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                <text>This specific design, according to collectablesodacans.com, was first sold in 1966.&lt;br /&gt;&lt;em&gt;"Coke moved to the Harlequin design that is sometimes indicated as the small diamond can. The first version is available as a flat and a pull top, with the flat top being a much tougher find. The distinction between the first and second version of this can is made by the placement of the 'Contents 12 FL OZS'. The first version has it at the top, while the second, available only as a pull tab for the first time, shows it at the bottom."&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;This is a second version of the Harlequin can, because the '12 FL OZ' is at the bottom of the can.&lt;br /&gt;Interestingly, though, the coloring on this can is green. Rather than it having been originally green, it was probably the result of the color changing after years underground. There is still some red on the opposite side of the can.</text>
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                <text>&lt;a href="http://www.collectiblesodacans.com/Cokepg1.htm"&gt;http://www.collectiblesodacans.com/Cokepg1.htm&lt;/a&gt;</text>
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Mark on the bottom: 1844</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>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>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>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. 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>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>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>p1/ACC 133, p1/ACC 133, p1/ACC 133, p908/ACC 133, p5239/ACC 170, p5239/ACC 170, p5293/ACC 170, p304/ACC 190</text>
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                <text>See &lt;a href="https://martaphoenixproject.gsuanthropology.com/items/show/162"&gt;Bireley's&lt;/a&gt;&lt;br /&gt;This bottle cap indicates there was a grapefruit variant of the typically orange-flavored drink. There appears to be berry, grape, tomato, and punch flavors as well. The last image is a clean image of the bottle cap via thebottlecapman.com</text>
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              <elementText elementTextId="2004">
                <text>Phoenix Project</text>
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                <text>&lt;a href="http://www.thebottlecapman.com/Bottle%20Caps%20Soda%20Unused%20Cork1.htm"&gt;http://www.thebottlecapman.com/Bottle%20Caps%20Soda%20Unused%20Cork1.htm&lt;/a&gt;</text>
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                <text>1950s-60s?</text>
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        <name>Bottle Cap</name>
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                <text>From nesbittsorange.com - "The Nesbitt Fruit Products Company was founded in 1924 by Hugh S. Nesbitt. The company produced syrups to be used in soda fountains. [] The original plant, occupied in 1925, was located at: &lt;br /&gt;768 Ceres Avenue &lt;br /&gt;Los Angeles, California &lt;br /&gt;&lt;br /&gt;[] In 1937, in anticipation of beginning production of a bottled version of carbonated Nesbitt's Orange Drink, they began construction of a new plant at &lt;br /&gt;2946 E 11th St Los Angeles, California. &lt;br /&gt;It was completed in 1938. &lt;br /&gt;&lt;br /&gt;When they started bottling it in 1939 it was distinguished by the fact that it was made from 10% California orange juice. The brand was franchised to independent bottling companies all over the United States and around the world. Besides Orange, other flavors bottled included: Creme Soda, Grape, Strawberry, Root Beer, Lemon-Lime, to name a few. Nesbitt also made Sprig, a grapefruit-lime drink (Sprig was sold in 1959). On January 1, 1946 there were 188 Nesbitt Franchise Holders in 39 States, 2 territories (Hawaii and Alaska) and Mexico." &lt;br /&gt;&lt;br /&gt;The ACL label with the "Nesbitt's" written horizontally (instead of diagonally) was used from 1940-1942. As per the back label, it was bottled by the Orange Crush Bottling Co. of Atlanta. Interesting that the Orange Crush Co. would bottle a competing orange flavored drink.</text>
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                <text>&lt;a href="http://nesbittsorange.com"&gt;http://nesbittsorange.com&lt;/a&gt;&lt;br /&gt;&lt;a href="http://nesbittsorange.com/facts.htm"&gt;http://nesbittsorange.com/facts.htm&lt;/a&gt;&lt;br /&gt;&lt;a href="http://nesbittsorange.com/Bottles/index.htm"&gt;http://nesbittsorange.com/Bottles/index.htm&lt;/a&gt;&lt;br /&gt;Archived link: &lt;a href="https://web.archive.org/web/20241001170723/http%3A%2F%2Fnesbittsorange.com%2F"&gt;https://web.archive.org/web/20241001170723/http%3A%2F%2Fnesbittsorange.com%2F&lt;/a&gt;</text>
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                <text>Bottle</text>
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                <text>CCU 115</text>
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                <text>There is not much info on Coca-Cola soda water. They were produced all over the country as seen through similar bottles being sold online.&#13;
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                <text>Emmett Cantkier</text>
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                <text>Bottle</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>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>https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/Less%20Commonly%20Found/YellowWare/index-YellowWare.html&#13;
&#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>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>&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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&#13;
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&#13;
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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