important to the absorption of calcium; E, an antioxidant; and K, which aids blood clotting. Water-soluble vitamins are the B complex, essential to metabolic reactions, and C, for maintaining connective tissue and cell functioning. Minerals are vital to normal development; calcium and iron are particularly important as they are required in relatively large amounts. Minerals required by the body in trace amounts include chromium, copper, fluoride, iodine, iron, magnesium, manganese, molybdenum, phosphorus, potassium, selenium, sodium, and zinc. Research Nutrition
Protoplasm is the basic living substance of all animals, rather than the dead substances such as found in nails and hair. It is responsible for carrying out all the vital activities characteristic of living animals. Research Protoplasm
Charles Robert Ashbee was an English architect and designer. He was born in 1863 and died in 1942. He was a leading advocate of the principles which inspired the Arts and Crafts Movement. As well as being the architect of some of the finest small houses of the time (good examples are in Cheyne Walk, London), Ashbee was also a designer of metalwork and jewellery, a poet, and essayist. In 1888 he founded the Guild of Handicraft, which moved from London to Chipping Campden in Gloucestershire in 1902, and in 1898 he founded the Essex House Press, one of the many private presses inspired by William Morris' Kelmscott Press. Ashbee published a pamphlet entitled 'Should We Stop Teaching Art?' in 1911 and in this he expressed a change in outlook that perhaps owed something to his meeting with FrankLloyd Wright in 1900. He abandoned his advocacy of the artist-craftsman, and argued that the machine is the vital instrument of contemporary civilization and that it is by the correct use of the machine that the ideals of the Arts and Crafts
Movement are to be promoted. Research Charles Ashbee
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Death
