Casting Pate De Verre Sculptures in Glass Kilns

Pate de verre, which means glass paste, is an ancient technique for casting glass in glass kilns to make sculptures, dishes, and other objects which are highly luminous, deep, and intriguing due to the manner in which light is reflected through them. The technique was used in ancient Egypt to create fabulous gems and amulets. In the last century the technique was rediscovered and underwent a popular revival. In pate de verre fine glass particles were made into a paste to form the castings. However, it is easier to use large pieces of glass (billets), or sheet glass pieces. Using large pieces rather than fine particles of glass produces a high satin gloss rather than a matte finish.

Start with a low relief sculpture of your choice, modeled in clay not more than 1 ½" thick (the relief should not be any thinner than 1" thick at its thinnest point). The finished glass will exactly reproduce the clay surface, so you can leave it rough or smooth it out as you prefer. In order to calculate the weight of glass pieces which will be needed, multiply the weight of the sculpture and multiply by 1.16. Make a mold from a cardboard box: cut out a piece of cardboard whose length is exactly the same as the perimeter or circumference of your sculpture; and whose height is 2" taller than the piece. Place the sculpture on a flat piece of glass, wood, or plastic and place the cardboard mold around it, sealing the bottom of the cardboard to the base with clay (so that casting mix doesn't seep out).

Next, make the casting mix to make the mold. This mold is a waste mold, which is used only one time (it is destroyed in the casting process). Two quarts of water are put in a two-gallon bucket, and silica casting mix is added (since silica is carcinogenic, a NIOSH mask must be worn during this process). The casting mix should be mixed slowly to avoid entrapping air bubbles. Then, the mix is poured into the mold at the sides (not directly over the sculpture, to avoid trapping air). When the mold is full, its sides are tapped to release air bubbles; and then it is left to cool overnight. The mold is disassembled and the clay original is removed (it may be necessary to break it). The mold is cleaned with a damp sponge and allowed to dry. It is a good idea to spray the dry mold with graphite film lubricant, which is available at auto supply stores, to make it easier to remove from the glass. Place a piece of plastic in the cavity of the mold and fill it with water to the thickness of the finished piece. Weigh this water, and multiply by 2 ½. The result is the weight of glass necessary to fill the mold to the correct thickness. Put a refactory shelf in the glass kiln on 1" posts. Put ½" of sand on the shelf and place the mold on this sand, using a level to insure that the mold is level in all directions.

Wash the glass pieces with soap and water, then with window cleaner and allow it to dry. Place the glass pieces on edge in the cavity of the mold, with taller pieces at the center and shorter ones outside. Don't permit glass pieces to touch the mold itself, and take care not to chip the mold. The firing should be done as follows: temperature rise at 250° per hour until 1250° is reached; then hold for ½ hour. Temperature rise at 250° per hour until 1450° is reached; then hold for 2 hours. Crash the cooling at 950° per hour and hold for 6 hours (to anneal the glass). Cool at 60° per hour until 500° is reached. Cool at 100° per hour until 200° is reached. Then let the kiln cool on its own to room temperature. It is easiest to regulate this firing using electronic kiln controls or kiln sitters. When cool open the kiln and let the glass cool down to room temperature. Remove the mold and soak it in water, which will facilitate removal of the mold. Grind off any sharp edges with a hand-held grinding stone. Voila!





The pate de verre technique is enjoying a modern revival, thanks to the availability of inexpensive glass kilns and modern technological improvements such as kiln sitters. Owning your own glass kiln opens the door to a new world of creativity.




The Art of China - Chou, an Era of Splendid Bronze Metal Work

The Chou Dynasty belonged to the Chinese Bronze Age and ranged from 1122 and 221 BC. During this 900-years rule, the Chinese culture saw several changes in its economy, politics, science, and society & traditions, especially art. The initial period of Chou Dynasty is called "Western Chou" (11th century BC to 771 BC) and the later half is referred to as "Eastern Chou" (770 BC - 221 BC). The Chou Art of China included mediums, such as bronzes, jades, ceramics, and textiles, embellished with varied designs.

The Chou Art witnessed improved artistry with the discovery of iron. Some of the ancient Western Chou Art works of China were the Bronze ritual vessels, used during Chinese ceremonies. These vessels were also used as decorated pots, wine jars, and water vessel. Most of these jars were modeled in animal shapes, like birds and dragons, while coated with the inscriptions of about 300 odd Chinese characters. These bronze vessels are testimonials to the ancient imperial attributes of Chinese culture and music. Later on, in the Eastern Chou Dynasty, these bronze jars and vessels moved away from having religious significance to becoming the social symbols of wealth and power. Bronze was also used to make bells, mirrors, belt-hooks, candelabras, and weapons. In addition, after 722 BC, the designs and the shapes of these bronze utensils got simpler with 'Abstract' patterns and minimal or no inscription.

During the Chou Dynasty, many meticulous techniques were used for making functionally purposeful potteries. The potter's wheel was rarely used; instead, the hard gray clay pieces were hand molded, leaving no sign of glaze on their surfaces. During the Chinese burials, these potteries were placed with the dead.

Under the Eastern Chou Art of China, several complicated jade ornaments & pendants were made with materials, like agate and glass. These ornaments had carved images of curling chih dragons, grain seeds, and also had cloud patterns on them. The jade ornaments were important objects in ceremonies and rituals and they also depicted a person's social stature. Eastern Chou Art forms of China also included lacquer craft, practiced in Southern China. Lacquer is a red colored sap of the lac tree. It was used to make lightweight boxes, dishes, and even small statuettes. In the last years of the Eastern Chou Dynasty, silk was used as a canvass on to which, the scenes of landscapes and people were painted.





Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.labedzki-art.com




Arrowhead Hunting and Rock Collecting

We weren't planning to go rock and arrowhead hunting in Arizona. My wife and I just liked that hotspring in the desert. It was agood place to escape the Michigan winter for a while.
Then we met Felix, an old Mayan Indian living in an old RV. After sharing meals and campfires for a week, he took us into the desert to show us ancient metates (grain-grinding stones) and arrowheads. We also found hundreds of beautiful rocks of every type, including Apache Tears, Fire Agate, and various quartzes.
Irina, a nineteen-year-old "rainbow kid," who had been living in her van for months, rode with Felix in his old pickup. We took our van. We spent two hours at the first stop. The recent rain had made the rocks and artifacts stand out, washing them clean. We were mostly just rock collecting.
Irina and my wife Ana found odd pieces that may have been arrowheads. We found old pottery pieces too, and Felix came back with half of a pot painted with an intricate design. It was probably hundreds of years old. Felix had been in the desert for years, and kept seeing things we missed.
Pony Express Ruins
At our second stop, Felix showed us ruins of an old Pony Express station. Unmarked and forgotten, the grass-and-mud-block walls were still partially standing. I realized we still hadn't seen a single other car. There are some isolated areas in Arizona, and this is one of them. We started arrowhead hunting around the ruins, because Felix insisted the building would have been fired upon by arrows.
Up the hill behind the ruins, Felix showed us rocks with six-inch wide holes a foot deep or more, and perfectly round. They were filled with water - their purpose, according to Felix. We like water with fewer bugs, but he and Irina drank the water collected in them. It was a peaceful spot, overlooking the valley below.
Arrowhead Hunting Success
Over the hill, we had some luck searching for rocks and arrowheads, but not like Felix. We saw hundreds of pieces of pottery, but all very plain looking. He found pottery that had beautiful designs on it, and metates. He found a tiny clear quartz arrowhead, perfectly made, that had probably been used to hunt small birds two hundred years earlier.
Each of us wandered a bit. Ana and I made it back to the van first, and when Irina and Felix returned, we cooked beans with instant rice on our camp stove. After the meal, we said goodbyes, and traded addresses. They went back to the hotsprings, while we headed the other way with bags of rocks, an antelope antler, and two broken arrowheads.
Notes:
For interesting rocks, go out after a rain and you can see Fire-agate and Apache Teardrops laying on the sand. For the best rock collecting, visit the designated rockhound areas in southeastern Arizona. As for arrowhead hunting, and ancient pottery, enjoy yourself, but it may be illegal to keep any artifacts now. The BLM office in Safford can give you directions and more information.
Steve Gillman hit the road at sixteen, and traveled the United States and Mexico alone at 17. Now 40, he travels with his wife Ana, whom he met in Ecuador. Read more stories, tips and travel information at: http://www.EverythingAboutTravel.com






Fraud - Museum of Civilization (?)

ECUADOREAN POTTERY OF JOMON, JAPANESE DESIGN AND STYLE: - We mentioned this briefly in the General Introduction. Jomon state is where the Ainu are to this day. There are few pure blood Ainu and one author says these people were the Shoguns. They are white people . Kennewick Man may be Ainu and that is another fraud with the same purpose in mind. The issue is one of deceit because the Canadian Museum of Civilization (sounds fishy to begin with) said in their handsome 1989 book ('Ancient America') that there was evidence of an indigenous local pottery industry that led to the unique designs and technology. Thus any reader would allow it might be a pure co-incidence; especially when they drove the point home by saying it was an anomaly and that any visitors would have been integrated into the native population such as others they could prove had been. They, of course, pointed out that much of that integration was as sacrificial victims to heathen gods. The net result being that if this was the best evidence of 'diffusion' and worldwide travel (which they said it was, and it isn't) clearly one should know they are right. The main position of academia is still - there was 'No Cultural Impact' even as the date of travel to the Americas has been pushed back at least 15,000 years before Clovis due to the work of Dillehay and others as reported in National Geographic and Scientific American in early 2001.

The real concern is that there was NO prior industry as reported in 'The Guardian', 'Scientist', 'Daily Mail', 'The National Post', 'Fortean Magazine', etc. Thus they lied! If there had been proof of an indigenous pottery industry it would still exist, wouldn't it? Eleven years later these publications made the point about NO other connection except Jomon, Japan. Some gave lots of other evidence of Chinese and Asian travels to the Americas by boat. So, why did they lie? How can you accept any academic caught in such a lie? Did the white man actually plan an invasion using biological warfare like the Mongols used against them? Did they know full well the paradise and citizens of North and South America would not accept their materialistic and devilish ways? Yes, they knew about the Americas for at least two thousand five hundred years - in some circles. There is lots of ancient authorship from credible sources. There never were any serious mariners who traveled far that bought the 'Flat Earth' theory.

You must start thinking about whether our nations have any leg to stand on when they sit at war crimes trials today. You must think about the situation that allows it to continue throughout the world. We will continue to give you lots of food for such thought. The science of engineers and art historians with forensic tools of today, was something Pope Alexander VI (Rodrigo Borgia) couldn't imagine when he decided to split the world in half in order to spread the Inquisition. Their success was well planned and they knew what they were doing. We will prove that, for sure.






MIKE SEDGE TALKS ABOUT HIS NEW BOOKTHE LOST SHIPS OF PISA

In April, 1999, Michael Sedge, Mediterranean Editor for Scientific American Discovering Archaeology magazine, received an invitation to view a new archaeological site, only 500 yards from the famed Leaning Tower of Pisa. What he found was a graveyard of ancient ships that Italian authorities now call โ€œthe Pompeii of maritime archaeology.โ€



โ€œAt that point,โ€ explains Sedge, โ€œarchaeologists had merely revealed the tip of the mystery. In subsequent years, additional research and digging would bring to light 16 Roman ships, hoards of cargoes, and both human and animal remains. It would also become a personal passion, as I followed the project, discovery-after-discovery, for three years. In THE LOST SHIPS OF PISA (published by ibooks on October 1, 2002), I take readers on the same exciting archaeological journey I experienced , while answering the questions: how, why, and what if?โ€



How was this so-called โ€œmaritime Pompeiiโ€ found?



It began in 1998 when the Italian state railroad, Ferrovie dello Stato, was digging the foundation for a new building that would house the command and control center for train movements along Italy's western coast. The work stopped abruptly when, to the astonishment of all, the haunting remains of a wooden, Roman ship came to light after being buried for 2000 years.



The ironic aspect of this is that the site had previously been declared free of historical remains. A team led by professor Stefano Bruni, who ultimately became the director of the Pisa archaeological project, had been called in to test the site, according to Italian law, only a few months before, and there probes had been within feet of this and other shipsโ€"but just far enough to prove negative.



What could have happened in Italy 2000 years ago to entomb an entire port, including 16 Roman ships?



There are several theories, but experts agree that it was probably a series of events, rather than a single disaster. For example, storms certainly accounted for some of the sinkingsโ€"particularly those that lost their cargoes. Others may have sunk after being abandoned in the ancient port.



Located only 500 yards from the Leaning Tower of Pisa, how did the city's ancient port simply disappear, and become forgotten?



Ancient Pisa was much different, geographically, thank it is today. It was constructed in a maze of canals and two major rivers: the Arno and the Auser. In this respect, it was more like modern-day Venice.



In his book, Istorie Pisane, sixteenth-century historian Raffaello Roncioni talks about a harbor known as the Porto delle Conche, that was formed by a secondary branch of the Auser River. In the vicinity of the Pisa dockyards, the description tells how the tributary turned to the right off the major artery, flowing into the Arno to create a small lake.



Researchers believe that archaeological discovery is, in fact, the ancient Porto delle Conche. Other historical records including maps by Leonardo da Vinci, support this theory.



The environment and geographical nature of the area in which the settlement of Etruscans and Romans Pisa was born and developed is now very different from what it was in ancient times. As a result of deposits accumulating in the Arno, the coast is now at a considerable distance, and the characteristics of the surrounding countryside have been significantly altered by the gradual expansion of marshland. The Auser River, for example, no longer exists. There were radical reclamation projects undertaken in the Middle Ages, at which time areas, such as the ancient port, were filled with construction materials, as buildings were demolished.



Satellite surveys, which allow researchers to track the city's ancient river-beds and waterways, provide support for the concept of a Venice-like Pisa that, ultimately, reduced the canals, lakes, and port area into a single river, the Arno. With time, and decrease in political importance of Pisa, the existence of a Porto delle Conche was forgotten.



Tell us about the ships. What were their use and condition?



So far, 16 vessels have been identified. Some still remain below the earth's surfaceโ€"to prevent decay once they are exposed to the atmosphere. Others are in various phases of preservation, awaiting removal, and still others have been excavated and taken to a nearby laboratory for final restoration. Ultimately, they will be displayed in the Ships of Pisa Museum, housed in the ancient dockyards established by the famed Medici family in the 1500s.



The ships, and vast array of relics, date from the end of the first century BC to the late fifth or early sixth century AD. Eight vessels are nearly fully intact. These include the remains of three cargo ships, three boats that were probably used on the river, one oared vessel, and the remains of one ship discovered in an upside-down position. Most of the other wrecks have been located by probes, but are not yet in the excavation stage.



The so-called Hellenistic Ship, was named based of early Greek remains foundโ€"pottery, lamps, glassware--found in its surroundings area. Ship โ€œAโ€ is a cargo ship of about 30 meters, still intact with planking and framing connected by wooden pegs, as well as bronze nails.



Each ship has a story to tell in the archaeological puzzle, as do the items found in and around them.




What are some of the items found?



When I first visited the site, in 1999, there was what appeared to be a river of amphorae and other artifacts. More than 1,000 large, plastic boxes were filled with artifacts, ranging from Greek and Roman pottery and coins to bones and jewelry. Clothing, shoes, and, naturally, shipboard instruments were all found. Ship B, another cargo ship, for example, contained amphorae that had carried walnuts, chestnuts, peaches, cherries, and plums for export throughout the Mediterranean. Vases, glass beakers, ropes, mats and leather products surrounded the 11.7 meter-long Ship C. Here too was found a coin, perhaps from the ancient mint at Bithynia.



You wrote an article recently for Archaeology Odyssey magazine in which you discuss the ancient Greek and Roman tradition of using amphorae as coffins for infants. Did this stem from your research in Pisa?



Yes. The remains of a newborn babyโ€"lacking pelvic girdle and lower limbsโ€"was found in an amphora. According researchers at the University of Pisa, it is assumed that the amphora was used as a small coffin for burial.



Afterwonderingabout how common this practice was, I contacted Dr. John Hall, a noted expert on burial practices in Greek and Roman times, at Otago University in New Zealand. He pointed out that this was a common occurrence in ancient times, since nearly 30 per cent of newborns died within five days. It was for reasons of practicality more than anything else โ€"they simply used what was on hand.



Archaeologists believe the amphora with the baby's remains was loaded on a ship ready to be taken to a nearby island-cemetery, when a storm ripped through the harbor, sending the body to a watery grave.



Is it true that researchers found 443 right shoulder bones from pigs, and only 59 left shoulder bones? If so, why the difference?



Yes. Even in ancient times, prosciutto-ham (made from the upper leg of pigs) was enjoyed by populations throughout the Mediterranean region. Because pigs traditionally rest on their left side, the meat of the right side was more tender and desired.



We understand there was a unique skeleton found. The so-called sailor and dog that has been widely discussed



An entire film could be developed around the find. Near the underside of the first-century ship labeled โ€œBโ€ was found the fully intact skeleton of a man. Within the outstretched arm of the so-called โ€œsailorโ€ was the skeleton of a small dog, which appeared to have been a bassethound.



Theory has it that, during a storm, the ship in which the sailor and his dog were aboard, overturned, tossing them into the rough waters. As the man rescued the animal, the vessel came down, pushing and trapping him and the dog to the bottom of the harbor; where they would remain for 2000 years.



What comes next: For the ships of Pisa, and you as a writer?



The ships of Pisa is an archaeological work-in-progress. Many pieces of the puzzle are still to be found, and many of the theories proven. What secrets will be revealed as the ships, one by one, are extracted, no one can say for sure. The archaeological site of ancient Pompeii took centuries to excavate, and brought forth vast artifacts of Greek and Roman life. When this โ€œmaritime Pompeiiโ€ will be fully explored is, at present, unknown.



What it will ultimately reveal is, similarly, a mystery that time will solve. I will continue to follow the developments and the research. No writer knows what projects awaits them. Perhaps, four or five years from now, I'll be working on a follow-up title. Perhaps something like โ€œThe Truth of The Lost Ships of Pisa.โ€



How can people order your book?



It is available in bookstores throughout the United States, UK, and Australia, or online from Amazon.com.






The Greek Vase - The Story of Ancient Greece Told in Clay

Withstanding the test of time, Greek Pottery has been a crucial element in the world's comprehension of the ancient Greek culture. Mostly found in the Etruscan Tombs, Greek Vases and Greek Pottery are canvases that paint a portrait of the world of ancient Greece. While much of ancient Greek art is forever lost, Greek pottery offers a glimpse into both the every day life and the mythology of ancient Greece.

Starting with the Minoan civilization that existed in Crete, the culture made remarkable contributions to the Greek way of life; especially, in the artisanship of pottery and vases. The Minoan potters designed pottery for food gathering and storage. A practical need became one of artistic expression with the potter looking to nature to influence the designs that transformed the pottery, creating art from what was once only a tool.

As time progressed, Minoan's created vases in forms that were used for specialized purposes. For example, the Amphora vase is a swollen vase with a wide mouth and two opposing handles. It was used to transport and store oil, wine and other liquids. Painted with grass and flowers, and marine scenes, the Minoan's set precedent for future designs.

During the Protogeometrical Period, Greek vases were decorated with simplistic designs that consisted mainly of circular patterns. The Geometric style followed with new motifs, building upon the latter with wavy lines and triangles. In the middle of the 11th Century, the first images of human figures were seen painted on the Greek vase, and by the end of the period, mythological figures became prominent images on much of the pottery of the era.

The Orientalizing Period came after trade-links with Syria and the Aegan World. The popularity of human depictions slowed during this time, and the artisan used the Greek vases for depicting lions, griffins and sphinx with lotuses as accents.

Through the Corinthian invention known as the black-figure process, artists used iron-rich clay that turned reddish-orange after firing. They then sketched their design in outline, and filled it with clay. The Greek vases would be kiln fired at a temperature of around 800 degress Celsius. The pottery would turn a reddish-orange color. Next, the temperature was raised to 950 degrees Celsius, and the vase would turn black. Finally, the kiln vents were opened to let in oxygen, and the pottery would turn back to the reddish-orange color, but the paint layer remained black.

The Corinthian used these vases to depict animal friezes. It was the Athenian painters who developed a narrative method, depicting mythological scenes of battle, gods and heroes.

Following the black-figure method, the red-figure method was introduced in Athens. At its core, the process is exactly the opposite of the black-figure method. Scenes were applied to the Greek vases, but to unfired pieces after they were dried. The Athenians drew outlines on the pottery or vase with a blunt scrapper. It was erased during the kiln process, but after the contours remained and were filled with a glossy clay slip.

The Greek methods for creating pottery resulted in Greek vases whose designs endure even today and left the world with a path to the past told in the distinct and varying images etched and painted on their sides.





Looking for a Greek Vase to decorate your home? Check out the these distinct Greek Vases from Your Museum Store. Rob Mabry is a former military journalist living in San Antonio. He writes about travel, technology, film and the video game industry. Rob operates http://www.yourmuseumstore.com along with his wife Sherry.




On The Nature Of The Nazca Lines

In my prior posting, entitled "Ancient Astronauts and Contemporary Skepticism," I challenged the skeptics (assuming they do not want to acknowledge that the Nazca Lines were made to be viewed by an ancient astronaut) to provide a credible explanation of those geoglyphs. I argued that the people of Nazca cannot be considered unique in human history and that the skeptics need to find parallels elsewhere. However, I imagine that, instead of trying to produce a mundane explanation of the Nazca Lines, the skeptics could simply argue that I have not proven the contrary case.

The basic facts of the Nazca desert are easy to comprehend. Those large geoglyphs cannot be grasped by humans from the ground; in most cases, the hills or mountains are too distant for anyone to even notice that they are there. The figures on the ground can only be recognized from the air. Since humans were unable to fly until relatively recent times, it is logical to consider extraterrestrials as a potential explanation. I have seen skeptics, in desperation, argue that the people of Nazca, in the sixth century, knew how to make air balloons, but I do not believe it for one second.

For whom or for what did the people of Nazca make those ground drawings? Surely, they made those geoglyphs to be viewed by someone or something. That is unquestionable; it is not rational to believe that mass insanity could last the more than one hundred years it took to complete the project. If they made the geoglyphs to be viewed by an ancient astronaut, then where are their drawings of the ancient astronaut? Such drawings do exist. I provide one of them on my website, in a footnote to Gersiane De Brito's "Tiwanaku Alien and Evolution" article. That picture is not a geoglyph, however; it comes from Nazca pottery, but the timing coincides. This makes sense. They likely thought it might be offensive to the alien to draw a picture of the alien on the ground so they only put it on the pottery, where the alien could not see it.

Beyond any doubt, the ancient astronaut depicted on the Nazca pottery is the same ancient astronaut depicted in the Tiwanaku engravings. In the Tiwanaku versions, the aquatic, alien nature of the creature is easier to spot. Also in Tiwanaku, with all that bird symbolism, it is apparent that this ancient astronaut could fly, freestyle, up and through the air.

Thus, the Nazca Lines have a viable explanation: the geoglyphs were made to be seen by an ancient astronaut that could fly like a bird with the aid of anti-gravity hand-held propulsion devices, without the use of aircraft or spacecraft of any kind. The people of Nazca drew diverse animal figures on the ground to attract the alien's attention and to entertain it, and they drew lines and directional arrows on the ground to lead the alien back to the people of Nazca.

I think it time for the world's scientists, archaeologists, anthropologists, psychologists, etcetera, to come to their senses and try to evaluate, objectively, the thinking behind the Nazca geoglyphs. The potential for uncovering an instance of genuine alien contact makes it a worthwhile endeavor.