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Edward M. Eyring
The Chemistry Department 1946-2000 Written by: Edward M. Eyring Assisted by: April K. Heiselt & Kelly Erickson Henry Eyring and the Birth of a Graduate Program In January 1946, Dr. A. Ray Olpin, a physicist, took command of the University of Utah. He recruited a number of senior people to his administration who also became faculty members in various academic departments. Two of these administrators were chemists: Henry Eyring, a professor at Princeton University, and Carl J. Christensen, a research scientist at Bell Laboratories. In the year 2000, the Chemistry Department attempts to hire a distinguished senior faculty member by inviting him or her to teach a short course for several weeks as a visiting professor. The distinguished visitor gets the opportunity to become acquainted with the department and some of the aspects of Utah (skiing, national parks, geodes, etc.) and the faculty discover whether the visitor is someone they can live with. The hiring of Henry Eyring did not fit this mold because he was sought first and foremost to beef up the graduate program for the entire University rather than just to be a faculty member in the Chemistry Department. Had the Chemistry Department refused to accept Henry Eyring as a full professor, he probably would have been accepted by the Metallurgy Department, where he had a courtesy faculty appointment for many years. Sometime in early 1946, President Olpin visited Princeton, NJ, and offered Henry a position as the Dean of the Graduate School at the University of Utah. Henry was in his scientific heyday having published two influential textbooks (Samuel Glasstone, Keith J. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE EVOLUTION OF THE HYDROTHERMAL STAGE WITHIN MIAROLITIC CAVITIES IN GRANITIC PEGMATITES OF CALIFORNIA AND MAINE, USA A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE By CHARLES LORIN DUVAL Norman, Oklahoma 2019 EVOLUTION OF THE HYDROTHERMAL STAGE WITHIN MIAROLITIC CAVITIES IN GRANITIC PEGMATITES OF CALIFORNIA AND MAINE, USA A THESIS APPROVED FOR THE SCHOOL OF GEOSCIENCES BY Dr. David London, Chair Dr. Andrew S. Elwood Madden Dr. Megan E. Elwood Madden © Copyright by CHARLES LORIN DUVAL 2019 All Rights Reserved. Table of Contents Abstract………………………………………………………………..……………………….. vi 1. INTRODUCTION/PROBLEM STATEMENT…………………………………………... 1 2. OBJECTIVES…………………………………………………………………………..…... 2 3. BACKGROUND……………………………………………………………………………. 2 3.1 Minerals present within miarolitic cavities….…………………………………………… 2 3.2 Prior studies……………………………………………………………………………... 5 4. CLAY SAMPLE LOCATIONS……………….…………………………………………. 10 4.1 California………………………………………………………………………………. 10 4.2 Maine…………………………………………………………………………………… 11 5. ALKALI FELDSPAR SAMPLE LOCATIONS………………………………………… 11 6. METHODOLOGY………………………………………………………………………... 11 6.1 X-ray diffraction analysis of clay minerals……………………………………………... 12 6.2 Electron microprobe analysis of clay minerals…………………………………………. 12 6.3 X-ray diffraction analysis of alkali feldspars…………………………………………… 13 7. RESULTS………………………………………………………………………………….. 13 7.1 XRD of pocket clay samples…………………………………………………………….. 13 7.2 EDXA of pocket clay samples…………………………………………………………… -
Books Available to Buy
The Stained Glass Centre: Books Available to Buy If you are interested in purchasing any of the books listed below, please get in contact with the Friends Administrator by post or email: The Stained Glass Centre Friends Administrator, c/o York Glaziers Trust, 6 Deangate, York YO1 7JB, or [email protected] Books can be picked up from the centre by arrangement, made available to collect at any of our upcoming events, or will be posted to you. Postage and packaging prices will be dependent on the weight and size of purchase. Many thanks The Stained Glass Centre Author Title Price Stock History of York Minster (no cover so title and author £1.00 1 unknown) Albutt, R. Stained Glass Windows of AJ Davies of the £25.00 1 Bromsgrove Guild, Worcestershire Albutt, R. Stained Glass Windows of Bromsgrove and Redditch, £8.00 1 Worcestershire Angus, M. Modern Stained Glass in British Churches £5.00 3 Archer, M. Introduction to English Stained Glass £2.00 7 Archer, M. Stained Glass £1.00 4 Armitage, L. Stained Glass £10.00 1 Atterbury, P. Pugin £25.00 2 Aubert, M. Stained Glass of the Xiith and Xiiith Centuries from £12.00 1 French Cathedrals Aubert, M. Le Vitrail en France £5.00 1 Baker, E. Church Archaeology £5.00 1 Baker, J. English Stained Glass of the Medieval Period (83 £10.00 3 Plates) Beaulah, K. Church Tiles of the Nineteenth Century £1.00 1 Beckett, L. & A. York Minster £3.00 1 Hornak Beckett, W. & G. Pains of Glass: The Story of the Passion from King's £2.00 2 Pattison College Chapel, Cambridgeshire Bell, C.C. -
Glass Shards • Page 2
GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN GLASS CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Summer 2016 News Highlights from the 2016 Seminar in Norfolk There were many wonderful experi- Museum. After her lecture, we were historic glassblowing techniques, blew ences that the attendees of the 2016 divided into two small groups and re- one of his favorite styles, a pillar- Seminar shared during the three-day ceived the rare opportunity of visiting molded pitcher. Although we have all gathering but a few events were high- the Ceramic and Glass Vault. Attend- seen glassblowing demonstrations lights of the Seminar. After visiting ees sat around tables and objects from countless times, Art, who was assisted the incredible home of Carolyn and the collection were discussed, passed by a Studio staff member, had the Richard Barry, filled with the amazing around, and handled. group captivated by working and art and spectacular contemporary glass, Another highlight was the glass- discussing each step in the process. the attendees traveled to the DeWitt blowing demonstration by NAGC Amazingly, Art had not blown a piece Wallace Museum of Decorative Arts Second Vice President Art Reed. The of glass for four years since concen- at Colonial Williamsburg. Chrysler Museum of Art acquired an trating on his wooden glassblowing Suzanne Hood, Curator of Ceramics old bank across the street from the block and mold business. and Glass at the Colonial Williamsburg museum and renovated the building Both the visit to Colonial Williams- Foundation (CWF) gave us an informa- into a glass studio. The Studio has be- burg’s DeWitt Wallace Museum of tive lecture about the glass collection come one of the most popular venues Decorative Arts and the glassblowing and why the CWF acquired the pieces. -
'Daylight Upon Magic': Stained Glass and the Victorian Monarchy
‘Daylight upon magic’: Stained Glass and the Victorian Monarchy Michael Ledger-Lomas If it help, through the senses, to bring home to the heart one more true idea of the glory and the tenderness of God, to stir up one deeper feeling of love, and thankfulness for an example so noble, to mould one life to more earnest walking after such a pattern of self-devotion, or to cast one gleam of brightness and hope over sorrow, by its witness to a continuous life in Christ, in and beyond the grave, their end will have been attained.1 Thus Canon Charles Leslie Courtenay (1816–1894) ended his account of the memorial window to the Prince Consort which the chapter of St George’s Chapel, Windsor had commissioned from George Gilbert Scott and Clayton and Bell. Erected in time for the wedding of Albert’s son the Prince of Wales in 1863, the window attempted to ‘combine the two ele- ments, the purely memorial and the purely religious […] giving to the strictly memorial part, a religious, whilst fully preserving in the strictly religious part, a memorial character’. For Courtenay, a former chaplain- in-ordinary to Queen Victoria, the window asserted the significance of the ‘domestic chapel of the Sovereign’s residence’ in the cult of the Prince Consort, even if Albert’s body had only briefly rested there before being moved to the private mausoleum Victoria was building at Frogmore. This window not only staked a claim but preached a sermon. It proclaimed the ‘Incarnation of the Son of God’, which is the ‘source of all human holiness, the security of the continuousness of life and love in Him, the assurance of the Communion of Saints’. -
Glassblowers of Venice Kept Their Art So Secret That It Almost Died out by Associated Press, Adapted by Newsela Staff on 02.11.16 Word Count 620
Glassblowers of Venice kept their art so secret that it almost died out By Associated Press, adapted by Newsela staff on 02.11.16 Word Count 620 Glassblower William Gudenrath puts enamel on a bowl with techniques used by Renaissance Venetians at the Corning Museum of Glass in Corning, New York, Jan. 22, 2016. Gudenrath spent decades researching how Renaissance glassmakers produced objects that are now considered works of art. Photo: AP/Mike Groll ALBANY, N.Y. — A modern-day glassblower believes he has unraveled the mysteries of Venetian glassmaking that was crafted during the Renaissance. The Renaissance was a cultural movement in Europe that lasted from the 1300s to the 1600s. During that period, glassmakers' secrets were closely guarded by the Venetian government. Anyone who spoke of them could be killed. Specially Skilled Craftsmen Today's glassblowers work with gas-fired furnaces and electric-powered ovens called kilns. Their studios are well lit and have proper air ventilation. The craftsmen of Murano, an island near Venice, Italy, did not have such technology. Yet they turned out pieces of art popular in museums today. The techniques, or the methods they used to make the objects, remained sought after for centuries. William Gudenrath spent years studying Venetian glass collections at American and European museums. He compared them with newer glasswork from Venice. He experimented on his own and traveled to Italy many times. Gudenrath combined all of his knowledge to produce an online guide. Guiding Modern Artists The guide is called "The Techniques of Renaissance Venetian Glassworking." It was recently posted on the website of the Corning Museum of Glass in New York. -
Calendar of Events
SEPTEMBER – OCTOBER, 2015 NEWSLETTER CALENDAR OF EVENTS CONFLUENCE Hired IRIS, PEONY AND UNIQUE The Master Plan Committee along with other interested stakeholders came together PLANT SALE over a four-month period and selected CONFLUENCE to provide master September 12 &13 plan services for the Arboretum. The committee reviewed fourteen proposals and interviewed three companies before selecting CONFLUENCE. Saturday & Sunday 9 a.m. – 4 p.m. CONFLUENCE was founded in Des Moines in 1998 and has since expanded throughout the Midwest, with additional offices in Cedar Find the best and brightest “stars” Rapids, Sioux Falls, Kansas City and Minneapolis. The company is for your garden. comprised of landscape architects and planners focused on bringing together people and ideas to create meaningful and memorable places within specific environments. PUMPKIN CARVING Thursday, October 15 Master planning is a collaborative process that consist of the evaluation 5 p.m. – 8:30 p.m. of current facilities, programs and services along with the long-term needs for facilities, programs and services. The finished product pulls Carve a pumpkin for displaying at together all of the elements desired for the Arboretum into a comprehensive the Arboretum’s Halloween events. plan. CONFLUENCE will also provide graphics to illustrate future Arboretum improvements. The master plan will be utilized to excite The Arboretum will provide dinner. and energize people about the Arboretum and be used as the road map for future development. AR “BOO” WEEN Committee Members: Dean Bowden, Don Draper, Donald Lewis, Saturday, October 17 Linda Grieve, Doug Gustafson, Wayne Koos, Kathy Law, Joe McNally, 1 p.m. -
Schedule of Events 2019 Pecan Grove Stages Crown Meadow Stages Holly Field Stages
Schedule of Events 2019 Pecan Grove Stages Crown Meadow Stages Holly Field Stages Idlewyld Revelers Joust Lady Hawke Falconry Glassblowing King's Roundabout Mountebank Gypsy Stage Whimsey Stage Taylor Lane Ivanhoe Stage Sea Hag Stage Crown Stage Fortune Stage Village Green Stage Stage Arena Stage Stage Booth # 111 Pavilion Stage Stage Prose & Poetry Middle School Art & Heraldry 9:30 Interpretation Drama Competition Displays Competition Competition Middle School Prose & Poetry High School Middle School High School Middle School High School Cirque du The London Rambling Zilch the Tory Art & Heraldry 10:00 Choir Interpretation Drama Improv Improv Drama Choir Sewer Broil Show Sailors Steller Competition Displays Competition Competition Competition Competition Competition Competition Competition Stewart & Middle School Prose & Poetry High School Middle School High School Middle School High School Glassblowing Pride of Arnold Knife Art & Heraldry 10:30 Wolgemut Joust Choir Interpretation Drama Improv Improv Drama Choir Demo Ireland Throwing Competition Displays Competition Competition Competition Competition Competition Competition Competition Show The Middle School Prose & Poetry High School Middle School High School Middle School High School Kamikaze Iron Hill Art & Heraldry 11:00 Gwendolyn Choir Interpretation Drama Improv Improv Drama Randal Piper Choir Fireflies Vagabonds Competition Displays Show Competition Competition Competition Competition Competition Competition Competition Middle School Prose & Poetry High School Middle School High -
The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages. -
The Birmingham & Midland Institute
THE BIRMINGHAM & MIDLAND INSTITUTE What's On July - December 2019 SCIENCE ARTS LITERATURE 1 About the BMI The Birmingham & Midland Institute has been at the heart of Birmingham’s cultural life for over 150 years. It was originally founded by Act of Parliament in 1854 for the ‘Diffusion and Advancement of Science, Literature and Art amongst all Classes of Persons resident in Birmingham and Midland Counties’. Charles Dickens was one of its early Presidents. CONTENTS During the late nineteenth century, the BMI played a leading role in the introduction of scientific and technical education in Season Highlights 2 Birmingham until the state gradually took over its functions. It was thus the forerunner of many educational bodies such Art 4 as the Birmingham Conservatoire. Located in a Grade II* listed building, the BMI Room and Venue Hire 6 has a thriving programme of cultural and educational activities, which includes a wide Music 7 spectrum of arts and science lectures, exhibitions and concerts. The building is also a venue for many externally-organised events Literature 8 and can be booked for conferences and meetings. The Birmingham Library 7 The BMI has longstanding associations with a number of independent societies who use Affiliated Societies 18 the premises for their activities and meetings. Affiliated societies have kindred interests and and Joint Events include the Birmingham Philatelic Society and the Birmingham and Midland Society for Genealogy and Heraldry. The BMI receives no public subsidy or direct revenue funding; it depends entirely on income generated through the support of members, visitors, donors, and volunteers. Visit our website, Facebook and Twitter pages for the latest updates on events and activities! SEASON HIGHLIGHTS DRAWING ON RUSKIN FREE ENTRY DROP-IN, NO NEED TO BOOK Keep an eye out for an exciting, long term drawing project starting in the spring and leading to an exhibition in the autumn. -
MOSAIC ART NOW2010 Edition
MOSAIC ART NOW2010 Edition Morning by Ann Gardner. Glass, composite material, concrete, steel. 18 h x 12 w x 12 d feet Photography: Lisa Jacoby 26 Mosaic Art Now No. 3 2010 Creative Capital: Laurel True aurel True is a mosaicist with a mission: to create economic opportunity through mosaic art. In a paper presented to the LInternational Conference on the Arts in Society in Venice in 2009, Dr. Randy Sanders of Southern Louisiana University wrote: “True has coordinated many public art projects that emphasize viable economic options for trades people as well as children in impoverished and blighted regions. Her projects place her in the role of a recruiter of artistic inspiration as she shares her talent while nurturing the participants’ creativity.” True has lead community projects in Oakland, CA; New Orleans, LA; and Ghana, West Africa. Says True, “Not all places and people have financial capital, but everyone has creative capital.” Last year, True arranged an artist’s residency at Kitengela Glass, a glass foundry and art studio outside of Nairobi, Kenya, founded by artist Nani Croze. The residency took place in part at the local Rudolph Steiner School that Croze had helped to found. Kitengela Glass hosted True and her assistant, Erin Rogers, and supplied recycled glass materials for a mosaic that True facilitated with the children of the Steiner School. Teachers at the school were taught mosaic methods, and tools were left behind so that the institution could continue to pursue mosaics. Here, True shares with us a scrapbook of the Nairobi project. Photos by Laurel True and Erin Rogers (www.lemontreemosaic.com) (Left) Me crossing a gorge on a cable bridge that was the first leg of our “commute” to the Steiner School every day. -
Gloucester Cathedral Faith, Art and Architecture: 1000 Years
GLOUCESTER CATHEDRAL FAITH, ART AND ARCHITECTURE: 1000 YEARS SUGGESTIONS FOR FURTHER READING SUPPLIED BY THE AUTHORS CHAPTER 1 ABBOT SERLO AND THE NORMAN ABBEY Fernie, E. The Architecture of Norman England (Oxford University Press, 2000). Fryer, A., ‘The Gloucestershire Fonts’, Transactions of the Bristol and Gloucestershire Archaeological Society 31 (1908), pp 277-9. Available online at http://www2.glos.ac.uk/bgas/tbgas/v031/bg031277.pdf Hare, M., ‘The two Anglo-Saxon minsters of Gloucester’. Deerhurst lecture 1992 (Deerhurst, 1993). Hare, M., ‘The Chronicle of Gregory of Caerwent: a preliminary account, Glevensis 27 (1993), pp. 42-4. Hare, M., ‘Kings Crowns and Festivals: the Origins of Gloucester as a Royal Ceremonial Centre’, Transactions of the Bristol and Gloucestershire Archaeological Society 115 (1997), pp. 41-78. Hare, M., ‘Gloucester Abbey, the First Crusade and Robert Curthose’, Friends of Gloucester Cathedral Annual Report 66 (2002), pp. 13-17. Heighway, C., ‘Gloucester Cathedral and Precinct: an archaeological assessment’. Third edition, produced for incorporation in the Gloucester Cathedral Conservation Plan (2003). Available online at http://www.bgas.org.uk/gcar/index.php Heighway, C. M., ‘Reading the stones: archaeological recording at Gloucester Cathedral’, Transactions of the Bristol and Gloucestershire Archaeological Society 126 (2008), pp. 11-30. McAleer, J.P., The Romanesque Church Façade in Britain (New York and London: Garland, 1984). Morris R. K., ‘Ballflower work in Gloucester and its vicinity’, Medieval Art and Architecture at Gloucester and Tewkesbury. British Archaeological Association Conference Transactions for the year 1981 (1985), pp. 99-115. Thompson, K., ‘Robert, duke of Normandy (b. in or after 1050, d.