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Posts Tagged ‘Revealing the Invisible: The History of Glass and the Microscope’

  • September 22, 2016
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Making microscope lenses in the 1600s

When they appeared in the early 1600s, telescopes quickly revealed details of distant worlds, but microscopes provided access to tiny worlds much more slowly. The lenses for microscopes required more precision, and finer skills of the artisans who made them. … Read more →

  • Posted in: Glassmaking techniques/process, Research
  • August 18, 2016
  • 1 comment

Where is Robert Hooke?

Visitors to the special exhibition Revealing the Invisible: The History of Glass and the Microscope, currently on view at the Rakow Research Library, can examine portraits of key figures in the history of microscopy alongside the instruments and books they … Read more →

  • Posted in: Rakow Library, Research
  • July 25, 2016
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Whitefriars: Microscopes and Reveling in the Invisible

This post comes from Laura Hashimoto and Bonnie Hodul, Rakow Library interns who are helping conserve the Whitefriars stained glass cartoon collection over the summer in conjunction with West Lake Conservators. Read more about this project and the collection in … Read more →

  • Posted in: Conservation, Rakow Library
  • July 20, 2016
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Savior with a Swan’s Neck; or How a Simple Glass Flask Saved Millions of Lives

Death was everywhere in 1800s London. In the early decades one in two children died before the age of five. Cemeteries were bursting. Corpses were exhumed so more bodies could be stacked into graves and buried in the same spot. … Read more →

  • Posted in: Education, From the Collections, Rakow Library, Research
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It’s finally Spring! We’re celebrating with Pyrex’s “Spring Blossom” pattern. Known to collectors as “Crazy Daisy,” this pattern was produced from 1972 to 1981 and was designed by Sara L. Balbach. Pyrex using this pattern was designed specifically to accompany Corelle dinnerware with the same pattern. Learn more about Pyrex at pyrex.cmog.org. 4 Quart Pyrex Bowl with Lid and Stand, Sara L. Balbach (designer), Corning Glass Works, Charleroi, Pennsylvania, 1972-1979. 2010.4.360.We always love seeing these pictures from the height of cut glass production in the Crystal City! In 1903, Thomas Hawkes, the founder of local cut glass firm T. G Hawkes & Co., recruited English glassmaker Frederick Carder to establish Steuben Glass Works in Corning, NY. This photo shows Thomas’ son, Samuel, and Frederick Carder in front of Steuben Glass Works the year it was founded. The Rakow Library digitized this photo from a negative lent to us by Jane Levatino, who was Samuel Hawkes’ granddaughter. [Frederick Carder and Samuel Hawkes in front of Steuben Glass Works office] [picture]., Corning, NY, 1903. CMGL 112278.Object of the Week: Schwarzlot, Johann Anton Carli, Rhine Palatinate, Germany, about 1675. 2010.3.143. Schwarzlot is a sepia enamel first used to paint on stained glass and was eventually used to paint on glass vessels. Johann Anton Carli, who created this piece, is thought to have been trained as a painter of window glass and was one of the few enamelers of Schwarzlot in his region during the second half of the 17th century.This pendant, one of the earliest types of glass found in Mesopotamia, may represent the goddess Ishtar or one of her devotees. The Mesopotamian goddess of fertility and abundance, Ishtar was a popular deity in the ancient middle east, with close connections to other ancient goddesses like the Phoenician Astarte and Greek Aphrodite. The protruding belly and large breasts on this figure may represent the desire for a healthy pregnancy or gratitude for a safe delivery, and a plea to the goddess for her support, of an ancient woman.Pendant with Nude Female, Northern Mesopotamia, 1500-1200 BCE, 55.1.64.This pendant, one of the earliest types of glass found in Mesopotamia, may represent the goddess Ishtar or one of her devotees. The Mesopotamian goddess of fertility and abundance, Ishtar was a popular deity in the ancient middle east, with close connections to other ancient goddesses like the Phoenician Astarte and Greek Aphrodite. The protruding belly and large breasts on this figure may represent the desire for a healthy pregnancy or gratitude for a safe delivery, and a plea to the goddess for her support, of an ancient woman.Pendant with Nude Female, Northern Mesopotamia, 1500-1200 BCE, 55.1.64.

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