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The Art & Architecture Thesaurus (AAT) (r) is a structured vocabulary for generic concepts related to art and architecture. It was developed by The Getty Research Institute to help research institutions become consistent in the terminology they use.Learn More

Object Name: 
Accession Number: 
Overall H: 15.3 cm, W: 8.2 cm; Rim Diam: 4.7 cm
Not on Display
Primary Description: 
Transparent light amethyst glass; mold-blown; handle and base applied and tooled. Jug with straight tapering side; everted rim with curved upturned lip; tapering neck; rounded shoulder; straight side tapering towards rounded bottom; applied foot consisting of thread coiled three times around center, then flattened; applied handle attached to neck by going around it once in the form of a heavy thread, and to shoulder, the upper surface pinched three times. Body blown into two-piece mold; decoration consists of continuous frieze divided vertically into two "panels" by mold marks, and framed by two horizontal ribs on shoulder and one horizontal rib near base. Each "panel" has three figures; from left to right, beginning below handle: (1) female in long dress moving to left but looking back to right, scarf above head, unidentified object in right hand; (2,3) couple, apparently embracing, with female on left and male, brandishing thyrsus, on right; on male's right, at edge of panel, tree-like motif and rounded object, possibly wine-skin; (4) male, perhaps satyr, with right arm lifted and thyrsus in left hand; (5) figure of indeterminable sex with arms raised, resting on staff held in left hand; (6) female facing left with cup raised in right and staff in left.
Smith, Ray Winfield (American, 1897-1982), Source
Metropolitan Museum of Art 2014-12-09 through 2015-04-13
Corning Museum of Glass 2015-05-16 through 2016-01-04
At the end of the first century B.C., glassmakers working in the environs of Jerusalem made a revolutionary breakthrough in the way glass was made. They discovered that glass could be inflated at the end of a hollow tube. This technical achievement—glassblowing—made the production of glass vessels much quicker and easier, and allowed glassmakers to develop new shapes and decorative techniques. One technique, inflating glass in molds carved with decorative and figural designs, was used to create multiple examples of a variety of vessel shapes with high-relief patterns. The molds used to shape this ancient glass were complex in their design, and the mold-blown glass vessels of ancient Rome tell a wealth of stories about the ancient world, from gladiators to perfume vessels, from portraits of a Roman empress to oil containers marked with the image of Mercury, Roman god of trade. Among the earliest workshops to design and create mold-blown glass was one in which a man named Ennion worked. Ennion was the first glassmaker to sign his glass objects by incorporating his name into the inscriptions that formed part of the mold’s design, and thus he stands among a small group of glass workers whose names have come down to us from antiquity. On view through January, 4, 2016, Ennion and His Legacy, is composed of mold-blown master works by Ennion and other Roman glassmakers. The works are drawn from the Corning Museum’s collection of Roman glass, one of the finest in the world. Within the larger exhibit is a smaller exhibit organized by The Metropolitan Museum of Art, Ennion: Master of Roman Glass, which focuses specifically on works made by Ennion. Composed of loans from a number of international institutions and private collections this exhibit within an exhibit brings together many of the known examples of Ennion’s wares and will be on view through October 19, 2015.
Glass from the Ancient World
Corning Museum of Glass 1957-06-04 through 1957-09-15
Mould-Blown Glass from Ancient Rome (2015-07) illustrated, p. 13 (bottom left); BIB# AI100202
Roman Glass in The Corning Museum of Glass, Volume Two (2001) illustrated, pp. 127-128, pl. 633; BIB# 58895
A Distinctive Group of Late Roman Glass Vessels (1997) p. 375, pl. 5, ill.; p. 369 ff.; BIB# 112248