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Cross-Cultural Exchange in the Post-Medieval Adriatic: an Examination of Glass Artefacts from the 15Th Through Mid-18Th Centuries

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Cross-Cultural Exchange in the Post-Medieval Adriatic: an Examination of Glass Artefacts from the 15Th Through Mid-18Th Centuries Cross-Cultural Exchange in the Post-Medieval Adriatic: An examination of glass artefacts from the 15th through mid-18th centuries By: Samantha Garwood A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Archaeology September 2017 ACKNOWLEDGEMENTS This thesis would not have been possible without the support, guidance, and access to materials provided by friends, family, and colleagues throughout the last four years. Thanks must first be given to my supervisor, Hugh Willmott, for allowing me this amazing research opportunity, and for putting up with my general lack of knowledge. Thanks must also be given to Phil McCluskey, who very kindly continued to support my research even after his time at Sheffield came to an end. Thanks also to the University of Sheffield Faculty of Arts and Humanities for the scholarship which made this possible. Thank you to the many museums who granted me access to their collections: Muzej grada Trogira, especially Lujana Paraman; the Arheološka zbirka Osor – Lošinjski muzej, particularly Jasminka Ćus-Rukonić; Marina Lambasa, Emil Podrug, and the Muzej grada Šibenika; Radmila Biondić and Marina Kovač at the Muzej Slavonije; Igor Mihajlović at the Hrvatski restauratorski zavod; Dr Vesna Bikić at the Institute of Archaeology in Belgrade; and Ðivo Bašić at Pomorski Muzej, Dubrovački Muzeji. Thank you also to Ilir Parangoni for showing me some of the glass finds from Butrint, and to Nikolina Topić, Margherita Ferri, and Luka Bekić for sharing their research with me. Finally, thank you to my family and friends for supporting me through all of this. Lenore Thompson, Liam Lee, and Jacob Nickles have kept me both alive and sane over the last months of writing up. So many people have made this experience incredibly enjoyable, especially Amy McCabe, Catarina Miragaia de Oliveira, Courtenay-Elle Crichton-Turley, Tracy O’Donnell, Martin Huggon, Ged Poland, Nicola Austen, Hayley Arnold, Amy Leffler, CJ Leffler, Kate Gadsby-Mace, Jose Carvajal Lopez, and everyone in the PhD room. Thank you also to my parents and family for supporting me going back to school again. i ABSTRACT The early-modern Adriatic was a conduit for the exchange of goods, ideas, and people. At the time, this region was divided between three leading economic and political powers: the Republic of Venice, the Ottoman Empire, and the Holy Roman Empire. It was also filled with a diverse array of peoples of different ethnicities and religions. Nevertheless, these people interacted across these political and cultural boundaries on a daily basis. This thesis will look at how the material culture produced, traded, and used in this region was able to help create and define the identities of individuals and groups. The trade of glass is the specific focus of this research, as it was able to be shaped and manipulated by craftsmen to fulfil the needs and desires of the consumer. This was also a thriving industry in Venice, which led the way in both technology and fashion. Venetian products were traded around the world, and these objects were replicated in factories throughout Europe. The Ottoman Empire was a large market for goods produced both in Venice and in the study area at Dubrovnik. In the past, scholarly attention has generally been concentrated on the direct interactions between Venice and the Ottoman Empire. However, as this study aims to demonstrate, this industry also relied on the participation of intermediaries, both individuals and smaller port cities in the eastern Adriatic. It will therefore examine how and where this glass was made, how it was transported to its final destination, how it was used, and why it might have been chosen over another type of object available to the consumer. In doing so, this work will highlight the active role that this region played within the wider narrative of East-West trade. ii CONTENTS List of figures v List of maps viii I. Introduction 1 PART ONE – HISTORICAL CONTEXT II. Borders, Frontiers, and Zones of Exchange 9 Historiography and the influence of Orientalism on Balkanism 10 The triple frontier 14 Venice’s Dalmatian colonies 28 III. Economic Exchange between Venice, the Ottoman Empire, 35 and Ragusa Imports and exports 38 Inland and overland trade routes 40 Maritime trade routes 42 The role of intermediaries within trade between Venice and Istanbul 45 IV. The Consumption of Material Culture in Venice, 57 the Ottoman Empire, and Their Territories Men of letters 57 Exoticism, novelty, and fashion 60 Manners and taste 66 ‘Official’ consumption of food and material goods 74 Material culture in the Balkans 75 V. Glassmaking in the Eastern Mediterranean 85 Glass before Venice 85 Early Venetian glass 88 A Venetian golden age 89 Glassmaking techniques 92 Inspiration, collaboration, and special requests 99 The decline of Venice’s pre-eminence 100 Façon de Venise 102 Potash glass 105 Ottoman glass 106 Other glassmaking centres? 107 iii CONTENTS PART TWO – THE GLASS VI. Typology of Glass in the Western Balkans 113 Methodology 113 Vessel Glass 115 Flat Glass 131 Beads 132 VII. Glass Transported in the Adriatic 135 Gnalić 137 Kačol-Rogoznica 149 Sv Pavao 156 Drevine 160 Koločep 165 VIII. Istria and the Kvarner Gulf 171 Osor/Ossero 171 Glass in Istria and the Kvarner Gulf 179 IX. Northern Dalmatia 185 Šibenik/Sebenico 185 Glass in Northern Dalmatia 206 X. Central Dalmatia 223 Trogir/Trau 223 Glass in Central Dalmatia 240 XI. The Republic of Ragusa and Venetian Albania 253 XII. The Central Balkans 261 Belgrade 261 Osijek 278 Glass in the Inland Balkans 282 XIII. Discussion and Conclusion 299 Distribution of glass in the Western Balkans 299 Glass transported by sea 303 Changing consumer practices 305 Final remarks 308 Appendices Illustrations 326 Place name translations 341 Bibliography 343 iv LIST OF FIGURES Except where noted, all photographs were taken by the author. 2.1 The Land Gate of Zadar 34 7.36 Bowl with mould-blown ribs 154 4.1 ‘One that sells Coffee (British Museum) 84 7.37 Small bottles with flattened rims 155 4.2 ‘Divertisement de Venise’ (BM) 84 7.38 Large square bottle base 155 5.1 Mosque lamp (BM) 109 5.2 Millefiori cup Sv Pavao (Victoria & Albert Museum) 109 7.39 Bottle, Type I 159 5.3 Detail of goblet cup (V&A) 109 7.40 Bottle, Type II 159 5.4 Footed bowl with reticello (BM) 110 7.41 Bottle, Type II 159 5.5 Calcedonio jug (V&A) 110 7.42 Bottle, Type III 159 5.6 Calcedonio tankard with aventurine (BM) 110 Drevine 5.7 flugelglas or ‘winged goblet’ 7.43 Lion-mask stem 162 (Metropolitan Museum of Art) 111 7.44 Long tapered stem 162 5.8 Cesendello (V&A) 111 7.45 Stem with stepped ribbed knops 162 5.9 Krautstrunk beaker (V&A) 111 7.46 Tapered vetri a serpenti stem 162 7.47 Stepped-knop serpenti stem 162 Gnalić 7.48 Cesendello or lid 163 7.1 Pain tankard (Hugh Willmott) 145 7.49 Cesendello or lid 163 7.2 Hollow-footed goblet (HW) 145 7.50 Cesendello or lid 163 7.3 Hollow-footed goblet with merese (HW) 145 7.51 Globular bottle with string finish 163 7.4 Lion mask stem (HW) 145 7.52 Square bottle with skittle-shaped rim 163 7.5 Ladder stems (HW) 145 7.53 Large square bottle 163 7.6 Stem with ribbed and plain knops (HW) 145 7.54 Blue flat glass from mirror frame or 7.7 Stem with three ribbed knops (HW) 145 Furniture 164 7.8 Engraved tazza bowl (HW) 145 7.55 Twisted canes 164 7.9 Footed bowl (HW) 146 7.56 Large and small beads 164 7.10 Hemispherical bowl with twisted Osor filigrana cane (HW) 146 8.1 Hollow-footed goblet with merese 181 7.11 Bowl with applied ring base (HW) 146 8.2 Lion-mask stem 181 7.12 Flat lid (HW) 146 8.3 Hollow tapered stem 181 7.13 Domed lid (HW) 146 8.4 Bowl rim with applied canes 181 7.14 Jar (HW) 146 8.5 Inghistera with pedestal foot 181 7.15 Handled flask, base (HW) 147 8.6 Inghisterea with folded foot 182 7.16 Handled flask (HW) 147 8.7 Bottle rim with ring-shaped bulge 182 7.17 Sprinkler necks (HW) 147 8.8 Funnel-shaped rim with short neck 182 7.18 Sprinkler base (HW) 147 8.9 Square bottle with opaque white trail 182 7.19 Pear-shaped bottle (HW) 147 8.10 Funnel-shaped rim with white trail 183 7.20 Stepped-rim bottles (HW) 147 8.11 Flat-rimmed long neck bottle 183 7.21 Stepped-rim bottle (HW) 148 8.12 Flat-rimmed bottle with ring 183 7.22 Bottle with out-splayed rim (HW) 148 8.13 Detail from bottle with ring 184 7.23 Vase (HW) 148 8.14 Bell-shaped lamp 184 7.24 Spouted vase (HW) 148 8.15 Cesendello 184 7.25 Oculi (HW) 148 8.16 Hand lamp 184 7.26 Moulded window pane 148 7.27 Rectangular mirrors 148 Šibenik 9.1 Crimped-ring base beaker 210 Kačol-Rogoznica 9.2 Cupped-rim beaker 210 7.28 Beaker with crimped-ring base 153 9.3 Truncated-conical beakers 210 7.29 Prunted beaker 153 9.4 Cylindrical beaker 210 7.30 Beaker with all-over mould decoration 153 9.5 Mezza stampatura beaker 210 7.31 Beaker with all-over mould decoration 153 9.6 Skittle-shaped beakers 211 7.32 Hollow inverse-baluster stem 153 9.7 Mould-blown beakers 211 7.33 Hollow inverse-baluster stem with 9.8 Mould-blown beaker 211 mould-blown ribs 153 9.9 Mould-blown beaker 211 7.34 Hollow stepped knop stem 154 9.10 Mould-blown ribbed potash beaker 211 7.35 Beaker or goblet 154 v 9.11 Octagonal potash beaker 211 Trogir 9.12 Hollow-footed goblet 212 10.1 Small coiled prunts 244 9.13 Hollow-footed goblet with merese 212 10.2 Small pointed prunt 244 9.14 Hollow, wide foot goblet 212 10.3 Large flat prunt 244 9.15 Flattened knop stem 212 10.4 Simple soda-rich beakers 244 9.16 Solid inverse baluster stem 213 10.5
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