AIHV 18 Thessaloniki

ANNALES

du 18e CONGRÈS

Thessaloniki 2009

de l’ASSOCIATION INTERNATIONALE pour l’HISTOIRE du VERRE

ANNALESdu 18e CONGRÈS

de l’ASSOCIATION INTERNATIONALEpour l’HISTOIRE du VERRE

Thessaloniki 2009

EditorsDespina Ignatiadou, Anastassios Antonaras

Editing CommitteeNadia CoutsinasIan C. Freestone

Sylvia FünfschillingCaroline Jackson

Janet Duncan JonesMarie-Dominique Nenna

Lisa PilosiMaria Plastira-Valkanou

Jennifer PriceJane Shadel Spillman

Marco VeritàDavid Whitehouse

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Couverture / Cover illustrationThe haematinon bowl from Pydna. Height 5.5 cm. © 27th Ephorate of Prehistoric and Classical Antiquities, Greece.The bowl (skyphos) is discussed in the paper by Despina Ignatiadou ‘A haematinon bowl from Pydna’, p. 69.

© 2012 Thessaloniki AIHV and authorsISBN: 978-90-72290-00-7Editors: Despina Ignatiadou, Anastassios Antonaras

AIHVAssociation Internationale pour l’Histoire du VerreInternational Association for the History of Glasshttp: www.aihv.org

Secretariat: The Corning Museum of Glass One Museum Way Corning NY, 14830 USA

Printed by: ZITI Publishing, Thessaloniki, Greece http: www.ziti.gr

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CONTENTS

PRÉFACE – MARIE-DOMINIQUE NENNA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii

PREFACE – MARIE-DOMINIQUE NENNA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv

GREEK LITERARY SOURCES

STERN MARIANNE EVA

Ancient Greek technical terms related to glass production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

2nd MILLENNIUM BC / BRONZE AGE GLASS

NIGHTINGALE GEORG

Glass and faience and Mycenaean society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

SMIRNIOU MELINA, REHREN THILO, ADRYMI-SISMANI VASSILIKI, ASDERAKI ELENI, GRATUZE BERNARD Mycenaean beads from Kazanaki, Volos: a further node in the LBA glass network . . . . . . . . . . . . . . . . . . . . . . . 11

ARCHONTIDOU-ARGYRI ΑGLAÏA, VAVLIAKIS GEORGE

Mycenaean Psara - The glass finds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

BIRON ISABELLE, MATOÏAN VALÉRIE, HENDERSON JULIAN, EVANS JANE Scientific analysis of glass from Ras Shamra – Ugarit (Syria) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

ERTEN EMEL

Early ancient glass from Şaraga Höyük, Gaziantep, Turkey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

NICHOLSON T. PAUL, JACKSON M. CAROLINE The Harrow chalice: Early glass or early fake? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

RÖHRS STEFAN, SMIRNIOU MELINA, MARÉE MARCEL

The British Museum’s Amarna fish scientifically studied . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

IKEDA KAZUMI Core-formed glass vessels from Sinai peninsula, Egypt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

AZUMA YOKO, TANTRAKARN KRIENGKAMOL, KATO NORIHITO, AND NAKAI IZUMI

Scientific analysis of ancient glass collections of the Miho Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

1st MILLENNIUM BC / ARCHAIC / CLASSICAL GLASS

LIARDET FRANCES

Taking the Heat: The contribution of apprenticeship to the understanding of the manufacture and typology of core-formed vessels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

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NENNA MARIE-DOMINIQUE

Les contenants à huile parfumée façonnés sur noyau dans les dépôts votifs des sanctuaires grecs : l’exemple de l’Artémision de Thasos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

IGNATIADOU DESPINA A haematinon bowl from Pydna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

OIKONOMOU ARTEMIOS, BELTSIOS KONSTANTINOS, ZACHARIAS NIKOLAOS

Analytical and technological study of blue glass from Thebes, Greece: An overall assessment . . . . . . . . . . . . 75

READE J. WENDY, DUNCAN JONES JANET, PRIVAT KAREN

Iron Age and Hellenistic monochrome glasses from Gordion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

HELLENISTIC GLASS

PATERA IOANNA, NIKOLAIDOU-PATERA MARIA

Hellenistic tomb at the ancient city of Philippi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

CONNOLLY PHILIP, REHREN THILO, DOULGERI-INTZESILOGLOU ARGYROULA, ARACHOVITI POLYXENI

The Hellenistic glass of Pherai, Thessaly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

LOUKOPOULOU POLYTIMI, KARATASIOS IOANNIS, TRIANTAFYLLIDIS PAVLOS

Corrosion morphology of Hellenistic glass finds in relation to manufacture techniques . . . . . . . . . . . . . . . . . . 98

PLOYER RENÉ

Glass from the excavations in the so-called ‘Hellenistic’ town of Palmyra. A preliminary report . . . . . . . . 104

AUTH H. SUSAN The Denderah cache of glass inlays: A possible votive pectoral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

GRADEL CORALIE

Les verres d’époques hellénistique et romaine dans le royaume de Méroé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

ROMAN GLASS

BREMS DIETER, BOYEN SARA, GANIO MONICA, DEGRYSE PATRICK, WALTON MARC

Mediterranean sand deposits as a raw material for glass production in antiquity . . . . . . . . . . . . . . . . . . . . . . . . . 120

DIANI MARIA GRAZIA, TONINI CRISTINA

Nouvelles attestations de verres antiques dans le Musée de Lodovico Pogliaghi – Varèse (Italie) . . . . . . . . . 128

SAGUÌ LUCIA, SANTOPADRE PAOLA, VERITÀ MARCO

Technology, colours, forms, and shapes in the 2nd century glass opus sectile materialsfrom the villa of Lucius Verus in Rome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

BOSCHETTI CRISTINA, LEONELLI CRISTINA, CORRADI ANNA

The earliest wall mosaics and the origin of Roman glass in Italy: archaeological considerations for an archaeometric study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

BOSCHETTI CRISTINA, NIKITA KALLIOPI, VERONESI PAOLO, HENDERSON JULIAN, LEONELLI CRISTINA, ANDREESCU-TREADGOLD IRINA

Glass in mosaic tesserae: Two interdisciplinary research projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

DEMIERRE PRIKHODKINE BRIGITTE

Le verre du Quartier de la Maison aux mosaïques à Érétrie (Eubée, Grèce) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

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MALAMA PENELOPE, DARAKIS KONSTANTINOS

Die Kunst der Glasherstellung in Amphipolis während der römischen Zeit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

MCCALL BERNADETTE

Use or re-use: Late Roman glass finds from the Nea Paphos Theatre site, Cyprus . . . . . . . . . . . . . . . . . . . . . . . . 165

STOLYAROVA K. EKATERINA

Chemical composition of glass and faience beads from the Belbek IV Necropolis . . . . . . . . . . . . . . . . . . . . . . . 171

JACKSON CAROLINE, PRICE JENNIFER

Analyses of Late Roman glass from the Commandant’s Houseof the fort at South Shields, Tyne and Wear, UK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

ROBIN LAUDINE

L’artisanat du verre à Lyon-Lugdunum (France) durant le Haut-Empire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

LOUIS AURORE

La place du mobilier en verre dans les sépultures gallo-romaines de Champagne-Ardenne (France) . . . . 190

BULJEVIĆ ZRINKA

Glass from the Lora Cemetery at Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

FADIĆ IVO, ŠTEFANAC BERISLAV

Workshop stamps on square bottles from the Zadar region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

DRĂGHICI CRISTINA

Glassware from Tomis: Chronological and typological aspects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

HANSEN LUND ULLA

The Early Roman painted glass from Zaborów, Poland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

GREIFF SUSANNE

On the relationship between enamelled glass and other opaque glass technologies: The colour red . . . . . 224

TARTARI FATOS

Les nouvelles trouvailles de verre antique à Dyrrhachium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

ROMAN / EARLY CHRISTIAN GLASS

COUTSINAS NADIA

Le matériel en verre de la cité d’Itanos (Crète orientale) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

PAPAGEORGIOU METAXIA, ZACHARIAS NIKOLAOS, BELTSIOS KONSTANTINOS

Technological and typological investigation of Late Roman glass mosaic tesseraefrom Ancient Messene, Greece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

SAKALIS ANASTASIOS, TSIAFAKI DESPOINA, ANTONARAS C. ANASTASSIOS, TSIRLIGANIS C. NESTOR Micro X-ray fluorescence spectroscopy analysis of Late Roman glass from Thessaloniki . . . . . . . . . . . . . . . . 249

MORAITOU GEORGIANNA

Past Conservation Interventions on the Kenchreai opus sectile panels: The Greek approach . . . . . . . . . . . . 254

MORAITOU GEORGIANNA, LOUKOPOULOU POLYTIMI, TILIGADA DIMITRA

A triple ark for the Kenchreai opus sectile glass panels: Preventive conservation and access at the Isthmia Archaeological Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

FUJII YASUKO

A study of a Late Roman blue glass dish with sea creatures in relief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

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SILVANO FLORA Glass finds from Antinoopolis, Egypt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

MARII FATMA, REHREN THILO Levantine glass of Petra characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

JEREMIĆ GORDANA Glass artefacts from Roman and Late Roman fortification at Saldum on the Middle Danube.

Social and economic background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

GENÇLER GÜRAY ÇIĞDEM

Early Byzantine glass finds from Elaiussa Sebaste (Mersin-Ayaş) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

BYZANTINE AND EARLY ISLAMIC GLASS

BARAG P. DAN Stamped glass pendants from Syria: From Constantine the Great to the Arab conquest . . . . . . . . . . . . . . . . . 300

ANTONARAS C. ANASTASSIOS Gold-glass tile decoration in the St. Demetrios Basilica, Thessaloniki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

LOUKOPOULOU POLYTIMI, MOROPOULOU ANTONIA Byzantine gold-leaf glass tesserae:A closer look at manufacturing technique and decay . . . . . . . . . . . . . . . . . 307

ATİK ŞENİZ Three Byzantine gold-glass pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

VERITÀ MARCO, ZECCHIN SANDRO Scientific investigation of Byzantine glass tesserae from the mosaics

on the south chapel of Torcello’s Basilica, Venice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

JAMES LIZ Glass and the manufacture of Byzantine mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

CANAV-ÖZGÜMÜŞ ÜZLIFAT Recent glass finds in Istanbul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

WINTER TAMAR Glass vessels from excavations at the Church of the Holy Sepulchre in Jerusalem . . . . . . . . . . . . . . . . . . . . . . . . 333

BYZANTINE AND ISLAMIC GLASS

PILOSI LISA, STAMM KAREN, WYPYSKI T. MARK An Islamic cameo glass fragment in the Metropolitan Museum of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

SWAN M. CAROLYN Spatial and temporal considerations of technological change: Examining Early Islamic glass . . . . . . . . . . . 346

BOULOGNE STEPHANIE, HARDY-GUILBERT CLAIRE Le verre décoré issu des fouilles du site d’al-Shihr au Yémen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

MOSSAKOWSKA-GAUBERT MARIA Verres de l’époque byzantine - début de l’époque arabe (ve-viiie siècle) :

objets provenant des ermitages en Égypte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

KATO NORIHIRO, NAKAI IZUMI, SHINDO YOKO

Comparative study of Islamic glass weights and vessel stamps with the glass vessels in Egypt . . . . . . . . . . . 367

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MEDIEVAL GLASS

FREY ANNETTE, GREIFF SUSANNE

Early Medieval glass beads with metal tubes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

BROADLEY ROSE, GARDNER CARLOTTA, BAYLEY JUSTINE

The Church Lane assemblage: Early Medieval glass-working in the shadow of Canterbury Cathedral. . . 379

RADIČEVIĆ DEJAN

Medieval glass bracelets from Banat Territory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

MĂNUCU-ADAMEŞTEANU GHEORGHE, POLL INGRID

Bracelets en verre découverts dans les nécropoles de Isaccea - Vicina, département de Tulcea (Xe - XIIIe siècles) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

KUNICKI-GOLDFINGER J. JERZY, KIERZEK JOACHIM, FREESTONE C. IAN, MAŁOŻEWSKA-BUĆKO BOZENA, NAWROLSKA GRAŻYNA

The composition of window glass from the cesspits in the Old Town in Elbląg, Poland. . . . . . . . . . . . . . . . . . . 395

ČERNÁ EVA, HULÍNSKÝ VÁCLAV, MACHÁČEK JAN, PODLISKA JAROSLAV

On the origin of enamel-painted glass of the 12th-14th centuries in Bohemia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

KRIŽANAC MILICA

Scent bottles from Kotor, Montenegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

ZEČEVIĆ EMINA

Glass of Novo Brdo and its significance in Late Medieval glass production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

POST BYZANTINE / VENETIAN / FAÇON DE VENISE GLASS

PAYNTER SARAH The importance of pots: The role of refractories in the development of the English glass industry

during the 16th / 17th centuries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

SCOTT B. REBECCA, SHORTLAND J. ANDREW, POWER MATTHEW The interpretation of compositional groupings in 17th century window glass

from Christ Church Cathedral, Oxford . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

CAEN JOOST M. A. The production of stained glass in the County of Flanders and the Duchy of Brabant

from the XVth to the XVIIIth centuries: Materials and techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

MEEK S. ANDREW, HENDERSON JULIAN, EVANS A. JANE North-western European forest glass: Working towards an independent means of provenance . . . . . . . . . . 437

MEDICI TERESA Revisiting the ‘Moura glass treasure’: New data about 17th century glass in Portugal. . . . . . . . . . . . . . . . . . . . . . 442

MORETTI CESARE, TONINI CRISTINA, HREGLICH SANDRO, MARIA DIANI GRAZIA

“Lead glass with wonderful emerald colour”. A parallel between one of Antonio Neri’s recipesand the composition of a vessel in the Pogliaghi Museum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

IOANNIDOU MARTHA

From didactic stained glass windows of medieval cathedralsto the redemptive divine lightin Matisse’s Vence Chapel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

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GREINER-WRONOWA ELŻBIETA, PUSOSKA ANNA, WRONA JAROSŁAW The influence of gradient temperature changes on a glass reaction intensity

with volatile organic compounds in museum cabinets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

DE VIS KRISTEL, CAGNO SIMONE, VAN MOL WILLY, SCHALM OLIVIER, JANSSENS KOEN, CAEN JOOST The decolourization of manganese-stained glass:

The conversion reaction and evaluation of its effectiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

18th AND 19th CENTURY GLASS

LAURIKS LEEN, DE BOUW MICHAEL, QUENTIN COLLETTE, WOUTERS INE 19th century iron and glass architecture:

Common construction details of cylinder and crown glass on iron sash bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

VAN GIFFEN ASTRID, EREMIN KATHERINE, NEWMAN RICHARD The Harvard Glass Flowers and more: A technical study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

JARGSTORF SIBYLLE Mosaikglas/Millefioriglas - Probleme der Zuordnung und Herkunftsbestimmung . . . . . . . . . . . . . . . . . . . . . . 481

AFRICAN AND ASIAN GLASS

IGE O. AKIN Ancient glassmaking in Ile-Ife, Southern Nigeria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

BORELL BRIGITTE

Han period glass vessels from the gulf of Tonking region:Aspects of their technology . . . . . . . . . . . . . . . . . . . 491

INDEX OF ΑUTHORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

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PRÉFACE

Marie-Dominique Nenna

J’ai le grand plaisir de vous présenter les Annales du 18e congrès de l’Association Internationale pour l’Histoire du Verre et je tiens à remercier tous ceux qui ont

fait que cette publication paraisse dans les meilleurs délais, les auteurs au premier chef, le comité de lecture et surtout les éditeurs du volume, Despina Ignatiadou, vice-présidente, puis membre du bureau de l’AIHV durant les années 2006-2012 et Anastassios Antonaras.

Le 18e congrès de l’AIHV s’est tenu à Thessalonique du 21 au 25 septembre 2009. Il a été dédié à Clasina Isings qui est venue, via une video, nous offrir ses meilleurs vœux au début des sessions. Tous nos remerciements vont d’abord au Musée archéologique de Thessalonique qui a organisé l’ensemble de cette manifestation et au Musée de la civilisation byzantine qui a accueilli nos sessions dans le tout nouveau auditorium, utilisé pour la première fois pour notre congrès. Remercions aussi les amis du Musée archéologique de Thessalonique qui ont soutenu ce congrès avec entre autres, le beau sac décoré de balsamaires-oiseaux ; la préfecture de Thessalonique qui nous ont accueillis à la fin de ces journées. Et enfin, du fond du coeur, tous nos remerciements vont à Despina Ignatiadou, Anastassios Antonaras et au comité d’organisation pour avoir réuni tous leurs efforts pour organiser ce congrès et nous offrir l’occasion de nous rencontrer une nouvelle fois pour partager nos découvertes et nos réflexions sur ce matériau qui nous passionne tous.

Durant les trente-trois sessions organisées en parallèle, 95 contributions orales et 55 posters ont été présentés, montrant ainsi la vitalité de la recherche sur l’Histoire du Verre dans l’ensemble du monde scientifique. Grâce au dynamisme du comité grec, après une découverte de la ville à l’orée de notre congrès, des promenades thématiques ont été organisées afin de mieux connaître les différents aspects de Thessalonique, ville hellénistique et romaine, ville byzantine, ville ottomane avec son importante communauté juive et ville du xxe siècle. En outre, les excursions post-congrès ont permis aux participants de découvrir le cœur de la Macédoine avec les cités de Vergina et de Dion, ainsi que le lac de Pikrolimni, producteur de natron dans l’Antiquité et encore aujourd’hui, les villes d’Amphipolis et de Philip-pes ou encore de faire une croisière autour du Mont Athos.

Ce volume réunit 84 contributions qui couvrent un arc chronologique très vaste depuis le deuxième millénaire av. J.-C. jusqu’à nos jours, et touchent à tous les aspects de l’histoire du verre, avec une bonne interconnexion entre l’archéologie, l’histoire de l’art et l’archéométrie. Une part importante est réservée aux débuts de l’histoire du verre au iie millénaire et au début du ier millénaire av. J.-C. et à ses développements

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dans le monde hellénistique avec des communications portant sur le Proche-Orient, l’Égypte et le Soudan, la Grèce et la Turquie. Les mondes romain et byzantin sont abordés selon deux axes : étude de la production et de la consommation de la vaisselle et des ornements et étude en fort développement de l’emploi du verre dans les mosaïques pavimentales et pariétales. Les communications sur le monde islamique s’inscrivent dans la lancée inaugurée au 15e congrès et attestent la vitalité de la recherche dans ce domaine. La présentation de découvertes et études portant sur la Grande Bretagne, l’Italie, le Kosovo, le Montenegro, le Portugal, la Pologne, la Roumanie, la Serbie et la Tchéquie alimentent le débat sur le verre à l’époque médiévale et post médiévale en Europe. xviiie et xixe siècles ne sont pas en reste, avec des communications sur le verre dans les toits, les fleurs de verre et le verre mosaïqué et on dispose aussi de communications sur le verre en Chine méridionale et en Afrique subsaharienne.

Lors de l’assemblée générale, le bureau de l’AIHV a été renouvelé. Jan Egbert Kuipers, trésorier et Ian Freestone, que l’on doit remercier pour leur dévouement et leur efficacité, ont présenté leur démissions. De nouveaux membres ont été élus : Irena Lazar, organisatrice du 19e congrès en 2012, comme vice-présidente et Huib Tijssens, comme trésorier. Déjà présents dans le bureau, Despina Ignatiadou a été élue comme membre, Jane Spillman a été réélue comme secrétaire général, David Whitehouse comme membre, et j’ai moi-même été réélue comme présidente. Le comité exécutif réunissant six membres élus ainsi que les représentants des associations ou comités nationaux a été en partie renouvelé, avec l’élection de Fatma Marii et de Yoko Shindo, tandis que Sylvia Fünfschilling, Lisa Pilosi, Marianne Stern et Maria Grazia Diani ont été réélues. Nous avons déploré le décès lors du congrès de deux de nos membres, Sarah Jennings d’Angleterre et Claudia Maccabruni d’Italie.

Les préparatifs pour le 19e congrès se déroulent sous la houlette d’Irena Lazar. Le congrès se tiendra à Piran en Slovénie du 17 au 21 septembre 2012 (www.aihv.org, www.zrs.upr.si). Après l’accent mis sur la Méditerranée orientale au con-grès de Thessalonique, une nouvelle avancée vers les informations et les membres d’Europe Centrale sera effectuée à Piran.

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PREFACE

Marie-Dominique Nenna

I have great pleasure in presenting you with the Annales of the l8th congress of the Association Internationale pour l’Histoire du Verre, and I wish to thank all

those who have ensured that this publication appears with the least delay: princi-pally the authors, the academic committee, and especially the academic editors of the volume, Despina Ignatiadou, vice-president, and member of the board of the AIHV for the years 2006-2012 and Anastassios Antonaras.

The 18th congress of the AIHV was held in Thessaloniki from September 21st-25th, 2009. It was dedicated to Clasina Isings, who came, via a video, to offer us her best wishes. Here we have to warmly thank the Archaeological Museum of Thessaloniki which has organized the whole manifestation, and the Museum of Byzantine Culture, which has hosted our sessions in the brand new auditoriumof the Museum, used for the first time for our congress. All our warm thanks also to The Friends of the Archaeological Museum of Thessaloniki who supported the organization of the congress among the others with the nice bag decorated with bird-balsamaria, and The Prefecture of Thessaloniki, who has hosted us at the end of the congress. Last, but not the least, from the bottom of our heart, our thanks go to Despina Ignatiadou, Anastassios Antonaras and the Organizing committee for their hard work in organizing this congress and for offering us the opportunity to meet once again to share our discoveries and our thoughts on this wonderful material, glass, to which we are all dedicated.

During the 33 parallel sessions, 95 oral communications and 55 posters were presented, displaying the vitality of research on the history of glass in the scientific world. Thanks to the energies of the Greek Committee, after a first glance at Thessaloniki at the beginning of our congress, thematic visits were organised to discover the different aspects of Thessaloniki. Hellenistic and Roman city, Byzantine city, Ottoman city with its important Jewish community, contemporary city. In the post-congress trips, the participants were able to visit the heart of Macedonia, with the cities of Vergina and Dion, and the Pikrolimni Lake, producing natron in Antiquity and still today, the ancient cities of Amphipolis and Philippi, or to make a cruise around Mount Athos.

This volume brings together 84 contributions, which cover a vast chronological span from the second millennium BC up to the present day, touching on all aspects of the history of glass with a good networking between archaeology, history of art and archaeometry. An important part is devoted to the beginnings of the history of glass in the second millennium and the beginning of the first

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millennium BC, and the developments in the Hellenistic world with paperscovering the Near East, Egypt and Sudan, Greece and Turkey. The Roman and Byzantine worlds are approached from two directions: the study of the production and consumption of vessels and ornaments and the expanding study on the glass in mosaic pavements and walls. The papers on the Islamic world build on the start made at the 15th congress and show the vitality of research in this area. The presentation of discoveries and research coming from the Czech Republic, Great Britain, Italy, Kosovo, Montenegro, Portugal, Poland, Romania and Serbia, fuels the debates about glass during the medieval and post-medieval period in Europe. The 18th and 19th centuries are not ignored, with papers dealing with glass in roofs, glass flowers and mosaic glass and there are also studies dealing with African and Asian glass.

During the General Assembly the board of the AIHV changed. Jan Egbert Kuipers (Treasurer) and Ian Freestone, to whom we extend all thanks for their work, submitted their resignations. The newly elected members were Irena Lazar, organizer of the 19th Congress in 2012, as Vice President, and Huib Tijssens, as Treasurer. Already present in the board, Despina Ignatiadou was elected member, were re-elected Jane Spillman as General Secretary, David Whitehouse as member, and I as President. The executive committee which assembled six elected members as well as the presidents of the national Associations or Committees, was partly renewed, with the election of Fatma Marii and Yoko Shindo; Sylvia Fünfschilling, Lisa Pilosi, Marianne Stern et Maria Grazia Diani were re-elected. We mourned during the congress the recent death of two long time members, Sarah Jennings from England and Claudia Maccabruni from Italy.

The preparations for the 19th congress are progressing under the guidance of Irena Lazar. The congress will be held at Piran (Slovenia) from September 17th to September 21st 2012 (www.aihv.org, www.zrs.upr.si). After the wider opening towards eastern Mediterranean members effectuated during the Thessaloniki Congress, we will receive in Piran more information and members coming from Central Europe.

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THE INTERPRETATION OF COMPOSITIONAL GROUPINGS IN 17th CENTURY WINDOW GLASS FROM CHRIST CHURCH CATHEDRAL, OXFORD

Rebecca B. Scott, Andrew J. Shortland, Matthew Power

INTRODUCTION

Christ Church Cathedral, Oxford, is a unique institu-tion; not only is it the cathedral church of the diocese of Oxford, it is also the chapel of Christ Church, one of the largest colleges within the University of Oxford, al-though the cathedral itself is one of the smallest in Eng-land1. The glass in the cathedral has had a long, varied and in some cases turbulent history. The earliest glass dates to the start of the 14th century and is found in the ‘Becket window’ depicting the martyrdom of Thomas Becket; while later 14th century silver stain glass can be found in the windows of the Latin Chapel. During the 17th century many of the windows were altered in shape from the original three lights to a two light ver-sion. This was under the instruction of Dean Duppa, the then dean of Christ Church2. These windows were all filled with new painted glass that was commissioned by the dean and created by the Van Linge brothers3. The only surviving 17th century windows in the cathedral are the ‘Bishop King’ window by Bernard Van Linge and the ‘Jonah before Nineveh’ window painted by Ab-raham Van Linge 1631. During the English Civil War, the painted windows were seen as papist and idolatrous and between 1648 and 1651 they were removed4. By the Restoration c.1660 some of the Van Linge windows had been replaced and survived to the 19th century when the next major restorations to the cathedral took place. The Victorians restored most of the windows to three lights and they now feature the work of amongst others Burne-Jones and Clayton and Bell 5. This paper forms part of an ongoing project which is investigating the changes in the cathedral glass and in particular the glass from the 17th century6.

1. Winkles 1889, 213.2. Winkles 1889, 221.3. Wood 1786, 462-463.4. Urban 1850, 387.5. Winkles 1889, 221.6. Power & Shortland 2007, 7.

BACKGROUND

The then dean of Christ Church, Brian Duppa, had many of the old medieval windows removed from the cathedral and he commissioned the Dutch Van Linge brothers to produce a new scheme of windows for the building7. From Victorian accounts of the Van Linge windows we know that the earliest dated window is 1631 and the latest is 16408; this suggests that the scheme took around 10 years to complete. The Van Linge windows depicted scenes and passages from the Bible9, many of which have been described in ‘A Poem, In defence of the decent Ornaments of Christ Church Oxon, occasioned by a Banbury brother’, who called them ‘Idolatries’ in a volume called Parnassus Bi-ceps edited by Abraham Wright (1656). The only sur-viving example of the scheme in the cathedral is ‘Jon-ah before Nineveh’ painted by Abraham Van Linge 1631 (Fig. 1.). These windows were said to have been so vivid and lifelike that some thought them papist and idol-atrous10. The windows were removed, probably for their own safety, during the English Civil War11. It was while the windows were laid out on the ground that a cathedral canon inspired by puritanical wrath ‘furiously stamped on many of them’12. Five windows survived this attack and at some point were re-in-stalled in the cathedral, where they survived until the 19th century renovations, when three more where de-stroyed and the surviving two (‘Jonah before Nineveh’ and ‘Bishop King’) were moved to unimportant are-as of the building where they remain today13. At the end of the 17th century c.1696 William Price paint-

7. Wood 1786, 462-463.8. “J.S.” 1807, 504.9. “W.C.” 1817, 138-140.10. Wood 1786, 463.11. Urban 1850, 387.12. Wood 1786.13. Thompson 1899: 157.

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ed a Nativity after a design by Sir James Thornhill14 for the east window; and J. Oliver donated a window in 1700 which he had painted himself at the age of 84 this was placed in the north aisle. This window rep-resented St. Peter being delivered from Prison by an Angel15. These two windows were also lost during the 19th century renovation. Fragments of the ‘lost’ Van Linge windows believed to be from ‘Christ’s Entry to Jerusalem’, ‘Christ Disputing with the Doctors’ and ‘Sodom and Gomorrah’ have been randomly placed in the windows of the clerestory of the cathedral. This project began when one of the authors made a chance discovery of over 9000 fragments of painted glass in a coal bunker beneath the West end of the cathedral in Tom Quad16. Many of the fragments, which ranged in size from small undecorated pieces to complete fac-es, were identified as the work of the Dutch Van Linge brothers. The main aim of this research was to compo-sitionally identify glass from different historic periods within the collection of fragments at Christ Church.

14. “J.S.” 1807, 504.15. Trash 1849, 114.16. Power & Shortland 2007, 7.

A further aim was to see whether the work of the Van Linge brothers specifically could be compositionally distinguished, in order to attribute fragments to them which could not necessarily be identified visually.

METHODOLOGY

Samples of glass were taken from the collection of fragments found in the coal bunker. These samples were mostly colourless, painted glass, although there were some coloured samples. These were divided into the following groups based on the visual appearance of the fragments; Medieval, Van Linge, Price, Victori-an and Unknown. These general groups were chosen as they best described the variety of glass found in the collection. In all, 90 samples were chosen for analysis, the majority being of 17th century date. All of the sam-ples were analysed using Scanning Electron Micros-copy – Wavelength Dispersive Spectrometry (SEM-WDS) for the major and minor elements. Twenty two elements were analysed including soda, silica, potash, magnesia, alumina, titanium, phosphorus, lime, sul-phur, chlorine, iron, manganese, cobalt, nickel, cop-per, tin, antimony, and lead, all of which were ana-lysed as oxide weight percents. These analyses were performed on a Jeol superprobe using a backscattered electron mode and operating at 15KeV and 1μA, with a detection limit of 0.05%.

RESULTS

From the results several distinct groups can be char-acterised, and these can be attributed to specific art-ists or periods of history as shown in fig. 2. The sam-ples which art-historically are described as Victori-an can be characterised by very low MgO <0.3%, 10 – 14.2% Na2O, <1.7% K2O and 9.6 – 13.2% CaO. Equal-ly the medieval sample is characterised by its high K2O 12.4%, low Na2O 2.3%, MgO around 7.8% and 15.2% CaO. A group of three samples characterised by 2.4-2.7% MgO, 8.8-9.1% Na2O, 5.1-5.2 K2O and 11.1% CaO was also noticed; at present the source of these samples is unknown i.e. they have not been at-tributed to a specific artist or period of history. There are two groups of 17th century samples; the first can be characterised by low Na2O, MgO around 2.2%, and high CaO contents. These samples consistently group together, and are the work of William Price. The sec-ond group are the Van Linge samples; these have a tight core to the group, which is characterised by

Fig. 1: ‘Jonah before Nineveh’ Abraham Van Linge 1631 (Author’s Own Image).

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The interpretation of compositional groupings in 17th century window glass from Christ Church Cathedral, Oxford

Na2O content between 2.9 and 3.8%, Al2O3 between 2.8 and 3.3%, K2O content between 3.5 and 5.2%, and CaO content is in the range 19.5-21.0%, the rest of the Van Linge samples are quite dispersed outliers. Both of the 17th century groups are High Lime, Low Alkali (HLLA) glasses. This type of glass is common during the 17th century and is recognisable by its high CaO content (>15%) and low alkali content (Na2O+K2O <10wt%)17. Four of the HLLA Van Linge samples were of col-oured glass, and these have also been analysed, but have proven harder to characterise; these samples have a noticeably different composition to the other HLLA glass from the cathedral. The samples were green, dark blue, and purple. One of the blue samples was ‘flashed’, but it was the coloured glass that was tested. The four samples all have higher K2O contents than the col-ourless HLLA glasses, and lower Na2O contents. Al-though they do have some similarities with each oth-er they are a dispersed group. Both of the blue samples are coloured with cobalt, the green sample uses cop-per, and the purple glass is coloured with manganese. (Fig. 3.).

DISCUSSION

The samples of glass in the coal bunker are believed to be from three of the five windows which were re-in-stalled into the cathedral after the Restoration of the Monarchy, c.1660 onwards; ‘Christ Disputing with the Doctors’, the ‘Entry to Jerusalem’ and ‘Sodom and Go-morrah’. We know from Wood’s accounts of the cathe-dral that the smaller lights of the windows were filled

17. Dungworth et al. 2006, 171. Mortimer 1993.

with the arms of the benefactors of Christ Church18, for example, the arms of Robert Burton, and the arms of the Thomas family. Examples of the heraldry were also found in the coal bunker, along with fragments of the Price window, earlier medieval glass and later Vic-torian glass. This suggests that the glass found in the coal bunker is probably that which was removed dur-ing the 19th century renovations to the building. The groups which can be identified from the results repre-sent the different artists or periods of the cathedral’s history. In particular, the glass from the 17th centu-ry groups by artist; we can clearly identify the work of Price and the Van Linges. The 17th century glass is all of HLLA composition; the technology and recipe for this type of glass is known to have come from the con-tinent, and was made from plant ashes but the exact nature of these is still unknown19. An initial hope for the project was that we would be able to distinguish between individual Van Linge windows, but at present we do not have enough da-ta from ‘named’ windows. The Van Linges creat-ed their scheme over a period of 10 years, but from our evidence we can see that there is no clear stratig-raphy of the windows based on the composition of the glass alone. One possible reason for the varia-tion in the composition of the Van Linge samples is because the brothers were utilising existing stocks of glass to create their scheme. It is possible that rather than commissioning new glass for each window, they used glass that was to hand in and around the univer-sity. The Van Linges were involved with painting win-dows for many of the Oxford colleges from the 1620s

18. Wood 1786, 462.19. Dungworth et al. 2006, 171.

Fig. 2: ‘A plot showing SEM-WDS results of CaO against MgO for all the samples.

Fig. 3: ‘A plot indicating SEM-WDS results of Na2O against Al2O3 for the Van Linge glasses.

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Fig. 4: A Price restoration of a Van Linge window from Queens College, Oxford (Author’s Own Image).

onwards20, and it would have been cheaper to use ex-isting glass than it would have been to commission new glass21. A scheme of this size over this period of time would have required several different batches of glass; our evidence suggests that the Van Linges were not assigning one batch per window. Although the Van Linges were known for their skills in glass paint-ing, coloured stained glass was still in use during the first part of the 17th century22. The decline of stained glass was due to the difficulty in obtaining it and the cost of importing23, although the Van Linges may have imported small amounts of this for use in the cathe-dral. Also, it is not unreasonable to assume that small pieces of glass would have been reused, and we know that stained glass had been used in earlier composi-tions within the cathedral. The coloured samples will be the focus of future work. Price only painted one window in the cathedral, and the Price samples form a very tight group. This is suggestive not only of a single glass source, but po-tentially a single glass batch. In addition, some of the glass samples which were initially identified as Van Linge consistently grouped compositionally with the

20. Storer & Storer 1822, 31.21. Eden 1913, 96.22. Lowe 1975, 94.23. Lowe 1975, 94.

Price samples. It can be seen from existing windows and records in the other Oxford colleges that Price re-stored some of the damaged Van Linge work24; this is most notable at Queens College (Fig. 4.). The re-sults could be showing where Price restored some of the Van Linge glass in the cathedral. We know that some of the Van Linge windows were fragmentary when they were reinstalled, especially the ‘Entry to Je-rusalem’25. Price could have used the remainder of his glass stocks after completing the Nativity window to repair and restore the surviving Van Linge windows, hence the mis-interpretation based on the style of the painted fragments.

CONCLUSION

In conclusion, we can take random fragments of glass found in a coal bunker beneath Tom Quad, and assign them compositionally to different groups. We can at-tribute these groups to different chronological periods or specific glass painters and we can confidently iden-tify the work of both Price and the Van Linges based on the composition of the glass. We know that the Van Linge scheme was an ambitious project and created over a number of years, and our results show that they were utilising different compositions of glass. Because all of the positively identified windows fall within the core group, we can suggest that the different composi-tions are the result of existing stocks of glass and that the Van Linge brothers were utilising the glass from these stocks as and when necessary. The Van Linges were also using a small amount of coloured glass, at present it is unknown whether this is from the same source as the rest of the HLLA glass, whether it was imported separately from the continent, or whether it was reused from existing cathedral glass. This is in contrast to Price, who not only used a single stock of glass, but the glass probably came from a single batch. We know that the Van Linge scheme was removed from the windows and damaged during the 1650s, and that some of the windows were replaced in the ca-thedral, although we are not sure at what point this oc-curred. Our results are suggesting that Price may well have used remnants of his stock of glass to restore the Van Linge windows in the cathedral as he did in some of the other college chapels.

24. Dallaway 1806, 281.25. King 1862, 17.

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The interpretation of compositional groupings in 17th century window glass from Christ Church Cathedral, Oxford

FUTURE WORK

The future intentions for the project are to perform more targeted analyses on specific windows by par-ticular artists. For example, we would plan to focus further on the as yet unknown glass group, and see whether we can attribute this to a specific period in the history of the cathedral windows, or to a specif-ic glass artist. We are also planning to investigate fur-ther the coloured glass samples from the 17th century. One of the aims of the project is to reconstruct specific windows from the remaining fragments and from the surviving windows in the other colleges; this would then lead to a longer term aim of the project, which would be to reconstruct the Van Linge scheme itself.

ACKNOWLEDGEMENTS

I would like to thank the following people for their help and involvement in this project; the Dean, Chap-ter and Students of Christ Church, Oxford; Dr Nor-man Charnley – Oxford University Begbroke Science Park; Nicola Attard-Montalto – Cranfield Universi-ty; and in particular the President and Board of the AIHV, without whose generous funding I would not have been able to present this paper at the 2009 con-ference in Thessaloniki.

R.B.S.

REFERENCES

Dallaway, J., 1806. Observations on English Architecture.London, The Architectural Library.

Dungworth, D., Cromwell, T., Ashurst, D., Cumberpatch, C., Higgins, D., & Willmott, H., 2006. ‘Glass and pot-tery manufacture at Silkstone, Yorkshire’. Post-Medie-val Archaeology, 40(1), 160-90.

Eden, F. S., 1913. Ancient Stained and Painted Glass. Cam-bridge, Cambridge University Press.

“J.S.” 1807. ‘On Painted Glass’. The Universal Magazine of Knowledge and Pleasure, VII, 503-5.

King, R.J., 1862. Handbook to the Cathedrals of England, London, John Murray.

Lowe, J., 1975. ‘The Conservation of Stained Glass’ in Bro-melle N., & Smith, P. eds, Conservation in Archaeology and the Applied Arts. Stockholm, 93-8.

Mortimer, C., 1993. Analysis of Window Glass from Chastle-ton House, Oxfordshire, Ancient Monuments Labora-tory Report 117. London, English Heritage.

Power, M. & Shortland, A.J., 2007. ‘Van Linge Glass in the Cathedral of Christ Church, Oxford’. AnnAIHV 17, 473-477.

Storer, J.S. & Storer, H.S., 1822. The Oxford Visitor. London, Sherwood, Neely, and Jones.

Thompson, H. L., 1899. Henry George Liddell. London, John Murray.

Trash, F., 1849. The Stranger’s Guide through the University and City of Oxford. Oxford, F. Trash.

Urban, S., 1850. ‘The Works of the Van Lings in Painted Glass’. The Gentleman’s Magazine and Historical Re-view, XXXIV, 383 - 8.

“W.C.” 1817. ‘On Glass-Painting’. The Literary Gazette, and Journal of the Belles Lettres, 2(32), 138-40.

Winkles, B., 1889. Our National Cathedrals. London, Ward, Lock and Co.

Wood, A., 1786. The History and Antiquities of the Colleges and Halls in the University of Oxford. J. Gutch ed. Ox-ford, Clarendon Press.

Wright, A., 1656. Parnassus Biceps.

REBECCA B. SCOTTDepartment of Earth and Environmental Sciences,

Geology Section, Katholieke Universiteit, Leuven, BELGIUM

[email protected]

ANDREW J. SHORTLANDCentre for Archaeological

and Forensic Analysis, DEAS, Cranfield University, Shrivenham, UK

MATTHEW POWERChrist Church Cathedral, Christ Church, Oxford,

OX11DP., UK

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