Black or Brown Furniture? And What color lamps if black?
My living room walls are a Tuscan light brown, and one wall is covered by three espresso-colored (dark brown) bookshelves. +Carpet is light brown. My couch and loveseat are a moss-green with dark-brown legs. I've got to get a coffee table and two end tables, and don't know if black or brown would look better. I want a homey, but modern (sort of "Pottery Barn") look. Would black match the espresso bookshelves? Would black be too gloomy? I'm afraid that lighter brown might look too bland. And, if black furniture, what color lamps might go well on the end tables? Thanks!!
I have black-brown furniture in my bedroom, and it is definitely a dramatic look. I have sort of a Japanese theme going on, with dark red, greens and light/dark browns. These are the lamps I have, and they are kind of off-white: http://www.limsater.com/movingsale/orgelTableLamp.jpg (Ikea :] )
I think if you picked some light-colored lamps that might brighten up your room if you decide to go for the dark furniture. Also I would recommend checking out the bedroom section of any home store and see what lamps they choose to go with dark furniture and the colors you have going on if possible!
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An antique is not held to be an antique until it’s had its 100th birthday. It’s this centenary that gives it the title “antique”. However, it is not just the age of the object that classifies its value.
By example, a little Roman oil lamp in original condition can be purchased for a very small price, although the lamp was made in some provincial Roman pottery in the year A.D 100. The reason is that these little oil burning, pottery lamps were made by the thousand, lamps of this style being the standard throughout the vast Roman Empire. Even with losses through breakage and damage over the past 2000 years, very large numbers are still available for a small price today.
Availability and condition are two major factors which influence the value of antique lighting, in fact, all art and antiques are subject to this rule.
Other influencing factors are –
The aesthetic value, i.e. “the look of the lamp”
The functional value as a source of lighting
The complimentary value to the interior
The rarity of the lamp
If it were produced by a famous maker
The provenance of the lamp
The Antique and Vintage Table Lamp Co understand these combined factors and, in fact, include many more in offering their range of antique and vintage lamps. Not generally understood is that the careful restoration of an antique lamp, can be, and mostly is, an expensive exercise, with the input of fine metal turners, wood turners, gold platers, water gilders, polishers, electricians etc.
A good antique lamp combines two principal factors, form and function, with the leading factor being function ie to provide satisfactory interior lighting. Besides being a functional light however, it also offers a constant visual pleasure. It is well worth noting, that a fine quality antique lamp is not just a light! It can and does offer a lot more as an investment, not only from a monitory point of view, but also as an investment in our quality of life.
A very fine, large pair of 19th century, Paris, porcelain table lamps. The porcelain produced at Limoges and, as was the practice, sent to Paris to be decorated. Paris was the centre for the decoration of porcelain with many small one-person decorators to substantial workshops. The lamps enamelled with a pale pink ground known as “angel skin” or “blush”. The lamps with oval shaped reserves in a rich burgundy ground, painted with classical Roman busts en grisaille, a painters’ technique by which an image is painted in shades of grey, giving the image a modelled appearance, creating the illusion of sculpture. The lamp bases and caps of turned, gold plated bronze.
The Antique & Vintage Table Lamp Co has had a combined 27 years of practical experience in the design and restoration of antique lamps. The company invites you to visit their web site at www.antiquelampshop.com
Maurice Robertson, principal of The Antique and Vintage Table Lamp Co , has had a lifetime’s association with antique porcelain and pottery.
His commercial experience spans a period of 40 years. This includes 25 years as an international specialist dealer. His long experience with antique ceramics and glass also includes dealing with leading museums and numerous international private collections.
Extending his ceramics expertise into the quality table lamps seen on the company’s site, he is well known to local and international interior designers who have included many of his table lamps in their projects and has also supplied items of national interest to the official Sydney residence of the Australian Prime Minister.
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When the results of oral sex in pregnancy, Can men ever Escape Paternity Obligations?
In a lawsuit against his ex-girlfriend, Richard O. Phillips claims that about six years ago, became involved in oral sex with her. Unbeknownst to Phillips, he says, his girlfriend, Sharon Irons, allegedly saved the resulting semen and used it to inseminate herself. A pregnancy resulted, Irons gave birth to a baby, and DNA tests proved Phillips to be the genetic father.
Although Phillips allegedly did not learn either the pregnancy or birth until some time later, however, a court ordered him to pay approximately $ 800 per month in child support children. Click here to learn more!
Phillips Irons claims disputes and claims that she conceived her child in the ordinary way. For purposes of this column only, however, I will assume the truth of the allegations of Philips.
Phillips suit originally contained the accusations of theft, fraud, and intentional infliction of emotional distress. An Illinois Appellate Court, however, dismissed allegations of fraud and theft of a few weeks ago, allowing Only the action of emotional distress to go forward.
The facts of this case raises serious questions about the contours of the right of a man - any - To avoid parenthood.
A Woman's Right to Control Paternity
When a woman becomes pregnant, the man who impregnated has few legal rights with respect to that pregnancy. It can not, for example, require that women remain pregnant if she decides to have an abortion. On the contrary, can not compel to have an abortion if she wants to stay pregnant and give birth.
Whether the right to be a parent or to avoid becoming a parent, then the pregnant woman trumps of their choice that the father during pregnancy. Moreover, if a woman decides to terminate the pregnancy, the father is legally responsible for child support.
All this may seem very unfair. If a man has no control over paternity, then why would you pay for the resulting child? No responsibilities normally come with rights, and vice versa?
One of the reasons for the inequality between women and men surrounding pregnancy is the disparate physical circumstances in which a pregnant woman and the man who impregnated her, respectively, were found. To give a man a legal say in whether a woman becomes pregnant and gives your child and their effectiveness to give control over your partner.
As the majority opinion crucial three-Justice target = "_blank" Family Planning of Southeastern Pennsylvania v. Casey, the case in the Supreme Court refused to overturn Roe v. Wade and therefore struck> by the husband-notification provision a Pennsylvania law, "is an inescapable biological fact that state regulation in relation to the child a woman is pregnant will have an impact far more on freedom of the mother than the father. The effect of state regulation in a protected liberty is doubly deserving woman of control in this case, the state has played not only in the private sphere of the family, but of the bodily integrity of the pregnant woman. "
Otherwise would give a man not only voice in whether or not it acquires the status of the parents. It would authorize him to order the invasion of a woman's body, either to destroy a pregnancy that she wants to, or forcing her to have a pregnancy that she wants to finish.
As the judges also said Casey, "the Court recognizes that today, in the case of abortion, freedom of women is at stake in a sense unique to the human condition and so unique to the law. The mother who carries a child to term is subject to anxieties, physical limitations, pain that only she must bear. "The law thus gives the unilateral right to override the wishes of the man who got her pregnant.
The financial implications of Paternity
Even accepting the unequal distribution of rights over a pregnancy, however, some argue that if a woman has complete control over whether or not having a baby, then you must also bear the financial consequences if they choose to remain pregnant.
In other words, if a woman can impose biological paternity of a man against his will, then, while the man can be relieved of its obligation to support the child that results, should not it?
The answer given by the law is not. When a baby is born, both men and women whose genes led the existence of the child are generally responsible for the care of the baby, regardless of whether the child was "wanted" by both parents. Unless both parents genetic decides to give up her baby for adoption, that responsibility continues until the child reaches adulthood.
Men, on the other words, apparently paternity can be recruited against his will and then forced to care for children who have disagreed.
Some say that in response, that man, in effect, conceded that the child when she had sex with a woman and thus risked such an outcome. In this view, a man who is engaged in sexual intercourse takes the risk of becoming a father. If you want to avoid parenthood, should abstain from sex or undergo sterilization. Since pregnancy and its termination have such physically intimate consequences of a woman, man - physically separate from these experiences - loses control over paternity, once you access to sex.
This argument, of course, is in some tension with the idea that a woman does not consent to maternity when she engages in sexual intercourse. This tension is certainly not lost on disgruntled fathers.
But even accepting that the relationship equals consent to paternity, what happens when a man does not consent to sex? You still have the risk of becoming a father? The case of Phillips Mills - as described in Phillips's complaint - tests our intuitions about this question.
Involuntary Paternity: Examples
When Phillips - according to his version of events - oral sex with iron, which really take the risk that he would have a child?
Let's consider a series of hypothetical examples and attempt, through them, to answer this question.
First, consider the case of Adam and Eve. Eve gives Adam date rape drug GHB, and he loses consciousness. Then use a needle to extract sperm from his body. Eva goes to a doctor quickly with sperm, and the doctor used to fertilize the egg, egg implantation resulting in your body.
If Eve gives birth to the child as a result of Adam? Genetically yes, but it seems manifestly unfair to require Adam to pay child support. He has done nothing, after all, to give their children state.
Now consider the case of Onan and Eve. Onan masturbates in his house and semen deposits resulting in the trash, found in your kitchen. Eve home visits Onan shortly after his encounter with itself. When Onan leaves the room for a few minutes, Eve takes the opportunity to delve in your trash and finds the discarded semen. She makes a quick exit and proceeds to inseminate herself.
If Eve becomes pregnant and gives birth, where Onan is to pay child support? Again, as in the case of Adam and Eve, it seems unfair that the financial obligations on Onan. Although the semen with less violence in the case of Adam, Eve has stolen, not belonging to it and used it to make children that Onan had no way to predict would be.
The case of Phillips and Irons, as narrated by Phillips, falls a little further down the line toward consensual fatherhood than these two cases do. As stated irons and as the Illinois appellate court agreed, "when the plaintiff 'delivered' his sperm, it was a gift -.... an absolute and irrevocable transfer a title of ownership of a donor to a donee There was agreement that the original deposit will be returned upon request. "
Unlike Eve, Phillips - Even in your own version of the relevant facts - he gave for his sperm to Irons consensus. In case this made a difference?
Is Oral Sex assume the risk of paternity?
In the above examples, only through nonconsensual irregularities that Eve came into possession of Adam and Onan's sperm cells in the first place. That is, if Eve had respected Adam's physical integrity and privacy of Onan's garbage, then would not have been able to get pregnant by these men.
In our real-life scenario also, Irons allegedly crossed a line Phillips did not anticipate, but that crossing occurred after legitimately (and with their consent) came into possession of his sperm cells. In other words, Phillips could have waited and hoped that Irons rule out their sperm in place to maintain and use, but - unlike Adam and Onan - he gave her for her own volition. Birth control is different default secret secret sperm?
Is there a distinction, however, between Phillips (In its version of events) and a man who has consensual sex with a woman he (mistakenly) believed to be using birth control?
If so, the distinction seems to turn into a vision of the concept "natural" versus "artificial." When a man has intercourse with a woman, however "protected" from pregnancy is believed and that she is, starts a process that - left to their own devices - sometimes produce a pregnancy. As result, expect to have assumed the risk that a pregnancy occurring, even when the man thinks that he and / or your partner have taken adequate precautions.
When a man does not engage in sex at all, however, then "nature" left to their devices, they never produce a pregnancy. Only the intervention of a third party (in this case, the woman he allegedly engaged in oral sex) that sperm have a chance to fertilize an egg. In our case, real life, then, "but for" alleged involvement Irons, spermatozoa were destined to die. In the language of the damages and the right criminal Irons's alleged actions rather than those of Phillips were therefore the "proximate cause" of the child's existence.
Although a man may have no right to expect nature to go as planned, which may have a right to expect a human being not to intervene positively and deliberately to turn an act of "sex safe "in pregnancy. From this perspective, the alleged use of plates of artificial means to convert discarded semen into a pregnancy and live birth ultimately Phillips seems to be out of the equation and turn it into an unwilling sperm donor, as were Adam and Onan.
However, the fact that Phillips voluntarily surrendered his sperm irrelevant? I would say it is. To understand why, consider an analogy.
The transformation of a gift into something more
Suppose John Doe invites a police officer to visit his home. The officer comes over and brings John a gift: a vase ceramic. Without telling John, the police have placed a listening device in the vase. After leaving John's house, the officer is able to monitor secret conversations and other activities that go on in the apartment of John.
It is clear that on these facts, John - by inviting the officer to his home - has not assumed the risk of police listening to their conversations and activities at home. In fact, the official behavior is a violation of Fourth Amendment against unreasonable searches Juan and seizures unreasonable.
The fact that John accepted the glass of the police have no Fourth Amendment significance, because, granted a piece of pottery, a gift in no way implies the assumption of audio surveillance. The glass-and-vase, in other words, is an entirely different entity of the vessel, such as listening devices.
Similarly, when Phillips surrendered his sperm to Irons, allegedly through oral sex, which agree only to gain custody of the sperm-like-the sperm. In the absence of preservation and fertilization, on the other hand, the sperm die and become garbage. Phillips what consensually surrendered plus The waste products to Irons, as the history and legitimately invoked Phillips irons out of the situation that the waste alone.
In Instead, through insemination and pregnancy, iron allegedly delivered sperm become something else - a child.
What about the child's needs?
In considering these questions, one last concern deserves attention. Child support, as its name suggests, is not simply a monetary payment by a noncustodial parent to a custodial parent. Is - above all, in fact - the fulfillment of an obligation of a father to his son, the last of the which is an innocent bystander in the design of its own.
Although, in his account of the facts, Phillips did not consent to the creation of your child, the child may still feel entitled - like other children - to have two parents that share financial responsibility. The child, in other words, he did nothing wrong to Phillips and seems to deserve no less than another child of a "surprised" father.
One response to this point is that every child deserves everything he or she needs, and people called "parents" care he or she for the duration of childhood. But when a man does nothing but predictable risk of pregnancy, the link Genetic between him and the resulting baby is of greater importance than the two brothers who are separated from age. However, the law does not require the child support brother more precisely because he or she did nothing to create a biological relationship with the younger one.
Even when avoiding sexual intercourse and not does nothing to donate sperm to a reproductive effort, a man can still bind the biological paternity facts. Irons alleged actions demonstrate both. Moreover, that reality can lead to great suffering, as the Illinois appellate court recognized by allowing Phillips to claim emotional distress to go forward. That reality should not, however, necessarily lead to financial, along with the emotional.
At some point, the lack of a man of real responsibility for creating A child must acquit the financial responsibility. The circumstances of Phillips and Irons - as claimed by Phillips - seem a reasonable place to start.
Author - target = "_blank"> Jerez F. Colb, a FindLaw columnist, is Professor and Frederick B. Lacey Scholar at Rutgers Law School in Newark.
About the Author
Jennet is a reputed online editor. When She isn't writing, she's playing video games and participating in environmental NGO activities. She is Co-founder of iTechnoWorld Inc.
I bought a pottery kit, and i cant understand the instructions. It says that the clay is supposed to be moist but it is hard as a brick. Do i have to run it under some water or something. It says to fold it so its standing up, and then to wedge it but it is hard and it still is like a brick. Can anyone give me some helpful tips on how to do it? Please help.
Hi, I'm a potter so hopefully I can help.
If the clay is hard but still moist try dropping it on a hard concrete surface a few times. This helps to soften it and starts the wedging (kneading) process. If it is still too hard (ie you can't squeeze it between finger and thumb) poke a few holes in it with a knitting needle or the end of a paintbrush and pour a little water over it and into the holes. Leave for about a week in a sealed plastic bag. The water will help to soften it.
If its dried out and rock hard you may need to add more water and wait a bit longer.
When it has softened you need to wedge it to evenly distribute the moisture in the clay and get the air bubbles out. Its like kneading dough but try not to trap air as you fold the clay over on itself.
Another method of wedging is to use the wire cutter and cut the clay in half. Throw 1 half onto a hard surface and then throw the other half down hard on top. Repeat this 20 times always cutting clay through both layers and stacking to make more layers (like pastry).
If you buy clay from a pottery supplies shop it should be ready to wedge. As you wedge clay it gets a bit softer, but it will also dry out if handled too much and crack, so do about a pound of clay at a time to start with.
I wedge my clay on a sheet of mdf board. It stops it sticking to the table. You need a slightly pourous surface to wedge on. Concrete is great too for wedging.
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Grana Cochinilla Fina --- the Best Kept Secret in Oaxaca
Alvin Starkman M.A., LL.B.
Most tourists have no idea that only a couple of hundred yards off the main highway, a minute or two from the black pottery village, is one the most fascinating destinations that the state of Oaxaca has to offer children and adults alike. And yet the majority of travelers have a least heard or read a snippet about the natural red dye which comes from a tiny insect and is used to color the rugs they buy in Teotitlán del Valle, and other products including some of the foods and beverages we eat today…the grana cochinilla fina, commonly known as simply cochineal.
I suspect that from reading their guidebooks or speaking to tour guides and taxi drivers, visitors are not generally made aware of the importance of this little bug on the world stage over centuries; or perhaps they think it’s enough to buy a tapete and be told it’s been dyed with cochineal, and see and touch a few dried insects…rather than spend 40 or 50 minutes in amazement. It might be different if they knew that during the conquest era, next to gold and silver cochineal was the most valuable commodity known to mankind, and that in 1758 Oaxaca exported over 1.5 million Spanish pounds of it to Europe, Africa and Asia for a multitude of uses including the dying of fabrics including uniforms worn by British nobility and cavalry.
Together known as Tlapanochestli, the quaint research facility, museum, ranch and open-air teaching environment is located at Santa María Coyotepec off a dirt road only 15 minutes from downtown Oaxaca. The attraction is designed to hold the interest of travelers of all ages and all backgrounds, from layperson to academic or professional.
Upon entering Tlapanochestli you’ll be greeted by one of the employees who works the ranch, or perhaps one of the two scientists who run the research and teaching programs, Engineers Manual Loera Fernández and Ignacio del Río Dueñas. You’ll learn about the lifecycle of the cochineal, how it attaches itself to and feeds off of a certain variety of nopal cactus, and about its harvesting and preparation for use as a dye. Both kids and grownups will delight and be awe-struck at having either a live or dried bug squished on their palm yielding the scarlet pigment. You’ll be taught why not all types of nopal cactus are suitable for production of cochineal, which ones are used to make salads, and about varietals which produce the sweet red edible fruit known as tuna, seasonally sold in marketplaces just as apples and oranges, and just as often encountered as a sorbet flavor or fresh fruit juice.
But your tour is not only about the insect and its host, but includes learning about a plethora of other natural products used to dye foods and fabrics, such pecan shells, oyster conch, pomegranate, marigold, moss, onions, and the añil plant which produces our blues and indigos. Combining some of these dyes with the cochineal results in yet a further spectrum of color. You’ll also discover how to use cochineal in combination with lime juice or baking soda and with different colored natural wools to produce orange and purple hews.
One cannot help but marvel at the diversity of commercial products which utilize the cochineal as a coloring such as lipsticks and makeup for those allergic or sensitive to synthetic red and orange tones, Danone yoghurt, Campari, and even Campbell’s soup. Often artists have opted to employ cochineal and other natural colors for their work, and accordingly witness walls adorned with examples of fine art created without the use of chemical-based paints. The photos of Prince Charles’ attendance at Tlapanochestli is a testament to the world’s continued fascination with the historical and contemporary significance of the grana cochinilla fina. In the gift shop there’s an opportunity to purchase dried cochineal for your own use, ink in an attractive wax-sealed bottle, paints and pastes, balls of yarn, soaps, clothing, and for the children perhaps a paint set consisting of dried cochineal to crush using the miniature clay pestle and mortar, along with coloring pages with instruction sheet directing how to use the kit and produce your own shades of red, orange and pink.
A short video puts the production of cochineal into its proper historical context using facts, anecdotes and mythology, along with colorful imagery, narrated using language easily understood by children. At the same time those with a background or interest in the sciences will have all of their questions answered. The film outlines the pre-hispanic use of the pigment; the development of an internationally regulated industry attracting the attention of worldwide heads of state from The Conquest forward; its importance in the global marketplace as the strongest and most brilliant dye known to humankind; and its decline in the mid 1800’s upon the invention of synthetic coloration and the subsequent adverse impact on the Mexican economy. While Oaxacan production and export never did recover from 19th century recessionary factors, the video concludes on a upbeat note documenting the industry’s resurgence in recent decades in the face of widespread health concerns regarding the continued reliance on synthetic substances to dye commercial products.
After your cinematic journey back into history, and having gained knowledge about how natural dyes are produced and used in a multitude of applications, your perception of not only Oaxaca but also the Western World will have been enhanced forever…whether you’re in Oaxaca shopping for rugs, watching the native vendors in a market or ordering ice cream; or sitting in the comfort of your home and sipping a Campari and soda.
About the Author
Alvin Starkman received his Masters in Social Anthropology in 1978. After teaching for a few years he attended Osgoode Hall Law School in Toronto, thereafter embarking upon a career as a litigator until 2004. Alvin now resides in Oaxaca, where he writes, leads small group tours to the villages, markets, ruins and other sites, is a consultant to film production companies, and operates Casa Machaya Oaxaca Bed & Breakfast. ( http://www.oaxacadream.com ) .
I want to make casts of my niece's hands and then paint them and have them and have them fired at a local "Paint Your Own" craft store.
I called the store, and the woman I spoke to said she fired all of her pieces on 6. I'm not familiar with Pottery Kilns and I don't know what type of clay/plasters, can withstand being fired on 6.
I want this to be a nice looking cast, not just your regular "Plaster-o-Paris" painted print.
I need to know what type of material to use.
I also welcome any other nifty ideas! Thanks!
What she means is cone 6 clay body; what you need to do is go to your pottery store/supplier or community college and buy low fire (cone 6) white clay.That clay is called low or medium range firing clay. This clay becomes vitreous around 2194 degrees Fahrenheit.
Forget the plaster, you may use the plaster for a mold, but not for firing a final piece.
You may also want to ask the lady for some clay that she uses.
You may also have in mind that you need a plaster mold, a negative of her hands, and then press clay in those.
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Contributions of Ancient Arabian and Egyptian Scientists on Chemistry
Contributions of Ancient Arabian and Egyptian Scientists on Chemistry
Md. Wasim Aktar* and M. Paramasivam
Deptt. of Agril. Chemicals, Bidhan Chandra Krishi Viswavidyalaya, Mohanpur, Nadia, West Bengal, India.
Abstracts
The modern chemistry is based on the findings and thinking of the people of historical age. If no one knows the base and work of the previous on a subject, he or she could mere develop a new thought or findings. For, a civilization must know its past. Hence, the present work is a small effort to find out the contribution of ancient Arabian and Egyptian scientists in the field of Chemistry. Different scientists of different school of thought, correlating different streams of science being Chemistry as a main subject, are described in the present work.
Chemistry deals with the composition and properties of substances and the changes of composition they undergo. It has been divided into Inorganic and Organic. The conception of this in modern Chemistry came from al-Rãzi’s classification of chemical substances into mineral, vegetable and animal. Inorganic Chemistry, deals with the preparation and properties of the elements, and their compounds, originally arose from the study of minerals and metals, whereas Organic Chemistry, which deals with carbon compounds, developed through the investigation of animal and plant products.
Prior to 1828 it was not possible to synthesize organic substances from their elements and, therefore, it was supposed that there existed fundamental difference between Organic and Inorganic Chemistry. In 1828 F. Wohler synthetically prepared urea, an organic substance; thereby revealing that there was no fundamental difference between these two branches of Chemistry. Since carbon compounds were numerous, their study separately made under Organic Chemistry, and study of elements and non-carbon compounds included in Inorganic Chemistry’. (1)
The earliest discoveries in Inorganic Chemistry were made in metallurgy, Materia Medica, painting, enameling, glazing, glass-making, arts, etc. These arts, and many metals, compounds and alloys were known to the Arabs. Similarly, the discoveries in Organic Chemistry were made in the arts of dyeing, tanning, the manufacture of paper, in the study of fats, both of plant and animal origin, in medicine, etc. Thus Chemistry had its sources in photo techniques, mineralogy, metallurgy, Materia Medica and decorative arts. It is the product of transmutation of baser metals into gold
and philosophical thoughts of practical or theoretical interest. Finally, it is the result of the study of the properties of the substances.
A Greek philosopher, Empedocles, held the view that all the four elements, air, water, earth and fire, were the primal elements, and that the various substances were made by their intermixing. He regarded them to be distinct and unchangeable. Aristotle considered these elements to be changeable i.e., one kind of matter could be changed into another kind. (2)
Jábir ibn Hayyãn (Liatinized as Geber), a great Arabian Chemist of the 8th century A.C., modified the Aristotelian doctrine of the four elements, and presented the so-called sulphur-mercury theory of metals. According to this theory metals differ essentially because of different proportions of sulphur and mercury in them. He also formulated the theory of geologic formation of metals.
Unlike his Greek predecessors, he did not merely speculate, but performed experiments to reach certain conclusions. He recognized and stated the importance of experimentation in Chemistry. He combined the theoretical knowledge of the Greeks and practical knowledge of the craftsmen, and himself made noteworthy advance both in the theory and practice of Chemistry.
Jâbir’s contribution to Chemistry is very great. He gave a scientific description of two principle operations of Chemistry. One of them is calcinations which is employed in the extraction of metals from their ores. The other is reduction which is employed in numerous chemical treatments. He improved upon the methods of evaporation, melting, distillation, sublimation and crystallization. These are the fundamental methods employed for the purification of chemical substances, enabling the chemist to study their properties and uses, and to prepare them. The process of distillation is particularly applied for taking extract of plant material.
In the opinion of Jàbir the cultivation of gold was not the only object of a chemist. The preparation of new chemical substances was also regarded by him as the chief object of Chemistry. We owe to him for the first preparation of such substances as arsenic and antimony from their sulphides, and basic lead carbonate. He also did important work in the preparation of steel, and the refinement of metals. Jàbir also deals with such applications as the use of manganese dioxide in glass-making, varnishes to water-proof cloth and protect iron use of iron pyrites for writing in gold and distillation of vinegar to concentrate acetic acid.
The most important discovery made by Jabir was the preparation of sulphuric acid. The importance of this discovery can be realized by the fact that in this modern age the extent of the industrial progress of a country is mostly judged by the amount of. sulphuric acid consumed in that country. Another important acid prepared by him was nitric acid which he obtained by distilling a mixture of alum (of Yemen) and copper sulphate (of Cyprus). Then by dissolving ammonium chloride into this acid, he prepared aqua regia which, unlike acids, could dissolve gold in it.
Jabir classified chemical substances, on the basis of some distinctive features, into bodies (gold, silver, etc.) and souls (mercury, sulphur, etc.) to make the study of their properties easier.
Jãbir is the author of a large number of books on chemistry and a book on astrolabe. About one hundred chemical works ascribed to him are extant. His fame chiefly rests on his chemical books preserved in Arabic. (3)
We find that the author recognized and stated clearly the importance of experimentation more clearly than any other early chemist. He remarkably sound views on methods of chemical research. It is impossible to reach definite conclusions regarding the extent of his contributions until all the Arabic writings ascribed to him have been properly edited and studied. But on the basis of our present knowledge, Jabir appears to be one of the greatest scientist whose influence can be traced throughout the whole period of the historical development of the Arabian and European chemistry. In the light of these facts it would not be improper to call Jãbir as the father of Chemistry.
Some of the chemical writings to which Jãbir’s name is attached were translated into Latin. The first such version, the Book of the Composition of Alchemy was made by Robert of Chester in 1144. The Kitab al-Sab’in (the book of the seventy) was translated by Gerard of Cremona in the 12th century’. The translation of the Sum of Perfection was made by Richard Russell. One of his books has been translated into French by Berthelot. (4)
Several technical terms have passed from Jãbir’s Arabic writings through Latin into the European languages. Among these are realgar (red sulphide of arsenic), tutia (zinc oxide), alkali, antimony, and alembic for distillation Vessel. The Arabic equivalents for the last three words are alqali, ithmad, and al-’anbiq respectively. (5)
Before Jãbir Ibn Hayyan, the Umayyad prince Khalid Ibn Yazid, who was a philosopher, poet and chemist, encouraged Greek philosophers in Egypt to translate Greek scientific works into Arabic. These were among the earliest translations in Arabic from other languages. He was himself deeply interested in medicine, astrology and chemistry. Many chemical works are ascribed to him. One of them is entitled Firdaus al-Hikmah fi’Ilm al-Kimiya. This work was in verse, and contained 2,315 couplets. (6)
An encyclopaedic scientist, and philosopher, Abu Yusuf Ya’qub al-Kindi considered the art of transformation of one metal into the other as an imposture. A few of ‘his numerous works dealing with many sciences are extant. One of his works is on pharmacy, a branch of applied chemistry. (7)
Chemistry was usually mixed up with mineralogy and geology. The oldest Arabian lapidary which may serve as an important source of chemistry was written by ‘Utärid Ibn Muhammad al-Hãsib who flourished in the ninth century. It deals with the properties of precious stones. (8)
In the same century Jãbir’s work was further advanced by al-Räzi who wrote many chemical treatises, and described a number of chemical instruments. One of his treatises consists of 25 pieces of chemical apparatus. He made investigations on specific gravity. One of his important works is on the art of transformation of baser metals into the noble ones. He applied his chemical knowledge for medical purposes, thus laying the foundation of Iatrochemistry. (9)
Other important chemists of this century were Dhu’l-Nün and al-Jàhiz. The former mostly dealt with the art of transmutation of metals. (10) The latter prepared ammonia from animal offals by dry distillation. (11)
In the tenth century Ibn Wahshiyah wrote on chemistry, His work may help to understand chemical symbolism. Maslamah Ibn Ahmad, an astronomer, mathematician and oculist of this century wrote two chemical works entitled, Rutbat al-Hakim and Ghãyat al-Hakim. The second is well known in the Latin translation made in 1252 by the order of King Alfonso under the title Picatrix. (12)
A Persian pharmacologist Abü Mansür Muwaffaq Ibn ‘Ali al-Harawi who flourished in Herat in the tenth century, was apparently the first to think of compiling a treatise on Materia Medica in Persian. He travelled extensively in Persia and India to obtain necessary information. He wrote, between 968 and 977, a book entitled Kitab al-Abniyah ‘an Haqã’iq al-Adwiyah. It contains Greek, Syrian, Arabian, Persian, and Indian knowledge. It deals with 585 remedies (of which 466 are derived from plants, 75 from minerals, and 44 from animals). He classified them into four groups according to their action, and gave the outline of a general pharmacological theory.
Abu Mansür distinguished between sodium carbonate (natrum) and potassium carbonate (qali). He had some knowledge of arsenious oxide, cupric oxide, silicic acid, antimony and so on. He knew the toxicological effects of copper and lead compounds, the depilatory virtue of quicklime, the composition of plaster of Paris and its surgical use. (13)
The greatest Arabian surgeon, Khalaf Ibn ‘Abbäs al-Zahrãwi (d. 1013) wrote a great medical encyclopaedia, al-Tasrif in 30 sections, which contains interesting methods of preparing drugs by sublimation and distillation, but its most important part is the surgical one. (14)
Abü Rayhan Muhammad al-Birüni (973—1048) took a great interest in the determination of the specific gravity of eighteen precious stones and metals. A voluminous unedited lapidary by al- Biruni is extant in unique manuscript in the Escorial Library. It contains a description of a great number of stones and metals from the natural, commercial, and medical point of view. Moreover, he composed a pharmacology (saydalah).Important information could certainly be obtained from his unedited works, on the origin of Indian and Chinese stones and drugs, which appeared in early Arabic scientific works. (15)
Ibn Sinà wrote a treatise on minerals, which was very important and one of the main sources of geological knowledge, also a source of chemistry in Western Europe until the Renaissance.
As mentioned before, mineralogy stood in close relation to chemistry. Nearly fifty Arabic lapidaries have been named. The best known of them is. the ‘Flowers of Knowledge of Stones’, by Shihàb al-Din al-Tifãshi (died in Cairo in 1154). It gives in 25 chapters extensive information on the subject of the same number of precious stones, their origin, geography, examination, purity, price, application for medicinal and magical purposes, and so on. Except for Pliny and the superior Aristotelian lapidary, he quotes only Arabic authors. (16)
The output of the books on Chemistry was very great after the eleventh century. Thus, there are known books of about forty Arabic and Persian chemists. Ibn Khaldun, (d. 1406) the talented Arabian philosopher of history and the greatest intellect of his century, was a violent opponent of the idea of transmutation of metals by chemical means. (17)
Some chemists thought that one metal can be transformed into another by artificial methods. For such transformation they followed different procedures depending on the character and form of the chemical treatment and the substance chosen for this purpose; the substance being called the ‘Noble Stone’ or ‘Philosopher’s Stone’. This may be excrements, or blood, or hair, or eggs, or anything else. After the substance has been specified, it is treated along certain lines mentioned in their books. The result is an earthen or fluid substance which is called Elixir. These chemists think that if Elixir is added to silver which has been heated in a fire, the silver turns into gold. If added to copper which had been heated in a fire, the copper turns into silver.
The question arises whether the metals are of specific differences, each constituting a distinct species, or whether they differ in certain properties and qualities and constitute different kinds of one and the same species?
Abü Nasr al-Färabi and his followers held the opinion that the difference in metals is caused by certain conditions such as humidity and dryness, softness and hardness, and colours such as yellow, white and black. According to him the metals are different kinds of one and the same species.
On the other hand, Ibn Sina and his followers believed that metals have specific differences and belong to different species, each of which has its own differential and genus, like all other species.
According to Abü Nasr al-Färãbi, it is possible to transform one metal into another, because it is possible to change their conditions.
“Ibn Sinà thought that such transformation was impossible. His assumption is based on the fact that specific differences in metals cannot be changed by artificial means. He believed that since the metals are created by the Creator and Determiner of things, God Almighty, and the mystery of their real character was utterly unknown and could not be perceived, any attempt for transformation would be meaningless”. (18)
Ancient Arabs’ art of transformation of metals was based upon Hellenistic and Iranian traditions, but apparently the main principles and the main operations were already established long before the 12th century. Before this century the Arabs had not only made many experiments, and produced several works on this art, but they had begun to doubt and criticise the most advanced theories concerning it. This proves that the standard of their chemical thinking was advanced.
The 12th and 13th centuries added very little to their knowledge about the transformation of metals, but their research continued in various fields. The main chemical writer of this age was Abu‘l-Qãsim Muhammad al-Iraqi who flourished in the second half of the 13th century. He was an experimenter and a theorist. His works represent the full development of the Arabic doctrine. (19)
The 14th century was an enlightened period when a group of intelligent writers began to reject the idea of transformation of metals by chemical means. One of such person was a historian, Rashid al-Din who described such chemical practice in Mongol Persia and expressed his distrust of such chemists. The large encyclopaedic work Nukhbat al-Dahr of al-Dimashqi contains, in part second, much information on metal, their properties, and influences. (19) As usual in Arabic treatises, chemistry is mixed up with mineralogy and geology. (20)
Even in their purely chemical researches on transformation of metals, the Arab chemists achieved by no means unimportant results. In their efforts to discover Elixir they often discovered new chemical processes, and hit upon the catalytic properties of various substances. The pains, which they took in the search of gold, ultimately resulted in their great contribution to the development of modern chemistry.
The last important chemist of the 14th century was ‘Izz al-Din ‘Ali Ibn al- Jildaki. Some twenty treatises are ascribed to him. The list shows al-Jildaki’s great activity as a chemical writer. A complete study of his vast writings is necessary to know what he actually tried to establish. To some extent, this study was made by Ruska, Stapleton, Holm yard, and their disciples.
One of al-Jildaki’s important books entitled Nihâyat al-Talab fi Sharh al-Muktasab contains many quotations from the earlier works, and some novelties, as the use of nitric acid to extract silver out of the gold-silver alloy. Al- Jildaki remarked that the substances do not react except by definite weights. (21) This is one of the four fundamental laws of modern chemistry.
The ancient chemists applied their chemical knowledge to a large number of industrial arts. Only three such arts are mentioned here, which will enable the readers to estimate the extent of their knowledge of Applied Chemistry.
Paper:
Paper was invented by the Chinese who prepared it from the cocoon of the silkworm. Some specimens of Chinese paper extant date back to the second century A.C. The first manufacture of the paper outside China occurred in Samarqand (757). When Samarqand was captured by Arabs the manufacture of paper spread over the whole Arab world including the Maghrib. (Tunis, Morocco, Algiers).
By the end of the 12th century there were four hundred paper mills in Fasalone. In Spain the main centre of manufacture of paper was Shatiba which remained a ancient Arab city until 1239. Cordova was the centre of the business of paper in Spain.
The Arabs developed this art. They prepared paper not only from silk, but also from cotton, rags and wood.In the middle of the 10th century the paper industry was introduced in Spain. In Khurasan paper was made of linen.
There is an early treatise dealing with paper-making, the Umdat al-Kuttab wa ‘Uddatu dhawi’l-Albãb which is ascribed to the Amir al- Mu’izz’ Ibn Badis, a ruler of the Zayri dynasty (1015—61) in Tunis. The 11th chapter of this treatise, dealing with paper, has been edited, translated and elaborately discussed by the foremost student of Arabic paper, Josef Karabacek. This work explains how to prepare the pulp, make the sheets, wash and clean them, colour, polish and paste them, and give them an antique appearance. No text comparable to this in any other language of so early a date is known.
The preparation of pulp involves a large number of complicated chemical processes, which shows the advancement of the chemical knowledge of the Arabs and Egyptians at that time.
The manufacture of writing-paper in Spain is one of the most beneficial contributions of Arabs to Europe. Without paper the scale on which popular education in Europe developed would have not been possible. The preparation of paper from silk would have been impossible in Europe due to the lack of silk production there. The Arabs method of producing paper from cotton could only be useful for the Europeans. After Spain the art of paper-making was established in Italy (1268—76). France owed its first paper mills to ancient Spain. From these countries the industry spread throughout Europe.
Another type of paper; marbled paper, which was common upon end-papers, paper covers and edges of books, was prepared in the East, and exported to the West. About the preparation of marbled paper Roger Bacon tells us: “The Turks have a pretty art of chamoletting of paper, which is not with us in use. They take diverse oiled colours, and put them severally (in drops) upon water; and stirr the water lightly and then wet their paper (being of some thickness) with it, and the paper will be waved, and veined, like Chamolet or Marble’.
Books bound in the West towards the end of the 16th century are found with end-papers brought from the East, but it was not until about a century later that European binders began to make them themselves. Hand-made marbled papers are now rarely used, but more or less clumsily reproduced imitations still serve various purposes.
There is an Arabic word ‘rizma’ meaning a bundle of merchandise, which had been adopted in almost every Western language with slight variations to mean a bundle of paper (English: ream). This also testifies to the Arabic origin of that business in the West. (22)
Tiles :
The industry of tile-making which involves a large number of complex technical and chemical processes, was highly developed by Arabs. The earliest treatise, a Persian text, dealing with the manufacture of faience, was unique of its kind in world literature until the 16th century. It has been written by ‘Abd Allah Ibn ‘Ali Kàshàni in the 13th century. This book entitled Jawahir al-‘Arã’is Wa Aja’ib al-Nafä’is was written on precious stones and perfumes. It explains the manufacture of Faience, the ingredients (as clay, borax, feldspar, cobalt, lapis lazuli, lead, manganese, tin etc.), their mixtures, the kiln processes and implements, the methods of glazing and decorating. This treatise is similar to the various other treatises on precious stones written in Arabic and Persian. The final chapter deals with the art of enamelled pottery. This account is specially valuable because it is based on actual and traditional practice. The maker of the beautiful lustre ‘mihrab’ (arch) of the tomb of Imam Yahyã (now in the Hermitage, Leningrad), dated 1305 A.C., Yusuf Ibn ‘Ali Ibn Muhammad, was possibly a brother of the author. (23)
Ceramics:
The early history of Arabian and Egyptian ceramics has not so far been written. Many interesting specimens have been discovered in recent years which throw much light on the development of this industry in the Arab world. The centers of this industry were situated in Persia, Mesopotamia, Syria, Egypt and Valencia from where various types spread rapidly throughout the Islamic Caliphate.
Under Arabian influence the potters in these Centers revived old technical processes, developed new ones and began to experiment with decorative and ornamental schemes. The Arabian potters readily absorbed progressive ideas but at
the same time maintained great originality. Two types of pottery were in common use; enamelled and lustered. In enamelled pottery (the glazed earthenware) the Ancient s, from an early period, were expert masters. In lustered pottery also they made great progress. “In this the design is painted in a metallic salt on a glazed surface and fixed by firing in smike in a way that gives it a metallic gleam, which varies in different specimens from a bright copper-red to a greenish- yellow tint, and in some cases throws off brilliant iridescent reflections. (24)
In the last chapter of the Persian text Kitab al-Jawähir’ al-’Ara’is Wa ‘Ajã’ib al-Nafa’is, the author describes the techniques of glazing
with two fires (lustres), leaf building, over glaze decoration fired in a muffle kiln. (i.e.,
separated from the flame, the source of heat being outside), haf’t rang, a Persian term
referring to the seven colours of the planets. There may be a reference to the polychrome over glaze technique, the so called minai ware (another Persian term; mina-wash means lustre; mina coloured). The author indicates differences between the art as practiced in Kashan, Baghdad and Tabriz. In Baghdad and Tabriz other kinds of firewood and potash were used.
In the 15th century the Arabian ceramic art was followed by Italian potters, who obtained much of the mature technical knowledge from Arab sources. This technical knowledge proved to be helpful in the revival of ceramic art during the Renaissance. (25)
REFERENCES :-
1. Encyclopaedia Britannica, chicago, 1951, p.360
2. Ibid., p. 355.
3 Sarton George, Introduction to the History of Science, Washington, 1950, Vol I. p. 532.
4. Wasiti, Hakim Nayyar, Tibb al-’Arab ( ãn Urdu Translation of Arabian Medicine by Edward G. Browne), Lahore, 1954, p. 26.
5. Ibid.
6. Hãji Khalifah, Kashf al-Zunün, Istanbul, 1943. Vol., I, p. 1254.
Al-Zirakli, Khair al-Din, Al-’Alãm vol. II p. 342.
7. Sarton, op. cit., p. 559.
8. Ibid., p. 572. Al-Qifti, op. cit. p. 251.
9. Ibid., p. 271. Sarton, op. cit. p. 609.
10. lbid, p. 592.
11. lbid, p. 597.
12. Ibid., pp. 620, 668.
13. Ibid., p. 678.
14. Ibid., p. 681.
15 Ibid., p. 707.
16. Ibid, vol. II, part II, p. 650.
17. Ibn Khaldun, Muqaddimah, English translation by Frenz Rosenthal, London, 1957, vol. 3, p. 267.
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The beauty of the italian ceramics
The beauty and quality of the Italian Ceramics no compares with other kind of ceramics, when you talk about Majolica or Italian Maiolica designates tin glazed pottery dating from the Renaissance often associated with certain regions of Italy like Deruta, Gubbio, Gualdo Tadino and Orvieto, so it is italian ceramics.
Villaggioceramics offers you the best Hand painted ceramics and Italian Decor for your collection or home decorating, you will find Ceramic Plate, Ceramic Tile, Cama Ceramics Deruta, Fima Ceramics Deruta from Raffaellesco or Ricco. All the pieces comes directly from the workshop in Deruta Italy to our client’s across the United States, our love for the Italian way of live encourage us to provide just the best Italian tableware, Italian canisters and Geometric Dinnerware to our clients. Villaggioceramics keep the elegance and the tradition from Deruta, Italy. Their pieces are delicate, made with the patient from Italian families. Ceramics has been produced in many areas and countries, and Italy has certainly always been one of the most well known. The art of making ceramics has seen its flourishing in Italy.
You will find in villaggioceramics Ceramics bowl, Ceramics jar, Tuscany Ceramics, Ceramic vase and Eugenio Dinnerware, who is one of the best master in Deruta. All our Italian imports are genuine articles made entirely in Deruta, we are proud in not only offer to our clients a beautiful art work to look at but also items that can be put to use daily. We offer a huge variety of Italian majolica or majolica Deruta, you can personalize the product you choose like you want, too; when you want to give a good present to your family or friends, villaggioceramics count with Italian ceramics from the best and known maestros like Franco Mari, Eugenio Ricciarelli and Mastro Giorgio Gubbio as the creator of some of the finest Deruta Maiolica over the history and directly from Deruta Italy. Due to the respect for the most traditional techniques combined with their creative approach to majolica, make Fima won his fame as traditional designers, and their designs such as Raffaellesco, Ricco Deruta and Arabesco be well known around the world. I know this ceramics will see beautiful in your rest room, your rooms or wherever that you put them, because there are several forms to use them, many colors, geometric forms and beauty. The variety of this ceramic makes them prefer over the rest of the ceramics, the quality and the work that it drive make them more viewer for the people who like ceramics.
The passion for this kind of ceramic provides long time ago, for the dedication in each piece of the ceramics; the delicate hand painting become the most important thing in their fabrication, many families in Deruta spend their time in the manufacturing of this ceramic, it’s like a tradition for everybody there. The Italian way of life is all about the simple pleasures... family, good food, friends, community. We are committed to offer the same to our clients through our Ceramic art. So directly from Deruta, Italy to U.S.A we bring you the beauty of Italian ceramics fabricate for Italian hands exclusively for our clients. Our clients are the most important of our company; we will make the most beautiful ceramics for you with the dedication that it requires. Visit us I will hope for you.
About the Author
Villaggio ceramics is a proud importer of Italian hand painted decorative ceramics. Our goal is to maintain a clientele with taste and a fond appreciation for Italian Majolica (also known as Maiolica); Italian Mosaics; Italian dinnerware handsomely hand painted; unique decorative accessories, Italian gifts and much more.
Where can I find a list of retailers or distributors for my French handmade stoneware dinnerware and pottery?
We manufacture old time pottery, handmade stoneware, dinnerware and handblown glassware in Provence France and would like to sell our unique items on the American Market
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Oscar De La Renta Dinnerware
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A liquid gold paint decoration, that, when fired, comes out bright and requires no burnishing. A more expensive gold dinnerware or drinkware decoration that comes out of the kiln dull and then requires polishing. The term generally refers to earthenware, stoneware and ironstone dinnerware. Today, the term refers to all dinnerware types that will be used in the household on a regular basis. A generic term encompassing all dinnerware but is most often associated with fine porcelain dinnerware. The name was coined because the very first Oscar De La Renta dinnerware originated in China.
A generic term referring to all ware made of earth materials, clay and sand, then processed by firing or baking. A type of clayware fired at low temperatures producing a heavy, porous opaque body, not as strong as china. It is not a vitrified ware and must be glazed to hold liquids. A plate shape that lacks a rim border. A clayware or drinkware with a surface marked by a network of tiny cracks, deliberately induced for decorative effect by sudden cooling. A defect in the clayware that consists of tiny cracks. It's caused by the difference in the rate of contradiction between the body and glaze.
A design-bearing sheet used in a dinnerware decoration. A type of pottery originating in Holland, in the city of Delft. It's characterized by a blue and white glaze decoration. A type of china that originated in Germany, in the city of Dresden. It's usually characterized by heavily-embellished white china. A ware made from a mixture of clays and fired at a low temperature. Ironstone is a variation of earthenware. A raised or molded decoration that is either produced in a mold or formed separately and applied before firing. A decoration of precious metals, either gold or platinum, applied in liquid form and then fired. Enameling: A process of applying glue to the plate and then coloring. For more details visit and purchase on online http://www.etabletop.com/
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What To Look For In French Living Accessories
If you are looking for French living accessories to create a mood in your home, it's a decor that is easy to replicate. You may find the pieces in flea markets, second hand and antique shops almost anywhere in the country. You might use the pieces that are recognized as French country or you might do some creative choices to get the look without the cost. You won't have to visit France to get the look in your own home.
Some of the characteristics of French accessories with a country flavor include warm colors such as those found in the French countryside. The favorites can be blues, golds and and bold reds. There can also be a reliance on pastel colors. Pottery pieces in such colors can be used as vases, table serving pieces, or kitchen accessories. These pottery items don't have to hold something, they can stand alone as touches of color in your rooms.
Linens in solid colors such as red, blue, gold and green can make a lunch table sparkle. You may use bands of prints in popular colors on solid backgrounds. Mix and match tablecloths with napkins. You can also make use of place mats for a little less formal look.
In your kitchen, you can add accessories with a French look easily. The French are renowned for foods and cooking styles. Bringing the look of France into your kitchen can be as simple as adding a wall ornament or candle sconce. Use a bright spoon rest or a antique wooden rack with coffee mugs in your chosen colors. Kitchen curtains, borders or decorative valances are another possibility to add ambiance to your kitchen.
French living decor can be elegant as well as country. You can select lamps with decorative shapes and colors in brass or wood. Remember that a major characteristic in French decor is its calming effect. Choose pieces with flowing rather than geometric lines. Designs from nature are appropriate, particularly if the colors match the palette. You can find screens for decorative accents and to create privacy in a room or area.
Wall accessories in the French style can consist of candle sconces, ceramic or pottery pieces. Lamps can be wall style or can be placed on a mantel. You can keep the countryside theme in paintings. Add vases of fresh or dried flowers to bring nature indoors.
Place settings of china can be a great way to add a hint of France to your dinner table. You can go with the elegance of classic china and formal flatware and glassware. Alternatively, you can lighten the mood with chunkier dinnerware in the French influenced colors and patterns.
French living accessories allow you to combine basic furniture pieces and use the accent pieces for color, whimsy or contrast. You should not be too rigid in your placement of items. Let imagination rule and try accessories in various places for best effect. Because this decor style is generally economical, you don't have to spend a lot of money to create a unique yet themed look.
About the Author
Boutique Provencale offer a huge range of French style home accessories and French Accessories which will give any home that French country style decor your after.
"Foel & Alt" earthen stoneware pottery, where can I find some?
I think it was produced in the western PA., U.S.A. area at the turn of the last century( circa1900). I would like to collect some. Does anyone know of any antiques dealers in that area who might be able to help me (Pittsburgh area)? From the few pieces I've come across, it's generally, a heavy commerical grade jug with either one or two finger handles in a grey or brown stoneware with a deep cobalt blue ink color, with the name "Foel and Alt" imprinted into it.
try to find antiquities dealer who specializes in farm goods. look on ebay. google thename.
Reheat homemade chili at the office for a warm meal with this innovative, single serving mug from CorningWare. From CorningWare's smart Pop Ins line of kitchenware, the mug holds up to 22 ounces of a favorite beverage, soup, or vegetable dish. Constructed in fine stoneware, the fluted mug design adds simple elegance to a kitchen while performing multiple functions. Freezer-, refrigerator-, oven-,...
Your search is over! Finally, a classy, useful New York souvenir! Get the world's most famous paper coffee cup, replicated in ceramic for home or restaurant use. Over 180 million cups are used each year, which prompted the eco-friendly company, Exception Lab, to convert this classic coffee cup from disposable paper to a more environmentally conscious ceramic design....
Strange Stories About Vietnamese Pottery
Strange stories about Vietnamese pottery The biggest flower-vases There is no other place in Vietnam displaying so many giant flower-vases of all sizes like the house of artisan Le Minh Ngoc in Bat Trang pottery village in Gia Lam (Hanoi). Here, the shortest jar is 1.5m high, a medium one is about 2.5m and the highest can nearly reach the ceiling. Firstly, he made 0.45 m-high vases and he has gradually raised the height of them to 1m, 1.2m, 1.8m, 2m and 2.5m and all the time his passion for this work also grew. After many years of researching and creating, he is now the only artisan in Bat Trang who can make flower-vases of 2m high or higher. In 1996, he decided to make two 5.6m-high flower-vases, as high as the banian tree in his village, to the wonder of everyone. On the day of opening the kiln, all the villagers were eager to see his products but regrettably, the vases were deformed. At that time Le Minh Ngoc was completely dispirited. The two flower-vases were made in 2002 with their height of 3.2m, diameter of 0.94m and weight of 170kg. They were recorded in the Vietnam’s Guinness Book in September 2004. These vases are so big and high that Ngoc had to build a new kiln for them and they need ten strong people to carry. Recently Ngoc has found kaolin (a kind of clay) in Quang Ninh and intends to produce some 5.4 m high vases. The "Pottery Road" project This is a project to celebrate the 1000th Thang Long – Hanoi anniversary. It's 6km-long colorful mosaic covering the dike from Au Co Road through Nghi Tam, Yen Phu, Tran Nhat Duat and Tran Khanh Du roads. To implement the project, Nguyen Thu Thuy and a team of Vietnamese and international artists have created many pottery works based on traditional materials of famous pottery craft villages such as Bat Trang Village outside Hanoi.They have also adorned the ceramic mural with unique cultural motifs and patterns of different dynasties, such as designs of Thang Long architecture of the Ly Dynasty (1010-1225), artifacts found in the Thang Long citadel archaeological site, brown flowed pottery of the Tran Dynasty (1225-1400) and sculptures in the 17th-18th centuries. The Pottery Road is trying to acquire the Guinness Record 2010 for the longest pottery road in the world.
The biggest flower-vases
There is no other place in Vietnam displaying so many giant flower-vases of all sizes like the house of artisan Le Minh Ngoc in Bat Trang pottery village in Gia Lam (Hanoi). Here, the shortest jar is 1.5m high, a medium one is about 2.5m and the highest can nearly reach the ceiling.
Firstly, he made 0.45 m-high vases and he has gradually raised the height of them to 1m, 1.2m, 1.8m, 2m and 2.5m and all the time his passion for this work also grew. After many years of researching and creating, he is now the only artisan in Bat Trang who can make flower-vases of 2m high or higher.
In 1996, he decided to make two 5.6m-high flower-vases, as high as the banian tree in his village, to the wonder of everyone. On the day of opening the kiln, all the villagers were eager to see his products but regrettably, the vases were deformed. At that time Le Minh Ngoc was completely dispirited.
The two flower-vases were made in 2002 with their height of 3.2m, diameter of 0.94m and weight of 170kg. They were recorded in the Vietnam’s Guinness Book in September 2004. These vases are so big and high that Ngoc had to build a new kiln for them and they need ten strong people to carry.
Recently Ngoc has found kaolin (a kind of clay) in Quang Ninh and intends to produce some 5.4 m high vases.
The "Pottery Road" project
This is a project to celebrate the 1000th Thang Long – Hanoi anniversary.
It's 6km-long colorful mosaic covering the dike from Au Co Road through Nghi Tam, Yen Phu, Tran Nhat Duat and Tran Khanh Du roads.
To implement the project, Nguyen Thu Thuy and a team of Vietnamese and international artists have created many pottery works based on traditional materials of famous pottery craft villages such as Bat Trang Village outside Hanoi.They have also adorned the ceramic mural with unique cultural motifs and patterns of different dynasties, such as designs of Thang Long architecture of the Ly Dynasty (101
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0-1225), artifacts found in the Thang Long citadel archaeological site, brown flowed pottery of the Tran Dynasty (1225-1400) and sculptures in the 17th-18th centuries.
The Pottery Road is trying to acquire the Guinness Record 2010 for the longest pottery road in the world.
About the Author
A leading manufacturer & exporter of Vietnamese ceramics, pottery, home garden decorative product, equipment, accessories.
The Rachael Ray EVOO Dispensing Bottle is uniquely designed for storing and keeping close at hand extra virgin olive oil (EVOO) for cooking and finishing dishes. Spice up a meal with by drizzling your favorite olive oil over a fine pasta dish or simply dab on a crostini to make a tasty little Tuscan treat. A perfect compliment to any meal....
Introducing our new non-porous enameled Stoneware Crock, which offers the same great features as our other stoneware products. It can be used to serve ice cream at a birthday party, fill with ice at your next cocktail party, or create a centerpiece by adding your favorite flowers!About Le Creuset... Since 1925, artisans have been crafting Le Creuset cookware in the French village of Fresnoy Le Gr...
Introduced in 2004, Portmeirion Lamps are a beautiful addition to any collectors home. Perfect for any room in your home. The lamps are among Portmeirion's most popular shapes and current motifs. Quality by Design for Life! Botanic Garden designs are inspired by original illustration plates from the 1930's....
Introduced in 2004, Portmeirion Lamps are a beautiful addition to any collectors home. Perfect for any room in your home. The lamps are among Portmeirion's most popular shapes and current motifs. Quality by Design for Life! Botanic Garden designs are inspired by original illustration plates from the 1930's....
Caldrea Saffron Quince Limited Edition Candle 8 Oz. in Gift Canister. Within each crocus blossom are three tiny threads of Saffron, the world's most precious and expensive spice. This quintessential symbol of love and happiness is paired with the golden Quince fruit, to celebrate the season at home and abroad. The scent of exquisite & the packaging is beautiful. Would make a great gift...
Caldrea Vetiver Ginger Limited Edition 8 Oz. Candle In Gift Canister. The unlikely root of a dense tropical grass, Vetiver lends smoky softness and rich body to all it contacts. Vetiver's intricate warmth is juxtaposed with the cool, lemony freshness of Ginger. These extraordinary essential oils are woven with Frankincense for a worldly fragrance that celebrates the season....
Some Things to Know When Buying Majolica Ceramics
What is majolica? Majolica is glazed pottery often associated with certain regions of Italy, although it is also produced in other parts of the world. Majolica ceramics are distinctive for their unique degree of quality and artisanship. The name majolica was derived from Majorca, the port from which majolica originally was traded. Italian Majolica and Italian Ceramics are world renowned because of their master artisanship and durability. The name itself is a sort of misnomer since majolica was not actually created in Majorca but simply traded within the city.
Majolica ceramic pieces usually come from a variety of sources. Italy has a long-standing tradition in the production of ceramics and pottery dating back to the 13th century. During the Renaissance, a small town in Umbria called Deruta, made use of the special clay from the Umbrian hills to establish itself as the center for the production of majolica and Italian pottery. This status for Deruta is still recognized by collectors the world over today. The superior majolica produced at this time have maintained the respect of the past even though many pieces today are intended for everyday use instead of strictly art pieces. The majolica tradition continues in Deruta today, as well as in other parts of Italy.
Since Majolica ceramic pieces were made with high attention to quality many of the very old pieces are still being displayed today and quite usable. Italy is not the only place one can obtain quality majolica ceramics pieces. The trade name is not indicative to where the highly crafted pieces are made, but how they are made. Majolica is available from just about any country in the world. Antique majolica can usually be pinpointed back to an Italian origin. The Italians are credited for perfecting the processes used in creating genuine majolica and the knowledge spread throughout the world. Since majolica is made worldwide, it is much easier for imitators to attempt to sell fraudulent ceramic pieces passing them off as majolica. It is important to get concise details on the pieces you purchase not to be scammed by an imitator trying to pass off second Hand painted ceramics.
You will want to make sure you are dealing with a dealer who has an established reputation and not just a pretty website. A legitimate and reputable dealer understands this and is happy to answer questions from potential customers since they know the true value in majolica ceramics. You will always look so good when you give an Italian gifts like some Italian canisters, Italian dinnerware, Ceramic vase, etc;because their beauty is no compared with other Ceramic art, it is very known for their fine figures hand painted, which it make it different than the other kind of ceramics therefore you will have a treasure at home.
Villaggio ceramics brings you a lot of items about Italian ceramics for all those gifts that you want to give in a special day, or some kind of ceramic that you want for your home decorating. You will find beautiful ceramics from Deruta, Majolica and the best masters from Italy, the best quality and the best ceramic in your hands to U.S.A. from Italy exclusively for the décor of your home.
About the Author
Villaggio ceramics is a proud importer of Italian hand painted decorative ceramics. Our goal is to maintain a clientele with taste and a fond appreciation for Italian Majolica (also known as Maiolica); Italian Mosaics; Italian dinnerware handsomely hand painted; unique decorative accessories, Italian gifts and much more.
US $149.95
