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Furnaces had accurately expressed level character. Each circle consisted of several rows of tiles or multitile brands. Circles were divided by profile horizontal drafts. Socle and the finishing parts of the furnace consisted of products, more difficult in a form: legs, cornices and towns.

Later these stories removed to relief tiles with green the field. The first tile covered green field is known as the native of Pskov. From there he welcomed to Moscow in the first half of the XVII century. The green (muravlenny) tile will gain full strength both in facing of furnaces and in an external ceramic attire of buildings only in the middle of the XVII century.

For the calculation of horizontal ranks of oven facing squared poyasovy tiles were manufactured. They had height about 10 cm, box-shaped rumpa and a wide framework on the long parties of a tile. Relief images were vegetable or geometrical character.

''Various plots and color of brands do furnaces of Velikiy Ustyug similar to east carpets by which maybe northern artists at the colourful populous annual fairs' '.1 were inspired

In the middle of the second half of the XVIII century rapportny tiles on which plots were placed on the 2nd started being manufactured, and is more often on the 3rd products put in a row. They were manufactured with explanatory inscriptions and without them. On some rapportny tiles of the signature were replaced with quotes. They preceded later tiles without signatures.

In horizontal and vertical seams between tiles crossing points were put. They had a semicircular form with relief drawings and on the back party to a rump in the form of a crest. The crossing points inserted into clay seams increased their tightness, and the semicircular form gave to a furnace mirror bas-relief character.

All this kaleidoscope of patterns, real and fantastic pictures, incessantly was always on the mind of inhabitants of the house. It drew to itself(himself) attention, excited the imagination, generating unconscious desire to learn still something about far and mysterious lands and the countries.

At production of new tiles starting continued to belong to the masters of woodcarving and producing forms, color schemes were carried out by potters. Tiles of one drawing, as a rule, had some options of a coloring.

The mirror of the furnace was revetted with tiles of ''a big hand'', or as them sometimes called, ''wall''. For facing of corners of furnaces the same ''wall'' tiles with cut off under 450 rumpy were used. Halves of ''wall'' tiles were applied to receiving bandaging in horizontal ranks of facing.

Also more difficult tiles with a large blue list were at the same time manufactured. From them put compositions from big vases, baskets with flowers, wreaths, garlands which were placed on the central part of an oven mirror. Richer furnaces were decorated with columns, niches and difficult in a form zaversheniye.

''Both relief, and smooth, with blue, green and multi-color drawing they bear in themselves signs of modern times, development of experience of other people and struggle with some overseas influences. Thus in their decision there were invariable a coloring, composition, harmony and identity of the best domestic izrazechnik' '.1

These new multi-color tiles called tseninny or fryazhsky, as well as possible answered tastes of that time. They were well combined with a magnificent decor of cult and secular buildings, so-called uzorochy, widely adopted in the XVII century.

About ten various types of products from facing of the furnaces which were in the case of monastic cells are stored in funds of the Aleksandrovsky museum. Relief drawings which pass to the next tiles have the majority of them, forming on a mirror of the furnace of composition of carpet character.