{"id":11861,"date":"2023-11-21T08:00:54","date_gmt":"2023-11-21T14:00:54","guid":{"rendered":"https:\/\/uwm.edu\/arthistory\/?p=11861"},"modified":"2024-06-11T16:28:03","modified_gmt":"2024-06-11T21:28:03","slug":"glass-from-the-past-an-ancient-roman-amphoriskos-in-the-uwm-art-collection","status":"publish","type":"post","link":"https:\/\/uwm.edu\/arthistory\/glass-from-the-past-an-ancient-roman-amphoriskos-in-the-uwm-art-collection\/","title":{"rendered":"Glass from the Past: An Ancient Roman Amphoriskos in the 51ÁÔÆæ Art Collection"},"content":{"rendered":"
\"Detail
Roman Amphoriskos in the 51ÁÔÆæ Art Collection<\/figcaption><\/figure>\n

\"Roman<\/p>\n

Katie Batagianis<\/strong><\/p>\n

In the ancient Roman world, glass was ubiquitous.\u00a0 It was used to create jewelry and other ornaments, to form the designs in floor mosaics, and to insulate the famed Roman baths.[1]<\/a>\u00a0 It was also an extremely popular material for vessels of every conceivable shape and function:\u00a0 oil lamps, cosmetic and jewelry boxes, storage and transport containers, perfume bottles, ointment pots, and wine jugs and cups, among many others.\u00a0 Glass vessels were, in fact, such an integral part of daily life in the Roman empire that an estimated 100 million of them were produced every year.[2]<\/a>\u00a0 Amazingly, considering the inherent fragility of the material, an impressive amount of these glasswares have survived to the present, and several major museums boast extensive collections (Figure 1).<\/p>\n

\"Figure
Figure 1 \u2013 Greek and Roman glassworks in the J. Paul Getty Museum<\/figcaption><\/figure>\n

With such a profusion of surviving examples, it might be easy to dismiss this amphoriskos in the 51ÁÔÆæ Art Collection.\u00a0 After all, there is nothing particularly spectacular about it.\u00a0 Measuring just 2.875 inches in height and 3.25 inches in width, it is quite small.\u00a0 Its decoration is minimal, and, though the vessel is intact, it exhibits significant areas of damage, as can be seen in the many flaky patches that mar the vessel\u2019s surface.\u00a0 Even its most visually arresting components \u2013 the swirls of brilliant rainbow colors and the sparkling quality that makes it appear as though the vessel has been sprinkled with glitter \u2013 are not uncommon features in surviving glassworks from the ancient world.\u00a0 And yet, this amphoriskos is nevertheless a compelling object, both as a representative of a significant part of ancient Roman material culture and as an individual artifact with its own story to tell.<\/p>\n

<\/p>\n

The first part of this vessel\u2019s story concerns the manner of its creation.\u00a0 This amphoriskos \u2013 or \u201csmall amphora,\u201d called thus because of its resemblance in miniature to the large, two-handled vessels used to store and transport olive oil and wine[3]<\/a> \u2013 is an example of blown glass.\u00a0 This technique, developed on the Levantine coast in the first century BCE[4]<\/a> and then brought to Rome by Syrian and Judean slaves in the first century CE,[5]<\/a> completely transformed the ancient glass industry.\u00a0 Before glassblowing, the manufacture of glass was a slow and complicated process, and, consequently, glassware was a luxury item available only to the wealthy.[6]<\/a>\u00a0 With the development of glassblowing, however, production became quicker and easier, costs went down, and a much broader swath of the population could afford to purchase glassworks.[7]<\/a><\/p>\n

The process of glassblowing consists of placing a glob of molten glass on one end of a long metal tube known as a blowpipe and then blowing through the pipe to inflate the glass.[8]<\/a>\u00a0 In the method of glassblowing known as mold-blowing, the molten glass is inflated inside a prepared mold, and the glass then takes on the form of that mold, as well as any decoration carved inside the mold.[9]<\/a>\u00a0 In the alternative method of glassblowing, known as free-blowing, the shape, size, and decoration of the vessel are completely dependent upon the glassworker.\u00a0 After inflating the molten glass, the worker can manipulate the form in a number of ways:\u00a0 by rolling the glass on a smooth surface, by swinging the glass around on the blowpipe, or by using tools.[10]<\/a><\/p>\n

\"Figure
Figure 2 \u2013 Mold-blown vessel with seam (highlighted) and relief decoration, Roman, c. 50-80 CE, Metropolitan Museum of Art<\/figcaption><\/figure>\n

The 51ÁÔÆæ amphoriskos is an example of a free-blown vessel, as indicated by a few key features.\u00a0 For one, a mold-blown vessel will show the seams from the mold used to create it, and it will often have decoration rendered in relief (Figure 2).[11]<\/a>\u00a0 The 51ÁÔÆæ amphoriskos has neither of these characteristics.\u00a0 It does, however, have what is known as a pontil scar, the telltale sign of a free-blown vessel.[12]<\/a>\u00a0 Once a free-blown vessel has been formed, it must be broken off from the blowpipe and the mouth and neck reheated and reworked.\u00a0 To hold the vessel while this is being done, a second rod, known as a pontil, is attached to the bottom.\u00a0 When the vessel has taken its final shape, the pontil is removed, and a circular scar is left at the point of attachment.[13]<\/a>\u00a0 As seen in Figure 3, the bottom of the 51ÁÔÆæ amphoriskos has just such a scar.<\/p>\n

\"Figure
Figure 3 \u2013 Pontil scar on the bottom of the 51ÁÔÆæ amphoriskos<\/figcaption><\/figure>\n

Though the glassblowing technique made glass vessels cheaper, it did not inherently make them all equal.\u00a0 Some glassworks continued to be considered luxury wares, particularly works displaying the extremely intricate carving of cameo decoration (Figure 4).\u00a0 Other luxury wares included those with mosaic decoration and those that incorporated gold leaf between layers of glass.[14]<\/a>\u00a0 It seems likely that the 51ÁÔÆæ amphoriskos was on the lowest end of the luxury spectrum.\u00a0 There is very little decoration, and certainly nothing elaborate.\u00a0 It consists solely of a single band of protrusions that runs around the middle of the vessel\u2019s globular body (Figure 5).\u00a0 These protrusions, known as fins, are created by pinching the glass at various intervals while the glass is still hot.[15]<\/a><\/p>\n

\"Figure
Figure 4 \u2013 Cameo glass skyphos, Roman, 25 BCE-25 CE, J. Paul Getty Museum<\/figcaption><\/figure>\n

<\/a><\/p>\n

\"Figure
Figure 5 \u2013 Detail of body showing protruding fins<\/figcaption><\/figure>\n

Another indication that this amphoriskos was likely on the cheaper side relates to the handles.\u00a0 Added separately following the completion of the vessel itself, the handles appear to have been attached quite carelessly.\u00a0 The points of attachment on the body and mouth are sloppy and imprecise, and a view of the top of the amphoriskos reveals that the handles are not equidistant (Figure 6).\u00a0 This inattention to detail afflicts many Roman glass vessels with handles, as illustrated in the example in Figure 7.\u00a0 As one scholar lamented, \u201cIn almost every instance handles are heavy and awkward, joined to the vase in a crude fashion that bespeaks no architectonic sense.\u00a0 By the addition of handles many otherwise beautiful shapes are marred.\u201d[16]<\/a>\u00a0 However, as other vessels attest, at least some glassworkers possessed the necessary skills to deftly attach handles.\u00a0 This ewer at the Corning Museum of Glass (Figure 8), for example, boasts a handle that is beautifully crafted and connected.\u00a0 The subpar handiwork of handles like those of the 51ÁÔÆæ amphoriskos suggests a concern for speed of production rather than quality of appearance, further reinforcing the notion that it was a cheap purchase.<\/p>\n

\"Figure
Figure 6 \u2013 View of the 51ÁÔÆæ amphoriskos from above<\/figcaption><\/figure>\n

Color constitutes another part of the story of the 51ÁÔÆæ amphoriskos.\u00a0 Ancient Roman glassworkers were able to produce wares in an impressive array of hues.\u00a0 The creation of color in glass can be achieved in one of two ways during the glassmaking process:\u00a0 by adding metallic oxides to the glass mixture or by controlling the amount of oxygen in the furnace.[17]<\/a>\u00a0 While the damage to the 51ÁÔÆæ amphoriskos obfuscates much of the vessel\u2019s surface area, enough remains visible to discern that its original color was a sort of yellow-brown, perhaps something in the vein of a honey or amber tone.\u00a0 Figure 9 provides an example of an undamaged amphoriskos whose color may be similar to the 51ÁÔÆæ vessel\u2019s initial hue.\u00a0 Such a color would have been created by either adding a mineral like lead or depriving the furnace of oxygen during the production process.[18]<\/a><\/p>\n

\"Figure
Figure 7 \u2013 Amphoriskos, Roman, 1st century CE, Metropolitan Museum of Art<\/figcaption><\/figure>\n

<\/a><\/p>\n

Why the artisan who made the 51ÁÔÆæ amphoriskos chose to make it yellow remains a mystery.\u00a0 The dictates of fashion certainly played a role in ancient Roman glass manufacture.\u00a0 We know, for example, that colorless glasswares were in vogue for a period during the first century CE.[19]<\/a>\u00a0 Perhaps yellow was a popular color choice for amphoriskoi at the time (late third to early fifth century CE) and in the region (eastern Mediterranean) where the 51ÁÔÆæ vessel was created.\u00a0 It is also possible that the color of the amphoriskos was less about making a decorative decision and more about making use of what was at hand.\u00a0 Unlike ceramics, glass can be melted down and reused after it is broken,[20]<\/a> so perhaps the amphoriskos artisan simply made a yellow vessel because they had shards of yellow glass available.\u00a0 The mismatched colors of the handles and bodies of some Roman glasswares (Figure 9) at least suggests that workers used whatever scraps were on hand, regardless of color coordination \u2013 though, of course, this might also have been a conscious decision to lend the vessel some visual interest.<\/p>\n

\"Figure
Figure 8 \u2013 Ewer, Roman, 30-70 CE, Corning Museum of Glass<\/figcaption><\/figure>\n

Another possible explanation for the color of the amphoriskos relates to its function.\u00a0 Amphoriskoi were used to hold perfume, and it has been theorized that bottle colors were directly linked to bottle contents.[21]<\/a>\u00a0 For example, a floral fragrance might have been kept in an amphoriskos of one color, while a different color might have designated a spicy or fruity scent.\u00a0 It is also possible that a bottle\u2019s color indicated the intended purpose of its contents.\u00a0 In the Roman world, perfume was used in a number of capacities:\u00a0 as a remedy for body odor, as a medicinal treatment, as part of the ritual of cleaning and anointing a dead body in preparation for burial, and so on.[22]<\/a>\u00a0 Perhaps the purpose of the perfume played a part in the choice of bottle color, too.<\/p>\n

\"Figure
Figure 9 \u2013 Amphoriskos, Roman, 1st century CE, Metropolitan Museum of Art<\/figcaption><\/figure>\n

The story of the 51ÁÔÆæ amphoriskos would not be complete without a discussion of the stunning bursts of color that now decorate portions of its surface, particularly its mouth and handles (Figure 10) and the bottom half of its body (Figure 11).\u00a0 This quality is known as iridescence, and it is, unfortunately, an indication that the amphoriskos is in extremely poor condition.\u00a0 Iridescence is the result of weathering, a process that affects a number of ancient glass vessels due to their burial in the ground as part of Roman funerary ritual.[23]<\/a>\u00a0 During the imperial period, Romans practiced both cremation and inhumation, and in cases of inhumation, a number of different types of goods were buried with the dead.\u00a0 These were items that it was believed the dead would need in the afterlife, that would make them comfortable there, including games, eating utensils, weapons, jewelry, and various toiletry items, such as perfume bottles.[24]<\/a>\u00a0 If glass is exposed to moisture while underground, and if that exposure lasts for an extended period of time, then a chemical reaction occurs.[25]<\/a>\u00a0 Iridescence is only one of several consequences that could result from this chemical reaction; the disintegration of the outer surface of the glass into a flaky coat that breaks off is another.[26]<\/a>\u00a0 This, too, can be seen on the 51ÁÔÆæ amphoriskos.\u00a0 Sadly, there is nothing that can be done to either stop or reverse this process.[27]<\/a>\u00a0 Nor is cleaning an option, as removal of the flaky coat, which is actually protecting the glass underneath, would cause the glass to disintegrate even further.[28]<\/a><\/p>\n

<\/p>\n

When we think of the material culture of ancient Rome, glass is probably not something that immediately comes to mind.\u00a0 But perhaps it should, as glass \u2013 particularly glass vessels \u2013 was a fundamental part of everyday life in the Roman empire.\u00a0 And while the 51ÁÔÆæ amphoriskos, and other glasswares like it, is not a wall painting from Pompeii, a portrait sculpture of the emperor Augustus, or another renowned work of the ancient Roman world, it nonetheless deserves to be seen, to be studied, and to be appreciated in its own right.<\/p>\n

[1]<\/a>Rosemarie Trentinella, \u201cRoman Glass,\u201d The Metropolitan Museum of Art, accessed February 11, 2023, https:\/\/www.metmuseum.org\/toah\/hd\/rgls\/hd_rgls.htm<\/a>.<\/p>\n

[2]<\/a> Donald White et al., Guide to the Etruscan and Roman Worlds at the University of Pennsylvania Museum of Archaeology and Anthropology<\/em>, ed. Lee Horne (Philadelphia:\u00a0 University of Pennsylvania Museum of Archaeology and Anthropology, 2002), 66.<\/p>\n

[3]<\/a> \u201cAmphoriskos (Container for Oil),\u201d The Art Institute of Chicago, accessed February 16, 2023, https:\/\/www.artic.edu\/artworks\/67448\/amphoriskos-container-for-oil<\/a>.<\/p>\n

[4]<\/a> Stefano Carboni, \u201cIntroduction,\u201d The Metropolitan Museum of Art Bulletin<\/em> 59, no. 1 (Summer 2001):\u00a0 6.<\/p>\n

[5]<\/a> White et al., Etruscan and Roman Worlds<\/em>, 66.<\/p>\n

[6]<\/a> Karol B. Wight, Molten Color:\u00a0 Glassmaking in Antiquity<\/em> (Los Angeles:\u00a0 J. Paul Getty Museum, 2011), 53.<\/p>\n

[7]<\/a> \u201cGlass of the Romans,\u201d Corning Museum of Glass, accessed April 24, 2023, https:\/\/whatson.cmog.org\/exhibitions-galleries\/glass-romans<\/a>.<\/p>\n

[8]<\/a> R. A. Grossmann, Ancient Glass:\u00a0 A Guide to the Yale Collection<\/em> (New Haven:\u00a0 Yale University Art Gallery, 2002), 10.<\/p>\n

[9]<\/a> Grossmann, Ancient Glass<\/em>, 13.<\/p>\n

[10]<\/a> Grossmann, Ancient Glass<\/em>, 10.<\/p>\n

[11]<\/a> Stuart J. Fleming, Roman Glass:\u00a0 Reflections on Cultural Change<\/em> (Philadelphia:\u00a0 The University of Pennsylvania Museum of Archaeology and Anthropology, 1999), 37-38.<\/p>\n

[12]<\/a> Fleming, Roman Glass<\/em>, 34.<\/p>\n

[13]<\/a> Anastassios Antonaras, Fire and Sand:\u00a0 Ancient Glass in the Princeton University Art Museum<\/em> (Princeton:\u00a0 Princeton University Art Museum, 2012), 24.<\/p>\n

[14]<\/a> Catherine Hess and Timothy Husband, European Glass in the J. Paul Getty Museum<\/em> (Los Angeles:\u00a0 The J. Paul Getty Museum, 1997), 3.<\/p>\n

[15]<\/a> Antonaras, Fire and Sand<\/em>, 33.<\/p>\n

[16]<\/a> Eleanor E. Rambo, \u201cAncient Roman Glass,\u201d The Museum Journal<\/em> 11, no. 2 (June 1920):\u00a0 33.<\/p>\n

[17]<\/a> Fleming, Roman Glass<\/em>, 138, 141.<\/p>\n

[18]<\/a> Fleming, Roman Glass<\/em>, 138, 144.<\/p>\n

[19]<\/a> Fleming, Roman Glass<\/em>, 44.<\/p>\n

[20]<\/a> Ian C. Freestone, \u201cThe Recycling and Reuse of Roman Glass:\u00a0 Analytical Approaches,\u201d Journal of Glass Studies<\/em> 57 (2015):\u00a0 29.<\/p>\n

[21]<\/a> \u201cLargest Ever Exhibition of Mold-Blown Glass from Ancient Rome Organized by The Corning Museum of Glass,\u201d Corning Museum of Glass, accessed May 6, 2023, https:\/\/press.cmog.org\/2014\/largest-ever-exhibition-mold-blown-glass-ancient-rome-organized<\/a>.<\/p>\n

[22]<\/a> Erin Branham, \u201cThe Scent of Love:\u00a0 Ancient Perfumes,\u201d The J. Paul Getty Museum, accessed May 10, 2023, https:\/\/blogs.getty.edu\/iris\/the-scent-of-love-ancient-perfumes\/<\/a>.<\/p>\n

[23]<\/a> Grossman, Ancient Glass<\/em>, 11.<\/p>\n

[24]<\/a> J. M. C. Toynbee, Death and Burial in the Roman World<\/em> (Ithaca:\u00a0 Cornell University Press, 1971), 52-53.<\/p>\n

[25]<\/a> Astrid van Giffen, \u201cGlass Corrosion:\u00a0 Weathering,\u201d Corning Museum of Glass, accessed February 11, 2023, https:\/\/blog.cmog.org\/2011\/09\/14\/glass-corrosion-weathering\/.<\/p>\n

[26]<\/a> Fleming, Roman Glass<\/em>, 61.<\/p>\n

[27]<\/a> Fleming, Roman Glass<\/em>, 148.<\/p>\n

[28]<\/a> Van Giffen, \u201cGlass Corrosion.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Katie Batagianis In the ancient Roman world, glass was ubiquitous.\u00a0 It was used to create jewelry and other ornaments, to form the designs in floor mosaics, and to insulate the famed Roman baths.[1]\u00a0 It was also an extremely popular material …<\/p>\n","protected":false},"author":9822,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[747,28],"tags":[],"class_list":["post-11861","post","type-post","status-publish","format-standard","hentry","category-features","category-news"],"yoast_head":"\nArt History<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/arthistory\/glass-from-the-past-an-ancient-roman-amphoriskos-in-the-uwm-art-collection\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" 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