Programme and abstracts of lectures and posters

Transcription

PROGRAMME AND ABSTRACTS
PROGRAMME ET RESUMÉS
PROGRAMM UND ZUSAMMENFASSUNGEN
ADDRESS AND PHONE NUMBERS · ADRESSE ET NUMÉROS DE
TÉLÉPHONE · ADRESSE UND TELEFONNUMMERN
Congress Office:
AIHV 20 – Vitrocentre Romont–
Au Château
1680 Romont – Switzerland
Tel. +41 26 652 18 34, Fax +41 26 652 49 17
Mobile phone: +41 41 77 401 17 84 (Anne de Pury-Gysel); +41 76 267 37 17 (Sophie Wolf)
E-mail: [email protected]
Website: www.aihv2015.ch
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PROGRAMME AND ABSTRACTS
PROGRAMME ET RESUMÉS
PROGRAMM UND ZUSAMMENFASSUNGEN
Edited by the Vitrocentre Romont
Text revision: Elisa Ambrosio, Anne de Pury-Gysel, Patricia Sulser, Sophie Wolf
Printing: Imprimerie Saint-Paul, Fribourg, Switzerland
Publisher: AIHV 2015, Vitrocentre Romont
Print run: 280 copies
Romont & Fribourg 2015
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CONTENTS ·TABLE DES MATIÈRES · INHALTSVERZEICHNIS
Foreword
5
Préface
6
Vorwort
7
Scientific Committee · Comité scientifique · Wissenschaftliches Komitee
8
Organising Committee · Comité d’organisation · Organisationskomitee
8
AIHV Committee 2015 · AIHV Comité 2015 · AIHV Komitee 2015
9
Organisers · Organisateurs · Organisatoren
10
Partners · Partenaires · Partner
10
Venues · Lieux · Veranstaltungsorte
11
Registration · Enregistrement · Anmeldung
16
Lecture programme · Programme des conférences · Vortragsprogramm
17
Poster list · Liste des posters · Posterliste
23
Abstracts · Résumés · Zusammenfassungen
31
Post conference tours
203
Excursions « Post-Congrès »
204
“Post-Conference“ Exkursionen
205
List of participants · Liste des participant(e)s · Liste der Teilnehmer/-innen
207
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FOREWORD
On behalf of the Organizing Committee, I would like to warmly welcome you to the 20th Congress
of the International Association for the History of Glass, which is taking place on 7–11 September
2015. We wish you an enjoyable and interesting conference. The AIHV congress is being held in
Switzerland for the second time, the first occasion being in Basel in 1988. We trust that the
programme on offer this time will be as exciting as that in Basel.
Participants can expect a comprehensive conference programme that is organized into three parallel
sessions: approximately 100 papers have been registered and around 80 posters will be on display on
8 and 10 September. Wednesday afternoon will be devoted to an excursion to the medieval city of
Romont. We will visit the Vitromusée Romont and the exhibition Reflets de Venise, which has been
specially designed for the occasion. It will also be possible to watch Bill Gudenrath from the Corning
Museum of Glass (NY) blowing glass ‘à la façon de Venise’. On Monday evening (7 September), an
exhibition entitled Un dernier verre? (‘One last glass?’) on Roman and early medieval glass awaits us
at the Service archéologique de l’Etat de Fribourg (SAEF).
The excursion on Saturday 12 September (optional) takes us to the Laténium Park and Museum of
Archaeology in Neuchâtel, which houses impressive collections of prehistoric artifacts as well as glass
from the region and from the Mediterranean area. In the afternoon we will visit the Roman Museum
in Avenches, where numerous important glass finds from Avenches and elsewhere in Switzerland
have been brought together for another exhibition – Fragile. Verres romains – that has also been
specifically created to coincide with the conference. On Sunday we will go to the Musée Ariana in
Geneva and the Mudac (Musée de design et d’arts appliqués contemporains) in Lausanne, where
further extensive glass collections and special exhibitions await us.
A book table will again be available during the congress for displaying and selling current
publications related to glass.
We would also like to draw your attention to the fact that the ICOM GLASS Annual Meeting is
being held at Fribourg University on Tuesday evening, 8 September 2015; and we look forward to
further and closer cooperation with ICOM.
We are highly indebted to the Organising Committee as well as the numerous institutions involved
and our partners and sponsors – above all the Swiss Academy of Humanities and Social Sciences.
Special thanks go also to the many people behind the scenes who have provided valuable advice and
assistance. Without their tireless efforts and the generous financial support of the sponsors the
congress could not have been prepared in its current form.
Sylvia Fünfschilling
President of the AIHV
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PRÉFACE
Au nom du comité d’organisation, je souhaite la bienvenue la plus cordiale à tous nos collègues
présents au 20e Congrès de l’Association Internationale pour l’Histoire du Verre du 7 au 11
septembre 2015 à Fribourg et à Romont. C’est la deuxième fois que le congrès AIHV est organisé en
Suisse ; en 1988, c’était la ville de Bâle qui accueillait le 11ème congrès. Cette fois encore, nous nous
sommes efforcés de situer les communications, débats et échanges dans le cadre d’un programme
festif, culturel et explorateur de qualité.
Le programme proposé, très riche, est réparti en trois sessions parallèles: 100 exposés ont été prévus
dans le cadre des communications orales, et près de 80 autres communications sont proposées sous la
forme de posters, exposés et discutés en début de soirée le mardi 8 et le jeudi 10 septembre. L’aprèsmidi du mercredi 11 septembre est dédié à Romont et à son Vitromusée. Nous nous déplacerons
pour visiter la vieille ville de Romont avec son château et pour voir l’exposition Reflets de Venise ,
exposition qui a été conçue spécialement pour la venue du 20e congrès AIHV. Nous assisterons
également au soufflage de verre « à la façon de Venise » par Bill Gudenrath du Corning Museum of
Glass (N.Y.). Le lundi 6 septembre, les participants du congrès sont attendus au Service
archéologique de l’Etat de Fribourg pour visiter l’exposition Un dernier verre ? avec des verres
d’époque romaine et du haut Moyen Âge de la région de Fribourg.
L’excursion facultative du samedi 12 septembre nous mènera d’abord au musée du Laténium, près de
Neuchâtel, qui propose, en plus de ses très riches collections préhistoriques, des verres de la région et
de la Méditerranée. L’après-midi de ce même samedi sera consacrée à la visite du Musée romain
d’Avenches. Là encore, la tenue du congrès AIHV a suscité la mise sur pied d’une exposition
temporaire, sous le titre Fragile. Verres romains. Y sont exposés de nombreux verres découverts à
Avenches et ailleurs en Suisse. Le dimanche 13 septembre, ce sont le Musée Ariana à Genève et le
Mudac à Lausanne qui sont au programme. Les deux institutions disposent de riches collections de
verre et montent des expositions temporaires.
Pour la durée du congrès, une table est mise à disposition pour y exposer de nouvelles publications
sur le verre, destinées à la consultation, à la commande ou à la vente.
Nous voudrions aussi vous rendre attentifs au fait que de la section ICOM GLASS tiendra son
assemblée générale le mardi 8 septembre 2015 à l’Université de Fribourg. Nous sommes ravis de la
présence de cette section et nous y voyons un signe de l’intensification de la collaboration entre nos
organismes.
Toute ma gratitude va au Comité d’organisation, puis aux nombreuses institutions qui ont collaboré
avec nous dans la mise sur pied de ce projet et, enfin et surtout, aux partenaires et sponsors qui en
ont permis la réalisation, tout particulièrement à l’Académie Suisse des sciences humaines et sociales.
Nous remercions aussi, et non moins chaleureusement, toutes les personnes qui nous ont soutenus
pendant la période de la préparation du congrès et qui, dans les coulisses, continuent à œuvrer pour
que la tenue de ce congrès se déroule à la satisfaction de tous ses participants. Ce sont, je ne
l’oublierai pas, ces engagements forts et durables des uns et des autres ainsi que le soutien financier
généreux de nos sponsors qui auront permis la réalisation de ce 20e congrès.
Présidente de l’AIHV
6
VORWORT
Das Organisationskomitee möchte alle Kolleginnen und Kollegen, die sich zum 20. Kongress der
Internationalen Vereinigung für die Geschichte des Glases vom 7.–11. September 2015 in Fribourg
und Romont treffen, ganz herzlich begrüssen und Ihnen allen eine interessante Tagung wünschen.
Der Kongress findet zum zweiten Mal in der Schweiz statt, 1988 lud die Stadt Basel zum 11.
Kongress der AIHV ein. Wir hoffen, den Teilnehmenden auch dieses Mal ein spannendes
Programm bieten zu können.
Die Teilnehmenden erwartet ein reichhaltiges Tagungsprogramm in drei parallelen Sektionen: 100
Vorträge sind angemeldet und am Dienstag- und Donnerstagabend (8. und 10.9.2015) werden rund
80 Poster gezeigt. Der Mittwochnachmittag ist Romont gewidmet: Wir machen einen Ausflug in
die mittelalterliche Stadt und Burg und besuchen das Vitromusée Romont mit der eigens für diesen
Anlass konzipierten Ausstellung Reflets de Venise. Bill Gudenrath vom Corning Museum of Glass
wird für uns Glas „à la façon de Venise“ blasen. Am Montagabend erwartet uns das Amt für
Archäologie des Kantons Freiburg mit einer Ausstellung Ein letztes Glas? zu römischem und
frühmittelalterlichem Glas der Region.
Die fakultative Exkursion am Samstag führt uns ins Latenium, Park und Archäologiemuseum in
Hauterive bei Neuchätel mit Gläsern aus der Region und dem Mittelmeerraum und ins
Römermuseum in Avenches, wo zahlreiche bedeutende Glasfunde der römischen Schweiz in einer
ebenfalls extra konzipierten Ausstellung – Fragile. Verres romains – zusammengetragen wurden. Am
Sonntag geht die Fahrt nach Genf ins Musée Ariana und nach Lausanne ins Mudac, auch hier
erwarten uns reichhaltige Glassammlungen und Sonderausstellungen.
Während des Kongresses wird wiederum ein Büchertisch bereitstehen, auf dem aktuelle
Publikationen zum Thema Glas ausgelegt und verkauft oder angezeigt werden können.
Wir möchten auch darauf aufmerksam machen, dass am Dienstagabend, 8.9.2015 in den Räumen
der Universität Freiburg die Generalversammlung der Sektion ICOM GLASS stattfindet, wir
freuen uns auf die vertiefte Zusammenarbeit.
Meinen ganz herzlichen Dank möchte ich dem Organisationskomitee sowie den zahlreichen
involvierten Institutionen, Partnern und Sponsoren aussprechen, die uns bei der Organisaton und
Durchführung der Tagung unterstützen. Ohne die unermüdliche Arbeit aller und die grosszügige
Unterstützung der Sponsoren, insbesondere der Schweizerischen Akademie der Geistes- und
Sozialwissenschaften, hätte die Tagung nicht in dieser Form stattfinden können. Ein grosses
Dankeschön geht auch an all die helfenden Händen, die im Hintergrund die Fäden der
Organisation der Tagung ziehen und die uns mit Rat und Tat beigestanden haben.
Präsidentin der AIHV
7
SCIENTIFIC COMMITTEE · COMITÉ SCIENTIFIQUE ·
WISSENSCHAFTLICHES KOMITEE
Session · Sektion A
•
•
•
•
•
•
•
•
Anastassios Antonaras, Dr, Museum of Byzantine Culture, Thessaloniki, Greece
Véronique Dasen, Prof. Dr, Université de Fribourg, Switzerland
Maria Grazia Diani, Dr, Regione Lombardia, Milano, Italy
Anna Barbara Follmann, Dr, prev. Rheinisches Landesmuseum, Bonn, Germany
Danièle Foy, Dr, CNRS, Aix-en-Provence, France
Sylvia Fünfschilling, Dr, Augusta Raurica, Augst, Switzerland
Marie-Dominique Nenna, Dr, CNRS, Alexandrie, Egypt
Jennifer Price, Prof. em. Dr, University of Durham, United Kingdom
Session · Sektion B
•
•
•
•
•
•
•
Michele Bacci, Prof. Dr, Université de Fribourg, Switzerland
Françoise Barbe, Dr, Musée du Louvre, Paris, France
Erwin Baumgartner, lic. phil. I, Basel, Switzerland
Ingeborg Krueger, Dr, prev. Rheinisches Landesmuseum, Bonn, Germany
Reino Liefkes, Dr, Victoria & Albert Museum, London, United Kingdom
Helmut Ricke, Dr, prev. Glasmuseum Hentrich (Museum Kunstpalast), Düsseldorf, Germany
Stefan Trümpler, Dr, Vitrocentre Romont, Switzerland
Session · Sektion C
•
•
•
•
Ian Freestone, Prof. Dr, University of London, United Kingdom
Caroline Jackson, Prof. Dr, University of Sheffield, United Kingdom
Vincent Serneels, Prof. Dr, Université de Fribourg, Switzerland
Sophie Wolf, Dr, Vitrocentre Romont, Switzerland
ORGANISING COMMITTEE · COMITÉ D’ORGANISATION ·
ORGANISATIONSKOMITEE
•
•
•
•
•
Anne de Pury-Gysel, Dr, Basel, Switzerland, president of the Organising Committee
Erwin Baumgartner, lic. phil. I, Basel, Switzerland
Sylvia Fünfschilling, Dr, Augusta Raurica, Augst, Switzerland
Stefan Trümpler, Dr, Vitrocentre Romont, Switzerland
Sophie Wolf, Dr, Vitrocentre Romont, Switzerland
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AIHV COMMITTEE 2015 · AIHV COMITÉ 2015 · AIHV KOMITEE 2015
Executive Committee · Comité exécutif · Exekutivkomitee
President
Sylvia Fünfschilling, Switzerland
Vice-President
Irena Lazar, Slovenia
General Secretary
Anastassios Antonaras, Greece
Treasurer
Huib Tijssens, The Netherlands
Board Members
Maria Grazia Diani, Italy
Karol B. Wight, USA
Elected members of the Executive Committee · Membres du comité exécutif ·
Mitglieder des Exekutivkomitees
Erwin Baumgartner, Switzerland
Caroline Jackson, United Kingdom
Fatma Marii, Jordan
Marie-Dominique Nenna, Egypt
Lisa Pilosi, USA
E. Marianne Stern, The Netherlands
Yoko Shindo Takahashi, Japan
Elected members of National Committees
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ORGANISERS · ORGANISATEURS · ORGANISATOREN
Vitrocentre Romont
www.vitrocentre.ch
Université de Fribourg
www.unifr.ch
PARTNERS · PARTENAIRES · PARTNER
Archéologie Suisse · Archäologie Schweiz (AS)
Association pour l'Archéologie Romaine en Suisse · Arbeitsgemeinschaft für die provinzial-römische
Forschung in der Schweiz (ARS)
Association suisse d'archéologie classique · Schweizer Arbeitsgemeinschaft für klassische Archäologie
(ASAC · SAKA)
Augusta Raurica
Aventicum · Site et Musée romains Avenches
Canton of Fribourg · Etat de Fribourg · Staat Freiburg
City of Fribourg · Ville de Fribourg · Stadt Freiburg
City of Romont · Ville de Romont · Gemeinde Romont
Corpus Vitrearum Switzerland
Fribourg Tourisme
Service Archéologique de l'État de Fribourg · Amt für Archäologie des Staats Freiburg (SAEF ·
AAFR)
Swiss Academy of Humanities and Social Sciences · Académie suisse des sciences humaines et
sociales · Schweizerische Akademie der Geistes- und Sozialwissenschaften (SAHS · ASSH · SAGW)
University of Fribourg · Université de Fribourg · Universität Freiburg
Villars Maître Chocolatier Fribourg
Vitrocentre Romont
Vitromusée Romont
Schweizer Arbeitsgemeinschaft für Klassische Archäologie
Association suisse d'archéologie classique
Associazione svizzera di archeologia classica
10
VENUES · LIEUX · VERANSTALTUNGSORTE
Fribourg
Map of Fribourg with main station, University of Fribourg Miséricorde and the Archaeological
Service of the Canton of Fribourg (SAEF)
11
University of Fribourg Miséricorde
12
13
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PROGRAMME · PROGRAMME · PROGRAMM
15
REGISTRATION · ENREGISTREMENT · ANMELDUNG
Sunday, 6 September 2015
15:0017:00
Fribourg University Miséricorde, Hall d’honneur · Ehrenhalle (Main entrance)
Monday, 7 September 2015
8:0009:30
Fribourg University Miséricorde, Hall d’honneur · Ehrenhalle (Main entrance)
16
LECTURE PROGRAMME · PROGRAMME DES CONFÉRENCES ·
VORTRAGSPROGRAMM
Monday, 7 September 2015
8:3009:30
09:3010:15
10:3011:00
Coffee and Registration at Fribourg University Miséricorde, Hall d’honneur · Ehrenhalle (Main entrance)
Welcome and Official opening of the congress, Lecture Hall B
Dr Sylvia Fünfschilling, President of the AIHV
Dr Markus Zürcher, General secretary of the Swiss Academy of Humanities and Social Sciences
Prof. Dr Michele Bacci, University of Fribourg, Département des sciences historiques
Dr Anne de Pury-Gysel, President of the Organising Committee of the 20th AIHV-Congress
Session A
Lecture Hall C
Session B
Lecture Hall B
Keynote:
NENNA, Marie-Dominique
L'étude du verre antique. État de la recherche
GORIN-ROSEN, Yael
Glass of knights, merchants and laymen –
Crusader glass from the Holy Land
DUCKWORTH, Chloe, GOVANTES
EDWARDS, David. J., CORDOBA DE LA
LLAVE, Ricardo, WELHAM, Kate, FABER,
Edward
Glass in medieval Spain: a long-term perspective
on knowledge transfer
GREIFF, Susanne, HARTMANN, Sonngard,
GEISWEID, Jutta
Scientific investigation of medieval enamelled
glass vessels from Mainz and Fulda (Germany)
VALIULINA, Svetlana
Glaserzeugnisse Bolgars im System der
mittelalterlichen Glasherstellung
11:0011:30
11:3012:00
12:0012:30
12:3014:00
14:0014:30
14:3015:00
15:0015:30
15:3016:00
16:0016:30
JACKSON, Caroline, NICHOLSON, Paul
Misty blue? A Bronze Age glass ingot from the
Garstang Museum of Archaeology, University of
Liverpool
ROLLAND, Joëlle, GRATUZE, Bernard,
FONTAINE, Souen
Relationships between cobalt blue raw glass from
the Sanguinaires Island and Lequin 2 shipwrecks
and Celtic glass productions
Lunch break
NAKAI, Izumi, ABE, Yoshinari,
MATSUMURA, Kimiyoshi
Analysis of glass artifacts found in 16th century
BC layer from Büklükale, Turkey – One of the
oldest glass vessels in the Near East
NIKITA, Kalliopi, CHENERY, Simon,
EVANS, Jane
Plant-ash glass technology in the Palace of
Mycenaean Thebes: tradition, innovation and
exchange
VENCLOVÁ, Natalie
Hellenistic mosaic glass vessels in Celtic Europe
KUZINA, Inna, ZELENTSOVA, Olga,
ZEIFER, Vladimir, YANISHEVSKY, Boris
Medieval Middle Eastern vessels in the cities of
north-eastern Rus’
FONTAINE-HODIAMONT, Chantal,
HENROTAY, Denis, WOUTERS Helena
Indices de travail du verre rouge dans l’atelier
médiéval d’Anlier, fin XIVe siècle (Belgique)
CANAV ÖZGÜMÜS, Üzlifat, KANYAK, Serra
Glass from Enez (Ancient Ainos)
Coffee
LANKTON, James W., GRATUZE, Bernard,
BOPEARACHCHI, Osmund, DUSSUBIEUX,
Laure
Hellenistic glass production at Bara Sheikhan,
Pakistan
17
MEDICI, Teresa, COUTINHO, Inês, ALVES,
Luis. C., GRATUZE, Bernard, VILARIGUES,
Márcia
Looking through Late Medieval and Early
Modern glass in Portugal
Monday, 7 September 2015 (continued)
Session A, Lecture Hall C
16:3017:00
17:0017:30
18:3020:00
Session B, Lecture Hall B
IGNATIADOU, Despina
KRUEGER, Ingeborg
Gold in glass
Zu Kelchen und anderen Altargeräten aus Glas
COSYNS, Peter, DHAEZE, Wouter,
DYSELINCK, Tina, VANHOUTTE, Sofie
The glass from Oudenburg (Belgium). The vicus
and the fort
Service Archéologique de’Etat de Fribourg (SAEF):
Visit of the temporary exhibition ‚A Last Glass? The Archaeology of a material’. Welcome by Carmen
Buchillier, Head of SAEF. Followed by aperitif in the restaurant L’Epée.
Tuesday, 8 September 2015
09:0009:30
09:3010:00
10:0010:30
10:3011:00
11:0011:30
11:3012:00
12:0012:30
Session A
Lecture Hall C
Session B
Lecture Hall B
WEIDMANN, Denis
Une mosaïque de verre à thème chrétien
(Ve s.), du site monastique copte des Kellia
(Basse-Egypte)
STERN, E. Marianne
Blown mosaic glass of the Roman period:
technical observations and experiments
GAI, Sveva
Zerbrochene Schalen, Kelche und Pokale: Der
archäologische Beitrag zur Verbreitung der
Gläser à la façon de Venise in Westfalen
BERTHON, Amélie, CAILLOT, Isabelle,
DUCAT, Kateline
La consommation du verre à Paris entre le XIVe
et le XIXe siècle : des données récentes
TOPIĆ, Nikolina
Stem goblets of late- to post-medieval times from
archaeological excavations in Dubrovnik
COTTAM, Sally, PRICE, Jennifer
Two polychrome mosaic bowls from a rich 2nd
century AD cremation burial at Kelshall,
Hertfordshire, southern England
Coffee
KLEIN, Michael Johannes
Römische Tintenfässer Isings 77 - eine seltene
Form der nordwestlichen Provinzen
BRÜDERLE, Nicole
On the question of provenance of historical glass
objects – The collections of the Herzog Anton
Ulrich-Museum in Braunschweig and the
Rijksmuseum in Amsterdam
THORNTON, Dora
Glass in the Waddesdon Bequest in the British
Museum
RODRIGUES, Alexandra, MARTINHO,
Bruno, BERGER, Frederik, FRANCO, Anísio,
VILARIGUES, Márcia
The 'Glass Room' of the National Palace of
Necessidades in Lisbon
STAMENKOVIĆ, Sonja, GREIFF, Susanne,
HARTMANN, Sonngard
Roman glass from Mala Kopašnica (Serbia)
McCALL, Bernadette, DUSTING, Amanda,
McRAE, Iona
Glass fragments from Qaleh Kali, an
Achaemenid site in south-western Iran
12:3014:00
14:0014:30
Lunch break
14:3015:00
ABE, Yoshinari, SHIKAKU, Ryuji, NAKAI,
Izumi
Roman and Sassanid glass vessels travelled to
ancient Japan
KOTERA, Chizuko
Glass exchange and people in ancient East Asia
18
BARBE, Françoise, FILIPPONI, Fernando
Le projet CRISTALLO sur les verres émaillés
vénitiens de la Renaissance. Premières
observations sur la provenance des pièces
collectionnées au XIXe siècle. La collection de
verres de Charles Sauvageot au Louvre
BIRON, Isabelle, VERITÀ, Marco, BARBE,
Françoise, BAROVIER MENTASTI, Rosa
An analytical approach to distinguish genuine,
façon de Venise and fakes
Tuesday, 8 September 2015 (continued)
Session A
Lecture Hall C
Session B
Lecture Hall B
THEN-OBŁUSKA, Joanna, WAGNER,
Barbara
Glass bead trade in northeastern Africa in the
Roman period - a view according to the Museum
of Archaeology University of Stavanger
assemblage
Coffee
HIGGOTT, Suzanne
All-glass hybrids: Why they were made and the
importance of identifying them
MARTIN PRUVOT, Chantal, STUCKI,
Ellinor
La verrerie de deux dépôts du sanctuaire galloromain d’Yvonand-Mordagne, VD (Suisse)
NAVARRO, Juanita
All-Glass Hybrids: What they are, manufacturing
techniques and their detection
16:3017:00
JACKSON-TAL, Ruth
Glass vessel use in time of conflict: the evidence
from the Bar-Kokhba refuge caves, 132-135 CE
17:0017:30
GRÜNEWALD, Martin
Römisches Glas im nördlichen Obergermanien
SCHOMMERS, Annette
Venedig oder Tirol? Zur Lokalisierung der Hohlgläser des 16. Jahrhunderts mit Kaltbemalung im
Bayerischen Nationalmuseum München
AWAD, Anna
Archäologische Funde aus der Glashütte Hall in
Tirol
17:3019:00
POSTER SESSION
(followed by Annual Meeting of ICOM, time and room to be confirmed)
15:0015:30
15:3016:00
16:0016:30
Wednesday, 9 September 2015
09:0009:30
09:3010:00
10:0010:30
10:3011:30
11:3012:30
12:3014:00
14:00
14:3018:00
18:00
19:00
22:00
Session A
Lecture Hall C
Session B
Lecture Hall B
CAKMAKLI, Omur D., TASTEMUR, Emre
A comparative investigation of the glass materials
from eastern Thrace and Lydian Tumuli in the
light of the Gure and Dugunculu finds
DEGRYSE, Patrick
Glass factories outside the eastern Mediterranean
in the first millennium AD
BOVA, Aldo
L'industrie des faux à Murano au XIX siècle
SCHAICH, Dieter
Nachahmungen deutscher Formgläser des 16.
und 17. Jahrhunderts in der ersten Hälfte des 19.
Jahrhunderts
Coffee
Keynote, Lecture Hall B
FREESTONE, Ian C.
The scientific analysis of early glass: achievements and prospects
TRÜMPLER, Stefan, JOLIDON, Yves and BAUMGARTNER, Erwin
Introduction to stained glass and reverse paintings on glass collections and the exhibition ‘Reflets de Venise’
at Vitromusée Romont
Lunch break
Transfer Fribourg – Romont (special coach service is organised)
Tour of exhibitions at Vitromusée Romont
Glassblowing demonstration by William Gudenrath (Corning Museum of Glass)
Stained glass demonstration by Ursula Knoblauch (Stained glass artist, Bern)
Aperitif in the couryard of Romont Castle (weather permitting). Welcome by Roger Brodard, Mayor of the
City of Romont, and Philippe Trinchan, Head of the Department of Culture, Canton of Fribourg
Dinner buffet
Transfer Romont – Fribourg (special coach service is organised)
19
Thursday, 10 September 2015
Session A
Lecture Hall C
Session B
Lecture Hall B
Session C
Lecture Hall 3115
09:0009:30
ETEROVIĆ BORZIĆ, Anamarija
Ollae cinerariae and burial customs
in the necropolis of the ancient
town of Iader
KULESSA, Birgit
Haushalt, Apotheke oder Gasthaus?
Zusammensetzungen neuzeitlicher
Glasfundkomplexe im Kontext
ihrer Fundsituation
09:3010:00
RAUX, Stéphanie
Les vases en verre dans les sépultures
du bas Empire en Région
Languedoc-Roussillon (France) :
éléments de synthèse, des
productions aux rites de dépôts
REYNS, Natasja
Consumption of drinking glasses in
the Scheldt and Meuse valley during
the Early Modern period. In search
of a consumer revolution
10:0010:30
ROBIN, Laudine
La verrerie exceptionnelle d’un
bûcher funéraire du IIIe siècle apr. J.C. de Jaunay-Clan (France)
PEROVIĆ, Šime, JOVIC GAZIC,
Vedrana
Typology of Late Medieval and
Modern era glass from Zadar
(Croatia)
PHELPS, Matt, FREESTONE,
Ian, GORIN-ROSEN, Yael,
GRATUZE, Bernard,
LANKTON, James Technological
change and provenance of glass in
Early Islamic Palestine
BERTINI, Camilla,
HENDERSON, Julian, GELICHI,
Sauro, BASSO, Elena, RICCARDI,
Maria Pia, FERRI, Margherita
Technological transition in early
medieval northern Italy :
preliminary data for Comacchio
glass
SODE, Torben, GRATUZE,
Bernard, LANKTON, James
Scandinavian opaque red or orange
barrel-shaped beads from the 7th–
8th century : evidence for both long
distance trade and local fabrication
10:3011:00
11:0011:30
Coffee
Keynote:
ANTONARAS, Anastassios Ch.
Glass in Byzantium. Finds, facts and
some thoughts
VON KERSSENBROCKKROSIGK, Dedo
On the appreciation of glass as a
material of knowledge
LAMERIS, Kitty
Dating filigrana glass
12:0012:30
LEPRI, Barbara, SAGUÌ, Lucia
Mapping the glass production in
Italy. Looking through the 1st
millennium AD
HULST, Michel, KUNICKIGOLDFINGER, Jerzy
Glass in Amsterdam. Production
and consumption in 17th century
Amsterdam
12:3014:00
14:0014:30
Lunch break
DÉVAI, Kata
Glass vessels from Late Roman times
found in graves in the Hungarian
part of Pannonia
LIEFKES, Reino
What’s the purpose: oil lamp,
perfume sprinkler or trick-glass ?
14:3015:00
MALTONI, Sarah, SILVESTRI,
Alberta, MOLIN, Gianmario
Opaque red glass tesserae from
Roman and Early Byzantine sites of
north-eastern Italy : shedding light
on production technologies
LAMÉRIS, Anna
Leadglass in eighteenth century
Holland
11:3012:00
20
ROSENOW, Daniela, REHREN,
Thilo
Plant ash glass in Roman and Late
Antique Egypt
STAŠŠIKOVÁ-ŠTUKOVSKÁ,
Danica
Sodium natron and sodium ash
glasses in the middle Danube region
– new information concerning the
Early Middle Ages
HENDERSON, Julian,
SABLEROLLES, Yvette
A technology in flux: early medieval
glass from Dorestad and Susteren,
the Netherlands
VAN WERSCH, Line, MATHIS
François, BONNIN, Myrtho,
STRIVAY, David, SAPIN,
Christian
Early medieval glass tiles from
Saint-Sauveur (Burgundy, France)
CABART, Hubert (†), PACTAT,
Inès, GRATUZE, Bernard
Les verres du haut Moyen Âge issus
des fouilles du monasterium
Habendum (Saint-Amé, Vosges,
France)
Thursday, 10 September 2015 (continued)
Session A
Lecture Hall C
Session B
Lecture Hall B
Session C
Lecture Hall 3115
15:0015:30
REINHARDT, Helen
Glas aus Beirut. Die Glasfunde aus
der römischen Therme in BEY 178
GERBER, Christophe
Court, Pâturage de l’Envers : une
verrerie forestière du début du 18e
siècle entre tradition et modernité
(Jura bernois, Suisse)
BIDEGARAY, Anne-Isabelle,
CEGLIA, Andrea, COSYNS,
Peter, GODET, Stéphane, NYS,
Karin, TERRYN, Herman
An experimental model of the ‘SbMn recycling indicator’ in Roman
glass
15:3016:00
16:0016:30
Coffee
SPENCER, Helen, KENNEDY,
Craig
Medieval and post medieval
window glass in Scotland
16:3017:00
BERTINI, Martina, MEEK,
Andrew, PRIEWE, Sascha,
SHORTLAND, Andrew
Interpretation of glass production
and trade in Warring States Period
China (475–221 BC) through the
study of early Chinese glass beads in
the British Museum
BORELL, Brigitte
A unique glass ‘cup’ from a Buddhist
context in Sri Lanka
GERBER, Yvonne
Potash – Essential raw material for
the production of medieval and
post-medieval colourless glass
and
FREY, Jonathan
Die Kühlkeramik von Court,
Pâturage de l’Envers (1699–1714)
DESJARDINS, Tara
A collection of 18th century Indian
glass case bottles
BEVC VARL, Valentina
Pressglas aus Benedict Vivats
Glasfabriken
ADLINGTON, Laura Ware,
FREESTONE, Ian C., TEED, Nick
The hand of the painter ?
Understanding medieval glasspainting workshop organisation
through scientific analysis
17:0017:30
17:3019:00
GENÇLER-GURAY, Çigdem
Recent glass finds of Elaiussa Sebaste
in Cilicia
POSTER SESSION
21
ZIMMERMANN, Martin
Early medieval glassworkers
Friday, 11 September 2015
Session A
Lecture Hall C
Session B
Lecture Hall B
09:0009:30
BROSCHAT, Katja, SURBANOSKA, Mila
The Taranes cage cup: new information on an
old find
09:3010:00
LABAUNE-JEAN, Françoise
Le verre de la nécropole mérovingienne de La
Mézière (Bretagne, France)
RUMYANTSEVA, Olga, BELIKOV,
Constantin
A Late Roman glass workshop at Komarov
(Middle Dniester) and the problem of origin of
“Barbarian” facet-cut beakers
Coffee
TRÜMPLER, Stefan, WOLF, Sophie, HÖR,
Martha, FERREIRA, Ester S. B.
New evidence for the use of cold paint on
stained glass
GEYSSANT, Jeannine
La peinture sous verre « savante » en France au
XVIIIe siècle : oubliée puis redécouverte
LÜTHI, Dave
Le vitrail dans les hôtels suisses de la BelleEpoque : une importance sous-estimée ?
10:0010:30
10:3011:00
11:0011:30
11:3012:00
Keynote :
FOY, Danièle
Entre Orient et Occident, le verre islamique
(VIIIe–XIIIe siècles) : apports récents et
réflexions sur les échanges et les influences
CORRÊA PINTO, Amanda, VILARIGUES,
Márcia, SANJAD, Thais
Glass and stained glass windows of Belém: a
document of cultural history in Amazonia
KRAUTER, Anne, FRITZ, Ueli
Makellos transparent oder mit romantischen
Schlieren? – Überlegungen zu Sortenvielfalt und
Ästhetik des Fensterglases im frühen 20.
Jahrhundert mit Fokus auf dem „Kristallglas“
LECOCQ, Isabelle, THOMAS, Catherine
L’activité créatrice de Paule Ingrand (1910–
1997) au sein d’ « Art et Verre », à Lodelinsart,
de 1946 à 1962
12:0012:30
O’HEA, Margaret
Glass from Early Umayyad Pella in Jordan
(Tabaqat Fahil)
12:3014:00
Lunch break
14:0014:30
LARSON, Katherine A., BERLIN, Andrea M.,
HERBERT, Sharon
The beginnings of cast glass bowl production:
new evidence from Tel Kedesh, Israel
SHINDO, Yoko, YASUKO, Fujii,
HOSOKAWA, Takako
Study on the Early Islamic glass in the Bukhara
Oasis, Uzbekistan
DUSSUBIEUX, Laure
Mamluk glass from Quseir Al-Qadim: chemical
analysis of some glass fragments
14:3015:00
15:0015:30
15:3016:00
16:0016:30
Coffee
16:3017:30
18:3020:00
General Assembly of the AIHV: Lecture Hall B
AYROLES, Véronique
L’évolution d’une technique originale : Albert
Dammouse (1848–1926) et la collection de
pâtes de verre du Musée des arts décoratifs
ANTHONIOZ, Stanislas
Le verre artistique de Saint-Prex (1928-1964)
TSCHUMI, Bettina
Origine, spécificité et évolution de la collection
d'art verrier du mudac, une « jeune femme » de
45 ans, dynamique et curieuse
Closing session of the congress : Lecture Hall B
Farewell Party with dinner buffet at University of Fribourg, University restaurant (Mensa)
22
POSTER LIST · LISTE DES POSTERS · POSTERLISTE
23
24
POSTER LIST · LISTE DES POSTERS · POSTERLISTE
In alphabetical order by first author / par ordre alphabétique des noms des auteurs principaux / in
alphabetischer Reihenfolge nach Hauptautoren
AKYOL, Ali Akin, KADIOGLU, Yusuf Kagan
Archaeometric analysis of Early Byzantine glass finds from Nysa in Turkey
AMBROSIO, Elisa
Une œuvre du Vitromusée Romont sous la loupe : un cabinet de facture napolitaine de la première
moitié du XVIIe siècle décoré de plaquettes de verre peintes
ANGELINI, Ivana, VANDINI, Mariangela, CHINNI, Tania, KOCH, Leonie Carola, VON ELES,
Patrizia, MOLIN, Gianmario
The glass of the early Etruscans: archaeometric investigation of beads from Verucchio
ARVEILLER, Véronique
Les verres inédits « etruschi, romani e fenici » du Museo Campana conservés au musée du Louvre
AUDRIC, Thierry
La peinture sous verre chinoise : une rencontre artistique Chine – Europe
BENDEGUZ, Tobias
Spätantike und byzantinische Gewichte im Mittelmeerraum – Glasgewichte
BETTINESCHI, Cinzia, ANGELINI, Ivana, MOLIN, Gianmario, ZANOVELLO, Paola,
MENEGAZZI, Alessandra, GRECO, Christian
Archaeometric study of Egyptian vitreous materials form Tebtynis
BIAGGIO-SIMONA, Simonetta
Le verre archéologique du Canton du Tessin (CH) : une révision
BROSH, Naama
Reexamination of a Mamluk glass collection from Jerusalem
CALUWÉ, Danielle
Mirrors, lenses, spectacles and looking glasses. Aspects of production and use of optical glass based
on archaeological and historical evidence from Antwerp and the former Duchy of Brabant in the
16th and 17th century
CEGLIA, Andrea, BONNEROT, Olivier, BIDEGARAY, Anne-Isabelle, CRABBE, Amandine
Reveal the production technology of red glass tesserae by means of synchrotron XRD and XANES
ČERNÁ, Eva
Glass of the 13th and 14th centuries from north-western Bohemia : typology, archaeometry and
provenance
25
CESARIN, Giulia
Gold-band glass fragments in the Römisch-Germanisches Museum Cologne: considerations about
the technique
DANESE, Véronique, HANUT, Frédéric
La vaisselle en verre de deux sépultures aristocratiques d’époque augustéenne à Ath/Ghislenghien
(province du Hainaut, Belgique)
DIANI, Maria-Grazia, MANDRUZZATO, Luciana, PEZZOLI, Sandro, ZEPPONI, Andrea
Le verre dans l’école
EBNÖTHER, Christa, BÜTIKOFER, Maria
Ein Glasensemble aus einer Zerstörungsschicht des mittleren 3. Jahrhunderts in der römischen
Kleinstadt Kempraten SG (CH)
EXPÓSITO MANGAS, David , CASTRO, Marcelo, ARIAS, Francisco, PEDROSA, José Manuel,
CEPRIÁN, Bautista
The paten of Christ in majesty. Archaeology and Christianity in the Iberian-Roman city of Cástulo
(Jaén, Spain)
FOULDS, Elizabeth
Decoration and colour in Iron Age Glass beads from Britain
FOY, Danièle, GRATUZE, Bernard
Indices d’ateliers de verrier à Apamée de Syrie, à la fin de l’Antiquité
FÜNFSCHILLING Sylvia (englisches Résumé?)
Der schliffverzierte Glasbecher aus Biel-Mett/BE - ein Highlight im römischen Fundgut der
Schweiz
GABUCCI, Ada, DIANI, Maria Grazia, MANDRUZZATO, Luciana, MANCINELLI, Maria
Letizia
An on-line corpus for stamps on ancient glass vessels in Italy
GANOR, Adrienne
Painted window glasses from Akko/Acre from the Crusader time (1099 -1291) : manufacturing
process and conservation
GIANNETTI, Francesca, GIULIANI, Roberta, TURCHIANO, Maria
Late Antique and Early Medieval glass from northern-central Apulia: productions, typologies,
functions and circulation
GIOVANETTI, Giulia, BRUNI, Silvia
The glass collection of Felice Barnabei at the Museo Nazionale Romano - Palazzo Massimo in Rome
HIDETOSHI, Namiki, YASUKO, Fujii
"Kirikane" technique on the Hellenistic gold-sandwich-glass
26
HÖR, Martha
New findings on the painting technique in stained-glass production around 1500
IDELI, Andrea
Besondere Glasfunde aus dem Gräberfeld Gönnheim (Kr. Bad Dürkheim) – Germania prima und
ein neuer Ort der möglichen Glasverarbeitung
JARGSTORF, Sibylle
Zwei vernachlässigte Glasvarietäten aus der zweiten Hälfte des 19. Jahrhunderts: Uran-Selenglas
und hauchdünn geblasenes Aventuringlas
JONÁŠOVÁ, Šárka, BLAŽKOVÁ, Gabriela, VEPŘEKOVÁ, Jana
Chemical classification of early modern period glass finds from the cesspits of Prague Castle
KATSNELSON, Natalya
An outstanding glass assemblage from the medieval and Ottoman fortress at Safed in Northern
Galilee, Israel
KELLER, Sarah
Neo-maurische Glasmalerei
KESSLER, Cordula, GOLL, Jürg, WOLF, Sophie
“The Emerald of Charlemagne”: new observations on the production technique and provenance of
an enigmatic glass artefact
KNĚZŮ KNÍŽOVÁ Michaela, ZLÁMALOVÁ CÍLOVÁ, Zuzana, KUČEROVÁ, Irena,
ZLÁMAL, Martin
Development of the chemical composition of Czech mosaic glass from the Middle Ages to the
present
KOS, Mateja
Art Nouveau glass in Slovenia
KRIŽANAC, Milica
5th–6th century windowpanes in Serbia and on the territory of Kosovo
LAVYSH, Krystsina
Byzantine glass bracelets in Western Rus’ (archaeological finds from the territory of Belarus)
LAZAR, Irena
The Roman necropolis of Budva (Montenegro) and its glass assemblage
LIKHTER, Julia
Imported beads in Russia from the 17th to the first half of the 18th century (Moscow, Mangazeya,
Smolensk region)
27
LOPES, Filipa, VILARIGUES, Márcia, PIRES DE MATOS, António, LIMA, Augusta
Characterization of 18th century Portuguese glass from Museu Nacional de Arte Antiga, Museu
Nacional Soares dos Reis and Museu Nacional Machado Castro
MACHADO, Andreia, RODRIGUES, Alexandra, COUTINHO, Mathilda, ALVES, Luis C.,
CORREGIDOR, Victoria, SILVA, Rui C., SERNEELS, Vincent, KATONA SERNEELS, Ildiko,
WOLF, Sophie, TRÜMPLER, Stefan, VILARIGUES, Márcia
Swiss ‘Kabinettscheiben’ from 19th Portuguese collection – study and characterization
MAGNI, Alessandra, TASSINARI, Gabriella
Recherches sur les intailles en verre du Musée de Vérone : de quels critères disposons-nous pour
distinguer exemplaires anciens et réalisations modernes ?
MANDRUZZATO, Luciana
More glass from Aquileia (Italy)
MARTIN, Olivier J.F., SANTSCHI, Christian, DUTTA-GUPTA, Shourya, WOLF, Sophie,
TRÜMPLER, Stefan, SCHOLZ, Hartmut, PARRIAUX, Olivier
Colour transmission of copper nanoparticle-loaded medieval stained glass: from plasmon resonances
to colour perception
MENDERA, Marja, CANTINI, Federico, MARCANTE, Alessandra, SILVESTRI, Alberta,
GALLO, Filomena, MOLIN, Gianmario
Where does the medieval glass from San Genesio (Pisa, Italy) come from?
NEUNER, Monika, JOLIDON, Yves, MORET, Pascal
La peinture sous verre monumentale. « La délivrance de Saint Pierre », 1940, par Emilio Maria
Beretta, église paroissiale de Mézières (FR, Suisse) : histoire, techniques et conservation
NEWBY HASPESLAGH, Martine S.
Roman Dionysaic cameo glass vase revisited
NOVERRAZ, Camille
Autour d'un artiste-verrier de la première moitié du XXe siècle : Marcel Poncet (1894-1953), à la
jonction de la peinture et du vitrail
OIKONOMOU, Artemios, GNADE, Marijke, HENDERSON, Julian, CHENERY, Simon,
ZACHARIAS, Nikos
The provenance of Hellenistic core formed vessels from Satricum, Italy
OUAHNOUNA, Brigitte
Glass vessels from the late 19th and early 20th century – Jaffa (Israel)
PACTAT, Inès, GUERIT Magalie, SIMON, Laure, GRATUZE, Bernard, RAUX, Stéphanie,
AUNAY, Celine
Les mutations des recettes de l’industrie verrière en France au Moyen Age : mise en évidence de
solutions multiples adaptées aux contextes locaux (Evolution of glass recipes during French Early
Middle Ages: analytical evidence of multiple solutions adapted to local contexts)
28
PAINCHART, Benoît, GUYOMAR, Christiane
« Façon de Venise », une étiquette problématique. Propositions pour une méthodologie raisonnée
de l'étude de la « verrerie à l'italienne » en Europe, XVe–XVIIIe siècle, à partir de l'exemple parisien
(1550–1650)
POLL, Ingrid, MANUCU-ADAMESTEANU, Gheorghe
Bracelets en verre byzantins (XIe siècle) découverts à Pacuiul lui Soare, province de la Dobroudja,
Roumanie
POLLAK, Rachel
The Early Islamic green lead glass from Caesarea, Israel
ROHANOVÁ, Dana, SEDLÁČKOVÁ, Hedvika
Renaissance table glass from Bratislava (Slovakia, 16th century)
SCHAFFNER, Walter
Die älteren Glashütten der Schweiz (ca. 1300–1800 n. Chr.)
SILVANO, Flora
New finds of mosaic glass inlays from Antinoopolis, Egypt
SIMON, Laure
Le verre gallo-romain du site du Buy à Montignac-sur-Vézère (Dordogne, France)
SKORDARA, Maria
A Late Antiquity secondary glass workshop at Philippi, Greece
ŠTEFANAC, Berislav
Mold-blown glass from the Roman province of Dalmatia
STERRETT-KRAUSE, Allison E., LEGENDRE, Sarah A.
But is it a bottle? Categorizing fragmentary glass vessels from archaeological assemblages
STOLYAROVA, Ekaterina
16th century glass goblets from the burials of the Ascension Convent in the Moscow Kremlin
TOMKOVA, Katerina
Glass in fashion and trade in Bohemia in the 9th-11th century (archaeology and archaeometry)
TORGE, Manfred
Untersuchungen zur Provenienz von Gläsern aus dem Kloster Maulbronn
TREMBLAY, Lara
Quelques révélations sur l’outillage verrier de Court, Pâturage de l’Envers (1699–1714)
UBOLDI, Marina
Nouvelles données sur le verre à décor gravé en Italie du Nord: les exemplaires de la ville de Milan
29
VERHELST, Bieke, COSYNS, Peter, NYS, Karin
The core-formed vessels from the late Archaic to the late Hellenistic period: capacity measurement
to demonstrate standardized productions
WARMENBOL, Eugène, COSYNS, Peter, DE VOS, Annemie
The glass collections in the ‘Museum Aan de Stroom’ (MAS), Antwerp (Belgium)
WOLF, Sophie, KESSLER, Cordula, GOLL, Jürg, TRÜMPLER, Stefan, STERN, Willem B.,
DEGRYSE, Patrick
Masters of recycling: the reuse of Roman glass in the making of early medieval stained glass windows
at Müstair
YAMAHANA, Kyoko, TOYAMA, Kanae, ABE, Yoshinori, NAKAI, Izumi
Typological and scientific observations on Udjat eyes in the Ohara Museum of Art – New insights
on the tradition of colouring mixtures from the Third Intermediate Period to the Late Period
ZLÁMALOVÁ CÍLOVÁ, Zuzana, MLSNOVÁ, Kateřina, BROŽKOVÁ, Helena, KNĚZŮ
KNÍŽOVÁ, Michaela, TROJEK, Tomáš, KUČEROVÁ, Irena
Crizzling glass – Corrosion products and chemical composition of Bohemian glass
30
ABSTRACTS · RESUMÉS · ZUSAMMENFASSUNGEN
31
32
ABSTRACTS · RESUMÉS · ZUSAMMENFASSUNGEN
In alphabetical order by first author / par ordre alphabétique d’après le nom de l’auteur principal /
in alphabetischer Reihenfolge nach Hauptautoren
SESSION A
Roman and Sasanian glass vessels travelled to ancient Japan
ABE, Yoshinari 1 , SHIKAKU, Ryuji 2 , NAKAI, Izumi 1
1
2
Department of Applied Chemistry, Tokyo University of Science, Tokyo, Japan
Okayama Orient Museum, Okayama, Japan
The Niizawa Senzuka Tumulus Cluster is one of the most famous large tumulus clusters consisting
of over 600 burial mounds located in Kashihara City, Nara Prefecture, Japan. Two glass vessels, a
transparent facet-cut glass bowl and a deeply blue-colored glass dish were discovered together in
tomb No. 126 (ca. late 5th century) in the cluster. Based on the typological features, it has been
believed that these two glass vessels were produced in western Asia or the Mediterranean region and
travelled to Japan via the Silk Road.
In this study, X-ray fluorescence (XRF) analysis equipped with with a high-performance portable
spectrometer and high-energy synchrotron radiation (HE-SR-) XRF analysis were applied to these
glass vessels to characterize their chemical compositions non-destructively and to discuss their
possible provenances.
The results revealed that these two glass vessels have different provenances although they were
discovered together in the same place. The facet-cut glass bowl is a plant-ash glass characterized by
the use of a magnesia-rich plant-ash and a relatively pure silica source. Glasses with similar
compositions were discovered from Veh Ardašīr, a city located opposite side of the Sasanian capital
Ctesiphon. Including rare earth elements determined by the HE-SR-XRF, we found a good
compositional agreement between the glass bowl and the glass from Veh Ardašīr. Therefore, we
concluded that the glass bowl was originally produced in the Sasanian Empire. On the other hand,
the blue glass dish was a natron glass, colored by cobalt blue colorant. Compositional features of the
dish agreed well with those of the glasses produced in the Roman Empire. In addition, several
characteristic heavy elements such as antimony and lead were detected from the blue glass dish by
HE-SR-XRF. These results are direct evidence of a wide area trading of the glass products in ancient
times.
33
SESSION C
The hand of the painter? Understanding medieval glass-painting workshop
organisation through scientific analysis
ADLINGTON, Laura Ware 1 , FREESTONE, Ian C. 1 , TEED, Nick 2
1
2
Institute of Archaeology, University College London, London, United Kingdom
York Glaziers Trust Conservation Studio, York, United Kingdom
Stained-glass windows are amongst the most important and treasured features of medieval
architecture, yet our knowledge of their production and technological history is limited. Scientific
analysis is made difficult by the need to either take samples for laboratory analysis or use in situ
methods that yield lower-quality data. This presentation illustrates the potential of a simple
handheld technique in the chemical characterisation of medieval window glass.
Results of a comprehensive study of a panel from York Minster’s Great East Window demonstrate
the potential of handheld portable X-ray fluorescence (pXRF) to provide insight into the
organisation of medieval glass-painting workshops. 100 glass fragments were analysed by pXRF,
with a subset of 30 as a control analysed by electron microprobe (EPMA). Due to the analytical
configuration of pXRF, silica cannot be measured and results for potash and lime are low quality.
However, heavy elements strontium and rubidium appear well measured and can act as proxies for
calcium and potassium. These elements show the same compositional groups in the panel as
detected by EPMA. Furthermore, since the method is faster, the larger sample allowed
compositional groups to be mapped across the panel. For example, shifts in composition, reflecting
different sheets of glass, reveal that the border is different from the rest of the panel. This, along with
historical and art historical evidence, suggests that the border was cut and painted by a different
person – perhaps an apprentice or lower-skilled craftsman – than the one(s) who made the main
scene. Other groups that probably reflect the hands of painters will also be discussed. This
presentation discusses the new evidence for the organisation of production in John Thornton’s
glass-painting workshop, which was commissioned to create the window. These encouraging results
suggest that considerable insights may be revealed by using pXRF on medieval window glass.
34
POSTER
Archaeometric analyses of Early Byzantine glass finds from Nysa in Turkey
AKYOL, Ali Akin 1 , KADIOGLU, Yusuf Kagan 2
Faculty of Fine Arts, Department of Conservation and Restoration of Cultural Properties,
Material Research and Conservation Laboratory (MAKLAB), Gazi University, Ankara, Turkey
2
Faculty of Engineering, Department of Geological Engineering, Ankara University, Earth Sciences
Research and Application Center (YEBIM), Ankara, Turkey
1
Nysa (or Athymbra) was one of the ancient cities of Caria in Anatolia (Aydın, Turkey). The name
"Nysa" was mentioned in Homer's Iliad and was also known as Strabon's city. He started his life of
study in Nysa, which was an important center of learning in the 1st century BC. There are
important well-preserved ruins on the site from the Hellenistic, Roman and Byzantine era.
The excavations carried out in Nysa provided finds that can enable us to evaluate various uses of
glass as well as possible glass working at the site. The glass finds all provide the characteristics of the
Early Byzantine era (5th to 7th century AD). The stemmed lamps, the window glass, the ribbed bowls
with common glass forms of the period as well as the presence of chunks suggest some kind of glass
manufacturing at Nysa.
The physical and microscopic properties of the glass samples were documented primarily. The hues
of the visible colours of the blue-green glass samples were determined by chromometric analysis. The
elemental and mineralogical structure of the samples was analysed by the methods of X-ray
fluorescence analysis (XRF) and Raman spectroscopy.
A general review of the chemical contents of the samples suggested that they reflected the
characteristics typical of a silica-soda-lime (SiO2-Na2O-CaO) glass. The preliminary results of the
analyses showed that the composition of the samples were rich in silicon dioxide (SiO2). The
samples pointed out not only the high mechanical strenght and durability, but also that they have a
high fluxing temperature. The mostly similar concentrations of aluminium oxide (Al2O3) of the
samples reflect at most three or four sources of raw materials. It was understood that mostly marine
sediments might have been used for the production of the samples due to their strontium (Sr) and
zirconium (Zr) contents.
35
POSTER
Une œuvre du Vitromusée Romont sous la loupe : un cabinet de facture
napolitaine de la première moitié du XVII e siècle décoré avec des plaquettes de
verre peintes
AMBROSIO, Elisa
Vitrocentre Romont, Centre suisse de recherche sur le vitrail et les arts du verre, Romont, Suisse
Dès la fin du XVIe siècle apparaît en Europe un type de meuble appelé cabinet. Il est composé de
nombreux tiroirs, souvent masqués par des portes ou un abattant, dans lequel on conservait des
objets précieux. Ornée des matériaux les plus variés - bois précieux, cuir, métal, ivoire, pierres dures,
tissus ou écailles de tortue -, cette armoire était très populaire dans les riches demeures d’Italie,
d’Espagne, d’Allemagne et des Pays-Bas, lieux de production principaux.
Au début du XVIIe siècle, un mode de décoration singulier se développe à Naples: des plaquettes de
verre peintes sont appliquées sur la face frontale des tiroirs des cabinets ou sur leurs portes. Les
motifs sont réalisés au revers de la surface du verre de sorte que le support, à la fois rigide et fragile,
sert de protection. Dans ma contribution, je présenterai un cabinet orné de douze peintures sous
verres, datant environ de 1625, qui est exposé au Vitromusée Romont. Si l’on peut tenir pour
certain que ce meuble est de facture napolitaine, il n’en va pas de même pour les panneaux de verre
qui le décorent. Ces derniers ont été réalisés avec la technique de l’Amelierung, un procédé pratiqué à
Nuremberg (Allemagne) dès 1530 et dans l’ancienne Confédération dès la fin du XVIe siècle : une
feuille métallique est collée sur la plaque de verre, puis gravée. Les ajours sont ensuite couverts d’un
glacis translucide coloré. Une feuille d’argent, lisse ou froissée, est encore appliquée. Représentant
des têtes de césars et de sibylles, ces peintures sont attribuées au monogrammiste VBL, dont l’origine
et l’identité sont controversées. Ce type de cabinet témoigne d’un processus d’hybridation que je
m’emploierai à analyser dans son contexte de création en mettant l’accent sur les transferts
artistiques qui l’ont alimenté.
36
POSTER
The glass of the early Etruscans: archaeometric investigation of beads from
Verucchio
ANGELINI, Ivana 1 , VANDINI, Mariangela 2 , CHINNI, Tania 3 , KOCH, Leonie
Carola 4 , VON ELES, Patrizia 5 , MOLIN, Gianmario 6
Department of Geoscience, University of Padova, Padua, Italy
Department of Cultural Heritage, Alma Mater Studiorum University of Bologna, Ravenna, Italy
3
Department of History and Cultures, Alma Mater Studiorum University of Bologna, Ravenna,
Italy
4
Department Pre- and Protohistory, University of Cologne, Cologne, Germany
5
Soprintendenza per i Beni Archeologici dell’Emilia Romagna and Verucchio Museum, Verucchio,
Italy
6
Department of Cultural Heritage, University of Padova, Padua, Italy
1
2
The site of Verucchio (Rimini, Italy) is well known for the importance and richness of its necropolis,
excavated since the end of the 19th century to nowadays. The approximately 600 discovered tombs
contain a large variety of grave goods, such as weapons, bronze and pottery vessels, wooden furniture,
textiles, amber and glass ornaments.
The present work concerns the archaeometric investigation of glass beads dated from the late 8th to
the middle 7thcentury. Based on their typology, colour and conservation state, a set of 23 beads was
selected for analysis. Thirty micro-samples of different types of glass were taken from the beads’
bodies and applied decorations and properly prepared in cross sections. Textural, chemical and
mineralogical characterizations were obtained by analyses using optical microscopy, scanning
electron microscopy (SEM-EDS), electron microprobe (EPMA) and X-ray diffraction (XRD).
All the beads are composed by LMG glasses with natron as flux, but the chemical and textural
compositions of the samples are extremely variable. Pale yellow, green, blue and amber coloured
glasses show quite homogenous microtextures. Opaque white glasses are obtained by the use of
calcium antimonate, whereas yellow opaque glasses show lead antimonate inclusions and high
content of lead (Pb) in the glass phase.
New and unexpected results come from the analysis of dark blue and black glasses of eye beads, cube
shaped beads, pendant and annular beads with wave decorations. These are natron glasses with high
contents of iron (Fe) and aluminium (Al), in some cases associated to manganese (Mn) and/or
titanium (Ti). The glasses show a very heterogeneous texture with numerous mineral inclusions,
such as quartz, plagioclase, sodium- and calcium silicates. Moreover, the very peculiar presence of
iron slag inclusions is observed. These characteristics seem to suggest a specific and possibly local
production.
The data of the analysed glasses from Verucchio will be discussed in detail and compared with the
available literature data of coeval Italian glasses.
37
SESSION B
Le verre artistique de Saint-Prex (1928–1964)
ANTHONIOZ, Stanislas
Musée Ariana, Musée suisse de la céramique et du verre, Genève, Suisse
Fondée en 1911, la verrerie de Saint-Prex (VD) se consacre dès ses débuts à la fabrication de produits
d’usage courant, telles que les bouteilles à vin. En 1928, elle ouvre cependant une section artistique
qui, bien que modeste, lui permet de diversifier ses activités. Elle décline ainsi vases, coupes, etc.,
jusqu’en 1964, dans une multitude de formes et de techniques différentes. Si l’émaillage est privilégié,
l’éventail des procédés décoratifs utilisés ne manque pas de surprendre.
Les créations de la verrerie de Saint-Prex, encore familières dans nos intérieurs, constituent
aujourd’hui une part importante de notre patrimoine régional.
Stanislas Anthonioz, collaborateur scientifique au Musée Ariana (Genève) et co-commissaire de
l'exposition temporaire "Le Verre artistique de Saint-Prex (1928-1964)", présentera un aperçu de
cette production, allant des tâtonnements et expérimentions des débuts aux modèles les plus aboutis
de la manufacture.
38
KEYNOTE A
Glass in Byzantium. Finds, facts and some thoughts
ANTONARAS, Anastassios Ch.
Museum of Byzantine Culture, Thessaloniki, Greece
An overview of the archaeological finds dated from the 4th to the 15th century from the Balkans,
Anatolia and the Black See region will be presented. Emphasis will be made on finds from the
Middle and Late Byzantine period (8th–15th century). The archaeological finds will be presented in
conjunction with the visual and literal testimonia, which shed light to forms and uses of glass objects
not preserved among the actual finds.
The actual dimensions of the different uses of glass is Byzantium remain partly obscure. The really
abundant finds render evident that during the entire early Byzantine period, from the 4th to the 7th
century, a multitude of different forms were covering all kinds of needs some of them even directed
to different parts of the society throughout the empire. Apart from the transportation and tableware
vessels, and the different forms of vessels for preservation, many forms of large and small unguentaria
existed as well. Particularly the use of glass objects for lighting is an invention of this transitional
period. Glass vessels were widely produced in many urban centers and apart from few
distinguishable products of Levantine workshops the needs of the consumers were covered by local
products.
The originality and creativity particularly true for the 4th century gradually diminishes and it seems
that there is a certain standardization of forms and shapes in use during the later part of this period.
Vessel glass finds are scarce for the period after the 7th and in the 8th century as well as during the
middle Byzantine period (9th–12th centuries). It appears that the needs in raw glass and for decorated
vessels were partly covered with imports from the Arab world, products from Levant and Egypt. As
to local Byzantine production, with the exception of a small group of luxurious, gilded vessels, only
plain, undecorated lamps, unguentaria and tableware have been preserved, while all other prior
known uses of glass are only mentioned in written sources of this period.
During the Paleologan period (13th–15th centuries) for the first time after Late Antiquity glass
vessels were abundant in Byzantine lands. This was apparently related to the economic changes the
society underwent in these times, the augmentation of the interregional and international trade, the
flourishing of the cities and the re-emergence of a “middle class” which was interested in glass vessels.
Tableware, unguentaria, lamps and other vessels dedicated to special needs, e.g. liturgical, or in
medicine and alchemy, or book copying, are the most common among them. These needs were
covered largely with Venetian and Arabic imports and partly with local products of a utilitarian
character.
39
POSTER
Les verres inédits « etruschi, romani e fenici » du Museo Campana conservés au
musée du Louvre
ARVEILLER, Véronique
Musée du Louvre, Paris, France
La publication récente en trois volumes de la collection des verres antiques du musée du Louvre par
M.-D. Nenna et moi-même [1] recense un peu moins de 300 pièces issues de la collection Campana
[2]. Elles sont le plus souvent entières, mais il existe une quantité non négligeable de fragments que
nous avons dû laisser de côté. Ils témoignent d’une production tout à fait originale à la fin de
l’époque hellénistique et au début de l’époque romaine impériale. L’industrie romaine du verre va se
perfectionner et atteindre des niveaux de spécialisation et d’excellence dans des techniques
décoratives très raffinées.
C’est cet aspect des verres inédits que nous souhaitons présenter et illustrer dans ce poster, en
évoquant la production du verre à Rome à travers les fabrications et les utilisations dans le domaine
du mobilier et de l’architecture.
[1] Arveiller et Nenna, Les verres antiques du musée du Louvre, 3 vol., 2000, 2005, 2011.
[2] Cataloghi del museo Campana, Roma, 1858, Classe V, Vetri etruschi, romani e fenici, 331-344.
40
POSTER
La peinture sous verre chinoise : une rencontre artistique Chine – Europe
AUDRIC, Thierry
La peinture sous verre chinoise est l’un des rares exemples de rencontre réussie entre l’art de la Chine
et celui de l’Europe. Produite à Canton dès le début du XVIIIe siècle, elle fut appréciée pendant près
d’un siècle aussi bien à la cour de l’empereur de Chine que par l’aristocratie occidentale. La présente
contribution expose un des résultats des recherches entreprises dans le cadre d’une thèse à
l’Université de Fribourg. L’analyse de plus de 500 de ces peintures sous verre permet de décrire les
composantes détaillées de cette rencontre artistique dont un des exemples les plus caractéristiques
est celui des peintures de jeunes femmes chinoises en tenue de bergère occidentale, comme celle
exposée au Vitromusée Romont.
Sont ainsi mises en évidence:
– la relation étroite entre la peinture à la cour de Chine, notamment celle des peintres jésuites, et la
peinture sous verre à Canton ;
– l’étonnante et harmonieuse cohabitation dans ces œuvres des motifs chinois et occidentaux, ainsi
que des techniques traditionnelles de ces deux cultures telles que la représentation des ombres ou
de la perspective. Il apparaît que cette floraison d’élégantes bergères a été directement inspirée
par une peinture du jésuite Giuseppe Castiglione alors peintre officiel du Palais impérial. Celle-ci
représente une dame de la cour déguisée en bergère occidentale, plusieurs éléments permettant
de penser qu’elle serait la légendaire Xiang Fei, la « concubine parfumée » de l’empereur
Qianlong (1711–1799).
Cette période de syncrétisme créatif se termina au début du XIXe siècle pour laisser la place à la
transposition de gravures occidentales puis, après la seconde guerre de l’opium (1860), à une
production populaire uniquement destinée au marché chinois mais où l’on retrouve la belle Xiang
Fei, cette fois en armure européenne.
41
SESSION B
Archäologische Funde aus der Glashütte Hall in Tirol
AWAD, Anna
Stadtarchäologie Hall, Tirol, Österreich
Die Glashütte Hall in Tirol ist in ihrem Standort und ihrer Bestandszeit von 1534–1635 historisch
überliefert. Erste Ergebnisse einer Rettungsgrabung im Winter 2008 führten von Juni bis November
2009 zu einer Grabung der Stadtarchäologie Hall auf dem 7800 m2 umfassenden Areal. Der
plötzliche, von Archäologen unbegleitete Abbruch des Gebäudes, und frühere Baumaßnahmen
haben den Befund erschwert, freigelegte Mauerzüge von mehreren Gebäuden zeugten von einer
ständigen Um- und Ausbautätigkeit der Glashütte. Neben Rohmaterialien und Halbprodukten zur
Glaserzeugung ergaben die zahlreichen Glasfunde ein großes Spektrum an Hohl-, Butzen- und
Tafelglasformen, die sehr von denjenigen, der Glashütte Hall bis jetzt vor allem kunsthistorisch
zugeschriebenen, Gläsern abweichen. Hauptproduktion der Glashütte Hall waren Butzen und
Tafelglas. Daneben wurden eine große Variation an optisch geblasenen Trinkgläsern, auch mit
Löwenkopfbalustern sowie Krautstrünke, Stangengläser, bauchige Vierkant- und Pilgerflaschen
erzeugt. Vereinzelt fanden sich auch Alembikteile, Schröpfköpfe und Scheitelzieher. Auffällig ist die
große Anzahl an siegellackroten Glasfragmenten, die kaum bestimmte Formen erkennen lassen. Die
große Farbvarietät, Filigranarbeiten sowie bemaltes und mit Diamantriss verziertes Glas zeigen
hohes handwerkliches Können. Eine Schwierigkeit, die nur unter verstärkter Einbeziehung
naturwissenschaftlicher Forschungsmethoden zu einer möglichen Lösung führen kann, stellt die
eindeutige Zuordnung zur örtlichen Produktion dar. Glasobjekte aus den vielen Latrinen für die bis
zu 30 Mitarbeitern zählende Belegschaft könnten auch von ihnen mitgebracht und daher anderswo
erzeugt sein. Ebenso könnten die Fragmente aus den Bruchgruben, die kaum anpassendes Material
enthalten aus den Ende des 16. Jahrhunderts vom Landesfürsten verfügten Altglaslieferungen nach
Hall zur Senkung des Imports von Rohmaterialien stammen.
42
SESSION B
L’évolution d’une technique originale : Albert Dammouse (1848–1926) et la
collection de pâtes de verre du Musée des Arts décoratifs de Paris
AYROLES, Véronique
Musée des Arts décoratifs, Département verre, Paris, France
Lorsqu’il aborde en 1897 le procédé technique de la pâte de verre, Albert Dammouse a derrière lui
près de 30 années de création entièrement consacrées à la céramique. Formé à l’Ecole des Arts
décoratifs puis dans l’atelier de Marc-Louis Solon dit Milès Solon, décorateur à la manufacture de
Sèvres, l’artiste expérimente avec succès depuis 1871 nombre de procédés : la porcelaine et le décor
en pâte sur pâte, le grès et les cuissons de grand feu, la faïence et les décors sous couverte. Céramiste
déjà célèbre et réputé, il appartient à la génération des artistes marqués par les dernières
manifestations de l’éclectisme et pleinement engagés dans le développement et l’épanouissement de
l’Art Nouveau. Ses recherches dans le domaine de la pâte de verre sont décisives bien qu’aujourd’hui
encore mal connues, à la fois dans leur développement technique et esthétique. Elles constituent la
première application au domaine de l’objet et la première transposition technique d’une matière
qu’Henry Cros (1840–1907) avait utilisée en sculpteur, en épaisseur et en bas-relief avec la volonté
de réhabiliter le statut esthétique de la sculpture polychrome. En s’appuyant sur l’important corpus
du Musée des Arts décoratifs, composé d’un exceptionnel fonds d’œuvres, cette intervention nous
donne l'opportunité de jeter les bases d'une première analyse et de rassembler la matière d'une
réflexion sur l'œuvre en pâte de verre d’un artiste dont les recherches ont fait entrer la technique de
la pâte de verre dans le champ des objets d’art.
43
SESSION B
Le projet CRISTALLO sur les verres émaillés vénitiens de la Renaissance.
Premières observations sur la provenance des pièces collectionnées au XIX e siècle.
La collection de verres de Charles Sauvageot au Louvre
BARBE, Françoise, FILIPPONI, Fernando
Département des Objets d'art, Musée du Louvre, Paris, France
Le projet CRISTALLO est consacré à l’étude pluridisciplinaire des verres émaillés vénitiens de la
Renaissance. Dans une première partie, Françoise Barbe en présentera l’historique, les objectifs, les
différentes étapes et les perspectives, depuis l’initiative première lancée par Rosa Barovier, Cristina
Tonini et Marco Verità en 2007 jusqu’aux résultats communiqués par Isabelle Biron et Marco
Verità à l’occasion du 20e congrès de l’AIHV en 2015.
Dans une seconde partie, Françoise Barbe et Fernando Filipponi proposeront les premières
observations sur la provenance des verres émaillés vénitiens de la Renaissance dans les collections du
XIXe siècle, avec une attention particulière sur la collection réunie par Charles Sauvageot entre 1820
et la date de sa donation au Louvre en 1856.
44
POSTER
Spätantike und byzantinische Gewichte im Mittelmeerraum – Glasgewichte
BENDEGUZ, Tobias
Institut für Archäologien, Fachbereich Mittelalter- und Neuzeitarchäologie, ATRIUM - Zentrum
für Alte Kulturen, Universität Innsbruck, Innsbruck, Österreich
Glasgewichte sind unerlässliche Instrumente eines geregelten und kontrollierten Münzverkehrs. Mit
ihnen lassen sich die Finanzverwaltung und letztendlich das byzantinische Steuersystem des 6. und 7.
Jahrhunderts n. Chr. besser verstehen. Erstaunlich präzise wurden die Gewichte zum Prüfen der
verschiedenen Münznominale hergestellt. Sie wurden mit den Namen und manchmal auch mit den
Titeln der Würdenträger gestempelt, die den Verwaltungsstrukturen vorstanden. Bisweilen ging
man davon aus, dass meist der Stadtpräfekt von Konstantinopel auf den Gewichten genannt wird.
Im Zusammenspiel von Prosopographie, den archäologischen Informationen, der Ikonographie und
Metrologie ist nun davon auszugehen, dass mehrere Finanzsektoren für die Herstellung der
Gewichte verantwortlich waren. Neben den Prätorianerpräfekten und dem Stadtpräfekten von
Konstantinopel kommen noch der comes sacrarum largitorium und der Vorsteher der Schatzhäuser
in Frage. Außer den beiden Prätorianerpräfekten von Illyricum sowie Italiae und Africae hatten alle
anderen Institutionen ihren Sitz in der Hauptstadt.
Zum ersten Mal wurden an die 1300 byzantinische Glasgewichte systematisch in einer Datenbank
erfasst und ausgewertet. Die Hälfte der Gewichte konnte selbst in verschiedenen öffentlichen und
privaten Sammlungen aufgenommen werden. Das Ziel des Projekts ist es, ein typologisches und
chronologisches Gerüst der Glasgewichte aufzubauen. Viele der bisherigen Forschungsmeinungen,
die eine weitaus kleinere Materialbasis als Grundlage hatte, sollen überprüft und kritisch hinterfragt
werden.
45
SESSION B
La consommation du verre à Paris entre le XIV e et le XIX e siècle : des données
récentes
BERTHON, Amélie, CAILLOT, Isabelle, DUCAT, Kateline
Eveha, bureau d'études et de valorisation du patrimoine archéologique, Limoges, France
À Paris, deux fouilles récentes ont mis au jour d'importants ensembles de verre archéologique. Le site
du Carreau du Temple, sur l'emplacement de l'ancienne commanderie du Temple, a livré, entre le
XIVe et le XIXe siècle, un abondant mobilier en verre, dont la variété et la quantité évoluent en
fonction de l'époque et de la nature des rejets. Aucun élément en verre n'est antérieur à la fin du
XIIIe siècle et le verre médiéval, très dégradé, est rare dans cet espace. La présence de verre est surtout
perceptible à partir du XVIe siècle et au cours des siècles suivants, où on note une consommation
grandissante de vaisselle en verre mais aussi d'emballages. Si jusqu'au XVIIIe siècle, le verre est
surtout représenté par des services de table et des verres à boire classiques, issus de contextes jugés
domestiques, la présence des galeries commerciales changent la nature des rejets dès la fin du XVIIIe
avec une quantité très importante de bouteilles, parfois gravées, de fioles et de flacons divers. La
présence de jardins permet aussi de mettre en évidence quelques formes plus rares comme les cloches
horticoles. La seconde fouille a eu lieu en bordure de l'actuel musée du Louvre. Des aménagements
datés entre le XVe et le XVIIIe siècle ont révélé quelques lots de verre, notamment un important
ensemble du début de l'époque moderne, rejeté dans des latrines. La nature de l'occupation est
encore à préciser, mais la qualité de la vaisselle en verre permet de juger d'un niveau de
consommation en adéquation avec le lieu prestigieux.
Ces deux fouilles sont une occasion de relire les ensembles de verre utilisés à Paris au cours des siècles,
de dévoiler de nouvelles formes et de préciser les chronologies en vigueur.
46
SESSION C
Technological transition in early medieval northern Italy: preliminary data for
Comacchio glass
BERTINI, Camilla 1 , HENDERSON, Julian 1 , GELICHI, Sauro 2 , BASSO, Elena 3 ,
RICCARDI, Maria Pia 4 , FERRI, Margherita 2
Department of Archaeology, University of Nottingham, University Park, Nottingham NG7 2RD,
United Kingdom
2
Dipartimento di Studi Umanistici, Università Ca’ Foscari Venezia, Venezia, Italy
3
Metropolitan Museum of Art, New York, USA
4
Dipartimento di Scienze della Terra e dell’Ambiente, Università degli Studi di Pavia, Pavia, Italy
1
To this day, the chemical transition from a natron-based recipe to a plant ash formula has not been
fully assessed in Northern Italy. Between the eighth and ninth centuries AD, while the first evidence
for reintroduction of plant ash was documented in the Levant (Henderson et al. 2004), very few
glass workshops have been recorded across the Italian Peninsula. If production contexts like San
Vincenzo al Volturno and Crypta Balbi have yielded only evidence for secondary production and
recycling of natron glass in Central and Southern Italy, a more lively context is recorded in the
northern part of Italy.
Even though the existence of a primary production site is still debated, the occurrence of both
natron and plant ash glass is recorded in northern Italy since at least the eight - ninth centuries AD
(Verità’ and Toninato 1990). The scientific evidence proves that both experimentation and mixing
of natron and plant ash occurred at the same time as in the Levant (Verità et al. 2002).
The aim of this paper is to explore the significance of this evidence and present new data using
samples from the Byzantine site of Comacchio, where an active glass workshop was documented
from the seventh and ninth centuries AD (Gelichi et al. 2012). By using electron microprobe
analysis (EMPA), preliminary compositional data (major and minor elements) will be presented and
compared with compositional evidence from contemporary sites. In addition, implications for
further work will be suggested. The evidence from Comacchio and its connections with the Levant
will be considered from a new perspective by putting forward additional models of glass production
and trade or exchange.
References
Gelichi, S., Calaon, D., Grandi, E. and Negrelli, C. 2012. The history of a forgotten town:
Comacchio and its archaeology. In: Gelichi, S., and Hodges, R. (eds.), From One Sea to Another.
Trading Places in the European and Mediterranean Early Middle Ages: Proceedings of the
International Conference, Comacchio 27th-29 March 2009, Turnhout: Brepols, pp. 169-205.
Henderson, J., McLoughlin, S., and McPhail, D. 2004. Radical changes in Islamic glass technology:
evidence for conservatism and experimentation with new glass recipes from early and middle Islamic
Raqqa, Syria. Archaeometry, 46(3), pp. 439-468.
Verità', M., and Toninato, T. 1990. A comparative analytical investigation on the origins of the
Venetian glassmaking. Rivista della Stazione Sperimentale del Vetro, 20, pp. 169-175.
Verità, M., Renier, A., and Zecchin, S. 2002. Chemical analyses of ancient glass findings excavated in
the Venetian lagoon. Journal of Cultural Heritage, 3(4), pp. 261-271.
47
SESSION A
Interpretation of glass production and trade in Warring States Period China
(475–221 BC) through the study of early Chinese glass beads in the British
Museum
BERTINI, Martina 1 , MEEK, Andrew 1 , PRIEWE, Sascha 2 , SHORTLAND, Andrew 3
Department of Conservation and Scientific Research, The British Museum, London, United
Kingdom
2
Department of Asia, The British Museum, London, United Kingdom
3
Cranfield Forensic Institute, Cranfield University, Shrivenham, United Kingdom
1
This project aimed at chemically characterising the British Museum’s important but largely
unstudied collection of early Chinese glass beads. This study led to a greater understanding of the
development of glass production and trade in China and the surrounding regions throughout the
Warring States Period (475–221 BC). There is very little extant published chemical data on
Chinese glasses of the first millennium BC. However, significant differences in the glass
composition and production methods for the imported beads and those made in China have been
suggested. The expansion of the available dataset through the analysis of objects from the British
Museum collection using a combination of X-ray fluorescence (XRF) and Laser ablation inductively
coupled plasma mass spectrometry (LA-ICP-MS) greatly increased our knowledge about the
production of glass in China, and the extent of trading links to the west and south. The results of
this analytical project allowed us to differentiate between glasses used in the production of the
imported beads (i.e. between those produced in the Near East and Western Asia), and those made
from indigenous raw materials and according to local recipes in China. Patterns were found in the
chemical fingerprints of the different colours that may point to the use of significantly different
recipes being employed for each, or to production at independent workshops, which specialised in
melting differently coloured glass. It is also proposed that differences within groups of glasses made
in China could be related to different production areas or periods. The integrated approach that we
proposed brings together chemical data and technological information about the beads, allowing us
to differentiate secondary production techniques and relate manufacturing methods to specific glass
compositions. The detailed compositional characterisation utilised in this project has the potential
to answer such questions as the provenance of imported glass and the differentiation of early glass
production areas within China.
48
POSTER
Archaeometric study of Egyptian vitreous materials from Tebtynis
BETTINESCHI, Cinzia 1 , ANGELINI, Ivana 2 , MOLIN, Gianmario 1 ,
ZANOVELLO, Paola 1 , MENEGAZZI, Alessandra 1 , GRECO, Christian 3
Department of Cultural Heritage: Archaeology and History of Art, Cinema and Music, University
of Padova, Padua, Italy
2
Department of Geosciences, University of Padova, Padua, Italy
3
Egyptian Museum of Torino, Turin, Italy
1
This project aims to study the textural, chemical and mineralogical characterization of those faience
and opaque glass objects from the site of Tebtynis (Fayum, Egypt), which are preserved at the
Egyptian Museum in Torino and the Museum of Archaeological Sciences and Art of the University
of Padova. The selection of the materials for the archaeometric study will be based on the ongoing
archivistic (Deotto, PhD dissertation, in press) and typochronological researches, which plan to
investigate the location, dating and organization of the glass workshop found in Tebtynis during the
excavations of the University of Padova directed by Carlo Anti in 1931.
Our first archaeometric aim is the characterization of vitreous materials in terms of composition,
texture, microstructure, coloring agents and opacifiers. The analytical and archaeological results will
be inserted in the open-source database ÆGYPTVM (Ancient EGYptian Production Technology
of Vitreous Materials) that we are developing since last year. The database also includes the
published information about centers of production, semi-finished, finished and waste materials and
their analytical composition, where available. This will help in the comparison of our archaeometric
data with the known scientific literature.
The final goals of the project are the identification of the provenance of raw materials (with
chemical, mineralogical and isotopic investigations), the research on the development of the
production technologies of vitreous materials in Ancient Egypt and the study of the relevance of
Tebtynis as a manufacture center in the context of the Graeco-Roman Mediterranean world.
49
SESSION B
Pressglas aus Benedict Vivats Glasfabriken
BEVC VARL, Valentina
Regionalmuseum Maribor, Maribor, Slowenien
Benedict Vivat ist als der wichtigste Glasmeister im Gebiet von Pohorje / Bacherngebirge anzusehen,
da er in seinen drei Glasfabriken Glasprodukte höchster Qualität herstellte. Bis heute haben sich nur
wenige seiner Werke erhalten, wir können jedoch anhand seltener, noch existierender
Glasgegenstände und schriftlicher Quellen ein Bild seiner Produktion rekonstruieren. Nach genauer
Untersuchung seiner Glaswerke und deren Einordnung in den europäischen Rahmen seiner Zeit
steht fest, dass Vivat eine wichtige Position einnahm, insbesondere in den Dreißiger-, Vierziger- und
Fünfzigerjahren des 19. Jahrhunderts, als die Qualität der in seinen Glasfabriken hergestellten
Glasgegenstände ihren Höhepunkt erreichte. Benedict Vivat war einer der ersten Glasmeister, die in
ihren Glasfabriken Pressglas herstellten. Neben Bechern aus Pressglas stellte Vivat auch gepresste
Feldflaschen her, deren Vorgänger in ähnlichen Feldflaschen des 18. Jahrhunderts zu suchen sind
und die auch in anderen steirischen Glashütten hergestellt wurden. Unter den von Benedict Vivat in
seinen Glasfabriken Neubenediktental und Langerswald hergestellten Glasgegenständen aus
Pressglas können wir zwischen drei Motivgruppen unterscheiden, die jeweils für Glasgegenstände
verschiedener Form angewendet wurden. Obwohl die Abnehmer unter der einheimischen
Bevölkerung zu suchen sind, haben sich nur wenige Objekte erhalten. Vereinzelt findet man sie in
slowenischen und österreichischen Museen und im Kunstgewerbemuseum in Prag. Mir sind keine
vergleichbaren oder ähnlichen Glasgegenstände bekannt. Man findet zahlreiche Glasgegenstände aus
Pressglas, die aber ganz andere Formen und Dekorationen zeigen. Die Gruppe der in den
Glasfabriken von Benedict Vivat zwischen 1830 und 1870 hergestellten Glasgegenstände mit
Portraits, Wappen und Heiligendarstellungen im Relief, die manchmal mit transparenten
Emailfarben bemalt sind, ist folglich als eine Sondergruppe innerhalb der Glaskunst zu betrachten.
50
POSTER
Le verre archéologique du Canton du Tessin (CH) : une révision
BIAGGIO-SIMONA, Simonetta
Ufficio dei beni culturali, Cantone Ticino, Bellinzona, Suisse
Les récipients en verre d’époque romaine qui proviennent des nécropoles du canton du Tessin
constituent un témoignage d’une grande valeur historique, culturelle et artistique dans le domaine
de l'artisanat du verre. Les connaissances dont on dispose à leur sujet permettent de dire que ces
objets ont été produits dans le nord de l’Italie à l’époque impériale. Les découvertes archéologiques
des vingt dernières années corroborent ces acquis. En revanche, il manque encore largement de
données relatives aux implantations romaines dans le canton du Tessin et, avec elles, la possibilité
d’évaluer l'utilisation du verre dans les domaines snon funéraires et de confirmer l’existence
d’hypothétiques centres locaux de production.
Les résultats des fouilles effectuées au cours du XXe siècle dans l’agglomération de Muralto ont
changé les conclusions concernant la présence présumée d’un atelier de verriers dans l’aire du « Parc
Hôtel » et ont relancé la question, toujours ouverte, des centres de production dans la région
tessinoise.
51
SESSION C
An experimental model of the ‘Sb-Mn recycling indicator’ in Roman glass
BIDEGARAY, Anne-Isabelle 1/2 , CEGLIA, Andrea 1/2 , COSYNS, Peter 1/2 , GODET,
Stéphane 3 , NYS, Karin 1/2 , TERRYN, Herman 1
SURF research group electrochemical and surface, Vrije Universiteit Brussel, Brussels, Belgium
Kunstwetenschappen & Archeologie / Mediterranean Archaeological Reserach Institute, Vrije
Universiteit Brussel, Brussels, Belgium
3
4MAT (Génie des matériaux, caractérisation, synthèse et recyclage), Vrije Universiteit Brussel,
Brussels, Belgium
1
2
In the Roman Empire, colourless glass was produced either by using raw materials with a very low
level of impurity or by adding antimony or manganese oxides. The current premise is that the
simultaneous presence of antimony (Sn) and manganese (Mn) in decolourised glass is an indicator
of glass recycling. However, this ‘Sb-Mn recycling indicator’ involves important archaeological and
glass chemistry questions. Possible variations in optical properties, colour, structure and chemical
composition upon re-melting and mixing remain unknown. Mixed antimony-manganese
decolourised glass could equally imply a deliberate mixture of different types of raw glass chunks.
Moreover, recycling of broken glass recovered randomly from the consumers’ market would be
expected to provide a blurred cloud with wider ranging contents in Sb-Mn than what is obtained.
To tackle this key issue, a bottom-up approach is adopted. Glasses with known chemical
compositions are first synthesized, then re-melted several times, decolourised with antimony oxide
on the one hand and manganese oxide on the other and finally mixed in different ratios.
Throughout the whole process the chemical composition (micro X-Ray fluorescence, μ-XRF), the
structure (Raman spectroscopy) and optical properties (optical spectroscopy) are analysed. Based on
the glass quality this reconstruction of ancient glass production allows us to discuss a possible
distinction between unintentional glass recycling and deliberate glass mixing. Moreover, assessing
the deviations from the expected chemical composition of recycled glass along with understanding
the structural changes of glass provides the basis for further discussion about the extent of glass
recycling in the late Roman Empire.
These experimental results have significant implications for our interpretation of late Roman glass
recycling. Not only does the method offer a novel approach to the study of glass production in its
full complexity, but the findings can also be used as a basis to examine how and to what extend glass
was recycled.
52
SESSION B
An analytical approach to distinguish genuine, façon de Venise and fakes
BIRON, Isabelle 1 , VERITÀ, Marco 2 , BARBE, Françoise 3 , BAROVIER MENTASTI,
Rosa 4
Laboratoire du Centre de Recherche et de Restauration des Musées de France (C2RMF), Paris,
France
2
LAMA Laboratory, Università di Architettura IUAV, Venice, Italy
3
Département des Objets d'art, Musée du Louvre, Paris, France
4
Venice, Italy
1
Since 2009, the authors have been involved in a research project concerning enameled and gilded
Venetian Renaissance glass. These objects were made in Venice from the late 15th through the 17th
centuries and were imitated in other European glassmaking centers during this period (façon de
Venise glass). Furthermore, copies (fakes) of the Renaissance enamelled Venetian glasses were made
in Murano glass factories since the second half of the 19th century. The purpose of the project is to
establish, through chemical analysis of the glass and enamels (using non-destructive ion beam
analysis in proton induced X-ray / gamma-ray emission modes (PIXE-PIGE) at C2RMF) criteria
that enable Venetian Renaissance enamelled glass to be distinguished from façon de Venise
production or 19th century fakes. The database being developed is the first to be dedicated to this
subject. Around 35 original Venetian Renaissance items and objects of doubtful provenance
belonging to the French collections (mainly form the Louvre museum) were selected for analysis.
Indeed, in spite of the interest shown by collectors, museums and specialists for more than a century,
questions still remain to be answered about Venetian enamelled glass. Many pieces in the collections
are of uncertain provenance and their authenticity is still being debated. Our first results were
discussed in a recent paper, compared with the analyses available in the literature and with the
recipes to make enamels reported in Renaissance treatises drawn by Venetian glassmakers. [1] We
have established a range of compositional groups: typical Venetian Renaissance recipes (cristallo and
vitrum blanchum) and others that are not specifically Venetian. The research is being extended by
analyzing a larger number of enameled glasses from French collections, as well as enamelled glass
fragments datable to the Renaissance in archaeological contexts coming from Italy (Padova) and
different places in England. These fragments, which are well dated, are not only very important for
the identification and the dating of our groups of glass composition, but also to investigate the
structure and coloring technique of the enamels using polished cross section analyzed by scanning
electron microscopy with X-ray microanalysis (SEM-EDS).
[1] I. Biron and M. Verità, ‘Analytical investigation on Renaissance Venetian enamelled glasses from
the Louvre collections’, Journal of Archaeological Science, 39 (2012) 2706-2713.
53
SESSION A
A unique glass 'cup' from a Buddhist context in Sri Lanka
BORELL, Brigitte
Archaeologist, independant scholar, Dossenheim, Germany
In the inner centre of a stupa deposit at Deliwala, Sri Lanka, dated to the second century BC, a
hollow glass object was found, which is remarkable for several reasons: its shape resembles that of a
small cup with rounded bottom, but it has no close parallel among the mould formed
Mediterranean or Western Asiatic drinking cups of the period. Within the deposit it was positioned
with its opening facing down and served as a protecting glass cover for the three small rock crystal
and gold reliquaries underneath it. It is made of a transparent, almost colourless glass. The chemical
analysis of the glass revealed that it is not a glass of Mediterranean or Western Asiatic composition,
but a type of potash glass found up to now only at a few sites in Southeast Asia dating from the late
centuries BC. So far, only small objects like beads and other ornaments were known to have been
made of this type of potash glass.
The discovery of this unique glass object in its in situ position within the stupa deposit allows new
insights in the history of glass in South Asia and Southeast Asia. Besides questions of maritime EastWest contacts, trade relations and possible technology transfers, the use and meaning of glass in
Buddhist contexts will be investigated.
54
SESSION B
L'industrie des faux à Murano au XIX e siècle
BOVA, Aldo
Berlin, Allemagne
La présence de faux verres archéologiques de la Renaissance et du baroque est un grave problème
pour les musées des arts décoratifs, pour les collectionneurs et pour le commerce d’antiquités. Il s’agit
dans la plupart des cas d’un problème que seulement l’avis d’un connaisseur avec une grande
expérience peut essayer de résoudre. Mais cet avis nécessite aussi l’appui de documents historiques
qui, dans ce domaine, sont très rares. Dans ma contribution, je présente quelques documents qui
attestent la fabrication de faux à Murano au XIXe siècle et j’essaie de mettre ces documents en
relation avec quelques objets produits à Murano durant la même période.
55
SESSION A
The Taranes cage cup: new information on an old find
BROSCHAT, Katja 1 , SURBANOSKA, Mila 2
Forschungsinstitut für Archeologie, Römisch-Germanisches Zentralmuseum Mainz, Mainz,
Germany
2
Museum of Macedonia, Skopje, Macedonia
1
The presentation will focus on the technological aspects and the typological features of the Taranes
cage cup.
In 1980 a grave of a warrior from the period of Licinius I (308–324 AD) was discovered at the site
of Taranes in Macedonia. Among the rich grave goods was a fragmented Vas Diatretum, and shortly
after the recovery a partial temporary reconstruction had been undertaken.
In the meantime, the piece developed an unsatisfactory appearance and structural instability after
adhesives had altered into a yellowish brittle mass. The result of this preliminary reconstruction was
its classification as one of the “huge Köln-type” cage cups.
The new concept was to dismantle all glued old joints and reconstruct the entire vessel without any
gap filling by fixing the reassembled parts onto a mount. This procedure resulted in a set of 300
small pieces that in the beginning were reassembled following the profile scheme of the first
restoration, which soon turned out to be misleading, as several parts had been misaligned. The work
was accompanied by a detailed photographic documentation of the working progress, the vessel and
in particular the surface details. Scientific investigations were carried out identifying the nature of
mineralized accretions and the bulk glass composition.
Finally, the profile of the cage cup differed noticeably from the design of the former one, and in
particular the sequence of the inscription band and the frieze had to be transposed. The object is still
classified as belonging to the “Köln-type” series of cage cups, but follows a hitherto unknown subtype.
56
POSTER
Reexamination of a Mamluk Glass collection from Jerusalem
BROSH, Naama
The Israel Museum, Jerusalem, Israel
At the beginning of the 1980s, the L. A. Mayer Islamic Museum, Jerusalem, purchased a collection
comprising a few hundred glass fragments that, according to the dealer, had been found in the
Jewish Quarter by workmen digging foundation trenches into the earth. Rachel Hasson published
these fragments as a preliminary report without illustrations in Journal of Glass Studies 1983. New
excavations in Jerusalem and at various sites in the Land of Israel, as well as the final publication of
the enormous glass assemblage from the Jewish Quarter excavations, have enabled us to redate and
reevaluate the L.A. Mayer collection.
Based on parallels from dated contexts, the vessels of this group appear to be from the Mamluk
Period, principally from the 14th to the 15th century. Most of the fragments are decorated. The most
prevalent decorative technique was trail-marvering. Marvered vessels of this period are known
mainly from Syria and Egypt. Another group comprises fragments of red and red-painted glass,
characteristic of the Jerusalem workshops and, indeed, unique to them. Despite the fact that these
fragments do not stem from archeological excavations, they nonetheless provide an important
testimony, shedding light on Islamic glass in Jerusalem.
57
SESSION B
On the question of provenance of historical glass objects – The collections of the
Herzog Anton Ulrich-Museum in Braunschweig and the Rijksmuseum in
Amsterdam
BRÜDERLE, Nicole
Rijksmuseum Amsterdam, Amsterdam, Niederlande
Scientists and collectors have always been engaged with the question about the origin of art objects.
Evidence regarding the history and whereabouts of an object since its production are fundamental
for a closer classification and authentication. One of the most important sources are historical
inventories, which often provide the earliest evidence of the existence of an art object. In this
context, the glass collections of the Herzog Anton Ulrich-Museum in Braunschweig (approx. 140
objects) and the Rijksmuseum in Amsterdam (approx. 2000 objects) as well as their provenance will
be presented. Although both collections were only built up in the 19th century, they include objects
which origin can be traced back to the first half of the 18th century. Under these objects are twoʻtop
piecesʼ: a so-called Lutherglas (Herzog Anton Ulrich-Museum) and a Hedwig beaker
(Rijksmuseum). In connection with their origin both objects will be presented and briefly discussed.
Furthermore, the focus also lies on the Venetian and façon de Venise glasses, which are respresented
in both collections. In addition to a general overview about the origin of glass objects from two
important European collections, fundamental questions about the treatment with historical sources,
i.e., ‘What give us the guarantee that an object is ʻrealʼ?, How ʻreliableʼ are historical inventories?’ will
be asked.
58
SESSION C
Les verres du haut Moyen Âge issus des fouilles du monasterium Habendum
(Saint-Amé, Vosges, France)
CABART, Hubert (†), PACTAT, Inès 1 , GRATUZE, Bernard 2
Maison des Sciences de l'Homme et de l'Environnement Claude Nicolas Ledoux (USR 3124),
Université de Franche-Comté, Besançon, France
2
Centre Ernest Babelon, IRAMAT, CNRS-Université d’Orléans, Orléans, France
1
L’étude du mobilier en verre mis au jour au Saint-Mont entre 1964 et 1991 a été réalisée en premier
lieu par Hubert Cabart, éminent spécialiste de la verrerie de l’Antiquité aux Temps Modernes dans
le nord-est de la France. Ce travail étant malheureusement resté inédit, nous souhaitons lui rendre
hommage ici en intégrant le fruit de ses recherches dans une étude interdisciplinaire des verres du
haut Moyen Âge.
Le mobilier est principalement issu de la terrasse sommitale du site, à l’emplacement présumé du
premier monastère, fondé sous la règle de Saint-Colomban au début du VIIe siècle par les moines
luxoviens Amé et Romary. La collection est essentiellement composée de vaisselles à boire et de
luminaires, mais aussi d’éléments de vitraux et de déchets d’artisanat du verre. Les formes identifiées
sont attribuables aux VIIe–VIIIe siècles. Le corpus du Saint-Mont se distingue de la vaisselle
commune par des décors complexes, comparables aux productions anglo-saxonnes et d’Europe du
Nord. Des techniques sophistiquées ont été mises en œuvre pour orner la gobeleterie : filets opaques
jaunes et blancs, cordons translucides bleus, assemblage de baguettes réticulées, ou encore décors
d’émail blanc en « plumes d’oiseau ».
Des analyses physico-chimiques ont été réalisées sur ce mobilier afin d’identifier la composition
élémentaire du verre et des décors, et d’en déduire les recettes de fabrication. Les verres des VIIe–
VIIIe siècles ont été fabriqués selon la tradition antique, à partir de matière brute ou de groisil à
fondant minéral sodique, de type natron. L’intensification du recyclage et une augmentation sensible
des teneurs en potasse témoignent en revanche d’un manque de matière première et présagent
l’adoption des verres à cendres végétales au siècle suivant.
59
SESSION A
A comperative investigation of the glass materials from tumuli from eastern
Thrace and Lydia in the light of the Gure and Dugunculu finds
CAKMAKLI, Omur Dunya 1 , TASTEMUR, Emre 2
1
2
Karabük University, Karabük, Turkey
Uşak University, Uşak, Turkey
This study comprises an assessment of the glass materials coming from two Roman tumuli from
eastern Thrace and Lydia in terms of geographic, historical, gender and typologic studies. The first
of these, Düğüncülü Höyüktepe, is located in Kırıkkale in the eastern Thrace region. The other one,
Güre, which was revealed after a rescue excavation, is located in Uşak in the Aegean region. Female
burials with their grave goods were uncovered in both tumuli. As can be predicted, regional
differences and similarities among burial customs can be detected with the help of these glass finds.
In addition to this scientific contribution, the burial of a woman and a man together in a tomb in
the Düğüncülü tumulus offers some clues about mutual and different habits of glass usage between
genders. In both tumuli, some glass finds, which could have had cosmetic functions and would have
been used by women, were discovered beside typical Roman daily glasswares. This investigation of
the afore mentioned glass finds is significant not only because it shows the organic connection
between daily usage and grave goods during Roman period, but it also sets forth the place and role of
women in Roman society.
This study will try to address the following research questions: What is the reason behind the choice
of specific wares used by women, even though the finds were uncovered in two different region?
Was there a common aesthetic perception or not? What can be said about the general admiration
and choices? Which forms can be characterized as rarely used?
In addition to 17 relevant glass finds, cosmetic boxes and jewellery such as rings and earrings, which
were probably imported, will be clarified through an integrated approach.
60
POSTER
Mirrors, lenses, spectacles and looking glasses. Aspects of production and use of
optical glass based on archaeological and historical evidence from Antwerp and
the former Duchy of Brabant in the 16 th and 17 th century
CALUWÉ, Danielle
Department of Archaeology and Art History, Free University of Brussels, Brussels, Belgium
Until recently, optical glass and mirrors were considered to be scarce luxury items. However, this
impression has recently been challenged by the continuously growing archaeological and historical
material, from religious, secular, noble and urban sites, and from rural environment too. This
research project is financed by the Foundation for Scientific Research of Flanders and carried out at
the Free University of Brussels. The collaboration with the Departments of History and of
Chemistry, both of the University of Antwerp, offers the opportunity to confront archaeological
and historical evidence with natural science.
For a better and wider understanding of a complex, artisanal process, it is indispensable to integrate
the archaeological and historical information into a wider context in order to assess its economic
impact and its cultural significance in the Early Modern material culture. Our research confronts
archaeological data with historical records, more specific with 16th and 17th century probate
inventories from Antwerp and Leyden. On the other hand international historical publications on
optical glass, alchemy, glass recepies, labour migration and furnace construction are confronted with
the data of the scientific analysis on composition and the use of raw materials. The main research
aims of this integrated, quantitative and a qualitative approach are fivefold:
– to call for a wider interest in the largely understudied topic of archaeological optical glass finds;
– to provide a brief introduction into optical glass trade and distribution, drawing upon the
comparative analysis of the archaeological finds, and the comparative study of historical
literature;
– to illustrate the importance of Antwerp as a production and distribution centre for optic glass;
– To shed light on the technical innovations for the production of optic glass, applied in the
Antwerp context;
– to quantify the increasing consumption of optical glass in Antwerp and beyond.
61
SESSION B
Glass from Enez (ancient Ainos)
CANAV ÖZGÜMÜŞ, Üzlifat, KANYAK, Serra
Faculty of Fine Arts and Design, Dogus University, Istanbul, Turkey
Enez, the ancient city of Ainos, is located on the westernmost point of Turkey. Prof. Dr. Sait
Başaran from Istanbul University is currently excavating the site. Ancient Ainos was the capital of
the Rhodope region in Late Antiquity. In the Middle Ages it was a well-protected center of the
Latins together with Samothrake and Imbroz. It was ruled by the Genovese Gattelusi and Doria
families for about 200 years and was finally conquered by the Ottoman Turks under Mehmet II in
1456. The ancient settlement is located at the meeting point of land and sea roads. It links
the Balkans to the Aegean and to Anatolia and acted as an important cultural and trading center.
Many interesting glass finds were uncovered at this site. They range from the Hellenistic period
through the Roman, Byzantine and Ottoman era. Among theses finds there is also a group of special
glass finds from Europe. Our paper will be about those European glass finds. We assume that they
must have been made in Venice in the style of Late Gothic or Early Renaissance. They have similar
features to soda glass. They are colorless and have an extremely refined and pure matrix. Their forms,
either sherds or intact, are in general bowls, goblets, bottles, and water glasses.
62
POSTER
Reveal the production technology of red glass tesserae by means of synchrotron
XRD and XANES
CEGLIA, Andrea 1 , BONNEROT, Olivier 2 , BIDEGARAY, Anne-Isabelle 1 ,
CRABBE, Amandine 1
1
2
SURF research group electrochemical and surface, Vrije Universiteit Brussel, Brussels, Belgium
Archaeological Research Unit, University of Cyprus, Nicosia, Cyprus
In Late Antiquity, two types of red glass tesserae are described in the literature. The first one is the
so-called "sealing-wax" red glass, for which the red colour is due to the light scattering of cuprous
oxides dendrites dispersed in the glass matrix. The second one is the so-called "ruby-red" glass, for
which the colour is the consequence of the scattering of dispersed sub-micron elemental copper
particles. The origin of the colour is therefore rather well understood. However, a perfect
understanding of the making process of such glass has yet to be achieved. Furthermore, in mosaics,
the red glass is sometimes associated with some stripes of other colours on the same tesserae, like
blue, white, or orange. Such striped tesserae or glass slabs from opus sectile are sometimes mentioned
in the literature but have not been the object of a detailed study yet. Plain red, blue/red, white/red
and orange/red striped glass tesserae were considered in this work. In order to uncover the
technology we studied the redox state of manganese (Mn), iron (Fe) and copper (Cu) in the glass
matrix by means of Synchrotron based micro X-ray absorption near edge structure (μXANES). This
technique allowed us to correlate the redox state of these three ions and to study its change at the
interphase between different colours. We also applied micro X-ray diffraction (μXRD), which
allows the recognition of crystalline phases dispersed in the matrix. Furthermore, using a micro
beam of 5x7 μm we were able to determine the distribution of crystals in the glass matrix. Besides
synchrotron techniques, we also studied the materials by scanning electron microscopy with X-ray
microanalysis (SEM-EDS) and Raman spectroscopy in order to obtain information on the
elemental composition and the structure of the glass matrix.
63
POSTER
Glass of the 13 th and 14 th centuries from north-western Bohemia: typology,
archaeometry and provenance
ČERNÁ, Eva
Ústav archeologické památkové péče SZ Čech, v.v.i. Most, Czech Republic
Since the 1980s glass dating from 13th - 14th century from northwestern Bohemia is subject of
research. At first, it was examined from a typological-chronological point of view, and - from the end
of 1990s -also its chemical composition was studied. At present, we know 29 sites 15 of which are
settlements and 14 glassworks.
Archaeological excavations have produced a large and diverse database. The largest part of this
database consists of glass from the medieval town of Most, where more extensive field research was
done than at all other locations. Some data, however, was obtained from smaller excavations in
towns of northern Bohemia, but also in pre-locational settlements, strongholds, and castles, but
rarely in sacral localities (monasteries and churches).
The range of vessels shapes is wide and includes many variants of beakers, bottles, bottles with inner
ring and kutrolfs. The vessels are decorated mostly with plastic decor, rarely optical or painted decor.
Archaeometric research allowed us to distinguish five chemical glass types: soda-lime glass, plant-ash
glass (A2), high-lead glass (B), lead-ash glass (D), mixed alkali glass (E), and wood-ash glass (F). On
the basis of the archeometrical survey the provenance of the findings can be determined, which
indicates international trade and cultural contacts in northwest Bohemia.
The vessels made from glass of the first four chemical types (A2, B, D, E) can be safely classified as
imports from southern, south-eastern and south-western Europe, or even from the Middle East. It is
difficult to determine the origin of glass vessels from the fifth group (F). Some of the vessels from
this group may have been produced in Bohemian glassworks, others might come from foreign
workshops, where the glass was melted using potassium alkali as flux. Recognizing the origin of
vessels made out of wood-ash glass will be possible only after further more detailed archaeometric
research.
64
POSTER
Gold-band glass fragments in the ‘Römisch-Germanisches Museum’ of Cologne:
considerations about the technique
CESARIN, Giulia
Institute of Archaeology, University of Cologne, Cologne, Germany and Dipartimento dei Beni
Culturali, University of Padova, Padua, Italy
This contribution aims to present unpublished fragments in gold-band glass technique, formerly in
the Niessen Collection, now in the Römisch- Germanisches Museum of Cologne (Germany).
Gold-band glass represents one of the most fascinating and complex techniques of the ancient world.
Starting in the Hellenistic period, the first little vessels, mostly oil- and cosmetic-containers, were
created assembling canes in opaque or translucent glass in contrasting colours. One cane of
colourless transparent glass contained a gold leaf.
During the 1st century BC, the Roman conquests in the East Mediterranean probably led to the
spreading of glass industry also in southern Italy. In that context, the newborn Italic workshops
assimilated various glass techniques. It is also believable that some artisans migrated from the East to
Italy, where a new market was growing.
The Romans of the Augustan Age transformed the gold-band glass technique, introducing new
forms (pyxis and unguentarium) and colours (amethyst and green), changing arrangements and
patterns, but still producing predominantly cosmetic-containers.
These luxury objects were doubtless destined to a restricted elite and were probably kept for a long
time before being deposed in a burial. This character, together with the scattered location of the find
spots in the Mediterranean, did not allow the scholars to identify a place of production for this
technique yet. Besides the interest for the technical aspects, not yet fully understood, gold-band glass
is meaningful in the wider context of the socio-economic implications and history of glass
techniques, representing a significant case study to investigate the transformation from the eastern
Hellenistic to the Italic Augustan productions.
65
SESSION B
Glass and stained glass windows of Belém: a document of cultural history in
Amazonia
CORRÊA PINTO, Amanda 1 , VILARIGUES, Márcia 2 , SANJAD, Thais 3
Department of Conservation and Restoration, Faculty of Science and Technology, New University
of Lisbon, Caparica, Portugal
2
VICARTE, Research Unit Vidro e Cerâmica para as Artes, Departament of Conservation and
Restoration, Faculty of Science and Technology, New University of Lisbon, Caparica, Portugal
3
LACORE, Laboratory of Conservation Restauration and Rehabilitation, Universidade Federal do
Pará, Belém, Brazil
1
While the majority of European buildings live the splendor of stained glass windows during the
Middle Ages, the arrival of glass windows in Brazil occurs only in the 18th century, as a way to
attribute status and value to the large buildings of the most important cities of the country. In Belém,
city in the north of Brazil known for being the entrance of Amazonia, the first glass windows were in
historical buildings such as churches and government offices appear only in the late 19th century.
Then, in the beginning of 20th century, with the improvements brought to the city by gum economy,
its urbanization and the development of eclectic architecture, the use of glass was extended to all
buildings. The change of wooden windows, common to all simple buildings of Belém, to glass
windows, using transparent float glass and stained glass, resulted in an important and varied
collection. These windows came mainly from Europe and from southeastern Brazil. However, faced
with the overexposure to weather, improper replacement and lack of suitable conservation and
restoration procedures within environmental conditions, the historical glasses are gradually
disappearing, almost being a challenge to documentate them properly. This research is based on
primary sources such as historic import documentation, catalogues of local importers of glass
artifacts, and also inventory documentation. In this regard the aim of this research is to
contextualize the use of glass in historical buildings from Belém, in particular from the beginning of
the 20th century until nowadays, in order to promote the valorization of this material as an
important part of the city’s cultural heritage and to establish appropriate methods to ensure its
conservation within the local conditions.
66
SESSION A
The glass from Oudenburg (Belgium). The vicus and the fort
COSYNS, Peter 1 , DHAEZE, Wouter 2 , DYSELINCK, Tina 3 , VANHOUTTE,
Sofie 4
Department of Art Sciences and Archaeology, VUB, Brussels, Belgium
Stad Oudenburg, RAM, Oudenburg, Belgium
3
BAAC-Vlaanderen, Mariakerke, Belgium
4
Flanders Heritage Agency, Brussels, Belgium
1
2
Since the mid 1950s several excavations took place at Oudenburg, a village between Bruges and
Ostend now at ca. 8 km distance from the coast. In Roman times a settlement was founded in the
second half of the 1st century AD on top of a sandy ridge boarding the coastal plain. From the end of
the 2nd century AD a first wooden fort got established at the location. After three wooden fort
periods, the military base was erected in stone around 260 AD. By the last quarter of the 3rd century
the civil settlement got deserted. During the 4th century, the fort was one of the strongholds of the
Saxon shore defences on the continent. Left behind in the early 5th century AD the fort area got
covered with a thick layer of ‘dark earth’. In regard of the significant recent excavations at the sites
Spegelaere, Riethove and Bellerochelaan, incorporating large parts of the civil settlement and the
fort, a comprehensive examination of the glass became compulsory.
A chronological overview of the glass material – vessels, jewellery and windowpanes – from the civil
settlement and the fort will be provided. The glass from the domestic areas will be compared with
that from the civil and military burials excavated.
67
SESSION A
Two polychrome mosaic bowls from a rich 2 nd century AD cremation burial at
Kelshall, Hertfordshire, southern England
COTTAM, Sally 1 , PRICE, Jennifer 2
1
2
King's College London, United Kingdom
Professor Emerita, University of Durham, United Kingdom
Wealthy burials dating from the second century A.D. have been recorded in southern England since
the early 19th century, and several of these have come from the modern county of Hertfordshire. In
November 2014, metal detectorists working at Kelshall reported a new find to the County
Archaeologist for North Hertfordshire and the Portable Antiquities Scheme. A rescue excavation
found a cremation burial with a variety of grave goods including copper alloy jugs and a patera, a box
with metal fittings and an iron lamp and hanger as well as a range of glass tablewares and containers.
Two of the tableware vessels are complete polychrome mosaic bowls formed from lozenge-shaped
canes. These are remarkable, as although fragments have been studied on more than one occasion in
recent years, complete examples with similar canes have not hitherto been noted.
This paper will present preliminary information about the glass assemblage in the burial, but will
concentrate on the two bowls, looking at the range of vessel forms made from these kinds of lozengeshaped canes in Britain and elsewhere, and at the information that the Kelshall bowls can provide
about their production.
68
POSTER
La vaisselle en verre de deux sépultures aristocratiques d’époque augustéenne à
Ath/Ghislenghien (province du Hainaut, Belgique)
DANESE, Véronique 1 , HANUT Frédéric 2
asbl Recherches et Prospections Archéologiques (RPA), Belgique
Direction de l’Archéologie du Service Public de Wallonie (DGO4, département du patrimoine),
Jambes (Namur), Belgique
1
2
En septembre 2014, l’équipe archéologique du collectif Recherches et Prospections Archéologiques,
assistés par le Service Public de Wallonie (Direction extérieure du Hainaut 1), mirent au jour deux
remarquables sépultures à incinération datées entre 5 av. et 20 apr. J.-C. dans des terrains dévolus à
l’extension de la Zone d’Activité économique (ZAE) de Ghislenghien III. Les deux tombes ont été
aménagées dans de grandes fosses rectangulaires qui abritaient une chambre funéraire en bois.
L’essentiel du mobilier funéraire reposait sur le plancher en bois. Toutefois, la position de certains
objets à des hauteurs différentes dans le comblement des tombes suggérerait l’existence de pièces de
mobilier comme des étagères ou des tables basses. La tombe 1 est la plus riche des deux. Elle a livré 36
récipients en céramique dont 3 amphores à sauce/conserves de poisson et un service complet de
coupes et d’assiettes en terre sigillée italique, 3 fibules en bronze, des landiers en fer, un chaudron
bimétallique et 7 pièces de vaisselle en alliage cuivreux. A cela s’ajoutent une coupelle en verre
mosaïqué rubané du type AR 1/Trier 2 ainsi qu’un petit balsamaire en verre soufflé jaune du type
AR 125/Isings 6/Trier 70a. La tombe 2 contenait un peu moins de vaisselle d’importation. On y
dénombre néanmoins 20 poteries, 2 fibules en alliage cuivreux, une paire de chenets en fer et en
bronze ainsi qu’une coupelle en verre mosaïqué rubané du type AR 1/Trier 2. Les deux tombes de
Ghislenghien doivent être attribuées à des personnalités en vue dans la société nervienne qui ont
vécu sous le règne de l’empereur Auguste (27 av. J.-C. – 14 apr. J.-C.). Nous pouvons les qualifier
d’aristocratiques en raison de la qualité et de l’abondance des offrandes funéraires, des dimensions et
de l’aménagement des fosses sépulcrales.
69
SESSION A
Glass factories outside the eastern Mediterranean in the first millennium AD
DEGRYSE, Patrick
Centre for Archaelogical Sciences, Katholieke Universiteit Leuven, Leuven, Belgium
In the ARCHGLASS (ERC) project, a database of possible raw materials for primary glass making
from around the Mediterranean is presented. This information has been confronted with data on
ancient glass from around the Hellenistic-Roman world. Analyses of glass artefacts at consumer sites
as well as a chemical characterisation of raw glass from primary production sites are presented. Using
newly developed isotopic analysis methods, the primary provenance of ancient natron glass in the
first millennium AD is derived. In particular, the occurrence of primary production centres of raw
glass in Italy, Gaul, Spain and North Africa (described by ancient authors) was investigated, as an
alternative to the known glass factories in Syro-Palestine and Egypt. From our investigation, it is
clear that suitable sands for natron glass making are rare. A limited number of glass sites in the
eastern Mediterranean and north Africa were melting sand to glass in the Hellenistic period. In
imperial – early Roman times, the origin of primary natron glass lies in the western as well as in the
eastern Mediterranean and possibly in North Africa. Apparently, investments were made in several
glass making units all over the Empire. Several north African flux sources are likely to have supplied
flux for primary glass making. In late Roman – early Byzantine times, natron glass making falls back
on the glass producing sites in the eastern Mediterranean. The discovery of this phasing in glass
making in the Hellenistic-Roman world adds a new chapter to the history of glass and our
knowledge of the archaeological record, hopefully to be integrated in further economic studies of the
Roman world.
70
SESSION B
A collection of 18 th century Indian glass case bottles
DESJARDINS, Tara
School of Oriental and African Studies, University of London, United Kingdom
Chemical testing on ancient Indian glass, predominantly of beads, bangle shards, and fragmentary
remains, reveals both a dynamic trade and long tradition of glass production within the
subcontinent from antiquity; however, Mughal glass from the 16th-18th century remains a mystery,
with both Indian painting, jewelry, and textiles and Islamic glass (11th-15th century) receiving
considerable attention.
Trade records of the 18th century reveal that the English traded lead glass ingots to South Asia and
further east towards China. The discovery of the Albion shipwreck in 1985 and the testing of these
glass ingots found from the salvaged ship support this trade, dating to around 1765. While energy
dispersive X-ray spectrometry (EDS) testing has been done on only three glass huqqa bases from the
Virginia Museum of Fine Arts (VMFA), Richmond, the compositional results from the Albion glass
ingots and the VMFA huqqa bases are almost identical.
Unfortunately, no further testing of Indian glass objects exists. However, this paper will show new
results of testing done by other institutions on a collection of case bottles. While these bottles
represents a type of object whose shape can be found within English, Dutch, German, and
Bohemian glass, both the color and surface decoration indisputably connect them with India. The
paper will categorically analyze three different aspects: firstly, to trace the origins and evolution of
this bottle’s form as a visual method of historically contextualizing the object; secondly, to
chemically analyze the individual glass compositions of the objects by X-ray fluorescence (XRF) and
EDS, and to see whether results indicate either a lead-potash or an alkali-lime composition that can
support the extent of English influence upon Indian glass production (i.e. imported ingots into
India, re-used cullet, or neither); thirdly, to study the surface décorations through comparative visual
analyses to identify possible places of production and contexts for uses.
71
SESSION A
Glass vessels from Late Roman times found in graves in the Hungarian part of
Pannonia
DÉVAI, Kata
MTA–ELTE Research Group for Interdisciplinary Archaeology, Institute of Archaeological
Sciences, Eötvös Loránd University, Budapest, Hungary
This presentation covers the PhD thesis submitted in 2013 to the Archaeology Doctoral
Programme, Doctoral School of History, Eötvös Loránd University. The lecture deals with the Late
Roman glass vessels found in graves in the Hungarian part of Pannonia. Also, it sets up a typology
considering colours, qualities, details and decorations, aspects, which have not yet been investigated
in Hungarian research projects so far. Another approach is the analysis of the chronological and
geographical diversity of glass types, which led to the definition of the tendencies in glass usage and
of the areas that belonged to different workshops. From the second half of the 4th century AD two
regions are notable concerning the geographical spread of the glass vessels. The first covers the region
along the Limes between Arrabona and Intercisa, of which the Danube bend is the most remarkable
area, since more than half of the vessels (53%) were found in this region. The other zone stretches
across the city of Sopianae and its vicinity, where 20% of the glass was unearthed. The glass vessels
show a wide variety of forms. Also unique forms have been discovered in the cemeteries of this area.
Their shapes have their parallels from the second half of the 5th century AD throughout the Empire.
The geographical extent could be ascribed to the existence of a Late Roman glass workshop in the
area of Pécs and the Danube bend, which supplied these regions with vessels. The glass finds from
the cemetery of Ságvár are quite special due to their unique forms, high quality, and their functional
proportions, which are different from the characteristics of vessels from other parts of the province.
It is also worth mentioning that some parts of some vessels were recycled, for example the base rings
of jugs were re-used as cups and placed into children’s graves.
72
POSTER
Le verre dans l’école
DIANI, Maria Grazia 1 , MANDRUZZATO, Luciana 2 , PEZZOLI, Sandro 3 ,
ZEPPONI, Andrea 4
Comité national italien de l’AIHV et Regione Lombardia, Milan, Italie
Comité national italien de l’AIHV, Trieste, Italie et Department of Ancient History, MacQuarie
University, Sydney, Australie
3
Comité national italien de l’AIHV, Milan, Italie
4
Comité national italien de l’AIHV et Istituto Comprensivo “Guido degli Sforza” de Corinaldo,
Ancona, Italie
1
2
Pour faire découvrir aux jeunes le monde de l’art verrier, nous avons conçu le projet « Le verre dans
l’école » et l’exposition « Dessins de verre » (Corinaldo, Pinacothèque et Murano, Musée du verre,
2014), avec la collaboration du Comité national italien de l’AIHV.
L’idée principale était de rappocher l’école italienne du monde du verre en faisant participer des
artistes reconnus au niveau international, ainsi que de jeunes artistes. L’exposition est le résultat
d’activités didactiques menées par l’école secondaire « G. degli Sforza » de Corinaldo (Ancona), de
2013 à 2014 (prof. Andrea Zepponi). Il s’agit d’un travail s’appuyant sur plusieurs disciplines :
l’histoire de l’art, le dessin, l’histoire du verre et des techniques et la littérature. Nous avons
développé une synergie entre différents professeurs, dont certains externes à l’école, et des artistes. Le
parcours didactique du projet intègre la visite du Musée de Murano et d’un atelier verrier de Murano
dans le but de voir le travail du verre.
Après la lecture d’une œuvre littéraire, les élèves réalisent des dessins qui constitueront le point de
départ de la conception de l’œuvre en verre par les artistes. Lino Tagliapietra, Mauro Bonaventura,
Michele Burato, Silvia Levenson, Pino Signoretto, Massimo Nordio, ainsi que les jeunes artistes
Vittoria Parrinello et Camillo Triulzi ont participé à ce projet.
La publication du catalogue de l’exposition (édité par A. Zepponi et S. Pezzoli et publié par MarsilioVenezia, 2014) a permis de documenter ce projet intéressant.
73
SESSION B
Glass in medieval Spain: a long-term perspective on knowledge transfer
DUCKWORTH, Chloe 1 , GOVANTES EDWARDS, David. J. 2 , CORDOBA DE
LA LLAVE, Ricardo 3 , WELHAM, Kate 4 , FABER, Edward 5
University of Leicester, Leicester, United Kingdom
Independent scholar
3
University of Cordoba, Cordoba, Spain
4
Bournemouth University, Bournemouth, United Kingdom
5
University of Nottingham, Nottingham, United Kingdom
1
2
This paper presents the results to date of the ongoing al-Andalus Glass Project, a multidisciplinary,
international research project which seeks to investigate glass production, consumption and
recycling in Visigothic, Muslim and later Christian Spain, from archaeological, chemical and
historical perspectives.
We are exploring the evidence for primary and secondary glass production and its changing
influences over time, the relationship between glasses and glazed ceramics, and the trajectory of
vitreous materials knowledge transfer from the earliest hypothesised glass production in Islamic
Spain (al-Andalus) to the industry of the sixteenth century, which saw, among other things, the
largescale exportation of plant-ashes for use in glass production and other activities elsewhere in
Europe.
Our results to date are based upon examination of historical sources, the chemical analysis of glass
and glazed ceramics from sites in southern Spain, and review of the excavated evidence for glass
production. The development of glass production is framed within a dynamic picture of social,
religious and political change, providing a unique case study for the relationship between technology
and society in the long-term.
74
SESSION A
Mamluk glass from Quseir Al-Qadim: Chemical analysis of some glass fragments
DUSSUBIEUX, Laure
Field Museum of Natural History, Chicago, USA
Around the Indian Ocean, the use of glassware was unknown with a few exceptions until about the
9th century AD. Starting around that time, following the expansion of Islam, Muslims merchants
developed trade around the Indian Ocean and signs of their growing activities appear at many sites
in various forms, one of them being glassware. In order to reconstruct the routes that channeled
glassware to the Indian Ocean, this presentation will report on the LA-ICP-MS (laser ablation –
inductively coupled plasma – mass spectrometry) analysis of glass samples from the Egyptian site of
Quseir Al-Qadim. The Oriental Institute (Chicago, USA) is housing part of the Quseir Al-Qadim
glass collection excavated by Dr Janet H. Johnson and Dr Donald S. Whitcomb in 1978, 1980 and
1982. Approximatively 25 glass samples held at this institution and dating from the Mamluk period
were selected by Carole Meyer in 2013. This presentation will report on their compositions. The
glass from Quseir Al- Qadim was certainly not manufactured on-site, but the Red Sea was an
important transit point for goods, such as glass, in route to the Indian Ocean. The narrow dating
interval attributed to the studied glass material (13th – 14th century AD) is giving us a snapshot of
the glass types circulating at this period .We found similarities between the glass compositions found
at Quseir Al-Qadim and at different sites in Africa and in Southeast Asian where contemporaneous
material was discovered and studied.
75
POSTER
Ein Glasensemble aus einer Zerstörungsschicht des mittleren 3. Jahrhunderts in
der römischen Kleinstadt Kempraten SG (CH)
EBNÖTHER, Christa, BÜTIKOFER, Maria
Institut für Archäologische Wissenschaften, Abteilung Archäologie der Römischen Provinzen,
Universität Bern, Bern, Schweiz
Am Siedlungsrand der römischen Kleinstadt Kempraten SG (Schweiz) konnte im Jahre 2008/2009
nahe einer Töpferei ein durch einen Brand zerstörtes Gebäude etwa zur Hälfte untersucht werden.
Aus der offenbar ungestörten Brandschicht des mittleren 3. Jahrhunderts stammt ein Fundensemble,
das neben zahlreichen Eisenfunden ein umfangreiches, aber relativ enges Spektrum von Keramikund Glasgefässen enthielt. Letztere setzen sich aus mindestens 25 Bechern mehrheitlich der Form
AR 98/I 85 sowie vereinzelten Exemplaren der Formen AR 80, AR 109 und I 96 zusammen.
76
SESSION A
Ollae cinerariae and burial customs in the necropolis of the ancient town of Iader
ETEROVIĆ BORZIĆ, Anamarija
Museum of Ancient Glass, Zadar, Croatia
The presentation deals with glass cinerary urns found during the archaeological excavations of the
necropolis of the ancient town of Iader. These vessels are characterized by a large, mostly globular,
piriform or square body, a wide everted rim and by applied handles shaped like the letters H, M or Ω.
The glass vessels were usually placed in stone urns (mostly cylindrical) or more rarely in the bare soil.
The graves in which these glass cinerary urns were found also had a very rich range of grave goods
and are dated from the 1st to the 3rd century AD. The aim of this presentation, beside their
typological, chronological and production determination is to analyze the context in which the urns
were found and how they are related to burial customs.
77
POSTER
The paten of Christ in majesty. Archaeology and Christianity in the IberianRoman city of Cástulo (Jaén, Spain)
EXPÓSITO MANGAS, David, CASTRO, Marcelo, ARIAS, Francisco, PEDROSA,
José Manuel, CEPRIÁN, Bautista
Cástulo Archeological Ensemble, Forvm MMX, Jaén University, Baeza (Jaén), Spain
The glass paten that was discovered by archaeologists of the Forvm MMX project during the 2014
season of fieldwork at the Iberian-Roman city of Cástulo (Linares, Jaén) is one of the oldest and
best-preserved examples of Christian art known from the Iberian Peninsula. The piece was found
inside one of the rooms of a building used for worship that was built in the second half of the fourth
century AD, and abandoned about a century later.
The paten, with a diameter of 22 cm and a height of about 4 cm, is exceptionally well preserved for
its age and material (81% of it was recovered by the excavators). It was made of a greenish glass,
decorated by the artist using the technique of incision, or cutting into the surface. The composition
shows three figures with haloes: Christ in majesty at the center flanked by two apostles, probably Sts.
Peter and Paul. The scene is set in the celestial orb, bordered by two palms, which in Christian
iconography represent immortality, the afterlife, or heaven.
Our research on this piece, which is still continuing, shows that, according to a stylistic and technical
analysis, it probably originated in one of the more important glass workshops in or around the city
of Rome. This part of the empire, in the fourth century AD, was the focal point of artistic
production, competing with the production of similar objects in workshops along the Rhine.
78
SESSION B
Indices de travail du verre rouge dans l’atelier médiéval d’Anlier, fin XIV e siècle
(Belgique)
FONTAINE-HODIAMONT, Chantal 1 , HENROTAY, Denis 2 , WOUTERS
Helena 1
Institut Royal du Patrimoine Artistique (Irpa), Bruxelles, Belgique
Service public de Wallonie, Département du Patrimoine, Direction de l'Archéologie, Arlon,
Belgique
1
2
La fouille de l’atelier de verrier d’Anlier, au lieu-dit Glieser Flass, dans le Luxembourg belge, remonte
à l’été 1911. La même année, l’abbé Charles Dubois signe la publication relative à sa découverte, sans
dessin ni photographie des artéfacts retrouvés. C’est donc à la présentation et au réexamen du
matériel exhumé et conservé à ce jour au Musée archéologique d’Arlon que sera consacré le début de
l’exposé : restes d’outils, de creusets, déchets et ratés de fabrication.
Sur la base de ce qui nous est parvenu, il est manifeste que l’atelier a aussi expérimenté le soufflage du
verre rouge : verre rouge massif et verre rouge doublé. Quelques fragments rouges doublés sont
même décorés par soufflage au moule. À notre connaissance, il pourrait s’agir des premières
attestations de la technique du verre rouge doublé dans le domaine du verre creux, une technique
manifestement inspirée du monde du vitrail.
La date de l’occupation du site sera confortée par l’étude des céramiques associées. Des analyses de
composition du verre viendront compléter la documentation.
79
POSTER
Decoration and colour in Iron Age glass beads from Britain
FOULDS, Elizabeth
Durham University, Durham, United Kingdom
A history of glass in Britain truly begins in the Bronze Age. However, it is not until the Iron Age
(800 BC–43 AD) that these objects began to be used in increasing quantities. The majority of these
glass objects are in the form of beads. These were previously thought to date primarily to the Late
Iron Age (100 BC–43 AD), but their use can now be shown to have peaked in the Middle Iron Age
(400–100 BC). The differences in date are extremely significant for understanding networks of
communication and exchange in Britain and beyond, as an intensification of these attributes are
considered to be characteristic of the Late Iron Age. The origin of these beads remains an area of
debate, although it seems likely that many, if not most, were manufactured outside of Britain. Thus,
this earlier date of glass bead deposition in the Middle Iron Age becomes extremely important for
understanding cross-channel relationships.
Typological analysis has formed the basis of much of the research concerning Iron Age glass beads.
However, it is clear there are other patterns that can be considered. For example, they are found in a
range of colours and colour combinations, and exhibit a diverse group of decorative motifs. When
this data is explored from a geographical perspective, strong regional patterns become apparent. This
suggests that there are other ways that early glass artefacts can be studied in order to gain insight into
how this material was used in late prehistory. This paper will draw on alternative approaches to
explore patterns in early glass use in Britain and their implications for regional identities in the Iron
Age.
80
KEYNOTE A
Entre Orient et Occident, le verre islamique (VIII e –XIII e siècles) : apports récents
et réflexions sur les échanges et les influences
FOY, Danièle
CNRS, Centre Camille Jullian UMR 7299, MMSH, Aix-en-Provence, France
Les études sur le verre islamique, qui ont beaucoup progressé au cours des deux dernières décennies,
se fondent essentiellement sur le mobilier découvert entre l'Égypte et l'Iran, zone d'où provient
effectivement l'essentiel de la documentation. On fera le point sur les principaux apports et on
rendra également compte des découvertes faites en dehors de cette aire principale pour montrer que
d'autres terres, comme par exemple l'Ifriquiya qui ne pouvait se prévaloir d’une tradition verrière
aussi glorieuse que celle dont se targuaient les pays du Machrek, étaient aussi des zones productrices
d'objets variés et parfois luxueux, souvent marqués par l'influence orientale. La communication
mettra aussi en exergue les échanges depuis les principales régions productrices (Iran, Irak, Syrie,
Egypte) vers le Maghreb et vers l'Orient. La question du fonctionnement des ateliers dans le monde
islamique sera également évoquée car plusieurs modèles coexistent. La documentation publiée et
inédite sur laquelle on s'appuiera provient du Maghreb (fouilles marocaines et tunisiennes) de la
Méditerranée orientale, d'un entrepôt sur l'océan indien et des fouilles terrestres et sous-marines du
sud-est asiatique.
81
POSTER
Indices d’ateliers de verrier à Apamée de Syrie, à la fin de l’Antiquité
FOY, Danièle 1 , GRATUZE, Bernard 2
1
2
CNRS, Centre Camille Jullian UMR 7299, MMSH, Aix-en-Provence, France
Depuis 1965, les campagnes de fouilles régulières de l’Université libre de Bruxelles à Apamée de Syrie
s’attachent à l’étude de cette ville occupée jusqu’à l’époque médiévale. Ces recherches se sont
principalement intéressées à la topographie de la ville et à de nombreux édifices (Tychaion, groupe
cathédrale, rempart, thermes,…) ainsi qu’à leur décor, à l’épigraphie et à l’étude de mobiliers variés.
L’archéologie et les textes rendent compte de l’importance de cette ville (capitale de la province de
Syrie Seconde et chef-lieu d’archevêché au début du Ve siècle) qui, dans l’Antiquité tardive,
comprenait une dizaine d’églises, mais aucune activité artisanale n’a pu être révélée.
Des vestiges ténus, mais pertinents existent pourtant pour assurer la présence d’ateliers de verriers
aux Ve et VIe siècles. Ces indices d’artisanat proviennent de deux contextes :
– le comblement d’un bassin dans lequel étaient un lot de lampes en verre et un mors de verrier
complet (verres destinés au recyclage) ;
– un très riche dépotoir qui renfermait des éclats de verre brut ainsi que des fragments de
céramiques ayant été utilisées pour fondre le verre.
Il est possible de cerner la période d’activité de l’atelier car les creusets sont des céramiques bien
connues de type « brittle ware » qui appartiennent à deux formes du VIe siècle. Ce mobilier
fournit :
– la preuve de la présence d’ateliers que l’on peut dater ;
– des informations d’ordre technique : réutilisation de la céramique culinaire, comme on a pu
souvent le remarquer dans les provinces occidentales, principalement à la fin de l’Antiquité ;
– des indications précises sur la composition du verre.
Ces témoignages sont précieux pour la connaissance de l’artisanat du verre en Syrie, un des
principaux pays producteurs et sur lequel nous ne savons finalement que peu de choses surtout pour
la période préislamique.
82
KEYNOTE A/B
The scientific analysis of early glass: achievements and prospects
FREESTONE, Ian C.
Since the pioneering studies of Turner, Brill, Sayre and others in the 1950s to 1970s, the amount of
published work on the chemical composition of ancient glass has expanded exponentially. We know
a great deal more about early glass than might have been imagined 50 years ago. In this paper I will
take a series of case studies to illustrate the nature of the achievements and contributions of the
scientific approach to our understanding of early glass. Then I will ask - where do we go from
here? What can we learn further that we don't already know, and how might we set about
discovering it? To what extent will this depend upon new technologies which are even more
bewildering for the uninitiated, and to what extent on employing established techniques in a
targeted and informed manner?
83
SESSION B
Die Kühlkeramik von Court, Pâturage de l'Envers (1699–1714)
FREY, Jonathan
Stadtarchäologie Zürich, Zürich, Schweiz
Die Glashütte Court, Pâturage de l’Envers, südlich von Moutier BE im Jura gelegen, war gemäss
archivalischer Quellen von 1699–1714 in Betrieb. Ausgrabungen des Archäologischen Dienstes des
Kantons Bern förderten in den Jahren 2000 bis 2004 den gesamten Produktionsbereich und die
Siedlung der Glasmacher zutage. Thema des Referats ist die bisher kaum erforschte Kühlkeramik.
Wenn geblasenes Glas nicht sorgfältig und langsam abgekühlt wird, bekommt es Risse und
zerspringt. Deshalb hält man es bei 550–600° C einige Stunden lang warm und lässt es dann
langsam und kontrolliert erkalten. Bei diesem Vorgang schützen die bis zu 60 cm hohen,
hauptsächlich zylinderförmigen Kühlgefässe das Glas vor übermässiger Hitze bzw. zu raschem
Abkühlen, direktem Flammenschlag und der im Kühlofen herumfliegenden Asche. Damit die
Kühlgefässe der Hitze besser standhalten konnten, wurden sie aus kalkarmem Ton hergestellt und
grob bis sehr grob gemagert. Während des Gebrauchs gingen viele Kühlgefässe zu Bruch, sodass ihre
durchschnittliche Lebensdauer nur etwa drei Monate betrug. Oft wurden sie mittels
schlaufenförmiger Drähte repariert, wenn kurzfristig keine neuen Kühlgefässe verfügbar waren. Die
Kühlgefässe von Court wurden nämlich nicht in der Glashütte selbst, sondern in Bonfol und
mutmasslich in mindestens einer weiteren Hafnerei hergestellt, wie die archäometrischen
Untersuchungen von Gisela Thierrin-Michael zeigen.
84
POSTER
Der schliffverzierte Glasbecher aus Biel-Mett/BE - ein Highlight im römischen
Fundgut der Schweiz
FÜNFSCHILLING, Sylvia
Römerstadt Augusta Raurica, Augst, Schweiz
Der aussergewöhnliche Glasbecher aus farblosem Glas mit reicher Schliffverzierung ist bereits 1978
publiziert worden, blieb aber bisher in der Fachwelt weitgehend unbeachtet. Neuere Funde können
nun die Art des Schliffs besser eingrenzen. Es ist möglich, eine Provenienz des Bechers vorzuschlagen.
Das Poster soll den Becher erneut vorstellen, sein Profil und die Schliffverzierung beleuchten und
die Datierung sowohl des Bechers, als auch des Grabes, in dem er gefunden wurde, diskutieren.
85
POSTER
An on-line corpus for stamps on ancient glass vessels in Italy
GABUCCI, Ada 1 , DIANI, Maria Grazia 1 , MANDRUZZATO, Luciana 1/2 ,
MANCINELLI, Maria Letizia 3
Italian national Committe of AIHV, Milan, Italy
Department of Ancient History, MacQuarie University, Sydney, Australia
3
Istituto Centrale per il Catalogo e la Documentazione, Roma, Italy
1
2
In the past few years the Italian Committee of AIHV has been working on the project of the
publication of a corpus of stamps and base marks on glass in Italy, dealing with the rules and
restrictions given by the Ministry of Cultural Heritage on publication of new findings, the
necessities of providing the best possible standardized data for both old published items and new
discoveries, the awareness of working with an always increasing group of materials and the
difficulties of finding financial resources for the publication. In 2010 a national conference was held
in Trento on this specific subject and in the proceedings most of the recent findings of northern
Italy were published. But especially after this first attempt it became very clear that an on-line
database would have been the best solution. Since the new system of on-line catalogue of cultural
heritage developed by the ICCD (Istituto Centrale per il Catalogo e la Documentazione, the
National Institute for Catalogue and Documentation), SIGECweb, will be at least partly open to
free access, it has seemed the easiest and most responding instrument to choose to start working on
this project.
86
SESSION B
Zerbrochene Schalen, Kelche und Pokale: Der archäologische Beitrag zur
Verbreitung der Gläser à la façon de Venise in Westfalen
GAI, Sveva
Landschaftsverband Westfalen Lippe (LWL) - Archäologie für Westfalen, Münster, Deutschland
Die archäologischen Untersuchungen in adligen und hochbürgerlichen Kontexten des 15. bis 18.
Jahrhunderts in der Region Westfalen bringen stetig Glasformen zutage, die neues Licht in das
Glasspektrum höherer Schichten der Gesellschaft seit dem Beginn der Neuzeit werfen. Unter den
Glastypen des 17. und 18. Jahrhunderts verdienen Gläser in venezianischer Art besondere
Beachtung. Dank der Vielfalt der Formen und des fantasiereichen Spektrums der Dekore lassen sich
Eigenschaften der mitteleuropäischen Produktionsstätte definieren, die die venezianischen
Modellen nachempfanden, Handelswege herauskristallisieren und Modeerscheinungen feststellen.
87
POSTER
Painted window glasses from Akko/Acre from the Crusader time (1099 -1291).
Manufacturing process and conservation
GANOR, Adrienne
Glass and Pottery Conservation, Israel Antiquities Authority, Jerusalem, Israel
Akko /Acre, the historical Ptolemais is an exceptional historic town in that it preserves the remains
of medieval Crusader buildings from 12th and 13th centuries and Ottoman fortifications dating from
the 18th and 19th centuries. In 2001 Akko became part of the UNESCO World Heritage Sites.
During The 13th century, the city was the capital of the Latin Kingdom and one of the most
important coastal cities in the Mediterranean basin, economically, socially and culturally.
Painted windows were part of the material culture of the Crusader time. Many fragments of painted
window glasses were found in several salvage excavations in Israel, in the last three decades, mainly
by teams of the Israel Antiquities Authority. Most of the fragments of the painted windowpanes
were excavated in the Hospitaller Compound in Akko (built between 1230 -1270) and in the
church of St. John, nearby (1263-1291).
About 350 fragments of undecorated and decorated windowpanes were examined and documented.
Most of the fragments of painted glass are big enough and the brown grisaille paint well preserved to
read the patterns. On one fragment a pentimenti is visible. There are several fragments with
pontilmark, evidence of crown windows, which were later cut, corner pieces, and lots of straight
ends and curved border pieces. The majority of the painted fragments were made of colourless glass.
Additional windows were produced from coloured glass comprised of a range of hues, like cobalt
blue, purple, emerald green and yellow. This poster will focus on the manufacturing of the crusader
painted windows and the process of investigation made on this material. Process of the
manufacturing includes blowing of crown – glass, cutting and grisaille painting.
88
SESSION A
Recent glass finds of Elaiussa Sebaste in Cilicia
GENÇLER-GURAY, Çigdem
Art History and Museology, Fine Arts Faculty, Baskent University, Ankara, Turkey
The detailed studies on the glass findings during the excavations performed in the city of Elaiussa
Sebaste since 1995 - one of the harbours of the Cilicia District - reveals that most of the findings can
be dated back to Early Byzantine Period. The findings achieved had been previously inspected in
detail and the results were published. The repertoire of glass findings have been enlarged due to the
excavations performed in recent years. In this paper the variety of daily usage for the pots and their
concentrations within the city will be discussed together with the presentation of the detected
regional forms.
89
SESSION B
Court, Pâturage de l’Envers : une verrerie forestière du début du 18 e siècle entre
tradition et modernité (Jura bernois, Suisse)
GERBER, Christophe
Service archéologique du canton de Berne, Berne, Suisse
La verrerie de Court, Pâturage de l’Envers, fut fondée en 1699 et roula jusqu’en 1714. Les fouilles
préventives ont abouti à la découverte d’un remarquable ensemble de structures dispersées sur
environ 7'000 m2. Parmi les principaux vestiges, on compte une halle verrière en bois comportant un
four de fusion dit à ailettes (Flügelofen en allemand) et deux fours annexes, une petite étenderie
disposant de deux fours, ainsi que trois maisons d’habitation au moins. La production verrière était
orientée sur l’assortiment d’apothicairerie (fioles, petites albarelles, pots), le vitrage (cives et carreau
de verre plat), mais aussi la gobeleterie (gobelets à décor spiralé, « à verrues » et différents verres à
pied). La production de verres à pied et de boutons filigranés y fut identifiée pour la première fois en
Suisse.
L’atelier fut fondé par des verriers de la Forêt-Noire, associés à des souffleurs de la région. Leur
présence pourrait avoir été décisive dans l’introduction du four à ailettes dans la région jurassienne.
Les analyses archéométriques opérées sur le four de fusion et les creusets ont révélé les étonnantes
capacités thermiques du four, avec des pics de températures supérieurs à 1400° C.
L’approche pluridisciplinaire de l’étude aborde des aspects peu ou moins étudiés, comme l’origine
des matières premières (argile, sable, cendres) et la technologie de production, en se basant sur des
données archéométriques de premier plan. Grâce à son insertion chronologique précise, le site du
Pâturage de l’Envers fait figure de jalon archéologique pour l’étude de nombreux objets du
quotidien : verres, céramiques, pipes en terre, objets de dévotion, outils et ustensiles en fer. La
publication monographique en quatre volumes en témoigne.
90
SESSION B
Potash – Essential raw material for the production of medieval and post-medieval
colourless glass
GERBER, Yvonne
Departement Altertumswissenschaften, Klassische Archäologie, Universität Basel, Basel,
Switzerland
The archaeometric analyses of broken glass, waste and scraps from the early 18th century glass
furnace in Court, Pâturage de l’Envers (Canton Berne), Switzerland, reveal that all glass remains
consist exclusively of potassium calcium glass. The chemical composition of the glass fragments
found around the glass furnace shows a strong, statistically confirmed similarity with the production
waste of the glass furnace, indicating that all hollow and flat glass from Court, Pâturage de l’Envers,
was definitely produced locally. Fragments of colourless glass (à la façon de Venice) are not natron
glass – as formerly suspected as being made out of recycled natron glass –, but again potassium
calcium glass. Compared to the much more common green «forest glass», this colourless glass is
characterised by a low phosphate, iron and aluminium content, and a marked rate of potassium. It
can be described as potash glass made from extracts of wood ash, pure quartz sand and lime. Taking
into consideration these unambiguous chemical fingerprints, other potash glass productions within
Europe will be evaluated and checked if this technique was used intentionally (for specific purposes)
or unintentionally.
91
SESSION B
La peinture sous verre « savante » en France au XVIII e siècle : oubliée puis
redécouverte
GEYSSANT, Jeannine
Education Nationale, Inspection Générale, Paris, France
Le Vitromusée Romont que nous visiterons, abrite une très importante collection de peintures sous
verre (plus de mille). Seuls deux tableaux de leur riche collection sont signés d’artistes français et l’on
considérait, il y a peu, que la peinture sous verre « savante » n’existait pratiquement pas en France.
Des recherches récentes m’ont permis d’établir que cet art y fut pratiqué aux XVIIIe et début du
XIXe siècles par des artistes reconnus et de talent. On rappellera d’abord brièvement l’originalité des
décors peints sous verre, leurs différences avec le vitrail, les nombreuses modalités dans l’art de
peindre sous verre et les noms qui en découlent. Cette peinture est dénommée « savante » par
opposition aux peintures naïves et populaires qui ont été très diffusées au XIXe siècle.
Quelques exemples : Pierre Jouffroy (1718–1796) réalisa d’admirables portraits sous verre à Paris
puis fut nommé « peintre sur glace » de Stanislas Leszczynski, roi de Pologne en Lorraine. Il
représenta également des scènes mythologiques et bibliques.
Victor Vispré (1727–après 1780) connut un grand succès en France, en Hollande et en Grande
Bretagne grâce à ses natures mortes peintes sous verre. Plus occasionnellement certains peintres tels
Jean-Jacques Lagrenée (1737–1821) et Louis Boilly (1761–1845) ont exprimé leur talent en
adoptant le verre comme support. Les miniaturistes Louis-Nicolas Van Blarenberghe (1716–1794),
puis Jacques-Joseph De Gault (1738–1817) exercèrent également leur virtuosité pour décorer sous
verre des meubles et objets de vertu.
En Alsace, Franz Nicolas Haldenwanger (1680 ou 1681–1753) puis son fils Henri Haldenwanger
(1715–1777) ont représenté sous des verres de grand format, des scènes mythologiques et bibliques.
Antoine Rascalon (1742–1830) après avoir été sculpteur, orienta ses activités vers les églomisés à
feuilles d’or gravées pour décorer des meubles de prestige et des piano-fortes. D’autres peintres
restent encore à découvrir.
92
POSTER
Late Antique and Early Medieval glass from northern central Apulia: productions,
typologies, functions and circulation
GIANNETTI, Francesca, GIULIANI, Roberta, TURCHIANO, Maria
University of Foggia, Foggia, Italy
The study of ceramic, metallic and glass materials, the comprehensive review of the stratigraphy and
the interpretation of the bioarchaeological indicators of some urban (Herdonia and Canusium) and
rural sites (Faragola and San Giusto) in northern central Apulia have contributed to update our
knowledge about significant aspects of material culture during Late Antique and Early Medieval
period.
The present work focuses on glass production, deepening some lines of research proposals in the past
and introducing new elements. In particular we will provide data regarding glass vessels, glass tesserae,
elements in opus sectile and glass production indicators found in Apulian contexts. The numerous
data acquired include not only morpho-typological features, but also the production, circulation and
function of glass items. The finding of significant engraved glass has also allowed throwing new light
on the socio-economical dynamics underlying the production and the diffusion of these luxury
artifacts. During the Late Antique period production cycles seem to be substantially characterized
neither by an articulation of production processes, which in itself does not indicate a technical
decline or a significant qualitative decline, nor by a deconstruction of this handicraft sector. The
morpho-typological repertoire, albeit simplified and polarized on some functional types (beakers,
goblets, lamps and jugs/bottles), still appears quite broad and complex.
Archaeometric analysis have documented the import of semi-finished products mainly from Syria
and Palestine, and their processing in secondary glass workshops in loco. Recycled glass has been
used in the blend of vessels and were found glass production indicators and deposits of glass destined
for reuse.
93
POSTER
The glass collection of Felice Barnabei at the Museo Nazionale Romano - Palazzo
Massimo in Rome
GIOVANETTI, Giulia, BRUNI, Silvia
Soprintendenza Speciale per i Beni Archeologici di Roma, Museo Nazionale Romano, Rome, Italy
The cataloguing of glass belonging to the collection of the Museo Nazionale Romano (Palazzo
Massimo, Rome) led to the discovery of a small glass collection gathered by Felice Barnabei and
acquired to the Museum through his wife Corinna. Felice Barnabei was a prominent Italian
archaeologist in the decades after the Unification of Italy. Among other things, he contributed to
the foundation of the Museo Nazionale Romano. This small, but yet interesting collection is
composed of both, miscellaneous ancient artifacts (e.g. an amulet depicting the “Eye of Horus” in
faience and a cameo glass fragment) and modern fragments inspired by ancient glass productions.
This latter group includes some Venetian mosaic-glass fragments produced by Vincenzo Moretti, a
famous glassmaker active at the end of the 19th century in “The Venice and Murano Glass and
Mosaic Company”. One of the mosaicglass fragments retains also the initials often used by the artist
as signature on other glass objects. Furthermore, archival research adds new evidence of Barnabei's
deep interest in glass: this set of data helps enhancing and contextualizing information derived from
the study of the collection in Palazzo Massimo.
Newly discovered documents strengthen the thesis that Felice Barnabei's interest in ancient glass
wasn't only expressed in the study of archaeological finds, but also through the investigation of
technical acquisitions and experimentations made by contemporary Venetian glassmakers. As a
matter of fact, archival documents demonstrate Barnabei's friendship with an important member of
“The Venice and Murano Glass and Mosaic Company” and mention exchanges of samples
reproducing ancient glass artifacts.
94
SESSION B
Glass of knights, merchants and laymen – Crusader glass from the Holy Land
GORIN-ROSEN, Yael
Glass Department, Israel Antiquities Authority, Jerusalem, Israel
Two hundred years of Crusader occupation in the Holy Land have left civil, religious and military
architecture including fortifications, churches, ports, cities and villages, as well as a widely diverse
material culture, including glass artifacts.
The title of this paper is based on the title of David Whitehouse’s book: MEDIEVAL GLASS for
Popes, Princes, and Peasants, published in 2010. While Whitehouse concentrated on European glass
from the medieval period, and connected it mainly with the religious elite and the aristocracy, this
paper will focus on the East, and connect the vessels with knights, merchants and laymen.
The excavations in Israel during the last three decades, mainly by teams of the Israel Antiquities
Authority, show that a large variety of plain and highly decorated glass vessels was used by all or
almost all the people. These vessels were found in religious and secular, urban and rural settlements,
and in public and private buildings. Glass was made in many small widely distributed glass
workshops, and used everywhere, by all classes. This paper will present daily wares, most probably
manufactured locally, luxurious vessels, and some decorated windowpanes, all found in well
documented excavations.
95
SESSION B
Scientific investigation of medieval enamelled glass vessels from Mainz and Fulda
(Germany)
GREIFF, Susanne, HARTMANN, Sonngard, GEISWEID, Jutta
Forschungsinstitut für Archäologie, Römisch-Germanisches Zentralmuseum Mainz, Mainz,
Germany
When in the 13th century colourful painted beakers like those created by the “Aldrevandin” master
came into fashion, the art of decorating glass by layers of enamel was already known for centuries.
The Islamic world boosted with finely decorated works such as mosque lamps and slender beakers
for luxurious homes, but archaeological excavations reveal that also the growing class of urban
citizens in Medieval Europe had the means to buy this type of glass ware.
Micro-X-ray fluorescence analysis (μ-XRF) and Raman spectrometry were performed on two
beakers from excavations in Mainz and one from Fulda. The results will be compared with data
available for Islamic and European glass vessels from the same period. Furthermore we investigate
the difference in colour schemes, opacifiers and painting techniques used in the Roman period for
similar glass vessels and the information gained for the parameters of the manufacture process.
96
SESSION A
Römisches Glas im nördlichen Obergermanien
GRÜNEWALD, Martin
Bayerisches Landesamt für Denkmalpflege, München, Deutschland
Eine Überblicksstudie zum Produktionsspektrum der in der Spätantike eigenständigen Glasregion
des nördlichen Obergermaniens ist ein Desiderat der Forschung. Ausgehend von den Forschungen
zu den Gläsern von Mayen soll diese erstmals anhand einer übersichtlichen Typentafel der
verwendeten römischen Glasformen charakterisiert und auf einer breiteren Materialbasis untersucht
werden. Die These eines Imports elaborierter Gefäße aus den entfernten Zentren und einer
Herstellung einfacher Gläser im ländlichen Raum wird dabei überprüft.
97
SESSION C
A technology in flux: early medieval glass from Dorestad and Susteren, The
Netherlands
HENDERSON, Julian, SABLEROLLES, Yvette
Department of Archaeology, University of Nottingham, Nottingham, United Kingdom
The second half of the 1st millennium AD was a period of social and economic complexity in
northwestern Europe, involving wide-ranging trade networks. By the early 9th century various
emporia had been founded in northwestern Europe that took part in extensive trade networks
creating links between the Byzantine and the Viking worlds (amongst others).
The glass found during excavations of the Carolingian monastic site of Susteren and the emporium
of Dorestad included vessels, beads, window glass, tesserae, linen smoothers and crucible fragments
with glass attached. Many of the glass vessel types are characteristic products of northwestern
Europe at the time.
Eighty glass samples from a full range of glass artefacts have been chemically analysed using electron
microprobe analysis (for 20 element oxides) in order to suggest where the raw glass, which was used
to make the artefacts, might have derived from.
The reasons for carrying out this research were (1) to establish the probable sources of the glass (the
‘Mediterranean’, the Middle East or northwestern Europe; (2) to demonstrate the use of ‘pure’
natron glasses, natron glasses with which plant-ash glasses have been mixed, plant-ash glasses and
early wood-ash glasses; (3) to investigate whether particular glass types were selected to make
particular vessel types.
By comparing the data obtained from Dorestad and Susteren with other published data for
contemporary glasses we have been able to highlight intriguing patterns for the supply of mainly
eastern Mediterranean, Middle Eastern and northern European glasses for the manufacture of the
glass found at Dorestad and Susteren.
98
POSTER
"Kirikane" technique on the Hellenistic gold-sandwich-glass
HIDETOSHI, Namiki 1 , YASUKO, Fujii 2
1
2
Art Innovation Center, Tokyo University of the Arts, Tokyo, Japan
Independent researcher, Tokyo, Japan
"Kirikane", a Japanese term, refers to the specific gold foil technique, which uses a gold foil prepared
in advance by cutting stripes or geometric shapes to apply as decorative patterns. As a "Kirikane"
master, the main author of this paper has researched a gold leaf decoration technique on a group
ancient gold-sandwich-glasses (GSG) and has confirmed that while the "Kirikane" technique is
dominant on the Hellenistic GSG (for example, the Varapodio=Tresilico bowl or Canosa group
bowls), it is quite rare on Roman GSG (for example “vetri dorati” from Roman catacombs). The
Roman technique is similar to what we now call ‘etching’: a whole gold foil is applied on the glass
and then scratched out in order to realize a decorative pattern. It seems to the authors, that this
point has not received enough attention in previous studies.
In this presentation, the result of the author’s research, mainly on Hellenistic GSG, will be shown
through photos using a microscope camera and through recreated/ restored "Kirikane" decoration of
the researched examples made by the author.
In the future, advancing the study on gold foil decoration technique of Hellenistic and Roman GSG,
the authors would like to consider the changing period of the gold-foil decoration technique as well
as the GSG group production center and its trade route.
99
SESSION B
All-glass hybrids: Why they were made and the importance of identifying them
HIGGOTT, Suzanne
The Wallace Collection, London, United Kingdom
This paper complements that given by Juanita Navarro (‘All-glass hybrids: Manufacture,
recognition and conservation/restoration’).
All-glass hybrids might be assembled from parts of similar, contemporary glass vessels, from different
but contemporary vessel types, or from vessels of different periods. Our correct understanding of the
evolution of forms and styles in historic glass, and consequently of the history of taste, depends to
some degree on our ability to distinguish such hybrids from authentic glasses. Our knowledge of the
circumstances, in which all-glass hybrids were produced, will inform our comprehension of the art
market in the 19th century. These glasses might be produced as innocent repairs or made with the
intention to deceive.
The emphasis of this paper will be on Venetian and façon-de-Venise all-glass hybrids likely to have
been produced by dealers during the later 19th century in response to market forces. There was an
increasingly strong demand for Renaissance artefacts such as Venetian glass, Limoges enamels and
Italian maiolica at this time. Sales catalogues and archival records show that repaired glass vessels
were sometimes identified as such on the 19th-century art market, and damaged glasses were also sold.
However, they also reveal that some all-glass hybrids went through the salerooms and entered
muséum collections without being recognized for what they were. Paris was a major centre for the
sale and collecting of Renaissance objets d’art. All-glass hybrids that passed through the hands of the
notorious Paris-based dealer Frédéric Spitzer will be among the glasses considered. The motivation
for the production of all-glass hybrids and, where known, the provenances of examples shown from
sales and museum collections, will be discussed.
100
POSTER
New findings on the painting technique in stained glass production around 1500
HÖR, Martha
Glasrestaurierung Hör, Nuremberg, Germany
Buon fresco = buon cotto?
A classic fired glass painting is usually described in the literature as a three-layer structure: matte
wash, trace lines, semitone.
In the 15th century, at the lastest, the concept of a stained glass windows is changing from stained
glass to painting on glass. The pursuit of the highest level of materiality results in the development of
new technologies also in the stained glass production of that time. In addition to the perfected use of
silver stain, etching techniques and iron red, difficult to categorize paint layers or coverings are often
to be found on monumental stained glass windows.
New findings support the thesis, that these layers represent residues of cold paint, applied on top of
the classic three-layer structure of the fired painting. Unfired glazes and cold paint seem to have
been widely used in the 15th and 16th century. For the featured monumental stained glass windows,
the use of the “cold technology” has been planned from the outset in the creative process, similar to
wall paintings in fresco-technique, where the final modeling and the finishing have been done in
secco. In case of windows that have emerged after 1500 the fired painting often merely fulfills the
function of an underpainting. One can speak of a real mixed media.
The systematic, extensive and highly variable use of cold painting in the late 15th and early 16th
century is described by way of examples of windows executed at the workshops of Michael
Wolgemut and Veit Hirsvogel in Nuremberg, Peter Hemmel in Strasbourg and a Cologne
workshop. Numerous individual findings are discussed, to bring more clarity into the interpretation
of these surfaces and to understand the underlying aesthetic ideas as well as the technological
boundaries and requirements.
101
SESSION B
Glass in Amsterdam. Production and consumption in 17 th century Amsterdam
HULST, Michel 1 , KUNICKI-GOLDFINGER, Jerzy 2
1
2
Archaeological Department, City of Amsterdam, Beverwijk, The Netherlands
Institute of Nuclear Chemistry and Technology, Warsaw, Poland
The early 17th century was the start of a successfully façon de Venise industry in Amsterdam, which
would flourish for almost a century. Research of various archaeological sites by the Amsterdam
archaeology Department (Office for Monuments & Archaeology) in the recent years yielded diverse
material evidence on technical and stylistic features of the Amsterdam glass manufacturing. Among
the extremely diverse finds was the cullet from the glasshouse The Two Roses which was retrieved
from the bed of an Amsterdam canal. This glasshouse was founded 1621 on the opposite side of the
canal where the glass object was found. It was part of a large assemblage which contained production
waste as well as recognisable recycled glass showing traces of wear. This assemblage allows us to
define and analyse the typical style of the glasshouse. An additional important archaeological source
for the reconstruction of 17th and 18th century glass material culture are remains of objects from
cesspits. This finds are specifically relevant as they show the daily use glass.
Therefore, by comparing these two sources of data a number of important research questions can be
asked.
- Can we recognize a typical Amsterdam glass product in both the cesspit and production waste
context?
- What conclusions can be made on the import of glass in Amsterdam during this period?
These and other questions will be also supported by the technological interpretation of chemical
composition of a few tens of glass pieces.
102
POSTER
Besondere Glasfunde aus dem Gräberfeld Gönnheim (Kr. Bad Dürkheim) –
Germania prima und ein neuer Ort der möglichen Glasverarbeitung
IDELI, Andrea
Institut für Klassische Archäologie, Universität Heidelberg, Heidelberg, Deutschland
Die erste Rettungsgrabung in Gönnheim hat im Jahre 2001 besondere Glasfunde, die sich als
Grabbeigaben in diversen Sarkophagen befanden, ans Tageslicht gebracht. Schon damals stand fest,
dass es sich bei Gönnheim um ein besonderes Gräberfeld handelte, da diese Funde keiner
mittellosen Bevölkerung der damaligen Zeit zugeschrieben werden konnten. Die
Grabungskampagne des Jahres 2001 brachte ein Glas-Halbfabrikat zu Tage, das zwar zerbrochen
aufgefunden wurde, jedoch komplett rekonstruiert und restauriert werden konnte. Hierbei handelt
es sich um einen kugelförmigen Becher, der noch die Glasblase mit der Bläseröffnung am oberen
Teil und die Einkerbung zum Absprengen von dieser aufweist. Da solch ein Stück nicht in den
Handel gelangte (vgl. Bernhard 2003, S. 153-154), stellt sich vielmehr die Frage nach einer
Glasproduktion im südlichen Teil Deutschlands. Im Jahre 2007 wurde ein weiterer besonderer
Glasfund, in Form eines Glastrinkhorns, dokumentiert. Dass es sich hierbei um ein sehr
außergewöhnliches Stück handelt, belegen weitere Untersuchungen, die das Glastrinkhorn der
bekannten Trinkhornform Typ III (vgl. Evison 1955 und 1974), einem bisher nur sehr wenig im
Römischen Reich belegten Typ zuweisen. Diese Funde betonen – zusammen mit den anderen
Glasfunden – die hervorzuhebende Stellung der Bevölkerung in Gönnheim noch zu spätrömischer
Zeit, im 4. Jahrhundert n. Chr. Insbesondere kann auch eine Glasproduktion und
-verarbeitungstätte in diesem Bereich angenommen werden.
Literatur
H. Bernhard, Die historische Bedeutung der Gönnheimer Funde. In: H. Bernhard (Hrsg.),
Archäologie in der Pfalz. Jahresbericht 2001 (Rahden/Westf. 2003), S. 151–154.
V.I. Evison, IV. - Anglo-Saxon Finds near Rainham, Essex, with a Study of Glass Drinkinghorns.
CambrAJ 96, 1955, S. 159–195.
V.I. Evison, An Anglo-Saxon glass claw-beaker from Mucking. The Antiquaries Journal 54, 1974, S.
277–278.
103
SESSION A
Gold in glass
IGNATIADOU, Despina
Head Curator, Sculpture Collection, National Archaeological Museum, Athens, Greece
The technique of combining gold foil with colorless glass originated in 8th century BC Assyria,
where gold foil was used underneath colorless glass plaques to decorate furniture, and was revived in
4th century Macedonia, where a similar combination was used to decorate couches and thrones.
During the same period a much more complicated technique was applied to decorate finger rings,
gems and seals: gold was fused between two layers of glass. The top layer was of colorless glass, to
facilitate viewing the gold decoration underneath the transparent surface. These items were the
products of a very small and probably much localized production, aiming to satisfy the needs of a
special group among the elite.
The very few surviving finds are dispersed in museums worldwide and it is very difficult to be
examined is comparison. The paper will present technical aspects of some gold-and-glass jewelry
from Late Classical Greece, and also of a Roman bronze artifact on which a similar combination has
been used.
104
SESSION A
Misty blue? A Bronze Age glass ingot from the Garstang Museum of Archaeology,
University of Liverpool
JACKSON, Caroline 1 , NICHOLSON, Paul 2
Department of Archaeology, University of Sheffield, Sheffield, United Kingdom
Department of Archaeology, School of History, Archaeology and Religion, Cardiff, United
Kingdom
1
2
Studies on early Egyptian glass have rapidly developed in the last twenty years to the extent that it is
generally accepted that by the 18th dynasty, and certainly the Amarna period, glass was manufactured
in Egypt as well as in the Near East (Mesopotamia). Where in Egypt the glass was produced has led
to some speculation, however, more substantial evidence has more recently been found at Amarna
(18th dynasty) and Qantir (19th dynasty), which appear to have been major glass production centres
during the New Kingdom. Glass production at these two sites seems to have been based upon the
melting of the raw materials in crucibles in furnaces. Evidence in the form of cylindrical ceramic
vessels with glass adhering from Amarna, and fully formed ingots, from Qantir and from the
Uluburun shipwreck, suggest the glass was melted (or remelted) into cylindrical glass ingots to be
worked elsewhere. Compositional analysis suggests these Egyptian ingots were traded around the
Aegean.
Finds of ingots are rare; apart from the large numbers recovered in the Uluburun ship, only a single
one was recovered in the 1930’s from Qantir despite finds of other production debris in more recent
excavations, and – until very recently - only ceramic moulds at Amarna have been recovered in
recent excavations at Amarna. This rarity is not unexpected as ingots would be valuable and used for
long distance exchange before being used to make objects.
This paper discusses the analysis and interpretation of an Egyptian ingot, from Amarna but now
held in the Garstang Museum, SACE, Liverpool University. Its composition suggests that it belongs
to a particularly rare and unusual glass for this period and locality and raises interesting questions
regarding the nature of production and distribution of raw glass during Egypt’s 18th Dynasty (1550 1295 BC).
105
SESSION A
Glass vessel use in time of conflict: the evidence from the Bar-Kokhba refuge caves,
132-135 CE
JACKSON-TAL, Ruth
Institute of Archaeology, Hebrew University of Jerusalem, Jerusalem, Israel
The Bar-Kokhba revolt (132-135 CE) was a rebellion of the Jews of Judea Province, led by Simon
bar Kokhba, against the Roman Empire. This revolt is documented in the historical sources,
epigraphic documents, coins and archaeological evidence. An important aspect of this revolt can be
seen through the refuge caves, attributed to Jewish refugees, fleeing the Roman army in the late
stages of the revolt.
Refuge caves are found mostly in the Judean Desert, but in recent years also along the western slopes
of the Judean hill. They are usually natural caves, modified for human use, used mostly for a brief
period during the Bar-Kokhba revolt and abandoned since. Therefore the archaeological finds
unearthed in these caves contain invaluable information on the use of material culture by a specific
ethnic group in a very narrow date frame. This paper concentrates on the overall analysis of the glass
vessel finds, recovered in numerous excavations and surveys in these refuge caves, some published
here for the first time. The glass vessels consist of mostly daily bowls, beakers, jars, bottles and jugs.
However few luxury vessels, such as the renowned molded and wheel-cut bowls from the Cave of the
Letters were also found. Therefore, the comprehensive study of the glass finds discovered in the
refuge caves, used in a time of a major political conflict, offers a rare possibility to promote our
understanding of social, cultural, chronological and regional issues.
106
POSTER
Zwei vernachlässigte Glasvarietäten aus der zweiten Hälfte des 19. Jahrhunderts:
Uran-Selenglas und hauchdünn geblasenes Aventuringlas
JARGSTORF, Sibylle
Unabhängige Chemikerin, Glücksburg, Deutschland
Das Uran-Selenglas und eine ganz bestimmte Aventurinvarietät sind von aussergewöhnlicher
glastechnologischer Bedeutung. Es sind Glasdokumente, die bedroht sind, vom Markt zu
verschwinden.
Aventuringlas ist allgemein bekannt. Wenig bekannt ist ausserhalb von Murano/Venedig, dass es
unter der Fülle der Aventuringläser eine verschwindend kleine Varietät gibt, nämlich die
hauchdünn geblasenen Gläser, deren Erzeugung in den 1870er Jahren erstmalig Salviati gelang. Fast
nur dort, wo von Salviati entsprechende Belegstücke direkt an Sammlungen gegeben wurden – wie
beim CNAM in Paris oder der Stanford University in den USA – findet man ausserhalb von
Murano/Venedig noch Gläser dieser Art. Noch wesentlich seltener ist das Uran-Selenglas von Franz
Welz aus Böhmen. 1893 meldete Welz einen Nachtrag zu seinem Patent auf selengefärbte Gläser an.
Diesem Doppelfarbenglas, das sowohl mit Uran als auch Selen gefärbt wurde, war aber kein
Markterfolg beschieden.
Ich möchte hier ganz besonders die glastechnolgischen Herausforderungen bei der Erzeugung dieser
Glasvarietäten diskutieren.
107
POSTER
The chemical classification of Early-Modern glass finds from the cesspits of the
Prague Castle
JONÁŠOVÁ, Šárka 1 , BLAŽKOVÁ, Gabriela 2 , VEPŘEKOVÁ, Jana 2
1
2
Institute of Geology AS CR, v. v. i., Prague, Czech Republic
Institute of Archaeology AS CR, v. v. i., Prague, Czech Republic
In the almost 90-years’ research excavation of Prague Castle (Prague, Czech Republic) a rich
collection of find assemblages from early modern features (1500–1650) has been made. The Prague
Castle was the residence of the imperial court in the Renaissance period. It was mainly the nobility
that profited from new economic activities and started – much like the higher advanced Western
Europe – to reshape all aspects of its life in the new Renaissance style.
This paper summarizes the results of a long-term study of early modern (16th – 17th century) glass
assemblages from cesspits of the Prague Castle. The oldest cesspit stems from the end of the 15th to
the first half of the 16th century; assemblages follow it from the second half of the 16th to the first
quarter of the 17th century.
Therefore, the paper focuses on the chemical composition of both transparent and opaque early
modern glass. Chemical composition of the glass was determined using scanning electron
microscope (SEM EDS) Tescan Vega XM3 with a SDD detector (Bruker). Glasses can be classified
according to chemical composition into the two groups of potassium-calcium and natron-type glass.
Potassium-calcium glass was therefore made north of the Alps (Central or Western Europe) and the
natron-type glass was probably imported from south of the Alps (Italy). The results show that the
imports do not seem to have played such a significant role, as we would have expected for a seat of a
ruler. Until now only a small part of the finds have been analysed, but this is only the beginning of a
further cooperation between the Institute of Archaeology AS CR, v. v. i. and the Institute of
Geology AS CR, v. v. i.
108
POSTER
An outstanding glass assemblage from the Medieval and Ottoman fortress at Safed
in the northern Galilee, Israel
KATSNELSON, Natalya
The Archaeological Department, The Israel Museum, Jerusalem, Israel and The Glass Department,
The Israel Antiquities Authority, Jerusalem, Israel
A rich corpus of glass vessels was unearthed during excavations conducted in 2003 in the medieval
and Ottoman fortress of Safed. One of the most convincing results of the excavation was the
evidence of a significant Mamluk building campaign, following the conquest in 1266 of the Frankish
castle by sultan Baybars. Unfortunately, these constructions were soon destroyed by an earthquake,
probably that of the year 1303, and thus the majority of the finds, including pottery, coins, glass and
imported items, came from a complex, which was occupied during the 14th–15th centuries CE.
Showing a general similarity to other contemporary glass assemblages from Israel, the glass from the
Safed fortress has its distinctive features. The great majority of the diagnostic fragments are vessels
for daily use, including a number of exotic, non-local forms, which were possibly imported. The
vessels comprise two distinctive groups: containers for serving or containing liquids, and lighting
devices. In addition, several bowls, windowpanes, glass bracelets, and glass objects of unclear
function were found. Many of the glass finds are undecorated, while others bear motifs of moldblown spiral ribbing or designs of applied and embedded trails.
Among the unusual finds are fragments of two luxury bowls and a small pièce of a bi-colored gilded
goblet, which were plausibly manufactured in Venice. These glass vessels were unearthed alongside
fifteenth-century Mamluk and Venetian coins, as well as richly decorated pottery imported from
Italy, Spain and China (Celadon and Ming wares), which contribute to the significance of the glass
finds from the site.
109
POSTER
Neo-maurische Glasmalerei
KELLER, Sarah
Vitrocentre Romont, Schweizerisches Forschungszentrum für Glasmalerei und Glaskunst, Romont,
Schweiz
Die Faszination für die islamische Kunst von Al-Andalus führte im 19. Jahrhundert zur Entstehung
zahlreicher neo-maurischer Bauten. Glasmalerei stellt dabei häufig ein zentrales Element der als
Gesamtkunstwerke angelegten Salons, Pavillons und Schlösser dar. Die meist abstrakt-ornamentalen
Kompositionen fügen sich in die islamische Ornamentik ein. Da aber farbige Verglasungen nur
selten Teil der Architektur Al-Andalus’ waren, stellt sich die Frage nach ihren Quellen.
Zwei Beispiele, die spanisch-islamische Formen rezipieren, werden vorgestellt: der Maurische Kiosk
des Schloss Linderhof (1867, K. von Diebitsch) und das Maurische Landhaus der Schlossanlage
Wilhelma (1846, L. von Zanth). Zahlreiche Elemente dieser Bauten gehen auf die Alhambra und
die Grosse Moschee von Córdoba zurück, jedoch nicht ihre Glasmalereien. Der Frage nach deren
Inspirationsquellen wird nachgegangen und dabei ein Blick auf die Entwicklung der Glasmalerei im
arabisch-islamischen Raum und deren Rezeption im 19. Jahrhundert geworfen.
Daneben stehen zwei Bauten im Fokus, die ihre Vorbilder nicht in Spanien sondern in der
osmanischen und persischen Architektur fanden: der Selamlik im Schloss Oberhofen (1853–55, Th.
Zeerleder) und ein Fumoir für das Schloss Charlottenfels (um 1912, H. Saladin). Vergleichend wird
analysiert, ob sich deren Architekten im Unterschied zu den oben genannten für die Glasmalerei an
den architektonischen Vorbildern orientierten.
Glasmalerei bestimmt die Lichtverhältnisse eines Innenraums. Abschliessend wird betrachtet, ob die
Architekten dieser Zeit in ihren Schriften Licht, ein Topos des Orientalismus, in Bezug auf
Glasmalereien thematisieren und inwiefern solche Überlegungen eine Rolle für deren Einsatz
spielen.
Das Poster präsentiert erste Ergebnisse der im Rahmen eines Forschungsprojektes
(transculturalstudies.ch) des Schweizerischen Nationalfonds in Zusammenarbeit mit dem
Vitrocentre erfolgenden Studie zu neo-maurischen Glasmalereien.
110
SESSION B
On the appreciation of glass as a material of knowledge
VON KERSSENBROCK-KROSIGK, Dedo
Glasmuseum Hentrich, Museum Kunstpalast, Düsseldorf, Germany
When looking into written sources of glass history in pre-modern times, one may find that apart
from collections of recipes and the occasional traveler’s account of a visit to a glass workshop, there
are very few testimonies for the appreciation of glass. This paper tries to explore means for detecting
the relative degree of appreciation that glass found at different times (concentrating mainly on the
period from the Middle Ages to about 1800) and attempts to argue that the material glass itself may
have been considered a carrier of knowledge at certain times. To this end, the paper addresses recent
findings in the field of history of science, and in particular the current research on the rôle of recipes
in pre-modern decorative arts.
111
POSTER
“The Emerald of Charlemagne”: New observations on the production technique
and provenance of an enigmatic glass artefact
KESSLER, Cordula M. 1 , GOLL, Jürg 2 , WOLF, Sophie 3
NIKE Kulturerbe, Bern, Switzerland
Kloster St. Johann, Müstair, Switzerland
3
Vitrocentre Romont, Swiss Research Center for Staindes Glass ans Glass Art, Romont, Switzerland
1
2
Ingeborg Krueger is the first – and to our knowledge only – scientist to have provided a thorough
analysis of the written sources on the so-called “Emerald of Charlemagne”, as well as a good
description of the artefact itself [1]. The bluish-green glass slab, which is between 2.5 and 5 cm thick
and weighs approximately 14 kg without the wooden frame in which it is exhibited, is part of the
church treasury of the Romanesque Minster of St. Maria and St. Mark on the small island of
Reichenau (Lake Constance, Germany). The provenance and age of the slab remain unclear. It is
first mentioned in an inventory of 1547. However, according to Krueger, compositional data
suggests that it dates from before the 11th century.
Our poster presentation will present the results of a recent re-examination of the glass slab and
provide some new insights regarding the production techniques, the origin and the intricate history
of the ”Emerald”.
[1] Ingeborg Krueger, An Emerald of Glass. The Emerald of Charlemagne at Mittelzell, Reichenau,
in: Facts and Artefacts – Art in the Islamic World Festschrift for Jens Kröger on his 65th Birthday,
edited by A. Hagendorn, Leiden 2007, p. 21–38.
112
SESSION A
Römische Tintenfässer Isings 77 - eine seltene Form der nordwestlichen Provinzen
L’encrier romain en verre – un type de forme assez rare
KLEIN, Michael Johannes
Ancien directeur du Département archéologique du Landesmuseum de Mayence, Mayence,
Allemagne
La contribution proposée se focalise sur les encriers du type Is. 77 / A.R. 177 / Trier 161, récipients
cylindriques en verre épais, dotés de trois petites anses delphiniformes. Leur lèvre est inclinée vers
l'intérieur et largement ourlée vers l'extérieur à tel point que l'orifice est assez étroit. Pour compléter
la série des encriers, il faut ajouter le petit nombre de pièces à section hexagonale. Depuis la première
description de cette forme par C. Isings en 1957, les encriers sont demeurés un type assez rare et
aussi à maints égards mystérieux. Une cinquantaine seulement ont été publiés. Il en résulte qu'il
s’agit d’un type particulier des provinces romaines du nord-ouest. Pendant que la plupart
proviennent de contextes d'habitat, quelques-uns font partie de mobilier funéraire.
L’utilisation du type Is. 77 comme encrier a souvent été mis en doute. Au lieu de cela, il a été
présumé qu'il s'agit de lampes. Cette étude fournit des arguments en faveur de la fonction du type Is.
77 comme encrier en le rapprochant à des récipients comparables en céramique ainsi que par des
représentations semblables sur des reliefs funéraires.
Entre-temps, on a aussi désigné un certain nombre de récipients comme encriers dont l'appartenance
au type Is. 77 n'est pas sûre ou n'entre pas en ligne de compte. Nous suggérons de détacher ces
exemplaires du type Is. 77.
La datation du type Is. 77 est également examinée. Pendant que le début de sa fabrication paraît être
certain (milieu du Ier siècle apr. J.-C.), la fin n'est pas aussi évidente. Une fabrication même jusqu'au
IIIe siècle a été proposée. Notre contribution essaie de démontrer qu'il n'est pas connu à l'heure
actuelle, si la fabrication s'est terminée à la fin du Ier siècle ou si elle s'est poursuivie à la première
moitié du IIe siècle apr. J.-C.
This talk will be given in German.
113
POSTER
The development of the chemical composition of Czech mosaic glass from the
Middle Ages to the present
KNĚZŮ KNÍŽOVÁ, Michaela 1 , ZLÁMALOVÁ CÍLOVÁ, Zuzana 2 , KUČEROVÁ,
Irena 1 , ZLÁMAL, Martin 3
Department of Chemical Technology of Monument Conservation, Technická 5, University of
Chemical Technology Prague, Prague, Czech Republic
2
Department of Glass and Ceramics, Technická 5, University of Chemical Technology Prague,
Prague, Czech Republic
3
Department of Inorganic Technology, University of Chemical Technology Prague, Prague, Czech
Republic
1
This work brings an integrated overview of mosaic glass used in the Czech lands from the14th to the
21st century.
The technique of mosaic is very old. The oldest finds are dated to the 3rd millennium BC. There are
small components of various materials (tesserae) assembled to large units that form the final
composition in this technology. This work is focused on the glass mosaic. Shape typology and
different chemical compositions of tesserae were monitored depending on the time of their creation.
Their chemical composition was determined by X-ray fluorescence (XRF). Other observed
parameters were the opacity of the glass and related opacifying particles. Antimony-based particles,
fluorides, phosphates and other particles were found by X-ray diffraction (XRD). The first glass
mosaic on Czech territory is the Last Judgment mosaic (1370 -1371) at St. Vitus Cathedral in
Prague. This work is a rarity in central Europe.
The tradition of Czech mosaic has begun at the turn of the 19th to the 20th century. With time not
only the theme of mosaics but also the chemical composition of the glass has changed.
Damage of mosaic tesserae (extant and symptoms), associated especially with the durability of the
glass, is also evaluated in the work. As might be expected, the glass with low chemical resistance,
suffering most from the corrosive effect of the surroundings, is the medieval glass (potassiumcalcium) from the Last Judgment mosaic. An interesting case is the degradation and crumbling of
the glass in layers. This damage is observed on mosaics produced in Bohemia in the 20th century. In
contrast, prefabricated mosaic tesserae from the 50s of the 20th century, are not usually damaged in
the bulk or on the glass surface. However, degradation occurs often in the hot-melt adhesive, with
which the tesserae were to the underlying aluminum plate. However mosaics may be damaged in
other ways. We can also see loss of material, various cracks, biological damage, pollution and
unsuitable restoration intervention.
114
POSTER
Art Nouveau glass in Slovenia
KOS, Mateja
National Museum of Slovenia, Ljubljana, Slovenia and Art History Department, Faculty of Arts,
University of Maribor, Maribor, Slovenia
In what is today Slovenia, the major part of interior decoration objects and tablewares were bought
in major centers of the Austro-Hungarian Empire. Only a small part of applied art objects acquired
were produced on Slovenian territory. The glass production of the time was based mostly on 19th
century stylistic features, and the majority of the objects were exported to Eastern European
countries and the Middle East.
The introduction of new art nouveau forms and decoration was rather slow. The difference between
imported objects (mostly in art nouveau style) and home production became more and more evident.
There are some successful experiments with new stylistic features in major glassworks, but in the
scope of contemporary production as a whole they form only a small part. There is another field of
glass usage, the window glass for city palaces (museums, music hall, etc.) and bourgeois’ homes.
In 1895, a major earthquake demolished a substantial part of the city center of Ljubljana. A new
modern style was introduced in the city; the new art nouveau buildings were interpolated in the
baroque cityscape. A new technique of glass decoration namely etched glass was introduced since the
new architecture sported also new decoration: art nouveau windows usually made of stained glass
and etching.
Etching replaced cutting and engraving, a much more time-consuming way of decorating glass
windows. They were cheaper and thus available also to middle class city dwellers. As an important
highlight of modern architecture they were introduced also to other Slovenian cities.
The majority of the stained and etched art nouveau window glass is not preserved. Some beautiful
examples are kept among the surving ones in museums' collections.
Together with vessel glass, the stained and etched glass windows will be presented at the conference.
115
SESSION A
Glass exchange and people in ancient East Asia
KOTERA, Chizuko
Japan Society for the Promotion of Science, Tokyo, Japan
In ancient Asia, during the last few centuries BC to the first few centuries AD, Yayoi Japan was one
of the more distant participants in the glass trade. Most glass objects used by the Yayoi were
imported and some of them were processed. The Yayoi had a close relationship with China (Han
period) and Korea (Proto-Three Kingdoms period), however glass objects from these places in
contemporary periods were different. Thus, we assume that the exchanges between them were
complex. However it is doubtful whether these places can be linked with Indo-Pacific beadmaking
sites directly. This paper analyzes the features of glass objects from these places and outlines the
human elements involved and offers a comparison with material from South Asia and Southeast
Asia. Therefore, this study provides evidence towards a better understanding of ancient Asian glass
exchange and the human behavior behind this trade.
116
SESSION B
Makellos transparent oder mit romantischen Schlieren? – Überlegungen zu
Sortenvielfalt und Ästhetik des Fensterglases im frühen 20. Jahrhundert mit
Fokus auf dem „Kristallglas“
KRAUTER, Anne, FRITZ, Ueli
Fachbereich Konservierung und Restaurierung, Hochschule der Künste Bern, Bern, Schweiz
Bei Glas aus der Zeit zwischen 1900 und dem 2. Weltkrieg handelt es sich um ein technisch
ausserordentlich vielseitiges Produkt. Dabei erstaunt die Diskrepanz zwischen der damaligen
Komplexität der Glasproduktion und den mittlerweile gängigen einfachen Vorstellungen von
Fensterglas: Heutzutage entsprechen diese primär der Reduktion auf die Transparenz
(Durchsichtigkeit) und auf die thermischen Kennwerte des Glases. Am Rande schwingen allenfalls
noch die Einbruchsicherheit und die Selbstreinigung als Erwartungen mit. Bei keinem anderen
Material werden die Materialeigenschaften derart verkürzt wahrgenommen und auf (nur teilweise
zutreffende) Eigenschaften reduziert. – Demgegenüber evozieren etwa Holz, Stein, Metall, Papier
oder Textil sofort einen Reigen innerer Bilder.
Die Gründe für die einseitige Wahrnehmung des Flachglases sind im seit den sechziger Jahren
dominierenden „Floatglas-Verfahren“ zu suchen. Es liefert seither ein Fertigprodukt mit
gleichbleibender, schlierenfreier Qualität. Die ursprüngliche Ausdifferenzierung der Glassorten der
Klassischen Moderne erübrigte sich und geriet in Vergessenheit. Dies traf insbesondere auf die mit
hohen Aufwand zur Makellosigkeit geschliffenen Glassorten wie „Spiegel“- oder „Kristallglas“ zu,
die man in der Klassischen Moderne für grossformatige Verglasungen verwendete. Die Rohware
wurde durch zeitraubende Schleif- oder Sandstrahlprozesse veredelt. Aufgrund der heutigen – am
aktuellen Floatglas orientierten und damit irreführenden – Rezeption der historischen Gläser
zeichnet sich hier aus konservierungsethischer Sicht eine erhebliche Problematik ab: Die technisch
hochwertigen Gläser werden nicht mehr als solche erkannt, mit Floatglas verwechselt und
möglicherweise entsorgt. Als wertvoll wird die schlechte, schlierige, blasige Qualität betrachtet und
stattdessen in „alten“ Fenstern eingesetzt.
117
POSTER
5 th –6 th century windowpanes in Serbia and on the territory of Kosovo
KRIŽNAC, Milica
Independant researcher, Schaffhausen, Switzerland
The fragments of windowpanes reported here were found in several Early Byzantine settlements and
forts in Serbia and on the territory of Kosovo. The number of sites with published glass vessels is not
equal to that of published windowpanes, because in some cases the catalogues contain only vessel
glass and lighting equipment and others only the window glass. The glass from some published
localities dating from the 5th-6th century is unfortunately not mentioned at all. In Caričin grad,
Gradina on the Mount Jelica, Gradina in Postenje and Gradinain Vrsenice fragments of
windowpanes are numerous and have been found both in churches and in public and residential
buildings. The fragments of window glass were found at the sites of Liška Ćava and in the basilica of
Zlatni kamen. A large number of fragments of window glass was also discovered in several
fortifications in the area of the Danube limes (Karataš / Diana, Kostol / Pontes, Hajdučka vodenical
Prahovo / Aquae), as well as in Čečan and upper Streoci in Kosovo. The majority is of greenish
colour, colourless (with a greenish and yellowish tinge) or has a yellowish hue. Only some fragments
show different colours. A large number of windowpane shards shows more or less visible signs of
iridescence. Bubbles that are scattered densely in some places can also be detected in the glass.
118
SESSION B
Zu Kelchen und anderen Altargeräten aus Glas
KRUEGER, Ingeborg
Bonn, Deutschland
Nachdem es in frühchristlicher Zeit zunächst keine Regeln für Form und Material liturgischer
Gefäße gab, wurden in der Kirche des Westens seit dem späten 8. Jahrhundert Vorschriften erlassen,
wonach nur mit Kelchen aus Edelmetall (notfalls Zinn) die Messe gefeiert werden dürfe, wogegen
Glas wegen seiner Zerbrechlichkeit zu den verbotenen Materialien gehöre. Obgleich dieses Verbot
in der katholischen Kirche bis in die heutige Messordnung gültig blieb, wurde es im Laufe der Zeit
nicht selten übertreten. Aus dem Mittelalter und bis in die Neuzeit sind zwar (fast ?) keine gläsernen
Messkelche und Ziborien überkommen, aber verschiedene Indizien deuten darauf hin, dass in
ärmeren Gemeinden oder Notzeiten dennoch liturgische Gefäße aus Glas benutzt wurden.
Spätestens aus dem 18. Jahrhundert sind dann eine Reihe von schlichten gläsernen Kelchen,
Patenen und Ziborien erhalten. In der evangelischen Kirche gibt es keine Materialvorschriften für
die liturgischen Geräte, Abendmahlskelche aus Glas sind also zulässig. Erhaltene Beispiele aus dem
16. und 17. Jahrhundert scheinen zu fehlen, aber seit dem 18. Jahrhundert sind sie besonders in
Glashüttenregionen mit überwiegend protestantischer Bevölkerung relativ häufig nachzuweisen.
119
SESSION B
Haushalt, Apotheke oder Gasthaus? Zusammensetzungen neuzeitlicher
Glasfundkomplexe im Kontext ihrer Fundsituation
KULESSA, Birgit
Landesamt für Denkmalpflege Baden-Württemberg, Archäologische Denkmalpflege, Esslingen am
Neckar, Deutschland
Glasgefäße allein bezeugen nicht unbedingt immer ihren Verwendungsbereich, ihre Funktion oder
auch ihren Wert. Abbildungen können hierzu nützliche Hinweise geben, sind aber kritisch zu
prüfen, zumal Bilder mitunter eine bestimmte Intention, z.B. eine symbolische Bedeutung
vermitteln. Vor allem die Auffindungssituation von Glasgefäßen oder ihre Vergesellschaftung in
archäologischen Fundkomplexen werfen ein Licht auf diese Fragen. Anhand ausgewählter
neuzeitlicher Funde aus Baden-Württemberg, die aus verschiedenen Bereichen stammen, z. B.
Haushalt, Apotheke, Wirtshaus oder Burg, soll untersucht werden, welche Gläser im Kontext ihres
Fundortes in welcher Menge benutzt oder bevorzugt wurden. Möglich sind Rückschlüsse auf den
sozialen Status der Eigentümer. Nicht immer sind diese durch die schriftliche Überlieferung
bekannt, so dass die Glasfunde möglicherweise auch Hinweise auf bestimmte Personenkreise liefern
können. Quantität und Qualität von Glasfunden lassen erkennen, wie wohlhabend ein Haushalt
war. Wobei auch hier bestimmte Entsorgungspraktiken nicht außer Acht gelassen werden dürfen,
zumal eine geringe Anzahl bzw. das Fehlen von Glasfunden nicht zwangsläufig als Mangel an
Wohlstand zu deuten sind. Es stellt sich die Frage, warum bestimmte Glastypen in manchen
Fundkomplexen fehlen. Diese können andernorts nachweislich sozial hoch - bzw. niedrig stehenden
Fundkontexten zugeordnet werden. Dazu gehört auch die Identifikation von Importen mit
besonderem Wert, die nicht unbedingt von jedermann erworben werden konnten. Zugleich können
sich in der Zusammensetzung der Funde regionale oder auch persönliche Vorlieben, z. B.
Trinkgewohnheiten widerspiegeln. Ein Fundkomplex aus einer Latrine, die über einen langen
Zeitraum benutzt wurde, lässt Kontinuitäten oder auch Veränderungen im Gebrauch von
Glasgefäßen erkennen. Eventuell spiegeln sich auch Wandlungen im beruflichen oder sozialen
Hintergrund der Hausbewohner wider.
120
SESSION B
Medieval Middle Eastern vessels in the cities of north-eastern Rus’
KUZINA, Inna 1 , ZELENTSOVA, Olga 1 , ZEIFER, Vladimir 2 , YANISHEVSKY,
Boris 1
1
2
Institute of Archaeology, Russian Academy of Sciences, Moscow, Russia
Pereslavsky State Historical-Architectural and Art Museum-Reserve, Russia
This report deals with the glass artifacts which have been found in recent years during the
excavations of the two urban centers of the Vladimir-Suzdal’ principality: Vladimir-upon-Klyaz’ma
and Pereslavl’ Zalessky. There, a huge number of glassware pieces was found. Of particular interest
are the vessels, decorated with colored enamel and gilded. We could authentically restore some
shapes: beakers, a tazza (footed bowl) and a decanter. There are vessels decorated with birds, fishes,
human figures, architectural subjects, musicians and a representation of the polo game in this
archaeological collection. The finds of glassware in the cities of North-Eastern Rus’ include different
types of well-known Middle Eastern (Egyptian?) vessels dating to the 13th – the 14th centuries. Both
cities are connected with the senior branch of the princely house of Vladimir. So there is nothing
surprising in the appearance of luxury glass vessels in these cities. But the beakers of the first half of
the 12th century were found in the house of a rich merchant from Vladimir. The tazza, the decanter
and the other decorated vessels are without doubt connected with the palace of noble Mongolian
officials.
121
SESSION A
Le verre de la nécropole mérovingienne de La Mézière (Bretagne, France)
LABAUNE-JEAN, Françoise
Institut National de Recherches Archéologiques Préventives (Inrap), UMR 6566, Rennes, France
En 2012, les fouilles sur le site des Lignes de la Gonzée, sur la commune de La Mézière en Ille-etVilaine, ont été l’occasion de découvrir une importante nécropole, riche de près de 700 tombes. Les
objets en verre mis au jour se composent de récipients et de pièces de parure : bracelets, bagues et
quelques centaines de perles (colliers, bracelets). Quelques-unes par leur taille et leur forme
montrent une association à des décors sur tissu, validée par une analyse de composition du verre
prouvant leur origine du sud de l’Inde. Ces verres sont aussi associés à des éléments métalliques
(fermoirs de colliers, pendentifs, fibules, bagues, bracelets et boucles). Ces ensembles permettent
d’avoir une meilleure idée des objets en usage entre la fin du Ve siècle et le courant du VIIe siècle de
notre ère, période méconnue dans ce secteur géographique. Ils livrent également des informations
sur les échanges commerciaux à longue distance approvisionnant la Bretagne mérovingienne.
122
SESSION B
Leadglass in eighteenth century Holland
LAMÉRIS, Anna
FRIDES LAMERIS Kunst & Antiek, Amsterdam, The Netherlands
Ceremonial goblets became immensely popular in eighteenth century Holland. These goblets show
decorations and toasts, which are engraved in soda lime glass or in lead glass. All publications about
goblets with Dutch engravings, or eighteenth century glass in Holland refer to the dissertation of
Ferrand W. Hudig from 1923 (Das Glas (…), published in Vienna). In this publication Hudig
claims that no fine Dutch drinking glasses were produced in the Netherlands after 1731, but merely
bottles and windowpanes, except for ’s-Hertogenbosch where fine glasses were produced until about
1787. During this period glass in the Netherlands was imported from several regions in Germany,
the Southern Netherlands (present-day Belgium) and England.
A large variety of lead glasses were used for the engravings. Since many years I study ceremonial
goblets engraved in Holland and certain patterns in the glasses that were used, occurred to me.
In my presentation I will show these newly discovered features. I will confirm these patterns by an
investigation method that has not been used before on this subject. Currently, I am working on a
publication on this matter. During my presentation I will also relate these observations to Hudigs
famous book.
123
SESSION B
Dating filigrana glass
LAMÉRIS, Kitty
FRIDES LAMERIS Kunst & Antiek, Amsterdam, The Netherlands
The making of filigree glass is probably the most important new glass technique invented in
sixteenth century Murano. Testimonies to this are to be found in museums all over the world.
Kitty Laméris studied filigrana glass (glass made with canes), inspired by a private collection of 38
glasses made in the different filigrana techniques. Having these glasses at hand she could study and
compare them carefully. The largest group of these glasses was made in de vetro a retortoli technique,
often combined with vetro a fili. She made groups of these glasses, based on the different techniques
they were made in. In doing so she discovered differences in technique between the glass made in the
sixteenth and seventeenth century and the later glass made around 1700.
These observations are helpful in dating filigrana a retortoli objects. Since then she continued
studying different aspects of filigrana glasses. In this talk she will present her latest observations.
124
SESSION A
Hellenistic glass production at Bara Sheikhan, Pakistan
LANKTON, James W. 1 , GRATUZE, Bernard 2 , BOPEARACHCHI, Osmund 3 ,
DUSSUBIEUX, Laure 4
University College London, Doha, Qatar
3
Emeritus, Director of Research, CNRS, Paris, France
4
Field Museum of Natural History, Chicago, USA
1
2
Glass beads and fragments recovered at the village of Bara Sheikhan, eight miles southwest of
Peshawar in the Khyber Pakhtunkhwa province of Pakistan, in 1998, include a fascinating
combination of both finished objects and glassworking materials (Dussubieux and Gratuze 2003).
Although glass slags observed at the site suggested possible primary production, the only evidence
available for study has been the approximately one hundred finished and broken beads and
fragments, including twisted bi-color canes and glass tubes, and a group of mosaic chips and canes
with floral, script and human images, now preserved at the musée archéologique Henri-Prades near
Montpellier, France. While some of the beads may be dated to the 1st century BC, a hoard of IndoGreek and Indo-Scythian coins found there places Bara firmly within the mid-1st century CE realm
of the Periplus of the Erythraean Sea, the glass from Begram, Afghanistan, and the city of Taxila
(Sirkap) in Pakistan. Based on new analyses and microphotographs, we provide details on the
production of goldglass, twisted stripe and mosaic eye beads, as well as mosaic canes made with the
finest Hellenistic to early Roman techniques, but using local glass. The recent discovery of beads
typologically and chemically identical to Bara production at contemporaneous sites in Xinjiang,
Mongolia and Korea, but seldom in North or South India, provides an international context for the
northwestern and then eastern exchange of glass beads from Bara, integrating the glassworkers at
Bara into the thriving cultural and economic world of the early Silk Roads.
Dussubieux, L., and Gratuze, B. 2003. ‘Nature et origine des objets en verre retrouvés à Begram
(Afghanistan) et à Bara (Pakistan)’, in Bopearachchi, O., Landes, C., and Sachs, C. (eds.), De l'Indus
à l'Oxus : archéologie de l'Asie centrale : catalogue de l'exposition. Musée archéologique de Lattes,
Lattes, France.
125
SESSION A
The beginnings of cast glass bowl production: New evidence from Tel Kedesh,
Israel
LARSON, Katherine A. 1 , BERLIN, Andrea M. 2 , HERBERT, Sharon 1
1
2
University of Michigan, Ann Arbor, USA
Boston University, Boston, USA
By the early first century BC, cast glass bowls were commonplace at domestic sites of the eastern
Mediterranean and Levant. Two sites in inland southern Phoenicia help pinpoint their earliest
production date. The élite residence at Tel Anafa, located in the Upper Galilee of modern Israel,
indicates grooved cast glass bowls were in circulation by 125 BC. New evidence from Tel Kedesh,
fewer than 20 km from Anafa, can now bracket the early origins of that production. A large (2400
m2) building, named the Persian and Hellenistic Administrative Building (PHAB) by the excavators,
was occupied from c. 500 until the late second century BC. A tight stratigraphic sequence well dated
by coins, stamped amphora handles, and inscribed sealings indicates that the administrative function
of the building ceased around 143 BC. A short time later, probably in the 130s BC, the abandoned
building was re-inhabited by an unknown population who, for the first time at Kedesh, used cast
glass vessels.
By contrast, the Persian, Ptolemaic, and Seleucid administrators do not seem to have possessed glass
dining wares, and only a few core-form fragments and beads were found in their occupational levels.
The few dozen fragments of cast glass in post-administrative strata therefore represent a marked
change in glass consumption habits, despite the otherwise poorer nature of their material culture.
The combined data from Tel Anafa and Tel Kedesh suggests that grooved glass bowl production
and circulation began in southern Phoenicia between 143 and 125 BC. This paper reviews the
evidence of glass vessels from Kedesh, just inland from the famed glass centers of coastal Phoenicia,
and considers arguments for regional production.
126
POSTER
Byzantine glass bracelets in Western Rus’ (among archaeological finds on the
territory of Belarus)
LAVYSH, Krystsina
K. Krapiva Institute of Study of Arts, Ethnography and Folklore, The National Academy of Sciences
of Belarus, Department of Fine, Decorative and Applied Arts, Minsk, Belarus
Byzantine glass bracelets belong to one of the groups of Byzantine glass objects imported to Western
Rus’. On the territory of Belarus they were found in Polotsk, Minsk, Slutsk, Drutsk, Vitebsk, Orsha,
Mstislavl’, Novogrudok, Grodno, Volkovysk, Slonim, Gomel, Rogachev, Brest, Mozyr, Kopys,
Svisloch, Maskovichi, and Vischin. They have several characteristics, which differentiate them from
the bulk of bracelets of Kiev origin and of local production. First of all they are distinguished by the
chemical composition of the glass. They belong to the group of soda-lime-silica glasses (and to both
its subclasses – sodium and ash). Secondly, they are united by a number of formal features. The
bracelets of probable Byzantine origin are notable for their variety of shapes and specific decoration.
Painting with gold and enamels is one of their characteristics as well as decorations with plated glass
bits. Other characteristics are the prevalence of the blue colour (using cobalt oxide as a colorant), a
flat inner surface, and a curved outer surface. They sometimes have complicated cross sections,
which can have triangular or square form. Regarding the chronology of Byzantine glass bracelets in
Western Rus’, most of them were found in the layers from the second half of the 11th to the first half
of the 12th century.
Being an element of the ordinary urban culture in the Byzantine Empire, especially in its outskirts,
glass bracelets became very popular in Rus’. Firstly they were imported from Byzantium and then the
glass bracelets were brought into fashion, then their production was launched in many urban centres
of Mediaeval Rus’, including its western region. Glass bracelets had a much higher status in Rus’
urban culture than in Byzantium. The most richly decorated specimens can be associated with a
more prosperous urban stratum.
127
POSTER
The Roman necropolis of Budva (Montenegro) and its glass assemblage
LAZAR, Irena
Faculty of Humanties, University of Primorska, Koper, Slovenia
In 1936 and 1938 several graves from the Hellenistic and Roman periods were discovered in Budva
(Montenegro). Unfortunately, the material from these first discoveries (digging for hotel building)
was split and ended up in several museums of former Yugoslavia (Belgrade, Cetinje, Zagreb, Split)
and in private collections. The research of the site continued about twenty years later, between 1951
and 1957, and in 1980-1981. The necropolis has two parts; the older belongs to the Hellenistic
period (between the 4th and 1st century BC), and the younger belongs to the Roman period (1st to
the 4th century AD). A total of 450 graves were discovered. Until recently (2012), the excavated
material was not completely published. The material was kept at the Archaeological museum in
Zagreb and elsewhere. Because of lack of information about grave groups, the material was so far
studied only typologically.
The latest discoveries provide the possibility to study the graves with numerous glass items, ranging
from glass vessels to jewelry. Mould-blown glass bottles and balsamaria of various colours and
decoration, glass urns of several types, cylindrical, polygonal and square bottles and various other
glass items were abundantly added in graves as grave goods. The variety of forms gives insight in a
lively Roman city on the Adriatic coast, along the ancient trade routes, where goods from west and
east were traded, used and buried.
128
SESSION B
L’activité créatrice de Paule Ingrand (1910–1997) au sein d’« Art et Verre », à
Lodelinsart, de 1946 à 1962
LECOCQ, Isabelle 1 , THOMAS, Catherine 2
1
2
Institut royal du patrimoine artistique, Bruxelles, Belgique
Musée du Verre, Charleroi, Belgique
De 1946 à 1962, l’artiste Paule Ingrand développe au sein d’un département artistique, créé pour
l’occasion au sein de la verrerie Gobbe Hocquemiller, une production originale de glaces gravées,
patinées et argentées. Elle s’est formée à cette technique aux côtés de son époux, à Paris ; ensemble, ils
ont œuvré notamment à la décoration du paquebot « Normandie ». Si les productions de Max
Ingrand ont acquis une renommée internationale, les créations de Paule Ingrand en terre
carolorégienne demeurent par contre méconnues, malgré l’organisation d’une exposition au Musée
du Verre de Charleroi en 2000 (« Art et verre. Une expérience artistique d’avant-garde, 1946–1962.
Hommage à Paule Ingrand [27.05 – 26.08.2000] »). Le dessein de la communication proposée est
de mieux faire connaître cette production. Parmi les différents aspects envisagés, les techniques et les
conditions de production, ainsi que les problèmes de conservation-restauration des œuvres
conservées seront privilégiés. La communication s’appuiera principalement sur les œuvres des
collections du Musée du Verre de Charleroi.
129
SESSION A
Mapping the glass production in Italy. Looking through the 1 st millennium AD
LEPRI, Barbara 1 , SAGUÌ, Lucia 2
1
2
Insitute of Archaeology, University of Cologne, Cologne, Germany
Sapienza Università di Roma, Rome, Italy
In some European countries systematic surveys of the findings related to the activity of glass
workshops have already been done. In Italy the scholars have just dealt with this topic and answered
only some of the questions regarding the glass “industry”.
The present research aims to fill this gap, considering the workshops’ distribution and their features,
in order to better understand why, where and when they were installed. Furthermore, in some cases
we can view the proceeding of glass objects as integrated in the production of other commodities.
The work will include previous studies and some new evidences from recently investigated contexts,
trying to delineate the development of the glass “industry” on the Italian peninsula, readable only in
a long-term perspective.
130
SESSION B
What's the purpose : oil lamp, perfume sprinkler or trick-glass ?
LIEFKES, Reino
Victoria & Albert Museum, London, United Kingdom
In 2012 the Victoria & Albert Museum acquired a spectacular and most curious 18thcentury glass
which was thought to be an oil lamp. Although it is of middle-European manufacture, its inspiration
comes from Italian prototypes of the 16th and 17th century. In the literature these prototypes also
have been called ‘oillamp’ or ‘perfume sprinkler’. Based on historical evidence as well as practical
experiment, the author argues that these objects were indeed trick glasses, intended to confuse and
entertain its users.
131
POSTER
Imported beads in Russia from the 17 th to the first half of the 18 th century
(Moscow, Mangazeya, Smolensk region)
LIKHTER, Julia
Archaeological research in construction business, Moscow, Russia
Excavations of the upper cultural layers made it possible to discover a large number of glass beads.
Since there is no enough information about beads from the 17th to the first half of the 18th century, it
was decided to study beads discovered in Smolensk region (site of the ancient settlement of
Volotchek Vyazemsky), in Moscow and in the town of Mangazeya (the north of western Siberia).
The beads were found both in cultural layers and in graves. During the excavations the beads were
usually discovered as separate finds, sometimes in small groups. The cluster of beads discovered in
the remains of a building in Moscow was an exception: it consisted of more than 600 separate beads
and conglomerates of beads stuck together. The building was probably a household building used as
storage for goods prepared for sale.
The beads that were discovered in graves were used as parts of rosaries (necropolis of Moses nunnery
in Moscow) and in necklaces (four 18th-century graves in a rural cemetery). It is well known that in
the 17th and early 18th century no beads were produced in Russia. Thus, the disciovered beads must
have been imported from elsewhere. Similar beads were found during excavations in Amsterdam.
They were also used by North American Natives (Kidd, 1970). A Duch origin of the beads seems
therefore possible. This suggestion is corroborated by the fact that The Netherlands were Russia's
general trading partner in the 17th century.
KIDD, Kenneth E, Kidd Martha Ann (1970), A Classification System for Glass beads for the Use of
Field Archaeologists, in Canadian Historic Sites: Occasional Papers in Archaeology and History 1,
45-89.
132
POSTER
Characterization of 18 th century Portuguese glass from Museu Nacional de Arte
Antiga, Museu Nacional Soares dos Reis and Museu Nacional Machado Castro
LOPES, Filipa 1/2 , VILARIGUES, Márcia 1/3 , PIRES DE MATOS, António 2 , LIMA,
Augusta 1/3
Universidade Nova de Lisboa, Caparica, Portugal
C2TN, Instituto Superior Técnico, Universidade de Lisboa, Bobadela, Portugal
3
Department of Conservation and Restoration, Faculdade de Ciências e Tecnologia, Universidade
Nova de Lisboa, Caparica, Portugal
1
2
In this work the preliminary results of the chemical characterization of Portuguese 18th century
glasses from three main museums of Portugal: Museu Nacional de Arte Antiga (Lisbon), Museu
Nacional Soares dos Reis (Oporto) and the Museu Nacional Machado Castro (Coimbra) are
presented. A group of selected glass objects are dated to the 18th century, they are produced at Real
Fábrica de Vidros de Coina or at Real Fábrica de Vidros da Marinha Grande; the two Portuguese
royal glass manufactures. They were analyzed in situ by micro energy dispersive X-ray fluorescence
(μ-EDXRF). The first factory operated from 1719 until 1747, then it was transferred to Marinha
Grande, keeping the same workers, the same technology and the same shapes of glass objects.
The main goal of this study is to identify the factory of production of each object by comparison of
its glass composition with the results of previous work on chemical characterization of glass
fragments recovered from an archaeological excavation carried out in the site where the Real Fábrica
de Vidros de Coina was established.
133
SESSION B
Le vitrail dans les hôtels suisses de la Belle-Epoque : une importance sousestimée ?
LÜTHI, Dave
Section histoire de l’art, Université de Lausanne, Lausanne, Suisse
Les inventaires récents du patrimoine hôtelier en Suisse, et notamment dans l'arc lémanique et dans
les Grisons, ont mis en évidence un nombre important de vitraux dans les hôtels des années 1880–
1915, notamment dans les espaces publics, mais aussi dans d'autres lieux plus privés. Pourtant,
aucune étude ne s'intéresse à la place du vitrail dans ce type d'édifice, pas plus qu'au rôle que ces
commandes ont pu jouer dans la création d'atelier spécialisés, notamment à Lausanne et à Genève.
Cette intervention cherche à mettre en place une typologie des vitraux hôteliers et à mettre en
évidence les principaux ateliers actifs dans ses réalisations. Un lien sera établi avec les autres formes
d'artisanat d'art déclinées dans les hôtels - stucs, sculpture, mobilier - de manière à dessiner les
contours d'une géographie artistique hôtelière à la Belle-Epoque.
134
POSTER
Swiss Kabinettscheiben from a 19 th Portuguese collection – study and
characterization
MACHADO, Andreia 1/2 , RODRIGUES, Alexandra 1/2 , COUTINHO, Mathilda 1/2 ,
ALVES, Luis C. 3 , CORREGIDOR, Victoria 3 , SILVA, Rui C. 3 , SERNEELS,
Vincent 4 , KATONA-SERNEELS, Ildiko 4 , WOLF, Sophie 5 , TRÜMPLER, Stefan 5 ,
VILARIGUES, Márcia 1/2
Departamento de Conservação e Restauro, Faculdade de Ciências e Tecnologia da Universidade
Nova de Lisboa, Portugal
2
Research unit VICARTE - Glass and Ceramics for the Arts, Torre da Caparica, Portugal
3
Departamento de Física, Instituto Tecnológico e Nuclear, Instituto Superior Técnico,
Universidade Técnica de Lisboa, Sacavém, Portugal
4
Department of Geosciences, University of Fribourg, Switzerland
5
Vitrocentre Romont, Swiss Research Center for Stained Glass and Glass Art, Romont, Switzerland
1
The private collection of King Ferdinand II, currently on display at the National Palace of Pena, is
composed of stained glass panels from the 14th to the 19th century, with fine examples from Germany,
the Low Countries and Switzerland. With the aim of shedding light on this unique collection,
stained glass in situ as well as stained glass not incorporated in the exhibition was studied in detail
from both historical and preservation perspectives. The study, which includes extensive historical,
archival and analytical research, and the preservation of the collection is currently under way.
A group of stained glass panels was analysed in situ by energy dispersive X-ray fluorescence analysis
(μ-EDXRF) and a group of stained glass fragments not incorporated in the assemblage of the
exhibition was analysed by proton induced X-ray emission spectroscopy (μ-PIXE). According to the
first results of μ-EDXRF, the fragments analysed belong to the groups of potash, mixed alkali and
high lime-low alkali glasses. The compositions are compared to data of stained glass from Germany
and Switzerland belonging to the collections of Vitrocentre and Vitromusée Romont, analysed by
scanning electron microscopy coupled with energydispersive X-ray spectrometry (SEM-EDS) in
collaboration with the Fribourg University.
One important objective of this multidisciplinary research is to contextualize the panels and to
determine the provenance and production dates of the stained glass, and, based on accurate
historical research, to provide a better understanding of this remarkable Portuguese collection.
135
POSTER
Recherche sur les reproductions en verre de la collection des gemmes de Vérone :
têtes, portraits, symboles et la « querelle des anciens et des modernes »
MAGNI Alessandra, TASSINARI Gabriella
Dipartimento di Beni culturali e ambientali, Università degli Studi di Milano, Milan, Italie
Notre travail analyse quelques intailles en verre (gemmae vitreae anciennes, pâtes de verre modernes),
qui sont conservées au Musée archéologique du Théâtre romain de Vérone (Italie), dont nous
venons de publier une partie de la collection des gemmes (Gemme dei Civici Musei d'Arte di Verona,
ed. G. Sena Chiesa, Collezioni e Musei Archeologici del Veneto, 45, Roma 2009).
Le verre s’est toujours idéalement prêté à imiter l'aspect de pierres précieuses et semi-précieuses et à
reproduir le travail complexe du gemmarius. On pose rarement la question si l'exemplaire en verre a
le même âge que l'original d'où est tirée la scène qu'il représente. Il s'agit parfois d'un écart de
plusieurs siècles!
La différenciation entre les répliques anciennes (que nous appellons, d'après Plinius, gemmae vitreae)
et les modernes (pâtes de verre) se révèle un problème pratiquement insoluble.
En examinant les cas les plus intéressants de la collection du Musée de Vérone, nous voulons
proposer des critères permettant de distinguer les exemplaires anciens des modernes.
Les intailles en verre qui feront l'objet de notre étude sont inédites et représentent des têtes, des
portraits et des symboles.
136
SESSION A
Opaque red glass tesserae from Roman and Early-Byzantine sites of northeastern
Italy: shedding light on production technologies
MALTONI, Sarah 1 , SILVESTRI, Alberta 2 , MOLIN, Gianmario 1
1
2
Department of Cultural Heritage, University of Padova, Padua, Italy
Department of Geosciences, University of Padova, Padua, Italy
Opaque red glass tantalizes modern scientists as much as it fascinated ancient people. Its gem-like
appearance, its symbolic value, and the challenge of its production are at the basis of this interest.
Despite the apparent chromatichomogeneity, opaque red glasses so far analysed show a wide range of
chemical and textural features, indicating a large variety of production technologies.
It is generally accepted that copper-based phases are responsible for the red colour and its variants
(mainly orange and brown), and that rigorous reducing conditions must have been established and
maintained throughout the glassmelting, but there is no clear consensus on the mechanism of colour
generation and the parameters influencing it.
In this context the present work, focusing on opaque red tesserae dated from Roman to EarlyByzantine time (2nd-6th century AD), aims to investigate and compare the different production
technologies employed. In particular, 16 Roman tesserae, ranging from orange to brown in colour,
excavated in the sites Domus delle Bestie Ferite (Aquileia, dated to the mid-4th century), Domus of
Torre di Pordenone (Pordenone, dated between the 1st and 5th century) and Santa Maria Maggiore
Cathedral (Trento, dated between the 2nd and 4th century) are here considered. Strict comparisons
are made with 26 Byzantine opaque red glass tesserae from Padova and Vicenza, dated to the 6th
century AD and previously analysed with comparable methodological approach. The study was
carried out using scanning electron microscopy coupled with energydispersive X-ray spectrometry
(SEM-EDS) for textural and qualitative chemical analyses, electron microprobe (EMPA) to
determine quantitative chemical compositions of the glassy matrix, X-ray diffraction (XRD) and
Raman Spectroscopy to define the crystalline phases of pigments, providing valuable insights into
the complexity of opaque red glass technology from Roman to Early-Byzantine period in northeastern Italy.
137
POSTER
More glass from Aquileia (Italy)
MANDRUZZATO, Luciana
Department of Ancient History, MacQuarie University, Sydney, Australia
Since the publication of the third and last volume on ancient glass in the National Archaeological
Museum in Aquileia (north-eastern Italy) in 2007, more interesting pieces have come to light when
reorganizing the depots of the museum. Among the decorated glass artifacts some cameo glass sherds
and fragments with applied thread can be mentioned, in addition to a large number of early Roman
cast glass, either mosaic or monochromatic. Despite the poor conservation state of natural coloured
common glass ware, which is often limited only to rim or foot fragments, its variety of shapes has
been enriched by the recognition of some forms never before identified among the findings of
Aquileia, especially for the less well attested middle imperial period (2nd-3rd century). Eventually
thanks to the study for publication of some recent excavations in the Roman town (similar to the
one near the University of Trieste) and its surroundings (similar to the area of the Canale Anfora, a
secondary harbour on the western rim of the town), new parallels can be used to delineate a more
accurate picture about glass distribution in the north-Adriatic harbour.
138
POSTER
Colour transmission of copper nanoparticle-loaded medieval stained glass: from
plasmon resonances to colour perception
MARTIN, Olivier J.F. 1 , SANTSCHI, Christian 1 , DUTTA-GUPTA, Shourya 1 ,
WOLF, Sophie 2 , TRÜMPLER, Stefan 2 , SCHOLZ, Hartmut 3 , PARRIAUX,
Olivier 4
Nanophotonics and Metrology Laboratory, Swiss Federal Institute of Technology Lausanne
(EPFL), Lausanne, Switzerland
2
Vitrocentre Romont, Swiss Research Center for Staindes Glass ans Glass Art, Romont, Switzerland
3
Corpus Vitrearum Medii Aevi Deutschland, Freiburg i. Br., Germany
4
Hubert Curien Laboratory, Lyon University, Saint-Etienne, France
1
Recent material analysis of pieces of medieval stained glass has shown that they contain metallic
nanoparticles of various sizes and distributions, whose plasmon resonances account for the colour
they transmit [1]. Here, we will report on the colour of a well-identified piece of medieval glass. The
sample analysed is a piece of red glass composed of a thick colourless substrate containing some
impurities and a thin red layer a few microns thick that contains the colour-producing nanoparticles.
It is part of a collection of glass fragments from a lost stained-glass window in Ulm Minster probably
dating from the first half of the 15th century. The light extinction spectrum measured through this
specimen shows a peak around a wavelength of 580 nm, which can be related to the differing sizes of
nanoparticles distributed within the thin coloured layer.
The size and distribution of particles obtained by electron microscopy will be reported at the
conference and used as input for electromagnetic calculations based on Mie theory. The resulting
raw spectra can then be expressed in the colour gamut diagram following the International
Commission on Illumination (CIE 1931) [2]. This diagram links spectroscopic data with the
physiological perception of colours by the human eye. The different light interaction regimes
between plasmonic nanoparticles and incident light will be explained; they range from absorptiondominated for very small particles to scattering-dominated features for larger ones. While the
imaginary part of the plasmonic metal permittivity plays a dominant role in the former, the latter is
determined by the real part of the permittivity.
[1] J.J. Kunicki-Goldfinger et al., “Technology, production and chronology of red window glass in
the medieval period – rediscovery of a lost technology”, Journal of Archaeological Science, Vol. 41, p.
89 (2014).
[2] www.cie.co.at
139
SESSION A
La verrerie de deux dépôts du sanctuaire gallo-romain d’Yvonand-Mordagne, VD
(Suisse)
MARTIN PRUVOT, Chantal 1 , STUCKI, Ellinor 2
1
2
Site et Musée Romains d'Avenches, Suisse
Université de Berne, Berne, Suisse
A l’extérieur du mur d’enceinte de la villa gallo-romaine d’Yvonand-Mordagne se trouve un
sanctuaire construit en bois à l’époque augustéenne, complété, vers le milieu du Ier siècle, par un
fanum en bois également, et réaménagé en pierre au début du IIe siècle. En périphérie du sanctuaire,
deux fosses cultuelles ont été mises au jour. Elles contenaient un riche mobilier en céramique
notamment ainsi que de très nombreux fragments de vaisselle en verre qui permettent d’identifier
près d’une centaine d’individus. Cette verrerie, qui constitue un ensemble unique sur le territoire de
la Suisse actuelle, présente un faciès homogène, composé presque exclusivement de récipients fermés,
destinés à des libations et à des rituels liés à l’utilisation de parfum. Il s’agit essentiellement de
bouteilles ansées, de cruches à bec verseur, de flacons globulaires et d’aryballes soufflés en verre bleuvert. L’homogénéité typologique et chromatique de cet ensemble permet de tirer des conclusions
quant aux rites pratiqués dans le sanctuaire et de le dater entre la seconde moitié du Ier et le début du
IIe siècle.
140
SESSION A
Glass fragments from Qaleh Kali, an Achaemenid site in south-western Iran
McCALL, Bernadette, DUSTING, Amanda, McRAE, Iona
University of Sydney, Sydney, Australia
Excavation of an Achaemenid building complex at Qaleh Kali in Fars province, Iran yielded a small
number of colourless cast glass body fragments, belonging to at least one or possibly two vessels.
Along with several fragments of polished stone bowls, these items have been identified as prestigious
tablewares dating from the Achaemenid period with parallels from the royal centres of Pasargadae,
Persepolis and Susa. The fragments were found in a well-stratified secondary deposit of postAchaemenid date located outside the walls of the original Achaemenid period building suggesting
they had remained in circulation for a long period after their initial use. This talk will present a
detailed analysis of the glass fragments and their decoration. The primary aims are to reconstruct the
original form and number of vessels in the assemblage, and examine the evidence for parallels from
available contemporary archaeological sources to understand the nature of the vessels and their
relevance in the wider Achaemenid world.
141
SESSION B
Looking through Late Medieval and Early Modern glass in Portugal
MEDICI, Teresa 1 , COUTINHO Inês 2 , ALVES, Luis C. 3 , GRATUZE, Bernard 4 ,
VILARIGUES, Márcia 5
VICARTE Research Unit and Department of History, Archaeology and Arts, Faculdade de Letras
- Universidade de Coimbra, Coimbra, Portugal
2
Research Unit VICARTE – Vidro e Cerâmica para as Artes, Faculdade de Ciências e Tecnologia Universidade Nova de Lisboa, Caparica, Portugal
3
CTN (Campus Tecnológico e Nuclear), IST/UL, Bobadela, Portugal
4
Centre Ernest-Babelon, IRAMAT, CNRS Université d’Orléans, Orléans, France
5
Research Unit VICARTE and Dep. de Conservação e Restauro, Faculdade de Ciências e
Tecnologia da Universidade Nova de Lisboa, Caparica, Portugal
1
In the framework of the research line “Portuguese glass collections: study and preservation”, carried
out by VICARTE in collaboration with C2TN/IST and CNRS, several archaeological glass
assemblages found in Portugal and dated from the 14th to the17th century have been studied.
Combining chemical analysis with stylistic approach, and focusing on compositions and technology,
the project aims at characterising the glass circulating on national territory, in an attempt to identify
its origins, and at disclosing the Portuguese glass production whose existence had been affirmed by
written sources but had not yet been proven by archaeology. The examination of almost 2800
objects made the construction of a typological classification possible.
In the 14th and 15th century the medieval forms predominate, showing analogies with contemporary
European glassware, while during the 16th and the 17th century a greater stylistic variability and an
intensification of imports from Venice, from Spain, and from some façon de Venise manufactures are
evident. However, the arrival of imported goods does not seem to have prevented the development
of a national production.
The chemical composition was determined by means of proton induced X-ray emission
spectroscopy (μ-PIXE) down to tens of ppm level. The obtained results allowed selecting some
objects to further extend the trace elements analysis down to the ppb level through the use of laser
ablation inductively coupled plasma mass spectrometry (LA-ICP-MS). Glass colours and natural
hues were studied by means of fibre-optic reflectance spectroscopy (FORS). On the base of the
objects analysed so far, it was possible to conclude that in its great majority the glass is of a soda-limesilica type. In some, the alumina contents do not match any European known production centres.
For some Venetian or façon-de-Venise shapes a Venetian provenance was confirmed while for others
the composition lead to the conclusion that so far unknown façon-de-Venise production centres
could possibly be recognized.
142
POSTER
Where does Medieval glass from San Genesio (Pisa, Italy) come from?
MENDERA, Marja 1 , CANTINI, Federico 2 , MARCANTE, Alessandra 3 ,
SILVESTRI, Alberta 4 , GALLO, Filomena 3 , MOLIN, Gianmario 3
Dipartimento di archeologia e storia delle arti, University of Siena, Siena, Italy
Dipartimento di Civiltà e Forme del Sapere, University of Pisa, Pisa, Italy
3
Departement of Cultural Heritage, University of Padova, Padua, Italy
4
Departement of Geosciences, University of Padova, Padua, Italy
1
2
The poster summarizes the results of the study of about 1500 glass fragments found in the
excavation of San Genesio, in the course of 2001. This site, particularly relevant in the Middle Ages,
was mentioned as Vicus Wallari from 715 AD and as burgus Sancti Genesi from the 10th century.
The village had a big parish church and expanded in the 9th century as a curtis of the marquis of
Tuscia. Its location on the crossing of important roads (the pilgrims road via Francigena, the road
Florence - Pisa) and rivers (Arno and Elsa) facilitated trade in potery and in all kinds of commodities
coming from the Mediterranean area and Central Europe. The inhabitants of the nearby castle of
San Miniato destructed the site in 1248 AD.
Conjectures on provenance and dating of some particular glass items will be discussed:
1) A mould blown globular lamp with three handles, without rim and foot in azure recycled Roman
glass from the beginning of the 10th century.
2) A globular beaker without foot in dark violet glass with the rim decorated by a lattimo thread
(first half 13th century context). Its shape seems similar to some Lombard cups or Merovingian
beakers, and its chemical composition shows similarity with Roman glass, with manganese as
colourant.
3) A cup in light green glass decorated with red opaque glass threads from destruction layers of the
cloister (2nd half 13th century). Its chemical composition is comparable with the typical "Roman
glass", although chemical and textural differences between the body and the threads are noted. Was
it imported or was it made in Pisa where similar undecorated cups were produced in the 2nd half of
the 12th century?
4) Could the 23 mosque lamps (12th-13th century), found in the collapsed parish church, be of local
production because of their chemical compositions?
143
SESSION A
Analysis of glass artifacts found in 16 th century BC layer from Büklükale, Turkey One of the oldest glass vessels in the Near East
NAKAI, Izumi 1 , ABE, Yoshinari 1 , MATSUMURA, Kimiyoshi 2
1
2
Japanese Institute of Anatolian Archaeology (JIAA) Çağırkan, Kaman, Kırşehir, Turkey
Büklükale is located in Central Anatolia at 65 km SE of Ankara, where the road from Ankara to
Kırşehir crosses the Kızılırmak, the longest river in Turkey. The location is a key transportation
crossroad. Excavations at Büklükale started in 2009. Büklükale site contains huge architectural
remains of the 2nd Millenium BC. Two important glass artifacts have been excavated from this site
by the excavation team (Director K. Matsumura) of JIAA, MECCJ in 2010. One is a glass vessel and
the other is a pendant disk. The vessel is a bottle of coreformed glass with sophisticated decoration.
The pendant is turquoise blue without decoration. Radiocarbon dating (14C) suggests that the
excavated layer dates to 1530-1580 BC. Typologically the pendant disk shows similarities with
pendants from Mesopotamia, though there was no scientific evidence. Therefore, X-ray fluorescence
analysis (XRF) was conducted using a portable XRF-spectrometer. Both the bottle and the pendant
consist of soda lime silica glass. The color of the base glass of the bottle is white with yellow, blue and
black decoration. Magnesium (MgO) and potassium (K2O) contents of the glass vessel are 4.3 and
2.2%, respectively, suggesting that it was made from a magnesium-rich plant-ash glass. The yellow
color is due to lead antimonate (Pb2Sb2O7) and white is due to calcium antimonate. Blue is copper
without cobalt and black is manganese (with iron) black. The material of the pendant is also plantash glass because of its MgO and K2O contents. The blue color is due to copper without cobalt.
Calcium antimonate was used as opacifier. It is a characteristic that both glasses do not contain tin.
A comparison with literature data using bivariate plots (TiO2 vs. ZrO2 and SrO vs. ZrO2) combined
with typological characteristics suggests that the bottle and the pendant were made using
Mesopotamian technology and were not produced in Egypt. Thus the core-formed glass vessel could
be an old one produced in the Near East.
144
SESSION B
All-glass hybrids: What they are, manufacturing techniques and their detection
NAVARRO, Juanita
Freelance conservator and external conservator at The Wallace Collection, London, United
Kingdom
The expression ‘all-glass hybrid’ describes a glass object created by bonding two or more glass
components from different objects or sources. The finished glass object appears complete but its
construction may remain undetected until the object is examined closely or until the adhesives age
or fail. Most of the allglass hybrids examined for this research were made by recycling existing
damaged parts, but some repairs include new glass components made specifically to replace a missing
section of the original object, e.g. a 19th-century foot made for a 16th-century Venetian goblet or
tazza. Production of all-glass hybrids appears to have been a thriving business for the hungry
European 19th-century art market and some objects were substantially altered to enhance their value,
e.g. a Venetian beaker was given a 19th-century foot.
Systematic study of a potential all-glass hybrid starts with an assumption that the object may not be
what it appears. Examination techniques rely mainly on a visual appraisal of the materials, using
magnifying equipment, torch and small hand tools. More sophisticated tools such as ultraviolet light
and X-rays may be useful on certain occasions. When old adhesives and associated repair materials
are still present, they are relatively easy to see because they are likely to have yellowed and degraded.
When these have failed, they may have been replaced with modern adhesives, e.g. epoxies and acrylic
resins, which are more difficult to detect. Recommendations outlined in the paper will help the
examiner to know what to look out for, increasing the chances of correctly determining the status of
the object. The high quality of the workmanship frequently raises the suspicion that some all-glass
hybrids were intended to deceive.
(This presentation complements that given by Suzanne Higgott: ‘All-glass hybrids: Why they were
made and the importance of identifying them’).
145
KEYNOTE A
L’étude du verre antique. État de la recherche
NENNA, Marie-Dominique
Maison de l’Orient et de la Méditerranée, CNRS, Lyon, France
Les trois années qui viennent de passer montrent la vitalité toujours renouvelée des études sur le
verre antique. Les contenants façonnés sur noyau font l’objet de nouvelles recherches et on
comprend mieux la naissance et le développement de la vaisselle de table en verre translucide au
premier millénaire av. J.-C. La systématisation de l’étude des verreries et des structures de
production d’époque romaine découvertes dans les fouilles récentes se poursuit et se renforce, avec
une activité de publication particulièrement importante en France, en Israël et en Italie, mais aussi
en Allemagne, Égypte, Grèce et Turquie et une confirmation de l’importance croissante des études
archéométriques, par rapport aux études classiques notamment en Belgique, en Grande-Bretagne et
en Italie. On assiste aussi à des phénomènes de mode comme le développement de l’analyse
archéométrique des tesselles de mosaïque et des éléments d’opus sectile en verre. Si certaines années
ont été marquées par les études sur le luminaire, d’autres par celles sur le vitrage, ces dernières
années sont celles des études sur les décors pavimentaux et pariétaux et sur l’utilisation des
incrustations de verre dans le mobilier, bien évidemment en rapport avec le hasard des découvertes
archéologiques et le développement des études archéométriques, mais montrant également une prise
de conscience plus grande de l’importance du matériau, comme critère de détermination des ateliers
et de leur chronologie.
146
POSTER
La peinture sous verre monumentale. « La délivrance de Saint Pierre », 1940, par
Emilio Maria Beretta, église paroissiale de Mézières (FR, Suisse) : histoire,
techniques et conservation
NEUNER, Monika 1 , JOLIDON, Yves 2 , MORET, Pascal 3
Restauratrice, Veneux les Sablons, France
3
Peintre-verrier, Cugy, Suisse
1
2
L’église paroissiale de Mézières (canton de Fribourg) possède une paroi-retable des plus
spectaculaires par sa dimension monumentale (82 plaques de verre peintes couvrant environ 60 m2,
représentant la délivrance nocturne de Saint Pierre) et sa technique. Réalisée par Emilio Maria
Beretta (Muralto 1907–1974 Genève) en 1939/40, la composition se détache d’un fond noir
profond, dans une palette restreinte allant du jaune vif aux bleus puissants en passant par des verts et
bruns, qui confère au sujet une luminosité et une profondeur mystérieuses.
Après des études à l'Ecole des beaux-arts de Genève (1923–1929) et un passage à Paris chez Gino
Severini, l’artiste travaille en Suisse romande auprès d'Alexandre Cingria et Jean-Louis Gampert.
Membre du Groupe Saint-Luc, fondé en 1928 afin de favoriser le renouvellement de l'art sacré en
Suisse, Beretta réalise dès les années 1930 de nombreuses fresques et peintures murales, notamment
au Tessin et en Suisse romande. Pendant les dernières années de sa vie, il se consacre surtout à la
scénographie.
La peinture sous verre de Mézières s’inscrit dans les ensembles mis en œuvre par le Groupe Saint-Luc.
Dans cette église, le matériau verre est prédominant. L’œuvre de Beretta complète ainsi le mobilier
liturgique en blocs de verre gravés et sculptés. L’artiste y a également créé les 14 stations du Chemin
de croix dans la technique de la peinture sous verre.
Après un démontage d’urgence en raison des risques de sécurité suite au bris d’un verre et à la chute
de fragments, nous avons pu étudier en détail la technique d’exécution de la couche picturale ainsi
que le montage en damier. Ce travail d’une approche pluridisciplinaire a été mené par le Vitrocentre
Romont, en collaboration avec un peintre-verrier et une restauratrice spécialisée.
147
POSTER
Roman Dionysaic cameo glass vase revisited
NEWBY HASPESLAGH, Martine S.
Independent scholar, London, United Kingdom
At the AIHV 18 meeting in Thessaloniki in 2009, I presented a poster and anunscheduled lecture
on this previously unrecorded early imperial Romancameo glass vase that had been consigned to
Bonhams, the Londonauctioneers. The two-handled Vase is 35.5 cm high and made in dark
blueglass, appearing black. It is decorated with an opaque white overlay andengraved with two
friezes. The upper frieze contains 25 figures including Dirceand the bull and a Dionysiac procession,
while the lower scene is of a battle with 18 figures including five Amazons on horseback. After the
Congress, the Vase was taken to the British Museum where it was compared alongside the Portland
Vase and Auldjo Jug in the presence of Leslie Fitton, Paul Roberts, Jenny Price, Mark Hill, David
Taylor, Bill Gudenrath and the late David Whitehouse. It was also set to be sent to Cardiff
University for scientific analysis and restoration under the supervision of Ian Freestone. However, at
the end of 2009 the Vase became the subject of a court case in Switzerland and all further study was
halted. This court case has now been resolved so it is now possible for its study to resume. While the
Vase is not going to undergo any further restoration at this stage, the blue and white glass will be
subjected to scientific analysis and the results will be presented here. In the intervening period, a
short article on the Vase was included in Jennifer Price’s Festschrift, while the iconography (the
myth of Antiope) was the subject of an article by Hans-Christoph von Mosch. This poster will
present the results of these studies as well as a discussion as to how it might have been made and its
place among corpus of other Roman cameo glass vessels and plaques.
148
SESSION A
Plant-ash glass technology in the Palace of Mycenaean Thebes: tradition,
innovation and exchange
NIKITA, Kalliopi 1 , CHENERY, Simon 2 , EVANS, Jane 2
School of Cultures, Languages and Area Studies, University of Nottingham, Nottingham, United
Kingdom
2
British Geological Survey, Analytical Geochemical Laboratories, Nottingham, United Kingdom
1
This work discusses plant-ash glass technology of the palatial industry at Mycenaean Thebes.
Scientific examination and contextual analysis of blue glass are used to understand the development
of this typical Late Bronze Age technological tradition. The context of investigation comprises
jewellery workshops of the palace at Thebes as well as cemeteries around the Theban citadel. Major
and minor elements by electron microprobe analysis (EPMA) and trace element characterization by
laser ablation inductively coupled plasma mass spectrometry (LA-ICP-MS) in conjunction with
isotopic analysis (87Sr/86Sr and 143Nd/144Nd) were used to examine moulded relief plaques and
simple common beads of dark blue and turquoise glass covering the period from the Early to Late
Mycenaean times. Copper and cobalt blue glasses are compared with the published analyses for Late
Bronze Age Egyptian, Mesopotamian and other Mycenaean glasses. The main bulk of the typical
Mycenaean blue glass ornaments of Thebes fall into the well-established plant-ash technology of the
mid-second millennium BC. Characteristic variations in the contents of plant-ash glasses from
Thebes of a LH IIIB date suggest the use of local halophytes, which highlight an innovation. The
isotopic ratios of strontium (Sr) and neodymium (Nd) confirm the importation of plant-ash glass
from Mesopotamia and Egypt. A wide range of mineral sources was detected in typical Mycenaean
cobalt blue glasses. Given the difficulties for determining whether this industry involved the primary
or secondary production of glass we propose a modeling for the development of blue glass industry
from a secondary to a primary mode of production in the transition from Late Helladic IIIB:1 to
Late Helladic IIIB:2 at Thebes, ca. 1300 -1250 BC. Based on the overall scientific and archaeological
evidence, we suggest that the Mycenaean preference for blue glass led to the increased
standardisation of blue glass production, which was in turn facilitated by the existence of a wellestablished technological tradition suitable for fulfilling specific consuming purposes.
149
POSTER
Autour d'un artiste-verrier de la première moitié du XX e siècle : Marcel Poncet
(1894–1953), à la jonction de la peinture et du vitrail
NOVERRAZ, Camille
Auteur de nombreux vitraux dans les cantons romands, en Suisse allemande et en France, Marcel
Poncet (1894–1953) occupe une place importante dans la problématique du renouveau du vitrail
durant la première moitié du XXe siècle. Aux côtés d’Alexandre Cingria lors de la fondation du
groupe de Saint-Luc et participant aux Ateliers d’Art-Sacré sous l’égide de son beau-père, Maurice
Denis, cet artiste d’origine genevoise connaît une riche carrière, partagée entre ses activités de peintre,
de verrier et de mosaïste. Aspirant à renouer avec les techniques médiévales du vitrail et tenant à
réaliser entièrement ses verrières, des projets à la cuisson, il dote néanmoins ses œuvres d’une touche
de modernité empruntant le plus souvent aux expériences qu’il fait dans le cadre de son travail de
peintre de chevalet, provoquant à plusieurs reprises l’incompréhension du public et des
commanditaires. Ce lien entre peinture et vitrail, qui se ressent, bien qu'à différents niveaux, durant
toute sa carrière, est perceptible non seulement dans les verrières elles-mêmes mais également à
travers le fonds de l'artiste conservé au Vitrocentre. Riche de près de mille projets, maquettes et
cartons, fruits de son travail concernant le verre, ces sources permettent de retracer le processus
créatif à l’origine des œuvres, étayé le plus souvent de notes de sa main dans lesquelles
l'expérimentation rejoint le savoir-faire, et la créativité la plus pure les techniques ancestrales. A
travers quelques exemples jalonnant sa carrière, c'est cet artiste oublié dont les œuvres font
néanmoins partie prenante de notre paysage culturel suisse dont cette contribution propose la
(re)découverte.
150
SESSION A
Glass from Early Umayyad Pella in Jordan (Tabaqat Fahil)
O’HEA, Margaret
University of Adelaide, Adelaide, Australia
The distinct material culture of the Late Umayyad period in the Levant is well understood, thanks
to the massive earthquake of 749 AD, which destroyed Decapolis cities in modern Jordan, southern
Syria and Israel. The political transition from Late Byzantine to Early Umayyad rule, however, was
not marked out by immediate or obvious cultural changes in everyday items, and distinguishing late
6th from early-mid 7th century phases has often remained problematic. Since the late 1990s, a very
clear and widespread destruction of the Late Byzantine cavalry fortress at Pella in the North Jordan
Valley has been tentatively identified as early-mid 7th century - that is, dating either to the very start
of the Islamic conquest or to an 660 AD earthquake. Further buildings at Pella have now been
identified with the same or closely contemporary destruction. This now gives us a large sample of
both civilian and "military" glassware that is likely to come from the earthquake rather than invasion
– that is, to the first generation living fully under Islamic rule. This paper will present an overview of
this ca. mid-7th century assemblage, and discuss the evidence for a glass workshop of this period at
Pella.
151
POSTER
The provenance of Hellenistic core formed vessels from Satricum, Italy
OIKONOMOU, Artemios 1 , GNADE, Marijke 2 , HENDERSON, Julian 1 ,
CHENERY, Simon 3 , ZACHARIAS, Nikos 4
Department of Archaeology, University of Nottingham, Nottingham, United Kingdom
Faculteit der Geesteswetenschappen, Capaciteitsgroep Archeologie (AAC), University of
Amsterdam, Amsterdam, The Netherlands
3
British Geological Survey, Analytical Geochemical Laboratories, Nottingham, United Kingdom
4
Department of History, Archaeology and Cultural Resources Management, University of
Peloponnese, Kalamata, Greece
1
2
The Latin settlement of Satricum has a long history of uninterrupted habitation from the 9th
century BC till the 1st century AD. The site is well known for its Archaic sanctuary of Mater Matuta,
incorporating three successive temple buildings from the Archaic period onwards. During the 6th
century BC, the site emerged as a prosperous urban centre occupied by the Volscian tribe for nearly
150 years until the Roman conquest and subsequent installation of a Roman colony in the mid-4th
century BC.
Three substantial votive deposits associated with the sanctuary of Mater Matuta on top of the
acropolis attest the importance of offering practices. Among them is the so-called Hellenistic Votive
deposit, also known as Votive Deposit III, discovered in front of the temple.
In the present study, 53 glass fragments from core formed vessels, found in the Votive Deposit III,
were investigated by means of scanning electron microscopy coupled with energy-dispersive X-ray
spectroscopy (SEM-EDX) and laser ablation inductively coupled plasma mass spectrometry (LAICP-MS) analyses. The samples come from various vessel types and mainly from alabastra,
amphoriskoi and oinochoai; they date to the Hellenistic period (late 3rd century BC). The majority
of them are a deep translucent blue colour with white decorative trails.
According to the chemical analyses, the glass from Satricum is a typical sodalime-silica type with
added natron as a flux. Its chemical composition is homogeneous. Small differences in the
aluminium (Al2O3) and calcium (CaO) levels between individual samples suggest the use of
different types of raw materials, especially sand which in turn suggests that the glass derived from
more than one source. The comparison of the chemical composition (with respect to major, minor,
and trace elements) of these samples with earlier and contemporary core formed vessels thus gives
new insights into the nature of the glass used in the central Italian region at this time.
152
POSTER
Glass vessels from the late 19 th and early 20 th century – Jaffa (Israel)
OUAHNOUNA, Brigitte
Israel Antiquities Authority, Jerusalem, Israel
During the four centuries of Ottoman rule (1517-1917), Palestine is experiencing a period of
relative calm, almost in an economic torpor; it's a small province in the shadow of the magnificence
of the empire's capital, Istanbul. In the early 20th century, with the advent of the British Mandate
(1917-1948), Palestine opens again to Europe and at that time, Jaffa is the only port on the
Mediterranean, obligatory transit point for all goods from Europe.
For the last two decades, the archaeological salvage excavations are intensifying in the city of Jaffa
(Tel Aviv-Jaffa / Israel), one of the oldest anchorages in the world on the eastern coast of the
Mediterranean Sea. The excavations revealed remains from the Bronze Age up to recent, and several
glass assemblages attributed to different periods have been studied and some were already published.
In this communication, we propose to present an unpublished vessels group, the glass objects from
the late 19th and early 20th century. This interesting assemblage includes a share of locally produced
vessels (bottles for local wines, for dairy products or soda, and lighting devices) but also of imported
vessels (French wine bottles, Dijon mustard jars, British soda water, different medicine containers,
inkwells, perfumes, and some pilgrim's memorabilia). All are witnesses of the daily life at the
considered time, the choice of objects that probably traveled as personal belongings with the new
settlers reflecting their rather modest life style, and objects attesting commercial exchanges, or in
some cases the special imports for the British Army Officers.
153
POSTER
Les mutations des recettes de l’industrie verrière en France au Moyen Age : mise
en évidence de solutions multiples adaptées aux contextes locaux.
(Evolution of glass recipes during French early middle ages: analytical evidence)
PACTAT, Inès 1 , GUERIT, Magalie 2 , SIMON, Laure 3 , GRATUZE, Bernard 4 ,
RAUX, Stéphanie 5 , AUNAY, Celine 6
Maison des Sciences de l'Homme et de l'Environnement (MSHE) C. N. Ledoux (USR 3124),
Université de Franche-Comté, Besançon, France
2
Institut National de Recherches Archéologiques Préventives (Inrap) Rhône-Alpes-Auvergne,
Archéologie et Archéométrie (UMR 5138), CNRS-Université de Lyon 2, Lyon, France
3
Inrap Grand-Ouest, Centre de Recherche en Archéologie, Archéosciences, Histoire (UMR 6566),
CNRS-Université de Rennes, Rennes, France
4
Centre Ernest Babelon (UMR 5060), IRAMAT, CNRS-Université d’Orléans, Orléans, France
5
Inrap Grand-Ouest, Archéologie des Sociétés Méditerranéennes (UMR 5140), CNRS-Université
de Montpellier 3, Montpellier, France
6
Service de l'Archéologie du département de l'Indre-et-Loire, Chambray-lès-Tours, France
1
En Europe, la période qui s'étend de la fin du VIIIe au XIe siècle, voit l’émergence d’une nouvelle
industrie verrière. On assiste ainsi au remplacement progressif des verres sodiques (à soude minérale)
par des verres calco-potassiques obtenus par emploi de cendres de plantes forestières. La
multiplication, ces dernières années, des analyses effectuées sur des verres de cette période a mis en
évidence un foisonnement de compositions. Cette grande variabilité semble refléter l’utilisation par
les verriers des matières premières dont ils pouvaient disposer localement pour pallier le manque de
verre sodique brut et/ou de récupération.
A partir des compositions des verres issus de trois ateliers :
- deux identifiés et fouillés, Méru (Oise, entre Beauvais Paris) et Bois de Beslan à La Milesse (Sarthe,
au nord-ouest du Mans) ;
le troisième, hypothétique et caractérisé par la seule composition de ses productions et probablement
situé à proximité de Melle (Deux Sèvres) et de différents sites de consommation (Touraine, Bassin
Parisien) -, on montrera comment les différentes officines de verriers ont su s’adapter aux conditions
locales et aux matériaux de proximité pour fabriquer les verres de consommation courante comme
des pièces plus luxueuses ou des verres plats, donnant parfois naissance à des compositions originales
permettant de suivre la diffusion de leurs productions.
154
POSTER
« Façon de Venise », une étiquette problématique. Propositions pour une
méthodologie raisonnée de l'étude de la « verrerie à l'italienne » en Europe, XV e –
XVIII e siècle, à partir de l'exemple parisien (1550–1650)
PAINCHART, Benoît 1 , GUYOMAR Christiane 2
1
2
GenVerrE (Généalogies des Verriers d'Europe), Bruxelles, Belgique
GenVerrE (Généalogies des Verriers d'Europe), Paris, France
L'histoire du verre repose en grande partie sur les archives léguées depuis l'époque médiévale. N'étant
pas verrier de profession, l'historien devient trop facilement prisonnier du poids des mots en les
employant sans connaître leurs significations techniques précises. En outre, un même mot peut
comporter des significations et des présupposés différents selon les aires géographiques et/ou
temporelles données. Ainsi l'expression « façon de Venise » est trop souvent utilisée sans véritable
détail et explicitation, avec parfois une récurrence stérile tant et si bien que les études délaissent
finalement l'identification des fabrications et des conditions techniques de leur réalisation.
Méthodologiquement, il s'agit de replacer scrupuleusement ce type de fabrication dans l'espace et
dans le temps en identifiant
– les termes techniques,
– les descriptions d'ateliers,
– l'origine et le parcours précis des verriers.
Par la relative richesse de ses archives, une seule aire géographique telle la capitale parisienne pose les
premiers jalons pour mettre en lumière une diversité de façons et contrefaçons de Venise ou, à plus
proprement parler, de « verrerie à l'italienne ».
Alors que l'archéologue, le restaurateur et le conservateur de collections sont déjà aguerris à décrire
l'objet, la mise en place d'une base de données européenne serait profitable à l'historien du verre qui
disposerait d'éléments beaucoup plus nuancés et précis pour aborder dans une logique
interdisciplinaire les conditions de production, de commercialisation et de vécu de l'objet.
Nota : les bornes temporelles de l'étude sont provisoires.
155
SESSION B
Typology of Late Medieval and Modern era glass from Zadar (Croatia)
PEROVIĆ, Šime, JOVIC GAZIC, Vedrana
New tendencies in modern archaeological science have contributed to greater interest in late
medieval and particularly Modern Era glass finds in the last thirty years in Croatia. In this work we
present mostly neglected glass artifacts from a broad chronological range from the 15th to the 18th
century collected over a longer period in archaeological and historical museums in Zadar. These are
mostly finds from the urban layers of medieval and Modern Era Zadar, explored in the 1960s and
1970s. Alongside artifacts found in the archaeological excavations, mostly housed in the National
Museum in Zadar, there are also finds yielded by the research organized recently (at the transition
from the 20th to the 21st century) by the Archaeological Museum in Zadar and Museum of Ancient
Glass in Zadar.
We will use detailed typological analysis based on a sample of over 150 different objects to shed
some light on neglected issues on presence, use and origin of glass finds. There are no complete
examples, which is why it is difficult to identify precisely objects in a group of about 30 bases that are
morphologically uniform and have a characteristic conical embossment, which can belong to a series
of typologically different bottles. However there are many fragments with recognizable details,
including the traces of different decoration techniques, which lead unmistakably to the original,
complete form of the object. These were widely used objects judging from the type and context of
the site – sacral complexes (churches and monasteries), fortification objects, and, to a lesser degree,
dwelling units. Many diverse forms are represented although bottles and beakers are dominant as
expected. They can be further classified into several typological subgroups. According to the first
assessment all finds were produced in the production center in the Venetian i.e. Murano workshops,
and their presence corresponds to the standard recorded in other parts of Europe.
156
SESSION C
Technological change and provenance of glass in Early Islamic Palestine
PHELPS, Matt 1 , FREESTONE, Ian 1 , GORIN-ROSEN, Yael 2 , GRATUZE,
Bernard 3 , LANKTON, James 4
University College London (UCL), London, United Kingdom
Israel Antiquities Authority, Jerusalem, Israel
3
4
UCL Qatar, Doha, Qatar
1
2
Palestine and Egypt formed the heart of the natron glass industry during the Roman and Byzantine
periods. The Islamic conquests of the 7th century are not immediately reflected in the glass industry;
plant-ash is introduced much later. This project investigates the glass industry in Palestine during
the important transitional period from the 7th to 12th centuries. Several hundred well-dated
diagnostic glass fragments from published excavations and stratified contexts have been taken from a
number of urban sites in Israel, including Ramla, Jerusalem, Caesarea, Tiberias and Bet Shean.
Analyses were performed by laser ablation-inductively coupled plasma-mass spectrometry (LA-ICPMS) producing high quality major, minor and trace elemental data. Compositional groups were
identified using multivariate statistics (Principal Components Analysis (PCA) and Cluster
Analysis) as well as graphical methods, and compared to literature data to identify possible
production sites or regions. Results for Stage 1 (four sites; 100 samples) have allowed refinement of
our current understanding of the chronologies of the glass compositional groups, particularly the
relationship between the Apollonia and Beth Eli’ezer productions. Key findings show the
appearance of Egyptian type glass in Palestine and a lessening of Levantine production in the early
8th century, while the first plant-ash glass appears in the late 8th century. The plant-ash production
groups include glass from Tyre, and a group similar to Raqqa products, as well as a Nishapur
colourless glass type, which may have been imported as finished vessels rather than raw glass. Results
indicate a slow decline of natron glass production in Palestine, hinting at declining natron
availability. The timescale argues against a single short-term event and points to longer term,
possibly social/cultural changes affecting natron availability. There is no obvious link to Sasanian
technology and the use of plant-ash flux is likely to have been already understood by glassmakers
although not widely used.
157
POSTER
Bracelets en verre byzantins (XI e siècle) découverts à Pacuiul lui Soare, province
de Dobroudja, Roumanie
POLL, Ingrid, MANUCU-ADAMESTEANU, Gheorghe
Musée de la ville de Bucarest, Bucarest, Roumanie
La cité de Pacuiul lui Soare a été bâtie par les Byzantins comme point stratégique pour leur flotte, sur
le Danube, pendant le règne de Jean Tzimiskès (969–976). Au XIe siècle, elle perd son caractère
militaire et abrite une société civile, étant détruite par les Coumans en 1122.
Les fouilles archéologiques, démarrées en 1956 et qui continuent jusqu’à présent, ont dévoilé des
vestiges parmi lesquels des bracelets en verre qui constituent des repères significatifs pour le
commerce d’objets de parure dans l’empire. La plupart des 150 bracelets (entiers et fragments) peut
être rangée dans quelques grandes catégories - monochromes (vert, bleu, rouge, violet) lisses ou
torsadés, aux fils colorés torsadés ou peints aux différents motifs. Ces modes d’exécution et de
décoration témoignent de l’importation d’objets réalisés dans des ateliers spécialisés de l’Empire
byzantin mais aussi de bracelets produits dans les ateliers locaux au Bas-Danube. Les investigations
effectuées indiquent l’existence de plusieurs recettes du verre et soutiennent l’idée de la diversité des
ateliers.
158
POSTER
The Early Islamic green lead glass from Caesarea, Israel
POLLAK, Rachel
The Institute for Maritime Studies, University of Haifa, Haifa, Israel
During the ten years of excavations at Caesarea, on the Israeli coast of the Mediterranean, thousands
of glass vessels (some intact but most fragmented) were uncovered. Most of them belong to the Early
Islamic Period. A small group of vessels was exceptional due to its deep emerald green color and
heavy weight. This group of 26 items is the subject of the article. Similar green glass vessels were
probably found at other Early Islamic Period sites, but only in a few cases it subjected to further
research.
The vessels from Caesarea were found in all the areas excavated. Chronologically they are attributed
to the 9th – early 12th centuries AD. The vessels are divided into two main clusters defined by
typology and technology: plain and decorated. The undecorated group contains 12 fragments that
represent bottles, beakers and open vessels. The decorated group contains 14 fragments, which are
decorated by stamping, mold blowing and wheel cutting. They are made up of small bowls, bottles
and molar flasks. They display a wide range of types that are similar to those of silica-soda-lime glass.
The results of a basic test showed a high density of 4–4.5 gr/cm3, with a few exceptions that are
higher, or slightly lower, which indicates a high lead content.
Analysis using portable X-ray fluorescence spectroscopy (pXRF)* was conducted to learn more
about the chemical composition of these lead glass vessels, and confirms the high lead content.
* Thanks to Prof. Sariel Shalev for the analysis of the glass with portable X-ray fluorescence
spectrometer.
159
SESSION A
Les vases en verre dans les sépultures du bas Empire en Région LanguedocRoussillon (France) : éléments de synthèse, des productions aux rites de dépôts
RAUX, Stéphanie
Institut National de Recherches Archéologiques Préventives (Inrap), Direction GrandOuest, Le Mans, France
Une vingtaine d’ensembles funéraires de l’Antiquité tardive et du début du haut Moyen Âge,
répartis sur les quatre départements littoraux du Languedoc-Roussillon (Gard, Hérault, Aude,
Pyrénées-Orientales) ont livré des offrandes de vaisselle en verre. Ces verreries sont peu abondantes,
correspondant en moyenne à 3,5% des récipients (en verre et céramique) déposés, et sont
caractéristiques des productions régionales de cette période. Au sein de ce corpus, la nécropole «
Saint-Michel » à Montpellier, d’abord fouillée au début des années 70 puis reprise et complétée en
2008 lors d’une opération Inrap, constitue une exception tant quantitative que qualitative, avec un
minimum de 23 individus en verre, dont seuls quelques uns ont à ce jour été occasionnellement
publiés. Cette contribution a pour objectifs : d’une part de publier les verreries de « Saint-Michel »
dans leur ensemble, avec une remise en contexte des dépôts ; et d’autre part de présenter les résultats
synthétiques d’un dépouillement systématique des données disponibles sur le territoire languedocien
et roussillonnais, permettant de cerner, par le biais de cartes de répartition et une sériation typochronologique et fonctionnelle des formes consommées, les points communs et distorsions
d’utilisation de la vaisselle en verre dans les rituels funéraires, à l’échelle d’une région pour une
période donnée.
160
SESSION A
Glas aus Beirut. Die Glasfunde aus der römischen Therme in BEY 178
REINHARDT, Helen
Archäologisches Seminar der Philipps-Universität Marburg, Marburg, Deutschland
Die Grundlage des hier vorgeschlagenen Vortragsthemas bildet meine Masterarbeit, die im Rahmen
des DFG geförderten BERYTOS Projektes im Sommer 2014 ihren Abschluss fand. Das seit 2012
bestehende BERYTOS Projekt, unter der Leitung von Prof. Dr. W. Held (Philipps-Universität
Marburg), hat vor Ort seine Kooperationspartner in Prof. Dr. H. Seeden (AUB) und Dr. H.
Curvers (Amsterdam). Das Projekt hat es sich zur Aufgabe gemacht, die urbane Entwicklung von
Berytos (Beirut) vom Hellenismus bis in die Spätantike zu erforschen. Um dies zu gewährleisten
werden ca. 190 Grabungsareale in der Altstadt Beiruts, anhand dokumentierter Befunde und einer
Vielzahl an Kleinfunden (Keramik, Metall, Knochen und Glas), nach stratigraphischen Maßstäben
analysiert und ausgewertet. Im besagten Areal BEY 178 befand sich eine römische Therme, die um
ca. 50 n. Chr. erbaut und nach zwei weiteren Bauphasen 551 n. Chr. durch ein großes Erdbeben
zerstört wurde. Die Vielzahl an während der Rettungsgrabung geborgenen Glasfunden umfasst ein
breit gefächertes Formenspektrum, das sich innerhalb eines fast zweitausendjährigen Zeitraums
verorten lässt. Von Kernglasgefäßen, über Pressglasschalen bis hin zu
spätrömischen/frühbyzantinischen Kelchgläsern und Glaslampen, ließen sich des Weiteren
Glasperlen und Armreife, Tesserae, Spielmarken, Fensterscheibenfragmente und verschiedenste
Produktionsabfälle identifizieren. Der Vortrag zielt darauf hin einen Einblick in die Ergebnisse
dieser Arbeit zu liefern, sowie die Fragestellungen hervorzuheben, die sich während der Bearbeitung
für die Zukunft ergeben haben.
161
SESSION B
Consumption of drinking glasses in the Scheldt and Meuse valley during the Early
Modern period. In search of a consumer revolution
REYNS, Natasja
Vrije Universiteit Brussel, Brussels, Belgium
Drinking glass can be assumed to be a valuable source in the research on the rise of a consumer
society during the Early Modern period, since during this time it evolved from a luxury product to a
more common commodity. Its conspicuous place on the table makes it a means of communication
concerning the ideas and aspirations of its consumers. This is the central question in my ongoing
PhD research.
Research on the origins of the Early Modern consumer society has received much attention since
McKendrick launched his idea of a consumer revolution in 1982. This research predominantly has
been based on historical sources, but not so much on archaeological sources. This is a missed
opportunity, since archaeological sources can shine a light on daily, often material actions, by
humans that are often not recorded in the historical transcript. Despite the fact that archaeological
sources compliment and extend historical sources, research on consumption in archaeology so far
has been limited.
Often implicit assumptions are made over archaeological finds of drinking glass, concerning the
social status of its consumers, without being thoroughly founded. Rarely though, questions have
been raised on whether we can say glass is a luxury product or a more common commodity. What
are the determining factors? Do they concern the rarity of the object or the elaborateness of the
applied decorations? And what can we say in relation to the social status of the consumers of
drinking glass, based on this category of archaeological finds?
A case study on archaeological drinking glasses from contexts in the Scheldt and Meuse valleys will
attempt to offer some answers on the questions posed above. The focus on the Scheldt and Meuse
valleys, two adjacent regions with different levels of prosperity and part of different trading
networks, allow for comparison.
162
SESSION A
La verrerie exceptionnelle d’un bûcher funéraire du III e siècle apr. J.-C. de JaunayClan (France)
ROBIN, Laudine
Bureau d’étude Éveha, Décines-Charpieu, France et chercheur associé, UMR 5138, Archéométrie et
Archéologie, MOM, Lyon, France
Une opération d’archéologie préventive réalisée à Jaunay-Clan (Vienne, France) en 2011–2012, a
livré plusieurs occupations allant du Néolithique à la fin de l’Antiquité. Au sein d’une zone funéraire
située dans la partie centrale de l’emprise de la fouille, un bûcher était associé à une fosse comblée par
des céramiques. Les restes du bûcher funéraire se présente sous la forme d’une fosse rectangulaire aux
angles arrondis. Elle est caractérisée par un liséré rubéfié visible en surface et par l’aménagement de
tegulae recouvrant le fond et les parois. Les ossements mis au jour correspondent au moins à un
individu adulte dont le sexe reste indéterminé. Dans le comblement de la structure, le mobilier est
extrêmement abondant. On note la présence de céramiques, de métal, de tabletterie, de verre et de
faune. Parmi ces dépôts, la verrerie se distingue par sa richesse. Celle-ci a subi l’action du feu,
témoignant ainsi de sa place comme offrande lors de la crémation. On note ainsi une forte
fragmentation de cette vaisselle composée d’un peu moins de 17 000 fragments, soit 9,3 kg de verre.
La détermination du nombre d’individus rendu difficile par la détérioration des objets, a permis de
recenser un minimum de 13 objets. Parmi eux, on dénombre deux bouteilles marquées, une bouteille
mercure, deux formes fermées et sept coupes ou assiettes. Si une partie des objets s’avère assez
commune (notamment les bouteilles), plusieurs formes ouvertes paraissent tout à fait
exceptionnelles. C’est le cas notamment d’un gobelet cylindrique à décor de rinceaux, d’un vase à
inscription en relief ainsi que d’un possible diatrète. Cette découverte rappelle les tombes dites
«privilégiées» du Centre-Ouest de la Gaule, associant une riche verrerie à des assemblages
céramiques plus communs.
163
SESSION B
The 'Glass Room' of the National Palace of Necessidades in Lisbon
RODRIGUES, Alexandra 1 , MARTINHO, Bruno 2 , BERGER, Frederik 3 , FRANCO,
Anísio 4 , VILARIGUES, Márcia 1
Departamento de Conservação e Restauro, Faculdade de Ciências e Tecnologia da Universidade
Nova de Lisboa, Portugal and Research Unit VICARTE, Lisbon, Portugal
2
Department of History and Civilization, European University Institute, Florence, Italy
3
Palácio Nacional da Pena, Parques de Sintra – Monte da Lua, Sintra, Portugal
4
Museu Nacional de Arte Antiga, Lisbon, Portugal
1
Ferdinand II of Saxe-Coburg and Gotha (1816-1885), King-Consort of Portugal, assembled a large
collection of glass and stained glass in his two major residences: the National Palace of Necessidades
in Lisbon and the National Palace of Pena in Sintra. Special spaces were provided to display this
unique material, as the Glass Room in Necessidades, which finds no parallel for other materials,
demonstrates it. But since the time the collection has been privately exhibited in the Glass Room in
Necessidades, the majority of the glass objects has remained unkown to the general public. It was
transferred and dispersed after the King's death and during the Republic, and later it has been placed
in the storage rooms of the Museu Nacional de Arte Antiga (Lisbon), where it remains until the
present day.
The glass collection is highly diverse in terms of provenance and age, since it includes objects
produced in Venice, or à la façon de Venise, from Bohemia, Germanic territories, the Iberian
Peninsula, and probably also from England and is possibly dating from the 15th/16th to the 19th
century. This exceptional collection comprises glassworks similar to the ones in international
collections and museums.
This paper focuses on the formation of King Ferdinand’s collection: on the reconstruction of the
original display in the Glass Room of the National Palace of Necessidades and on the provenance of
the glass objects and their acquisition circuits. To achieve these goals, the study takes into
consideration records and archive documents, and information on the glass composition obtained
through non-destructive techniques such as energy-dispersive X-ray fluorescence spectrometry
(EDXRF).
164
POSTER
Renaissance table glass from Bratislava (Slovakia, 16 th century)
ROHANOVÁ, Dana 1 , SEDLÁČKOVÁ, Hedvika 2
Department of Glass and Ceramics, University of Chemistry and Technology
2
Archaia Brno o.p.s., Brno, Czech Republic
1
Bratislava was a very rich town, which is also reflected by the glass finds dating from between the end
of the 15th to the beginning of the 17th century. The table glass was mainly found in the refuse pits in
the palaces of the aristocracy. A continuously filled refuse pit was excavated in Ventúrska 3 Street,
containing a series of about 200 vessels. It gives the possibility to observe the development of the
glass during more than a century. Venetian and German glasses as well as glasses from Hungary were
imported until the middle of the 16th century. The glass from Venice (also filigrana glass) and
probably from Hall were used during the second part of the 16th century, together with domestic /
Hungarian productions. The chemical analysis using scanning electron mircroscopy and X-ray
fluorescence spectroscopy (SEM-EDS, XRF) confirmed the origin of the vessels.
165
SESSION A
Relationships between cobalt blue raw glass from the Sanguinaires Island and
Lequin 2 shipwrecks and Celtic glass productions
ROLLAND, Joëlle 1 , GRATUZE, Bernard 2 , FONTAINE, Souen 3
Université de Paris 1 Panthéon-Sorbonne, UMR 8215 Trajectoires, Paris, France
3
Département des Recherches Archéologiques Subaquatiques et Sous-Marines, Ministère de la
Culture et de la Communication, UMR 7299 - Centre Camille Jullian, Aix-en-Provence, France
1
2
The Bronze Age Uluburun shipwreck shows that trade in raw glass developed early in the Eastern
Mediterranean. For the second Iron Age, Sanguinaire A and Lequin 2 shipwrecks confirm that this
trade has spread to the western Mediterranean to supply secondary workshops in Europe. This
development of glassmaking in Europe between the third century and the early second century BC
was attested by beads and bracelets, mostly blue cobalt glass, found on Celtic settlements. In the past,
some analyzes of glass blocks from shipwrecks have already been made. However, no archaeometric
systematic studies of these cargoes, or comparison with the compositions of glass ornaments
circulating during this period have been undertaken.
The study conducted on twenty glass blocks from the Sanguinaire A shipwreck highlights the
existence of several groups of glasses in this wreck. These groups are differents from those identified
on the contemporary Lequin 2 wreck. The experimental work carried out on one of the raw glass
from the Sanguinaire A wreck (recast crucible on wood-fired oven and manufacturing of beads and
bracelets) allowed us to demonstrate that the chemical characteristics of the glass do not change
significantly with glass working. It seemed pertinent to compare the composition of the raw glass
with glass of adornments circulating in Celtic Europe. The results allow us to better understand the
organisation of production, distribution and use of raw glass from the third and second century BC.
166
SESSION C
Plant ash glass in Roman and Late Antique Egypt
ROSENOW, Daniela 1 , REHREN, Thilo 2
1
2
University College London Qatar, Doha, Qatar
The organisation of Roman, Byzantine and Early Islamic glass production and trade is a focus of
current research, with archaeological discoveries and scientific analyses demonstrating that glass was
produced on a large scale across the Eastern Mediterranean. Much of the glass used and traded
throughout Northern Africa, the Western Mediterranean and Northern Europe originated in the
Eastern Mediterranean, particularly Egypt and the Levant.
Through chemical analysis, seven major compositional groups (Roman blue/green; HIMT; weak
HIMT; Levantine I and II; Egyptian I and II) have been identified, of which four can possibly be
linked to Egyptian production centres. However, despite the fundamental importance of Egypt as
provider of almost all mineral natron used in glass making, and the evidence for glass production in
Egypt during this period, Egypt’s key role in glass production is still poorly understood. Significant
questions surround the location/change of primary production centres, regional supply patterns and
the impact of political and historical developments on Egyptian glass production, distribution and
trade.
Drawing upon archaeological (contextual and chronological) data and scientific analyses portable Xray fluorescence (pXRF) and electron microprobe analysis (EPMA) of material housed in United
Kingdom collections and from fieldwork, this paper will evaluate the datasets from several Roman
and Late Antique sites in Egypt and in particular discuss the presence of a raw glass group that uses
plant ash rather than mineral natron as a flux. This group seems to have been a (primary?) raw glass
group of (at least) regional importance in Egypt and questions concerning possible primary
production sites, the distribution of this glass across the Empire, the existence of subgroups, the
choice of raw ingredients, as well as typological, aesthetic and chronological issues, will be addressed.
167
SESSION A
A Late Roman glass workshop at Komarov (Middle Dniester) and the problem of
the origin of “Barbarian” facet cut beakers
RUMYANTSEVA, Olga 1 , BELIKOV, Constantin 2
1
2
Institute of Archaeology of the Russian Academy of Sciences, Moscow, Russia
Institute for Single Crystals of National Academy of Sciences of Ukraine, Kharkov, Ukraine
A glass workshop at the Komarov settlement (Middle Dniester region, Western Ukraine), the only
one known beyond the Roman Limes in Europe, was excavated in the 1950-60s. The settlement
dating from the mid-3rd to the late 4th-early 5th century AD is considered as a Late Roman trading
post in Barbaricum. The aim of our project was to study all materials from this site that were related
to glass production and working. The evidence for glass working includes a circular furnace, forms
for production of ribbed vessels, glass chunks, moils and other production wastes. The chemical
composition of 140 samples of glass was studied by energy-dispersive X-ray fluorescence (EDXRF)
analysis. Raw materials for the imported raw “natron” glass originate from at least three different
sources.
The results of the research are particularly interesting in the light of the discussion concerning the
possible origin of facet-cut beakers (types Straume–I, VII, VIII), which are especially numerous at
the Komarov settlement. Vessels of these types are known in the area between the Black Sea and the
Baltic Sea that had never belonged to the Roman Empire; in the Empire they are practically absent.
Chemical composition of chunks, free-blown vessels (the basic production of the workshop), and
beakers with cut decoration is homogenous. All the glasses belong to the same set of series. The most
possible date for the workshop is the 2nd half of the 3rd century. Facet-cut beakers appear later: early
types are known from the late 3rd/early 4th century, late ones – not earlier than from the mid-4th
century. So, compositional changes taking place in glass from the Roman Empire in the 4th century
are not identified for the glass from the area in question. In addition, some features differentiate
glass found at Komarov and adjacent areas from series known in Late Roman time.
168
POSTER
Die älteren Glashütten der Schweiz (ca. 1300–1800 n. Chr.)
SCHAFFNER, Walter
Selbständiger Forscher, Muttenz, Schweiz
Die bis heute bekannten Standorte der vorindustriellen Glashütten der Schweiz werden vorgestellt
und kartographisch dokumentiert. Resultate jüngerer genealogischer Forschungen vor allem an den
Glashütten von Gänsbrunnen und La Heutte im Solothurner und Berner Jura fliessen in die
Ergebnisse ein. Dazu wird eine ausführliche Dokumentation der Quellen erstellt. Wichtige
Glaserfamilien an den entsprechenden Glashütten werden, sofern bekannt, namentlich erwähnt.
169
SESSION B
Nachahmungen deutscher Formgläser des 16. und des 17. Jahrhunderts in der
ersten Hälfte des 19. Jahrhunderts
SCHAICH, Dieter
Architekt BDA, München, Deutschland
Fehlende Gebrauchsspuren an Gruppen von Deutschen Formgläsern, die durchwegs dem 16. und
17. Jahrhundert zugeschrieben sind, waren der Anlass, diese näher zu untersuchen.
Es werden vier Glasformen dazu vorgestellt :
– Keines der Gläser besitzt Gebrauchsspuren
– Die Häufung der Formen für das 16./17. Jahrhundert ist auffällig
– Es fehlen historische Abbildungen
– Es fehlen archäologische Nachweise
– Ein Großteil der Gläser kam vor 1885 in die Museumssammlungen.
Folgerung: Die Gläser wurden im 19. Jahrhundert „erfunden“. Der Bedarf an Altertümern war in
dieser Zeit so groß, dass der Markt das nicht hergab. Im zweiten Viertel des 19. Jahrhunderts, in der
aufkommenden Romantik setzte ein mittelalterlicher Bauboom ein. Die neuen Burgen und
Schlösser mussten mit passendem Interieur bestückt werden. Zwei Beispiele: Schloss Lichtenstein 1837 erwarb Wilhelm Graf von Württemberg, leidenschaftlicher Sammler von Altertümern, das
Forstschlösschen, am Ort einer aufgelassenen Burganlage. Er schuf sich hier den Rahmen dazu - eine
deutsche Ritterburg im Stil des Mittelalters. Die Wartburg - Bereits 1815 schlug Johann Wolfgang
Goethe vor, dort Altertümer auszustellen. 1838 veranlasste der Erbgroßherzog Carl Alexander von
Sachsen-Weimar-Eisenach die Wiederherstellung des Thüringer Stammschlosses. Die Literatur zum
Glas des Historismus konzentrierte sich bisher auf emailbemalte und geschnittene Gläser. Das
Formglas der ersten Hälfte des 19. Jahrhunderts, noch in Techniken des 16. und 17. Jahrhunderts
produziert, ist kaum erforscht. Das erschwert die Datierung nach Herstellungsmerkmalen, zumal
Hinweise wie auf dekorierten Gläsern und Herstellerkataloge fehlen. Die vier vorgestellten Formen
sind vermutlich zwischen 1840 und 1860 entstanden. Ob sie Fälschungen sind, mit der Absicht der
Täuschung oder Nachahmungen - Hinweise auf eine Herstellung im 19. Jahrhundert fehlen
durchwegs in den Museumsinventaren.
170
SESSION B
Venedig oder Tirol? Zur Lokalisierung der Hohlgläser des 16. Jahrhunderts mit
Kaltbemalung im Bayerischen Nationalmuseum München
SCHOMMERS, Annette
Bayerisches Nationalmuseum, München, Deutschland
Das Bayerische Nationalmuseum bewahrt eine Gruppe herausragender kalt bemalter Gläser des 16.
Jahrhunderts aus Wittelsbacher Besitz: zwei Kannen mit bayerischem Wappen, eine 1536 datierte,
in Hinterglastechnik dekorierte Wappenschale Herzog Ernsts von Bayern sowie zwei Schalen mit
Frauenbildnissen in Hinterglasmalerei aus der Mitte des 16. Jahrhunderts. Diese Gläser stehen in
engem Zusammenhang mit insgesamt etwa 30 erhaltenen Schalen, Schüsseln oder Tellern mit
Wappen und Grotesken sowie Bildnissen, mythologischen und biblischen Szenen in
Hinterglasmalerei. Seit den Publikationen von Frieder Ryser und Franz Adrian Dreier gibt es eine
nicht befriedigend abgeschlossene Diskussion um deren Entstehungsort. Ryser weist ebenso wie
Rainer Rückert die Gläser vor allem aufgrund der Glasmasse und dem Vorkommen von Tiroler
Familienwappen den Hütten in Hall oder Innsbruck zu. Dreier hält aus verschiedenen Gründen,
etwa aufgrund der Gefäßtypen oder der Verwendung venezianischer Stichvorlagen, die Entstehung
in Venedig für wahrscheinlicher. Gesicherte archivalische Belege für die eine oder andere Hypothese
konnten jedoch nicht gefunden werden. Auch die von Brigitte Salmen im Südtiroler Raum
vermuteten Hinterglasmaler, die parallel zu den Gefäßen Flachglastafeln bemalten, konnten bislang
nicht verifiziert werden.
Ausgehend von den Gläsern im Bayerischen Nationalmuseum sollen unter Einbeziehung von
weiteren Provenienzrecherchen sowie Materialuntersuchungen die Fragen nach Entstehungsort und
Kontext der Hohlgläser mit Hinterglasbemalung erneut aufgerollt werden.
171
SESSION A
Study on the Early Islamic Glass in the Bukhara Oasis, Uzbekistan
SHINDO, Yoko 1 , YASUKO, Fujii 2 , HOSOKAWA, Takako 3
Research Fellow at TOYO BUNKO and adjunct researcher at the Organization for Islamic Area
Studies, Waseda University, Tokyo, Japan
2
Independent researcher, Rome, Italy
3
Independent researcher, Tokyo, Japan
1
We participated in the excavation in the Bukhara oasis (Paykend, Romitan and Iskitjkat) conducted
by the French-Uzbekistan mission (Musée du Louvre, Director: M. Rocco Rante and Archaeological
Institute of Samarkand, Director: M. Dj. K. Mirzaakhmedov) in 2014 and 2015 and we are
advancing the study of early Islamic glass. The date of the glass ranges from the 9th to the 12th
century. The purpose of this study is to examine how the Bukhara area was related to the Khorasan
(Nishapur) and Sogdiana (Samarkand) cultural zones from the viewpoint of glass. In order to reveal
this subject, it is necessary to find out what kind of shapes and functions the unearthed objects have
and how they are regarded in the whole Islamic glass. Among the original shapes, which we assumed
from the fragmented glass findings, in addition to the popular early Islamic glass shapes, there are
particular shapes such as cupping vessels or windowpanes that merit our attention. Therefore, in this
presentation we would like to clarify the characteristics of the glass vessels used in the Bukhara oasis
and their local features from the comparison with the glass unearthed at al-Fustat in Egypt by the
Japanese mission (Directors: Kiyohiko Sakurai, Tsugio Mikami and Mutsuo Kawatoko), which
consists of almost all kinds of Islamic glass.
172
POSTER
New finds of mosaic glass inlays from Antinoopolis, Egypt
SILVANO, Flora
Dipartimento Civiltà e forme del sapere, University of Pisa, Pisa, Italy
This paper presents a group of mosaic glass inlays coming from Antinoopolis, located about 286 km
south of Cairo, on the east bank of the Nile, in Middle Egypt. All the objects were found in illegal
diggings carried out by local villagers all over the archaeological area of the ancient city founded by
the emperor Hadrian in 130 AD. Turmoil in Egypt since the downfall of Hosni Mubarak in 2011
has caused an increase of antiquities’ thefts and illegal diggings. Since 2000 archaeological
investigations at the site of Antinoopolis were carried out by the mission of the Istituto Papirologico
“Girolamo Vitelli” (University of Florence).
The polychrome plaques, used to act as inlays on wooden chests and other small pieces of furniture,
are the product of a long development in glassmaking technology in Egypt from New Kingdom
times onwards. Some plaques of this group show theater masks; glassmakers used halves of faces to
form complete, symmetrical faces by combining two slices from the same bar, one of which was
simply reversed. The plaques show part of the cast of characters from the Greek New Comedy works
of the Athenian playwright Menander; many papyrus fragments of his plays have been found in
Egypt. Among the pieces found in illegal diggings and sold on the black market are sections of a cane
with a four-petals flower or a female bust, pierced to be used as a pendant; the assemblage includes
also some fragments of glass borders and two convex gaming pieces.
173
POSTER
Le verre gallo-romain du site du Buy à Montignac-sur-Vézère (Dordogne, France)
SIMON, Laure
Institut National de Recherches Archéologiques Préventives (Inrap), Rennes, France
La communication proposée traite du verre antique découvert sur le site du Buy à Montignac-surVézère, dans le Périgord (Dordogne, Sud-Ouest de la France). Cette commune, célèbre pour ses sites
préhistoriques (notamment la grotte de Lascaux), a également été le lieu d’une occupation
conséquente depuis la fin du IIe âge du Fer jusqu’au IIIe siècle de notre ère.
A l’époque romaine, les vestiges, anciennement interprétés comme une importante villa avec
balnéaire, prennent la forme d’un habitat étendu avec dispositif de voirie, aménagement d’une
fontaine, ainsi que des installations artisanales (poterie, métallurgie). Des campagnes de prospection
à venir devraient permettre de mieux en cerner l’étendue.
Des fouilles récentes, menées par l’Institut National de Recherches Archéologiques Préventives (dir.
V. Elizagoyen), ont permis de recueillir du mobilier en verre qui vient documenter cette région, pour
le moment peu connue du point de vue de ce matériau.
L’essentiel du lot de verrerie relève de l’occupation du Ier siècle de notre ère, la mieux conservée. Il se
compose majoritairement de pièces communes, parmi lesquelles on note une forte proportion de
vases de couleur soutenue. Parallèlement, le corpus montre l’emploi de verres importés, certains de
qualité : on recense ainsi quelques exemplaires de Linear Cut, rares dans le sud-ouest de la France,
mais surtout, une pièce d'incrustation (de coffret ?) vraisemblablement importée d'Egypte. De telles
découvertes sont exceptionnelles sur le territoire de la Gaule. Enfin, verre à vitre et parure sont
également attestés.
Ces éléments contribuent à la réflexion sur le statut du lieu. Avec d’autres catégories de mobilier
comportant une grande part d’importations, certaines lointaines (céramique, amphores, monnaies,
instrumentum), ils suggèrent que le site ait été une place de commerce et d’échange dynamique et
cela, dès la fin du IIe âge du Fer.
174
POSTER
A Late Antique secondary glass workshop at Philippi, Greece
SKORDARA, Maria
National and Kapodistrian University of Athens, Athens, Greece
The secondary glass workshop, which has been excavated in the city of Philippi in Eastern
Macedonia, Northern Greece, dates from the 4th–early 5th century AD. The remains of two circular
glass kilns and a possible third one, of rectangular plan, have been uncovered. They correspond to
two – or three – successive periods of the workshop’s function. The general structure of the kilns
resembles that of known western European examples of Roman date. Circular furnaces of the same
form were also used in northern Greece and in the Aegean, especially in Late Antiquity (4th–7th
century), which is when most of the known Greek examples are dated. On the contrary, the
rectangular furnace does not seem to have been as common in the area.
The kilns of Philippi must have functioned without the use of crucibles, as indicated by the lack of
corresponding finds. A small amount of glass chunks have been excavated. It is not easy to
distinguish primary glass chunks from secondary ones, but it is believed that both categories are
present. Other glassworking and glassblowing debris consists of testing drops, pontil knock-offs,
cylindrical and lid-like moils and fragments of unsuccessful vessels. Moils are associated with the
fabrication of hemispherical cups and truncated or conical beakers with cracked–off rims, which
constituted the main bulk of the workshop’s production. These vessels were thought to be used both
as drinking cups and lamps. Windowpanes were also manufactured. The popularity of these glass
categories, other than their domestic use, may also be related to the erection of several churches
during the 4th and 5th century following the transformation of the city into an important pilgrimage
locus.
175
SESSION C
Scandinavian opaque red or orange barrel-shaped beads from the 7 th –8 th century:
evidence for both long distance trade and local fabrication
SODE, Torben 1 , GRATUZE, Bernard 2 , LANKTON, James 3
Curator, Brønshøj, Denmark
3
Institute of Archaeology, University College of London, Doha, Qatar
1
2
Recent chemical analyses of opaque red and orange glass beads excavated from Late Roman and
Early Middle Age sites in Denmark (Vindinge- Stålmosegård 4th century; Bornholm 7th century;
Ribe 8th century), Germany (Frankfurt Harheim 6th-7th century) and Sweden (Helgö 7th-8th century;
Gotland 7th-8th century, along with crucibles) have revealed the presence of different groups of glass.
While all the red and orange Late Roman and some Early Middle Age glass beads show
compositions typical for Roman glass, made with natron or in some cases soda plant-ash, other Early
Middle Age beads were made from high alumina soda glass with an uncommon trace element
signature. Most of these are large, opaque, red or orange barrel-shaped beads 10-12 mm in diameter.
In chemical composition, these beads differ from all known West European glasses, while they have
some similarity to much earlier South Asian glass. As shown by the Buddha statue discovered at
Helgö, as well as cowries shells and rock crystal and amethyst beads from the same levels as the red
and orange barrel beads, materials from South or South East Asia reached Scandinavia through
exchange either along the Russian river system or overland by the Silk Roads.
The analyses reported here provide evidence as well for Scandinavian glass bead making technology
and the use of recycled glass.
176
SESSION C
Medieval and post-medieval window glass in Scotland
SPENCER, Helen, KENNEDY, Craig
Centre of Excellence for Sustainable Building Design, Heriot Watt University, Edinburgh, United
Kingdom
In comparison to other parts of Britain and Europe, there has been relatively little recent research on
Scottish medieval and post-medieval window glass. In part, this is due to the scarcity of window glass
found both in existing medieval buildings and excavated from archaeological sites. Window glass
was not common in Scotland during the medieval period; even as late as the early 18th century, some
Scottish palaces were not fully glazed. There is also a lack of archaeological and documentary
evidence to show that glass was either manufactured or worked, in medieval Scotland, before the
establishment of the first documented post-medieval glasshouse in East Lothian in 1610. This leads
to the assumption that glass was imported in to Scotland prior to the indigenous manufacturing
base becoming established. There is evidence that suggests glass for use in church buildings was
imported to Scotland and decorated locally before the final installation.
There are therefore many unanswered questions as to the manufacture and supply of glass used in
Scottish medieval buildings including, where it was manufactured, the trade routes bringing glass
into Scotland and where the craftsmen who worked on glazing Scottish buildings came from. Whilst
research has taken place accounting for these factors from 1610 onwards, very little research has
taken place focusing on the pre-1610 era. This paper aims to outline the current archaeological,
analytical and documentary evidence available for the use of window glass in Scotland up until 1610.
The paper will also report on initial analytical investigationsusing portable X-ray fluorescence
(pXRF) and scanning electron microscopy with energy-dispersive spectroscopy (SEM-EDS) of
medieval window glass, dated to the late 13th century, excavated from Elgin Cathedral.
177
SESSION A
Roman glass from Mala Kopašnica (Serbia)
STAMENKOVIĆ, Sonja 1 , GREIFF, Susanne 2 , HARTMANN, Sonngard 2
1
2
Institute of Archaeology, Belgrade, Serbia
Römisch-Germanisches Zentralmuseum, Mainz, Germany
The village of Mala Kopašnica is situated in the southern part of Serbia, near Leskovac, by the South
Morava River at the entrance into Grdelica Gorge. Archaeological sites in this area were threatened
by highway constructions, which enabled carrying out large rescue excavations. Thanks to this, Mala
Kopašnica has emerged as the most important Roman site in the Leskovac basin. Significant
settlement with Roman roads passed through it and a large necropolis was revealed, dated to the 2nd
to the late 4th century AD. Among large numbers of archaeological findings, the glass is pointed out
for this occasion. Very well preserved glass vessels are found within graves, parallel with the
fragmented glass finds in the settlement horizons. The thorough stratigraphy of layers, well dated by
the numismatic finds, enabled a detailed chronology for the glass typology. Besides this, chemical
analysis provided data on the composition of the glass as well as new insights concerning the glass
production, trade and import, and the possibility to compare compositions of glass objects from
different glass types from the 3th and 4th century sites in the territory of Central Illyricum,
respectively in the Roman province of Dacia Mediterranea.
178
SESSION C
Sodium natron and sodium ash glasses in the middle Danube region – new
information concerning the Early Middle Ages
STAŠŠIKOVÁ-ŠTUKOVSKÁ, Danica
Commission for the support of historical glasses in Slovakia, Slovak Archaeological Society, Nitra,
Slovakia
Our recent interdisciplinary research on approximately 40’000 glass beads is concentrated on
archaeological finds from inhumation burials. The method used in our work with historical glasses
offers wider interdisciplinary linkage between archaeological outputs and historical contexts. In this
work results of the interdisciplinary research are presented, which give more detailed knowledge
about the simultaneous existence of natron and ash glasses on the territory along the middle Danube
River. We particularized morphological types of glass beads that are made of natron (K2O<1.5 %)
and ash glass (K2O>1.5%) and evolved statistics-based occurrence of these beads in the Avar,
Carolingian, Great Moravian and early Hungarian cultures. Regarding the glass bead-making
technology, natron glass beads were made using the technique of glass fiber winding whereas ash
glass beads were made by glass fiber drawing. During the 8th and 9th centuries natron and ash glasses
occurred simultaneously, natron glasses prevailed in the Avar Khaganate period, ash glasses with
some regional differences were dominating in the Carolingian and Great Moravian empires. Real
combinations of natron and ash glasses are documented in jewellery with distinct cultural signs.
More detailed analyses of both bead types enabled the interpretation of the obtained results in
relation to imports from the Byzantine and the Carolingian cultural milieu as well as to the probable
existence of local manufacturing, which is evidenced by direct finds of glass manufactures in the
central Danube region. We consider the occurrence of ash glass beads in the central Danube region a
consequence of cultural and trade contacts with the Byzantine Empire. The natron compositin of
the glass beads and the occurrence of typical shapes are evidence of mutual interactions of central
European cultures and at the same time they are proof of local technological and cultural
development.
179
POSTER
Mold-blown glass from the Roman province of Dalmatia
ŠTEFANAC, Berislav
This paper considers some of the archaeological evidence for glass distribution and trade in the
Roman province of Dalmatia during the first century. It focuses primarily on external trade,
especially imports of the mold-blown glass products. The Syro-Palestinian mold-blown glass mostly
attested in the coastline part of the Dalmatian province. Several archaeological sites that gave
exceptionally valuable collections of ancient glass objects have been determined in the southern
Liburnian territory. Equally numerous and of high quality were the finds of mold-blown glass vessels
discovered in the wider Zadar region. Apart from Liburnia, the necropolises of Salona, Narona and
Buthua, i.e. ancient Solin, Vid kod Metkovića and Budva, yielded various finds of relief decorated
glass artefacts. Mold-blown glass from the early Roman imperial period is represented by numerous
variations of type and form. The research not only evaluates the currently accessible data but also
suggests future areas of exploration, which could add to the insight of Dalmatian trade, both within
the province and with the eastern Mediterranean. The analysis also includes unpublished findings
discovered in the ancient necropolises of Aenona (Nin), Iader (Zadar), Asseria (Podgrađe kod
Benkovca), Argyruntum (Starigrad Paklenica) and from the military camp Burnum (Ivoševci kod
Knina).
180
SESSION A
Blown mosaic glass of the Roman period: technical observations and experiments
STERN, E. Marianne
Independent scholar, Hilversum, The Netherlands
Published fragments of blown mosaic glass date from the late first or early second to third centuries
CE. Research of the ancient production techniques is a preliminary to publishing the fragments
from Augst with Sylvia Fünfschilling. Blown mosaic glass vessels had the same shapes as
contemporary blown vessels. They were thin-walled and usually finished on a pontil. Some had
tubular rims or base-rings, features unknown from sagged mosaic glass vessels. Composite rosette
and checker patterns occur, but most blown pieces show simple patterns made from overlay canes
with opaque circles or dots in a translucent ground. The cane motifs are sometimes clearly
recognizable in a vessel fragment’s broken edge. In the walls, the patterns can be distorted beyond
recognition, especially on a vessels’ interior. Unlike vessels sagged over a former mold or a core, the
distortion on the inside of blown vessels increases toward the bottom. Certain colours ran or ‘bled’,
creating a blotchy or muddy ‘coating’ on the vessel floor, but there is no extraneous layer of glass
behind the patterns. The exterior and interior wall surfaces are always part of mosaic glass elements.
These technical observations are proof that the ancient artisans did not apply slices of mosaic glass
canes to a pre-blown bubble or gather of glass, as is customary in modern glassblowing. Like their
modern counterparts, ancient glassblowers must have worked with pre-heated elements of mosaic
glass. But how did they arrange the pieces and pick them up for blowing? What did the pieces look
like? Were the mosaic patterns already complete or did the artisan assemble them in part while he or
she was blowing? I will report on workshop experiments aimed at identifying techniques that could
have been employed in antiquity.
181
POSTER
But is it a bottle? Categorizing fragmentary glass vessels from archaeological
assemblages
STERRETT-KRAUSE, Allison E., LEGENDRE, Sarah A.
College of Charleston, Charleston, SC, USA
Typological studies of glass from archaeological sites are predicated largely on assessing a given
vessel’s function and form. Only after forms have been determined is it possible to characterize the
nature of the glass assemblage and to answer archaeological questions about the material. But
categorizing fragmentary vessels based on form and function is itself an act of archaeological
knowledge acquisition; thus it demands the application of a rigorous, or at least transparent,
methodology. When the assemblage consists of complete vessels or vessels whose profiles can be
reconstructed from multiple fragments, this process of classification can be fairly straightforward.
Yet most excavated objects do not have a complete profile, and thus form and function are decided
based on fragmentary vessels and comparison with published examples. Problems arise when glass
fragments are very small, undecorated, or simply made. Dividing fragmentary, undecorated, firerounded rims into functional categories such as beakers, bottles, and bowls frequently challenges the
archaeological glass expert.
Archaeologists address this heuristic problem by establishing guidelines for forms; a definition of a
beaker as “an open vessel around 10 cm in diameter” seems to be generally agreed (see e.g. Cool and
Baxter 1999). Incorporating analysis of Roman literary mentions of glass and published
archaeological and museum collections of well-preserved Roman glass from Karanis in Egypt, the
Corning Museum of Glass, and other assemblages, this study investigates the quantitative
characteristics of Roman glass vessels. We then evaluate whether internal Roman definitions for
vessels can help archaeologists in the field to distinguish between functional categories of glass. We
propose a preliminary model of categorical and quantitative variables - including diameter, stance,
manufacturing treatment, and shape - that assist archaeologists to more easily describe the formal
and functional characteristics of fragmentary glass assemblages.
Reference:
Cool, H. and M. Baxter, Peeling the Onion: An Approach to Comparing Vessel Glass Assemblages,
Journal of Roman Archaeology 12 (1999), 72-100.
182
POSTER
16 th century glass goblets from the burials of the Ascension Convent in the
Moscow Kremlin
STOLYAROVA, Ekaterina
Institute of Archaeology, Russian Academy of Sciences, Moscow, Russia
In 1929, in view of the impending demolition of the Kremlin Ascension Convent (1407), the
workers of the Moscow Kremlin Museums opened and examined the tombs from the burial
complex of the Russian grand duchesses and tsarinas located in the main temple of the Convent.
The workers recovered 14 glass vessels dating from the 16th-17th centuries, 5 of them from a 16th
century sarcophagus.
The chemical composition of four vessels was studied by means of optical emission spectrography
(OES). In all cases, the glass was found to have been melted using potassium ashes and classified as
potassium-calcium glass (K2O-CaO-SiO2), suggesting that they were manufactured in Europe. The
vessels that are similar in terms of composition, glass preservation and decoration technology come
from a similar timeframe and belonged to close relatives: tsarina Anastasia Romanovna (1560) and
her daughter princess Eudoxy (1558); tsarina Irina Godunova (1603) and her daughter princess
Feodosia (1594). It can be assumed that these two groups of vessels that ended up in the burial
complex in the mid-16th and in the late 16th early 17th centuries came from two different centers
outside Russia. The vessels dating from the late 1650s may have been brought to Moscow from
Germany or the Netherlands, as indicated by the morphology and chemical composition of the
vessel from the burial of the tsarina Anastasia Romanovna. The vessels from the late 16th and early
17th century were imported from the southern Netherlands and northern France, as evidenced by
the analog goblets to the one from the burial of the tsarina Irina Godunova.
The fifth vessel from the 16th century, a goblet from the burial of Marfa Sobakina (1571) with a glass
ball inside, either comes from Venice or from European glasshouses producing ‘à la façon de Venise’.
According to the experts, the discovered analogs were manufactured in Venice or Tyrol.
183
SESSION A
Glass bead trade in northeastern Africa in the Roman period – a view according to
the Museum of Archaeology University of Stavanger assemblage
THEN-OBŁUSKA, Joanna 1 , WAGNER, Barbara 2
1
2
The Polish Centre of Mediterranean Archaeology, University of Warsaw, Warsaw, Poland
The Biological and Chemical Research Centre, University of Warsaw, Warsaw, Poland
The Sudanese part of the Nile Valley has always been one of the most developed African regions and
is perceived as a link between the Mediterranean world and indigenous African and Asian cultures.
This feature is clearly visible in the wealth of materials and techniques employed in the production
of beads. Beads often constitute the only evidence for direct and indirect trade contacts in the
archaeological record. This paper presents results of an interdisciplinary study of 60 glass beads
presently stored in the Museum of Archaeology University of Stavanger. They were found in Lower
Nubian graves ascribed to the Meroitic (1st-3rd century AD) and the Early Nobadian (4th–6th century
AD) periods. Interestingly, for both periods textual sources mentioned the overseas trade contacts,
and Carol Meyer (1992) and Peter Francis Jr. (2002) suggested the possible Indo-Pacific origin of
some beads found at the Roman Red Sea coastal sites. While monochrome and decorated drawn and
segmented, rodformed, and rod-pierced glass beads should point to the Mediterranean glass
workshops, monochrome drawn and more or less rounded objects were considered by Peter Francis,
Jr. as Indo-Pacific. By combining both macroscopic and compositional analyses, in particular, using
laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS), we present a bead
typology and chronology of glass bead trade subject.
184
SESSION B
Glass in the Waddesdon Bequest in the British Museum
THORNTON, Dora
The British Museum, London, United Kingdom
I would like to introduce the small but extremely important collection of glasses in the Waddesdon
Bequest, a Kunstkammer collection bequeathed to the British Museum in 1898 by Baron Ferdinand
Rothschild, MP. The pieces include the Palmer Cup, a talisman of the Palmer Morewood family of
Ladbroke, Warwickshire, from whom Baron Ferdinand acquired it in 1894. It is a rare Syrian
enamelled beaker of c1200 set into a contemporary French silver foot, showing that the beaker was
in France not long after it was made. There is also the Deblin glass, a Venetian glass of the 15th
century of exceptional size and rich decoration, which was used as a Welcome cup in Deblin castle
near Brno in the 17th century. In addition I will discuss a rare Venetian turquoise enamelled goblet
of the late 15th century, and a Bohemian opal glass beaker of the late 17th century, both of which will
be published in joint articles for Glass Studies and the British Museum Technical Bulletin in 201415. The collecting history of the pieces, where known, is fascinating and each presents particular
problems of presentation in the new gallery dedicated to the Waddesdon Bequest, which opens in
the British Museum in Summer 2015.
185
POSTER
Glass in fashion and trade in Bohemia in the 9 th -11 th century (archaeology and
archaeometry)
TOMKOVA, Katerina
Institute of Archaeology of the Academy of Sciences of the Czech Republic, section Prague Castle,
Glass jewellery became a very important part of fashion in Bohemia in the 9th – 10th centuries, when
the early medieval Bohemian state of Přemyslid´s was constituted. Most of the glass beads (e.g.
segmented, metal-foiled, prismatic and polychrome beads) were imported and came to Bohemia
through long-distance trade and inter-regional exchange. Some local types of beads (olive beads and
other beads wounded on metal tube, G-beads) and glass-inlay in metal jewels support the existence
of Central European glass-working and trade with raw glass in this region, too. Trade markets and
jewellers concentrated in the main hillforts and protourban agglomerations, e.g. Prague, Mikulčice,
Staré Město, from which beads spread to other territories and social spaces. Many types of beads, e.g.,
annular, globular, segmented, were common in Central Europe, but some types occur only locally.
Differences among assemblages of bead depend on the type of inter-regional contacts and trade
among Bohemia, Moravia, Slovakia, Bavaria and other European countries. The large variability of
the types of glasses is remarkable from a chemical point of view. More than 300 analyses (scanning
electron microscopy with energy-dispersive spectrometry, SEM-EDS) of chemical composition of
early medieval Bohemian finds are recorded together with prehistoric and medieval items in the
database Vitrea (http://www.arup.cas. cz/VITREA/index.htm). They prove the superiority of sodalime, natron and plant-ash glass in the 9th – 10th centuries. In addition to that, mixed alkali, highlead, and wood-ash glass were used in the same period. The limited use of wood-ash glass in the
production of the beads around year 900 is a further evidence of penetration of the innovative
processes employed in European glassmaking to Central Europe. Fundamental change after year
1000 was reflected not only in fashion, but also in the chemical types of glass (dominance of highlead and lead-ash glass) and indicates significant cultural and economic changes.
186
SESSION B
Stem goblets of late- to post-medieval times from archaeological excavations in
Dubrovnik
TOPIĆ, Nikolina
Omega engineering d.o.o, Dubrovnik, Croatia
This paper outlines the late- to post-medieval stem goblet find from archaeological excavations
carried out in 2007 and 2008 at the Benedictine monastery of St. Mary of Kaštel and the Upper
corner tower in the historic centre of Dubrovnik (Ragusa). Many types of glass vessels (bowls,
beakers, bottles, jugs, vases, dishes, and lamps) were found, but the numerous stem goblets
demonstrate the lavish living style and richness of the monastery, while the Upper corner tower
revealed a low amount of stem goblets, which were used by the people. According to the glass finds
in the late medieval and early modern periods in Dubrovnik, the clergy had a richer repertoire of
glass vessels than the ordinary people, but that later changed in the 19th and 20th century, when glass
objects were available to a wider circle of users. The finds can be dated to the time period ranging
from the late 15th to the 18th century. The stem goblets that were found in Dubrovnik have various
origins; Venetian, diverse Italian, Ragusan, and Western European productions were identified. The
ornaments are mostly made by moulding (ribs, knops, solid and hollow inverted balusters, lion
masks), or applied to the vessel (handles). The glasses have a variety of hues, but green, gray and
purple colours are prevalent. The finds were primarily preserved as fragments, due to their fragile
nature and the stratigraphic context (they are mostly from the rubble layers), but it was possible to
draw graphical reconstructions according to the preserved fragments and analogies.
187
POSTER
Untersuchungen zur Provenienz von Gläsern aus dem Kloster Maulbronn
TORGE, Manfred
Bundesanstalt für Materialforschung und -prüfung, Berlin, Deutschland
Das eindrucksvolle Kulturdenkmal Kloster Maulbronn gilt als die am vollständigsten erhaltene
Klosteranlage des Mittelalters nördlich der Alpen. Kleinstadt und Kloster liegen im Kreichgau
zwischen Odenwald und Schwarzwald. Seit der Aufnahme des Klosters in die UNESCO-Liste des
Weltkulturerbes im Jahr 1993 ist es eines der meistbesuchten Kulturdenkmäler in BadenWürttemberg.
Glasfragmente, die im Klosterhof geborgen wurden, sind mit der Elektronenstrahlmikrosonde
(ESMA) zur Bestimmung der chemischen Zusammensetzung mit dem Ziel untersucht worden
Rückschlüsse auf Glashütten zu ziehen, in denen diese Gläser hergestellt wurden. Um das
unverwitterte Kernglas zu analysieren, erfolgte die Präparation der Proben entlang einer Glaskante
durch Schleifen und Polieren. Anhand von elektronenmikroskopischen Aufnahmen der Oberfläche
und des Glasquerschnitts können Verwitterungsschichten deutlich erkannt werden. Die
untersuchten Glasproben lassen sich aufgrund ihres Silizium (SiO2)-Gehaltes mittelalterlichen
Glastypen zuordnen. [1] Auffällig ist der relativ hohe Gehalt an Aluminiumoxid (Al2O3) und
Natriumoxid (Na2O). Aus der Kenntnis von Rohstofflagerstätten und archäologischen
Untersuchungen zu den Standorten von Glashütten sind Rückschlüsse auf den Ursprung der Gläser
möglich. So gibt es über 190 sicher nachgewiesene oder begründet vermutete Glashütten, die allein
im engen Bereich des Schwarzwaldes zwischen dem 12. und dem 20. Jahrhundert in Betrieb waren.
Nach der Klassifizierung von Maus und Jenisch (1997/98) handelt es sich bei den analysierten
Proben aus Maulbronn um Kalium-Natrium-Gläser, so genannte Mischgläser. [2] Die Magnesium-,
Calcium- und Aluminiumoxidgehalte der Gläser lassen Rückschlüsse auf vier Glashütten zu, die
sämtlich um 1550 Glas produziert und vermutlich gleiche Rohstoffe und Rezepturen verwendet
haben.
[1] Müller, W.; Torge, M.; Kruschke, D.; Adam, K. BAM-Forschungsbericht 217, 1997.
[2] Maus, H. ; Jenisch, B. Schwarzwälder Waldglas ; Sonderdruck aus Alemannisches Jahrbuch
1997/1998.
188
POSTER
Quelques révélations sur l’outillage verrier de Court, Pâturage de l’Envers (1699–
1714)
TREMBLAY, Lara
Service archéologique du canton de Berne, Suisse
Les fouilles de la verrerie de Court, Pâturage de l’Envers (Jura bernois, CH) ont livré un riche
ensemble mobilier bien daté, dont près de 700 fragments d’outils directement associés au travail du
verre. Ce corpus a permis de confirmer deux pratiques verrières qui n’étaient jusqu’à présent que
soupçonnées.
Certains fragments de cannes à souffler attestent sans équivoque du sectionnement des extrémités de
celles devenues inutilisables. Cette supposition peut être confirmée pour 42 des 552 fragments de
cannes identifiés : ils portent des traces témoignant de leur sectionnement volontaire, sous forme de
rainures le long d’une extrémité, ou encore de petite saillie de métal autour du tube intérieur,
suggérant un arrachement. Cette pratique est principalement associée aux fragments tronconiques,
caractéristiques du mors. On peut toutefois se questionner sur le potentiel de réutilisation de ces
cannes amputées de leur extrémité, peut-être réaffectées au soufflage de pièces différentes, ou encore
transformées en l’une de ces nombreuses tiges utilisées par les verriers dans leur travail.
L’appartenance du couteau à la boîte à outils du verrier ancien, demeurée jusqu’ici hypothétique, a
également pu être confirmée. On peut estimer le nombre total d’individus découverts à au moins 67
couteaux de poche et 21 de table, retrouvés pour la plupart dans ou à proximité des bâtiments de
production. D’autres verreries ont bien livré des couteaux, mais en nombre anecdotique. Leur
quantité surprenante à Court, compte tenu des quinze ans d’occupation du site, semble désormais en
mesure d’apporter un argument définitif en faveur de leur implication dans le travail du verre. Le
rôle du couteau dépasserait ainsi la simple fabrication parallèle d’équipement en bois. Outil
polyvalent, on pourrait encore lui associer trois fonctions: façonnage des pièces, détachement du
pontil et nettoyage des cannes.
189
SESSION B
New evidence for the use of cold paint on stained glass
TRÜMPLER, Stefan 1 , WOLF, Sophie 1 , HÖR, Martha 2 , FERREIRA, Ester S. B. 3
Vitrocentre Romont, Swiss Research Center for Stained Glass and Glass Art, Romont, Switzerland
Glasrestaurierung M. Hör, Neumarkt, Germany
3
Swiss Institute for Art Research, SIK-ISEA, Zurich, Switzerland
1
2
That cold paints have been used on stained glass since the Middle Ages has not been in dispute since
the conference in Liège in 1996 [1]. Yet, the use of cold painting techniques in medieval and postmedieval stained glass has received very little attention. Examples of paint have often been wrongly
identified (e.g. as enamel, retouches or residues of mastic or putty). Paints have even been removed
during restoration or lost due to weathering.
Observations so far have mainly focused on green paint in stained glass. The findings are isolated
cases. The chronological and geographical extent of cold painting techniques in stained glass is still
unknown. The relationship with similar art forms, such as reverse glass painting, has not yet been
studied sufficiently.
The authors would like to contribute to the still sketchy understanding of cold paint stained glass
techniques by adding their observations on late médiéval and post-medieval stained glass. We will
provide new insights on the extensive use of cold paint on stained glass from the cloister of Muri
Abbey (1550–1585) and from the choir of Bern Cathedral (1441–1455). The most surprising
finding perhaps is that no silver stain was used in one of the windows, the “Hostienmühlefenster”, of
Berne Cathedral. The glass painters used yellow cold paint, which they applied on the inner side of
the stained glass window. Initial analytical results provide evidence of the binders and pigments used
in the paint materials. Finally, we would like to illustrate the different artistic intentions behind the
use of these techniques, which will open up another field for further research.
[1] Grisaille, jaune d'argent, sanguine, émail et peinture à froid. Techniques et conservation, edited
by the Commission Royale des Monuments, Sites et Fouilles de la Région wallonne, Liège 1996
190
SESSION B
Origine, spécificité et évolution de la collection d'art verrier du mudac, une
« jeune femme » de 45 ans, dynamique et curieuse
TSCHUMI, Bettina
Chercheuse indépendante, Lausanne, Suisse
Cet exposé se propose d’aborder un thème atypique dans le cadre de l’édition 2015 de l’AIHV, un
choix qui découle naturellement de la spécificité du mudac, Musée de design et d’art appliqués
contemporains de Lausanne.
La collection d’art verrier contemporain a été initiée en 1970, date de la signature de la convention
entre le couple de mécènes Peter et Traudl Engelhorn, et Rosmarie Lippuner, directrice du Musée
des arts décoratifs, prédécesseur de l’actuel mudac à Lausanne. Son objectif a consisté dès l’origine à
explorer aussi largement que possible et à faire découvrir au public la création artistique réalisée à
l’aide du verre – et tout particulièrement, ses développements récents. La Suisse compte trois
collections institutionnelles qui se sont penchées sur l’objet d’art verrier contemporain: celle du
Museum Bellerive à Zurich, antenne du Gewerbemuseum de Zurich, celle du Musée Ariana à
Genève, qui s’est un temps intéressé à la création des années quatre-vingts et quatre-vingt-dix, et
enfin celle du mudac.
L’ensemble du mudac se constitue sans interruption depuis 45 ans. Quelle est l’origine de cette
initiative des Engelhorn? Quels ont été les critères de collecte des objets et quelle évolution la
politique d’acquisitions a-t-elle connu au fil du temps? Comment se situe la collection d’art verrier
au sein d’une institution dédiée en premier lieu au design? Quelles sont aujourd’hui les perspectives
pour la collection du mudac? Autant de questions de pratique professionnelle que je me réjouis de
développer et de partager avec le panel de spécialistes que réunit le 20e congrès de l’AIHV.
191
POSTER
Nouvelles données sur le verre à décor gravé en Italie du Nord: les exemplaires de
la ville de Milan
UBOLDI, Marina
Dipartimento di Storia, Archeologia e Storia dell’Arte, Università Cattolica del Sacro Cuore di
Milano, Milan, Italie
Avec ce poster, on souhaite faire le point sur les trouvailles de verre gravé de l’époque romaine de la
ville de Milan, et surtout faire connaître de nouvelles pièces provenant de fouilles urbaines.
Les nouveaux exemplaires, pour la plupart inédits, proviennent de fouilles diverses d’habitat ou de
nécropoles, datant en majorité de l’Antiquité tardive.
Les exemplaires des premiers siècles apr. J.-C. sont gravés de lignes horizontales ou de « grains de
riz » sur les rebords. À partir du IIIe siècle apr. J.-C., les décors deviennent plus complexes ; on
constate de nombreux motifs géométriques mais aussi des pièces à décor figuratif.
Les fragments avec décor figuratif sont trop petits pour permettre de reconstituer les scènes, mais ils
se prêtent à des observations stylistiques très intéressantes et peuvent fournir des informations sur les
probables ateliers d'origine.
La production plus tardive est caractérisée par des gravures linéaires et des abrasions.
192
SESSION B
Glaserzeugnisse Bolgars im System der mittelalterlichen Glasherstellung
VALIULINA, Svetlana
Lehrstuhl für Archäologie und Ethnologie, Kasaner Föderale Universität, Russland
Die Stadt Bolgar ist ein Hauptstadtzentrum auf der Wolga-Baltischen Handelsmagistralen, ein
Schlüsselpunkt von Wolga-Bulgarien. Es besitzt die reichste Sammlung von Glaserzeugnissen, die im
Laufe langjähriger Ausgrabungen gefunden wurden. Der Massencharakter des Materials sowie das
interdisziplinäre Vorgehen dessen Untersuchung machen aus den Glasfabrikaten Bolgars eine
ausserordentlich informative Quelle.
Glasschmuck, Geschirr, Fensterglas und Lampen widerspiegeln die Dynamik der internationalen
Kontakte, deren geographische Verbreitung, den wandelnden Status der Stadt vom 10. bis 15.
Jahrhundert, mit den Etappen der sich bildenden Stadtkultur. Die Stadt Biljar wird vom 11.
Jahrhundert bis in die Mitte des 13. Jahrhunderts erneut zur Hauptstadt von Wolga-Bulgarien. Der
dadurch veränderte Status Bolgars wird auch durch die Funde aus Glas belegt.
In der zweiten Hälfte des 13. bis Anfang des 15. Jahrhunderts wird Bolgar wieder zum Zentrum der
bulgarischen Länder, die der Goldenen Horde gehören. Als Bestandteil der Stadtkultur treten zu
dieser Zeit in aller ihrer Herrlichkeit die islamischen Glaserzeugnisse auf: Lampen, Stangengläser,
Flakons, Schalen und andere Erzeugnisse mit Gold- und Emailmalerei aus Ägypten und Syrien der
zweiten Hälfte des 13. und der ersten Hälfte des 14. Jahrhunderts, Alltagsgeschirr und Fensterglas
aus den Städten des Nahen Ostens und aus Mittelasien. Gegen Mitte des 14. Jahrhunderts wird in
Bolgar selbst Glasschmuck hergestellt (Halsketten und Fingerringe). Über Bolgar wird das
orientalische Glasgeschirr mit Emailmalerei weiter nach Alt-Russland geliefert.
Die Glaserzeugnisse Bolgars haben ein grosses Forschungspotential bei der Lösung von Problemen
des spätmittelalterlichen islamischen Glases. Die Forschung wurde mit finanzieller Unterstützung
des Russischen Fonds der Fundamentalen Forschungen ausgeführt (Projekt-Nr. 13-06-00686А).
193
SESSION C
Early medieval glass tiles from Saint-Sauveur (Burgundy, France)
VAN WERSCH, Line 1 , MATHIS François 2 , BONNIN, Myrtho 3 , STRIVAY,
David 2 , SAPIN, Christian 4
Université catholique de Louvain, INCAL, CRAN, Louvain-la-Neuve, Belgium
Université de Liège, IPNAS, CEA, Liège, Belgium
3
Université de Bordeaux, IRAMAT, Bordeaux, France
4
Université de Bourgogne, CEM, UMR Artehis, Dijon, France
1
2
The square tiles are made of deep blue glass, appearing almost black, mixed with opaque red and
white glass. At beginning of the 17th century, these were mentioned as floor in the church of SaintSauveur. Two of them are conserved in the archaeological museum of Dijon and four in the museum
of Autun. The two most recently found were discovered by the present owner of the building, in a
context earlier than the 14th century. Up until now, the only comparisons are tiles from the Corvey,
Hildesheim, Münster and Minden dated from the Carolingian period by the archaeologists (Sapin,
1990; Lobbedey et al. 2001). Analyses using proton induced X-ray / gamma-ray emisson
spectroscopy (PIXE/PIGE) allow us to identify the material and processes. The red opaque color is
due to copper. The white material is obtained from a mix of tin and lead. Addition of cobalt gives
the deep blue glass. Its correlation with arsenic and nickel might indicate a source from Germany
(Gratuze, 2013). The global composition of glass is quite unexpected. With a high level of calcium
(20%) and low levels of alkali (Na2O = 2% and K2O = 4,5%) these could be an early testimony of
HLLA glass in Europe. However, at the beginning of the wood ash glass production, we assume that
several recipes existed.
References
Sapin, C., 1990, « notice Saint-Sauveur (Côte d’Or), carreaux», in Sapin, C. (dir.) Saint-Germain
d’Auxerre : Intellectuels et artistes dans l’Europe carolingienne, IXe-XIe siècles : catalogue
exposition, Auxerre, 224-225.
Lobbedey, U., Dell’Acqua, F. et Wedepohl, K.H., 2001, « Colored Glass Wall Tiles from Corvey
(Germany) : Carolingian or Romanesque ? », Journal of Glass Studies, 43, 89-105.
Gratuze, B., 2013, « Provenance Analysis of Glass Artefacts », in Janssens, K. (ed.), Modern
Methods for Analysing Archaeological and Historical Glass, John Wiley & Sons, Vol. I, 311-343.
194
SESSION A
Hellenistic mosaic glass vessels in Celtic Europe
VENCLOVÁ, Natalie
Institute of Archaeology of Academy of Sciences of the Czech Republic, Prague, Czech Republic
Mosaic glass vessels of the 3rd-1st century BC, made by millefiori, reticella and ribbon glass
techniques, were part of luxury ware imported to Celtic (pre- Roman - La Tène) Europe. Their finds
come from hillforts (oppida), e.g. Bibracte/Mont Beuvray, Manching, Stradonice, but also from
open settlements, some ten sites in all. Mosaic vessels from Bohemia and Moravia have been studied
in detail, including the exceptional collection from the Staré Hradisko oppidum, one of the richest
assemblages in barbarian Europe. The 13 vessels from the site belong to Type 1 or Type 2 defined by
M. –D. Nenna in the collection from Delos. Celtic Europe was self-sufficient in glass objects at that
time, because local secondary glassworkshops produced the so-called „Celtic glass“ – specific
ornaments (armrings, finger rings, beads, pendants etc.) in a good quality and large quantity.
Polychrome glass vessels, however, were not produced by Celtic glass workshops. 36 samples from
mosaic vessels were submitted to scanning electron microscopy coupled with energy-dispersive X-ray
spectrometry (SEM-EDS), neutron activation analysis (NAA) and laser ablation inductively
coupled plasma spectrometry (LA-ICP). Their composition will be compared to that of Celtic glass
products of the 3rd-1st century BC, namely from Bohemia and Moravia belonging, according to
chemical analyses of almost 200 samples, to the LMG natron glass, made using mineral soda. Raw
glass importation to Celtic Europe is presumed; no glassmaking evidence (raw glass production) was
found there. The analyses provide evidence that there could have been a common source of raw glass
both for Celtic glass ornaments and for the Hellenistic mosaic glass vessels, although their colouring
need not have followed the same recipes.
195
POSTER
The core-formed vessels from the late Archaic to the late Hellenistic period:
capacity measurement to demonstrate standardized productions
VERHELST, Bieke 1 , COSYNS, Peter 1 , NYS, Karin 2
Free University Brussels, Department Art Sciences & Archaeology, Brussels, Belgium
Free University Brussels, Department Art Sciences & Archaeology, Mediterranean Archaeological
Research Institute, Brussels, Belgium
1
2
The proposed model assumes that glassworkers did not randomly produce the different shapes of
core-formed glass vessels in late Archaic to late Hellenistic period. We consider more likely the
pressing of a roughly formed core into a carefully prepared mould excluding coincidentally
corresponding hand-made cores and resulting in standardised shapes with specific volumes. Such
practice could facilitate a swift and easy creation of the desired shape and size to contain the required
volume of the vessel.
The motivation to use standardised shapes with fixed volume is multiple: (1) perfume marketers
needed to be certain to buy uniform sets of very recognizable vessels with the required volumes to
contain their produce; (2) customers feel more secure when familiar with vessel types of specific
perfume sellers connected to a fixed amount of a particular perfume; (3) most likely the standardised
volumes were subject to the measurement system in use; (4) not wanting to spend more glass, fuel or
time than necessary the glassworker was forced to improve the production process to survive
competition with workshops producing similar containers in other materials such as ceramics and
alabaster. This prompted glassworkers to develop an easy and rapid production process for each
vessel shape to estimate the desired volume as precisely as possible. A preliminary study proposed the
application of two different metrical systems in the production of core-formed vessels, indicating the
existence of two different productions each supplying a distinctive distribution market [1]. To
exclude randomness of this hypothesis volume measurements of an increased amount of objects
include large sets from for instance the British museum and the Louvre museum.
[1] Cosyns, P. & Nys, K. (2010) Core-formed Glass Vessels on Cyprus Reconsidered, in:
Christodoulou, S. & Satraki, A. (eds.) POCA 2007: Postgraduate Cypriot Archaeology Conference,
Newcastle upon Tyne: Cambridge Scholars Publishing, p. 231–261.
196
POSTER
The glass collections in the ‘Museum Aan de Stroom’ (MAS), Antwerp (Belgium)
WARMENBOL, Eugène 1 , COSYNS, Peter 2 , DE VOS, Annemie 3
CReA-Patrimoine, ULB, Brussels, Belgium
Dept. Art Sciences and Archaeology, VUB, Brussels, Belgium
3
Vleeshuismuseum, MAS, Antwerp, Belgium
1
2
The ‘Museum Aan de Stroom’ (MAS) is a very recent Antwerp museum inaugurated in 2011
including numerous remarkable collections. Here we consider the vast but ignored glass collection
originating from within the former ‘Vleeshuismuseum’. The long history of its gradual acquisitions
is the focus of this paper. Glass objects were already acquired from the late 19th century on, when the
‘Museum voor Oudheden’ was created. This museum was housed in the ‘Steen’ since 1864 and
moved in 1913 to the ‘Museum Vleeshuis’ to accommodate the collection of 80.000 artefacts. The
700 glass pieces were acquired gradually from the 19th century onwards, yet the major possessions
originate from the acquisition of the private collections of Alfred Elsen-Maquinay in 1938 and Paul
Osterrieth in 1940.
The glass collection encompassing objects from Roman times to the 20th century can be divided into
two main periodical groups. The focus of our paper will go to the first group consisting of glass from
Antiquity to the medieval period and embracing over 200 complete vessels ranging from the early
Roman imperial period to the early Islamic period. It includes cast, mould-blown and free-blown
vessels. No earlier material is present than 1st century AD vessels with ribbed bowls and date-shaped
mould-blown vessels. The eastern Mediterranean provenance of most material supposes quite
homogeneous acquisitions.
197
SESSION A
Une mosaïque de verre à thème chrétien (Ve s.), du site monastique copte des
Kellia (Basse-Egypte)
WEIDMANN, Denis
Independant scholar, Lausanne, Switzerland
La fouille méthodique du plus ancien centre de réunion monastique du site a livré en 1968 les restes
d’un opus sectile qui ornait une église construite peu après 450 AD. Le panneau représente une croix
monogrammatique inscrite dans une couronne, motif placé au centre d’une niche bordée de tentures
et de chandeliers. La nature des plaquettes de verres polychromes, ainsi que la structure du panneau
(armature de tessons d’amphores et mastic de résine), identiques à celle des panneaux de Kenchreai
(Grèce), attribuent vraisemblablement cette oeuvre à un atelier alexandrin.
198
POSTER
Masters of recycling: the reuse of Roman glass in the making of early medieval
stained glass windows at Müstair
WOLF, Sophie 1 , KESSLER, Cordula 2 , GOLL, Jürg 3 , TRÜMPLER, Stefan 1 , STERN,
Willem B. 4 , DEGRYSE, Patrick 5
Vitrocentre Romont, Swiss Research Center for Stainded Glass and Glass Art, Romont,
Switzerland
2
NIKE-Kulturerbe, Bern, Switzerland
3
Kloster St. Johann, Müstair, Switzerland
4
University of Basel, Basel, Switzerland
5
University of Leuven, Leuven, Belgium
1
The window glass unearthed at the Carolingian monastery of Müstair dating to between the 8th and
10th century AD – along with the glass finds from Sion, Sous-le Scex (5th–6th century AD) – are
among the oldest remains of stained glass windows in Switzerland. At Müstair, glass melting
crucibles, glass production waste, glass tesserae and lead cames give evidence of a local glass workshop
and, hence, are proof that the stained glass windows have been made locally.
Over 1000 fragments have been studied to answer questions regarding the provenance of the glass,
the production and the design of the windows as well as their significance in the larger historical
context.
In this poster presentation we will present the results of our observations, as well as chemical and
isotope analyses on 60 glass fragments. We will try to answer questions regarding the provenance of
the raw materials (glass and colouring agents) and the various stages in the production process: remelting and colouring of the glass, production of the glass sheets, cutting to form, assembling with
lead.
199
POSTER
Typological and scientific observations on Udjat eyes in Ohara Museum of Art –
New insight on the tradition of colouring mixtures during the Third Intermediate
Period to the Late period
YAMAHANA, Kyoko 1 , TOYAMA, Kanae 2 , ABE, Yoshinori 2 , NAKAI, Izumi 2
1
2
Tokai University, Tokyo, Japan
The Ohara museum of Art in Japan is known to have a wide variety of small amulets, which roughly
date around the Third Intermediate period to the Late period in Egypt. In the collection, there are
37 small Udjat-eye amulets, which vary in surface decorations and colours. There are major
categories; Type No. 1, flat Udjat plaque with raised black pigments applied on green-blue surface,
and Type No. 2, moulded or incised eye without raised pigments. The latter Udjat has strong blue
glaze with much fuller, three-dimensional form than the former.
No firm chronology or production sites have been attested to these amulets. However, it is generally
regarded that Type No. 1 dates approximately to the Late period, whereas Type No. 2 belongs to
much earlier dates, i.e., from the Third Intermediate to the Late period. We tentatively selected 15
specimens of Udjat-eye amulets among the two categories and made analysis to determine chemical
compositions.
The former category of Udjat (No.1) tends to contain iron (sometimes iron and cobalt) compound
for darker colour, and also lead antimonate compound to add a yellowish hue to the body-glaze. The
use of the above mentioned pigments became popular during the Ptolemaic period, when typical
lead-alkaline bi-chrome ware started to appear. On the other hand, manganese played a major role
for earlier No. 2 types.
Thus, it is now safe to establish a relative chronology that the mould-made blue Udjat with fuller
body shape and manganese black pigment gave its way to flat green-blue Udjat with relatively new
colouring mixtures - iron black and lead antimonate yellow. Also, it may not be too far to say that
the use of a new mixture of pigments consequently developed into Ptolemaic bi-chrome ware.
200
SESSION C
Early medieval glassworkers
ZIMMERMANN, Martin
Landesberufsschule für Glaser, Lübeck, Germany
The survey starts with the quite well documented artisanry of glassmakers in the classical Roman
Empire. At that time one can find different activities in glass working performed by free artisans,
slaves, free male and female entrepreneurs and public enterprises. While the raw glass was produced
in Syria/ Palestine and in Egypt, glass blowing and glass working occurred at different locations.
This caused a flourishing trade in the Mediterranean. The Levantine raw glass factories as well as the
raw glass trade to Western Europe continued up to the eighth century!
The European employers of the early medieval glassmakers (documented are bishops, abbots and
kings) had to provide the raw glass, optionally to produce raw glass on their own account, and after
the 8th century they had to find specialists experimenting with new glass recipes.
Many of the early medieval glassmakers were migrant workers, but this mobility shows no indication
of any free status of them. Those who were deployed with simple operations as the casting of
windowpanes or the production of simple hollow glasses were probably slaves or tied to a piece of
land. Their workshops were installed not only in monasteries as supposed up to now. The artisanry
of glassmakers survived the Early Middle Ages in general within the manorial system, ecclesiastical or
secular.
Free artisans are hardly conceivable in Europe at that time in comparison to the Roman Empire.
There were neither a local customer base nor established trade channels, both conditions to produce
in a profitable way. Free and highly qualified glass specialists originated in the Byzantine Empire and
in the Islamic countries, maybe in Italy (Mediterranean), so it will be shown that these regions were
the origins of some specialists glazing the representative building sites in Europe as well as
developing new glass recipes.
201
POSTER
Crizzling glass – Corrosion products and chemical composition of Bohemian glass
ZLÁMALOVÁ CÍLOVÁ, Zuzana 1 , MLSNOVÁ, Kateřina 1 , BROŽKOVÁ, Helena 2 ,
KNĚZŮ KNÍŽOVÁ, Michaela 1 , TROJEK, Tomáš 3 , KUČEROVÁ, Irena 1
University of Chemical Technology Prague, Prague, Czech Republic
Museum of Decoratives Arts in Prague, Prague, Czech Republic
3
Czech Technical University in Prague, Prague, Czech Republic
1
2
The damage of objects due to corrosion of glass can take many forms, and one of them is crizzling.
This term refers to a network of cracks on the object’s surface, accompanied by flaking of corroded
glass. This leads to a loss of material and to the total disintegration of the object.
This phenomenon is described primarily in connection with products manufactured in Central
Europe from the late 17th through 18th centuries, but it also occurs on younger objects.
This work focuses on the state of objects showing signs of crizzling; these objects originate from the
17th to 18th century and younger objects are dated to the first half of the 19th century (objects are
mostly of Bohemian origin). For the evaluation of corrosion products scanning electron microscopy
coupled with energy dispersive X-ray spectroscopy (SEM-EDS), X-ray diffraction (XRD) and
Fourier transform infrared spectroscopy (FTIR) were used for evaluation. The products are closely
related to the current storage conditions.
Another aim of the work is the study of the chemical composition of the glass and the comparison
of: (a) objects differing in their dating and (b) objects with Bohemian and foreign origin. The
obtained compositional data will be evaluated in the context of available data from the recipe book
of John the Baptist Eisner (from a glasswork dating to the 1st half of the 19th century) describing the
composition of the glass batch.
202
POST CONFERENCE TOURS
Saturday, 12 th September 2015
Fribourg – Hauterive (Neuchâtel) – Avenches – Fribourg
In the morning, tour of the largest archaeological museum in Switzerland, the Latenium in
Neuchâtel. The Museum, which opened in 2001, presents 50,000 years of the history of man in the
region. The finds on display come from important lakeside sites, several of which have given their
name to pre-historic periods, such as the Cortaillod or the La Tène culture. The Latenium is, in
addition, home to a collection of antique glass from the Near East.
After lunch in Hauterive (Neuchâtel), transfer to Avenches, the capital (Aventicum) of the Helvetii
who occupied a large part of actual Switzerland in Roman times. Tour of the Roman museum and
the special exhibition of Aventicum glass and glass finds from other Roman sites in Switzerland.
Viewing of the research collection, and visit of the remaining monuments of the Roman town.
Sunday, 13 th September 2015
Fribourg – Geneva – Lausanne – Fribourg
Coach trip from Fribourg to Geneva and tour of the Ariana Museum. Located in a park on the
banks of Lake Geneva, the Ariana is renowned for its collections of glass and ceramics covering
extensive periods of history. Two special exhibitions can be viewed: one presents the glass
production of the Saint-Prex (CH) glassworks and atelier, and the other the recent work of Anna
Dickinson (GB). Opportunity to view the reserve collection. Lunch in Geneva.
In the afternoon, visit to the Mudac (Musée de design et d’arts appliqués contemporains) in
Lausanne. Opportunity to visit the Gothic cathedral and view the stained glass.
203
EXCURSIONS « POST-CONGRÈS »
Samedi, 12 septembre 2015
Fribourg – Hauterive (Neuchâtel) – Avenches – Fribourg
Le matin, visite du Laténium, le plus grand musée archéologique de Suisse, dont les collections
témoignent de 50'000 ans d’histoire régionale. Les objets exposés proviennent de sites lacustres
d’importance, certains ayant prêté leur nom à des périodes chronologiques de la préhistoire, telle la
culture de Cortaillod ou la culture de Latène. Par ailleurs, le Laténium dispose d’une collection de
verres antiques du proche Orient.
Repas de midi à Hauterive. L’après-midi, visite d’Avenches et de son site romain, Aventicum,
capitale des Helvètes. Visite du Musée romain, de son exposition temporaire sur le verre antique
d’Aventicum et de quelques autres sites de Suisse, ainsi que des réserves et des monuments visibles de
la ville antique.
Dimanche, 13 septembre 2015
Fribourg – Genève – Lausanne – Fribourg
Voyage en car de Fribourg à Genève. Visite du Musée Ariana, célèbre pour ses collections de verres,
de porcelaines et de céramiques de différentes périodes. Le musée présentera deux expositions
temporaires, l’une portant sur les verreries de Saint-Prex (Suisse), l’autre sur les œuvres d’Anna
Dickinson (GB). Possibilité de visiter les réserves. Repas de midi à Genève.
Après-midi, visite du Mudac (Musée de design et d’arts appliqués contemporains) à Lausanne.
Possibilité de visiter la cathédrale gothique de Lausanne et ses vitraux.
204
“POST-CONFERENCE“ EXKURSIONEN
Samstag, 12. September 2015
Freiburg – Hauterive (Neuenburg) – Avenches – Freiburg
Am Morgen Besuch des Lateniums, grösstes archäologisches Museum der Schweiz. Dieses 2001
eröffnete Museum zeigt die Funde aus 50'000 Jahren Menschheitsgeschichte der Region. Sie
stammen aus den wichtigen prähistorischen Ufersiedlungen, die in der Forschung Namen gebend
geworden sind, so etwa für die Cortaillod-Kultur und die Latène-Zeit. Überdies beherbergt das
Latenium eine Sammlung von antikem Glas aus dem östlichen Mittelmeerraum.
Nach dem Mittagessen in Hauterive Fahrt per Bus nach Avenches / Aventicum, das in der
Römerzeit Hauptstadt der Helvetier war. Besuch des Römermuseums und seiner Sonderausstellung
zum Glas aus Aventicum und weiteren römischen Glasfunden aus der übrigen Schweiz. Besuch der
Studiensammlung und der noch sichtbaren Monumente der Römerstadt.
Sonntag, 13. September 2015
Freiburg – Genf – Lausanne – Freiburg
Reise per Bus von Freiburg nach Genf. Besuch des Musée Ariana, das bedeutende Sammlungen an
Glas, Porzellan und Keramik aus verschiedensten Zeitstellungen beherbergt, sowie von zwei
Sonderausstellungen, zum einen zur Glasproduktion in Saint-Prex (Schweiz) zum andern der
Werke von Anna Dickinson (GB). Besuch der Studiensammlung möglich. Mittagessen in Genf.
Am Nachmittag Besuch des Mudac in Lausanne (Musée de design et d’arts appliqués
contemporains). Möglichkeit des Besuchs der gotischen Kathedrale in Lausanne und seiner
Glasfenster.
205
206
LIST OF PARTICIPANTS · LISTE DES PARTICIPANT(E)S · LISTE DER
TEILNEHMER UND TEILNEHMERINNEN
In alphabetical order / par ordre alphabétique / in alphabetischer Reihenfolge
207
208
Name
Ababou
Abe
Firstname Institution
Mohamed
Yoshinari
Tokyo University of Science
ZIP code Place
22360
Lamtar
162-8601 Tokyo
Country
Algeria
Japan
E-mail
[email protected]
[email protected]
Adlington
Address
Cité des jardins
1-3 Kagurazaka, Shinjukuku
Laura Ware UCL Institute of Archaeology 31-34 Gordon Square
London
Ali Akin
Ankara
United
Kingdom
Turkey
[email protected]
Akyol
WC1H
0PY
06830
2035
8021
Corcelles
Zürich
Switzerland [email protected]
35131
Padova
Italy
Viale Stefano Franscini 30a 6501
Bellinzona
Avenue de la Paix 10
Kalavryton 14
1202
55133
Genève
Kalamaria
Greece
[email protected]
Pavillon Mollien
90 Rue des Plantes
75058
91230
Paris cedex 01
Montgeron
France
France
[email protected]
[email protected]
26 Bentley Rd.
Herzog Friedrichstr.22
107 rue de Rivoli
101 rue de Rivoli
Hebelstr. 47
Langer Weg 11
08831
6020
75001
75058
4056
6020
Monroe Twp.
Innsbruck
Paris
Paris cedex 01
Basel
Innsbruck
USA
Austria
France
France
Switzerland
Austria
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
Ambrosio
Amrein
Angelini
Angelino
Anthonioz
Antonaras
Arveiller
Audric
Auth
Awad
Ayroles
Barbe
Baumgartner
Bendeguz
Gazi University, Faculty of
Fine Arts
Elisa
Vitrocentre Romont
Heidi
Schweizerisches
Nationalmuseum
Ivana
Geoscienze Departement,
Padova University
MariaUfficio dei Beni Culturali,
Isabella
Servizio Archeologia
Stanislas
Musée Ariana
Anastassios Hellenic Ministry of Culture,
Museum of Byzantine Culture
Véronique Musée du Louvre DAGER
Thierry
Vitrocentre Romont,
Switzerland
Susan
Anna
Stadtarchäologie Hall i.Tirol
Véronique Musée des Arts décoratifs
Françoise
Musée du Louvre
Erwin
Tobias
Institut für Archäologien,
Fachbereich Ur- und
Frühgeschichte, Universität
Innsbruck
Golbasi Campus,
Golbasi/Ankara
Grand-Rue 38
Museumstrasse 2
Via G. Gradenigo 6
209
[email protected]
[email protected]
Berthon
Amélie
Aude
Bertini
Camilla
Bertini
Martina
Bettineschi
Cinzia
Bevc Varl
Biaggio-Simona
Valentina
Simonetta
Bidegaray
Biron
AnneIsabelle
Isabelle
von Boeselager
Bolli
Dela
Françoise
Bonnet Borel
Borell
Bova
Broschat
Françoise
Brigitte
Aldo
Katja
Brosh
Naama
Eveha, ARAR - UMR 5138,
Archéologie et Archéométrie,
Lyon
University of Nottingham
Eveha, 44 rue Proudhon
63000
128, Calderdale
NG8 2TU Nottingham
The British Museum,
Department of Conservation
and Scientific Research
University of Padova,
Department of Cultural
Heritage: Archaeology and
History of Art, Cinema and
Music
Regional Museum Maribor
Ufficio cantonale dei beni
culturali
Vrije Universiteit Brussel
Great Russel Street
WC1B
3DG
London
Capitaniato sq., 7
35139
Centre de recherche et de
restauration des musées de
France
Atelier VerGlas
Römisch-Germanisches
Zentralmuseum, Mainz
The Israel Museum Jerusalem
France
[email protected]
United
Kingdom
United
Kingdom
[email protected]
Padua
Italy
[email protected]
d.it
Grajska 2
2000
Viale Stefano Franscini 30a 6500
Maribor
Bellinzona
Slovenia
[email protected]
Pleinlaan 2
1050
Bruxelles
Belgium
Palais du Louvre, porte des
lions, 14 quai François
Mitterrand
Heumarkt 62
35, rue d'Orbe
75001
Paris
France
50667
1400
Germany
[email protected]
Évole 80
Friedrich-Ebert-Strasse 21
Schwedterstrasse 41
Ernst-Ludwig-Platz 2
2000
69221
10435
55116
Köln
Yverdon-lesBains
Neuchâtel
Dossenheim
Berlin
Mainz
Switzerland
Germany
Germany
Germany
[email protected]
[email protected]
[email protected]
[email protected]
P.O.B 71117
91710
Jerusalem
Israel
[email protected]
210
ClermontFerrand
[email protected]
[email protected]
[email protected]
Brüderle
Nicole
Bruna
Josee
Bütikofer
Maria
Çakmakli
Ömür
Dünya
Caluwé
Danielle
Ceglia
Černá
Andrea
Eva
Cesarin
Giulia
Corrêa Pinto
Amanda
Cosyns
Cottam
Peter
Sally
Rijksmuseum Amsterdam
Institut für Archäologische
Wissenschaften, Universität
Bern
Karabük Üniversitesi
Edebiyat Fakültesi / Faculty of
arts
Free Universty Brussels dept
Art History&Archaeology
Institute for Research and
Preservation of Archeological
Monuments of Northwest
Bohemia
Universität zu Köln,
Università degli Studi di
Padova
Vicarte - Research Unit "Glass
and Ceramics for the Arts" and
LACORE - Laboratory of
Conservation, Restoration and
Rehabilitation
Department of Classics, King's
College, London
Museumstraat 1
1071 XX
Amsterdam
Nieuw-Loosrechtsedijk 234 1231 LG
Loosdrecht
Bernastrasse 15A
3005
Bern
The
[email protected]
Netherlands
The
[email protected]
Netherlands
Demir Çelik Kampüsü
Baliklar Kayasi Mevki
78050
Karabük
Turkey
[email protected]
Pleinlaan
1050
Brussels
Belgium
[email protected]
Pleinlaan 2
Jana Žižky 835
1050
43401
Bruxelles
Most
Belgium
Czech
Republic
[email protected]
[email protected]
via G. Negro n. 3
33050
Castions di
Strada
Italy
[email protected]
Faculdade de Ciências e
Tecnologia
Universidade Nova de
Lisboa
Campus da Caparica
Pleinlaan 2
8 St Catherine's Court
2829-516
Caparica
Portugal
[email protected]
om
Belgium
United
Kingdom
[email protected]
[email protected]
211
1050
Brussels
W4 1 UH London
Coutinho
Inês
Degryse
Patrick
Demaux
Desjardins
Germaine
Tara
Dévai
Kata
Diani
and Restoration, FCT-UNL
KU Leuven, Geology
2829-516
Caparica
Portugal
[email protected]
3001
Leuven
Belgium
[email protected]
75006
W1U
4RW
1088
Paris
London
[email protected]
[email protected]
Budapest
France
United
Kingdom
Hungary
27100
Pavia
Italy
[email protected]
Dotsika
Duckworth
Maria
Grazia
Elissavet
Chloe
Tecnologia, Universidade
Nova de Lisboa, Campus da
Caparica
VAT BE 0419.052.173
Celestijnenlaan 200E, bus
2408
Membre AIHV et AFAV
1 rue Régis
SOAS, University of London 101 Marylebone High
Street, Flat C
MTA–ELTE Research Group Múzeum krt. 4B
for Interdisciplinary
Archaeology
Eötvös Loránd University
Institute of Archaeological
Sciences
Regione Lombardia via Andrea Alciato, 2
Direzione Generale Culture
INN, Demokritos
Neapoleos 27
University of Leicester
University Road
[email protected]
[email protected]
Dussubieux
Laure
The Field Museum
60605
Chicago
Ebnöther
Christa
3005
Bern
El Ansari
Eliezer Brunner
Eterović Borzić
Leila
Henrietta
Anamarija
Universität Bern, Institut für
Archäologische
Wissenschaften
1400 South Lake Shore
Drive
Bernastrasse 15a
Greece
United
Kingdom
USA
Bernstrasse 5
2, Haim Levanon St.
Poljanja Zemaljskog
Odbora 1
8952
69975
23000
Schlieren
Tel Aviv
Zadar
Israel
[email protected]
Croatia
[email protected]
Eretz Israel Museum Tel Aviv
Museum of Ancient Glass in
Zadar
212
15310
Athens
LE1 7RH Leicester
[email protected]
[email protected]
Fadić
Ivo
Filipponi
Fernando
Follmann-Schulz AnnaBarbara
Zadar
Musée du Louvre-Fondation
Patrima
ehem. Rheinisches
Landesmuseum/LVR
Landesmuseum Bonn
Institut Royal du Patrimoine
Artistique (IRPA)
Durham University
FontaineHodiamont
Foulds
Chantal
Foy
Danièle
Freestone
Ian
Frey
Jonathan
Fujii
Yasuko
Fünfschilling
Gai
Sylvia
Sveva
Ganor
Gençler-Guray
Adrienne
Çigdem
Gerber
Christophe Service archéologique du
canton de Berne
Elizabeth
Poljana Zemaljskog odbora, 23000
1
70 rue Saint-Dominique
75007
Zadar
Croatia
[email protected]
Paris
France
[email protected]
Am Agnesstift 7
53117
Bonn
Germany
[email protected]
1, parc du Cinquantenaire
1000
Bruxelles
Belgium
[email protected]
19 Wesley Court
DH7 8GZ Langley moor
[email protected]
13094
[email protected]
WC1H
0PY
8021
United
Kingdom
Aix-en-Provence France
Cedex 20
London
United
Kingdom
Zürich
Switzerland
03011
Frosinone
Italy
[email protected]
4302
33098
Augst
Paderborn
Germany
[email protected]
Jerusalem
Ankara
Israel
Turkey
Pontenet
Centre Camille Jullian, CNRS 5 rue du Château de
/Université Aix-Marseille
l'Horloge BP 647
UCL Institute of Archaeology 31-34 Gordon Square
Zürich, Amt für Städtebau,
Stadtarchäologie
Augusta Raurica
LWL-Archäologie für
Westfalen
Stadtarchäologie Paderborn
Israel Antiquities Authority
Baskent University
Amtshaus IV,
Lindenhofstrasse 19
via Circonv. Basciano, no.
24A, Alatri
Giebenacherstr. 17
Museum in der Kaiserpfalz
Ikenberg
BO box 586
9100402
Baskent Universitesi, Güzel 06810
Sanatlar Fakültesi
Baglica Kampusu
Clos des arbres 1
2733
213
[email protected]
[email protected]
[email protected]
[email protected]
Gerber
Yvonne
Gerbier
Aurélie
Geyssant
Giannetti
Jeannine
Francesca
Giovanetti
Giulia
Gorin-Rosen
Yael
Gratuze
Greiff
Bernard
Susanne
Grünewald
Martin
Gudenrath
William
Hanut
Frédéric
Henderson
Julian
Hidetoshi
Namiki
Departement AltertumsBlumenrain 28
wissenschaften, Klassische
Archäologie, Universität Basel
Musée national de la
Château d'Ecouen
Renaissance
50, rue de Sévigné
University of Padova
Vicolo Candoli 5
4051
Basel
95440
Ecouen
France
[email protected]
75003
33058
France
Italy
[email protected]
[email protected]
Soprintendenza Speciale per il
Colosseo, il Museo Nazionale
Romano e l'Area Archeologica
di Roma, Palazzo Massimo
-Università degli Studi di
Roma "La Sapienza"
Israel Antiquities Authority,
Glass Department
IRAMAT- CEB
Römisch-Germanisches
Zentralmuseum, Mainz
Bayerisches Landesamt für
Denkmalpflege
The Corning Museum of Glass
Via Calandrelli 6
00153
Paris
San Giorgio di
Nogaro (UD)
Roma
Italy
[email protected]
P.O.Box 586
9100402
Jerusalem
Israel
[email protected]
3D rue de la Férollerie
Ernst-Ludwig-Platz 2
45071
55116
Orléans
Mainz
France
Germany
[email protected]
[email protected]
Am Klosterberg 8
86672
Thierhaupten
Germany
[email protected]
One Museum Way
14830
Service public de Wallonie Direction de l'Archéologie
(DGO4)
Department of archaeology,
University of Nottingham
Tokyo university of the Arts
Rue des Brigades d'Irlande,
1
5100
Corning, New
USA
York
Jambes (Namur) Belgium
University Park,
Nottingham
12-8 ueno park,taito-ku,
NG7 2RD Nottingham
214
110-0007
Tokyo
United
Kingdom
Japan
[email protected]
[email protected]
[email protected].
uk
[email protected]
Higgott
Suzanne
The Wallace Collection
Hörack
Christian
Hosokawa
Takako
Musée d'art et d'histoire de
Neuchâtel
Hulst
Michel
Husband
Timothy
Ideli
Andrea
Ignatiadou
Despina
Ishida
Tami
Jackson
Caroline
Jackson-Tal
Ruth
Jargstorf
Jolidon
Jonášová
Sibylle
Yves
Šárka
Jossi
Pamela
Bureau monumenten en
archeologie, Amsterdam
The Metropolitan Museum of
Art, The Cloisters
Classical Archaeology,
Heidelberg University
National Archaeological
Museum
The University for the
Creative Arts
University of Sheffield
Institute of Archaeology,
Hebrew University of
Jerusalem
Vitrocentre Romont
Institute of Geology, The
Czech Academy of Sciences
Kunstglaserei Jossi
Werkstatt für Kunstglaserei
und Glasmalereirestaurierung
17 Windermere Avenue
Queen's Park
Esplanade Léopold-Robert
1
3-22-21 Hope-heights3-1F
Nishiogikita, Suginami-ku
Koolstraat 2
NW6 6LP London
2001
Neuchâtel
United
[email protected]
Kingdom
167-0042
Tokyo
Japan
1942EA
Beverwijk
Fort Tryon Park, 99
Margaret Corbin Drive
Am Hackteufel 2
10040
New York, NY
The
[email protected]
Netherlands
USA
[email protected]
69117
Heidelberg
Germany
[email protected]
Tositsa 1
10682
Athens
Greece
[email protected]
393 Swift Road, Farnham
GU9 0ER Surrey
United
Kingdom
United
Kingdom
[email protected]
[email protected]
Department of
S1 4ET
Archaeology, University of
Sheffield, Northgate House,
West Street,
83 Moshe Sharet
6240435
Sheffield
Tel Aviv
Israel
[email protected]
Fördestrasse 27
Au Château, CP 225
Rozvojová 269
24960
1680
165 00
4052
Germany
Switzerland
Czech
Republic
Switzerland
[email protected]
[email protected]
[email protected]
Birsstrasse 118
Glücksburg
Romont
Prague 6 Lysolaje
Basel
215
[email protected]
[email protected]
Jović Gazić
Kaiser
Katsnelson
Keller
Keller Lüthi
Kessler
Kindler
King
Klein
Klostermeyer
Knězů Knížová
Koivisto
Koob
Kos Zabel
Kotera
Krauter
Vedrana
Zadar
Astrid
Vitromusée Romont
Natalya
The Israel Museum Jerusalem
& The Israel Antiquities
Authority
Sarah
Vitrocentre Romont
Christine
Schweizerisches
Nationalmuseum,
Landesmuseum Zürich
Cordula M. Nationale Informationsstelle
zum Kulturerbe NIKE
Edgar
Keith
Michael
Landesmuseum Mainz
Johannes
Laura
Ludwig Maximilians
Universität München
Michaela
University of Chemistry and
Technology Prague
Kaisa
The Finnish Glass Museum,
Tehtaankatu 23
FI 11910 Riihimäki
Stephen
The Corning Museum of Glass
Mateja
Narodni muzej Slovenije /
National Museum of Slovenia
Chizuko
Research Fellow of Japan
Society for the Promotion of
Scienece
Anne
Hochschule der Künste Bern,
1
Rue de l'église 98
1680
P.O.B 71117
91710
Zadar
Croatia
Romont
Jerusalem
Israel
[email protected]
Au Château, CP 225
Museumstrasse 2
1680
8021
Romont
Zürich
Kohlenweg 12
3197
Liebefeld
Ensisheimerstrasse 15
3, rue de Lille
Karpfengasse 4
4055
75007
69117
Basel
Paris
Heidelberg
France
[email protected]
Germany
[email protected]
Thalkirchner Str. 27
80337
München
Germany
[email protected]
Technická 5, Prague 6
16628
Prague
[email protected]
Asemantie 24
FI 12240
Hikiä
Czech
Republic
Finland
One Museum Way
Presernova 20
14830
1000
Corning, NY
Ljubljana
USA
Slovenia
[email protected]
[email protected]
2-23-19
Higashitsutsujigaoka
Chofu-city
Fellerstr. 11
182-0005
Tokyo
Japan
[email protected]
3027
Bern
216
[email protected]
[email protected]
Fachbereich Konservierung
und Restaurierung
Krizanac
von
KerssenbrockKrosigk
Krueger
Kulessa
Milica
Dedo
Labaune-Jean
Françoise
Lagger
Florence
Lankton
James
Larson
Lavysh
Katherine
Krystsina
Lazar
Irena
Lecocq
Isabelle
Legendre
Lepri
Liefkes
Sarah
Barbara
Reino
Ingeborg
Birgit
Lochstrasse 52
Stiftung Museum Kunstpalast, Ehrenhof 4-5
Glasmuseum Hentrich
Landesamt für Denkmalpfege
Baden-Württemberg
artistique
(IRPA/KIK)
Service archéologique de l'Etat
de Fribourg
University College London
(UCL) Qatar
University of Michigan
Institute of Study of Arts,
Ethnography and Folklore of
the National Academy of
Sciences of Belarus
University of Primorska,
Faculty of Humanities
artistique
(IRPA/KIK)
College of Charleston
University of Cologne
Ceramics & Glass
8200
40479
Schaffhausen
Düsseldorf
Germany
[email protected]
Humboldtstr. 35
Berliner Str. 12
53115
73728
Bonn
Esslingen
Germany
Germany
[email protected]
[email protected]
1 impasse du Léon
35830
Betton
France
[email protected]
Planche Supérieure 13
1700
Fribourg
4F, 8-18 Myeong-Ryun 2Ga
Jongno-Gu
434 S. State St
Surganova str. 1/2
110-522
Seoul
South
Korea
[email protected]
48109
220072
Ann Arbor, MI
Minsk
USA
Belarus
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[email protected]
Titov trg 5
6000
Koper
Slovenia
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Parc du Cinquantenaire 1
1000
Bruxelles
Belgium
[email protected]
11884 Pleasant Hill Dr.
Via M.Morrone n.48
Cromwell Road
29554
Hemingway
00139
Rome
SW7 2RL London
USA
Italy
United
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[email protected]
[email protected]
217
Likhter
Julia
Schintlmeister
Lüthi
Luise
Dave
Machado
Andreia
Magni
Alessandra
Majerus
Malou
Maltoni
Sarah
Mandruzzato
ManucuAdamesteanu
Marschner
Martin Pruvot
Luciana
Gheorghe
Martinez
McCall
McHugh
Hannelore
Chantal
Department, Victoria &
Albert Museum
Archaeological research in
construction business
Kingdom
Luzhnetskaya nab. (quay).
2a, building 23b, offis 406
Gobergasse 34/2/8
Université de Lausanne
Anthropole - section
d'histoire de l'art
Vicarte - Resarch Unit "Glass Faculdade de Ciências e
and Ceramics for the Arts" and Tecnologia
Department of Conservation Universidade Nova de
Lisboa
Campus da Caparica
Dipartimento di Beni culturali via Tessitura 1/b
e ambientali, Università degli
Studi di Milano, Milano, Italy
ALHV
29, av. Gaston Diderich
119270
Moscow
Russia
1130
1015
Wien
Lausanne
Austria
[email protected]
2829-516
Caparica
Portugal
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23875
Osnago
Italy
[email protected]
1420
Luxembourg
Department of Geosciences,
University of Padova
via Giovanni Gradenigo, 6
35131
Padova
Luxembour [email protected]
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Italy
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Scala Santa 174
Str. Somesul Rece no 35 A
34135
013791
Trieste
Bucarest
Italy
Romania
Eduard-Schmid-Str. 5
Chemin de la Cherra 3
81541
1042
München
Assens
Germany
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Avda. de los Castillos s/n
116 Simmons Street
28925
2042
Alcorcón
Enmore
Spain
Australia
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USA
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Musee de la ville de Bucarest
Site et Musée romains
d'Avenches
Maria Luisa MAVA
Bernadette Archaeology Department
University of Sydney
Amy
Tiffany & Co.
218
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[email protected]
[email protected]
Medici
Teresa
Vicarte - Resarch Unit "Glass
Meek
Andrew
The British Museum
Tecnologia
Lisboa
Hangar III - Campus da
Caparica
Great Russell Street
Mendera
Milan
Marja
Hlaveš
University of Siena
Museum of Decorative Arts
Naef-Galuba
Nagel
Isabelle
Stefanie
Nakai
Izumi
Navarro
Juanita
Musée Ariana
Georg-August-Universität
Göttingen
Department of Applied
Chemistry
Tokyo University of Science
Nenna
MarieCEAlex, USR 3134 - CNRS
Dominique
Martine
Newby
Haspeslagh
Nikita
Noverraz
O'Hea
Oikonomou
Kalliopi
Camille
Margaret
Artemios
2829-516
Caparica
London
Via Lorenzoni 15
Malé Náměstí Sqr. 9
WC1B
3DG
50051
110 00
Georg-Schumann-Str. 22
1202
04155
United
Kingdom
Castelfiorentino Italy
Prague 1
Czech
Republic
Genève
Switzerland
Leipzig
Germany
Kagurazaka 1-3
Shinjuku
162-8601
Tokyo
21 George Road, New
Malden
50 rue Soliman Yousri
KT3 6BT Surrey
66B Kensington Church
Street
School of Cultures, Languages University Park
and Area Studies, University
of Nottingham
Vitrocentre Romont
Route de Rolle 2
The University of Adelaide
64 Queen St
University of Nottingham,
Humanities Building,
Department of Archaeology
University Park
219
21131
Alexandrie
W8 4BY
London
NG7 2RD Nottingham
1182
Gilly
5067
Norwood
NG7 2RD Nottingham
Portugal
Japan
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[email protected]
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United
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United
Kingdom
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Australia
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Artemios.Oikonomou@nottingh
am.ac.uk
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von Orelli
Barbara
Ouahnouna
Pactat
Brigitte
Inès
Painchart
Benoît
Parriaux
Olivier
Pastor
Paloma
Perović
Šime
Phelps
Matt
Plan
Isabelle
Poll
Pollak
Price
Ingrid
Rachel
Jennifer
de Pury-Gysel
Anne
Quintero Peréz
Ana
Kunsthistorisches Institut,
Universität Zürich
Israel Antiquities Authority
MSHE C. N. Ledoux (USR
3124), Université BourgogneFranche-Comté
AIHV - GenVerrE - AFAV
Rämistrasse 58
8001
Zürich
2 rehov zelda
18 rue Rivotte
97261
25000
Jerusalem
Besançon
Israel
France
[email protected]
[email protected]
Van Goolen 54
1200
Belgium
[email protected]
Laboratoire Hubert Curien
UMR CNRS 5516, Université
de Lyon à Saint-Etienne
Fundación Centro Nacional
del Vidrio, Museo Tecnológico
del Vidrio
Zadar
UCL Institute of Archaeology
18, Rue du Prof. B. Lauras
42000
Woluwe Saint
Lambert
Saint-Etienne
France
[email protected]
Paseo del Pocillo, 1
40100
San Ildefonso
Spain
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Poljana Zemaljskog odbora
1
5, Parkfield Road,
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4, rue du Puits-St-Pierre
23000
Zadar
Croatia
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UB10
8LN
1204
London
United
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Kingdom
Office du patrimoine et des
sites,
Service cantonal d'archéologie,
Etat de Genève
Musee de la ville de Bucarest
Str. Somesul Rece no 35 A
University of Haifa
Haprahim 9/25
Durham University
Garth End
Well Garth, Heslington
Vitromusée Romont.
Bernoullistrasse 20
Before: Site et Musée romains
Avenches
Musée Ariana
220
Genève
013791
Bucarest
3473305 Haifa
YO10 5JT York
4056
Basel
Romania
Israel
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Switzerland
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[email protected]
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Raux
Stéphanie
Institut National de
Recherches Archéologiques
Préventives
Philipps-Universität Marburg
Reinhardt
Reyns
Ricke
Robin
Helen
Natasja
Helmut
Laudine
Rodrigues
Alexandra
Vicarte - Resarch Unit "Glass
and Ceramics for the Arts and
Rohanová
Dana
Rolland
Joëlle
Technology, Prague
UMR 8215
Rosenow
Daniela
Rumyantseva
Olga
Rütti
Saguì
Sarpellon
Schaffner
Schaich
Schibille
Schneider
Beat
Lucia
Giovanni
Walter
Dieter
Nadine
Bettina K.
Bureau d'études Eveha
University College London
Institute of Archaeology of the
Russian Academy of Sciences
Museum Augusta Raurica
Università La Sapienza Roma
University Ca' Foscari Venezia
DGG FA 5
IRAMAT Orléans
Stiftung Preußische Schlösser
& Gärten Berlin Brandenburg
Les Ombelles
72560
Changé
France
[email protected]
Am Herrenfeld 22
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Lise-Meitner-Str. 35
87 avenue des Bruyères
35037
2880
40591
69150
Germany
Belgium
Germany
France
[email protected]
[email protected]
[email protected]
[email protected]
Tecnologia
Lisboa
Campus da Caparica
Technická 5
2829-516
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Bornem
Düsseldorf
DécinesCharpieu
Caparica
Portugal
[email protected]
166 28
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64 avenue de la Marne
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19, D. Ulianov street
WC1H
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Asnières-surseine
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Cannaregio 4925
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4302
00195
30121
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75014
14129
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221
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Schommers
Annette
Bayerisches Nationalmuseum
Prinzregentenstrasse 3
80538
München
Schuhmacher
Musée Ariana
1202
Genève
Sedláčková
AnneClaire
Hedvika
Archaia o.p.s., Brno
Bezručova 15/78
602 00
Brno
Sedláčková
Lenka
Archaia Brno o.p.s
Bezručova 15
60200
Brno
Shibuya
Ryoji
5-1 Nishicho,
930-0062
Toyama City
Shindo
Yoko
2-10-10-209, Hagiyamacho, Higashimurayama-shi
189-0012
Tokyo
Japan
[email protected]
Silvano
Flora
Via Galvani, 1
56126
Pisa
Italy
[email protected]
Simon
Laure
Rennes
France
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Maria
Torben
Helen
38 square des Hautes
Chalais
23 Sirinon
Hojstrupvej 71
Egis Riccarton
35200
Skordara
Sode
Spencer
Toyama Glass Art Museum
Director
Organizanization for Isramic
Area Studies,
Waseda University
Dipartimento di Civiltà e
Forme del Sapere
Inrap - Institut de recherches
archéologiques préventives
[email protected]
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Czech
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Republic
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Republic
Japan
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Bronshoj
Edinburgh
Chiara
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Denmark
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Squarcina
17561
2700
EH14
4AS
30124
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StaššíkováŠtukovská
Sonja
Danica
Kneza Mihaila 35/IV
Bizetova 19
11000
949 11
Belgrade
Nitra
Serbia
Slovakia
[email protected]
[email protected]
Štefanac
Berislav
Zadar
Croatia
[email protected]
Heriot Watt University
Fondazione Musei Civici di
Venezia
Institute of Archaeology
Filosoficka fakulta Univerzity
Karlovy, Praha, Ústav pro
pravěkou a ranou dobu
dějinnou
Zadar
1
222
Germany
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Steppuhn
Stern
Peter
E. Marianne
Sterrett-Krause
Allison
College of Charleston
Stolyarova
Ekaterina
Stucki
Ellinor
Swan
Tastemür
Carolyn
Emre
Then-Obluska
Joanna
Universität Bern, Institut für
Archäologische
Wissenschaften, Abteilung für
Archäologie der Römischen
Provinzen
UCL-Qatar
Uşak University
Faculty of Arts and Sciences
Archaeology Departman
University of Warsaw
Thornton
Dora
The British Museum
Tijssens
Huib
Tomkova
Katerina
Topić
Torge
Nikolina
Manfred
Tremblay
Lara
Institute of Archaeology
ASCR, Prague
Omega engineering d.o.o.
Bundesanstalt für
Materialforschung und prüfung
Service archéologique du
canton de Berne
Hauptstraße 10
Willibrorduslaan 87
23972
1216PA
Rambow
Hilversum
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ul. Dmitriya Ulyanova, 19
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Charleston, SC
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The
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117036
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Avenue Beauregard 14
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Qatar
Turkey
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00-497
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The
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234
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223
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Trümpler
Uboldi
Stefan
Marina
Vitrocentre Romont
Università Cattolica del Sacro
Cuore, Milano, Italy
Kazan Federal University
Université catholique de
Louvain
Musée-Atelier départemental
du Verre
Academy of Sciences
LAMA Laboratory, IUAV
University Venice
Valiulina
Van Wersch
Svetlana
Line
Vanlatum
Anne
Venclová
Natalie
Verità
Marco
Vilarigues
Márcia
Walter
Francis
Weidmann
Denis
Wight
Wolf
Wright
Karol
Sophie
Diane
Yamahana
Kyoko
Mission suisse d’archéologie
copte aux Kellia
Corning Museum of Glass
Vitrocentre Romont
Chrysler Museum of Art,
Curator of Glass
Tokai University, Japan
Zahnd
Beatrice
Musée d'art et d'histoire
Zeder
Isabelle
Au Château, CP 225
via Crispi, 2
1680
22100
Romont
Como
Italy
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Kremlin str., 18
3 rue du Marathon Bt L81101
1 rue du Général de Gaulle
420008
1348
Russia
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59216
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Louvain-laNeuve
Sars-Poteries
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Letenská 4
11801
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Castello 3371
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Tecnologia
Lisboa
Campus da Caparica
5, Allée F. Mitterrand
2829-516
Caparica
Portugal
[email protected]
67400
France
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Chemin de la Moraine 12
1162
IllkirchGraffenstaden
St-Prex/VD
One Museum Way
Au Château, CP 225
One Memorial Place
14830
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VA,
23510
259-1292
Corning
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Norfolk
USA
[email protected]
USA
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Hiratsuka-city,
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2000
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Bubendorf
4-1-1 Kitakaname,
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1
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224
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Zelentcova
Olga V.
Zietz
Rainer
Zimmermann
Zlámalová
Cílová
Martin
Zuzana
Rainer Zietz Ltd
Technology Prague
Dm. Ul'yanova, 19
117036
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Backbord 11
Technická 5
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