X-Ray and Optical Spectroscopic Study of the Coloration of Red Glass Used
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Classical and Hellenistic Glass Workshops from Rhodes
Classical and Hellenistic glass workshops from Rhodes Pavlos Triantafyllidis* Among the various crafts of Rhodes, glass making1 undoubtedly occupied an important position during the Classical and Hellenistic periods in the thriving commer- cial and economic activity of the island2. The arguments for a flourishing glassworking production on the island of Rhodes are mainly based on the typological and chrono- logical study of many finds, and on workshop evidence which came to light during the fifty-four years of rescue excavations of the 22nd Ephorate of Prehistorical and Classical Antiquities, mainly at the edge of the plain, in the Pano;ı “Akran (Diodoros 20.83.1-4), the town of Rhodes, as well as in the excavations of the then Italian Archaeological Service3 in Ialysos and Camiros. 1. The end of the sixth century and the fifth century BC The local glass production of Rhodes seems to have begun in the last quarter of the 6th century BC with the manufacture of opaque core-formed vessels (fig. 1), but also of opaque rod-formed head-shaped and figurine-pen- dants (fig. 2) and of multi-coloured beads of similar manufacture to the core-formed vessels found mainly in Fig. 1 — Core-formed amphoriskoi. Rhodes. Late 6c. BC. * Archaeologist, 22nd Archaeological Ephorate of Prehistorical and Classical Antiquities, Ippoton Street, GR- 85100 Rhodes, Greece. 1 Weinberg 1992, p. 19, 23; Triantafyllidis 1997; id. 2000, p. 30; id. 2002, p. 21-22. 2 Rostovtzeff (M.), The Social and Economic History of the Hellenistic World, II, Oxford, 1941, p. 676ff.; Berthold (R.M.), Rhodes in the Hellenistic Age, London, 1984, p. -
EARLY CHRISTIAN GOLD GLASS Century B.C
Early Christian Gold Class Author(s): C. Louise Avery Source: The Metropolitan Museum of Art Bulletin, Vol. 16, No. 8 (Aug., 1921), pp. 170-175 Published by: The Metropolitan Museum of Art Stable URL: http://www.jstor.org/stable/3254437 Accessed: 14/08/2009 10:30 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mma. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve and extend access to The Metropolitan Museum of Art Bulletin. http://www.jstor.org BULLETIN OF THE METROPOLITAN MUSEUM OF ART be found in Case E of the Fourth Room, dark green. -
Things That Travelled Ii Iii
i Things that Travelled ii iii Things that Travelled Mediterranean Glass in the First Millennium CE Edited by Daniela Rosenow, Matt Phelps, Andrew Meek and Ian Freestone iv First published in 2018 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.ucl.ac.uk/ ucl- press Text © Contributors, 2018 Images © Contributors and copyright holders named in the captions, 2018 The authors have asserted their rights under the Copyright, Designs and Patents Act 1988 to be identified as the authors of this work. A CIP catalogue record for this book is available from The British Library. This book is published under a Creative Commons CC BY- NC- SA license (CC BY- NC- SA 4.0). This license allows you to share, copy, redistribute and adapt the work for non- commercial use, provided the original author and source are credited and that modified versions use the same license. Attribution should include the following information: Rosenow et al. (eds). 2018. Things that Travelled: Mediterranean Glass in the First Millennium CE. London: UCL Press. DOI: https://doi.org/ 10.14324/ 111.9781787351172 Further details about Creative Commons licenses are available at http://creativecommons.org/ licenses/ ISBN: 978- 1- 78735- 119- 6 (Hbk.) ISBN: 978- 1- 78735- 118- 9 (Pbk.) ISBN: 978- 1- 78735- 117- 2 (PDF) ISBN: 978- 1- 78735- 120- 2 (epub) ISBN: 978- 1- 78735- 164- 6 (mobi) ISBN: 978- 1- 78735- 121- 9 (html) DOI: https://doi.org/10.14324/111.9781787351172 v Foreword Archaeological discoveries and scientific analysis have combined to bring about a revolution in our ability to understand ancient glass over the past 20 years, and arguably this new understanding has been most profoundly felt in investigation of the natron glass industry of the first millennium CE. -
Corning Museum of Glass a NOTE on JEWISH GOLD GLASSES Author(S
Corning Museum of Glass A NOTE ON JEWISH GOLD GLASSES Author(s): Irmgard Schüler Source: Journal of Glass Studies, Vol. 8 (1966), pp. 48-61 Published by: Corning Museum of Glass Stable URL: http://www.jstor.org/stable/24184879 Accessed: 20-09-2016 19:47 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/24184879?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Corning Museum of Glass is collaborating with JSTOR to digitize, preserve and extend access to Journal of Glass Studies This content downloaded from 35.2.192.209 on Tue, 20 Sep 2016 19:47:15 UTC All use subject to http://about.jstor.org/terms A NOTE ON JEWISH GOLD GLASSES Irmgard Schüler - the first objects of Jewish art known, Gold glasses long before with mosaic Jewish floors in synasymbols were gogues, paintings in Jewish catacombs and the frescoes of the synagogue at Dura-Europos were discovered. Though often mentioned, they have never been treated separately (Fig. I).1 ills m. The technique by which a thin layer of gold leaf is laminated between two layers of glass was known as early as the third century B.C. -
Reflecting Antiquity: Modern Glass Inspired by Ancient Rome the J
DATE: September 12, 2007 FOR IMMEDIATE RELEASE GETTY COLLABORATION WITH CORNING EXPLORES REDISCOVERY OF ANCIENT ROMAN GLASS AND ITS LEGACY Reflecting Antiquity: Modern Glass Inspired by Ancient Rome The J. Paul Getty Museum at the Getty Villa October 18, 2007—January 14, 2008 LOS ANGELES—Witness the beauty of ancient Roman glass and its impact on the modern glass industry in Reflecting Antiquity: Modern Glass Inspired by Ancient Rome, a new exhibition at the J. Paul Getty Museum at the Getty Villa from October 18, 2007—January 14, 2008, co-organized with The Corning Museum of Glass. Reflecting Antiquity explores the rediscovery of Roman glass and brings together 112 objects from more than 24 lenders, featuring ancient Roman originals as well as the modern replicas they inspired. In the late 18th and early 19th centuries, archeological excavations in Greece and Italy, including sites such as Pompeii and Herculaneum, as well as further afield in the Middle East, and Egypt, resulted in the unearthing of Roman glass. Amid growing demand for products influenced by past periods as well as a desire to reinvigorate their flagging industry, manufacturers found inspiration in Roman antiquity, whose manufacturing techniques and designs continue to inspire glassmakers today. This rediscovery coincided with the European Historismus movement. Historismus — a German term for historicism, or a revival of historical styles — was a 19th-century movement seen across Europe to reproduce the artistic forms of the past, from antiquity to the Baroque period, in art, architecture, fashion, and nearly all aspects of design. The movement brought styles from a number of historic periods to glassmakers and captivated them with a variety of production methods, shapes, and designs that were unknown to them. -
Seeing Renaissance Glass: Art, Optics, and Glass of Early Modern Italy, 1250–1425 / Sarah M
Dillon With the invention of eyeglasses around 1280 near Pisa, the mundane medium of glass transformed early modern optical technology and visuality. It also significantly influenced contemporaneous art, religion, and science. References to glass are Seeing Renaissance Glass found throughout the Bible and in medieval hagiography and poetry. For instance, glass is mentioned in descriptions of Heavenly Jerusalem, the Beatific Vision, and Art, Optics, and Glass of the Incarnation. At the same time, a well-known Islamic scientific treatise, which Early Modern Italy, 1250–1425 likened a portion of the eye’s anatomy to glass, entered the scientific circles of the Latin West. Amidst this complex web of glass-related phenomena early modern Italian artists used glass in some of their most important artworks but, until now, Seeing Renaissance Glass no study has offered a comprehensive consideration of the important role glass played in shaping the art of the Italian Renaissance. Seeing Renaissance Glass explores how artists such as Giotto, Duccio, Nicola Pisano, Simone Martini, and others employed the medium of glass—whether it be depictions of glass or actual glass in the form of stained glass, gilded glass, and transparent glass—to resonate with the period’s complex visuality and achieve their artistic goals. Such an interdisciplinary approach to the visual culture of early modern Italy is particularly well-suited to an introductory humanities course as well as classes on media studies and late medieval and early Renaissance art history. It is also ideal for a general reader interested in art history or issues of materiality. Sarah M. Dillon is Assistant Professor of Art History at Kingsborough Community College, CUNY, specializing in early modern art. -
The Composition of Byzantine Glass Mosaic Tesserae
The Composition of Byzantine Glass Mosaic Tesserae Leverhulme International Network Workshop report Venice and Ravenna 8-13 June 2008 Present Venice Ravenna Bente Bjornholt (Network Facilitator, University of Sussex) Chris Entwistle (British Museum, London) Cesare Fiori (Università di Bologna - sede di Ravenna) Ian Freestone (University of Cardiff) Julian Henderson (University of Nottingham) Liz James (Network Director, University of Sussex) Polytimi Loukopoulou (School of Chemical Engineering of the National Technical University of Athens) Marie-Dominique Nenna (Lyon) Stefan Roehrs (British Museum, London) Nadine Schibille (Paris) Mariangela Vandini (Università di Bologna - sede di Ravenna) Maria Vassilaki (Athens, Thessaly) Marco Verità (Stazione Sperimentale del Vetro, Venice) Luca Chiesura (Orsoni, Venice) Francesca dell’Aqua Boyvadaoglu (Università degli Studi di Salerno) Ettore Vio (Procuratorio of San Marco, Rossella Arletti (Università degli Studi di Venice) Modena e Reggio Emilia) Sandro Zecchin (CNR-IENI (Padua)-The Eve Borsook (I Tatti, Firenze) Institute for Energetics and Interfases) Cetty Muscolino (Director of Museo Nazionale di Ravenna) Silvia Pasi (Università di Bologna - sede di Ravenna) Claudia Tedeschi (Scuola per il Restauro del Mosaico -Ravenna) Papers: Marco Verità: Analysis of glass tesserae of the fourteenth- century mosaics of the baptistery, St Mark cathedral, Venice Ian Freestone: Why are red glass tesserae different? Polytimi Loukopoulou: Looking into Byzantine metal-leaf glass tesserae: technology and decay -
ART 4303 Greek and Roman Art Fall 2021
ART 4303 Greek and Roman Art fall 2021 Jill Carrington Office 117 [email protected] tel. 936-468-4351 Office hours: MWF 11:00 – 11:30; TR after classs- 12:00; TR 4:00 – 5:00 other times by appointment Class meets TR 9:30 – 10:45 in Room 106 of the Art Annex. Course description: Ancient Greek and Roman art from the Geometric period to Constantine. This course will deal with questions Greek and Roman art raises and the ways people have tried to answer them rather than “facts”and will encouage critical thinking about the issues that concern archeologists and historians. We will look at Greek art from the perspectives of concepts of the Classical, politics; gender, “others” (non-Greeks), storytelling, and style. In Roman art we will consider questions asked about Roman portraiture, public monuments, funerary art, domestic art, Early Christian & so-called Late Antique art. Texts: 1) Greek Art Mark D. Fullerton. New York and Cambridge, UK: Cambridge Univ Pr, 2000. 3 copies are on one-day library reserve. Available thru online booksellers, including bookfinder.com 2) Roman Art Peter Stewart. ( New Surveys in the Classics No. 34.) Oxford and New York: Oxford U Pr, 2004. Out of print. You will receive a photocopy of the entire book. Schedule of Work: see Course Calendar below. Quiz on Greek chronology and selected terms Quiz on Roman chronology and selected terms 15% combined SAMA = San Antonio Museum of Art art work bibliography and outline 10% SAMA art work presentation 15% SAMA art work presentation notes 5% Essays on Greek art, chps 1-2, *open note 20% *Notes allowed are handwritten or retyped notes from class, no syllabus or slide show pages Essays Greek art, chps 3-5, *open note 20% Essays on Roman art, *open note 20% (2 higher grades worth 20% ea, lowest 15%) Grading: A = 90% or above. -
PAUL the MARTYR Writings from the Greco-Roman World Supplement Series
PAUL THE MARTYR Writings from the Greco-Roman World Supplement Series John T. Fitzgerald, Editor Number 4 PAUL THE MARTYR The Cult of the Apostle in the Latin West PAUL THE MARTYR THE CULT OF THE APOSTLE IN THE LATIN WEST By David L. Eastman Society of Biblical Literature Atlanta PAUL THE MARTYR The Cult of the Apostle in the Latin West Copyright © 2011 by the Society of Biblical Literature All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permit- ted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to the Rights and Permissions Offi ce, Society of Biblical Literature, 825 Houston Mill Road, Atlanta, GA 30329 USA. Library of Congress Cataloging-in-Publication Data Eastman, David L. Paul the martyr : the cult of the apostle in the latin west / by David L. Eastman. p. cm. — (Society of Biblical Literature. Writings from the Greco-Roman World. Supplements ; 4) Includes bibliographical references and index. ISBN 978-1-58983-515-3 (paper binding : alk. paper) — ISBN 978-1-58983-516-0 (electronic format) 1. Paul, the Apostle, Saint—Cult—Rome. I. Title. BS2506.3.E27 2011 225.9' 2—dc22 2011000223 19 18 17 16 15 14 13 12 11 5 4 3 2 1 Printed on acid-free, recycled paper conforming to ANSI/NISO Z39.48-1992 (R1997) and ISO 9706:1994 standards for paper permanence. -
D005: Roman Glass and Its Chemistry 1 Introduction a Few Examples Of
D005: Roman glass and its chemistry Introduction A few examples of portraits from the later empire have survived which were painted onto glass, some of which are considered very realistic. Roman glass is found all over the Roman Empire, but how different is it? Are there different styles of glass art? Were there any lasting innovations from Roman glass art? The volcanic glass obsidian was used by Palaeolithic peoples as a cutting material, but the technique of actually making glass probably started in northern Syria as a by-product of making metals. Small glass beads were produced and have been found as far back as the Bronze Age. Glass was known to the Egyptians but the Greeks developed the making of glass. The word glass (Latin glesum) developed in the Roman Empire possibly at Trier (now in modern Germany). Early Roman glass was produced by ‘slumping’, a technique in which items are made in a kiln by means of shaping glass over moulds at high temperatures. Shaping a glass sheet over a core or former could be used to produce open vessels, such as bowls and plates. The result was a vessel with rough surfaces, which would be ground or polished to a smooth finish. Pillar-moulded bowls utilised a slotted tool to impress ribs on the glass sheet prior to slumping. The result was a bowl with a ribbed exterior, which was polished and sometimes cut with horizontal lines on the inside for further decoration. Ancient Roman glass can be classified as soda-lime glass. It was made from silicon, sodium and calcium oxides, with the addition of potassium, magnesium and aluminium oxides. -
Late Antique Gold Glass in the British Museum
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Late Antique Gold Glass in the British Museum Daniel Thomas Howells Volume 1: The Thesis Doctor of Philosophy (DPhil) in Art History University of Sussex July 2010 2 University of Sussex Daniel Thomas Howells Doctor of Philosophy (DPhil) Late Antique Gold Glass in the British Museum Summary The British Museum holds one of the largest and most important collections of Late Antique gold glasses in the world, numbering over fifty pieces. However, the collection has never been fully examined or analysed and the standard reference works on the medium are well over 100 years old. This thesis uses the British Museum collection to offer a new and in-depth case study of gold glass which reconsiders the traditional but untested set of interpretations that have been in circulation since the mid-nineteenth century and before. Chapter One examines the history of gold glass scholarship from the late sixteenth century up until the present day. This serves to demonstrate where many of the frequently repeated assumptions regarding gold glass have their roots. -
Silver, Glass, and Clay Evidence for the Dating of Hellenistic Luxury Tableware
SILVER, GLASS, AND CLAY EVIDENCE FOR THE DATING OF HELLENISTIC LUXURY TABLEWARE (PLATES 83 AND 84) In one way or another, Virginia Grace and Dorothy Thompson have found themselves mixed up with wine; they have studiedthe containersin which it was transportedand stored,the jugs from which it was poured, the cups from which it was drunk. In short, one can follow the vintage from ship to lip in their works. On the proximalend of this journey lie the moldmadebowls of Athens. It is thus in the spirit of the symposiumthat I offer this considerationof a group of Hellenistic wine cups1 as a tribute to two friends and mentors. T nHERE is ample evidencethat the princes of the Hellenistic world had a large appetite for expensive tableware. Athenaios preservesastonishing accountsof displays of lux- ury vessels. In a processionpreceding games organized by the eccentricAntiochos IV Epi- phanes (175-163 B.C.)in the Antiochene suburb of Daphne, 1000 silver vessels and 800 gold ones were carried.2Kallixeinos of Rhodes reportedthe combinedweight of gold and silver vessels displayed in the pavillion of Ptolemy II Philadelphos as 10,000 talents, a weight of well over 200 tons.3 In the associatedprocession, which took place in Alexandria in the 270's,4 hundreds more vessels were displayed;over a thousand are mentioned, but I I would like to thank Homer Thompson, under whose directorship the clay bowls presented here were found, for permission to publish this material. Thanks are also due Gladys Weinberg for advice on Hellenistic glass and Malcolm Wallace for informationabout Hellenistic and Roman weights.