Miniature Wulff-type generator for improving feed to fuel cells /|nT.-S. Tan. -- 260 St. Catharines, Ont. : [s. n.],

The original objective of this work was to provide a simple generator w.hich would produce hydrogen torLfuel-cell feed and which could be operated under remote or northern conditions. A secondary objective was to maximize the yield of hydrogen and carbon monoxide from available feed-stocks. A search of the patent literature has indicated that the concept of a small Wulff-type generator is essentially sound and that hydrogen may be recovered from a wide variety of hydrocarbon feed-stocks. A simple experimental set-up has been devised, patterned after ~~t originally used by R. G. Wulff for producing acetylene. This provides a supply of feed-stock, with or Without a carrier gas, which may be passed directly through a heated tube, which may contain a catalyst. A suitable procedure has been devised for analysi~ effluent gases for hydrogen, oxygen, nitrogen, methane and carbon monoxide by gas chromatography with the column packed with .Molecular .:>ieve .5 4. Athanol with air a.s carrier gas and at the same time as oxidant o was thermolyzed at temperatures in the ra~e 700-1100 C, with or Wi~lout catalyst. Methanol with or without nitrogen as a carrier gas was also cracked with • the same type of reactor refractory tube, but the temperature range was lower t down to ,300 " C when a catalyst was used. The problems of converting methane to hydrogen and carbon monoxide effiCiently, using air and/or water as oxidants were also studied.

Patterns in space : a regional study of motif in Minoan wall painting

This thesis consists of a quantitative analysis of the regional prevalence of certain artistic motifs as they appear in Minoan wall painting of the Neopalatial period. This will help to establish the relative degree of artistic autonomy exercised by each of the sites included in this study. The results show that the argument for itinerant artists during this time period is a strong one, but the assumption that these travelling artists were being controlled by any one palace-centre is erroneous. Rather, the similarities and differences seen suggest that the choices were predicated either by the specific patrons, or by the function of the associated building or room. Thus, the motifs found within this study should be understood as constituting a cultural identity, with greater or lesser degrees of regional homogeneity, which act as one facet of a number of cultural indicators that can be used to better understand the role of artists and regional dynamics on the island during the Bronze Age.

Miniature Portrait of Captain John Brock

A miniature portrait of Captain John Brock, 81st Regiment of Foot. There is an inscription on parchment attached to the reverse which reads "Major Gen. Sir Isaac Brock Lieut. Govenor of Upper Canada Fell at Queenston Heights on 13th Oct 1812" "The Hero of Canada". Above this inscription is a picture of an Indian on a battlement, holding what appears to be a tomahawk. Directly below this picture is a banner with the word "Canada" on it. The entire inscription is surrounded by a braided lock of hair which is enclosed in the case. This inscription contains a number of historical inaccuracies. The portrait also shows the buttons of the 81st Regiment. Sir Isaac Brock belonged to the 49th Regiment of Foot. It has thus been determined that the portrait is not of Isaac Brock but of his brother John.

Watercolour painting, Trees

A watercolour painting of trees, 15cm x 10com, signed by Margaret Woodruff.

Letter to Mr. William Leary, steward of the Long Point Company, from S.D. Woodruff regarding the painting of the new building at Long Point

Letter to Mr. William Leary, steward of the Long Point Company, from S.D. Woodruff regarding the painting of the new building at Long Point (2 ½ pages, handwritten), June 11, 1875.

Receipt from George Begy for painting

Receipt from George Begy for painting.

Watercolour painting of the Woodruff coat of arms on paper

Watercolour painting of the Woodruff coat of arms on paper. This measures 43 cm. x 31 cm., n.d.

Guernsey Milk Can

In 1969, Sir William Arnold, Bailiff of Guernsey - the birthplace of Sir Isaac Brock - was invited by Dr. Gibson to come to Canada and visit Brock University on the 200th anniversary of Sir Isaac Brock's birth. Following his visit in October of that year, the Bailiff presented Brock University with this miniature silver milk can. This milk can is of the traditional Guernsey style.

Guy Ducornet

Guy Ducornet with the Primalphabet-Geographics paintings in 1976. The painting to the left is now situated in the Tower lobby.

Brock vs Concordia

Marty Calder of Brock wrestles Anthony Merlo of Concordia. This photograph has been translated into a painting which can now be seen just outside the Ian D. Beddis Gymnasium.

Brock University Tower

The original Master Plan of 1964 called for the campus to stretch out 1 1/4 miles across the escarpment with arts buildings west of the tower and science buildings to the east. This plan laid out the development of Brock for the next 10 or 11 years by which time enrollment was expected to be near 8000 students. Pictured here is the tower and main entrance to the university. To the left is a planned administration building. The original plans also called for a miniature canal running between the boulevard at the entrance which would then pass through an underground system and open up into a waterfall at the brink of the escarpment behind the tower.

Why do some adults change their minds about what is important in the visual arts? : a case study

This-~-case study used ethnographic-methodo-logy. --The research project was an introductory study of one adult's present and past experiences with the visual arts, exploring, in particular, the causes and processes that were related to the individual's changes of mind in order to develop an understanding of why that individual had changed her mind about what was significant in the visual arts. The individual who provided the data was a solid supporter of art galleries: female, middle-aged, graduate of university and college, married with two children, and living in an urban community. The data were collected from two informal conversational interviews and from a written description of one change experience selected by the participant. The individual had positive experiences with art during early childhood, in elementary and secondary school, during university, in avocational drawing and painting studio courses, and in aesthetic experiences. All of these experiences have had individual effects and, together, they have had a cumulative effect on the development of the participant's opinions and ideas about the visual arts. The experiences which had the most effect on the development of the individual's perspectives on the visual arts were handson studio, educational, and aesthetic experiences. Further research is suggested to investigate why some adults change their minds about the visual arts.

Margaret Glassford fonds, 1941, 1951, 1961, 1971, 1973-1975, 1977-1984, 1986-2000, 2002, 2005, n.d.

Margaret was an only child who grew up on a farm just east of Cayuga, Ontario. After high school, Margaret attended Hamilton Teacher’s College and took a position with Grantham Public School Board and taught at Power Glen school. Margaret was married in 1962 and had 2 children, a daughter and a son in 1963 and 1964, respectively. Margaret left her teaching job to raise her children. Margaret was very creative and artistic and during this time, focused on these talents, which included painting, graphic arts and sewing. Margaret was also an accomplished pianist. In her 40’s, Margaret enrolled at Brock University and in 1989 obtained a Honors Bachelor of Arts degree with First-Class Honors in Sociology. In partial fulfillment of her Honors B.A. she completed her thesis that is entitled ; The State and Liberal Feminism: The Ontario Government’s “Business Ownership For Women Program”. While living in St. Catharines, Margaret attended York University and graduated with a Master of Arts in Sociology in 1992 where her studies focused on women’s issues. Margaret received a scholarship from York University and was a teaching assistant. Margaret stayed on at York University and completed her academic requirements for a Doctorate degree in Sociology. Her dissertation was on self employed women in St. Catharines at the beginning of WWII -- not the” Rosie the Riveters” who took over jobs formerly held by men who had to go off to fight World War II, but women who ran their own businesses when that was still unusual. Margaret completed the research for her thesis but did not complete her written thesis as she made a difficult decision to put her academic work on hold in the mid-1990’s and she returned to her love for the arts, although she always remained a voracious reader and interested in women’s issues. In the last decade of her life, she took up quilting with a passion, which she referred to as fabric arts. Margaret loved colour and being non-traditional. Margaret had been a quilting instructor at the Flemington College for Fine Arts in Haliburton. In 1997, Margaret founded Project Smile in the St. Catharines region, a non-profit group who make quilts for children with cancer. Margaret was also the President of the Niagara Heritage Quilters’ Guild in 2006-2007 and was very involved with the Local Council of Women.