UF Digital Library Center Demonstration Disk, 2001 1
University of Florida's Digital Library Center
Demonstration Disk from 2001
These pages represent the materials contained on the University of Florida's
Digital Library Center Demonstration Disk from 2001. The technology used for
that disk is no longer supported, so these files are the best approximation of the
content from those files. Like the required "Internet Explorer 5.0 or higher" some
of the materials cannot be viewed as they were originally created outside of the
technologies for which they were intended.
UF Digital Library Center Demonstration Disk, 2001
Thank you for loading
The DIGITAL LIBRARY CENTER's
Demonstration Disk
Requires Internet Explorer 5.0 or higher
Please select one of the following options:
First time?
Load the MrSID Browser Pluqln,
then
Load the DiVu Browser Pluqin.
Projects of the Digital Library
Center
at the University of Florida's Smathers Libraries
FACRL Presentation (October 2001)
Herbarium Specimens
Florida Museum of Natural History. Herbarium.
Antique Florida Maps Collection
Department of Special and Area Studies
Collections.
Children's Literature
Department of Special and Area Studies
Collections.
Ringling Collection (Theatre)
Belknap Collection for the Performing Arts.
UF Digital Library Center Demonstration Disk, 2001 3
Jackson Henson MacDonald
Scapbook
University of Florida Archives.
UF Digital Library Center Demonstration Disk, 2001
Antique Maps
TECHNOLOGY FOR IMAGING
Digitization
Antique maps contain significant detail, engraved in fine lines, many no greater
than a hair's width. High resolution imaging technology is required to adequately
capture this detail.
Early in the history of map digitization, institutions selected among one of two
methods. Either they scanned maps in parts, later stitching the images together,
or, they created a 105 mm color film surrogate, later digitizing the surrogate. The
former produces an image which has noticeable sections. The best way to
digitize an oversized image is all at once. And, the latter method, while it
produces images of excellent quality, doubles the cost of
digitizing maps.
The University of Florida's Digital Library Center now uses
a third method, imaging by use of a high resolution digital
planetary camera. The Center's camera, a ZBE Satellite
(image to the right), is to digital photography what the
microfilm camera was to analog photography. The
camera's optics are provided by a Rodagon 135 mm (f
1:5,6) large format enlarging lens and a PhaseOne
PowerPhase FX digital camera-back. Additional Rodagon and Nikon lenses
allow high resolution image capture of the tiniest maps as well.
The digital camera-back (image to the left) has the look and
function of a studio-camera's analog camera-back; a charged-
couple device (CCD) replaces film. The PowerPhase FX
employs a 10,500 x 12,600 pixel CCD chip that enables image
captures of 380 MB (24-bitltrue color sRGB uninterpolated). The resolving power
of the PowerPhase FX far exceeds the native hardware capacity of the CCDs
found in flat-bed and most film scanners.
Additional hardware and software used to create these images includes:
Macintosh Apple G4 for imaging and image calibration;
Windows 2000 workstation for image transfer and secondary image
processing;
Adobe Photoshop software for image editing,
JASC Paintshop Pro and Cerious ThumbPlus software for digital
restoration; and
LizardTech MrSID software for image compression.
UF Digital Library Center Demonstration Disk, 2001 5
The digital imaging process generates an uncompressed 24-bit color TIFF
electronic master that is archived as imaged. The TIFF master is saved in the
sRGB (standardized Red/Green/Blue) color-space, which is optimized for
electronic display. Archived images may later be processed into the CMYK
(Cyan/Magenta/Yellow/Black) color-space for commercial printing or manipulated
using digital restoration techniques.
Distribution
Creating an accurate digital master is only half the battle. Early in the history of
large-format digitization, sending a map via the Internet was like putting a freight-
train on an Interstate highway. Large files had the capacity to slow all Internet
transport along the route to the file's destination. At the file's destination,
meanwhile, the wait for a viewable image could stretch into hours. With higher
resolution and higher color fidelity (24-bitltrue color), the size of digital map files
has grown. Today, though Internet band-width has grown to meet the shipment
of more and larger files, a digitized map still has the capacity to bring the Internet
to a crawl.
In the past, files were downsampled to the resolution of the user's monitor; file
size was reduced accordingly. And, individual files could be sent via the Internet
without appreciable delay. While fine for post-card size maps, downsampling
reduced average and oversized maps to little more than pretty pictures. The
detail that had been so carefully captured had been lost. Using the digital map
as the original might have been used was impossible.
COMPARE THE DOWNSAMPLING METHOD
WITH THE CENTER'S APPROACH
TRADITIONAL APPROACH NEW APPROACH
Click to see traditional Click to see vector
downsampled presentation graphics presentation
The Center's new approach uses vector rather than raster image technology. In
lay terms, the traditional approach displays a one-size-fits all image (raster
technology), usually scaled-down to the common denominator of what the
average user can see in one screen image. The new approach, however,
displays a zoomable image (vector technology), provided in the form of SID
images. SID images use a vector compression format that reduces file size by
up to 100 times. While some of the TIFF digital master's detail is lost, the loss is
fractional. Place names can be read. Every engraver's mark can be seen. And,
UF Digital Library Center Demonstration Disk, 2001
the application of color can be studied. Better yet, this enriched version can be
downloaded in only slightly more time than required for download of the
traditional version.
DIGITAL RESTORATION
Assessment
We don't mind saying that our antique maps show their age in person. Some of
their papers have yellowed. Others wear a fine layer of accretion sometimes laid
down in finger prints, sometimes transferred from the object upon which they
were laid or that rested upon them. Sometimes, the appearance of age is a fold
or the discoloration of atmospheric contaminants deposited by humidity's
intrusions. Some, even one on this CD, may have been witness to the hardships
of war. While in very-good to fine condition and skillfully preserved by
conservators, the maps one sees today in the University of Florida's collections
have lost the vibrancies of their youth.
Digital technology allows us to restore maps to something their original and
intended appearance. Unlike traditional restoration, it does not risk the health
and longevity of the original and any technique can easily be reversed or
repeated. Digital restoration techniques can be applied easily and quickly. And,
both digitally restored and as-found version can be displayed simultaneously,
depending upon the researcher's requirements. We have decided to present
digitally restored copies on this CD in order to present the maps as they, likely,
were intended to be presented.
The Restoration Process
Digital as traditional restoration begins with an understanding no less than three
facets:
Period methods of paper-making, engraving, printing and coloring;
Current and intended uses of the map; and
How the map came into its current condition.
Much of the restoration process involves getting from point A, period methods, to
point B, intended uses, without misrepresenting the original. We have made no
attempts to correct imperfections either of the original creation process of
condition other than to reverse the effects of aging. Each of the maps in our care
has aged. The effects of aging are obvious, if not on first glance, in comparison
to restored or pristine papers contemporary to each of the maps. Natural
indications of aging are fading, yellowing, and accretion.
DIGITAL RESTORATION
UF Digital Library Center Demonstration Disk, 2001
The Restoration Process
Accretion & Color Balancing
Digital as, again, tradition restoration begins with the removal of accretion,
somewhat misleadingly referred to as "color balancing" or "fade correction" in
most image editing software. Examples of the transformation follow.
AS-FOUND IMAGE COLOR BALANCED IMAGE
rE tq
UF Digital Library Center Demonstration Disk, 2001
While removal of accretion restores original color balance, the process also
makes more evident the physical characteristics of the original. In tests using
17th century manuscript maps, chain lines, evidence of a traditional hand paper-
making process, can be seen clearly. In the example below, color balancing
makes more obvious paper-fiber evidence. Such evidence affords researchers
who must examine originals the ability to pre-select in advance of travel.
As-Found Image Color Balanced
d
200% enlargement
One of the dangers of color balancing is over-correction. The quality and
reflectance of early papers was inconsistent and, at times, uneven. Color
balance requires knowledge of how papers originally looked or the amount of
light they originally reflected, that is, how white they when printed. It would be
inappropriate, for example, to "correct" a map printed on Kraft paper to appear as
though it had been printed on bleached cotton paper. Color balancing is fraught
with the dangers of assumptions. TIFF (camera) masters are reproduced from
originals, with balanced lighting and using standardized color targets, and
archived without alteration to ensure that errors of judgment may be corrected
easily.
DIGITAL RESTORATION
The Restoration Process
Yellowing & Contrast Correction
To correct the effects of yellowing, digital restoration employs a technique
frequently used in microfilming for preservation. Because microfilming is a bi-
tonal (i.e., black & white) or gray medium, microfilm photographers think of
yellowing an issue of contrast. And, contrast can be enhanced by increasing the
amount of light on the object. Remaining discoloration can be further mitigated
by increasing the "lightness" of the digital map image. Examples of this
transformation follow:
COLOR BALANCED IMAGE CONTRAST CORRECTED IMAGE
UF Digital Library Center Demonstration Disk, 2001
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^Pis^ C~l'BA'
As in microfilming, the danger of this technique is the same. Images given too
much light begin to lose detail. The following illustration of the effect of
increasing lightness on paper fiber evidence illustrates the danger.
As-Found Image
Color Balanced
+5 Light Gain
UF Digital Library Center Demonstration Disk, 2001
1 i I
+10 Light Gain +15 Light Gain +20 Light Gain
I I
Any given map will be appreciated and studied for any of several facets:
geographic information; engraving and printing; color and coloring methods; and
even paper manufacture. The University of Florida acknowledges that
researchers of paper manufacture and similar physical characteristics will
ultimately find digitized maps to be inadequate substitutes for the original. Their
research will require visual inspection of the original. With regard to the creation
of a digital distribution copy, however, the effect of lightness on paper fiber
evidence is a kind of miner's canary. Paper fiber evidence, often, is lost just prior
to loss of engraver's marks and meaningful color information. The application of
the technique rarely exceeds a 5 to 10 point numeric gain. If fade correction is
not required, contrast correction through the application of lightness may not be
applied.
DIGITAL RESTORATION
The Restoration Process
Fading & Color Saturation
Colors applied to antique maps at or near the time of printing were vegetable or
mineral rather than synthetic chemical dyes. Vegetable dyes, in particular, are
not light-fast; they fade with exposure to ultra-violet waves in light. Both
vegetable and mineral dyes are sensitive to pH; either the introduction of
atmospheric contaminants or the release of acids from papers may offset a
map's original pH value and alter the natural hues of colors. Colors effected by
these conditions generally become more less vibrant or less saturated. In digital
restoration, fading is corrected through moderate changes in hue and color
saturation values. Examples of this transformation follow:
UF Digital Library Center Demonstration Disk, 2001
CONTRAST CORRECTED IMAGE COLOR SATURATED IMAGE
rE fe
FDE
j. -
^visZy ClAA
The obvious hazards of this technique are misjudgment of original color values
and over-correction. Unintended color shifts is a secondary hazard. In the
second example above, increased saturation better defines the Florida peninsula
but ink defining the shoals of the Bahamas appear to have taken on the effect of
aged black ink; it has become brown. In the first and third examples above,
yellowing is reintroduced as the background color is shifted. Background color
shift is illustrated using our paper fiber image samples.
UF Digital Library Center Demonstration Disk, 2001
CONTRAST CORRECTED IMAGE
Color Balanced
+5 Light Gain
+10 Light Gain
+15 Light Gain
+20 Light Gain
z tlzzet"A
COLOR SATURATED IMAGE
z tffw"
:tzu
;t76"
tthus"
UF Digital Library Center Demonstration Disk, 2001
These effects can be mitigated or corrected as illustrated below, but every
correction risks moving the image from the map maker's original intent. This
technique is applied sparingly.
COLOR SATURATED IMAGE BACKGROUND CORRECTION
Ortelius, Abraham.
La Florida. Auctore Hieron Chiaves, 1584.
Accession Number: M2.1584.001.1997.0966
Goos, Pieter.
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j^Tfi~s CI'SA^~
UF Digital Library Center Demonstration Disk, 2001
Paskaerte van Westindien de Vaste Kusten en de Evlanen, 1669.
Accession Number: M2.1669.001.1997.1399
Mallet, A. M.
Florida De L'Amerique, 1683.
Accession Number: M1.1683.001.1997.0784
Mount, Richard.
Chart of the Bay of Mexico, 1708.
Accession Number: M2.1708.001.1997.0821
Valck, Gerard.
Insulae Americanae in Oceano Septrentrionali, cum terris adiacentibus,
1710.
Accession Number: M2.1710.001.1997.1928
Aa, Pieter van der
Floride suivant les Nouvelles Observations, 1729.
Accession Number: M1.1729.002.1997.1944
UF Digital Library Center Demonstration Disk, 2001
Homann, Johann Baptist
Mapa geographica completens Indiae Occidentalis. Includes d'Anville's
Carte des Isles de Amerique, 1740.
Accession Number: M2.1740.001.1997.1952
Delisle, Guillaume
Carta Geografica della Florida, 1750.
Accession Number: M1.1750.001.1997.0152
Homann, Johann Baptist
Amplissimae regionis Mississipi, etc., 1763
Accession Number: M2.1763.001.1997.0165
Homann, Johann Baptist
Regni Mexicana seu Novae Hispaniae, Ludovicianae, No. Agliae,
Carolinae, Virqiniae, 1763.
Accession Number: M2.1763.002.1997.1909
Romans, BaI
Romans, Bernard
UF Digital Library Center Demonstration Disk, 2001 16
Seat of War in the Southern British Colonies, 1776.
Accession Number: M2.1776.001.1997.0121
Kitchen, Thomas.
Map of the U.S. in North America with the British, French and Spanish
dominions, 1783.
Accession Number: M2.1783.002.1997.1930
UF Digital Library Center Demonstration Disk, 2001
The University of Florida
HERBARIUM
The University of Florida Herbarium is a unit of the Department of Natural History
of the Florida Museum of Natural History. The herbarium is affiliated with the
Institute of Food and Agricultural Sciences, Florida Agricultural Experiment
Station, Florida Cooperative Extension Service, Department of Botany and the
Department of Plant Pathology. Dr. Norris H. Williams is Keeper of the
Herbarium.
The herbarium and the associated paleobotanical collection have combined
holdings of approximately 1/2 million specimens. The collections include:
Vascular Plants Florida, the southeastern United States coastal plain,
West Indies, esp. Haiti
Mycological (Fungi) Florida fungi, especially agarics and polypores
Bryophytes and Lichens Florida and tropical areas, especially Costa
Rica, Venezuela and Brazil
Paleobotany (affiliated collection) international, ranging from the
Proterozoic to the Pleistocene
Wood worldwide, especially tropical
Herbarium Library (search)
The FLAS acronym is the standard international abbreviation for the University of
Florida Herbarium. It is derived from the herbarium's early association with the
Florida Agricultural Experiment Station.
The following Type Specimens in the University of Florida Herbarium
Internet hot links (A PALMM Collection)
will connect you to Roving Naturalists' Pilot Proiect (A PALMM Collection)
the major web
pages related to Linking Florida's Natural Heritage (A PALMM Collection)
the Herbarium
specimen University of Florida Herbarium (FLAS)
collections as well Florida Musuem of Natural History
as to collections
with links to
Herbarium images:
UF Digital Library Center Demonstration Disk, 2001
TECHNOLOGY FOR IMAGING
Digitization
Herbarium specimens contain significant detail, much of it no greater than a
hair's width. High resolution imaging technology is required to adequately
capture this detail.
Early in the history of specimen digitization, institutions selected among one of
two methods. Either they used digital cameras, or, they created a 105 mm color
film surrogate, later digitizing the surrogate. Images created, but particularly
those created using digital cameras, were of poor quality. Digital cameras were
placed frequently into the hands of curators who had little or no experience with
photography, lighting and exposure methods. But perhaps most detrimental to
quality, these early and often hand-held digital cameras lacked the resolution of
professional digital cameras. The surrogate method, often contracted to
professional photographers, while it produced images of
excellent quality, doubled the cost of digitizing specimens.
The University of Florida's Digital Library Center now uses
a third method, imaging by use of a high resolution digital
planetary camera. The Center's camera, a ZBE Satellite
(image to the right), is to digital photography what the
microfilm camera was to analog photography. The
camera's optics are provided by a Rodagon 135 mm (f
1:5,6) large format enlarging lens and a PhaseOne
PowerPhase FX digital camera-back. Additional Rodagon
and Nikon lenses allow high resolution image capture of the tiniest specimen
details as well. The digital camera-back (image to the left) has
the look and function of a studio-camera's analog camera-back;
a charged-couple device (CCD) replaces film. The PowerPhase
FX employs a 10,500 x 12,600 pixel CCD chip that enables
image captures of 380 MB (24-bit/true color sRGB
uninterpolated). The resolving power of the PowerPhase FX far exceeds the
native hardware capacity of the CCDs found in flat-bed and most film scanners
and digital cameras alike.
Additional hardware and software used to create these images includes:
Macintosh Apple G4 for imaging and image calibration;
Windows 2000 workstation for image transfer and secondary image processing;
Adobe Photoshop software for image editing,
JASC Paintshop Pro and Cerious ThumbPlus software for digital restoration; and
LizardTech MrSID software for image compression.
The digital imaging process generates an uncompressed 24-bit color TIFF
electronic master that is archived as imaged. The TIFF master is saved in the
UF Digital Library Center Demonstration Disk, 2001
sRGB (standardized Red/Green/Blue) color-space, which is optimized for
electronic display. Archived images may later be processed into the CMYK
(Cyan/Magenta/Yellow/Black) color-space for commercial printing.
Distribution
Creating an accurate digital master is only half the battle. Early in the history of
large-format and high resolution digitization, sending a specimen image via the
Internet was like putting a freight-train on an Interstate highway. Large files had
the capacity to slow all Internet transport along the route to the file's destination.
At the file's destination, meanwhile, the wait for a viewable image could stretch
into hours. With higher resolution and higher color fidelity (24-bit/true color), the
size of digital map files has grown. Today, though Internet band-width has grown
to meet the shipment of more and larger files, a digitized specimen still has the
capacity to bring the Internet to a crawl.
In the past, files were downsampled to the resolution of the user's monitor; file
size was reduced accordingly. And, individual files could be sent via the Internet
without appreciable delay. While fine for post-card size specimens,
downsampling reduced average and oversized maps to little more than pretty
pictures. The detail that had been so carefully captured had been lost. Using the
digital specimen as a surogate for remote close-inspection was impossible.
The Center's new approach uses vector rather than raster image technology. In
lay terms, the traditional approach displays a one-size-fits all image (raster
technology), usually scaled-down to the common denominator of what the
average user can see in one screen image. The new approach, however,
displays a zoomable image (vector technology), provided in the form of SID
images. SID images use a vector compression format that reduces file size by
up to 100 times. While some of the TIFF digital master's detail is lost, the loss is
fractional. Detail can be read, often more clearly than it can be read from the
original using 10X magnification. Even the tiniest of veins and hairs can be
seen. Better yet, this version can be downloaded in only slightly more time than
required for download of the traditional version.
The following resources have been extracted from the University of
Florida Herbarium's on-line Herbarium Library and its Type
Specimens collection.
UF Digital Library Center Demonstration Disk, 2001
Abrus precatorium
Acer rubrum
Agarista villarrealana
(Type Specimen)
Aleurites fordii
Behaima cubensis
(Type Specimen)
Calliandra slaneae
(Type Specimen)
Ir
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Carya magnifloridana
Common Name: pignut hickory
(Type Specimen)
G41mr~eTERs
UF Digital Library Center Demonstration Disk, 2001
Chusquea subulata
(Type Specimen)
Citrus aurantium
Clerodendrum aculeatum var. gracile
(Type Specimen)
Cracca corallicola
Common Name: Coral Hoarypea
(Type Specimen)
Crataegus megapulchra
Common Name: Minchaux's Hawthorn
(Type Specimen)
Datura stramonium
Dicerandra immaculate
(Type Specimen)
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UF Digital Library Center Demonstration Disk, 2001
Dicerandra linearifolia var. robustior
(Type Specimen)
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Digitaria x umfolozi
(Type Specimen)
Eucharis cyaneosperma
(Type Specimen)
Eucharis formosa
(Type Specimen)
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v7uru
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Eucharis plicata subsp. Brevidentata /I
(Type Specimen)
Eucharis plicata subsp. Plicata
(Type Specimen)
Euphorbia apocynifolia
(Type Specimen)
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UF Digital Library Center Demonstration Disk, 2001
Euphorbia gracilior
Common Name: Scrub lupine
(Type Specimen)
Gongora tridentata
(Type Specimen)
Hicoria austrina
Common Name: Pignut Hickory
(Type Specimen)
Houstonia floridana
(Type Specimen)
Houstonia pulvinata
(Type Specimen)
Hydrangea macrophylla
Hypericum exile
Common Name: Florida Sands St. Johnswort
(Type Specimen)
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UF Digital Library Center Demonstration Disk, 2001
Hypericum lissophloeus
Common Name: smoothbark St. Johnswort
(Type Specimen)
Illicium parviflorum
Liatris provincialis
(Type Specimen)
Liquidambar styraciflua
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Lobelia hotteana
(Type Specimen)
Lupinus aridorum
Common Name: Scrub lupine
(Type Specimen)
Lyonia truncata var. proctorii
(Type Specimen)
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UF Digital Library Center Demonstration Disk, 2001
Meriania brevipedunculata
(Type Specimen)
Meriania parviflora
(Type Specimen)
Micropholis polita
(Type Specimen)
Monotropa brittonii
(Type Specimen)
Mouriri crassisepala
(Type Specimen)
Nerium oleander
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Nolina atopocarpa
Common Name: Florida beargrass
(Type Specimen)
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UF Digital Library Center Demonstration Disk, 2001
Nympahea odorata var. godfreyi
Common Name: American White Waterlily
(Type Specimen)
Onosmodium floridanum
(Type Specimen)
Panicum longiaristatum
(Type Specimen)
Phaedranassa glauciflora
(Type Specimen)
Pinguicula ionantha
(Type Specimen)
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Pinus elliottii var. densa
Common Name: Florida slash pine, South Florida slash pine
(Type Specimen)
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UF Digital Library Center Demonstration Disk, 2001 27
UF Digital Library Center Demonstration Disk, 2001
Rhodopsis lowdenii
(Type Specimen)
Rubus idaeus var. eucyclus
(Type Specimen)
Sabal palmetto
Sabaza liebmanii var. ovatifolia
(Type Specimen)
Salix longipes
Common Name: Carolina Willow; Coastalplain Willow
(Type Specimen)
Sorghastrum apalachicolense
Common Name: Slender Indiangrass
(Type Specimen
Stanhopea panamensis
(Type Specimen)
Stylosanthes calcicola
Common Name: Everglade Key pencilflower
(Type Specimen)
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UF Digital Library Center Demonstration Disk, 2001
Theobroma cacao
Common Name: Cocoa, Chocolate Tree
Theobroma cacao L.
Common Name: Cocoa, Chocolate Tree
Theobroma obovatum KI.
Common Name: Cacau, Cabeca-de-uruba (Brazil)
Theobroma speciousum Willd. Ex Sprengel
Common Name: Cacaui (Brazil), Cacaurana
Trillium decipiens (Type Specimen)
Common Name: Chattahoochee River wakerobin
Vaccinium corymbosum
Vaccinium fuscatum
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UF Digital Library Center Demonstration Disk, 2001
Vicia ocalensis (Type Specimen)
Common Name: Chattahoochee River wakerobin
Wallenia formonensis
(Type Specimen)
Zephyranthes insularum
Common Name: Puerto Rico zephyrlily
(Type Specimen)
Zizyphus celata
(Type Specimen)
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UF Digital Library Center Demonstration Disk, 2001
Im~ T
KINQGUNG COQLUCTOQN
Images of 19th Century Actors and Actresses
The Ringling Collection is comprised of cabinet cards, postcards and
photographs of 19th Century American and British actors and
actresses. The Collection is one of several housed in the Belknap
Collection for the Performing Arts in the Smathers Libraries' Department
of Special Collections on the campus to the University of Florida
(Gainesville, FL).
The Ringling Collection is important not simply for its images of the idols
of a bye-gone era but for its depictions of period clothing and hair
styles. Aside from clothing and hair styles, something of the period's
social mores and attitudes can be seen among the poses taken; those
taken by men can be distinguished from those taken by women and,
alternately, by children.
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