Roman Glass is an aged glass, discovered in archaeological excavation sites in Israel and in other Mediterranean countries.The fine Sterling Silver Roman Glass Jewelry is one of the most popular types and styles originated from Israel enabling to wear an entirely unique piece of 2,000-year-old history. The glass in this aqua-hued jewelry began life as a vase, jug, or vessel. Uncovered from aged Roman archaeological sites in modern-day Israel, each fragment has been textured and colored by centuries of wind and weather. Each bear the marks of not only its past life as a household or temple object but also the very earth in which it rested until being transformed into a unique accent. Each piece of Roman glass is framed by a sterling silver bezel.
The designs for the jewels are based on artifacts and drawings also discovered on the archeological digs. The Roman Glass is a beautiful piece of history dating back 2,000 years to the time of the Roman Empire. The Roman Glass used for jewelry today in Israel is found in archeological digs throughout the land of Israel. The natural phenomenon which the glass has undergone over the many years it has been buried have given it the unique and beautiful aqua shades we enjoy today.Initially, in the Roman empire, glass was mainly used for vessels and available only for the wealthy. At that time, glass was man-made by core forming, casting, cutting and grinding. However, since the invention of the glass blowing, glass was available to the collective in vast numbers, mass produced in a large range of shapes and forms. Due to the great popularity of glass while those aged times, we today are privileged to make use of these beautiful historical pieces with which we heighten the beauty of our jewelry. aged Israel, due to its large stretches of sandy dunes and beaches, was one of the largest glass producers of the Roman Empire. These same sands helped preserve the glass straight through the centuries, shaping and tempering it into the jewelry-quality pieces being excavated today. Today the fragments of the 2000 years old Roman Glass that were once part of the lip of a goblet, jar, or other vessel are used in Israel to generate beautiful jewelry that mixes the typical blue and green old glass excavated from archaeological digs with silver or gold creating a piece of art and history to wear with love.
Y-Necklaces
A certificate of authenticity is available for the Roman Glass jewelry.
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It is bright to know some facts about the glass history and the Roman Glass history, collected from any sources.
The History of Glass
Glass is formed when sand (silica), soda (alkali), and lime are fused at high temperatures. The color of the glass can be altered by adjusting the climate in the furnace and by adding specific metal oxides to the glass "batch" (such as cobalt for dark blue, tin for opaque white, antimony and manganese for colorless glass). A venerable legend perpetuated as late as the seventh century A.D. In the writings of Isidore of Seville gives a suitable miraculous explanation for the discovery of this elemental--yet truly wondrous--material - This was its origin: in a part of Syria which is called Phoenicia, there is a swamp close to Judaea, nearby the base of Mt. Carmel, from which the Bellus River arises . . . Whose sands are purified from contamination by the torrent's flow. The story is that here a ship of natron [sodium carbonate] merchants had been shipwrecked; when they were scattered about on the shore making ready food and no stones were at hand for propping up their pots, they brought lumps of natron from the ship. The sand of the shore became mixed with the burning natron and penetrative streams of a new liquid flowed forth: and this was the origin of glass.(Isidore of Seville, Etymologies Xvi.16. Translation by Charles Witke.) It is not surprising that the aged authorities belief of Phoenicia as the birthplace of glass, for the Syro-Palestine region did really come to be a major center of glass output in antiquity, along with Egypt. However, glass seems really to have been "discovered" not in Phoenicia, but in Mesopotamia. Archaeological research now places the first evidence of true glass there at nearby 2500 B.C. At first it was used for beads, seals, and architectural decoration.
Some 1,000 years elapsed before glass vessels are known to have been produced. Vessels of glass fast became ample in the second half of the second millennium B.C. They were popular not only in Mesopotamia but also in Egypt and the Aegean. The earliest vessels were core-formed. Opaque, dark glass in its molten state was wound nearby a clay core attached to a metal rod. The skin of hot glass was fashioned with tools in order to shape its external features. Lighter colored strands of hot glass were then trailed on the exterior and often "dragged" to furnish festoon patterns. The pot exterior was marvered (that is, rolled on a smooth, flat exterior to furnish a level finish). Finally, it was cooled slowly before the clay core was scraped out of the hardened vessel. This glassware typically imitated forms originally established for ceramic, metal, and stone vessels . Somewhat later, the molding technique was developed, whereby glass chips or molten glass were packed or forced into a mold and then fused. After a molded vessel was annealed (cooled slowly in a extra room of the glass furnace), it was often ground and polished in order to refine the rim and any other rough edges. One typical shape for molded vessels of the late Hellenistic and early Roman periods (c. 150 -50 B.C.) was the so-called pillar-molded bowl. Here exterior ribs radiate up from the base, stopping right away near the rim to allow a level margin nearby the circumference. This type is ubiquitous; and it attests to the free and rapid exchange of ideas in glass-making throughout the Greater Mediterranean sphere. The site of Tel Anafa in Israel is a small hamlet in the Upper Galilee. while ten seasons of fieldwork between 1968 and 1986, Saul Weinberg and his successor Sharon Herbert oversaw the uncovering of part of a small hamlet of the Hellenistic and early Roman periods.
In Tel Anafa I, Herbert presents the architecture and the stratigraphic sequence (text and some illustrations in fasc. I, locus overview and plates to Chs. 1 and 2 in fasc. Ii). The volume also includes studies by other scholars of the geological setting of the site, the stamped amphora handles, coins, beast fauna, and a singular Tyrian sealing. Tel Anafa Ii, i is devoted to the Hellenistic and Roman pottery. A hereafter volume (Ii, ii) will complete the series with publication of the pre-Hellenistic and Islamic pottery, lamps, glass, metalware, stucco, stone tools, and the palaeobotanical remains. Tel Anafa (recently excavated jointly by the Universities of Michigan and Missouri) has provided valuable data on the chronological limits of these bowls within the Roman period. Glass vessels were initially available only to the very wealthy and only in rather petite sizes. They were man-made by core forming, casting, cutting and grinding. The invention of glass blowing nearby 50 Bc brought glass vessels to the general collective in vast numbers, mass produced in great range of forms and hence brought aged glass into the reach of the contemporary accumulator of even modest means. One can nowadays own a Roman glass bowl, or drink from a Roman glass beaker, or wear aged jewellery where glass was used widely. In 63 Bc, the Romans conquered the Syro-Palestine area. They brought back with them glassmakers to Rome.Soon after, the first transparent glass sheets were produced in Rome. The word vitrum, meaning glass, entered the Latin language.Rome's political, military, and economic dominanace in the Mediterranean world was a major factor in attracting skilled craftsmen to set up workshops in the city, but equally important was the fact that the making ready of the Roman business roughly coincided with the invention of glassblowing. The new technique led craftsmen to generate novel and unique shapes; examples exist of flasks and bottles shaped like foot sandals, wine barrels, fruits, and even helmets and animals. Some combined blowing with glass-casting and pottery-molding technologies to generate the so-called mold-blowing process. Further innovations and stylistic changes saw the continued use of casting and free-blowing to generate a range of open and complete forms that could then be engraved or facet-cut in any estimate of patterns and designs.
Core-formed and cast glass vessels were first produced in Egypt and Mesopotamia as early as the fifteenth century B.C., but only began to be imported and, to a lesser extent, made on the Italian peninsula in the mid-first millennium B.C. By the time of the Roman Republic (509-27 B.C.), such vessels, used as tableware or as containers for high-priced oils, perfumes, and medicines, were tasteless in Etruria (modern Tuscany) and Magna Graecia (areas of southern Italy including contemporary Campania, Apulia, Calabria, and Sicily). However, there is very petite evidence for similar glass objects in central Italian and Roman contexts until the mid-first century B.C. The reasons for this are unclear, but it suggests that the Roman glass business sprang from roughly nothing and advanced to full maturity over a integrate of generations while the first half of the first century A.D.
Doubtless Rome's emergence as the dominant political, military, and economic power in the Mediterranean world was a major factor in attracting skilled craftsmen to set up workshops in the city, but equally important was the fact that the making ready of the Roman business roughly coincided with the invention of glassblowing. This invention revolutionized aged glass production, putting it on a par with the other major industries, such as that of ceramics and metalwares (as 20.49.2-12). Likewise, glassblowing allowed craftsmen to make a much greater range of shapes than before. Combined with the potential amenity of glass-it is nonporous, penetrative (if not transparent), and odorless-this adaptability encouraged habitancy to turn their tastes and habits, so that, for example, glass drinking cups rapidly supplanted ceramics equivalents.
In fact, the output of distinct types of native Italian clay cups, bowls, and beakers declined straight through the Augustan period, and by the mid-first century A.D. Had ceased altogether.However, although blown glass came to dominate Roman glass production, it did not altogether supplant cast glass. Especially in the first half of the first century A.D., much Roman glass was made by casting, and the forms and embellishment of early Roman cast vessels demonstrate a strong Hellenistic influence. The Roman glass business owed a great deal to eastern Mediterranean glassmakers, who first advanced the skills and techniques that made glass so popular that it can be found on every archaeological site, not only throughout the Roman empire but also in lands far beyond its frontiers.
Cast Glass
Although the core-formed business dominated glass establish in the Greek world, casting techniques also played an important role in the amelioration of glass in the ninth to fourth centuries B.C. Cast glass was produced in two basic ways-through the lost-wax recipe and with various open and plunger molds. The most tasteless recipe used by Roman glassmakers for most of the open-form cups and bowls in the first century B.C. Was the Hellenistic technique of sagging glass (81.10.243) over a convex "former" mold. However, various casting and cutting methods were continuously utilized as style and popular preference demanded. The Romans also adopted and adapted various color and establish schemes from the Hellenistic glass traditions, applying such designs as network glass and gold-band glass to novel shapes and forms. Distinctly Roman innovations in fabric styles and colors include marbled mosaic glass, short-strip mosaic glass, and the crisp, lathe-cut profiles of a new breed of fine as monochrome and colorless tablewares of the early empire, introduced nearby 20 A.D. This class of glassware became one of the most prized styles because it closely resembled luxury items such as the extremely valued rock crystal objects, Augustan Arretine ceramics (as 10.210.37), and bronze and silver tablewares (as 20.49.2-12) so favored by the aristocratic and victorious classes of Roman society. In fact, these fine wares were the only glass objects continually formed via casting, even up to the as Late Flavian, Trajanic, and Hadrianic periods (96-138 A.D.), after glassblowing superceded casting as the dominant recipe of glassware establish in the early first century A.D.
Blown Glass
Sometime nearby 70 B.C., in Jerusalem, someone realized that, if you took a glass tube -- then the stock for mass output of beads -- sealed one end and blew into the other, you could generate a glass bulb. Blow hard enough and long enough, and you could make a small bottle. This was glassblowing at its most primitive. It is quite potential that, without Further refinement, this occasion of experimentation might have passed unnoticed. A integrate of decades later, however, the introduction of a detach blowpipe, together with a tool-kit of variously-sized pincers and paddles, made it potential to blow and shape glass with much greater control, and with much greater novelty.
The new technology revolutionized the Italian glass industry, stimulating an huge growth in the range of shapes and designs that glassworkers could produce. A glassworker's creativity was no longer bound by the technical restrictions of the laborious casting process, as blowing allowed for previously unparalleled versatility and speed of manufacture. These advantages spurred a rapid evolution of style and form, and experimentation with the new technique led craftsmen to generate novel and unique shapes; examples exist of flasks and bottles shaped like foot sandals, wine barrels, fruits, and even helmets and animals. Some combined blowing with glass-casting and pottery-molding technologies to generate the so-called mold-blowing process. Further innovations and stylistic changes saw the continued use of casting and free-blowing to generate a range of open and complete forms that could then be engraved or facet-cut in any estimate of patterns and designs.
But the potential of a technological idea will only come to fruition if its seed is planted in an encouraging cultural environment. while Rome's Republican Era, in the dictatorial times of Sulla and Julius Caesar, such encouragement seems to have been lacking. In the Hellenistic world, the firmly established traditions of working glass -- either by blending threads of it into complete vessel forms or by slumping glass over a pre-shaped model for open ones -- were producing fine wares with which the baby technique of free-blowing could not yet compete. In the Roman world, however, ceramics was still the material of choice for all domestic, from fish platters to perfume bottles, and no one seemed to be in any hurry to turn that situation. Enter the Emperor Augustus. It is said that he had no love of foreigners; he viewed the appreciable numbers of them living in Rome nearby 10 B.C. As a potential source for the corruption of customary Roman values. If I justify his subsequent actions correctly, he wanted the Italian mainland to be far more self-sufficient wherever possible. So it was that Italian businesses in distinct crafts -- most obviously, pottery- and cloth-making -- were encouraged to expand. The craft of glassworking now was adopted from the Hellenistic world with much energy and skill. An aged commercial Revolution was underway.
To get things moving, the Romans simply enslaved hundreds of skilled craftsmen in the eastern provinces, uprooting them from their homes and resettling them in the outskirts of rapidly-growing Roman cities. Pottery-makers were imported from Asia Minor, particularly from nearby Pergamum, and put to work at Arretium; Greek craftsmen were moved from Athens to Lyons and other cities in central Gaul; glassworkers were brought in from the provinces of Syria, Judaea, and Aegyptus -- most likely from the cities of Sidon, Jerusalem, and Alexandria -- and put to work in shops at Naples, Aquileia, and just exterior Rome itself.
There was an immediate shop niche for glassware in Augustan times. Like many aged peoples, the Romans believed in an afterlife that was an idealized form of their worldly experience. Agreeing to its means, the family of each dead Roman was obliged to contribute furnishings for the grave. Such furnishings all the time included regular domestic items -- plates of food, flasks of wine, and so on -- but it was also a tradition to include offerings of perfume. The Roman wealthy would put these offerings in bottles (unguentaria) made of silver or alabaster. The eastern craftsmen who brought with them the skill of glassblowing now offered the rest of the habitancy an alternative in glass; to be sure, not something as elegant or colorful as might have been wished, but which every person could afford. The free-blown unguentarium was one of the immediate and long-term successes of the newly emerging industry. contemporary excavations have revealed many instances where a grave contains not just one or two but a integrate of dozen of these, all mass-produced, each in a matter of minutes at most.
At the same time, glass captured the popular imagination by virtue of its translucency. You could see the color of wine in a beaker, or how well a bottle was filled even if it was sealed -- which could not be said for items made of pottery, or really of bronze, silver, or gold. The output of wine glasses soared in the Augustan era, really causing the demise of some of the ceramics workshops that specialized in customary beaker types. It was glass's distinctive property of transparency that stimulated the Emperor Nero's tutor, Lucius Seneca to witness that " ... Apples seem more beautiful if they are floating in a glass." (Investigations in Natural Science I.6). And, from the middle of the first century A.D. Onward, squared-sided glass bottles -- typically with capacities in the half- to one-liter range -- were used for a great deal of the short-range movement of liquids such as olive oil and the popular fish sauce known as garum. Thus the industrialization of glassworking in the Augustan era came about straight through the sway of three distinct forces: First, by virtue of distinct historical events (Augustus's rise to power and his promotion of craft-centralization on the Italian mainland); second, because of a technical innovation (the invention of glassblowing in one of Rome's eastern provinces); and third, the collective pressure related to fashion or taste (a customary link between perfumery and Roman funerary ritual). turn in the Roman glassworking business was all the time most dramatic whenever all three of these troops came together at one time.
Uses
At the height of its popularity and usefulness in Rome, glass was present in nearly every aspect of daily life-from a lady's morning toilette to a merchant's afternoon firm dealings to the evening cena, or dinner. Glass alabastra , unguentaria, and other small bottles and boxes held the various oils, perfumes, and cosmetics used by nearly every member of Roman society. Pyxides often contained jewelry with glass elements such as beads, cameos, and intaglios , made to imitate semi-precious stone like carnelian, emerald, rock crystal, sapphire, garnet, sardonyx, and amethyst.
Merchants and traders routinely packed, shipped, and sold all manner of foodstuffs and other goods over the Mediterranean in glass bottles and jars of all shapes and sizes, supplying Rome with a great range of exotic materials from far-off parts of the empire. Other applications of glass included multicolored tesserae used in justify floor and wall mosaics, and mirrors containing colorless glass with wax, plaster, or metal backing that provided a reflective surface. Glass windowpanes were first made in the early imperial period, and used most prominently in the collective baths to preclude drafts. Because window glass in Rome was intended to contribute insulation and security, rather than illumination or as a way of viewing the world outside, little, if any, attention was paid to production it perfectly transparent or of even thickness. Window glass could be either cast or blown. Cast panes were poured and rolled over flat, regularly wooden molds laden with a layer of sand, and then ground or polished on one side. Blown panes were created by cutting and flattening a long cylinder of blown glass. An business Though Roman glassworking really was, it was one that maintained a fine degree of dynamism over the centuries. The shape and embellishment of two of its main products -- the unguentarium and the wine beaker -- were being modified every few decades, sometimes quite sharply, and there were many new items of glassware introduced that vast the glassworker's repertoire in valuable ways. The way that the Romans committed themselves so heavily to the maintenance of good ports all nearby the Mediterranean coastline and of fine roads that criss-crossed the entire Empire on land was also valuable for holding the Roman glassmaking business so dynamic. Of course, the main purpose of such maintenance was to assure the easy movement of troops from one problem spot to another, and of executive data from one city to another. But these ports and roads also allowed the movement of habitancy and their ideas. Signatures and inscriptions in Greek indicate clearly enough that eastern Mediterranean craftsmen settled at various places in northern Italy and central Gaul; that north African and Syrian soldiers were conscripted to serve in the army in northern England, thereafter to decide there as tradesmen; and that businessmen of every background and philosophical persuasion traded wherever it was to their benefit to do so. Thus, every Roman city became a collective melting-pot where technical innovations could be passed on, blending with or displacing old ideas, sometimes in the space of just a decade or two. The commercial activities of the Roman world responded accordingly, with a freshness of purpose and an ongoing rise in skill.
Jewelry in the Roman Times
Ancient Roman glass jewelry reached its height while the Augustan age, at the beginning of the Empire. This meant that in many ways the glass jewelry were deprived of much of the expressive freedom one might expect and hope for. The buyers of this fine artistic jewelry were the conservative political. The duration of peace achieved while the rule of Augustus and Augustus made this possible, especially after the vicious fighting of the Roman civil wars. aged Roman jewelry in earlier times was derived from both Hellenistic and Etruscan jewelry. In addition, as Roman jewelry designs freed itself of Hellenistic and Etruscan influences, greater use was made of colored stones such as: topazes, emeralds, rubies, sapphires, and pearls. Trojan and Cretan artisans of the Minoan period, although working at opposite ends of the Aegean region, crafted earrings, bracelets, and necklaces of a tasteless type that persisted from about 2500 Bc to the beginning of the Classical duration of Greek art 479 Bc - 323 Bc.
Roman jewelry was extremely influenced by some of the designs of the places they conquered and established connections with. The creators spared no endeavor in production some of the most perfect and decorative compositions. Rings were a major sticker in the body of aged Roman jewelry. decorative Roman jewelry was worn by women of high status. They often wore jewelry on their ears, neck, arms and hands. aged Roman designs and fashion jewelry also included seal rings, amulets and talismans. The cameo and hoop earrings were introduced in aged Roman times. aged Roman glass jewelry reached its height while the Augustan age, at the beginning of the Empire. This meant that in many ways the glass jewelry were deprived of much of the expressive freedom one might expect and hope for. The buyers of this fine artistic jewelry were the conservative political. The duration of peace achieved while the rule of Augustus and Augustus made this possible, especially after the vicious fighting of the Roman civil wars.
The gold beads of aged Rome were artfully shaped to generate images of flowers and animals. The most tasteless fact that is assumed by most is that the aged Roman jewelry has a similar resembles to the Greek and Etruscan jewelry.
Roman Glass Jewelry - Wear History Art and Color in Your Jewelery Necklaces, Earrings, BraceletsSee Also : Platinum Jewelry Men Money Clips
