Swiss - Chocolate

Swiss Chocolate refers to chocolate produced in Switzerland. While Cacao beans and other ingredients such as sugar can originate from outside of Switzerland, the actual production of the chocolate must take place in Switzerland. Switzerland's chocolates have earned an international reputation for high quality with many famous international brands.
History

The 17th century saw the start of chocolate processed in Switzerland. In the 18th century chocolate was only produced in a few areas, such as the Ticino.

In the 19th and early-20th centuries the following chocolate factories were founded:
1819 - Cailler in Vevey (today Nestlé)
1826 - Suchard in Serrières (today Kraft Foods)
1830 - Kohler in Lausanne (today Nestlé)
1836 - Sprüngli in Zurich, company split into Confiserie Sprüngli and Lindt & Sprüngli in 1892
1852 - Maestrani in Luzern (today in Flawil)
1862 - Klaus in Le Locle
1867 - Peter in Lausanne (today Nestlé)
1879 - Lindt in Bern (today Lindt & Sprüngli)
1887 - Frey in Aarau (today Migros)
1899 - Tobler in Bern (today Kraft Foods)
1901 - Chocolat de Villars in Villars sur Glâne
1928 - Stella SA in Lugano (1987 Giubiasco)
1929 - Camille Bloch in Courtelary
1932 - Teuscher in a small town in the Swiss Alps
1932 - Bernrain in Kreuzlingen
1933 - Chocolats Halba in Wallisellen
1934 - Kägi Söhne AG in Toggenburg

In the second half of the 19th century Swiss Chocolate started to spread abroad. Closely linked to this was the invention of Milk Chocolate by Daniel Peter in Vevey and the invention of the conching by Rodolphe Lindt.

Sales Market

From the 19th century until the First World War and throughout the Second World War the Swiss chocolate industry was very export-oriented. After the Second World War Switzerland began to outsource production due to commercial restrictions.

Today most Swiss chocolate is consumed by the Swiss themselves (54% in 2000), and Switzerland has the highest per capita rate of chocolate consumption world wide (11.6 kg (25.6 lbs.) per capita per annum).

In 2004 148,270 tonnes of chocolate were produced in Switzerland. 53% of this was exported (20% to Germany, 11% to France and Great Britain and 13% to North America). The gross income of the Swiss chocolate industry in 2004 was 1.37 billion CHF (814 million from the local market, 551 million from exports).

Industry Structure

In 1901 Swiss chocolate producers created the Union libre des fabricants suisses de chocolat . In 1916, this was divided into the Chambre syndicale des fabricants suisses de chocolat and the Convention chocolatière suisse. The former "Chambre syndicale" (today the Chocosuisse) protects the interests of Swiss chocolate producers. The "Convention chocolatière" focused on the quality of the chocolate and sought a uniform price strategy. In 1994 the Convention was disbanded.

Holland- Delft Blue

Delftware, or Delft pottery, denotes blue and white pottery made in and around Delft in the Netherlands and the tin-glazed pottery made in the Netherlands from the 16th century.

Delftware in the latter sense is a type of pottery in which a white glaze is applied, usually decorated with metal oxides. Delftware includes pottery objects of all descriptions such as plates, ornaments and tiles.

History

The earliest tin-glazed pottery in the Netherlands was made in Antwerp by Guido da Savino in 1512. The manufacture of painted pottery may have spread from the south to the northern Netherlands in the 1560s. It was made in Middelburg and Haarlem in the 1570s and in Amsterdam in the 1580s. Much of the finer work was produced in Delft, but simple everyday tin-glazed pottery was made in places such as Gouda, Rotterdam, Amsterdam and Dordrecht.

The main period of tin-glaze pottery in the Netherlands was 1640-1740. From about 1640 Delft potters began using personal monograms and distinctive factory marks. The Guild of St Luke, to which painters in all media had to belong, admitted ten master potters in the thirty years between 1610 and 1640 and twenty in the nine years 1651 to 1660. In 1654 a gunpowder explosion in Delft destroyed many breweries and as the brewing industry was in decline they became available to pottery makers looking for larger premises; some retained the old brewery names, e.g. The Double Tankard, The Young Moors' Head and The Three Bells.

The use of marl, a type of clay rich in calcium compounds, allowed the Dutch potters to refine their technique and to make finer items. The usual clay body of Delftware was a blend of three clays, one local, one from Tournai and one from the Rhineland.

From about 1615, the potters began to coat their pots completely in white tin glaze instead of covering only the painting surface and coating the rest with clear ceramic glaze. They then began to cover the tin-glaze with clear glaze, which gave depth to the fired surface and smoothness to cobalt blues, ultimately creating a good resemblance to porcelain.

During the Dutch Golden Age, the Dutch East India Company had a lively trade with the East and imported millions of pieces of Chinese porcelain in the early 17th century. The Chinese workmanship and attention to detail impressed many. Only the richest could afford the early imports. Although Dutch potters did not immediately imitate Chinese porcelain, they began to after the death of the Wanli Emperor in 1620, when the supply to Europe was interrupted. Delftware inspired by Chinese originals persisted from about 1630 to the mid-18th century alongside European patterns.

By about 1700 several factories were using enamel colours and gilding over tin-glaze, requiring a third kiln firing at a lower temperature.

Delftware ranged from simple household items - plain white earthenware with little or no decoration - to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set. Pictorial plates were made in abundance, illustrated with religious motifs, native Dutch scenes with windmills and fishing boats, hunting scenes, landscapes and seascapes. Sets of plates were made with the words and music of songs; dessert was served on them and when the plates were clear the company started singing. The Delft potters also made tiles in vast numbers (estimated at eight hundred million) over a period of two hundred years; many Dutch houses still have tiles that were fixed in the 17th and 18th centuries.

Delftware became popular and was widely exported in Europe and even reached China and Japan. Chinese and Japanese potters made porcelain versions of Delftware for export to Europe.

Some regard Delftware from about 1750 onwards as artistically inferior. Caiger-Smith says that most of the later wares "were painted with clever, ephemeral decoration. Little trace of feeling or originality remained to be lamented when at the end of the eighteenth century the Delftware potteries began to go out of business." By this time Delftware potters had lost their market to British porcelain and the new white earthenware. One or two remain: the Tichelaar[10] factory in Makkum, Friesland, founded in 1594 and De Koninklijke Porceleyne Fles ("The Royal Porcelain Bottle") founded in 1653.

Today, Delfts Blauw (Delft Blue) is the brand name hand painted on the bottom of ceramic pieces identifying them as authentic and collectible. Although most Delft Blue borrows from the tin-glaze tradition, it is nearly all decorated in underglaze blue on a white clay body and very little uses tin glaze, a more expensive product. The Koninklijke Tichelaar Makkum factory in Makkum, Friesland continue the production tin-glazed earthenware.

Delft Blue pottery formed the basis of one of British Airways' ethnic tailfins. The design, Delftblue Daybreak, was applied to 17 aircraft.

Czech Republich-Bohemian Glass

Bohemian glass, or Bohemia crystal, is a decorative glass produced in regions of Bohemia and Silesia, now in the current state of the Czech Republic, since the 13th century. Oldest archaeology excavations of glass-making sites date to around 1250 and are located in the Lusatian Mountains of Northern Bohemia. Most notable sites of glass-making throughout the ages are Skalice

Production of glass in the Bohemia region appears since time immemorial, and belongs together inseparably. Historical findings have demonstrated the processing of glass in this area since the time of the Celts, two thousand years ago, at the beginning of the Christian calendar, although the first written records and evidence are from the 60s to the tenth century.

The first industrial production of glass by glass factories in the Bohemia region dates back to the turn of the 13th and 14 century, when the first glass factories were formed. These were the strategic regions that began to build in the border areas untouched Ore, Jizera, Lusatian Mountains, Giant Mountains, Forest Maintains and Moravia. Since the mid-14th century, the oldest Bohemia glass rendered nearly transparent glass soda-calcium origin and created goblets, cups, and church windows (later enriched by paintings), among others for the Roman Emperor and Czech King Charles IV, who let them fill the window of Prague Castle.

In the 16th century, according to historical sources, 34 Bohemia factories were producing glass, with a high probability that there were many more factories.

The famous era of renown Bohemia factories continued into the next period, which greatly promoted Emperor Rudolf II, whose magnificent products of Bohemia glassmakers filled his aristocratic kitchens and churches in and outside the Bohemia region. Gaining popularity throughout the world, Bohemia glass surpassed previously valued Venetian glass, which was pushed to the side, and then English glass, especially due to the production of crystal glass with unique color variation and cuttings. Bohemia crystal became a symbol of quality and creativity resulting in a worldwide phenomenon in a short period of time. 

In 1900, Bohemia glassmakers were significantly represented at the World Exhibition in Paris, where the glassworks of Klostermühle received the highest award - the Grand Prix. Impressive accolades were also reached with products of the Harrachov glassworks in the New World and Moser glassworks in Karlovy Vary .

Founded in 1856, the professional glass schools in Kamenický Šenov and Novy Bor added a Czech Glass School in Zelezny Brod in 1920 and were responsible for the emergence of other major art centers of development and production of decorative and utility glass in Bohemia.

Chandeliers from Kamenický Šenov shined in operatic interiors of buildings in Rome, Milan, Brussels and in luxury hotels in the United States.

In the 20th century, the industry largely expanded automated production of tableware with the help of the third millennium reminiscent technology, but traditional hand-made production remained

Production of crystal in the Czech Republic has a very long tradition and stands today as the best in the world.

It was especially outstanding in its manufacture of glass in high Baroque style from 1685 to 1750. In the 17th century, Caspar Lehmann, gem cutter to Emperor Rudolf II in Prague, adapted to glass the technique of gem engraving with copper and bronze wheels.

Russia-Matryoshka doll

A matryoshka doll also known as Russian nesting/nested doll, refers to a set of wooden dolls of decreasing size placed one inside the other. They are sometimes incorrectly referred to as "babushka dolls" (grandmother doll) . The first Russian nested doll set was carved in 1890 by Vasily Zvyozdochkin from a design by Sergey Malyutin, who was a folk crafts painter at Abramtsevo. Traditionally the outer layer is a woman, dressed in a sarafan, a long and shapeless traditional Russian peasant jumper dress. The figures inside may be of either gender; the smallest, innermost doll is typically a baby turned from a single piece of wood. Much of the artistry is in the painting of each doll, which can be very elaborate. The dolls often follow a theme, aside from the typical traditional peasant girls, the themes vary, from fairy tale characters to Soviet leaders.

A set of matryoshkas consist of a wooden figure which separates, top from bottom, to reveal a smaller figure of the same sort inside, which has, in turn, another figure inside of it, and so on. The number of nested figures is traditionally at least five, but can be much more, up to several dozen with sufficiently fine craftsmanship. Modern dolls often yield an odd number of figures but this is not an absolute rule; the original Zvyozdochkin set, for instance, had an even number. The form is approximately cylindrical, with a rounded top for the head, tapering toward the bottom, with few or no protruding features; the dolls have no hands (except those that are painted). Traditionally the outer layer is a woman, dressed in a sarafan. The figures inside may be of either gender; the smallest, innermost doll is typically a baby lathed from a single small piece of wood (and hence non-opening). The artistry is in the painting of each doll, which can be extremely elaborate.

The word "matryoshka" , literally "little matron", is a diminutive form of the Russian female first name "Matryona"

The first Russian nested doll set was carved in 1890 by Vasily Zvyozdochkin from a design by Sergey Malyutin, who was a folk crafts painter in the Abramtsevo estate of the Russian industrialist and patron of arts Savva Mamontov. The doll set was painted by Malyutin. Malyutin's doll set consisted of eight dolls—the outermost was a girl in a traditional dress holding a rooster. The inner dolls were girls and a boy, and the innermost a baby.

Zvyozdochkin and Malyutin were inspired by a doll from Honshu, the main island of Japan. Sources differ in descriptions of the doll, describing it as either a round, hollow daruma doll or a fukuruma nesting doll portraying portly bald old Buddhist monk.

Savva Mamontov's wife presented the dolls at the Exposition Universelle (1900) in Paris, where the toy earned a bronze medal. Soon after, matryoshka dolls were being made in several places in Russia and shipped around the world.

The dolls are constructed from one block of wood, which is essential to their manufacture.

A block of wood is cut in half. Then, a piece of wood is taken out of the top and bottom pieces. This continues until there is very little wood left. The wood is carved into an oval shape. The matching pieces are put together. The pieces are painted and nested inside one another.

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Belgium- Lace

Lace is an openwork fabric, patterned with open holes in the work, made by machine or by hand. The holes can be formed via removal of threads or cloth from a previously woven fabric, but more often open spaces are created as part of the lace fabric. Lace-making is an ancient craft. True lace was not made until the late 15th and early 16th centuries. A true lace is created when a thread is looped, twisted or braided to other threads independently from a backing fabric.

Originally linen, silk, gold, or silver threads were used. Now lace is often made with cotton thread, although linen and silk threads are still available. Manufactured lace may be made of synthetic fiber. A few modern artists make lace with a fine copper or silver wire instead of thread.

In the late 16th century there was a rapid development in the field of lace. There was an openwork fabric where combinations of open spaces and dense textures form designs. These forms of lace were dominant in both fashion as well as home décor during the late 1500s. For enhancing the beauty of collars and cuffs, needle lace was embroidered with loops and picots.

Objects resembling lace bobbins have been found in Roman remains, but there are no records of Roman lace-making. Lace was used by clergy of the early Catholic Church as part of vestments in religious ceremonies, but did not come into widespread use until the 16th century in northwestern part of the European continent. The popularity of lace increased rapidly and the cottage industry of lace making spread throughout Europe. Countries like Italy, France, Belgium, Germany (then Holy Roman Empire), Czech Republic (town of Vamberk), Slovenia (town of Idrija), Finland (town of Rauma) England (town of Honiton), Hungary, Ireland, Malta, Russia, Spain, Turkey and others all have established heritage expressed through lace.

In North America in the 19th century, lace making was spread to the Native American tribes through missionaries.

St. John Francis Regis helped many country girls stay away from the cities by establishing them in the lacemaking and embroidery trade, which is why he became the Patron Saint of lace-making.[citation needed] In 1837, Samuel Ferguson first used jacquard looms with Heathcoat’s bobbin net machine, resulting in endless possibilities for lace designs.

Traditionally, lace was used to make tablecloths and doilies and in both men's and women's clothing. The English diarist Samuel Pepys often wrote about the lace used for his, his wife's, and his acquaintances' clothing, and on May 7, 1669 noted that he intended to remove the gold lace from the sleeves of his coat "as it is fit [he] should", possibly in order to avoid charges of ostentatious living.



Brussels lace is a type of pillow lace that originated in and around Brussels. The term "Brussels lace" has been broadly used for any lace from Brussels, however the term strictly interpreted refers to bobbin lace, in which the pattern is made first, then the ground, or réseau, added, also using bobbin lace. Brussels lace is not to be confused with Brussels point, which is a type of needle lace, though is sometimes also called "Brussels lace".

Brussels lace is made in pieces, with the flowers and design made separate from the ground, unlike Mechlin lace or Valenciennes lace; because of this, the long threads that form the design always follow the curves of the pattern, whereas in bobbin laces made all at once, the threads are parallel to the length of the lace. Brussels lace is also distinguished by its réseau or background, the toilé or pattern, and the lack of a cordonnet outlining the pattern. The réseau is hexagonal, with four threads plaited four times on two sides, and two threads twisted twice on the remaining four sides. The toilé can be of two types, the standard woven texture like a piece of fabric, or a more open version with more of the appearance of a netted réseau. This allows for shading in the designs, an effect that was used more in the later designs. In Brussels lace, instead of a cordonnet, the pattern is edged with open stitches, which are then picked up to form the réseau.

Brussels lace is well known for its delicacy and beauty. Originally it was only made from the finest spun linen thread, which was spun in dark damp rooms to keep the thread from becoming too brittle. Only one ray of light was allowed into the room, and it was arranged so that it fell upon the thread. This fine thread is part of what prevented mechanizing the process of making Brussels lace, as well as the production of it in other regions, as it could not be bought anywhere else. It was also what made the lace so costly. Brussels lace cost more than Mechlin lace, and was in high demand in England and France.

Brussels lace started to be produced in the 15th century, and was first explicitly mentioned in England in a list of presents given to Princess Mary at New Years', 1543.

France-Wines

France-Wines

 

French wine is produced all throughout France, in quantities between 50 and 60 million hectolitres per year, or 7–8 billion bottles. France is the largest wine producer in the world. French wine traces its history to the 6th century BC, with many of France's regions dating their wine-making history to Roman times. The wines produced range from expensive high-end wines sold internationally to more modest wines usually only seen within France.

Two concepts central to higher end French wines are the notion of "terroir", which links the style of the wines to the specific locations where the grapes are grown and the wine is made, and the Appellation d'Origine Contrôlée (AOC) system. Appellation rules closely define which grape varieties and winemaking practices are approved for classification in each of France's several hundred geographically defined appellations, which can cover entire regions, individual villages or even specific vineyards.

France is the source of many grape varieties (Cabernet Sauvignon, Chardonnay, Pinot noir, Sauvignon blanc, Syrah) that are now planted throughout the world, as well as wine-making practices and styles of wine that have been adopted in other producing countries. Although some producers have benefited in recent years from rising prices and increased demand for some of the prestige wines from Burgundy and Bordeaux, the French wine industry as a whole has been influenced by a slight decline in domestic consumption.

Alsace situated on the lower eastern slopes of the Vosges mountains, in the Rhine valley between Strasbourg and Mulhouse, the Alsace vineyard is rather different from any other French wine growing area. Like theregion of Alsace itself, the wine culture here is steeped in a Germanic tradition, producing mostly dry or fruity white wines, the most popular being Riesling, Sylvaner and the very fruity Gewurztraminer.

The rules of Appellation contrôlée - and more recently of Appellation Protégée (AOP) are not applied in the same way in Alsace as in the rest of France. In Alsace, wines are produced under a simple "Alsace" appellation, after which the next most important element to be indicated, and the most visible word on the label, is the grape variety or "cépage", Sylvaner, Riesling, Gewurztraminer, Tokay, Pinot or a few others. Smaller areas do not have their own appellations, though with many Alsace wines, the name of the village or vineyard from which it comes will also be indicated. See also Vendanges tardives.

Lorraine, also in north east France, produces mostly VDQS white wines, in the Meuse and the Moselle.

Bordeaux Wine, and wine growing region. With Burgundy and Champagne, the Bordeaux region of Aquitaine is one of the three most famous French wine-producing regions. Historically, its fame is at least in part due to the fact that of these three big grape-growing areas, the Bordeaux vineyard is the only one with immediate access to the sea, an advantage that has enabled it to be France's major wine exporting region for many centuries.
In 1152, when queen Eleanor of Aquitaine married the English king Henry II, the Aquitaine region became economically integrated into the Anglo-Norman world, the Bordeaux region becoming the main supplier of wine for England. This historic wine exporting tradition helped Bordeaux to develop far stronger commercial links in the ensuing centuries, firmly establishing Bordeaux wines, often referred to generically in English as "clarets", on the international market.
The Bordeaux vineyard is centered round the port city of Bordeaux , along the estuary of the Gironde, and the rivers Garonne and Dordogne. It is a large vineyard, and the geo-specific appellation "Bordeaux" covers an area stretching some 100 km both north-south and east-west.
While the appellation contrôlée covers wines of medium quality from all over this region, many if not most of the top quality clarets grown in the overall area benefit from more specific and distinctive area appellations, such as Médoc , Graves or Saint Emilion, and even more local appellations such as Pauillac, Graves and Saint-Estèphe.
Unlike other French wine-growing areas, the Bordeaux area operates classifications of many of its top wines, notably those from the Médoc and Saint Emilion vineyards. The best estates in these areas have the right to sell wines designated as grand cru. Below the grand crus come other high quality wines designated as cru bourgeois.
Tip: 2009 is said to be an exceptionally good vintage year.

Bourgogne (Burgundy) The vineyards of the Burgundy region cover a narrow strip of land on the eastern slopes of the hills running south-east from the Burgundian Capital, Dijon. the heart of the Burgundy wine growing region is the historic city of Beaune, where the autumn wine sale in the historic "Hospices" building is one of the high points of the wine year. Burgundy wines are classified on four levels, the lowest being the generic "Bourgogne" appellation. Selected areas of the Burgundy vineyard have their own classifications, such as Côtes de Beaune. Within these, there are smaller areas, villages and groups of villages, reputed to produce higher quality wine, such as Pernand Vergelesse or Aloxe Corton. Finally, at the top of the pyramid, there are the estate wines, such as Clos Vougeot, with its mere 51 hectares of vineyard. Finding ones way around Burgundy wines is sometimes a daunting task. The best Burgundy wines are the reds, the best of which can keep for a good 20 to 30 years. However, Burgundy also produces some top quality, though not too distinctive, whites. It is often said that generic burgundies "Bourgogne Rouge" or Bourgogne Passetoutgrains" white are overpriced and bad value for money.
A good tip: 2003 is said to be one of the best vintages for many years.

Beaujolais in the south of the Burgundy region, bordering the Rhone valley vineyards, a large area round Beaujeu produces a light red wine known as Beaujolais, paradoxically one of the most famous French wines.. This is a wine that does not usually keep for very many years, and over the last fifty years it has been successfully marketed as a "vin primeur", or young wine, to be drunk after just a few weeks of maturing. But the success of Beaujolais Nouveau - launched on the market each year on the third Thursday of November - has more to do with clever marketing than with any real quality of the wine.

Champagne, centered on the towns of Reims (Rheims) and Epernay, is the most northern of France's major vineyards. Unlike most of the best French wines, champagnes are blended in order to produce either non vintage champagnes (blended from different years) or vintage champagne, blended from wines of the same harvest. Consequently, since the quality of the champagne ultimately depends on a balance between the quality of the grapes and the skill of the blenders, Champagnes are also ranked and promoted by producer, not by any more finely delimited appellation . Possibly the most highly rated of blends is Krug; other well appreciated brands include Mumm, Bollinger and Heidsieck, not to mention the very well known brands of Moët & Chandon and Taittinger.
The distinct taste and purity of real champagne is certainly due to the chalky soil and the continental growing conditions that abound in the Champagne region. Several of the main French Champagne producers have set up branches and vineyards in California, but in spite of bringing over their best master-blenders, have never been able to achieve quite the same result.
Although many people imagine that Champagnes are all white, this is not quite true. Rosé champagnes also exist.

Note: Champagnes are by no means the only good sparkling wines from France; and while it is true to say that the top champagnes are inimitable, it is far from true to imagine that you have to buy a real Champagne if you want a good French sparkling wine. Some other excellent sparkling wines are produced in Burgundy (Crémant de Bourgogne), the Jura (Crémant du Jura) and the Loire valley (Vouvray and others) and other areas, using the same techniques (formerly called "méthode champenoise" - an expression now banned from use in other regions) and a similar but not identical mix of grape varieties, notably Chardonnay. Only the most experienced connaisseurs can distinguish a middling Champagne from a good crémant or Vouvray... yet non-Champagne sparkling wines sell at a fraction of the price of equivalent quality wines from Champagne.
Finally, please, the correct way to open a champagne cork is to ease it very gently out of the bottle. It is not to imitate a victorious Formula One racing driver and spray the contents of the bottle all over one's guests.


Cognac: / Charentes:The Cognac / Charentes region is a major wine area, though normal wine itself is not the main product of the region; the wine produced is mostly used for distilling into Cognac or other spirits, or else for the production of a delicious apéritif wine known as Pineau des Charentes. Some white wine is produced under the Vin de Pays label, and there are some vineyards that produce rosé or even red wines.

Côtes du RhoneCôtes du Rhône is one of those French wines that has become famous on account more as a result of the extent of the vineyard than of the quality of the wine. The Côtes du Rhône vineyard runs for over 200 kilometres down the Rhone valley from the south of Lyons to the Camargue. Within the region, there are a number of prestigious smaller areas such as Côte Rotie (in the northern part of the region), Hermitage or Chateauneuf du Pape (near Avignon). But the vast majority of Côtes du Rhône wine is sold under the generic appellations, "Côtes du Rhône" or "Côtes du Rhone Villages". This is a mediterranean wine, and generally speaking it is a wine blended from the different classic grape varieties of the South of France, including most notably Viognier, Syrah, and Grenache. Price-wise, Côtes du Rhône are often at the cheaper end of the "appellation contrôlée" range.


Jura.Possibly the most underrated of French white wines, Jura wines come from the south of the Franche-Comté region, the west-facing slopes of the Jura hills that look out across the wide Saône valley to the slopes of Burgundy on the other side. The best and most distinctive of Jura whites are made from the "Savagnin" grape variety, which is found only in this region, and gives the wine a delicious sherry-like taste. However, most Jura wines are blended from different varieties, and as in Alsace, the grape variety tends to be indicated on the label. the Jura vineyard also produces dark rosé wines, sometimes called reds, as well as the famous "yellow wine", Vin Jaune, an expensive apéritif wine not unlike Amontillado sherry, made exclusively from the Savagnin grape variety. The most prestigious appellation for Vin Jaune is Château Chalon. This wine is made from late harvested grapes, and then left to mature in casks for at least six years.


Languedoc The Languedoc region, covering the Mediterranean coastal plain west of the Rhone, produces a lot of fairly ordinary red wine, much of it marketed as VDQS or Vin de Pays. Languedoc is the largest French wine producing area in terms of volume. There are seven Appellations controlées in the area, the best-known of which is Corbières, and possibly the best average quality of which is Fitou. AOC wines account for some 10% of the region's production. Thanks to the long hours of summer sun, grapes ripen well and quickly in this region, which means that Languedoc wines are rich and full bodied, and often have high alcohol content. The wines of Roussillon are very similar, this area being particularly noted for its fortified wines such as Banyuls.


Loire ValleyAlthough there are some excellent wines produced in the large Loire Valley area, there are few Loire wines, whites, rosés or pale reds, that rank among the greatest French wines. "Anjou Rosé" is a good everyday rosé, and "Muscadet" and "Gros Plant" from near the mouth of the Loire are dry white wines that go excellently with seafood.. Another good appellation is "Pouilly Fumé" (not to be confused with "Pouilly Fuissé", a white Burgundy). The Loire valley, however, is also France's second largest producer of sparkling wines, after Champagne. The region also produces vin gris, "grey wine", which is actually a very pale rosé, being a white wine made from black grapes. Two of the more prestigious varieties are Vouvray and Saumur. While there are plenty of Loire wines that benefit from appellations controlées, others are sold under the VDQS label.

The Médoc, the region south of the Gironde estuary to the north west of Bordeaux, is the home of many of the most prestigious French wines. It is part of the larger Bordeaux area. Among the famous appellations produced in this area are Saint Estèphe, Margaux, Saint Julien and Pauillac. It was in 1855 that the wine producers of the Medoc region classified their 61 best wines according to a league table of "grands crus", ranking from "Premier Cru" to "Cinquième Cru". These grands crus are generally reputed to be the greatest of all French wines, and naturally their prices generally reflect this status. Obviously, if you buy an estate bottled wine from a chateau with grand cru status, (and of course they are all estate bottled), you can be pretty sure of getting a top quality wine. But take care! Even a grand cru wine can go off if it is not matured and cared for in the best conditions.

Other areas of south-west France Inland from the Bordeaux / Saint Emilion regions, there are a number of smaller less well-known wine growing areas, producing some quite good wines at very reasonable prices. These include Bergerac, Cahors, Gaillac and Marcillac (all Appellation Contrôlée wines) , or Côtes du Tarn or Vin de Pays du Lot.

Provence is a large wine-producing area, best-known for its rosé wines, the most famous of which are Côtes de Provence and Côteaux d'Aix. However, the Provence vineyard also produces red wines, including some very rich red wines from the Var, and "grey wine" from the Camargue area. The most famous of the area's white wines is Bandol, celebrated since the middle ages. Note that the Provence vineyard also includes the southern end of the Côtes du Rhone AOC area.

Venezia-Murano

Venezia-Murano

Murano was initially settled by the Romans then, from the sixth century, by people from Altinum and Oderzo. At first, the island prospered as a fishing port and through its production of salt. It was also a centre for trade through the port it controlled on Sant'Erasmo. From the eleventh century, it began to decline as islanders moved to Dorsoduro. It had a Grand Council, like that of Venice, but from the thirteenth century, Murano was ultimately governed by a podestà from Venice. Unlike the other islands in the Lagoon, Murano minted its own coins.

Early in the second millennium, hermits of the Camaldolese Order occupied one of the islands, seeking a place of solitude for their way of life. There they founded the Monastery of St. Michael (Italian: S. Michele di Murano). This monastery became a great center of learning and printing. The famous cartographer, Fra Mauro, whose maps were so crucial to the European exploration of the world, was a monk of this community. The monastery was suppressed in 1810 by French forces under Napoleon, in the course of their conquest of the Italian peninsula, and the monks were expelled in 1814. The grounds then became Venice's major cemetery.

In 1291, all the glassmakers in Venice were forced to move to Murano due to the risk of fires. In the following century, exports began, and the island became famous, initially for glass beads and mirrors. Aventurine glass was invented on the island, and for a while Murano was the main producer of glass in Europe. The island later became known for chandeliers. Although decline set in during the eighteenth century, glassmaking is still the island's main industry.

In the fifteenth century, the island became popular as a resort for Venetians, and palaces were built, but this later declined. The countryside of the island was known for its orchards and vegetable gardens until the nineteenth century, when more housing was built.

Attractions on the island include the Church of Santa Maria e San Donato (known for its twelfth century Byzantine mosaic pavement and said to house the bones of the dragon slain by Saint Donatus), the church of San Pietro Martire with the chapel of the Ballarin family built in 1506 and artworks by Giovanni Bellini, and the Palazzo da Mula. Glass-related attractions include the many glassworks, some Mediaeval and most open to the public, and the Murano Glass Museum, housed in the large Palazzo Giustinian.

History of Murano Glassmaking

Murano’s reputation as a center for glassmaking was born when the Venetian Republic, fearing fire and the destruction of the city’s mostly wooden buildings, ordered glassmakers to move their foundries to Murano in 1291. Murano glass is still associated with Venetian glass.

Murano's glassmakers were soon numbered among the island’s most prominent citizens. By the 14th century, glassmakers were allowed to wear swords, enjoyed immunity from prosecution by the Venetian state, and found their daughters married into Venice’s most affluent families. While benefiting from certain statutory privileges, glassmakers were forbidden to leave the Republic. However, many of them took the risks associated with migration and established glass furnaces in surrounding cities and farther afield - sometimes in England and the Netherlands.

Murano’s glassmakers held a monopoly on high-quality glassmaking for centuries, developing or refining many technologies including crystalline glass, enameled glass (smalto), glass with threads of gold (aventurine), multicolored glass (millefiori), milk glass (lattimo), and imitation gemstones made of glass. Today, the artisans of Murano still employ these centuries-old techniques, crafting everything from contemporary art glass and glass jewelry to Murano glass chandeliers and wine stoppers.

Today, Murano is home to the Museo del Vetro or Murano Glass Museum in the Palazzo Giustinian, which holds displays on the history of glassmaking as well as glass samples ranging from Egyptian times through the present day.

Some of the companies that own historical glass factories in Murano are among the most important brands of glass in the world. These companies include Venini, Ferro Murano, Barovier & Toso, Simone Cenedese and Seguso. Today, to protect the original Murano Glass art from foreign markets, the most famous Glass Factories of this island have a Trade mark that certifies products in glass made in the island of Murano.

The oldest Murano glass factory that is still active today is that of Pauly & C. – Compagnia Venezia Murano, founded in 1866.