ANNALES Thessaloniki 2009 du 18e CONGRÈS de l’ASSOCIATION INTERNATIONALE pour l’HISTOIRE du VERRE ANNALES du 18e CONGRÈS de l’ASSOCIATION INTERNATIONALE pour l’HISTOIRE du VERRE Editors Despina Ignatiadou, Anastassios Antonaras Editing Committee Nadia Coutsinas Ian C. Freestone Sylvia Fünfschilling Caroline Jackson Janet Duncan Jones Marie-Dominique Nenna Lisa Pilosi Maria Plastira-Valkanou Jennifer Price Jane Shadel Spillman Marco Verità David Whitehouse Thessaloniki 2009 Couverture / Cover illustration The haematinon bowl from Pydna. Height 5.5 cm. © 27th Ephorate of Prehistoric and Classical Antiquities, Greece. The bowl (skyphos) is discussed in the paper by Despina Ignatiadou ‘A haematinon bowl from Pydna’, p. 69. © 2012 Thessaloniki AIHV and authors ISBN: 978-90-72290-00-7 Editors: Despina Ignatiadou, Anastassios Antonaras AIHV Association Internationale pour l’Histoire du Verre International Association for the History of Glass http: www.aihv.org Secretariat: The Corning Museum of Glass One Museum Way Corning NY, 14830 USA Printed by: ZITI Publishing, Thessaloniki, Greece http: www.ziti.gr CONTENTS PRÉFACE – MARIE-DOMINIQUE NENNA ...................................................................... xiii PREFACE – MARIE-DOMINIQUE NENNA ....................................................................... xv GREEK LITERARY SOURCES STERN MARIANNE EVA Ancient Greek technical terms related to glass production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2nd MILLENNIUM BC / BRONZE AGE GLASS NIGHTINGALE GEORG Glass and faience and Mycenaean society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 SMIRNIOU MELINA, REHREN THILO, ADRYMI-SISMANI VASSILIKI, ASDERAKI ELENI, GRATUZE BERNARD Mycenaean beads from Kazanaki, Volos: a further node in the LBA glass network . . . . . . . . . . . . . . . . . . . . . . . 11 ARCHONTIDOU-ARGYRI ΑGLAÏA, VAVLIAKIS GEORGE Mycenaean Psara - The glass finds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 BIRON ISABELLE, MATOÏAN VALÉRIE, HENDERSON JULIAN, EVANS JANE Scientific analysis of glass from Ras Shamra – Ugarit (Syria) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 ERTEN EMEL Early ancient glass from Şaraga Höyük, Gaziantep, Turkey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 NICHOLSON T. PAUL, JACKSON M. CAROLINE The Harrow chalice: Early glass or early fake? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 RÖHRS STEFAN, SMIRNIOU MELINA, MARÉE MARCEL The British Museum’s Amarna fish scientifically studied . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 IKEDA KAZUMI Core-formed glass vessels from Sinai peninsula, Egypt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 AZUMA YOKO, TANTRAKARN KRIENGKAMOL, KATO NORIHITO, AND NAKAI IZUMI Scientific analysis of ancient glass collections of the Miho Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 1st MILLENNIUM BC / ARCHAIC / CLASSICAL GLASS LIARDET FRANCES Taking the Heat: The contribution of apprenticeship to the understanding of the manufacture and typology of core-formed vessels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 AIHV Annales du 18e Congrès, 2009 NENNA MARIE-DOMINIQUE Les contenants à huile parfumée façonnés sur noyau dans les dépôts votifs des sanctuaires grecs : l’exemple de l’Artémision de Thasos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 IGNATIADOU DESPINA A haematinon bowl from Pydna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 OIKONOMOU ARTEMIOS, BELTSIOS KONSTANTINOS, ZACHARIAS NIKOLAOS Analytical and technological study of blue glass from Thebes, Greece: An overall assessment . . . . . . . . . . . . 75 READE J. WENDY, DUNCAN JONES JANET, PRIVAT KAREN Iron Age and Hellenistic monochrome glasses from Gordion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 HELLENISTIC GLASS PATERA IOANNA, NIKOLAIDOU-PATERA MARIA Hellenistic tomb at the ancient city of Philippi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 CONNOLLY PHILIP, REHREN THILO, DOULGERI-INTZESILOGLOU ARGYROULA, ARACHOVITI POLYXENI The Hellenistic glass of Pherai, Thessaly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 LOUKOPOULOU POLYTIMI, KARATASIOS IOANNIS, TRIANTAFYLLIDIS PAVLOS Corrosion morphology of Hellenistic glass finds in relation to manufacture techniques . . . . . . . . . . . . . . . . . . 98 PLOYER RENÉ Glass from the excavations in the so-called ‘Hellenistic’ town of Palmyra. A preliminary report . . . . . . . . 104 AUTH H. SUSAN The Denderah cache of glass inlays: A possible votive pectoral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 GRADEL CORALIE Les verres d’époques hellénistique et romaine dans le royaume de Méroé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 ROMAN GLASS BREMS DIETER, BOYEN SARA, GANIO MONICA, DEGRYSE PATRICK, WALTON MARC Mediterranean sand deposits as a raw material for glass production in antiquity . . . . . . . . . . . . . . . . . . . . . . . . . 120 DIANI MARIA GRAZIA, TONINI CRISTINA Nouvelles attestations de verres antiques dans le Musée de Lodovico Pogliaghi – Varèse (Italie) . . . . . . . . . 128 SAGUÌ LUCIA, SANTOPADRE PAOLA, VERITÀ MARCO Technology, colours, forms, and shapes in the 2nd century glass opus sectile materials from the villa of Lucius Verus in Rome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 BOSCHETTI CRISTINA, LEONELLI CRISTINA, CORRADI ANNA The earliest wall mosaics and the origin of Roman glass in Italy: archaeological considerations for an archaeometric study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 BOSCHETTI CRISTINA, NIKITA KALLIOPI, VERONESI PAOLO, HENDERSON JULIAN, LEONELLI CRISTINA, ANDREESCU-TREADGOLD IRINA Glass in mosaic tesserae: Two interdisciplinary research projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 DEMIERRE PRIKHODKINE BRIGITTE Le verre du Quartier de la Maison aux mosaïques à Érétrie (Eubée, Grèce) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 iv Contents MALAMA PENELOPE, DARAKIS KONSTANTINOS Die Kunst der Glasherstellung in Amphipolis während der römischen Zeit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 MCCALL BERNADETTE Use or re-use: Late Roman glass finds from the Nea Paphos Theatre site, Cyprus . . . . . . . . . . . . . . . . . . . . . . . . 165 STOLYAROVA K. EKATERINA Chemical composition of glass and faience beads from the Belbek IV Necropolis . . . . . . . . . . . . . . . . . . . . . . . 171 JACKSON CAROLINE, PRICE JENNIFER Analyses of Late Roman glass from the Commandant’s House of the fort at South Shields, Tyne and Wear, UK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 ROBIN LAUDINE L’artisanat du verre à Lyon-Lugdunum (France) durant le Haut-Empire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 LOUIS AURORE La place du mobilier en verre dans les sépultures gallo-romaines de Champagne-Ardenne (France) . . . . 190 BULJEVIĆ ZRINKA Glass from the Lora Cemetery at Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 FADIĆ IVO, ŠTEFANAC BERISLAV Workshop stamps on square bottles from the Zadar region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 DRĂGHICI CRISTINA Glassware from Tomis: Chronological and typological aspects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 HANSEN LUND ULLA The Early Roman painted glass from Zaborów, Poland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 GREIFF SUSANNE On the relationship between enamelled glass and other opaque glass technologies: The colour red . . . . . 224 TARTARI FATOS Les nouvelles trouvailles de verre antique à Dyrrhachium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 ROMAN / EARLY CHRISTIAN GLASS COUTSINAS NADIA Le matériel en verre de la cité d’Itanos (Crète orientale) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 PAPAGEORGIOU METAXIA, ZACHARIAS NIKOLAOS, BELTSIOS KONSTANTINOS Technological and typological investigation of Late Roman glass mosaic tesserae from Ancient Messene, Greece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 SAKALIS ANASTASIOS, TSIAFAKI DESPOINA, ANTONARAS C. ANASTASSIOS, TSIRLIGANIS C. NESTOR Micro X-ray fluorescence spectroscopy analysis of Late Roman glass from Thessaloniki . . . . . . . . . . . . . . . . 249 MORAITOU GEORGIANNA Past Conservation Interventions on the Kenchreai opus sectile panels: The Greek approach . . . . . . . . . . . . 254 MORAITOU GEORGIANNA, LOUKOPOULOU POLYTIMI, TILIGADA DIMITRA A triple ark for the Kenchreai opus sectile glass panels: Preventive conservation and access at the Isthmia Archaeological Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 FUJII YASUKO A study of a Late Roman blue glass dish with sea creatures in relief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 v AIHV Annales du 18e Congrès, 2009 SILVANO FLORA Glass finds from Antinoopolis, Egypt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 MARII FATMA, REHREN THILO Levantine glass of Petra characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 JEREMIĆ GORDANA Glass artefacts from Roman and Late Roman fortification at Saldum on the Middle Danube. Social and economic background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 GENÇLER GÜRAY ÇIĞDEM Early Byzantine glass finds from Elaiussa Sebaste (Mersin-Ayaş) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 BYZANTINE AND EARLY ISLAMIC GLASS BARAG P. DAN Stamped glass pendants from Syria: From Constantine the Great to the Arab conquest . . . . . . . . . . . . . . . . . 300 ANTONARAS C. ANASTASSIOS Gold-glass tile decoration in the St. Demetrios Basilica, Thessaloniki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 LOUKOPOULOU POLYTIMI, MOROPOULOU ANTONIA Byzantine gold-leaf glass tesserae:A closer look at manufacturing technique and decay . . . . . . . . . . . . . . . . . 307 ATİK ŞENİZ Three Byzantine gold-glass pieces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 VERITÀ MARCO, ZECCHIN SANDRO Scientific investigation of Byzantine glass tesserae from the mosaics on the south chapel of Torcello’s Basilica, Venice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 JAMES LIZ Glass and the manufacture of Byzantine mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 CANAV-ÖZGÜMÜŞ ÜZLIFAT Recent glass finds in Istanbul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 WINTER TAMAR Glass vessels from excavations at the Church of the Holy Sepulchre in Jerusalem . . . . . . . . . . . . . . . . . . . . . . . . 333 BYZANTINE AND ISLAMIC GLASS PILOSI LISA, STAMM KAREN, WYPYSKI T. MARK An Islamic cameo glass fragment in the Metropolitan Museum of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 SWAN M. CAROLYN Spatial and temporal considerations of technological change: Examining Early Islamic glass . . . . . . . . . . . 346 BOULOGNE STEPHANIE, HARDY-GUILBERT CLAIRE Le verre décoré issu des fouilles du site d’al-Shihr au Yémen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 MOSSAKOWSKA-GAUBERT MARIA Verres de l’époque byzantine - début de l’époque arabe (ve-viiie siècle) : objets provenant des ermitages en Égypte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 KATO NORIHIRO, NAKAI IZUMI, SHINDO YOKO Comparative study of Islamic glass weights and vessel stamps with the glass vessels in Egypt . . . . . . . . . . . 367 vi Contents MEDIEVAL GLASS FREY ANNETTE, GREIFF SUSANNE Early Medieval glass beads with metal tubes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 BROADLEY ROSE, GARDNER CARLOTTA, BAYLEY JUSTINE The Church Lane assemblage: Early Medieval glass-working in the shadow of Canterbury Cathedral . . . 379 RADIČEVIĆ DEJAN Medieval glass bracelets from Banat Territory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 MĂNUCU-ADAMEŞTEANU GHEORGHE, POLL INGRID Bracelets en verre découverts dans les nécropoles de Isaccea - Vicina, département de Tulcea (Xe - XIIIe siècles) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 KUNICKI-GOLDFINGER J. JERZY, KIERZEK JOACHIM, FREESTONE C. IAN, MAŁOŻEWSKA-BUĆKO BOZENA, NAWROLSKA GRAŻYNA The composition of window glass from the cesspits in the Old Town in Elbląg, Poland . . . . . . . . . . . . . . . . . . . 395 ČERNÁ EVA, HULÍNSKÝ VÁCLAV, MACHÁČEK JAN, PODLISKA JAROSLAV On the origin of enamel-painted glass of the 12th-14th centuries in Bohemia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 KRIŽANAC MILICA Scent bottles from Kotor, Montenegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 ZEČEVIĆ EMINA Glass of Novo Brdo and its significance in Late Medieval glass production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 POST BYZANTINE / VENETIAN / FAÇON DE VENISE GLASS PAYNTER SARAH The importance of pots: The role of refractories in the development of the English glass industry during the 16th / 17th centuries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 SCOTT B. REBECCA, SHORTLAND J. ANDREW, POWER MATTHEW The interpretation of compositional groupings in 17th century window glass from Christ Church Cathedral, Oxford . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 CAEN JOOST M. A. The production of stained glass in the County of Flanders and the Duchy of Brabant from the XVth to the XVIIIth centuries: Materials and techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 MEEK S. ANDREW, HENDERSON JULIAN, EVANS A. JANE North-western European forest glass: Working towards an independent means of provenance . . . . . . . . . . 437 MEDICI TERESA Revisiting the ‘Moura glass treasure’: New data about 17th century glass in Portugal . . . . . . . . . . . . . . . . . . . . . . 442 MORETTI CESARE, TONINI CRISTINA, HREGLICH SANDRO, MARIA DIANI GRAZIA “Lead glass with wonderful emerald colour”. A parallel between one of Antonio Neri’s recipes and the composition of a vessel in the Pogliaghi Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 IOANNIDOU MARTHA From didactic stained glass windows of medieval cathedrals to the redemptive divine lightin Matisse’s Vence Chapel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 vii AIHV Annales du 18e Congrès, 2009 GREINER-WRONOWA ELŻBIETA, PUSOSKA ANNA, WRONA JAROSŁAW The influence of gradient temperature changes on a glass reaction intensity with volatile organic compounds in museum cabinets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 DE VIS KRISTEL, CAGNO SIMONE, VAN MOL WILLY, SCHALM OLIVIER, JANSSENS KOEN, CAEN JOOST The decolourization of manganese-stained glass: The conversion reaction and evaluation of its effectiveness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 18th AND 19th CENTURY GLASS LAURIKS LEEN, DE BOUW MICHAEL, QUENTIN COLLETTE, WOUTERS INE 19th century iron and glass architecture: Common construction details of cylinder and crown glass on iron sash bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 VAN GIFFEN ASTRID, EREMIN KATHERINE, NEWMAN RICHARD The Harvard Glass Flowers and more: A technical study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475 JARGSTORF SIBYLLE Mosaikglas/Millefioriglas - Probleme der Zuordnung und Herkunftsbestimmung . . . . . . . . . . . . . . . . . . . . . . 481 AFRICAN AND ASIAN GLASS IGE O. AKIN Ancient glassmaking in Ile-Ife, Southern Nigeria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 BORELL BRIGITTE Han period glass vessels from the gulf of Tonking region:Aspects of their technology . . . . . . . . . . . . . . . . . . . 491 INDEX OF ΑUTHORS viii ............................................................................................ 497 PRÉFACE Marie-Dominique Nenna J ’ai le grand plaisir de vous présenter les Annales du 18e congrès de l’Association Internationale pour l’Histoire du Verre et je tiens à remercier tous ceux qui ont fait que cette publication paraisse dans les meilleurs délais, les auteurs au premier chef, le comité de lecture et surtout les éditeurs du volume, Despina Ignatiadou, vice-présidente, puis membre du bureau de l’AIHV durant les années 2006-2012 et Anastassios Antonaras. Le 18e congrès de l’AIHV s’est tenu à Thessalonique du 21 au 25 septembre 2009. Il a été dédié à Clasina Isings qui est venue, via une video, nous offrir ses meilleurs vœux au début des sessions. Tous nos remerciements vont d’abord au Musée archéologique de Thessalonique qui a organisé l’ensemble de cette manifestation et au Musée de la civilisation byzantine qui a accueilli nos sessions dans le tout nouveau auditorium, utilisé pour la première fois pour notre congrès. Remercions aussi les amis du Musée archéologique de Thessalonique qui ont soutenu ce congrès avec entre autres, le beau sac décoré de balsamaires-oiseaux ; la préfecture de Thessalonique qui nous ont accueillis à la fin de ces journées. Et enfin, du fond du coeur, tous nos remerciements vont à Despina Ignatiadou, Anastassios Antonaras et au comité d’organisation pour avoir réuni tous leurs efforts pour organiser ce congrès et nous offrir l’occasion de nous rencontrer une nouvelle fois pour partager nos découvertes et nos réflexions sur ce matériau qui nous passionne tous. Durant les trente-trois sessions organisées en parallèle, 95 contributions orales et 55 posters ont été présentés, montrant ainsi la vitalité de la recherche sur l’Histoire du Verre dans l’ensemble du monde scientifique. Grâce au dynamisme du comité grec, après une découverte de la ville à l’orée de notre congrès, des promenades thématiques ont été organisées afin de mieux connaître les différents aspects de Thessalonique, ville hellénistique et romaine, ville byzantine, ville ottomane avec son importante communauté juive et ville du xxe siècle. En outre, les excursions post-congrès ont permis aux participants de découvrir le cœur de la Macédoine avec les cités de Vergina et de Dion, ainsi que le lac de Pikrolimni, producteur de natron dans l’Antiquité et encore aujourd’hui, les villes d’Amphipolis et de Philippes ou encore de faire une croisière autour du Mont Athos. Ce volume réunit 84 contributions qui couvrent un arc chronologique très vaste depuis le deuxième millénaire av. J.-C. jusqu’à nos jours, et touchent à tous les aspects de l’histoire du verre, avec une bonne interconnexion entre l’archéologie, l’histoire de l’art et l’archéométrie. Une part importante est réservée aux débuts de l’histoire du verre au iie millénaire et au début du ier millénaire av. J.-C. et à ses développements ix AIHV Annales du 18e Congrès, 2009 dans le monde hellénistique avec des communications portant sur le ProcheOrient, l’Égypte et le Soudan, la Grèce et la Turquie. Les mondes romain et byzantin sont abordés selon deux axes : étude de la production et de la consommation de la vaisselle et des ornements et étude en fort développement de l’emploi du verre dans les mosaïques pavimentales et pariétales. Les communications sur le monde islamique s’inscrivent dans la lancée inaugurée au 15e congrès et attestent la vitalité de la recherche dans ce domaine. La présentation de découvertes et études portant sur la Grande Bretagne, l’Italie, le Kosovo, le Montenegro, le Portugal, la Pologne, la Roumanie, la Serbie et la Tchéquie alimentent le débat sur le verre à l’époque médiévale et post médiévale en Europe. xviiie et xixe siècles ne sont pas en reste, avec des communications sur le verre dans les toits, les fleurs de verre et le verre mosaïqué et on dispose aussi de communications sur le verre en Chine méridionale et en Afrique subsaharienne. Lors de l’assemblée générale, le bureau de l’AIHV a été renouvelé. Jan Egbert Kuipers, trésorier et Ian Freestone, que l’on doit remercier pour leur dévouement et leur efficacité, ont présenté leur démissions. De nouveaux membres ont été élus : Irena Lazar, organisatrice du 19e congrès en 2012, comme vice-présidente et Huib Tijssens, comme trésorier. Déjà présents dans le bureau, Despina Ignatiadou a été élue comme membre, Jane Spillman a été réélue comme secrétaire général, David Whitehouse comme membre, et j’ai moi-même été réélue comme présidente. Le comité exécutif réunissant six membres élus ainsi que les représentants des associations ou comités nationaux a été en partie renouvelé, avec l’élection de Fatma Marii et de Yoko Shindo, tandis que Sylvia Fünfschilling, Lisa Pilosi, Marianne Stern et Maria Grazia Diani ont été réélues. Nous avons déploré le décès lors du congrès de deux de nos membres, Sarah Jennings d’Angleterre et Claudia Maccabruni d’Italie. Les préparatifs pour le 19e congrès se déroulent sous la houlette d’Irena Lazar. Le congrès se tiendra à Piran en Slovénie du 17 au 21 septembre 2012 (www. aihv.org, www.zrs.upr.si). Après l’accent mis sur la Méditerranée orientale au congrès de Thessalonique, une nouvelle avancée vers les informations et les membres d’Europe Centrale sera effectuée à Piran. x PREFACE Marie-Dominique Nenna I have great pleasure in presenting you with the Annales of the l8th congress of the Association Internationale pour l’Histoire du Verre, and I wish to thank all those who have ensured that this publication appears with the least delay: principally the authors, the academic committee, and especially the academic editors of the volume, Despina Ignatiadou, vice-president, and member of the board of the AIHV for the years 2006-2012 and Anastassios Antonaras. The 18th congress of the AIHV was held in Thessaloniki from September 21st25th, 2009. It was dedicated to Clasina Isings, who came, via a video, to offer us her best wishes. Here we have to warmly thank the Archaeological Museum of Thessaloniki which has organized the whole manifestation, and the Museum of Byzantine Culture, which has hosted our sessions in the brand new auditorium of the Museum, used for the first time for our congress. All our warm thanks also to The Friends of the Archaeological Museum of Thessaloniki who supported the organization of the congress among the others with the nice bag decorated with bird-balsamaria, and The Prefecture of Thessaloniki, who has hosted us at the end of the congress. Last, but not the least, from the bottom of our heart, our thanks go to Despina Ignatiadou, Anastassios Antonaras and the Organizing committee for their hard work in organizing this congress and for offering us the opportunity to meet once again to share our discoveries and our thoughts on this wonderful material, glass, to which we are all dedicated. During the 33 parallel sessions, 95 oral communications and 55 posters were presented, displaying the vitality of research on the history of glass in the scientific world. Thanks to the energies of the Greek Committee, after a first glance at Thessaloniki at the beginning of our congress, thematic visits were organised to discover the different aspects of Thessaloniki. Hellenistic and Roman city, Byzantine city, Ottoman city with its important Jewish community, contemporary city. In the post-congress trips, the participants were able to visit the heart of Macedonia, with the cities of Vergina and Dion, and the Pikrolimni Lake, producing natron in Antiquity and still today, the ancient cities of Amphipolis and Philippi, or to make a cruise around Mount Athos. This volume brings together 84 contributions, which cover a vast chronological span from the second millennium BC up to the present day, touching on all aspects of the history of glass with a good networking between archaeology, history of art and archaeometry. An important part is devoted to the beginnings of the history of glass in the second millennium and the beginning of the first xi AIHV Annales du 18e Congrès, 2009 millennium BC, and the developments in the Hellenistic world with papers covering the Near East, Egypt and Sudan, Greece and Turkey. The Roman and Byzantine worlds are approached from two directions: the study of the production and consumption of vessels and ornaments and the expanding study on the glass in mosaic pavements and walls. The papers on the Islamic world build on the start made at the 15th congress and show the vitality of research in this area. The presentation of discoveries and research coming from the Czech Republic, Great Britain, Italy, Kosovo, Montenegro, Portugal, Poland, Romania and Serbia, fuels the debates about glass during the medieval and post-medieval period in Europe. The 18th and 19th centuries are not ignored, with papers dealing with glass in roofs, glass flowers and mosaic glass and there are also studies dealing with African and Asian glass. During the General Assembly the board of the AIHV changed. Jan Egbert Kuipers (Treasurer) and Ian Freestone, to whom we extend all thanks for their work, submitted their resignations. The newly elected members were Irena Lazar, organizer of the 19th Congress in 2012, as Vice President, and Huib Tijssens, as Treasurer. Already present in the board, Despina Ignatiadou was elected member, were re-elected Jane Spillman as General Secretary, David Whitehouse as member, and I as President. The executive committee which assembled six elected members as well as the presidents of the national Associations or Committees, was partly renewed, with the election of Fatma Marii and Yoko Shindo; Sylvia Fünfschilling, Lisa Pilosi, Marianne Stern et Maria Grazia Diani were re-elected. We mourned during the congress the recent death of two long time members, Sarah Jennings from England and Claudia Maccabruni from Italy. The preparations for the 19th congress are progressing under the guidance of Irena Lazar. The congress will be held at Piran (Slovenia) from September 17th to September 21st 2012 (www.aihv.org, www.zrs.upr.si). After the wider opening towards eastern Mediterranean members effectuated during the Thessaloniki Congress, we will receive in Piran more information and members coming from Central Europe. xii A HAEMATINON BOWL FROM PYDNA Despina Ignatiadou T he vessel in discussion was found in the grave of a rich woman, buried in the cemetery of ancient Pydna, in Macedonia, in the last quarter of the 4th century BC. Pydna was a seaside Macedonian city with local population, i.e. a city that evolved from earlier local settlements and not a colony of a southern Greek city. Pydna had a renowned port, used for exporting locally manufactured goods. Current excavations in the north and the south cemetery of Pydna have revealed more than three thousand burials, most of them unlooted1. The burial was found in pit grave 12, field 279, of the modern town of Makrygialos. It contained rich grave goods: five gilt wreaths, bronze vessels (two phialae, one oenochoe, one strainer), ceramic vessels (one bowl, two black-glaze mastoid-one of them is gilded-, and two “cypriot” amphoras), two terracotta figurines, four alabaster alabastra, and a bronze coin of Alexander III2. Additionally, there were three glass finds: one polychrome and one colored vessel, and one colorless seal (Fig. 1)3. The polychrome vessel is a core-formed oenochoe, considerably bigger than the small oenochoae found in northern Greece. It has a blue ground and feather pattern in yellow and white (Fig. 2)4. The colorless glass seal has an intaglio device with a seated woman (Fig. 3)5. Seals of this type have been found in several Macedonian burials of this period. They are usually thought to be swivel bezels of metal rings. But in Macedonian excavations they are usually found without a metal ring and near the neck of the deceased, so we are now sure that they were worn suspended around the neck. One recent find actually preserves a suspension loop made of twisted silver wire6, while remains of a similar wire can be seen in the perforation of several finds. The woman on the Pydna seal is seated in front of an object resembling an open vessel with a tall foot – or a basin on a tall stand – and she is holding perhaps a mirror, or most probably wool on a distaff. This de- Fig. 2: Core-formed oenochoe, Makrygialos, Field 279, cist grave 12 (photo O. Kourakis). Fig. 1: Pit grave 12, field 279, Pydna (after Bessios 2010, 206). 1. Bessios and Pappa 1995, 5-13. Bessios 2010. 2. For the information I thank Dr Ch. Gatzolis. 3. Bessios 2010, 206. 4. Inv. no. Py 870. Ignatiadou 1993, 209-210, fig. 4. Glass Cosmos 2010, no. 81. 5. Inv. no. Py 868. Ignatiadou 1993, 208-209, fig. 2. Greek Jewellery 1997, 111, no. 102. Glass Cosmos 2010, no. 84. 6. Skarlatidou 2007, 87. 69 AIHV Annales du 18e Congrès, 2009 Fig. 3: a,b,c. Colorless glass seal, Makrygialos, Field 279, cist grave 12; photo (O. Kourakis), modern impression, and drawing (A. Faklari). Fig. 4: The spinner on a red-figure attic vase from Pantikapaion (after Kunina 1997, 18). Fig. 5: a,b. The spinner on the red medallion from Pantikapaion, 4th century BC (after Kunina 1997, 18) photo and drawing. vice also decorates a silver ring of the 5th century BC; a woman holding a distaff is seated in front of a basket7. One could argue that the spinning woman on the seal could be any woman, but we are justified to have strong doubts for various reasons, the most fundamental one being that the iconography on seals has strong religious connotations. The spinning woman is often depicted on pottery and elsewhere (Fig. 4). The woman usually appears nude from the waist up; yet it is improbable that an ordinary woman would appear so. She is always shown as very beautiful and majestic, adorned with gold jewelry, which is actually gilded on the ceramic examples. Other human figures around her are rendered in smaller scale and in several cases one of them is holding a mirror for her to reflect on. She is a goddess and she can be no other than Aphro7. It bears the inscription [Α]ΠΠΟΛΛΩΝΙ[Δ]Η. Boardman 1970, no. 676. Marshall 1907, 166-167, no. 1036. 70 dite. This is certainly one of the not so rare, but unfortunately not widely recognized, depictions of the spinning Aphrodite8. She is the celestial Aphrodite, the daughter of Uranus, and she is spinning the thread of life, the life of the mortals9. As such the goddess has been identified on one of the very rare 4th century BC red medallions from Pantikapaion (Fig. 5)10. The subject has at least one analogy in Achaemenid art, where the representation of females is rare: an enthroned spinning woman appears on a rock crystal seal11. A seal is the absolute personal item, the signature of its owner. After his or her death it can not be used again, therefore only three options remain. It is left 8. Suhr 1969. 9. This Hesiodian and oriental aspect of the goddess is prevalent in Greece; see Simon 1985, chapter on Aphrodite. 10. Kunina 1997, 260, no. 67, ill. 39. 11. Lerner 2005, esp. fig. 14.1 and note 25. The author concludes the enthroned woman to be a mortal, although she remarks that “the homely task of spinning may also refer to the seal owner’s devotion to a particular divinity”. A haematinon bowl from Pydna Fig. 6: a,b,c. Red skyphos, Makrygialos, Field 279, cist grave 12; (photos O. Kourakis). with the family, as an heirloom, it is offered as a dedication, or it is deposited in the grave. Seals are used to stamp the clay securing the cords of boxes or cabinets, and also documents. Colorless glass seals may be expensive items but their decorative value is lower than that of the colored stone ones, because the device is not as visible. It is not at all easy to discern the device with naked eye and under ordinary light. If, therefore, it is not an item of personal adornment, but solely a seal, it is difficult to explain why such an item would be in the hands of a woman who would simply run a household, even a rich one. The deceased of the Pydna burial is not a queen, neither a member of the elite; in that case she would have been buried in a Macedonian tomb. The position of women in society at that time would only allow for one other case of special identity, that of a priestess. She would be the person who would need a personal seal and the depiction of Aphrodite on it may not be simply decorative at all. This impression that this is the burial of a priestess is enhanced by the third glass grave good. It is a weathered but unique red skyphos [Figs 6 and 7]12. The shape of the vessel is that of the handleless skyphos, typical for Macedonia13. Its diameter is 9.5 cm and its height 5.5 cm. It 12. Inv. no. Py 871. Glass Cosmos 2010, no. 75. The object was unearthed in 1993, and was hastily included in a report presented a few months after the excavation at the annual excavators’ meeting entitled Archaeological Work in Macedonia and Thrace, see Ιγνατιάδου 1993, 213, fig. 8. At the time it was thought to be a faience skyphos, although there were doubts. A sample was therefore given for analysis, the outcome of which proved the vessel to be of glass. 13. It is a handleless skyphos because it has vertical walls and a curved bottom. This is the shape which evolved into the Hellenistic skyphos, gold glass or fluted. This is not a calyx-cup because that would have a more or less distinct neck and probably also an omphalos bottom. Fig. 7: Red skyphos, Makrygialos, Field 279, cist grave 12; drawing (A. Winckemeier, T. Kessler). has an outsplayed rim and near the middle of its height two horizontal grooves. The lower half of the body is decorated with 16 relief long petals springing from a relief disc on the bottom. The vessel’s surface is deteriorated and it appears green today but it retains its shape and its once bright red glass is still visible in patches. The vessel was broken in antiquity, so all the sherds have corroded green edges. The original color was fully revealed when one of the edges was damaged during excavation. It is the opaque red, known as sealing wax red. Shape, decoration, and manufacture technique, place the vessel within the distinct group of similar, but made of colorless glass, skyphoi of the 4th century BC. Several colorless skyphoi exist from various parts of the ancient Greek world: mainland and insular Greece, Asia Minor, and the Black Sea coast. Six have been unearthed in Macedonia and two in Rhodes. The decoration scheme on all the examples is similar, but not identical: two or three grooves on 71 AIHV Annales du 18e Congrès, 2009 the middle of the height and petals or leaves on the lower half. The decoration on the Pydna bowl was mold made; probably in a gypsum mold. The mold was certainly prepared around a wax model. We can be sure that the decoration was not carved directly on the mold because of the existence of grooves. All the other parts of the decoration could be carved in negative on the mold but it is impossible to cut grooves in negative14. The molds are most probably only used once, because there are no two vessels made in the same mold. The closest parallel to the haematinon bowl is the handleless skyphos of Aenea but still clearly not from the same mold15. There are various indications on the Greek finds that most of the colorless vessels were not made by chip casting but by mold pressing; perhaps stationary but more probably rotary. This applies to the red skyphos as well. Like some of its colorless counterparts, the vessel presents irregular grooves, which are difficult to be accounted for. It is difficult to believe that someone would make an irregular model for a precious object like this, and even some slips would be easy to correct on the wax. The irregularities are more probably an indication that something went wrong during the hot forming of the vessel, after the (perfect) wax model was melted and the gypsum mold was created. During the mold pressing the vessel was somehow deformed in that area16. The red skyphos was obviously made in the same fashion as the colorless glass vessels, so it is also very probable that it was made in the same workshops. The vessel was analyzed by Robert Brill17. It is a high-lead cuprite glass containing 31.5 % lead oxide. The color of the vessel is due to nearly 7 % of cuprous oxide and the addition of lead was of course aiming to the stability of the glass and the greater solubility of copper18. SiO2 Na2O CaO K2O MgO Al2O3 Fe2O3 PbO Cu2O 46.5 8.58 3.66 0.22 0.24 1.20 1.09 Sum Pb208/Pb206=2.06452 Pb207/Pb206=0.832693 Pb204/Pb206=0.05307 Laurion lead and Laurion-type leads were in use in the Eastern Mediterranean in the 4th century BC, so the result of the isotope analysis does not necessarily indicate production of the raw glass in Greece proper; yet it most probably indicates production in the greater Hellenic world20. Red glass is produced since the Bronze Age, but at that time it does not contain lead. The addition of lead is perhaps an innovation of the 9th century BC21. Fragments of cake ingots from that period survive from various Mesopotamian sites, especially Nimrud; they have porous green surface and red core, but of a composition different from that of the Pydna skyphos22. Other red opaque glass vessels of the classical period are not known. An impressive number of red opaque fragments were found in Sudan, the ancient kingdom of Meroe (Kush). They are fragmentary vessels of open and closed shape, found in the excavations of the royal cemeteries. They are dated from the middle Hellenistic period onward; they are therefore later than the Pydna vessel23. Red opaque glass is, however, used in jewellery making during the classical period. From the 5th century BC survive three “reddish brown” beads in a glass and gold necklace found in tomb 256, sarcophagus II, in Amathous24. Two necklaces found in the Lydian Toptepe tumulus (5th / 4th century BC) comprise red opaque glass elements. A gold acorn necklace has three red acorn pendants set in gold, along with gold beads, gold acorns, and blue glass acorns set in gold. A chain necklace from the same tomb has 236 pendant chains terminating in red opaque and dark blue 31.5 6.99 100.0 % 14. This is of course the reason why grooves never appear on the molds of moldmade ceramic skyphoi of the Hellenistic period. 15. Ignatiadou 2002, fig. 2. 16. Lierke 1999, 35-36, fig. 69-70. Lierke 2009, 29-30 and 100-101. 17. It was also analysed by the chemist of the Archaelogical Museum of Thessaloniki, Erifylli Mirtsou; with results almost identical to the ones presented here. 18. Brill 2001, 12-13, table 2 (Pydna). On the chemistry of red opaque glasses see: Freestone 1987. Brill and Cahil 1988. Welham et al. 1998. 72 The sample was also subjected to lead isotope analysis and it was concluded that the lead was of the Laurion type (Type L)19: 19. Analysis by Pr. Hiroshi Shirahata, Muroran Institute of Technology, Japan. 20. Brill 2001, 13. 21. Brill and Cahill 1988, 20. 22. Especially a segmental ingot found in Nimrud, room 47 of the Burnt Palace (unearthed in disturbed stratigraphy), was later dated to the Achaemenid period (Bimson and Freestone 1985, 121, no. 166), but now again to the 8th century BC (information offered by I. Freestone during the presentation of this paper). 23. Stern 1979. 24. Williams and Ogden 1994, no. 166. A haematinon bowl from Pydna glass beads. A brooch in the form of a hippocamp has nine suspended chains terminating in red opaque and dark blue glass points. From the same area, a necklace with beads and beech-nut pendants preserves two of the latter in “brownish red” glass25. The only other contemporary use of red opaque glass is in enamels of the 4th century BC on metal La Tene finds in Italy, mainly iron helmets with bronze enamelled fittings26. Red opaque glass finds of all periods are extremely rare in Greece. Classical or early Hellenistic colored inlays were unearthed in Lefkadia, the Macedonian Tomb of the Palmettes [Fig. 8]. They obviously belong to the decoration of a couch, as they were found together with the many more colorless glass inlays of that piece of furniture27. They are five leaves of glass palmettes. Two of them (one well preserved and one corroded) are evidently of red opaque glass; the other three appear opaque green. This is a surprising find because there are no other colored inlays among the approximately 100 sets which have been unearthed in Macedonia. One red opaque vessel found in Greece is a Roman find of the 1st century, now in the National Archaeological Museum, Athens. It is a bottle which contains 19.70 % of lead oxide. Perhaps it is not a mere coincidence that it was found in a grave in Macedonia28. Red opaque glasses appear with a Greek name in the ancient sources: Pliny the Elder calls opaque red glass “haematinon” (“blood-like”) and informs us that they color it to use for tableware, as a kind of obsidian: “Fit et tincturae genere obsianum ad escaria vasa, et totum rubens vitrum atque non translucens, haematinum appellatum”29. This is one more case where a type of glass is created as a substitute of a semiprecious stone or other expensive natural material. Obsidian is perhaps mentioned as a prototype more expensive than the more appropriate hematite, which, however, appears black although it produces red powder. An issue emerges here on the importance of the color in conjunction with the use of the vessel. Why red? If this is the burial of a priestess, as her grave goods (phialae, oenochoe and ladle, seal with depiction of Aphrodite, haematinon bowl) indicate, perhaps the color of the vessel is of special importance. Red is the color of blood (haema), and because of this, the color of two vital human organs: the heart, and the uterus. Red is thus associated to the world of women and the deities protecting them. In association with Aphrodite, red (and also a haematinon bowl) could also be perceived as a reference to the running blood of Adonis; as the beloved one of the goddess was dying, his blood tinted the flowers and the nearby river30. If this is so then we have one more hint of the professional identity of this woman. She was perhaps a priestess of Aphrodite, and has taken to the grave her own ritual vessel and her personal seal, bearing the representation of the goddess. 25. Özgen and Özturk 1996, nos 108, 109, 112, 133. Özturk 1998, 42-44, col. pls 5, 6. 26. Pernot 1996. 27. Rhomiopoulou and Schmidt-Dounas 2010, 86, cat. no. C11, Fig. 16.2. 28. It was analyzed by the Museum’s chemist H. Magou; see Weinberg 1992, 112-113, no. 78. 29. Pliny the Elder, NH, XXXVI, 196. 30. On the myth of Adonis see Kerenyi 1951, chapter IV.5. On later uterine associations of the color see Dasen 2008, 267. For discussions on the symbolism of red I thank Pr. V. Dasen. Fig. 8: Colored inlays, Lefkadia, Tomb of the Palmettes, late 4th century BC. 73 AIHV Annales du 18e Congrès, 2009 REFERENCES Bessios, M., 2010. Pieridon stefanos (Wreath for the Pierides). Pydna, Methone, and the antiquities of north Pieria. Katerini, A.F.E. Publications (in Greek). Bessios, M., and Pappa, M., 1995. Pydna. Thessaloniki, Pieriki Anaptyxiaki (in Greek and English.) Bimson, M., Freestone, I.C., 1985. ‘Scientific examination of opaque red glass of the second and first millennia BC’ in Barag, D.P., Catalogue of western Asiatic glass in the British Museum, I. London, 119-122. Boardman, J., 1970. Greek gems and finger rings. London, Thames and Hudson. 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Istanbul, Republic of Turkey / Ministry of Culture. Özturk, J., 1998. ‘Lydian Jewellery’ in Williams, D., ed., The art of the Greek goldsmith. London, 41-47, col. pls 4-10. Pernot, M., 1996. ‘Vetro rosso opaco su manufatti lateniani di metallo: la documentazione in Italia’. Ocnus 4, 203219. Rhomiopoulou, K., and Schmidt-Dounas, B., 2010. ‘Das Palmettengrab in Lefkadia’. Athenische Mitteilungen, 21 Beiheft, Mainz am Rhein. Simon, E., 1985. Die Götter der Griechen. München, Hirmer Verlag. Stern, E.M., 1979. ‘Hellenistic glass from Kush (modern Sudan)’. AnnAIHV 8, 35-59. Suhr, E.G., 1969. The spinning Aphrodite. New York, Helios Books. Skarlatidou, E., 2007. Thermi. The ancient cemetery beneath the modern town. Athens, Municipality of Thermi / 16th Ephorate of Prehistoric and Classical Antiquities. Weinberg, G.D., 1992. Glass vessels in ancient Greece, Their history illustrated from the collection of the National Archaeological Museum, Athens, The core-formed vessels by Murray C. McClellan. Athens, TAP. Welham, K., Jackson, C.M., and Smedley, J.W. 1998. ‘Colour formation in sealing wax red glass'. AnnAIHV 14, 11-15. Williams, D., Ogden, J., 1994. Greek gold. Jewellery of the classical world. London, British Museum Press DESPINA IGNATIADOU Archaeological Museum M. Andronikou 6, 54621 Thessaloniki, GREECE dignatiadou@culture.gr 74