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Ottoman, c. 1501-1550. British Museum. Decoupage or découpage ( / ˌdeɪkuːˈpɑːʒ /; [ 1] French: [dekupaʒ]) is the art of decorating an object by gluing colored paper cutouts onto it in combination with special paint effects, gold leaf, and other decorative elements. Commonly, an object like a small box or an item of furniture is covered ...
Aluminium oxynitride (marketed under the name ALON by Surmet Corporation [ 3]) is a transparent ceramic composed of aluminium, oxygen and nitrogen. Aluminium oxynitride is optically transparent (≥ 80%) in the near-ultraviolet, visible, and mid-wave- infrared regions of the electromagnetic spectrum. It is four times as hard as fused silica ...
Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C (1,380 and 1,560 °F). The powder melts, flows, and then hardens to a smooth, durable vitreous coating. The word vitreous comes from the Latin vitreus, meaning "glassy".
Florentine crafts made in Florence, Italy, are a centuries-old tradition maintained by several artisan guilds. Florentine style, especially in items produced in from the mid-19th century onward, typically reflect a contemporary interpretation of Renaissance art and furnishings. Popular items made in Florentine style include gilded picture ...
History of aluminium. Extrusion billets of aluminium in Yugoslavia, 1968. Aluminium (or aluminum) metal is very rare in native form, and the process to refine it from ores is complex, so for most of human history it was unknown. However, the compound alum has been known since the 5th century BCE and was used extensively by the ancients for dyeing.
The history of glass-making dates back to at least 3,600 years ago in Mesopotamia. However, most writers claim that they may have been producing copies of glass objects from Egypt. [ 1] Other archaeological evidence suggests that the first true glass was made in coastal north Syria, Mesopotamia or Egypt. [ 2]
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Sebastiano del Piombo 's The Raising of Lazarus was transferred from panel to canvas in 1771. [1] The practice of conserving an unstable painting on panel by transferring it from its original decayed, worm-eaten, cracked, or distorted wood support to canvas or a new panel has been practised since the 18th century.