GLASS NEWS

Website for Books on Glass Professor Wedepohl begins with an introduction to
the raw materials used in glass production and then
www.GilesAncientArt.com embarks on a detailed chronological account of the
major categories of archaeological glass in terms of
David Giles has just launched this website composition and regional distribution, including
specializing in books on ancient and antique glass and Egyptian, Mesopotamian, Sassanian, Islamic, Roman,
has generously offered an ongoing 10% discount to Byzantine and early-, mid- and late-medieval
AHG members. Some 400 of the books are on display European. Glass produced using lead, natron and
and for sale at Biblion, Davies Mews, London W1 various types of plant-ash, and products ranging from
(next to Bond Street Station, Davies Street exit).He containers, vessels and windows, are all mentioned.
has also published a hard copy catalogue, which can There are some references to historical texts dealing
be sent on request, by sending your address by e-mail with glass production and to archaeological remains
to: [email protected] and typological forms, but the emphasis is
For queries contact: David Giles, Ancient Art Books overwhelmingly on the questions that can be
London, 34 East Sheen Avenue, London SW14 8AS answered from the glass composition. The book is a
Tel +44 (0) 20 8878 8951. Fax +44 (0) 20 8878 9201 handy sized paperback, easy to navigate, nicely
presented with some colour illustrations, and very
Book Review reasonably priced. It is also well referenced and
contains tables of data (major and minor elements but
Glas in antike und mittelalter not trace elements) drawn from a variety of sources
for the groups of glass mentioned in the text.
(Glass in antiquity and the middle ages:
history of a material) Glas in Antike und Mittelalter is written in German
and deals largely with scientific subject matter;
Karl Hans Wedepohl although the illustrations have English captions a
proportion of the figures are pairs of ternary diagrams,
E. Schweizerbart’sche Verlagsbuchhandlung (Nägele which take a certain amount of getting used to
u. Obermiller), Stuttgart, 2003. regardless of the language. I would certainly
ISBN 3-510-65207-X recommend the book to readers with a science
228 pages, 77 illustrations (32 in colour) and 29 tables background, not least because it is current and has
240x170mm such a broad scope, making it very useful for general
Euro 39.80. reference. Sufficiently determined non-scientists may
also find it a good overview of how analysis can help
Copies can be ordered by contacting: answer archaeological questions pertaining to glass.
E.Schweizerbart’schen Verlagsbuchhandlung (Nägele
u. Obermiller), Johannesstr. 3 A, 70176 Stuttgart, Sarah PAanynntaerles of the 16th Congress
Germany
Tel: +49(0)711/351456-0. Fax: +49(0)711/351456-99 The AIHV publishes the proceedings of its congresses
e-mail: [email protected] in a series called Annales du Congrès de l'Association
Internationale pour l'Histoire du Verre. The Annales
This is an ambitious book, covering glass of the 16th Congress have now been published. AIHV
development from the earliest examples known in the members are sent free copies but non-members may
Near East and Egypt four millennia ago, through to also order copies from the Association for €45 or £32.
the late medieval period. The book is written by a
geoscientist, Professor Dr Hans Wedepohl, and is To order, please contact: Sarah Jennings, Fort
particularly timely; methods of analysis employed in Cumberland, Fort Cumberland Road, Eastney,
that discipline have increasingly been applied to Portsmouth. PO4 9LD. Tel: 02392 856715
archaeological material, and the results are E-mail: [email protected]
revolutionising our understanding of glass production Payment by Stirling cheque from a British bank is
and trade in the past. Furthermore, the author accepted, payable to Association for the History of
succeeds in providing a usable overview of different Glass Ltd. (Please note that credit card payments will
glass types over this substantial period, which is a be deducted in Euros). Postage within the UK is
considerable achievement. £5.70, within Europe £8.60 and outside Europe
airmail £18.60 or surface mail £10.00. Sarah also has
Glass News July 2005 copies of the 14th and 15th Annales at £16 and £22
respectively. More details at: www.aihv.org.

15

AHG's Website

www.historyofglass.org.uk

Not all Members or Subscribers to Glass News will be know of one which is not on our Events page we’d be
aware that the Association for the History of Glass glad if you could let us have details. If you know of a
has a website – but it does. Its existence is a tribute to good publication or article in the field we’d appreciate
the vision, energy and tenacity of Hilary Cool, who a brief review. And whilst Glass News is the usual
started with a blank piece of paper, as it were, and publication route for articles of any substance, the
created the whole thing from scratch. And when the website does offer a place for shorter pieces of
AHG was organising an International Congress to comment or requests for information.
take place in London in 2003, Hilary created another
website for the Association Internationale pour Also on the site is the reminder for subscription
l’Histoire du Verre to support the event. renewal (the same form handles this and also new
applications for Membership). When you return the
All good things come to an end, however, and Hilary form with your remittance, please don’t forget to
has handed on the role of AHG Webmaster to David provide your email address with all the dots and
Martlew, who acknowledges that she is a hard act to underscores clearly shown! Then we can draw your
follow! But the website itself goes on, offering a attention to items of interest as and when they arise by
mixture of news and views, articles and comment. All sending you an email with links to the appropriate
contributions will be gratefully considered for web pages.
inclusion! We invite you to visit the website and tell
us what you feel about it. How can it be improved? The website is yours - we look forward to hearing
What missing items would you like to see there? from you!
Do please email your comments to
<<[email protected]>> David Martlew

We try to keep tabs on meetings and conferences Webmaster
where the history of glass is a major theme, so if you [email protected]

Finds • Research • Ideas
Publications • Conferences

REMEMBER

Glass News

Please send your contributions to Glass News No. 19 by 13th January 2006 to:

Sarah Paynter or: Juanita Navarro

English Heritage Centre for Archaeology Ceramics and Glass Conservation

Fort Cumberland Victoria and Albert Museum

Fort Cumberland Road South Kensington

Eastney London

Portsmouth PO4 9LD SW7 2RL

[email protected] [email protected]

Glass News July 2005 16

Glass Glass of the Roman Empire and
News Elsewhere

Number 19 January 2006 A celebration of the contribution of Jennifer
Price to the study of archaeological glass
Published by
Tuesday and Wednesday 14th and 15th March 2006
THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED 10.00-16.30

Reg’d Charity: 275236 ISSN 1362-5195 at The Wallace Collection, Manchester Square,
London W1
www.historyofglass.org.uk
This meeting on archaeological glass will include
IN THIS ISSUE major contributions from David Whitehouse, Yael
Israeli, Marie-Dominique Nenna, Marianne Stern,
Page 1. AIHV Congress 2006, Meeting: Glass of the Hilary Cool and Ian Freestone as well as many other
Roman Empire and Elsewhere speakers. Offers of papers to fill the few remaining
spaces in the programme should be sent as soon as
Page 2. The International Festival of Glass and possible to Ian Freestone: School of History and
British Glass Bienale 2006, 8th ESG Archaeology, Cardiff University, Humanities
Conference on Glass Science and Building, Colum Drive, Cardiff CF10 3EU
Technology, CRAFTS 2007 International Email: [email protected]
Conference, AHG Bursaries Meeting fee: £40 for AHG members, £45 for non-
members, £20 for students, to include tea/coffee each
Page 3. Glass Collaboration Workshops, Roman day and a wine reception on the Tuesday evening.
Glass Furnace Project 2006, Stained Glass Further details will be available later in January from
Weekend, Exhibitions at The Corning the AHG Meetings Secretary, Martine Newby:
Garden Flat, 68 Goldhurst Terrace,
Page 4. Cylinder Glass for restoring the pinery at London NW6 3HT
Tatton Park, Study Day at the Fitzwilliam Email: [email protected]
Museum: Review and abstracts Tel: +44 (0)20 7624 0192

Page 7. Glass Studies in France, New Stained Glass Jenny Price with one of the presents she received at
Gallery opens at the V & A her retirement party in Durham last September

Page 8. Aesthetic Protective Glazing for Stained 1
Glass Windows

Page 9. Book reviews
Page 11. Books
Page 12. Editors’ details

AIHV Congress 2006

3rd to 10th September 2006
Antwerp, Belgium

The 17th Congress of the Association Internationale
pour l'Histoire du Verre (AIHV) takes place in
Antwerp later this year. The official languages will be
English, French and German. More details will follow
in the next issue. However payment of the registration
fees is preferred before July 15th, 2006, and so those
interested may wish to follow developments using the
website: http://www.aihv17.ua.ac.be

Glass News January 2006

The International Festival of CRAFTS 2007
Glass and British Glass
Biennale 2006 International Conference

This year the International Glass Festival and British CRAFT INDUSTRY AND SOCIETY IN THE ROMAN
Glass Biennale will take place over the weekend 25th-
28th August 2006, in the West Midlands, with Master PROVINCES
Classes in the previous week, 21st-24th August. At the
time of writing (January 06) the organisers are still February 28th to March 3rd, 2007
accepting submissions for the Biennale and one of the University of Zurich
Master Classes is already full. Further information
available from the website: www.ifg.org In past decades there have been many archaeological
discoveries across Europe relating to Roman craft
8th ESG Conference on Glass industries. However individual studies often lack an
Science and Technology analysis of the Roman craft industry as a whole,
including problems of a social and economic nature.
10th - 14th September 2006 This international conference proposes to present and
University of Sunderland discuss regional syntheses in a wider context, based
on data gathered within the international project
The ESG Conference is held every two years in a "Structures, economic and social role of the Roman
different host country to promote glass science and craft industry in Italy and in the Western provinces of
technology and, in particular, to enhance interaction the Empire" (CRAFTS). In addition to talks on the
among experts working on diverse areas such as glass work of the regional research groups, presented by
manufacturing, glass archaeology, art and invited speakers, space is also reserved for other
environmental issues, as well as glass science and contributions devoted to research on the craft
applications. The conference will cover all aspects of industry, particularly on the topic "Continuity and
glass interest, and there will be scientific and change in craft production from the end of the la Tène
industrially orientated sessions integrated with period to the Roman era and from late Antiquity to
sessions focused on the Art, and on the History and the early medieval period".
Heritage, of Glass. A day session under the title
"When Art Meets Science" is planned to stimulate Oral contributions as well as posters are invited.
new contacts and cross-fertilisation of ideas. Topics Further information is available from the website and
will include furnace technologies and refractories, from the organisers (details below). Please register by
water and sulphur in glass, glass surfaces, nucleation the 31st of March 2006; emailed registration is
and crystallisation, glass art, glass melting and preferred. Further information will only be sent to
forming and the history and heritage of glass. those registered.
Address: Tagungsbüro CRAFTS 2007,
To present a paper at this event, either orally or as E.+ S. Deschler-Erb, Universität Zürich,
poster, please submit a short abstract before 31st Abteilung Ur- und Frühgeschichte des Historischen
March 2006. An abstract submission form with Seminars, Karl-Schmidstr. 4/CH - 8006 Zürich
instructions on the required layout is available at: Email: [email protected]
http://www.esg2006.co.uk/documents/Abstractguideli Website: www.prehist.unizh.ch
nesandform.doc or by using the dropdown menu on Tel: 0041 61 201 02 44. Fax: 0041 1 634 49 92
the web page. The deadline for early registration is
30th June 2006. More information will be added to the AHG Bursaries
website as it becomes available.
The AHG Board has decided that a total of £750 will
be available in 2006 to help fund research and/or
participation in conferences. This year preference may
be given to students presenting papers at the 17th
AIHV Congress in Antwerp. Further details and an
application form are available from the Hon
Secretary, Justine Bayley. Completed applications
must be received by 17th March 2006.

Glass News January 2006 2

EithAer eHmaGil: [email protected] Stained Glass Weekend

oCruwmrbiteerltaon:SdJ,uhEsataipsnteneeByaa,ynPldeoyrt,ssEmunobgulsitshthaPnHOce4rei9taLIgDIe, Fort The Stained Glass Museum at Ely will hold a Stained
Glass Weekend in London, 26th-28th April 2006. The
This meeting will take place on the 22nd of November, weekend will start on Friday afternoon with an
2006. There will be further details in Glass News 20. extensive visit to Goddard and Gibbs stained glass
studio and workshop in Bow. On Saturday morning
Glass Collaboration delegates will visit Greenwich: The National
Workshops 2006 Maritime Museum, The Painted Hall and Chapel, The
Queen's House; in the afternoon a visit to
The International Glass Centre at Dudley College, Westminster Abbey is planned (to be confirmed); and
West Midlands, is organising two Glass Collaboration on Sunday morning there will be a visit of the newly
Workshops: opened Sacred Silver and Stained Glass Gallery at the
•"Keeping True to your Vision" - Architectural glass Victoria and Albert Museum.

and stained glass painting, with artist Mark Angus, Further information from:
13th-17th February 2006. Email: [email protected]
•"Developing New Ranges" drawing on the Italian Web: www.stainedglassmuseum.com
techniques of the Venetian Glass Maestros, with
glass-blower, teacher and scholar William Exhibitions at The Corning
Gudenrath, from The Corning Museum of Glass, Museum of Glass
14th-18th February 2006.
Animals in Glass
For further details email: March – July 2006
[email protected] "Animals in Glass" explores human attitudes towards
Website: www.dudleycol.ac.uk/glass other creatures through a display of sculpted glass
animals as well as representations of animals in
Roman Glass Furnace Project enamel, gemstones, and reliefs. The exhibition covers
a wide range, from modern pieces to examples from
2006 ancient Egypt, Islamic art and 19th century Europe.

We will be continuing the project we began in 2005 Splitting the Rainbow
(see previous issues of Glass News) by rebuilding one Cut Glass in Colour
of the wood-fired furnaces, and firing both furnaces April 11 – November 1, 2006
during May 2006. This will enable us to test some Cut glass objects that include colour, such as vases or
new ideas based on the experiences of the first firing drinking glasses, are rare finds. Many of the pieces in
and to re-design the smaller furnace and the annealing “Splitting the Rainbow” are made of cased glass:
oven. Once again, we will be blowing and working made in two or more layers of different colours,
glass which conforms to Roman glass compositions. which is a difficult technique. This exhibition will
The three week long firing period will start on 1st May showcase examples of 19th and 20th century coloured cut
and end on 21st May, to coincide with the Project glass from Europe and the United States contained in the
Workshops Open Weekend on 20th and 21st May. Full Museum collection.
details will be posted on our website.
Glass of the Maharajahs
Mark Taylor and David Hill European Crystal Furniture for Indian Royalty
The Roman Glassmakers May 19 – November 30, 2006
This is a major exhibition of glass furnishings made
It will be possible to visit the project by appointment. for Indian palaces at the turn of the century, including
Please email: [email protected] a massive 18-light candelabra in jewel-toned glass,
Tel: 01264 889688 or visit the websites at: table fountains of intricately faceted cut glass, a four-
www.romanglassmakers.co.uk poster bed and throne-size chairs. All were made of
www.project-workshop.co.uk
3
Glass News January 2006

clear or richly coloured crystal, sometimes with The commission is by far the largest the company has
gilding or enamelling, and mostly in Europe, by such ever received, but we are keen to use English cylinder
glasshouses as Baccarat in France and F. & C. Osler glass made, so far as current health and safety
of Birmingham, England. The exhibition will include requirements allow us to go, in the manner and to the
objects from the Museum's own collection and specification known to Wyatt's glaziers. We will be
collections around the world. monitoring the use and performance of this glass once
it has been installed in early summer 2006.
Cylinder glass for restoring
the pinery at Tatton Park Jeremy Milln
Archaeologist, The National Trust,
At Tatton Park, near Knutsford in Cheshire, as part of West Midlands Regional Office,
a larger project to restore the working kitchen garden Attingham Park, Shrewsbury,
for visitors, the National Trust and Cheshire County Shropshire SY4 4TP
Council have embarked upon a project to recover the Tel: 01743 708112
pinery-vinery. This was a large hot house designed by Mobile: 07779 034457
Samuel Wyatt in 1774 for the growing of pineapples -
then all the rage - under vines. Unfortunately the Study Day at the Fitzwilliam
building was taken down many years ago but, thanks Museum, Cambridge
to a generous grant from the Heritage Lottery Fund,
work started in November 2005 to reinstate it, as Review
closely as possible, to its original form.
On the 15th November 2005 the AHG held a study
Archaeological evidence demonstrates that Wyatt day at the Fitzwilliam Museum, Cambridge, to
used blown cylinder glass, little more than 1mm thick coincide with the AGM of the Association. There
(to minimise the liability for glass tax), cut to panes were three lectures in the morning, followed by the
just 6½" wide. The glass was clear, with movement, AGM, and afternoon visits to the Antiquities
and generally free of seed or blister but not of slight Department and the Applied Arts Reserve in the
mineral impurities, lending it tints of green, blue and Fitzwilliam, and the University Museum of
amber. None, or almost none, of this sort of glass Archaeology and Anthropology in Downing Street,
survives in glasshouses today. This is because Cambridge. The participants met for coffee in John
horticulturists, keen to allow more light into their Miller & Partners’ spacious Courtyard development
glasshouses, adopted the bigger panes offered by which opened in 2004. The lectures took place in the
Robert Lucas Chance's improved cylinder process basement Seminar Room, part of an Education suite
from the middle of the nineteenth century or, more created at the same time. Abstracts of the lectures
recently, modern horticultural and float glass. It is follow this overview.
also, it must be said, because eighteenth century
productive glasshouses have all long succumbed to Sandra Davison, glass conservator, described the
decay and changes in fashion. glass in the Westminster Retable, and her contribution
to its conservation at the Hamilton Kerr Institute at
Following the demise of the Nailsea and Chance Bros Whittlesford near Cambridge, which conserves the
glassworks and more recently of the Sunderland Museum’s paintings. James Lin, Assistant Keeper in
Glassworks (inheritors of the old Hartley Wood & Co the Department of Applied Art discussed the
and Wear Glassworks), new English muff clear flat Museum’s Chinese glass. Julia Poole, gave a rapid
glass has been unobtainable. In recent years such survey of the Islamic and European glass to remind
glass needed for conservation has had to be imported, participants of the range of the collection, most of
largely from Poland and the former GDR. However which has been in store since 2001.
for this project the glass will be supplied by English
Antique Glass Ltd, a company formed in 2002. Based The AGM followed, during which Charles
in the West Midlands, EAG is using rescued Hajdamach retired, David Crossley retired as treasurer
equipment and the surviving skills of former but was elected as an ordinary Board member, and
Sunderland glassworkers to make some 900 free Andrew Shortland was elected as the new treasurer.
mouth blown sheets from which we expect to be able
to obtain a little over 300 square metres of cut panes. In the afternoon one group accompanied by Lucilla

Glass News January 2006 4

Burn, Keeper of Antiquities, visited the Antiquities in England in the mid-13th century suggests that the
Galleries, and then saw one of the finest Roman glass window glass was imported, probably from France. It
vessels in the collection, a pale green blown glass is hoped to show by analysis that this glass had other
flask, perhaps imitating the shape of contemporary decorative uses within the Abbey. Glass opus sectile
clay vessels, and decorated with flattened and combed (cut work) is an important part of the visual effect of
snake threads of the same colour. A second group the altarpiece, the Westminster Retable, c. 1270,
accompanied by Julia Poole visited the small glass which underwent extensive investigation during its
display on the mezzanine floor, the Applied Arts restoration at the Hamilton Kerr Institute, Cambridge,
Reserve, and Study Room where a selection of between 1998 and 2004. Prior to this, and other
unusual and problem pieces were displayed. Anne investigations carried out within the Abbey, the only
Taylor of the Museum of Archaeology and English example of the use of decorative glass before
Anthropology welcomed a smaller group to see the end of the 13th century was thought to be a belt,
medieval and Roman glass there. adorned with painted heraldic miniatures under glass,
and almost certainly of English royal origin, found in
Julia Poole, Keeper in the Department of Applied 1942 in the tomb of the Infante Fernando de la Cerda
Arts, Fitzwilliam Museum, Cambridge (d. 1275) at Las Huelgas in Castile. Other examples
executed under Royal patronage, albeit in a much
Abstracts depleted state, have now been revealed or brought to
13TH CENTURY GLASS IN WESTMINSTER ABBEY notice. Glass tesserae were inlaid in the coloured
marble Cosmati floors of St Edward the Confessor's
King Henry III, who began to rebuild Westminster shrine (1269) and the Sanctuary (1268), on the tombs
Abbey in the new Gothic style in 1245, was an of Henri III (d. 1272), Edmond Crouchback and the
admirer of stained glass. His church would have been Coronation Chair (both c. 1300), and the Sedilia (c.
resplendent with colour: the main glazing scheme 1307). The Coronation Chair also bears impressions
would have consisted of grisaille glass frequently similar to those made by the rectangular faux
interspersed with coloured glass shields of arms of cloisonné enamel panels on the Retable.
royalty and benefactors to the building.
The Cosmati sanctuary floor is currently undergoing
The little 13th century window glass that now remains investigation prior to conservation. The glass tesserae
can be found in the Abbey's lapidarium: could have been brought from Italy, however at first
• An example of grisaille glass discovered in 1868 sight they seem to have much in common with those
on the Retable. The tesserae are of transparent dark
in a blocked-up window of St Nicholas' Chapel, blue, blue-green, green, amber, ruby red and flashed
and re-leaded; glass (clear glass with a thin covering of red glass on
• In St Edmund's Chapel: three early heraldic one side). Analysis of the opaque glass (white, red,
shields set in the windows; turquoise and blue), found on the tomb slab on Abbot
• In the Museum: six small panels depicting the Wenlock and surrounding the central roundel, showed
massacre of the Innocents, the Ascension, the it to be similar in composition to contemporary
descent of the Holy Spirit, the stoning of St enamels made in Limoges.
Stephen, the beheading of a martyr, and an
episode from the life of St Nicholas. The blue, red and green transparent glass on the
Westminster Retable was clearly made by the crown
The original position of the latter six panels in the glass technique. The marked parallel curves indicative
church is unknown; they were displayed for many of this process can be clearly seen when the large blue
years in the Jerusalem chamber before being moved glass plaques are viewed in raking light and to a lesser
to the Museum in 1987, when they were re-leaded. (A degree on the much smaller pieces of red and green
seventh panel of the Resurrection, in a very patched glass. The greenish clear glass used as a covering for
condition, was moved in the 1950s to the Muniments painted and gilded plaques imitating cloisonné enamel
Room.) An inscription on the Innocents panel records was produced by the cylinder technique and exhibits
its repair: "Thomas Medbury glassed this in 1683". the indicative parallel ripples and elongated air
Fragments of 13th to 15th-century glass were bubbles. The potash (forest) glasses are related to the
incorporated into windows of the apse in the 17th ecclesiastical window glass of the period and their
century, and two figures in the chapels at the west end composition can be closely paralleled in published
are composed of glass of various dates. analysis (Binski & Freestone 1995). The glasses are
likely to represent the production of a single
The lack of evidence for the production of fine glass
5
Glass News January 2006

workshop, and the different shades are sufficiently Vanessa Simeoni, Monuments Conservator,
close to represent pots of slightly different coloured Westminster Abbey
glass from the same glasshouse. The glass is likely to
have been produced over a relatively short period, CHINESE GLASS IN THE FITZWILLIAM
perhaps in response to a single order – the decoration The earliest examples, dating from the 4th century BC,
of Westminster Abbey. The blue, green and colourless were beads used with other types as parts of pendants,
glasses have been analysed by Prof. Ian Freestone which were placed on the chest of the deceased in
(Cardiff University). There was no broken surface of burials. The use of glass in burials continued in the
red glass from which to obtain a sample, however a Han dynasty (206BC – AD 220) when it was used as
damaged red glass ground for a cameo showed it to be a substitute for jade in the tombs of women and lower
flashed. It is reasonable to suppose that all the red ranking aristocrats. In this period, glass burial objects
glass on the Retable is flashed since copper red glass are usually found in southeast China, particularly in
was often too dense to be transparent. Yangzhou, Jiangsu province. Presumably there was a
workshop responsible for producing glass for imperial
The blue glass plaques are shaped to resemble burials.
Moorish blue-glazed ceramic tiles (imitating the semi-
precious stone lapis lazuli). The glass was set over During the Tang dynasty (618-906 AD) when
silver leaf and mordant-gilded freehand with foliate Buddhism became widespread in China, glass was
designs of vine and oak leaves. Red, green and blue used to make containers for the Buddha’s finger bone.
glass, set over silver leaf within the micro- This container was then placed inside a nest of gold,
architecture, represented windows. Green and blue silver, bronze, and stone caskets, and place at the base
glass lancets, on the lower tier of the pinnacles, bear of a pagoda, suggesting that glass was highly prized
traces of mordant-gilded patterns of window in this period.
embrasures. The interstices above the micro-
architecture in the centre section were filled with In later periods glass was not a material commonly
octagonal cobalt blue glass tesserae each decorated used, but it became popular during the Qing dynasty
with a single mordant-gilded standing lion, and square (1644-1911), possibly as a result of European
red glass infills. Within the star-shaped frames and influence. In 1696 the Emperor Kangxi set up a glass
borders of the Retable there are 36 red, blue and workshop inside the Forbidden City to produce
greenish glass ovals, which were set over silver foil utensils for daily-use including snuff bottles. The
into recesses carved into the wood. Their upper Fitzwilliam has several examples of Qing glass,
surface was deliberately deeply scratched to provide a including a dish incised with ‘made in the reign of
key for the attachment of the three-dimensional Emperor Qianlong (1735-95), and another incised
(?)putty profile heads, in the manner of classical with ‘made in the reign of Emperor Daoguang (1821
cameos. Only one oval depicting a male head -1850). It also has some 18th century snuff bottles,
survives, but several glass ovals bear the outline of possibly made in workshops in Suzhou and Beijing.
heads that have been lost. At present nothing is
known about their production but the fine details of James Lin, Assistant Keeper in the Department of
the remaining cameo suggests that putty may have Applied Arts
been pressed into carved moulds. Today 28 of the
original 1,250 glass cabochon gems survive, set over POST MEDIEVAL GLASS IN THE FITZWILLIAM
a reflective ground within the borders. The highlight of the small group of Islamic vessels is
a mid 14th century enamelled Mosque lamp dedicated
Sandra Davison, FIIC ACR by Shaykhu al-Nasiri, cup bearer to the Sultan. The
earliest post-medieval European glass to enter the
References collection in 1904 was a Sienese verre eglomisé
Binski, P and Freestone, I 1995 'Norwegian Medieval plaque showing the Virgin and child enthroned with
Altar Frontals and Related Material' in Papers from Saints. Venetian and façon de Venise glass was
the Conference in Oslo, 16-19 December 1989, pp 59- represented by a Venetian enamelled and gilded tazza
73. ACTA AD ARCHAEOLOGIAM ET ARTIVM of about 1500, and an English Verzelini goblet dated
HISTORIAM PERTINENTIA VOLVMEN 1578. The museum has only a few examples of
XI. Rome: Giorgio Bretschneider stained glass, among them several late 16th and early
17th century roundels, including the Triumph of
Acknowledgements Chastity over Love after a design by Pieter Cocke van
Dean and Chapter of Westminster Abbey Aelst (c. 1502-50). English glass of the late 17th to

Glass News January 2006 6

early 19th century forms the bulk of the collection, a of silver. The V&A, which boasts the best museum
high proportion of which was bequeathed by Donald collection of stained glass in the world, holds the
Beves (1961). The later English glass includes several largest and most comprehensive collection of
jugs and glasses decorated with hunting subjects by medieval and renaissance stained glass. The dazzling
means of Davenport’s patent, and an extraordinary displays of stained glass line both sides of the gallery,
green glass decanter with silver mounts designed by which has been designed to give the feeling of a
William Burges for himself, and made in 1865. church nave. Artist/jeweller Wendy Ramshaw
Recently several pieces of studio glass have been designed a series of nine four-metre-high metal
donated by Sir Nicholas and Lady Goodison through screens to hold much of the stained glass (see figure
the National Art Collections Fund, including works below), thus taking advantage of the natural light
by Bob Crooks, Anna Dickenson and Keiko Mukaide. coming from the windows overlooking the garden to
illuminate the panels. When the natural light begins to
Julia Poole fade, subtle artificial lighting installed behind the
Keeper in the Department of Applied Arts, individual panels switches on to boost the transmitted
Fitzwilliam Museum, Cambridge light. The design of these screens allows for some of
the objects to be displayed at eye level, giving visitors
Glass studies in France the opportunity to study these important panels at
close range.
In October 2005 there were not one, but two,
meetings in France on aspects of glass history, Stained glass screens flanking the garden windows.
demonstrating the strength of interest in the subject Photographer: Sherrie Eatman
that exists there. I could only go to one meeting, that Highlights of the stained glass on display in this
inaugurating the association Verre et Histoire, which gallery include:
was organised by Sophie Lagabrielle and based in •The earliest panel in the collection, which dates from
Paris. There were two days of lectures and poster
displays on the theme of glass and windows - from 1140-44. Originally from Saint-Denis, from the
Roman times to the 19th century - held at the border of a window dedicated to the Infancy of
headquarters of Saint-Gobain, a glass-making Christ.
company that can trace its origins back to 1665,
followed by a final day in the Palace at Versailles. 7
The papers dealing with the Roman period drew on
examples from across the Empire but the later periods
focused on France, though there were presentations
that dealt with scientific studies, excavations or
standing buildings in Belgium, Switzerland, Italy and
Britain too. Many of the papers and posters were
excellent, particularly those that made full use of
excellent illustrations. A publication is planned, on
the web in late 2006 and in printed form in 2007 - full
details will appear in future issues of Glass News.

Justine Bayley

New Stained Glass Gallery
opens at the V & A

The Victoria & Albert Museum opened its new
Sacred Silver & Stained Glass Gallery on 24th
November 2005. Over 150 stained glass panels from
the national collection, dating from the 12th century
through to the present day, are now on permanent
display alongside pieces from the national collection

Glass News January 2006

•Two new acquisitions dating from the early 16th Aesthetic Protective Glazing
century which were originally part of the extensive for Stained Glass Windows
glazing scheme of Fairford Church in
Gloucestershire. These two fragment panels depict The 2005 winner of the Anna Plowden Trust Award
the apostle St. Matthias and an angel of the Last for Research and Innovation in Conservation was
Judgement. stained glass conservator Mark Bambrough. His
innovative protective method for stained glass
•A panel designed and made by Thomas Willement in windows provides an aesthetic alternative to other
1845. Originally forming part of the east window of methods in use. The new method has been used at
Holy Trinity Church in Carlisle, this is the first time New Kilpatrick Church, Bearsden, Glasgow (see
this outstanding example of the 19th century Gothic figure below). This is how Mark describes his work:
Revival in stained glass has been on display since
joining the collection in 1980. Exterior view of window with aesthetic glazing in
central panel, New Kilpatrick Church, Bearsden,
•A recently-acquired quatrefoil, designed by Henry Glasgow. Photo: Mark Bambrough
Holiday between 1886-90, depicting the “Today, for various reasons, stained glass windows
Personification of Faith. often require physical and environmental protection in
the form of secondary glazing. This can take many
•A richly-coloured, highly decorated panel designed forms from plastic sheeting to Mirror Image leaded
by Harry Clarke in 1918 and made by Clarke panels in which the main lead lines of the stained
Studios some years later. This vibrant panel, glass window are replicated. While all current
measuring 2.8 m in height, depicts the Apparition of systems of secondary glazing have a functional
the Sacred Heart. justification, they also generate glare and reflection,
which can seriously interfere with the aesthetics of the
The museum’s Stained Glass Conservation Studio building in which they are sited.
carried out around 3500 hours of practical
conservation treatment in order to prepare the selected
panels for permanent display. Five stained glass
conservators worked on the objects over a period of
three years, carrying out treatments that ranged from
light cleaning to complete reglazing as the individual
objects required. The gallery’s interpretation scheme
includes a video showing how a stained glass panel is
made, a replica of a medieval stained glass panel on
display that visitors are invited to touch, and a small
display of stained glass tools that were used in a
workshop from the 1920s. Much of the earlier stained
glass on display in this gallery can be found in Paul
Williamson’s recent publication Medieval and
Renaissance Stained Glass in the Victoria & Albert
Museum (London: V&A Publications, 2003). [Book
details in Glass News 15]. Information on the stained
glass displayed in this gallery is now available on the
V&A's main website:
www.vam.ac.uk/collections/glass/stained_glass/sacre
d_stained_glass/index.html

Please note that the Sacred Silver and Stained Glass
Gallery will be closed for three weeks from 20th
March 2006, to reopen on 10th April. During this time
LED lights will be installed in the screens displaying
the stained glass.

Sherrie Eatman
Head Stained Glass Conservator, Victoria and Albert
Museum

Glass News January 2006 8

The purpose of my research was to produce a highly Sasanian glass is traditionally regarded as an
functional but aesthetically more acceptable form of exotic eastern cousin of Rome or an antecedent of
protective glazing. This was achieved by screen- Islamic tradition, yet 2005 marks something of a
printing, with ceramic enamels, a photographic image landmark year as it sees the publication of the
of the exterior appearance of the stained glass onto a first two major catalogues to deal with it. The first
flat pane of glass. This copy was then kiln-formed volume includes a collection of some 51 Roman,
using full-sized moulds to match the contour lines of Sasanian and post-Sasanian pieces as the
the existing leadwork pattern. The research produced antecedents for a larger group of 291 Islamic and
a 3D glass facsimile that reflected back all the life and Islamicising glass vessels and other objects from
colour that existed in the original stained glass. The the huge private collection of Nasser D. Khalili.
facsimile is also as transparent in transmitted light as The second catalogue focuses on a collection of
the industry standard Mirror Image described above, 67 Sasanian and post-Sasanian vessels in the
and opaque in reflected light, therefore the image is Corning Museum of Glass (plus an acknowledged
seen from the outside but yet burns out on the inside. fake roundel and five gold-glass beads, the latter
The advantage over conventional methods of discussed in issue 46 of the Bead Study Trust
protection is that it is unobtrusive, as it responds to Newsletter).
surface light play in a similar way to that of the
stained glass it is protecting and does not give off Both publications sit within their own series and
glare or reflection. The protective glazing also are equally lavish. Both are illustrated in full
functions aesthetically with the building, by breaking colour facing the detailed descriptions, include
up and diffusing light play, while retaining the line drawings of almost all pieces (although the
relationship between glass and stone that existed Khalili examples omit details of folding on the
before the secondary glazing was introduced”. sections), are indexed and are well referenced to
include the latest literature on comparative
Book Reviews material. In addition, both authors have chosen to
arrange their material by manufacturing
SASANIAN AND POST-SASANIAN technique. The added value of David
GLASS IN THE CORNING MUSEUM Whitehouse's catalogue is his excellent synthesis
of the state of knowledge of Sasanian glass, and
OF GLASS the addition of two appendices by Robert Brill,
one discussing compositional analyses and the
David Whitehouse other detailing some surface finds from two
(unexcavated) Iraqi sites covered with extensive
ISBN 0-87290-158-0, hardback remains of Sasanian glass-working. These
Price: US$65.00 illustrate how this glass typically has a plant ash
Corning Museum of Glass, New York, 2005 composition, the relatively high magnesium
content contributes to a distinctive weathering
GLASS: FROM SASANIAN layer (although this is sometimes deliberately
ANTECEDENTS TO EUROPEAN flaked off on art market pieces), and how plotting
of the available analyses do not yet yield
IMITATIONS meaningful groupings.

The Nasser D. Khalili Collection of Islamic Art, Sidney Goldstein's monumental catalogue (it
Volume XV weighs almost 5 kg!) includes an introduction on
"manufacture and decoration" illustrated with
Sidney M. Goldstein detailed views to illustrate techniques, a glossary,
and four additional essays interspersed with the
(General editor, Julian Raby) catalogue entries. These are by Michael Rogers
("Problems in the study of Islamic glass"), Sidney
ISBN 1-87478-050-1, cased Goldstein ("Lustre-painted glass"), Jens Kröger
Price: £105.00 ("Scratched glass"), and Melanie Gibson
The Nour Foundation in association with Azimuth ("Admirably ornamented glass", followed by
Editions, London, 2005 supplements on "Literary references to enamelled
Distributed by I.B. Tauris & Co. glass" and "Figural themes on early enamelled
glass"). In other cases, mini-sections (not listed in
Glass News January 2006
9

the table of contents) introduce groups and suggesting that they were found in tombs,
effectively summarise the contents: Late Roman, whereas the medieval glass is often repaired from
Byzantine and Sasanian glass (p.30 ff.), Early fragments with additional infill and, like the
Islamic glass-blowing (p.64), Mosaic glass (p.86), contemporary glazed pottery, presumably derives
Drinking vessels (p.96), Bell-shaped flasks from the rubbish heaps, disused cisterns, drains or
(p.124), Early painted and enamelled decoration residences of the towns and caravanserais which
(p.132), Cut glass (p.156), Facet-cut decoration have been the preferred hunting grounds for
(p.168), Relief cut-glass (p.203), Cameo glass commercial excavators.
(p.208), Medieval Islamic glass (p.218),
Turquoise glass (p.222), Stem goblets (p.248), In terms of the Sasanian cut glass, both
Glass with marvered decoration (p.258), Late collections include hemispherical bowls, bowls
Islamic glass in Iran, India and Turkey (p.294), with cracked off rims, footed bowls with double
Water-pipes (p.310), and Later-19th century circular facets, deep beakers, small flasks with
Islamicising glasses (p.316). In addition to vessels relief-cut disks, tubes, and pear-shaped jars with a
and containers there is a fragment of furnace (cat. single perforation in the base (an unexplained
52), six glass bracelets (cats 89-94), a paper feature apparently found on all known examples,
burnisher or smoother (cat. 95), an inscribed glass including an unpublished piece in the British
weight (cat. 97), a moulded vessel appliqué (cat. Museum). Goldstein follows Fukai (1977) in
156), and a decorative roundel representing a believing that the blanks were usually mould-
rider with falcon (cat. 157). blown. In the reviewer's experience, however, it is
more likely that they were free-blown, and the
The highlights of the Khalili glass collection careful polishing and ubiquitous deep facet on the
include a pair of complete mosaic-glass footed underside may best be explained by the
boat-shaped bowls (cats 84-85); a colourless craftsman's desire to remove all traces of
moulded ewer referring to Baghdad and giving hotworking and signs of a pontil (confirmed by
the name of the maker (cat. 136); a transparent the rare survival of this feature on cat. 46). Plain
cup and plate with foliate patterns decorated in bottles or the variety of mould-blown re-blown
lustre (cats 164-65); an unusually large deep blue forms, which are well known from excavations in
dish with scratched decoration (cat. 168); an Early Iraq and Iran, are almost totally absent from both
Islamic cosmetic-set in cut glass (cat. 190); and a catalogues. The exceptions include a miniature
splendid selection of relief-cut glass (cats 241- pyriform unguentarium (Khalili cat. 40), and a
51). Strengths of this portion of the Corning footed bowl decorated with "nip't diamond waies"
collection include the large selection of Sasanian formed by pincering vertical mould-blown ribs
cut glass (cats 45-67), and a fine group of Late (Khalili cat. 51); the same effect appears on three
and post-Sasanian moulded plaques and vessel bowls and a conical beaker in Corning which are
appliqués decorated with figural designs (cats 1, catalogued in the section on "Vessels with applied
18-44). ornament" (Corning cats 6-7, 14, 17). The Khalili
Collection includes two small flasks decorated
The authors' cautious comments over the with applied circular blobs (cats 16-17):
interpretation of the date, place of origin or comparisons are made with excavated pieces from
distribution of particular pieces are appropriate as Susa, Qasr-i Abu Nasr (both in Iran) and
none of the catalogued pieces are from Penjikent (Tajikistan), as well as late Sasanian cut
archaeological contexts. Nor do any appear to glass forms, yet surprisingly no mention is made
have histories before the late 1950’s when large of a related bottle from the Famen Treasure, an
quantities of glass began to appear via the Iranian even closer parallel in Berlin or the generic
art market. Suggested provenances allude to resemblance with a well-known class of late
where they are thought to have been made, rather Sasanian gilt silver (cf. Kröger 1999). The heavy
than where dealers said they were found, a weathering on cat. 17 reinforces the likelihood
distinction which has not been sufficiently made that these are of late or post-Sasanian production,
in some other literature. In the case of the rather than that of coastal Syro-Palestine.
Sasanian material, both collections share a similar
bias towards cut glass as this has been A few comments may be appropriate here on
traditionally collected and exhibited as canonical some other specific pieces. The squat dark green
of Sasanian material culture. In both collections bottle is a type also found with a metal boat-
many of these vessels are intact or virtually so, shaped bowl in a grave at Uch Tepe (Iraq) and at

Glass News January 2006 10

Jebel Sais (Syria): together with the cited finds involved with these collections and publications
from Qasr-i Abu Nasr and China, the date-range must be warmly thanked for their hard labours.
may be revised from the 3rd-7th centuries to the
6th-8th centuries (Corning cat. 2). The unusual St John Simpson
square-sided bottle with moulded decoration has Department of the Ancient Near East,
an unusual fabric which resembles that found in The British Museum, London WC1B 3DG
6th-7th century contexts excavated at Merv [email protected]
(Corning cat. 5). The distribution of vessel
appliqués representing the face of a moustachiod References
man now may be extended beyond Iran, both Fukai, S 1977 Persian Glass. New York, Tokyo
eastwards to Merv and across the Persian Gulf to and Kyoto (translated by Edna B. Crawford).
Suhar (Corning cats 37-38, 42). An unusually Kröger, J 1999 ‘Laden with glass goods. From
heavy faceted stemmed goblet has the appearance Syria via Iraq and Iran to the Famen Temple in
of two pieces joined in recent times, but was China’ Coins, Art, and Chronology: Essays on the
apparently blown in two gathers and thus must pre-Islamic History of the Indo-Iranian
have been cold-worked with some difficulty Borderlands (M. Alram & D. E. Klimburg-Salter,
(Corning cat. 56). Faceted goblets are rare in eds) 481-91. Vienna.
comparison to plain versions, but as the latter are
usually incomplete they have not entered the art Books
market. A complete transparent aquamarine
mould-blown tube or so-called "scroll- or pen- LOOKING AT GLASS
case" is attributed a late 5th-7th century date, yet
excavated data suggest a date no earlier than the A Guide to Terms, Styles and Techniques
early 7th century for the form, and the
combination of technique and colour suggest a Catherine Hess & Karol Wight
post-Sasanian date for this example (Khalili cat.
30). As Whitehouse observes for Corning cats 66- This compact paperback defines and describes the
67, the function of these tubes is not readily terms, styles and techniques that have evolved
explained: the 480 mm. length of the Khalili piece through the years, providing an alphabetical reference
renders it unlikely that it contained pens, and its from A for Acid Etching, to Z for Zwischengoldglas.
30 mm. diameter excludes the possibility of it Catherine Hess is Associate Curator in the
having contained easily retrieved rolled Department of Sculpture at the J. Paul Getty Museum,
documents. A two-chambered crucible with Los Angeles. Karol Wight is Associate Curator in the
turquoise and red glass residue in the different Department of Antiquities also at the J. Paul Getty
compartments is exactly the sort of industrial Museum. The book is illustrated in colour with
waste that is not normally collected but its early pieces from the collections of the J. Paul Getty
Islamic date is speculative (Khalili cat. 52). Museum, The Corning Museum of Glass, and the
Finally, an emerald-green cut glass statuette Victoria and Albert Museum. In clear and concise
representing a pigtailed woman wearing a crown language many of the phrases encountered in
with her arms raised in front of her chest was exhibitions, books and articles related to glassmaking
regarded as a little odd by the author (Khalili cat. are defined, such as Aventurine, Combing, Ice Glass
197). This may be because its form and and Prunt. The terms provide a greater understanding
iconography closely resembles a class of of techniques and production and therefore a
Achaemenid cosmetic-bottle, although the fabric heightened enjoyment of glass artworks.
is not known for glass of this period: if genuine, it
would date to the 5th or 4th century BC rather than ISBN: 1 85177 460 2
the 8th to 10th centuries AD. Paperback, V & A Publications, 2005
Price: £12.99
These comments are no more than a taster: both Further information from Claire Sawford PR
catalogues deserve repeated browsing and study. Tel: 020 7722 4114
Much remains to be understood about the Email: [email protected]
development of Sasanian and Islamic glass but
the publication of these volumes makes it that 11
much more achievable. They are simply a "must"
for anyone working on this material, and all

Glass News January 2006

CZECH GLASS, 1945-1980: The National Trust

Design in an Age of Adversity MANUAL OF HOUSEKEEPING

Edited by Helmut Ricke The Care of Collections in Historic Houses Open
to the Public
448 pages, 696 illustrations, with CD-ROM
Price: US $125.00 This new expanded full-colour edition of a best-seller,
The Corning Museum of Glass, 2005 explains how to care for objects in a historic house
environment and provides detailed practical guidance
This book, designed to accompany last year's on the care and maintenance of fragile interiors and
exhibition of the same title, features contributions by the decorative fixtures, fittings and other objects,
glass scholars in the Czech Republic, Germany and including the significance of glass vessels and flat
the USA. It traces the development of 20th-century glass in a historic house. A brief outline of materials
Czech art in glass at a time when modern and abstract and construction as they affect housekeeping, agents
art were suppressed by the communist regime that of deterioration and inherent problems; some past
controlled Czechoslovakia after 1948. It also contains repair methods and historic housekeeping techniques;
a review of the glass industry, bibliography and present-day approaches to housekeeping, including
glossary of technical terms. The CD-Rom contains checking, monitoring and recording, environment,
20th-century Czech glass design drawings from The handling, moving, displaying, cleaning, surface
Corning Museum of Glass. protection, using, storing, transporting and 'first aid';
what specialist conservators can offer in the way of
For further information advice, and preventive and remedial treatment.
Email: [email protected]
Website: www.cmog.org ISBN: 0750655291
Hardback, 954 pages, lavishly illustrated in full
25 YEARS OF NEW GLASS REVIEW colour, November 2005
Price: £49.99
Tina Oldknow Available form Elsevier. Tel: 01865 474010
Or email your order to: [email protected]
247 pages, 200 colour illustrations Website: www.bookselsevier.com/conservation
Price: US $29.95
The Corning Museum of Glass, 2005 Please send your contributions for
Glass News No. 20
The New Glass Review, published by The Corning
Museum of Glass, presents an annual survey of glass by 16th July 2006 to:
in contemporary art, architecture, craft, and design
created in the previous year by emerging and Sarah Paynter
established artists, as well as students. The works are English Heritage
chosen by a changing jury of curators, artists, Fort Cumberland
designers, art dealers and critics. For this book, Tina Fort Cumberland Road
Oldknow, The Corning Museum of Glass curator of
modern glass, has chosen 200 influential and Eastney
memorable objects and installations from the 2,500 Portsmouth PO4 9LD
works published in New Glass Review during 1980 to [email protected]
2004. The book is organized in five sections
presenting vessels, sculpture, flat/painted glass, Or:
installations/architectural glass, and design.
Juanita Navarro
Available from: Ceramics and Glass Conservation
GlassMarket at The Corning Museum of Glass
Web: http://glassmarket.cmog.org/ Victoria and Albert Museum
South Kensington
London
SW7 2RL

[email protected]

Glass News January 2006 12

Glass AHG study day and AGM
News
EXPERIMENTAL AND ETHNOGRAPHIC STUDIES
Number 20 July 2006
RELATING TO ANCIENT GLASS
Published by
Wednesday 22nd November 2006
THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED The Wallace Collection

Reg’d Charity: 275236 ISSN 1362-5195 Hertford House, Manchester Square, London W1U
3BN
www.historyofglass.org.uk
PROVISIONAL PROGRAMME
IN THIS ISSUE
10.00 Arrive/coffee
Page 1. AHG study day and AGM 10.30 Introduction
Page 2. AIHV Congress, AFAV meeting, 10.40 Thilo Rehren - Experiments in Bronze Age
Egyptian glassmaking (title to be confirmed)
International Festival of Glass and British 11.10 Yvonne Gerber - The Court Chaluet glass hut
Glass Biennale 2006 and its glass composition
Page 3. 8th ESG Conference on Glass Science and 11.40 Jan Kock - Bead and bangle making in India
Technology, Dublin Blaschka Conference
Page 4. ICOM Glass Committee, CRAFTS 2007 12.10 Lunch (there are a range of pubs, cafes and
Page 5. Meeting review: Glass of the Roman Empire restaurants locally)
and Elsewhere
Page 7. Interview: Professor Jennifer Price 13.30 AGM of the Association for the History of
Page 8. Exhibition review: Art et sciences – le verre Glass (AHG members*)
dans l’Empire Romain
Page 10. Exhibition of Roman glass at Malton, 14.00 St John Simpson - Glass blowers in Lebanon
Exhibitions database 14.30 To be arranged
Page 11. Roman Glass Furnace Project 2006 15.00 Tea
Page 13. Enquiry update: Glass musical instruments, 15.30 Sarah Jennings - A long established workshop
Unusual glass auction of Damascus glass blowers
Page 14. Stained-glass conservation, The Corning 16.00 Frances Liardet - Being an apprentice in a
Museum of Glass 2006 Rakow Grants, Book (Roman) glass workshop
reviews 16.30 End
Page 16. Books, Editors’ details
If you would like to attend, please send your full
SUBSCRIPTION REMINDER! contact details, a stamped, addressed envelope and a
cheque for £20.00 (full rate) or £10.00 (student)
Your subscription will soon be due for renewal, and payable to The Association for the History of Glass
this is the last Glass News that you will receive under Ltd to: Justine Bayley, English Heritage, Fort
Cumberland, Eastney, Portsmouth PO4 9LD.
your present subscription.
Please see the enclosed form for information on Participants who normally live outside the UK may
changes to the way membership of the Association for pay upon arrival at the venue in UK sterling.
the History of Glass and subscriptions to Glass News
operate, and instructions on how to renew your *Members of the AHG who wish to attend only the
AGM may do so at no cost
subscription / membership for the year 2007.

Glass News July 2006 1

AIHV Congress 2006 AFAV meeting

3rd to 10th September 2006 The next meeting of the Association Française pour
Antwerp, Belgium l'Archéologie du Verre will be in Paris on
Friday 17th and Saturday 18th November. Day 1 is at
A detailed programme for the 17th Congress of the the Musee d'Archeologie Nationale at St Germain en
Association Internationale pour l'Histoire du Verre Laye and Day 2 at St Denis. The glass on view is
(AIHV), including abstracts for the oral and poster Roman, Merovingian, Carolingian and later. Papers
presentations, is now available on the website will be on a variety of topics reflecting current
http://www.aihv17.ua.ac.be. For each time slot, there research; offers of papers are welcome.
is a choice of two sessions on different subjects, as
shown below. A busy social programme is also More details are available from:
planned. Payment of the registration fees is preferred Nicole Vanpeene / AFAV
before August 1st, 2006. 10 allée de l’Aube 78310 Maurepas
E-mail: [email protected]
Monday 4 September 2006 Website:
Invited plenary lectures www.institutduverre.fr/Afaverre/afaverre.php
14h00 – 16h00
Session 1: Roman glass - I The International Festival of
Session 2: 15th and 16th century glass - I Glass and British Glass
Tuesday 5 September 2006 Biennale 2006
09h00 – 12h00
Session 3: Pre-Roman and Hellenistic glass - I 25th-28th August 2006
Session 4: Glass decoration / enamels Stourbridge
14h00 – 16h00
Session 5: Archaeometry - I This year the International Glass Festival and British
Session 6: Stained glass / weathering Glass Biennale will take place over the bank holiday
Wednesday 6 September 2006 weekend 25th-28th August 2006, in six venues
09h00 – 12h00 around Stourbridge. The 30-page programme of
Session 7: Roman glass – II events contains a wide variety of lectures and
Session 8: 16th and 17th century glass exhibitions. The Master Classes and workshops take
Thursday 7 September 2006 place in the week before the Festival, between the
09h00 – 12h00 21st and 24th August. Early application is
Session 9: Post-Roman glass recommended. Further information is available from
Session 10: 18th to 21st century glass the website: www.ifg.org
14h00 – 16h00
Session 11: Pre-Roman and Hellenistic glass - II One of the most exciting parts of the Festival has to
Session 12: Archaeometry - II be the hot- and cold-work demonstrations by glass
Friday 8 September 2006 makers from all over the world, including unusual
09h00 – 12h00 Viking Glass making and Glass Eye making. This
Session 13: Roman glass – III year there will be exhibitions and a discussion on Pâte
Session 14: 15th and 16th century glass - II de Verre. There will also be a Professional Artists'
Programme, including photography, promoting your
Registration fees for AIHV members € 290 work and using alternative fuels. Other activities
Registration fees for non-members € 330 include two Heritage Walks by the Amblecote
Student registration fees € 150 Historic Society, Fun Auction, Trade Fair and a
Congress dinner € 50 'Glitzy Glass Fashion Finale'.
Post-congress excursion € 850
Single occupation supplement € 50 Last, but by no means least, the British Glass
Biennale will be on show at the Ruskin Glass Centre,
Glass News July 2006
2

from the 25th August to the 17th September 2006. Mr Nick Dolan - Glass of the North East in 39
minutes and 53 seconds!
More information and a programme of events are Professor M. Cable - Erik Laxman: a neglected
available from Ruskin Glass Centre pioneer in glass melting
Tel. +44 (0) 1384 399444 Professor Ezz Eldin Abd Elaziz Hassan - The style
E-mail: [email protected] and method of designing, executing and restoring
Website: www.ifg.org.uk archaeological artistic works made of stained glass in
Mohammed Ali’s palace
8th ESG Conference on Glass Ms Sandy Davison - Conservation of decomposed
Science and Technology archaeological glass artefacts
Ms Victoria Oakley - Reflections on the care and
10th-14th September 2006 conservation of unstable glass in historic collections
University of Sunderland
Dublin Blaschka Congress
To date almost 200 papers have been offered for
presentation, either orally or as posters. The September 28th-30th 2006
programme is comprised of half day sessions with key Dublin
themes, and up to five sessions will run
simultaneously. A more detailed programme for the This congress is the first-ever international meeting
conference will be published on the website: focussed on the work of glass artists Leopold and
www.esg2006.co.uk but details of the speakers in the Rudolf Blaschka. These 19th century artists produced
History and Heritage sessions, which may be of sculptures that famously include anatomically
particular interest to Glass News readers, are given detailed, scientifically correct models of hundreds of
below. species of marine animals and greatly magnified
microscopic organisms that, in many cases, are
One-day registration fee for the main conference is startlingly realistic. Modern glass artists have been
£150, provided applications are received before the unable to recreate these stunning, intricate sculptures
18th August. However a special day rate of £35 and the father and son team never recorded their
(including lunch and refreshments) has been techniques. Art and science museums worldwide hold
negotiated for members of the AHG wishing to attend Blaschka sculptures, which are increasingly
the History and Heritage sessions. recognised for their historical, technical, and artistic
importance. Bridging the gap between science and art
PROPOSED PROGRAMME FOR HISTORY & puts the Blaschka’s work in a unique position, which
HERITAGE SESSIONS is long overdue for serious study.

Dr Robert Brill - The morphology of weathering on The Dublin Blaschka Congress will be hosted by the
historical and archaeological glasses partnership linking University College Dublin and the
Dr Russell J. Hand - The Ballidon glass burial National Museum of Ireland (Natural History), in
experiment: thirty six years on collaboration with the Natural History Museum
Dr Sarah Fearn et al. - Room temperature corrosion (London). In addition to academic presentations and
of museum glass - an investigation using SIMS informal gatherings, a public exhibition of Blaschka
Dr Stephen P. Koob - Crizzling glasses: recent models, never before seen on display, will be held in
developments the National Museum of Ireland (Natural History),
Dr Carol M. Jantzen et al. - Relation of activated Dublin from September through December 2006.
complex theory (ACT) and atomic ratios to glass
durability: laboratory and burial studies Attendance Fees
Neil Chapman - Title to be confirmed
Dr Augusta M. Lima - Comparison of a destructive Please book by September 3rd 2006.
and non-destructive XRF analysis of weathered glass
fragments Rate Registration Fee
Professor Norman Tennent - Title to be confirmed
Mr Andy McConnell - The decanter, an illustrated Late Booking Rate €320 / GBP£220 / US$400
history
Day Rate €160 /GBP£110 / US$200
Glass News July 2006
3

Submitting papers A full programme of events may be obtained from the
The deadline for abstract submissions is 4th August Glass Committee's Chairman:
2006. Submissions are welcome on any topic related Gunnel Holmér
to the Blaschkas and their work (or other biological Smålands Museum-Swedish Glass Museum
glass models) from the disciplines of the sciences, Box 1102
arts, and craft. Technical proceedings will be SE-351 04 VÄXJÖ
published following the Congress, in early 2007. Sweden
Fax: +46-470 397 44
PROGRAMME E-mail: [email protected]

Thursday 28th September ICOM membership and other information may be
Morning: Registration obtained from:
Henri Reiling (University of Ultrecht) Victoria Whyte
Afternoon: ICOM UK, c/o Conservation Centre
David Whitehouse (The Corning Museum of Glass) Whitechapel, Liverpool L1 6HZ
Susan Rossi-Wilcox (Harvard Botanical Museum) Tel: 0151 478 4986
Chris Meechan (National Museum Cardiff) Fax: 0151 478 4789
Evening: ‘Museum after dark ice breaker’ in the E-mail: [email protected]
Natural History Museum, including launch of new
Blaschka exhibition CRAFTS 2007

Friday 29th September International conference
Submitted papers (thematic sessions)
Poster sessions February 28th to March 3rd 2007
University of Zurich
Saturday 30th September
Morning: Submitted papers and focus workshops This international conference proposes to present and
Afternoon: Focus workshops and closing plenary discuss regional syntheses in a wider context, based
address on data gathered within the international CRAFTS
project "Structures, economic and social role of the
Please contact the Congress local organiser, Catherine Roman craft industry in Italy and in the Western
McGuinness with questions or comments: provinces of the Empire". In addition to talks on the
National Museum of Ireland - Natural History work of the regional research groups, presented by
Merrion Street invited speakers, space is also reserved for other
Dublin 2, Ireland contributions devoted to research on the craft
Email: [email protected] industry, particularly on the topic "Continuity and
Or visit the website at: www.ucd.ie/blaschka change in craft production from the end of the la Tène
period to the Roman era and from late Antiquity to
ICOM Glass Committee the early medieval period". Oral contributions as well
as posters are invited. Further information is available
Meeting from the website and from the organisers (details
below).
October 15th -21st 2006
Turkey Address: Tagungsbüro CRAFTS 2007,
E.+ S. Deschler-Erb, Universität Zürich,
The International Council of Museums Glass Abteilung Ur- und Frühgeschichte des Historischen
Committee's annual meeting will take place in Seminars, Karl-Schmidstr. 4/CH - 8006 Zürich
Turkey, on the 15th-21st October 2006. Many
interesting visits are planned to various sites in Email: [email protected]
Turkey, including Istambul, Izmir and Bodrum. Website: www.prehist.unizh.ch
Private guides and coaches have been arranged Tel: 0041 61 201 02 44.
throughout. Fax: 0041 1 634 49 92

Glass News July 2006 4

PROVISIONAL PROGRAMME with “East or West – Roman glass is best”. This was
an overview of different techniques for shaping glass
Thursday, March 1 vessels and when and where the techniques were
8.15-8.30 Opening comments used. Birgitta Hoffmann described the “Glass from
Session I: Overview, sources, current research Fezzan, Libya”, an oasis in the middle of the Sahara,
Speakers include Prof. Stefanie Martin-Kilcher, Prof. prompting an interesting discussion about the 5
Helmuth Schneider, Prof. Vincent Serneels and Dr. enormous glass platters that were recovered (with
Sabine Deschler-Erb diameters in excess of 0.4m), and how these may have
12.00-13.30 Lunch break been used. Souen D.Fontaine (co-authored with
Session II: Organisation of handicrafts Danielle Foy) discussed “Mould-blown glass beakers
Speakers include Prof. Hans-Joachim Drexhage, Dr. with figurative scenes: new data on the Narbonensis
Kai Ruffing, Dr. Christa Ebnöther and lic. phil. Province”, highlighting production techniques, styles
Günther Thüry and subtle differences between examples, and
15.30: Excursion to Augusta Raurica by bus. discussing their distribution and possible origins.
Reception and dinner.
Friday, March 2 Sarah Jennings chaired the session after lunch, which
Session III: Synthesis and perspectives had an archaeological emphasis, beginning with
Presentations by representatives of regional CRAFTS Marie-Do Nenna describing “Primary glass
research groups and other invited speakers, including workshops and glass craftsmanship in Graeco-Roman
Dr. Habil. Michel Polfer, Prof. Alain Férdière, Dr. Egypt”. A number of glass production sites are now
Heidi Amrein, Dr. Habil. Günther Moosbauer, Mag. known in the area, and Marie-Do focused on the
Kordula Gosten_nik, Prof. Sara Santoro and Prof. exciting discoveries at Beni Salama, where the
Mike Fulford. remains of tank furnaces have been found. Yael
12.00-13.30 Lunch break Israeli gave us “More on the Jerusalem glass
Session IV: Poster session and vacant time slots for workshop: questions and speculations”. Amongst the
lectures - topical submissions are welcome large quantities of glass found were fragments of cast
19.00 Reception in the Swiss National Museum at bowls, tokens and rod applicators as well as
Zurich fascinating glass tubes used to blow glass objects and
Saturday, March 3 moulds for shaping glass. John Shephard talked about
Session IV: Vacant time slots for lectures - topical “The glassworkers of Londinium”, highlighting the
submissions are welcome archaeological evidence for how the glass industry
11.30 Closing discussion developed over time in Roman London. This was
Sunday, March 4 followed by Martine Newby’s wonderful presentation
Full day excursion to Avenches on “Roman glass souvenirs”; her detailed
interpretation of depictions on glass objects brought
Meeting review: the Roman world vividly to life. The technical
problems preceding the showing of the Roman Glass
Glass of the Roman Empire and Furnace Project DVD were overcome just as we were
elsewhere all about to give up, but it was well worth the wait
(see page 11 for more details about this year’s
A CELEBRATION OF THE CONTRIBUTION OF project)!
JENNIFER PRICE TO THE STUDY OF
During Tuesday evening there was a reception for
ARCHAEOLOGICAL GLASS Professor Jennifer Price, attended by colleagues from
throughout her career and family members. Providing
14th and 15th March 2006 a brief summary of Jenny’s exploits and achievements
in archaeology and glass research was no easy task
The meeting was held in the luxurious surroundings but Ian Freestone rose to the challenge, with an
of the Wallace Collection with an impressive array of abridged version where each decade occupied just a
speakers on all aspects of Roman glass and talks few minutes! Finally the AHG board presented
spread over two days. Martine Newby chaired the first Professor Price with some unique and very apt gifts
session on Tuesday, which Marianne Stern began with thanks for her contributions to glass research.
The star attraction was undoubtedly a beaker featuring
Glass News July 2006 gladiatorial penguins (see over the page for more
details).

5

Figures 1a and b: One of the gifts that Jenny received: The first session on Wednesday, chaired by Justine
an engraved beaker by the Roman Glassmakers, Mark Bayley, began with a presentation on the “Re-use of
Taylor and David Hill, who provided the ‘report’ Roman Glass Fragments” by Sylvia Fuenfschilling.
below. This talk focused on work in Switzerland and France
into the reuse of glass fragments, for example as lids
“Two penguins engage as gladiators. The loser raises or counters. Caroline Jackson summarised the results
his left flipper in submission. The victor smirks of analytical studies in Roman glass, in “Sayre and
broadly. A sphenisciform* Neike hovers overhead Smith revisited”. This was a clear and concise
bearing palm and laurel wreath for the victor. A overview of the scientific work that has shed light on
tabula ansata relates that Vestitor and Collis are the questions of glass production and use, from the
makers. Scenes of sphenisciformal combat are rare in groundbreaking work of Turner and Sayre and Smith
Roman art, thus this engraved beaker is unique among continuing through to recent discoveries. Hilary Cool
recent British finds. The vessel most closely gave a well-received and thought provoking
resembles Price and Cottam 1998 fig. 50a, and the discussion of “Vessels and their people: beyond
style of point-engraved decoration recalls the provenance and typology”. This began with an
Whitehall Villa gladiator beaker (J. Price on the telly - entertaining history of how the field of Roman glass
Time Team 2005). A full report by Professor Price research evolved in England, and culminated by
will follow at a later date. questioning the current direction of glass research and
(* Penguin).” the domination of studies on typology, date or
provenance. It was apt, therefore, that Daniel Keller
Glass News July 2006 followed, with an involving overview of “Roman
glass in the domestic space: from Pompeii to Ephesos
and Petra”. Daniel’s talk focused on subjects such as
how glass was used, compared with pottery and metal
tableware, where it was stored and its visibility.
(These themes are also explored in the exhibition
reviewed on page 8).

After lunch, in a session chaired by Caroline Jackson,
David Whitehouse spoke about “The use of the pontil
in the Roman Empire” and his conclusions following
a comprehensive study of the different types (or
absence) of pontil mark on 621 blown glass objects at
The Corning Museum of Glass. Justine Bayley gave a
brightly illustrated overview of the use of “Opaque
coloured glass in the Roman World”, including
mosaics and enamelling. Peter Cosyns talked about
“Beyond the channel! That’s quite a different matter.
A comparison of Roman black glass from Britannia
and Gallia”. This presentation focused largely on
black glass bracelets, and investigated where, when
and why they were worn, and who by. Ian Freestone
concluded the meeting by discussing “Continent to
consumer – new approaches to the scientific analysis
of Roman glass”. This talk and the following
discussion focused on the application of isotope
analysis to questions of provenance, and also the
potential of particularly reproducible analytical
techniques for identifying sets of glass tableware
made from a single batch. (This is the work on glass
from Stonea in Cambridgeshire referred to by Jenny
Price on page 8).

The standard of the presentations throughout the
meeting was very high, and it was impossible not to

6

learn something on the subject of Roman glass. The towards post-excavation work, and that’s where I’ve
meeting also succeeded in celebrating the work of stayed. I have been happy teaching students, and
Jenny Price, as the speakers shared memories and obviously I enjoy research. I’m not a field
anecdotes, spoke of her influence on their work and archaeologist any more and haven’t run an excavation
paid tribute to qualities they admired, such as “clarity for about 30 years, but when I was teaching prehistory
of thought and simplicity of expression”. Overall, it in Cardiff I excavated a Bronze Age burial barrow in
was a very enjoyable occasion and, although abstracts south Wales - which is published! The most fun I ever
were not available for Glass News, it is intended that had as a digger, apart from Masada, was at
papers from the meeting will be published in the near Stonehenge when we found a skeleton in a ditch when
future. we went to open a trench previously excavated by
Stuart Piggott and Richard Atkinson for John Evans
Sarah Paynter to get some snail samples. Denise Allen and I were in
the hole when the toes appeared in the section, and so
Interview: we dug the skeleton - it was a wonderful and most
unexpected find - and the first Beaker period stiff
Professor Jennifer Price found there.

The two day meeting in London on Glass of the What’s the contribution that you’re most proud of;
Roman Empire was held to celebrate the contribution can you pick a couple of things?
of Professor Jennifer Price to the study of I’m glad there are more people working with glass in
archaeological glass. During the meeting we spoke to Britain now than when I started, though I don’t claim
Jenny, for Glass News, about her career and glass to have influenced many of them. I’m very happy to
research in general. (Many thanks to Jenny for have had the opportunity to work on the EH-funded
forfeiting a coffee break to answer our questions. SP) Romano-British glass project with Hilary Cool, Sally
Cottam and Sally Worrell. They all brought new ideas
How did you become interested in glass? to the subject, and together we moved Romano-
Well, my family made glass in Stourbridge, and so I British glass studies forward in ways I could not have
always knew how it was made and as a child I used to done on my own - working on your own can be rather
play in the glasshouse. After I was called to the Bar I arid. When I started in glass there were two main
went abroad, worked on excavations and spent 6 glass specialists, Donald Harden who was about to
months sticking the Masada glass together, so when I retire as Director of the London Museum and Dorothy
went to Cardiff to read archaeology I already had a Charlesworth who was a Ministery of Works (now
research interest that I’ve never given up. EH) inspector, and George Boon in the National
Museum of Wales in Cardiff was also interested.
And was the law useful? Donald invited me to work on the Fishbourne glass
No, not really! It was useful because it told me what I with him in 1969 and generally encouraged me, as did
didn’t want to do, and I knew I couldn’t work in it George, and Dorothy accepted that I was there, but
because it didn’t interest me. The idea of doing that, there were very few opportunities to meet and discuss
until I retired meant that I wouldn’t have wanted to things. By contrast, there now is a much bigger group
get up in the morning, so I had to leave it, but it did of people who meet at conferences like this one and
teach me about the rules of evidence - which has been exchange ideas and news. I think we have managed to
useful for archaeology. demystify the study of archaeological glass - there are
more books and articles and more people are
And you really enjoyed your career change? confident about writing their own reports.
Yes, enormously - it was very exciting to have the
chance to read archaeology, and I was lucky enough What do you see as the big things for the future, for
to be able to work in the subject. you and the field?
For me, I think I’ve done my time writing reports on
Is there a part that you enjoy most: field archaeology bits of glass because they have come from particular
or teaching or research? holes in the ground and I now want to write about
Well, originally I loved digging, but because there are things that interest me that move different strands of
very few people who work with glass, there was research forward, to produce summaries of work I
always a lot of glass to study and so I gravitated have done and conclusions I have reached. I have
done a lot of work in Britain and Spain and some in
Glass News July 2006 France and Italy and Greece and north Africa and I

7

plan to complete my current commitments and then to access to this and a major Star Wars exhibition, with
explore some regional and empire-wide themes. That light sabre sound effects floating across the space in
should keep me going into my dotage! between. Hence the many entries in the visitors’ book
along the lines of ‘We came to see Jabba the Hut, but
For the field, I am convinced that the best thing that’s our teacher/ parents made us see this boring glass
happened in the study of archaeological glass is the exhibition too’…… which do not do it justice at all.
way that scientists and archaeologists now talk to
each other and work together, and that many of the Although the title is Glass in the Roman Empire,
exciting discoveries in future will come from these nearly all the material displayed is from Pompeii and,
collaborations. At one time, I didn’t have much to a lesser extent, other Vesuvian sites. Another
interest in scientific analysis because I kept being told comment in the visitors book (this time from an
what made glass blue and didn’t find it useful, and archaeologist – although I wouldn’t be surprised if
also didn’t see any point in analysing pieces of glass some of those comments mentioned above weren’t
unless we knew what shape the vessels had been and made by archaeologists as well) quite rightly suggests
when they were made. However, in recent years that it should better be entitled ‘The use of Glass in
programmes of analyses of vessels of known form Pompeii during the 1st century AD’. It does an
and date have produced really interesting excellent job of examining the many and diverse uses
archaeological results, as, for example in the work in of this versatile material as illustrated by the artefacts
Britain on four groups of colourless vessels from and buildings of these sites, and displays many finds
Colchester and Lincoln and Binchester and elsewhere which have not seen the light of day in the National
- the benefits seem to be cumulative. The science is Archaeological Museum in Naples Museum for a very
really exciting because it has caused us to think in long time, if ever.
different ways about how glass was made, and where
it comes from, and about the processes of vessel There is a brief introduction to the history of glass-
production and distribution. The realisation that all making and a survey of what ancient scientists and
the glass cups of a certain type found at Stonea in philosophers said about glass. Large display boards
Cambridgeshire may have arrived in a single packing with quotes from ancient authors are in French only,
case would simply not have been possible without although the other labels are all in English too.
glass scientists and archaeologists working together. Artefacts include some iron pincers from Pompeii,
which may have been used for glass-making although
You’ve enjoyed the conference? the direct association is not clear (Fig. 2), the lamp
Oh enormously! It’s been wonderful. showing a glass furnace with glass-blowing from
Ferrara, and there is mention of finds of glass
Art et sciences – le verre dans fragments awaiting re-use, including three amphorae-
l’Empire Romain full found during excavations in 1997 in Pompeii
Regio I,14,14. A display showing the diversity of
Exhibition review shapes and decorations used for glass vessels includes
a very good facsimile of the Blue Vase from Pompeii
Cité des sciences et l’industrie, Paris – when the exhibition was in the Pitti Gallery the
31st Jan-27th August 2006 original vessel was moved there (leaving a sad and
empty case in Naples museum) but it was not allowed
An exhibition of glass from Pompeii, Herculaneum to go to Paris too.
and the surrounding region, Le Verre dans l’Empire
Romain, is on display at the Citè des Sciences et Figure 2. Pincers that may have been used for glass-
d’Industrie de la Villette, 30 avenue Corentin Cariou, working
75019 Paris (Tuesday-Sunday, 10am-6pm) until 27th
August 8

This exhibition was first staged in the Palais Pitti in
Florence in 2004, and is now in the huge exhibition
hall in the Cité des sciences et l’industrie in La
Villette, Paris. The ticket rather bizarrely allows joint

Glass News July 2006

So far so traditional – but there is then a room with a but none of the domed windows that have attracted
number of vessel assemblages from specific houses in attention recently. This room also reminds us that
Regio 1 in Pompeii, reunited in their entirety, and glasshouses for cucumbers are mentioned by Pliny
including those of other materials such as bronze and and Columella, with a model of a mobile cucumber
pottery. This provokes a brief discussion as to why cart.
some householders preferred glass vessels to other
materials and vice versa, and what this might mean in
terms of conflict between ceramics and glass for fine
dining wares and other domestic vessels: “The overall
analysis of the materials conserved in these
habitations shows that glass, for its transparency,
light weight and elegance, was by now preferred over
fine ceramics for dining. At the same time it
performed a significant though not preponderant role
in domestic activities concerning the preservation of
foods as we can see in the still consistent presence of
clay and bronze containers. The role of glass seems to
be exclusive, however, in containers for unguents and
perfumes, as widely attested in the Vesuvian area.” It
was certainly good to see the full assemblages
displayed like this, with a big graphic map of the
houses from which they came, together with some of
the most famous wall-paintings with still-life scenes
including glass vessels. Since the wall-paintings
rooms in Naples Museum have been closed for years,
it was a real treat to see these originals (Fig 3).

Figure 4. Glass bottles with surviving lids and
contents

Figure 3. A wall painting with still-life scenes Figure 5. The reconstruction of the glazed peristyle in
showing glass vessels in use the House of the Mosaic Atrium at Herculaneum
The display on mirrors includes a rectangular obsidian
There is also a reconstruction of the wooden box with
(original) bronze fittings which contained several 9
glass vessels from the House of the Menander, and
several bottles with lids and contents still surviving
(Fig 4), although neither the labels nor the catalogue
have any sort of explanation of what the lids/stoppers
are made of, nor what analysis has been done on the
contents. This survey of vessels includes a section on
glass used in medicine and cosmetics, including
ventouses.

Window glass is examined, displaying some
wonderful big panes of both glass and mica, and
including a reconstruction of the glazed peristyle in
the House of the Mosaic Atrium at Herculaneum (Fig
5). Circular windows are included in the catalogue,

Glass News July 2006

panel which was set in the wall of the House of the other authors, including a glass drinking horn with
Ephebe, and there is a picture of the lozenge-shaped siphon, a toy with rotating figures inside a glass cover
panels of the same material from the House of the powered by hot air, a glass Barullion for measuring
Golden Cupids. There is also a rectangular the density of liquids, and other astronomical
polychrome panel from an unknown Pompeiian house instruments which involve the use of glass.
wall with a gilded and painted cupid – similar to the
circular panels that also came from the House of the This is, then, a very thorough introduction to how
Golden Cupids, showing how both natural and widespread the use of glass had become by the 1st
manufactured glass were used to decorate houses. century AD, covering almost all the uses to which it is
When polychrome glass mosaics are considered too, still put to today. There is plenty of food for thought,
one realises just how much glass must have existed in completely covering (and much more thoroughly
all sorts of architectural contexts around these towns. examining) some of the ideas about glass that had
been germinating in my mind after many visits to
Figure 6. The wall painting of a short-sighted scroll Pompeii and the other Vesuvian sites over the last
reader from the Temple of Isis decade or so. There is now the perfect opportunity for
Finally, cases with prisms of rock crystal (and a wall- someone with time and resources to take some of
painting of a rainbow), small spheres of glass and these ideas further and examine them in more detail.
crystal (did the Romans play marbles?), lenses (with a
lovely wall painting from the Temple of Isis showing The exhibition will be in Paris until 27th August, and
someone short-sightedly reading a scroll by holding it it would be really excellent if it could then be moved
at arms length) (Fig 6), statues with glass eyes, and as a permanent display to the Naples Museum
one of the very fine miniature painted portraits on a (possibly the most frustrating museum in the world),
glass panel, all from Pompeii, remind us of the many instead of disappearing back into the stores again. The
uses of glass beyond vessels and architecture. Ancient catalogue, available only in French, is excellent too,
ingenuity is then emphasised further by models of with very good pictures. It costs €39 (published 2006
some of the scientific devices described by Hero and by the Cité des Sciences et de l’industrie – see under
books on page 16 – and an earlier version in Italian
Glass News July 2006 was also published in 2004).

Denise Allen
[email protected]

Exhibition of Roman Glass

Until 31st October
Malton

A small exhibition of Roman Glass is on display in
the museum in Malton, north Yorkshire until 31st
October (open 10am-4pm). It features glass fragments
excavated in the fort and vicus, and more complete
vessels from the Yorkshire Museum in York and Hull
City Museum.

Exhibitions Database

The Corning Museum of Glass

A new searchable online database offers web users
the ability to search for past, present and upcoming
temporary glass exhibitions around the

10

world. Compiled and maintained by The Juliette K. layered in a manner similar to brickwork. These tiles
and Leonard S. Rakow Research Library of The or stones (found below the original ground level) have
Corning Museum of Glass, the Worldwide Glass usually survived the intervening millennia but
Exhibition Database can be found at: evidence for the furnace structures above ground is
www.cmog.org/exhibitionsdatabase. The database seldom present. One reason for this may be that these
currently provides information about more than structures were made from a variety of daub (clay
29,000 exhibitions, based on information the Rakow tempered with hay and sand). Daub (despite its partial
Library has received since 1982. Users may conduct a firing during use), if unsheltered, simply cannot
general search using keywords or such qualifiers as withstand the attacks of the elements, and eventually
institution name or show dates. Organisations that disintegrates, as did much of the (deliberately)
wish to include their exhibitions can contribute exposed furnace from our experiments last year.
information by going to the site and clicking
“Contribute an Exhibition.” We built our new, smaller furnace re-using the
completely intact tile-layered, fire pit from last year's
The Rakow Library currently holds more than one, and began by forming daub walls to a thickness
300,000 items relating to the art, history, craft and of about 0.15m, initially in a horseshoe shape around
technology of glass and early glassmaking. The the back of the circular pit. At the front, the walls
library is open to the public; visitors may also access were extended outwards to create a short tunnel over
the Rakow Library’s online public access catalogue the fuel chute, which led into the fire chamber. From
(OPAC) at http://rakow.cmog.org to search the then upwards, as mentioned above, many elements of
library’s record of holdings and find citations to glass- the basic design practically 'took over'!
related periodical articles.
Figure 7. The rebuilt smaller furnace with gathering
See the previous issue of Glass News (No. 19), or the holes on either side, plus doors supported on shelves
website www.cmog.org, for details of exhibitions beneath, and the fuel chute in the foreground.
currently running at The Corning Museum, including
'Glass of the Maharajahs: European Cut Glass We knew that the furnace needed to be conical in
Furniture for Indian Royalty' and ‘Splitting the shape in order to help it to support its own weight.
rainbow: cut glass in colour’. The gathering holes needed to be set at a certain
height in order for the glassblower to be able to gather
Roman Glass Furnace Project glass from a seated position. This in turn dictated the
height that any glass pot (or tank) would need to be
2006 placed on the inside of the furnace, and established
the height of the horizontal external shelf necessary to
Encouraged by the success of last year's experiment hold the doors used to close the gathering holes. The
with two Roman-style, wood-fired glassblowing angle from the horizontal at which the glassmaker
furnaces (see Glass News 18, 2005), Mark Taylor and
David Hill continued to explore early glassworking 11
practices in 2006. This year we re-fired our larger
furnace, built and ran a completely new smaller
furnace, and constructed a completely new annealing
oven.

Until we began hand-building these wood-fired daub
furnaces, it did not occur to us that their very design
and structure are dictated by the working practises of
the individual glassmaker and his team. Although we
can never be certain that the structures we built
resemble those used by early glassmakers, certain
design elements were crucial to the demands of
glassworking and so the furnace began to determine
its own shape and direction. We know that the
circular (or oval) fire pits of ancient furnaces were
often lined using large roof tile fragments crudely

Glass News July 2006

gathers from the glass pot dictates the maximum We constructed a shelf projecting from, and level
upper height necessary for a gathering hole. Once past with, the largest of the three gathering holes, using a
this point, there is little necessity to continue building slab of sandstone. This gave us a generous flat table
the height of the furnace, so it was brought inwards to upon which to rest the very basic tool (which we refer
a gently rounded 'roof' (Figure 7). The finished to as a bat'leth), on which the window panes and
structure proves strikingly similar in appearance to the bowls are balanced, enabling us to easily slide them in
glassblowing furnace depicted on the three surviving and out of the main body of the furnace for re-heating,
Roman oil lamps (Figure 8). and giving a firm base upon which to manipulate the
glass (Figure 9).

Figure 8. A glass furnace with glass blower as Figure 9. Ribs were pinched on the surface of a
depicted on Roman oil lamps. circular slab of glass, which was then laid over a
dome made from daub. Together these were placed on
Last year's project established that a huge variety and a sandstone shelf, or bat’leth, which was slid into the
quantity of glass vessels can quite easily be blown furnace. The glass slumped over the dome, forming a
using what appears, at least initially, to be a very ribbed bowl.
simple type of furnace. This year we wanted to add to
the range of glassmaking techniques that we could With practice, we were able to make numerous
demonstrate and set out to explore how bowls and window panes, and quite a few ribbed bowls using the
windows could have been made using a variation of standard Roman blue / green glass recipe, and were
the same basic furnace. We have successfully also able to fuse, pinch and slump several mosaic
reproduced many window panes and mosaic and ribbed bowls as well. As in our modern workshop, we
ribbed bowls in our 'modern' workshop, but the found that closely co-ordinated teamwork is essential
challenge was to use these same techniques at the in order to make these vessels successfully. Although
reproduction Roman furnace, and with an absolute we had the luxury of modern temperature indication
minimum of basic tools and equipment, such as would equipment to enable us to monitor and record the heat
have been readily available to early glassmakers. of the furnaces throughout the project, we found that
Therefore we adapted one of the gathering holes of when working on the ribbed bowls, there was no time
the much larger main furnace to work exclusively to consult the readings every few seconds. Instead, the
with so-called Roman 'cast' glass, specifically window glassmaker tooling the objects (Mark) relied upon
panes and ribbed bowls, both monochrome and working closely with the stoker, informing him
mosaic. whenever he particularly needed more heat for the
manipulation of the glass. (We were especially
grateful for the talents of our skilled stoker, Steve
Wagstaff, to consistently maintain temperatures
around 1100°C whilst making the bowls!) The
Romans had no temperature indicators, of course, so
Mark simply relied on the 'feel' of the hot glass when
working, as they would have done.

We also devoted time to making ceramic moulds for
several common 1st century AD vessels, including

Glass News July 2006 12

small bottles, an almond knobbed or 'lotus' beaker, ‘Charles Burney.... in the course of researching his
and the small 'date' flasks. These worked extremely great General History of Music in the 1770s, came
well, exceeding our expectations, and demonstrated face to face with a Javanese gambang, a relic of a
that, with care, many vessels could easily be produced gamelan orchestra that now stood isolated and silent’.
from each mould, provided they were not allowed to With its ‘bars of wood of differing lengths, as
over-heat or break through rough handling. We held sonorous as if they had been made of metal, placed
two 'Glass Specialists' Days, and were joined for these across a hollow vessel resembling the hulk of a ship’,
by William Gudenrath from the Corning Museum of it resembled nothing that Burney knew, except
Glass. As well as working with Mark on Roman perhaps some kind of Sticcado (presumably the
pieces, Bill demonstrated his own speciality - the Sticcado Pastrole, a species of glass-barred xylophone
Venetian style of glassblowing using a cristallo that enjoyed some vogue in 18th century London).
composition glass Mark had prepared (Figure 10). Peter Cosyns also kindly sent details of glass musical
instruments in the MIM (Musical Instrument
Figure 10. Bill Gudenrath, of The Corning Museum Museum) in the centre of Brussels, including two
of Glass, demonstrating Venetian glassblowing using glass trumpets and a kind of piano with glass ‘bells’.
cristallo glass. The MIM website is at: www.mim.fgov.be.

Further details of the project will appear on our More information was received from Jan Kock
website www.romanglassmakers.co.uk in due course, concerning two glass harmonicas in Denmark: one in
where many photographs of this, and last year's, the Musikhistorsk Museum in Copenhagen and the
projects can be seen. Mark and David wish to thank other at the Society of Music at the Holmegaard
the Association for the History of Glass, Andante Glassworks. Both date from the 19th century and
Travel and SE Validation Ltd. for their contributions feature a number of glass bowls of differing sizes
to the project, and Elaine Wakefield of Wessex mounted on an iron bar that is turned by a handle. The
Archaeology for the use of photographs. Music Society at Holmegaard also plays glass
instruments blown at the glassworks (see also the
The Roman Glassmakers, Tel: 01264 889688 Unusual glass auction, below).
[email protected]
Sandra Davison
Glass musical instruments
Unusual glass auction
Enquiry update
21st-23rd September 2006
Further to my enquiry in Glass News No 18, AHG Durham University
member Ken Cannell kindly sent me a photocopy of
the BBC Music Magazine, March 2002, containing an The 46th Annual Symposium of the British Society of
article on the Raffles Gamelan by John Milsom: Scientific Glassblowers (BSSG) will take place on the
21st-23rd September 2006 at St Aiden's College,
Durham University. The BSSG has invited its
members to make items with a musical theme for sale
at this year's Charity Auction during the symposium.
This is your chance to acquire the collectables of the
future, although there is no mention of the musical
quality required of the instruments!
[Editor's note: We would like to hear from anyone
who attends this auction.]

Further information about the Symposium or the
Auction may be obtained from BSSG Chairman Ian
Pearson. Tel: 01847 802629/895637, or e-mail:
[email protected]

Glass News July 2006 13

Stained-glass conservation The Thames-side site at the south-east end of the
modern Vauxhall Bridge was excavated by the
The Corpus Vitrearum Medii Aevi has augmented the Museum of London in 1989 in advance of re-
conservation section of its website at development. The main features recorded were the
www.cvma.ac.uk with translations (from German) of mid-17th-century barge-house of three city livery
a number of important recent articles on the latest companies and the late-17th-century glass-house
developments in stained-glass conservation. These operated by John Baker. The glass-house was built
will be invaluable to all those engaged in the subject. between 1663 and 1681, was out of use by 1704 and
The papers can be downloaded free of charge. had been demolished by 1706. The report is well
presented, in the customary MoLAS format; the
The Corning Museum of Glass illustrations, many of which are in colour, are
2006 Rakow Grants particularly well reproduced. The book gives a first
impression of being a significant addition to our
The Corning Museum of Glass has awarded 2006 knowledge of post-medieval glass manufacture.
Rakow Grants for Glass Research to two scholars, one
being a member of the AHG board, Sarah Jennings. There are however difficulties over the treatment of
Sarah’s grant is for the editing and layout of her book, the evidence, of which the reader should be warned.
Vessel Glass from Beirut. This volume will report on The excavation archive formed part of the Museum of
an extensive collection of glass vessel fragments, London’s publication backlog for some years, which
dating from 300 B.C. to 1500 A.D., and recovered presented the authors with difficulties over the
from three sites. The initial research was funded by a completeness of the record. A particular problem is
1996 Rakow Grant. The book will be the first major the assessment of the main glass furnace, of whose
publication on a large group of dated glass from the flue depth no record has been found (pp.34-5).
area of Lebanon, and is expected to contain about 500 Beyond such basic matters of evidence, it is hard to
pages, more than 1,600 line drawings, 75 accept some of the conclusions set out in the report.
photographs, and 13 tables. Sarah anticipates that the The most important mis-interpretation is over the
book will be published by the summer of 2006. The functioning of the main furnace. The excavated
printing of the volume will be supported by a grant remains resembled the examples at Kimmeridge
from the American University of Beirut. (Dorset), Denton (Greater Manchester) and
Bolsterstone (Yorkshire), all of which possessed air-
Book Reviews intake flues built in trenches below siege level. It is
stated (p.33) that ‘air entered the furnace through the
JOHN BAKER’S LATE 17TH- north-western opening, fed the centrally located fire
CENTURY GLASSHOUSE AT and then exited the furnace through the south-eastern
flue.’ This is in conflict with 18th and early-19th-
VAUXHALL century descriptions of glass furnaces, where it is
clear that air was drawn through multiple flues by the
Kieron Tyler and Hugh Willmott carefully-designed configuration of the furnace
superstructure, with smoke exiting through gathering
ISBN 1-901992-44-6, paperback holes. The authors’ unworkable conclusion appears to
have arisen from the interpretation of a feature seen
Price: £12.95 only in the north-west flue as the housing for a shutter
Museum of London, London 2005 (MoLAS to regulate the entry of draught. This is not a feature
Monograph 28) known from contemporary descriptions, but if its
function were as envisaged, one has to ask whether
Glass News July 2006 such a shutter might also have been placed at the
south-east end of the system. This possibility is not
discussed on p.35.

The other problem over structures lies in the
interpretation of the secondary furnace. The
juxtaposition with the main furnace is shown in plan
in fig 23 (p.29), where the secondary furnace appears
to be so close to the south side of the melting furnace
that it would be impossible to operate at the south

14

gathering holes of the latter if the furnaces were LES VERRES ANTIQUES DU
contemporary. There is no published section to MUSÉE DU LOUVRE, II.
illustrate the stratigraphic and chronological
relationship of these furnaces. The function of the Véronique Arveiller-Dulong and Marie-
secondary furnace is stated to be for fritting rather Dominique Nenna
than for annealing, but without convincing evidence.
ISBN: 2-350-31037-X
The treatment of the residues contains significant Paris: Musée du Louvre, Somogy, 2005
misunderstandings and omissions. Gall should have 679 pages, 290 mm
been described as a layer of alkali sulphates forming Price: 99 €.
on, and skimmed from, the top of the pot. Lime
improves the durability of glass rather than affecting For more information:
viscosity. The scientific evidence is hard to Website: http://www.louvre.fr
understand, in particular the extent to which high-lead
glasses were present. It is mentioned that results of ‘Corpus des signatures et marques sur verres
ICPS (inductively coupled plasma spectrometry) antiques. 1 – La France’ is a comprehensive
showed low lead content, which subsequent EDX study (245 pages of text, 139 plates) containing
(energy-dispersive X-ray) analysis showed to be essays on the interpretation of signatures and
incorrect. This reviewer has learned that much designs on glass vessels and four regional surveys
scientific work was done at a late stage, as a result of of the material, as well as a descriptive corpus of
referees’ comments, which, regrettably, has not been the signatures and designs on cups and bowls,
incorporated in the published report. It is understood square bottles and jars, rectangular, hexagonal
that this work will be published in Post-Medieval and Mercury bottles, unguentaria, cylindrical
Archaeology in order to set the record straight. bottles with corrugated bodies found in France,
and pieces from elsewhere held in French
David Crossley museums. It is a very useful collection of
5 Canterbury Crescent information and will be an invaluable tool for
Sheffield S10 3RW students of glass in the western provinces.
[email protected]
‘Les verres antiques du Musée du Louvre, II’ is a
CORPUS DES SIGNATURES ET large book (679 pages), the second of the catalogues
MARQUES SUR VERRES of ancient glass in the Louvre, has studied 1349
vessels from the first to the beginning of the seventh
ANTIQUES. 1 – LA FRANCE. century AD. It contains blown and mould-blown
pieces from five departments (Greek, Etruscan and
Danielle Foy and Marie-Dominique Nenna (eds.) Roman; Egyptian; Oriental; Islamic; objets d’Art) and
these have been arranged in three chronological
Association Française pour l’Archéologie du Verre, groups and sub-divided by regions of the Roman
2006. world, with a short introductory essay at the
beginning of each section. A small section of
Price (including postage in European Union): €53.00 corrigenda for volume I and 14 additional core-
(Payment by postal transfer). formed and moulded vessels and fragments has also
been included (on pages 501-5). There is a great deal
Available by contacting: of information throughout, and the catalogue entries
Nicole Vanpeene, 10 allée de l’Aube – 78310 are clear and detailed. They are accompanied by
Maurepas black-and-white photographs, with some colour
E-mail: [email protected] plates, and line drawings at the end. The book is a
most valuable addition to the growing list of
For more information: catalogues of ancient glass in museums, and it is very
Website: easy to use (though you have to be strong to lift it!)
www.institutduverre.fr/Afaverre/afaverre.php
Jenny Price
Glass News July 2006
15

Books THE NAILSEA GLASSWORKS,
NAILSEA, NORTH SOMERSET
LE VERRE DANS L'EMPIRE
ROMAIN: ARTS ET SCIENCES Andrew F Smith

Marco Beretta ISBN: 1-905223-20-X
Paperback, 253 pages, 295 x 210 mm
ISBN: 271185163X Heritage Marketing and Publications Ltd, 2006
360 pages, colour illustrations, French
Cité des Sciences et de l’industrie, Paris, 2006 Price: £40

Price: 39 € The Nailsea Glassworks was established in 1788 and
ceased production in 1873. The site of the glassworks
This is the catalogue for the exhibition Art et Sciences was developed by Tesco Stores Limited, who
- Le Verre dans l’Empire Romain (see the review on sponsored an archaeological study by Avon
page 5) Archaeological Unit. The product is this publication,
which includes an introduction, the results of the
A HISTORY OF GLASSMAKING IN archaeological desk-top study, a summary of the
ENGLAND known archaeological interventions from 1975-2004,
a review of the technology and an account of the
Hugh Wilmott human story, describing the economic and social
impact. It is well illustrated, with numerous plans and
ISBN: 0752431315 colour figures.
Paperback, 208 pages, 16 Colour Pages, 248x172 mm
Tempus Publishing Ltd, 2005 Available from:
Avon Archaeological Unit Limited,
Price: £19.99 Avondale Business Centre, Woodland Way,
Kingswood, Bristol, BS15 1AW

Tel and Fax: 0117 960 8487
Email: [email protected]

NEW GLASS REVIEW Please send your contributions for
Glass News No. 21
The New Glass Review is published annually by The
Corning Museum of Glass. Every year invitations are by
sent worldwide to glassmakers to submit slides of
work made during a one-year period and jurors 7th January 2007
choose 100 slides for publication in the next issue.
The publication also includes the Juror's Choice to:
section, where each juror is allowed to chose 'up to 10
examples of work in glass, either recent or historical, Juanita Navarro
that impressed them during the year' and reflects their Ceramics and Glass Conservation
particular interests. New Glass Review 28 has recently
appeared and includes work from 20 countries Victoria and Albert Museum
designed and made between 1 October 2005 and 15 South Kensington
September 2006. London
SW7 2RL
To buy current and previous copies of New Glass
Review, for further information and application forms, [email protected]
please go to the Museum's website: www.cmog.org
(Sarah Paynter will be on maternity leave).
Glass News July 2006
16

Glass November AGM. A very warm welcome goes to
News Andrew Shortland, new member of the Board and our
new Hon Treasurer, who replaces David Crossley.
GN21Number 21 January 2007 Also to Sandy Davison, already a Board member, who
replaces Justine Bayley as Hon Secretary. Many
Published by thanks go to David and Justine who have worked
tirelessly and given their time generously as Officers
THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED for the benefit of the AHG. They both remain on the
Board as ordinary members. However we are very sad
Reg’d Charity: 275236 ISSN 1362-5195 to say goodbye to Paddy Baker, who has stood down
from the Board. Many thanks go to her for all the
www.historyofglass.org.uk valuable work for the AHG over the years. Paddy has
been organising the forthcoming AHG Study Day,
IN THIS ISSUE details of which can be found in page 2. Finally, we
welcome St John Simpson to the Board.
Page 2. AHG Bursaries
Page 2. In this issue you will find news of forthcoming
Forthcoming events: conferences, as well as reviews: the AHG Study Day
Page 3. at the Wallace Collection; Part 1 of the 17th Congress
- AHG Spring Study Day: The Glass of the Association internationale pour l’histoire du
Page 11. Industry: Constraints and Controls from the verre, which took place last September in Antwerp;
Page 12. medieval world to the 20th century and the wide-ranging Blaschka Congress in Dublin,
Page 13. which was so successful that a second Congress is
Page 14. - The Stained Glass Museum being planned for October 2007.
Page 16.
- Groupe des Méthodes Pluridisciplinaires We have some voluntary contributions! Remember
Contribuant à l’Archéologie: Archéometrie that Glass News is for you but it is also about you: tell
’07 your colleagues about your glass-related activities.
Your contributions do not have to be long, sometimes
Reviews: a couple of paragraphs will be enough to inform,
- AHG Study Day: Experimental and enquire or follow up on research.
Ethnographic Studies Relating to Ancient
Glass Juanita
- 17th AIHV Congress 2006 (Part 1)
- Blaschka Congress Review THE ASSOCIATION FOR THE
A medieval high-lead glass beaker from HISTORY OF GLASS
Oxford
Board of Management
Rituals connected with breaking glass
President: Ian Freestone
Glass in Serbia Hon Secretary: Sandy Davison
Hon Treasurer: Andrew Shortland
Vidimus
Members of Board
Book reviews
Justine Bayley Sarah Jennings
Publications Colin Brain David Martlew
John Clark Juanita Navarro
Editor’s details, website and membership Martine Newby
David Crossley
Happy New Year to all! Congratulations to Sarah Aileen Dawson Julia Poole
Paynter, co-editor of Glass News, on the birth of son Suzanne Higgott Jennifer Price
Elliot. Caroline Jackson Rachel Russell
St John Simpson
There were some changes to the AHG Board at the

Glass News 21 January 2007 1

AHG Bursaries 14.0 Furnaces, the Perennial Problem,
Peter Wren Howard
In 2006 three bursaries were awarded to students, two 14.30 Coloured Glass in the Workshop: problems
of them participants in the 17th AIHV Congress in and headaches, Richard Golding
Antwerp. This year AHG has again earmarked funds 15.00 Tea
to support research related to the history of glass 15.30 The Impact of Glass excise Duty,
and/or participation in conferences. A total of nearly Alex Werner
£1000 is available, though it will probably be split into 16.00 The Impact of the Second World War on the
a number of awards. Applications will be judged on West Midlands Crystal Industry,
the quality of the work for which support is sought, Roger Dodsworth
and anyone may apply.
If you would like to attend, costs are: £25 non-
Full details and an application form may be obtained members, £20 for AHG members, £10 students.
from the Hon Secretary, Sandy Davison. Email her at Please send a stamped, addressed envelope and a
[email protected] or write to 68 East cheque payable to The Association for the History of
Street, Thame, Oxon OX9 3JS. Applications must be Glass Ltd. to David Crossley, 5 Canterbury Crescent,
received by 31st March 2007. Sheffield S10 3RW.

Forthcoming: Participants who live outside the UK may pay upon
arrival at the venue in UK sterling, but please inform
AHG Spring Study Day the organiser of their intention to attend the Study
Day.

THE GLASS INDUSTRY: CONSTRAINTS AND PLEASE NOTE: This meeting will take place at the
CONTROLS FROM THE MEDIEVAL WORLD Royal Asiatic Society, conveniently located within 3
minutes walking distance west of Euston mainline rail
TO THE 20TH CENTURY and Underground Station. Other Underground stations
nearby are Euston Square and Warren Street. Lunch is
Tuesday 6th March 2007 not included in the price, but there are plenty of places
to buy lunch in the area.
Royal Asiatic Society
14 Stephenson Way, London NW1 Forthcoming:

The next AHG study day will explore some of the The Stained Glass Museum
difficulties faced in the production of glass from
medieval times to the present day. Some problems Annual Lecture and Study Weekend
were faced every day in the workshop and were of a
technical nature while other constraints were imposed The Annual Lecture will take place on 26 March 2007
from the outside, often taking the form of controls on at 5.30 pm in St Ethelburga’s Church, Bishopsgate,
labour, prices and the production of range. London. The speaker will be Dr David O’Connor
‘Parish, Community and Faith in Medieval York: All
Provisional programme Saints, North Street and its Windows’. The
presentation will focus on the windows, taking a broad
10.00 Arrive/coffee view of the building, the parish, the architecture and its
10.30 Introduction imagery in its widest sense.
10.40 Venetian Glassmakers & the Venetian
Government 1200-1500, David Whitehouse Tickets may be obtained in advance £4 from the
11.15 Glass Sellers Company & the Ravenscroft Museum (see website above), or at the door £5,
Connection, Brian Rawles includes tea at 4.30 pm.
11.45 The Guild System in the Middle East,
Paddy Baker This year’s Study Weekend will take place in York,
12.15 Lunch 11-13 May 2007. It will focus on medieval glass of
Maurice Marinot film: Acid Etching Glass the churches of York and especially of the Minster

Glass News 21 January 2007 2

where the final stage of re-fixing the St William AHG Study Day Review
window c.1415 will just have been completed. There
will also be a visit to York Glaziers Trust – the ‘EXPERIMENTAL AND ETHNOGRAPHIC STUDIES
workshop which looks after the Minster’s glass – or RELATING TO ANCIENT GLASS’
the stained glass studio of Keith Barley. The
conference organiser and guide will be Sarah Brown On Wednesday 22nd November, The Association for
and there will be other stained glass specialist art the History of Glass held a study day at the Wallace
historians. Collection, London, to discuss experimental and
ethnographic studies relating to ancient glass.
Cost: Resident £250, non-resident £170; Friday
afternoon until after lunch on Sunday. Early booking Morning presentations:
is recommended. Thilo Rehren - Experiments in Bronze Age Egyptian
glassmaking
An application form is available from the website: Yvonne Gerber - The Court Chaluet glass hut and its
www.stainedglassmuseum.com. glass composition
Ian Freestone - Shape, substance and identifying fakes
Forthcoming:
The morning session, introduced by Caroline Jackson
Groupe des Méthodes (Sheffield), began with Thilo Rehren’s (UCL)
Pluridisciplinaires account of experimental work in late Bronze Age
Egyptian glassmaking practices. The work derived
Contribuant à l’Archéologie from the important discovery of evidence for the
XVIth Colloquium: primary production of red and other coloured glass
Archéometrie ‘07 ingots at the Late Bronze Age site of Qantir-
Piramesses in the eastern Nile Delta. Large amounts
“DIFFUSIONS, MIGRATIONS, EXCHANGES: of ceramic fragments with glass attached on the inside,
THE MEDITERRANEAN BASIN INFLUENCE” glass-related slag and unshaped glass fragments were
recovered there during excavations. The majority of
18-21 April 2007 ceramic fragments were found to have a thin layer of
lime on their inner surface, thought to be a parting
Maison Méditerranéenne des Sciences de l’Homme, layer which prevented the glass from sticking to the
Aix en Provence, France vessel walls. One significant find was a crucible filled
with the remains of a partially fused charge containing
The colloquium is jointly organized by the LAMM residual quartz grains. Examination of ceramic
(Laboratoire d’Archéologie Médiévale fragments with the parting layer in cross-section
Méditerranéenne), the CCJ (Centre Camille Julian - revealed that the internal fabric was either discoloured
Archéologie Méditerranéenne et Africaine) and the or that no discolouration was present. Thilo
ESEP (Economies, Sociétés et Environements questioned whether the presence or absence of
Préhistoriques). discolouration in the fabrics could indicate if these
were crucibles used for glass making (from raw
Further information may be obtained from: materials) or glass working (re-melting pre-existing
[email protected] glass), and described experimental work developed to
test this. Glass batches, with or without the addition of
salt to the mix, were melted in ceramic vessels, and
after firing, cross sections of the ceramic vessels were
examined. The results clearly showed that vessels
used for melting batches containing salt developed
discolouration in a manner very similar to the
archaeological examples from Qantir-Piramesses,
while those without showed no discolouration. By
combining archaeological evidence and experimental
work Thilo was able to make a strong argument for the
manufacture of the glass ingots at Qantir-Piramesses in

Glass News 21 January 2007 3

a two stage process: plant ash and crushed quartz were indicated a date of manufacture earlier than the 19th
heated to form a semi-fused glass with the volatile salt century. For instance, composition of enamels were
component of the plant ash penetrating into the typical of the medieval period, while analysis of the
crucible fabric. The parting layer allowed the glass to body glass (sample taken from pontil) revealed it to be
be easily released from the crucible which could be a plant ash glass with a high chlorine concentration.
reused. The semi-fused glass was then crushed and re- Little glass with high chlorine is found after the
melted with colourants to produce the coloured glass 1850’s. Taken together, the evidence suggests that
ingots. This presentation highlighted the value of while stylistically inconsistent with medieval Venetian
using experimental work to help us interpret the or Islamic enamelled glasses, this enigmatic piece can
material remains of past glass production activities. no longer be considered a fake, but was perhaps a 16th
century copy of earlier enamelled glass goblets.
Yvonne Gerber (Basel) followed with a description of
the early 18th century Court-Chaluet glass hut and Fig. 1 Hope Goblet
discussed compositions and raw materials of the glass The second object, the Bonus Eventus Plaque, (Fig. 2)
made there. The glass hut, situated in the Swiss came to the British Museum in 1814 as part Charles
mountains, was in operation seasonally from 1699 to Townley’s collection. It was originally dated to the 1st
1714. A range of green, blue and colourless glass Century AD and thought to be sculpted lapis lazuli.
objects recovered from excavations include roundels, In 1883 the plaque was identified as being glass, and
beakers, bottles, stemmed drinking vessels inspired by was displayed as a genuinely Roman object until as
Venetian glass, and filigree glass fragments. late as 1968. By the late 1960, however, its
Compositional analysis of glass finds from the site authenticity was questioned and it was confirmed a
demonstrated it fell into two clear categories: fake by 1995. It was interesting to hear that an
potassium glass (quartz sand and wood ash), and investigation of composition, microstructure and
potash glass (quartz sand, potash and a stabilizer), and manufacturing methods revealed the plaque to be more
that these groups were strongly associated with glass closely associated with the pottery industry than the
colour. Coloured glasses occurred in the potassium glass industry. For example, the composition is
group and colourless and filigree glass in the potash typical of mid-18th century smalt, rather than a glass
group. Further, composition of production waste for working, opacified by the addition of lead-tin calx,
corresponded well to vessel composition, providing with a microstructure reminiscent of Italian maiolica
strong evidence that glass was manufactured at Court- pottery glazes. Surface features indicate the plaque
Chaluet from raw materials rather than from cullet
recycled from nearby towns. Experiments in 4
manufacturing glass from raw materials collected from
the Court-Chaluet region showed that glass with a
composition similar to the potassium glass could be
manufactured using sand and ash from beech wood
collected locally.

The morning session was concluded by Ian Freestone
(Cardiff) who discussed the changing perceptions of
two objects held at the British Museum; the Hope
Goblet and the Bonus Eventus Plaque (Fig. 1). The
Hope Goblet was acquired by the British Museum in
1894. Despite showing stylistic inconsistencies, it was
grouped with the late 13th century Aldrevandin Group
of enamelled glass goblets. By the 1960’s doubts were
cast on its authenticity and by 1990 it was considered
to be a fake, forged in the late 19th century. Ian was
asked to conduct some investigations to verify this.
Macroscopic examination revealed a number of
technological features such as enamel impressions on
the inner surface and double pontil marks on the base,
which suggests the cup was made using the archaic,
dynamic enamelling technique. This method went out
of use in the late 18th century. Other evidence also

Glass News 21 January 2007

was mould cast, possibly in a ceramic mould of a pre- manufacture the mirrors for six months of the year.
existing object, with the fine details of relief finished Jan also visited a workshop specialising in the
by engraving. Thus the raw materials used are typical manufacture of miniature glass beads. It was
of those found in a potters work shop. fascinating to see that the glass workers began the
process of bead making with a forty to fifty kilo
Fig. 2 Bonus Eventus Plaque. (Courtesy of the weight of glass on a three and a half meter long pipe,
Trustees of the British Museum) which required four to five people to support the
weight whilst marvering. Metres of fine glass rods
Afternoon presentations: were then drawn out from the glass, with workers
Jan Kock - Bead and bangle making in India using a lamp to check the thread hole passed through
St John Simpson - Glass blowers in Lebanon the entire length of rod. Bundles of rods were chipped
Frances Liardet - Being an apprentice in a (Roman) over a blade to break off the beads, and the beads then
glass workshop mixed with ash and refired in a bowl to soften the
Sarah Paynter - What gets left behind: the working sharp ends. The final step was to thresh the ash and
wastes and residues from the Roman Glassmakers’ bead mixture to remove the ash.
Furnace Project
This was followed by St John Simpson’s (British
The afternoon session, introduced by Ian Freestone, Museum) presentation on the tradition of water pipe
began with Jan Kock’s (Denmark) ethnographic study smoking and production workshops in Lebanon. In
of glass workers in India. In a country where there is the early 17th century the tradition of smoking spread
large-scale use of glass for personal and dress throughout the Middle East. At this time in Persia
adornment (beads, bangles and mirrors) it was pipes were adapted to include a water reservoir to cool
intriguing to see the continued use of traditional the smoke, and this form of pipe quickly spread
manufacturing methods of these items. For example, around the Indian Ocean. 19th century European artists
Jan visited the workshop of two brothers in the North recorded smokers with water pipes in detail.
Gujarat region of west India who manufacture lead- Intriguingly, however, archaeological finds of water
backed mirrors. The mirrors are produced by blowing pipes are rare indicating smoking was rarer than the
a large glass bubble, which, when taken off the artwork suggests. Today, smoking is common in
blowing iron, is partially filled with molten lead and Lebanon with water pipes available widely for hire or
rotated to ensure the lead was fixed to the entire inner sale. St John visited a glass workshop which
surface of the bubble, with the excess lead poured out. specialized in the manufacture of glass bottles, water
The bubbles are cracked into mirror fragments and pourers and water pipe reservoirs. However, not all
distributed to workshops where they are cut into small water pipe reservoirs are locally made. Examples
pieces for the decoration of cloth. Though simple, this were found that had been manufactured in Italy in the
technique is very effective, allowing for mass Lebanon style and imported to Lebanon where the
production, so that the brothers are only needed to composite pipes are assembled. St John then
described the remains of a small pottery workshop run
Glass News 21 January 2007 for a short time by an emigrant Syrian. In addition to
manufacturing pottery goods, the potter set up a
roadside stall selling Syrian and Lebanese glass and
ceramic wares. The types of residues left at the site
included pottery production debris in addition to glass
and ceramic fragments from breakages of goods sold
at the stall.

The final two presentations of the afternoon described
the different types of information gained from the
Roman Furnace Project. The Roman Furnace Project
was initiated by Mark Taylor and David Hill who
constructed and ran two Roman wood-fired furnaces
over a period of several weeks in the spring and
summer of 2005 and 2006 in an attempt to discover
information about the working conditions of ancient
glass makers. Francis Liardet’s (Cardiff) interest lay
in the ‘social life of making’ objects, or the processes

5

by which the high level of skill shown by master glass waste. The furnace, constructed out of a ‘daub’
craftsmen is learned. Using video footage of a mixture comprising clay, sand, grit and chopped hay,
‘master’ glass blower (Mark Taylor) and an developed a potash-rich glaze containing various
‘apprentice’ (herself) at work she demonstrated how amounts of soda and crystalline phases on its inner
differences in prior knowledge and experiences surface during firing. This was attributed
informed the glass blower and impacted on the predominantly to the volatile components of the fuel
manufacture of blown objects. The experienced glass ash (seasoned ash and beach) reacting with the furnace
blower, working with a clear image of the finished wall.
object in the mind and having close at hand a familiar
and accepted tool set, completed a series of actions: The crucibles used were fired terracotta pots lined with
glass gathering, marvering, blowing, swinging, cutting a layer of the same daub mixture used for the furnace
in, reheating and decorating, with co-ordinated construction on their outer surface. Following their
movement and consistent timing. When attempting to use the daub linings had pulled away from the
manufacture a vessel using an unfamiliar technology it terracotta pots showing the two components had
was found that even though the experienced glass expanded and contracted at different rates during
blower had a clear image of the finished object in firing. (Fig. 4) The pots’ rims developed different
mind, the relationship between movement and image
was still developing. Nevertheless, the glass blower, Fig. 4 A pot after firing with glassy rim (front) and
informed by his prior experience, was able to adapt his deposits formed from reactions with fuel ash (back)
environment and movements so that with each attempt (Courtesy of J. Bayley).
time of manufacture and co-ordination improved. This
was in contrast to the apprentice, who having no clear deposits according to their positioning in the furnace
image of the finished object in mind and working with so that the rim areas closest to the furnace wall had
an unfamiliar tool-set was unable to control the deposits formed by reactions with the fuel ash, while
relationship between actions and finished object. areas closest to the furnace centre had a glassy surface
Francis was able to demonstrate how the high level of formed by interactions with the ceramic and its glass
skill shown by master craftsmen is learned through contents. Glass and glass residues were also analysed
manual tradition of watching and learning and and demonstrated a range of compositions. For
repeating the actions until body is attuned. instance, the glass blobs and spills collected from the
firing chamber of the furnace were found to have a
Justine Bayley (English Heritage) presented Sarah composition different from that of the glass
Paynter’s (English Heritage) work in her absence on manufactured in the furnace, and this was attributed to
the reactions occurring within the replica Roman glass the various interactions occurring within the furnace
furnace during its firing. (Fig. 3) She described three during firing. This research has important
implications for our understanding of the formation of
Fig. 3 View of pots in the furnace during firing the wide range of waste materials which are routinely
(Courtesy of J. Bayley). found on archaeological glass production sites.

categories of residues: the furnace and furnace waste, Harriet White
the pots (crucibles) and pot waste, and the glass and English Heritage

Glass News 21 January 2007 6

enabled the identification of glass produced from the

AIHV 17th CONGRESS, ANTWERP - Review, Part 1

ANTWERP, BELGIUM, 4 – 8 SEPTEMBER 2006 same melting pot and the same campaign of melting.
Freestone concluded that batch analysis can be used as
To mark the 50th anniversary of the Belgian glass a tool to refine the interpretation of glass assemblages
historian Joseph Philippe's setting up of the and workshop practice. Batch analysis has the
Association internationale pour l’histoire du verre potential to provide information about the size of a set,
(AIHV), the 17th Congress was held in Antwerp, its date, and the context in which it was produced. It
Belgium. might be possible to work out how much glass was
contained in a batch and, with very precise analysis, to
There are currently 31 member countries of the AIHV, identify and reassemble individual pieces produced
comprising approximately 469 individual members. from a single batch.
The membership in Britain is affiliated to the British
organisation, the Association for the History of Glass. Marco Verità presented the final paper of the opening
Approximately every three years, a member country session, written in collaboration with Sandro Zecchin,
hosts an international congress to bring together 'A thousand years of Venetian glass: evolution of the
people interested in a wide range of aspects of glass chemical composition from the origins to the 18th
from its invention to the present day, enabling them to century'. The paper considered the documentary
share information on current research and providing an milestones and analytical results that provide
opportunity for a lively exchange of ideas. information on the chemical composition of Venetian
glass. The Venetian state archives and recipe books
The congress took place in the splendid 't Elzenveld have provided important documentary information.
conference centre, created within a medieval hospital Early references to individual ingredients and glass
complex in the centre of the old city. It was attended types were tracked and the results of chemical analysis
by almost 200 delegates from 22 countries from discussed. In order to gain a fuller picture of the
Australia to Norway. The welcoming and efficient evolution of Venetian glassmaking techniques and
organising committee worked tirelessly to ensure that recipes more analysis is required. In particular, a
the every aspect of the congress ran smoothly. database of analysis results for coloured and opaque
Particular thanks are due to Koen Janssens, President glass is needed and, in order to distinguish Venetian
of the organising committee, and Luc Van’tdack, the glass from façon de Venise, many precisely detailed
Secretary, for a brilliantly organised congress. analyses are necessary.

THE OPENING PLENARY SESSION POSTERS

After Koen Janssens had officially opened the There were approximately 40 posters, their range and
congress, the opening plenary session, comprising scope as broad as those covered by the aural
papers from three invited speakers, was inaugurated by presentations. Two cash prizes were offered for the
Marie-Dominique Nenna, who provided an overview posters. The quality of the posters was very high. The
of '50 Years of AIHV'. Dr Nenna referred to the prize for a poster on ancient glass was judged by
distinguished glass historians who have served as Jennifer Price and David Whitehouse. It was won by
President of the organisation since its inception. She V. Chatberachvili, N. Kitovani and M.-C. Depassiot
highlighted the importance of the AIHV's contribution for their poster discussing the discovery, description
to the development of the study of a wide range of and restoration of two gilded and enamelled opaque
aspects of the history of glass, in part by providing an white jugs from a tomb in Georgia. The only known
international forum for collaboration between people comparative example is the Daphne Ewer in the
working in different but related fields of glass history. Corning Museum of Glass is (Donald B. Harden et al.,
Glass of the Caesars, exh. cat., 1987, cat. no. 150).
Ian Freestone, President of the British committee of The poster's content was considered to be outstanding.
the AIHV, presented a paper on 'The batch: its Johan Veeckman and Frans Verhaeghe judged the
recognition and significance' on behalf of himself, poster for later glass. The prize in this category was
Jennifer Price and Caroline Cartwright. The paper won by T. Medici, M. Fontanals and J. Zaragoza for
outlined the implications of batch analysis, which their poster on 'Glass finds from recent archaeological

Glass News 21 January 2007 7

excavations at El Catllar, Tarragona, Spain: Nearly 40 presentations were given on late Hellenistic,
preliminary report (15th - 18th century)'. This poster Roman and late Roman/late Antique glass dealing with
presented some of the better preserved glass objects archaeological and collected material from most
and set them in the context of Catalan and façon-de- regions of the ancient world. Some assessed big
Venise productions. The judges considered it to be topics, such as the changes in craft traditions resulting
extremely well assembled. from the introduction of glass blowing (Liardet), or the
relative significance of glassworking as a provincial
There were approximately 80 aural presentations Roman workshop activity (Amrein), or the comparison
arranged into the following categories: of glass and pottery tableware assemblages (Poblome
• Pre-Roman and Hellenistic (two sessions); et al.), while others examined issues of function and
• Roman (three sessions); everyday use, or deposition, residuality and survival,
• Post-Roman (one session); often through the study of assemblages which were
• Archaeometry (two sessions); chronologically constrained by some man-made or
• 15th and 16th century (two sessions); natural disaster – the ebb and flow of the edge of the
• 16th and 17th century (one session); Empire, or earthquake, fire and volcanic eruption.
• 18th – 21st century (one session); Among the many interesting case-studies, the poster
• Stained glass and weathering (one session); presenting the discovery and conservation of two
• Glass decoration and enamels (one session). opaque white jugs with painted and gilded decoration
found in a burial in Georgia (Chatberachvili et al.) was
The timetable and abstracts were set out very clearly in exceptional, and was awarded a prize for the best
the 'Book of Abstracts'. Two sessions were scheduled poster on early glass.
to run concurrently. The level of presentation was
very good and PowerPoint was used almost A recurring theme was the study of 'black' glass
universally. Each session opened with a keynote (Cosyns, Cosyns/Fontaine, Van der Linden et al., da
lecture delivered by a distinguished glass scholar, Cruz) and an exceptional number of aspects of late
followed by a number of 15-minute contributions Roman/late Antique glass were studied (e.g. Foy,
allowing comprehensive overviews to be presented. Sagui, Funfschilling, Gorin-Rosen, Lauwers,
Mossakowska-Gaubert, Newby).
REVIEW OF CONTRIBUTIONS ON GLASS FROM THE
EARLIEST PERIODS TO LATE ROMAN AND A number of papers discussed the analysis of glass for
ARCHAEOMETRY isotopes such as those of strontium and neodymium,
Professor Ian Freestone and Professor Jennifer Price which promise to be useful tools in the determination
of glass provenance (Henderson, Degryse, Brill, et al.)
This brief review outlines some of the topics and although, as emphasised by Wedepohl, it will be
discoveries in the contributions on glass from the essential to use these in conjunction with other
earliest periods to late Antiquity. As always we were methods, such as elemental analysis. A number of
confronted by a staggering array of material and papers addressed very early uses of natron-based glass
approaches, both in the oral presentations and the (Gratuze, Reade) or the unusual occurrence of plant
posters and learned of new discoveries, new ash glass in the Roman period (Gratuze, Jackson).
interpretations, new approaches and new questions. Others considered the technology of opacifiers (Tite,
Lahlil), while the introduction of a portable X-ray
Interesting and important contributions were made on spectrometer for the analysis of glass in the field,
glass in the second and first millennia BC. Some which can reliably assign glass to groups established
tackled new questions, such as the evidence for the by destructive methods (Kato) opens up exciting
Myceneans making raw glass (Nikita), and for the possibilities for the study of material in regions where
Phrygians producing glass vessels and objects in the export of samples is problematic.
ninth century BC (Jones), while others reassessed
well-known material using new evidence, such as REVIEW OF THE SESSION ON STAINED GLASS AND
Petrie's work at Amarna (Nicholson), Cypriote core-
formed glass (Cosyns), and glass coffins (Stern), or WEATHERING
considered larger issues, such as the socio-economic
background to glass use in pre-Roman societies Dr. Andrew Shortland
(Barag).
The stained glass section of the conference was
chaired by Professor Caen and consisted of five papers
dealing with material ranging in date from the 15th to

Glass News 21 January 2007 8

the 19th centuries. Two papers dealt with glass from SOCIAL PROGRAMME
the 15th century, and presented an interesting contrast,
one dealing with secular glass from Flanders (Caen et The organising committee had arranged a diverse and
al.) and one with a Moses window from the Basilica in fascinating series of visits for delegates. These began
Straubing, Germany (De Vis et al.). Both papers dealt with a Welcome Reception in the elaborately
elegantly with art-historical questions and decorated Town Hall in the historic and delightful
analytical/conservation issues for the windows. Of Grote Markt. Further highlights were a visit to the
particular interest was the 3-D scanning technique Cathedral of Our Lady, where delegates enjoyed a tour
described by De Vis et al., which allowed lost paint of the stained glass before being treated to a
layers on the glass to be searched for. Two papers remarkable concert of music played on two organs.
dealt with glass from the 17th century. These papers The optional Congress Dinner was held in the
considered similar glass – the enamelled, painted glass beautiful Marble Hall and Winter Garden of Antwerp
that is common in this period - but presented different, Zoo. Visits were also offered to the Antwerp Glass
complimentary aspects of the glass. Power et al. Restoration Studio, the Antwerp Archaeological
discussed art historical and theological aspects of the Service and an exhibition of contemporary Belgian
17th century pictorial scheme for the Cathedral of glass.
Christ Church, Oxford – a scheme now largely
destroyed. Van der Schnickt et al. dealt with Delegates who attended the highly successful
conservation aspects of the glass, particularly the blue Congress in Antwerp will be anticipating the 18th
colour, where the enamelled layer suffers from serious Congress with keen expectation! It will be held in
flaking. Analysis and modelling of the system was Thessaloniki, Greece, in the autumn of 2009. There
attempted to determine which factors are the cause of will be two big exhibitions for delegates to enjoy. The
the deterioration. The keynote paper was a wide- Archaeological Museum will host an exhibition on late
ranging look at one of the most important assemblages Classical and early Hellenistic glass in Mesopotamia,
of stained glass windows in Spain – the Cathedral of while the Museum of Byzantine Culture will mount an
León (Carmona et al.). Concentrating mostly on its exhibition on Byzantine glass. The Greek organising
medieval glasses, the paper showed how chemical committee looks forward to welcoming you there!
analysis can reveal why some glasses are particularly
vulnerable to weathering and the creation of corrosion Suzanne Higgott with contributions from Ian
pits and crusts. This 'pathological diagnosis' led on to Freestone, Jennifer Price and Andrew Shortland.
instructing appropriate restoration and conservation
strategies in a way that will stand as a model for Part 2 is to be published in the next issue of Glass
similar work. News.

MEETING OF THE GENERAL ASSEMBLY OF THE Blaschka Congress Review
AIHV ON 5 SEPTEMBER
NATIONAL MUSEUM OF IRELAND, DUBLIN
Tribute was paid to Joseph Phillipe, some of whose 28-30 SEPTEMBER 2006
relatives attended the meeting. The Annales of the
17th Congress will be dedicated to his memory. Scientifically accurate glass models of obscure sea
creatures may sound like bland art, but the famous
It was reported that the AIHV archives would be held sculptures crafted by father-and-son team Leopold and
at Corning. Rudolf Blaschka have inspired many fans across the
art and science worlds. Working in the late 19th
The AIHV's finances were now healthy after a difficult century, the Blaschkas supplied museums, universities,
period in the 1990s. It would now be possible to and private collectors with a passion for natural history
provide about eight bursaries to the value of 400 euros all over the world. In September 2006, nearly 100 of
each for members from low wage countries or students their modern admirers converged in Dublin for the
to attend the next Congress. first ever international scholarly meeting to discuss the
life and works of the Blaschkas.
The AIHV's website is now being administered at The Dublin Blaschka Congress was hosted by the joint
Corning Museum of Glass, where Jane Spillman is the programme linking University College Dublin (UCD)
person to contact; she would welcome news for the and the National Museum of Ireland (NMI) in Dublin,
website.
9
Glass News 21 January 2007

Ireland. These two institutions collectively hold the exploring rock-pools. This trend was matched by the
largest known collection of Blaschka animal scientific output of the day, and the Blaschkas were
sculptures.(Fig. 5) These glass models filled gaps in very dependent on illustrated scientific monographs
the Museum’s display where preserved or pickled for their designs of animals such as octopuses and
animals were not sufficient, and were used as teaching anemones. The Blaschkas were regular
aides for biology students in the then Royal College of correspondents of Ernst Haeckel in Germany and
Science. Other collections of the animal models were visited the new marine station in Naples, Italy. As
independently acquired by three other Irish their repertoire grew, the Blaschkas installed a
universities, making Ireland an unexpected Mecca for saltwater aquarium in their studio to keep ‘life models’
the creations of these German glass artisans. of their animals in captivity. In 1890, Leopold and
Leopold Blaschka (1822-1895) and his son Rudolf Rudolf signed an exclusive contract with Harvard
(1857-1939), were descended from 15th century University in the United States which would
Venetian glass artists. Working from a studio in their eventually result in over 4,000 models that make up
home in Dresden, first for the local aristocracy and the Ware ‘Glass Flowers’ collection.
natural history museum, they built up an international
clientele via mail-order catalogues. They worked in Keynote presentations on the first day of the Congress
isolation, without recruiting apprentices or assistants, included botanist Dr. Susan Rossi-Wilcox, who is
but often employed natural history dealers as local responsible for the Harvard Glass Flowers collection,
distributors: Robert Damon of Weymouth was the sole and Dr. David Whitehouse, Director of the Corning
agent for Britain and Ireland. Blaschka objects are Museum of Glass, Corning, New York Sate.
known to survive today in collections throughout Additional speakers shared new results from
Europe and North America, as well as India and New investigation into archives both of Blaschka objects
Zealand. and their personal correspondence.

Fig. 5 Blaschka model of a single-celled radiolarian The presentations were organised by themes:
(greatly magnified), ca. 1886. Photograph copyright • ‘Zoology and Education’;
National Museum of Ireland. • ‘Collections Worldwide’;
Until the 1880s, the Blaschkas work focussed on • ‘Construction and Care’;
marine creatures of all sorts, following the • ‘Art and Science’.
contemporary Victorian fashion for the seaside and
Presentations were given by biologists, curators,
artists, and historians, adding to an interesting mix of
perspectives on the meaning and future potential of
Blaschka works.

Particularly, there was lively ongoing debate about
exhibition techniques, which continues beyond the
scope of the three day meeting. Discussion often
focused on the relative merits of displaying Blaschka
objects in their historical context of Victorian natural
history exhibition, surrounded by preserved
specimens, versus application of modern lighting and
minimalist aesthetic to highlight the beauty and
craftsmanship of each individual model.

The natural progression of entropy and glass decay has
prompted new conservation efforts to preserve
Blaschka sculptures in Dublin and in many other
museums. However, there remain serious deficiencies
in understanding the Blaschkas’ techniques. They
created each piece individually on commission, and
continually improved and changed their methods of
construction over time. One of the major aims of the
Congress was to form new connections between

Glass News 21 January 2007 10

curators, conservators, artists and biologists, to share an exhibition at the Rheinisches Landesmuseum, Bonn
insights into the long term preservation and further (Baumgartner and Krueger 1988, 161-75). Decorative
study of these sculptures held worldwide. vessels of yellow, green and opaque red high-lead
glass have been found concentrated across northern
During the course of the Congress, Dr. Rossi-Wilcox Europe, dating to the 13th or early 14th centuries.
and Dr. Whitehouse issued an invitation to the Corning
Blaschka Congress, scheduled for 4–7 October 2007 at Fig. 6: A 13th-early 14th-century green high-lead glass
the Corning Museum of Glass in Ithaca, New York. beaker from Merton College, Oxford.
This second Congress would coincide with a major Drawn by Sarah Lucas, © Oxford Archaeology.
new temporary exhibition of Blaschka sculptures of The plain and tooled trailing on the Oxford beaker is
the Harvard botanical collection displayed together typical of high-lead glass, mainly stemmed goblets,
with material from the Blaschkas’ personal archives beakers and jugs, as well as other medieval glass
held by the Corning Museum’s library. tablewares. Although no production sites have yet
been found, lead isotope analyses show that the lead in
The Dublin Blaschka Congress has been hailed as a many of these vessels originates in Germany and that
beginning of new study in the subject of the these vessels were probably made there (Wedepohl et
Blaschkas’ art. A forthcoming volume of papers al. 1995).
presented at the Congress will be published in the next High-lead glass objects were produced in Europe,
year. In the meantime, the largest display collection in including Britain, between the 9th and 13th centuries,
the world of Blaschka animal models are on and vessels were made in various periods in other
permanent display at the Natural History Museum, regions, including Russia between the 11th and 13th
Merrion St, Dublin 2, Ireland; admission is free. centuries. It is not known whether there was any
relationship between the earlier production and the
Julia Sigwart later medieval German high-lead glass industry.
Approximately 35 high-lead glass vessels have now
[Julia Sigwart directs ‘Collections-based Biology in been found in England, but the majority are yellow
Dublin’, the joint programme linking University glass, with two opaque red examples. This beaker
College Dublin and the National Museum of Ireland; from Oxford is the first example of an entirely green
she chaired the organising committee of the Dublin high-lead glass vessel to be found in England,
Blaschka Congress 2006] although the yellow vessels may have green (or blue or
yellow) decoration. A green high-lead glass stemmed
A medieval high-lead glass
beaker from Oxford 11

One might expect the wealthy university town of
Oxford to be an obvious place to find medieval glass
vessels, typically found on affluent sites. It was not
until 2002, however, that the first medieval glass
tableware was discovered. Nearly 100 fragments of
emerald-green high-lead glass were excavated from a
13th-century deposit at Postmasters’ Hall Yard, Merton
College by Oxford Archaeology. The fragments
suggest the original form to be a beaker decorated with
plain applied spiralling trails below a flared rim, with
three thicker tooled trails around the base and at
intervals up the body. (Fig. 6) The rim diameter is
rather irregular, but is estimated to be c. 90 mm; the
base diameter is 60-70 mm. XRF analysis by Roger
Wilkes of English Heritage confirms that it is high-
lead glass, averaging c. 54% lead oxide.

This type of high-lead glass, which contains an
average of 60-70%, but up to c. 84% lead oxide, was
identified and published as a group in conjunction with

Glass News 21 January 2007

goblet is now also known from Gresham Street in Why is breaking a glass mirror said to bring seven
London (pers. comm. Geoff Egan). Green examples years’ bad luck?
are more common in Germany and the Low Countries. There are two theories about this. One is that the gods
In 2000 all the high-lead glass vessels then known in communicate through mirrors and if a mirror breaks
England were published (Tyson 2000). Since then a the gods do not want a person to see the bad luck in
small number of further examples have come to light their future. The other is that mirrors were thought to
from Meols near Liverpool and Launceston Castle in reflect the soul so that breaking a mirror in effect
Cornwall. The author is always very keen to hear of shatters the soul. The soul is so hurt by this that it
any other new finds. demands seven years’ bad luck in payment. The
Romans were the first makers of glass mirrors and
References believed that life was renewed every seven years,
rather like being reborn so that after seven years the
• Baumgartner, E and Krueger, I, 1988 Phönix aus breaking of the mirror was redeemed.
Sand und Asche: Glas des Mittelalters, Munich:
Klinkhardt and Biermann Why are wineglasses traditionally broken at Jewish
• Tyson, R, 2000, Medieval glass vessels found in weddings?
England c. AD 1200-1500, CBA Research Report 121 The breaking of the glass at the end of a wedding
• Wedepohl, K H, Krueger, I and Hartmann, G, 1995 ceremony serves as a reminder of two very important
Medieval lead glass from north-western Europe, aspects of a marriage: the bride and groom – and
Journal of Glass Studies 37, 65-82 everyone present – should consider the marriage vows
as an irrevocable act, just as permanent and final as the
Rachel Tyson breaking of the glass. It is also a warning of the frailty
[email protected] of a marriage. That sometimes a single thoughtless
act, breech of trust, or infidelity can damage a
Image published with thanks to Sarah Lucas, Oxford marriage in ways that are difficult to undo, just as it
Archaeology; Roger Wilkes, English Heritage; and would be so difficult to undo the breaking of a glass.
Geoff Egan. The glass is usually a light bulb wrapped in a white
towel. The best man places the glass before the
Rituals Connected with groom. With the “Congratulations, you may kiss the
Breaking Glass bride”, the groom smashes the bulb with his foot and
kisses the bride.
During a recent AHG meeting several members fell to
discussing the history of the various customs involving Sandy Davison
the ritual of breaking glass. Some information was
subsequently found on the Internet, but we would be Glass in Serbia
interested in any other historical examples. No
information was found on why it was customary to Vujadin Ivanšević of the Institute of Archaeology in
down a shot of vodka and then smash the glass. Belgrade has undertaken excavations at the site of
Caricin Grad (Justiniana Prima) in Serbia where the
Why is a bottle of champagne broken over the bow Byzantine Emperor Justinian was born. A significant
as a new ship is launched? number of workshops have been excavated including
This has more to do with the ancient practice of those for glass making. A church complex dating to
pouring a libation rather than the breaking of glass. In the mid 6th century has also yielded numerous glass
Britain during the seventeenth century, as a ship began finds similar to those discovered in the Petra Church
to slide down the ways the presiding official took a complex in Jordan, dated between the 4th and 7th
ceremonial sip of wine from a valuable standing cup, centuries AD. The finds include window glass, lamps,
then poured the rest of the wine onto the deck or over tableware, a range of differently coloured glass
the bows. The cup was usually then thrown overboard tesserae used to decorate the walls and floors of the
and belonged to the lucky retriever. As navies grew church and cullet. Fatma Marii at the Institute of
larger and launchings more frequent economy dictated Archaeology, London, has been investigating the Petra
that this costly standing cup be caught in a net for use glass for a PhD project. It seems that churches may
at future launchings. Late in the seventeenth century have been collecting points for waste glass but the
standing cups were replaced with the practice of reason for this is unclear.
breaking a bottle over the bow.
Sandy Davison
Glass News 21 January 2007
12

New on-line newsletter The Thames-side site at the south-east end of the
modern Vauxhall Bridge was excavated by the
Vidimus Museum of London in 1989 in advance of re-
development. The main features recorded were the
www.vidimus.org mid-17th-century barge-house of three city livery
companies and the late-17th-century glass-house
The Corpus Vitrearum Medii Aevi (CMVA) has just operated by John Baker. The glass-house was built
launched a free on-line newsletter, Vidimus between 1663 and 1681, was out of use by 1704 and
(<www.vidimus.org>). The newsletter aims to had been demolished by 1706. The report is well
encourage interest in medieval stained glass and to presented, in the customary MoLAS format; the
promote its website (www.cvma.ac.uk), which holds a illustrations, many of which are in colour, are
picture archive of over 13,000 images of British particularly well reproduced. The book gives a first
stained glass. Vidimus will appear monthly and impression of being a significant addition to our
subscription is free. Introducing the first issue, the knowledge of post-medieval glass manufacture.
editor, Tim Ayers, says: ‘We want to share our
enthusiasm for his unique art by bringing readers news There are however difficulties over the treatment of
and reporting on exhibitions, events, books and the evidence, of which the reader should be warned.
websites. Every month will bring one in a series of The excavation archive formed part of the Museum of
exclusive feature articles, for which a whole range of London’s publication backlog for some years, which
subjects is planned, including windows, techniques, presented the authors with difficulties over the
artists, patrons, collections, and much more. In each completeness of the record. A particular problem is
edition there will also be detailed examination of a the assessment of the main glass furnace, of whose
single panel of glass, our Panel of the Month; this will flue depth no record has been found (pp.34-5).
provide insights into all sorts of stained-glass issues.’ Beyond such basic matters of evidence, it is hard to
November’s panel shows the angel in the east window accept some of the conclusions set out in the report.
of St Mary’s, Shelton (Norfolk). The most important mis-interpretation is over the
functioning of the main furnace. The excavated
A vidimus (‘we have seen’) was the approved design remains resembled the examples at Kimmeridge
for a window in medieval times. (Dorset), Denton (Greater Manchester) and
Bolsterstone (Yorkshire), all of which possessed air-
Contact with the newsletter is encouraged via the intake flues built in trenches below siege level. It is
website, in English, French or German. stated (p.33) that ‘air entered the furnace through the
north-western opening, fed the centrally located fire
Book Reviews and then exited the furnace through the south-eastern
flue.’ This is in conflict with 18th and early-19th-
JOHN BAKER’S LATE 17TH- century descriptions of glass furnaces, where it is clear
CENTURY GLASSHOUSE AT that air was drawn through multiple flues by the
carefully-designed configuration of the furnace
VAUXHALL superstructure, with smoke exiting through gathering
holes. The authors’ unworkable conclusion appears to
Kieron Tyler and Hugh Willmott have arisen from the interpretation of a feature seen
only in the north-west flue as the housing for a shutter
ISBN 1-901992-44-6, paperback to regulate the entry of draught. This is not a feature
known from contemporary descriptions, but if its
Price: £12.95 function were as envisaged, one has to ask whether
Museum of London, London 2005 (MoLAS such a shutter might also have been placed at the
Monograph 28) south-east end of the system. This possibility is not
discussed on p.35.

The other problem over structures lies in the
interpretation of the secondary furnace. The
juxtaposition with the main furnace is shown in plan in
fig 23 (p.29), where the secondary furnace appears to
be so close to the south side of the melting furnace that

Glass News 21 January 2007 13

it would be impossible to operate at the south Glassmakers were able to produce pieces of lead
gathering holes of the latter if the furnaces were crystal glass that were strong enough to withstand the
contemporary. There is no published section to pressure of the cutting tools and to be load bearing.
illustrate the stratigraphic and chronological This enabled them to manufacture massive
relationship of these furnaces. The function of the chandeliers, candelabra, fountains and furniture shown
secondary furnace is stated to be for fritting rather than initially at industrial expositions. The first two
for annealing, but without convincing evidence. chapters trace the development of glass furniture and
chronicle the Eastern Connection; the other five are
The treatment of the residues contains significant devoted to the firms who produced the glass furniture:
misunderstandings and omissions. Gall should have F. & C. Osler, Jonas Defries & Sons, Coalbourne Hill
been described as a layer of alkali sulphates forming Glassworks, Baccarat and Elias Palme. In addition to
on, and skimmed from, the top of the pot. Lime detailed descriptions and commentaries for each
improves the durability of glass rather than affecting showcased object, in-depth footnotes, index and
viscosity. The scientific evidence is hard to extensive bibliography, the book is lavishly illustrated
understand, in particular the extent to which high-lead with colour photographs and illustrations for the
glasses were present. It is mentioned that results of designs.
ICPS (inductively coupled plasma spectrometry)
showed low lead content, which subsequent EDX Sandy Davison
(energy-dispersive X-ray) analysis showed to be
incorrect. This reviewer has learned that much Publications
scientific work was done at a late stage, as a result of
referees’ comments, which, regrettably, has not been ANCIENT GLASS
incorporated in the published report. It is understood in the Royal Museum of Scotland
that this work will be published in Post-Medieval
Archaeology in order to set the record straight. C. S. Lightfoot

David Crossley This publication provides a catalogue of the Royal
5 Canterbury Crescent Museum’s extensive collection of vessels, objects and
Sheffield S10 3RW fragments which has been assembled over the past
[email protected] 150 years and is based largely on European pieces.
The book contains an introductory essay on the
EUROPEAN GLASS FURNISHINGS history of ancient glassmaking and includes a
FOR EASTERN PALACES chronological catalogue which follows the major
technical developments in the manufacture of glass in
Jane Schadel Spillman the ancient world. It also clarifies the distinctions
between luxury glass and that which was used in
144 pp, 153 illustrations everyday life.
Price: US $24.95
The Corning Museum of Glass, 2006 The author is associate Curator in the Department of
ISBN: 0-87290-163-7 Greek and Roman Art at the Metropolitan Museum of
Art, New York.
Available from:
GlassMarket at The Corning Museum of Glass Hardback, 240 pp, 40 colour and 160 b&w
Web: hhtp://glassmarket.cmog.org/ illustrations
Price: £35.00, plus £3.50 postage
This book, written as a suplement to the Corning National Museums of Scotland, 2006
Museum of Glass’ major 2006 exhibition, traces the
development of glass furnishings in the nineteenth ISBN 1-901663-28-0
century, especially pieces created for Eastern rulers.

Glass News 21 January 2007 14

SCIENCE FOR HISTORIC CORPUS DES SIGNATURES ET
INDUSTRIES MARQUES SUR VERRES
ANTIQUES
Guidelines for the investigation of
17th- to 19th-century industries Volumes 1 and 2

Written and compiled by With introductions by D. Foy and M.-D.Nenna
David Dungworth and Sarah Paynter
These two volumes published by the Association
with other contributors Française pour l’Archéologie du Verre present a
compilation of nearly 2800 marks, most with
This is the latest in the series of guidelines published drawings
by English Heritage Archaeological Science teams:
‘These guidelines are intended to aid archaeologists The first volume deals with 956 objects in France
working on sites of historic industries. They provide whose origin is certain and 92 objects in France
examples of recent archaeological investigations, but of uncertain or foreign origin. All 19 essays
which illustrate current practice and show how in this volume, bibliography, and concordance
methodologies from several different disciplines are tables are written in French. This volume contains
being combined to enrich our understanding of the a photograph section.
industrial past. They also demonstrate the additional
information that can be obtained by applying The second volume deals with objects from many
scientific techniques. [...] Some of the issues European countries, also Turkey, Cyprus, the
explored are particularly relevant to urban sites, but Black Sea, Egypt, Near East and North Africa, as
the principles have wider application. These well as part of the collections from the Metropolitan
guidelines describe some of the techniques that are Museum of Art, New York. The tools used to make
commonly used and include examples of the ways in the marks are listed. This volume contains ten
which they have been, or could be, applied to the essays in English, two in German and twelve in
archaeological remains of historic industries.’ French.

The section on Scientific Analysis includes two glass- These two volumes offer a precise image of the
related case studies: Percival, Vickers glassworks, geographical distribution of the marks, the proportion
Manchester (Ian Miller), and Silkstone glassworks, of ones in relation to others. The variety of these
Yorkshire (David Dungworth and Tom Cromwell). marks and the objects in which they are found provide
The Summary of Selected Industries includes a valuable information about manufacture, usage, trade,
section on glass. There is a useful section on ‘Where etc. The books are mainly a study tool for the history
to get information and help, and nearly four pages of of exchanges, but the documentation presented may
useful references. be used in many other ways.

35 pages, 32 colour and b&w illustrations Price: Corpus 1: 45.00 €; Corpus 2: 50.00 €, plus
English Heritage, November 2006 postage (variable depending on postal zone)
Product Code 51262
Available from:
For further information and copies of the Guidelines Nicole Vanpeene, trésorière de l’AFAV
contact, quoting the Product Code: 10, allée de l’Aube F-78310 MAUREPAS
English Heritage France
Customer Services Department E-mail: [email protected]
PO Box 569
Swindon SN2 2YP

Glass News 21 January 2007 15

STAINED & ART GLASS 50 DISTINGUISHED
CONTEMPORARY ARTISTS IN
Dr Judith Neiswander and Caroline Swash
GLASS
This book takes a detailed look at the history of glass
design and making. It combines architectural, hot and The contents of this book were to have formed the
engraved glass from around the world. The book final section of Stained & Art Glass (featured above).
fearures the work of over 300 artists throughout the The publishers decided the material should be
centuries. published as a book. It features the work of 50
contemporary glass artists, from North America,
Hardback, 300 pages, 450 colour illustrations, Europe, Asia and Australia, with biographies and
Intelligent Layman Publishers Ltd., London, 2006 colour illustrations of at least five examples of each
artist’s best work.
Price: £35
ISBN: 094779865X Hardback, over 250 colour illustrations,
Intelligent Layman Publishers Ltd., London, 2006
Available from: [email protected]
Tel. +44 (0) 20 8405 6400 Price: £30
ISBN: 0947798609
Research, projects, reviews,
publications, queries? Available from: [email protected]
Tel. +44 (0) 20 8405 6400
Please send your contributions
for Glass News No. 22 WEBSITE

by www.historyofglass.org.uk

8 June 2007 AHG MEMBERSHIP

to: AND GLASS NEWS

Juanita Navarro The AHG website is actively maintained by David
Ceramics and Glass Conservation Martlew and we encourage members to contribute and
look for up-to-date news on conferences, useful links
Victoria and Albert Museum and other topics. Please send you news and
South Kensington contributions to:
London SW7 2RL [email protected]

[email protected] Membership of The Association for the History of
Glass is £5 per year and it entitles you to receive Glass
or News twice per year. The subscription form for Glass
News can be found in the website. Alternatively you
Sarah Paynter can contact: John Clark, Association for the History of
Fort Cumberland Glass, c/o Museum of London, London Wall, London
Fort Cumberland Road EC2Y 5HN.
Tel: 020 7814 5735
Eastney Fax: 020 7600 1058
Portsmouth PO4 9LD E-mail: [email protected]
[email protected]

Glass News 21 January 2007 16

Glass Due to the biannual nature of Glass News there seems
News to be a glut of conferences and congresses at this time
of the year and many are about to start, but others will
Number 22 July 2007 take place in the early autumn. Please note that some
events may accept papers or posters until quite late,
Published by such as the ICOM Glass Committee.

THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED Also note the call for applications by Prof Liz James
for the Arts and Humanities Research Council
Reg’d Charity: 275236 ISSN 1362-5195 Collaborative Doctoral Award into the study of late
antique gold-glass. Prof James also extends an open
www.historyofglass.org.uk invitation to scholars from all fields to join the New
International Network for the study of Byzantine glass
IN THIS ISSUE mosaic tesserae, which has been funded by the
Leverhulme Trust. Watch this space for more updates
Page 1 - Subscription matters on this exciting and wide-ranging initiative.
- STOP PRESS: A Study of Late Antique
Gold-Glass Juanita

Page 2 - Stop Press: ICG XXI Triennial Congress, SUBSCRIPTION REMINDER!
Strasbourg
Your subscription will soon be due for renewal - this
- Study Days – Le Verre en Alsace is the last Glass News that you will receive under
Page 3 - ICOM Glass Committee Annual Meeting your present subscription.

- AHG Spring Study Day Please see the enclosed renewal form.
- AHG November Study Day and AGM We are maintaining our current subscription rates,
Page 4 - Society of Glass Technology: Annual and you can subscribe again for 2008 for £5.00,
either as a Member of the Association or simply to
Conference
- Professional Development Awards receive Glass News without membership.
- New International Network
Page 5 - The Corning Museum of Glass: 2007 Stop Press!!

Research Grants Call for applications
Page 6 - The Blaschkas at The Corning Museum of
UNIVERSITY OF SUSSEX AND
Glass THE BRITISH MUSEUM
- AHG Study Day Review: The Glass
AHRC COLLABORATIVE DOCTORAL AWARD
Industry
Page 9 - AIHV 17th Triennial Congress: Review - A Study of Late Antique Gold-Glass

Part 2 Although, the deadline for applications was 12th June
Page 12 - ICOM Glass Committee Annual Meeting: 2007, please contact Professor Liz James

Review <[email protected]> if you are interested.
Page 13 - Acquisition of Capronnier Archives
Page 14 - Book and Article Reviews The British Museum holds one of the most important
Page 15 - Publications collections of late-antique gilded glass in the world,
Page 16 -Editors’ details numbering over fifty pieces. It is usually assumed that
because many of these objects come from funerary
contexts, notably the catacombs, they must bear some
mortuary or commemorative significance. However,

Glass News July 2007 1

next to nothing is known about the function of the The International Commission on Glass (ICG) was
objects and an important aspect of the project will be founded in 1933 with the purpose of promoting
to consider how and why they came into the international collaboration and facilitating the
Museum’s collection and, crucially, what was exchange of information within the glass community.
perceived as valuable in them. The project aims to Nowadays gatherings include representatives from
establish the iconography of the objects, examine the universities, scientific establishments and glass
nature and function of gold glass in Late Antiquity industries as well as suppliers. The ICG leads
and place the BM’s collection into the broader technical committees on different aspects of glass
perspective of holdings in other museums, especially science and technology. The meeting includes
the larger collections in the Vatican and Cologne. A sessions on “History, archaeology, art and design",
further area for investigation lies in the physical with papers such as those detailed below.
nature of the objects.
Technological processes to produce antimonate
The Graduate Centre in Humanities at the University opacified glass throughout history - S. Lahlil, I. Biron,
of Sussex invites applications from postgraduate L. Galoisy
students for this Arts and Humanities Research Compositional analysis of ancient glass fragments
Council (AHRC) collaborative doctoral award. The from Indonesia - L. Dussubieux, D. Perret, H.
awards are equivalent in value to standard AHRB Surachman
studentships and you may apply for a collaborative Crack Pattern Recognition in Glass Archaeology -
award even if you have already applied to the 2007 G. Eggert
AHRC Doctoral Awards Scheme. You would be Enamelling in France and Japan, 1860-1930, a history
working with Liz James (Sussex) and Chris Entwistle of cross influence - F.T. Schneider
(British Museum). Nature & Glass Art - L. Chi
Levels of certain elements in glass as a determinant of
Full details of how to apply including further European influence in the technology and trade of
particulars, which are essential for all applicants, glass in the 17th and 18th centuries - J. Kunicki-
are available from: Goldfinger
Margaret Reynolds Some Early Analyses of Egyptian Glasses Revisited -
The Graduate Centre in Humanities N.H. Tennent, R.H. Brill
University of Sussex Antiquity of Glass in India: Excavations at Kopia -
Falmer, Brighton BN1 9SH. A.K. Kanungo
Email: [email protected]. Glass Vessels of the Tang and the Five Dynasties
Tel: +44 (0)1273 678098. Found at Guangzhou - A. Jiayao
The Influence of Ancient European Glass Making on
Alternatively visit: http://www.sussex.ac.uk/pgstudy. Ancient Chinese Glass Art and Technology - F. Gan

Stop Press!! For the latest information on the meeting, including
registration and accommodation forms and
International Commission preliminary program, visit the website:
on Glass (ICG) http://www.icg2007.org or email: [email protected]

XXIth Triennial Congress Forthcoming:

XXI TRIENNIAL CONGRESS ON GLASS Study days

STRASBOURG, FRANCE ‘LE VERRE EN ALSACE’
ARCHÉOLOGIE, HISTOIRE, COLLECTIONS
1ST – 6TH JULY 2007
STRASBOURG, FRANCE
The Congress is being be organised by the
International Commission on Glass in collaboration 6 - 7 JULY 2007
with the Institut du Verre in Paris, the Critt Matériaux
Alsace and the University of Montpellier 2. These study days are organised by the Conseil
Général du Bas-Rhin in partnership with Verre et
Glass News July 2007 Histoire and Genverre.

2

Friday 6th - day discovering glass sites of North Call for papers and registration by
Vosges: the programme includes a full day of visits to 3rd July 2007 to:
the Cristallerie Lalique and other glass sites in the Gunnel Holmér
area, as well as the Musée de Saint-Louis. Smålands Museum-Swedish Glass Museum
Box 102
Saturday 7th - conference day: there will be SE-351 04 VÄXJÖ
presentations by Marie-Dominique Waton, Frédérique SWEDEN
Goerig, Dominique Toursel-Harster, Véronique Fax: +46-470 397 44
Brumm, Marie-Dominique Wandhammer, Jean-Pierre Email: [email protected]
Volatron, Laurent Schmoll, finishing with a guided
tour of the stained glass in the cathedral by Françoise The preliminary programme for the meeting may be
Gatouillat. found at:
http://www.icom-oesterreich.at/2007/GLASS_en-
The deadline for registration was the 22nd of June but 1.html
information can be obtained from:
Conseil Général du Bas-Rhin Call for papers:
Véronique Brumm
Direction de la Culture et des Sports AHG Spring Study Day
Place du Quartier Blanc
67964 Strasbourg Cedex 9 The next AHG Spring Study Day will take place at
France the Fitzwilliam Museum, Cambridge, in March 2008
Tel: 03-69-20-74-24 (date to be confirmed). The subject will be ‘Buying
Fax: 03-88-76-65-36 and Selling Glass in England c.1600-1900’.
Email: [email protected]
Please send your proposals for presentations to:
Forthcoming: Julia Poole
The Fitzwilliam Museum
ICOM Glass Committee Trumpington Street
Annual Meeting, Vienna Cambridge CB2 1RB
Email: [email protected]
ICOM GLASS COMMITTEE
ANNUAL MEETING, VIENNA Forthcoming:

“SPOTLIGHTS ON GLASS” AHG Study Day and AGM

18TH – 25TH AUGUST 2007 GLASS IN ARCHITECTURE

The ICOM Glass annual meeting presents a full THE WALLACE COLLECTION
programme of presentations, visits and excursions, HERTFORD HOUSE, MANCHESTER SQUARE
including Schloss Hof (castle of Prince Eugen, then of
Maria Theresia), Steinhof-Kirche, Hofburg LONDON W1U 3BN
Kunsthistorisches Museum (rock crystal and glass,
including the Rudi Strasser Collection), Carnuntum THURSDAY 22ND NOVEMBER 2007
Roman camp and museum, Bratislava, the Kvetna
(Blumenbach) glass factory, the Brno Museum and 10.00 Registration and coffee
Austerlitz castle. There are also planned visits to
antique shops, Zahn (glass engraving, cutting and Chair - Ian Freestone
chandelier production), studio glass artists and private 10.30 Introduction
collections. Käthe Klappenbach will give a special 10.40 Glass in the Architecture of Ancient Rome -
lecture on chandeliers and there will be a separate
international colloquium “Chandeliers in Museums” David Whitehouse
outside the ICOM Glass programme. 11.10 Glass in the early medieval church at San

Glass News July 2007 Vincenzo - John Mitchell
11.40 Glass & the Byzantine church - Liz James
12.15 Lunch (Lunch is not provided).

3

13.30 AGM of the association for the History of Professional Development
Glass (AHG members only*) Awards

Chair - Sandy Davison THE WORSHIPFUL COMPANY OF GLAZIERS AND
14.00 Medieval decorative inlays in Westminster PAINTERS ON GLASS

Abbey - Vanessa Simeoni The awards are aimed at assisting practising
14.30 Composition of post-medieval window glass professionals to obtain tuition to increase their
effectiveness and proficiency. This could include
– David Dungworth assisting someone to attend a masterclass or advanced
15.00 Tea glass painting course; learning about mortars and
15.30 Mirrors - to be confirmed stonework installation; seek tuition about glass
16.00 Whitefriars glass tiles & opus sectile chemistry or shadow a fellow professional in order to
learn a skill that they don't already have.
memorials etc. - Dennis Hadley
16.30 End For further details of the award including a
description and conditions of entry please visit the
If you would like to attend, please send your full website:
contact details, a stamped, addressed envelope and a http://www.worshipfulglaziers.com/competitions_and
cheque for £25.00 (non members), £20 (AHG _awards.asp
members), or £10.00 (students) payable to The
Association for the History of Glass Ltd to: David Open invitation to join new
Crossley, 5, Canterbury Crescent, Sheffield S10 International Network
3RW. Participants who normally live outside the UK
may pay upon arrival at the venue in UK sterling).

*Please note that members of the AHG who wish to
attend only the AGM may do so at no cost.

Forthcoming:

SGT Annual Conference 2007

SOCIETY OF GLASS TECHNOLOGY THE COMPOSITION OF BYZANTINE GLASS
MOSAIC TESSERAE
ANNUAL CONFERENCE 2007
LEVERHULME TRUST INTERNATIONAL
UNIVERSITY OF DERBY NETWORK GRANT

5-7TH SEPTEMBER 2007 The Leverhulme Trust has just undertaken funding of
an international network to explore the compositional
The annual conference of the SGT will include the nature of Byzantine glass mosaic tesserae. Mosaics
usual day dedicated to the History and Heritage of are perhaps the most outstanding examples of
Glass, which will take place on the 5th of September Byzantine art which survive, yet we know next to
from 9am to 5.30pm. There will be a reception in the nothing about how they were made. Glass-making
evening. was a relatively sophisticated skill in the mediaeval
world, yet no written documents survive from
“History & Heritage of Glass - exploring the human Byzantium about the methods used for making a
impact of glass since the origins of glassmaking in mosaic or creating its tesserae, and we have no
antiquity; the evolution of methods, techniques and knowledge of the ways in which manufacturing
equipment through the ages; the archaeological patterns existed and changed over time, or, indeed, of
activities which allow us to be aware of and to study where and exactly how tesserae were created. Only
the achievements of our glassmaking forebears; the the mosaics themselves speak to their composition.
conservation and display of historic glass artefacts We know that glass making and glass working were
from all ages.” two distinct processes but did the differently coloured
glass tesserae on one site all come from the same
Further information from: batch of raw glass? Where did that raw glass come
www.societyofglasstechnology.org.uk
4
Glass News July 2007