Gyda's saga: March 2023

Thursday, March 30, 2023

Documentation: Reproduction of 14th century Islamic Glass Weights

Baroness Ginevra Lucia Di Namoraza

Figure 1

What? A selection of Islamic Glass Weights. The weights are small, round glass discs often with an impressed inscription of the name and title of the caliph or the name of the governor on them.[1]

Where? Egypt, Islamic countries

When? Popular through cultures and history but will be focussing on the 14^th Century extant pieces from Egypt.

Figure 2

Why ? They are a unique piece with a very interesting history and function. They could be used in several useful ways within an SCA context including the use of them as personal tokens, as a fancy stamp

on scrolls or as game pieces. “Small glass discs with Arabic inscriptions present an important record of the early Islamic economic system as well as the organisation of the glass industry”[2]

Figure 3

Glass weights came in many sizes and denominations. They were regulated and used in medieval Egypt to measure many different items, from grains and olive oil to coins. Metal coins varied in weight and did not always contain
pure gold and silver. For these reasons, in market transactions the weight of precious metal coins would be measured on a balance against glass coins in order to determine a correct sum of money. Glass weights were thus not used as currency but as a means to weigh metal coins accurately. Moreover, their common use in commercial affairs is recorded in medieval letters written by merchants who used the Arabic verb "to weigh" (wazana) as a synonym for "to pay."

Figure 4

[3]

Details of the extant pieces: There are many centuries of wear on the glass that is on display. This means that colours and details are faded, and many of the weights have faults such as chips etc. The extant weights demonstrate the variety in size, shape, and inscriptions.

Details of the Recreation:

Figure 5

Glass weights were made by impressing an inscribed stamp into a measured globule of glass while it was still in a semi-liquid state.[4]

I chose to recreate a few the glass tokens that are on display in a variety of museums to ensure historical accuracy.

I worked with each museum's high-resolution images to recreate the piece with their unique characteristics.

Figure 6

I have then taken creative liberty with the stamps and made several of the glass weights ‘in the style of’.

Some of these stamps I created by carving soapstone (the Lochac crest, the Islamic script) and engraving brass (the raven).

These coins require precise movement of the glass, and patience and time melting it slowly and accurately so that the colour is not damaged and that the glass is melted carefully so that it isn’t stressed (it can fracture if so).

Figure 7

Each coin takes 20 to 30 minutes to make, and if the press of the stamp isn’t clean enough, it must be remelted within a certain amount of time and redone, or the glass is more likely to crack or shatter.

I have been working on developing my skill at melting glass and shaping it over the last year. I have learnt a lot, including where in the flame certain

glass must be placed so that it doesn’t ruin the colour or texture.

Figure 8

I have learnt how to steadily place my hands and the glass to keep it at the right temperature.

The coin weights presented a variety of challenges. Glass is a dangerous, sometimes fickle substance, and certain colours only work properly at a certain heat.

Some of the trickier techniques that I used for this project include:

Pressing

Figure 9

the molten glass with a stamp with enough pressure to leave a mark. If this isn’t done at the precise correct timing though, the glass can become subtly too hard and slippery and the press can slip, risking burn injuries. (Ask me how I know!)

Studying each (photo of) bead in a variety of lights to get an accurate grasp of the details and finishes required.

Working with tricky colours such as white, light brown, and light blue which can be easy to “burn” or mutate colour.

Using techniques such as flattening the weights in a circular shape and then pressing carefully.

Figure 10

Details of the equipment and resources

I used a graphite paddle, a knife, fire annealing and gravity. I try to use the least tools possible and authentic equipment that would have been used by the glassmakers of the time.

Apart from my fire set-up, all the equipment I have used would have been used at the time as well.

Figure 11

Glass artisans would have created a small kiln or furnace. The broken recycled glass would be put into the furnace through holes in the side to melt in a dish inside the furnace. Air was pumped into the furnace to keep the charcoal hot.[6]

I use a hot head torch and MAPP gas. In the future I have plans to recreate a small portable kiln but melting glass in a small kiln is very difficult as getting the heat hot enough to melt the glass is a struggle.

Figure 12

Glass would then be moved to an annealing dish in the furnace. This would prevent thermal shock, lowering the chances of the bead cracking.

Instead of annealing them in a furnace, I use a product called vermiculite to allow the glass to cool down slowly. I also use a kiln. In the future, I would like to try annealing them in a furnace to see what it is like.

Future Projects:

Figure 13

In the future, I would like to continue finding obscure glass items as they are quite interesting.

I would like to practice more difficult skills, e.g., larger sizes.

For this project, I would match the weight more accurately, and the press form.

I am enjoying creating pieces from different times and cultures and I will

continue to develop my skills by choosing challenging projects.

I also enjoyed working with museums in previous projects, and I would like to continue working with

people like this. Not only was it very educational and rewarding, but it resulted in me contributing to

the historical accuracy of the museum- which I thought was cool!

I also intend to work on another historical recreation of a glass making set up.

Primary Resources:

High-Resolution Copy of the extant beads. Can be found in Image credits.

Secondary Resources:

Al-Gailani, Noorah. "Glass weight" in Discover Islamic Art, Museum With No Frontiers, 2023.
Bates, M.L. The function of fāṭimid and ayyūbid glass wėights. J. Econ. Soc. Hist. Orient/Journal de l'histoire economique et sociale de l'Orient 24, 63–92. 1981.
Guido, Margaret. The Glass Beads of Anglo-Saxon England: c. AD 400-700, Boydell Press, 1999.
Holgate, Barbara. “The Pagan Lady of Peel”, St. Patrick’s Isle Archaeological Trust, 1987.
Morton, A.C. Heavy Minerals in Provenance Studies. In: Zuffa, G.G., Ed., Provenance of Arenites, Reidel, Dordrecht, 249-277. 1985.
Regia Anglorum: https://regia.org/
Schibille, Gratuze, Ollivier, Blondeau. Chronology of early Islamic glass compositions from Egypt. Journal of Archaeological Science, 104, pp.10-18. 2019

Image credits

Figure 1- https://www.metmuseum.org/art/collection/search/443185?what=Coin+weights&ao=on&ft=*&offset=0&rpp=20&pos=1
Figure 2- Kelsey Museum of Archaeology, 91244
Figure 3- https://www.metmuseum.org/art/collection/search/453506
Figure 4- https://www.metmuseum.org/art/collection/search/442888
Figure 5- https://islamicart.museumwnf.org/database_item.php?id=object;ISL;uk;Mus04;19;en
Figure 6- https://islamicart.museumwnf.org/database_item.php?id=object;ISL;uk;Mus04;18;en
Figure 7- My attempt at Islamic script like many of the original pieces.
Figure 8- A gryphon after my barony. Pressed with an award.
Figure 9- A G, being my initial and a demonstration of how this could be used in letters etc.
Figure 10- A rose, a useful token shape.
Figure 11- A crown, another useful token shape.
Figure 12- Soapstone carving that I used to press. I need to work on the star details.
Figure 13- The Islamic script carving.

Websites

[1] Bates 1993

[2] Al-Gailani 2023

[3] Al-Gailani 2023

[4] Morton 1985

[5] Regia Anglorum

[6] Guido

Further Research/ Evidence:

https://art.thewalters.org/detail/25429/menorah-token-2/
https://art.thewalters.org/detail/11026/inscribed-pound-weight/
https://art.thewalters.org/detail/14979/deesis-2/

Thursday, March 16, 2023

Classes 2023

Rowany Festival Classes with Baroness Ginevra Lucia Di Namoraza

Glass Bead Making- Youth Class

14/04/23

Friday 3-4pm

A Glass making session to make a couple of your own glass beads.

Teenagers (13-18 yr olds) Older children (8-12 yr olds) must have parental supervision.

Activity will take 30-45 minutes for kids/teens.

It is a requirement that the teenagers and children participating with adult supervision can listen and follow instructions and are mature and aware of behaviour to maintain safety.

Pre-Booking is needed.

Capacity of 6 participants. ( This does not include parents, though they will not be able to participate in this session)

Participation fee of $5 dollars to cover materials used in glassmaking.

Introduction to Glass bead making- Workshop

14/04/23

Friday 4-5 pm

An introduction to glass beads through cultures and ages, including a practical section to make several of your own glass beads.

Pre-booking required at https://signup.com/go/WxkFuQw - maximum 10 participants.

$10 fee for materials.

Please bring gardening gloves if you have them.

Introduction to Glass Bead Making Workshop: Session 2

14/04/23

Friday 5-6 pm

An introduction to glass beads through cultures and ages, including a practical section to make several of your own glass beads.

Pre-booking required- maximum 10 participants.

$10 fee for materials.

Please bring gardening gloves if you have them.

Researching and recreating Glass Beads through the ages

16/04/23

Sunday at 4pm in A&S 2

An in-depth review and round table discussion of extant artifacts and advanced research and recreation techniques. This hour-long class will take participants through a variety of techniques and approaches to researching glass beads, recreating extant artifacts, creating your own interpretations, and providing detailed documentation. There will also be an overview of how to meet Lochac arts and sciences rubrics and using rubrics throughout the known world to improve your work and research. Books and other documentation will be available for participants to browse.

Monday, March 6, 2023

Documentation: Phoenician Glass beads

Phoenician Glass beads as individual tokens

Baroness Ginevra Lucia Di Namoraza

Image 1
Image 2

What?

A selection of handmade glass beads in the Phoenician style to use as individual tokens or to add to other gifts such as pouches or tassels.

1.Beads in Politarchopolis colours for the Baron and Baroness to hand out. 10 in a bag.

2.Beads in Lochac colours for Politarchopolis to give as largesse to Royalty. 10 in a bag

3.Beads in House of Hurts colours- a gift for the personal use of the Baronage. 10 in a bag.

Image 3

Where?

The Phoenicians occupied the coast of the Levant - eastern Mediterranean.

When?

4^th- 3^rd century BCE

Why? I have been gifting these to various groups and baronies and most Barons/ Baronesses and Royalty for the last couple of years. When I was Baroness of Polit, I found this sort of thing invaluable, and I am delighted to be able to return the favour. These beads are found and reused in many places, so they are plausible for a variety of personas to wear, as well as unique and intricate enough to be a nice gift on their own. I have included many examples of this.

Details of the extant pieces:

Most of this type of bead have 4-5 large central “eyes”. The eyes fluctuate between 2-5 layers. The smaller dots vary in location and colour but are generally in a couple of layers. Sometimes they contrast, sometimes they match with the eye colours. The glass was often found to be soda-lime-silica natron-based glass. Common colours were blue, white, yellow, turquoise.

Dimensions as an example from the Met Museum glass beads:
Diameter (smallest bead): 3/8 in. (0.9 cm)
Diameter (largest bead): 5/8 in. (1.6 cm)

Image 4

Other Examples: Hallstatt period (800–400 BC)- Image 6. Ptolemaic Period- Egypt-(400–200 BC)- Image 5. Bulgaria 3 BC- Image 7. France 5^th century- Image 9

Image 5

Image 6

Image 7

Image 8

Image 9

Details of the Recreation:

I chose to recreate several beads that are on display in a variety of museums to ensure historical accuracy. I worked with each museum's high-resolution images to recreate the piece with their unique characteristics. These beads can be from 15 to 45 minutes of work each. I followed the average dimensions that these beads were found to have. My preferred aesthetic is a precise number of dots and layout, though you can see that this design choice is used, as well as a looser approach. The House of Hurts and Lochac beads have a commonly used colour scheme, though creative liberty was taken for the Politarchopolis bead. Red glass can however be found amongst beads in this timeframe and location.

Making the glass beads:

I used a graphite paddle, mandrels, bead release, a knife, fire annealing and gravity. I try to use the least tools possible and authentic equipment that would have been used by the glassmakers of the time. I use a hot head torch and MAPP gas. In the future I have plans to recreate a small portable kiln but melting glass in a small kiln is very difficult as getting the heat hot enough to melt the glass is a struggle. Instead of annealing them in a furnace, I use a product called vermiculite to allow the beads to cool down slowly. I also use a kiln. In the future, I would like to try annealing them in a furnace to see what it is like. Image 3, 4,10 are my recreation.