The susceptibilities of different strains of inbred rats to infection with the human T-cell leukemia virus (HTLV-I) after inoculation of human HTLV-I producer cell lines were compared. The Fisher F344 and Brown Norway strains developed the highest antibody response to HTLV-I, while the Lewis and BB strains were low responders. Antibodies against the HTLV-I gag proteins, and env gp21 but not env gp46, were detected in Western blots with sera from HTLV-I-infected Fischer F344 and Brown Norway rats. These sera were inactive in an in vitro syncytium-formation inhibition test. The HTLV-I provirus was detected by polymerase chain reaction in all Fischer F344, and some Lewis and Brown Norway rats, but not in the BB, which lack CD8+ T lymphocytes. The most frequent locations of the HTLV-I provirus in the Fischer F344, Lewis and Brown Norway rats at 12 weeks after infection were the peripheral blood mononuclear cells (PBMC) and spinal cord. In a second experiment in Brown Norway rats, the provirus was again detected in the PBMC of rats at 12 weeks, but not at 22 weeks, and among the other organs tested at 22 weeks the sympathetic nerve ganglia were positive. It is concluded that HTLV-I infection occurs in adult rats, but is suppressed with time.

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The wall paintings of the Tomb of the Three Brothers in Palmyra display a very rich Greco‐Roman iconography. The study of the painting reveals the use of a great variety of pigments, including Egyptian blue and an extremely rare bright yellow pigment, mimetite, of which no other traces are known for this period. This pigment was identified through the combined use of two methods of analysis, scanning electron microscopy associated with X‐ray microanalysis (SEM–EDS) and X‐ray micro‐diffraction (XRD). The varied chromatic palette used underlines the refinement and the particular care given to these decorations. Notable differences have been found between the pigments of the decorations of the arch and those used for the rest of the chamber.

En 1865, le vicomte de Janzé légua à la Bibliothèque nationale de France, parmi sa riche collection d’antiques, un buste féminin en terre cuite qui, après une restauration récente, s’est révélé d’une remarquable facture. Son étude matérielle et historique permet une meilleure compréhension, à la fois de sa polychromie chatoyante et du contexte de création de ce buste caractéristique des productions hellénistiques de Sicile, que l’on peut rattacher aux ateliers de Centuripe du iii e  s. av. J.-C.