Appendices

Notes

  1. Hugh Tait, The Golden Age of Venetian Glass, London: Trustees of The British Museum, 1979.

    Used In: How to Use This Resource

  2. These finds were published in Yael Israeli and Natalya Katsnelson, “Refuse of a Glass Workshop of the Second Temple Period from Area J,” in Jewish Quarter Excavations in the Old City of Jerusalem, Conducted by Nahman Avigad, 1969–1982, v. 3, Area E and Other Studies: Final Report, ed. Hillel Geva, Jerusalem: Israel Exploration Society and Institute of Archaeology, Hebrew University of Jerusalem, 2006, pp. 411–460.

    Used In: The Earliest Inflated Glass

  3. See Nahman Avigad, Discovering Jerusalem, Nashville: T. Nelson, [1983].

    Used In: Later First-Century B.C. Evidence

  4. Friederike Naumann-Steckner, “Depictions of Glass in Roman Wall Paintings,” in Roman Glass: Two Centuries of Art and Invention, ed. Martine Newby and Kenneth Painter, London: Society of Antiquaries of London, 1991, pp. 86–98.

    Used In: Later First-Century B.C. Evidence

  5. For a recent overview of mold-blown glass, see Karol B. Wight, “The Mold-Blowing Process,” in Christopher S. Lightfoot, with contributions by Zrinka Buljević and others, Ennion, Master of Roman Glass, New York: The Metropolitan Museum of Art, 2014, pp. 48–55.

    Used In: Later First-Century B.C. Evidence

  6. See Hugh Tait, “Venice: Heir to the Glassmakers of Islam or of Byzantium?,” in Islam and the Italian Renaissance, ed. Charles Burnett and Anna Contadini, Warburg Institute Colloquia, v. 5, London: The Warburg Institute, University of London, 1999, pp. 77–104; and William Gudenrath, “Enameled Glass Vessels, 1425 B.C.E.–1800: The Decorating Process,” Journal of Glass Studies, v. 48, 2006, pp. 23–70.

    Used In: The Medieval Period

  7. Hugh Tait, “The Palmer Cup and Related Glasses Exported to Europe in the Middle Ages,” in Gilded and Enamelled Glass from the Middle East, ed. Rachel Ward, London: The British Museum, 1998, pp. 50–55.

    Used In: The Medieval Period

  8. See The Aldrevandin Group in A Historical Overview of Glassblowing in Venice.

    Used In: The Medieval Period

  9. See Altino: Glass of the Venetian Lagoon, ed. Rosa Barovier Mentasti and Margherita Tirelli, Treviso, Italy: Vianello, 2010.

    Used In: Regional Glassblowing Emergence

  10. For more on Torcello and its glassmaking industry, see Lech Leciejewicz, “How to Date the Glass-Making Workshop in Torcello?,” Archaeologia Polona: Journal of Archaeology, v. 45, 2007, pp. 99–104, online at www.iaepan.edu.pl/archaeologia-polona/article/717 (accessed July 24, 2015).

    Used In: Regional Glassblowing Emergence

  11. The Italian name has been used here, rather than its English equivalent, “puffer,” because soffietta has been widely adopted today by studio glass artists, instructors, and glass historians. In addition, the tool was probably invented in Venice. The literal translation of the closely related word soffietto is “bellows.”

    Used In: The Aldrevandin Group

  12. The Palmer Cup was discussed in The Medieval Period, The Islamic World.

    Used In: The Aldrevandin Group

  13. For a more complete study of enameling (and gilding) on glass vessels, see William Gudenrath, “Enameled Glass Vessels, 1425 B.C.E.–1800: The Decorating Process,” Journal of Glass Studies, v. 48, 2006, pp. 23–70.

    Used In: Period of Pan-European Dominance

  14. Works by Giuseppe Briati in The Corning Museum of Glass include two girandoles made about 1750 (2014.3.20).

    Used In: 18th-Century Decline

  15. For a thorough study of this period, see Rosa Barovier Mentasti, Il vetro veneziano, Milan: Electa, 1982, pp. 179–183.

    Used In: 18th-Century Decline

  16. Works from Venetian glasshouses that were displayed at the Paris world’s fair of 1867 are shown in The Illustrated Catalogue of the Universal Exhibition, published with the Art Journal, London and New York: Virtue [1868], pp. 33 (Salviati display), 101 (Salviati chandelier), and 105–107 (Italian glass). The Corning Museum of Glass collection includes a goblet made in Venice in the mid-1860s (79.3.1115).

    Used In: Revival and Continuing Influence

  17. This is the subject of the last section of this publication, which compares Venetian glass of earlier (late 15th to mid-18th centuries) and later (second half of the 19th century through the 20th century) periods.

    Used In: Revival and Continuing Influence

  18. For more information, see Helmut Ricke and Eva Schmitt, Italian Glass: Murano, Milan, 1930–1970. The Collection of the Steinberg Foundation, New York: Prestel, 1997.

    Used In: Revival and Continuing Influence

  19. Mary P. Merrifield, Original Treatises on the Arts of Painting, v. 2, New York: Dover Publications, 1967, pp. 526 and 528. Also cited in Tait [Note 1], p. 26.

    Used In: Inside a Renaissance Glasshouse

  20. See Gudenrath [Note 13], pp. 50–58.

    Used In: Inside a Renaissance Glasshouse

  21. See The Material: Making Glass in Renaissance Venice.

    Used In: Inside a Renaissance Glasshouse

  22. For a complete study of Venetian glassmaking developments from the Middle Ages through the Renaissance, see M. Verità, “L’invenzione del cristallo muranese: Una verifica analitica della fonti storiche,” Rivista della Stazione Sperimentale del Vetro, v. 15, no. 1, January/February 1985, pp. 17–29. For a more recent discussion of the same subject in English, see Koen Janssens, ed., Modern Methods for Analysing Archaeological and Historical Glass, 2 vv., Chichester, West Sussex, U.K.: John Wiley & Sons, 2013.

    Used In: Glass as a Material in Renaissance Venice

  23. Recent translations into English (with analysis) of two key period works on glassmaking have made this subject more accessible. A batch book of about 1560 and the most important book from the Renaissance on glassmaking are now readily available. See Glass Recipes of the Renaissance: Transcription of an Anonymous Venetian Manuscript, ed. Cesare Moretti and Tullio Toninato, English translation and additional notes by David C. Watts and Cesare Moretti, [Barnet, U.K.]: Watts Pub., 2011; and Antonio Neri, L’Arte vetraria = The Art of Glass, translated and annotated by Paul Engle, 3 vv., Hubbardston, Massachusetts: Heiden & Engle, 2003–2007.

    Used In: Glass as a Material in Renaissance Venice

  24. The standard reference on the subject of contemporary recipes for colored and specialty glasses is Woldemar A. Weyl, Coloured Glasses, Sheffield, U.K.: Society of Glass Technology, 1999.

    Used In: Glass as a Material in Renaissance Venice

  25. For an account of the period of crisis, see Rosa Barovier Mentasti, Il vetro veneziano, Milan: Electa, 1982, pp. 179–183.

    Used In: A Question of Continuity
Appendices
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