On some paintings of Odonata from the Late Middle Ages (14th and 15th centuries)

2007·1.7 MB·English

by  Carvalho, A L

Odonatologica36(3):243-253 SeptemberI,2007
On some paintingsofOdonata
from theLate MiddleAges
(14thand 15thcenturies)
A.L.Carvalho
DepartamentodeEntomologia,MuseuNational,Universidade Federal do Riode Janeiro,
CaixaPostal68044,BR21944-970,Riode Janeiro,RJ, Brazil
[email protected]
ReceivedJune6, 2006/Revised andAcceptedApril3,2007
Painted representationsofOdonata fromthe 14lh and 15lhcenturies,foundinthe
masterpiecescited below,aredescribed and commented on:“Belleville Breviary”,
Paris(J.Pucelle,ca1323-1326);‘AllegoryofGoodGovernment”,,Siena(A.Lorenzetti,
ca 1338-1340);“The Two Lovers”, Southern Germany(anonymous,ca 1470)and
“HastingsHours”, Flandres (anonymous,ca 1480).The symbolicmeaningofthe
Odonatarepresentationineachworkseemstobedifferent.Thedamselflypaintedin
the “Belleville Breviary”,probablybasedonamaleCalopteryxspecimen,represents
the oldestknown EuropeanrepresentationofOdonatayet.
INTRODUCTION
European works of artdisplaying insects from the late MiddleAges are rare
andinclude portraits andilluminationsinbooks; also inpaintings andfrescoes
representing secularandbiblicalscenes. Theinsects morecommonly represented
are butterfliesandflies. Theirrepresentations are not essentially figurative, hav-
ing oftenasymbolic meaning inthe scene. Ingeneral, in thisperiod, butterflies
were symbols forthe soul andeternal life, and flieswere symbols forthe brev-
ityof theearthly life(DICKE, 2000). Usefulinsects such as beesandsilkworms
were represented in some books, as in the TacuinumSanitaris (ca 1370-1400)
(BARTLETT,2001) andinthe“rich”CodexoftheCantigas deSantaMaria(ca
1280-1284) (Codex Ms. T.I.l, RealMonasterio deSan Lorenzo de El Escorial,
ElEscorial) by AlfonsoX, theWise, wheretheywere drawninscenes describing
miracles.Conversely, in someHaggadot fromthe 14thand 15thcenturies, one of
themostbelovedbooksin Judaism, locustsandlicewererepresented amongthe
244 A.L.Carvalho
plagues broughtuponthe Egyptians (SHIRE, 1998).
However, onlyafewrepresentations ofOdonataareknown.RUDOLPH(1991)
recordedfivepaintingsof ZygopterainacopyoftheGutenberg Bibleof 1453,il-
luminatedin1456inaSaxonianworkshop. It containsillustrationsoffouradult
specimens, based oncoenagrionids, andonelarva. Inthe context ofthe Euro-
peanmedievalperiod, hecitedfourotherformerly describedrepresentations of
Odonata:threeilluminationsindifferentmanuscriptsdatedfromthelate 15thand
early 16thcenturies(maybe someof thesemanuscripts wouldbebetterattributed
to theRenaissanceperiod), andastonerelieffromItalydatingfromthe second
halfof 15thcentury.Rudolph consideredthepaintings described inhispaperthe
oldestknownrepresentations ofEuropean Odonata.DICKE(2000)commented
onapainting madeby ananonymousFrankfurter Master(ca 1400) thatshows
“theVirginMary inanenclosedgardenamongstrawberriesonwhichrestawhite
butterfly and two dragonflies”. He affirmedthat dragonflies (and damselflies),
as wellas butterflies, weresymbols forthe soulandeternal life in the Hereafter
during the 14th and 15thcenturies, and the combinationofflies, butterflies, and
dragonflies inthesamework maybeasymbol forChrist.LUCAS (2002), in her
stimulating book on Cultural Odonatology, briefly comments about a dozen
works ofartoftheperiod.
Observing works of art fromthe lateMiddleAges inlocoor in reproductions
ofrecentbooks ofart,thepresentauthorwas ableto study indetailrepresenta-
tionsofOdonatain fourworks, two fromthe 14thcenturyandtwofromthe 15th
century. They are describedand commentedoninthis paper.
DESCRIPTION AND DISCUSSION
BELLEVILLEBREVIARY
(Breviaire deBelleville, JeanPucelle, ca 1323-1326,Paris, France) (Fig. 1)
JeanPucellewasoneofthemostrefinedandwittyminiaturistsofthefourteenth
century. Hewas activeinParisbetween1319and 1335,wherehewas theheadof
a workshopduring the1320s.Hispreserved works sufficeto demonstratethenew
directiontaken by manuscript illuminationinthattime,wheretheGothictradi-
tionwas combinedwith newsofthe ItalianTrecentopainting andhumour.The
“BellevilleBreviary” is akindofliturgicalprayerbook forcelebrationof Mass,
composed by two volumeswith876foliosand very smallin dimension(24 x 17
cm).Thisbreviary was probably intendedforJeannedeBelleville, thewifeofOli-
vierdeClisson, afamousFrenchsoldier.Nowitis deposited intheBibliotheque
NationaledeFrance, Paris(Ms Lat. 10483/ 10484).Thefolio 24 v. ofthe first
volume(summer prayers) is so special thatithasbeenreproduced a numberof
times inrecent books of art(e.g. CHASTEL. 1994;LAJTA, 1980;WALTHER
& WOLF, 2001).
OdonatapaintingsfromtheLate Middle Ages 245
Thereare threemainimages represented in thatfolio.Inthe scene placed at
thetopofthelefttext-column, SaulthrowshisjavelinatDavid(1Samuel 18,10-
11).Thescenesofthebas-de-page showCainmurderinghisbrotherAbelandthe
allegorical figureoftheCaritas, ChristianLove,feeding apauper(WALTHER
& WOLF, 2001). Besidesthis, fantasticmusicians andanimalsemergefromthe
marginal garland, formedof interlacedfoliage and flowers.Among the insects
illustratedtwo butterfliesclearly identifiedas Aglais urticae(L.) can be distin-
guished as wellas aflying damselfly(Fig. 1), somewhatcaricaturised probably
dueto its verysmall size(ca 12mm). Itispresented dorsally,bearingthefollow-
ing features: alarge headwith the faceand a pair of separated eyes; two pairs
of wings similarinformandlength, long anduncommonly acuminate, withthe
distalthirdto halfblack; two pairsoflegs, directedforward;abdomenlongand
clearlysegmented; body green.
ThepresenceofadamselflyintheBellevilleBreviarywasinterpretedbyCHAS-
TEL(1994) asJeanPucelle’scrypticsignature,as “damsel”-maiden-ispucelle in
French.Asevery elementonthe pagewas anoccasion fortheauthor’spersonal
ironic whimsy, itwas probably important tosign thework. As signingwas nota
usualpractice atthattime,itwas probably notmadeinanexplicit manner.
Thedetailedrepresentation allowstheidentificationofthe damselflymodelas
a specimen ofCalopteryx, probably C. xanthostoma(Charpentier)or C. splend-
ens(Harris). Themost commonCalopteryxincentralandnorthernFranceis C.
splendens, butthedarkstripedoesnotreachtheapexofthewingsinthisspecies.
Therepresentation ofthedarkstripe in thewings is moresimilarto the pattern
foundin C. xanthostoma.However, thecurrent geographical distributionofthis
species doesnot includetheParisregion, whereJeanPucellelivedandcertainly
obtainedhis models.Itisrestrictedto theIberianPeninsulaandwestern Medi-
terranean, withrecords only fromSpain, Portugal, southernFrance, Southof
Switzerlandand North of Italy (BOS & WASSCHER, 1997). Itis possible to
speculate thatC. xanthostomacouldhavehadawiderdistributionduringthelate
MiddleAges,including theNorthofFrance.TheaveragetemperatureofEurope
was probably hotterthantoday atthebeginningofthe 14thcentury,allowing the
spreading Northof species adapted to warmer climates. Currently, Europe is
stillundertheeffectofthe LittleIceAge thatoccurredbetweenthe 15thandthe
19thcenturies(FAGAN,2000; TKACHUCK, 1983),whichcooledmostof the
NorthernHemisphere. Thisilluminationcouldbeonemorefindofevidencefor
thisphenomenon.
ALLEGORY OFGOODGOVERNMENT
(Allegoria delbuongoverno,Ambroglio Lorenzetti, ca. 1338-1340,Siena, Italy)
(Fig. 2)
Ambroglio Lorenzetti (ca 1290-1348) frescoed the sidewalls of the Council
246 A.L.Carvalho
1 2
3 4
Odonatapaintingsfrom the LateMiddle Ages 247
Room(Sala deiNove) ofthe Siena’s City Hall(Palazzo Pubblico). Thesize of
theroomis2,96 x 7,70 x 14,40m.Thesubject ofthepaintings isGoodandBad
Governmentandtheireffectsonthelifeofthecitiesandvillages, andthey are in
arelativelygood stateofpreservation. Moreinformationaboutthepaintings of
this Palacecanbefoundin STARN(1995).
Thepanelknownas “TheEffectsofGoodGovernment”(or“TheGoodCity-
Republic”) issituated onthelonger, eastern,walloftheroom. Thispanoramic
frescorepresentsseveral scenesofSienainthe 14thcentury,bothinsideandout-
side ofthecity walls.In afeastscene detail,positioned lowon theleftside, nine
dancing youngwomenareattendedby awomansinging andplaying atambou-
rine.They arerepresented in akind ofsquaresituated inthecentre of the city.
These womenwear long dresses, tiedhairsadornedwithtiaras, belts and light
shoes. Oneofthe dancers, withitsback turned, has abrownish dress,adorned
withdragonflies indorsalviewintermingled withcomposed geometric figures.
Although thereareonlythreecomplete dragonfliesrepresented, itispossible to
noticefifteenadditionalonesonthebackandsidesofthe dress,allofthemsimi-
lar.Itispossible torecognize theserepresentations immediately asdragonflies in
flight,basedonthefollowing traits:alargeheadbearingapair of separateblack
eyes; wings longandclearwithvery separated pairs, similarinformandlength;
abdomenlong andclearly segmented; antennae andlegs not represented; body
palebrown.All thegeometricfiguresare similartoeachotherandweremadeby
intersecting tworegular hexagons ofthesame size, withonevertexofonehexa-
gonsuperimposed to thecentreof theother, delimitingacentral lozenge. Abig-
gerlozengeoutlinestheshorter, centrallozenge, formingtwotriangles, oneabove
and theotherbelowthelimitsofthehexagons. Whileall thelinesare drawn in
white,the region concerning thesmalllozenge is painted inblack, highlighting
this area.
Thisfrescohasplenty ofpossible symbolic meanings. Thearrangementcom-
posed by ninejoined dancingwomen is probably a referenceto thenine Greek
Muses(http:llwww.kjki.hul~arlhplhtmlllllorenzetlamhrogiolgovernmelindex.html).
TheMusesaredivinesingers, whose choirsandhymnscheertheheartsoftheim-
mortals, sincetheirfunctionwas to representall thepossible forms ofthought.
For Hesiod(Theogony,ca 700B.C.),the Musesfollowthekingsand try toper-
suadethemtocalmdownthediscussionsandtore-establishthepeaceamongthe
men(BRANDAO, 1991).It ispossible to suggestalso thatthedancer withthe
Figs 1-4:(1)Belleville Breviary (JeanPucelle, ca 1323-1326,Paris): detail ofthe folio 24v.Bibli-
othequeNationale deFrance,Paris; — (2)AllegoryofGoodGovernment (AmbroglioLorenzetti,ca
1338-1340,Siena):detail ofthepanel“The EffectsofGood Government”or“The GoodCity-Re-
public”.Saladei Nove,PallazoPubblico,Siena; —(3)TheTwoLovers (RootingPair)(anonymous,
ca1470,SouthernGermany):detailofthebackpanel.Museede1’OeuvreNotre-Dame,Strasbourg;
— (4)TheTwoLovers (RootingPair)(anonymous,ca1470,Southern Germany):detailoftheback
panel.Musee de1’Oeuvre Notre-Dame,Strasbourg.
248 A.L.Carvalho
dressadornedwithdragonflies couldbe areferencetoPolyhymnia, themuseof
therhetoricandthegeometry. Asthegeometricfigure onthedress fabric clearly
outlinesthe basic formand proportions ofthe represented dragonfly, the sym-
bolicmeaning ofthese two maywellbethesame.Thegeometricfigure seems to
be derivedfromtheconstructionofthe“Vesica Pisces”, oneofthemoreimpor-
tantgeometricconfigurations intheChristianmysticismoftheMiddleAges,that
inspired the designof gothiccathedrals(LAWLOR, 1996).The “VesicaPisces”
isobtainedby theintersectionoftwo equalcircles passing througheachotherat
theircentres. Inthiscase,thehexagons are directderivationsfromthisconfigura-
tion,and consequently theresulting intersectionbetweenthe hexagons isaloz-
engeinsteadofapointed oval figure. Probably thischangewas madeinorderto
representbettertheoutlineofadragonfly. Thiskindof diagramis asymbol for
thebalance, proportionality andhumanconscience, andeven forChrist(LAW-
LOR, 1996). Lorenzetti includedin hisfrescomanysymbols ofprosperity and
good luck, restating thethemeof“Good Government”atseveral differentlevels
ofobservation, andwe couldconsiderthe dragonflies one ofthese symbols.
THETWOLOVERS(ROOTING PAIR)
(LesAmantstrepasses,anonymous,ca 1470,Schwaben, SouthernGermany)
(Figs 3,4)
Thisanonymousdiptychpanel, thathasnowbeensplitintotwo separatepaint-
ings, originally formed the frontandthe back of thesame work. Thepaintings
(oil on wood, 62.2 x 36.5 cm) are in the collectionsof TheClevelandMuseum
of Art, Cleveland(Ohio), USA(Bridal Pair)andthe Museede1’Oeuvre Notre-
-Dame, Strasbourg, France(Rooting Pair).
Theoriginal frontpanelshows ayoungmarriedcouple wearingjewelledchaplets
andmatchingfinedresses, colouredby red, damask, whiteandgreen.Theyouth
hashisright armaroundthe waistofhis brideandisoffering herasmallbranch
ofbluishwildflowers, similarto theonesofhischaplet andoftheflowerybushes
around them.Theback panel, themoreimportant forthis note,shows the two
loversturned intocorpses (as seen inCAMILLE, 1998and DUPEUX, 1999).
Thebackground is entirelydark. Theirpositions are now reversedand without
dresses, coveredinsomeparts, asthegenitals ofthegroom,bytheirshrouds. The
genitals ofthewoman’scorpsearecoveredbyonefrog*.Whilesnakesandworms
are emergingfromtheirtrunksandfliesare perched onthewoundsoftheirlegs,
two dragonflies, oneovereachone, canbe distinguished. Thedragonfly perched
* “...Especiallyin the Middle Ages,toads[andfrogs?] areusedin artisticrepresentationsofthe
punishmentsofthedamned... Thosedamned bythesin oflust arepunishedbyhavingtheirsexual
parts eatenby toads andotherreptiles...”(SUZETTATUCKER, 1997 - hllp:llww2.netnitco.net/
usersIlegendOIlfrog.htm).
Odonata paintingsfromtheLate Middle Ages 249
on theright armoftheman’scorpse(Fig. 3) isrepresented dorso-laterally, with
a globularhead, including alargeface;eyes distinctlyseparated dorsally; strong
thorax; long and diaphanous wings positioned dorsally; threepairs of legs, di-
rectedlaterally; longabdomen, enlarged apically; bodyblack withdistinctbright
yellowish-green spots disposed as follows:anteriorpart of face, frontalpartof
thorax (a pair ofstripes forming akind ofinverted“U”), lateralof sinthorax,
lateralofbaseofabdomen, lateralsofcorresponding 8thand9thabdominalseg-
ments.TheOdonatarepresented overtheleftfootofthewoman’scorpse(Fig.4)
is positioned dorso-laterally, witha smalland transversally elongate head; thin
thorax; longwings poorly defined,reddish, directedlaterally; threepairsoflegs,
directedlaterally; longabdomen, apexpoorly defined; body dark.
It is possible toattributethatthe modelforthe Odonatarepresentation over
theman’s corpsewas probably amalespecimen ofdragonfly Gomphus vulgatis-
simus(L.), dueto thedetailsofthebody formandcolourpattern.Inthecaseof
theOdonataover thewoman’scorpseprobably a femalespecimen of Calopteryx
damselfly, possible C. virgo(L.),was used as amodel.Theuncommonposition
ofthe wings and legs ofbothsuggest that probably themodelswere captured
andpositioned forrepresentation. ThewingsoftheGomphus specimen mayhave
been broken.
Thefocus of fascinationof this panel forbothartistand patronseems tobe
not the sideof love, youth,andbeauty, which hasanempty, conventionalpati-
naaboutit,butthatof death,oldage,and decay, whichis afar morevividand
modempainting andprovides moreavenues forapublicexploration oftheself
(CAMILLE, 1998).Themoralbehindthis pair ofpaintings is toalertthat old
age anddeath inevitably overtake youth, that allworldly pleasures are tempo-
rary, andto emphasize thepresent youth andbeauty oftheyoungcouple. The
twoOdonatarepresented intheback panelcanbeclearlyinterpreted assymbols
forthesouls ofthecouple, consequently implying intheirtransformationafter
deathand eternallife. The appearanceof these Odonata over the corpses can
announceanew“spring” (as in the frontpanel) fortheexistence ofthe couple
afterthe “winter”(the oldage and death) oftheirexistence. Thepainter could
haveusedthesamemodelforthetwo souls, butprobably preferred todifferenti-
ate themby theirtemperaments,choosing astrong dragonfly forthemananda
delicate damselfly forthewoman. As forthe firstflowerstill lives, deathmotifs
wereoriginally paintedonthereverse sideofportraits.Subsequently theybecame
arecurring iconographic componentinalargenumberofvariantsofthestilllife
genreduring the Renaissanceperiod (Vanitas still lives). They were intendedto
symbolize man’smortalnatureandto anticipatethefuturestateofthepersonin
theportrait(SCHNEIDER, 1994). Suchkindof images, very commonin Euro-
peanliteratureand artsafterthe BlackDeath(DUBY, 1998),areknownas me-
mento mori(remindersof death).
250 A.L. Carvalho
HASTINGSHOURS
(anonymous, ca 1480[before 1483],Ghentor Bruges [Flandres], Belgium)
(Fig. 5)
During thefourteenthcentury, the Bookof Hourseclipsed the Psalteras the
favouredbook of private devotion.Thecentraltext ofaBookof Hoursis the
Office of the Virgin, and the penitential psalms are almost invariably included
(TEVIOTDALE, 1992). TheBook ofHours known as “Hastings Hours’’ was
probably madeinGhent or Bruges foruse in England by William, Lord Hast-
ings (born ca 1430, died 1483). Itwas composed originally of 297foliosin one
richly illustrated volume, butsome ofthepageswere lost.Nowthis manuscript
is preserved in the British Library, London(Additional Ms54782) (http.llmol-
cat.bI.uk/msscatlINDEX.ASP).Sometextpagesaresurroundedbyextremelyfine
examples ofillusionist strew-borders, including foliage andnaturalisticflowers,
insectsandothersmall animalsset against gildedor colouredbackgrounds.
Thefolio 132r.,inthe sectionofthe book dedicatedto the Hoursofthe Vir-
gin,presents themarginsofthetextdecoratedwithflowers(irisblossomsandor-
chids),asnail, threebutterflies, twofliesanda damselfly (asseeninBARTLETT,
2001). ThispagepresentstwoLatintexts, theResponse“Deusinadiutoriummeum
intende...”(“God, make speed to save me...”) and the beginning of Psalm 121
“Laetatussum inhis quaesunt mihi...”(“Iwas gladwhenthey saidunto me...”).
The damselfly isrepresented laterally, withalarge headbearing apair oflateral
eyes andprominent face; thorax brown; long diaphanous wings closeddorsal-
ly, with longitudinal veins subtly indicated; three short legs flexed anddirected
downwards; longandclearlysegmented abdomen, colouredwithblackandblue
stripes.
Fig. 5.HastingsHours(anonymous,ca1480[before1483],GhentorBruges):detailofthefolio 132
r. the BritishLibrary, London.
Odonatapaintingsfromthe LateMiddleAges 251
Thepossible modelforthisrepresentation wasaspecimenof Coenagrion.Rep-
resentationsin similarstyle are foundinthe printed treatisesof animalsof the
latercenturies,asthoseofofK.Gesner,T. MouffetandJ. Jonston(e.g.GESNER,
1983; JONSTONS, 1976),andinflowerstilllivesoftheRenaissanceperiod.The
accurate proportions ofthesmallanimalsandplantsrepresented intheillustra-
tionsuggest the artist’sintentionof naturalismand illusionofreality. Illusion-
ismarose inthe lateMiddleAges andbecameanimportant creativeprinciple in
thehistoryofstilllife.Thisphilosophy was aradicalvariantoftheemerging 15th
century empiricism in art,which nolonger sought inspiration in oldermaster-
works but increasingly in immediateexperience andobservation. “Imitationof
nature”wasthemotto,whichrecurredagainandagaininallRenaissancetreatises
on art (SCHNEIDER, 1994), andprobably this BookofHours containssome
ofthe first examples of painted flower stilllives.The inclusionof someinsects
and other small “garden” animals, a very commonfeature inthe Renaissance
flowerstill lives, showsa clearintentionoffurnishing anaturalisticambienceto
thepainting and, maybe, akindofencyclopaedic register oftheflowersandin-
sects aroundtheartist’sliving place(SCHNEIDER, 1994). However, theinsects
seemtobeincludedprimarilyas symbols forthebrevity oflife,andwereadded
as amoralisticsign warning thatmaterialrichnesswas not themost important
thingsin life. Asnoted intheintroduction, thejointrepresentation offlies, but-
terfliesand dragonflies mayeven bea symbol forChrist (DICKE, 2000).
CONCLUSIONS
Aswemightexpect, theknownrepresentations ofOdonatafromthelateMiddle
Ages, madeindifferentplaces andages,donot showany representational pattern
or clearsymbolism. Theirinclusioninawork of art can always be interpreted
as a symbol to complement orreinforcean idea, and theirmeaning ineach of
therepresentations studiedseems tobe different.Beit as itmay,probably in the
timeofJ.PucelleandA.Lorenzettidragonflies anddamselfliesweremessengers
of good fortuneandsignaturesofthesoul(life afterdeath, change,rebirth) and
love, asthebutterflieshavebeensinceantiquity(COSTA-NETO, 2002;HOGUE,
1987; http.llwww.insects.orglced4lbutterfly_symhols. html),andtheirappearancein
theworksstudiedmayperfectlycorroboratetheideasexposed by DICKE(2000).
Nowadays inthe occidentalsocietyis stillvery commonto correlatedragonflies
withdesincarnatesouls(e.g. http:llwww.crystalinks.comldragonfly.html).
Concerning therepresentational elements, RUDOLPH (1991) affirmsthatthe
slightly prolonged antennae is a commonfeatureofearly Odonata illustrations,
giving a somewhatneuropteroid appearanceto theirheads. Thefive depictions
described here are not in accordancewith hisproposition, sincein all ofthem
theantennae are notrepresented. Maybe theilluminatorsoftherepresentations
observedbyhimdidnot usemodelsandmixedelementsof neuropteroid insects
252 A.L.Carvalho
(e.g.adultantiions) withthoseofOdonata.RUDOLPH (1991) consideredthata
Gutenberg Bible,withilluminationsdatingfrom 1456, containstheoldestknown
European paintings ofOdonata, buttwo ofthe representations here described
are morethanonehundredyearsolder.So, the damselflypaintedintheBelleville
Breviary (ca 1323-1326), certainly basedon amale Calopteryxspecimen, is the
oldestknownEuropean representation ofOdonatayet.
Duringthisstudy, areproduction ofthe 1495copperplate engravingofAlbrecht
Diirer(1471-1528), traditionally knownas “TheHoly Family withthe Dragon-
fly”(or “TheVirgin withtheDragonfly”), was examined.In spiteofthecurrent
title,the insect represented was notreally adragonfly. Thedubiousinsectrepre-
sentation, positioned in theright corner ofthescene, has long, apically clubbed
antennae andwide, short wings, like abutterfly. However, thelong, thin abdo-
menand the long legs, especially thejumping hind pair,suggesta grasshopper.
Thisambiguitywas also pointed outby STRAUSS(1972).
ACKNOWLEDGEMENTS
Iwould like toexpressmythanks tomycolleaguesDrsDANTEM.TEIXEIRAandRENNER
BAPTISTA(MuseuNacional,UFRJ.Brazil),forthecritical readingofthe manuscript,andtoDr
MARCELDICKE (WageningenUniversity, theNetherlands)andM.JILLLUCAS(Huddersfield,
UK),forprovidingsomeliterature.ThisstudywassupportedinpartbyFundagaodeAmparoaPes-
quisadoEstado doRio deJaneiro(FAPERJ)and FundagaoJose Bonifacio (FUJB).
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