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Byzantine glass mosaic tesserae: some material considerations1
Published online by Cambridge University Press: 26 April 2016
Abstract
Issues about the manufacture of Byzantine mosaics and the implications of these in wider terms relating to social and economic questions about the art form have been little discussed. This paper brings together evidence about Byzantine glass mosaic tesserae gathered from archaeology, glass technology and glass analysis, and synthesizes these into a discussion of three aspects: distribution; manufacture; trade and price. It looks to examine how these different elements can be used to form a more detailed composite picture about the production and distribution of Byzantine mosaics. It also proposes ways in which glass analysis can be used in a more coherent way to extend our understanding of mosaic glass production.
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- Research Article
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- Copyright © The Centre for Byzantine, Ottoman and Modern Greek Studies, University of Birmingham 2006
Footnotes
This paper was written as the result of a Leverhulme Research Fellowship. I am most grateful to the Leverhulme Trust for their support. Many people have been most generous with their time, responses to queries, advice and references. I would like to thank in particular Robert Brill, Ian Freestone, Cesare Fiori, Claire Nesbitt, Nadine Schibille, Ann Terry, Mariangela Vandini, Marco Verità, and Michelle O'Malley.
References
2 See for example Oxford Dictionary of Byzantium, ed. A. Kazhdan et al. (Oxford 1991) 1412-13, and Cutler, A., ‘The industries of art’ in The Economic History of Byzantium, Seventh to Fifteenth Centuries, ed. Laiou, A., II (Washington 2002) 557–61Google Scholar.
3 Much of what is said is based on assumptions about early Italian mosaics, drawn from Harding, C., ‘The production of medieval mosaics: the Orvieto evidence’ DOP 43 (1989), 73–102Google Scholar.
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15 Ibid., citing Oxford Dictionary of Byzantium, 1412-13. Witte-Orr, ‘Fresco and mosaic fragments’, says that the 23,000+ tesserae recovered perhaps made up 1% of the total required.
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24 Goren-Rosen, ‘Ancient glass industry in Israel’.
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57 Evidence about opaque red glass supports this proposition: Brill, R.H. and Cahill, N.D., ‘A red opaque glass from Sardis and some thoughts on red opaques in general’, Journal of Glass Studies 30 (1988) 16–27Google Scholar.
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59 One tessera provides evidence for tin opacified glass at Nea Mone: I.C. Freestone, S.G.E. Bowman, D. Buckton, ‘Recycling in the production of Byzantine enamel’, unpublished research paper.
60 For an account, see Fiori, C., Roncuzzi-Fiorentini, I. and Vandini, M., ‘Colours and stories of the Italian mosaics’, in The Art of Ceramics: The Blend of Art and Science in Technology, ed. Claussen, N. (Techna 2001) 149–72Google Scholar. My thanks to Cesare Fiori and Mariangela Vandini for this reference.
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62 Brill, R.H., Chemical Analyses of Early Glasses, vol. 1: The catalogue; vol. 2: The tables (New York 1999)Google Scholar begins this by bringing together Brill's analyses (including Byzantine tesserae) in tabular form. A third volume of analysis is awaited.
63 See the discussion by Freestone, Ponting and Hughes, ‘Glass from Maroni Petrera’, and Henderson, ‘Glass trade and chemical analysis’.
64 Mango, cited by Mundell Mango and Henderson, ‘Glass at medieval Constantinople’ 339, n. 24; François and Spieser, ‘Pottery and glass in Byzantium’ 595. However, they do not explain from where the estimate of five grams is derived.
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69 In this case, inspired by fear to give away the tesserae. Text in Mango, C., Art of the Byzantine Empire (Toronto, 1974) 221–2Google Scholar; also Cutler, ‘Industries of art', 561.
70 As is suggested by Cutler, ‘Gifts and gift exchange’, esp. 253-4.
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76 Verità, M., ‘Technology and deterioration of vitreous mosaic tesserae’, Reviews in Conservation 1 (2000) 68Google Scholar. My thanks to Marco Verità for this reference. Supporting evidence for the thinness of the gold is found in Bomford, D., Dunkerton, J., Gordon, D. and Roy, A., Art in the Making: Italian Painting before 1400 (London 1990) 22Google Scholar, discussing Cennino Cennini's claim that over 100 sheets of gold leaf could be made from one florin (weight anything between 3.55 g and 3.34 g). I am very grateful to Michelle O'Malley and Christopher Poke for debate on this.
77 Eufrasiana: Terry, A. and Maguire, H., ‘The wall mosaics of the cathedral of Eufrasius in Poreč: third preliminary report’, Hortus Artium Medievalium 7 (2001) 131–66CrossRefGoogle Scholar and A. Terry and H. Maguire, Dynamic Splendor: The Wall Mosaics in the Cathedral at Porec (Penn State, forthcoming); Dereazi: Morganstern, Byzantine Church at Dereağzi 103-5; Hagia Sophia: Hawkins, E.J.W., ‘Further observations on the narthex mosaic in St Sophia at Istanbul’, DOP 22 (1968) 151–66Google Scholar.
78 Harding, C., ‘Economic dimensions in art: Mosaic versus wall-painting in Trecento Orvieto’ in Florence and Italy: Renaissance Studies in Honour of Nikolai Rubinstein, ed. Denley, P. and Elam, C. (London 1988) 503–11Google Scholar.
79 Mango, C. and Hawkins, E.J.W., ‘The mosaics of St Sophia at Istanbul: The Church Fathers in the north tympanum’, DOP 26 (1972) 22Google Scholar, and the further conclusions drawn by Cutler, ‘Industries of art’ 560.
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