Flask of Amphoriskos form

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A glass flask in yellow tones and a deep blue colour. The iridescent patina adds a beautiful polychrome effect creating reflections of colours according to the intensity of the light.

Two moulds were used in its production. Both symmetrical pieces from the moulds were joined vertically along the length of the ovoid body decorated with horizontal ridges. The cylindrical neck of the flask with its round and everted mouth has been formed by the glass blowing technique. One of the handles is of the same colour as the flask and the other of a darker blue tone. They were made separately from ropes of glass and are joined to either side of the flask, rising from the shoulders to join the upper area of the neck. A cord would have been passed through these handles to hang the flask up. The plug would have been made from a perishable material (wax, cork, material, etc.,) and so is never preserved.

Given its form, the flask can be classified as an amphoriskos, a miniature amphora, which was very popular type in antiquity. Amphorae of greater dimensions were used for storing and transporting liquids and foodstuffs. These small versions were used to store perfumes and oils.

Small sized bottles of various shapes (more or less globular body, tall or low flared neck, ribbed or plain handles, etc.) and blown in different colors (aubergine, blue, yellow, transparent, green, etc.) were very popular from the 1st to the 4th century A.D.: they were part of the most frequently used toiletry tools. Their success certainly encouraged glassworkers to be highly inventive in order to create new versions, even more attractive to the public.

Towards the end of the Hellenistic period, glass definitely supplanted terracotta as a raw material for the manufacture of containers in all areas of daily life: this event, which occurred gradually, shall be regarded as a major technical revolution in antiquity, made easier, in early Roman times, by the invention and quick spread of the blowpipe, and by the conception of furnaces resisting to higher and higher temperatures.

With a versatility like no other known material in Roman times, abundant availability, lightness and ease of use, glass enabled the imitation of a wide range of other materials (especially precious metals), whether in the form, the design or the color. Furthermore, the ancients certainly knew that glass is a chemically neutral substance, what makes it particularly suitable for the storage of cosmetics or pharmaceutical products, as well as food and liquids.

Just about all Roman burials contain clear or greenish glass vessels covered with an iridescent patina due to the action of humidity and air. These flasks, when made in narrow forms, are often called unguentaria or lacrimaria by collectors, but were only used to contain oils and perfumes in the tombs, not to be containers for tears.

The Romans also perfected the art of working figures in relief on the glass vessels with the addition of another layer of glass of a different colour, or one of enamel, along with moulding, cutting or engraving of the glass, with the result that the surfaces of the containers looked like worked cameos.

BIBLIOGRAPHY:

- ARVEILLER-DULONG, Véronique. NENNA, Marie-Dominique. Les verres antiques au museé du Louvre. Tomo II. Museé du Louvre. 2006.
- FLEMING, Stuart J. Roman Glass: Reflections on Cultural Change. University of Pennsylvania Museum of Archaeology and Anthropology. 1999.

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