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                <text>The name "Beau-Regards" may be in reference to a descendant of P.G.T. Beauregard, a Civil War Confederate general, as it is a “grand old name of the South,” but there are no results for a person named “Geo Beauregard.” A single newspaper advertisement in the Marietta Journal in 1944 shows that Beau-Regards was bottled by the Dixie Rush Bottling Co., Inc. at 1245 Glenwood Ave SE, in grape and orange flavors.  However, this does not indicate where the brand originated. The Owens-Illinois mark indicates 1948 manufacture at the Streator, IL plant. &#13;
&#13;
The genuine always&#13;
bears the signature&#13;
of&#13;
Geo Beauregard&#13;
8 FLUID OZ&#13;
COPYRIGHT 1943&#13;
&#13;
Owens-Illinois mark says 1948</text>
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                <text>  “Dixie-Rush Bottling Co., Inc.,” Marietta Journal (Marietta, GA), April 7, 1944, 4.&#13;
&#13;
  Bill Lockhart and Russ Hoenig, “Owens-Illinois Glass Company Part 2 - The Bewildering Array of Owens-Illinois Glass Co. Logos and Codes,” Historic Glass Bottle Identification &amp; Information Website, 2018, https://bottleinfo.historicbottles.com/pdffiles/OwensIllinois2018Part2.pdf.</text>
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                <text>Reif's Special was a product of the Purity Extract &amp; Tonic Company of Chattanooga, reported to be at the corner of Broad  &amp; 2nd St. It was named after Charles Reif, owner of said company and Chattanooga Brewing Company and Chattanooga Glass Company.&#13;
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In another ad in the Atlanta Journal it advertises itself as a non-alcoholic alternative to beer.&#13;
Cereal beverages are similar to beer in that they are made of a cereal grain but they were usually had very low alcohol content.&#13;
Is it a soft drink? It was 0.49% alcohol...&#13;
It did not go out of production in 1920 after the Prohibition act, though, as there is a mention of it in the Atlanta Journal in 1921. Reif's Special seemed to peak in 1916-1919 based on the mentions in various newspapers. The Purity company went out of business in 1933.</text>
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                <text>The story behind Goulds is exemplary of how muddy the historical side of historical archaeology can be. Two bottles, one called &lt;a href="https://martaphoenixproject.gsuanthropology.com/items/show/231"&gt;Gould Beverages (Quality Plus)&lt;/a&gt; and the other called Better Goulds Beverages, were found in the same box and they are the only two examples of Goulds in the collection. They look strikingly different. p407 was bottled by the Orange Crush Bottling Co. in Atlanta while p418 was bottled by the Goulds Better Beverage Co. in one of three cities in Mississippi. It could be assumed that the company was based in Mississippi and sold bottling rights to the Orange Crush Bottling Co. for distribution in Georgia, but upon looking at other examples of the bottles online there was an instance of Better Goulds being bottled by Crush in Atlanta as well. Notably, it also does not have the ingredients listed on the back as p418 does. p407 also looks stylistically older than p418 and the “better” implies it was improving an existing product.&#13;
&lt;p&gt;p418 only has a small empty “keystone” mark on the base. The keystone shape was characteristic of the Knox Glass Co., and typically the specific plant would be identified by a letter within the keystone, but there is not one on this bottle. Knox Glass’s last plants were bought in 1968. p418 has the ingredients listed on the back, indicating it was likely produced after the 1966 Fair Packaging and Labelling Act. Therefore, this bottle can be dated from 1966-1968.&lt;/p&gt;&#13;
&lt;p&gt;There were barely any internet resources on a beverage by the name of Gould other than Ebay listings for the bottles. This led me to check the Atlanta Journal-Constitution archives, where there was also no results for any variation of “Gould(s) beverages” or “Goulds Better Beverage Co.” The last option was to look into the Orange Crush Bottling Company, and though there were few internet sources on it as well, in the AJC archive I found that the president of the Orange Crush Bottling Co. was named Fred S. Gould and it went bankrupt in 1956.&lt;/p&gt;&#13;
&lt;p&gt;This leads me to believe the Gould Beverage was named after said president. At some point before the bankruptcy, they decided to change the formula of the drink and brand it as “Better Goulds Beverage” (similar to “New Coke” in the 1980s). It is possible that the original Gould and Better Goulds could have existed at the same time, but in the case it was replaced it must have happened after p407 was produced in 1954. Perhaps after the bankruptcy of the Orange Crush Bottling Co., the Goulds Better Beverage Co. was formed in Mississippi and retained the same bottle design.&lt;/p&gt;&#13;
&lt;br /&gt;Contains SUGAR WATER &lt;br /&gt;FRUIT JUICES &lt;br /&gt;CARBONATED WATER &lt;br /&gt;ARTIFICIAL FLAVOR &amp;amp; COLORING &lt;br /&gt;1/10 OF 1% BENZOATE OF SODA &lt;br /&gt;GOULDS [Better] BEVERAGE CO. JACKSON, [McComb], NATCHEZ, MISS</text>
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&#13;
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&#13;
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                <text>FLAVORED WITH CHOICE ORANGES&#13;
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The link attached is not an exact match, but it is the closest thing available that is similar to the object in the lab. </text>
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&#13;
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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>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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&#13;
https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/Less%20Commonly%20Found/Rockingham/index-Rockingham.html&#13;
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&#13;
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                <text>Hard paste porcelain is typically separated into three categories of identification: Chinese, Japanese, and European. For the purposes of this collection, the broader hard paste porcelain category is used to separate these pieces from those in the soft paste porcelain category. Hard paste porcelain has an extremely compact and highly vitrified paste with a clear, glassy glaze. The paste is often made of kaolin and a finely ground feldspathic rock, but there is some variation within this depending on the place of origin. &lt;br /&gt;&lt;br /&gt;Hard paste porcelain is typically fired at 1250-1500° C, but those in the European category are fired twice, like soft paste porcelain, between 1300-1400° C. these European porcelains were very common in North America between 1880 and 1920 (Majewski and O’Brien 1987:128). Most hard paste porcelain is decorated in an underglaze print, but there is variation depending on the origin of production.</text>
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                <text>https://apps.jefpat.maryland.gov/diagnostic/Porcelain/PorcelainWareDescriptions/HardPastePorcelain-intro.html&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/Porcelain/PorcelainWareDescriptions/ChinesePorcelain-intro.html&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/Porcelain/PorcelainWareDescriptions/EuropeanHardPastePorcelain-intro.html&lt;br /&gt;&lt;br /&gt;https://apps.jefpat.maryland.gov/diagnostic/Porcelain/PorcelainWareDescriptions/JapanesePorcelain-intro.html&lt;br /&gt;&#13;
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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>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>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>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>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>p1765/ACC 170, p1/ACC 133, p46/ACC 133, p272/ACC 165, p272/ACC 165, p272/ACC 165, p5296/ACC 170, p1753/ACC 170, p1765/ACC 170, p470/ACC 170, p488/ACC 170, p305/ACC 190, p39/ACC 190, p731/ACC 190</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>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>&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>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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        <name>Albany Slip Stoneware</name>
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                  <text>Cloe Ellington</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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            <name>Description</name>
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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>https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/NorthAmericanStoneware/index-NorthAmericanStoneware.html</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Inconclusive (likely post 1900)</text>
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                <text>p4719/ACC 170</text>
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                <text>Historic Ceramic</text>
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        <name>Unidentified Stoneware</name>
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                  <text>Historical Ceramic Type Collection</text>
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                  <text>Cloe Ellington</text>
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              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
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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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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Unglazed Refined Earthenware</text>
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            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>Unglazed Refined Earthenware is characterized by a smooth texture and a compact paste, likely fired at approximately 1100-1200° Celsius. This particular example is possibly machine made, evidenced through its uniformity, smooth texture, and highly compact paste. This categorization is purposefully general and serves to showcase the variation of this collection. </text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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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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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Mid 20th century</text>
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                <text>p410/ACC 193</text>
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        <name>Unglazed Refined Earthenware</name>
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