Drawing, St. Catharines House on February 26, 1849

A drawing done on paper 50cm x 45cm and mounted in a frame under glass. This is a drawing of a meeting held at the St. Catharines House on February 26, 1849. The drawing was done from memory by W. Osborn who has signed the picture on one of the pillars on the right hand side of the picture. The caption under the picture reads "Act 1st Scene 1st". There is some dialogue, "Woodruff - 'He says gentlemen, my son holds an office under Government, of 400 pounds per year - he forgot to tell you, he sold his constituents at Cornwall' - Macdonald 'You're a liar'". The artist portrays a fight breaking out and lists the characters as Boyd , Rykert, Hobdon, Foley, The Sheriff, Woodruff, J.W.O. Clarke, McDonald, Lamb, Hamilton and Hathaway. There are some very slight wrinkles and tears in the drawing. They do not affect the drawing. [Rolland MacDonald (1810-1881) represented Cornwall in the Legislative Assembly of the Province of Canada from 1844-1846. He was called to the bar in 1832 and set up practice in St. Catharines. The quote on the drawing concerns the constituents at Cornwall. This meeting was covered in reports in the St. Catharines Journal on: March 1, March 8, march 15 and march 22, 1849. There is also an excerpt in William Hamilton Merritt's diary noting the riot and the sketch by Osborn].

The Ontario and St. Lawrence Steamboat Company's hand-book for travelers to Niagara Falls, Montreal and Quebec, and through Lake Champlain to Saratoga Springs.

"Illustrated with maps, and numerous engravings from original sketches."

"I might be a duck, but I'm human" : an analysis of clothing in Disney cartoons

Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned. I was able to identify five themes that played a large part in what kind of clothing a character wore; first, the character's gender and/or sexuality; second, what species or "race" the character was; third, the character's socio-economic status; fourth, the degree to which the character was anthropomorphized; and, fifth, the context in which the character and its clothing appeared in a particular scene or narrative. I concluded that all of these factors played a part in determining, to some extent, the clothing worn by particular characters at particular times. However, certain patterns emerged from the analysis that could not be explained by these factors alone or in combination. Therefore, my analysis also investigates the individual and collective attitudes and desires of the men in the Disney studio who were responsible for creating these characters and the cultural conditions under which they were created. Drawing on literature from the psychoanalytic approach to film studies, I argue that the clothing choices spoke to an idealized fantasy world to which the animators (most importantly, Walt Disney himself), and possibly wider society, wanted to return.

'To do justice and judgement' : the place of passion in public life

Please consult the paper edition of this thesis to read. It is available on the 5th Floor of the Library at Call Number: Z 9999 P65 F47 2003

Illustration - Drawing of Pig while Blindfolded, 23 July 1900

The illustration of a pig is part of an autograph book collection of Ethelwyn Wetherald. Her collection consists of drawings of pigs her guests create while blindfolded. The signature of each guest accompanies the illustration. This illustration was done by Margaret H. Dorland in the year 1900.

William Hand Manufacturer of Fire-works, Pyrotechnic Artist Advertisement

An advertisement addressed to the "celebration committees" for May 24th and July 1st. William Hand details his services for fireworks and other lighting. Price ranges are included and reviews/comments quoted from several newspapers.

Canadian Niagara Power Glass Slide - Engineer Drawing of Sections of Discharge Tunnel

Consulting Engineer drawing of Sections of the Discharge Tunnel. Included in the drawing is the "cross section of tunnel with timbering" and "longitudinal section showing Timber in straight tunnel". Dated October 1902.

Canadian Niagara Power Glass Slide - Engineer Drawing Hydro Station

Appears to be an engineer's drawing of the Hydro Station. It is a cross-section view of the interior.

Canadian Niagara Power Glass Slide - Drawing: Section thru Wheelpit

Drawing of "Section thru Wheelpit" dated September 1925. Shows unit no.1 through unit no.11, power house floor and water surface.

Canadian Niagara Power Glass Slide - Engineer Drawing (untitled)

Engineer drawing (untitled), some of the labels read "exciter chamber", "fore bay", "power house floor".

Postsecondary Artist Teachers' Responses to Computer Technology in Their Drawing Pedagogy

While the influence of computer technology has been widely studied in a variety of contexts, the drawing teaching studio is a particularly interesting context because of the juxtaposition of traditional medium and computer technology. For this study, 5 Canadian postsecondary teachers engaged in a 2-round Delphi interview process to discuss their responses to computer technology on their drawing pedagogy. Data sources included transcribed interviews. Findings indicated that artist teachers are both cautious to embrace and curious to explore appropriate use of computer technology on their drawing pedagogy. Artist teachers are both critical and optimistic about the influence of computer technology.