1,721,489 research outputs found
Gilbert Scott Carmichael with a Puppy
No full textThis black and white photograph shows Gilbert Scott Carmichael, son of Mississippi gubernatorial candidate Gil Carmichael, seated on porch steps with a puppy. Scott is pictured wearing jeans and a button-down shirt with sneakers and eyeglasses.https://scholarsjunction.msstate.edu/mss-wilson-minor-photographs/1235/thumbnail.jp
George Gilbert Scott and the Master’s Lodge of St John’s College, Cambridge
No full textGeorge Gilbert Scott and the Master’s Lodge of St John’s College, Cambridg
Paradigm shifts in neural induction / Changements de paradigme dans l'induction neurale
Get PDFGilbert Scott F. Paradigm shifts in neural induction / Changements de paradigme dans l'induction neurale. In: Revue d'histoire des sciences, tome 53, n°3-4, 2000. pp. 555-580
P. Barnwell, G. Tyack, and W. Whyte (eds.), Sir George Gilbert Scott 1811-1878 (Oxford, 2014) (review)
No full textP. Barnwell, G. Tyack, and W. Whyte (eds.), Sir George Gilbert Scott 1811-1878 (Oxford, 2014) (review
Raman spectroscopic analysis of a mid-19th century reredos by Sir George Gilbert Scott
No full textA painted stone reredos in the Priory Church of St Cuthbert, Worksop, Nottinghamshire, UK, was analysed before recent conservation to determine the pigment scheme employed. The screen was created by the eminent British architect Sir George Gilbert Scott in the middle decade of the 19th Century. The results help inform the wider range of palettes employed by British architects and craftspeople working in the 19th and early 20th centuries which have previously been little studied. The pigments generally were high-quality vermilion (red), chrome yellow (yellow), and ultramarine (blue), and several alternatives were also evident such as red lead and haematite for red, bone black, and carbon black for black. Lightening and darkening agents were incorporated as lead white, barytes, and carbon, and pigment mixtures were used to achieve the colours dark blue-red, and green.A painted stone reredos in the Priory Church of St Cuthbert, Worksop, Nottinghamshire, UK, was analysed before recent conservation to determine the pigment scheme employed. The screen was created by the eminent British architect Sir George Gilbert Scott in the middle decade of the 19th Century. The results help inform the wider range of palettes employed by British architects and craftspeople working in the 19th and early 20th centuries which have previously been little studied. The pigments generally were high-quality vermilion (red), chrome yellow (yellow), and ultramarine (blue), and several alternatives were also evident such as red lead and haematite for red, bone black, and carbon black for black. Lightening and darkening agents were incorporated as lead white, barytes, and carbon, and pigment mixtures were used to achieve the colours dark blue-red, and green.A
Bankside Power Station
No full textOverall view with the Millennium Bridge (right) over the Thames; Bankside Power Station is a former oil-fired power station, located on the south bank of the River Thames, in the Bankside district of London. It generated electricity from 1952 to 1981 and was designed by Sir Giles Gilbert Scott. A second phase of construction was not completed until 1963. The final structure roughly divided the building into three; the huge main turbine hall in the center, with the smaller boiler room to one side and the switching room to the other. The £134 million conversion to house the Tate Modern started in June 1995. Much of the internal structure remains, including the cavernous main Turbine Hall, which retains the overhead traveling crane. The Turbine Hall is five storeys tall with 3,400 square meters of floorspace. Source: Wikipedia; http://en.wikipedia.org/wiki/Main_Page (accessed 8/27/2015
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Raman Spectroscopic Analysis of a Mid-19th Century Reredos by Sir George Gilbert Scott
No full textA painted stone reredos in the Priory Church of St Cuthbert, Worksop, Nottinghamshire, UK, was analysed before recent conservation to determine the pigment scheme employed. The screen was created by the eminent British architect Sir George Gilbert Scott in the middle decade of the 19th Century. The results help inform the wider range of palettes employed by British architects and craftspeople working in the 19th and early 20th centuries which have previously been little studied. The pigments generally were high-quality vermilion (red), chrome yellow (yellow), and ultramarine (blue), and several alternatives were also evident such as red lead and haematite for red, bone black, and carbon black for black. Lightening and darkening agents were incorporated as lead white, barytes, and carbon, and pigment mixtures were used to achieve the colours dark blue-red, and green
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