DOCSLIB.ORG

Bulletin of A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bulletin of A Himi m Hijgffjf RLW& tr Archives 27411 Digitized by the Internet Archive in 2013 http://archive.org/details/bulletinofa32agri .••.-• BULLETIN of A. & T. COLLEGE Published by THE AGRICULTURAL AND TECHNICAL COLLEGE of NORTH CAROLINA Obedience to the Law is the Largest Liberty Issued Quarterly GREENSBORO, NORTH CAROLINA CALENDAR 1941-42 Entered as second-class matter, July 2d, 1909, at the Post- office at Greensboro, N. 0., under the act of July 16th, 1894. COLLEGE CALENDAR CALENDAR, 1941-1942 September 16—Entrance examinations. September 16—Freshmen and New students begin Registration Orientation. September 17—Freshman Orientation. September 18—Freshmen complete registration. September 19—Registration of former students. September 22—Classes begin. September 29—Last day for changes in schedule. December 17, 18, 19, 20—Fall term examinations. January 5, 1942—Registration Winter Quarter. January 6—Classes begin. January 12—Last day for changes in schedule. March 17, 18, 19, 20—Winter term examinations. March 23—Registration Spring Quarter. March 24—Classes begin. March 30—Last day for changes in schedule. May 27, 28, 29, 30—Spring term examinations. May 31—Baccalaureate sermon. June 1—Commencement. June 9—Registration for Summer Quarter. HOLIDAYS Thanksgiving Day and Friday following; Christmas holidays, December 21, 1941-January 1, 1942. SPECIAL DATS Dudley Day—November 2, 1941. Education Week. Religious Emphasis Week—December 10-14. Douglas' Birthday and Negro History Week— (Joint Observance) February 9-15. Arbor Day, March 15—Special program by School of Agriculture. National Negro Health Week, April 2-8. Morrill's Birthday, April 14r—Agriculture and Mechanic Arts societies have special programs. Farmers' Conference, to be announced. ol. 32 July, 1941 No. 1 Arcfives f i BULLETIN 5 S?s^, , Agricultural AND Technical College OF NORTH CAROLINA (Co-Educational Institution) FORTY-SIXTH ANNUAL CATALOGUE 1940-1941 with announcements for 1941-1942 Recognized as A STANDARD "A" GRADE COLLEGE by North Carolina Department of Education, the Council of Education of the State of Pennsylvania, the American Medical Association, the Southern Association of Colleges and Secondary Schools Greensboro, Nobth Carolina COLLEGE PUBLICATIONS The Bulletin of the A. and T. College. Published annually as the official catalogue of the college. The Bulletin of the A. and T. College Sum- mer Session. Published annually as the official catalogue of the Summer School. The Bulletin of the A. and T. College- pictorial review of the college. Published annually. The Register—the official organ of the stu- dent body. Published monthly. Edited and managed by the student body under the supervision of the college staff. TABLE OF CONTENTS Page Administration, Officers of 10 Agriculture, School of ~ 85 Students, Electives for 87 Agricultural Teachers, Curriculum for 87 Agronomy, Courses in 57 Animal Husbandry, Courses in _ 59 Announcements _ _ — 5 Application 188 Applied Art 107 Architecture and Building, Department of 68 Courses in — 69 Aviation, School of _ 45 Education and Sciences, The College of 47 Curricula 50 Medical College, Preliminary to Admission 51 Bacteriology, Courses in _ 70 Biological Sciences, Department of 70 Business Administration and Commercial Education, Department of 74 Business Administration, Courses in 75 Botany, Courses in _ 73 Calendar ~ - 8 Chemistry, Department of 78 Courses in _ 78 Major in „ 78 College, History of 16 Admission 19" Buildings ^.m .„.... 16 Publications " 2" Commercial Industries, Department of 80 Courses in _ _ — 81 Curriculum 81 Course Numbering System 22 Courses, Description of _ _ 57 Credit Evaluation System 23 Student Load 21 Dairying, Courses in 59 Degrees 24 Conferred 170 Economics, Courses in 105 Education, Department of 81 Electrical Engineering, Department of 89 Courses in 90 Curriculum 89 English Language and Literature, Department of 91 Courses in 92 Enrollment by States 187 Evening School 31 Expenses 32 Fine Arts 95 Courses in 96 Curriculum 96 Foods and Nutrition 107 Foreign Language, Department of 98 French, Courses in 99 General Information 24 Geography and Geology, Courses in 103 Graduate School 53 Graduation Requirements 23 Hicks-Mosley Loan Fund _ _ 28 History, Courses in 102 Home Administration _ 108 Home Economics 41 Courses 106 Courses Leading to B.S. Degree 41 Horticulture, Courses in _ 63 Industrial Arts Teachers, Curriculum for 112 Courses 113 Marking System 21 Mathematics, Department of 114 Courses in _ _ 115 Mechanic Arts, School of 42 Admission to Technical College 45 Advanced Standing 45 4 The Agricultural and Technical College Page Curricula 46 Equipment 43 Graduation Requirements 45 Special Students 45 Mechanical Engineering 117 Courses 118 Curriculum 117 Military Science 121 Music Department 122 Nurse Training, Opportunities for 27 Organizations 24 Physics, Department of 129 Physical Education 124 Courses of 125 General Aims 124 Political Science, Courses in 103 Poultry, Courses in 61 Religion and Ethics 131 Research _ 131 Roster, Student 151 Rural Engineering, Courses in 65 Secretarial Science 143 Courses in 143 Self-Help 34 Schedule of Entrance Examinations 7 Scholarships and Prizes 28 Social Sciences, Department of 101 Sociology, Courses in 104 Spanish, Courses in 101 Summer School 31 Trades and Industrial Education, Teacher-Training for 112 Textiles and Clothing 107 Trustees, Board of 9 Vocational School 133 Auto Mechanics 135 Cabinet Making and Upholstering 138 Carpentry 137 Laundry Management 139 Machine Shop Practice 142 Masonry and Bricklaying 136 Plumbing and Steam Fitting 140 Shoe Repairing and Leather Work 136 Short Course _ 145 Tailoring 141 Zoology, Courses in 71 ANNOUNCEMENTS NOTE ANNOUNCEMENTS—IMPORTANT TO EVERY STUDENT 1. Vaccinations.—Each student is required to be vaccinated on entering unless evidence be presented to satisfy the college physician that vaccination is unnecessary. 2. Lodging Deposits.—Students should secure rooms at once for September lodging, by paying one dollar for reservation of room. 3. Examinations.—Entrance examinations and examinations for removal of conditions will be held September 16. All students who have conditions to remove should avail themselves of this opportunity. 4. Boarding Students.—All students who room on the campus must take meals in Murphy Hall. 5. Non-Resident Students.—Students whose legal residence is not in Greensboro will not be permitted to board and lodge off the campus unless they have special permission or unless they have employment that requires them to live on the premises. 6. Fraternity Houses.—The college will not permit fraternities, sororities or other groups to establish "houses" off the campus. 7. Entrance Fees.—Each student must pay in cash all entrance fees and expenses for the first month, when he registers. 8. Fees: Monthly and Quarterly.—Any student whose bills are not paid on or before the day following the date on which such bills are due, will be excluded from all college privileges until such bills are paid. 9. Student Load.—Each regularly classified student will be required to register for 13 hours of work as a minimum. The maximum shall be 18 hours except as provided for by exceptional scholarship. (See page 21.) Students carrying a normal load in regular classes will not be permitted to register for credit in evening or extension classes. 10. Changes in Schedule.—Students have one week from the begin- ning of each quarter in which to make adjustments in their schedules. After this time no changes will be permitted except by written permis- sion of the dean of the department. The Registrar will then recall the class card and discharge the student from the class. No student will be allowed credit for courses added to his schedule after it has been approved, and any student illegally dropping a course in which he has been registered will be assigned the grade F at the end of the quarter. 6 The Agbictjltubal and Technical College 11. Attendance.—Students will be required to attend the regular exercises of the courses in which they are registered. Ordinarily any student who has failed to attend five-sixths of the scheduled meetings of a course will not be allowed credit for such course. 12. Late Fees.—Each registrant will be required to pay 50 cents for each day that he is late after the last day assigned for registration. 13. Deportment.—Any student who manifests unwillingness to con- form to the rules and regulations that are prescribed, or, that may be prescribed to govern the student body, or any student whose influence or deportment seems detrimental to the best interest of the school, will be asked to withdraw from the Institution. 14. Honor Roll.—To encourage scholarship and integrity, the col- lege publishes an Honor Roll at the end of each quarter. Regular students whose average grade in all courses and deportment is "B" shall be eligible for the Honor Roll. Those students whose grade point average is 2.5 each quarter for three consecutive quarters shall be eligible for an alumni scholarship. 15. Scholarship.—Students are expected to do a passing grade of work. Those failing in more than fifty per cent of the work in which they are registered during any quarter will be requested to withdraw. 16. Extra Curricular Activities.—All students shall be encouraged to participate in some one extra curricular activity, upon which he shall be graded with regards to excellence. Special consideration will be allowed students who bring their band or orchestra instruments. 17. Dormitory Provisions.—The college provides for each student a bed, bureau, study table and straight chair. Students are required to furnish their own curtains, blankets, bed linen, rugs and towels. Electrical appliances, other than those already supplied, are forbidden. 18. Conduct.—A student automatically forfeits his privilege of working for pay at the college when, for any reason, he is placed on probation because of misconduct. 19. Disciplinary Suspension.—All students, except bona fide resi- dents of Greensboro, are required to leave the campus and the city within forty-eight hours after disciplinary suspension.
Load more

Recommended publications
  • The Connoisseur (Sir Gerald Ryan
    1 TheConnoisseur An Illustrated Magazine For Collectors Edited by C. Reginald Grundy Vol. LIX. (JANUARY—APRIL. 1921) LONDON Published by the Proprietor, W. CLAUDE JOHNSON, at tiii., Editorial and Advertisement Okkices of The Connoisskuu, AT I, Duke Street, St. James's, S.W. i 192 1 MROSE AND SONS 1 DERIIY AND I.ONDO 8(i 1)656 NDEX ARTICLES AND NOTES A Beautiful Jacobean Hanging (Note) .Authors and Contributors—coiilinucd. "A Citv Banquet," by Fred Roc, K.I., R.B.C. Richardson, Mrs. Herbert. The Fashion Plates '(Note) of Horace Vernet (Art.) ... ... ... yy Adam and other Furniture (Note) ... Roberts, C. Clifton. Salopian China (Art.) ... 2.( Aitken, John E., Drawings by (Note) Roe. F. Gordon. The Life and Work of F. W. An Outpost of London, by Criticus (Note) Hayes, A.R.C.A., F.R.G.S. (Art.) 103 Angelica Kautfmann and Her .Art. by Lady Victoria Rusconi, Art. Jahn. The Tapestries of Mantua Manners (.\rt.) by Raphael (Art.) 77 Another New Gallery (Note) Williamson, Dr. G. C. Some Notes on the Portraits of Sir Pliilip Sidney (Art) ... Antique Business Extension (Note) 217 Antiques at Waring's (Note) Books Reviewed. Aquatints. Old (Note) A Bookseller's igo Authors and Contributor.s. Catalogue " A Catalogue of Etchings by Augustus John, Andrews, Cyril Bruyn. The Valencia Altar-piece 1901-1914." by Campbell Dodgson ... 5S (Art.) " A Dweller in Mcsnpntamia," by Donald Maxwell 1S7 Brochner, Georg. Old Danish Furniture (.Art.)... " A Hamll.".i. ..I Imlini Art," by E. B. Havell ... 188 Brockwell. Maurice W. Frans Hals Pictures at " Haarlem (Note) A Histiii\ <\ I \ri\,l,iy Things in England," by M.
    [Show full text]
  • The Challenges of French Impressionism in Great Britain
    Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well.
    [Show full text]
  • Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
    Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan)
    [Show full text]
  • THE EARLIER WORK of TITIAN by CLAUDE
    THE EARLIER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1897 [Illustration: _Flora_] [Illustration: The Portfolio Artistic Monographs With many Illustrations] LIST OF ILLUSTRATIONS PLATES PAGE page 1 / 110 Flora. Uffizi Gallery, Florence ....................... Frontispiece Sacred and Profane Love. Borghese Gallery, Rome..................... 36 Virgin and Child, with Saints. Louvre............................... 54 Le Jeune Homme au Gant. Louvre...................................... 62 ILLUSTRATIONS PRINTED IN COLOUR Design for a Holy Family. Chatsworth................................ 86 Sketch for the Madonna di Casa Pesaro. Albertina.................... 96 ILLUSTRATIONS IN THE TEXT The Man of Sorrows. In the Scuola di S. Rocco, Venice............... 23 Virgin and Child, known as "La Zingarella." Imperial Gallery, Vienna 25 The Baptism of Christ. Gallery of the Capitol, Rome................. 29 page 2 / 110 The Three Ages. Bridgewater Gallery ................................ 35 Herodias with the Head of John the Baptist. Doria Gallery, Rome..... 39 Vanitas. Alte Pinakothek, Munich.................................... 41 St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua............................................. 43 "Noli me tangere." National Gallery................................. 45 St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49 The Madonna with the Cherries. Imperial Gallery, Vienna............. 51 PAGE Madonna and Child, with St. John and
    [Show full text]
  • David Croal Thomson Papers, 1879-1931
    http://oac.cdlib.org/findaid/ark:/13030/kt058031zf No online items Finding aid for the David Croal Thomson papers, 1879-1931 Finding aid prepared by Rose Lachman. Finding aid for the David Croal 910126 1 Thomson papers, 1879-1931 Descriptive Summary Title: David Croal Thomson papers Date (inclusive): 1879-1931 Number: 910126 Creator/Collector: Thomson, David Croal, 1855-1930 Physical Description: 4.75 linear feet(circa 3100 items) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: English art dealer and writer, Thomson (1855-1930) worked at or managed several major galleries in London and edited the Art Journal. The papers primarily contain professional and personal correspondence. Letters to and from leading artists and social figures trace artistic trends and tastes as well as Thomson's growing stature in London society. Personal correspondence consists largely of letters between members of Thomson's family. The collection includes a small number of clippings, itineraries, and ephemera. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note David Croal Thomson was born in Edinburgh on October 24, 1855. He studied drawing and painting in Edinburgh, where he also apprenticed as a printseller and artist's colourman (1867), and went on to manage Hill's Picture Gallery and its art publications (1872-1880). He then went to Paris to continue his studies in art. In London, September 1880, he became the sub-editor of The Year's Art, assisting M.
    [Show full text]
  • THE WALLACE COLLECTION Candlesticks, Etc ., Is Represented Here with a Com Ple Te Ne Ss and Brilliancy Hardly to Be Found in Any
    THE NATI ONA L G A LL ERY BY J . E . CRAW FORD F LITCH “ The Na tiona l Ga lle ry ha s form ed the subj ect o f a book on ma occa si o s but ne v e r in ny n , hand ie r or m ore use fu l fo rm tha n his li le ol um e whi ch s hou ld t tt v , be of the grea te s t use and pl e a s ure to eve ryone int e reste d in a rt ’ a nd o na i n i u —Ma n ur t o s p ct res. TH E L OUVRE . E R R BY E . ICHA DS The author w ri tes a very inte r es t ing a ccount of the Pa lace of the Louvre a guid e far e xce lling in interes t a nd l ite rary q ua lity e - Scots those o rdina rily on sa l . ma n. Other volumes a re i n pr epa ra ti o n. LA MA R" UISE D E PO M PADO U R Bo uc/zer T H E W A L L A C E fl C O L L EC T IO N FRANK RUTTER. BA . Curatar of the Lceds City Art Gulm AUTHOR Ol" A I NTER AND M N O F ET TERS P A L , WHIS TLER : A BIOGRAPHY AND AN ESTIMATE ' ‘ E I fl . BOSTON S L N D MA L , MAY AR AND COMPANY P UBLIS HERS T H E W A L L A C E C O L L E C T IO N FRAN K UTTER B.A.
    [Show full text]
  • The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
    THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange.
    [Show full text]
  • Neo-Pre-Raphaelitism: the Final Generations
    Neo-Pre-Raphaelitism: The Final Generations Amanda B. Waterman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Susan Casteras, Chair Stuart Lingo Joseph Butwin Program Authorized to Offer Degree: Art History ©Copyright 2016 Amanda B. Waterman University of Washington Abstract Neo Pre-Raphaelitism: The Final Generations Amanda B. Waterman Chair of the Supervisory Committee: Professor Susan P. Casteras Art History The Pre-Raphaelite Brotherhood was a group of seven young men who wanted to rebel against the teachings and orthodoxies of the Royal Academy. It was a short-lived movement, beginning in 1848 and ending in the early 1850s, but this dissertation will argue that their influence lived on and inspired a group of artists who were working at the turn of the century and well into the twentieth-century. This dissertation is unprecedented; it is the first publication which aims to specifically categorize certain artists whose oeuvres are indebted to various generations of Pre-Raphaelitism. In short, I am characterizing these artists and thereby dubbing them “Neo-Pre-Raphaelite,” channeling an early twentieth-century description of some of these artists. The most obvious reason to refer to them by this term is that they are stylistically and/or thematically linked to members of the original PRB or later generations / manifestations of Pre-Raphaelitism. The individuals on whom I am focusing are all British and produced Pre-Raphaelite inspired work from roughly 1895-1950. Consequently, the parameters within which I am working are threefold; firstly, the artists were exhibiting in the late 1880s/1890 – 1920 (a Neo-Pre-Raphaelite period that overlapped for most of them); secondly, those whose work echoed that of the Pre-Raphaelite Brotherhood; and thirdly, persons having a working relationship with Edwin Austin Abbey—an American artist who was in a unique position to be a hybrid between the earlier PRB and these younger artists.
    [Show full text]
  • Crossing the Channel: the Challenges of French Impressionism in Great Britain
    Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: __________________________________ Dr. Daniel Sherman, Thesis Advisor Dr. Eliza Richards, Reader Dr. Tatiana String, Reader 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well.
    [Show full text]
  • Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection
    Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Bequest of Samuel and Mary R. Bancroft, 1935 Extent 47 linear feet Processed Betty Elzea, 1992 Access Restrictions Some restrictions apply to materials in Boxes 36 and 37A Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 www.delart.org Preferred Citation Samuel and Mary R. Bancroft Pre-Raphaelite Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Table of Contents History of the Collection Scope and Contents Note Organization of the Collection Description of the Collection Added Material – Bancroft Archives Drawer List – Bancroft Archives History of the Collection The Samuel and Mary R. Bancroft Collection of Pre-Raphaelite Art at the Delaware Art Museum in Wilmington, Delaware, is unique. No other art collection is devoted specifically to this important nineteenth century movement, and it is doubtful that there are many other collections so thoroughly documented. The collection came about through the personal taste and enthusiasm of Samuel Bancroft, Jr. (1840- 1915), a Wilmington Quaker industrialist, and his family and business connection with Manchester, England. Bancroft was the son of Joseph Bancroft (1803-1874) of Rockford (now part of the city of Wilmington), who emigrated from Lancashire to the U.S.A. in 1824. Joseph was following his brother John, who had emigrated in 1821, and his parents, John and Elizabeth (Wood) Bancroft who, with their other eleven children had emigrated in 1822.
    [Show full text]
  • The Later Works of Titian
    The Later works of Titian Claude Phillips The Project Gutenberg eBook, The Later works of Titian, by Claude Phillips This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Later works of Titian Author: Claude Phillips Release Date: June 19, 2004 [eBook #12657] Language: English Character set encoding: US-ASCII ***START OF THE PROJECT GUTENBERG EBOOK THE LATER WORKS OF TITIAN*** E-text prepared by Jonathan Ingram, Wilelmina Malliere, and the Project Gutenberg Online Distributed Proofreading Team Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 12657-h.htm or 12657-h.zip: (http://www.gutenberg.net/1/2/6/5/12657/12657-h/12657-h.htm) or (http://www.gutenberg.net/1/2/6/5/12657/12657-h.zip) THE LATER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1898 Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. [Illustration: Titian. From a photograph by G. Brogi.] [Illustration] LIST OF ILLUSTRATIONS COPPER PLATES Portrait of Titian, by himself. Uffizi Gallery, Florence. Frontispiece La Bella di Tiziano. Pitti Palace, Florence. Titian's daughter Lavinia. Berlin Gallery. The Cornaro Family. Collection of the Duke of Northumberland. ILLUSTRATIONS PRINTED IN SEPIA Drawing of St. Jerome. British Museum. Landscape with Stag. Collection of Professor Legros. ILLUSTRATIONS IN THE TEXT Madonna and Child with St.
    [Show full text]
  • Download Notes and Bibliography
    This edition of the Technical Bulletin has been supported National Gallery Technical Bulletin by Mrs Charles Wrightsman volume 36 Titian’s Painting Technique from 1540 Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2015 All images © The National Gallery, London, unless credited All rights reserved. No part of this publication may be transmitted otherwise below. in any form or by any means, electronic or mechanical, including CAMBRIDGE photocopy, recording, or any storage and retrieval system, without © Fitzwilliam Museum, Cambridge: 51, 52. prior permission in writing from the publisher. CINCINNATI, OHIO Articles published online on the National Gallery website © Cincinnati Art Museum, Ohio / Bridgeman Images: 3, 10. may be downloaded for private study only. DRESDEN Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden First published in Great Britain in 2015 by © Photo Scala, Florence/bpk, Bildagnetur für Kunst, Kultur und National Gallery Company Limited Geschichte, Berlin: 16, 17. St Vincent House, 30 Orange Street London WC2H 7HH EDINBURGH Scottish National Gallery © National Galleries of Scotland, photography by John McKenzie: 250–5. www.nationalgallery.co.uk FLORENCE British Library Cataloguing-in-Publication Data. Gabinetto dei Disegni e delle Stampe, Galleria degli uffizi, Florence A catalogue record is available from the British Library. © Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali: 12. ISBN: 978 1 85709 593 7 Galleria Palatina, Palazzo Pitti, Florence © Photo Scala, ISSN: 0140 7430 Florence – courtesy of the Ministero Beni e Att. Culturali: 45. 1040521 LONDON Apsley House © Stratfield Saye Preservation Trust: 107. Publisher: Jan Green Project Manager: Claire Young © The Trustees of The British Museum: 98.
    [Show full text]