Books by Tassos Antonaras
Corinth XIX.1, 2022
Corinth has been an important site for the study of ancient glass since the pioneering work of Gl... more Corinth has been an important site for the study of ancient glass since the pioneering work of Gladys Davidson Weinberg. This volume presents the first attempt at Corinth to analyze the entire corpus of glass found in a single area, that located just east of the Theater, the focus of excavations conducted by the American School of Classical Studies in the 1980s. These excavations revealed a north-south street that flanked the Theater, as well as a series of buildings to its east, part of a residential neighborhood ranging in date from the Early Roman to the Early Byzantine period. In this volume-the first of the final reports from the East of Theater excavations-the author presents the glass finds, including over 450 catalogued examples of glassworking remains, vessel glass, and non-vessel glass. Significantly, these finds reveal shifting patterns in vessel types, manufacturing techniques, and trade, as well as evidence for local glass production throughout these periods. Included among the finds are fragments of two opus sectile panels, evidence of the type of luxurious decoration that once existed in these structures. This groundbreaking study provides a tantalizing glimpse into the lives of everyday Corinthians, advancing glass studies both within Greece and throughout the Mediterranean.
Archaeopress Roman Archaeology 27, 2017
Glassware and Glassworking in Thessaloniki: 1st Century BC – 6th Century AD is a detailed examina... more Glassware and Glassworking in Thessaloniki: 1st Century BC – 6th Century AD is a detailed examination of the production of glass and glass vessels in the eastern Mediterranean from the Hellenistic Age to the Early Christian period, analysing production techniques and decoration. The volume establishes the socio-economic framework of glassmaking and glassmakers’ social status in the Roman world generally and in Thessaloniki specifically, while identifying probable local products. Presented are all the excavation glass finds from Thessaloniki and its environs found between 1912 and 2002. A typological classification was created for almost 800 objects – which encompass the overwhelming majority of common excavation finds in the Balkans – as well as for the decorative themes that appear on the more valuable pieces. Comparative material from the entire Mediterranean was studied, verified in its entirety through primary publications. A summary of the excavation history of these vessels’ find-spots is provided, with details for each excavation, in many cases unpublished and identified through research in the archives of the relevant museums and Ephorates of Antiquities. The uses of glass vessels are presented, and there is discussion and interpretation of the reasons that permitted, or imposed, the choice of glass for their production. The finds are statistically analysed, and a chronological overview examining them century by century on the basis of use and place of production is given. Finally, there is an effort to interpret the data from the study in historical terms, and to incorporate the results into the political-economic evolution of the region’s political history. Relatively unfamiliar glassmaking terms are explained in a glossary of glassworking technology and typology terms. The material is fully documented in drawings and photographs, and every object in the catalogue is illustrated. A detailed index of the 602 geographical terms in the work, many unknown, concludes the book.
For the first time, this important volume features nearly all of the ancient glass objects in the... more For the first time, this important volume features nearly all of the ancient glass objects in the collection of the Princeton University Art Museum. Collected over the course of more than a century, the objects originate from locations across the eastern
Mediterranean region. Taken together, the 509 ancient glass vessels and plaques provide a timeline of archaeological and cultural history from the middle of the second millennium b.c. to the rise of Islam in the seventh century. An introductory essay by award-winning scholar Anastassios Antonaras summarizes the history of Greek, Roman, and Byzantine glass, with a special
emphasis on people—workers, artisans, owners, and vendors—and on the processes they used to create and decorate these artifacts. Conveniently arranged according to production technique, the entries in Fire and Sand include a color photograph,
ink drawing, and detailed description.
This volume examines in detail, for the first time in the Greek scholarship, the production of gl... more This volume examines in detail, for the first time in the Greek scholarship, the production of glass and glass vessels in the eastern Mediterranean from the Hellenistic Age through the Early Christian period, analyzing production techniques
and decoration. It establishes the socio-economic framework of glassmaking and glassmakers’ social status in the Roman world generally and in Thessaloniki specifically, while identifying probable local products.
It presents all the excavation finds from Thessaloniki and its environs between 1912 and 2002. A typological classification is created for these 754 objects, which encompass the overwhelming majority of common excavation finds in the Balkans, as well as for the decorative themes that appear on the more valuable pieces.
Comparative material was studied from the entire Mediterranean, verified in its entirety through primary publications.
A summary of the excavation history of these vessels’ find-spots is provided, with details for each excavation, in many cases unpublished and identified through research in the archives of the relevant museums and Ephorates of Antiquities.
The uses of glass vessels are presented, and there is discussion and interpretation of the reasons that permitted, or imposed, the choice of glass for their production.
The finds are statistically analyzed, and there is a chronological overview examining them century by century on the basis of use and place of production. Finally, there is an effort to interpret
the data from the study in historical terms, and incorporate results into the political-economic evolution of the region’s
political history.
Relatively unfamiliar glassmaking terms are explained in an extensive Greek-English glossary of glassworking technology and typology terms.
The typological-chronological chart with shapes and periods of use for each form and a one-page chart with the shape and the number of each form make it easy to locate each shape and compare it with other finds.
The material is fully documented in drawings and photographs, and every object in the catalogue is illustrated.
The 602 geographical terms in the work, many unknown, are presented in detail in a geographic index with reference
to the country/region to which each belongs today; both ancient and modern site names are identified.
Byzanz zwischen Orient und Okzident 2, Apr 2016
For the first time, the arts and crafts of Thessaloniki, once the second largest city in the Byza... more For the first time, the arts and crafts of Thessaloniki, once the second largest city in the Byzantine Empire after Constantinople, are examined thoroughly through archaeological remains, historical sources and epigraphic records.More than 80 years of archaeological research and a life-time of personal research that covers 112 excavations, reveals at least 16 artisanal trades in detail. The book is organised chronologically with overviews of the political history and topography of Thessaloniki throughout its nineteen-centuries-long history. With an illustrated catalogue of each site and distribution maps, this work reveals relatively unknown aspects of life in Antiquity, the Early Christian period and Byzantium.
Byzanz zwischen Orient und Okzident 2, Apr 2016
For the first time, the arts and crafts of Thessaloniki, once the second largest city in the Byza... more For the first time, the arts and crafts of Thessaloniki, once the second largest city in the Byzantine Empire after Constantinople, are examined thoroughly through archaeological remains, historical sources and epigraphic records.More than 80 years of archaeological research and a life-time of personal research that covers 112 excavations, reveals at least 16 artisanal trades in detail. The book is organised chronologically with overviews of the political history and topography of Thessaloniki throughout its nineteen-centuries-long history. With an illustrated catalogue of each site and distribution maps, this work reveals relatively unknown aspects of life in Antiquity, the Early Christian period and Byzantium.
GLASSWORKING ANCIENT AND MEDIEVAL. Terminology, technology, and typology. // ΥΑΛΟΥΡΓΙΑ ΑΡΧΑΙΑ ΚΑΙ ΜΕΣΑΙΩΝΙΚΗ. ΟΡΟΛΟΓΙΑ, ΤΕΧΝΟΛΟΓΙΑ ΚΑΙ ΤΥΠΟΛΟΓΙΑ. Ελληνοααγγλικό - αγγλοελληνικό λεξικό, 2008
A Greek-English, English-Greek Dictionary Ορολογία, τεχνολογία και τυπολογία ΑΡΧΑΙΑ ΚΑΙ ΜΕΣΑΙΩΝΙΚ... more A Greek-English, English-Greek Dictionary Ορολογία, τεχνολογία και τυπολογία ΑΡΧΑΙΑ ΚΑΙ ΜΕΣΑΙΩΝΙΚΗ ΥΑΛΟΥΡΓΙΑ ∆έσποινα Ιγνατιάδου • Αναστάσιος Αντωνάρας Terminology, technology, and typology ANCIENT AND MEDIEVAL GLASSWORKING Despina Ignatiadou • Anastassios Antonaras dilekythos διαχωριστής Situla dilekythos αφυάλωση αµόνιτρο κάµινος devitrification hammonitrum devitrification κάµινος αµµόνιτρο διαχωριστής διαχωριστής spacer hammonitrum furnace αφυάλωση κάδος situla διλήκυθος dilekythos devitrification Ελληνοαγγλικό -αγγλοελληνικό λεξικό
Стакларство је било веома развијено у Грчкој, од антике до ранохришћанског доба, да би се тај раз... more 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.
Papers by Tassos Antonaras
Quaderni Friulani di Archeologia XIX, 2009
The paper focus on two relatively widely known forms of 1st c. glass unguentaria; the bird -shape... more The paper focus on two relatively widely known forms of 1st c. glass unguentaria; the bird -shaped ones (Isings Form11) and the small globes (Isings Form 10), which are usually found accompanying them.
Both forms are considered to be (at least mainly) products of the North Italian and South Swiss regions. They are found more frequently in cemeteries of the central European provinces, while in the Eastern Mediterranean region their occurrence is only sporadic. Thessaloniki presents a striking exception to this statement with more than 40 examples of bird -shaped unguentaria and more than 30 examples of globular ones. Also, it should be noted that both forms are usually far bigger than their western counterparts, and are made of glass of an entirely difffferent quality, more transparent and less colourful glass . The content of the vessels is identical to the one that is attested in western examples, consisting of red, blue or white powder. These observations, along with the well attested pr esence of active Italian Negotiatores in the early 1st c. Thessaloniki, lead us to the hypothesis that these two forms might possibly be associated with them. They might be local products, originally meant to continue a tradition of their homeland and cover the personal needs of their women. Or , they could also be products of a Western centre, which were specially altered to meet the needs of a diffferent form of commerce conducted by that group of newcomers in the society of Thessaloniki, i.e. long distance trade, which demanded more contents.
MARE VITREUM. MÉLANGES OFFERTS À DANIÈLE FOY, 2024
Nineteenth-century glass lamps in the Eastern Mediterranean, and
particularly those used in relig... more Nineteenth-century glass lamps in the Eastern Mediterranean, and
particularly those used in religious buildings, have thus far not
been the subject of study, a void the present research seeks to fill.
Contemporaneous photographs from the period that have captured the
shape, number and method of use of these lamps, mainly in mosques,
are the cornerstone on which the present study is based. Twelve forms
of lamps are presented, supplemented by relevant findings from various
rescue excavations, mainly from central northern Greece, Thessaloniki and
its environs, as well as Platamonas Castle and Mount Athos. Information
concerning the origin of these lamps and their highly probable Central
European production sites is also included to provide greater depth
concerning their context.
Les lampes en verre du XIXe siècle en Méditerranée orientale, et en
particulier celles utilisées dans les édifices religieux, n’ ont jusqu’ à
présent fait l’ objet d’ aucune étude, un vide que la présente recherche
vise à combler. Les photographies contemporaines de la période qui ont
capturé la forme, le nombre et la méthode d’ utilisation de ces lampes,
principalement dans les mosquées, sont la pierre angulaire sur laquelle
la présente étude est basée. Douze formes de lampes sont présentées,
complétées par des résultats pertinents provenant de diverses fouilles de
sauvetage, principalement dans le Centre de la Grèce septentrionale, à
Thessalonique et dans ses environs, ainsi qu’ au château de Platamonas et au Mont Athos. Des informations concernant l’ origine de ces lampes et
leurs sites de production très probables en Europe centrale sont également incluses afin d’ approfondir leur contexte.
ANNALES du 22e CONGRÈS de l’ASSOCIATION INTERNATIONALE pour l’HISTOIRE du VERRE, 2024
This work presents the results of chemical analysis performed on glass tesserae from the Monaster... more This work presents the results of chemical analysis performed on glass tesserae from the Monastery of Satyros, located in Küçükyalı, Istanbul, and dated to the Middle and Late Byzantine periods. The analysis showed that all but one of the 11 samples are soda-lime glasses low in potassium and magnesium, indicating that they were produced using the mineral natron as a flux, with the outlier being identified as natural black glass (obsidian). Furthermore, the contents of lime and alumina, together with titanium oxide, were quite heterogeneous, suggesting that the tesserae were produced from different sand sources. Additionally, the samples were of various colors, with most of them containing antimony as an opacifying agent, while one contained tin. The presence of antimony and other minor oxides suggests that the tesserae may have been produced by recycling earlier colored glass, as the concentrations of these substances are higher than would be attributable to impurities in the raw materials but not high enough to have any technological significance
ANNALES du 22e CONGRÈS de l’ASSOCIATION INTERNATIONALE pour l’HISTOIRE du VERRE, 2024
In this study, glass fragments dated to the 5th century AD from the opus sectile in the baths in ... more In this study, glass fragments dated to the 5th century AD from the opus sectile in the baths in the South Stoa of the forum in ancient Corinth were chemically analyzed. From their chemical composition, it was possible to divide them into two groups made using different manufacturing processes. Specifically, the first group were all made of natron-soda-lime-silica glass. Two samples had a high phosphorus content, which, combined with the relatively low level of lime and the very high level of magnesium, in one case, suggests a different source of flux, possibly including the addition of plant ash. On the contrary, in the second group, only two samples were made of natron-soda-lime-silica glass while the rest were characterized by a mixed mineral soda-plant ash content. Furthermore, some samples were observed to have undergone alteration due to the environment. Finally, the analysis suggested that the glass with a high iron, manganese (Mn), and titanium content, and the glass containing a high quantity of Mn or antimony (Sb) in the second group had been recycled, with the possibility of further contamination by ceramic crucibles that had affected both the color and chemical content
New Antique Doclea = Nova antička Duklja, 2023
Inscriptions of proper names or wishes on
glass vessels appeared in the first century AD on
mold ... more Inscriptions of proper names or wishes on
glass vessels appeared in the first century AD on
mold blown vessels. In the early second century
painted inscriptions conveying parts of the text of
theatrical plays and the names of the presented figures
appear, albeit very rarely. Between the third
and seventh centuries engraved, stamped and painted
inscriptions appear, containing good wishes, salutations
and proper names. Mold blown relief inscriptions
stamped on the bottom of jugs and bottles
are relatively frequent as are also the engraved inscriptions
that appear mainly on tableware. The text
in both techniques is rendered in large, clear-shaped
letters. In addition, painted inscriptions appear sporadically
in vessels of the third-fourth century. As
for the content of the inscriptions, the proper names
prevail among the mold blown ones, and toasts and
wishes predominate among the engraved and painted
inscriptions.
Journal of Archaeological Science: Reports, 2024
In order to elucidate the supply and consumption of glass during the 4th and 10th century A.D, fr... more In order to elucidate the supply and consumption of glass during the 4th and 10th century A.D, fragments of 28 glass bracelets and amulets, excavated at Thessaloniki (Greece) and its region, were analyzed. The compositional pattern of Thessaloniki's glasses was based on an alkaline plant ash, as a flux, and quartz, as a silica source, and showed that these samples represent four different glass compositional groups and production technologies, with the exception of one glass group with high alumina level that had not been previously recognized in the glass making traditions in the Mediterranean area. The compositional analysis of raw chunk glass materials and of most glass artefacts showed that these bracelets and amulets have been made with various combinations/mixing of ash, distinct plant ash types and natron, quartz and sand, which reveals that they have been produced in workshops that had access to vitreous artefacts of different compositions-which have been produced using distinct types of fluxes and silica source-indicating that these glasses are the result of extensive glass recycling processes. Furthermore, the chemical compositions of Thessaloniki's bracelets are similar with the ones found in other Balkan coeval sites, with compositional patterns inbetween natron and plant ash ranges, but also in other Byzantine sites as Pergamon. This similarity in chemical analysis revealed that the same technological choices have been made to produce the bracelets, namely they have been produced in workshops that had access to vitreous artefacts of different compositions which had been produced using distinct types of fluxes and silica sources. The rest of glass artefacts, that are characterized by high alumina levels and are distinct from the other established groups of plant ash glass and mixed plant ash-natron glasses, had not been recognized in the typical glass-making traditions of the Mediterranean. This high alumina glass group suggests a regional Byzantine primary glass production center in Asia Minor.
Балкан, Подунавље и Источна Европа у римско доба и у средњем веку: Материјали: Материалы II руско-српске археолошке конфе- ренције „Словени у свету Балкана и Источне Европе: археолошко- историјска панорама“ (14–21 маја 2017, г. Москва) , 2022
Стаклене наруквице улазе у моду и добијају широку примену у Византији, на словенском подручју кој... more Стаклене наруквице улазе у моду и добијају широку примену у Византији, на словенском подручју које је било под утицајем Византије и у Русији, у периоду од 9. до раног 13. века. Иако су направљене од обичног стакла, и мада ни једна радионица није археолошки откривена, видљива је диференцијација између наруквица разних региона Империје као показатељ регионалних производњи. Наруквице су биле релативно масовно произвођене, савијањем шипке или траке стакла, разних пресека и боја, које су саме биле у функцији украшавања, или су декорисане тордирањем, лепљењем нити различитих боја, као и сликањем геометријским, биљним и птичијим мотивима или натписма. Ношене су појединачно али и у паровима од 4 до 6 на истој руци. Мали број наруквица ношен је на подлактици, док се већина носила око ручног зглоба. Мада су током средњег византијског периода постојале различите локалне ношње, чињеница да су стаклене наруквице превазилазиле границе провинција Империје, показује да је њихова мода потекла из једног великог центра као што је Kонстантинопољ, одакле се њихова примена веома брзо раширила на цело Цартсво и изван њега. Феномен се може повезати са општим политичким и економским благостањем Царства од 9. до средине 13. века и поновног заживљавања градова.
Applied Sciences
During antiquity, it is known that glass was produced in specialized primary workshops in Levant ... more During antiquity, it is known that glass was produced in specialized primary workshops in Levant and Egypt, and this glass was melted and formed into objects in secondary workshops, and distributed in most cities and towns of the Roman Empire. Great efforts, although it is difficult, have been made to distinguish where it was produced. In this study, we perform chemical analysis on 48 glass samples (22 moils and 26 glass artefacts) dated to the 6th century CE from Vasileos Irakleiou Street, 45, Thessaloniki in northern Greece by using Scanning Electron Microscopy (SEM) with Energy–Dispersive X-ray microanalysis (EDX). All glasses were produced with natron as a flux and based on the sodium oxide content we divided them into two groups. Most of the glasses’ chemical analysis indicates that they originated from Egypt, and can be categorized as HIMT and others as Roman Mn or Roman Mn-Sb. MnO is the main decolorizer, while in some samples MnO coexists with Sb2O3. Finally, recycling proce...
Applied Sciences, 2022
During antiquity, it is known that glass was produced in specialized primary workshops in Levant ... more During antiquity, it is known that glass was produced in specialized primary workshops in Levant and Egypt, and this glass was melted and formed into objects in secondary workshops, and distributed in most cities and towns of the Roman Empire. Great efforts, although it is difficult, have been made to distinguish where it was produced. In this study, we perform chemical analysis on 48 glass samples (22 moils and 26 glass artefacts) dated to the 6th century CE from Vasileos Irakleiou Street, 45, Thessaloniki in northern Greece by using Scanning Electron Microscopy (SEM) with Energy-Dispersive X-ray microanalysis (EDX). All glasses were produced with natron as a flux and based on the sodium oxide content we divided them into two groups. Most of the glasses' chemical analysis indicates that they originated from Egypt, and can be categorized as HIMT and others as Roman Mn or Roman Mn-Sb. MnO is the main decolorizer, while in some samples MnO coexists with Sb2O3. Finally, recycling processes are evident in most of the samples.
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Books by Tassos Antonaras
Mediterranean region. Taken together, the 509 ancient glass vessels and plaques provide a timeline of archaeological and cultural history from the middle of the second millennium b.c. to the rise of Islam in the seventh century. An introductory essay by award-winning scholar Anastassios Antonaras summarizes the history of Greek, Roman, and Byzantine glass, with a special
emphasis on people—workers, artisans, owners, and vendors—and on the processes they used to create and decorate these artifacts. Conveniently arranged according to production technique, the entries in Fire and Sand include a color photograph,
ink drawing, and detailed description.
and decoration. It establishes the socio-economic framework of glassmaking and glassmakers’ social status in the Roman world generally and in Thessaloniki specifically, while identifying probable local products.
It presents all the excavation finds from Thessaloniki and its environs between 1912 and 2002. A typological classification is created for these 754 objects, which encompass the overwhelming majority of common excavation finds in the Balkans, as well as for the decorative themes that appear on the more valuable pieces.
Comparative material was studied from the entire Mediterranean, verified in its entirety through primary publications.
A summary of the excavation history of these vessels’ find-spots is provided, with details for each excavation, in many cases unpublished and identified through research in the archives of the relevant museums and Ephorates of Antiquities.
The uses of glass vessels are presented, and there is discussion and interpretation of the reasons that permitted, or imposed, the choice of glass for their production.
The finds are statistically analyzed, and there is a chronological overview examining them century by century on the basis of use and place of production. Finally, there is an effort to interpret
the data from the study in historical terms, and incorporate results into the political-economic evolution of the region’s
political history.
Relatively unfamiliar glassmaking terms are explained in an extensive Greek-English glossary of glassworking technology and typology terms.
The typological-chronological chart with shapes and periods of use for each form and a one-page chart with the shape and the number of each form make it easy to locate each shape and compare it with other finds.
The material is fully documented in drawings and photographs, and every object in the catalogue is illustrated.
The 602 geographical terms in the work, many unknown, are presented in detail in a geographic index with reference
to the country/region to which each belongs today; both ancient and modern site names are identified.
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.
Papers by Tassos Antonaras
Both forms are considered to be (at least mainly) products of the North Italian and South Swiss regions. They are found more frequently in cemeteries of the central European provinces, while in the Eastern Mediterranean region their occurrence is only sporadic. Thessaloniki presents a striking exception to this statement with more than 40 examples of bird -shaped unguentaria and more than 30 examples of globular ones. Also, it should be noted that both forms are usually far bigger than their western counterparts, and are made of glass of an entirely difffferent quality, more transparent and less colourful glass . The content of the vessels is identical to the one that is attested in western examples, consisting of red, blue or white powder. These observations, along with the well attested pr esence of active Italian Negotiatores in the early 1st c. Thessaloniki, lead us to the hypothesis that these two forms might possibly be associated with them. They might be local products, originally meant to continue a tradition of their homeland and cover the personal needs of their women. Or , they could also be products of a Western centre, which were specially altered to meet the needs of a diffferent form of commerce conducted by that group of newcomers in the society of Thessaloniki, i.e. long distance trade, which demanded more contents.
particularly those used in religious buildings, have thus far not
been the subject of study, a void the present research seeks to fill.
Contemporaneous photographs from the period that have captured the
shape, number and method of use of these lamps, mainly in mosques,
are the cornerstone on which the present study is based. Twelve forms
of lamps are presented, supplemented by relevant findings from various
rescue excavations, mainly from central northern Greece, Thessaloniki and
its environs, as well as Platamonas Castle and Mount Athos. Information
concerning the origin of these lamps and their highly probable Central
European production sites is also included to provide greater depth
concerning their context.
Les lampes en verre du XIXe siècle en Méditerranée orientale, et en
particulier celles utilisées dans les édifices religieux, n’ ont jusqu’ à
présent fait l’ objet d’ aucune étude, un vide que la présente recherche
vise à combler. Les photographies contemporaines de la période qui ont
capturé la forme, le nombre et la méthode d’ utilisation de ces lampes,
principalement dans les mosquées, sont la pierre angulaire sur laquelle
la présente étude est basée. Douze formes de lampes sont présentées,
complétées par des résultats pertinents provenant de diverses fouilles de
sauvetage, principalement dans le Centre de la Grèce septentrionale, à
Thessalonique et dans ses environs, ainsi qu’ au château de Platamonas et au Mont Athos. Des informations concernant l’ origine de ces lampes et
leurs sites de production très probables en Europe centrale sont également incluses afin d’ approfondir leur contexte.
glass vessels appeared in the first century AD on
mold blown vessels. In the early second century
painted inscriptions conveying parts of the text of
theatrical plays and the names of the presented figures
appear, albeit very rarely. Between the third
and seventh centuries engraved, stamped and painted
inscriptions appear, containing good wishes, salutations
and proper names. Mold blown relief inscriptions
stamped on the bottom of jugs and bottles
are relatively frequent as are also the engraved inscriptions
that appear mainly on tableware. The text
in both techniques is rendered in large, clear-shaped
letters. In addition, painted inscriptions appear sporadically
in vessels of the third-fourth century. As
for the content of the inscriptions, the proper names
prevail among the mold blown ones, and toasts and
wishes predominate among the engraved and painted
inscriptions.
Mediterranean region. Taken together, the 509 ancient glass vessels and plaques provide a timeline of archaeological and cultural history from the middle of the second millennium b.c. to the rise of Islam in the seventh century. An introductory essay by award-winning scholar Anastassios Antonaras summarizes the history of Greek, Roman, and Byzantine glass, with a special
emphasis on people—workers, artisans, owners, and vendors—and on the processes they used to create and decorate these artifacts. Conveniently arranged according to production technique, the entries in Fire and Sand include a color photograph,
ink drawing, and detailed description.
and decoration. It establishes the socio-economic framework of glassmaking and glassmakers’ social status in the Roman world generally and in Thessaloniki specifically, while identifying probable local products.
It presents all the excavation finds from Thessaloniki and its environs between 1912 and 2002. A typological classification is created for these 754 objects, which encompass the overwhelming majority of common excavation finds in the Balkans, as well as for the decorative themes that appear on the more valuable pieces.
Comparative material was studied from the entire Mediterranean, verified in its entirety through primary publications.
A summary of the excavation history of these vessels’ find-spots is provided, with details for each excavation, in many cases unpublished and identified through research in the archives of the relevant museums and Ephorates of Antiquities.
The uses of glass vessels are presented, and there is discussion and interpretation of the reasons that permitted, or imposed, the choice of glass for their production.
The finds are statistically analyzed, and there is a chronological overview examining them century by century on the basis of use and place of production. Finally, there is an effort to interpret
the data from the study in historical terms, and incorporate results into the political-economic evolution of the region’s
political history.
Relatively unfamiliar glassmaking terms are explained in an extensive Greek-English glossary of glassworking technology and typology terms.
The typological-chronological chart with shapes and periods of use for each form and a one-page chart with the shape and the number of each form make it easy to locate each shape and compare it with other finds.
The material is fully documented in drawings and photographs, and every object in the catalogue is illustrated.
The 602 geographical terms in the work, many unknown, are presented in detail in a geographic index with reference
to the country/region to which each belongs today; both ancient and modern site names are identified.
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.
Both forms are considered to be (at least mainly) products of the North Italian and South Swiss regions. They are found more frequently in cemeteries of the central European provinces, while in the Eastern Mediterranean region their occurrence is only sporadic. Thessaloniki presents a striking exception to this statement with more than 40 examples of bird -shaped unguentaria and more than 30 examples of globular ones. Also, it should be noted that both forms are usually far bigger than their western counterparts, and are made of glass of an entirely difffferent quality, more transparent and less colourful glass . The content of the vessels is identical to the one that is attested in western examples, consisting of red, blue or white powder. These observations, along with the well attested pr esence of active Italian Negotiatores in the early 1st c. Thessaloniki, lead us to the hypothesis that these two forms might possibly be associated with them. They might be local products, originally meant to continue a tradition of their homeland and cover the personal needs of their women. Or , they could also be products of a Western centre, which were specially altered to meet the needs of a diffferent form of commerce conducted by that group of newcomers in the society of Thessaloniki, i.e. long distance trade, which demanded more contents.
particularly those used in religious buildings, have thus far not
been the subject of study, a void the present research seeks to fill.
Contemporaneous photographs from the period that have captured the
shape, number and method of use of these lamps, mainly in mosques,
are the cornerstone on which the present study is based. Twelve forms
of lamps are presented, supplemented by relevant findings from various
rescue excavations, mainly from central northern Greece, Thessaloniki and
its environs, as well as Platamonas Castle and Mount Athos. Information
concerning the origin of these lamps and their highly probable Central
European production sites is also included to provide greater depth
concerning their context.
Les lampes en verre du XIXe siècle en Méditerranée orientale, et en
particulier celles utilisées dans les édifices religieux, n’ ont jusqu’ à
présent fait l’ objet d’ aucune étude, un vide que la présente recherche
vise à combler. Les photographies contemporaines de la période qui ont
capturé la forme, le nombre et la méthode d’ utilisation de ces lampes,
principalement dans les mosquées, sont la pierre angulaire sur laquelle
la présente étude est basée. Douze formes de lampes sont présentées,
complétées par des résultats pertinents provenant de diverses fouilles de
sauvetage, principalement dans le Centre de la Grèce septentrionale, à
Thessalonique et dans ses environs, ainsi qu’ au château de Platamonas et au Mont Athos. Des informations concernant l’ origine de ces lampes et
leurs sites de production très probables en Europe centrale sont également incluses afin d’ approfondir leur contexte.
glass vessels appeared in the first century AD on
mold blown vessels. In the early second century
painted inscriptions conveying parts of the text of
theatrical plays and the names of the presented figures
appear, albeit very rarely. Between the third
and seventh centuries engraved, stamped and painted
inscriptions appear, containing good wishes, salutations
and proper names. Mold blown relief inscriptions
stamped on the bottom of jugs and bottles
are relatively frequent as are also the engraved inscriptions
that appear mainly on tableware. The text
in both techniques is rendered in large, clear-shaped
letters. In addition, painted inscriptions appear sporadically
in vessels of the third-fourth century. As
for the content of the inscriptions, the proper names
prevail among the mold blown ones, and toasts and
wishes predominate among the engraved and painted
inscriptions.
archaeological finds.
eastern necropolis of Thessaloniki, very close to the city walls. It is a relatively large, calyx-shaped, three-handled vase and its shape is reminiscent of the mosque lamps of the second millennium AD. The finds from the sarcophagus along with those from the neighboring burials are published here in order to ascertain the date of the glass lamp. These include forms wellknown in late 3rd-early 4th century Thessaloniki of clay and glass vessels, jewels and clothing implements. Along with a few coins, these forms are compared to finds from other parts of the Roman world and they are presented in the context of their contemporaneous findings.
The Finds from Ippodromiou 1 Street and Other
Excavations
The jewellery from a Late Byzantine to Early Ottoman period
cemetery of 32 built graves is the subject of the present chapter.
The cemetery was unearthed during salvage excavations
conducted at the south-eastern part of Thessaloniki in the
area of the former post-Byzantine Church of SS Constantine
and Helena that was built over the ruins of the Roman hippodrome.
Glazed pottery bowls were found in every grave,
which date the period of use of the cemetery to between the
late 13th and the 16th centuries. In addition, Late Byzantine
jewellery from burials in other parts of Thessaloniki and its
hinterland are presented, offering a wider typology of items
circulating in Thessaloniki of that era. In short, among burial
finds, the following have been noted: some Middle Byzantine
jewellery is occasionally found in graves dated by pottery to
the Palaiologan period; pearls and glass insets are occasionally
used, especially in earrings; the majority of the jewellery
was made of copper alloy and low-purity silver, while gold
objects remain elusive; bone and stones were used for the
production of crosses and special types of rings.
With contributions by Andreas Rhoby, Paul Hetherington, Olga Shashina, Martin Dennert, Sabrina Schäfer, Anastasios Antonaras, Antje Steinert, Jessica Schmidt, Nikos Kontogiannis, Vana Orfanou, Holger Kempkens, Irina A. Sterligova, Vesna Bikić and Martina Horn.
https://pressglas-korrespondenz.de/aktuelles/artikel-2018.htm - Reihe 7, Bericht 3
https://pressglas-korrespondenz.de/aktuelles/pdf/pk-2018-1w-aihv-2015-antonaras-fischnetzkugeln.pdf
and a jar grave), part of the city’s western necropolis. Most of the burials are oriented E-W and only a few N-S. Finds indicate that this part of the necropolis was in use between the second and the fourth century AD.
The finds include ten glass vessels which form the topic of the present work. They were found in four graves and scattered among earlier burials. Two hitherto unknown in Thessaloniki forms of first-century beakers were unearthed (cat. nos. 1, 2). One of them (cat. no. 1) presents a rare variant of an eastern Mediterranean form unknown from other sites. In total, five of the finds—two beakers and three unguentaria— are dated to the 1st or early 2nd c. AD. Two more unguentaria are dated to the period between the 2nd and the 3rd century. Finally, five more vessels, including a jug, two funnel-mouth bottles, and two unguentaria are dated around the 4th century.
Art, Archaeology and Society in the 13th c.
Convenors: Jenny Albani (Hellenic Ministry of Culture and Hellenic Open University)
Ioanna Christoforaki (Academy of Athens)
The year 1204, when Byzantium was conquered by the participants of the Fourth Crusade, marks a major and violent change on several levels, including politics and the economy, society and religion, as well as art and culture. The once powerful empire experienced both the humiliation of foreign occupation and its political subjugation. After its re-establishment in 1261, Byzantium had become a shrunken state, surrounded by aggressive enemies, while a number of its vital areas, such as Crete, Cyprus and the Ionian islands remained under foreign rule. These changes influenced not only the artistic output but the everyday life of the Byzantines as well. New ideas, new preferences and new techniques are attested in architecture, painting, sculpture and minor arts, all of which developed a new dynamic.
Although the changes which occurred during the thirteenth century, both in archaeology and society, have been examined in the past, a re-evalution of old and new data, combined with a fresh look on recent archaeological finds, is long overdue. The Thematic Session, entitled Byzantium in Change. Art, Archaeology and Society in the 13th c., aims to provide a well-rounded and balanced overview of this troubled century, by examining the transformations created and developed within the new framework of co-existence among Byzantines, Latins, Slavs and Ottomans. The main focus will be on architecture, painting and material culture, as attested in key political entities of the now fragmented Byzantine territory.
The participants in the Thematic Session, chosen to represent both established and younger scholars from Greece and abroad, are art and architectural historians, material culture experts and field archaeologists. They have been asked to explore issues relating to the artistic expression of the encounter between Byzantium and the West; the continuity, change or adaptation of artistic trends before and after 1204, both in urban centres and the countryside; and the archaeological testimonies for interaction, opposition or symbiosis, both on official and local levels.
ΠΡΑΚΤΙΚΑ ΕΠΙΣΤΗΜΟΝΙΚΗΣ ΣΥΝΑΝΤΗΣΗΣ 30/11-1/12/2018
Μουσείο Βυζαντινού Πολιτισμού
THE WOOD-CARVED ICONOSTASIS OF POST BYZANTINE TIMES (16th-19th c.)
PROCEEDINGS OF A SCIENTIFIC CONFERENCE 30/11-1/12/2018
Τ ο σχολείο αποτέλεσε την πρώτη απόπειρα στην Ελλάδα, να διεξαχθεί εκπαιδευτικό σεμινάριο για την ιστορία και τεχνολογία του γυαλιού και στο οποίο
αρχαιομέτρες, συντηρητές και αρχαιολόγοι να παρουσιάσουν παράλληλα το υλικό που μελετούν σε ολόκληρη την πορεία του μέσα στον χρόνο από την προϊστορία ως την Αναγέννηση.
Σχετικά με τα φυσικά γυαλιά, παρουσιάστηκε ο οψιανός, η σύσταση και η διασπορά του καθώς και τα ιστορικά συμπεράσματα που μπορούν να εξαχθούν
από τις παρατηρήσεις αυτές. Παρουσιάστηκαν επίσης οι τεκτίτες με έμφαση στην προέλευση και τις ιδιότητές τους.
Αναλύθηκαν θέματα συντήρησης τόσο του προρωμαϊκού όσο και του ρωμαϊκού γυαλιού και οι ιδιαιτερότητες που παρουσιάζει η διατήρηση και συντήρηση της κάθε ομάδας.
Τ α γυάλινα προϊόντα της ανθρώπινης δραστηριότητας παρουσιάστηκαν με χρονολογική σειρά ξεκινώντας από την φαγεντιανή και τις υαλώδεις της ιδιότητες και συνεχίζοντας με το πραγματικό γυαλί χωρισμένο σε ενότητες που ακολούθησαν τόσο τις γνωστές ιστορικές, χρονολογικές διαιρέσεις αλλά και
τις τεχνολογικές αλλαγές και προόδους της υαλουργίας. Καλύφθηκε η περίοδος από τους Μυκηναϊκούς χρόνους μέχρι την Αναγέννηση.
Το βιβλίο, εκτός απο τα κείμενα των ομιλιών του σχολείου, περιλαμβάνει άρθρο του καθηγητή Μ. Μελά που συμβάλλει στην κατανόηση του ρόλου που διαδραμάτισε το γυαλί στις αρχαίες κοινωνίες.
Στο πλαίσιο του σχολείου δόθηκε ομιλία της Δρ. Ε. Μ. Στέρν για την αξία και την συνακόλουθη θέση του γuαλιού, κατά την κλασική αρχαιότητα στα θησαυροφυλάκια των μεγάλων ναών. Το γεγονός έλαβε χώρα στο μουσείο Εκμαγείων της Φιλοσοφικής Σχολής του Α. Π . Θ . παρουσία του επιστημονικού
προσωπικού της σχολής. Το κείμενο της ομιλίας της Δρ. Ε. Στέρν δημοσιεύθηκε
στα πρακτικά του συνεδρίου "Υαλος -Vitrum - Γυαλί" για την ευρύτερη διάδοση των σημαντικών απόψεών της για την ιστορία του αρχαίου Ελληνικού γυαλιού.
Οι εκδότες ευχαριστούν θερμά την ΓΓΕΤ και τον ΕΥΣ για την χρηματοδότηση του σχολείου και του βιβλίου.
Οι εκδότες τοu βιβλίου:
Γεώργιος Κόρδας,
Φυσικός
Αναστάσιος Αντωνάρας,
Αρχαιολόyος
British Museum’s gold glass collection (fty-ve late antique and nine replicas). It includes a
discussion of the iconography of the objects and renes the chronology of gold glass. This book is
the edited version of David Thomas Howell’s thesis, whose untimely death prevented the addition
of sections on the history of gold glass in earlier periods, incised gural decoration on
contemporaneous glass and a further elaboration of H.’s remarks on the value of gold glass
objects within a wider economic context.
εγχάρακτες, ανάγλυφες ή γραπτές. Στους 3ο-7ο αιώνα είναι συχνές οι ανάγλυφες
επιγραφές περιμετρικά του πυθμένα αγγείων εμφύσησης σε μήτρα, αλλά και οι
εγχάρακτες επιγραφές που εμφανίζονται κυρίως σε επιτραπέζια αγγεία, πόσης,
επίχυσης και παράθεσης τροφίμων αποδομένες με ευμεγέθη ευκρινή σχήματα, τα
οποία εξετάζονται παλαιογραφικά στο πλαίσιο τις εξέλιξης της μεγαλογράμματης
ελληνικής γραφής. Οι γραπτές επιγραφές εμφανίζονται σποραδικά σε αγγεία του
3ου-4ου αι. και σπανιότατα σε γυάλινα αντικείμενα μεσοβυζαντινών χρόνων.
We are delighted to share with you our initiative for an international conference devoted to Italian artworks, secular and ecclesiastical, of 14th-16th c. in the Greek East, to be held virtually via Zoom in 24-26 November 2023. A hybrid version of the Conference will be hosted by the Hellenic Institute of Byzantine and Postbyzantine Studies in Venice (Istituto Ellenico di Studi Bizantini e Postbizantini di Venezia).
This scholarly meeting seeks to illuminate not only the presence of Italians, but also the amassment of Italian works in the Greek East, as a result of the new realities following the Fourth Crusade, the establishment of various Latin dominions and the development of an intensive network of trade relations. Our conference does not aim at exhausting the subject, but would like to offer an interdisciplinary forum for papers that touch upon the following aspects:
Venetian domination in Greece
Genoese domination in NE Aegean
Italian rulers in Epirus and the Ionian islands
Italian traders in the East
Venetian and Ottoman Art: osmosis and interaction
Venetian and Byzantine Art: osmosis and interaction
Late Gothic and Early Renaissance Italian sculpture
Venetian and Genoese Heraldry
Italian woodwork
Italian painting
Objects of everyday life
Metal artifacts from West and East
Maiolica and other Italian ceramics
Venetian glass
Italian Textiles
Italian Costumes
Donors and their ideology as reflected on the patronage of artworks
The Proceedings of the Conference will be published by the Hellenic Institute of Venice.
The organizing Committee:
Michela AGAZZI, Professor of Medieval Art, Università Ca’Foscari, Venezia, Dipartimento i Filosofia e Beni Culturali
Paschalis ANDROUDIS, Assistant Professor in Byzantine Art and Archaeology, Aristotle University of Thessaloniki
Vasileios KOUKOUSAS, Professor of Ecclesiastical History, Aristotle University of Thessaloniki – Director of the Hellenic Institute of Byzantine and Postbyzantine Studies in Venice
Silvia PEDONE, Dr, Accademia Nazionale dei Lincei, Roma