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(HGM 2004.37.10 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1280 Winged Scroll" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations usually include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Opal" is Heisey's name for milk glass - whitish, opaque glass.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Opal: 1898-early 1900s. Commonly called milk glass. An opaque white glass. Heisey's exhibits a large amount of "fire" when held to the light.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
site-specific installation
exploring memory and culture
Fusion International Center for the Arts
July 2013
materials: found objects, television and photographs
Mitsubishi Lancer Evolution followers will not be able to get their hands on a new Lancer Evolution for much longer, given that 2015 will be its final 12 months.With the Lancer Evolution’s days numbered, it truly is being reported that a restricted Specific Action Model will be released...
www.autoblogvia.com/reviews/mitsubishi-to-say-goodbye-to-...
dSatellite is a site-specific architectural structure that extends the mission of DFLUX (www.dflux.org), a Detroit-based research studio and residency program, further into its community. DFLUX engages its local neighborhood and the general public with creative actions, research, and workshops. In so doing, they hope to reveal and create emergent and sustainable cottage industries. dSatellite was created with the intention of providing future DFLUX participants and local residents with an outpost to engage in various field research. Constructed with foraged building materials, dSatellite merges both the physical and conceptual characteristics of the DFLUX Residency site and a typical nature blind used by naturalists, scientists, photographers and hunters. dSatellite is currently deployed in a completely razed residential neighborhood of Detroit currently referred to as the "field" by local residents and "Renaissance Zone" by real estate developers. A dense urban forest, rich with wildlife, has grown there, only crumbling roads and alleys, debris piles, and public utilities remain as signs of past use.
dSatellite was created during a research residency at DFLUX in Detroit, MI in collaboration with Joseph G. Cruz (http://josephgcruz.com)
Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
Site-specific installation at 3216 Eastern Avenue by Lexie Mountain. An ode to the shell. Decades of tenancy rebuilt into a new narrative of promise and decay. Images that no longer exist. Hours of painstaking archaeology to fill in the gaps. See yourself in it. A project of UMBC's Center for Art, Design and Visual Culture in conjunction with Highlandtown Arts & Entertainment District.
Purify and Mattify Your Skin
Mattifying Toner completes cleansing and make-up removal for oily and combination skin. Combined with the action of the Botanical Flavonoids Complex, this mild solution eliminates residual impurities and purifies and mattifies the skin texture.
This specific journal was never up for sale on Etsy. It was made as a gift for one of my baby sisters. However, I do plan to make a duplicate of it to sell in the very near future. This one was 8.5"x5.5" and contained 100 sheets of lined 65lb acid and lignin free card stock. It was a very hefty journal that was comfortable to hold, and as it was coptic bound, laid flat to make writing easier.
This image is from Suburban Bird Studios' Etsy shop and is © Carly "Birdie" Tuma 2011.
dSatellite is a site-specific architectural structure that extends the mission of DFLUX (www.dflux.org), a Detroit-based research studio and residency program, further into its community. DFLUX engages its local neighborhood and the general public with creative actions, research, and workshops. In so doing, they hope to reveal and create emergent and sustainable cottage industries. dSatellite was created with the intention of providing future DFLUX participants and local residents with an outpost to engage in various field research. Constructed with foraged building materials, dSatellite merges both the physical and conceptual characteristics of the DFLUX Residency site and a typical nature blind used by naturalists, scientists, photographers and hunters. dSatellite is currently deployed in a completely razed residential neighborhood of Detroit currently referred to as the "field" by local residents and "Renaissance Zone" by real estate developers. A dense urban forest, rich with wildlife, has grown there, only crumbling roads and alleys, debris piles, and public utilities remain as signs of past use.
dSatellite was created during a research residency at DFLUX in Detroit, MI in collaboration with Joseph G. Cruz (http://josephgcruz.com)
(HGM 5737 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1229 Octagon" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Marigold" refers to a type of colored glass that Heisey made - in this case, yellowish. One of the ingredients in Heisey's Marigold glass was "sodium uranite", a radioactive sodium-uranium oxide compound.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Marigold: 1927-1928. A brassy, greenish yellow color, very like the marigold flower. A rather unstable glass that sometimes deteriorates. Because of production problems, it was eventually replaced by Sahara.
-----------------------------------
From museum signage:
Marigold
1929-1930
Crazing and breakage is common in pieces of Marigold because of deterioration due to an unstable glass compound.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
dSatellite is a site-specific architectural structure that extends the mission of DFLUX (www.dflux.org), a Detroit-based research studio and residency program, further into its community. DFLUX engages its local neighborhood and the general public with creative actions, research, and workshops. In so doing, they hope to reveal and create emergent and sustainable cottage industries. dSatellite was created with the intention of providing future DFLUX participants and local residents with an outpost to engage in various field research. Constructed with foraged building materials, dSatellite merges both the physical and conceptual characteristics of the DFLUX Residency site and a typical nature blind used by naturalists, scientists, photographers and hunters. dSatellite is currently deployed in a completely razed residential neighborhood of Detroit currently referred to as the "field" by local residents and "Renaissance Zone" by real estate developers. A dense urban forest, rich with wildlife, has grown there, only crumbling roads and alleys, debris piles, and public utilities remain as signs of past use.
dSatellite was created during a research residency at DFLUX in Detroit, MI in collaboration with Joseph G. Cruz (http://josephgcruz.com)
(HGM 5127 L 266, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1253 Leaf Edge" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Site-specific installation (pom-poms, fishing line) at Vitrine 01 at U-Bahnhof Birkenstraße, Berlin.
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
If you increase the magnification of the specific micro-lens image fields within this diagram to better understand the individual pictograph narratives within each micro-lens celestial entity; the navigation lines within the quartz pigments not only become clearer, but perhaps these lines are not that different from lines drawn on a map of flight pathways across the globe? I suppose if someone were of this ancient culture with the technology and mental acuity to read these navigation maps; perhaps they would be able to decipher these lines to determine the true access points to enter these specific micro-lens portal structures; not to mention that straight lines in celestial navigation is a two dimensional concept, these straight lines in theory are actually courses that require an arc pathway following Einstein's theory of relativity; perhaps explaining why each celestial marker on this diagram usually includes at least two celestial bodies within a celestial marker to most likely account for the individual celestial rotation and the three dimensional arc of physical space between two points in space? At a higher magnification these entities appear more like lakes or bodies of water including specific regions where energy and physical mass flows into or draining from the physical bubble of mass and energy of a celestial system within a three-dimensional space.
Each one of these micro lens celestial openings tell a unique story from a two dimensional perspective, like a map of a body of water drawn on a two dimensional piece of paper:
1. The micro-lens celestial (portal) opening on the far right is structured; and not that different from a three-sided triangular polygon, additionally including specific geographic anomalies within the three dimensional triangular entity of mass or energy. The ochre figure in the center of the first micro-lens image is not that different from many other figures we have seen on other stones from this site; the figure bearing a pyramidal shaped head-cap or covering similar to a modern hat or cap. This figure appears to be surrounded with a faint cloud of ochre representing images; perhaps similar in format to a celestial nebula or system that retains a recognizable shape like a bird or face when looking through a long distance telescope. This figure is facing two pairs of white celestial bodies defined for each celestial markers completing a stellar parallax diagram directed leftwards toward a serpentine line of celestial bodies, similar to a winding river draining into an ocean. This serpentine line of celestial markers exit this celestial system in the upper left corner of this triangular shaped micro-lens celestial entity . These micro lens openings are similar to illuminated room on the opposite side of a key-hole, or possibly explaining a specific "bubble/closed universe" separated by walls of energy?
2. This celestial serpentine line exiting the first triangular micro-lens entity is perhaps explaining a worm-hole or portal system that jumps from the first micro-lens entity across an open celestial body to the second four-sided polygon celestial entity (or bubble/closed universe). Perhaps these various extended serpentine lines define transit through a three-dimensional space naturally accounting for celestial curvature since all transit within a three dimensional space cannot be a straight line, but a series of curved arcs; therefore these serpentine lines may represent the "arc" pathways necessary in celestial transit from Point A to Point B within any three-dimensional space. Coincidentally there is an arc connecting two celestial points that form a second, and more complex, stellar parallax triangulation diagram with a small white Janus-like two-sided celestial figure holding what seems to be a serpentine rod pointing directly to a second celestial nebula or system of three celestial star-points in the shape of a triangle, in contrast to a straight line of celestial bodies, like Orion's Belt. The center of this triangular celestial nebula pointed to by the celestial individual with the Serpentine Rod completes a line of site navigation course using celestial triangulation within this (closed Universe) celestial entity with the exit point in the lower left quadrant of this abbreviated four-sided polygon celestial structure.
3. If you follow the underlying celestial lines exiting this four-sided polygon celestial structure, it follows an extended line of sight directed towards a luminescent figure within the whitened quartz pigment completing a straight line and directly line with the tip of the serpentine rod held by the figure inside the four-sided polygon in the center of this image field. The celestial pathway within this whitened quartz celestial map follows a series of inverted and reverse stellar parallax movements that secure a straight-line pathway marked with two parallel transit portals leading directly into the third micro-lens celestial entity completed with a 90 degree course correction after the straight line from point to point to point. We have seen this pair of straight parallel lines before, and perhaps we can now identity this specific parallel line transit pathway to a specific celestial entity also found on other stones from this site??
4. What is even more interesting is that the ochre figure in the first celestial entity(right) completes a celestial straight line through the whitened quartz Janus-like figure in the second 4-sided entity, and the third point of this straight line is a navigation line is a celestial figure at the base of the Parallel Line transit structure leading directly into the third celestial sphere; most likely the three sections of our pyramidal geometric grid system within our galaxy.
4. The three stars of Orion's Belt, the three pyramids of Giza, three sections of the pyramidal grid of our galaxy's celestial region, and perhaps the fourth maintaining light and dark connection to the spherical fourth figure perhaps representing a binary portal (light dark) access to the outer shell on the opposite side of our pyramidal grid thinking three-dimensionally???
5. The symbolic figure of the "Area of Intersecting Circles/Spheres" at this magnification is actually embedded within a perfect sphere, and this "Area of Intersecting Spheres" is located on the apex of this tortoise shell-like celestial entity; and perhaps this diagram established the portals/wormholes accessible to Earth's location?? I found another similar diagram on a different artifact perhaps indicating that this "Area of Intersecting Circles/Spheres" symbol may actually represent the location of our Solar System and Earth in relation to our physical dimension within our pyramidal grid structure: The midpoint of the lower hypotenuse of the pyramidal core structure of our celestial grid. I also found another symbol on the same alternative piece indicating that the four symbols perhaps reinforcing the concept that these symbols represent the three sections of our pyramidal grid with the fourth separate symbol representing the opposite side of our three-dimensional pyramidal entity.
I apologize that it took so long to figure out this diagram and so many others; when you have a large puzzle with over 150,000 puzzle pieces, it takes a some time to figure everything out.
North America
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTERA 2024: ROMA, Il FORO ROMANO - I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l'Arco di Settimio Severo tra fine 2023 e inizio 2024; in: Michele Gigante & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024) & E aggiornamento - "Digitalizzazione e software di analisi per l'area del Lapis Niger"; in: Visivalab (2012-15 [2020-24]); S.v., ROMA -"Via Sacra presso la Basilica di Massenzio"; Video & Foto; in: Visivalab (2015-16 [2020-24]). Anche: S.v., Giacomo Boni; in: L’Ill. Ital., & La Tribuna Illustrata (1899 bis 1907). wp.me/pbMWvy-4HO
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Nota: tutte le fotografie presenti in questo post del blog e la raccolta di album Flickr di accompagnamento sono citate dalla seguente fonte se non diversamente specificato =
Note: all the photographs in this blog posting and the accompanying Flickr album collection are cited from the following source unless specified as other =
Fonte / source:
— ROMA – ‘Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
***
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024); e altre fonti contemporanee e storiche correlate come citate di seguito (18/02/2024).
www.flickr.com/photos/imperial_fora_of_rome/53537733848
Foto: ROMA – Il Foro Romano – Veduta del Foro e del vicino quartiere Alessandrino [a sinistra = i sottostanti ruderi della Basilica Emilia, i Fori di Nerva e della Pace] guardando dal Campidoglio. Foto: data = fine 1850 o inizio 1860? {in RARA 20204 / ROMA [02/2024]) e una vista dei lunghi scavi presso il Lapis Niger nel Foro Romano, fine 2023.
www.flickr.com/photos/imperial_fora_of_rome/53537870839
1). ROMA - Foro Romano - i nuovi scavi e lavori di restauro tra il “Lapis Niger” e l'Arco di Settimio Severo tra fine 2023 e inizio 2024; in:
Michele Gigante & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (Da dicembre 2023 a febbraio 2024).
Foto: RARA 2024 / ROMA – “Roma. Vista aerea dell’area archeologica: il Foro Romano (foto a sinistra 1899, foto a destra 2009).” Fonte – “Roma ieri, Roma oggi di Alvaro de Alvariis (11/2010 & Google Earth 2009).”
www.flickr.com/photos/imperial_fora_of_rome/53537870224
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536554584
Foto: RARA 2024 / ROMA – Giacomo Boni & Il Foro Romano; in: L’Illustrazione Italiana, No. 28 (09/07/1899): 26 [articolo disponibile nel testo completo]; in:
— Myriam Pilutti Namer, “NOTES ON SOME UNPUBLISHED FIELDWORK REPORTS WRITTEN BY GIACOMO BONI FOR GUIDO BACCELLI IN 1899.” History of Classical Scholarship. No 3., (24/08/2021): 1-30 (in PDF). Anche: G. Boni; in: ‘L’Illustrazione Italiana 1899-1900 (testo completo). S.v., Dr. Romolo Artioli & Prof. Thomas Ashby, jr (1906 bis 1912) [in PDF]. wp.me/pbMWvy-20h
www.flickr.com/photos/imperial_fora_of_rome/53537859269
Foto: ROMA – Eva Carballo Gonzalez, “Il Foro Romano” / Fb (17/02/2024).
www.flickr.com/photos/imperial_fora_of_rome/53535353077
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53535358992
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53535354507
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536418868
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53535354452
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536659415
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536418793
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536418828
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536418818
Foto: ROMA – ‘ Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger” e l’Arco di Settimio Severo tra fine 2023 e inizio 2024’; in: Michele Gigante (a cura di) & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (nei mesi di gennaio e febbraio 2024).
www.flickr.com/photos/imperial_fora_of_rome/53536232491
Fonte / source / foto & video:
--- Michele Gigante & Nei Restauro e Costruzioni Srl; Genzano di Lucania (Potenza, Basilicata) / Fb (Da dicembre 2023 a febbraio 2024)
www.facebook.com/neirestauro/?locale=it_IT
Fonte / source / foto:
--- Eva Carballo Gonzalez, "Il Foro Romano" / Fb (17/02/2024).
www.facebook.com/eva.carballogonzalez
--- Link alla collezione completa di Roma - "Il Foro Romano & Lapis Niger” (2023-24) = foto e articoli di notizie (da 1 a 87) (02/2024).
www.flickr.com/photos/imperial_fora_of_rome/albums/721777...
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536566269
2). ROMA - Foro Romano - i nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: "Digitalizzazione e software di analisi per l'area del Lapis Niger"; in: Visivalab (2012-15 [2020-24]).
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536243101
Il Lapis Niger, scoperto da Giacomo Boni nel XIX secolo, è una delle poche parti sopravvissute nell’area del Comizio, luogo che precedeva il Foro, sede di di assemblee e di un culto religioso probabilmente risalente al VIII secolo a.C.. Sotto quest’area venne rinvenuto un altare con il celebre cippo inciso da una delle iscrizioni latine più antiche mai conservate.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536566264
Con la direzione della Soprintendenza, e affiancati da un team multidisciplinare, Visivalab ha preso parte al progetto di ricerca scientifica trasversale dell’area. Gli obiettivi hanno riguardato lo studio della documentazione storica precedente, l’acquisizione digitale dell’area del Comizio, del Lapis Niger e dell’iscrizione stessa, con la finalità di preservare i reperti in tutte le loro fasi. E’ stato inoltre sviluppato un software online in grado di elaborare le informazioni, convertitosi poi in nuovo strumento di interpretazione degli scavi e del contesto del Foro Romano.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536429253
CLIENTE Soprintendenza per il Colosseo e l’area archeologica centrale di Roma [oggi = “Parco Colosseo”] / ANNO 2012-2015.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536243096
Progetto - La metodologia applicata nel progetto ha coinvolto diversi approcci e fasi. Si è iniziato con un minuzioso studio della documentazione storica relativa al Lapis Niger e al Comitium. Successivamente, è stata effettuata la digitalizzazione dell’area e dei reperti utilizzando tecnologie di acquisizione digitale all’avanguardia.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53535365077
I dati raccolti sono stati analizzati attentamente e confrontati con l’archivio storico. Allo stesso tempo, è stata progettata una piattaforma che consente la segmentazione e l’organizzazione dei dati grezzi in infinite possibilità, fornendo così una vasta base di dati per il lavoro attuale e per future ricerche.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536670155
REINTERPRETAZIONE DELLA DOCUMENTAZIONE STORICA - Prima dell’inizio di questo progetto era disponibile una quantità significativa di materiale proveniente dagli scavi Boni e Romanelli, già digitalizzato presso il Palazzo Altemps tramite ARCHEOLECTIO.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536244081
Questa documentazione doveva però essere esaminata e reinterpretata per fornire contesto storico e topografico ai reperti. Questo studio era essenziale per garantire una sicura acquisizione digitale e consentire un confronto tra i rilevamenti digitali e i dati storici. Inoltre, ha permesso di texturizzare i modelli tridimensionali estratti.
Foto: ROMA – Il Foro Romano – I nuovi scavi e lavori di restauro tra il “Lapis Niger”; in: “Digitalizzazione e software di analisi per l’area del Lapis Niger”; in: Visivalab (2012-15 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536430053
Fonte / source / video & foto:
--- ROMA - "Digitalizzazione e software di analisi per l'area del Lapis Niger"; in: Visivalab (2012-15 [2020-24]).
visivalab.com/it/portfolio-item/digitalizzazione-lapis-ni... & vimeo.com/91271071
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536427548
2.1). ROMA - Foro Romano - "Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio"; Video & Foto; in: Visivalab (2015-16 [2020-24]).
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53537966185
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536667620
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536428383
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536668470
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53536668465
Foto: ROMA – Il Foro Romano – “Dalla Matita al Pixel: Via Sacra presso la Basilica di Massenzio”; Video & Foto; in: Visivalab (2015-16 [2020-24]).
www.flickr.com/photos/imperial_fora_of_rome/53535364147
Fonte / source video & foto:
--- Visivalab (2012-15 [2020-24]).
Foto: RARA 2024 / ROMA – Il Foro Romano – Antonio Porretta, “La polemica sul lapis niger”, AMCE – Annali della Facolta / Universita` degli Studi di Milano, Vol. LVIII | Fascicolo III – Sett. | Dec. Milino (2005): 79-106 [in PDF].
3). RARA 2024 / ROMA - Il Foro Romano - Antonio Porretta, “la polemica sul lapis niger”, AMCE – Annali della Facolta` Lettere e Lilosofia dell` Universita` degli Studi di Milano, Vol. LVIII | Fascicolo III – Sett. | Dec. Milino (2005): 79-106 [in PDF].
Fonte / source:
--- Antonio Porretta; in: Universita` degli Studi di Milano, Vol. LVIII | Fascicolo III – Sett. | Dec. Milano (2005): 79-106 [in PDF].
FOTO: RARA 2024 / ROMA -“Giacomo Boni & Gli Scavi Al Foro Romano”; in: La Tribuna Illustrata, No. 44 (02/11/1902): 525-527 [articolo disponibile nel testo completo]. S.v., Dott. Romolo Artioli / L’illustrazione Italiana (25 Ottobre 1908): 396-398 & Dr. R. Artioli & Prof. Thomas Ashby, jr (1906 bis 1912). wp.me/pbMWvy-1za
www.flickr.com/photos/imperial_fora_of_rome/51751355990
3.1). RARA 2024 / ROMA - Architetto Restauratore e Archeologo “Giacomo Boni: Pioniere del metodo stratigrafico – Al Foro Romano e Palatino una mostra per il precursore dell’archeologia moderna, scopritore del Lapis Niger e primo a usare l’aerofotografia.” Parco Colosseo [Italiano / English] & Il Giornale Dell’ Arte (15/12/2021). S.v., Giacomo Boni; in: L’Ill. Ital., & La Tribuna Illustrata (1899 bis 1907) & Romolo Artioli, IL SECOLO XX (10/1905): 855-862. wp.me/pbMWvy-2ix
FOTO: Giacomo Boni, “Fango-Fango-Fango”; Il Foro Romano, tombe sotto la base del Equus Domitiani & Lettera a Frank Tenney; in: Rivista d’Italia e d’America 3.15 (1925) 22-25 [in PDF].
www.flickr.com/photos/imperial_fora_of_rome/50736055382
4). RARA / 2024 / ROMA - Giacomo Boni, “Fango-Fango-Fango”; Il Foro Romano, tombe sotto la base del Equus Domitiani & Lettera a Frank Tenney; in: Rivista d’Italia e d’America 3.15 (1925) 22-25 [in PDF]. S.v., Giacomo Boni – Nuova ricerca archivistica (2016-20). wp.me/pbMWvy-Sh
Capitolo primo. L’astratta qualità del ricordo. (2016/2017) Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation. Work in progress.
Istallazione site-specific di Vanni Meozzi per lo spazio SAAM - Spazio d'Arte Alberto Moretti - a Carmignano.
Nella stanza dietro la vetrata.
Alla parete un neon con la scritta "Silence".
Una scala di ferro porta alla finestra sul tetto,
da cui si vede la collina della Rocca e il Campanile.
Sul davanzale della finestra, c'è un campanello in ottone,
quando si suona ,tramite un radio comando,
si aziona la campana.
(HGM 5040 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"1184 Yeoman" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Compote" refers to a dessert bowl.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Hawthorne: 1927 only. Replaced by Alexandrite. A light purple or lavender shade. Varies quite a lot in tone. Apparently the company had trouble controlling the color, possibly due to their inability to control the flamingo color base.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
(HGM 2293 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"3389 Duquesne" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Tangerine" refers to a type of colored glass that Heisey made - in this case, orangish to orangish-red.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Tangerine: 1932-1935. An orange glass. The glass was struck (reheated) to produce deepening color. Because of this, tangerine can look orange and sometimes almost red. Pressed pieces can exhibit an amberina-type coloration. While oral history indicates this was developed by Olson himself, his records indicate he did get some help!
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Aus der Serie „Sommerfrische“
Site-specific Performance und Intervention
Josefsberg – Ötscher 2014
Fotografie und Installation
Performance: Andrea Nagl
Fotografie: Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
Developing BlackBerry App "BugIt" using the current version of the BlackBerry DSL. So far, labels, buttons, images, and partial screens can be modeled.
Implementing an incremental development software process for the creation of the BlackBerry DSL.
(HGM 1807 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"3362 Charter Oak" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Marigold" refers to a type of colored glass that Heisey made - in this case, yellowish. One of the ingredients in Heisey's Marigold glass was "sodium uranite", a radioactive sodium-uranium oxide compound.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Marigold: 1927-1928. A brassy, greenish yellow color, very like the marigold flower. A rather unstable glass that sometimes deteriorates. Because of production problems, it was eventually replaced by Sahara.
-----------------------------------
From museum signage:
Marigold
1929-1930
Crazing and breakage is common in pieces of Marigold because of deterioration due to an unstable glass compound.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
20. - 22. September 2013
Jesuit College, Jicin.
Starting workshop of continuous program was focus on a source of light and the lighting source in Site-specific space.
(HGM 5925 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"3366 Trojan" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
(HGM 5967 M, Heisey Glass Museum, Newark, Ohio, USA)
-----------------------------------
"4085 Kohinoor" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Zircon" refers to a type of colored glass that Heisey made - in this case, greenish.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Zircon: 1936-1939. A turquoise blue-green. The last color introduced before World War II curtailed the use of color. Revamped and reintroduced later as Limelight.
-----------------------------------
From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Aus der Serie „Sommerfrische“
Site-specific Performance und Intervention
Josefsberg – Ötscher 2014
Fotografie und Installation
Performance: Andrea Nagl
Fotografie: Markus Wintersberger
Nagl ~ Wintersberger 2014 / 2015
Capitolo primo. L’astratta qualità del ricordo. (2016/2017).
Installazione site specific al Museo Civico Villa dei Cedri per la mostra "In(de)finiti luoghi".
Ticino, Svizzera.
Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation at Villa dei Cedri Museum for the exhibition "In(de)finiti luoghi".
Ticino, Swizterland.