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» First, what is the nature of the flame?

asfaltics:

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Fig. 15

Seven Spectra taken at intervals of two minutes during the course of a “blow.”
In the first or slag period, the lines of manganese are alone visible. In the second, the lines and some bands of manganese and the yellow line of sodium are visible. After the second period, the change in the spectra, caused by rise of temperature is readily seen, the lines of iron and the bands of manganese become more numerous.

image
Fig. 16
Spectrum during (1) the Slag Period; (2) the “Boil;” (3) the Blaze of Spiegeleisen.
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(squared, resized to same widths; borders replaced)
illustrating Noel Hartley. “The Thermo-Chemistry of the Bessemer Process.” (Cantor Lectures), Lecture III.—Delivered March 28, 1898.
Journal of the Society of the Arts 46 (July 22, 1898) : 733-744
University of Virginia copy, digitized May 21, 2009 

Spectra however differ not only with the metal blown in different works, but even with the same metal during different blows, according to the composition in the first case, and to the temperature in the second. But besides these variations there are certain broad facts which call for explanation. First, what is the nature of the flame?
p 740

» waves, interference

asfaltics:

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Plate 18. Fig. 38.—Deal.
(border cropped)
illustrating William J. Russell, Ph.D., F.R.S. “On the Action of Wood on a Photographic Plate in the Dark.”
Philosophical Transactions of the Royal Society of London. Series B. containing papers of a biological character. 197 (1905) : 281-289 (followed by plates 11-18)
University of Michigan copy, digitized August 16, 2007 

Having then proved that bright light had so strong an effect on woods and certain other bodies, the next step was to ascertain which waves were the most active in producing this effect. With this object stripes of different coloured glasses were laid on sections of different woods and then exposed to sunlight… Fig. 38 shows the action of a blue and a green glass and no glass on the wood… Many different woods were tried, but the effects produced in all cases were of precisely the same character.
p 288

was looking for blue + plate.
it’s the title, that stopped me.
museumuesum:

Yves Klein
Le Rose du bleu (RE 22), 1960 dry pigment in synthetic resin, natural sponges and pebbles on board, 78 3/8 x 60 x 6 3/8in. (199 x 153 x 16cm.)
rudygodinez:

Anonymous, Photographic Color Card (Photographed In Black and White), (1907)
From the collection of Johannes Barbieri.



Cover of: British mosses, their homes, aspects, structure and uses by Frances Elizabeth Trippby F.E. Tripp Published 1874 by George Bell and Sons in London .
alfiusdebux:

'Lichen color charts from the Svensk Lafvarnas Farghistoria by Johan Peter Westring. Printed in 1805-09. Via the Biodiversity Heritage Library archive.’ (via Letterology: The Color Atlas)
Jason Rhoades at Institute of Contemporary Art via Contemporary Art DailyUntitled (from My Madinah: In pursuit of my ermitage…), 2004/2013 Fluorescent tubes, Plexiglas, orange extension cord, rope, and other materials. Approximately 30 x 45 feet Galerie Hauser & Wirth, Zurich and London
magictransistor:

Paul Klee, Color Chart (1931)
speakteeth:

A New Practical Treatise on the Three Primitive Colours…, London, 1830. Estimate $300 to $400.
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