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Excerpt from Exhibition of the Faience of Persia and the Nearer East T is twenty - two years since an exhibition of Persian and Arab art was held in the gallery of the Club. So long an interval is in itself an adequate justi fication for allowing the members and their friends an opportunity of renewing the pleasure and interest that was aroused by the collection of 1885. Another reason is to be found in the fact that it is hardly possible for the amateurs in any other than our own country to bring together so superb a series of these Oriental wares as the gallery now contains. Those who remember the previous exhibition will observe that the Com mittee has thought well to restrict the present one within some what narrower limits, by which metalwork and some of the products of the decadent period are excluded; while, on the other hand, the quantity is sufficient to tell the story of the artistic ceramic industry of the nearer East without confusing the mind or weary ing the eye. In the introduction to the previous catalogue, the writer, Mr. Henry Wallis, deplored the fact that historical documents were almost entirely wanting, and that we could only depend on the objects themselves for their elucidation. N 0 change has taken place in this respect in the last twenty years; but a great number of more or less casual explorations have furnished us with a greatly increased amount of material. In Persia, in Syria, and in Asia Minor, the natives have turned out quantities of fragmentary. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Apparues au Proche-Orient et en Egypte dès avant le IVe millénaire, transmises à la Méditerranée et à l'Extrême-Orient, les techniques de matières vitreuses ont servi dans l'Orient ancien à créer des œuvres d'une infinie diversité : décors de monuments et de meubles, instruments, armes d'apparat et pièces de harnachement, amulettes et objets de parure, objets concernant les dieux et leurs temples, les rois et leurs grands, le monde de la femme, celui des morts. Cet ouvrage dresse un panorama des productions en matières vitreuses de l'Orient ancien à partir des collections du musée du Louvre provenant de Mésopotamie, d'Iran, du Levant et de Méditerranée occidentale. Durant des millénaires, les artisans ont passé au four du sable, de la chaux et des oxydes pour obtenir des produits ici désignés comme faïence, fritte, verre et céramique à glaçure. L'étude archéologique se fonde sur les résultats de l'analyse des oxydes employés comme colorants, réalisée au Laboratoire de Recherche et de Restauration des Musées de France (C2RMF). Un large échantillon représentatif de la richesse des créations de l'Orient ancien met en évidence les grandes phases d'innovation technique, différencie les ateliers et souligne leur activité sur la longue durée.