Tamas Lazar

Elizabeth Martínez-Pérez

Federica Quaglia

András Hatos

Lucía B Chemes

Javier A Iserte

Nicolás A Méndez

Nicolás A Garrone

Tadeo E Saldaño

Julia Marchetti

Elizabeth Martínez-P Érez

Andr Ás Hatos

Nicol Ás

A M Éndez

A Garrone

Tadeo E Salda Ño

Ana Julia Velez Rueda

Pau Bernad

Martin Blackledge

Tiago N Cordeiro

Eric Fagerberg

Julie D Forman-Kay

Maria S Fornasari

Toby J Gibson

Gregory-Neal W Gomes

Claudiu C Gradinaru

Teresa Head-Gordon

Malene Ringkjøbing Jensen

Edward A Lemke

Sonia Longhi

Cristina Marino-Buslje

Giovanni Minervini

Tanja Mittag

Alexander Miguel Monzon

Rohit V Pappu

Gustavo Parisi

Sylvie Ricard-Blum

Kiersten M Ruff

Edoardo Salladini

Marie Skep

Dmitri Svergun

Sylvain D Vallet

Mihaly Varadi

Peter Tompa
email: peter.tompa@vub.

Silvio C E Tosatto
email: silvio.tosatto@unipd.it

Damiano Piovesan

PED in 2021: a major update of the protein ensembledatabase for intrinsically disordered proteins

des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

INTRODUCTION

Valuable mechanistic and functional information can be obtained from protein structures modeled at atomistic resolution [START_REF] Consortium | PDBe-KB: a community-driven resource for structural and functional annotations[END_REF][START_REF] Sillitoe | CATH: expanding the horizons of structure-based functional annotations for genome sequences[END_REF][START_REF] Mitchell | InterPro in 2019: improving coverage, classification and access to protein sequence annotations[END_REF]. Due to the growth of experimentally determined structures deposited in the Protein Data Bank (PDB) [START_REF]Protein Data Bank: the single global archive for 3D macromolecular structure data[END_REF], currently there are >160 000 3D structures of macromolecules available in the database [START_REF]Protein Data Bank: the single global archive for 3D macromolecular structure data[END_REF]. As structural biology has mainly focused on determining the structure of globular proteins until the recent past, the presence of intrinsically disordered protein (IDP) regions (IDRs) have mostly been inferred either from unresolved or proteolytically digested tails or loops of these globular structures solved by X-ray crystallography, or from shorter regions yielding few structural constraints in nuclear magnetic resonance (NMR) spectroscopy measurements [START_REF] Tompa | Structure and function of intrinsically disordered proteins[END_REF]. The depletion of long IDRs (LDRs) in PDB has been known for a long time, and the tightening of the gap in this regard has only become practical very recently [START_REF] Monzon | Experimentally determined long intrinsically disordered protein regions are now abundant in the Protein Data Bank[END_REF]. However, this recent abundance of LDRs is predominantly due to the context-dependent folding of proteins with conditional disorder, such as pH sensitivity, PTM-dependent folding, localization-dependent disorder and folding upon binding to a partner [START_REF] Bugge | Interactions by Disorder -A matter of context[END_REF][START_REF] Hausrath | Conditionally disordered proteins: bringing the environment back into the fold[END_REF][START_REF] Jakob | Conditionally and transiently disordered proteins: awakening cryptic disorder to regulate protein function[END_REF].

Although conditionally folded IDRs provide important structural insights, in-depth understanding of mechanistic details of how IDPs function also requires knowledge about the dynamic structures in the free state. By virtue of their extreme conformational dynamics, ensemble description is often applied for structural modeling of IDPs. Conformational ensembles are representative sets of conformers reflecting on the structural dynamics of IDPs sampling the space. Ensemble modeling usually relies on experimental data originating from NMR spectroscopy [START_REF] Ozenne | Mapping the potential energy landscape of intrinsically disordered proteins at amino acid resolution[END_REF][START_REF] Kosol | Structural characterization of intrinsically disordered proteins by NMR spectroscopy[END_REF][START_REF] Jensen | Exploring free-energy landscapes of intrinsically disordered proteins at atomic resolution using NMR spectroscopy[END_REF][START_REF] Salvi | Dynamic descriptions of highly flexible molecules from NMR dipolar Couplings: Physical basis and limitations[END_REF] and small-angle X-ray scattering (SAXS) data [START_REF] Cordeiro | Small-angle scattering studies of intrinsically disordered proteins and their complexes[END_REF][START_REF] Tria | Advanced ensemble modelling of flexible macromolecules using X-ray solution scattering[END_REF][START_REF] Gräwert | Structural modeling using solution Small-Angle X-ray Scattering (SAXS)[END_REF][START_REF] Vallet | Insights into the structure and dynamics of lysyl oxidase propeptide, a flexible protein with numerous partners[END_REF][START_REF] Hamdi | Structural disorder and induced folding within two cereal, ABA stress and ripening (ASR) proteins[END_REF], F örster resonance energy transfer (FRET) [START_REF] Holmstrom | Accurate transfer efficiencies, distance distributions, and ensembles of unfolded and intrinsically disordered proteins from Single-Molecule FRET[END_REF][START_REF] Fuertes | Decoupling of size and shape fluctuations in heteropolymeric sequences reconciles discrepancies in SAXS vs. FRET measurements[END_REF] circular dichroism (CD) spectroscopy data [START_REF] Nagy | SESCA: Predicting circular dichroism spectra from protein molecular structures[END_REF] or a combination thereof [START_REF] Krzeminski | Characterization of disordered proteins with ENSEMBLE[END_REF][START_REF] Sterckx | Small-angle X-ray scattering-and nuclear magnetic resonance-derived conformational ensemble of the highly flexible antitoxin PaaA2[END_REF][START_REF] Schwalbe | Predictive atomic resolution descriptions of intrinsically disordered hTau40 and ␣-synuclein in solution from NMR and small angle scattering[END_REF][START_REF] Ibá Ñez De Opakua | The metastasis suppressor KISS1 is an intrinsically disordered protein slightly more extended than a random coil[END_REF]. These measurements are then used to define local or nonlocal structural constraints for the computational modeling of the conformational ensemble, such as for the restraining or reweighting of a pool of statistical random coils, or of molecular dynamics (MD) trajectories [START_REF] Krzeminski | Characterization of disordered proteins with ENSEMBLE[END_REF][START_REF] Varadi | pE-DB: a database of structural ensembles of intrinsically disordered and of unfolded proteins[END_REF][START_REF] Rangan | Determination of structural ensembles of Proteins: Restraining vs Reweighting[END_REF][START_REF] Stelzl | Efficient ensemble refinement by reweighting[END_REF].

Solving structural ensembles, however, is fraught with uncertainties, because the number of degrees of freedom is inherently much larger than the number of experimentally determined structural restraints. As a result, determining an ensemble is a mathematically 'ill-posed' or 'underdetermined' problem that has more than one solution. We don't yet know how to select the 'best' ensemble from multiple alternatives, neither can we be sure if an actual ensemble is a faithful representation of the real physical state of the IDP/IDR, nor is only a reasonable fit to experiment observations. To help address these issues, IDP/IDR ensembles solved at the time were collected and made available in the dedicated Protein Ensemble database (published as pE-DB in 2014 [START_REF] Varadi | pE-DB: a database of structural ensembles of intrinsically disordered and of unfolded proteins[END_REF], renamed as PED in later versions).

This first version was an ambitious attempt to fill the niche in the deposition of ensembles of fully disordered proteins and proteins with IDRs. At the time of the publication, it only stored data for a few dozens of ensembles for a limited set of proteins, which increased very slowly in the following years. Manual deposition and validation of entry submissions used to hinder the smooth maintenance and increment of the database. A lot has happened, however, in the structural-functional characterization of IDPs/IDRs since the inception of PED. For example, it has been proven that structural ensembles can predict independent structural data [START_REF] Schwalbe | Predictive atomic resolution descriptions of intrinsically disordered hTau40 and ␣-synuclein in solution from NMR and small angle scattering[END_REF][START_REF] Varadi | pE-DB: a database of structural ensembles of intrinsically disordered and of unfolded proteins[END_REF], i.e. they are realistic and do have predictive power. Based on novel, better suited force-fields [START_REF] Huang | CHARMM36m: an improved force field for folded and intrinsically disordered proteins[END_REF][START_REF] Song | The IDP-Specific force field ff14IDPSFF improves the conformer sampling of intrinsically disordered proteins[END_REF][START_REF] Robustelli | Developing a molecular dynamics force field for both folded and disordered protein states[END_REF][START_REF] Rahman | Comparison and evaluation of force fields for intrinsically disordered proteins[END_REF] the computational simulation of IDPs has also significantly advanced [START_REF] Chong | Computer simulations of intrinsically disordered proteins[END_REF][START_REF] Shrestha | Generation of the configurational ensemble of an intrinsically disordered protein from unbiased molecular dynamics simulation[END_REF]. Influential IDP-related databases have been either updated (e.g. DisProt [START_REF] Hatos | DisProt: intrinsic protein disorder annotation in 2020[END_REF] or MobiDB [START_REF] Piovesan | MobiDB 3.0: more annotations for intrinsic disorder, conformational diversity and interactions in proteins[END_REF]) or created anew (e.g. MFIB [START_REF] Fich Ó | MFIB: a repository of protein complexes with mutual folding induced by binding[END_REF] or DIBS [START_REF] Schad | DIBS: a repository of disordered binding sites mediating interactions with ordered proteins[END_REF]). Successful targeting of IDPs/IDRs by small molecules offers hope for a new class of effective drugs [START_REF] Tsafou | Targeting intrinsically disordered transcription Factors: Changing the paradigm[END_REF][START_REF] Ruan | Targeting intrinsically disordered proteins at the edge of chaos[END_REF]. A superposition-free method for comparing alternative ensembles has also been worked out [START_REF] Lazar | Distance-Based metrics for comparing conformational ensembles of intrinsically disordered proteins[END_REF], and allosteric regulatory mechanisms operating in the heterogeneous ensemble of IDPs/IDRs (multistery) have been elaborated [START_REF] Tompa | Multisteric regulation by structural disorder in modular signaling proteins: an extension of the concept of allostery[END_REF][START_REF] Wodak | Allostery in its many Disguises: From theory to applications[END_REF]. The appreciation of the importance of structural disorder in the novel field of liquid-liquid phase separation (LLPS) is on the rise (44) and persistent structural disorder of phase-separating proteins even in the condensed state has been reported [START_REF] Murthy | Molecular interactions underlying liquid-liquid phase separation of the FUS low-complexity domain[END_REF][START_REF] Murthy | The (un)structural biology of biomolecular liquid-liquid phase separation using NMR spectroscopy[END_REF]. Last, but not least, many ensembles have been solved [START_REF] Schwalbe | Predictive atomic resolution descriptions of intrinsically disordered hTau40 and ␣-synuclein in solution from NMR and small angle scattering[END_REF][START_REF] Delaforge | Deciphering the dynamic interaction profile of an intrinsically disordered protein by NMR exchange spectroscopy[END_REF] but not made publicly available.

This rapid progress in the protein disorder field mandates a basic upgrade and significant update of PED. To meet this goal, PED 4.0 was completely redesigned and extended with several new functionalities. To set a higher standard for the quality of data, a new submission process is now carried out through a web interface that enables automated validation of the ensemble deposited by the authors and manual curation steps with the assistance of the database biocurators. PED is now better cross-referenced with other IDP-related databases such as BMRB [START_REF] Romero | BioMagResBank (BMRB) as a Resource for Structural Biology[END_REF], SASBDB [START_REF] Kikhney | SASBDB: Towards an automatically curated and validated repository for biological scattering data[END_REF], DisProt [START_REF] Hatos | DisProt: intrinsic protein disorder annotation in 2020[END_REF] and MobiDB [START_REF] Piovesan | MobiDB 3.0: more annotations for intrinsic disorder, conformational diversity and interactions in proteins[END_REF], and has a well-documented RESTful API for programmatic access, search and download. In all, the new PED has about six times more data than the previous version.

PROGRESS

Database structure and implementation

One of the major changes since the previous version is the whole new deposition process, which includes an automatic data validation step and a curation step. The validation has been introduced to standardize the data and improve its quality by providing a number of structural indicators, while the manual curation step provides metadata for better data accessibility. A team of biocurators standardize the description of the experimental methodology using terms from a controlled vocabulary and identify cross-references to third-party databases. Curators also scan the literature to collect ensembles that have not yet been deposited into PED.

In PED, an entry is identified by the PED prefix and 5 digits (e.g. PED00001), which corresponds to an experiment on a protein (or protein complex), while a PED ensemble (e.g. PED00001e001) is the set of conformations (or models) generated to fit the experimental data. Different ensembles generated using the same proteoform (same sequence construct and PTMs), the same experimental conditions and the same experimental and computational methodology, represent different replicas of the same experiment (alternative solutions to the same set of structural restraints determined) and are grouped together in the same PED entry.

PED also stores conformation weights as provided by the authors. Weights represent the probability for each conformation to populate the ensemble, however, since these are not yet standardized and provided only for a limited number of entries, they have not been considered in the calculation of ensemble descriptors such as Rg, accessibility and secondary structure propensities.

The backend of the PED server processes each entry submission. The server executes a collection of scripts developed in-house that generate summary statistics (solvent accessibility, secondary structure populations, radius of gyration and maximum dimension). Secondary structure and solvent accessibility are calculated by DSSP (50,51), while MolProbity (52) provides quality descriptors (torsion-angle outliers, covalent bond-length and angle outliers, betacarbon deviations and steric clashes). For each entry, the pipeline generates a report, which can be used to assess a submission. Since the same approach is used for all entries, it is possible to make comparisons across the entire database and generate meaningful statistics. The report is available for download as a PDF document for all entries.

DATABASE CONTENT

New entries

The number of entries in PED 4.0 has increased six-fold compared to the previous release. Some entries have been deposited after literature curation, while others have been directly provided by the experimentalists who generated the data (data owners). Previous entries were manually reviewed and re-annotated. Old entries that included different experiments were split up. The mapping from old to new identifiers is reported on the website (URL: https:// proteinensemble.org/help#mapping).

For new entries, PED curators focused on biologically interesting protein regions with conformational ensembles, or more often, a set of ensembles determined under different conditions (different construct or mutant, different pH, denaturants etc.) or using different types of experimental datasets and modeling methodology. As sensitivity to conditions is well-known for IDPs, these alternate ensembles might provide very valuable insights into the conditional disorder of these proteins [START_REF] Lazar | Distance-Based metrics for comparing conformational ensembles of intrinsically disordered proteins[END_REF]. Furthermore, multiple ensembles for a region measured under very similar condi- tions may highlight the biases in the modeling protocols and procedures [START_REF] Lazar | Distance-Based metrics for comparing conformational ensembles of intrinsically disordered proteins[END_REF]. The curation efforts focused primarily on the submission of larger conformational ensembles (min. 40 conformers for a given protein region) of preferentially IDRs determined using experimental constraints. The Dis-Prot database was harnessed to make sure many of the additions correspond to bona fide experimentally determined IDPs/IDRs. This was complemented by an analysis of the radii of gyration (R g ) of the protein chains.

Statistics

Statistical analysis of the PED entries (Figure 1) shows an increment in all classes of determination methods and in all sizes of ensembles (i.e. number of models ranging from a dozen to thousands). It also highlights that while NMR remains as the most highly represented method used to model ensembles of usually <100 conformers, other state-of-theart methods such as SAXS and smFRET are also represented in the new dataset. Large ensembles (number of conformers >50) determined by SAXS only are absent in PED, as currently most SAXS-based ensemble modeling tools are known to represent ensembles through several equivalent data sets, reducing the number of representative models in each set to a range of 10-50 [START_REF] Tria | Advanced ensemble modelling of flexible macromolecules using X-ray solution scattering[END_REF][START_REF] Bernad Ó | Structural characterization of flexible proteins using small-angle X-ray scattering[END_REF]. However, larger ensembles generated by a combination of SAXS, smFRET and molecular dynamics methods are present.

Protein compactness is often characterized by the R g as a function of the length of the polypeptide chain (Figure 2). The R g of folded proteins scales with chain length by following a scaling law while, trivially, rigid rod-like chains follow a linear trend. Disordered proteins, however, fall in between these two extremes due to their propensities to form local or nonlocal transient secondary (or tertiary) structure ele- ments. Figure 2 shows that the disordered proteins of PED largely exhibit an R g ranging from that of random coils to that of denatured proteins (54) across a wide range of IDP protein lengths (10-200 residues), implying that the IDPs in PED represent the known variety of IDP compaction behavior. The points lying on the folded line correspond to globular binding partners present in the ensembles that represent complexes of IDPs and folded proteins/domains.

NOVEL FEATURES

Now PED 4.0 has both a protein-centric and an experimental entry-centric view. In the protein-centric view (Protein page), ensembles from different PED entries are grouped based on their UniProt accession. In this way, it is possible to appreciate the differences between ensembles corresponding to the same region on a single page, which may arise from the use of different techniques and conditions.

The 'Entry' page provides details about the experimental design and shows information on the complete make-up of the ensemble, i.e. describes if a protein complex includes nonpeptidic molecules or protein chains not mapping to UniProt [START_REF]UniProt: a worldwide hub of protein knowledge[END_REF].

Figure 3 shows the 'Protein' page for human p53 with multiple available ensembles for both the N-terminal and C-terminal regions. By clicking on PED identifiers, it is possible to open the corresponding Entry pages. For example, PED00063 (Figure 4) corresponds to the p53 Cterminal region folding upon binding to S100B. In sharp contrast, PED00064 (not shown) is a disordered complex of p53 binding to the CBP bromodomain.

Entry views

The Entry page (Figure 4) provides the title of the experiment, authors, and the corresponding publication when available. PED does not include primary data, like structural constraints, but instead provides cross-references to primary databases; when available (PDB (4), BMRB [START_REF] Romero | BioMagResBank (BMRB) as a Resource for Structural Biology[END_REF] and SASBDB ( 49)). MobiDB [START_REF] Piovesan | MobiDB 3.0: more annotations for intrinsic disorder, conformational diversity and interactions in proteins[END_REF] and DisProt [START_REF] Hatos | DisProt: intrinsic protein disorder annotation in 2020[END_REF] are cross-referenced in order to link evidence about the intrinsic disorder of the protein region.

For each entry, the PED biocurators generate a detailed description of the ensemble determination. This description about experimental and computational protocols is organized into three different blocks (experimental procedure, structural ensemble calculation and, if applicable, MD calculations), each including a narrative and a set of terms selected from a controlled vocabulary (CV). The CV ensures advanced accessibility and searchability and is constantly updated to capture new developments of the field. The current CV is available on the 'About' page of the PED website.

The rest of the Entry page provides a graphical view of structural features of the ensemble. The Feature-Viewer (56) component summarizes the make-up at the chain level. It shows the protein construct, solvent accessibility, secondary-structure populations and the respective variability (entropy or standard deviation) across ensemble models. For each chain of the ensemble, the distribution of the radii of gyration (R g ) is shown as a box plot, along with the corresponding theoretical values (dashed lines) for a protein chain of the same length if it was folded, random coil-like or denatured, and expected R g value for a rod-like or fully extended chain of the same length. Torsion angles are mapped to a Ramachandran plot to evaluate the structural preferences of the ensemble of the entire protein complex (not chains) and the quality of backbone modeling. A Quick view on the ensemble conformations (models) is provided by the MOL* structure viewer [START_REF] Sehnal | Mol*: towards a common library and tools for web molecular graphics[END_REF]. The metadata, ensemble coordinates and validation report are all downloadable.

Browse and search

Browse and advance search are implemented on the same page. A customizable table lists all entries with information about the protein, types of measurements, number of ensembles and conformers. Each row represents a chain of an ensemble or a fragment in cases when the ensemble is calculated on an engineered construct. The corresponding UniProt accessions are provided for the majority of the PED entries. A search box allows the user to look up specific words in a free-text form or to search PED and all crossreferenced identifiers. Moreover, it is possible to search all the terms from the controlled vocabulary and to build complex queries or exploit regular expressions. Simple search is also available on the Main page, while programmatic search and data access (or download) is implemented via a RESTful API. An extended documentation and examples are provided on the Help page.

CONCLUSION

After several years of steadily diminishing activity, PED has finally come to new life. First, it has been transferred to a stable location that ensures continuous maintenance and regular updates, hopefully stimulating the de-velopment of novel approaches--experimental and computational tools--for developing and depositing ever more accurate ensembles. Second, it has been significantly extended in size and has a greatly improved representation of ensemble-generation methodologies and of functionally validated 'bona fide' IDRs, thanks to a community-wide curation effort. The number of entries has increased from 24 to 152, whereas the number of ensembles has grown from 60 to 215. In all, the total number of 'conformers' stored in the database now exceed 290,532 PDB models (versus 24 615 in the old PED).

PED has also been profoundly upgraded in a quest for better consistency. The most important novel feature is the implementation of a new deposition process aimed at improving the quality of the entire database. PED now includes a web submission system. Each deposition is subjected to an automatic validation step, which generates a report on model quality, and a manual curation step, in which a submission is manually evaluated and integrated with structured metadata. The automatic validation step includes statistics on bond angles and lengths, backbone torsion angles and steric clashes. Whereas statistics on 'outliers' in the various geometric categories do not entail the rejection of deposition, it gives the user the option of selecting only ensembles that meet certain preset quality criteria. The biocurator submission interface will soon be made available to the public with the idea of providing a tool similar to the OneDep system of the wwPDB (4) in the near future. Contributing new ensembles is highly encouraged, and for that, information about submission inquiries are available on the Deposition page.

Additional novel features of PED 4.0 include a completely new implementation of the website and database schema. PED stores ensemble weights representing conformational probabilities. Even though these are not taken into account in the calculation of ensemble properties due to a lack of standardization, they will be extensively integrated in the future. The web interface has both a protein-and experiment-centric view, an advanced search engine and a well-documented API for programmatic access.

The quick and significant growth of PED is due to the steady activity of experimentalists generating disordered ensembles that accumulated large amounts of data in the past years, and the perseverance of database curators. This signals the vitality of the concept of protein disorder and the strength of the disorder community working on integrating structural, functional and medical aspects of structural disorder. We expect that the new database will foster a significant conceptual leap in the field. Even today, after more than two decades of research that has brought solidification of the basic concept, we still tend to perceive structural disorder as a binary classifier, thinking of proteins or protein regions as either ordered or disordered. Structural disorder, however, is not a simple, homogeneous structural state, it rather represents a continuum of states from fully ordered to fully disordered [START_REF] Sormanni | Simultaneous quantification of protein order and disorder[END_REF]. PED is currently the only database focused on representing the diversity of IDP protein ensembles, which are not stored in databases focused on the deposition of primary data (SASDB, BMRB, PDB), creating an extremely valuable resource for the IDP community. The analysis of ensembles in PED 4.0 will enable us to better un-derstand determinants of these various sub-states in terms of compactness, secondary structure content and dynamics, which will definitely help correctly interpret the functional consequences of intrinsic structural disorder. Given the prevalence of structural disorder in disease [START_REF] Uversky | Intrinsically disordered proteins in human diseases: introducing the D2 concept[END_REF], the insight expected from structural ensembles in PED 4.0 will also give a new impetus to efforts of structure-based drug discovery against IDPs.

The renewal and relocation of the database reflects on the ambition of the IDP community to actively maintain the database and, more ambitiously, also to integrate it into DisProt's IDP-specific complex ecosystem of databases and computational tools [START_REF] Davey | An intrinsically disordered proteins community for ELIXIR[END_REF]. Significant further developments in the near future, such as mirroring the database among multiple locations and contacting journals to recommend ensemble deposition into PED, are also planned. Continuous maintenance and implementation of these and other future plans are ensured by the IDPcentral, MSCA-RISE IDPfun and ELIXIR IDP community groups. To ensure communication with users about recent growth of the database and new features, PED now will have a more active social media presence on Twitter with the original @Pro-teinEnsemble Twitter account.

Figure 1 .

 1 Figure 1. PED 4.0 entry statistics. Stacked histogram of models per ensemble for different measurement methods in PED 4.0, binned based on the number of the consisting conformer models.

Figure 2 .

 2 Figure 2. Chain compactness of PED 4.0 entries. Radius of gyration of protein chains plotted against their chain length. Each dot represents a given chain in a given ensemble. The reference curves (54) represent values specific for folded proteins (purple), random coils (blue), denatured proteins (green) and fully extended chains (red). Four long folded proteins (PED00007, PED00010, PED00014 and PED00162) with over 300 residues are omitted, but fit well to the purple trend line.

Figure 3 .

 3 Figure 3. Example for PED's Protein page. Protein page P04637 summarizes the human p53 ensembles currently stored in PED for both the N-terminal and C-terminal disordered region. The feature viewer also integrates intrinsic disorder evidence from DisProt.

Figure 4 .

 4 Figure 4. Example for PED's Entry page. Entry page is shown for the C-terminal disordered region of p53 in a tetrameric complex with Ca 2+ -bound S100B (PED00063). The feature viewer shows chain-specific information, while molecular graphics, Ramachandran maps and R g distribution are presented below.

Downloaded from https://academic.oup.com/nar/advance-article/doi/10.1093/nar/gkaa1021/6030232 by guest on 15 December 2020

ACKNOWLEDGEMENTS

PED is maintained as a service of the ELIXIR IDP community (URL: elixir-europe.org/communities/intrinsicallydisordered-proteins). This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant No 778247.

FUNDING

Italian Ministry of University and Research (MIUR) to SCET [2017483NH8]; European Union's Horizon 2020 to SCET [778247]; Hungarian Scientific Research Fund (OTKA) to PT [K124670, K131702]; Universidad Nacional de Quilmes to GP [PUNQ 1309/19]; National Agency for the Promotion of Science and Technology (ANPCyT) to GP [PICT-2014-3430] and to LBC [PICT-2017-1924]; Fondation pour la Recherche Médicale to SRB and SDV [DBI20141231336]; Natural Sciences and Engineering Research Council of Canada to CCG [RGPIN 2017-06030]; Agence Nationale de la Recherche (ANR) to PB [ANR-10-LABX-12-01]; National Institutes of Health (NIH) to JFK and THG [5R01GM127627-03]; German Ministry of Science and Education (SAS-BSOFT) to DS [16QK10A]; EU Horizon 2020 programme (iNEXT-Discovery) to DS [871037]; Vrije Universiteit Brussel (VUB) to PT [SRP51]; EM-P, NG, NM, JM are PhD students, AJVR, TES are Postdocs and GP, CM-B, JI, LBC and MSF are researchers of the National Research Council (CONICET) of Argentina. Funding for open access charge: Vrije Universiteit Brussel (VUB) [SRP51].

Conflict of interest statement. None declared.


Pierre Ezin

Dognon

Commentaire communication SoMuThé -Les rites, l'oralité et le verbe à travers la musique de Pépé Oléka

Les rites, l'oralité et le verbe Au Bénin, pour implorer les divinités, les adeptes chantent de façon répétitive. Dans un cercle tournant, ils dansent au rythme du tambour. Cette pratique est une coutume qui est ancrée dans les habitudes. Pour le béninois, par exemple, la vie et la mort, la terre et l'eau, la santé et la médecine, les semailles et la récolte, le mariage et le culte des ancêtres, la musique et la danse, les rites et le verbe, l'art et la littérature, la profession et les instruments de travail, tout cela constitue des réalités remplies d'énergies vitales à libérer et à exploiter par l'homme. L'on peut donc comprendre plus facilement la raison pour laquelle, tous ces rites religieux par leur caractère « sacré » marquent chaque circonstance et chaque acte de la vie individuelle, familiale, tribale voire nationale, moderne 1 . Il n'est pas rare de rencontrer certains Béninois qui chantent en parlant. C'est ce qu'explique Pépé Oléka :

l'Ouest africain. D'une mère béninoise férue de la country music et d'un père nigérian mélomane, inconditionnel de Bob Marley, Pépé Oléka a hérité d'une voix charmeuse, pure et sensuelle ; sur scène, elle utilise plusieurs petites percussions, le Udu étant sa percussion de prédilection. Marseillaise depuis une dizaine d'année, elle profite de la pétillance du soleil que lui rappelle ses origines. Sa formation musicale est celle de la rue, depuis les chants rituels Vodún, les liturgies à la messe du dimanche, du agbadja joué lors des rassemblements mensuels des femmes à Lomé jusqu'aux notes de jazz de Billy Holliday ou encore de Myriam Makéba. Être née au Nigéria d'une mère béninoise et avoir grandi au Togo représente pour Pépé Oléka une façon extraordinaire d'être africaine.

Comme Pépé Oléka, que ce soit, Angélique Kidjo, Zénab, le groupe Gangbé Brass Band, le groupe H2O, les Frères Guêdehoungue, l'artiste Gbézé, Alèkpéhanhou, Sagbohan Danialou pour ne citer que ceux-là, ils sont nombreux à ne pas cacher leur filiation musicale à des divinités. Même si certains se contentent d'affirmer qu'ils sont tout simplement dans une logique de promotion par souci de représailles populaires. Ceci s'explique par l'hypocrisie de la population en général chez qui, est ancrée l'idée selon laquelle tout ce qui est endogène est mauvais. Au profit bien sûr des religions importées comme le catholicisme. Les textes des chansons des artistes montrent comment, à partir d'évènements ordinaires tels que les rituels festifs célébrés dans les familles et dans les collectivités ou, à l'inverse, lors des rencontres nationales et internationales au Bénin et à l'étranger, les musiciens décrivent les bienfaits des cultes Vodoun, décodent les interactions entre le Vodoun et les groupes sociaux, évoquent les endroits où les cultes sont pratiqués3 . Les musiciens sont donc à la fois autonomes dans leur création et hétéronomes par leur référence au répertoire traditionnel de la société dont ils sont issus et qui est, au Bénin, puissamment imprégné par la religion Vodún. Cela leur permet de revendiquer une position idéologique pour ainsi se déclarer porteurs des idéaux du peuple4 .

Pépé Oléka : Du couvent à la musique

Dans une analyse comparative de la danse Eskista d'Éthiopie qui se réfère exclusivement à la partie haute du corps -le buste, les épaules, la nuque et la tête -, l'ethnomusicologue Olivier Tourny pense que la danse en Afrique fait généralement appel au bas du corps -les pieds, les jambes, le bassin et les fesses 5 . Au Bénin, le bas du corps danse. Dans certaines régions, c'est le haut du corps mais dans la grande partie du sud du pays, c'est tout le corps qui danse, le haut comme le bas. Il n'est donc pas rare au cours des cérémonies rituelles ou des fêtes populaires, de voir des danseurs ruisselant de tout leur corps. Le titre Yélélé 6 de Pépé Oléka, un titre à travers lequel l'artiste magnifie l'importance de la dot traditionnelle avant le mariage illustre parfaitement cette manière de danser que j'évoque en comparaison à l'analyse faite par Olivier Tourny.

Dans les musiques béninoises et lors des rituels d'initiation, en plus des percussions, la voix, la gestuelle, les mouvements du corps sont complètement intégrés. Évoquant ce que le Bénin a conservé de ses traditions musicales dans son ouvrage intitulé L'épopée de la musique africaine, Florent Mazzoleni, explique que ces cérémonies Vodoun se distinguent par leurs polyrythmies, qui mélangent aussi bien cloches, hochets, incantations et tambours [START_REF] Mazzoleni | L'épopée de la musique africaine[END_REF] . Le compositeur et acousticien Jean-Claude Risset montre que cette musique recèle des pratiques extrêmement singulières sur le plan des relations de jeu entre musiciens aussi bien que sur le plan rythmique [START_REF] Risset | Ndroje balendro. Musiques, terrains et disciplines[END_REF] .

Pépé Oléka n'a jamais écrit de partition. Si le Président Nicolas Sarkozy a martelé lors d'un discours polémique à Dakar en juillet 2007 : « Le drame de l'Afrique, c'est que l'homme africain n'est pas assez entré dans l'histoire 9 », il est vrai que les musiciens du Bénin procèdent par l'oralité et, dans les musiques actuelles également, n'ont pas développé d'écriture. Par ailleurs, dans l'entendement commun, la musique vient des esprits -Aziza comme le clame Pépé Oléka 10 :

Les paroles et les mélodies, proviendraient selon Pépé Oléka d'une inspiration soudaine que seuls les esprits sont capables de fournir. Et les esprits ne s'accommodent guère des techniques d'écriture musicale occidentale. Seuls quelques artistes ayant pu faire une école de musique ou l'ayant appris d'une manière ou d'une autre écrivent et conservent les partitions de leur chanson. L'esprit est invisible. Ce qui est invisible ne peut pas laisser de trace visible. Les Aziza (les esprits), sont sources d'inspiration. Ils guident les artistes que nous sommes et nous habitent soudainement par la muse.

Pépé Oléka remarque qu'en dehors de la musique classique, les grands musiciens n'écrivent pas de partition. Pour trouver une réponse plus scientifique à cette manière de penser, il est intéressant de citer le compositeur chinois Tan Dun. Né à Changsha près d'une montagne remplie de tombes où se pratiquaient des rituels chamaniques, il est initié très tôt aussi bien à la musique traditionnelle qu'à la danse des fantômes. Dans ses explications, il souligne que les oppositions entre tonalité et atonalité ne signifient plus rien pour les compositeurs d'aujourd'hui, dont la seule motivation est d'être en résonance avec le monde spirituel [START_REF] Tan | entretien avec Eric Dahn[END_REF] . Se questionnant sur la place de la musique dans la société occidentale, ses formes de représentation et de diffusion, Thierry Pécou, s'est intéressé aux musiques d'autres cultures. Compositeur, Thierry Pécou tente de réunir le geste de la composition et son incarnation sur la scène, notamment dans l'opéra qu'il est en train de composer d'après les thérapies des

Je chante quand je parle parce que j'ai été habituée à chanter en parlant. Pour louer son Dieu, on chante et il est démontré bibliquement que, chanter, c'est prier Dieu mille fois. Depuis toute petite, quand j'ai envie de m'adresser à mon Dieu, je l'implore en chantant. C'est ce que j'ai vu faire dans les couvents que fréquentaient mes « fréquentations ». Mes influences musicales sont le reflet des libations aux divinités des couvents depuis mon enfance. Pas forcement parce que je suis une adepte. Ceci reste une question d'influence sociale, environnementale, culturelle et même sociologique. Chanter reste donc de mes habitudes quotidiennes. Je n'ai pas eu la chance de faire une école de musique donc l'école de la rue à travers les couvents et les chorales religieuses est mon école, la meilleure sans doute 2 .Pour comprendre la trajectoire de Pépé Oléka, je l'ai interrogée sur son enfance. Elle a évolué dans un territoire musicalement riche, vivant à l'origine au carrefour ethnique de 1 AGBOTON, A.M. Gaston, Culture des peuples du Bénin, Paris, Présence Africaine, 1997, p. 192. 2 OLEKA, Pépé, entretien avec l'auteur au domicile de la musicienne à Marseille le 2 février 2018. Un couvent au Bénin est une maison où vivent le prêtre Vodún et sa famille. Accueillant le fétiche, c'est le lieu des rituels auxquels participent les initiés.

PODA, Mélaine Bertrand, « Musiques actuelles et religion Vodoun au Bénin », Géographie et culture, 2013, en ligne : https://journals.openedition.org/gc/1073#ftn1, [consulté le 19 janvier 2018].

KOUVOUAMA, Abel, «La pensée politique, sociale et morale dans la chanson congolaise de variétés»,Africultures, vol. 82, n° 3, 2007, p. 170-177.

TOURNY, Olivier, « Du divertissement à l'état modifié de conscience. Une phénoménographie de la danse Eskista d'Ethiopie », Chroniques phénoménologiques, n.vol, n° 9, 2018, p. 19-25.

Il est possible de l'écouter sur internet : https://www.youtube.com/watch?v=Zgd9dByLISs


Jérôme Ducor

BUDDHIST JAPONISME: EMILE GUIMET AND THE BUTSUZŌ-ZUI

), and later moved to Paris (1889). The height of Guimet's plan was reached on 21 st of February 1891, when two Japanese Buddhist clerics from the Shinshū denomination celebrated the Hōonkō 報恩講 ceremony at his museum, using the ritual attires and implements from its collections.

After Emile Guimet's death and the premature one of his son Jean Guimet (1880-1920), drastic changes affected his beloved museum of world religions. It was decided firstly to limit the scope of the Guimet Museum to the Near East, the Far East and Egypt, and secondly to strictly separate those artefacts of purely artistic value from those of more specific religious interest 2 . Thus began what Bernard Frank would call "the long wreck of the Founder's collections", while the Guimet Museum itself became one of the world's leading museums of Asian arts 3 . Fifty years passed until Frank rediscovered the importance of Guimet's collection of Japanese Buddhist sculptures and displayed part of it -about 180 pieces -in the Annex of the Guimet Museum, under the title "Le bouddhisme japonais : figures, symboles et croyances" (1968). While giving his courses at the Collège de France, Frank's attention was also drawn to the Butsuzō-zui and he eventually established a triple link between this work, its translation by Hoffmann, published in von Siebold's Nippon, and Emile Guimet 4 . The Butsuzō-zui 佛 像 圖 彙 (Illustrated Encyclopaedia of Buddhist Images) was first published in 1690 by Gizan 義山 (1648-1717), a polygraph monk of the Pure Land School. It includes more than 700 clearly labelled images, comprising 611 figures and 96 ritual * Ethnography Museum of Geneva and universities of Lausanne and Geneva. My deep thanks to Dr Helen Loveday for improving my English.

implements 5 . This editio princeps was followed by a second edition published in 1783 by the painter Tosa Hidenobu 土佐秀信, who added 118 deities 6 .

The first edition is in four volumes, numbered according to the genkōritei system (元亨利 貞). The first volume (7 double pages) includes a preface, a bibliography and an index. The three other volumes -the illustrated encyclopaedia itself -are further numbered from one to three (卷之一, 二, 三). Volume one (29 d.p.) covers the main Buddhist deities: Buddhas, Bodhisattvas, Myōōs and Gods. Volume two (18 d.p.) shows all the other deities, including the Gongens. And volume three (23 d.p.) presents the historical figures (Arhats and Masters), as well as ritual implements and a colophon signed by Gizan.

It would be misleading to consider this work a mere catalogue of images. The preface states that by learning about both the names and characteristics (名相) of the deities, one will pay respect to their sacred images (霊像) and chant their venerable names (尊號). In addition, in the colophon, Gizan explains why most of the images have been provided with a text about their origin (in'yū 因由), generally using a quotation from the Buddhist scriptures: learning their names and characteristics together with their origins will develop the pure faith (淨信) of people until they eventually reach Buddhist awakening (菩提) (fig. 12). The importance of those quotations is that the canonicity of the images is thereby matched by the canonicity of the corresponding scriptures, no less than 86 of them being listed in the bibliography included in the first volume 7 . This explains why the Illustrated Encyclopaedia of Buddhist Images does not open with an image of a Buddha as might be expected, but with that of Fu Daishi 傅大士, the protector in the Far East of Buddhist scriptural libraries 8 . By so doing, the author also avoided having to choose a specific Buddha to open the book -Śākyamuni, Amida or Vairocana? -thus maintaining the trans-sectarian tone of his work. Still, this highlighting of a Chinese layman is sometimes understood as an error of iconographical systematization 9 , and even when Hidenobu published his enlarged edition, he felt the need to add an eulogy to the universal Buddha Vairocana as a frontispiece 10 . The second, enlarged edition is comprised of five volumes, simply numbered from one to five. Volume one (8 d.p.) reproduces the first edition's preface and bibliography -with some reordering of the books' titles -and a new index together with an introduction by Hidenobu. In volume two (21 d.p.) are found the same Buddhas and Bodhisattvas, with some artistic improvements: for example, the image of Śākyamuni leaving the Mountains now faces the inside of the book and not the outside. The insertion of additional illustrations by Hidenobu begins with the section on Myōōs, and the section on Gods runs over into volume three (24 d.p.) as well as volume four (19 d.p.). Towards the end of that volume starts the part on historical figures, which in turn continues into volume five (19 d.p.); this concludes with the same ritual implements and colophon as the first edition. The new images include a few groups, such as the Eight Protectors of One-life (一代守本尊), the Thirteen Buddhist Deities 5

Copies of it at the library of Ryūkoku University (Kyōtō), etc. It has been reproduced by [START_REF] Itō | Fukkoku Busshin-reizō-zui, Hotoketachi no keifu 復刻佛神靈像圖彙, 仏たちの系譜[END_REF]. This editio princeps was reprinted in 1752, a copy of which -from the bibliophilist Ernest Satow's collection -is kept at the Cambridge University Library (Hayashi & Kornicki,n° 285).

6

Reproduced by Khanna (2010). A copy from the Satow collection is also kept at the Cambridge University Library (Hayashi & Kornicki,n° 287). of Afterlife (十三佛), the Twelve Aspects of Amida's Light (十二光佛), etc. Iconographical differences can also be noticed between the two editions, as in the case of the Shichi-Fukujin 11 , or the Bodhisattvas Nikkō and Gakkō that were shown as buddhas in the editio princeps and now wear bodhisattva clothes. Similarly, in the group of the "Seven Kannon" ( 七觀音), Shō-Kanzeon alone was presented standing in the first edition but is seated in the second one (fig. 34). Finally, some roles have been modified: while Byakue-Kannon was mentioned as the main one (中尊) of the Thirty-three incarnations of Kannon in the editio princeps (fig. 5), this is no longer the case in the second edition.

This second edition played an important role in the discovery of Japanese religious iconography by the West as it was this one which was translated into German by Johann Joseph Hoffmann, under the title Pantheon von Nippon, a study of it being published in 1852 in the monumental Nippon by Philipp Franz von Siebold 12 . During his travels in Japan in 1876, Guimet endeavoured to collect statues of all the figures of the Japanese Buddhist pantheon, in the same way that he was doing for the pantheons of Greek and Roman antiquity as well as Egypt. However, it is not clear whether he used von Siebold's Nippon at the time. In fact, "Le panthéon Bouddhique de Nippon" was mentioned in French as early as in 1859

13 , and the Guimet Museum holds a copy of von Siebold's work, but it is not clear whether Emile Guimet purchased it before his trip, as it bears the seal of the Guimet Museum in Lyon (1879-1889), as well as that of Alphonse Pinart , whose book collection was mainly dispersed in 1884, eight years after Guimet's trip. Nevertheless, Guimet was made aware of the Butsuzō-zui at the very least during his stay in Tōkyō, as it was mentioned to him by Abbot Yuiga Shōshun 唯我韶舜 in his written description of the Sensōji temple 14 . By the time Frank redisplayed Guimet's "Buddhist Pantheon" in the Annex (1991), he had found a 1796 copy of the enlarged edition of the Butsuzō-zui in the museum's library, a copy which has now been shown to have been purchased by Guimet himself while in Japan 15 . It seems clear that Guimet used this book as a shopping list during his trip: this is suggested by the concordances between the Butsuzō-zui and Guimet's statues published in Frank's catalogue 16 , though the latter does not analyze the full collection but only the 222 pieces on display at the Annex, not all of which were acquired during Guimet's travels 17 . However, it is surprising that Guimet himself never mentioned the Butsuzō-zui, unlike the collector William Anderson, who, by 1886, not only quoted the "Butsu zō dzu-i" -"A collection of Buddhist divinities" -but even reproduced various plates of it (fig. 6) 18 . In the Lyon museum, the Japanese Buddhist artefacts were displayed in seven showcases and classified according to the six main schools: "Sin-gon" with the Tōji mandala beside it, 11 Ducor 2014b.

12 Von Siebold's 1796 copy of the Butsuzō-zui is kept at the Staatliches Museum für Völkerkunde in München (Kraft,n° 37) For example, the Ugajin statue was acquired by Guimet Museum in 1963 only (Frank 1991a, p. 204, n° 122). "Hokké-siou", "Ten-daï", "Zën-siou", "Gio-do" and "Sin-siou"

19 . This choice was clearly identified:

"A museum of religions being above all a collection of ideas, artistic and archaeological questions could only be given a secondary place. We have therefore first and foremost attended to the clarity of the demonstration. Dealing with each people in turn, we have carefully separated their beliefs and subdivided these further according to their main sects, whenever the precision of our information permitted us to do so. Within each of these divisions, we grouped together the various representations of the same deity".

20

The Butsuzō-zui being trans-sectarian in nature, it is clear that this display according to the Japanese Buddhist sects did not ensue from it, but was rather the direct result of Guimet's inquiry in Japan, where he personally met with the representatives of the six main Buddhist schools. The same order was retained when the collections were moved to the Paris museum ( 1889), but on a larger scale, with ten showcases (Nos. 4-13), and an additional two cases devoted to the suppressed "Riô-bou" sect (No. 2) and Buddhist ritual implements (No. 3) 21 . Between 1894 and 1897, a significant change occurred in the group of ten showcases. The six Buddhist sects were condensed into six cases (Nos. 8-13), the four other ones now being devoted to the classical systematization of Japanese Buddhist iconography: "Boutsous" (No. 4), "Kouan-on Bosatsou" (No. 5) and "Bossatsous" (No. 6), "Mio-os", "Tens", and "Djins" (No. 7)

22 . Already at the time of the Lyon museum, its curator Léon de Milloué had written about a classification of Buddhist deities in descending order, in a chapter on Indian Buddhism 23 . But what was his source of inspiration in the case of the Japanese Buddhist pantheon in Paris? There is no direct evidence that the Butsuzō-zui was used at that time. Indeed, this work presents the Buddhist images in the classic iconographical order, without explicitly explaining it.

This improvement must therefore have been suggested by a specialist whom I am inclined to identify as Toki (or Doki) Hōryū 土宜法龍 . From the autumn of 1893, this monk of the Shingon sect of Japanese Buddhism stayed for several months in Paris on his way back to Japan, after attending the first session of the World Parliament of Religions in Chicago. Starting on the 5 th of November, he visited the Guimet Museum daily and, on November 13 th , he celebrated there the Gohōraku 御法樂 Buddhist ceremony in front of its Tōji mandala 24 . Moreover, during five months, Toki Hōryū also provided his invaluable help in explaining the hand gestures (mudrā) of the Shido-inzu 四度印圖, a ritual book of Esoteric Buddhism that Guimet had been wanting for decades to translate into French and publish 25 . The Archives of the Guimet Museum hold the manuscript of this demanding endeavour, perhaps by the hands of Léon de Milloué and his Japanese assistant Kawamura Sirō. But the Archives also hold with them the manuscript cards of an unpublished French translation of the texts accompanying the images of the Butsuzō-zui. Each of these cards bears a number that 19 Musée Guimet, Catalogue des objets exposés [by Léon de Milloué] (Lyon, 1880), p. 56-74. A special showcase was also devoted to the Shichi-Fukujin, those Seven Divinities of Happiness that were rather familiar to the Japonism world (id. p. 75-77). Milloué, Léon de : Petit guide illustré au Guimet (Paris, 1890), p. 124-161;id. (Paris, 1894), p. 112-156. 22 Milloué, Léon de : Petit guide illustré au Guimet (Paris, 1897), p. 196-240;id. (Paris, 1910), p. 149-179. Cf. Frank 1991a, p. 42-47. 23 Musée Guimet, Catalogue des objets exposés (Lyon, 1880), p. 14-16. has been added, together with the transcribed name of the corresponding personage, onto the copy of the Butsuzō-zui brought back from Japan by Guimet. It is thus legitimate to suppose that this translation attempt too was conducted under the expertise of Toki Hōryū. Not only was he a great scholar -he would eventually become abbot of the prestigious Ninnaji temple as well as patriarch of the Shingon sect -but he was also a specialist of the Buddhist pantheon, as attested by detailed study notes in Japanese in his own hand that are also kept in the museum's archives, such as the one about Bodhisattva Ārya Tārā (阿利耶多羅菩薩), dated December 11, 1893.

On the whole, the Butsuzō-zui was instrumental in the gathering of Guimet's collection of Japanese Buddhist statues, if not in the display of However, the global study of this book covering both its illustrations and its texts still remains to be written.

7

  Besides canonical Buddhist scriptures, it comprises some apocryphal sūtras and secular texts. See Hattori; Khanna, p. 18-21; Hoffmann, 160-162. 8 See Loveday, p. 228 sq. 9 Sueki, p. 44. 10 Quoted from The Seals and Elementary Bodies of the 108 Venerated Ones (一百八尊法身契印) by Śubhakarasiṃha and Xiying (T. 18, 877, p. 335c).

18

  Anderson, William: Descriptive and Historical Catalogue of a Collection of Japanese and Chinese Paintings in The British Museum(London, 1886), p. ix, and plates 3-6, 11-13, 24.

20

  Translated from Milloué, Léon de: Catalogue du Musée Guimet (Lyon, 1883), p. x.

  21

24

  Boussemart, Anthony : « Un temple bouddhiste au coeur de Paris », D'outremer, p. 102-104.25It was eventually published by the Guimet Museum in 1899 under the title of Si-Do-In-Dzou, Gestes de l'officiant dans les cérémonies mystiques des sectesTendaï et Singon. Cf. Ducor 2014a, p. 40-41.

Fig. 1

 1 Fig. 1-2. Colophon of the Butsuzō-zui by Gizan

Fig. 5 .

 5 Fig. 5. Byakue-Kannon in the 1 st and 2 nd ed. of the Butsuzō-zui

  .

	13	Jacquemart, Albert & Le Blant, Edmond: « La porcelaine de Chine, décor des vases » (Gazette des Beaux-Arts, T. 1, mars
	1859), p. 216 and p. 219, n. 2. See also Lindau, Rodolphe: Un voyage autour du Japon (Paris, 1864), p. 38.
	14	Girard, p. 135-136; Ducor 2014a, p. 26.
	17

15

Frank 1991a, p. 27-28. Guimet's own catalogue called it "Figures bouddhiques du Japon" (Ducor 2014a, p. 24). 16

Sueki,