AUGUST 2015 AUGUST / NEW SERIES ISSUE 7

Glass and food XVIII National Study Days on Glass 16-17th of May 2015 , Broletto, Piazza della Vittoria

Special Issue LʼARTE DEL VETRO E DINTORNI of Pavia got involved Castello Visconteo; under the patronage of the Regione and the - A small exhibition of models Province of Pavia. of glass windows by Padre The Fondazione Banca del Costantino Ruggeri, who Monte di Lombardia supported worked in Pavia and whose the event. legacy is nowadays kept alive The main theme was chosen by the Foundation frate Sole to be consistent with the Expo and the laboratorio dello and proved popular among Studio Ricerca Arte Sacra of experts and associates. Pavia; Glass and food Prof. Luciano Piergiovanni Special Issue from the Department of Food - The display of a selection of Science and Microbiology glass dishes accompanying (DISTAM) of the Università the presentation of the project Statale of Milan opened the “Servito” by Joan Crous; convention with his lecture on PRESENTATION the specificities of glass as food - Lampwork beads by Muriel The XVIII National Study container. Other interesting Balensi, French by birth Days on Glass of the Italian OF THE presentations covered the but nowadays a citizen of Committee of the A.I.H.V., historical and archaeological Murano, in the courtyards of i.e. Association Internationale PRESIDENT perspectives. Just like every the Broletto, the convention pour l’Histoire du Verre, held in year, the Days hosted also headquarters. Pavia from 16th to 17th May, he XVIII Study Days general contributions on were so important that they on Glass and Food, research on glass as well as The Days were devoted deserve a special issue of Alte held for the first the updates of the Corpus of to the memory of Claudia Vitrie devoted to them. The time in Pavia at the stamps on glass in . Maccabruni, professor at the conference proceedings will Broletto,T took place twenty University of Pavia, member be published. However further years after its first edition The meeting has been of the A.I.H.V. Committee, in agreement with Board in Venice (December 1995) enhanced by a number of who was the first to study and of the Committee, it seems under the guidance of Gioia related events, open to publish the wonderful glass appropriate to inform readers Meconcelli and with Wladimiro the public: the Exhibition collection of the Musei Civici of Alte Vitrie about them too. Dorigo as President. “ATTRAvetro”. Art meets of Pavia more thanthirty years This also shows the strong ties Besides the Committee, the Glass” by Rosa Chiesa and ago. We really miss her. between ISVAV and A.I.H.V. Soprintendenza Archeologica Sandro Pezzoli, held in Ties with ancient roots. Back della Lombardia and the the beautiful rooms of the Maria Grazia Diani, President in 1993, Alte Vitrie published Culture Department of the Archaeological Museum of the A.I.H.V. Italian Committee an Information Bulletin drawn up by the Italian National Committee of the Association Internationale pour l’Histoire du Verre thus popularising it among its readers. The Study, devoted to “Glass and Food” as a homage to Expo 2015, were enriched by several contributions investigating this theme throughout history as well as discussing the latest innovations and archaeological findings. Other contributions, unrelated to the main theme, provided moments of reflection and useful updating opportunities.

The editorial staff opposite page: Arnaldo Pomodoro, “Glassphere”, bronze ball and colored blown glass, 2004. Private collection of the artist, Milano

side: Lino Tagliapietra, “Nautilus”, blown glass half-watermarked with inner membrane, 2010. Private collection of the artist, Murano (Venezia)

ATTRAvetro reference for the artistic scene the idea of a crossing, of a the A.I.H.V Italian Committee. Art meets Glass between 1976 and 1996. passing both physically, i.e. It offers an emotional journey Thanks to Aldo and Sandro’s of artists and of light through studded with items of big passion, the Scaletta, ahead matter, as well as philosophical dimensions in an endless of the times, invented a habit, one, i.e. the ability of glass succession of poetic registers. which was then unheard to attract, in all its shapes. It The natural world, masterfully T he “ATTRAvetro. of: artist and designer were also evokes how, thanks to the impressed in glass by Tony Art meets Glass” exhibition, asked to leave a trace of their light going through it, it can Zuccheri, converses with represents an attempt to presence and appreciation in produce reflexes, shapes and the Bestiario Marino by retrace a cultural route, that a carnet de notes. That was suggestions, thus making the Roberto Sambonet and the of intellectuals and artists how a heterogeneous and most of its creative ability. botanic interpretation by who were either from Milan lively collection of drawings “ATTRAvetro” is an Maria Grazia Rosin thus or were just visiting the city and thoughts got displayed exhibition rich in memories providing a counterpoint to and used to go to the Scaletta together with glass exhibits. and affection as well as the blitheness of the work restaurant. They bear testimony to the exceptional and unique by Alessandro Mendini that, It was an unusual restaurant. richness of relations and exhibits. It was organised at when light crosses it, almost Besides the comfort food interactions that unfolded and the Archaeological Museum seems to dematerialize. The could offer, it also provided interwove at the Scaletta. of the Castello Visconteo of absolute and fragile work by a meeting place that was The title of the exhibition Pavia by Sandro Pezzoli and Tagliapietra takes a stand to become a fundamental “ATTRAvetro” intends to evoke Rosa Chiesa and promoted by next to the ironical work by Richard Marquis while glass globes, bronze-caged by Arnaldo Pomodoro, triggers a contact with the boule by Giancarlo Frattini, an object that is the direct result of a formal simplification and represents a badge of a modernity not yet affected by present day complexity. The work by Laura Panno, an intense combination of dreamlike messages filtered by a surrealistic eye, joins the conceptual work by Silvia Levenson, while the romantic embrace by Fulvio Bianconi almost seems to look with curiosity at the diversity of the approaches. From the archaism of Giorgio Vigna ending up in a floral minimalism, to a virtuoso’s opulence of Dale Chihuly.

Glass and Food Special Issue

Also displayed are items by Enrico Baj, Emilio Tadini, Andrea Cascella, Cristiano Bianchin and Giulio Schiavon, and the experimentation work by Ettore Sottssass, the decorative one by Zanini and Aristide Najean, Richard Whitly, Lucio Perna, Jean Michel Folon, Luciano Gaspari, Ottavio Missoni and the homage exhibits by Joan Crus. “ATTRAvetro” invites the public to reflect on the fragility and beauty of glass while, thanks to the display of archaeological items, makes the public think about the durability of a material able to withstand time.

Rosa Chiesa e Sandro Pezzoli opposite page, above: glass window of the hall of the Oratory of San Giovanni Bosco in Brusaporto (BG), 2014. Luigi Leoni, Chiara Rovati

opposite page,below: : glass window of the Baptistery of the Parish Church of Saint Pius X in Guspini, Medio Campidano, Sardinia, 2010. Luigi Leoni, Chiara Rovati

side: small crackled glass bucket, colourless glass, blue thread. Area: Venice, end of 16th-17th Centuries, Town museums of Pavia

TOWN della Madonna del Divino GLASS Mantua Seminary. Interesting Amore in Roma, the Santuario MUSEUMS OF are also the compositions of dedicated to San Francesco WINDOWS coloured glass inserted in walls Saverio in Yamaguchi, Japan, CASTELLO like in the parish church of and the Church of Grotta del Santa Adele in Buccinasco. Latte in Bethlehem. WORKSHOP In 1966 the production of After enjoying the exciting VISCONTEO soldered, leaded and hand- experience of Padre Ruggeri, Pavia blown glass windows started. since 2007 we have been For us the use of glass in its manufacturing glass windows brightness of fusion has been and with unbiased enthusiasm fundamental, differently from we have been endeavouring to he workshop of glass the tradition requiring the use crown spaces made of light. windows,T which is a part of of a grisaille that darkens the This is what happened for he prestigious Studio Ricerca di Arte Sacra, glass thus making it opaque the library adjacent to the CastelloT Visconteo hosts has been operative in Pavia when light goes through it. old Benedictine monastery of different collections, as the since the ‘60s. Old-fashioned hand blown Maria Laach in Germany and Archaeological and Lombard It was hosted at first in the glass, whenever used in all its the recently built ecclesiastical Section, the Romanesque and Canepanova convent thanks glory and original transparency, hall in Brusaporto (BG) Renaissance Sections, and the to padre Costantino Ruggeri, allows sunrays to go through that bear testimony to how ancient Art Gallery, named an internationally famous it and penetrate rooms thus important it is to communicate after the aristocratic collector artist. The workshop has been creating atmospheres rich in beauty through glass, a Malaspina from Pavia, founder producing important glass mystery and spirituality and material rich in light and of the town’s first museum. windows exported all over the providing inner joy. colours. And also: Sala del Modello world for churches, private The artistic research, tied ligneo del Duomo; the Art homes and public buildings. as it is to contemporary Gallery of 16th and 17th Its first steps were expressiveness, has led Centuries; the Picture Gallery characterised by innovation to relinquish traditional of 19th Century; the Morone and resulted in the production figurativeness thus opening to Luigi Leoni e Chiara Rovati Collection, containing pieces of concrete panels studded ever-new creative visions full Studio Ricerca Arte Sacra, Pavia of 19th e 20th Centuries; with molten glass from of atmosphere. the Museo del Risorgimento; Murano crucibles. Among the most important the Ethnographic Museum One of the most important examples, the Nuovo Santuario Robecchi Bricchetti; the examples is the chapel of the Section of Modern Sculptures and a Gypsotech. the same time the collection 19th Century, especially of the The museum also has several The collection of antique glass started, and were chosen by Biedermeier period. Several are European pieces of unknown of the Archaeological Museum the marquis of Sannazzaro the techniques documented provenance. of Pavia is one of the most because of their artistic value from this period when the art A special place is reserved to important in northern Italy. The as well as for their technical of glass thrived. Venetian glass, fated from the best items were part of the features in accordance with Among the exhibits, some mid 19th Century to the 20th collection of Camillo Brambilla the vision of Enlightenment perfume containers and toilette Century. (1809-1892). Though in age. Painted glass items are articles are worth mentioning In particular: a 17th century many cases, it is difficult to more numerous than mold- as well as bottles and glasses small ice-glass bucket of holy trace the context of findings, blown produced ones with and plates, the so called use, two large serving dishes, it is possible to identify their ceramic inserts. They were “verres d’eau emboîtables”, one of which has an extremely origin in the area, manufactured in the ateliers night services placed on refined naturalistic diamond- i.e. that part of the territory of French porcelain makers tables and commodes in point engraving the end of of Pavia between the , at the beginning of the 19th many 19th Century homes. the 17th Century and the Tessin and Sesia rivers. The Century. Some of them are From a technical point of beginning of the 18th Century, exhibits show the richness micromosaics, of the same view, a crystal bottle made and some extremely rare cups and variety of the production period, manufactured in Rome by a technique named and saucers, for serving coffee of Roman age of 1st and 2nd in the workshop of Giacomo staining is also interesting. and chocolate, in milk glass, century AD. They are almost Raffaelli. Some Venetian pieces The process permitted to be enamelled with 18th Century exclusively freeblown. What are also displayed. Amongst obtained articles coloured landscapes. Especially precious is immediately noticeable is them: an extremely rare 18th in red or yellow by applying is a standing bowl, enamelled the variety of shapes, some Century avventurine plaque copper or silver sulfate that with naturalistic themes of which clearly relating painted with sacred subjects. were then put in the oven. and birds, manufactured in to ceramic, metal and Giulio Bariola donated another Other items are cased with the Renaissance period in semiprecious stone items. important glass collection in two or three layers of glass Cataluña. One of the most unusual 1958. There are about fifteen cladding, a technique especially objects is a scent container in pieces from Bohemia of the appreciated in the Biedermeir Maria Grazia Diani e Cristina Tonini period. Another exhibit is made of Annagrün, a green radioactive type of glass. For further information: Glass and food Others are in alabaster glass. www.museicivici.pavia.it Some are decorated with Special Issue enamels.

the shape of a dove, typical of the Lomellina and Tessin area. The glass items of the collection are also characterised by a wide variety of colours. Probably the most famous one is a pale blue two-handled cup, mold-blown, decorated with relief plants. It is signed in Greek letters by Ennion, a glassmaker of mid 1st Century AD who was specialised in cups, with or without handles, and jugs, to be tipically found in northern Italy, Dalmatia and the near East. The museum boasts an important collection of postclassical glass. A small part comes from the collection of Luigi Malaspina di Sannazzaro (1754-1835). They are about ten pieces of the 18th and 20th Centuries, i.e. opposite page: saucer for cup, colourless glass, blue chain. Freeblown, diamond spearhead engraving. Area: Venice, second half of 17th Century first decade of 18th Century, Towm museums of Pavia

side: balsam container in the shape of a dove, blue glass, free blown. From , località Marone, necropolis. Beginning of I Century AD, Town museums of Pavia

below: Ennion’s cup of the Town museums of Pavia during and before restoration

yellow interfering with the and a refractive index similar Some sections of the silicone correct lecture of the object. to glass. mould had to be removed RESTORATION It was possible, under the The resin was coloured to and replaced to avoid the microscope to highlight that match the original tone of the reproduction of a wrong OF ENNION’S the cup was made of five glass. pattern in the decoration. portions glued together and The most difficult step was to CUP that there were micro abrasion fill in a neutral way big gaps, on the surface around the proportionally to the object Silvia Ferucci TOWN MUSEUMS filled gaps, but the glass was dimensions. The smallest gaps Kriterion s.n.c., Bologna not altered or degraded. were firstly filled in order to OF PAVIA It was not difficult to remove have more surface available to the old fill material in the gaps build the silicone walls for the but it was not possible to larger gap mould. dismantle the cup despite of The walls were obtained several attempts. applying silicone rubber on a This would have allowed, to larger area than the missing remove completely, the old one. adhesive chromatically altered. restoration re- In order to avoid any more treatmentA was necessary when stress to the object, it was the cup signed by Ennion decided not to dismantle it. belonging to the Pavia Town The missing parts were than Museum, was selected for the rebuilt. The technique used exhibition at the Metropolitan was to pour into straws a low Museum of New York “Ennion: viscosity resin inside a double- Master of Roman Glass” and sided mould made of dentist “Ennion and his legacy” at silicone rubber. the Corning Museum of Glass, This method needs several on display now. The cup was steps in an accurate sequence previously restored when the and absolute precision. Pavia Town Museum was firstly The resin used was Hxthal established, it was assembled NYL, an epoxy specially and all the losses in the upper designed for glass part were filled. conservation, with specific The old resin had visibly turned properties as high endurance “Glass and food” imperial period from Calvatone- Fragment of mold-blown bowl section Bedriacum (CR) from the excavations in Piazza - Aprille C. Nace, America’s Marconi, Cremona Favorite Dish: Celebrating a - Riccardo Di Giovannandrea, - Luciano Piergiovanni, The Century of Pyrex Head-shapes Vessels made in peculiarities of the glass and the mold-blown glass: a study project performance of glass containers - Serena Scansetti, Ancient glass for storage of food quality “Updates for the Corpus from (PV) at the Museo XVIII - Giuseppina Spagnolo Garzoli, of stamps on glass in di Antichità, Torino Instrumentum escarium in glass - Maria Grazia Diani-Rosanina NATIONAL in the furniture of the necropolis Italy”section Invernizzi, Ancient glass from of Craveggia (VCO). Small and Lomello (PV), Villa Maria: large facilities - Matteo Marcato, A glass mark highlights from the Roman and STUDY DAYS - Amanda Zanone, The canteen from the archaeological area of early medieval contexts of the dead: some considerations via Neroniana in Montegrotto - Elena Maria Menotti, Glass ON GLASS: on the use of gilded glass in late Terme (PD) from Roman graves in Mantova PROGRAM Roman funerary area - Sime Perovic, Updates on the “Other research on - Maria Fortunati - Chiara Ficini, reuse, in Roman times, of the Recent discoveries of Roman broken glass objects glass” section glass in Bergamo area - Francesca Giannetti - Roberta - Fulvia Butti - Stefania Jorio, 16-17 th of Giuliani - Maria Turchiano, Glass - Lucina Vattuone, The glass in Traces of glass melting in Como and food between Late Antiquity the museum collection of the - Stefania Jorio, Elite object May 2015 and the Middle Ages: reflections Pontifical Biblical Institute glass: the case of Laus from some case studies of Central - Simone G. Lerma, Enamelled - Alessandra Marcante - Diego Puglia Medieval glass from the Calaon, Torcello (VE): new - Marina Uboldi, A problem of : the finds from acquisitions from recent PAVIA, form / function: bottle medieval Moncalieri and Turin excavations near the church of inner ring - Silvia Ferucci, The restoration Santa Maria Assunta BROLETTO - Chiara Guarnieri - Lisa Cervigni, of Ennion’s cup in Town museum - Maria Fortunati - Marina Glimpses of everyday life as a of Pavia Uboldi - Marco Verità - Serena palace of Mantua onthe 16th and - Rosanina Invernizzi - M. Cristina Panighello - Mauro Rottoli, An 17h century: the glass furniture Tonini, Renaissance glass from exceptional discovery of a burial - Silvia Ciappi, Sumptuous archaeological excavation: Pavia glass ornaments of late 16th banquets, small tables and and Stradella century in the Church of St. cupboards in the pictorial images - Paolo Zecchin, Italian Augustine in Bergamo of the 16th and 17th century: glassmakers in the Iberian - Alessandra Magni - Gabriella opulent foods and simple meals, peninsula in the 17th- 18th Tassinari, Glass Hercules. The fine glass and glass in common century iconography of the hero and the use - Marco Verità - Sandro Zecchin, study of gems and glass paste - Teresa Medici, Cabaças: bgourd- Venetian glass technology in 19th shaped bottles between Venice, century between tradition and Spain and Portugal innovation CREDITS OF IMAGES - Mariateresa Chirico - Giulia - Claudia Zaccagnini, The bread - Cover and images 8 and 9: Silvia Ferucci, Musso, Useful object in glass and wine: symbolic and narrative Kriterion s.n.c., Bologna from Altare. Form, function, aspects of sacred art of Giovanni - Image 1: © Pietro Carrieri technique in some particular Hajnal - Image 2: © Francesco Allegretto objects of MAV - Joan Crous, Served! - Images. 3 and 4: Studio Ricerca di Arte - Angela Lidia Deodato, The glass - Franco M. Pallavicini, Sacra, Pavia tableware and food storage in Glass paperweights, a little magic - Images 5, 6: Pavia, Town museums of Castello Biella in the Roman period of color, transparency and light Visconteo - Elisabetta Roffia, Glass - Daria Banchieri, “Beads form - Image 7: Pavia, Town museums of Castello vessels from the excavation of the Pile Dwellings”from the moist Visconteo,under license from Archaeological Capitolium in Brescia environment: Isolino Virginia- Soprintendenza of - Miriam Romagnolo, New Lago di Varese testimony of glass forms for - Maria Grazia Diani - Lynn Arslan tableware in the middle and late- Pitcher, Ennion in Cremona?

Editorial staff: Istituto per lo Studio del With the support Cover: Mariateresa Chirico Vetro e dell’Arte Vetraria of Ennion’s cup of Town museums Matteo Fochessati Piazza del Consolato, 4 Fondazione of Pavia after the restoration Giulia Musso 17041 Altare (SV) - Italy A. De Mari Tel +39019584734 [email protected] www.museodelvetro.org

progetto grafico www.7vicocrema.it