Seed and Wasp Production in the Mutualism of Figs and Fig Wasps

Figs (Moracea: Ficus) and fig wasps (Hymenoptera: Chlocloids: Agaonideae) depend on each other to complete their reproduction. Monoecious fig species and their pollinating wasps are in conflict over the use of fig ovaries which can either produce one seed or one wasp. From observation on Ficus virens Ait., we showed that female flowers with outer layer of ovaries (near to the wall of syconium) had no significant difference from that with inner and interval layer of ovaries (near to the syconium cavity), in which most seeds and wasps were produced. This meant that fig tree provided the same potential resource for seed and wasps production. Observation indicated that there was usually only one foundress in syconium at female flower phase and no com- petition pollinators. Measurement of the style length of female flowers and the ovipositor of pollinators indicated that most ovaries could be reached by pollinator’s ovipositor. However, at the male flower phase, production of seeds was significantly more than that of wasps including non-pollinating wasps but there was no significant difference between seed and pollinating wasp production when without non-pollinating wasps produced. This result indicated that non-pollinating wasps competed ovaries not with seeds but with pollinating wasps for ovipositing. Bagged experiment showed that the sampling fig species was not self-sterile which was important for figs and wasps to survive bad season. Seed production in self-pollinated figs was not significantly different from total wasps in- cluding non-pollinating ones. This might be related with the weaker competition among wasps since bagged figs were not easy to reach by wasps from outside.

Giorgio Vasari＇s The Conception of Our Lady： A Divine Fruit

The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engravings made after his paintings by his contemporary artists. This essay focuses on Vasari＇s complex iconography of The Conception of Our Lady of 1540 at SS. Apostoli in Florence, Italy. In his documentation of the painting, Vasari never referred to or entitled the painting as an Allegory of the Immaculate Conception or Immaculate Conception but coined it as The Conception of Our Lady （Concezione di Nostra Donna） as it will be referred in this essay. Vasari＇s complex iconography derived from the writings of the A retine canon Giovanni Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DAAVIT/MARIAE GRATIAE SOLVIT, ECCE AGNIU[S] and UNIUS ONNOSTAA. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay： （1） discussion of Vasari＇s recorded commissions; （2） stylistic observations and influences; and （3） interpretation of the imagery, that is, some observations on the symbolism of the painting.