Tüskés Anna (szerk.): Omnis creatura significans - Tanulmányok Prokopp Mária 70. születésnapjára (2009)

Antik és középkori művészet

Essays in Honour of Mária Prokopp

14 Hettes, 1958, p. 4; Veritä, 2000, pp. 57, 60.

15 In fact, Venice in 1306 forbade use of potassic ash for glass; Zecchin, III, 1990, p. 172; Castelnuovo, Enrico: Vetrate medievali. Officine, tecniche, maestri. Turin, 1994, pp. 423.

16 Hregijch, S. - Veritä, M.: Study on the Corrosion and Colour of potassiun Glass - Church of SS. Giovanni e Paolo, Venice. In: CVNewsletter, 31/32 (1980), pp. 16-23; Idem: Applications of X-ray Micro- Analysis to the Study and Conservation of Ancient Glasses. In: Scanning Electron Microscopy, 2 (1986), pp. 488-489; Veritä, M.-Ton- inato, T.: A comparative analytical Investigation on the Origins of Venetian Glassmaking. In: Rivi- sta della Stazione Sperimentale del Vetro, 20 (1990), p. 169; Veritä, M.: In: Cristiana Moldi Ravenna (ed): I colori della luce: Angelo Orsoni e I’arte del mosaico. Venice, 1996, p. 190; Idem: Guide, Abstract, unpaginated typescript: Deterioration Mechanisms of ancient Soda-Lime- Silica Mosaic Tesserae. 18th International Congress on Glass, July 5-10, 1998, San Francisco, Cal.

17 Veritä - Toninato, 1990, pp. 173 f.; Jacoby, David: Raw Materials for the Glass Industries of Venice and the terraferma about 1370 - about 1460. In: Journal of Glass Studies, 35 (1993), pp. 65-90; Veritä, 1999, pp. 571-574 (see n. 3 above).

18 Ashtor, Eliyahu - Cevidalli, Guidobaldo: Levantine Alkali Ashes and European Industries. In: The Journal of European Economic History, 12 (1983), pp. 490, 501-503,513; Zecchin, III, 1990, p. 172.

19 Fumi, Luigi: II Duomo di Orvieto e i suoi restauri. Rome, 1891, p. 122, doc. XLIII; Harding, 1989 (see note 10 above), pp. 80, 93.

20 This calculation is based on an ancient Roman vault mosaic where according to Stern 6000 pounds of glass tesserae would have sufficed to cover about 100-109 square metres of walls and vaults in the public bath at Oxyrhynchus without counting the space between the cubes (about 20%), Stern, E. Marianne: Roman Glassblowing in a cultural Context. In: American Journal of Archaeology, 103 (1999), p. 466. The Orvieto mosaics came to about 121 square metres; Harding, 1988, (see note 10 above), p. 512.

21 Veritä (in Borsook et al., 2000 [see note 1 above], p. 172) notes that glass panes of potassic and soda types appear side by side sometimes in the Orvieto Cathedral windows.

22 Fumi, 1891, pp. 106,108,140-141; Harding, 1989, p. 87; Idem: La Produzione musiva nei Duomo di Orvieto. In: Guido Barlozzetti (ed.): IIDuomo di Orvieto e le grandi Cattedrali del Duegento. Atti del convegno internazionale di Studi, Orvieto 12- 14 November 1990. Turin, 1995, p. 197; Schlee, L.: Problemi cronologici della Facciata del Duomo di Orvieto. In: same volume, p. 112.

23 Manieri Elia, Giulio - Tucker, Paul: Reliquie, rappezzaturejalsificazioni: vicende critiche e ma- teriali del mosaico con la Nativitä della Vergine, giá sulla facciata del Duomo di Orvieto. In: Ricerche di Storia dell’arte, 73 (2001), pp. 21-36. For further information concerning the condition and migration of the ruined Orvieto mosaics I am much indebted to the kindness of Peta Motture, Deputy Curator of Sculpture at the Victoria and Albert Museum in London who sent me a copy of the article by Alberto Satolli: II mosaico del Duomo al Victoria and Albert Museum. In: La Cittá, September 2000, pp. 6-13 published in Urbino.

24 Veritä, 2000, (see note 1 above), p, 56.

25 Ibid., p. 57.

26 MatéjCek, 1915, p. 116.

27 Ibid., p. 107.

28 Ibid., p. 112.

29 Ibid., p. 113.

30 Vitovsky, Jakub: [Prague] Cathedral. In: The Dictionary of Art, XXV. London, 1996, p. 442.

31 MatéjCek, 1915, p. 114.

32 Veritä, M. - Falcone, R. - Vallotto, M. - San- topadre, P.: Study of the weathering Mechanisms and chemical Composition of ancient Mosaic Tesserae. In: Rivista della Stazione Sperimentale del Vetro, 6 (2000), pp. 33-4; Veritä, M.: Technology and Deterioration of vitreous Mosaic Tesserae. In: Reviews in Conservation, 1 (2000), pp. 65-76.

33 MatéjCek, 1915, p. 116L

34 Harding, C. D.: Mosaic. In: The Dictionary of Art, XX. London, 1996, pp. 158,163.

35 The apse mosaics from S. Cipriano in Murano and S. Michele in Africisco, Ravenna; Rizzardi, Clementina: Mosaici alto-Adriatici. Ravenna, 1985, p. 129, n. 1.

36 Thieme-Becker Kunstlerlexikon, XXV. Leipzig, 1931, P- 409; Ibid., XXXI. Leipzig, 1937, p. 241; Rizzardi, 1985, p. 129, n. 1; Iannucci, Anna Maria: Appunti per una storiografia del restauro parietale musivo. II caso di Ravenna. In: Iannucci et al (see note 3 above), p. 21. For further information on Solerti, see Gabriella Bernardi: I Mosaici della Basilica Eufrosiana di Parenzo: documentI per la storia dei restauri (1862-1916). Rovigno / Trieste, 2005.

37 Andreescu (see note 4 above), 1976, pp. 246-341.

38 Veritä, 1999 (see note 3 above), p. 584.

39 Hettes, 1958, p. 3; Fiorentini Roncuzzi, Isotta: II mosaico: materiali e tecniche dalle origini ad oggi. Ravenna, 1984, p. 150.

40 Fiorentini Roncuzzi, 1984, p. 150.

41 Borsook et al., 2000, pp. 13, 203; Basile, Giuseppe: II mosaico absidale di S. Clemente a Roma. In: Ibid., p. 152; Veritä, 2000, same volume, p. 64.

42 Hettes, 1958, p. 3. The red glass in the central panel, along with the green and blue grounds on ei121