History
Beginning in 1935 Bertha Swirles describes a relativistic treatment of a many-electron system, in spite of Paul Dirac's 1929 assertion that the only imperfections remaining in quantum mechanics
"give rise to difficulties only when high-speed particles are involved, and are therefore of no importance in the consideration of atomic and molecular structure and ordinary chemical reactions in which it is, indeed, usually sufficiently accurate if one neglects relativity variation of mass and velocity and assumes only Coulomb forces between the various electrons and atomic nuclei."Theoretical chemists by and large agreed with Dirac's sentiment until the 1970s, when relativistic effects began to become realized in heavy elements. The Schrödinger equation had been developed without considering relativity in Schrödinger's famous 1926 paper. Relativistic corrections were made to the Schrödinger equation (see Klein-Gordon equation) in order to explain the fine structure of atomic spectra, but this development and others did not immediately trickle into the chemical community. Since atomic spectral lines were largely in the realm of physics and not in that of chemistry, most chemists were unfamiliar with relativistic quantum mechanics, and their attention was on lighter elements typical for the organic chemistry focus of the time.
Dirac's opinion on the role relativistic quantum mechanics would play for chemical systems is wrong for two reasons: the first being that electrons in s and p atomic orbitals travel at a significant fraction of the speed of light and the second being that there are indirect consequences of relativistic effects which are especially evident for d and f atomic orbitals.
Read more about this topic: Relativistic Quantum Chemistry
Famous quotes containing the word history:
“Tell me of the height of the mountains of the moon, or of the diameter of space, and I may believe you, but of the secret history of the Almighty, and I shall pronounce thee mad.”
—Henry David Thoreau (1817–1862)
“The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (1935–1994)
“The history of all Magazines shows plainly that those which have attained celebrity were indebted for it to articles similar in natureto Berenice—although, I grant you, far superior in style and execution. I say similar in nature. You ask me in what does this nature consist? In the ludicrous heightened into the grotesque: the fearful coloured into the horrible: the witty exaggerated into the burlesque: the singular wrought out into the strange and mystical.”
—Edgar Allan Poe (1809–1849)