This is an investigation of the epic poetry produced in and about the Ibero-American world during the early modern period (sixteenth to eighteenth centuries) in trilingual perspective: in addition to the more familiar Spanish- and Portuguese-language texts, consideration is also––and, for the purposes of the thesis, above all––given to material in Latin. Latin was the third of the international literary languages of the Iberian imperial world; it is also by far the most neglected, having fallen between the cracks of modern disciplinary boundaries in their current configurations. The thesis seeks to rehabilitate the Latin-language component as a fully-fledged member of the Ibero-American epic tradition, arguing that it demands to be analysed with reference not only to the classical and classicising traditions but to those same themes and concerns––in this case, the centre|periphery binary––as are investigated for counterparts when in Spanish or Portuguese. The crucial difference is that––while the ends may be the same––the means of thematising these issues derive in form and signifying power from interactions with the conceptual vocabularies and frameworks of the Greco-Roman epic tradition. How is America represented and New World space figured––even produced––in a poetic idiom first developed by ancient Mediterranean cultures with no conception whatsoever of the continent of the western hemisphere? At the core is one such long neglected Ibero-American Latin-language epic by a figure who lived across the Iberian imperial world: the 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza, 1777) by Catalan-born Jesuit José Manuel Peramás. Peramás’s epic––which has never been the subject of a literary-critical study before––is offered as a test case: an exercise in analysing a Latin-language Hispanic epic qua Hispanic epic and setting it into Ibero-American literary-cultural context. This is to be understood in relation to the field of so-called ‘New World poetics’: an at present emergent zone of inquiry within Iberian colonial studies which until now has been developing almost completely without reference to the Latin-language portion of the corpus.

This thesis explores the extent to which elite women of the eighteenth century commissioned architectural works and the extent to which the type and scale of their projects was dictated by their marital status. Traditionally, architectural historians have advocated that eighteenth-century architecture was purely the pursuit of men. Women, of course, were not absent during this period, but their involvement with architecture has been largely obscured and largely overlooked. This doctoral research has redressed this oversight through the scrutinising of known sources and the unearthing of new archival material. This thesis begins with an exploration of the legal and financial statuses of elite women, as encapsulated by the eighteenth-century marriage settlement. This encompasses brides’ portions or dowries, wives’ annuities or ‘pin-money’, widows’ dower or jointure, and provisions made for daughters and younger children. Following this, the thesis is divided into three main sections which each look at the ways in which women, depending upon their marital status, could engage in architecture. The first of these sections discusses unmarried women, where the patronage of the following patroness is examined: Anne Robinson; Lady Isabella Finch; Lady Elizabeth Hastings; Sophia Baddeley; George Anne Bellamy and Teresa Cornelys. The second section explores the patronage of married women, namely Jemima Yorke, Marchioness Grey; Amabel Hume-Campbell, Lady Polwarth; Mary Robinson, Baroness Grantham; Sarah Churchill, Duchess of Marlborough; Frances Boscawen; Elizabeth Herbert, Countess of Pembroke and Montgomery; Henrietta Knight, Baroness Luxborough and Lady Sarah Bunbury. The third and final section discusses the architectural patronage of widowed women, including Susanna Montgomery, Countess of Eglinton; Georgianna Spencer, Countess Spencer; Elizabeth Somerset, Duchess of Beaufort; Elizabeth Home, Countess of Home; Elizabeth Montagu; Mary Hervey, Lady Hervey; Henrietta Fermor, Countess of Pomfret; the Hon. Charlotte Digby; the Hon. Charlotte Boyle Walsingham; the Hon. Agneta Yorke and Albinia Brodrick, Viscountess Midleton. Collectively, all three sections advocate that elite women were at the heart of the architectural patronage system and exerted more influence and agency over architecture than has previously been recognised by architectural historians.

Depuis l’introduction du premier théâtre chinois en Europe au XVIIIe siècle, le sujet chinois exerce un fort attrait sur les dramaturges européens, dont les réécritures dramatiques témoignent d’une évolution sensible du genre tragique. L’enjeu de cette thèse est de faire découvrir le processus de réécriture théâtrale qui, à travers les choix esthétiques et idéologiques qu’elle traduit, manifeste à la fois l’engouement des auteurs pour l’exotisme, leur attachement à la tradition et leur désir d’innovation. La démarche adoptée est à la fois transtextuelle et transculturelle. Les modalités de la réécriture, de l’Orphelin de la maison de Tchao de Ji Junxiang à l’Orphelin de la Chine de Voltaire et à The Orphan of China de Murphy, sont abordées par l’analyse des liens de filiation ou de rupture entretenus par les auteurs avec leurs textes-sources. L’examen de la dramaturgie montre que la réécriture des Orphelins, comme pratique théâtrale interculturelle et interlangagière, entraîne une modification profonde de la nature du texte théâtral. Cette thèse examine d’abord le contexte historique, puis les éléments dramatiques de la réécriture de la tragédie chinoise dans l'Europe des Lumières, afin de saisir le sens accordé par Voltaire et Murphy à ce sujet chinois, qu’ils renouvellent en profondeur. / Since the introduction of the first Chinese drama in Europe in the eighteenth century, the Chinese subject exerts a strong attraction on European playwrights whose dramatic rewritings reflect a sensitive evolution of the tragic gender.The aim of this thesis is to show the process of theatrical rewriting, which through the authors’ aesthetic and ideological choices, demonstrates their passion for exoticism, their attachment to tradition and their desire for innovation. This thesis basically takes a transtextual and transcultural approach. The modes of rewriting from Ji Junxiang’s The Orphan of the house of Tchao, to Voltaire’s L’Orphelin de la Chine and to Murphy’s The Orphan of China is tackled by analyzing the relation maintained by authors in accordance with their texts-sources. This dramaturgical study shows that the rewriting of the Orphans, as intercultural and interlanguage theatrical practice, leads to a profound change in the nature of the theatrical text. This thesis discusses firstly the historical context, secondly the dramatic elements of Chinese tragedy’s rewriting in the European Enlightenment, in order to better grasp the meaning given by Voltaire and Murphy to this Chinese subject, which they renovate in depth.

La Bibliothèque universelle des romans (1775-1789, 224 vol.) est une collection littéraire périodique à vocation vulgarisatrice, apparue sous l’initiative du marquis de Paulmy dont la bibliothèque personnelle (actuelle Arsenal) fournit le matériau de départ, et que celui-ci dirigea des commencements à l’année 1779. L’étude du traitement réservé à la littérature médiévale dans cette importante collection soulève plus généralement la question de sa réception à la fin du XVIIIe siècle et de la place qu’occupent la BUR et ses rédacteurs dans l’histoire des études littéraires. Notre travail a consisté d’abord à identifier les collaborateurs du périodique, leur rôle respectif et leurs sources. Le passage d’un réservoir précis de textes à une bibliothèque romanesque imprimée passe dans la BUR par la pratique de l’extrait, technique dont nous nous sommes attachés à montrer qu’elle aboutissait, de recherches en essais, à la formation d’un véritable genre critique. De ce corpus d’extraits émerge en effet, sous la plume des rédacteurs de la BUR, l’élaboration d’une histoire littéraire dont il s’agit de présenter ici les résultats. / The Bibliothèque universelle des romans (1775-1789, 224 vol.) is a literary periodical collection with a non-scientific claim, initiated by the marquis de Paulmy whose personal library (now the Arsenal Library) provided the first material. Paulmy managed it from the beginning until 1779. The way this important collection deals with medieval literature raises the general question of its reception at the end of the 18th century, and the role occupied by the BUR and its authors in the history of literary studies. Our work primarily consists in identifying the contributors, their relative part in the laboratory of the Arsenal, and their source materials. The transition from a specific corpus of texts to a printed library of novels requires, in the BUR, the practice of extracting, an approach, as we try to show, that results –from research to testing– in the creation of a real critical genre. From this corpus of extracts emerges indeed, under the pen of the BUR’s authors, the formulation of a literary history that we intend to present in this work.

In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.

This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.

Ce mémoire analyse l’honneur féminin à Montréal entre les années 1698 et 1756. Il observe les dynamiques de pouvoir dans lesquelles s’inscrivent les femmes justiciables à travers la problématique de la perte ou de la remise en question de l’honneur. Les archives de procès pour séduction, viol, prostitution et calomnies constituent la base de cette recherche. Au XVIII e siècle, l’honneur est un capital absolument essentiel, puisque sans lui les individus risquent la marginalisation. L’honneur féminin est primordialement lié à la sexualité et la justice joue à l’avantage ou au désavantage des femmes en fonction principalement de l’écart commis par rapport aux normes sexuelles. L’analyse se concentre principalement sur les justiciables, les dynamiques de pouvoir entre les femmes et les hommes justiciables, mais aussi entre les femmes et la société. L’analyse des dynamiques de pouvoir se fait en accordant une grande place à l’agentivité féminine et en prenant en compte l’imbrication des rapports de pouvoir dans lesquelles elles évoluent. Une approche intersectionnelle est donc mise de l’avant. Des questions importantes sont posées : comment le genre, l’ethnie et la catégorie sociale influence le déroulement de la justice ? Est-ce que la justice joue le même rôle pour toutes les femmes en justice pour une question d’honneur ? Quel facteur influence le traitement différentiel des femmes dans ce cas ? Ces questions trouve réponse par l’analyse du statut social des justiciables, des rapports de pouvoirs entre hommes et femmes et entre les femmes et leurs familles et leurs voisinages ainsi que par l’analyse du traitement que la justice à réservé aux femmes en fonction du type de procès. / This thesis analyses the women that came before the judiciary system in Montreal for a question of honour between 1698 and 1756. The analysis focuses on the power dynamics experience by these women. Seduction, rape, prostitution and slander trial archives serve as the basis for this study. In eighteenth-century Montreal, honour an essential capital to possess because without it women could experience marginalization within the society. Female honour essentially linked to their sexuality and the justice system going to either help or harm the women depending on the transgression of the sexual norms in place in the society. The analysis will focus on the litigants, on the power dynamics between the women and the men and between the women themselves. On the one hand, this study accords an extreme importance to the agency of the principal actors in the trials. On the other hand, this study focuses on the intersectional power dynamics. In this thesis, we ask: how does gender, race and social status influence the course of justice? Does justice play the same role for every woman in a trial linked to her honour? Which factors influence the differential treatment of the women during a trial? I will answer these questions by analyzing the litigants, the power dynamics between the men and the women and between the women themselves and the relations between the women, their family and the society.

After the premiere of Don Giovanni in Prague, Wolfgang Amadeus Mozart and Lorenzo Da Ponte brought their opera to Vienna on May 7, 1788. One point of interest in the Viennese version of the score is the added duet “Per queste tue manine.” In this duet, the enraged Zerlina overpowers the bewildered servant Leporello with a handkerchief, a razor, and passion. She constrains the floundering fool and punishes him for his misconduct. In most modern performances, companies look no further than the Prague version of the score. Additionally, singers often portray Zerlina as either a mischievous temptress or a virginal peasant girl. Since modern opera companies often dismiss the Viennese score of Don Giovanni as insignificant and scholars often deem the role of Zerlina as simplistic, a holistic analysis of the role of Zerlina is needed. Viewing the interpretations of her character by Kristi Brown-Montesano and Wye Jamison Allanbrook through the lens of eighteenth-century gender politics and my own musical and literary interpretations results in a more complete understanding of the peasant girl. Through an analysis of the Viennese version of Zerlina’s character, I contend that Zerlina functions as a mirror-image foil to Don Giovanni. As Zerlina gains autonomy through the control of her own body, the Don loses his power over others and eventually his own life. This multi-dimensional understanding of Zerlina’s character is only possible if “Per queste tue manine” is taken into consideration.

Natural resins have been in use for a long time and for manifold purposes resulting in a long and complex terminological history. The investigation of this history has so far been based on the connection between nomenclature and chemical composition. Because resin chemistry and the botanical classification of source plants are connected as well, the investigation of natural resins can be enhanced by adding taxonomy as an additional dimension, providing a more complex and complete picture of resin chemistry and resin use. The Vigani Cabinet, a collection of 300-year-old pharmaceutical and chemical materials owned by Queens’ College, Cambridge (UK), allows doing just that. A wide range of historical literature provides information about contemporary terminology, botanical and geographical origin, manufacture, trade and properties of resinous materials from the 18th century. This contemporary context is a particular feature of the Cabinet, which allows adding a historical dimension to the correlations between terminology, chemical composition and taxonomy. The dissertation thesis presented here provides an investigation of 17 botanical, 80 reference materials and samples from 24 natural resins from the Vigani Cabinet, studying these complex correlations and changes over time. The analytical method employed in this study was gas chromatography-mass spectrometry (GC-MS) with and without methylation with trimethylsulfoniumhydroxide. This technique provided detailed molecular compositions of the studied materials. Analysed botanical samples are taken from Pinaceae, Cupressaceae and Pistacia resins, commerical references from Araucariaceae, Copaifera, Fabaceae, Myroxylon and Burseraceae. Additionally, the soluble fraction of Baltic amber was analysed. Materials from the Vigani Cabinet analysed in this work were labelled as "turpentines", "pix burgundica", "sandaracha", "copaiba", "balsamum peruvianum and tolutanum", "mastiche", "anime", "copal", "elemi", "tacamahaca" and "succinum". Historical nomenclature of natural resins has not always been unequivocally associated with a botanical origin. The availability of natural resins changed throughout the centuries. Lack of knowledge, in particular about resins from over-seas, or adulterations resulting from changing harvesting methods, led to changes in trade names or variations in the composition of products traded under the same name. Generic names were used for resins with similar properties but different botanical (and geographical) origin. The thesis shows that a chemotaxonomic reference system is suitable for the identification of unknown resinous materials, and a number of new insights into the nomenclature of natural resins from the 17th and 18th century is obtained. The study of historical literature contributed in a significant way to the historico-cultural and archeometric research of the samples from the Vigani Cabinet and of natural resins in general and provided a basis for the interpretation of the chemical data from the Vigani samples.:CONTENTS 1 INTRODUCTION 1 1.1 Natural resins in a historical and modern context 1 1.2 The Vigani Cabinet and its historical background 3 1.3 Aim of the thesis - outline 6 2 LITERATURE REVIEW 8 2.1 Gymnosperm resins – conifer resins and products 9 2.1.1 Pinaceae 9 2.1.2 Cupressaceae 17 2.1.3 Araucariaceae 20 2.2 Angiosperm resins I – Fabales 21 2.3 Angiosperm resins II – Sapindales 30 2.3.1 Anacardiaceae 30 2.3.2 Burseraceae 35 2.3.3 Rutaceae 43 2.4 Fossil resins 45 2.5 Summary and research deficits 49 3 EXPERIMENTAL 53 3.1 Coupled gas chromatography and mass spectrometry 53 3.1.1 Materials 53 3.1.2 Sample preparation 54 3.1.3 Instrumentation 54 3.1.4 Data-Evaluation 58 3.2 Fourier transformation infrared spectroscopy 60 3.2.1 Sample preparation 61 3.2.2 Instrumentation 61 3.2.3 Data evaluation 61 4 RESULTS – REFERENCE MATERIALS 62 4.1 Gymnosperm resins – conifer resins and products 62 4.1.1 Pinaceae – Coniferous turpentines 62 4.1.1.1 Phytochemical markers – detection of adulterations 62 4.1.1.2 Aging by heat and light 73 4.1.2 Cupressaceae – Sandarac 80 4.1.3 Araucariaceae – Coniferous copals 88 4.1.4 Discussion 91 4.2 Angiosperm Resins I - Fabales 94 4.2.1 Copaifera – Copaiba balsam 94 4.2.2 Legume copals 102 4.2.3 Myroxylon – Balsam of Tolu and Peru 108 4.2.4 Discussion 117 4.3 Angiosperm resins II - Sapindales 120 4.3.1 Anacardiaceae – Pistacia resins 120 4.3.2 Burseraceae – Elemi, copal and others 127 4.3.3 Discussion 142 4.4 Fossil resins 144 4.4.1 Baltic amber 144 4.4.2 Discussion 153 4.5 Summary and research deficits 155 5 RESULTS – RESINOUS MATERIALS FROM THE VIGANI CABINET 160 5.1 Gymnosperm resins – conifer resins and products 162 5.1.1 1/8 Terebin. Strasb. 163 5.1.2 1/9 Tereb Com 170 5.1.3 1/10 Venice Turpentine 176 5.1.4 1/11 Venic. Turpent. 183 5.1.5 1/13 Tereb E Chio 188 5.1.6 A/23 Pix Burgundica 194 5.1.7 A/26 Sandaracha 203 5.2 Angiosperm resins I - Fabales 210 5.2.1 1/4 Balsam Cipivi 211 5.2.2 A/5 Gum Animi 218 5.2.3 La2/7 Unknown resin 228 5.2.4 1/31 Bals Peruv 230 5.2.5 2/1 Bals Peru 237 5.2.6 Z/17 Balsam Tolutanum 240 5. 3 Angiosperm resins II – Sapindales 245 5.3.1 A/11 Mastiche 246 5.3.2 1/14 Tereb i E Cypri 252 5.3.3 A/21 Gum Copal 258 5.3.4 A/24 [.] Elemi 268 5.3.5 A/22 Tacamahaca 276 5.3.6 Z/1 Tacamahaca 283 5.4 Fossil Resins 287 5.4.1 E/13 Succinum Citrinum 288 5.4.2 E/14 Succinum flavan 295 5.4.3 E/15 Succinum albam 302 5.4.4 E/16 Succinum nigram 307 5.4.5 F/13 L. Gagatis 313 6 CONCLUSIONS 316 7 REFERENCES 324 APPENDIX 365 Investigated materials from the Vigani Cabinet 366 Annotated list of historical literature 367 List of figures 374 List of tables 379 Compound lists 381 Atlas of mass spectra 422 / Naturharze werden schon lange für sehr unterschiedliche Zwecke verwendet. Dies hat zu einer oft komplizierten Terminologie geführt, deren Untersuchung sich bisher auf den Zusammenhang zwischen dem Namen des Harzes und seiner chemischer Zusammensetzung stützte. Letztere ist aber auch mit der botanischer Herkunft und damit der Biochemie der Stammpflanze verknüpft, weshalb man chemotaxonomische Aspekte für die systematische Untersuchung von Naturharzen als zusätzliche Variablen nutzen kann. Dadurch erhält man, wie die gezeigt werden soll, ein vollständigeres und komplexeres Bild der Chemie und Nutzung von Naturharzen. Die hier präsentierte Untersuchung beschäftigt sich mit dem Vigani-Kabinett, einer 300 Jahre alten pharmazeutischen Materialiensammlung, die sich im Queens‘ College, Cambridge (UK), befindet. In der Literatur des ausgehenden 17. und des 18. Jahrhunderts finden sich zahlreiche Informationen zu Terminologie, botanischer und geographischer Herkunft, Verarbeitung, Handel und Eigenschaften von Naturharzen. Dadurch wird die historische Dimension des oben beschriebenen Zusammenhangs zwischen Terminologie, chemischer Zusammensetzung und Taxonomie erfahrbar. In der Arbeit werden 17 botanische Proben, 80 moderne Referenzmaterialien und 24 Proben aus dem Vigani-Kabinett im Hinblick auf diese Zusammenhänge und Veränderungen untersucht.Die chemischen Analysen wurden mit gekoppelter Gaschromatografie-Massenspektrometrie mit und ohne Methylierung mit Trimethylsulfoniumhydroxid durchgeführt. Damit konnte die molekulare Zusammensetzung der Proben detailliert untersucht werden. Die untersuchten botanischen Proben stammten von Pinaceae, Cupressaceae und Pistaciaharzen, kommerzielle Referenzen von Araucariaceae, Copaifera, Fabaceae, Myroxylon und Burseraceaeharzen. Zusätzlich wurde noch die lösliche Fraktion von Baltischem Bernstein untersucht. Die untersuchten Proben aus dem Vigani-Kabinett waren sowohl englisch als auch Latein mit "turpentines", "pix burgundica", "sandaracha", "copaiba", "mastiche", "anime", "copal", "elemi", "tacamahaca", "balsamum peruvianum and tolutanum" und "succinum" beschriftet. Zusammenfassend lässt sich sagen, dass die historische Nomenklatur von Naturharzen nicht immer eindeutig mit ihrem botanischen Ursprung verknüpft war. Zusätzlich veränderte sich die Erhältlichkeit der Harze im Laufe der Jahrhunderte. Durch fehlendes Wissen, insbesondere für Materialien und Pflanzen aus Übersee, oder Verfälschungen aufgrund von veränderten Fördermethoden veränderten sich die Handelsnamen dieser Materialien oder die Zusammensetzung von Materialien, die unter demselben Namen gehandelt wurden. Harze mit ähnlichen Eigenschaften aber unterschiedlichen botanischen (und geographischen) Ursprungs trugen generische Namen. Die Arbeit zeigt jedoch, dass ein chemotaxonomisches Bezugssystem die Identifizierung von unbekannten Harzen ermöglicht, und zeigt eine Reihe neuer Erkenntnisse über die Nomenklatur von Naturharzen des 17. und 18. Jahrhunderts. Die Untersuchung historischer Quellen trug dabei sehr zur Erhellung des historisch-kulturellen und archeometrischen Hintergrundes und zur Interpretation der chemischen Daten der Vigani-Proben bei.:CONTENTS 1 INTRODUCTION 1 1.1 Natural resins in a historical and modern context 1 1.2 The Vigani Cabinet and its historical background 3 1.3 Aim of the thesis - outline 6 2 LITERATURE REVIEW 8 2.1 Gymnosperm resins – conifer resins and products 9 2.1.1 Pinaceae 9 2.1.2 Cupressaceae 17 2.1.3 Araucariaceae 20 2.2 Angiosperm resins I – Fabales 21 2.3 Angiosperm resins II – Sapindales 30 2.3.1 Anacardiaceae 30 2.3.2 Burseraceae 35 2.3.3 Rutaceae 43 2.4 Fossil resins 45 2.5 Summary and research deficits 49 3 EXPERIMENTAL 53 3.1 Coupled gas chromatography and mass spectrometry 53 3.1.1 Materials 53 3.1.2 Sample preparation 54 3.1.3 Instrumentation 54 3.1.4 Data-Evaluation 58 3.2 Fourier transformation infrared spectroscopy 60 3.2.1 Sample preparation 61 3.2.2 Instrumentation 61 3.2.3 Data evaluation 61 4 RESULTS – REFERENCE MATERIALS 62 4.1 Gymnosperm resins – conifer resins and products 62 4.1.1 Pinaceae – Coniferous turpentines 62 4.1.1.1 Phytochemical markers – detection of adulterations 62 4.1.1.2 Aging by heat and light 73 4.1.2 Cupressaceae – Sandarac 80 4.1.3 Araucariaceae – Coniferous copals 88 4.1.4 Discussion 91 4.2 Angiosperm Resins I - Fabales 94 4.2.1 Copaifera – Copaiba balsam 94 4.2.2 Legume copals 102 4.2.3 Myroxylon – Balsam of Tolu and Peru 108 4.2.4 Discussion 117 4.3 Angiosperm resins II - Sapindales 120 4.3.1 Anacardiaceae – Pistacia resins 120 4.3.2 Burseraceae – Elemi, copal and others 127 4.3.3 Discussion 142 4.4 Fossil resins 144 4.4.1 Baltic amber 144 4.4.2 Discussion 153 4.5 Summary and research deficits 155 5 RESULTS – RESINOUS MATERIALS FROM THE VIGANI CABINET 160 5.1 Gymnosperm resins – conifer resins and products 162 5.1.1 1/8 Terebin. Strasb. 163 5.1.2 1/9 Tereb Com 170 5.1.3 1/10 Venice Turpentine 176 5.1.4 1/11 Venic. Turpent. 183 5.1.5 1/13 Tereb E Chio 188 5.1.6 A/23 Pix Burgundica 194 5.1.7 A/26 Sandaracha 203 5.2 Angiosperm resins I - Fabales 210 5.2.1 1/4 Balsam Cipivi 211 5.2.2 A/5 Gum Animi 218 5.2.3 La2/7 Unknown resin 228 5.2.4 1/31 Bals Peruv 230 5.2.5 2/1 Bals Peru 237 5.2.6 Z/17 Balsam Tolutanum 240 5. 3 Angiosperm resins II – Sapindales 245 5.3.1 A/11 Mastiche 246 5.3.2 1/14 Tereb i E Cypri 252 5.3.3 A/21 Gum Copal 258 5.3.4 A/24 [.] Elemi 268 5.3.5 A/22 Tacamahaca 276 5.3.6 Z/1 Tacamahaca 283 5.4 Fossil Resins 287 5.4.1 E/13 Succinum Citrinum 288 5.4.2 E/14 Succinum flavan 295 5.4.3 E/15 Succinum albam 302 5.4.4 E/16 Succinum nigram 307 5.4.5 F/13 L. Gagatis 313 6 CONCLUSIONS 316 7 REFERENCES 324 APPENDIX 365 Investigated materials from the Vigani Cabinet 366 Annotated list of historical literature 367 List of figures 374 List of tables 379 Compound lists 381 Atlas of mass spectra 422

This project is a diplomatic transcription and English translation of a passage from an 18-century manuscript that chronicles a remarkable Portuguese embassy to China (Macau). The embassy embarked from Lisbon in February 1752, sailing in a luxuriously outfitted ship (Nossa Senhora da Conceição e Lusitânia Grande), in convoy with a warship (Nossa Senhora das Brotas). The English translation is important because it makes the account accessible to scholars who lack familiarity with Portuguese.This voyage to China is remarkable in light of the long history of maritime loss by the Portuguese. Although the normal projected loss of life on this route was 20%, this journey was made without one death. Some of the most fascinating aspects of the journey include the following: a) how the intrepid crew of the Nossa Senhora (most of whom were novices) and the passengers dealt with bad weather at sea; b) the religious rites conducted during the voyage by Jesuit priests en route to the Far East missions, which the passengers firmly believed mitigated the dangers and were thus responsible for their safe journey; c) the intriguing political maneuvering between the Portuguese and Chinese in Macau; and d) the meticulous descriptions of the different cultures, peoples and places encountered on the journey.