GLASS NEWS

New acquisitions at the Stained Glass Museum, Ely

The Stained Glass Museum at Ely has recently studies of stained glass, and buying whole archives
expanded both its display and its research facilities. In from dealers and scholars. His command of the
response to many requests from visitors, the Museum history of stained glass in East Anglia was supported
has added important new examples to its display of by valuable local studies and by the publications of
medieval glass. Seven panels have been generously local archaeological societies, such as the Norfolk
loaned by the Victoria and Albert Museum in London, Archaeological Society.
one of the greatest repositories of medieval stained
glass in the world. The loan has been made possible Fig. 1 Stained glass panel 'Angel playing vielle',
with the support of the Heritage Lottery Fund. English, probably Norfolk, 15th C
(courtesy of V&A Images/V&A Museum)
Seven rare panels, ranging from a monumental figure
of St Bartholomew to a tiny feathered angel playing
an early fiddle (Fig. 1), can now be seen in the South
Triforium of Ely Cathedral, home to the Stained Glass
Museum. Several panels have an East Anglian
connection, appropriate to the Museum’s location,
and others were originally made for significant
historic buildings. St. Bartholomew, for example, was
made for the clerestory of Winchester Cathedral
between 1404 and 1422 with funds bequeathed by
Bishop William of Wykeham, one of the leading
patrons of stained glass in the Middle Ages. The
window was removed during the ‘restoration’ of
1852.

Research indicates that several of the smaller panels
were made in the Norwich workshop of John
Wighton, probably between 1460 and 1480. Among
these is a family group illustrating a scene from the
life of St Benedict as a boy, which is similar to a
scene in the Bedford Breviary, a 15th-century
manuscript belonging to the Duke of Bedford. This
panel may have come from St Benet’s Abbey in
Norfolk, where the Duke's steward, who would have
known the Breviary, was buried in 1459.

The new loans are all exquisite examples of medieval
glass-painting and clearly illustrate the development
of an English late medieval style with its emphasis on
white glass and delicate painting. The loans will
remain in the Stained Glass Museum for a number of
years.

The Museum has vastly expanded its usefulness to
researchers by the recent acquisition of a specialist
library. The library was assembled over the last half-
century by the firm of G. King & Son of Norwich, for
40 years the leading stained-glass conservation studio
in Britain. George King’s son, Dennis, was fascinated
by the history of the craft and a great collector,
acquiring all of the major 19th and 20th century

Glass News May 2004 9

The library includes a wide range of supporting THE ASSOCIATION FOR THE
material on iconographical subjects, architecture and HISTORY OF GLASS
heraldry, as well as a large collection of local church
guidebooks. The focus is not only on the Middle Board of Management
Ages, but also on later glass painting, which was part
of King's business. In total, the library comprises President: Ian Freestone
some one thousand volumes and was acquired with Hon Secretary: Justine Bayley
the help of generous grant funding. Hon Treasurer: David Crossley

The acquisition of this library furthers the goal of the Members of Board
museum to become a centre for research on stained
glass. The library will be housed in purpose-built Patricia Baker Reino Liefkes
cabinets and a librarian has been engaged to catalogue John Clark David Martlew
the collection and set up a procedure for use by Hilary Cool Juanita Navarro
researchers. It is hoped that the new facility will be Aileen Dawson Martine Newby
available to researchers by the autumn, 2004. Charles Hajdamach Julia Poole
Suzanne Higgott Jennifer Price
Last year the Museum acquired a magnificent Head of Sarah Jennings Rachel Russell
a King, from 1210, originally from Soissons Veronica Tatton-Brown John Shepherd
Cathedral in France and it has many other fine
examples of stained glass from the 13th to the 20th Books
centuries. The Stained Glass Museum is the only
museum in the UK devoted solely to the history of Glas in Antike und Mittelalter
this fascinating craft whose origins date back to the 5th
century. Geschichte eines Werkstoffs

Dr Judith Neiswander Karl Hans Wedepohl
E-mail: [email protected]
This book presents research on ancient glasses of all
The Friends of The Stained Glass Museum organise periods and from across the world, including
tours, events, visits and courses at Ely and around the Mesopotamian, Egyptian, Roman, Byzantine, Islamic
country. It costs £20 to join and the Friends are and Medieval material. There are 228 pages, 77
eligible for discounts on most events. For more illustrations (32 in colour) and 29 tables, containing
information please contact: Howard Cole. large quantities of analytical data that will be of great
E-mail: [email protected] interest to glass researchers. The book is written in
German but there are English captions for the figures.
For other enquiries please contact: A review will be included in the next issue of Glass
Susan Mathews, Curator, The Stained Glass Museum News.
E-mail: [email protected]
ISBN 3-510-65207-X
Price 39.80 EUR.

Copies can be ordered by contacting:
E.Schweizerbart’schen Verlagsbuchhandlung (Nägele
u. Obermiller), Johannesstr. 3 A, 70176 Stuttgart,
Germany
Tel: +49 (0)711 / 351456-0
Fax: +49 (0)711 / 351456-99
e-mail: [email protected]

Glass News May 2004 10

Échange et commerce du verre dans le Medieval and Renaissance
monde antique Stained Glass in the

Actes du colloque de l'AFAV Victoria and Albert Museum
Aix-en-Provence et Marseille, 7-9 Juin 2001
Paul Williamson
Sous la direction de Danièle Foy
et Marie-Dominique Nenna This publication showcases the Museum's collection
of stained and painted glass ranging from c. 1140 to
This 504 page publication comprises a total of 32 1540. It includes 100 full colour images of stained
papers divided into four sections: glass panels, an explanatory commentary and a
I. Archéometrie et archéologie bibliography, making this an invaluable reference
II. Productions et importations book for the period.
III. Les itineraries du verre ISBN: 1 85177 403 3, Published by the Victoria and
IV. L'Actualité de la récherche à Lyons et dans le Albert Museum (2003)

Midi de la France Price: £30
ISBN: 2-907303-72-4, Published by Montagnac
(2003) Details of how to order copies are included on the
website: www.vam.ac.uk or from:
Price: 48 Euros + 5.10 Euros postage and packing V&A Enterprises Limited (Internet Services)
The Victoria and Albert Museum
Copies may be ordered from: Cromwell Road
Editions Monique Mergoil, London
12 Rue des Moulins, SW7 2RL
F 34530 Montagnac, United Kingdom
France Tel: +44 (0)20 7942 2696
Tel/fax: 04 67 24 14 39 Fax: +44 (0)20 7942 2693
E-mail: [email protected]

Coming out in April:

The Arts of Fire

Islamic Influences on Glass and Ceramics
of the Italian Renaissance

Edited by Catherine Hess,
with contributions by George Saliba and Linda Komaroff

The Art of Fire traces a number of methods of glass and ceramic production and ornamentation employed in
Renaissance Italy to their development in the Islamic East between the 8th and 12th centuries. These techniques –
enamel and gilding on glass and tin-glaze luster on ceramics – produced brilliant colourful decoration on objects
that transformed them into works of art and true luxury commodities. Essays by Catharine Hess, George Saliba and
Linda Komaroff demonstrate early modern Europe's debts to the Islamic world and help us to understand the
interrelationships among cultures. 184 pages, 255 x 200 mm, 70 colour illustrations, 1 map.
Published by J. Paul Getty Museum (2004)

Price: £50.00, hardback, £30.00 paperback.

Copies can be ordered from bookshops or directly from the UK distributor:
Windsor Books International, The Boundary, Wheatley Road, Garsington, Oxford OX44 9EJ
Tel: +49 (0)1865 361122
Fax: +49 (0)1865 361133

Glass News May 2004 11

Finds • Research • Ideas
Publications • Conferences

REMEMBER

Glass News

Please send your contributions to Glass News No.16 by 30th September 2004 to:

Dr Sarah Paynter or: Juanita Navarro
Ceramics and Glass Conservation
English Heritage Centre for Archaeology Victoria and Albert Museum
South Kensington
Fort Cumberland London
SW7 2RL
Fort Cumberland Road [email protected]

Eastney

Portsmouth PO4 9LD

E-mail: [email protected]

Subscribing to Glass News and membership of AHG

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Glass News May 2004 12

Glass SUBSCRIPTION
News REMINDER!

Number 16 November 2004 Your subscription is due for renewal
– see subscription form on back
Published by
Study Day
THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED
Glass and lighting from antiquity to
Reg’d Charity: 275236 ISSN 1362-5195 the Medieval Period

www.historyofglass.org.uk A study day on glass and lighting from antiquity to
the medieval period will be held on Wednesday, 16th
Once again we are in the enviable position of having March in the London Archaeological Archive and
received loads of interesting contributions, enabling Research Centre (LAARC), Mortimer Wheeler
us to produce another 16 page issue! Thank you to House, 46 Eagle Wharf Road, London N1.
everyone who has sent us details of events,
publications and research. For further information, and to offer papers, please
contact Professor Jennifer Price, University of
One of the roles of Glass News is to keep readers up Durham, Department of Archaeology, South Road,
to date with forthcoming meetings, study days and Durham, DH1 3LE. Telephone: 0191 334 1100
conferences. With this in mind, we aim to produce E-mail: [email protected]
Issue 17 by early February, with the following issue
in July. This should allow better synchronisation with IN THIS ISSUE
the timetable of events throughout the year, giving
organisers more time to finalise arrangements before page 2- AHG AGM and Wallace Collection
submitting details to Glass News. However we would study day: New light on old glass
rather not cancel Christmas for the editors and so
early contributions would be much appreciated in page 2- Lecture
order that we can do most of the work beforehand! page 3- Review and abstracts: Creativity in

In the mean time we hope that you enjoy this issue Glass History & Heritage study day
and don’t forget to renew your subscription using the page 6- Review: The International Festival
back page form.
of Glass and Glass Biennale
Sarah and Juanita. page 7- Review: The Corning Museum of

Annual General Meeting Glass, Beyond Venice Exhibition
page 9- Glass at the Museum of London
Please note that due to unforeseen circumstances the page 10- A glass trail: The Wallace Collection
Annual General Meeting of the Association for the page 11- Dalles de Verre
History of Glass will not take place at The Fitzwilliam page 14- Information sought
Museum, Cambridge, as stated in Glass News No.15.
Please see page 2 for details. Apologies for any - Books
inconvenience this may have caused. page 16- Contacts, subscription and

membership details

Glass News November 2004 1

AHG AGM and Wallace THE ASSOCIATION FOR THE
HISTORY OF GLASS
Collection Study Day
Board of Management
New light on old glass: collections,
analysis and archaeology President: Ian Freestone
Hon Secretary: Justine Bayley
On Thursday 25th November 2004, the Association for Hon Treasurer: David Crossley
the History of Glass and the Wallace Collection will
hold a Study Day at the Wallace Collection, Members of Board
Manchester Square, London W1, to coincide with the
AGM of the Association for the History of Glass. Patricia Baker David Martlew

John Clark Juanita Navarro

Hilary Cool Martine Newby

Programme Aileen Dawson Julia Poole
10.15am Registration and Coffee
Charles Hajdamach Jennifer Price

Suzanne Higgott Caroline Rachel Russell

Collections Jackson John Shepherd
10.45am Glass in the Wallace Collection - Suzanne
Sarah Jennings Veronica Tatton-Brown
Higgott and Juanita Navarro
11.20am Acquisitions of 16th-18th century Reino Liefkes

European glass in the British Museum, Lecture
1980-2004 - Aileen Dawson
11.55am Venetian and façon de Venise glass in the Glass: from genesis to revelation
Ashmolean Museum - Martine Newby
By Adrian C. Wright
12.30pm Lunch break (lunch is not provided) 7 pm Tuesday 30th November
1.30pm AGM for AHG members Ditchburn Lecture Theatre, J.J. Thomson Physical
Laboratory, University of Reading, Whiteknights,
Analysis and archaeology
2.15pm New work on Romano-British colourless Reading, RG6 6AF.

glass - Caroline Jackson The past, present and future of glass will be reviewed
2.50pm Continuity and change in Anglo-Saxon from the perspective of a glass scientist. The factors
which led to an improvement in glass quality will be
glass compositions, 6th-7th centuries AD - examined, with particular emphasis on the synergy
Ian Freestone between the development of glass and that of science.
The lecture is an updated version of a Presidential
3.25pm Tea Address to the Society of Glass Technology and is
Insu1i6ta1b2l,eNfoeribpoutbhlinsohne-dschiiesnntioswts faanmd osucisebnotiostksoanlike,
3.55pm Excavation and analysis of a 17th century gtlhaessomnalykisncgi,enwcheicinhcilsufdreedqubenintlgy otaf kaepnicatsotrhiael onraigtuinre
of the scientific a(pip.er.onacohetqouagtliaosnss. !T).he gradual
glass furnace at Shinrone, Co. Offaly, improvement in glass quality led to its increasing use
Ireland - Sarah Paynter, Caimin O’Brien in Asctiteenntdifaincceexfprereim- feonrtsmaonrde edseptaeiclisa,lplylefaosreoep-tmicaaill:
and Jean Farrelly instrumentAatliaonnS. tCepohnevnesr@selcyo,mthpeunserevde.fcoormimproved
homogeneity Oanrdviasiwt itdherSrGanTgewoefbsrietferaacttive indices
4.30pm Discussion and closing remarks
http://www.societyofglasstechnology.org.uk
Attendance at the AGM is free and open to all AHG
members. The cost of the study day will be £10
(cheques payable to the Association for the History of
Glass Ltd). Please book and send cheques to:
Meeting Secretary Martine Newby
e-mail: [email protected]

Glass News November 2004 2

Study Day Review

History & Heritage Group (Society of Glass Technology) and AHG:

Creativity in Glass History and Heritage

There is a value in chemical changes in the glass surface after exposure
bringing together people to water at room temperature for as little as ten hours.
whose interest in glass Such new knowledge will, it is hoped, lead to new
reflects many different strategies for conservation of these important
specialisms. Delegates artefacts.
and speakers at the
Moving to the realm of architectural glass, the session
History & Heritage of after lunch began with Dennis Hadley’s account of
Glass study day last the ingenuity of Victorian manufacturers of stained
April spanned the and painted glass for domestic and ecclesiastical
diversity of the glass community, creating an event applications. Scrap glass could be re-used rather than
which was appreciated by the sixty or so delegates discarded; ground and sintered, it furnished an artistic
who attended. This year’s event, on the 23rd of April medium well attuned to the tastes of the time.
at the University of Liverpool Carnatic Conference Destruction of a work of art is always to be regretted,
Park, was organised as a collaboration between the but particularly so when it occupies a significant place
History & Heritage Group of the Society of Glass in the life of a community. Jonathan Cooke
Technology and the Association for the History of described the recreation of an important Kempe
Glass. Travel bursaries made available by both window, faithfully following as far as possible the
organisations were most helpful and are gratefully original techniques and style without compromising
acknowledged. ethical integrity. Not a forgery but a window re-born.
Such sensitive recreation was materially helped by the
The first session tackled issues surrounding Venetian availability of glass made using the same time-
style glass, from three very different perspectives. Ian honoured techniques the Victorians used. Mike Tuffy
Hankey spoke with hands-on conviction about the spoke of the trials, tribulations and triumphs of using
experience of working with the glass composition crown and cylinder processes to make flat (well, flat-
used by the 16th Century Venetian glassmakers, for ish) glass with character.
the first time making the link between the unique
working characteristics of the glass and the nature of The final session spanned the centuries, starting with
the characteristic Venetian style. He highlighted the Roman gambling proclivities and ending with
importance of the craftsmanly skills in the evolution Victorian entrepreneurism. Harriet Foster showed
of glassmaking history and also in today’s world. how speculations about Roman gaming pieces made
Glass composition was clearly important at this time, from opaque opal glass could be informed and
but how glassmakers controlled it, in the absence of resolved using the kind of sophisticated analytical
today’s chemical understanding, is not clear. techniques now taken for granted in modern
Caroline Jackson and her co-workers have taken university chemistry departments. Hugh Willmott
forward our appreciation of this by showing spoke of the archaeology of glassmaking in 17th
experimentally how alkali derived from plant ash century London. As usual, furnace superstructure was
could vary widely, both in chemical composition and no longer extant so considerable interpretative work
the melting characteristics of derived batches. Both was being progressed. Analysis of crucible remains
the diligence and subtlety of the mediaeval and finds of scrap glass were informing the debate.
glassmakers are to be applauded. The works of art Moving forward to the 1840’s, John Hartley spoke
which were the end product of this activity are very about the Percival Vickers factory in Victorian
vulnerable to deterioration even in the best kept of Manchester, where rescue archaeological excavations
today’s museums. Sarah Fearn’s work on the details revealed enough of the furnace structures to allow a
of how moisture attacks the glass surface is breaking clear picture of technical evolution during the sixty
new ground in the application of sophisticated years of operation to emerge, and to allow speculation
analytical techniques capable of detecting the

Glass News November 2004 3

about how the furnace technology enabled some commonly found plant materials and their
Manchester pressed glass to access new markets. relationship to glasses of this time.

The paper by Jonathan and Ruth Cooke was SIMS and Moisture Attack on Glass
published in the June issue of the Journal of Glass Sarah Fearn ([email protected])1, David. S.
Technology, Ian Hankey’s paper is in press and we McPhail1, Victoria Oakley2
hope that more of these excellent presentations will be 1. Dept. of Materials. Imperial College, London,
published in due course. In the mean time, more SW7 2AZ, UK.
information is available in the abstracts that follow 2. Head Ceramics Conservator, Victoria and Albert
and from the websites: Museum, London, SW7 2RL.
http://www.historyofglass.org.uk
http://www.sgt.org Glass is often regarded as a stable, durable material
http://www.societyofglasstechnology.org.uk and the wide range of contemporary applications of
glass reinforce this belief. However, there is nothing
David Martlew inherent in the glassy state that confers stability and
the problem of glass corrosion has been well
Abstracts documented by many workers1,2. Glass corrosion still
affects commercial float glass production and glasses
Working with Venetian Style Glass used to contain high level nuclear waste, but one area
in particular where glass corrosion is very common is
Ian Hankey, Teign Valley Glass, Bovey Tracey, in the museum. Display, and the safe storage of many
Devon. antique glasses, is made very difficult as the
composition of these glasses renders them very
This paper gives a brief description of the working vulnerable to attack from atmospheric moisture3, 4. In
characteristics of different glass types, with a short order, therefore, to conserve these artefacts it is
explanation of the problems encountered in describing essential to fully understand the composition of the
a tacit skill. The Venetian glass composition has a corroded glass and the corrosion mechanism. This
highly corrosive nature and amazing working study examines the application of low-energy SIMS
characteristics. Possible reasons will be given for why for the depth profiling of corroded glass.
the glass works so much better than modern glass To measure the corrosion of antique glass, replica
types, leading to a discussion of 17th century reflective material has been produced, aged in humidity
rationality versus 21st century technical rationality and chambers and then analysed, via SIMS depth
the diminishing credibility of the glassmaker. On the profiling, to quantify the region of corrosion by
subject of learning about glass, there is a gulf between following the major alkali ions that leach out of the
art and science in education; I explore the importance glass5. Most importantly with this work, due to the
of the collaboration between Dr Fearns’ technical recent advances in SIMS it is now possible to
rationality and my own tacit reflective rationality, achieve depth profiles with nm resolution, by using
which resulted in my questioning the relevance of my very low beam energies. Replica glass that has been
art education specialising in glass and the basic aged at room temperature and in real time can now,
philosophy of colleges that skill is restrictive and therefore, be usefully analysed, as very small
therefore needn’t be taught. Finally, if time permits, changes can be resolved. Replica material has also
the possibility of stress within a glass effecting or been treated in order to try and prevent corrosion.
enhancing glass disease will be considered, including After ageing in environmental chambers, low
variables such as shape, inconsistency within the energy SIMS has again been used in order to asses
annealing process, breakdown of the composition the efficacy of these treatments and the amount of
within the furnace over time and the effect of re- deterioration that has taken place.
melting cullet a number of times.
References
Burning issues: glassmaking using plant ashes 1. Walters, H.V. and Adams, P.B., J. Non Cryst.
Caroline Jackson Solids, 19: 183, 1975.
2. Wicks, G.G., Corrosion of Glass, Ceramics, and
A range of different plants can be used in the Superconductors. Eds. Clark, D.E. and Zoitos, B.K.,
manufacture of glass. Some of these are readily Noyes Publications, 1991.
available in Northern European woodlands and it is 3. Brill, R.H., Conservation in Archaeology and the
historically documented that these were exploited in Applied Arts, Stockholm, 1975.
the medieval and post-medieval periods. This paper
will explore the use and glassmaking capabilities of 4

Glass News November 2004

4. Rogers, P.S., McPhail, D.S., Ryan, J., and Oakley, English antique glass – yesterday’s glassmaking
V.L., Glass Tech. Col. 34, No. 2, 67-68, 1993.
5. Ryan, J.L., McPhail, D.S., Rogers, P.S., and today
Oakley, V.L., Proceedings of ICOM 11th Triennial Mike Tuffy
Meeting, 2, 839-844, 1996.
For many years English stained glass products were
From Rees Mosaic to Opus Sectile: the development made in the North-East by Hartley Wood and Co.,
which ceased trading in 1997 and then for a short
of opaque stained glass period, by Sunderland Glassworks, which went into
Dennis Hadley liquidation at the end of 1999. The main
manufacturing equipment was purchased from the
Opus Sectile was produced by cutting designs from liquidators of Sunderland Glassworks by Acorn
sheets of coloured opaque glass, adding details by Manufacturing Limited, trading as The English
painting and firing as for stained glass. The talk will Antique Glass Company (EAG), and placed in storage
concentrate on the development of the craft as a less until appropriate premises could be found to start
expensive substitute for glass mosaic using recycled production again. The equipment was eventually re-
scrap glass. located in the midlands in December 2001 and
January 2002.
Resurgam: the story of a recreated window
Jonathan Cooke EAG obtained the services of two Hartley Wood
trained glassmakers from Sunderland and began
On a cold February morning in 2003, arsonists set fire production of flat glass, bullions, Norman slabs and
to Christchurch in Jarrow. The intense heat of the fire other products in March 2002. The company is the
that was started on the altar destroyed beyond repair only producer of hand made English antique style
the large lancet above, which formed the main East glass in the U.K. and Ireland. Flat glass is produced
window. This illustrated talk sets out to explain how from mouth blown cylinders (known as muffs) which,
and why the window, originally made by the firm of after the ends have been opened out, are split
Charles Eamer Kempe in 1893, was recreated. It will longitudinally, re-heated and ironed flat with a block
outline the processes by which the exceptional of wood on the end of a steel rod. Authentic spun
decision to remake the window was arrived at, and the bullions (Crown glass) are made up to 75cms in
stages of its reconstruction, examining some of the diameter and a variety of Norman or Prior slabs are
issues in conservation ethics raised by the project. available to order. All these items can be produced in
clear or a selection of streaky, flashed or pot colours,
Glass production in 17th-century London - a review of with options of seedy, reamy and Venetian effects.

the archaeological evidence This paper will go into some detail about how antique
Hugh Willmott glass is produced using substantially the traditional
methods for today’s markets. Glass recipes, colours
Over the last two decades a number of sites related to and the finished condition of the glass are all
the 17th century glass industry in London have been significant factors in determining the suitability of the
investigated. Several of these have revealed remains glass for use by stained glass artists and conservators
associated with historically identified glassmakers. today. Also the ability of the glass to take stain and
For example, crucibles and working waste found in colour well, and the ease with which flashes etch are
the backfill of the City ditch can be identified as also important. A sample box and some finished
having originated from Sir Robert Mansell’s furnace sheets will be available for the audience to view and
at Broad Street, in use between 1617-42. Excavations handle the finished product.
at the site of Vauxhall Bridgefoot have brought to
light the remains of a glass furnace known to have Compositional analysis and experimental replication
been operated by John Baker between 1681-1704.
Furthermore, although not directly attributable to any of Roman opaque white glass
known individuals, sites at Aldgate, Bankside and Harriet Foster* and Caroline Jackson
Crosswall Street have all produced deposits of Department of Archaeology, University of Sheffield.
crucibles, working waste and other production
evidence dating to the 17th century. This paper will Qualitative and quantitative analysis of ancient glass
provide a review of this archaeological data and coupled with replicate experimentation can provide an
outline how it informs us about the nature and scale of insight into social and economic spheres and
the early English industry. technological capabilities of past societies. This

Glass News November 2004 5

approach was adopted to examine five opaque white Review:
glass gaming counters from Roman Wroxeter.
Previous analytical studies have shown that opaque The International Festival of Glass
white Roman glass was initially opacified using and Glass Biennale
calcium antimonate but later using tin oxide. This
study has two objectives: 1) to use quantitative The inaugural International Festival of Glass took
analysis to determine which chronological opacifier place on the August Bank Holiday. The Festival was
was used in the counters; 2) to carry out replicate initiated by the Ruskin Mill Educational Trust, which
experimentation to ascertain the ease of provides education for people with learning
manufacturing such a product. Analytical results difficulties, enhancing concentration and coordination
indicate that the composition of the counters is through the cold-working of glass. The Festival was a
typically Roman, the opacifier being calcium vast event covering a number of venues from
antimonate. Experimental work suggests that their Stourbridge to Kingswinford, with something for
production was relatively easy and that this specific everyone, from lectures and workshops to street
industry was less specialised than previously thought. entertainment and, for the more practically-minded,
demonstrations of a wide spectrum of glass
A Manchester glassmaker in the nineteenth century production and manipulation.
John Hartley
The lecture programme covered all three days and
In the early 1600's the English glassmaker was included a varied and diverse range of topics, such as:
forbidden from using wood to fire his furnaces and 5000 years of cast glass; dealing in glass; Dudley
this led to the development of the coal fired furnace glassmakers; heroes of the wheel; glass in China;
and the classical English Glasshouse. By the end of millefiori beadmaking; working with glass in Kenya
the eighteenth century they could be seen in all major and many more. The international cast of lecturers
glassmaking areas, not least in South Lancashire. included Jiři Harcuba, Fritz Dreisbach, Keith
Their conical shape created the vigorous draught Cummings, Jeanette Hayhurst and Charles
necessary to generate the fierce heat required for the Hajdamach. However one drawback was that the
coal fired furnaces. During the early part of the lectures and panel discussions were held in several
nineteenth century modifications to the furnace design locations and transfers were not easy, especially as
lead to the replacement of these massive all enclosing there was little, if any, parking at most venues.
cone buildings by much narrower conical chimneys
incorporated into more compact rectangular buildings. The masterclasses allowed participants to work in
At about the same time a social revolution was small groups with some of the leading lights in the
coming to fruition in Manchester. Hand blown world of glass art. The subjects ranged from blown
glassware was replaced by pressed ware and for the glass with Fritz Dreisbach, Will Shakespeare and
first time fine, cheap affordable glass could be found Livio Serena, through cold working with Jiři Harcuba
on the tables of the ordinary working man. It was the and Zoltán Bohus, to lampworking with Shane Fero
entrepreneurial drive and technical skill of companies and beadmaking with Barbara Mason. Also on the
such as Percival Vickers that made this possible. menu were classes from Andrew Logan on sculpture
In 1844 they bought a canal-side coal yard in Jersey using found objects, Cappy Thompson on painted
Street, Manchester and began a glassmaking operation glass and Richard Golding on furnace building –
that was to last for over 60 years. Engravings from the surely something to suit everybody! Also, to coincide
time show us how the factory might have looked and with the Festival, the Guild of Glass Engravers held
their extensive catalogues show the variety of glass workshops at Wolverhampton University over the
items that they manufactured. weekend.

Details of the furnaces and annealing kilns only came Broadfield House was the venue for two exhibitions
to light a few months ago when the site was excavated during the Festival. Many leading engravers were
prior to development. This paper will describe briefly represented in ‘Heroes of the Wheel’, including
what has been found and give some early Alison Kinnaird, Peter Dreiser, Ronald Pennell and
interpretation of the technical developments which Katharine Coleman; in addition there were historical
kept the firm viable into the twentieth century. pieces by Zach, Böhm and Fritsche. Katharine
Coleman was to be seen demonstrating copper wheel

Glass News November 2004 6

engraving in the entrance to the Museum, which made Exhibition Review
the finished pieces on show all the more impressive.
Also set up in the exhibition spaces were Sandra Beyond Venice: Glass in Venetian
Snaddon demonstrating drill engraving and Doug Style, 1500-1750
Burgess with his amazing stipple engraving, a
wonderful opportunity to see work being done 20 May–recently extended to 2nd January 2005
currently whilst surrounded by the history of the
subject. The other exhibition was a centenary The Corning Museum of Glass, New York
celebration of the work of Emile Gallé, a stunning
display of the cameo and enamelled glass produced ‘Beyond Venice: Glass in Venetian Style, 1500-
by this leader of the Art Nouveau movement. As if 1750’, this year’s major exhibition at The Corning
this were not enough, there was also a programme of Museum of Glass, is a compact and visually stunning
hot glass working in the Museum’s studio and a show illustrating the development and characteristics
family art day on the Sunday including the fascinating of Venetian-style glass production in five regions –
prospect of cooking bacon and eggs on hot glass! Austria, Spain, France, the Low Countries and
England. At the exhibition entrance a huge, body-
The stunning centrepiece of the Festival had to be the height reproduction of the feasting wedding guests
British Glass Biennale. A juried competition with a from Veronese’s ‘The Marriage at Cana’ of 1563
£5000 prize, it attracted some 225 artists to enter, out (Louvre, Paris) provides a foretaste of the visual
of which 81 were chosen for the exhibition. The delights ahead and intimated the degree of
exhibition was held in the former Webb Corbett / contemporary appreciation for Venetian glass. This
Royal Doulton glasshouse at the Ruskin Glass Centre, close up, and in such detail, it was revealing to see the
a cavernous space that provided an ideal setting. The extent to which both artist and wedding guests were
first image seen by visitors was a chair by Jochen fascinated and delighted by the transparency of the
Holy; looking as if it is still in a liquid state, it Venetian wine glasses – suggesting that their presence
appeared like frozen mercury and was an amazing was an indicator of the exclusivity of the occasion!
example of the possibilities of lampworked glass. A
vast display of 108 blown pieces by Yumi Noyaki The exhibition itself is beautifully designed and lit.
needed the area available in the glasshouse. Max The plain, discreet colour scheme provides an
Jacquard’s ‘Albion #2’ also needed the space – a excellent foil for the glasses, and exceptional pieces
patchwork of slumped glass formed into the shape of are highlighted in dedicated island cases hung with
a medieval knight hanging from the rafters with the rich fabric in period style. In its detail, however, the
light shining through, it was an impressive sight. exhibition gives the impression of having been
Alison Kinnaird’s amazing panel ‘Streetwise’ installed rather hastily, particularly in the section
combined her artistry in glass with colour generated dedicated to the Low Countries. On occasion, the
through optical fibres, giving a new dimension to her number by a glass does not correspond to the number
work. The delicacy of Karen Lawrence’s bowl, fused on its label and the labels, running in a continuous
and slumped in lead crystal to give the appearance of strip along the case fronts, are sometimes a long way
ice, quite took your breath away. Tanwen Llewelyn’s from the pieces they describe or give incorrect cross-
‘Figures in a bowl’ used shadows created by wire references. About 140 glasses from The Corning
figures set in the edge of a glass plate to create an Museum of Glass, the J. Paul Getty Museum, The
impression far beyond the space it occupied. The Metropolitan Museum of Art, and European
Georgian light chandelier by Tim Waldegrave and collections are displayed in six themed sections, each
Samantha Sweet gave a wonderful modern twist to a housed in a self-contained and distinct area. The
well-known form. No less stunning, though smaller in sections are introduced by brief text panels
size than most of the other exhibits, were the quirky summarizing the development and characteristics of
beads made by Diana East. Venetian-style glassmaking in the region under
consideration. The walls are hung with reproductions
In all the Biennale was a wonderful showcase for the of paintings that either evoke the country under
talented designers and craftsmen working in the UK review - for example, Canaletto’s Venetian views for
today. The Festival was a feast for the eyes and ears Venice or 17th century Dutch still lives for the Low
of anyone interested in glass and I am already looking Countries - or relate specifically to the glasses shown.
forward to 2006. Examples of the latter included Corning’s medallion
with a portrait of Louis XIV attributed to Orléans,
Jill Wilson
7
Glass News November 2004

probably Bernard Perrot’s glasshouse, c. 1675-85, The final case is dedicated to a display of books and
displayed alongside Rigaud’s portrait of Louis XIV manuscripts that had disseminated knowledge about
and Israel Silvestre’s view of Versailles (both in the Venetian glassmaking techniques. These are all from
Louvre, Paris) and Rembrandt’s ‘The Conspiracy of the rich collections of Corning’s Juliette K. and
the Batavians under Claudius Civilis’ (on loan to the Leonard S. Rakow Research Library and included a
National Museum, Sweden, from the Swedish Royal first edition of Antonio Neri’s L’arte vetraria,
Academy of Fine Arts), near to the inscribed tazza published in Florence in 1612, and a copy of
that may be depicted in the painting (Rijksmuseum, Merrett’s The Art of Glass, the first English
Amsterdam). Within each section, glasses illustrating translation of Neri, signed by the author and presented
a particular technique, such as 16th century French by him to John Evelyn. A fascinating letter to John
enamelling or Austrian diamond-point engraving, Evelyn from Samuel Hartlib, dated 30 August 1660
might be exhibited as a distinct group, but their place and written in response to Evelyn’s enquiries about
within the broader context of the section can be recent advances in glassmaking and scientific
readily appreciated, in part because the clear-sided instruments, underscores the importance of the Rakow
cases provide a sense of physical continuity within a Library as a source of primary material for students of
given section. historic glass.

The exhibition opens with a robust introductory room The exhibition is closely associated with the
illustrating late 15th-16th century Venetian glass. The publication by The Corning Museum of Glass of the
28 examples include some spectacular pieces, such as magisterial, indispensable and lavishly illustrated
a glorious vetro a filigrana ewer from the museum’s book Beyond Venice: Glass in Venetian Style 1500-
own collection. The themes covered here include 1750. The book has been written by Jutta-Annette
luxury glass for foreign patrons, such as the Behaim Page with contributions by Ignasi Deménech
beaker, c. 1495 (The Corning Museum of Glass), (‘Spanish Façon de Venise Glass’), Alexandra Gaba-
speciality and gilded glass. The visitor passes through Van Dongen (‘Longing for Luxury: Some Social
arched entrances to the five sections dedicated to Routes of Venetian-Style Glassware in the
façon de Venise glass. The Spanish, Austrian and Netherlands during the 17th Century’), Reino Liefkes
French sections are followed by a corridor display of (‘Façon de Venise Glass in the Netherlands’), Marie-
Low Countries glass, leading to the room dedicated to Laure de Rochebrune (‘Venetian and Façon de Venise
Venetian-style glass production in England and Glass in France’), Hugh Willmott (‘Venetian and
English patronage of Venetian glass, presided over by Façon de Venise Glass in England’) and David
a reproduction of Nicholas Hilliard’s commanding Whitehouse (Preface and Foreword). The book’s dust
portrait of Elizabeth I (Hatfield House, Hertfordshire). jacket informs the reader that ‘This book was created
The great strengths of the exhibition include glass to accompany’ the exhibition, but regrettably the two
jewellery that may have been made in the court were not conceived in a way that enabled exhibition
glasshouse in Innsbruck c. 1578 or c. 1590-91 (some visitors to cross-reference between them with ease.
pieces formerly in Archduke Ferdinand’s collection in Many of the glasses in the book are not in the
Ambras Castle; Kunsthistorisches Museum, Vienna); exhibition, including the lion-shaped ewer on the
a group of three Verzelini glasses in the English cover, while numerous glasses in the exhibition do not
section (two from Corning and one from the Victoria appear in the book. This was rather misleading for the
and Albert Museum), and a large assemblage of 16th visitor who had consulted the book before visiting the
century French enamelled glasses that provide an exhibition. The problem was compounded by the fact
opportunity for comparison unseen since 1989, when that each chapter of the book concludes with a section
a more archaeologically based group of figurative titled ‘Objects’, comprising a number of catalogue-
examples was brought together in Rouen for the style entries, giving the misleading impression that all
exhibition ‘à travers LE VERRE du moyen âge à la these pieces would be in the exhibition. Where a glass
renaissance’. Amongst the exhibition’s show stoppers is in the exhibition and is also discussed and/or
are two tours de force of diamond-point engraving, illustrated in the book, there is no reference to its
the Principe Doria Goblet, made in 1586, probably in number within the exhibition, which bears no relation
Barcelona, and engraved by Iacobus Blanc de Vilasar to any reference number it might have in the book. In
(private collection) and the intriguing plate with the addition, no indication is given in the book as to
monogram of Gaston of Orléans, made in France or which pieces are in the exhibition. It would have been
the Low Countries c. 1630-40 (The Corning Museum helpful for the serious exhibition visitor, attending
of Glass). book in hand, if a concordance between pieces in both
the exhibition and the book had been provided; such
Glass News November 2004
8

an aid would also have had long-term value in Glass at the Museum of
providing useful exhibition history for the serious
scholar. Sometimes the lack of consistency between London
the book and the exhibition seemed especially
unnecessary. For example, why illustrate one Completion of new store and access
enamelled serving dish from Spain in the book (p. project
118) but include a different one (no. 55) in the
exhibition, when they are similar and both come from The Museum of London’s collection of 20,000
the Decorative Arts Museum in Barcelona? On ceramic, and 5000 glass, artefacts is of national and
occasion, the lack of a dedicated catalogue, combined international significance. A number of items are on
with minimal text in the exhibition, is particularly display in the galleries, but most of the collection has
unfortunate, given the problems of attribution been packed away since 2001 when the old store was
associated with façon de Venise glass. For example, in cleared to make room for a temporary exhibition
the Low Countries section two labels stated that space.
pieces had been found in Rotterdam (nos. 101 and
102), perhaps suggesting to the layman that because In 2002 the museum was awarded a grant from the
an object is excavated in a particular country it can be Designation Challenge Fund to create a new store for
assumed that it was made there; in several cases one its core ceramics and glass collections at Mortimer
is left wondering how specialists could be sure that Wheeler House. The same building houses the
pieces had been made in the Low Countries (nos. 104, London Archaeological Archive and Research Centre
105 and 106) – in the book (p. 232, Fig. 5), the (LAARC), which contains the glass and ceramics, as
attribution of exhibition number 105 is treated more well as other finds, from more than thirty years of
cautiously. archaeological excavations in London.

In conclusion, then, and despite the problems The new glass and ceramics store has been designed
enumerated above, the exhibition ‘Beyond Venice’ is with the aim of improving access to the objects, both
an aesthetic delight, resplendent with some visually and practically, and it is open to researchers
exceptionally beautiful glasses and assemblages of and groups, by appointment. Last winter, a project
important glass groups. It provides visitors with an team unpacked the 1500 crates and reorganised the
unprecedented opportunity to distinguish and compare collection on the new cupboard shelves. At the same
glass made in Venice with Venetian-style glass made time, over 1300 digital images were taken for the
in Austria, Spain, France, the Low Countries and catalogue database, now available as part of the
England. Those who regret that the exhibition itself museum’s overall website.
was not given an extended shelf life, if only in the
form of an exhibition guide or hand list, can find The glass collection includes over a thousand
consolation in the fact that it was conceived alongside examples of Roman glass, and nearly two thousand
an invaluable and sumptuous sibling – Beyond from the pre-1700 period. The collection of medieval
Venice, the book! glass includes products of the early English
glasshouses of the fourteenth and fifteenth centuries,
Suzanne Higgott, September 2004 and a range of imported glassware from Germany,
France, Italy and the Mediterranean region. The post-
Walk-in Workshops at The Studio medieval glass collection reflects technological
developments and changes in the taste of consumers,
Also at the Corning Museum of Glass, the programme and is one of the largest in Europe.
of Studio courses for autumn 2004 / winter 2005 is
now available, including ten-week courses as well as The period of Britain’s supremacy in glassmaking is
weekend, one-day and family workshops. A huge represented in the Museum of London’s outstanding
variety of subjects are on offer, such as painting on holdings of glass from the eighteenth century. This is
glass, mosaics, beadmaking, engraving and printing formed principally from the English table glass
from glass plates, enamelling, stained glass, collected privately by Sir Richard Garton in the early
flameworking, glassblowing and many more. Visit the 1900s, which was donated to the museum after his
website: www.cmog.org, e-mail: [email protected] death. Amongst the 437 glasses in the Garton
or contact the museum at One Museum Way, collection is the ‘Chesterfield’ flute, one of very few
Corning, NY 14830-2253, USA, for details. survivals of English glass made before Ravenscroft’s

Glass News November 2004 9

invention of lead glass in 1676. This is currently on Wallace was the illegitimate son of Richard Seymour-
display in the Museum. Although the main body of Conway, 4th Marquess of Hertford, and inherited his
excavated material is contained in LAARC, the core legendary collection in 1870. Although born in
collections also include examples of later glasses England, Wallace had spent the greater part of his life
excavated in London. in Paris. It was here, in 1871, that he extended
dramatically the breadth of the collection by acquiring
Glass made at Whitefriars, the last glasshouse in the the very large and wide-ranging collection of
City, forms another major group of national medieval and Renaissance works of art, arms and
importance. When the Whitefriars glassworks finally armour formed by Alfred Émilien, comte de
closed in 1980, the Museum of London was able to Nieuwerkerke (1811-1892) between about 1865 and
acquire the company’s archive of business papers, 1870. In 1871 Wallace also moved to London, where
designs, photographs and glasshouse equipment, he continued to acquire works of art.
together with samples of glass made by the factory.
Much of the distinctive table glass made at The Wallace Collection is a closed collection. Lady
Whitefriars in the late nineteenth and early twentieth Wallace (1819-1897) bequeathed the works of art on
century can be seen on display at the Museum, but the ground and first floors of Hertford House to the
other examples of the popular vases and sets of nation, and all the works of art within it were acquired
drinking glasses dating from the 1930s to the 1970s before Sir Richard Wallace’s death in 1890. Most of
can be seen in the new store at Mortimer Wheeler the works of art can be identified in the inventory of
House. The glass collection also includes an Hertford House taken at that time, when much of the
interesting group of wine bottles, medicine bottles, glass was displayed in the Modern Gallery on the first
and glass produced to contain food and drink. floor. Most of the known earlier provenance history
for the glass concerns pieces formerly in the
Since the project was completed in April 2004, groups Nieuwerkerke collection, because when
have enjoyed tours of the store, and individual visitors Nieuwerkerke sold his collection to Wallace, he also
have once again been able to use the collection for passed on to him the dealers’ receipted bills for his
research into the production of glass in the capital. purchases. These are now in the Wallace Collection
For information about access to the glass and archives and a number of pieces can be identified
ceramics collection at the Museum of London, from them.
email [email protected].
Also see www.museumoflondon.org.uk. Location of the glass
Most of the glass is in the Sixteenth-Century Gallery
Jenny Lister on the ground floor. On entering the Entrance Hall of
the Wallace Collection, turn immediately to your right
The Wallace Collection and walk across the Front State Room to enter the
Sixteenth-Century Gallery. The glass is displayed in
A glass trail case C, at the far end of the gallery. The glass in case
C is numbered according to its position in the case,
Introduction but its Wallace Collection work of art number is given
Most of the glass in at the end of the label text.
the Wallace
Collection was made A silver-gilt travelling toilet, breakfast and writing
in Venice or in the service made in Augsburg c. 1771-73 contains two
Venetian style (façon de Venise) in the 16th and 17th toilet-water bottles and a covered goblet. It is
centuries. However, a mid 14th-century mosque lamp displayed on the first floor, in the corridor between
from Cairo and several 17th and 18th century glasses the Boudoir and Sir Richard Wallace’s Study. To see
from central Europe extend the range of the it, mount the Grand Staircase in the Entrance Hall,
collection. Almost without exception, the glass was and, on reaching the Landing, turn right into the
acquired by Sir Richard Wallace (1818-1890) in the Boudoir and right again into the short corridor leading
early 1870’s. It epitomises the taste at this period for to the Study.
medieval and Renaissance decorative arts and
Wallace’s appreciation of fine and intricate, small- A set of four wheel-engraved scent bottles, probably
scale works of art. made in Bohemia c. 1780-90, are in the Decorative
Arts, Arms and Armour vault in the Reserve Gallery

Glass News November 2004 10

on the Lower Ground Floor (this gallery is not open at Dalles de Verre
present).
The technique of dalles de verre1, which originated in
Highlights of the glass collection France in the late 1920s, is a modern method of
These are all in the Sixteenth-Century Gallery, case making stained glass windows. In the traditional
C, numbered as follows: method, pieces of glass, generally 2-4 mm thick, are
joined together using pieces of lead. Dalles de verre
1. Mosque lamp with enamelled and gilt decoration, uses pieces of cast glass approximately 25 mm thick,
made in Cairo c. 1350-55. The lamp bears the called ‘dalles’ by the French and ‘slab glass’ or
blazon of a cupbearer in the form used by the Great ‘faceted glass’ by the British and Americans, which
Emir Shaykhu (d. 1357), who built a mosque, are set into a concrete or epoxy resin matrix of similar
fountain, cloister and mausoleum in Cairo between thickness.
1349 and 1355. Since the lamp is not inscribed with
Shaykhu’s name, it was probably not Historian John Gilbert Lloyd contends that the
commissioned for this complex; perhaps it was development of the technique of dalles de verre likely
made for someone in Shaykhu’s service. The lamp stemmed from the ancient mosaic-like window
is inscribed around the neck in thuluth script with designs of the early Byzantines, who set thick,
the first part of the Verse of Light from the Koran coloured glass into their window openings.2 It also
(24:35), which translates as, ‘Allah is the light of bears some similarity to translucent cement, a
the Heavens and the Earth. The similitude of this technique that appeared in France around 1875, in
light is as a niche wherein is a lamp’. which white glass paving made in standard moulds
was inserted into reinforced concrete.3 Dalles de verre
3. Drinking vessel (Humpen), probably made in windows, especially those set in concrete, possess a
Bohemia; dated 1609. The enamelled and gilt glass rugged, monumental quality. They are suitable for use
is decorated with scenes of outdoor merrymaking. in old or new buildings and can enhance the walls of a
The inscription translates: building when viewed from the outside. Although
‘Lift me up, drink me up, set me down; fill me dalles de verre can be placed in regular window
again and bring me a good brother again. Drink me openings, a more dramatic effect is achieved when the
quite up and thus a full brother will come of me. I architect incorporates it in his design from the start,
will be filled full so that one shall bring me a using it like a prefabricated element of the wall.
brother who will know me. I am called a good
welcome and called very merry’. Dalles de verre is not conducive to the same level of
delicacy or detail that can be achieved with traditional
4. Calcedonio glass goblet made in Venice c. 1500. stained glass techniques. Surface decoration, as
The goblet imitates chalcedony on the outside and provided by traditional glass paint, is generally not
jade on the inside. used in dalles de verre windows, although it is
possible to do so. The negative areas that separate the
6. ‘Pilgrim bottle’-shaped flask with enamelled and pieces of glass are typically more prominent and
gilt decoration, made in Venice c. 1523-26. The varied in dalles de verre windows, whereas in
coats of arms are for Christof Philipp, first Count traditional stained glass windows they usually consist
Lichtenstein (d. 1547), as borne from 16 August of thin lines having a more uniform width (figs 1 and
1523 until 1526, and for Wilhelm von Rappolstein. 2). While artists may choose to use several widths of
The flask was probably commissioned to lead lines in one window, the most common widths
commemorate von Lichtenstein’s marriage, in used range from only 5-12 mm wide. A minimum
1516, to von Rappolstein’s daughter, Margaretha. width of 25 mm should be allowed between dalles set
in concrete to ensure the window is structurally
7. Chalice-shaped goblet with enamelled and gilt sound, but if the dalles are set in resin, this width can
decoration, including the Crucifixion with the be reduced to 6 mm. The maximum width between
inscription ‘SINE ME NICHIL’. Made in France, dalles is purely a design decision; negative areas of
perhaps in a glasshouse established by Venetians, 175 mm were measured by the author in one concrete
1540’s-50’s. panel.

Compiled by Suzanne Higgott, Curator of Glass,
Limoges Painted Enamels and Earthenwares at the
Wallace Collection.
E-mail: [email protected]

Copyright: Trustees of the Wallace Collection 2003.

Glass News November 2004 11

In the traditional method of manufacturing sheet glass retailers sell dalles produced by Saint Gobain
for stained glass windows, molten glass is gathered on (Verrerie de Saint-Just) in France. English stained
the end of a blowpipe and blown into a cylindrical glass artist Father Charles Norris always used Saint
shape before being split down its length and flattened Gobain’s dalles, while Whitefriars Studios
into a sheet, whereas dalles are cast in open moulds. manufactured dalles at their glassworks for the
Although the glass batch used to make dalles is windows they produced.
effectively the same as that used to make sheet glass,
a different type of furnace is required in order to reach Several factors played a role in the development of
the appropriate temperature and maintain heat control. the technique of dalles de verre in France following
The molten glass is ladled from crucibles in the World War I. Numerous construction projects were
furnace and poured into open moulds. These moulds initiated in French cities in order to rebuild the many
are then placed in an annealing oven, which controls churches and cathedrals that had been destroyed
the rate at which the glass is cooled. The mould leaves during the war. Reinforced concrete, a relatively new
a dull, textured surface on the bottom of the dalle building material, was widely used because buildings
while the top of the dalle, which is exposed to the air, constructed from it were quick to build, fireproof and
is smooth and shiny. relatively inexpensive. Around the same time, an
artistic movement was underway to modernize sacred
Figure 1 (left): Dalles de verre window from the arts in France through the creative use of simple
Church of Our Lady & St. Petrock, Ashburton, materials such as cement and iron. Groups of artists,
Devon. Designed and made by Father Charles Norris, craftsmen and architects collaborated on projects in
1993. order “to create unity and harmony between the
Figure 2 (right): Traditional stained glass window architecture and the decorative ensemble.” 4 An early
from the Chapel of the Holy Blood, Bruges, 15th C. example of this cooperation is the church of Notre-
(Mus. No. C.442-1918). Reproduced with permission Dame du Raincy, built in 1922-23. This reinforced
of V&A Images/Victoria & Albert Museum. concrete church, regarded as the first ‘modern’ church
in France, was a joint venture between architect
The standard size of dalles manufactured in both the Auguste Perret, painter Maurice Denis and stained
United States and Europe is 200 mm x 300 mm x 25 glass designer Marguerite Huré. The church’s walls
mm, although customised shapes and sizes can be are filled with leaded stained glass panels set in
produced. Compared to the thinner antique glass that armatures of reinforced concrete (béton armé).
is used in traditional stained glass windows, dalles are
approximately eight times heavier, weighing on The earliest known dalles de verre window, made by
average 4 kg each. Dalles are not currently Jean Gaudin and A. Le Breton, was exhibited at the
manufactured in the U.K. but larger stained glass Salon des Artistes et Décorateurs in Paris in 1929.
Jean Gaudin (1879-1954) and his son Pierre made
Glass News November 2004 stained glass windows, mosaics, mural paintings and
other decorative items at their studio in Paris. It is
likely that the mosaic technique led Jean Gaudin to
develop the technique of dalles de verre, which he
referred to as “transparent mosaics” or “luminous
mosaics”. Gaudin collaborated with glazier Jules
Albertini, who made pâte de verre for mosaics, 5 to
produce thick, translucent dalles that were coloured in
the pot. Gaudin’s method was to cut the dalles into
small uniform pieces and use them with the same
regular forms found in mosaics. The dalles, which
were not faceted or painted, were then set in a
reinforced concrete matrix.

Two other master glaziers were making dalles de
verre windows before 1940: Auguste Labouret (1871-
1964) and Charles Lorin (1874-1940). Labouret’s first
known window, produced with collaborator Pierre
Chaudière, was exhibited at the Salon des Artistes et
Décorateurs in Paris in 1932. Furthering the method

12

used by Gaudin, Labouret cut his dalles into pieces of prolific maker of dalles de verre windows. He worked
various shapes and sizes and then faceted the inside exclusively in this medium from 1959 to 2003,
edges and face of the glass, producing a sparkling designing and fabricating windows for over 250
effect. Where details such as facial features, drapery localities. Father Norris entered Buckfast Abbey in
folds or inscriptions were needed, Labouret carved Devon in 1930 and set up his workshop at the Abbey
lines into the face of the glass and filled them with in 1932. He taught himself the craft of stained glass
cement, a technique which he patented in 19336. by visiting other studios to get tips on specific points
Another method that he used to add detail was to plate and by using Whall’s seminal textbook Stained Glass
clear dalles with thin pieces of coloured glass that had Work 9 as his guide, especially when learning about
been painted with traditional glass paint. All of glass painting. His interest in the technique of dalles
Labouret’s windows were set in a reinforced concrete de verre developed after reading a chapter in
matrix7. Armitage’s book Stained Glass 10, published in 1959,
which gave an outline of the materials and techniques
In 1935, Charles Lorin’s studio produced dalles de used by Whitefriars Studios. Father Norris gained
verre windows designed by Gabriel Loire for the further information by visiting Gabriel Loire’s studio
chapel of what is now the Lycée et Collège Sainte- near Chartres and Whitefriars Studios in London,
Jeanne d’Arc-Notre-Dame, La Fléche. The dalles where designer Pierre Fourmaintreaux showed him
were cut into a variety of shapes and sizes and were the process of casting the dalles as well as the various
all faceted. In the lower panels, the traditional leaded stages involved in the production of dalles de verre
technique was used in conjunction with the modern windows11. Father Norris' first dalles de verre
dalles de verre technique. Small painted and stained windows were for Our Lady of Fatima & St. Thomas
leaded panels depicting coats of arms were set into the More Catholic Church in Harlow, Essex in 1960. This
reinforced concrete matrix8. This combined approach Grade II listed church, designed by renowned post-
was probably chosen because the level of detail war architect Gerard Goalen in 1954, was built
displayed in the coats of arms would have been between 1958 and 1960. Goalen allocated over 60%
extremely difficult to produce on the required scale of this building’s wall space to the glazing scheme.
using dalles de verre. Assisted by two monks from the Abbey, Paulinus
Angold and Jerome Gladman, Father Norris produced
Following World War II, the numerous construction the 488 dalles de verre panels set in concrete that
programmes that were initiated in Europe and the were required to complete the scheme, making this
United States provided a favourable environment in the first English approximation on a large-scale.
which the technique of dalles de verre could flourish.
A new generation of architects emerged who were The future of Father Norris’ workshop at the Abbey is
eager to take advantage of recent advances in building under consideration. Among its contents are the
technology and engineering to produce innovative materials, tools and equipment he used to make dalles
designs that included imaginative features such as de verre windows, including stocks of dalles left over
walls made of glass. Furthermore, dalles de verre was from many of his early windows, as well as his
faster and less expensive to fabricate than traditional documentation, cartoons and cutline drawings for the
stained glass windows, even though the cost of the numerous commissions.
glass was much higher, because of the elimination of
the stages of painting, firing and glazing. Sherrie Eatman
Stained Glass Conservator
French stained glass artist Gabriel Loire (1904-1996) Victoria & Albert Museum
has been attributed with the earliest use of dalles de E-mail: [email protected]
verre on a large scale. In 1958, he and his son Jacques
designed and fabricated the dramatic walls of faceted 1. Dalle (pl. dalles): French for paving stone or slab.
dalles de verre in the First Presbyterian Church in The finished work is referred to as dalles de verre.
Stamford, Connecticut. This successful design pushed 2. Kebrle, J. ‘Historical Background,’ SGAA
the boundaries of architectural stained glass and
inspired many more installations of dalles de verre in Reference & Technical Manual: A Comprehensive
buildings in both the United States and Europe in Guide to Stained Glass, 2nd ed., Maddy, D.L., Krueger
subsequent years. B.E. and Hoover, R.L., eds. (Lee’s Summit: The
Stained Glass Association of America, 1992) p195.
English artist and Benedictine monk Father Charles 3. Loire, N. ‘Faceted Glass Windows in France, From
Norris OSB MBE (1909-2004), was the UK’s most Their Origins to 1940,’ SGAA Reference & Technical

Glass News November 2004 Manual: A Comprehensive Guide to Stained Glass,

13

2nd ed., Maddy, D.L., Krueger B.E. and Hoover, R.L., Books
eds. (Lee’s Summit: The Stained Glass Association of
America, 1992) p205. Contemporary International Glass
4. Loire (1992) p211.
5. Pâte de verre is a casting technique where molten 60 Artists in the V&A
glass is poured into a shaped mould. This term is also
used to describe a technique where a mould is filled Jennifer Hawkins Opie
with ground glass and subsequently heated in a kiln
until the grains begin to fuse but not so long that they In November 2004 the Victoria and Albert Museum
form a homogeneous mass. will open a new permanent gallery of contemporary
6. Loire (1992) p206. glass. The book's stunning photographs show the
7. Loire (1992) p206. range of work on display in the new gallery. There is
8. Loire (1992) p209. an introductory essay by the author, as well as career
9. Whall, C.W. Stained Glass Work: A text book for profiles, artist's statements and contemporary critical
students and workers in glass. London: J. Hogg, comments of the sixty international artists
1905. highlighted. The book also includes a complete list of
10. Armitage, E. Lidall. Stained Glass. London: glass artists, other than those illustrated in the book,
Leonard Hill Books Ltd.,1959. and their work in the V&A collection, from 1980 to
11. Father Charles Norris, interviewed by the author, 2004.
28 Nov. 2003.
Published by V&A Publications
Information Sought 143pp, A4, 75 colour plates, (2004) (HB) £30.00
ISBN 1 85177 436 X
Anne Bjørke is an objects conservator at the
Norwegian Institute of Cultural Heritage Research Details on how to order: www.vam.ac.uk
(NIKU) in Oslo, Norway. Recently she has worked Or from: V&A Enterprises Ltd. (Internet Services)
mainly on glass, especially chandeliers and other Victoria and Albert Museum
objects from Nøstetangen, Norway's first glassworks Cromwell Road
(1741-1777). The aims of her current research are to London SW7 2RL
distinguish original parts from later copies. This has United Kingdom
proved difficult, as copies were made at different Tel: +44 (0)20 7942 2696
times, some quite early. At a later stage, analysis will Fax: +44 (0)20 7942 2693
be carried out by Dr. Isabelle Biron at the Louvre,
Paris, and Dr. Heike Stege at the Doerner-Institute, Glasgow's Great Glass Experiment
Germany.
Edited by Richard Fawcett
There are several differences between components
made at different times, any of which can help in A collection of papers telling the story of the
determining which are original. Decorative elements patronage and production of stained glass windows in
added to a part while hot, and cut with straight Glasgow Cathedral between 1859 and 1864.
shears/cutters, have a straight line running across the
surface of the element. On the other hand, diamond Published by Historic Scotland
shears/cutters leave an uneven gathering of cooling 92pp, A4, 2003 (PB) £16.50
glass at the centre of the cut. Anne would like to find ISBN 1 903570 78 6 PLU 2458
out when diamond shears were invented and when
they came into common use in the glassblowing Available from: Publications Department
processes. She would also be interested in contacting TCRE Group/Historic Scotland Conservation Bureau
anyone who has looked in depth at glass produced at Historic Scotland
the Nøstetangen Glassworks. If you can help, please Longmore House
contact Anne, tel: + 47 23 35 50 42, e-mail: Salisbury Place
[email protected] Edinburgh EH9 1SH
Tel: +44 (0)131 668 8638
Email: [email protected]

Glass News November 2004 14

Glass beads from Anglo-Saxon graves The Wonderful Windows of
William Wailes 1808-81
A study on the provenance and chronology of
glass beads from Anglo-Saxon graves based on Ronald Torbet

visual examination William Wailes was a giant of stained glass artistry,
and a leading Victorian pioneer in efforts to revive
Birte Brugmann what was almost a lost art. His work adorns structures
from Cornwall to Scotland, and beyond in America,
In this well illustrated study, Birte Brugmann analyses India and the West Indies. Now Saltwell Towers, his
a sample of 32,000 beads from Anglo-Saxon graves fairytale castle in Saltwell Park, Gateshead, is being
of the 5th to 7th centuries, and creates a new restored and opened to the public. The author aims to
classification of Anglo-Saxon bead types taking into foster wider recognition of Wailes’ work and to
consideration materials, manufacturing techniques, encourage more people to go and enjoy the windows
decoration, colour and shape. She considers questions for themselves. The book is designed to be a tool to
of bead production and bead fashion across Anglo- aid in the appreciation and understanding of these
Saxon regions, how far they were influenced by beautiful works of art.
continental and Scandinavian bead fashions, and It will appeal to those interested in church architecture
offers a chronological framework for the finds. and stained glass, as well as to students of the history
of Tyneside
176pp, A4, 60 b/w figures, 113 colour figures, 11
tables, (2004) (HB) £35.00 172pp, (2004) hardback, £19.95
ISBN: 1-84217-104-6 ISBN 1-904244-33-5

Available from the publisher: Oxbow Books Available from the publishers: Scotforth
Park End Place, Oxford, OX1 1HN Carnegie House, Chatsworth Road, Lancaster
Tel: 01865 241 249 LA1 4SL.
Fax: 01865 794449 Tel: 01524 840555.
E-mail: [email protected] Fax: 01524 840222.
E-mail: [email protected]
75 Years of Diverse Glass Making
to the World Cheques payable to Carnegie Publishing Ltd.
(add £2 for post & packaging).
A Celebration of Nazeing Glass Works 1928 -
2003 and their Victorian Forebears Light in the East

Geoffrey C Timberlake A Guide to Stained Glass in Ely,
Cambridgeshire and the Fens
This is the story of two families and their glassworks:
from the Kemptons, with their Victorian beginnings Kate Heard
in South London and subsequent move to rural
Hertfordshire, Essex, to the take-over by the Pollock- The author has selected thirty-three different churches
Hills and their determination to beat the depressed and houses within a 20 mile radius of Ely where
post-war markets. Identification of the now beautiful stained glass may be found. Meticulously
collectable art glass of the 1930’s and subsequent researched and beautifully illustrated, the guide
product ranges through to the 1990’s. describes the history behind the windows and the
reasons why they were made.
Copies of the book are available from:-
1. Nazeing Glass Factory Shop, Nazeing Glass 64pp, A4, 70 photographs, (2004) £11.50
Works Ltd, Broxbourne, Hertfordshire, England
EN10 6SU Available from: Book Orders, The Stained Glass
2. Nigel Benson: 20th Century Glass, Kensington Museum, The South Triforium, Ely Cathedral, Ely,
Church Street, London Cambridgeshire, CB7 4DL
3. Bernard Cavalot by e-mailing
[email protected]

Glass News November 2004 15

Finds • Research • Ideas
Publications • Conferences

REMEMBER

Glass News

Please send your contributions to Glass News No.17 by 14th January 2005 to:

Dr 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]

Subscribing to Glass News and membership of AHG

If you would like to subscribe to Glass News or become a member of AHG please fill in and return this slip to John
Clark, Association for the History of Glass, c/o Museum of London, 150 London Wall, London EC2Y 5HN.
Phone: 020 7814 5735, FAX: 020 7600 1058, e-mail: [email protected].
Subscribers to Glass News currently receive personal membership of AHG at no extra cost.

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company limited by guarantee so, in the unlikely event of liquidation, I accept my liability to contribute up to £5
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an electronic database, solely for the purposes of AHG Ltd, and will not be imparted to any other person or body.

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Glass News November 2004 16

Glass Study Day
News
Glass and lighting from antiquity to
Number 17 February 2005 the Medieval Period

Published by An AHG day-school on Glass and Lighting in
Antiquity and the Medieval World will be held on
THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED Wednesday, 16th March 2005 at Mortimer Wheeler
House, 46 Eagle Wharf Road, London N1 7ED. The
nearest Underground station is Old Street. Please turn
the page for details of the programme and how to
attend.

Reg’d Charity: 275236 ISSN 1362-5195

www.historyofglass.org.uk

IN THIS ISSUE

Happy New Year! Welcome to this, slightly earlier Page 1- Study Day. Glass and lighting from
than usual, issue of Glass News and thanks to all antiquity to the Medieval Period
those who managed to meet the rather ambitious (continued on page 2)
deadline for contributions. In particular we would like
to thank Ian Freestone, who clearly caught up on page 2- AIHV Congress 2006
some reading over Christmas, for providing Glass - AHG Bursaries
News with reviews for a number of recommended - Cambridge glass fair
books on the subject of glass. This issue also includes
early notice of a selection of forthcoming events, page 3- Conference. Glass Painting 1800–
including the conference on glass painting 1800-1900 1900
at the end of February, the study day on glass and
lighting in March, the 2005 SGT annual meeting in page 4- Annual Conference of the Society of
September, including special events celebrating the - Glass Technology
centenary of Sheffield University, and the AIHV Visit. London’s glass and ceramics
congress in 2006. Thanks are also due to the speakers collections
at the recent excellent AHG meeting at the Wallace
Collection, who have provided abstracts for inclusion page 5- Conference. Ysart Tradition and
in this issue. - Scottish Glass 2005
The Stained Glass Museum spring
On the subject of gratitude, four AHG board members study weekend
have recently retired and we would like to take this
opportunity to thank Hilary Cool, Reino Leifkes, John page 6- Study Day Review. New light on old
Shepherd and Veronica Tatton-Brown, for their glass: collections, analysis and
efforts on behalf of AHG. Dr Hilary Cool’s archaeology
marvellous work, producing the Annales of the 16th
AIHV Congress and also as webmaster for the AHG page 10- Corning Museum. Exhibits, archives
website, is greatly appreciated. We would also like to and workshops
extend a warm welcome to Colin Brain and Sandra
Davison who were elected to the board. The editors’ page 11- Contemporary Glass: the new
details and the deadline for issue 18 are on the back gallery at the V&A
page for potential contributors and, as always, we
look forward to hearing from you. page 13- David Grose
- SPAB Cornerstone Article: Historic
Sarah and Juanita. Window Glass

page 14- Book reviews

page 16- Subscription form / editors’ details

Glass News February 2005 1

Study Day AHG Bursaries for 2006

Glass and lighting from antiquity to In a new and exciting initiative, the AHG intends to
the Medieval Period (continued) award a number of bursaries for 2006. Their purpose
will be to contribute towards educational or research
The speakers will be: activities consistent with the Association’s charitable
aims. These might include, for example, attendance at
Sarah Jennings, Lighting in Beirut, 4th-7th centuries a conference to present a lecture or poster, a study
AD visit, fieldwork or publication.
Daniel Keller, Lamps and windows in the monastic
complex at Jabal Harun, Petra, 5th-9th centuries AD There are no restrictions on who may apply or on the
Liz James, Light and colour in Byzantine glass topics of applications, which will be judged on merit.
mosaics However, the Board would particularly welcome
Claire Nesbitt, ‘Through a glass brightly’: the role of applications from students at UK Higher Education
glass in the lighting of middle Byzantine churches Institutions who wish to present their work at the next
Martine Newby, Medieval glass lamps: the AIHV Congress (see details opposite) that will be
archaeological and iconographic evidence from held in Belgium in September 2006.
central Italy
Chris Martins, Window glass as an insight into Further details of the bursaries may be obtained by
consumer psychology at Roman villas: perspectives emailing the AHG Secretary, Justine Bayley:
form the east of England
Rose Clark, Lighting and Anglo-Saxon glass [email protected]
John Shepherd, Glass and lighting in Roman and
medieval London. or by writing to Justine at:

The fee of £15 (£10 for students) includes coffee and Fort Cumberland, Fort Cumberland Road,
tea. Lunch is not included, but there are various places Eastney, Portsmouth. PO4 9LD
to eat within a 10 minute walk.
“300 HUNDRED YEARS OF
For full details of the programme, information about COLLECTABLE GLASS IN ONE DAY”
how to get there and to book, contact:
The Cambridge Glass Fair
Martine Newby,
Email: [email protected] The 5th Cambridge Glass Fair will be held at Chilford
Hall Vineyard, Linton, on Sunday 20th February 2005,
AIHV Congress 2006 11:00 am to 4:00 pm.

The 17th AIHV Congress will be held in Antwerp, Admission charge £3.00 for adults (children under 9
Belgium, from 3rd-10th September 2006. More yrs free).
information will follow in future issues. Details of the If you know a specific exhibitor you wish to visit
congress will be available on the website in due please check the day beforehand to make sure they are
course (www.aihv.org). attending.
Parking is located beyond the hall, with a capacity for
up to 1000 cars. Parking is free for those visiting
Chilford Hall.
Supported by Primavera.

Enquiries: tel. 07887 762 872
Email: [email protected]
Information, including a full list of exhibitors:

www.cambridgeglassfair.com

Glass News February 2005 2

Conference

Glass Painting 1800 – 1900: Aesthetics, History, Conservation

The British Society of Master Glass Painters, in Day Two – Materials and Conservation
association with the Worshipful Company of The morning session, chaired by Tony Benyon, will
Glaziers, present a two day, non-residential open with a paper by Neil Moat giving a personal
conference on the art, craft and preservation of view on the current reception of ‘Victorian Stained
nineteenth century stained glass. The conference will Glass’. Tony Benyon will then examine how 19th
be held at Glaziers Hall, 9, Montague Close, century glass painting styles adapted to the new
London Bridge, London SE1 9DD on the 28th commercially available varieties of mouth-blown and
February - 1st March 2005. Glaziers Hall will be the cast glass and the archaeological importance of
venue for an international forum for the discussion of identifying such materials as part of the conservation
19th century glass painting. This oft-neglected field of process. There will be an opportunity to examine and
19th century glass painting represents the great discuss rare surviving glass samples. Keith Hill will
majority of the nation’s historic glass and an urgent present a case study describing the conservation of the
challenge for future management, and deserves East Window of Rusthall Church, "A time-capsule of
attention. As well as presentations by many eminent Winston glass". The afternoon session, chaired by
speakers from this country, Europe and the USA, we Steve Clare, starts by examining problems with
hope to encourage dialogue and will allow ample time contemporary philosophy, looking to the future in
for discussion. terms of conservation and glass painting. This will be
followed with a paper by Mark Bambrough,
Day One – Art Historical Issues discussing on-going research into aesthetic protective
The morning session will be chaired by Martin glazing, and finally Julie Sloan will present a paper
Harrison who will open with a paper entitled on conservation in America.
‘Stained Glass and Art History – Problems of
Criticism’ proposing new frameworks for studying Full conference £120
nineteenth-century stained glass history. This will be Student £90
followed by two further speakers demonstrating how
new research is illuminating little known or Monday 28th February ONLY
misapprehended aspects of 19th century glass
painting; Dr Elgin van Treeck Vaassen on imported (without evening lecture & supper) £55
Bavarian glass and Dr Sally Rush-Bambrough on
Edinburgh glass painters. The afternoon session, Student £40
chaired by Peter Cormack, will explore aesthetic and
socio-historical issues that influenced developments Monday 28th February ONLY
in stained glass design. Dr Michael Kerney will (including evening lecture & supper) £70
present a paper on 'The Victorian Memorial Window'
charting the development of commemorative stained Student £55
glass from the 1830s onwards. Peter Cormack will
examine some of the eclectic range of art-historical Tuesday 1st March ONLY £55
and other 'source material' which inspired post-1860 Student £40
stained glass in Britain.
Non members of the BSMGP or Glaziers
The first day will be followed by an evening lecture Company please add £30 (Students £15) to the fee,
on the work of John La Farge given by Julie Sloan refundable on joining the Society at, or before, the
and Dr. Jim Yarnall, the two leading authorities on conference. Whilst the conference is non-
this major figure in American stained glass. The residential, fees do include tea and coffee, lunches
lecture is of particular interest as a window by La and the evening lecture with conference supper.
Farge in the Harvard Chapel at nearby Southwark Places are available for the full conference and for
Cathedral is presently undergoing conservation. The single days, with or without the evening events.
day will close with a conference supper held in the
Banqueting Suite at Glaziers Hall. To download an application form please email
[email protected]
or send an SAE to:
Helen Robinson, Conference Coordinator,
9, Ox Lane, Harpenden,
Hertfordshire AL5 4HH.

Glass News February 2005 3

Annual Conference of the Society of Glass Technology

Glass: Past, present and future

The SGT’s Annual Conference will take place at the Mr David Whitehouse, director of the Corning
University of Sheffield, Halifax Hall of Residence, Museum, will present the Turner Lecture on Thursday
Endcliffe Vale Road, Sheffield, S10 3ER, on the 7th- evening before the conference banquet. There will
10th September, 2005. The theme for this conference also talks on historical aspects of glass melting on
will be “Glass: Past, Present and Future” and will Friday afternoon as part of the session celebrating the
incorporate the New Researchers’ Forum on Glass work of Prof Cable.
and History and Heritage of Glass. Special events
marking the Centenary of Sheffield University will ALUMNUS EVENT
also take place. Because 2005 is the Centenary celebration for the
University, the conference will include a special
GLASS: PAST, PRESENT AND FUTURE Alumnus event in the form of talks, opportunities to
meet old friends and a banquet. These events will be
Sessions Celebrating the work of Prof. M Cable and held during the conference. Please let us know if you
Prof. H. Schaeffer wish to attend and pass on this information to anyone
A key aim is to celebrate the contributions over many who might be interested.
years of Professors Cable and Schaeffer to Glass Contact details:
Science and Technology. Sessions will be devoted to Society of Glass Technology, Don Valley House,
their research interests, presented principally by Savile Street, East Sheffield, S4 7UQ, UK
speakers they have worked with. Tel: +44 (0)114 263 4455
Industrial and Scientific Sessions Fax: +44 (0)114 263 4411
Further sessions will cover wider aspects of glass Email: [email protected]
science and technology and will include several Website: www.sgt.org
keynote presentations. A particular theme will be to
revisit the contribution of W. E. S. Turner, the first Visit
professor of Glass Technology at Sheffield, to the
development of the subject nationally and abroad. London’s Glass and Ceramics
Collections
NEW RESEARCHERS’ FORUM ON GLASS
The New Researchers’ Forum on Glass provides the On the 25th April, 2005, there will be a visit to the
opportunity for people who have been working on Glass and Ceramics Collections at the Museum of
glassy materials for only a short time, to meet workers London, where visitors will have the opportunity to
from industry or academia. New Researchers can go behind the scenes and see the museums
present a poster or talk on their research, complete or internationally important reserve collections of post-
not. ‘Mentoring Sessions’ will follow to encourage medieval ceramics and glass. Jacqui Pearce and Hugh
greater interaction in the glass community. Wilmott, experts in these respective fields, will lead
This interaction may help interpreting that unexpected sessions. The collections, which have recently been
data point or to find a technique to make or measure rearranged for visible storage (see GN issue 16, p.9)
the intractable material that is glass! have been unavailable for some years.

HISTORY AND HERITAGE OF GLASS Further details are available from Geoff Egan by
The Society continues its well established series of e-mail: [email protected] and
meetings on the History and Heritage of Glass. The [email protected]
main presentations will be on Saturday and will take Website: www.museumoflondon.org.uk
place in the Turner Glass Museum.

Glass News February 2005 4

Conference Alice MacLennan - Conference Organiser and
Treasurer,
Ysart Tradition and Scottish Glass 6 Garrioch Crescent, Glasgow, G20 8RR.
2005 Email: [email protected]

A conference for collectors of Scottish glassware and The Stained Glass Museum
paperweights is to be held in Scotland at the Perth
Museum & Art Gallery on August 6th - 7th, 2005. Spring Study Weekend
The emphasis will be on the glass produced by the in the Lakes
Ysart family at Moncrieff's Glassworks, Perth,
Scotland, beginning in 1922. However the scope of The study weekend will be held on Friday the 6th to
the conference also includes Monart Glass, Vasart Sunday the 8th of May, 2005. The programme starts
Glass, Strathearn Glass and other types, details of on Friday afternoon with visits to Baillie Scott's Arts
which are available from the sources given below. & Crafts House on Windermere, St Martin's, Bowness
(medieval glass), and Jesus' Church, Troutbeck
The purpose of the conference is to give collectors (Burne-Jones 1867). On Saturday, guide and expert
and researchers a forum for sharing the latest Peter Cormack will lead visits to Wreay, Lanercost,
information and to exchange experiences. Speakers Brampton, Dacre and Greystoke, concentrating
will include Ian Turner (researcher, author), Peter mainly on 19th and 20th century glass. On Sunday
Holmes (Scottish glass master), Kevin Holt Penny Hegbin-Barnes will be the guide to Cartmell
(paperweight researcher), and others yet to be Priory and Cartmell Fell to see medieval glass. Site
confirmed. notes for all locations will be provided plus
introductory lectures and onsite presentations.
An information-only website, www.ysartglass.com,
created by Frank Andrews, one of the authors of the There are two optional packages:
definitive book on Ysart Glass, 1990, based on his Residential: £265 (£240 for Friends of The Stained
research and augmented by images and additional Glass Museum)
research provided by dozens of collectors world-wide, Non-residential: £165 (£140 for Friends of The
is to be donated to the Perth Museum & Art Gallery at Stained Glass Museum)
the conference. A fund, with a minimum target of (Full payment by 1st March 2005)
£5000, is being established to provide for the
maintenance of this site by the museum for posterity. The Museum is offering four subsidised places to
Surplus income will be used to fund future research or students, trainee conservators or those occupied in
purchases for the Museum's permanent collection. All full-time research. Please apply with a supporting
donations are welcomed and any businesses or letter from your institution to the Curator before 1st
individuals wishing to contribute should contact the March 2005.
conference organisers.
For information about the visit or the Friends, please
Registration form is on-line at: contact:
http://www.slistress.demon.nl/Perth2005_2.htm
The Stained Glass Museum
Fund appeal is at: The South Triforium
http://www.slistress.demon.nl/Support.htm Ely Cathedral, Ely
Cambridgeshire CB7 4DL
For more information please contact either Frank Tel: 01353 660347
Andrews or Alice MacLennan: Email: [email protected]
or: [email protected]
Frank Andrews - Conference Organiser,
Leidsekruisstraat 60, 1017RJ Amsterdam NL. An application form may be downloaded from:
Telephone: +31 20 412 4722. www.stainedglassmuseum.com
Email: [email protected]

Glass News February 2005 5

Study Day Review

New light on old glass: collections, analysis and archaeology

On Thursday 25th November 2004, the Association for The afternoon session began with Caroline Jackson,
the History of Glass and the Wallace Collection held who provided a clear introduction to the complicated
a Study Day to coincide with the AGM of the and fascinating topic of Roman glass production.
Association for the History of Glass. The venue was Caroline described the results of her work analysing
the sumptuous surroundings of the Wallace colourless Roman glass, with particular emphasis on
Collection, at Manchester Square, London W1. the levels of decolourisers present (antimony and
The day was divided into two halves, with the manganese). The way in which the work can shed
morning session devoted to glass collections and the light on the organisation and scale of glass production
afternoon session to archaeology and analyses. was demonstrated and prompted a very useful
discussion of the archaeological evidence for glass
The presentations began with a timely introduction to production in the Roman, and later, periods.
the glass in the Wallace Collection. Suzanne Higgott
described the history of the collection and guided us Ian Freestone continued this theme by discussing the
through the many sources of provenance information composition of Anglo-Saxon glass. He demonstrated
for the glass, including receipts, paintings and the similarities between 4th-5th century Romano-
photographs. As a result we learned, not only about British glass and Anglo-Saxon glass of the 5th-6th
the collection, but also the collectors and the world in century. He discussed several possible explanations
which they lived. Juanita Navarro completed this for the introduction of a different glass type,
joint presentation by describing her conservation containing a plant ash component, in the mid-6th
work on the collection, with a fascinating description century, including a wonderful theory involving
of how the assessment and treatment of the glass is climate change.
recorded. Her discovery of one item, that was
revealed to be a cleverly assembled hybrid of two Finally the recent work by Jean Farrelly, Caimin
incomplete objects, also triggered an animated O’Brien and Sarah Paynter, on the glass working
discussion of the extent to which glass objects should evidence from a surviving wood-fired 17th century
be restored. glasshouse in Shinrone, Ireland, was presented. The
presentation included photographs showing the
Aileen Dawson described the acquisitions of 16th-18th amazing survival of the furnace superstructure, and
century European glass in the British Museum since estimates of the temperatures required for glass
1980. The objects were presented in their social, production, which led to a very useful debate of how
political and technological contexts, again providing a the furnace would have operated and attained the
glimpse of the important issues of this period. necessary temperatures.
Another interesting discussion followed, ranging from
the possible origins of “sugar not made by slaves” to The meeting was particularly notable for the level of
the policies, benefits and problems concerned with the discussion following each of the talks and the way in
acquisition and display of objects by museums. which each speaker presented the glass, whether an
object or an analysis, in its context. The day was well
Martine Newby provided us with an overview of attended and enjoyed by the participants, who
Venetian and façon de Venise glass in the Ashmolean extended well-deserved thanks to Suzanne Higgot of
Museum, where particular feats of craftsmanship were the Wallace Collection and Martine Newby, the
illustrated for each vessel. Martine also raised the meeting secretary, for organising and running the
issue of how to establish the provenance of objects if event. In addition the authors have kindly provided
in doubt, and the scientific methods that may be abstracts, which follow.
employed in future for this purpose.
Sarah Paynter

Glass News February 2005 6

ABSTRACTS: suspicion that the cup and stem sections originally
belonged to different objects.
GLASS IN THE WALLACE COLLECTION
Part 1: Suzanne Higgott (Curator of Glass, Limoges A stable relative humidity, of particular importance to
painted Enamels and Earthenwares at the Wallace the unstable glass, is maintained in the display case by
Collection) the use of a hygrometer and conditioned silica gel
granules.
The glass, comprising just over 60 pieces, was
discussed in Glass News, 16, November 2004, pp.10- ACQUISITIONS OF 16TH-18TH CENTURY EUROPEAN
11. The paper summarised here described the unusual GLASS IN THE BRITISH MUSEUM 1980-2004
extent to which provenance information survives for Aileen Dawson (Department of Prehistory and
this glass. The Wallace Collection archive provides Europe, British Museum)
several sources of information. The earliest is a note
dated 1784. Much information comes from the Additions to the British Museum collection of post-
dealers’ receipts given to the comte de Nieuwerkerke Renaissance glass fill gaps in the history of European
in Paris, where, during the latter 1860s, he built up the glassmaking, or may have a political, social or
extensive art collection acquired by Sir Richard technological significance. A handsome English
Wallace in 1871. Pieces from Nieuwerkerke’s goblet, diamond-point engraved with a portrait of
collection were reproduced in books, and the Queen Anne (d. 1714) and inscribed ‘Memento Anna
provenance of four glasses can be identified from one Regina’, signed on the foot ‘Felix Foster fecit 1718’
such source. He commissioned paintings of his may be of Jacobite significance as it commemorates
collection - the mosque lamp in the Wallace the last of the Stuart monarchs. It was purchased in
Collection appears in three of these. 2002 through the National Art Collections Fund and
the British Museum Friends, under the Acceptance in
Wallace’s display of the glass in Hertford House (now Lieu scheme. A blue cut glass helmet-shaped jug
the Wallace Collection) is recorded in photographs made c. 1765, probably cut in the London workshop
taken c. 1888 – the mosque lamp was in his Oriental of Thomas Betts demonstrates a particularly British
armoury, while other pieces were crowded together in type of cutting with broad flat strokes. It was
his Modern Gallery and Study. Glass is represented, purchased in 2001.
too, in the painting of works of art from Wallace’s
collection that Blaise Desgoffe completed in 1880. Through the National Art Collections Fund the
The glass is listed in the Hertford House inventory Museum received from Marguerite Sternberg in 1992
taken after Wallace’s death in 1890. a flute glass wheel-engraved with the initials AR for
Augustus the Strong, Elector of Saxony and King of
Part 2: Juanita Navarro (Ceramics, glass and enamels Poland. This Saxon Court glass dates from c. 1730.
conservator) Two Russian glasses, an enamelled vodka flask
(schtof) dated 18 April 1752 and a milk-glass feeder
The glass in the Wallace Collection was surveyed in of c. 1780-1800 finely painted with a landscape scene
1999. The survey form designed for the glass were acquired in 1994. A blue glass sugar bowl
followed the outline of one already in use for purchased in 2002, perhaps made in Bristol and
furniture. One of the aims of the glass survey was to inscribed in gold ‘East India Sugar not made by
indicate how many objects were chemically unstable, Slaves’, documents the struggle to abolish slavery.
whilst its most immediate use was to prioritise
conservation treatments. The relevant information Two French drinking glasses have been purchased.
was noted in the section 'Conservation Priority', based One, acquired in 1997, is bluish in colour with an
on a scale of one to ten, to indicate the urgency of the inverted mushroom knop and was made in the
conservation treatments required. Bordeaux area c. 1630-50. The other, a greenish glass
purchased in 2004 with the support of the British
All the glass was cleaned following major building Museum Friends and the National Art Collections
work, in preparation for the Wallace Collection's Fund, is in Venetian style with vetro a fili and vetro a
centennial celebrations, and the most urgent retorti decoration to the generously-sized bowl.
conservation treatments were carried out as soon as Attributed to France, it was possibly made by
budgets allowed. Information gained during immigrant Italians c. 1600.
conservation of a wine glass corroborated the

Glass News February 2005 7

VENETIAN GLASS IN THE ASHMOLEAN MUSEUM these workshops flourished. The project will look at
AND RECENT PROBLEMS IN THE ATTRIBUTION OF glass both scientifically and art historically;
GILT AND ENAMELLED RENAISSANCE GLASS examining fragments from excavations and surviving
Martine Newby pieces from both public and private collections.

This paper gave a brief description of four Venetian A further notice about this research project will
glasses with gilt and enamelled decoration in the appear in a future edition of Glass News with more
Ashmolean Museum, purportedly dating from the end details about the aims of the project and proposed
of the 15th to early 16th century. They comprised methods of investigation. In the meantime anyone
three pieces from the collection of Charles Drury interested in receiving more details can contact me at
Edward Fortnum (1820-99): a footed jug (now [email protected].
missing its handle) with foliate decoration, a
diamond-moulded salver with a band of enamelled NEW WORK ON ROMANO-BRITISH COLOURLESS
dots or ‘jewels’ over gold-leaf around the rim and a
wineglass similarly decorated with a ‘jewelled’ band GLASS
and set on a purple ribbed glass spreading foot.1 The
fourth object was a blue glass goblet decorated with Caroline Jackson
an opaque white lattice design on a background of
gold-leaf scored with intersecting circles, which is This paper discusses the compositional analysis of
currently on loan from a private collection and which Roman colourless glass from three sites in Britain.
is believed to have formerly been in the collection of The findings suggest two broad compositional groups
Baron Alphonse de Rothschild (1827-1905). can be identified based upon the choice of the initial
raw materials selected for glass production, in
In the past few years, however, doubt has been cast as particular the sand.
to the authenticity of many pieces of Venetian gilt and
enamelled glass, and especially those made of The largest of these groups is inherently different
coloured cristallo. As has been proven for from the naturally coloured, blue-green glasses of the
Renaissance jewels, it is believed that many were same period, and it is suggested this is made of pure
made from the mid-19th century to deceive sands specifically selected for colourless glass
exceptionally wealthy collectors like the Rothschilds.2 production. The majority of these glasses are
The problem of identification has become so difficult decolourised using antimony.
and confusing that unless an object has a proven
provenance, like the Weoley Cup belonging to the The second group of colourless glasses is
Worshipful Company of Founders in London that has compositionally similar to the naturally coloured
a replacement silver-gilt foot with London hallmarks blue-green glasses of the period, which suggests pure
for 1547, many pieces, especially those recently sands were not used in manufacture. These glasses are
appearing at auction, have been assigned 19th-century decolourised using manganese, antimony or a mixture
dates.3 of both.

With this in mind, a research project is currently in These two groups of colourless glass are explored in
the process of being set up with the aim of light of the current theories concerning the
determining the criteria by which it might be possible organisation of glass production in the Roman world.
to identify the different workshops that produced and
decorated these glasses and the period/s in which CONTINUITY AND CHANGE IN THE COMPOSITION
OF ANGLO-SAXON GLASS
1 Inv. nos 1888.CDEF.G86, G84 and G41 respectively; cf. Ian Freestone (Cardiff University)
also Martine S. Newby, Glass of Four Millennia (Oxford
2000), pp. 44-5, no. 33 for the first piece. 4th-5th century Romano-British glass is commonly of
2 Cf. ‘19th century “Renaissance” works of art: A question the type known as HIMT, where there are strong
of supply and demand’ in Christie’s, The Collection of The correlations between iron, manganese, magnesium,
Late Baroness Batsheva de Rothschild, London, 14 titanium and aluminium oxides as well as a range of
December 2000, pp. 102-106. isotopes and trace elements. This appears to be the
3 Cf. Christie’s, An Important Collection of Venetian and result of the mixing of two glasses, a strongly-
Façon de Venise Glass, London, 28 March 2000, lot 39 and coloured, “poor quality” glass with high iron and
compare with Christie’s, 14 December 2000, lots 32 and manganese and a weakly coloured low-iron glass.
34. Elsewhere it has been argued that HIMT glass
originated in Egypt.
Glass News February 2005
8

The claw and cone beakers of the 5th-6th centuries are Two seasons of excavation were carried out at
of a similar but distinct glass, which can be closely Shinrone, and samples of glass working waste
paralleled in France and is therefore likely to be recovered were analysed together with glass working
another widely traded type. It has trace element waste from the Glaster furnace site. The glass
characteristics similar to the glasses of the eastern produced at each site was fairly uniform in
Mediterranean. It also shows linear correlations composition, despite the probable heterogeneity of the
between iron, alumina and manganese and therefore is raw materials used (plant ashes and sand). However
the result of an HIMT-type technology. there were subtle compositional differences between
the Glaster and Shinrone glasses, allowing them to be
From the middle of the 6th century, a new glass type differentiated. By matching the composition of glass
appears with elevated potash, magnesia and working waste from Shinrone with fragments of
phosphate, indicating that it contains a plant ash products from the site, it was evident that both
component. These components are strongly window glass and vessels were being produced there.
correlated, again suggesting glass mixing, but this The glass produced at both Shinrone and Glaster was
time of a natron and a plant ash glass. The trace of a type often referred to as high-lime, low-alkali.
element composition appears similar to that of the This type of glass was also produced in England from
preceding period suggesting a source for the primary the latter part of the 16th century using technology
glass in the same region. introduced by French glass-making families, amongst
them the Bigos and Henseys.
Several possible reasons for the precocious
introduction of plant ash were considered, including Figure 1: Plan and section of the Shinrone glasshouse
the idea that the world-wide cold event c. 550 AD
might have restricted the precipitation of natron in the 9
evaporitic lakes of Egypt. On balance, however, it
would seem more probable that we are witnessing a
continuity of practice where a limited supply of high
quality glass (natron-based, low iron) is adulterated
with poor quality glass (high iron or plant ash based)
in order to stretch the supply.

EXCAVATION AND ANALYSIS OF A 17TH CENTURY
GLASS FURNACE AT SHINRONE, CO. OFFALY,
IRELAND
Sarah Paynter (English Heritage), Caimin O’Brien
and Jean Farrelly

An early 17th century, wood-fired glasshouse survives
at Shinrone, County Offaly, Ireland. The Bigo and
Hensey glassmaking families held land in Offaly
during this period. It is thought that the Henseys were
probably associated with Shinrone and that the Bigos
produced glass nearby at the Glaster furnace, in
Lusmagh. The Shinrone furnace was built from
sandstone and comprised two sieges, one on either
side of the fire trench, on each of which would have
stood two ceramic pots holding the glass. Each end of
the fire trench finished with an arch, from which the
superstructure had been constructed (figure 1). The
side walls, now missing, were probably constructed of
brick. Although there was no chimney, there were
five holes high in the surviving walls of the furnace.
The inner surface of the furnace was covered with a
blue glaze, formed by the reaction of vapour and
ashes from the wood fuel with the sandstone.

Glass News February 2005

Corning Museum Workshops at The Studio

Exhibits and archives Also at the Corning Museum of Glass, registration is
open for Spring courses at the Studio, including ten-
Tiffany and Lalique Archives week courses as well as weekend, one-day and family
workshops. Visit the website: www.cmog.org, or
The Juliette K. and Leonard S. Rakow Research phone (607) 974-6467, for details.
Library of The Corning Museum of Glass have
acquired two collections of archival materials. In “The Italian Influence in Contemporary
2004 the Museum purchased material belonging to Glass”
Arthur J. and Leslie H. Nash, relating to their work as
master glassmakers for Tiffany Studios in Corona, This exhibit originally appeared in 2004 at The
NY, in the early 1900s. Arthur Nash developed the Corning Museum of Glass in Corning, New York, as
unique recipe for Tiffany’s signature Favrile glass. a companion to the Museum’s “Beyond Venice”
The collection includes notebooks and journals exhibition of historical European glass (see GN issue
containing the recipe, which was never shared with ?). “The Italian Influence in Contemporary Glass” is
anyone, including Louis Comfort Tiffany now running February 11 – July 30, 2005, at the
himself. The recipe is in code, and among the Corning Gallery at Steuben in New York City. The
documents is Nash’s “key” to the code, plus letters Gallery at Steuben is located at 667 Madison Avenue
and handwritten notes that provide insight into the and is open 10:00 a.m. to 6:00 p.m., Monday –
complex relationship of the Nashes with Louis
Comfort Tiffany. Saturday.

The Museum also purchased a large archive of The exhibit showcases the wide range of influence of
Lalique materials, including a portion of the private Venetian-style glassmaking techniques on today's
archives of Mary Lou and Glenn Utt, two of the artists working in glass. Early, as well as recent,
world’s leading collectors of Lalique glass and related works by Studio Glass pioneers such as Dale Chihuly,
documents, and authors of the book, “Lalique Richard Marquis, Marvin Lipofsky and Benjamin
Perfume Bottles.” Among the collection are hundreds Moore are presented. Characteristics of the Venetian
of photographs, many unpublished, and documentary style include the preference for blown, classically
material relating to the history of Lalique’s famous proportioned forms and bright colors, the use of soda-
designs for the fragrance industry. lime glass, and a flawless technique that may, or may
not, involve complex internal or applied decoration.
Microfilms of the Nash collection will be available to
the public beginning in January, 2005, either at The THE ASSOCIATION FOR THE
Rakow Library or through interlibrary loan (contact HISTORY OF GLASS
[email protected]). Parts of the Utt archive may be
viewed on-site by appointment. Call (607) 974-8649 Board of Management
or e-mail [email protected] for more details. The
Rakow Research Library of The Corning Museum of President: Ian Freestone
Glass holds more than 300,000 printed items relating Hon Secretary: Justine Bayley
to the art, history, craft and technology of glass and Hon Treasurer: David Crossley
arly glassmaking and is open to the public, 9am to
5pm weekdays. Visitors may also access the library’s Members of Board
online public access catalogue (OPAC) at
http://rakow.cmog.org to search the library’s record of Patricia Baker Sarah Jennings
holdings and find citations to glass-related periodical Colin Brain David Martlew
articles. John Clark Juanita Navarro
Sandra Davison Martine Newby
Aileen Dawson
Charles Hajdamach Julia Poole
Suzanne Higgott Jennifer Price
Caroline Jackson Rachel Russell

Glass News February 2005 10

Contemporary Glass:

The new gallery at the V&A

It is ten years since the V&A opened the ‘new’ Glass The popularity of film within the gallery has been
Gallery. Nine tenths of its displays are of historic thoroughly proved but, rather than run it continuously,
glass and, although new acquisitions have been made it is likely that a planned programme may be installed.
in that area, these have been infrequent, few and Use of the gallery will change as the makers’ needs,
relatively easy to squeeze into the already dense and educational and information technology evolves.
arrangement. The Gallery is designated for study,
ensuring that as much as possible is on show to the Figure 1: Reticello Leaf, Dante Marioni: USA; 2001
visitor, leaving only a rump of the collection in store (Museum No. C.156-2003). Victoria & Albert
and accessible only by appointment. Museum / V&A Images.
Visitors to the V&A earlier in the year will have seen
The one area that suffered increasingly for lack of the then ad hoc display to which new names and new
space over the intervening years was contemporary works were added as they arrived. From abroad, and
glass. In those ten years acquisitions of new work by in the last two years alone the V&A has acquired
established and rising artist-makers, both British and works by Vaclav Cigler, Deborah Cocks, Ben Edols
from abroad, were made more or less steadily. This and Kathy Elliott, Erwin Eisch (shamefully not in the
glass has been shown in rotation, but in the last few Museum earlier), Vincent van Ginneke, Mieke Groot,,
years a change of pace and style has been generated
firstly by the creeping colonisation of the smaller
gallery next door for the display of ceramics and
glass, and then by the decision that that gallery should
be given over solely to contemporary glass and that
sponsorship should be sought to give it a complete
makeover. The other major impetus has been the
interest of American and Australians in the world’s
foremost decorative arts museum, and one of the
world’s most significant historic glass collections –
and the prestige of being associated with it.
Donations in the last two or three years have been
almost unbelievably impressive, some negotiated as
gifts directly from the makers, but equally often from
gallery owners or established patrons.

Now, the gallery has been significantly altered. The
space retains some family relationship with the larger
gallery next door. The designer has been the same for
both; the colours and case exteriors are similar; the
case manufacturer is the same and the finish is of
identical quality. Beyond that there is a world of
difference. The space was enlarged by extending
beneath the marble staircase which leads up to the
ceramics galleries. An entirely new and flexible
lighting system was installed. The enormous window
which must remain screened against uv, now has an
additional optional pull-down blind for the showing of
DVD or computer-driven images. The free-standing
case floors are dark – although it will be possible to
change this to light for future displays. The cases are
much larger than before and there are plinths for the
open display of larger objects.

Glass News February 2005 11

Tony Hanning, Menno Jonker, Antoine Leperlier, The book of the collection was available from the
Dante Marioni (figure 1), Richard Marquis, Richard beginning of October (Jennifer Hawkins Opie:
Meitner (two new major pieces to add to the two Contemporary International Glass: 60 artists in the
already in the Museum), Klaus Moje, William Morris, V&A, VAM, 2004, see details in Glass News 16),
Stepan Pala, Zora Palova, Danny Perkins, Kirstie Rea, illustrates the work over the last ten years of sixty
Laura Diaz de Santillana, Judith Schaechter, Per B artists and lists the rest. Since the printers’ deadlines a
Sundberg, Lino Tagliapietra, Yoshihiko Takahashi – few, even newer, works have been acquired.
and to represent the exciting developments in glass
technology, designed works incorporating neon and Figure 3: Conjoin, Colin Rennie: Britain, 2002
LED advanced lighting by Paul Cocksedge and Ingo (Museum No. C.47: 1, 2-2002). Victoria & Albert
Maurer. Apart from Meitner, these artists are all new Museum / V&A Images.
to the V&A and cannot be seen anywhere else in a
public collection in the UK in such profusion. There remains the future. As soon as any gallery
opens there is always healthy debate and criticism
Much of the concentrated effort over this most recent about who is in, who is not and who ought to be. All
period has been to inject a wider, more international curators welcome views; no curator can act in a
aspect into the collections but alongside this stellar vacuum, nor can any curator know it all. Of course
group from abroad are our own stars. New work has the V&A’s collecting, like that of every museum in
been acquired by Jane Bruce, Gillies-Jones, Laura the world, depends increasingly on the generosity of
Heyworth, Max Jacquard, Angela Jarman (figure 2) others. Funds are in ever shorter supply and all
(directly forecasting her highly-acclaimed Jerwood curators have to become more and more agile in
shortlist submission), Gayle Mathias (at last in the securing them. The V&A is a world-leading
Museum, and marking her move to head the glass international museum. It is vital that the international
course at Falmouth College of Arts), Carl Nordbruch, component of its collections is maintained. It is also
Colin Rennie (figure 3), Naoko Sato and Koichiro the national museum and it is equally vital that British
Yamamoto (now returned to Japan). Naturally long- art and design be properly and generously
established British makers already in the collections, represented. That is the real challenge for the future.
from Tessa Clegg to Rachael Woodman are also there Jennifer Hawkins Opie
in force with recent work. December 2004

Figure 2: Evolution 1, Angela Jarman: Britain; 2002
(Museum No. C.1:1, 2-2003). Victoria & Albert
Museum / V&A Images.

Glass News February 2005 12

DAVID GROSE SPAB Cornerstone Article

1945-2004 Historic Window Glass

David (Dai) Grose, Professor of Classical SPAB [the Society for the Protection of Ancient
Archaeology in the Department of Classics in the Buildings], in the current issue of its
University of Massachusetts at Amherst, and formerly magazine Cornerstone [25/4, 2004], has a substantial
Curator of Glass in the Museum of Art at Toledo, section [pp 29-59] on historic window glass, entitled
Ohio, who died in Cambridge Massachusetts on 13th 'Glass: the craft of colour and light'. It is part-funded
October 2004 at the age of 59, was an internationally by a grant from the UK’s Institute for Conservation.
renowned scholar in the field of ancient glass. Over SPAB publications office will be pleased to send a
more than 30 years, his studies of glass in museums copy of 25/4 to any AHG subscriber who requests
and private collections and from excavations one. Anyone from outside the UK should offer to pay
(principally in Italy, Sicily, Greece, Turkey, Cyprus, postage when contacting SPAB.
Israel and elsewhere in the Mediterranean, but
occasionally also in Britain) resulted in a large body Please contact:
of published work.
37, Spital Square,
The most widely known and celebrated of these is the London E1 6DY.
groundbreaking monograph cataloguing the holdings Tel: 0207 377 1644.
of glass before the invention of glassblowing in the Email: [email protected].
Museum of Art at Toledo, Ohio [Early Ancient Glass:
Core-formed, Rod-formed and Cast vessels and Among the articles in this valuable compendium are:
objects from the Late Bronze Age to the Early Roman
Empire, 1600BC to AD50 (New York, Henry Hudson, • Heaven's light: an 800-year adventure story in
1989)], but he also contributed to edited volumes and pictures.
to the Annales and Bulletins of the Association
Internationale pour l’Histore du Verre, the Journal of • All the glass ..... - the background to Corpus
Glass Studies and other journals. Vitrearum Medii Aevi.

In particular, he made a huge contribution to the • Spectacular memorial, miraculous survival - the
recognition and interpretation of the later Hellenistic work of the York Glaziers Trust .
and early Roman glass industries and his work is
indispensable for the study of developments in this • Glass - mastering the materials [particularly
crucially important period of glass history. colourants].

He was always generous with his time and his • Ely Stained Glass Museum - introduction by Susan
knowledge, and regularly shared ideas and Matthews.
information with a wide circle of colleagues and
friends in the Americas, Europe and Asia. The world • The ancient glass that inspired William Morris.
of ancient glass will miss him greatly. • Medieval stained glass at Ockwells Manor.
• Historic plain glass.
Jennifer Price: January 2005 • Keeping it right: needless destruction of fine

window glass.
• Caring for fragile glass.
• Conservators: the work of Derek Hunt and

Stephen Clare.
• Commissioning new work.

David Crossley

Glass News February 2005 13

Book Reviews

Ricette Vetrarie del Rinascimento – Cesare Moretti, member of a Venetian glass making
Trascrizione da un Manoscritto family and for many years himself technical director
Anonimo Veneziano of a glass house, will need no introduction to
attendees of recent AIHV congresses. For many years
Cesare Moretti and Tullio Toninato he has taken a strong interest in technical aspects of
early Venetian glass making and these three books
Marsilio Editions, Venice, 2001. reflect his knowledge of this area.
125pp
ISBN 88-317-7952-4 The first book is a transcription of a Venetian
manuscript containing 105 recipes and dating to the
Price € 15. late 16th century, and thus falling between other books
Available from: http://www.marsilioeditori.it such as those of Biringuccio (1540) and Neri (1612).
There is an extensive commentary (63 pages) by the
Glossario del Vetro Veneziano dal authors and a number of useful tables and indices
Trecento al Novecento. which relate colourants and base glasses to glass
colour and cross-reference recipe numbers with
Cesare Moretti starting materials, base glasses and so on.

Marsilio Editions, Venice, 2002. The second volume is a comprehensive glossary of
125pp the specialist terms used by Venetian glassmakers in
ISBN 88-317-8030-1 their work; it comprises modern terminology and also
terms extracted from some seventy manuscripts
Price € 15. dating from the fourteenth to the twentieth centuries.
Available from: http://www.marsilioeditori.it
The final and most recent volume is a manuscript of
Gasparo Brunoro e il Manoscritto di recipes written in Danzig in 1645. These are said to
Danzica have been tested by Gasparo Brunoro, a glass maker
who fled Murano in the early seventeenth century and
Cesare Moretti, Carlo Stefano Salerno and Sabina is recorded making glass in Namur (Belgium) in 1628
Tommasi Ferroni and in the factory of Sir Robert Mansell in London
between 1637-1644. It appears that Brunero was in
Nardini Editions, Firenze, 2004. Copenhagen in 1649 and by 1653 he was in Liege,
208pp. +39 colour plates. where he is cited as a Venetian glass master in 1655.
[This is an attached volume to Bulletin 6/7 of the Thus he was one of the emigrants who contributed to
Istituto Centrale per il Restauro, Rome. It can be the spread of façon de Venise glassmaking in Europe.
purchased with the Bulletin at: In this context, it is of great interest that this book
http://www.icr.beniculturali.it/Bollettino/ records some 410 recipes of which 292 relate to glass.
bollettino.htm] These appear to have been gathered (presumably by
Brunoro) from a range of sources and the authors note
that they parallel those in other texts, from as far back
as the fifteenth century. Thus emigrant masters such
as Brunoro took with them the accumulated
knowledge of two centuries of glass making to their
new workshops.

In addition to transcriptions of the recipes the book
contains a detailed introductory discussion, colour
plates and extensive tables, for example correlating
the recipes in the manuscript with those of others such
as the Neri, Darduin and Montpelier recipes, and
correlating raw materials used with recipe numbers.

Glass News February 2005 14

R R Angerstein’s Illustrated Travel W A Bead Timeline: Volume I –
Diary 1753-1755 Prehistory to 1200 C.E.

Torsten Berg and Peter Berg (translators) Lankton, James

Science Museum, London, 2002. 95pp, 4 maps, 76 colour illustrations.
ISBN: 1900747243 The Bead Society of Greater Washington.
ISBN 0-97-25066-1-6
List price £34-95 (but good reduction from Amazon)
Price: $24-95 + $5 p&p
Inevitably a substantial portion of the diaries of this Available from: http://beadmuseumdc.org
Swedish industrial spy of the mid-nineteenth century
are concerned with the metal industries, particularly Essentially the catalogue of the permanent exhibition
those of iron and steel. However, they are not without The Bead Timeline of History at the Bead Museum in
interest for the historian of glass in that Angerstein Washington D.C., this excellent book covers beads
visited many of the major industrial centres of from all over the world up to 1200 A.D.. In addition
England and reported details all of the industries that to close ups of small groups of beads, there are good
he saw. quality photographs of the Museum’s display panels,
so that in total images of an amazing 2700 beads are
We learn, for example, that in Bristol, bottle glass was provided, with a commentary that seamlessly sets
made from sea sand, soap ash, iron slag and kelp. them in the context of major historical events and
Limestone and old bottles were also added. A page trends. Beginning in the Neolithic, the timeline does
later Angerstein reports that the soap boilers of Bristol not feature glass until the Late Bronze Age (p.38) but
mixed their potash with lime before leaching, then from there on glass beads are prominent. Well
sold the residue on to the glassmakers. Thus it appears referenced, with a good bibliography, useful maps, an
that the ash added to the glass is likely to have been index and a page on useful websites, this provides not
low in alkalis but rich in lime. These observations only an excellent introduction for the non-specialist
prompt new interpretations of the technology behind but also a good overview for anyone looking outside
the lime-rich container glass compositions of this their cultural specialism.
period and also suggest that replicating eighteenth
century glass making processes through experiment All of these books represent a major contribution to
using simple raw materials is unlikely to be our understanding of the development of early
straightforward. Drawings are provided of furnaces, modern glass technology. They are well produced,
which were fired with pit coal. A furnace was worked reasonably priced and are highly recommended.
by four teams on a weekly cycle, during which time it
produced 240 bottles, which sold for 20d per dozen. Ian Freestone
Elsewhere are comments on glass works in
Stourbridge, Bristol and South Shields.

This remarkable book provides a level of detail that it
would be difficult to come by in any other form. It is
of importance to the understanding of a large number
of industrial processes and is a good read throughout,
whatever the specific interest. It is to be hoped that
sometime in the future Angerstein’s journals of his
travels in other parts of Europe (Denmark, Germany,
Carinthia, Hungary, Italy, France, Spain, Portugal and
Holland) will appear in a similar form.

Glass News February 2005 15

Finds • Research • Ideas
Publications • Conferences

REMEMBER

Glass News

Please send your contributions to Glass News No.18 by 17th June 2005 to:

Dr 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]

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Signed ______________________________________ Date _________________________________

Glass News February 2005 16

Glass The study day is £12 for AHG members and £18 for
News non-members. Cheques should be made payable to
“The Association for the History of Glass Ltd.” Please
Number 18 July 2005 book and send cheques to: Meetings Secretary
Martine Newby.
Published by E-mail: [email protected]

THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED Programme for Glass in Cambridge Museums
10.00 The Fitzwilliam Museum opens
Reg’d Charity: 275236 ISSN 1362-5195 10.30 Registration and coffee, in the courtyard
10.50 Move to Lecture Room, in the basement
www.historyofglass.org.uk 11.00 Julia Poole “Post medieval glass in the

Many thanks to the numerous contributors to this Fitzwilliam”
issue – so numerous that this preamble has to be 11.30 James Lin “Chinese glass in the Fitzwilliam”
short! As well as articles by the Roman Glassmakers, 12.00 Sandra Davidson “Glass in the Westminster
Andrew Smith, Bjarne Gaut and Kathryn Walker
Tubb we have packed in meeting and book reviews, Retable, recently conserved by the Hamilton
abstracts from speakers at the recent AHG meeting Kerr Institute, Whittlesford”
and details of a number of forthcoming events.
David Crossley is shortly retiring as Treasurer for 12.30 AGM for AHG members only. Please note
AHG and, after 9 years in the post, this is certainly the
end of an era. We would like to thank David for all attendance at the AGM is free and open to all
his work on behalf of AHG over this considerable
period. We also welcome David Martlew as the new AHG members.
webmaster for the AHG website. He has already been
very busy, and some of the features that he has Lunch break (lunch is not provided)
introduced are detailed on the back page, together
with the editors’ details for contributors to issue 19. In the afternoon participants divide into three groups
As always, we look forward to hearing from you. for visits to galleries and study rooms:
2.15 Group 1: Glass in the Department of
Sarah and Juanita.
Antiquities - Lucilla Burn
AHG AGM and Study Day: 2.15 Group 2: Glass in the Department of Applied

Glass in Cambridge Museums Art - Julia Poole
2.15 Group 3. Walk to Downing Street.
The Annual General Meeting of the Association for 2.30 Group 3. Glass in the Museum of
the History of Glass Ltd. will be held at the
Fitzwilliam Museum, Cambridge, on Tuesday 15th Archaeology & Anthropology - Anne Taylor
November at 12.30pm. It will be combined with a 3.45 Close
Study Day on glass in the Fitzwilliam Museum and
the Museum of Archaeology and Anthropology in IN THIS ISSUE
Downing Street. Numbers for the study day are
restricted to 50 and groups visiting the collections in Page 1 AHG AGM and study day: Glass in
the Fitzwilliam are limited to 15. Please state your 1st Cambridge Museums
and 2nd preference for the afternoon session when
booking as places will be assigned on a first come, Page 2 Call for papers: AIHV congress 2006;
first served basis. AHG spring study day on medieval glass
Forthcoming conferences: SGT
Glass News July 2005
Page 3 Forthcoming conferences / colloquiums: Glass
art - science and conservation; History of the
production of glass and jewellery in Bohemia;
Verre et Fênetre
Exhibition: Gardens of Glass

Page 4 Exhibitions: Archaeology Beneath the Streets;
Karl Amendt Collection
Review: AHG study day: Glass & lighting

Page 7 Review: Roman glass in Germania Inferior
Page 8 Roman Furnace Project
Page 9 The Ely Stained Glass Museum Library
Page 10 Nailsea Glassworks; An enquiry

Early Carolingian pseudo-cameo glass
brooches
Page 12 Illicit Trade in Antiquities
Page 14 Gerald Hugh Tait
Page 15+ Books, website and editors’ details

1

AIHV Congress 2006 Programme on the 10th September
9.30 Registration and Refreshments
Call for papers 9.30 Registration & Refreshments
10.20 SGT President welcomes delegates
3rd to 10th September 2006
Antwerp, Belgium Session 1: Early Industrial Glassmaking in Britain
10.30 The English Glasshouse - speaker to be
More information on this 17th Congress of the
Association Internationale pour l'Histoire du Verre announced
(AIHV) will follow in future issues. However details 11.00 Percival Vickers glassworks archaeology -
of the congress are now being added to the website at:
http://www.aihv17.ua.ac.be, including a call for Ian Miller
papers and details of the accommodation and 11.30 Some reflections on furnace operation -
impressive venue. The official languages of the
conference will be English, French and German. David Martlew
There is a form for potential contributors that can be 12.00 Lunch and poster session
downloaded from the website and should be
submitted by the 30th October, 2005, by post or e-mail Session 2: The flowering of English glass
to the conference secretariat: L. Van't Dack 1.30 Lead Crystal Glass - Colin Brain
Department of Chemistry, University of Antwerp 2.00 Glass engraving and cameo work - Roger
Universiteitsplein 1, B-2610 Antwerp, BELGIUM
Tel./Fax: +32-3-820.23.43 Dodsworth
E-mail: [email protected] 2.30 The Science of Beauty: how light and glass

Annual Conference of the interact - John Parker, SGT
Society of Glass Technology 3.00 Refreshments and poster session

Glass: Past, Present and Future Session 3: Sheffield: Early modern glassmaking to

7th to 10th September 2005 21st century innovation
University of Sheffield 3.30 Milestones in Glass Engineering - Michael

Also featured in the last Issue of Glass News was the Cable
SGT's Annual Conference "Glass: Past, Present and 4.00 Sheffield: the first University of the Glass
Future”. The conference covers several days
beginning with the New Researchers’ Forum on the Industry - Helen Mathers
7th and scientific and industrial programmes on the 8th 4.30 Tomorrow’s History: Vitrification of
with the industrial programme continuing on the 9th.
Also on the 9th are a series of sessions celebrating the Harmful Waste - Russell Hand
work of Professors M Cable and H Schaeffer. Special 5.00 Closure
events marking the Centenary of Sheffield University
will also take place. The History and Heritage Registration fees: Before After
programme, on the 10th, has the theme “Glassmaking Aug.17th Aug. 17th
in England”. Only the programme on the 10th is given Full Conference (members)
below but lectures on other days may also be of Full conference (non-members) £200 £220
interest to Glass News readers. The other programmes £240 £260
plus abstracts are available on the Society's website: Student / retired £90 £100
www.sgt.org and further details can be found on the One day registration £120 £140
AHG's website (see back page). Details of meals, History and Heritage only (10th) £30 £35
including the conference dinner, and accommodation
are also available from the website. AHG Spring Study Day:

Glass News July 2005 Medieval Glass

Call for papers and contributions

The AHG is currently preparing a Spring Study Day,
which will take place at the Wallace Collection in
central London on 5th March 2006. The theme will be
Medieval Glass: early 12th to 16th centuries. If you
would like to submit a paper for presentation or a
brief contribution based on current work, please
contact: Professor Ian Freestone,
School of History and Archaeology
Cardiff University, PO Box 99, Cardiff CF10 3XU

2

International Conference 4th International Conference

Glass art - science and conservation The history of the production of
glass and jewellery in Bohemia
19th-21st September 2005
Universidade Nova de Lisboa, Lisbon, Portugal 18th to 20th October 2005
Noby Bor and Jablonec nad Nisou, Czech Republic
This international conference is devoted to the
applications of science to glass art and the Conference languages will be German and Czech and
conservation of glass artefacts and is being organized the conference is being organised by:
by the Departamento de Conservação e Restauro and - Tschechische Glasgesellschaft, Sektion
the research unit Vidro e Cerâmica para as Artes of Glasgeschichte
the Universidade Nova de Lisboa, and Instituto - Tschechische archäologische Geselleschaft
Tecnológico e Nuclear. The first two days will be Fachgruppe für die Glasgeschichte
entirely devoted to communications in both fields and - Museum für Glass und Bijouterie in Jablonec nad
the third day will be reserved for visits to the glass Nisou
collections in Lisbon Museums. The conference will
be hosted by the Conservation and Restoration Preliminary programme:
Department and the Research Unit "Glass and Day 1- at Novy Bor
Ceramics for Art”, at the Faculty of Science and Opening of the conference and papers on Technology
Technology (FCT) of Universidade Nova de Lisboa at Evening: Presentation of the new book on Bohemian
the campus located on the Tagus River bank crossing glass history
Lisbon, 3 km from the beaches of Costa da Caparica. Day 2 - journey to Jablonec nad Nisou
Visit to a glass furnace
For more information, please contact: Evening: visit to the Museum für Glass und Bijouterie
Mrs Ana Maria Alonso Martins in Jablonec nad Nisou
Departamento de Conservação e Restauro, Panel discussion and poster presentation
Faculdade de Ciências e Tecnologia, Day 3 - Jablonec nad Nisou
Universidade Nova de Lisboa, Monte de Caparica Papers on archaeology and history
2829-516 Caparica, Portugal Closing of the conference
Tel/Fax: 351 212948322. E-mail: [email protected]
Please address your questions to: The Secretary
Exhibition at Kew Gardens AGENTURA CAROLONA spol sr o
Katerina Netikova, Albertov 7/3 P O Box 45
Gardens of Glass: Chihuly at Kew 128 01 Praha 2
Tel +420 224 990 824. Fax +420 224 918 681
28th May 2005 to 15th January 2006 e-mail: [email protected]

This major exhibition of glass by Dale Chihuly, International Colloquium
currently at Kew Gardens, features glass placed
around Kew's 132 hectares of historical landscaped 'Verre et Fênetre'
gardens and in the greenhouses. The exhibition "will
organically evolve for the viewer with the changing 13th to 15th October 2005
seasons and the lengthening and shortening of the La Défense and Château de Versailles, Paris
days throughout the year until the exhibition's close in
early 2006." Kew was made a UNESCO World It is difficult to imagine private or public buildings
Heritage Site in 2003. See the website at: without glass windows. This colloquium explores the
http://www.rbgkew.org.uk/chihuly period leading to glass becoming an integral part of
(To view images of many of the objects on display at architecture. There will be sections on antiquity, the
Kew open the 'Image Gallery' and select ‘Sections’.) middle ages and modern era and many international
speakers, including presentations and posters from our
Entrance to the gardens: £10, concessions: £7, 16 year very own Jennifer Price, Rosemary Cramp, John
olds and under: free. Shepherd, David Crossley and Justine Bayley.

Glass News July 2005 3

The cost is 60 Euros, or 30 Euros for students. Other Haggrén on medieval vessel glass from Finland, Dr
details, programme and full list of presentations and Heikki Matiskainen on medieval glass kilns in Europe
speakers may be found in the AHG website: and Dr Helmut Ricke, on the Karl Amendt collection.
www.historyofglass.org.uk
Or from: Although the information on the seminar arrived too
Sophie Lagabrielle, Musée National de Moyen Age, 6 late for inclusion in the last issue of Glass News, the
Place Painlevé, 75005 Paris. exhibition of the Karl Amendt collection at the
E-mail: [email protected] Finnish Glass Museum is continuing until August. A
new and much larger edition of the catalogue of the
State Exhibition Karl Amendt collection has also been published by
Museum Kunst Palast, Glasmuseum Hentrich,
Archaeology beneath the Streets Düsseldorf. Glas des Mittelalters und der
Renaissance, 2005 (Glass of the Middle Ages and the
(Archäeologie unter dem Straβenpflaster) Renaissance), is available for 40 euros + shipping
from the Finnish Glass Museum. The exhibition in
24th March to 31st October 2005 Riihimäki and the new catalogue are both part of a
St. Georgen Church, Hanseatic town of Wismar, cultural exchange programme between Nordrhein-
Westfalen and Finland.
Germany
The Finnish Glass Museum is located in Riihimäki in
The expanding building activities of the last 15 years Southern Finland, about 60 kilometers from Helsinki.
have initiated archaeological excavations in the old For more information about the exhibition, please e-
towns of Mecklenburg-Vorpommern. Many remains mail: [email protected] or view the website:
were discovered “beneath the streets” that enrich our www.finnishglassmuseum.fi
knowledge about the urban life of the last eight The Museum Kunst Palast, Glasmuseum Hentrich,
centuries. These glimpses of the past are the focal Düsseldorf, also has a website at: www.museum-
point of the 1,400m2 exhibition area in Wismar’s St. kunst-palast.de
Georgen Church. Multimedia productions integrating
original finds, as well as reconstructions, allow you to Recent AHG Study Day
immerse yourself in this newly discovered, unknown
world. Glass and Lighting in Antiquity and
the Medieval World
Opening hours 10am to 8pm daily.
Entrance €4.00, concessions €2.50, group concessions The following abstracts were provided by the
available. Info-hotline (03841) 251-3025. speakers who took part in the successful Study Day
E-mail: Stadt. [email protected] organised by the AHG at London Archaeological
Or: [email protected] Archive and Research Centre (LAARC) on 16th
Internet: www.wismar.de (select ‘Veranstaltungen’ March 2005
and use the link ‘Flyer Archäologie Englisch’ for
‘Archäeologie unter dem Straßenpflaster’). LIGHTING IN THE EASTERN MEDITERRANEAN
Sarah Jennings
Exhibition and Catalogue
This paper covered lighting using glass vessels in the
Karl Amendt Collection Eastern Mediterranean, based in the main on the
evidence from Beirut, and compared this with the
4th March to 28th August 2005 evidence from sites further west, principally Butrint
Finnish Glass Museum, Riihimäki, Southern and Carthage.

Finland In the Eastern Mediterranean most of the glass forms
identified as lamps in the archaeological record were
Dr Georg Haggrén has informed us of a seminar those specifically made to be suspended, either singly
which took place on 5th March to celebrate the or in groups, or were forms with the addition of a
opening of the exhibition of the Karl Amendt wick holder attached to the base. Initially glass lamps
collection. Presentations included Dr I Krueger on the are found in relatively small numbers in the mid- to
spread of enamelled glass, Dr Markus Heikkanen on
medieval window glass from Finland, Dr Georg 4

Glass News July 2005

late 4th century, but their availability or use rapidly - Window glass, allowing natural light into the
increases throughout the 5th and 6th centuries. This church: crown windowpanes or “bull’s eye”,
mirrors a corresponding decrease in the numbers of fragments with folded rims, grozed and plain edges,
contemporary ceramic lamps, and suggests that the the colours varying between aqua greenish and aqua
methods of lighting a room had changed. bluish and of variable thickness.

In Beirut there are six basic forms identified as glass - Glass lamps to light the church artificially:
lamps in the period from the mid- to later 4th century fragments of lamps have been identified, with solid-
through to the 7th or 8th century found on the Souks stemmed bases of different thickness, lamps with
excavations, and they were probably all made locally. handles attached to the rim, and lamps with different
Before the 4th century, specific forms of glass lamps types of wick holders.
have not been identified, but there is also considerably
less glass from the 3rd and earlier 4th centuries from - Glass tesserae with different ranges of colours, such
the Souks sites than at other periods. Only a small as blue, green-blue, blue-green, yellow, violet, white,
number of the many lamp fragments were not likely black, ochre, red and tesserae of transparent glass
to have been made locally, and these are all forms covered with a sheet of gold. They were used for
found in the western Mediterranean. floor and wall mosaics, and although not enough
evidence was available from the present excavation,
GLASS LAMPS AND WINDOWS FROM MONASTIC AND there is enough evidence to show they are similar to
ECCLESIASTICAL CONTEXTS IN PETRA, 4TH-9TH other churches decorated with wall mosaic dated from
CENTURIES AD the 6th century AD. Gilded tesserae were used in the
Daniel Keller background for the figures adding further light to the
church.
The archaeological contexts of glass lamps and
windows from the ancient city of Petra, Jordan, To the west of the church in Room IX where found up
illustrate their use in late Roman domestic houses and to 50 fragments of glass cakes with different colours
Byzantine churches. The Swiss excavations on and shapes indicating kind or type of glass production
domestic houses yielded evidence for the use of glass in this location. Detailed study of these glasses and
in corridors and dark working rooms without direct identification of their chemical composition will
access to courtyards in the mid 4th and early 5th indicate the type of glass activity in this church and
century AD. Furthermore, better glass lamps were the Near East in Byzantine times.
used in the main corridor leading from the entrance to
the reception rooms and ordinary glass lamps in (1) Fiema, Z, Kanellopoulos, C, Waliszewski, T,
kitchens and storage rooms. Schick, R. 2001. The Petra Church. Bikai, P. (ed.).
Amman: American Center of Oriental Research.
The Finnish Jabal Harun Project (FJHP) yielded a
typo-chronological development of glass lamps from MEDIEVAL GLASS LAMPS: THE ARCHAEOLOGICAL
a church and an adjacent chapel between the 5th and AND ICONOGRAPHIC EVIDENCE FROM CENTRAL ITALY
the 8th/9th century AD. In the last phase of the chapel, Martine Newby
single suspended lamps were used in the apse around
the baptismal font and the altar, whereas stemmed Three main types of medieval glass lamp are found on
polycandela lamps were used in the nave. archaeological sites in central Italy. Study of
contemporary depictions can give further insights into
Only round glass windows were found belonging to how and where these vessels were used. From the 6th
the last phase of the chapel. Up to 14 window-panes to 10th centuries the lamps are wide-mouthed, beaker-
of six different colours were set into windows in the like vessels characterized by the position of three
apse, whereas the nave only yielded seven circular vertical triangular-shaped handles attached to the top
windowpanes of six different colours. of the rim. These were replaced by six-handled lamps
on a bulbous body, possibly derived from Islamic
USING LIGHT IN THE BYZANTINE CHURCH AT PETRA prototypes. Both types could have been set onto flat
Fatma Marii surfaces or suspended from metal chains, whereas
stemmed pendant lamps, in use from the 6th century,
The excavations in the Petra Church complex located were designed to be inserted into polycandela.
in the centre of Petra city, Jordan, dated between the
4th and 7th centuries AD (1), revealed a large number 5
of artefacts. The finds included glass used for
lighting the church in various ways, such as:

Glass News July 2005

Evidence for glass lamps from domestic or secular Finally, attention was dawn to a small but interesting
archaeological sites is noticeable by its absence, deposit of grozing waste from an eleventh century
although fragments are retrieved from nearly every ditch fill at the dorter undercroft of Westminster
ecclesiastical site regardless of status. This is also Abbey. It has been suggested that this debris came
borne out in the iconographical record where no form from the glazing programme of Edward the
of lighting (including pottery lamps or candles) is Confessor’s rebuilding of Westminster Abbey in
included in scenes of feasting, in scenes set in c.1050. The site is published by Peter Mills in the
bedrooms, or the death or miraculous recovery of a Transactions of the London and Middlesex
saint. This may be a reflection of the different hours Archaeological Society, Vol 46, 1995.
observed by lay households and monastic
communities. Depictions of the interior of churches, LIGHTING AND ANGLO-SAXON GLASS
however, abound with images of glass lamps, either
suspended singly or grouped together in polycandela. Rose Clark
Different types of lamp were being used in the same
church to satisfy different lighting requirements. An excellent case can be made that glass vessels were
used as lamps during the Anglo-Saxon period. There
While the bodies of glass lamps are usually made in are types (palm cups and cone beakers in particular)
pale green glass, their handles are often intentionally that would have been very suited to use as lamps: they
coloured, with deep blue and purple being most are ideal as they have a smooth outer profile and no
popular. This use of colour is in stark contrast to the constriction at the neck. Iron lamps are rare,
domestic table wares, even that from ecclesiastical suggesting that metal was not the normal material
sites like the wealthy monastic site of Farfa near used for lighting. It may have been common to adapt
Rome. The glass lamps may have been made in the existing items, like glass and pottery vessels, which
same glasshouses that produced coloured window would not necessarily be noticeable as lamps in the
glass and mosaics for churches etc. and not in the archaeological record.
glasshouses that produced domestic wares.
Experiments showed both that the process required to
GLASS AND LIGHTING IN ROMAN AND MEDIEVAL convert glass vessels into lamps is very
LONDON. straightforward and would have been perfectly
possible with contemporary equipment, and that the
John Shepherd vessels can easily be suspended using a variety of
means. Photographs of the experiments illustrated
A review of our current knowledge of Roman and how much the unique transparency of glass enhances
medieval glass exposes the fact that there is still so the visual spectacle.
much London material awaiting proper study and
interpretation. Very little is formally published and Although there is no incontrovertible archaeological
there are very few syntheses of the material. There are proof, it is hard to believe that the Anglo-Saxons did
no glass lamps for the Roman period, admittedly rare not utilise the properties of vessel glass, especially
throughout the Empire, which is in stark contrast to when we know they admired some of the same
assemblages of the late Roman period especially, and qualities in window glass, and when post conquest
4th to 6th century assemblages elsewhere. This glass and manuscript evidence strongly indicate use of
contrast, though, is probably not real as it is generally glass as lamps not much later.
agreed that we ought to broaden the functional
definition of the ubiquitous late Roman conical beaker LIGHT AND COLOUR IN BYZANTINE GLASS MOSAICS
to include their use as lamps in polycandela.
Liz James
Again, and perhaps surprisingly, the medieval lamp
with a pointed base is also a rare item in London This paper considered two aspects of Byzantine glass
assemblages. The glass itself is of the typical ‘potash’ mosaics. The first involved practical issues about the
quality, and has certainly affected the survival rate of manufacture of glass and tesserae in Byzantium and
body and rim sherds from these vessels, but it may be the implications of this for the spread of mosaics in
significant that the majority of those that are known, the Byzantine world and the practicalities of mosaic-
primarily by their pointed bases, come from the making in Byzantium. Tied to this was discussion of
immediate post-dissolution deposits of London’s the importance of the chemical analysis of glass for
monastic houses, when the sites were being cleared of the understanding of the making and distribution of
their furnishings. Byzantine mosaics. The other side of the paper
considered the aesthetics of the use of glass in

Glass News July 2005 6

mosaics, illustrating something of the techniques of Window glass may not have been perceived (as
the mosaicists as artists, discussing the interaction of today) as merely functional. If studied in the context
glass and light within Byzantine mosaics and the of the cognitive evolution of the mind, and the
effect this had within Byzantine churches more emergence of the trait of materialism, it may instead
generally. throw light on the broader issue of personal values,
and a possible change from collectivist to
‘THROUGH A GLASS BRIGHTLY’: THE ROLE OF GLASS individualistic thinking.
IN THE LIGHTING OF MIDDLE BYZANTINE CHURCHES
Review:
Claire Nesbitt
Roman Glass in Germania Inferior
‘It was singularly full of light and sunshine; you
An international one-day colloquium on ‘Roman
would declare that the place was not lighted by the Glass in Germania Inferior - inter-regional
comparisons and recent results’ took place on 13th and
sun from without, but that the rays are produced 14th May this year at the Gallo-Roman Museum,
Tongres in Belgium. The colloquium was attended by
within itself, such an abundance of light is poured more than 100 delegates from Belgium, Holland,
into this church’ (Buildings I,I, 28-31) France, Germany, Switzerland and UK.

So writes Procopius about the Great Church of Hagia Sixteen papers were given, of which the majority
Sophia in Constantinople. From its use in the theatrics were studies of glass found in Germania Inferior.
of the liturgy, to prosaic necessity, lighting played a These included groups of vessel glass and objects
fundamental role in Byzantine churches; but where from excavations in Roman military and urban
did this light come from? The Byzantine church has settlements at Tongres, Cologne and Nijmegen, and
always been considered a dark and mysterious place smaller settlements and villas such as Kerkrade,
but was this really the case? Byzantine churches are Rumst, Tienen, and Velzeke, as well as the glass
often graced with large and ornamental windows, production sites in Cologne and the Hambach Forest.
windows that have the potential to flood the interior In addition, there were two studies of particular
with light. This paper considers the glazing of such groups of finds in Belgium - ‘black’ glass vessels and
windows in an attempt to determine just how much jewellery and ‘snake-thread’ glass. A wider context
natural light would enter the building. for the glass of Germania Inferior was provided by
more general papers on glass in the neighbouring
WINDOW GLASS AS AN INSIGHT INTO CONSUMER provinces of Britannia and Germania Superior and
PSYCHOLOGY AT ROMAN VILLAS: PERSPECTIVES overview accounts of the glass from Augusta Raurica
FORM THE EAST OF ENGLAND and of the establishment and organisation of glass
workshops in the provinces north of the Alps.
Chris Martins
It was an excellent meeting, held in a splendid
Consumer theories allow us to discuss window glass museum, which produced a great deal of new
on villas in the Roman period in terms that suggest its information as well as re-assessing old material. It
psychological, and not just utilitarian, importance. was also a good illustration of the wide interest in the
Such insights benefit from glass-making experiments study of Roman glass, as well as the range of
that note the potential transparency of cast glass, to a scholarship, which now exists in the region, and a
distance of 30m or more, or up to 1km in the case of timely reminder that the next Congress of the
cylinder glass. International Association for the History of Glass will
be held in Belgium in September 2006.
Environment and behaviour research recognises
potentially relevant 'person-window transactions', for Jennifer Price
example that biologically restorative and stimulating
mental benefits accrue from incoming sunlight and
framed miniaturised views. Perhaps the resulting
social desirability of window panes justified their
place in a so-called 'constellation of consumption
goods', symbolic of a Roman lifestyle. Certainly
research at Piddington villa links the distribution of
stratified glass with higher status 'public' rooms.

Glass News July 2005 7

Experimental Archaeology

Roman Furnace Project

Mark Taylor and David Hill are glassmakers with sand, grit and chopped hay. The walls were
specialising in high quality reproduction of a wide about 0.15m thick and stood about one metre above
range of Roman glass vessels. Research and ground level. The larger of our two furnaces was built
experimentation feature strongly in their efforts to as a pot furnace (Fig.1), with a firing chamber 0.8m in
understand techniques of glass production during the diameter and a horizontal stoke hole. The tile wall
Roman period. Their major project (now in its final lining was continued upwards and corbelled inwards
phase) is the recreation of two Roman furnaces. The to form a shelf (siege) for the pots. The central hole
following is a brief account of the furnace building connecting the firing chamber and the pot chamber
and firing. More images can be found in their website was reduced to 0.4m in diameter. Five fired terracotta
(details follow) and Mark and David also produce The pots were placed on the siege.
Roman Glassmakers Newsletter, for those interested
in their work. Current and past Newsletters can be Figure 1: Pot Furnace
found at their website and also at the AHG's website.
The smaller, tank furnace had a firing chamber 0.6m
ROMAN GLASS FURNACES - THE FIRES BELOW in diameter and a steeply-sloping stoke hole. Inside
the superstructure we incorporated a small tank made
This is a brief outline of the project we undertook from clay daub about 0.3m above ground level. An
earlier this year, during April and May, when we built annealing oven was attached to this tank furnace,
and fired two furnaces based on the excavated rectangular in plan and elevation and lined on the
remains of Roman examples, and protected by a inside with replica Roman tegulae. A small duct
temporary shelter. We chose to replicate furnaces of a connected the furnace to the oven and the flow of
circular or oval plan, with a sunken firing chamber. waste gas was regulated with a damper.
From the small amount of evidence we have, these
Roman furnaces appear to be two-tiered, with a Each furnace was fitted with an array of
domed or flattish-roofed pot (or tank) chamber above thermocouples, and wood was weighed in ten-kilo
a circular firing chamber. There is a stoke hole, and batches. In this way we could record the temperatures
one or more gathering holes which double as glory achieved and fuel consumption. The furnaces were
holes. The designs on the oil lamps from Asseria, in fired for three weeks, during which time teams of
Croatia, and Ferrara, in Italy, show such a structure, stokers working in shifts, day and night, could easily
with seated glassworkers, indicating the level of the maintain temperatures around 1050°C. The first four
gathering hole to be perhaps 0.3-0.45m above the days were devoted to drying and firing the structures,
ground. There may be an exit hole in the top of the after which time, glass could be melted.
furnace.
Large amounts of flames and clouds of black, sooty
Excavated remains, from France, Germany, smoke, although spectacular, are inefficient! To
Switzerland etc., and also from Mancetter in control the efficiency of the combustion in the
Warwickshire, are of circular, flat-bottomed pits,
often lined with tiles and stone, together with a
horizontal or sloping stoke hole, all with reddened or
blackened surfaces. The superstructure is very rarely
in situ, but the remains can indicate corbelling or
doming. Fragments of superstructure, made from clay,
can be curved and glazed on the inner surfaces. Some
remains from London may suggest the use of a small
tank suspended from and incorporated into the
superstructure (pers. comm. John Shepherd).

We secured a large quantity of original Roman roof
tile to line the pits of our furnaces, and the
superstructures were built from a clay daub grogged

Glass News July 2005 8

furnaces, the gathering hole stoppers were opened or produce a functioning design, and this is something
closed as necessary, the stoke hole entrances were for a future project. The oven functioned reasonably
adjusted and logs were pushed into or pulled out of well, but had noticeable hotspots. Temperature
the firing chambers. Both furnaces together consumed control needed practice, but one way of reducing the
a total of just over nine tonnes (over 900 separate risk of overheating was to suspend thin rods of glass
weighing operations!), with the pot furnace burning horizontally inside the chamber and periodically
12-15 kg/hr. As the tank furnace sprung a series of checking to see if they were sagging.
leaks early on in the experiment, heating the
annealing oven became its only function. This In an experiment such as this, there is always a danger
allowed us to drop the temperature to about 600°C to conclude that, if it works, the design must be
overnight. Because of this, it only consumed 5-10 correct. The pot furnace worked and the design
kg/hr. elements are simple, but could take alternative forms
(such as individual shelves to replace the continuous
We used a blue-green glass based on Roman glass ring, provision for pot replacement, thicker or taller
compositions, fed into the pot furnace as raw glass walls, etc.). In general, though, this structure has
and, later on, as recycled cullet. A two-day melting demonstrated how surviving firing chambers of this
cycle gave us a good, workable glass that compared type could have functioned.
well, in terms of small bubbles (seed) and cord, with
the appearance of Roman glass. During the glassblowing stage, the furnaces were
visited by several groups and interested parties,
Working without a glassmaker's chair, but with thigh- including many people involved in the history and
boards, and seated on sections of tree-trunks in front technology of glass. We would like to thank everyone
of the gathering holes, we produced a small range of who has contributed photographs, thoughts and
phials, oil flasks and bottles. It needed practice to comments, all of which has formed welcome
become proficient at this way of working (Fig. 2) but additions to the pool of information we have
during the time we had in which to blow glass, we collected. The project has been funded from several
could see noticeable improvements! The waste glass sources, including English Heritage, the AHG,
produced bears a striking resemblance to excavated Andante Travels, Project Workshops and SE
waste glass, forming globular droplets and larger, Validation Ltd. The experiment will be published in
rounded lumps with stumpy, contorted fingers of full course.
glass on the underside. They formed within and
around ash and charcoal in the firing chamber and Mark Taylor and David Hill 2005
were discovered in the ash heaps derived from the www.romanglassmakers.co.uk
rakings of the furnace. [email protected]

Figure 2: Samples of glass The Stained Glass Museum

The pot furnace was a success. The structure was Library
strong and durable, although there were areas of wear
(particularly around the stoke hole). The tank furnace, The library at the Stained Glass Museum, Ely, has
with its fractured tank, needs to be rethought to now been catalogued and the museum is keen to make
this useful resource available to students and
Glass News July 2005 researchers. The Library is for reference only and
books may not be borrowed. There is a daily Reader's
charge of £10, and advance bookings must be made.
The Stained Glass Museum is grateful to many donors
who have generously given books to the Library and
would be delighted to accept gifts of suitable books,
as well as suggestions of further acquisitions.

A list of books can be found in their website:
www.stainedglassmuseum.com.
Tel: 01353 660347. Tel / Fax: 01353 665025
E-mail: [email protected]

9

Nailsea Glassworks

A study of the archaeological evidence associated background to the remaining parts. It is disturbing that
with the well-known Nailsea Glassworks has been it had not been required very much earlier.
carried out by Avon Archaeological Unit sponsored
by Tesco Stores Ltd. The intention was that the whole Part 2 examines the archaeological interventions
study would be made freely available via the chronologically. In order to add value, admittedly
worldwide web and so the detailed report by Andrew with the benefit of hindsight, this has been done
Smith has therefore been deposited with the critically, as certain errors were detected. It was felt
Archaeological Data Service (ADS) at York. Andrew that these should be commented on in order that the
has provided a summary, which follows, and the evidence might hopefully be more meaningful overall.
report may be accessed, as complete sections
(broadband) or smaller subdivisions (dial-up Part 3 looks at the technology, starting with a brief
connections) at: http://ads.ahds.ac.uk/catalogue/ look at the history of glass, gradually narrowing the
library/nailsea_avon_2004/ focus down with time, finally considering what was
done, as far as is known or can be extrapolated, at
“The ADS levies no charges, there are no documents Nailsea itself. It is hoped that this section will not
to sign, and none will be applied retrospectively” but only be intelligible to the general reader, but will also
users are required to accept their terms and conditions be of value to the specialist.
and Common Access Agreement, which asks that
“users be fair and reasonable in their use of the data Part 4 takes a brief look at the social and economic
supplied”, and defines the conditions of use. “Users effects of the introduction of what was a modern
should also read the ADS Copyright and Liability manufacturing facility in to a largely rural
Statements.” community, and how it fitted in to the wider
economic picture. Its demise is also considered. Some
Report summary widely-held assumptions are challenged. There are
The Nailsea Glassworks, 1788-1874, was in its time still unanswered questions, about the technology in
regarded as one of the most significant glassworks in particular, which have arisen from the archaeology,
the UK. The site then went through a long period of no parallels having been found. It is hoped that some
dereliction and piecemeal redevelopment. Informal answers may come from the wider dissemination of
archaeology started in 1975, becoming serious from the study. These and any other observations will be
1983 onwards in response to various development welcomed.
proposals. Ultimately that by Tesco Stores Ltd, who
has generously sponsored this Study by Avon The author is most grateful to Dr David Martlew for
Archaeological Unit, came to fruition. Andrew his enthusiastic support in facilitating this.
Young, head of the Unit asked the present writer to It is hoped that the study will have achieved its
undertake the project. The remainder of the site has purpose to illuminate as much as possible what has
now been scheduled. been done in, by and to the Nailsea Glassworks.

The Study is in five principal parts (including the Andrew Smith
Introduction), and it is intended that, while making up
a cohesive whole, each may be considered in its own Enquiry: Glass Instruments
right. The Introduction covers some general points not
specifically addressed in the subsequent parts. On a recent visit to Venice I saw in the distance two
musicians playing what turned out to be glass
Part 1 is a Desk-top Study. Briefly, for those not instruments: a set of glass bowls and a set of glass
familiar with the term, it consists of examining tubes, both items graded in size to produce the
historical records, considering the landscape in which different notes. Unfortunately they had packed up by
the site is set and any known or inferred archaeology the time I reached them. I have seen sets of Victorian
in the vicinity. This should result in a document that glass bowls and glass xylophones in the UK. Does
will focus the attention of the responsible parties anyone have any information concerning glass
involved in order to establish what, if any, instruments?
archaeological intervention is desirable, and, if it is
judged necessary, its extent. It forms a useful Sandy Davison, Glass conservator
[email protected]

Glass News July 2005 10

Early Carolingian pseudo-cameo glass brooches

Excavations at Kaupang, Norway

A little known group of Carolingian glass objects are of the cones. The reverse is roughly flattened. Small
small round or oval casts in high relief made to bits of iron corrosion fused to this side are likely to
imitate cut cameos. Some of these were originally set have been caused by contact with the metal brooch
in brooches of iron or bronze. Rather surprisingly, one the glass originally was set in. The back-plate of the
of these rare pieces has now come to light from a Kaupang piece is unfortunately not preserved, and
barrow cemetery surrounding the Viking Age emporia there are no indications that it was among the artefacts
of Kaupang, in Southeast Norway. Although it was originally donated to the museum.
turned in to the museum in Oslo as early as 1867 it
has not previously been identified. Three different types of pseudo-cameo brooches
appear to have been manufactured in the period from
The Kaupang glass-cameo measures 21.4 x 20.8mm about 750-775 to 800-825 AD. The most frequent has
(slightly damaged) (Fig. 1). The base of the disk is a composite inlay with motif of a winged sea-monster
about 1.5 mm thick, with a cross-like design in (Type 1) (Fig. 2). The semi-plastic animal, cast in
distinct, raised relief. Around the motive an irregular whitish opaque glass, is affixed to an oval dark blue,
oval band is made up of tall cone bosses. The central violet or red glass plate before the inlay is mounted on
motive is best described as a degenerated cross a pinned back-plate. The edge of the glass plate is
symbol with two of the arms branching off in Y- often decorated with small triangular or rhomboid
shape. Small cone bosses are placed where the sheets of metal. Preserved examples measure up to
branches meet, and between the cross arms. Short 6.5 cm across. Notably, the application of pale glass
lines connect the latter bosses to the main cross. No casts on a dark background resembles an earlier group
exact parallel has been found for this motive. of bichrome busts seen in profile or en face. These
late 7th and early 8th century objects are however
exclusively preserved on ecclesiastical metalwork,
like reliquaries or book covers, and seem not to have
been intended for dress accessory.

Figure 1: Obverse of pseudo-cameo, Historical Figure 2: Composite pseudo-cameo inlay of Type 1.
Museum Oslo, Inv. No. C.4317 (Nordre Kaupang, Opaque grey-green on dark red base, gold foil
Vestfold). Photo by the author, courtesy of the decoration, width 52 mm, height 31mm.
Historical Museum, Oslo Landesmuseum, Mainz Inv.no.5995, drawn by author.

The disk is made from opaque greenish-white glass, Less frequent are monochrome glass casts, like the
containing several small impurities. A thin casting- Kaupang pseudo-cameo. These appear either to have
seam toward the reverse of the object suggests that the been modelled on coins (Type 2), or feature a non-
glass was poured into, or pressed out in an open figurative design of crossed lines and bosses (Type 3).
mould to achieve the desired design. The cast is not Both these types are significantly smaller than the
technically very well executed. There are a number of zoomorphic composite inlays, and often near circular
small scars from trapped air, especially at the apexes in shape. Type 2’s similarity to contemporary coin
brooches of metal has been noted.
Glass News July 2005
11

Until now only very few pseudo-cameos have been Ypey, J, Die Funde aus dem Frühmittelalterlichen
found, and only on the Continent. A total of 12 Gräberfeld Huinerveld bei Putten im Museum Nairac
brooch-inlays or complete brooches, as well as a in Barneveld. Berichten van de rijksdienst voor het
couple of potential fragments, are known to the oudheidkundig bodemonderzoek (BROB) 12-13
author. The finds are distributed along the Rhine and (1962-1963): 99-152.
its tributary rivers, and thus concentrate along on of
the main arteries for trade connecting the North Sea The author is currently involved in the publication of
with the Frankish heartland and eventually Northern the 1998-2003 excavations at Kaupang
Italy. The brooches are however unlikely to have been (www.kaupang.uio.no). An article on the vessel glass
objects of long-distance trade in themselves, and and beadmaking debris from the site is to appear in
should rather be regarded as part of Frisan or East- the Kaupang Excavation Project Publication Series in
Frankish dress accessory, carried by people travelling. 2006. A longer, referenced version of the study of
pseudo-cameos is also under preparation.
One can only speculate how one of these objects came
to end up in a barrow at Kaupang. During the first Bjarne Gaut
half of the 9th century, the site cultivated strong links E-mail: [email protected]
with the West-European Continent, and there are Department of Archaeology, University of Oslo,
archaeological indications that Continental merchants PO.Box 1008, Blindern, 0315 Oslo, Norway.
and artisans visited Kaupang in this period. The
mound covering the grave and reports that an axe was Illicit trade in antiquities
found together with the brooch-inlay make it however
unlikely that the deceased was from the Rhine area The banner headline on the front page of a recent
himself. It is more likely that a local tradesman picked issue of the Independent read ‘Art market scandal -
up the brooch on a visit to the Continent or that the most antiquities for sale are faked or looted’, a report
brooch changed hands when people from different triggered by remarks made by Paul Craddock, British
ethnic groups met at Kaupang. Either way, it is an Museum Research Laboratory scientist, at a
indication of the cosmopolitan character of the site. conference organised by the Fraud Advisory Panel
(Jury, 24 May 2005). A report in the Evening
Although parts of England enjoyed lively contact with Standard by Peter Watson followed a few days later,
Continental traders during the 8th and 9th century, no its headline reading ‘Unmask the art thieves - London
pseudo-cameo brooches are known to the author from dealers know that up to 90 per cent of antiquities on
this region. Should any of Glass News’ readers know the market are fakes or stolen’ (Watson, 27 May
of similar artefacts from the British Isles, or parallels 2005).
to the cross-motif on the Kaupang glass-cameo,
information on this would be greatly appreciated (see Leaving aside the issue of fakes, it is undeniably the
details below). case that there is a super-abundance of
unprovenanced, and most probably largely looted,
Further reading: material on the market. Certainly the devastation of
Spiong, S, Sibeln und Gewandnadeln des 8. bis 12. Sumerian city sites in Iraq bears witness to the
ongoing exploitation of artefacts to satisfy the
Jahrhunderts in Zentraleuropa. Eine archäologische demands of a voracious market. Often fragile glass
objects do not survive looting, but those that do not
Betrachtung ausgewählter Kleidungsbestandteile als sustain irreparable damage do surface on the market
Indikatoren menschlischer Identität, Rudolf Habelt usually without a known provenance.
GMBH (2000) Bonn.
Gaut, B, in prep.: A Pseudo-cameo of Glass from Antiquities looted from the earth are much more
Kaupang, Southeast Norway. vulnerable to theft. Because their existence was not
Gaut, B, in prep.: Vessel Glass and Evidence of known before the destruction of their context, they
Beadmaking at Kaupang. In: The Kaupang could not have been entered on an inventory or
Excavation Project Publication Series. museum catalogue. This makes ownership claims
Haevernick, TE, Karolingisches Glass aus St. extremely difficult to prove. Recovery rates for art
Dionysius in Esslingen. In: Beiträge zur theft are low even without this complicating factor.
For archaeologists the loss of context represents
Glasforschung; die wichtigsten Aufsätze von 1938 bis obliteration of information about past societies.
1981, Verlag Philipp von Zabern, Mainz am Rhein
(1981) pp 384-398. [Reprinted from Forschungen und 12
Berichte des Mittelaltes in Baden-Würtemberg 6:157-
171].

Glass News July 2005

Archaeological conservators regard the recovery of Such outcomes are few and far between. Conservators
information from excavated artefacts during their are asked to be vigilant and question the provenance
examination and treatment as a vital part of their of antiquities they encounter. Members of the Institute
work, the results of which are channelled back into of Conservation (until recently known as UKIC*)
the archaeological record in collaboration with the have a duty to report when he / she knows or has
director of the excavation. The archaeological, reason to believe that he / she is being asked to work
museum, conservation and heritage communities have on stolen property, cultural property which has been
been raising problems associated with portable exported illegally from its country of origin, or
antiquities for the past fifteen years, for example, by imported illegally into the United Kingdom or
means of the Standing Conference on Portable illegally obtained, to the police, the Arts and Antiques
Antiquities. Government responded in 2000 with an Squad, Customs and Excise and the Cultural Property
investigation into the illicit trade and recovery by the Unit of the Department of National Heritage (UKIC
Culture, Media and Sport Committee, and with the Rules of Practice Article 3.8. Illicit Material). We all
setting up of a ministerial advisory panel on the illicit need to act in concert if the destruction of the past is
trade, commonly referred to as ITAP by Alan to be reined in.
Howarth, then Minister for the Arts.
*UKIC, United Kingdom Institute for Conservation,
ITAP agreed sixteen recommendations. The first two is now the Institute of Conservation, following
have been enacted. In 2002, the UK became the 95th amalgamation with other conservation bodies.
country to become a signatory to the 1970 UNESCO
Convention on the Means of Prohibiting and Bibliography
Preventing the Illicit Import, Export and Transfer of DCMS 2004. Dealing in Tainted Cultural Objects –
Ownership of Cultural Property. The following year, Guidance on the Dealing in Cultural Objects
the Dealing in Cultural Objects (Offences) Act 2003 (Offences) Act 2003. PP639. January 2004. London:
became law in England and Wales. This ‘Act is DCMS.
concerned with objects which had formed part of a Gerstenblith, Patty 2002. United States v. Schultz.
building, or are removed from a monument, or Culture without Context 10: 27-31.
excavated contrary to heritage legislation’ (DCMS Jaeschke, Helena 1996. The Conservation Treatment
2004: 4). For a person to be convicted the prosecution of Looted Antiquities and the Responsibilities of
must prove that the individual acted dishonestly Conservators. In Archaeological Conservation and Its
knowing or believing that the object was tainted. The Consequences: preprints of the contributions to the
offence can have taken place either within the UK or Copenhagen Congress, 26-30th August 1996, A. Roy
in any country where, for example, the state’s and P.Smith (eds), 82-5. London: IIC.
legislation claims ownership of its material heritage Jury, Louise 2005. Art Market Scandal. Independent
and/or restricts export of such cultural property. For (London), 24 May.
further information, a booklet (PP639.January 2004) Mason, Brook 2000. Unfazed by Protesters. Art
entitled ‘Dealing in Tainted Cultural Objects – Newspaper 99, (London), January.
Guidance on the Dealing in Cultural Objects Watson, Peter 2005. Unmask the Art Thieves.
(Offences) Act 2003’ is available from the DCMS and Evening Standard, Review Section (London), 27 May.
on their website at http://www.culture.gov.uk/
cultural_property/illicit_trade.htm. Further reading
Brodie, Neil, Jenny Doole and Peter Watson 2000.
In 2000, Frederick Schultz, New York dealer in Stealing History: the Illicit Trade in Cultural Material.
ancient art and former president of the National Cambridge: McDonald Institute for Archaeological
Association of Dealers in Ancient, Oriental and Research. Also available at
Primitive Art, said of concerns about the illicit trade http://www.museumsassociation.org/asset_arena/text/
that ‘It’s a dying dinosaur issue’ (Mason 2000) and de/illicit_trade.pdf
that he ‘ensures that his examples do not have a
dubious past’ (ibid). In 2002 he was convicted of Kathryn Walker Tubb
conspiring to deal in antiquities stolen from Egypt and [email protected]
sentenced to 33 months in prison and fined $50,000. Kathryn was ECCO's Deputy General Secretary and
(See, for example, Culture Without Context available has written extensively on the subject of illicit trade in
at http://www.mcdonald.cam.ac.uk/IARC/ antiquities, including editing Antiquities Trade or
cwoc/issue10/USvSchultz.htm Betrayed: Legal, Ethical & Conservation Issues,
Archetype Publications, London (1995).

Glass News July 2005 13

GERALD HUGH TAIT

1927-2005

Hugh Tait died on 12 April 2005. Hugh was president on Hugh’s initiative, of George Scott, an Edinburgh
of the Association for the History of Glass from 1977, furniture maker and antique restorer who had turned
when it was formed, until 1996, and was President of his hand to replicating cage cups, added an anarchic
the Association Internationale pour l’Histoire du element to the affair, disrupting the programme and
Verre from 1977-1979. During his time as president luring small groups to his garage to experiment with
of AIHV the Association hosted the 8th Congress plaque-blowing using an acetylene blow-torch as a
which was held in London and Liverpool in 1979, and source of heat. The organisational and financial
as president of AHG he organised and chaired details of the weekend were something of a nightmare
numerous memorable day and weekend conferences for those responsible, and Hugh deftly delegated these
in Britain. He was an Honorary Fellow of Corning to the other AHG officers, confident in the knowledge
Museum of Glass from 1993 until his death and that he had laid on an event which would remain with
Honorary President of the Glass Circle. those involved for the rest of their lives.

A graduate of Cambridge and the Courtauld Institute, I last saw Hugh about six months before his death,
Hugh joined the British Museum as a curator in 1954, when we were working together on a paper on
and rose to become Deputy Keeper in the Department enamel. I was struck once again by his ability to
of Medieval and Later Antiquities, retiring in 1993. define a problem and his determination to solve it; to
There he was responsible for numerous exhibitions extract from me pertinent information which I did not
and catalogues, including The Golden Age of Venetian even know I possessed; and his insistence on
Glass, Jewellery Through 7000 Years and 5000 Years perfection in the final product, right down to the
of Glass. smallest detail. Perhaps most remarkable, however,
was Hugh’s determination to convince his colleagues
Hugh’s expertise, however, extended far beyond that his preferred course of action was by far the best
glass. He was a widely acknowledged international and indeed the only one practicable. This made him a
expert on European decorative art from the later formidable committee member and ensured that every
medieval period through to the beginning of the item was thoroughly aired before business moved on.
nineteenth century and published extensively on Many a young curator or academic must have been
porcelain, Renaissance enamels, goldsmiths work, surprised to find her/himself, with Hugh’s
horology and sculpture. He served on the encouragement, volunteering to organise a seminar or
government's Export of Works of Art Committee and conference, but the end product was invariably very
among other honours was a Fellow of the Society of worthwhile. Hugh will be greatly missed.
Antiquaries; a member of the Worshipful Company of
Goldsmith's Antique Plate Committee; and chairman Ian Freestone
of the Society of Jewellery Historians. At various
times he was active in many other organisations, THE ASSOCIATION FOR THE
including the Society for Post-Medieval Archaeology
and the English Ceramics Circle. He frequently HISTORY OF GLASS
lectured on his broad interests to learned societies and
specialist groups in Britain, and at international Board of Management
conferences and seminars.
President: Ian Freestone
Those who were on the Board of the AHG when Hon Secretary: Justine Bayley
Hugh served as president will perhaps best remember Hon Treasurer: David Crossley
the magical weekend of experimental glassblowing
that he master-minded in Edinburgh in September Members of Board
1992. Bill Gudenrath and Ray Flavell took about 30
participants through 3000 years of glass working Patricia Baker Sarah Jennings
techniques, from late Bronze Age core-forming to
Renaissance Venice. The experimental work was Colin Brain David Martlew
interspersed with lectures from various participants on
their areas of specialism. The unplanned appearance, John Clark Juanita Navarro

Sandra Davison Martine Newby

Aileen Dawson Julia Poole

Charles Hajdamach Jennifer Price

Suzanne Higgott Rachel Russell

Caroline Jackson

Glass News July 2005 14