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Fumonisin B1 is a mycotoxin produced by Fusarium verticillioides, frequently associated with corn. It produces species-specific and organ-specific toxicity, including equine leukoencephalomalacia, porcine pulmonary edema, and hepatic or renal damage in most animal species. Fumonisin B1 perturbs sphingolipid metabolism by inhibiting ceramide synthase. Our previous studies in male mice indicated that fumonisin B1-induced hepatotoxicity is modulated by the localized activation of cytokines in liver macrophages and other cell types. In the current study, male athymic nude mice and their wild type counterparts (WT), the latter with or without depletion of T cells, were treated subcutaneously with fumonisin B1 at 2.25 mg/kg/day for 5 days and sampled 24 h after the last injection. Depletion of T cells in WT was achieved by a single intravenous injection of 50 microg monoclonal antibody against Thy-1.2 surface antigen of mature peripheral T lymphocytes 24 h before the first fumonisin B1 treatment. The depletion of T cells nearly abolished fumonisin B1-mediated liver toxicity as indicated by the near normal concentrations of circulating liver enzymes and by enumeration of apoptotic hepatocytes. There was no difference in the fumonisin B1-induced elevation in circulating liver enzymes between WT and nude mice. Fumonisin B1-induced mRNA expression of tumor necrosis factor alpha and interleukin-1alpha was observed in nude and WT mice but not in T cell-depleted mice. Hepatotoxic response to fumonisin B1 was unaltered in mice lacking natural killer cells. This study suggested that T cells and corresponding proinflammatory cytokines have a vital role in mediating fumonisin B1-induced hepatic toxicity.
Decoration Description: Both figure panels have scenes of horsemen. On Side A a young rider leads a second horse (barely visible behind the first) and is accompanied by two standing men. The rider carries a long spear and is nude save for a red wreath on his short hair. The quietly walking horse has a rather long body with a few careless incisions to suggest muscular detail, and slender legs. Mane, tail, and a band on the rump are in red. The harness shows a cheekstrap behind the pricked ears, divided at the bottom for attachment to the bit, but no noseband. Facing the rider stands a second nude youth, his right hand raised in greeting and the left holding a spear. His long thin body shows the disproportionately heavy buttocks and thighs common in early Greek art. He also wears a red wreath and has a large irregular red blob covering his chest. Behind the horse stands an older man wearing a long himation, its diagonal folds emphasized by red bands; he too holds a spear. He is bearded and short-haired with a red fillet around his head.
The Krannert amphora belongs to the mature phase of Attic black-figure and is influenced by the style of the Amasis Painter (see Bloomington 71.82). In his early work, around 550, he is fond of this shape (panel amphora type B), and he favors simple closed compositions without strong action. The long slender bodies and details such as the sharp-nosed faces and the pointed calf seen in the standing youth of Side A are common in the Amasis Painter's vases. However, these features are also found in the work of several other black-figure painters around the middle of the sixth century when the Amasis Painter was the most influential artist. The Krannert vase lacks the neat craftsmanship, subtle spacing, and group relationship which characterize the work of the master. Of the minor painters clearly influenced by him, the Painter of Berlin 1686 shows the closest analogies to the Krannert amphora in shape, composition, and numerous figure details. The Amasis Painter's work is discussed by S. Karouzou in Karouzou 1956; see ABV, 150-158, with further bibliography. For the Painter of Berlin 1686 see ABV, 296f. For Exekias' return of the Dioskouroi, showing the greeting of warriors, see Arias & Hirmer 1962, pl. 63 (Vatican 344). For horses and harness see Anderson 1961. 041b061a72