Does Patina Guarantee Antiquity?

The Piroska Gulachi Amulet has been claimed to be an old magical item. It is claimed to date from around 1950's. As to most of bronze items, the age of Piroska Gulachi Amulet is identified from its patina. They say, the older a bronze item is, the more patina is noticable there. However, it's not easy for ordinary people like me to differ natural patina from the 'fake'(unnatural) one.

The Exploration

Now, let's explore the patina found in Piroska Gulachi Amulet. We can notice there are two kinds of patina. The green, common one, and the dark gray are thought to be the patina in the amulet. Forgive me for this little knowledge of patina. I wish you are willing to share your idea here. The patina doesn't cover the whole area. Most and distinctive patina can be found in the granma side. However, it's still occasional look. Very slight and thin patina can also be found in granpa side. Theirs are green and surrounded by brown stain.

patina in front of the granma's nose

patina below the granma's chin

patina around the granma's lips

patina at granma's cheek

thin green patina and brown patina in the middle

patina below 'A' letter at granpa side surrounded by gray patina

Some dark gray 'patina' is also noticeable. Well, I call it patina although most people will disagree. I just want to consider it as the sign of aging and not of dirt.

dark gray 'patina', the sign of aging

dark gray 'patina', the sign of aging

Patina 'shows' the age of a bronze item. Sometimes the color can tell the age. For the reference, you can check out this website. Patina can also be artificial. It is made that way in order to beautify an artwork with an aging impression. 

Does Piroska Gulachi Amulet have fake patina? Is it REALLY old enough? If you doubt the antiquity of Piroska Gulachi Amulet due to its limited or doubtful patina, you need to remember the process of natural patina.

The Process of Patination

According to Wikipedia, the green patina that forms naturally on copper and bronze, sometimes called verdigris, usually consists of a mixture of chlorides, sulphides and carbonates (copper carbonate, copper chloride or copper sulphide). Atacamite is another name for the patina compounds. Verdigris can be produced on copper by the application of vinegar (acetic acid). Such a verdigris is water-soluble and will not last on the outside of a building like a "true" patina. It is usually used as pigment. One example of a patina is a green surface texture created by slow chemical alteration of copper, producing a basic carbonate. It can form on pure copper objects as well as alloys which contain copper, such as bronze or brass. A patina layer takes many years to develop under natural weathering. A copper roof will patinate faster than a copper facade, due to the longer dwell time of water on the surface. Buildings in coastal / marine locations will weather and develop a patina layer faster than ones in inland areas. For example, a new copper facade in central London will most likely not develop a "typical" green patina until after 50 years.

We can conclude that the process of patina can VARY from one place to another, one acidic process to another,  and one 'habitat' to another. Thus, patina doesn't guarantee the age. It can be made by higher technology, or inhibited by the lack of patination factors such as humidity, oxidation and acidic contact. If the bronze item is taken care very well (away from humidity, oxidation and acidic contact), the patination can be inhibited. Does this taking care make the item less antique? Yes, if you think patination is the lord of aging in bronze.


Why does the patina lie more on the side and the corner along the line of granma drawing? It's probably the side of picture was put on the humid or salty cloth. Then it wasn't cleaned thoroughly. the granpa side was cleaned frequently. Or else, the second scenario, the granma side was exposed to humid room with salt atmosphere, probably near the beach, whereas the other side is facing down and protected by dry cloth or something.

This was probably how the amulet cleaned

Piroska Gulachi Amulet Antiquity

Despite of the age, the Piroska Gulachi is STILL an antique item because it is not reproduce-able. This is an antiquity which is suitable for 'beyond-crowds' or 'out-of-the-flock' collector. 

Implied Message through The Two Faces

In the previous post, we have learned that the two pictures on Piroska Gulachi Amulet symbolizes the unity in polarity. Now, we continue our journey of Piroska Gulachi Amulet to the next stop, the implied message through the two faces. Here, we shall explore more about the details on how the creator implied his idea through the pictures. Thus, the pictures serve as a means of  communication from the creator to the spectators of his masterpiece.

Side Face

The Piroska Gulachi Amulet is unlike the other amulets that expose symbols of animals,  star constellation, saints, deities, holy names, or even the dreaded ones. Now, why does Piroska Gulachi Amulet shows faces? Face is the part of human body that can tell the true feeling. This is the part that also tells the beauty. Face is the true color of human essence. Humanity is the prominent idea represented in Piroska Gulachi Amulet.

One sided face of the big-nosed granpa

The second question is: "Why are the side faces chosen by the creator instead of the 'facing-to-me' face?" The side face wasn't meant to imply direct communication to the spectators. Yet, it imply a message to the spectators. The message is the one that was mentioned in the earlier post, the unity in polarity. Only by the side face, we can see the direction of attention. If it were facing to us, then, the idea of facing left and right - which are actually facing at the same direction - would be nullified.

One sided face of the long-forehead granma

It's the genius of the creator that by choosing the side face, he could still include the essential parts of the face that can tell the nature of a human. The side face still includes a forehead, eye, nose, lips, ear and chin. These elements of a face can tell the characters of a man and of  a woman depicted on the amulet.

Choleric and Melancholic Personalities

The man (big-nosed granpa) and the woman (long-forehead granma) characters in the amulet suggest a contradictory idea. It supports the existing duality message in the amulet. Not only viewed from the gender, they are also viewed from the personality traits. Both of them have contradictory personality traits.

Based on the idea proposed by Florence Littauer, there are 4 types of personality. They are sanguine, phlegmatic, melancholic and choleric. In this amulet, I have noticed two of the four types. They are choleric and phlegmatic. Choleric belongs to the man and the phlegmatic belongs to the woman.
 
Choleric personality makes a person has leadership quality. He is dominant, aggressive, discipline, and controlling. The melancholic personality is more withdrawn, sensitive, analytical, introvert, calm, deep, and aesthetic. Melancholic people tend to follow instead of leading. They prefer to support and the choleric really need these people to 'decorate and beautify' their leadership. Choleric have to be very careful about the sensitive feeling of these melancholic if they want to benefit from the melancholic.

How can I conclude that? We agree about the stern face of the granpa.  The eye is prominent and looks staring. The eyebrow - although indistinct - descending to the front face. We can even draw the straight line from the forehead to the chin.

Prominent staring eye and the descending eyebrow

 The man's head looks smaller than the lady. This way allows the head includes the ear. In my opinion, a great leader must have active listening. By active listening, a great leader looks humble and absorbs information from others to consider wisely when he wants to make decision. This is why the ear is an important part for choleric character as depicted in the amulet.

The ear for active listening is important for a great leader.

Melancholic look can be found in the granma picture. The forehead is longer and very prominent. It makes the eye drawn back. The eye looks very calm and not staring like granpa's. Part of this face covers half of the amulet. Maybe, the creator wanted to describe the beauty dominantly as this is a melancholic trait. The eyebrow is clear to signify the beauty of a woman. Beauty is identical to melancholic personality.

The eye is withdrawn and calm. The eyebrow is clear to signify the beauty of a woman.

The face is covering the half of the amulet to emphasize the beauty.

 Choleric Is to Fire as Melancholic Is to Water

The reason why I choose to interpret the faces as melancholic and choleric is because of the contradictory elemental they relate. Choleric is ruled by the spirit of fire whereas melancholic is ruled by the elemental spirit of water. We also relate fire and water with thanatos and libido respectively. Choleric and melancholic also relate to death/destruction/chaos and life/creation respectively. In conclusion, the distinct contradiction is chosen to be the most suitable way of interpreting the pictures.

The Two Faces

The Piroska Gulachi Amulet holds its own mystery. The only person who really knew exactly what the amulet meant was the creator himself. Since the creator is still unknown and untraceable, I attempt to interpret the amulet based on my little knowledge about occultism and symbolism. However, your willingness to contribute ideas is highly appreciated and expected.

The mystery trip begins from the picture interpretation. If you look at the picture of both sides, you will think that the 'Big-nosed Granpa' and the 'Long-forehead Granma' are facing to each other. The Granpa stares at the right hand and the Grandma looks peacefully at the left hand.

The 'Big-nosed Grandpa' stares at the right hand.

The 'Long-forehead Granma' looks peacefully at the left hand.

However, if you think in the 3 dimensions, they are actually looking at the same direction. I tried to combine both sides above to see this idea. The funny thing is they are at the same portion of position if we draw a line through the front-face.

Looking at the same direction. They begin more or less at the same half of the amulet.

So, what does this fact suggest? Reaching out from the philosophical point of view, I say that it suggests an idea of 'similariy in difference','one in two', or 'unity in polarity.' This is an important idea in occult because this universe keeps its balance of the duality to continue its existence. Ordinary people will see only black OR white. But occultists will only see them as colors. Ordinary people will see good and evil. Occultists will see them only as powers. The wiser you are, the more you don't understand. Wise people cannot see evil as evil nor good as good. Evil is just the beginning of becoming good and good is the chance to corrupt and to be stained. Creation and destruction are just cycling. Creation is heading to destruction and destruction leads to creation. Thus, don't you ever fear for destruction, bad luck, loss, injury, sickness, disease or the same. They will turn out to be the other side. It's just like this amulet. How do you flip it? As long as you refuse a misleading belief that God is the cause of those unlucky things. I can guarantee this. As the conclusion, the Piroska Gulachi Amulet,whose the two different faces on the two sides seems like facing at different direction, actually gives an idea of the secret of universe, the everlasting balancing process of polarity. 

Any diffrent idea? Please care to share with us. Send me message or comment.

Now, I Know!

The Unveiled Mystery of The Making

Previously, I wondered how this amulet was made. After high frequent searches for the answer, I finally found the answer from an expert. 

The Piroska Gulachi Amulet was made by applying lost-wax casting well-known as cire perdue (from the Latin cera perduta) . This is a technique done by creating a model of wax. In this case, the model is EXACTLY like the amulet in the form of wax. That's why we can see the fingerprints on it. It IS the fingerprint of the creator. Two gates (channels) are added to vent the wax. Next, the channeled model is put into a kind of tube. Plaster is poured into the tube to cover the wax model. After that, the tube is vacuumed so that great pressure can be  applied to the model and thus the plaster can cover the whole detail of the model even the finest ones. The plaster is then left dried and hardened. The plaster container (called as sprue) is heated so that the wax is liquefied and flows out of the plaster through the channels. The liquid bronze is poured into the space in the plaster through the channel while centrifuging it so that the liquid bronze is pushed to cover the whole detail in the model space. Later, the plaster is dipped into cold water and destroyed. At last, the bronze is left there and the creator cuts and grinds the channel.

For further information about this lost-wax casting, you can google it. Or else, check it out from youtube with Joe Silvera.

The good news is, Piroska Gulachi Amulet is one of a kind item. No one can duplicate it. The cast was destroyed. Unlike the other kind of historical art work, Piroska Gulachi Amulet cannot be reproduced and thus it never has any replica. Considering some holes with sharp fringe that unable latex to re-mold, no one can remodel the wax to cast.

Despite of the exposure on 'how it was made'- mystery, the greater mystery still remains. I shall continue my investigation on this masterpiece about the basic and fundamental question: 'why.' 

Why did the creator make it? Why did the creator make it in such a way (untidy)? Why did the creator sculpt such kind of pictures (not a kind of mystical symbol)? And if I'm lucky enough, I will find some people who can help me to answer the question 'who','where,' and 'when.' This is the only reason why I publish this blog.

The Origin of Piroska Gulachi Amulet

The Piroska Gulachi Amulet originated from a gypsy witch named Piroska Gulachi. She got this amulet from an unidentified creator who was only mentioned as a warlock. Her niece, Trisha, generously traded down this amulet to me.

The name "Piroska Gulachi Amulet" has been entiled after I received this amulet to honor the  earliest owner. In fact, Trisha got the information about this amulet from the private journal of her aunt, Piroska. There was nothing mentioned about the name of the amulet. It had been named as "Amulet of the Gods." My consideration of renaming it is because this unique amulet deserves a unique name. It holds a secretive mystery from its physical appearance. Surely it was made in a very special technique that is still a mystery for me. That is why I need to rename it with unique name that everyone should remember as it grows outstandingly famous.

Piroska Gulachi

Piroska Gulachi was born and raised in Hungary. She practiced her Psychic Gift and was guided by her Elders, who also skilled her in the craft of Spell Conjuring, Consecrating Treasures and Potions. She practiced Witchcraft before they invented the word Wiccan. She moved back to the states to spend time with Family. Upon moving here she formed a Coven, and was called upon as High Priestess. She prided herself with her vast knowledge of The Metaphysical, Paranormal, Reiki, Summoning Spirits and her Psychic Abilities. She traveled extensively since she was young and composed an eclectic collection of amazing artifacts from all over the world. This included haunted, enchanted dolls and statues, religious Artifacts, and Wiccan / Pagan Altar Tools. Her trips usually ended up at a town or location that was considered Haunted or where Paranormal Activity was reported. Gifted with her abilities, her trips would provide us with amazing stories & artifacts. She was an avid writer & documented all her trips & her treasures. She was dedicated and well versed in the Wicca Ways and spent her last years with her Coven Casting Spells.< pasted from ebay listing of Trisha's>

The Piroska Gulachi Amulet

The Piroska Gulachi Amulet serves as a protection tool in the invocation ritual. Invocation ritual is a way of calling spirits from the other world or dimension. The spirits are usually of the immortal ones (fairy, djinn, elementals, angels or demons). Calling these entities can be extremely dangerous if you don't have any protection. The protection can be a circle with holy names or seals, dagger, swords, staff, wands, sculptures, or an amulet. Mostly magician uses protection circle. This amulet enhances the protection so that the spirit will not do any harm to you. It was mentioned by Trisha in her listing that it can veil or hide the holder from the spirits. When we open the door of the other world, the spirits might be hardly returned to their origin. Thus, we need this protection to keep ourselves safe during this trouble. A skillful mage will clean the ritual site from any entities called from the other world.

The Piroska Gulachi Amulet was made in 1950's thus it has some patina on it. It is made of bronze. It has double sided pictures of men (I guess Europeans). They have big noses. Clearly, this amulet was not made by molding. Thus, there IS NO other amulets exactly like this. It cannot be reproduced. It seemed that the creator poured the liquid hot bronze to sculpt this amulet. If you pay careful attention, there are some tracks that look like finger/palm print on the amulet. How could they be at the hot liquid bronze? The very fine -allegedly- finger/palm print is doubtfully made by molding technique. This is what made it unique. The wizard sculptor must have paid very tremendous dedication towards his masterpiece.  Can you imagine how it was like when sculpting two sided item like this at  the high temperature of liquid bronze? It takes 950 degrees C (1750 F) to melt the bronze.

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