DOCSLIB.ORG

Introduction 13

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction 13 12 Glass of the Alchemists. I N T R ODUCTIO N HAT IS GLASS? This seemingly simple question has no easy answer—not even in the present day, when scientists believe they have some understanding of the chemical and physical properties of glasses. 1. Neri 1612, foreword: “molto si assomi­ The question must have been much more perplexing to people of earlier ages. glie ad ogni sorte di minerale, & mezzo W minerale, quantunque sia un composto, et Glass did not easily comply with scholarly attempts to classify materials. In 1612, the Florentine dall’Arte fatto.” priest and alchemist Antonio Neri noted the close resemblance of glass to rocks and minerals, but 2. Pharmacopoea Spagyricae, chap. 20, he emphasized that glass is “a compound, and made by art.” 1 The German alchemist Johann Rudolf after Glauber 1689, p. 167. 3. Gnilius 1711, p. 5: “mihi probabilius Glauber described the relationship between glass and metal in this way: “For all Sand or Flint, of videtur. Vitrum positum esse inter me­ which Glass is made, is the Matrix or Mother of all Metals.”2 As late as 1711, Johannes Gnilius, a talla & lapides, quippe de utrisque aliquid mutuo petit: v[idelicet] gr.[?] de metallis, Strasbourg scholar, seconded Vannoccio Biringuccio’s opinion that glass should be positioned be­ quod sit liquabile: de Lapidibus, quod non tween metals and stones because it displayed properties of both, being liquefiable like metals and sit ductile malleo, sed fragile &c.” 3 4. Boyle 1673, pp. 70–71. brittle like stones. Perhaps because the debate was leading nowhere, the Irish nobleman and sci­ 5. Lemery 1716, pp. 576–577: “Vitrum, entist Robert Boyle considered certain characteristics of glass in 1673 and concluded that it allowed en François, Verre, est une matiere rendue 4 transparente par la violence du feu, qui “ponderable parts of Flame . to pass through the pores.” Nicolas Lemery may have had this com­ après en avoir chassé les parties grossieres, ment in mind when he wrote in 1698 that “glass . is a material that is made transparent by the sulfureuses & mollasses, y a formé des pores droits en sorte que la lumiere puisse force of fire. After having chased away the coarse, sulfuric, and weak particles, [the fire] has formed passer & repasser facilement au travers.” straight pores of a sort that the light can easily pass back and forth through [the glass].” 5 Knowledge. 6. Glass does appear in nature, and it LASS must have been attractive to alchemists for one reason in particular: unlike silver, was sometimes used for crafts. The use 6 of obsidian in Mesoamerica, for example, wood, and clay, it was made, not found. Man’s own creation was mixed from some simple is well known. Less well known is the Graw materials and then fashioned in the fire into something entirely new—a substance that showed production of buttons from Proterobas (lamprophyre) in the Fichtelgebirge re­ none of the characteristics of its source ingredients and that could not be turned back into them. gion in Germany. However, natural glasses For millenniums, the only way this experience had been understood was as an alchemical process, a were of no concern to vessel glassmakers in Renaissance and Baroque Europe. transformation not unlike the presumed transmutation of base metals into precious metals. While such transmutations were often attempted and never accomplished (although practitioners fre­ quently pretended otherwise), the successful results of glassmaking could be witnessed every day. Like any other manufacturing process, the production of glass requires trained and skilled workers (Fig. 1). Glassblowing demands considerable control and virtuosity, at least in part because hot glass can be worked only for a short time. More than many other crafts, however, glassmaking relies on knowledge. The slightest change in the composition of the raw materials or even a minor variation in furnace conditions can result in unwanted effects: the glass might suddenly change its color, accumulate various kinds of faults, or even crizzle (deteriorate) soon after it is made. Some glassmakers were content to draw upon the experience of the past, and they did well not to change any of their procedures. This was the case, for example, with the German glasshouses that produced green Waldglas (forest glass) of uniform quality for many centuries (Fig. 2). Yet if progress was de­ sired, knowledge became the key ingredient. And the best source of expertise was to be found among the alchemists. Introduction 13 Fig. 1. Purification of ashes and the making of glass, illustration from Laboratory, or, School of Arts, 1738, pl. before p. 75. The upper half of the illustration shows equipment used to dissolve, boil, and calcine potash, “out of which may be made the finest Glass you can wish or desire.” The lower half presents glassmaking instruments, the two parts for a double-walled glass with enclosed gold-leaf decoration ( Zwischengoldglas), and a kiln to fire the enamels on glass panes. 14 Glass of the Alchemists. Fig. 2. “Unbreakable” Waldglas beaker. Germany, dated 1656. H. 13 cm. The Corning Museum of Glass (79.3.617, gift of The Ruth Bryan Strauss Memorial Foundation). The beaker bears the diamond-point engraved and gilded inscription “Trinch mich auss vnnd würff mich Nider / heb mich auff vnnd vill mich wider 1656” (Empty me and throw me down; pick me up and fill me again, 1656). Fig. 3. Three cristallo goblets. Venice, about 1600. H. (tallest) 17.8 cm. The Corning Museum of Glass (61.3.135, 60.3.17, 70.3.8). nature. This goal was shared by artists, and it gave rise to innumer­ able points of contact. Smith notes that alchemy, which was con­ cerned with both practical and scientific considerations, bridged the divide between the scholar and the artisan. Newman (pp. 35– 47) states that alchemists regarded themselves as “searchers into nature’s secrets.” They were “chymists,” the true precursors of mod­ ern chemists, and it was in the context of “chymistry” that the term “research” was first employed. Newman reports on the scien­ tific reasoning of alchemists in the 17 th century—including such concepts as the corpuscular theory and the organic growth of met­ als in the earth—and their attempts to prove their beliefs in the laboratory. The term “alchemist” is about as precise a professional char­ Recently discovered sketches in the notebook of a 16th­cen­ acterization as “healer” would be for an otorhinolaryngologist. tury alchemist perfectly illustrate the ideas of alchemy and their Alchemy was a form of worldview that involved amateurs as well usefulness to humankind (pp. 48–61). The fact that this alchemist, as professionals. The field of study for the alchemists encom­ Antonio Neri, was also the author of L’Arte Vetraria, the single passed the entire world in all its facets, natural and scientific as most influential glassmaking manual of all time, makes these well as spiritual. Some researchers were specialists, such as the drawings even more intriguing. We are very grateful to Paul Engle, iatrochemists, who employed alchemical principles to create med­ their discoverer, for allowing us to include selected drawings from icines. Those who devoted their attention to what today might this manuscript in the present volume. be called the “material sciences” were particularly successful. The number of alchemists who followed Neri’s example and The breadth of the inquiry into the subject was matched by gained substantial expertise in glassmaking was probably small. the body of literature that it produced. Modern accounts have But those few practitioners possessed the necessary skills for suc­ often added to the confusion about alchemy, leaving readers with cess. They had a laboratory at their disposal, which permitted the impression that impenetrability was one of its chief features. them to conduct experiments on a small and thus affordable scale. Some much­needed clarification is provided in the introductory They were experienced in the treatment of raw materials, and they chapters of this catalog by Pamela H. Smith and William R. proceeded to study the effects on glass of a wide range of elements. Newman, two of the best­known experts in the field. Their chap­ They formed networks by which they communicated their find­ ters amount to a translation of alchemical reasoning into modern­ ings to other experts, and they were able to access publications day terms. Smith (pp. 23–33) provides an overview of the extent on the subjects that interested them. None of these benefits was of alchemy and focuses on one of its chief aims, the imitation of easily available to general glassmakers. Introduction 15 Innovation. T IS one thing to claim that improvements in glass were brought about by some interactions between alchemists and glassmakers, but quite another to present proof. Because of a dearth of Isurviving documents, we know very little about the circumstances surrounding the invention of new types of glass. One of the most important such inventions is Venetian cristallo, which is credited to 7. Zecchin 1987, pp. 237–241. Angelo Barovier on the glassmaking island of Murano in 1453.7 Not much has been recorded about this event. We do not know, for example, how the development of cristallo is related to the emer­ gence of colorless glass in the 13th and 14th centuries, and the meager sources do not tell us if, and 8. Cf. Kerssenbrock­Krosigk forth­ to what extent, alchemy informed Barovier’s achievements.8 We do not even have vessels that can coming. be unmistakably attributed to his time or workshop, but we do know that cristallo was at the center of Venice’s success in glassmaking for the next couple of centuries. It is most typically identified with paper­thin wineglasses of the late 16th and early 17th centuries (Fig.
Load more

Recommended publications
  • Mead Art Museum Andrew W. Mellon Faculty Seminar: Jan 15 and 16, 2015
    Mead Art Museum Andrew W. Mellon Faculty Seminar: Jan 15 and 16, 2015 Looking at Glass through an Interdisciplinary Lens: Teaching and Learning with the Mead’s Collection Books: Bach, Hans and Norbert Neuroth, eds. The Properties of Optical Glass. Berlin: Springer-Verlag, 1995. Barr, Sheldon. Venetian Glass: Confections in Glass, 1855-1914. New York: Harry N. Abrams, 1998. Battie, David and Simon Cottle, eds. Sotheby's Concise Encyclopedia of Glass. London: Conran Octopus, 1991. Blaszczyk, Regina Lee. Imagining Consumers, Design and Innovation from Wedgwood to Corning. Baltimore: Johns Hopkins University Press, 2000. Bradbury, S. The Evolution of the Microscope. Oxford: Pergamon Press, 1967. Busch, Jason T., and Catherine L. Futter. Inventing the Modern World: Decorative Arts at the World’s Fairs, 1951-1939. New York, NY: Skira Rizzoli, 2012. Carboni, Stefano and Whitehouse, David. Glass of the Sultans. New York: Metropolitan Museum of Art; Corning, NY: The Corning Museum of Glass; Athens: Benaki Museum; New Haven and London: Yale University Press, 2001. Charleston, Robert J. Masterpieces of glass: a world history from the Corning Museum of Glass. 2nd ed.: New York, Harry N. Abrams, 1990. The Corning Museum of Glass. Innovations in Glass. Corning, New York: The Corning Museum of Glass, 1999. Lois Sherr Dubin. The History of Beads: from 30,000 B.C. to the present. London: Thames & Hudson, 2006. Fleming, Stuart. Roman Glass: Reflections of Everyday Life. Philadelphia: University of Pennsylvania Museum, 1997. ----Roman Glass: Reflections on Cultural Change. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 1999. 1 Frelinghuysen, Alice Cooney. Louis Comfort Tiffany at the Metropolitan Museum.
    [Show full text]
  • Glass and Glass-Ceramics
    Chapter 3 Sintering and Microstructure of Ceramics 3.1. Sintering and microstructure of ceramics We saw in Chapter 1 that sintering is at the heart of ceramic processes. However, as sintering takes place only in the last of the three main stages of the process (powders o forming o heat treatments), one might be surprised to see that the place devoted to it in written works is much greater than that devoted to powder preparation and forming stages. This is perhaps because sintering involves scientific considerations more directly, whereas the other two stages often stress more technical observations M in the best possible meaning of the term, but with manufacturing secrets and industrial property aspects that are not compatible with the dissemination of knowledge. However, there is more: being the last of the three stages M even though it may be followed by various finishing treatments (rectification, decoration, deposit of surfacing coatings, etc.) M sintering often reveals defects caused during the preceding stages, which are generally optimized with respect to sintering, which perfects them M for example, the granularity of the powders directly impacts on the densification and grain growth, so therefore the success of the powder treatment is validated by the performances of the sintered part. Sintering allows the consolidation M the non-cohesive granular medium becomes a cohesive material M whilst organizing the microstructure (size and shape of the grains, rate and nature of the porosity, etc.). However, the microstructure determines to a large extent the performances of the material: all the more reason why sintering Chapter written by Philippe BOCH and Anne LERICHE.
    [Show full text]
  • Inorganic Glasses Third Edition
    Fundamentals of Inorganic Glasses Third Edition ARUN K. VARSHNEYA Saxon Glass Technologies Inc. and Alfred University, Alfred, New York JOHN C. MAURO The Pennsylvania State University, University Park, Pennsylvania Contents Preface xv Acknowledgments xvi i 1. Introduction 1 1.1 Brief history 1 1.2 Glass families of interest 2 1.3 Vitreous silica 2 1.4 Soda lime silicate glass 5 1.5 Borosilicate glass 5 1.6 Lead silicate glass 6 1.7 Aluminosilicate glass 6 1.8 Bioactive glasses 6 1.9 Other silica-based oxide glasses 7 1.10 Other nonsilica-based oxide glasses 7 1.11 Halide glasses 7 1.12 Amorphous semiconductors 8 1.13 Chalcogenide and chalcohalide glasses 9 1.14 Metallic glasses 10 1.15 Glass-like carbon 11 1.16 Mixed anion glasses 11 1.17 Metal-organic framework glasses 12 1.18 A brief note on glasses found in nature 12 1.19 Glass greats Antonio Neri and Norbert J Kreidl 14 Summary 16 Online resources 17 Exercise 17 References 17 2. Fundamentals of the glassy state 19 2.1 What is glass7 19 2.2 The V-T diagram 20 2.3 Pair correlation function and RDF 23 2.4 Anomalies in the V-T diagram 29 2.5 Revisiting the definition of glass and its distinction from an amorphous solid and a liquid 30 2.6 Glass greats A R Cooper, Jr 32 VII vin Contents Summary 33 Online resources 34 Exercises 34 References 35 3. Glass formation principles 37 3.1 Structural theories of glass formation 37 3.2 Russian workers' criticism of Zachariasen's hypothesis 46 3.3 The kinetic theory of glass formation 49 3.4 Beyond classical nucleation theory 65 3.5 Glass greats WH Zachariasen and E A Porai-Koshits 65 Summary 67 Exercises 68 References 69 4.
    [Show full text]
  • City of Light: the Story of Fiber Optics
    City of Light: The Story of Fiber Optics JEFF HECHT OXFORD UNIVERSITY PRESS City of Light THE SLOAN TECHNOLOGY SERIES Dark Sun: The Making of the Hydrogen Bomb Richard Rhodes Dream Reaper: The Story of an Old-Fashioned Inventor in the High-Stakes World of Modern Agriculture Craig Canine Turbulent Skies: The History of Commercial Aviation Thomas A. Heppenheimer Tube: The Invention of Television David E. Fisher and Marshall Jon Fisher The Invention that Changed the World: How a Small Group of Radar Pioneers Won the Second World War and Launched a Technological Revolution Robert Buderi Computer: A History of the Information Machine Martin Campbell-Kelly and William Aspray Naked to the Bone: Medical Imaging in the Twentieth Century Bettyann Kevles A Commotion in the Blood: A Century of Using the Immune System to Battle Cancer and Other Diseases Stephen S. Hall Beyond Engineering: How Society Shapes Technology Robert Pool The One Best Way: Frederick Winslow Taylor and the Enigma of Efficiency Robert Kanigel Crystal Fire: The Birth of the Information Age Michael Riordan and Lillian Hoddesen Insisting on the Impossible: The Life of Edwin Land, Inventor of Instant Photography Victor McElheny City of Light: The Story of Fiber Optics Jeff Hecht Visions of Technology: A Century of Provocative Readings edited by Richard Rhodes Last Big Cookie Gary Dorsey (forthcoming) City of Light The Story of Fiber Optics JEFF HECHT 1 3 Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sa˜o Paulo Shanghai Taipei Tokyo Toronto Copyright ᭧ 1999 by Jeff Hecht Published by Oxford University Press, Inc.
    [Show full text]
  • Marco Verità* Secrets and Innovations of Venetian Glass Between The
    Marco Verità* SECRETS AND INNOVATIONS OF VENETIAN GLASS BETWEEN THE 15TH AND THE 17TH CENTURIES: RAW MATERIALS, GLASS MELTING AND ARTEFACTS From the fifteenth to the end of the seventeenth century,V enice has been the world leader in glassmaking. Murano’s primacy was due to the extraordinary quality of its glass (homogeneity, transparency, palette of colours, etc.), the style of Venetian glassware, the skill of glassmasters and the wide range of products. This supremacy could be reached and maintained thanks to the fact that glassmaking in Venice has always been a dynamic craft. Since its beginnings it underwent radical changes and incorporated many innovations along the centuries. The oldest extant document attesting a production of glassware in Venice is a manuscript dating to 982 A.D.; nevertheless archaeological evidence of glassworking since the 7-8th centuries was found in the island of Torcello in the Venetian lagoon. Since the origins the Venetian glass was (and is still today) of the soda-lime-silica type, that is mainly composed of sodium (Na2O), 1 calcium (CaO) and silicon (SiO2) oxides . The reluctance ofV enetian glassmakers to change the composition of their glass is rather complex to explain. Any glass represents a combination of properties: thermal (viscosity, workability), optical (colour, transparency), chemical (resistance to environmental attack, …), etc., which cannot be modified separately and vary by changing the composition of glass (type and ratios of the components). * Laboratorio Analisi Materiali Antichi LAMA, Sistema dei Laboratori, IUAV University, Venice, Italy. 1 Other types of glass were created and manufactured in Venice, such as lead silica glass for the production of imitation gemstones, not discussed in this paper.
    [Show full text]
  • 2 Image Caption Title –
    Image Caption Title – Cum sociis natoque penatibus et magnis dis parturient montes, nas scetur ridiculus mus. 2 Sponsors & Colophon – First published in Great Britain in 2013 by London College of Fashion, University of the Arts London, 20 John Prince’s Street, London W1G 0BJ, United Kingdom ISBN 978-1-903455-29-6 © London College of Fashion Authors: James Putnam, Adriano Berengo, Suzanne Higgott, David Toop Design: Freytag Anderson All rights reserved. No part of this publication may be reproduced in any form or by any means without the permission of the publishers. Contents Contents – – 7 — 8 23 — 28 Foreword White Light | White Heat Professor Frances Corner OBE James Putnam Pro Vice-Chancellor Co-Curator Glasstress: University of the Arts London & White Light | White Heat Head of London College of Fashion 31 — 40 9 — 1 4 Historic Venetian Glass The Quantum Leap of Glass Suzanne Higgott Adriano Berengo Curator of Glass, Limoges Painted Director Berengo Studio Murano, Enamels and Earthenwares Venice & Co-Curator Glasstress: The Wallace Collection White Light | White Heat 43 — 174 17 — 20 Artists Is Glass Silent? David Toop 175 UAL Alumni Foreword Frances Corner OBE – – Professor Frances Corner OBE Pro Vice-Chancellor University of the Arts London & Head of London College of Fashion White Light | White Heat is a development of exquisite glass collection and the cutting edge envi- Glasstress, conceived by Adriano Berengo, President ronment of London College of Fashion where tradi- of Berengo Glass Studio and Venice Projects, in 2009. tional notions of fashion are challenged every day. This new exhibition is a dramatic expansion of the The exhibition had its opening at the magnificent original Glasstress concept to include London Palazzo Franchetti as part of the 55th Venice College of Fashion (LCF), University of the Arts Biennale with a selection of work being restaged in London and t he Wallace Collection working in col- London at the Fashion Space Gallery at LCF as well laboration with Berengo Glass Studio.
    [Show full text]
  • The Role of Judgment in the Making of Glass Colors in the Seventeenth Century
    The role of judgment in the making of glass colors in the seventeenth century Autor(en): Dupré, Sven Objekttyp: Article Zeitschrift: Ferrum : Nachrichten aus der Eisenbibliothek, Stiftung der Georg Fischer AG Band (Jahr): 90 (2018) PDF erstellt am: 01.10.2021 Persistenter Link: http://doi.org/10.5169/seals-787105 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch SVEN DUPRÉ The Role of Judgment in the Making of Glass Colors in the Seventeenth Century This essay discusses the manufacture of colors in Venetian and à la façon de Venise glass that was produced from the fifteenth century and codified in print in the seventeenth century.
    [Show full text]
  • Peek Into the Future of Education Using Glass Allison Berger Florida Atlantic University, [email protected]
    FDLA Journal Volume 2 Article 4 1-1-2015 Peek Into the Future of Education Using Glass Allison Berger Florida Atlantic University, [email protected] Victoria Brown Florida Atlantic University, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/fdla-journal Part of the Online and Distance Education Commons, and the Teacher Education and Professional Development Commons Recommended Citation Berger, Allison and Brown, Victoria (2015) "Peek Into the Future of Education Using Glass," FDLA Journal: Vol. 2 , Article 4. Available at: https://nsuworks.nova.edu/fdla-journal/vol2/iss1/4 This Article is brought to you for free and open access by the Abraham S. Fischler College of Education at NSUWorks. It has been accepted for inclusion in FDLA Journal by an authorized editor of NSUWorks. For more information, please contact [email protected]. Peek Into the Future of Education Using Glass Cover Page Footnote Portions of this paper were presented at the Society of Informational Technology and Teacher Education 24th Annual International Conference in New Orleans and published in the 2013 proceedings for that conference. This article is available in FDLA Journal: https://nsuworks.nova.edu/fdla-journal/vol2/iss1/4 Berger and Brown: Peek Into the Future of Education Using Glass Running head: PEEK INTO THE FUTURE WITH GLASS PEEK INTO THE FUTURE OF EDUCATION USING GLASS Alison Berger [email protected] Florida Atlantic University Victoria Brown [email protected] Florida Atlantic University Author Notes Portions of this paper were presented at the Society of Informational Technology and Teacher Education 24th Annual International Conference in New Orleans and published in the 2013 proceedings for that conference.
    [Show full text]
  • Diseño Y Fabricación Semi Artesanal Con Vidrio En Uruguay
    TESIS DE GRADUACIÓN DISEÑO Y FABRICACIÓN SEMI ARTESANAL CON VIDRIO EN URUGUAY B.R. Silvana Nallem, Tutor Andrés Parallada. Informe inal | Diciembre 2017. Escuela Universitaria Centro de Diseño. Facultad de Arquitectura Diseño y Urbanismo. Udelar. TESIS DE GRADUACIÓN DISEÑO Y FABRICACIÓN SEMI ARTESANAL CON VIDRIO EN URUGUAY B.R. Silvana Nallem, Tutor Andrés Parallada. Colaborador técnico Daniel Acosta y Lara. Informe inal | Diciembre 2017. Escuela Universitaria Centro de Diseño. Facultad de Arquitectura Diseño y Urbanismo. Universidad de la República. Pág. - 6 Agradecimientos Son muchas las personas a quienes debo agrade- A mi Abuela, por creer en esta profesión e incenti- cer el haber podido realizar este trabajo, pero espe- varme a recorrerla, desde muchos años antes de mi cialmente quiero destacar a las siguientes: primer examen de ingreso. A Andrés, por el apoyo incondicional en estos casi tres años de trabajo y su gran capacidad de intepre- tar, sintetizar y ordenar todas mis ideas. A Daniel Acosta y Lara, por su tiempo y dedicación Es a mi abuela y a mi madre, a quienes les dedico en todas las instancias de taller que fueron necesa- esto y mucho más. rias para la elaboración del contenido de este docu- mento. A Beatriz, por el aliento a generar este texto, así como su asesoramiento técnico, observaciones y correcciones. A Daniell, por sus devoluciones y piezas clave de material histórico y de referencia. Al Fido y Fla, por este hermoso documento y su pa- ciencia hasta largas horas de la jornada. Al equipazo de los PM´s por los after ofice y espe- cialmente a la equipa Lorieto por su fuerza, apoyo y las tremendas fotografías que forman parte de este proyecto.
    [Show full text]
  • Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century
    Ambix ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/yamb20 Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century Thijs Hagendijk , Márcia Vilarigues & Sven Dupré To cite this article: Thijs Hagendijk , Márcia Vilarigues & Sven Dupré (2020) Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century, Ambix, 67:4, 323-345, DOI: 10.1080/00026980.2020.1826823 To link to this article: https://doi.org/10.1080/00026980.2020.1826823 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 12 Oct 2020. Submit your article to this journal Article views: 890 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yamb20 ambix, Vol. 67 No. 4, November 2020, 323–345 Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century Thijs Hagendijk 1, Márcia Vilarigues 2 and Sven Dupré3 1 Utrecht University, The Netherlands 2 Universidade NOVA de Lisboa, Portugal 3 Utrecht University, The Netherlands Johann Kunckel’s Ars Vitraria Experimentalis (1679) is arguably the most impor- tant text on seventeenth-century glassmaking. As an augmented German translation of Italian (1612) and English (1662) editions, Kunckel presented a complex and layered text that contained a plethora of recipes, elaborate com- mentaries and annotations, and various appendices dealing with glass-related technologies and arts. We reworked four recipes for rosichiero glass (a trans- parent red glass) in Kunckel’s book to discover what strategies Kunckel em- ployed to help readers engage with the recipes and to make the recipes work in the specificity of their own workshop.
    [Show full text]
  • Touch of Glass
    A Touch of Glass PopularScience A Touch of Glass SUKANYA DATTA NATIONAL BOOK TRUST, INDIA ISBN 978-81-237-9071-8 First ePrint Edition 2020 © Sukanya Datta Rs:185.00 ePrint by Ornate Techno Services Pvt Ltd Published by the Director, National Book Trust, India Nehru Bhawan, 5 Institutional Area, Phase-II Vasant Kunj, New Delhi - 110070 Website: www.nbtindia.gov.in This book is dedicated with love to the memory of Debjani Ghosh (Bubul didi) and to Sanjoy Ghosh (Sanjoyda) for being my Go-To couple foreverything for as long as I canremember. Contents Acknowledgement i Preface x x 1. Fact and Fairytale i1 2. First Look 5 3. Natural Glass 9 4. Making Glass 16 5. Techniques and Tools ofTrade 43 6. Glass Industry in the Ancient 69 World 118 7. Glass Industry in Ancient India 128 8. Glass Industry of Modern India 147 9. Gallery of ArtGlass 167 10. Architectural Wonders in Glass 187 11. Fun Fact and Futuristic Firsts 207 12. Idioms Inspired by Glass SelectBibliography 221 Index 225 Acknowledgement My association with the National Book Trust (NBT) goes back almost two decades and I have always first approached NBT with any new manuscript of mine; rarely have I been refused. For this privilege I thank the Director, NBT with all my heart. Heartfelt thanks are also due to Mrs. Kanchan Wanchoo Sharma then at the Editorial Department of NBT. Her very positive feedback to my idea gave me the encouragement to go forward with the manuscript. My current Editor Ms. Surekha Sachdeva who took over from Kanchan has been most meticulous in editing and deserves my thanks for all her efforts.
    [Show full text]
  • Swarovski and Austrian Cut Crystal Beads
    • Journal of the Center for Bead Research Volume 6, Number 1 1993 PeJlturr: Story (S18rl8 ODpaae.1) OUR NEW LOGO (above) We have adapted this as the logo of the Center for SWAROVSKI AND ._ Bead Research. It is called a bung or Iingling-o and is . .__ made of bronze, silver or gold by the Ifugao of north­ AUSTRIAN CUT ern Luzon, the Philippines. The !fugao wear it as a pendant, though most of their neighbors wear a pair CRYSTAL BEADS of them as earrings. The design is of great antiquity, ,_ echoing jade earrings brought to the archipelago in the first millennium B.C. by the Sa Huynh peoples, a sea faring group based in southern Vietnam, who traveled all over Southeast Asia. When the Spanish arrived in Luzon they noticed the people wearing golden earrings in the shape. The swan was adopted in 1988 by the board of direc- GRAN'TS tors of the Swarovski company. 'This elegant:.and The Center has been the recipient of several grantS powerful creature was elected as the most appropri- . reCently, which have allowed us to expand our re­ ate symbol for the vigorous style of business manage- search and training programs. Details are on page 9, ment techniques practiced at Swarovsld today." but we wish to thank once again the Asian Art Coun­ [Crowden 1990]'-' cil of Ne\V York, the Bead Society of Greater Wash­ • .d.., ... ington and the Northwest Bead Society for their BEADS AND CRAFTS support ADVENTURE TOUR OF IN THIS ISSUE WEST AFRICA Eye ofthe Needle/Calendar •......
    [Show full text]