Ancient Glass

This note describes a lipsanotheca (a small container of relics, placed within an altar) from the church of Santa Maria de Cap d’Aran. The container, now preserved in the Museu dera Val d’Aran, is of blown glass, and it has relief-cut ornament. The form, color, and quality of the glass indicate that it was made in the ninth or 10th century, probably in Iran. Similar objects in The Corning Museum of Glass and The Metropolitan Museum of Art are noted. It is not known how the bottle reached Spain. The authors believe that it was used as a lipsanotheca at about the time the church of Santa Maria de Cap d’Aran was consecrated, in the first half of the 11th century.

This article discusses material culture and European history during the time span between AD 400 and 800.
During this and many other phases of history, Scandinavia was separated from other parts of Europe in
more than one way. Its regions and countries have almost always been at a distance from the main conflicts
on the continent (though not necessarily remaining unaffected). There is no evidence that parts of
Scan dinavia were conquered by any of the big empires or were in the path of major migrations. In the long
his torical perspective, the Scandinavians instead were either spectators or plunderers and conquerors. But
whether they were active on the continent or not, there have always been contacts of some sort with the
continent. Archaeologically this is reflected in imported goods and domestic objects influenced by foreign
cultures. These contacts have continuously affected the religion, economy and social life of people in Scan -
dinavia.
This paper focuses upon imported goods found primarily in present-day Sweden, and dated between the
5th and 9th centuries AD. The nature of this trade and exchange is a very broad subject, which is hard to
cover in a single article. Here I shall present an overview of different types of imports that reached Scan -
dinavia in the period concerned. There is a need for a broad view, as different materials may provide different
answers or perhaps strengthen earlier interpretations. I will also try to develop previous researcher’s
views upon distinct changes in the trading patterns around the middle of the 6th century.

SUMMARY: Chapter 8, in Renfrew & Bahn's textbook (Archaeology: Theories, Methods, and Practice), covers what typically survives, what constitutes an "artifact", interpreting usage, obtaining materials (e.g., quarrying; mining), transporting materials, installing materials, manufacturing items, identifying function, experimental archaeology, etc., regarding stone, bone, antler, shell, leather, wood, plant, metal, faience, glass, and other materials and diverse artifacts.  In my view, this is one of the best college textbooks available, and is invaluable for students, archaeologists, and the public in general, to obtain a top notch overview of approaching and interpreting the archaeological record.  UPDATED May 2023.

Opaque glasses were widely used for decorative purposes in antiquity. Glass vessels, tesserae, beads and enamels applied to different carrier materials were decorated with or entirely made from opacified glasses. While other materials have been investigated in some depth, enamel decoration on glass vessels has attired much less attention. At the archaeometry lab in Mainz a research-programme was set up to study the manufacturing technique of Roman enamelled glassware. Starting from a technological case study of fragments of Roman enamelled beakers from Lübsow (Lubieszewo, Poland) the question was raised whether enamels made for decorating thin glass vessels had to meet other demands than those vitreous masses used on metals or as independent materials.

The compilation of data comprised analysis of main and trace elemental composition of vessel glasses and of the vitreous paint layers by Micro-XRF. Raman-microspectrometry was used for identifying opacifiers and pigments. A detailed microscopical study yielded insights into the details of the manufacture process. The results demonstrated that for the enamelled decoration no glass masses with low melting-points had been used and that some pigments were quite unusual compared to other opaque glassware of the same period.
With the results of the Polish enamelled glasses and similar Roman objects from Germany and Denmark in mind a review of other opaque glass materials from the same and later periods was carried out. It was found that especially the red colours used on glass differed from the typical copper-reds used for producing tesserae, enamelled jewels, beads etc. However, similar materials and technologies used for enamelling Roman glass objects can be found among Islamic masterpieces nearly 1000 years later.
The paper will discuss the reasons why different opaque glass craft traditions had to be used for different types of vitreous opaque materials.

Fifth-to seventh-century window glass fragments from the Petra Church in Jordan were analysed by EPMA and spectrophotometry to characterize their optical properties and chemical composition. The objective of this study was to determine the provenance of the raw glass and the secondary production procedures of the window-panes. Judging from the material evidence, both the crown window-panes and possibly the rectangular samples were produced through glass-blowing techniques. The chemical data show that the assemblage forms a homogeneous group of soda-lime-silica glass of the Levantine I type. The green glass, however, has higher silica and lower soda contents than the aqua-blue fragments. The composition of one sample suggested the recycling of Roman glass. Our results confirm the trade of glass between the Levantine coast and Petra during Late Antiquity. No colouring agents other than iron were detected. Spectrophotometry confirmed the presence of iron and showed that the window fragments absorbed light relatively equally across the visible part of the spectrum. The windows thus seem to have provided an almost colourless illumination for the sacred interior.

A Vimbodí i Poblet tenen el privilegi d’acollir el primer forn de vidre documentat que es coneix a Catalunya, el qual data del segle XII (1188)  Però la indústria vidriera que li donà nom no s’establí a Vimbodí fins a l’any 1903, quan uns vidriers procedents de Fulleda escolliren l’indret per les facilitats a l’hora de trobar llenya, matèria primera dels forns de vidre, i, sobretot, per la proximitat de l’estació de ferrocarril. A Vimbodí es fabricà
vidre fins al 1954, que va tancar el darrer forn. El 1993 es va posar en marxa l’actual museu i es reobrí el forn de vidre. El mestre vidrier Paco Ramos es va traslladar a viure al poble i, des de fa més de 15 anys, és l’encarregat de mantenir l’ofici de vidrier a Vimbodí.
(Vimbodí i Poblet, Conca de Barberà, Catalunya)

Mirrors or mirror-like objects/"mirrors" made of stones, minerals, glass and metal were found in various archaeological contexts, generally in burial, offering and cache contexts. These remarkable and somehow enigmatic objects are best known from Neolithic and Chalcolithic sites of Çatal Höyük, Domuz Tepe, Güvercin Kayası and Tepecik in Turkey; several Olmec, Maya, Aztec and Inca sites in Americas, as well as from ancient Egyptian and Indian excavations. According to the realms of archaeological and historical recoveries, the mirror appears throughout the human history from prehistoric times to today and most likely still waters were the first mirror-like functioning natural element until actual mirrors made of solid material like obsidian, and later liquid "mirrors"/reflectors made of mercury were manufactured. Based on iconography informed by textual, historical and ethnographical accounts, solid and liquid mirrors were associated with the soul, supernatural spirits, afterlife, magic, scrying, sorcery, divination, astronomy, the sun, sun gods, fire, light, darkness, authority, hidden truth, cosmetics, beauty, scientific applications, luxury, prestige, self-recognition and self-delusion. However, because mirrors archaeologically have not been studied well, specifically those of Prehistory and Protohistory, both as a material object and non-material abstract remains of past cultures, they are still need to be explored. Therefore, this session aims to investigate prehistoric and protohistoric mirrors from all around the World both as a material object and other aspects beyond materiality; past peoples' perception of mirrors and reflections on shiny objects; personal and societal need for gazing into mirrors from interdisciplinary and comparative perspectives. In addition to technological, typological, functional and experimental aspects, astronomical, symbolic, religious, magical, ritualistic, artistic, neuroscientific, and paleopsychological aspects also will be discussed.

Fragments of several glass bowls were found at Nimrud, in the North-West Palace and in Fort Shalmaneser, by the British School of Archaeology in Iraq and the Centro Ricerche Archeologiche e Scavi di Torino per il Medio Oriente e l’Asia. In the Late Assyrian period, from the late 8th century B.C., the glass industry revived and the new products were very different from Late Bronze Age core-formed vessels. One major improvement was the production of naturally coloured vessels, cast in double moulds, probably with the lost-wax technique,
and then finished by grinding and polishing. During the Italian excavation a fragment of a shallow glass bowl was found in A1/SW37 room in Fort Shalmaneser. The bowl has slightly straight sides, flat base, and is
decorated with an engraved stylized design of a blue lotus flower. The motif certainly has its origin in Egyptian art and it is quite possible that Egyptian or ‘Egyptianizing’ luxury objects were transported through tribute or trade into Assyria and consequently influenced Assyrian art. The pattern may have been a royal prerogative, having a symbolic meaning of life and abundance, and probably has even an apotropaic value. Glass fragments were found gathered along the north-eastern wall of the A1/SW37 room. It has been stressed that this storage room was also a place for repairing peculiar objects, such as ivories, shells, glass pasts and stone vessels; however, the findings of the Italian expedition seem to show that it was also a kind of workshop for making original objects. Indeed, the above mentioned glass fragments could be crushed for being moulded with the purpose of creating new vessels, or re-shaped to be used as inlays.

The properties of porous hydroxyapatite (HA) bioceramic produced by heat treatment (annealing) of bovine bone were evaluated over temperatures between 400 °C and 1200 °C. The annealed body was characterized by thermal analysis (thermogravimetric analysis (TG)/differential thermal analysis (DTA)), scanning electron microscopy (SEM), X-ray diffraction (XRD), energy dispersive X-ray spectroscopy (EDX) and Fourier transformed infrared (FTIR) spectroscopy. The XRD results showed that the annealing process enhanced the crystallinity of HA phase in the bone matrix particularly when annealed above 700 °C. There was no secondary phase formation in bones annealed between 600 °C and 1000 °C. However, decomposition of HA to β-tricalcium phosphate (TCP) was observed for samples heat-treated at 1100 °C and 1200 °C. The FTIR spectra and the TG/DTA thermogram of as-received bovine bone indicated the presence of organic compounds, which upon annealing at temperatures above 600 °C was completely removed from the matrices. Bovine bone annealed between 800 °C and 1000 °C revealed the characteristics of a natural bone with the interconnecting pore network being retained in the structure.

http://www.sciencedirect.com/science/article/pii/S0272884206001581

The current paper reviews a part of the so far unnoticed but rich glass collection at the ‘Museum aan de Stroom’ (MAS) in Antwerp encompassing objects from Roman times to the 20th century. We limit ourselves to highlight the story behind some of the prominent collections, which the museum accumulated during the 19th and early 20th centuries. The key benefactors of the late 19th–early 20th centuries, who expanded the glass collection of the museum significantly, were Walter Van Genechten, Alfred Elsen-Maquinay and Paul Osterrieth. The story of how they accumulated individually their own collection is briefly considered. We also discuss concisely a selection from the more than 200 complete vessels dating from the early Roman imperial period to the early Islamic period. The glass from the Roman imperial period and from Late Antiquity includes cast vessels, mould-blown and free-blown vessels and some bangles.
The oldest vessels are 1st century AD vessels (ribbed bowls and date-shaped mould-blown vessels), whereas the youngest artefacts are of Merovingian and early Byzantine-early Islamic times. Both issues demonstrate the benefit of appraising this entire glass collection in a fully detailed and richly illustrated publication.

The Manětín - Hrádek cemetery has yielded the largest number of Ha D2/3 - LT A graves in Bohemia (223) and therefore it is not surprising that it occupies the first position within Bohemia also in the score of 15 graves with 59 glass beads (from one single cemetery). The collection of monochrome beads as well as eye beads and wavy-line decorated beads may be assessed as typical for its time. Th composition of the collection points to the SE Alpine region.

Glass mosaic decorations were used throughout the medieval Mediterranean as a powerful medium to convey religious and political agendas, yet we know next to nothing about the source of the materials and the transmission of the necessary technical know-how. Mosaics are generally considered a Byzantine art form, not least due to their prominence in Byzantine church architecture and because medieval Islamic textual sources assert that the glass tesserae of some of the most important early mosques were of Byzantine origin. This article provides solid analytical evidence that glass used in the tenth-century mosaics of the Great Umayyad Mosque of Córdoba (Spain) came from Byzantium. Most of the tesserae have high boron contents, for which the only compositional match are Byzantine glasses made with raw materials from Asia Minor. In addition, some of the glass has a chemical fingerprint that suggests that it was prepared by mixing local raw materials with imported high boron glass, indicative of local mosaic glassmaking. Our study thus illustrates the value of analytical studies in reassessing long-held assumptions about the making of mosaics as well as the movement of materials and people across cultural barriers. The presence of Byzantine materials and craftsmen in Córdoba demonstrates that Muslims and Christians were interacting the length of the Mediterranean, corroborating the close diplomatic ties between the Caliphate of Córdoba and the Byzantine Empire during the tenth century. Our findings further underscore the importance of glass in trade and diplomatic exchange, reflecting its cultural and economic value in the medieval world.

In torno alla metà del I secolo a.C. alcuni artigiani mediorientali, combinando l'uso di due tecniche metallurgiche antichissime, perfezionarono un modo rivoluzionario di produrre il vetro. Fin dal XV secolo a.C., in effetti, la canna da soffio per alimentare il fuoco e la fornace per fondere i metalli erano due strumenti ben conosciuti dagli artigiani e orefici egiziani. Con la prima si controllava l'azione del fuoco e attraverso la seconda si otteneva una pasta metallica fusa facilmente lavorabile. Il vetro era un materiale ben conosciuto anche dagli egizi, ma l'impossibilità di costruire fornaci capaci di raggiungere temperature superiori ai 1000°C non aveva permesso di lavorare la materia fusa, limitando così notevolmente le varietà e le dimensioni degli oggetti che si potevano ottenere. Nonostante questi limiti, superati solo con l'introduzione della tecnica della soffiatura, il vetro esercitò un enorme fascino ed è difficile pensare a un altro materiale capace di giocare un ruolo così vario. A partire dal I secolo a.C., di vetro o di pasta vitrea erano molte decorazioni architettoniche, i mosaici parietali, la fritta per produrre alcuni colori per la pittura a fresco, in particolare l'azzurro e il blu egizio, le finestre per illuminare gli spazi interni degli edifici, le lucerne, i drappeggi, gli ornamenti e alcune parti anatomiche di molte sculture in marmo e pietra, il vasellame da mensa, gli acquari, gli ornamenti, le imitazioni delle pietre e gemme più preziose, le urne cinerarie e, forse, i sarcofagi di uomini illustri, gli unguentari, i balsamari, le lastre utilizzate per la costruzione di serre, i recipienti per la conservazione degli alimenti, strumenti e recipienti alchemici di varie fogge e funzioni, alcuni strumenti ottici per lo studio dei fenomeni della riflessione e della rifrazione, le coppette usate dai medici per la suzione degli umori e del sangue e, infine, gli specchi, sia quelli utilizzati per la cosmesi che quelli ustori. Inoltre il vetro, più dei metalli, poteva assumere qualsiasi colore e una straordinaria lucentezza, qualità quest'ultima che, accompagnata dalla possibilità tecnica di rendere il materiale lavorato perfettamente trasparente, superava i limiti imposti dalle lavorazioni dei metalli e delle pietre. Plinio (Naturalis Historia, XXXVI, 68) prestò la massima attenzione alle tecniche e, alla fine del capitolo dedicato al vetro, esaltando le molteplici e sospendenti qualità del fuoco, suggerì di collocare l'arte vetraria insieme a tutte quelle arti che, grazie all'ingegno, erano finalizzate all'imitazione della natura. Il lungo elenco delle proprietà del fuoco e la consapevolezza manifestata da Plinio di come, grazie all'uso sapiente di questo elemento, si possa trasformare la materia a piacimento, investendo la manipolazione e il dominio del più potente dei quattro elementi, non è, come si voluto spesso intendere, una semplice eco della filosofia Eraclitea, bensì un tentativo di collocare l'arte vetraria in un ambito disciplinare che non è quello del semplice artigianato. Si tratta ovviamente della chimica o dell'alchimia, una disciplina che ai tempi di Plinio poteva già contare su una autorevole tradizione e che, come vedremo, era ben conosciuta dal naturalista latino. Le tecniche antiche, infatti, non sono riconducibili esclusivamente ai progressi empirici che si realizzarono nei mestieri artigianali e nelle officine dei vetrai, ma anche, e in misura rilevante, alle ricerche condotte da parte di alcune categorie di studiosi per estenderne e perfezionarne l'uso in contesti apparentemente lontani dalla vita quotidiana. Esplorando il vetro dal punto di vista della storia della scienza e della tecnica, è legittimo domandarsi se gli antichi, in particolare i greci, non abbiano lasciato qualche testimonianza significativa circa la classificazione scientifica del vetro e la sua funzione in vari ambiti dell'attività

The KU Leuven Dayr al-Barsha project worked in al-Shaykh Sa'id, just north of Amarna, in 2007-2010 and 2014, and discovered on the hillside, north of the mouth of the Wadi Zabayda, archaeological remains of a royal domain, dating to the reign of Khufu. Afterwards, royal workshops were established on top of the Old Kingdom remains to supply the New Kingdom city of Amarna with a range of different goods. Due to severe erosion, hardly any traces of buildings survive, but the industrial waste left behind provide sufficient clues that besides a vast stone artefact industry, the artisans were also making objects in faience, glass and copper. Objects relating to the textile industry were also uncovered. The presentation will give an overview of the archaeological finds relating to the various industries active at al-Shaykh Sa'id during the Amarna-period, and a comparison will be made with the faience and glass industry in the city of Amarna.

In part two of the article, I discuss finds of western origin glass vessels from the Three Kingdoms on the Korean Peninsula in the social context.
Three chronological horizons with glass vessels can be distinguished within the Period of the Three Kingdoms of Korea: 1 - the period starting from the second quarter of the 4th century AD; 2 - the horizon covering the 5th and the first half of the 6th century; 3 - the horizon representing the period after the half of the 6th century. Most numerously, glassware was represented in the second of the horizons, prevailingly in the rich burials attributed to the rulers of Silla in Gyeongju.
Imports of glass vessels to the territories of the Three Kingdoms, Silla and Gaya above all, should be connected with the nomadic ruling dynasties of Northern China, i.e. with the Xianbei tribes, whose burials also contain glassware.
In the Korean Peninsula, glassware from the period discussed, namely from the fourth to the 6th century, had the character of prestige objects and this is the reason why they were being added to grave goods. After the population had converted to Buddhism, glassware continued to be the sign of a high social status but their function changed - they became gifts offered at Buddhist temples.

Sandwich gold-glass is a particular technique employed between the 3rd and the 2nd century BCE to produce some of the most precious and rare glass bowls ever created. There are 22 known examples of these which have been found in Southern Italy, Rhodes, Anatolia, Syria-Palestine, Egypt, Mesopotamia, Black Sea, and the Caucasus. These artifacts belong to the so-called «Canosa Group».

The sandwich gold-glass technique refers to the assembly of two vessels of transparent colourless glass, between which cut gold-leaf triangles and stripes, assembled to form different motifs, are sandwiched. In order to fit together precisely, the inner and outer bowls needed to be fashioned to an exact predetermined shape and size, refined through grinding and polishing. The gold decoration was applied to the outer wall of the inner bowl, possibly using an adhesive. The two layers were then partially fused together with heat.
Three main shapes exist: hemispherical bowl, parabolic bowl and shallow bowl. Comparative analysis of morphology and decorative arrangement shows a correlation between the shapes, technical details and subdivision of the decorated surfaces.

The identification of the workshops’ location on an archaeological basis remains difficult. Nevertheless, it may be suggested the existence of a small number of highly specialized workshops in the Eastern Mediterranean (Alexandria, Aegean, Syria-Palestine). The extravagance and rarity of these luxury vessels, along with their importance as status symbols for a very restricted élite, undoubtedly explains the long distance trade involved in their distribution.

Sir Flinders Petrie’s excavations at Tell el‐Amarna in Egypt uncovered a large number of glass finds and vitreous debris from areas identified as palace trash heaps and industrial buildings, revealing that as early as the 14th century BC, glass was produced at the site. His findings, combined with those from recent archaeological investigations and chemical analyses, show the important role Amarna played in early glass technology and its significance as a location for glass production, both locally and abroad, during the Late Bronze Age (LBA).  

Though Petrie found evidence of different stages of glass production at the site, it is not clear whether these finds indicate glassmaking or working. Recent excavations at Amarna have shed some light on the types of activities that took place there. However, due to a lack of thorough recording by Petrie of the areas he excavated, and the fact that many of these early glasses have not been fully analyzed, questions still remain about glass production at the site and how these materials should be interpreted within the larger context of the Egyptian glass industry.  

The research conducted aims to provide further insight into the production of vitreous materials at Amarna through the instrumental analysis of glass debris excavated by Petrie housed in the Penn Museum. Using a multi‐analytical approach (pXRF, SEM‐EDS, EPMA, LA‐ICPMS), the glass was characterized to identify the raw materials utilized and determine whether the debris belongs to primary glass made at Amarna or was imported to the site to be worked into finished objects. The results of this study will be used as comparanda to aid in the interpretation of glass found at other LBA sites adding to the broader understanding of glassmaking during this time period and the long‐distance trade networks used to move this material across the eastern Mediterranean.

L’articolo presenta la migrazione dei vetrai di Altare in Argentina nel secondo dopoguerra come l’ultima tappa di una storia millenaria di migrazioni, a iniziare da quelle in Italia e in Europa tra il XV e il XIX secolo, di cui vengono esaminate le caratteristiche principali, come per esempio: la presenza di fattori di spinta dall’interno e di attrazione dall’esterno e di motivazioni al miglioramento, il forte legame con la comunità di origine, le differenze rispetto alle migrazioni dei muranesi, le tensioni generate, il conflitto tra monsù e paisan, la vocazione al nomadismo. Viene poi illustrata una prima mappa generale delle migrazioni dei vetrai in America del Sud, tra il XIX e il XX secolo, in tre fasi: i pionieri nella prima metà dell’800, i fondatori delle grandi vetrerie tra fine ‘800 e inizi ‘900, il Gruppo TOVA dopo la seconda guerra mondiale. Per le prime due fasi, vengono presentati brevi cenni sulle vetrerie Brondi a Lima, “São Roque” a Rio de Janeiro, Bordoni a Buenos Aires, Lavagna a Rosario, Negri a Montevideo, e su quelle dei fratelli Scarrone a Rio e dei fratelli Gercar a Montevideo. Segue il racconto più dettagliato della storia del Gruppo TOVA, emigrato da Altare nel 1947 verso la provincia di Santa Fe in Argentina. Tra il 1947 e il 1954 gli altaresi realizzarono quattro vetrerie nelle cittadine di San Jorge e di San Carlos Centro, a un centinaio di chilometri di distanza tra di loro (SAICA, San Carlos, La Liguria, Altar) e una a Recife in Brasile (Zatto). L’attività vetraria si sviluppò e si espanse nella provincia di Santa Fe, dopo l’arrivo degli altaresi, le cui tecniche di lavorazione vennero a contatto con quelle boeme e con quelle muranesi. Viene fatto cenno alle caratteristiche di queste migrazioni, in confronto con quelle delle migrazioni precedenti, e viene sottolineato come il contatto tra le tecniche di lavorazione dei tre principali centri vetrari della storia europea abbia generato nuove tecniche e nuove espressioni artistiche.

El artículo presenta la migración de los vidrieros de Altare a la Argentina durante el segundo posguerra como la última etapa de una historia milenaria, que comenzó con las migraciones hacia Italia y Europa entre el siglo XV y el siglo XIX. De estas migraciones son examinadas las características principales, como por ejemplo: los factores que empujan a migrar desde el interior y los factores que atraen desde el exterior, las motivaciones a mejorar su propia condición, el fuerte lazo con la comunidad de origen, las diferencias con respecto a las migraciones de los muraneses, las tensiones surgidas, el conflicto entre monsù y paisan, la vocación al nomadismo. Luego el autor ilustra un primer mapa general de las migraciones hacia América del Sur, entre el siglo XIX y el siglo XX, divididas en tres fases: los pioneros en la primera mitad del siglo XIX, los fundadores de grandes vidrierías entre los finales del siglo XIX y los comienzos del siglo XX, el grupo TOVA después de la segunda guerra mundial. Con respecto a las primeras dos fases son presentadas en síntesis las vidrerías Brondi en Lima, “São Roque” en Rio de Janeiro, Bordoni en Buenos Aires, Lavagna en Rosario, Negri en Montevideo, y las de los hermanos Scarrone en Rio y de los hermanos Gercar en Montevideo. El ensayo sigue con la descripción más detallada de la historia del Grupo TOVA, emigrado de Altare en 1947 a la Provincia de Santa Fe en Argentina. Entre 1947 y 1954 los altareses fundaron y pusieron en marcha cuatro vidrerías en las ciudades de San Jorge y de San Carlos Centro, ubicadas aproximadamente a una distancia de 100 kilómetros entre ellas (SAICA, San Carlos, La Liguria, Altar) y úna en Recife en Brasil (Zatto). La producción de vidrio se desarrolló y se difundió en la Provincia de Santa Fe después de la llegada de los altareses, cuyas técnicas de trabajo entraron en contacto con las de los bohemios y de los muraneses. Se hace una breve referencia a las características de estas migraciones, comparadas con las anteriores, y se subraya que el contacto entre las técnicas de trabajo de los tres principales centros vidrieros de la historia europea generó nuevas técnicas y nuevas expresiones artísticas.

A short history of the different types of drinking vessels mostly in silver and glass which appeared in Central Europe during the 16th to 18th centuries. Drinks and beverages concerned are beer, wine, coffee, tea and chocolate/cacao. Countries involved are mostly Germany, England, France and other Central and South European countries.

Archaeological science adopts scientific techniques from different fields, such as biology, chemistry and geology, and applies them to the study of the human past. Even though there are many books with archaeological activities for children available, these are restricted to archaeological excavation, typological methods and other ‘traditional’ archaeological approaches with minimal, if any, reference to archaeological science methods. This is the gap that the current booklet aims at filling. The activities presented focus on familiarising students with basic methods in two broad fields: • Bioarchaeology (the study of organic remains, such as human and animal bones, and plant remains) • Archaeological materials and material culture (ceramics, glass, metals) For each activity, we provide the age range of the students to be involved; however, these ranges are only general approximations and it is up to the teacher to determine which students can participate in each activity or parts o...

This power-point presentation is based on the two following article in the Academia.edu:
O. Bopearachchi, S. Disanayaka and N. Perera, "The Oldest Shipwreck in the Indian Ocean", In Ports of the Ancient Indian Ocean, edited by Marie-Françoise Boussac, Jean-François Salles, Jean-Baptiste Yon, Primus Books, Delhi 2016, pp. 411– 434.

Tematem niniejszej pracy dyplomowej jest „Projekt konserwacji zachowawczej dla skorodowanych luster XVIII i XIX wiecznych”. Praca składa się z dwóch głównych części. W pierwszej części literaturowej składającej się z pięciu rozdziałów na początku omówiono historię produkcji luster od starożytności do XIX wieku. W tym jeden rozdział, trzeci,  poświęcono omówieniu procesów amalgamacji i srebrzenia, za pomocą których wytwarzano lustra w XVIII i XIX wieku. W rozdziale czwartym przedstawione zostaną przyczyny i skutki korozji luster, na podstawie których w ostatnim rozdziale będzie można dobrać odpowiednie warunki ekspozycji przestrzegając podstawowe założenia konserwacji zachowawczej. W pracy opisane zostaną również przykładowe metody badań korozji luster.

Стакларство је било веома развијено у Грчкој, од антике до ранохришћанског доба, да би се тај развој успорио током средњег века и сасвим угасио у пост-византијском периоду. Претпостављамо да би проучавање античког, грчког стакларства могло довести до објављивања бројних студија из ове области, али до таквог замаха никада није дошло, услед проблема који су проузроковани недостатком грчке терминологије.
У огромном временском распону који је претходио савременом добу, заборављене су технологије грчког стакларства које су се користиле у антици и средњем веку. Након стварања модерне грчке државе и поновног развоја стакларства, уводи се терминологија својствена индустријским процесима. Овакав приступ директно је утицао на то да се и оно мало успостављене грчке терминологије уништи, посебно кроз превођење страних израза који се односе на модерне производе и методе производње.Новонасталу терминологију није могуће применити у изучавању раног стакларства јер су технике које су се користиле у антици, сасвим различите од оних које се користе у модерној индустрији.
Извесне сличности у производњи уметничких дела од стакла, свакако постоје али су поклапања у модерним и античким техникама само делимична. Уз то, сазнања о техникама производње уметничких дела од стакла су релативно нова и не заснивају се на традиционалној, локалној производњи, која би свакако морала имати какву-такву сопствену терминологију.
Због свега наведеног, грчко-енглески /енглеско-српски речник који је преведен на српски језик, представља први покушај да се на дијахронијски начин представи терминологија целокупног античког стакларства, покривајући широк временски период од бронзаног доба до средњег века. Речник садржи како технолошке, тако и типолошке изразе, с тим што се они типолошки, односе на типологију предмета од стакла, прављених у антици и средњем веку (дати су описи и цртежи), док се технолошки односе на сирове материјале, производњу стакла и корозију.
До предложених термина дошло се истраживањем античке литературе, поређењем и избором између два израза, одбацивањем нетачних термина и заменом одговарајућим, превођењем сродних израза са других језика, као и позајмљивањем термина из природних наука и сродних дисциплина, у проучавању антике.
Пошто нам је античка и средњовековна терминологија још увек недовољно позната, уложен је напор да се искористе извесни грчки и латински термини, пронађени у историјским изворима. Антички изрази који се односе на типологију унеколико су нам познатији, будући да су забележена имена појединих стаклених посуда и других предмета од стакла.Коришћени су сви они изрази који се са релативном сигурношћу могу повезати са познатим облицима. Као и у другим областима и у стакларству има случајева у којима се користе непрецизни и неодговарајући изрази који су постали устаљени. Због тога смо се потрудили, иако смо на почетку формирања терминологије у стакларству, да ове изразе одбацимо, да објаснимо њихову погрешну употребу и да уместо њих понудимо нове и прецизније термине који су лакши за коришћење.
Велики напор је уложен у то, да одреднице одговарају терминима из природних наука (хемија, физика, конзервација античких предмета, проучавање материјала). Где год је то било могуће, трудили смо се да прихватимо позајмљене термине из познатих студија о другим врстама археолошког материјала, као што су керамика, камен и метал, мада се и у овим пољима појављују групе термина чија нам веза није сасвим јасна.
Желимо да се захвалимо нашој колегиници и преводиоцу, др Д. Браун Казазис, која је превела текст одредница на енглески и која је својим примедбама побољшала и грчки унос. Такође се топло захваљујемо Центру за грчки језик, а посебно директору Одсека за лексикографију, проф. др Ј. Казазису који је подржао наш рад и предложио да се овај речник уврсти у издања Центра. И на крају, најискреније се захваљујемо колегиницама Гордани Гаврић и Емини Зечевић које су иницирале превођење Речника на српски језик и које су уложиле огроман труд у припрему књиге и изналажење одговарајућих термина у српском језику.

The salvage excavation conducted in the al-Waṭṭa quarter in Safed (see Dalali-Amos and Getzov, this volume) yielded a large and rich glass assemblage dated to the Mamluk period. The significance of this group lies in its being the first well-documented assemblage unearthed in a dwelling area that was dated by coins and pottery to a short, specific period. Until the last decade, the publication of Mamluk-period glass was limited. Fragments of such vessels were found in salvage excavations, usually in small numbers, and only part of the material was published. The al-Waṭṭa corpus is one of the largest Mamluk-period glass
assemblages ever studied in Israel, together with three other glass assemblages from Safed: one from a previous excavation in the al-Waṭṭa quarter (Katsnelson 2014a), and two, from the medieval castle. The two excavations within the medieval castle yielded Crusader glass (Gorin-Rosen 2015) in one, and Mamluk glass, mostly dated to the fourteenth–fifteenth centuries CE, in the other (Katsnelson 2017).

Beads made out of faience appear in various shapes which are rarely very characteristic for a single period or region. The so-called openwork bead (also called lantern bead) of the Late Bronze Age may represent an exception because of its morphological uniqueness. Hence implications on contacts and trade relations might be deduced from the distribution of these beads. I will discuss the following points: the distribution of the openwork bead in the Central/Eastern Mediterranean and the Near East, the archaeological contexts, the origin of the bead type, the implications of scientific analysis and the question of local and foreign production in vitreous materials in Middle and Late Bronze Age Italy. It will be demonstrated that the openwork bead should be considered a Mycenaean type, and consequently that it might be as useful as ceramics in providing evidence for Mycenaean influence in Northern Italy.