I found a lot of interesting facts about perfumes via www.perfumeposse.com + the jargons used to define and describe the different qualities were intriguing because of the subjectivity + similarities with colored stone and diamond grading.
Useful links:
http://sniffapalooza.com
www.sniffapaloozamagazine.com
www.scent-systems.com
Monday, March 17, 2008
Copper Story
China is the world's biggest copper user, with consumption expected to reach 5 million tonnes in 2008 + according to industry sources Australians are paying a hefty price for China's pre-Olympic building boom with stopped trains + stolen phone lines + pilfered power cables because organized gangs are stealing copper cabling worth millions of dollars and selling it to China. Shocking!
Useful link:
www.resourceinvestor.com
Useful link:
www.resourceinvestor.com
Leatherheads
Leatherheads is a romantic comedy set in the world of 1920s professional football starring, written, produced and directed by George Clooney + starring John Krasinski and Renée Zellweger.
Useful links:
www.leatherheadsmovie.com
www.clooneystudio.com
Useful links:
www.leatherheadsmovie.com
www.clooneystudio.com
Natural Wine
I found the introduction to natural wine via www.morethanorganic.com educational + useful.
I think the colored gemstone + diamond industry may have a lot to learn from the natural wine industry.
I think the colored gemstone + diamond industry may have a lot to learn from the natural wine industry.
All Rise
All Rise: Somebodies, Nobodies, and the Politics of Dignity by Robert W Fuller is an interesting book that enlightens us with working models of dignity at workplace, personal relationships, to mention a few + it's a new way of thinking + it's direct and simple + read it.
Useful link:
http://breakingranks.net
Useful link:
http://breakingranks.net
Brilliants With Sixfold Symmetry
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
Occasionally Brilliants were fashioned with sixfold instead of the normal eightfold symmetry. In this case, the rough stones must have been dodecahedrons and were fashioned using one of the three-face points as the apex. Unlike diamonds derived from dodecahedrons, with four-face points, part of the top of a sixfold diamond could in theory easily be removed by cleaving. This section could then be used to make a Rose.
An Oval Brilliant with both sixfold and fourfold symmetry is in the Grϋnes Gewölbe, Dresden. This Brilliant, weighing over 10ct has no known pedigree. A close study reveals that it was at one time recut from a Pointed Star Cut with sixfold symmetry. It was given a different pavilion with fourfold symmetry, but the culet is still hexagonal. The refashioning was probably done at the end of the seventeenth century since the height proportions, as in most diamonds derived from dodecahedrons, are comparatively modern, with c.32° crown angles and c.43° pavilion angles.
Occasionally Brilliants were fashioned with sixfold instead of the normal eightfold symmetry. In this case, the rough stones must have been dodecahedrons and were fashioned using one of the three-face points as the apex. Unlike diamonds derived from dodecahedrons, with four-face points, part of the top of a sixfold diamond could in theory easily be removed by cleaving. This section could then be used to make a Rose.
An Oval Brilliant with both sixfold and fourfold symmetry is in the Grϋnes Gewölbe, Dresden. This Brilliant, weighing over 10ct has no known pedigree. A close study reveals that it was at one time recut from a Pointed Star Cut with sixfold symmetry. It was given a different pavilion with fourfold symmetry, but the culet is still hexagonal. The refashioning was probably done at the end of the seventeenth century since the height proportions, as in most diamonds derived from dodecahedrons, are comparatively modern, with c.32° crown angles and c.43° pavilion angles.
The Romantic Movement In France
(via The Outline of Art) William Orpen writes:
In this picture, which was the real beginning of his lasting fame, Delacroix proved himself to be one of the world’s great colorists, and laid the foundations of the new handling of color which became the greatest pictorial triumph of the nineteenth century. Color in his hands was no dead thing, it became something alive, scintillating and vibrating; his results were obtained not only by the happy choice of invididual tints, but still more by the science with which he knew how to juxtapose one color against another so as to accentuate the brilliancy of each and secure a glowing harmony.
The art of Delacroix is distinguished by three things—its color, its poetry, and its decorative qualities. He turned naturally to Dante, Shakespeare, and Byron for subjects, not so much because they provided him with good themes to illustrate, as because in their poetry he found those passionate ideals and aspirations which animated his own mind. When actual events aroused a similar intensity of emotion, he painted them also. Though usually he eschewed political subjects, the Revolution of July 1830 moved him to paint his famous picture ‘The Barricade,’ now known as ‘Liberty Guiding the People, a picture which is at once a fragment of actuality and the emodiment of an ideal. For this is a true historical picture in so far as it does represent with fidelity a typical incident during the street fighting of the Revolution; and at the same time the heroine of the barricade, with her Phrygian cap, streaming tricolor, and musket, is an allegory of Libery, liberty for the people and liberty for art. Exhibited in the Salon of 1831 this picture perplexed the authorities, who could neither deny its excellence as a work of art nor altogether approve of its firebrand politics. The Director of Fine Arts temporarily solved the problem by purchasing the picture for the nation, and then turning its face to the wall! Today the picture is one of the chief treasures of the French School in the Louvre.
In the same year Delacroix made a journey to Morocco which had a considerable effect on his art, for he delighted alike in the brilliant colors and picturesque costumes of this sunny land, and on his return exhibited a number of pictures of Eastern subjects, which were enthusiastically received, and, inspiring other artists to do likewise, he gave birth to a school of artists known as the ‘Orientalists.’ Delacroix himself, however, was too big and varied a genius to confine himself to one subject, and having given a lead to the Orientalists he now devoted much of his time to decorative painting.
Though regarded by his great rival Ingres and by the classical painters as a revolutionary, Delacroix was full of respect for tradition, only whereas David and Ingres adhered to the tradition of Raphael and Leonardo da Vinci, Géricault and Delacroix upheld the tradition of Michael Angelo, Titian, Veronese, and Rubens. Though his own researches into color were perhaps his most valuable legacy to the art of France, the intention of Delacroix was not to break with the tradition but to bring back the color and methods of the old masters into modern painting. The romanticism of Delacroix was a half-way house between the old Classicism and the Realism that was coming, and as he in his youth had challenged the position of Ingres and the Classicists, so in his later years his own romanticism was challenged by Courbet the Realist.
Owing to this long battle between the classics and the romantics, the doors of the Academy were closed against Delacroix for five-and-thirty years, and it was not till he was sixty—and so barred by age from holding a professorship a the Ecole des Beaux Arts—the he was at last admitted as a member of the Institute. The artist did not long enjoy the distinction, for he died at Paris in 1863.
The Romantic Movement In France (continued)
In this picture, which was the real beginning of his lasting fame, Delacroix proved himself to be one of the world’s great colorists, and laid the foundations of the new handling of color which became the greatest pictorial triumph of the nineteenth century. Color in his hands was no dead thing, it became something alive, scintillating and vibrating; his results were obtained not only by the happy choice of invididual tints, but still more by the science with which he knew how to juxtapose one color against another so as to accentuate the brilliancy of each and secure a glowing harmony.
The art of Delacroix is distinguished by three things—its color, its poetry, and its decorative qualities. He turned naturally to Dante, Shakespeare, and Byron for subjects, not so much because they provided him with good themes to illustrate, as because in their poetry he found those passionate ideals and aspirations which animated his own mind. When actual events aroused a similar intensity of emotion, he painted them also. Though usually he eschewed political subjects, the Revolution of July 1830 moved him to paint his famous picture ‘The Barricade,’ now known as ‘Liberty Guiding the People, a picture which is at once a fragment of actuality and the emodiment of an ideal. For this is a true historical picture in so far as it does represent with fidelity a typical incident during the street fighting of the Revolution; and at the same time the heroine of the barricade, with her Phrygian cap, streaming tricolor, and musket, is an allegory of Libery, liberty for the people and liberty for art. Exhibited in the Salon of 1831 this picture perplexed the authorities, who could neither deny its excellence as a work of art nor altogether approve of its firebrand politics. The Director of Fine Arts temporarily solved the problem by purchasing the picture for the nation, and then turning its face to the wall! Today the picture is one of the chief treasures of the French School in the Louvre.
In the same year Delacroix made a journey to Morocco which had a considerable effect on his art, for he delighted alike in the brilliant colors and picturesque costumes of this sunny land, and on his return exhibited a number of pictures of Eastern subjects, which were enthusiastically received, and, inspiring other artists to do likewise, he gave birth to a school of artists known as the ‘Orientalists.’ Delacroix himself, however, was too big and varied a genius to confine himself to one subject, and having given a lead to the Orientalists he now devoted much of his time to decorative painting.
Though regarded by his great rival Ingres and by the classical painters as a revolutionary, Delacroix was full of respect for tradition, only whereas David and Ingres adhered to the tradition of Raphael and Leonardo da Vinci, Géricault and Delacroix upheld the tradition of Michael Angelo, Titian, Veronese, and Rubens. Though his own researches into color were perhaps his most valuable legacy to the art of France, the intention of Delacroix was not to break with the tradition but to bring back the color and methods of the old masters into modern painting. The romanticism of Delacroix was a half-way house between the old Classicism and the Realism that was coming, and as he in his youth had challenged the position of Ingres and the Classicists, so in his later years his own romanticism was challenged by Courbet the Realist.
Owing to this long battle between the classics and the romantics, the doors of the Academy were closed against Delacroix for five-and-thirty years, and it was not till he was sixty—and so barred by age from holding a professorship a the Ecole des Beaux Arts—the he was at last admitted as a member of the Institute. The artist did not long enjoy the distinction, for he died at Paris in 1863.
The Romantic Movement In France (continued)
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