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ID: cColepShechem017
Source: slide
Repository: NPAPH-project
Creator(s): Dan P. Cole
Date:1962
Subject(s): Shechem
Description: Fld VI.2; Area supervisor (Cole) with visiting archaeologist Pere Roland de Vaux, Director of the Jerusalem French Dominican École Biblique, examining pit shown in No. 16 (photo taken of Cole on his camera by someone else).
COPY
Repository: Penn Libraries
Call number: PJ4835.L3 P34 1616
Collection: CJS Rare
Copy title: Epitome thesauri linguae sanctae
Author(s): Pagnini, Sante, 1470-
Published: Leiden, 1616
Printer/Publisher: Ex Officina Plantiniana Raphelengii
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Penn Libraries PJ4835.L3 P34 1616
ID: cColepShechem018
Source: slide
Repository: NPAPH-project
Creator(s): Dan P. Cole
Date:1960
Subject(s): Shechem
Description: Workroom; Object cleaning and recording (by Ovid R. Sellers, emeritus dean, McCormick Theological Seminary, active in archeology since 1930s).
Jillian, Serge and I were speculating why this statue had been moved from the top of the museum stairs, where (I think) it was immortalized in the Rocky films. I suggested it was so that decrepit Italians could more easily pay homage to Sly from their wheelchairs. My Italian-Irish friend found no humor in this and threatened me with a Balboa-style beatdown.
FIELD GUIDE TO "A" MOUNTAIN AND DESCRIPTION OF SURROUNDING REGION
by
Thomas G. McGarvin
ARIZONA GEOLOGICAL SURVEY
I have heard that this hill was called Dynamite Hill by a longtime Tucson resident.
The Geology of “A” Mountain
If you drive up Sentinel Peak Road, you will travel past a series of rock layers that formed between twenty and thirty million years ago. These multicolored strata produce the bedrock that constitutes “A” Mountain as well as the nearby Tumamoc and Powder House Hills. These hills and “A” Mountain are the visible remains of a former landlocked peninsula that was anchored in the west by the Tucson Mountains and extended beyond the present day Santa Cruz River to the east. “A” Mountain is an erosional remnant of this land prominence sculpted by the forces of ice, wind and water. Four distinct and interesting rock layers are easily visible on the face of this 550-foot mountain.
Flowing lava created the dark red rock strata at both the top and the bottom of “A” Mountain. Nearby volcanic pipes and fractures supplied the basaltic magma that created these beds, each one separated by a span of nine million years from the formation of the other. None of this lava came from the large “volcano like” crater on the northeast side of the mountain. Quarrymen from the Griffith Construction Company dug this basin at the turn of last century in the pursuit of its stone, used for building Tucson homes, walls and other structures.
The dark red color of these two basalt layers is due to a high concentration of iron and magnesium in the original magma. These elements reduce the lava’s viscosity and the explosive tendency of the sourcing eruptions while allowing the molten rock to flow more uniformly across the surface. Much of the basalt layer at the base of “A” Mountain contains small cavities known as vesicles. The magma, in this case, erupted out of the ground just fast enough for the dissolved gasses to vaporize in the decompressing molten rock and then cooled fast enough to retain the holes formed by these gas pockets. The same bubble forming principle occurs when opening a bottle of beer. An example of this vesiculated basalt is visible on the west side of Sentinel Peak Road between the parking lot at the bottom and the beginning of the one-way road around the summit. The basalt cavities are at the top of this dark layer, presumably because the bubbles floated upward before the cooling lava locked them in place.
The two rock layers sandwiched between the basalts were the result of more violent volcanic activity about 27 million years ago. The older of these two light colored rock strata is composed of rough dark pebble size cinders (basalt) embedded in silt, sand and ash. This material fell from the sky in the form of a volcanic cinder fall. The light brown agglomerate layer with its dark embedded pebbles is visible on the left side of the one-way lane just beyond the split in the road.
Finally, the most visually striking layer of “A” Mountain is composed of tan and pink rock, known as tuff. This layer resulted from one or more volcanic ash falls. The magma for this ash also went through decompression near the earth’s surface. In this case, however, the eruption occurred so suddenly that the expanding gas in the magma shattered the molten minerals and rock into very fine pieces and threw them forcefully into the air. After settling back to the ground, the combination of heat, pressure and time welded this bed of ash into the light colored rock layer that we can see today. Look for a sharp color transition between the tan rock and pink rock as you drive up the southern slope of “A” Mountain. This will identify the tuff layer that is also visible as a large light horizontal bed on Tumamoc Hill to the west.
This introduction to the geology of “A” Mountain is an invitation to explore and enjoy our hilly community with an understanding of its primordial past. The vestige of this beginning is locked within every pebble and stone of our iconic mountain.
1a Castle Gates, Shrewsbury's Reference Library, and the adjacent archway that once led to Blower's Repository, now (rather aptly) the entrance to the Shropshire Archives, the records and research centre.
COPY
Repository: Folger Shakespeare Library
Call number: STC 12361 c 4
Copy title: Certaine learned and elegant workes of the Right Honorable Fulke Lord Brooke / written in his youth and familiar exercise with Sir Philip Sidney ; the seueral names of which workes the following page doth declare.
Author(s): Brooke, F.G.
Published: England, London, 1633
Printer/Publisher: Printed by E.P. for Henry Seyle, and are to be sold at his shop at the signe of the Tygers Head in St. Paules Church-yard
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"The Burial Caves date from the First Temple Period. Throughout many generations, they served affluent Jerusalem families as a location to bury their dead. The deceased was placed on a stone slab with a special indentation for the head. At the end of the twelve-month mourning period, the skeletal remains were transferred to a repository located beneath the stone slabs. This evokes the image of the Biblical phrase "he was gathered unto his forefathers."" (From a sign nearby).
Near the Scottish Presbyterian Church of St. Andrew, Jerusalem.
נֶאֶסְפוּ אֶל-אֲבוֹתָיו (Judges 2:10)
"Another disciple said to him, “Lord, first let me go and bury my father.” But Jesus told him, “Follow me, and let the dead bury their own dead.”" (Matthew 8:21-22)
Repository: Worcester State University Archives
Photographer: Unknown
Date: C. 1910
Preferred Citation: Natural history camp c. 1900. Courtesy, Worcester State University Archives.
For sex, alcohol, porn, sex addiction, abuse & sexual exploitation, gangs, cults, various ministries, and excellent bible study resources, visit www.yourcross.org
COPY
Repository: Penn Libraries
Call number: C59 Sh1 MeB
Collection: Furness Shakespeare Library
Copy title: The prompt-book / edited by William Winter ; Shakespeare's comedy of The merchant of Venice, as presented by Edwin Booth …
Author(s): Shakespeare, William, 1564-1616.
Published: New York, 1878
Printer/Publisher: Francis Hart & Co.
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Hendrik Conscience Square
The Hendrik Conscience Heritage Library (Dutch: Erfgoedbibliotheek Hendrik Conscience) is the repository library of the city of Antwerp. It is named after the Flemish writer Hendrik Conscience, whose statue adorns the library. The library conserves books and magazines to keep them available permanently.
The history of the Hendrik Conscience Heritage Library, which was called the City Library until 2008, goes back to 1481. The collection contains more than one million books. The primary collection areas are Dutch literature, history of the Netherlands, early printed books (pre-1830), Flemish folk culture, art in the Netherlands, and works about Antwerp ("Antverpiensia").
The library originated in the fifteenth century, Over the centuries, the collection grew steadily. In the nineteenth century, the library expanded significantly. Today the Hendrik Conscience Heritage Library possesses a vast and versatile collection.
The Nottebohmzaal was designed as a space for exhibitions, lectures and as a storage space for museum objects. The hall was after Oscar Nottebohm, a businessman of German origin who was an important social and cultural patron for Antwerp. In his will, he donated a large amount of money to the City Library.
The Nottebohmzaal a preserves some of the foremost items from the library's collection, such as an Egyptian cabinet, celestial and terrestrial globes by William and Joan Blaeu, and several busts of European authors.
The book history collection includes works on the history of the book in general ( writing, manuscripts, etc.), printing, technical and historical aspects about content, etc. The collection is geographically mainly based on Europe. In detail, its domains are typography, bookbinding, illustration techniques, paper study, book design, the history of publishing, bookstores, libraries, collectors, press essence, and bibliophile editions.
The library holds an important collection of early printed books (books published before 1830), historically grown over the course of five centuries. The collection is constantly growing via donations (including through the Endowment Fund for Book and Literature) and purchases. Because of the exceptional size of the collection, its specific contents are extremely varied: history, literature, art, science, religion, etc. All kinds of print are represented: pamphlets, atlases, emblem books, ephemera (almanacs, occasional poems, etc.), plate works, musical works and so on. Manuscripts from the tenth to the twenty-first century are also part of the collection.
The main focus of the collection is Antwerp, with works on the history of the city and bibliographies about Antwerp authors and printers. Only publications by Plantin and his successors, the family Moretus are exclusively left to the Plantin-Moretus Museum. The library does not purchase works that are already present in other public collections in Antwerp.
Julia V. Hendrickson
Repository (Travel Series)
Photo polymer etchings
2009
The aim of art is to tidy up one’s inner and outer worlds.
–Agnès Varda, Les glaneurs et la glaneuse
A suitcase’s existence implies a journey into the unknown, and its function is to provide a point of collection for a condensed world. As an artist who is also a collector of objects, I am drawn to the suitcase as a unique,
liminal space between interior and exterior.
The things we collect are a glimpse into the inner workings of our minds—our hopes, memories, choices, and beliefs—yet they exist as a part of daily life and are therefore made invisible. I want to give these small, collected things value and weight. In these Repository (Travel Series) prints, by placing personal, collected objects in unknown locations, one is forced to question that which is taken for granted. Discomfort and confusion occur in the unexpected juxtaposition of familiarity and the unknown, in places without points of reference. My small, collected objects are made monumental, skewing perception of the visual space and placing them outside of time.
I believe, in this modern world where images are primarily digital, fleeting and ephemeral, that the images I create should have some grounding in a real, physical space. I am interested in making images that are not only about personal, physical things, but which are made physical and tangible in themselves.