The C4th Roman Rotunda church in Thessaloniki is the most important monument of the early Christian era. In this comprehensive monograph, Hjalmar Torp presents the findings of his life-long archaeological and iconographic research on the Rotunda. He explores the archaeological data, the various phases of the architecture, and the chronological issues of the monument. The nuanced descriptions of the mosaics, their colours and their techniques are based on a detailed scaffold review and survey. The iconography of the mosaics is then analyzed and interpreted in conjunction with historical and theological sources; the building of the palatine church and its sumptuous decoration is attributed to an initiative by Theodosius the Great. This slip-cased set of two books, abundantly documented and richly illustrated, is a unique testimony on the Rotunda. Volume One: text. Volume Two: Illustrations. 500 illustrations, many in colour. This book is only available in French.

A story revealed by tavern, inn, college and other bottles. With a catalogue of bottles and seals from the collection in the Ashmolean Museum.' (BAR 257, 1997)

This book first examines the figure of Orpheus in Graeco-Roman art and culture before exploring how he has been employed in late antique mosaic. Wide-ranging with lots of line-drawings and photographs.

Hellenistic art in Asia Minor is characterized by diverse cultural influences, both indigenous and Greek. This work presents a comprehensive catalogue of the Hellenistic pottery found at Sardis by two archaeological expeditions. The main catalogue includes over 750 items from the current excavations; in addition, material from some 50 Hellenistic tombs excavated in the early twentieth century is published in its entirety for the first time. The early Hellenistic material consists of imports from Greek cities and close local imitations, along with purely Lydian wares typical of the "late Lydian" phase that followed the Persian conquest. By the late Hellenistic period, Sardis boasts a full range of Greek shapes and styles; indeed, the influence of new conquerors, the Romans, was felt as well. Thus the ceramic finds from Sardis reflect the changing fortunes of the city, bearing witness to the tenacity of indigenous customs and the influences of foreign powers.

"Stained Glass Photo Frames" contains 20 full-size patterns of photo frames for stained glass hobbyists. The patterns include two sizes, 4" x 6" and 5" x 7" and a variety of subjects. Children's, floral, contemporary, southwest and seashore are some of the design styles in this book.

Built on the southwestern coast of Cyprus in the second century A.D., the House of Dionysos is full of clues to a distant life-in the corner of a portico, shards of pottery, a clutch of Roman coins found on a skeleton under a fallen wall-yet none is so evocative as the intricate mosaic floors that lead the eye from room to room, inscribing in their colored images the traditions, aspirations, and relations of another world. In this lavishly illustrated volume, Christine Kondoleon conducts us through the House of Dionysos, showing us what its interior decoration discloses about its inhabitants and their time. Seen from within the context of the house, the mosaics become eloquent witnesses to an elusive dialogue between inhabitants and guests, and to the intermingling of public and private. Kondoleon draws on the insights of art history and archaeology to show what the mosaics in the House of Dionysos can tell us about these complex relations. She explores the issues of period and regional styles, workshop traditions, the conditions of patronage, and the forces behind iconographic change. Her work marks a major advance, not just in the study of Roman mosaics, but in our knowledge of Roman society.

"Raised in Clay" is a remarkable portrait of pottery making in the South, one of the oldest and richest craft traditions in America. Focusing on more than thirty potters in North Carolina, Georgia, Alabama, Texas, Mississippi, and Kentucky, Nancy Sweezy tells how families preserve and practice the traditional art of pottery making today.
First published in 1984, Sweezy's book documents the last generation of potters to have direct contact with preindustrial pottery traditions. It portrays the personalities of the potters, treating this aspect as carefully as the traditions themselves, and discusses various types of wheels, glazes, and kilns and each potter's specialty pieces. Photographs and line drawings showing potters, their potteries and equipment, examples of finished work, and step-by-step works in progress enhance the text. Sweezy's introductory chapter provides a superb history of southern pottery making. For this edition, she has added a new afterword on recent changes in the potting scene.

This richly illustrated portrait of North Carolina's pottery traditions tells the story of the generations of "turners and burners" whose creations are much admired for their strength and beauty. Perhaps no other state possesses such an active and extensive ceramic heritage, and one that is entirely continuous. This book is an attempt to understand both the past and the present, the now largely vanished world of the folk potter and the continuing achievements of his descendants. It is a tribute that is long overdue.
From the middle of the eighteenth century through the second quarter of the twentieth century, folk potters in North Carolina produced thousands of pieces of earthenware and stoneware -- sturdy, simple, indispensable forms like jars and jugs, milk crocks and butter churns, pitchers and dishes, ring jugs and flowerpots. Their wares were familiar and everyday, not innovative or unusual, because they were shaped through generations of use for specific functions. The utilitarian forms were so commonplace and embedded in daily life that few individuals documented the craft. "Turners and Burners" is the first book to chronicle these pottery traditions, with close attention to distinct regional and temporal patterns and the major families involved. It explores in detail the traditional technologies used, from the foot-powered treadle wheel to the wood-fired groundhog kiln.
Terry Zug became interested in North Carolina pottery in 1969 shortly after moving to Chapel Hill. In 1974 he began documenting the craft and traveled throughout the state recording the reminiscences of potters, former potters, and members of potters' families who recalled the old craft in remarkable detail. He systematically photographed and cataloged old pots, located early shop sites, and carefully recorded the remaining waster dumps of broken shards and decaying equipment. His primary source, however, was the potters themselves. Their tape-recorded interviews provide an insider's view of their world and reveal the powerful underlying logic and autonomy of their craft.

Anfang des 20. Jahrhunderts entdeckte die Avantgarde Glas als Material und untersuchte dessen utopisches Potenzial. Beruhmt sind Glaskunstwerke wie Bruno Tauts Beitrag zur Werkbundmesse 1914 oder die Grundung der "Glasernen Kette" 1919. Transparent, fluide, sakral und diaphan - den Weg in die Glasavantgarde hatte die Literatur geebnet, konkret wurde das Denkbild an Orten der Glasproduktion, z.B. in Dusseldorf. Glas fungiert bis heute als Transmitter fur kunstlerische Gestaltung, als abstrahierendes Element, als Motor im Projekt des Universalunterrichts zwischen Kunst und Gesellschaft. Der Band untersucht Glas als Material und als Denkbild in interdisziplinarer Perspektive von der Kulturgeschichte des 20. Jahrhunderts bis zur Physik der weichen Materie.

Over 360 beautiful color photos display machine-made marbles in many varieties. They were produced by American manufacturers, including Alley Agate, Champion, Jackson Marble, Master Glass, Playrite, and Vacor. Marbles displayed include Cat's Eyes, Glassies, Moss Agates, Opals, Patches, Swirls, and more. The text provides fascinating facts about each company's marble production. A helpful rating system indicates which marble types from each firm were its good, better, or best work. A bibliography and index are included. Values for the marbles displayed are found in the captions. This book will be a thrill for all who enjoy a passion for beautiful glass.

STAINED GLASS PRIMER, The Basic Skills offers clear, concise instruction in the tools and skills of leaded glass work, including copper foil techniques. A proven textbook for beginners, used in schools throughout the world. First published in 1971. Over 200,000 copies sold.

A study of the styles of decoration found on the early southwestern pottery known as White Mountain Redware. The White Mountain Redware tradition, an arbitrary division of the Cibola painted pottery tradition, is composed of those vessels which have a red slip and painted decoration in either black or black and white, which when grouped into pottery types have a geographic locus within or immediately adjacent to the Cibola area, and which share a number of other attributes indicative of close historical relationships.

With contributions from outstanding specialists in glass art and East Asian art history, this edited volume opens a cross-cultural dialogue on the hitherto little-studied medium of Chinese reverse glass painting. The first major survey of this form of East Asian art, the volume traces its long history, its local and global diffusion, and its artistic and technical characteristics. Manufactured for export to Europe and for local consumption within China, the fragile artworks studied in this volume constitute a paramount part of Chinese visual culture and attest to the intensive cultural and artistic exchange between China and the West. With contributions by Thierry Audric, Kee Il Choi Jr., Patrick Conner, Karina H. Corrigan, Elisabeth Eibner, Patricia F. Ferguson, Lihong Liu, William H. Ma, Alina Martimyanova, Christopher L. Maxwell, Rupprecht Mayer, Jessica Lee Patterson, Michaela Pejcochova, Jerome Samuel, Hans Bjarne Thomsen, Jan van Campen, Rosalien van der Poel

This volume is dedicated to studies of plainwares-the undecorated ceramics that make up the majority of prehistoric ceramic assemblages worldwide. Early analyses of ceramics focused on changes in decorative design elements to establish chronologies and cultural associations. With the development of archaeometric techniques that allow direct dating of potsherds and identification of their elemental composition and residues, plainwares now provide a new source of information about the timing, manufacture, distribution, and use of ceramics. This book investigates plainwares from the far west, stretching into the Great Basin and the northwestern and southwestern edges of Arizona. Contributors use and explain recent analytical methods, including neutron activation, electron microprobe analysis, and thin-section optical mineralogy. They examine native ceramic traditions and how they were influenced by the Spanish mission system, and they consider the pros and cons of past approaches to ware typology, presenting a vision of how plainware analysis can be improved by ignoring the traditional "typological" approach of early ceramicists working with decorated wares. This work provides a much-needed update to plainware studies, with new hypotheses and data that will help set the stage for future research.

Sir Mortimer Wheeler describes the architecture and town planning, the sculpture and painting, the silverware, glass, pottery and the other rich artistic achievements of the era.

This richly illustrated book tells the story of the successful collaboration of Jacques and Juliana Royster Busbee in the creation of a remarkable folkcraft enterprise called Jugtown. This improbable venture, founded in a most unlikely setting, has left its indelible mark on a remote Southern community. Fully illustrated with numerous black-and-white and color photographs of the place, the people who made pottery there, and the pottery produced by them, the book tells how the Busbees convinced a few of rural Moore County’s old-time utilitarian potters to make new-fangled wares for them to sell in Juliana’s Greenwich Village tea room and shop. Following New Yorkers’ wild acceptance of their primitive-looking and alluring pottery offerings, the Busbees built their own workshop in rural Moore County and called it Jugtown. Today, nearly one hundred potters make and sell their wares within a few miles of Jugtown—all because a hundred years ago, the Busbees and their Jugtown potters found a new way to make old jugs. Stephen C. Compton is an independent scholar and an avid collector of historic, traditional North Carolina pottery. Steve has written numerous articles and books about the state’s pottery. Widely recognized for his North Carolina pottery expertise, the author is frequently called upon as a lecturer and exhibit consultant and curator. He has served as president of the North Carolina Pottery Center, a museum and educational center located in Seagrove, North Carolina, and is a founding organizer, and former president, of the North Carolina Pottery Collectors’ Guild.

Featuring detailed guides to key tools and techniques from talented expert sculptors, the Beginner's Guide to Sculpting Characters in Clay is vital reading for anyone wanting to explore clay sculpture. Learn which tools are best suited to your needs and how to use them effectively, explore diverse materials and pick up helpful tips from leading professional sculptors as you start your journey into clay sculpture. With meticulous tutorials, a handy glossary of sculpting terms, and copious amounts of inspiration, the Beginner's Guide to Sculpting Characters in Clay is an excellent resource for anyone wanting to try their hand at creating incredible 3D characters.

The aim of this publication is to introduce the rich and varied ceramics in the National Trust's vast and encyclopaedic collection, numbering approximately 75,000 artefacts, housed in 250 historic properties in England, Wales and Northern Ireland. One hundred key pieces have been selected from this rich treasure trove, each contributing to our knowledge of ceramic patronage and history, revealing the very personal stories of ownership, display, taste and consumption. The selection includes the following Continental wares: 'Red-figure' wares; Italian armorial tableware; Dutch Delft from the Greek A factory, owned by Adrianus Kocx; Chinese Kraak ware; Dehua ware; Japanese Kakiemon-style and Imari-style tableware and garnitures; Meissen table sculpture by Johann Joachim Kandler; tableware attributed to Adam Friedrich von Lowenfinck; Castelli faience from the Grue workshop and wares from the following porcelain manufactories: Doccia; Vienna; Vincennes; Sevres; Dihl and Feulliet. English pottery and porcelain includes delftware; salt-glazed stoneware; creamware; Wedgwood Black Basalt and Etruscan ware; Chelsea, Bow, Worcester and Derby porcelain; Minton China; De Morgan, and Martin ware. From the Americas, the selection includes Pueblo ware. Many are published for the first time, sometimes illustrated in their original interiors. Collectively, the selection surveys patterns of ceramic collecting by the British aristocracy and gentry over a four hundred year period.

Francis H Harlow (1928-present) is a world class physicist, an expert on Pueblo Indian pottery and Southwest sea fossils, an accomplished painter and cellist. In this memoir, the retired Los Alamos scientist and scholar looks back on his life and career, including his fifty years as a theoretical physicist at one of the U.S.'s top research facilities. He considers his study of Pueblo pottery a "hobby", though it draws on archaeology, history and ethnography, as well as interactions and interviews with living and deceased potters (including Maria Martinez). This book highlights the Museum of Indian Art (Santa Fe) Harlow Pottery Collection.

It begins with the history of the site, recounting how, as J. Paul Getty's art collection grew, he chose to house it in a replica of the ancient Roman villa at Herculaneum now known as the Villa dei Papiri. The second chapter chronicles the destruction of Herculaneum in 79 CE during the eruption of Mount Vesuvius, the Villa dei Papiri's rediscovery in the eighteenth century, and more recent archaeological discoveries at the site. The third chapter leads readers on a tour of the Getty Villa, from the cobblestone "Roman road" through the outdoor theater, atrium, peristyles, and gardens; it includes detailed descriptions of special rooms such as the Basilica, the Room of Colored Marbles, the Temple of Herakles, and the Tablinum. The final chapter recounts how Getty began collecting art in the late 1930s, how the collection grew in the decades before and after his death in 1974, and how the displays at the Villa have evolved along with the collection. This edition includes a new director's foreword, as well as revised and refreshed main text, new photography and also includes updated floor plans of the newly reinstalled Villa.