Roman Cameo Glass in the British Museum

Cameo glass represents the ultimate achievement in Roman luxury glass, and the British Museum has the world's largest and finest collection.<br> <br> This publication presents the collection in its entirety for the first time. Each piece is illustrated in colour and line drawing, with full description and discussion. It also presents the results of a new research.<br> <br> Presented are over seventy pieces, including two of only a dozen surviving complete cameo glass vessels: the celebrated Portland Vase, the greatest surviving example of Roman cameo glass, and the Auldjo Jug, each with its complex and intriguing history. The catalogue, begun by Veronica Tatton-Brown and William Gudenrath of the Corning Museum of Glass, has been revisited and enhanced by Paul Roberts of the British Museum and David Whitehouse and William Gudenrath of the Corning Museum of Glass.<br> <br> The authors construct a comprehensive context, using archaeological, technological, iconographic and typological evidence to look at the origins of cameo glass and its place in contemporary Roman art and craftsmanship. They also propose a relative and absolute chronology for cameo glass, and suggest possible models for the organisation of the workshop(s) that produced it. <br> <br> <strong>Author</strong> <br> <br> Veronica Tatton-Brown was a curator at the British Museum until her retirement due to ill- health. Paul Roberts is the Senior Roman curator in the Department of Greece and Rome at the British Museum. David Whitehouse and William Gudenrath, specialists in the history and technology of glass are, respectively, Executive Director and Director of the Studio at the Corning Museum of Glass, Corning, New York State.

Cameo glass represents the ultimate achievement in Roman luxury glass, and the British Museum has the world's largest and finest collection.

This publication presents the collection in its entirety for the first time. Each piece is illustrated in colour and line drawing, with full description and discussion. It also presents the results of a new research.

Presented are over seventy pieces, including two of only a dozen surviving complete cameo glass vessels: the celebrated Portland Vase, the greatest surviving example of Roman cameo glass, and the Auldjo Jug, each with its complex and intriguing history. The catalogue, begun by Veronica Tatton-Brown and William Gudenrath of the Corning Museum of Glass, has been revisited and enhanced by Paul Roberts of the British Museum and David Whitehouse and William Gudenrath of the Corning Museum of Glass.

The authors construct a comprehensive context, using archaeological, technological, iconographic and typological evidence to look at the origins of cameo glass and its place in contemporary Roman art and craftsmanship. They also propose a relative and absolute chronology for cameo glass, and suggest possible models for the organisation of the workshop(s) that produced it.