This study aimed to evaluate the safety and efficacy of a method of using nickel-titanium rotary instruments for preparing the C-shaped root canal system. Forty-three human mandibular second molars with a C-shaped canal configuration were prepared with a crown-down approach to an apical dimension of size 30 by using a combination of ProFile and HERO instruments. Micro-computed tomography was used to examine the canal diameter and the remaining thickness of the dentin wall along the root canal. Results showed that only isolated regions in cross section of the C-shaped canal were physically prepared by the rotary instruments. The furcal wall (concave aspect of the "C" in cross section) of all clinically identifiable canals had a similar thickness at a distance 1-7 mm from the apical constriction both before and after instrumentation. More dentin was removed from the outer (convex aspect of the "C") than the furcal aspect at the apical region, but the converse was true more coronally. All prepared canals showed a taper that matched that of the last instrument used. It was concluded that cleaning of the C-shaped canal system is incomplete with the use of rotary instruments and should be assisted by ultrasonic irrigation. Although rotary instruments seemed to be safe in such canals, further enlargement to an apical dimension greater than size 30 (0.06 taper) is not recommended.
The Hero And The Crown Epub 23
Aerin could not remember a time when she had not known the story; she had grown up knowing it.It was the story of her mother, the witchwoman who enspelled the king into marrying her, to get an heir that would rule Damar; and it was told that she turned her face to the wall and died of despair when she found she had borne a daughter instead of a son.Aerin was that daughter.But there was more of the story yet to be told; Aerin's destiny was greater than even she had dreamed--for she was to be the true hero who would wield the power of the Blue Sword...
Romance heroes in these books are especially possessive, domineering, and aces at hiding their true emotions. Preservation has taught them to play things close to the vest whether it be in life or love.
The Getty group of terracottas comprises both busts and heads. The heads can be assigned to statues and busts of medium and large format probably deriving from one or several favissae, given that the votive offerings appear to have been deliberately broken off at the neck or torso; this ritual breakage was intended to prevent reuse of previously consecrated material. The terracottas display a considerable typological diversity and vary widely in age. There are female busts, generally datable to the second half of the fourth century BC, with a prevalently chthonic character (cats. 9 and 10); heads and busts of banqueters, characterized by wreaths and bands (cat. 7), and in one case depicting a figure in the act of singing (cat. 8), or with a nude bust (cat. 21); and heads of male children and youths, some with strongly individualized features, comparable with the coroplastic types of central Italy of the middle Republican period (cats. 19, 20, 23).
In the case of the busts (cats. 9 and 10), the similarity to Sicilian prototypes is reasonably straightforward. The typology, however, was modified and elaborated by Tarentine coroplasts with the introduction of new hairstyles (such as hair gathered in a roll behind the neck, derived from the Severe style) and a distinctive stylistic vocabulary. This is particularly notable in the emphatic rendering of the eyes and mouths and in the precise, compact forms, coupled with the linear treatment of the hair (probably achieved by means of special comblike tools that helped to speed a vast serial production), which suggests a link between the Getty busts and the Tarentine workshops; in particular, cats. 9 and 10 seem to indicate a transitional phase from the shorthand depiction of deities (often depicted with polos, the high crown worn by goddesses) to the actual portrayal of the offerers, shown with progressively individuated facial features. In statuary, this phenomenon would become increasingly marked as Roman influence grew.15
The reclining figure has often been assimilated with the figure of Hades or compared to the Tarentine hero Phalanthos, but also to the heroized deceased affiliated with the funerary cult of Zeus Katabaites. Enzo Lippolis has discussed the hypothesis that the image of the banqueter represents the transition of the deceased to the new otherworldly life, a moment that is codified through participation in a ritual symposion and the offering of an image of the heroized deceased. He notes that examination of the coroplastic material of the Tarentine votive deposits makes it is clear that the banqueter is almost invariably associated with diversified typologies, ranging from female figures belonging to the sphere of Demeter, to reliefs featuring the Dioscuri (Castor and Pollux), to the types of Polyboia (Polyboea) and Hyakinthos, to the statuettes of Artemis Bendis. For this, he refers to the study of individual contexts to attempt to clarify the specific aspect of the image.17
The fronts of pieces were produced with a mold; so, probably, were the backs, though the latter are only rounded off and not detailed. The hair might in some cases have been attached, as suggested by cat. 19, in which the separation of the locks is quite evident; attributes such as crowns and diadems could have been applied later as well.20 The hole in the back of the head was intended for ventilation during the firing process. 2ff7e9595c
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