An example of "khatam-kari" Delicate and meticulous marquetry, produced since the Safavid period: at this time, khatam was so popular in the court that princes learned this technique at the same level of music or painting. In the 18th and 19th centuries, katahm declined, before being stimulated under the reign of Reza Shah, with the creation of craft schools in Tehran, Isfahan, and Shiraz. "Khatam" means "incrustation", and "Khatam-kari" (), "incrustation work". This craft consists in the production of incrustation patterns (generally star shaped), with thin sticks of wood (ebony, teak, ziziphus, orange, rose), brass (for golden parts), camel bones (white parts).
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Their pileipellis an epicutis, repent thin-walled hyphae with pale brownish incrustation. Their caulocystidia occur in small clusters or scattered. Clamp connections are present in all tissues.
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Gorodets painted caskets Gorodets painting (Городецкая роспись in Russian) is one of the folk arts and crafts of Russia, and a phenomenon of the so-called naive art. Gorodets painting sprang from carved Gorodets distaffs that were manufactured in villages nearby Gorodets town in the Nizhni Novgorod Region. Initially Gorodets craftsmen used the incrustation technique to ornament the distaffs. The mid 19th century saw the transition from incrustation to painting of Distaff.
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The origin is disputed. The most common occurrence is as an incrustation on furnace walls in which ores are roasted. Its name comes from the Latin word aerugo for copper rust.
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The Persian settlers of South Caucasus have long interacted with the surrounding ethnic groups, exchanging elements of their cultures. Arts like carpet-making, hand-weaving, metal manufacture, embossing and incrustation are highly developed. The arts of ornamental design and miniature are also very popular.Great Soviet Encyclopedia, vol.
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Just a couple of these include the formation of a black incrustation or a white powdery substance (mineral deposits) that has the potential to obscure the natural blue-green patina, or artificially applied patinas. Pollution-formed crusts could cause the metal to deteriorate and form small pits in the metal if not removed.
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An incrustation pseudomorph, also called epimorph, results from a process by which a mineral is coated by another and the encased mineral dissolves. The encasing mineral remains intact, and retains the shape of the original mineral or material. Alternatively, another mineral may fill the space (the mold) previously occupied by some other mineral or material.
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The stipe color is dark beige to dark mouse gray, cap-colored at maturity. Smell and flavor is sweet. Basidia with four sterigmata, basidiospores ellipsoid, smooth, amyloid, (6) 7–9 (10) × 4–5 μm. Cheilocystidia present, clavate to broadly fusiform; subcylindrical to spindle-shaped or sometimes with one or two protuberances; smooth or with low incrustation at apex in KOH.
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The paintings also tell a great deal about the prosperity of the area and specific tastes during the times. There are four main styles of Roman wall painting that have been found: Incrustation, architectural, ornamental, and intricate. Each style is unique, but each style following the first, contains aspects of each style previous to it. Any original paintings were created before the eruption of Mount Vesuvius.
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Slippers were made of soft leather (sahtian) fabric, embroidered with golden colored strings on the top. There were also shoe-crafts as leather shoes or moccasins, and clogs adorned with silver or pearly incrustation. Crafts considered as touristic attractions containing folkloric elements, were supported with suitable shops and lower taxes. Also new crafts emerged as: radio-technicians, electro-technicians, hydro-installers, auto-mechanics, etc.
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The finest collection of incrustations ever assembled was by Paul Jokelson,Dunlop, Paul H., The Jokelson Collection of Cameo Incrustation, Papier Presse (1991) collector, author and founder of the Paperweight Collectors' Association. A part of his collection was gifted to the Corning Museum of Glass, with the remaining portion being sold in London in the 1990s. Although still produced today, their heyday was before the classic period.
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He discovered two ways to work the wool: handmade in order to enhance the authentic aspect of traditional work around wool; and using Jacquard and incrustation to skilfully sculpt the body with perfect finishing touches. He likes playing around with the contrast between material and techniques. He is looking for « mixing the extremes ». Thus, we can see Alpaca wool incrusted with Swarovski crystals, the mix between leather and fur.
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410 However, after the Conquest, the making of jewelry in Mexico nearly disappeared, with precious metals shipped to Spain. Only after 1551, with the establishment of a Mexican upper class, did this return slowly. At first Spanish craftsmen arrived to work European methods including filigree, repoussé and chasing, engraving and the incrustation of precious stones. But during the colonial period, these craftsmen never reached the level of their contemporaries in Europe.
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Pottery Rössen vessels are characteristically decorated with double incisions ("goat's foot incision" or German '"Geißfußstich"') with incrustation of white paste. Grooved or stamped incisions are also common. Over time, the extent of the decorated areas appears to decrease so that on later vessels it is mostly restricted to the neck or entirely absent. Typical shapes include tall footed bowls, globular cups, rectangular sheet-made bowls and boat-shaped vessels.
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Protodendrophagus is a genus of beetles in the family Silvanidae. The single described species, Protodendrophagus antipodes, is known only from several localities high in the mountains of South Island, New Zealand, where it has been found under rocks. Protodendrophagus can be distinguished from other genera in the subfamily Brontinae, tribe Brontini, by its possession of a frontoclypeal suture, absence of hindwings, elytra not fused, and lack of body incrustation.
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The first two styles (incrustation and architectural) were a part of the Republican period (related to Hellenistic Greek wall painting) and the last two styles (ornamental and intricate) were a part of the Imperial period. The main purpose of these frescoes was to reduce the claustrophobic interiors of Roman rooms, which were windowless and dark. The paintings, full of color and life, brightened up the interior and made the room feel more spacious.
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During the sixties, it received comprehensive restorations under the direction of Rosario La Duca. The palace is also the seat of the Astronomical Observatory of Palermo. The palace contains the Cappella Palatina, by far the best example of the so-called Arab-Norman-Byzantine style that prevailed in the 12th- century Sicily. The wonderful mosaics, the wooden roof, elaborately fretted and painted, and the marble incrustation of the lower part of the walls and the floor are very fine.
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The so-called Primavera of Stabiae, perhaps the goddess Flora Most early Roman painting styles show Etruscan influences, particularly in the practice of political painting. In the 3rd century BCE, Greek art taken as booty from wars became popular, and many Roman homes were decorated with landscapes by Greek artists. Evidence from the remains at Pompeii shows diverse influence from cultures spanning the Roman world. An early Roman style of note was "Incrustation", in which the interior walls of houses were painted to resemble colored marble.
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Visibly salt-affected soils on rangeland in Colorado. Salts dissolved from the soil accumulate at the soil surface and are deposited on the ground and at the base of the fence post. Saline incrustation in a PVC irrigation pipe from Brazil Soil salinity is the salt content in the soil; the process of increasing the salt content is known as salinization. from "Soil salinity" in WaterWiki, the on-line Knowledge and Collaboration Tool of the Community of Practice (CoP) on Water- and UNDP-related activities in Central and South- Eastern Europe, Caucasus and Central Asia.
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Fresco in the First style, from Ercolano The First style, also referred to as structural, incrustation or masonry style, was most popular from 200 BC until 80 BC. It is characterized by the simulation of marble (marble veneering). The marble-like look was acquired by the use of stucco moldings, which caused portions of the wall to appear raised. . Other simulated elements (e.g. suspended alabaster discs in vertical lines, 'wooden' beams in yellow and 'pillars' and 'cornices' in white), and the use of vivid color, were considered signs of wealth.
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The Getty Victorious Youth In 1972, the Victorious Youth, Getty Bronze, or Atleta di Fano to Italians, was discovered and at the urging of Paul Getty, bought by the Getty Museum. The bronze was pulled out of the sea and restored. Because of the amount of corrosion and the thick layer of incrustation that coated the statue when it was found, we can assume that it was beneath the water for centuries. This is less than surprising, as most of the classical bronze statues archeologists have found have been fished out of the Mediterranean Sea.
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Both forms have a thin incrustation on their walls that gives them a rough appearance when viewed with a light microscope. The hymenium (spore-bearing tissue layer) is 40–60 µm thick, and has abundant cystidia, which are hyaline, and measure 7–9 µm in diameter. They are cylindrical, thin-walled to moderately thick-walled, hyaline, have a septum at the base, and measure 60–120 by 5–10 µm. The basidia (spore-bearing cells) are club-shaped, four- spored, and have dimensions of 25–35 by 6–7 µm.
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These are very difficult to make but were popular from the late 18th century through the end of the 19th century. Originating in Bohemia, the finest examples were made by the French glassworks in the early to mid-nineteenth century.Dunlop, Paul H., The Jokelson Collection of Cameo Incrustation, Papier Presse (1991) Today the term may be used very loosely for objects with no colour contrast, and other, metaphorical, terms have developed, such as cameo appearance. This derives from another generalized meaning that has developed, the cameo as an image of a head in an oval frame in any medium, such as a photograph.
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These dialects are spoken by the various clans both within and outside Gadaka. The dialects have suffered incessant incrustation by neighbouring languages especially the Bole, Kare kare, and Hausa, and sometimes English, which is used by a majority of the youths during communication. All the major Ngamo clans are found now in Gadaka town, which include the Gudi clan (largest), the kushi clan (rulers of the central Gadaka area), the Shula (mainly warriors and hunters), the Ziu clan, the Mele clan, the Shembire clan (The Barbers), the Bopali, etc. The people of Gadaka have a very rich cultural heritage.
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Its First Style decoration was retained in some of its public spaces over time, too, imitating the continued use of the First Style in Pompeii's temples, basilicas, and gymnasia into the imperial period. Retention of the old may have been used intentionally to generate creative contrasts. Professor Andrew Wallace-Hadrill points out the First Style marble incrustation decoration of the House of Sallust's spacious atrium was carefully preserved over as long as two centuries while the adjoining peristyle was richly and charmingly decorated in the "modern" style of the imperial period. The House of Sallust is not unique in Pompeii in its use of decorative contrasts.
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Originally, and still in discussing historical work, cameo only referred to works where the relief image was of a contrasting colour to the background; this was achieved by carefully carving a piece of material with a flat plane where two contrasting colours met, removing all the first colour except for the image to leave a contrasting background. A variation of a carved cameo is a cameo incrustation (or sulphide). An artist, usually an engraver, carves a small portrait, then makes a cast from the carving, from which a ceramic type cameo is produced. This is then encased in a glass object, often a paperweight.
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In 1983 a system of trenches and banks were built to protect the site from weathering. Between 1983-88 approximately 2,000 wood pieces, of which 14 were from the period 1123-878 BC, were recorded and measured. Several investigations of the, up to thick, artifact layers have found—not only pottery and some bronze objects, but also organic material (threads, bark, wood, leaves, seeds, etc.) and burnt traces of house walls of wattle. The findings from Corcelettes spread over the whole Bronze Age, but with a clear accumulation at the end of this period in the 9th century BC. The pottery is often decorated with paintings, tin bands or white incrustation.
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The picture is located under the nose, on the vertical axis of the dish cast like a waxy model. Its artistic composition creates isosceles triangle which harmonizes with pear- like shape of the dish. Aesthetic impression increases with incrustation of red copper and yellow bronze and with two images of peacocks, which is considered the symbol of fire and the Sun, and which is surrounded by holy trees. Images of puffy figures of the birds keep the general interpretation of the thing, the plastic construction of which is harmonized with imaginary motifs. Reminding the Sasanids’ pitchers, it differs for more heavier trunk, solidity of the handle and the nose of whisk.
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Their subsequent tests also revealed that far from decreasing the rate of corrosion, glass bead peening may in fact increase the rate of atmospheric corrosion since it increases the surface area allowing for more areas to contain particles and water. The end result is that while glass bead peening may be excellent for the immediate removal of incrustation and other matter, the long-term effect may be that it could harm the sculpture, and so should be used only with much consideration. An alternate to glass bead peening is using walnut shells, which Veloz and his associates tested in conjunction with the glass beads and is discussed in the next section.
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These salt lakes stretch with only two short breaks in a line from the Mediterranean at the Gulf of Gabès to the Algerian frontier, which they penetrate for a considerable distance. The French term "chott" is a transliteration of the Arabic shat, a term for a broad canal, an estuary or lake. These shats however are, strictly speaking, not lakes at all at the present day. They are smooth depressed areas (in the case of the largest, the Shat el Jerid, lying a few feet below the level of the Mediterranean), which for more than half the year are expanses of dried mud covered with a thick incrustation of white or grey salt.
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In one group of works, Foy developed an additional illustrative mechanism, preparing the drawing paper with a teeming texture, introducing earthy tones and chlorophyll-like colorations. The activated surfaces simulate organic matter such as soil incrustation, moldy walls, lichen-covered rocks, or pond scum. In his book The Language of Ornament, art historian James Trilling described the effect: "Gray Foy’s drawing evokes the richness of a living coral reef, or the cheerfully haunted rocks that provide a background to some of the finest Persian miniatures." After receiving a career-affirming John Simon Guggenheim grant in 1961, Foy concentrated on his largest drawing, The Third Kingdom (1961–62), in which monochromatic greenish-umber tones convey the pro-longed activity of organic upheaval.
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The trunk of one pitcher from the 6th or 7th century from the southern Dagestan is covered with a stylized plant ornament, which is enlivened by incrustation with red copper. The handle of the bronze pitcher is adorned with a three-leafed ornamental motif. There are chevrons on the front side, under the spout and on the back side, under the handle, which enriches the whole ornamentation of the pitcher with its medallions. It is also noted that the most complex many leafed picture of the holy tree on the bronze pitcher with nose of 6th or 7th century, where the main part of the composition consists of a three-leafed picture of the tree, which turned into five-leafed palmette in the 6th to 7th centuries.
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The water carried to the boiler was totally pure and circulated in a closed circuit. Contrary to what one might think, the power station did not use the river water for vaporisation, but water from the urban water network (including a well on the plant's premises). Firstly, it was stored in the water tower – a large reservoir located on the roof of the high pressure boiler building – and was then treated in the Water Room, where three main functions were carried out: water treatment, pre- heating and pumping. The treatment was of utmost importance since the water's own impurities and excess oxygen could perforate the tubing/turbines and oxidise the tubes, adding to the incrustation and accumulation of small particles in the iron and steel, thereby corroding the equipment and reducing its performance.
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Late Roman brass bucket – the alt=Large black bowl-shaped bucket on a stand. The bucket has incrustation around its top. Various isolated examples of the use of impure zinc in ancient times have been discovered. Zinc ores were used to make the zinc–copper alloy brass thousands of years prior to the discovery of zinc as a separate element. Judean brass from the 14th to 10th centuries BC contains 23% zinc. Knowledge of how to produce brass spread to Ancient Greece by the 7th century BC, but few varieties were made. Ornaments made of alloys containing 80–90% zinc, with lead, iron, antimony, and other metals making up the remainder, have been found that are 2,500 years old. A possibly prehistoric statuette containing 87.5% zinc was found in a Dacian archaeological site.
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By the time of his retirement in 1906 he had published some 65 chemical papers, most of them in the Spanish language, on such diverse topics as the chemical compositions of Argentine rivers, the medicinal plants of Córdoba Province, Argentina, the incrustation of locomotive boilers, the presence of organic matter in drinking water, the caffeine content of yerba mate, the adulteration of saffron, the wines of the Argentine Republic, compositions of meteorites fallen in Buenos Aires Province, Patagonian guano, the petroleum of Jujuy Province, a new alkaloid he isolated from Ruprechtia salicifolia, Cape Virgins gold, Tierra del Fuego platinum, well water, the cement of a failed dam, the destruction of masonry by cloacal gases, and a silver-yielding manganese ore from Mendoza Province.Enrique Herrero Ducloux, "Juan J. J. Kyle", Anales de la Sociedad Química Argentina, t. VII, No. 31, Buenos Aires, 1919, which contains a précis of his papers. For a downloadable, if shorter, version see the next reference.
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