Leaf conductance (g), net photosynthetic carbon fixation rate (Pyi), leaf protein concentration and ribulose-l,5-bisphosphate carboxylase/oxygenase (RuBPCO) activity were examined in baldcypress {Taxodium distichum L.) seedlings subjected to rhizosphere hypoxia. Seedlings grown in nutrient solution were treated with either air or N2. Changes in g. Pyj, leaf protein concentrations and RuBPCO activity in response to the treatments were measured at 12, 24, and 48 h. In a second experiment, similar measurements were conducted on plants grown in soil medium under either flooded or drained conditions over a period of 28 d. Under rhizosphere hypoxia, both g and Pyj were reduced significantly at 24 and 48 h as compared to control plants while there were no significant differences in leaf protein concentrations between treatments. RuBPCO activity, however, was reduced significantly (27 % reduction) at 48 h. In flooding experiment, g and decreased on days 3, 5, and 10 significantly. RuBPCO activity was significantly lower in flooded plants as compared to control (aerated) plants on day 3 and 5 following initiation of flooding. bi this experiment, g and began to improve after day 10, to as much as 97 and 87 % of control by day 28, respectively. RuBPCO activity which had decreased significantly by day 3, remained significantly lower on day 5 and slightly (but not significantly) lower than in control plants during the remainder of the experiment. Present data support the hypothesis that in baldcypress seedlings, reduced RuBPCO activity is among the early signals of flood-stress contributing to the loss of leaf Pyj. In addition, plant acclimated to the stress conditions during the long-term experiment indicating that some flood-tolerant tree species such as baldcypress may occupy wet sites due to such capabilities.
Painter M. Fischerová-Kvěchová (1892-1984), graduate of Academy of Arts, Architecture and Design in Prague (1906-1913), draw inspiration mainly from folk art and children’s world. Their reflection permeated all areas of her Work. In her drawings, including illustrations, in paintings, as well as in textile works - in her fashion designs, in designs of “suits” for puppets, in designs of printed textiles. From the middle of the 1910’s she worked as a designer of fashions for children, ladies and also as designer of shoes for Prague cooperative „Zádruha". In this work she drew on her knowledge of patterns, colors, and decorations of folk costumes, gained through her explorational journeys in the Czech lands, to Slovakia and the Balkans. She made a great number of study drawings and high quality studies of costumes. In the year 1925 she was awarded a gold medal in the International exhibition of applied arts and industry in Paris for “textile works”. In the I920s and at the beginning of the 1930s she abandoned the Creative transpositions of folk costumes. Instead, she promoted the “style dress” concept. In other words, the envisioned the design of timeless quality, composed mainly on the basis of aesthetical and functional principles, supplemented by applied components of folk textiles (for example, embroidery). In the second half of the 1930s she designed more than thirty designs of “peculiar” printed textiles for prestigious textile company Josef Sochor of Králův Dvůr. Four of these were realized. Through this work, the painter wrested an important role in the “Czech peculiar” movement.