Among other firsts, Mezzaluna placed cruets of excellent olive oil on dining tables, from his small family estate outside Florence.
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Still Life One person recreated the painting, "Still Life with Fish, Vegetables, Gougères, Pots, and Cruets on a Table," by French artist Jean-Siméon Chardin.
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The 1920s were the last gasp for the firm, under the blingier designer Dagobert Peche, whose mirrors and cruets were as florid as his predecessors' were straitlaced.
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The 21942s were the last gasp for the firm, under the blingier designer Dagobert Peche, whose mirrors and cruets were as florid as his predecessors' were strait-laced.
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And a third presented a minimalist, modern-day interpretation of a 1769 "Still Life with Fish, Vegetables, Gougères, Pots, and Cruets on a Table" using canned tuna, olive oil, and cheese from the supermarket.
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The use of oil and vinegar cruets rapidly spread throughout Italy, where oil and vinegar were already in frequent use. Oil and vinegar cruets are common on Italian and Portuguese tables to this day.
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Cruets often have an integral lip or spout, and may also have a handle. Unlike a small carafe, a cruet has a stopper or lid. Cruets are normally made from glass, ceramic, or stainless steel.
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Warsaw's Cathedral with letters A and V by Michael Mair, 1695-1700, Museum of the Warsaw Archdiocese. Cruets range from nominal decanters to the highly decorative cut crystal. Some cruets are unusual, and can either be intended to be ornamental or functional. During some Christian religious ceremonies, primarily the Eucharist, altar cruets are used to keep the sacramental wine and water.
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Some speculate that the early use of cruets was ecclesiastical —there is for example Biblical use of a "cruse of oil", a jug or jar to hold liquid (I Kings 17:16). A few cruets dating from the Medieval ages still exist today. Its culinary use however was first introduced in the late 17th century. Cardinal Mazarin had a pair of salad cruets on his dining table at his home in France, one for olive oil and the other for vinegar.
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A cruet designed to serve vinegar at the table. Cruets today typically serve a culinary function, holding liquid condiments such as olive oil and balsamic vinegar. They often have a filter built into them to act as a strainer, so that vinegar containing herbs and other solid ingredients will pour clear. Cruets also serve as decanters for lemon juice and other oils.
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These cruets are usually made of glass, though sometimes they are made of precious metals such as gold or silver. Cruets specifically intended for religious ceremonies come in pairs: one to contain water, often marked A for Aqua, and one to contain wine, V for Vinum. These two liquids are mixed during the portion known as the Preparation of the Gifts.
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Take my cruets, my bread baskets and my soup > tureens. What you take is nothing to what you give, your calves, your > beautiful calves.
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Altar cruets in San Pedro church (Ayerbe, Spain) An altar cruet or mass cruet is a small jug used in mass to carry the water or wine that are used in the consecration. The current cruets have replaced the old amphoras that, with the name of hama or amula, were used to receive and carry the chalices of the wine that the faithful offered at Mass. Often they were richly decorated metal jugs. Others were made of glass or clay.
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In 1991, a waterside deck was constructed, and replaced in 2012. A member of the chapel, Thomas R. Bambas, professor emeritus of art at Central Michigan University has designed the beautiful metalwork in the chapel, including the cross over the altar, altar candlesticks, cruets, and a ciborium.
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Ernest Kirtlan, known for his distinctive preaching style during his four-year incumbency from 1908—his loud voice sometimes sent Communion cruets falling from the altar to the floor—was also an expert on medieval English literature. The church is licensed for worship in accordance with the Places of Worship Registration Act 1855 and has the registration number 35785.
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Léon Bonvin - Still Life on Kitchen Table with Celery, Parsley, Bowl, and Cruets - Walters 371504, watercolor and brush with graphite underdrawing, pen and iron gall ink, and gum varnish on heavily textured, moderately thick, cream wove paper. Charles Léon Bonvin (February 28, 1834 – January 30, 1866) was a French watercolor artist known for genre painting, realist still life and delicate and melancholic landscapes.
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A crystal cruet set, c.1930s/40sA modern French cruet set (right of picture) A cruet-stand (or cruet in British English) is a small stand of metal, ceramic, or glass which holds containers for condiments. Typically these include salt and pepper shakers, and often cruets or bottles of vinegar and olive oil. The stand and containers form a cruet set.
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It is kept on the credence table with the finger-bowl and cruets. There are no ecclesiastical regulations regarding the form and material of this manuterge. The towel, which is used after the Offertory during the recital of the psalm "Lavabo", is usually small (18 in. by 14 in.), only the points of the thumb and two fingers, and not the whole hand, being usually washed.
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Tableware included plates, bowls, platters, sherbets, salt and pepper shakers, compotes, creamers, sugar bowls, epergnes, mayonnaise bowls, place holders, baskets, candy dishes, cruets, bells, candlesticks, cheese stands, bread and butter plates, baskets, bon bons, jam/jelly jars, tidbit trays, nut dishes, celery dishes, pickle dishes, lamps, cracker jars, oil and vinegar bottles, marmalade jars, and vases."CAMBRIDGE CAPRICE-CLEAR at Replacements, Ltd." Replacements, Ltd. Replacements, Ltd. Web.
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The wafers for the communion of the faithful may be stored in a ciborium, or host box (sometimes erroneously referred to as a pyx). The wine and water for the chalice will be in cruets. The chalice, and paten, covered with their cloths and veil (see chalice cloths for details) may be placed on the credence from the beginning of the service until the Offertory, at which time they are moved to the altar.
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The wine and water are taken in their cruets to the altar to be poured into the chalice. After the altar has been incensed (if incense is used), two servers wash the priest's hands. The priest holds his hands over the lavabo bowl and the first server (if there are two) will pour water over the priest's hands; the second server then hands the priest the lavabo towel for him to dry his fingers. During the washing, the priest says some words from Psalm 25.
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King Manuel also opened the Parish Hall in Radnor Road in December 1927. After the King's death in 1932, the parish acquired various sacred vessels including silver cruets, a ciborium embossed with the King's monogram and a baptismal shell. Queen Victoria Augusta also gave the parish the organ, which the King had played in his house.Malcolm Howe, Dom Manuel II of Portugal, his life and Reign (London, 2009), p 69 The organ became unusable in the 1980s and had to be partially taken part.
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The gothic inspired church of Naic known at the Shrine of the Immaculate Conception The church, constructed during the 1800, was made up of wood and cogon grass. Later additions of the church, such as kopa, a pair of cruets, and ornamentation, were added six years after its initial construction. On 1835, the construction of a new stone church was administered by Don Pedro Florentino. Its construction resulted to influx of people - from 18 barrios, or neighborhood in 1845 to 26 barrios in 1867.
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Sacristies usually contain a special wash basin, called a piscina, the drain of which is properly called a "sacrarium" in which the drain flows directly into the ground to prevent sacred items such as used baptismal water from being washed into the sewers or septic tanks. The piscina is used to wash linens used during the celebration of the Mass and purificators used during Holy Communion. The cruets, chalice, ciborium, paten, altar linens and sometimes the Holy Oils are kept inside the sacristy. Sacristies are usually off limits to the general public.
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There were also the altar cloth of white silk, four great latten candlesticks, a timber reredos with imagery, other lamps, an image of Our Lady, two cruets and an older Mass-book. The Lady Chapel had an alabaster reredos. In the vestry were five copes, one of crimson velvet with baudekin (a luxurious cloth), one of gold baudekin, one of violet silk, one of green silk with birds of copper gold, and one of blue with angels and stars. There were various other rich altar cloths and vestments.
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Numerous gifts have been presented to Pohick Church over the years; these include a plate and cup of hammered silver, dating to 1711 and 1716 respectively; a chalice from the United States Marine Corps; a bread box and silver cruets, from the Corps of Engineers; and a silver paten. More recent gifts have included several pieces of silver crafted in Alexandria. A cross for the altar table was provided by the Bishop of Washington, D.C. Due to the vicissitudes of the congregation's history, the archives of Pohick Church are not extensive. Nevertheless, they do contain a handful of notable books and documents.
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The village at Tubutama is situated on a broad lowland of good and fertile fields where few Indians cultivate their individual fields and communally plant wheat, Indian corn, beans and other crops. The house of the Father Missionary is decent and roomy with an adjoining garden of quinces, pomegranates, peaches, and other trees. The church is interiorly adorned with two altars, paintings in gilded frames, and a small side chapel. In the sacristy are three chalices, a pyx, a ceremonial cross, ceremonial candle-holders, censer, three dishes and cruets, all of silver, vestments of every kind and color and other interesting adornments for the altar and divine services.
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Much Old Sheffield seen today has been re-plated, especially items which received much use and polishing, such as candlesticks. Items seldom displayed or used, such as egg cruets or soufflé dishes, are often in excellent condition and so may be confused with electroplate. Collectors should be aware that many designs have been reproduced in electroplate, with those from the early 1900s being the hardest to recognise since, like the original items, they seldom have a maker's mark. The way to recognise the genuine article is to look for signs that it was soldered from pre-plated metal sheet or wire rather than constructed in base metal and plated afterwards.
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The annual value of the rectorial manor held by the priory was estimated at £24 10s. 0d. On 30 September 1554, Bradbourne was visited by the Commissioners of King Edward VI who performed an inventory of church goods with a view of selling those with superstitious uses. The following things were appropriated: :"Vestments with all things, aulter clothes, towels, coope, surpleses, cruets pewter, senser off bras, crosse off wodd, bucket of bras, caudelstyke off iron, pyxe of bras, cannabe (canopy) covering, corperas case, bells, sanctus bell, hand bells, sakeryng bells, chalice with a paten parcel gilte." The curate at the time was listed as "Thos Swetnam".
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There was a fair amount of plate both for the altar and for the table, including the parcel-gilt silver altar cross with figures of St Mary and St John, cruets, two chalices, three mazers, eight silver spoons, a salt with cover, and a silver goblet. The Buttery utensils were mainly pewter plates and dishes, basins and ewers, and the furniture was very simple. The livestock included 6 kine, 5 horses, 10 pigs and 10 sheep, and there were 10 loads of hay and 10 acres each of corn and of barley. Most of the bedding was very old and little worth, and the kitchen vessels are described as "trasshe".
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A single piece > decorated in green and yellow is at Brunswick and another conserved in a > private collection. Body shapes are adapted from maiolica ceramics and > silver models; they range from the largest basins and ewers, chargers and > plates, to the smallest cruets. Decorative motifs are executed in imitation > of Chinese blue-and-white wares, or of Turkish İznik ceramics, or more > rarely in imitation of maiolica grottesche ornament. Both Chinese and > Turkish ceramics had been represented in the Medici family collections for > over a century; for example, one prized possession of the family was a gift > from the Mamluk Sultan of Egypt who sent Lorenzo de' Medici "large vessels > of porcelain, the like of which has never been seen" in 1478.
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The style of glassmaking changed by 1746 when the government passed the Glass Excise Bill, which taxed glass by weight; beginning in 1751 advertisements in a Boston newspaper made a reference to “new fashion” glass. Usually the phrase referred to the air twist stemmed glass or “wormed wine glasses” that had first been advertised in the Boston market in 1746. By 1761, glasses and decanters were also engraved or “flowered”. Glassmakers worked diligently to provide special glasses for specific purposes, and inevitably only the well-to-do could afford a full array of forms. The inventory of Governor Francis Fauquier’s glass is revealing, when the former Governor of Virginia died in 1768, he left: 5 beer glasses, 5 champagne glasses, 14 water glasses, 55 wine glasses, 59 syllabub glasses, 69 jelly glasses, 23 glass salvers, 15 decanters and 8 cruets.
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An early medieval writer Theophilus Presbyter, believed to be the Benedictine monk and metalworker Roger of Helmarshausen, wrote a treatise in the early-to-mid-12th century that includes original work and copied information from other sources, such as the Mappae clavicula and Eraclius, De dolorous et artibus Romanorum. It provides step-by-step procedures for making various articles, some by lost- wax casting: "The Copper Wind Chest and Its Conductor" (Chapter 84); "Tin Cruets" (Chapter 88), and "Casting Bells" (Chapter 85), which call for using "tallow" instead of wax; and "The Cast Censer". In Chapters 86 and 87 Theophilus details how to divide the wax into differing ratios before moulding and casting to achieve accurately tuned small musical bells. The 16th-century Florentine sculptor Benvenuto Cellini may have used Theophilus' writings when he cast his bronze Perseus with the Head of Medusa.
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Fletcher, p. 202. The equipment included three silver-gilt chalices; a silver-gilt pax board or osculatory, which was used for passing on the kiss of peace during Mass; two silver cruets; three brass bells, which hung in the belfry. There was a substantial collection of books: two portiphories or ledgers, large books, which were breviaries of the Sarum rite; three gilt crosses; two new missals; two new graduals, containing the sung part of the Mass; three old missals, including one covered in red leather; an old portiphory; a processional; an executor of the office, probably a book of rubrics; a collectarium; four books of the Placebo and Dirige; a psalter, Then come the vestments: a complete suit in red velvet; a red velvet cope with two dalmatics; a suit made of white silk; a white silk cope with two dalmatics; four further suits. Finally is mentioned a yearly Manual, the handbook for administering the sacraments.
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Figurative panels were installed over the central panel of the triumphal arch in 1779, under the orders of Father Pedro Paulo de Vasconcelos, vice-vicar in the Church of Nossa Senhora dos Anjos in Água de Pau, becoming known as Father Saint Paul. On 17 May 1832, in a decree signed in Ponta Delgada by Regent Peter, Minister and Secretary of State for Ecclesiastical Affairs, and Minister of Justice, José Xavier Mouzinho da Silveira, the shelter of Caloura was closed and Church secularized, with its possessions and properties incorporated into the national treasury. On 11 July Father José Bento Rodovalho, Minister of Shelters, order the immediate inventory of the Church's possessions, decorations and tools; these possessions included silverware, ampoule, two chalices; a pair of cruets with dishes; three panels; ten images of various invocations and heights with silver-leaf; four silver crowns or various sizes; an image of Christ; two cabinets; and a small bell from the belfrey.
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