939 resultados para Marble sculpture
Resumo:
Annotated and interleaved almanac in marble-paper covers with minimal annotations to the calendar pages, generally "JB" and "SB." The interleaved pages contain sporadic handwritten entries including notes about Pearson's recovery from a broken leg, farming and a diagram of planted apple trees, Harvard staff hirings, deaths in the community, ministers whose sermons he attended, and Bible citations.
Resumo:
Annotated and interleaved almanac in marble-paper covers with minimal annotations to the calendar pages, generally "J" and "S." The interleaved pages contain sporadic handwritten entries including brief notes about deaths in the community, ministers whose sermons Pearson attended, Corporation meetings, and student examinations. There are entries noting the deaths of Harvard undergraduates Isaac Wellington (who drowned) and Francis Brigham (who died of a fever). The almanac is the version printed and sold in Boston by T. & J. Fleet.
Resumo:
Annotated and interleaved almanac in marble-paper covers with minimal annotations to the calendar pages, generally "Jun" and "Sen." The interleaved pages contain sporadic handwritten entries including brief notes about ministers whose sermons Pearson attended, Bible citations, and student examinations.
Resumo:
Annotated and interleaved almanac in marble-paper hard covers with minimal annotations to the calendar pages, generally "J" and "S." The interleaved pages contain sporadic handwritten entries including brief notes about deaths in the community, Bible citations, ministers whose sermons he attended, and Corporation meetings.
Resumo:
Annotated and interleaved almanac in marble-paper hard covers with minimal annotations to the calendar pages, generally "J" and "S." The interleaved pages contain sporadic handwritten entries including brief notes about deaths in the community, Bible citations, ministers whose sermons Pearson attended, and Corporation meetings.
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Interleaved almanac in marble-paper covers. The interleaved pages contain sporadic handwritten entries including notes of Trustees meetings in Andover.
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This layer is a georeferenced raster image of the untitled, historic nautical chart: [A chart of the harbours of Hampton, Newbury, Ipswich, Jebeka, Squam, Cape Ann, Manchester, Beverly, Salem, Marble Head &c.] (sheet originally published in 1776). The map is [sheet 23] from the Atlantic Neptune atlas Vol. 3 : Charts of the coast and harbors of New England, from surveys taken by Samuel Holland and published by J.F.W. Des Barres, 1781. Scale [ca. 1:50,000]. This layer is image 1 of 2 total images of the two sheet source map, representing the southern portion of the map. Covers coastal Massachusetts from Ipswich Harbor to Marblehead. The image is georeferenced to the surface of the earth and fit to the 'World Mercator' (WGS 84) projected coordinate system. All map collar information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, or other information associated with the principal map. This map shows coastal features such as harbors, inlets, rocks, channels, points, coves, shoals, islands, and more. Includes also selected land features such as cities and towns, buildings, and roads. Relief is shown by hachures; depths by soundings. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection. The entire Atlantic Neptune atlas Vol. 3 : Charts of the coast and harbors of New England has been scanned and georeferenced as part of this selection.
Resumo:
This layer is a georeferenced raster image of the untitled, historic nautical chart: [A chart of the harbours of Hampton, Newbury, Ipswich, Jebeka, Squam, Cape Ann, Manchester, Beverly, Salem, Marble Head &c.] (sheet originally published in 1776). The map is [sheet 24] from the Atlantic Neptune atlas Vol. 3 : Charts of the coast and harbors of New England, from surveys taken by Samuel Holland and published by J.F.W. Des Barres, 1781. Scale [ca. 1:50,000]. This layer is image 2 of 2 total images of the two sheet source map, representing the northern portion of the map. Covers coastal Massachusetts and New Hampshire from Ipswich Harbor, Massachusetts to Hampton Harbor, New Hampshire. The image is georeferenced to the surface of the earth and fit to the 'World Mercator' (WGS 84) projected coordinate system. All map collar information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, or other information associated with the principal map. This map shows coastal features such as harbors, inlets, rocks, channels, points, coves, shoals, islands, and more. Includes also selected land features such as cities and towns, buildings, and roads. Relief is shown by hachures; depths by soundings. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection. The entire Atlantic Neptune atlas Vol. 3 : Charts of the coast and harbors of New England has been scanned and georeferenced as part of this selection.
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Written in one column, in a nastaʻlīq script in black ink, rubricated in red, 13 lines per page, with marginal corrections. Catchwords on the verso of each leaf.
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Title from caption (fol. 1v).
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بسم الله الرحمن الرحيم وبه نستعين عدد ما في الكتاب العزيز ... :Incipit
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Narratives to be recited at the commemorative assembly (majlis) held on the 30th and 40th days after the martyrdom of Imām Ḥusain.
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Title provided by cataloger.
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Tourmaline from a gem-quality deposit in the Grenville province has been studied with X-ray diffraction, visible-near infrared spectroscopy, Fourier transform infrared spectroscopy, scanning electron microscopy, electron microprobe and optical measurements. The tourmaline is found within tremolite-rich calc-silicate pods hosted in marble of the Central Metasedimentary Belt. The crystals are greenish-greyish-brown and have yielded facetable material up to 2.09 carats in size. Using the classification of Henry et al. 2011 the tourmaline is classified as a dravite, with a representative formula shown to be (Na0.73Ca0.2380.032)(Mg2+2.913Fe2+0.057Ti4+0.030) (Al3+5.787Fe3+0.017Mg2+0.14)(Si6.013O18)(BO3)3(OH)3((OH,O)0.907F0.093). Rietveld analysis of powder diffraction data gives a = 15.9436(8) Å, c = 7.2126(7) Å and a unit cell volume of 1587.8 Å3. A polished thin section was cut perpendicular to the c-axis of one tourmaline crystal, which showed zoning from a dark brown core into a lighter rim into a thin darker rim and back into lighter zonation. Through the geochemical data, three key stages of crystal growth can be seen within this thin section. The first is the core stage which occurs from the dark core to the first colourless zone; the second is from this colourless zone increasing in brown colour to the outer limit before a sudden absence of colour is noted; the third is a sharp change from the end of the second and is entirely colourless. These events are the result of metamorphism and hydrothermal fluids resulting from nearby felsic intrusive plutons. Scanning electron microscope, and electron microprobe traverses across this cross-section revealed that the green colour is the result of iron present throughout the system while the brown colour is correlated with titanium content. Crystal inclusions in the tourmaline of chlorapatite, and zircon were identified by petrographic analysis and confirmed using scanning electron microscope data and occur within the third stage of formation.
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The dichotomies Weight/Lightness and Form/Idea formed the theory and the practice of Art, existing a correspondence between them. The weight exists thanks to the existence of a form that is made of matter; in the other hand, the lightness comes from the idea that is always present when the creation exists. This dichotomies were always interconnected during the centuries, and there are variations in relevancy of form and/or idea. In sculpture´s tradition, the physical weight was a essential reality, and the idea of sculpture, without the immaterial side was underlined to the form. During the centuries, new artistic approaches were born and re-born focused on the frailty, lightness and idea of the artistic object, fact that came to cancel the classic notion of work of art. The concept of image became the focus of the esthetical experience of the subject, which alone, tended to substantiate the artistic object itself. In the same way that lightness, when taken to the extreme, and despite the tridimensionality materiality of the object, begun to relate the art with the own action of the body, the gesture of the artist, rising both to the status of art