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The maiolica pharmacy jug is decorated with an orange, blue, and green plant ornament. It is worth noting the unusual handle – parallel (not perpendicular) to the jug’s body – thanks to which it was possible to lift and carry such a large and heavy vessel using a lowered hand. Under the handle, there is a mascaron head, resembling that of a lion.

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The maiolica pharmacy jug is decorated with an orange, blue, and green plant ornament. It is worth noting the unusual handle – parallel (not perpendicular) to the jug’s body – thanks to which it was possible to lift and carry such a large and heavy vessel using a lowered hand. Under the handle, there is a mascaron head, resembling that of a lion. In the front, above the name of the drug, there is a half-moon and a star, indicating Mauritanian connections (Maiolica vessels were created under the influence of Mauritanian-Spanish ceramics, imported to Italy through Majorca [hence the name]). What was stored in the vessel? According to the inscription on the ribbon, it was A [QUA] DI CARDO – blessed thistle water – that is, a water distillation of a cnicus. The plant (Cnicus benedictus in Latin) was known in the past as Carduus sanctus – “holy thistle“ – due to the numerous healing properties attributed to it, especially in the period from the sixteenth to the eighteenth century: “it removes every headache, strengthens memory, strengthens the brain and eyes, (...) cleanses the stomach, activates appetite, enlarges breasts, takes away a stomach-ache, (...) crushes the kidney stone, destroys pimples in a can cumbering the wind, (...) it is also helpful against uterus wringing, also will please the heart”[1].

The vessel, from a collection of pharmacy ceramics, was donated to the museum by the Master of Pharmacy, Mateusz Bronisław Grabowski, from London in 1976.

Elaborated by the Museum of Pharmacy at the Jagiellonian University Medical College in Kraków, © all rights reserved

[1] M. Siennik, Herbarz, Kraków 1568, p. 543.

 

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Panna apteczkowa i pomieszczenia apteczne na dworach szlacheckich

Wszelkie medykamenty, które współcześnie wypełniają powierzchnię szuflady, dawniej zajmowały całe pomieszczenie. Na dworach szlacheckich w niniejszych „apteczkach" gromadzono naturalne składniki, przyprawy, likiery, wódki, domowe wywary i przetwory. 

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Wszelkie medykamenty, które współcześnie wypełniają powierzchnię szuflady, dawniej zajmowały całe pomieszczenie. Na dworach szlacheckich w niniejszych „apteczkach" gromadzono naturalne składniki, przyprawy, likiery, wódki, domowe wywary i przetwory. Zygmunt Glogger, analizując w Encyklopedii staropolskiej zawartość pomieszczeń aptecznych, pisał:
„Czego-bo też w tej apteczce wiejskiej nie było: sadła przeróżnych zwierząt jako lekarstwa, dryjakwie z gadów, kilkadziesiąt gatunków ziół suszonych, począwszy od kwiatu lipowego, rumianku i mięty, a skończywszy na rozmaitych suszonych owocach i korzonkach. Nie zapominano tu o wodzie marcowej ze śniegu stopionego, która miała cerę płci pięknej przedziwnie konserwować, i o wodzie różanej, którą skrapiano podłogi dla aromatu w pokojach. Z ogórków przyrządzano także wodę do mycia twarzy. Octy używano tylko domowej roboty: malinowe, konwaljowe, fijołkowe, porzeczkowe, berberysowe i t. d.”.
Dobrze zaopatrzona apteczka była szczególnie istotna w miejscach oddalonych od miasta, do których medyk nie mógł dotrzeć dostatecznie szybko.
Kompletowanie i uzupełnianie jej zawartości należało do obowiązku pani domu. Często na dworach zajmowała się tym „panna apteczkowa” — uboga krewna, która nie założyła rodziny (określenie to stało się nawet synonimem starej panny). Jak pisał Glogger:
„Miała wszystko pod swym kluczem, szafowała wszystkiem i czuwała nad zaopatrzeniem we wszystko, chodząc nieraz sama z dziewczętami wiejskiemi zbierać zioła”.
To właśnie ona w nagłych sytuacjach udzielała pierwszej pomocy nie tylko mieszkańcom dworu, ale też okolicznych wsi.
Klimat dawnych pomieszczeń aptecznych, nie tylko domowych, można poczuć, odwiedzając krakowskie Muzeum Farmacji, w którym na strychu odtworzono starą suszarnię ziół.

O tym, jak różne były apteczki, można się przekonać, oglądając „Apteczkę tybetańską — rękopis oraz zestaw leków.

Opracowanie: Redakcja WMM,
Licencja Creative Commons

 Ten utwór jest dostępny na licencji Creative Commons Uznanie autorstwa 3.0 Polska.

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“White gold” – concerning the beginnings of European porcelain

Chinese and Japanese porcelain was once an extremely valuable and desirable product in Europe, which was already being imported in the Middle Ages. It was called “white gold”, because it commanded value comparable to this precious metal and was often used as its substitute (e.g. as a gift). At that time, porcelain was viewed as a synonym of luxury and its possession testified to the splendour of the house; only the wealthiest people—mainly royalty—could afford it. In the modern era—in connection with the fashion for Orientalism—porcelain gained such great popularity, that a great effort was made to discover how it was manufactured: one of the most guarded secrets of the East.

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Chinese and Japanese porcelain was once an extremely valuable and desirable product in Europe, which was already being imported in the Middle Ages. It was called “white gold”, because it commanded value comparable to this precious metal and was often used as its substitute (e.g. as a gift). At that time, porcelain was viewed as a synonym of luxury and its possession testified to the splendour of the house; only the wealthiest people—mainly royalty—could afford it.
Porcelain is the finest type of ceramics. The formula of its manufacture was developed in China as early as the 7th century. In the modern era—in connection with the fashion for Orientalism—porcelain gained such great popularity, that a great effort was made to discover how it was manufactured: one of the most guarded secrets of the East. Initially, half-measures were used to obtain faience: a type of ceramics differing from the mineral composition of porcelain clay, but bearing the closest resemblance to it after firing. Through the use of a similar form, and characteristic cobalt under-glaze decorations on a white background, producers attempted to give it the appearance of original Chinese porcelain. The second half of the 17th and the first half of the 18th centuries was the period in which the greatest number of porcelain imitations were manufactured in Europe. 
The first product of this kind was the so-called Medici porcelain, which was made in Florence in the 16th century. However, these vessels had an original form and resembled Chinese porcelain only in its colour scheme. Around 1600, in the French city of Nevers, the production of faience in the Italian tradition began, which—due to the then contemporary fashion trends—adopted the Chinese cobalt-white colour palette and stylistics in the middle of the 17th century. The history of the famous Delft faience—also produced since the beginning of the 17th century—was similar. At the beginning of the factory's operation, a characteristic collection of decorative motifs was developed, depicting landscapes or genre scenes, most often cobalt patterns on a white background (patterns of Dutch ceramics recognizable to the present day). In line with the increasing fashion for Chinese products in the second half of the century, Delft faience stared to resemble such products through the shape of its vessels and decorations, modelled on those from the Far East, although still retaining local features. In the following decades, the trend for this type of product resulted in the establishment of other production facilities of porcelain imitations, which vied with one another in the field of ideas for production techniques and designs of crockery.
The real breakthrough was the invention of a technique for making European porcelain by Ehrenfried Walther von Tschirnhaus in 1708. Von Tschirnhaus's research was continued by his collaborator, Johann Friedrich Böttger ( an alchemist who, before embarking on the research into the production of the "white gold", had conducted experiments on transmutating other metals into gold). In 1710, under Böttger's supervision, porcelain production commenced in the first European factory founded by Augustus II the Strong—Kursächsische Manufaktur—at the Albrechtsburg castle in Meissen. Saxon (or Meissen) porcelain was met with great appreciation from the very beginning and has been since produced almost continuously to the present day.

See also:
Chinese porcelain salt shaker
“Hydria” apothecary vase
Teapot with lid
Porcelain vase with a wooden base

Elaborated by Paulina Kluz (Editorial Team of Malopolska’s Virtual Museums),
Licencja Creative Commons

This work is licensed under a Creative Commons Attribution 3.0 Poland License.

Bibliography:
Ludwig Danckwert, Leksykon porcelany europejskiej, tłum. Agata Bobkiewicz, Barbara Bukowska, Roman Warszewski, Gdańsk 2008;
Słownik terminologiczny sztuk pięknych, red. Krystyna Kubalska-Sulkiewicz, Warszawa 1996.

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Majolica apothecary vessel

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