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                  <text>This type collection serves to showcase the variance within ceramic typologies identified in the MARTA archaeological collection. Sixteen broad categories were created to provide identification criteria for future research. </text>
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                <text>Stoneware production in the U.S. began at different times but took off in the 19th century. After the civil war, stoneware production increased even further with the use of industrial pottery techniques, including the use of molds to create vessels. This industrialization put most local potteries out of business by the Great depression. &lt;br /&gt;&lt;br /&gt;This utilitarian stoneware has a vitrified off-white paste fired at 1200-1350° Celsius. The exterior is reddish-brown in color and can range to black or green depending on oxidization during the firing process. The clay used to make the slip has a high iron content, which contributes to the color, and can change or bleach if there is ash present during wood firing (Greer 1981:38). This slip is typically paired with another glaze, but can appear on its own, as seen in this collection.&lt;br /&gt;&#13;
&lt;p&gt;See “Bristol Glazed and Albany Slip stoneware” and “Salt Glaze stoneware” for more information.&lt;/p&gt;</text>
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&lt;p&gt;Greer, Georgeanna H.&lt;br /&gt;1981&amp;nbsp;&amp;nbsp;&amp;nbsp; American Stonewares; The Art &amp;amp; Craft of Utilitarian Potters.&amp;nbsp; Schiffer Publishing, Atglen, Pennsylvania.&lt;/p&gt;</text>
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                  <text>This type collection serves to showcase the variance within ceramic typologies identified in the MARTA archaeological collection. Sixteen broad categories were created to provide identification criteria for future research. </text>
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                <text>Stoneware production in the U.S. began at different times but took off in the 19th century. After the civil war, stoneware production increased even further with the use of industrial pottery techniques, including the use of molds to create vessels. This industrialization put most local potteries out of business by the Great depression. &lt;br /&gt;&lt;br /&gt;Stoneware is characterized by a hard, impermeable, and non-porous body with a wide variety of paste colors—usually buff/tan but can sometimes be brown or grey. It is generally fired at 1200-1350° Celsius. Alkaline glaze stoneware is mostly found and was produced in the Southeastern U.S. from North Carolina to Texas. It is characterized by a shiny transparent glaze made from a combination of wood ash or lime, clay, and some form of silicate (this can vary regionally). The color can range from green to dark or pale brown depending on the iron content of the clay and/or kiln conditions (Greer 1981). The texture can range from smooth and shiny to runny/streaky and may be more or less translucent depending on whether wood ash or lime was used as a base, with wood ash producing a more translucent glaze (Greer 1981:202).</text>
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                <text>Ash based- p1318/ACC 140, p1655/ACC 140, p272/ACC 165, p5284/ACC 170, p5295/ACC 170, p1765/ACC 170, p5/ACC 189, p5/ACC 189, p418/ACC 193. &lt;br /&gt;&lt;br /&gt;Lime based- p/1655/ACC 140, p1666/ACC 140, p305/ACC 190</text>
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                <text>&lt;p&gt;Stoneware production in the U.S. began at different times but took off in the 19&lt;sup&gt;th&lt;/sup&gt; century. After the civil war, stoneware production increased even further with the use of industrial pottery techniques, including the use of molds to create vessels. This industrialization put most local potteries out of business by the Great depression.&lt;/p&gt;&#13;
&lt;p&gt;This utilitarian stoneware has an off-white vitrified paste generally fired at 1200-1350° Celsius. It is characterized by a combination of the off-white Bristol glaze and brown Albany slip. See “Bristol Glaze stoneware” and “Albany Slip stoneware” for an explanation of individual color variations. This combination is typically seen on liquor jugs and other utilitarian wares. When not applied to jugs, a Bristol glaze is typically applied to the exterior, with the Albany slip being on the interior. The color combination is done for decorative purposes and ease of cleaning but was very popular during the last half of the 19&lt;sup&gt;th&lt;/sup&gt; century up through the early 20&lt;sup&gt;th&lt;/sup&gt; century when the need for utilitarian jugs started to decline with the rise of glass and plastic after the Great depression, particularly in the southeast (Baldwin 1992:186).&lt;/p&gt;</text>
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                <text>Baldwin, Cinda K. &lt;br /&gt;1993 Great and Noble Jar; Traditional Stoneware of South Carolina. The University of Georgia Press, Athens.&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/NorthAmericanStoneware/index-NorthAmericanStoneware.html</text>
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                <text>Early 1800s to mid 1900s; Popular late 1800s to early 1900s</text>
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                <text>p2/ACC 133, p2/ACC 133, p1672/ACC 133, p2/ACC 133, p1672/ACC 133, p487/ACC 170, p509/ACC 170, p5295/ACC 170, p4/ACC 189, p202/190, p160/ACC 190, p305/ACC 190</text>
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                <text>Stoneware production in the U.S. began at different times but took off in the 19th century. After the civil war, stoneware production increased even further with the use of industrial pottery techniques, including the use of molds to create vessels. This industrialization put most local potteries out of business by the Great depression. &lt;br /&gt;&lt;br /&gt;Bristol Glazed stoneware is characterized by an off-white glaze (Bristol) developed during the Victorian Era to cover the buff body of utilitarian Stoneware. While this originated in England, it became popular in North America in the late 1800s and is seen on a variety of stoneware vessels. The glaze is traditionally composed of feldspathic materials, like those used in porcelain glazes, and contains combinations of China clay and zinc oxide changing the opacity of the white color glaze (Greer 1981:210, 212). Like other utilitarian stoneware, Bristol Glaze stoneware has an off-white vitrified paste generally fired at 1200-1350° Celsius. If the glaze is applied on a vessel with a high iron content, it may have a pink-ish hue. It is most often seen to cover the entire vessel, instead of being combined with another glaze, after 1920 (Greer 1981:212). &lt;br /&gt;&lt;br /&gt;In this collection, Bristol Glaze Stoneware is commonly found and often has patterns, maker’s marks, and decorations that aid in distinguishing between uses of the vessels. For example, the ship motif seen above comes from an Old Spice bottle, similar to the one in pictures 3 and 4.</text>
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                <text>https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/NorthAmericanStoneware/index-NorthAmericanStoneware.html#Footnote2&lt;br /&gt;&lt;br /&gt;Greer, Georgeanna H. &lt;br /&gt;1981 American Stonewares; The Art &amp;amp; Craft of Utilitarian Potters. Schiffer Publishing, Atglen, Pennsylvania.</text>
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                <text>p1/ACC 133, p1/ACC 133, p1/ACC 133, p1204/ACC 140, p1338/ACC 140, p1764/ACC 170, p3116/ACC 170, p4763/ACC 170, p1836/ACC 170, p472/ACC 170, p1836/ACC 170, p4/ACC 189, p354/ACC 193</text>
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                <text>Ironstone is characterized by a white, vitreous or semi-vitrified paste with a clear, glass-like glaze. The temperature at which it is fired is variable but is likely between that of stoneware and porcelain (between 1200-over 1300°C). Ceramics of this type generally have thicker bodies that are not translucent, distinguishable from porcelain, though they are often confused. Ironstone is generally utilitarian and can be found in a variety of areas, both rural and urban. Ironstone is sometimes known as “Stone China”, particularly referencing ceramics of this type produced after 1830, but not in all cases. Prior to the 1830s, ironstone was often heavily decorated with a blue-tinted glaze; this declined in popularity after the 1850s (Miller 1991:9-10). Between the 1850s and early 1900s, a “white granite paste” was more commonly seen; this consisted of a hard paste with some variation in “graininess”, sometimes appearing like stone and otherwise appearing like a grainy stoneware (Miller 1991:10). This often depends on the vitreosity of the paste and inclusions or chemicals added during the firing process.&lt;br /&gt;&lt;br /&gt;In some collections, ironstone can be broken down into more categories, including hotel-ware or industrial-ware. These distinctions are difficult to differentiate from one another and share a multitude of similar qualities. Hotel-ware can then be broken down into three categories based on thickness: 7.9-9.5mm (armed forces and lunch counters), 3.9-6.4mm (hotels and restaurants), and under 6.4mm (home use wares). While this distinction is not necessarily relevant to this collection, it is potentially relevant to others.</text>
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                <text>Miller, George L. &lt;br /&gt;1991 A Revised Set of CC Index Values for Classification and Economic Scaling of English Ceramics from 1787 to 1880. Historical Archaeology 25: 1-23.&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/Porcelain/Index-Porcelain.html https://www.floridamuseum.ufl.edu/typeceramics/type/ironstone-undecorated/</text>
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                <text>Rockingham-wares share many features of yellowwares and are often categorized as a type of yellowware, though some earthenwares and stonewares also have a rockingham glaze (Claney 2004:32). They are characterized by their thin, brown glaze overlaying a yellow body. They can also have apple-green glazes that were common from 1900-1940, featured in this collection. After the introduction of Staffordshire potters to North America in the 1830s, rockingham-ware became very popular and can be seen with either a uniform or streaked glaze depending on the year of production. Streaked glazes were popular from 1840-1870, with uniform glazes reigning in popularity from 1830-1840 and again after 1870. The pastes of these vessels were likely fired at a range of 1100-1350° C depending on the type of vessel used (earthenware, stoneware, etc.). </text>
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                <text>Stoneware production in the U.S. began at different times but took off in the 19th century. After the civil war, stoneware production increased even further with the use of industrial pottery techniques, including the use of molds to create vessels. This industrialization put most local potteries out of business by the Great depression. &lt;br /&gt;&lt;br /&gt;Stoneware is characterized by a hard, impermeable, and non-porous body with a wide variety of paste colors—usually buff/tan but can sometimes be brown or grey. It is generally fired at 1200-1350° Celsius. Salt glaze stoneware is one of the most common glazes, characterized by a dimpled “orange peel” texture. This occurs when salt is introduced to the kiln during the firing process. The color of the salt glaze can range from light grey or tan to dark grey but can also have a reddish hue depending on the iron content of the clay and variable kiln conditions (Greer 1981: 35). Salt glaze is usually seen with an Albany slip (see “Albany slip stoneware” for more details) on the inside of the vessel after 1860 and without an Albany slip interior prior to 1860. Production of salt glaze stoneware slowed to a near halt after 1900 (Greer 1981:263).</text>
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                <text>Greer, Georgeanna H. &lt;br /&gt;1981 American Stonewares; The Art &amp;amp; Craft of Utilitarian Potters. Schiffer Publishing, Atglen, Pennsylvania.&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/NorthAmericanStoneware/index-NorthAmericanStoneware.html</text>
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                <text>Soft paste porcelain originated in England and is a cheaply made copy of the hard paste China-imported porcelain of the time. Also known as “artificial” porcelain, soft paste porcelain is characterized by a dense and chalky paste with little to no visible inclusions. It has high variation and a slightly higher porosity than hard paste porcelain. It may contain black specks on the surface of the paste, but this is more commons with hard paste porcelain (Cushion and Cushion 1992). Soft paste porcelain is fired twice: once at a higher temperature to create the base “biscuit” ware (1100-1250° C), and then again at a lower temperature to for the glaze (1050-1150° C) (Ramsay and Ramsay 2008). Soft paste porcelain is fired at a lower temperature and for a shorter amount of time than hard paste porcelain. Porcelain can be identified in a variety of ways, but the most common is to shine a light through the vessel. If the light can be seen, it is most likely porcelain. This is more frequently used to identify hard paste porcelain as it is thinner with a more glass-like paste. </text>
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                <text>Cushion, J. and Mary Cushion &lt;br /&gt;1992 A Collector’s History of British Porcelain. Antique Collectors’ Club, Ltd., Woodbridge, Suffolk. &lt;br /&gt;&lt;br /&gt;Ramsay, W. R. H. and Elizabeth G. Ramsay&lt;br /&gt;2008 A Case for the Production of the Earliest Commercial Hard-Paste Porcelains in the English-Speaking World by Edward Heylyn and Thomas Frye in About 1743. Proceedings of the Royal Society of Victoria 120(1):236-256.&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/Porcelain/PorcelainWareDescriptions/SoftPastePorcelain-intro.html</text>
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                <text>Unglazed Coarse Earthenware is characterized by a grainy and porous paste with many inclusions. There is no glaze associated with this type, so the exterior texture is rough matching the interior texture. The surface of the ceramics may be rubbed smooth or may even show evidence of firing. They can appear as any vessel form and are the most basic type of earthenware, often used for utilitarian purposes. These ceramics are fired at a low temperature, approximately 900-1200° Celsius. This categorization primarily serves as a general placement for coarse earthenware than cannot be identified based on glaze.</text>
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                <text>https://apps.jefpat.maryland.gov/diagnostic/BeginnersGuideToHistoricCeramicIdentification.html&lt;br /&gt;&lt;br /&gt;https://www.floridamuseum.ufl.edu/histarch/ceramic-types/glossary/paste-type/&lt;br /&gt;&lt;br /&gt;https://www.floridamuseum.ufl.edu/typeceramics/type/unglazed-coarse-earthenware-generic/&lt;br /&gt;&lt;br /&gt;https://www.floridamuseum.ufl.edu/histarch/ceramic-types/introduction/</text>
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                <text>p46/ACC 212, p8/ACC 189, p8/ACC 189, p8/ACC 189, p5367/ACC 170, p5367/ACC 170, p1206/ACC 140, p1703/140</text>
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                <text>&lt;p&gt;https://collections.peabody.harvard.edu/objects/details/722179&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/SurfaceTreatment-Glaze.html#earthenware-surfacetreatment&lt;/p&gt;</text>
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                <text>Stoneware production in the U.S. began at different times but took off in the 19th century. After the civil war, stoneware production increased even further with the use of industrial pottery techniques, including the use of molds to create vessels. This industrialization put most local potteries out of business by the Great depression.&lt;br /&gt;&lt;br /&gt;This example of stoneware is unique in this collection. Its paste is grey, highly compact, and has no visible inclusions. It was likely fired between approximately 1200-1350° Celsius. The exterior is smooth and the same color as the paste with lightning-like decoration and ridges on the interior. This particular pattern is not seen elsewhere in this collection, nor is the grey-colored stoneware paste. This piece of unidentified stoneware serves as an example of the variability of both this collection and of stoneware overall.</text>
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                  <text>This type collection serves to showcase the variance within ceramic typologies identified in the MARTA archaeological collection. Sixteen broad categories were created to provide identification criteria for future research. </text>
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                <text>p45/ACC 133, p45/ACC 133, p3/ACC 139, p1320/ACC 140, p5366/ACC 170, p1839/ACC 170, p529/ACC 170, p5366/ACC 170, p5366/ACC 170, p5362/ACC 170, p1872/ACC 170, p4840/ACC 170, p1766/ACC 170, p1839/ACC 170, p207/ACC 189, p356/ACC 190, p356/ACC 190, p356/ACC 190, p356/ACC 190, p45/ACC 212</text>
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                <text>Whiteware is a general term for white earthenware, which encompasses a variety of decorative types and styles, including creamware and pearlware for the purposes of this collection. Many whitewares have a white paste with a clear glaze that allows for decoration, such as a transfer printing*. Whiteware paste is also hard and semi-porous; it may even appear chalky. Whiteware is a form of refined earthenware and is generally fired at approximately 1100-1200° Celsius. &lt;br /&gt;&lt;br /&gt;Sometimes a separate category, cream-colored wares (or creamware) are categorized by their cream-colored hue and paste that has wide variation and often has the same decorative types as white earthenware. In this categorization cream-colored wares are included in the whiteware category as they can be difficult to differentiate with age and their separation is not as important to this collection as it may be to others. Another category, pearlware, was also included in this whiteware classification as they are a white earthenware that include a distinctive blue tint to the glaze to enhance the whiteness of the vessel, traditionally used as an identifier. Since it can be difficult to define the line between pearlware and whiteware, as both may use cobalt to enhance the whiteness of the body, they have been combined and can be separated by decoration if need be. &lt;br /&gt;&lt;br /&gt;*Transfer printing occurs when copper plated designs are transferred to tissue paper, which is then applied to white earthenware under a clear glaze. This was popular from the 1870s to the early 1900s when decals became popular for their ease of decorating mass-produced ceramics in the United States.</text>
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                <text>https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/Printed%20Earthenwares/index-PrintedEarthenwares.htm&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/Shell%20Edged%20Wares/Shell%20Edged%20Wares%202nd%20page.htm#EvolutionofCreamware&lt;br /&gt;&lt;br /&gt;https://www.floridamuseum.ufl.edu/histarch/ceramic-types/introduction/ &lt;br /&gt;&lt;br /&gt;Majewski, Teresita, and Michael J. O’Brien &lt;br /&gt;1987 The Use and Misuse of Nineteenth-Century English and American Ceramics in Archaeological Analysis. Archaeological Method and Theory 11:117.</text>
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                <text>Early 1800s-mid 1900s in this collection</text>
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                <text>&lt;p&gt;Yellowware is characterized by a buff (yellow-toned) paste in a variety of tones and a clear-yellow glaze. This glaze does not often have yellow dye and can be clear to accentuate the paste color. The paste is commonly a refined earthenware, but it can sometimes be a stoneware and is likely fired between 1100-1350° C depending on the type of vessel used (earthenware, stoneware, etc.). Mocha ware (the flower-like pattern) and annular ware (the striped pattern) are both forms of yellowware, but can also be included together on one vessel, hence grouping them into the larger typology. Rockingham-ware is sometimes considered a yellowware as well, but there are differences within Rockingham-wares that warrant their own typology.&lt;/p&gt;</text>
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                <text>p1673/ACC 133, p1673/ACC 133, p881/ACC 133, p226/ACC 165, p4840/ACC170, p5366/ACC 170, p5366/ACC 170, p1839/ACC 170, p1839/ACC 170, p1872/ACC 170, p46/ACC 212, p45/ACC 212, p45/ACC 212. &#13;
&#13;
Annular/Mocha- p2/ACC 133, p1320/ACC 140, p1766/ACC 170, p4812/ACC 170, p1902/ACC 170, p191/ACC 171, p3/ACC 189, p375/ACC 193.&#13;
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