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Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production
Reflecting Antiquity explores the rediscovery of Roman glass and its influence on modern glass production. It brings together 112 objects from more than 24 lenders, featuring ancient Roman originals as well as the modern replicas they inspired. Following are some of the highlights on view in the exhibition. Portland Vase Base Disk The Portland Vase is the most important and famous work of cameo glass to have survived from ancient Rome. Modern analysis of the vase, with special attention to the elongation of the bubbles preserved in the lower body, suggest that it was originally shaped as an amphora (storage vessel) with a pointed base. At some point in antiquity, the vessel suffered some damage and acquired this replacement disk. The male figure and the foliage on the disk were not carved by the same Unknown artist that created the mythological frieze on the vase. Wearing a Phrygian cap Portland Vase Base Disk Roman, 25 B.C.–A.D. 25 and pointing to his mouth in a gesture of uncertainty, the young man is Paris, a Glass Object: Diam.: 12.2 cm (4 13/16 in.) prince of Troy who chose Aphrodite over Hera and Athena as the most beautiful British Museum. London, England GR1945.9-27.2 goddess on Mount Olympus. It is clear from the way the image is truncated that VEX.2007.3.1 it was cut from a larger composition, presumably depicting the Judgment of Paris. The Great Tazza A masterpiece of cameo-glass carving, this footed bowl (tazza) consists of five layers of glass: semiopaque green encased in opaque white, green, a second white, and pink. -
Catalogue of the Mediaeval Ivories Enamels Jewellery
\5^ i ^*> FITZWILLIAM MUSEUM MCCLEAN BEQUEST CAMBRIDGE UNIVERSITY PRESS ILonDon: FETTER LANE, E.G. C. F. CLAY, Manackr u *[ .«...r^^ GFUinturgJ) : loo, PRINCES STREET Btrlin: A. ASHER AND CO. 1Lfip>ig: F. A. BROCKHAUS i^tiu Sork: G. P. PUTNAM'S SONS iSombaB Bnti ffalnittn : MACMILLAN AND CO.. Ltd. All rights reservai FITZWILLIAM MUSEUM MACLEAN BEQUEST CATALOGUE OF THE MEDIAEVAL IVORIES, ENAMELS, JEWELLERY, GEMS AND MISCELLANEOUS OBJECTS BEQUEATHED TO THE MUSEUM BY FRANK MCCLEAN, M.A., F.R.S. BY O. M. DALTON, M.A. Cambridge : at the University Press 1912 M Camiriirgf : PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS PREFACE " I ""HE present catalogue, though limited in extent, is concerned -^ with of a kind difficulties I objects presenting peculiar ; cannot claim to have surmounted all of these or to have avoided all the errors besetting the classification of similar works of art. In the Introduction I have tried to summarize our present knowledge, and to provide such references to the literature of each subject as will enable the reader to consult original sources of information. I wish to express my great indebtedness to Dr Montague James and Mr S. C. Cockerell for kind assistance rendered at various times during the preparation of the work, and in an especial degree to Dr C. H. Read of the British Museum, who has examined the collection with me and placed his wide knowledge freely at my disposal. The descriptions of nos. io8— 109 and of the Egyptian, Assyrian and Babylonian objects, nos. 119— 143, have been supplied by Mr F, W. -
Wikimedia with Liam Wyatt
Video Transcript 1 Liam Wyatt Wikimedia Lecture May 24, 2011 2:30 pm David Ferriero: Good afternoon. Thank you. I’m David Ferriero, I’m the Archivist of the United States and it is a great pleasure to welcome you to my house this afternoon. According to Alexa.com, the internet traffic ranking company, there are only six websites that internet users worldwide visit more often than Wikipedia: Google, Facebook, YouTube, Yahoo!, Blogger.com, and Baidu.com (the leading Chinese language search engine). In the States, it ranks sixth behind Amazon.com. Over the past few years, the National Archives has worked with many of these groups to make our holdings increasingly findable and accessible, our goal being to meet the people where they are. This past fall, we took the first step toward building a relationship with the “online encyclopedia that anyone can edit.” When we first began exploring the idea of a National Archives-Wikipedia relationship, Liam Wyatt was one of, was the one who pointed us in the right direction and put us in touch with the local DC-area Wikipedian community. Early in our correspondence, we were encouraged and inspired when Liam wrote that he could quote “quite confidently say that the potential for collaboration between NARA and the Wikimedia projects are both myriad and hugely valuable - in both directions.” I couldn’t agree more. Though many of us have been enthusiastic users of the Free Encyclopedia for years, this was our first foray into turning that enthusiasm into an ongoing relationship. As Kristen Albrittain and Jill James of the National Archives Social Media staff met with the DC Wikipedians, they explained the Archives’ commitment to the Open Government principles of transparency, participation, and collaboration and the ways in which projects like the Wikipedian in Residence could exemplify those values. -
Collecting the World
Large print text Collecting the World Please do not remove from this display Collecting the World Founded in 1753, the British Museum opened its doors to visitors in 1759. The Museum tells the story of human cultural achievement through a collection of collections. This room celebrates some of the collectors who, in different ways, have shaped the Museum over four centuries, along with individuals and organisations who continue to shape its future. The adjoining galleries also explore aspects of collecting. Room 1: Enlightenment tells the story of how, in the early Museum, objects and knowledge were gathered and classified. Room 2a: The Waddesdon Bequest, displays the collection of Renaissance and Baroque masterpieces left to the British Museum by Baron Ferdinand Rothschild MP at his death in 1898. Gallery plan 2 Expanding Horizons Room 1 Enlightenment Bequest Waddesdon The Room 2a 1 3 The Age Changing of Curiosity Continuity 4 Today and Tomorrow Grenville shop 4 Collecting the World page Section 1 6 The Age of Curiosity, 18th century Section 2 2 5 Expanding Horizons, 19th century Section 3 80 Changing Continuity, 20th century Section 4 110 Today and Tomorrow, 21st century Portraits at balcony level 156 5 Section 1 The Age of Curiosity, 18th century Gallery plan 2 Expanding Horizons 1 3 The Age Changing of Curiosity Continuity 4 Today and Tomorrow 6 18th century The Age of Curiosity The Age of Curiosity The British Museum was founded in 1753 as a place of recreation ‘for all studious and curious persons’. Its founding collection belonged to the physician Sir Hans Sloane (1660–1753). -
Roman Art Kindle
ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome. -
Contextualizing the Archaeometric Analysis of Roman Glass
Contextualizing the Archaeometric Analysis of Roman Glass A thesis submitted to the Graduate School of the University of Cincinnati Department of Classics McMicken College of Arts and Sciences in partial fulfillment of the requirements of the degree of Master of Arts August 2015 by Christopher J. Hayward BA, BSc University of Auckland 2012 Committee: Dr. Barbara Burrell (Chair) Dr. Kathleen Lynch 1 Abstract This thesis is a review of recent archaeometric studies on glass of the Roman Empire, intended for an audience of classical archaeologists. It discusses the physical and chemical properties of glass, and the way these define both its use in ancient times and the analytical options available to us today. It also discusses Roman glass as a class of artifacts, the product of technological developments in glassmaking with their ultimate roots in the Bronze Age, and of the particular socioeconomic conditions created by Roman political dominance in the classical Mediterranean. The principal aim of this thesis is to contextualize archaeometric analyses of Roman glass in a way that will make plain, to an archaeologically trained audience that does not necessarily have a history of close involvement with archaeometric work, the importance of recent results for our understanding of the Roman world, and the potential of future studies to add to this. 2 3 Acknowledgements This thesis, like any, has been something of an ordeal. For my continued life and sanity throughout the writing process, I am eternally grateful to my family, and to friends both near and far. Particular thanks are owed to my supervisors, Barbara Burrell and Kathleen Lynch, for their unending patience, insightful comments, and keen-eyed proofreading; to my parents, Julie and Greg Hayward, for their absolute faith in my abilities; to my colleagues, Kyle Helms and Carol Hershenson, for their constant support and encouragement; and to my best friend, James Crooks, for his willingness to endure the brunt of my every breakdown, great or small. -
Glass of the Roman World Belongs to the Publishers Oxbow Books and It Is Their Copyright
This pdf of your paper in Glass of the Roman World belongs to the publishers Oxbow Books and it is their copyright. As author you are licenced to make up to 50 offprints from it, but beyond that you may not publish it on the World Wide Web until three years from publication (June 2018), unless the site is a limited access intranet (password protected). If you have queries about this please contact the editorial department at Oxbow Books ([email protected]). An offprint from GLASS OF THE ROMAN WORLD Hardcover Edition ISBN 978-1-78297-774-2 Digital Edition ISBN 978-1-78297-775-9 Edited by Justine Bayley, Ian Freestone and Caroline Jackson © Oxbow Books 2015 Oxford & Philadelphia www.oxbowbooks.com Published in the United Kingdom in 2015 by and in the United States by OXBOWBOOKS OXBOWBOOKS 10 Hythe Bridge Street, Oxford OX1 2EW 908 Darny Road, Havertown, PA 19083 in association with THE ASSOCIATION FOR THE HISTORY OF GLASS © Oxbow Books and the individual authors 2015 Hardcover Edition ISBN 978-1-78297-774-2 Digital Edition ISBN 978-1-78297-775-9 A CIP record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Glass of the Roman world / edited by Justine Bayley, Ian Freestone, and Caroline Jackson. pages cm Summary: "These 18 papers by renowned international scholars include studies of glass from Europe and the Near East. The authors write on a variety of topics where their work is at the forefront of new approaches to the subject. They both extend and consolidate aspects of our understanding of how glass was produced, traded and used throughout the Empire and the wider world drawing on chronology, typology, patterns of distribution, and other methodologies, including the incorporation of new scientific methods. -
Large Print Guide
The Waddesdon Bequest Funded by The Rothschild Foundation Contents Section 1 5 Section 2 9 Section 3a 13 Section 3b 27 Section 4a 43 Section 4b 61 Section 5a 75 Section 5b 91 Section 6a 101 Section 6b 103 Section 6c 107 Section 6d 113 Section 6e 119 Section 6f 123 Section 6g 129 Section 6h 135 Section 7a 141 Section 7b 145 Section 7c 149 Section 7d 151 Section 7e 153 Section 7f 157 Section 7g 163 Section 7h 169 Section 7i 173 Section 7j 179 Section 8 187 Entrance 8 2 3a 7j 1 7i 7h 3b 6a 7g 4a 6b 7f 6c 7e 6d 7d 4b 6e 7c 5a 6f 7b 6g 7a 6h 5b 4 Section 1 Entrance 8 2 3a 7j 1 7i 7h 3b 6a 7g 4a 6b 7f 6c 7e 6d 7d 4b 6e 7c 5a 6f 7b 6g 7a 6h 5b 5 The Waddesdon Bequest is a collection of outstanding quality generously bequeathed to the British Museum in 1898 by Baron Ferdinand Rothschild MP (1839–1898). It is a family collection, formed by a father and son: Baron Anselm von Rothschild (1803–1874) of Frankfurt and Vienna, and Baron Ferdinand, who became a British citizen in 1860, and a Trustee of the British Museum in 1896. Named after Baron Ferdinand’s Renaissance-style château, Waddesdon Manor in Buckinghamshire, the Bequest is a 19th-century recreation of a princely Kunstkammer or ‘art chamber’ of the Renaissance. The collection demonstrates how, within two generations, the Rothschilds expanded from Frankfurt to become Europe’s leading banking dynasty. -
Results and Data Analysis
A SCIENTIFIC AND ARCHAEOLOGICAL INVESTIGATION OF PREHISTORIC GLASSES FROM ITALY. by Andrew C. Towle, BA. MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy, January 2002. CONTENTS CHAPTER 1: INTRODUCTION 1 1.1 Project Origins 1 1.2 Sample Collection 1 1.3 selection of analytical techniques 5 1.4 The investigation of glass technology 6 1.5 Technological aspects of glass beads 7 1.6 Objectives of the project 8 CHAPTER 2: THE EVIDENCE FOR GLASS PRODUCTION IN PREHISTORIC NORTHERN ITALY, AND ASSUMPTIONS UNDERPINNING ITS STUDY 10 2.1 Evidence for early glass production in prehistoric Italy: the Middle to Final Bronze Age 10 2.2 Characteristic glass forms from prehistoric Italy: The Early Iron Age and Etruscan periods 17 2.3 Theoretical assumptions underpinning the research 22 2.4 The relationship between technology and society 28 2.5 Summary 37 CHAPTER 3: THE ARCHAEOMETRY OF ANCIENT GLASS 39 3.1 Introduction 39 3.2 Physical and Chemical Properties of Glass 39 3.3 Why are glasses complex materials? 44 3.4 Related Materials 45 3.4.1 Faience 45 3.4.2 Slag 47 3.4.3 Glazes 47 3.5 Earliest glass 48 3.6 Sources of Information on glass technology 49 3.6.1 Texts 49 3.6.2 Development of modern glass industries 55 3.6.3 Direct study of ancient materials. 55 3.6.4 Experimental work 56 3.7 Interpreting compositional analyses of glass 57 3.7.1 Silica 59 3.7.2 Soda 66 3.7.3 Potash 73 3.7.4 Magnesia 77 3.7.5 Alumina 80 3.7.6 Calcium oxide 83 3.7.7 Phosphorous pentoxide 86 3.7.8 Copper oxide 87 3.7.9 Lead oxide 92 3.7.10 Chlorine 96 3.7.11 Chromium oxide 97 3.7.12 Tin oxide 97 3.7.13 Bismuth oxide 99 3.7.14 Nickel oxide 100 3.7.15 Manganese oxide 100 3.7.16 Antimony compounds 103 3.7.17 Silver oxide 105 3.7.18 Gold 106 3.7.19 Arsenic 107 3.7.20 Cobalt oxide 108 3.7.21 Titanium oxide 115 3.7.22 Sulfur 115 3.7.23 Iron oxide 116 3.7.24 Barium oxide 119 3.7.25 Zinc oxide 120 3.8 Conclusions 120 CHAPTER 4: ANALYTICAL PROCEDURES 122 4.1. -
Diatreta Cups, Light in Roman Dining Spaces
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UDORA - University of Derby Online Research Archive Diatreta Cups, Light in Roman Dining Spaces Item type Article Authors Carnevale, Valeria Citation arnevale, V. (2015) Diatreta Cups, Light in Roman Dining Spaces. In: ArchTheo '15 Theory and History of Architecture'conference proceedings.DAKAM Publishing, Isambul. pp 478-487 Publisher DAKAM - Eastern Mediterranean Academic Research Center Downloaded 14-Dec-2017 13:50:41 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to item http://hdl.handle.net/10545/618801 ARCHTHEO ’15 IX. THEORY AND HISTORY OF ARCHITECTURE CONFERENCE PROCEEDINGS ARCHTHEO ’15 IX. THEORY AND HISTORY OF ARCHITECTURE CONFERENCE PROCEEDING DAKAM PUBLISHING CONFERENCE PROCEEDINGS NOVEMBER 5-7, 2015 ISTANBUL Özgür Öztürk DAKAM YAYINLARI November 2015, İstanbul. www.dakam.org Firuzağa Mah. Boğazkesen Cad., Çangar İş Merkezi 36/ 2, 34425, Beyoğlu, İstanbul ARCHTHEO ’15 / Ix. Theory and History of Architecture Conference Proceedings November 5-7, 2015, İstanbul organized by DAKAM (Eastern Mediterranean Academic Research Center) Edited by: Hande Tulum Cover Design: D/GD (DAKAM Graphic Design) Print: Metin Copy Plus Mollafenari Mah., Türkocağı ACad. 3/1, Mahmutpaşa/Istanbul, Turkey ISBN: 978-605-9207-10-2 Scientific Committee: Prof. Dr. Aydan Balamir, Middle East Technical University Prof. Dr. Aylâ Fatma Antel, Mimar Sinan Fine Arts University Prof. Dr. Axel Sowa, RWTH Aachen University Prof. Bart Lootsma, Leopold-Franzens University of Innsbruck Prof. Dr. Gülsüm Baydar, Yaşar University Prof. Dr. Ömür Barkul, Yıldız Technical University Prof. Dr. Şengül Öymen Gür, Beykent University Patrick Weber, UCL, Storp-Weber-Architecture Associate Professor Füsun Seçer Kariptaş, Haliç University Associate Professor Gökçeçiçek Savaşır, Dokuz Eylül University Associate Professor Leyla Alpagut, Abant İzzet Baysal University Associate Professor Neşe Gurallar, Gazi University Associate Professor Özen Eyüce, Bahçeşehir University Associate Professor Dr. -
Royal Gold: Reflections of Power
Podcast transcript Royal Gold: Reflections of Power The Queen's Gallery, Buckingham Palace Wednesday, 17 December 2014 Kathryn Jones, Senior Curator of Decorative Art, Royal Collection Trust Hello, and welcome to a podcast from Royal Collection Trust where we’ll be looking at how gold has for centuries been associated with royalty. Traditionally it has been used to create the regalia and other trappings associated with coronations, yet surprisingly few items in the Royal Collection are made from solid gold. Coming up, Kathryn Jones, Curator of Decorative Arts at Royal Collection Trust, gives a lecture entitled, ‘Royal Gold: Reflections of Power’ at the Queen’s Gallery, Buckingham Palace. She will examine a few of these works of art in detail and explore how gold has been used to denote the highest degree of status and authority. This is an enhanced podcast so you’ll be able to see the images being spoken about on the screen of your device. [00:48] Kathryn Jones: Good afternoon everyone. A German visiting Windsor Castle in 1598 recorded that ‘The walls of the Palace shine with gold and silver’ and noted a cabinet where ‘Besides everything glitters so with silver, gold and jewels as to dazzle one’s eyes’. In 1517 Henry VIII held a great banquet at Whitehall for the Ambassadors of France and the Venetian Republic where a great buffet was placed beside the dining table. The display included silver and gold vases worth vast treasure and larger vases of silver gilt. After the banquet the plate was deliberately left on show so that the public could come and view it. -
Museums and the Origins of Nations Sheila Watson
Great Narratives of the Past. Traditions and Revisions in National Museums Conference proceedings from EuNaMus, European National Museums: Identity Politics, the Uses of the Past and the European Citizen, Paris 29 June – 1 July & 25-26 November 2011. Dominique Poulot, Felicity Bodenstein & José María Lanzarote Guiral (eds) EuNaMus Report No 4. Published by Linköping University Electronic Press: http://www.ep.liu.se/ecp_home/index.en.aspx?issue=078 © The Author. Museums and the Origins of Nations Sheila Watson University of Leicester Abstract Research into the ways in which museum exhibitions tell stories about the origins of nations suggests that these are, in some ways, dissimilar from many traditional historical and archaeological narrative texts in that they depend, in part, on the physical experience of moving through space. Using case studies this paper pays attention to the way in which this immersive process enables museums to tell contradictory and contrasting stories of the foundation of nations. The notion of the ethnic origins of nations and the way museums re-invent nations over time are examined. Websites and guidebooks are also considered. Representing work in progress this paper suggests other areas of investigation for further study. 545 Introduction This paper is based on work carried out for Eunamus, (http://www.eunamus.eu/), on the grand narratives of the origins of the nation in Europe. It examines the way in which exhibitions in National Museums telling a national story appear to today’s visitor, and how these displays can be experienced, read and understood. It acknowledges that readings of the museum, as made by visitors (McLean and Cooke 2000), and by curators, will be different, and that each individual will draw on a range of cultural and historical references and experiences to read the museum.