Glass Bracelets

This books focusses on Iron Age glassmaking through a socio-economic perspective. To do so, a multidisciplinary method has been established, combining archaeological data with archaeometry and technological approaches developed with modern glassmakers. It allows us to reconstruct, step by step, the commodity chain of this craft, only dedicated to beads and bangles productions, from the raw glass production, its transformation into items of adornments but also its distribution and its consumption processes by La Tène societies.

By reconstructing this production system, the social and symbolic values of these ornaments can be better understood. Glass beads and bangles are luxury products and their consumption evolved alongside the hierarchisation of La Tène societies. This new research on La Tène Glass reveals conspicuous consumption practises depending on the organisation of goods networks with the Near East, but also specialised craftspeople and production structures only dedicated to the production of objects used for the distinction of individuals.

During the excavations of the Mamluk occupation layers of Tell Abu Sarbut in the Jordan valley, Jordan, more than 400 fragments of glass bangles and one complete glass bracelet were excavated. To my knowledge this is one of the largest collection ever recovered from one site, at least in Palestine. Until recently not much attention has been paid to these humbly objects. Therefore a study of form and function of these bracelets was performed as well as an analysis of their technological aspects.

In this paper the development of lion protome bracelets in the Ancient Near Eastern between the 14th and the 6th century BC will be examined. For the reason a lion protome bracelet from tomb 36 at Marlık, a pair of lion protome bracelets from Nimrud Tomb II and Tomb III Coffin I, a lion protome bracelet made of bronze and gold by the Museum of Van, lion motif and a lion protome bracelet from Ziwiye, a lion protome bracelet from the Tumulus A at Gordion and a pair of blue glass bracelets with golden lion protomes were identified. The comparison of the seven bracelets, which are quite different from each other, will include the questions of their dating, their ownership, their findspot, their manufacturing techniques and the chracteristics in style. The study also specifically come to a conclusion by looking at their interaction with style properties. In the conclusion of this study the styles of the seven bracelets from, In this study, Marlık, Tomb II, Tomb III Coffin I, Museum of Van, Ziwiye, Gordion A Tumuli and Toptepe Tumuli lion prome bracelets will be compared in detail. The results will put forth the typology of the bracelets.

The glass bracelets of Haevernick’s group 15 are characteristic of the beginnings of the Middle La Tène Period in the eastern Middle Danube Region. Approaching it from a technical point of view provides us with an opportunity to apprehend this typological group in an innovative way. The design is guided by the technique mastered by the craftsmen and the glass bracelets can be classified into categories according to the knowledge required. The manufacturing in small quantities of Haevernick group 15 can be explained by the complexity of some techniques used in its production. Glass bracelets of Haevernick group 15 are not only a regional specificity, it is also a technical master-piece in the La Tène glass-making,

The first aim of this thesis was to document all iron aged glass bracelets in North Tyrol and to make a well prepared comprehensive volume that is right up to date.
Secondly, various theories of the manufacturing process of this jewellery were analysed from different points of view. Effectively the results of one method comes as close as possible to the origin glassrings. The experiment suggests that if you wound hot melting glass around a cylindrical tool and shape it afterwards with a knive, you’ll get the typical characteristics of the rings with ribs. These are for example the pressure marks between the ribs.
Last but not least some of the glass bracelets were analysed by X-ray fluorescence spectros-copy and other analytical techniques. The glasses are belonging rather to LMG (low magnesium glass) than to LMHK (low magnesium high potassium).
They are showing also similarities with other “celtic” glass in Austria – at least this applies to the translucid glasses. The opaque ones, especially the blue glasses of the Tyrolean Rings do not fit to the others.
In a nutshell, the new theory includes a local production at any rate for the Tyrolean Rings and maybe also for the rings with ribs and the rings with a triangular profile.
The translucid glasses are rather imported from a manufacture for glass blanks, though there are not many analysis results of iron aged glass at all. So the question of the trading route is still waiting for an answer – as well as the positions of the workshops.

This thesis aims to approach the Iron Age glass-making through a socio-economic perspective. To do so, a muldisciplinary method has been developed, combining archaeological data with archaeometrical and technological approaches. It allowed us to reconstruct, step by step, the commodity chains analysis of this craft, only dedicated to jewelery productions, from the raw material production, its transformation into items of adornments but also its distribution and its consumption processes by La Tène societies.
The analysis on La Tène Glass characterization (done by LA-ICP-MS), including more than seven hundred glass objects, permitted to distinguish sands from different origins used to make the imported natron base glass. It also highlighted different recipes according to the chemical features of the glasses. The technological approach, combining ethnoarchaeological and experimental referentials, shown the high-levels of expertise required to produce these objects. Moreover, glass objects production required Near-Eastern raw material, implying transport over long distances and specialized and trained craftsmen. At the end of La Tène period, the observed increase and simplification of production could be linked with a choice of efficiency in response to new population categories’s needs.
By reconstructing the different steps and requirements of the production, the social and symbolic value of these ornaments can be better understood. Glass beads and bracelets are luxury productions and their consumption evolves alongside the hierarchisation of La Tène societies. This study reveals conspicuous consumption practices depending on the networks organization of goods, specialized craftsmen and production structures only dedicated to the production of objects used for distinction.

Bracelets made of glass are known from Egypt since the second millennium BC, but remained rare in the Mediterranean
until at least the third century AD, during which period they
enjoyed a significant distribution. In regions of the development
of Islam they continued in use during Early Byzantine
times, whereas in Byzantium they disappeared, to reappear in
the Middle Byzantine period, in large numbers (Figs 2-12)
both in the Asian and the European territories, as well as in
regions under its political domination. After the wide diffusion
from the late ninth or the tenth century, bracelets gradually
decreased and by the thirteenth or fourteenth century had disappeared. The phenomenon of the reappearance of glass
bracelets in this period can be linked with the general political
and economic circumstances prevailing in the Byzantine
State, with the revival of cities and the reconstitution of the
empire. Correspondingly, the gradual disappearance of glass
bracelets in Late Byzantine times is linked with the economic
circumstances of the period, with the drastic reduction in citizens' purchasing ability. In contrast to Arab regions, the use
of glass bracelets was not revived in Ottoman times, nor even
in the nineteenth century, when they were particularly popular
throughout the rest of the Muslim world.

The aim of this study is to describe glass bracelets, which constitute a very large part of the collection of the Ar- chaeological Museum in Alhama de Murcia, a town located in southeastern Spain in the province of Murcia. The author of the article received 130 fragments of glass bracelets from excavations carried out in two different parts of the city. Aside from describing physical characteristics of these objects, samples from four different types of bracelets were collected and transferred to the laboratory to determine the chemical composition.
Six types of glass bracelets have been distinguished during the documentation works conducted in the mu- seum’s storehouse. The first group included bracelets with a smooth surface and without additional decorations. In the material available for the analysis, 71 items were distinguished, which constitutes the largest group of ob- jects. The second group consists of objects made of single coloured glass paste with a surface twisted to a differ- ent degree. 27 pieces that have been included in the group in question vary in colour. Among them there are bracelets made of dark glass paste (black or navy blue), and other ones made of light and translucent – yellow or light blue glass paste. The third group consists of bracelets which, like the abovedescribed examples, also have a spiral surface, although it seems that it formed as a result of releasing the pressure in the glass, not the process of twisting. Interestingly, they have an additional ornament in the form of a 0,2-0,3 cm glass thread, which loosely covers the whole bracelet. Both pieces were made of dark glass paste (navy blue or black). The same glass paste was used for the ornament. Bracelets with characteristic longitudinal grooves form yet another group. Among the 13 documented fragments, none of the bracelets’ state allowed to determine the original diameter of bracelets. The last group of objects with circular cross-sections consists of 16 bracelets with a twisted surface and a twisted glass thread imbedded into the bracelet’s core. Some of the examples are decorated with a double thread; however, all of them were made of milky glass paste. The last example is unique, because it has an ornament in the form of a horizontally embedded milky-coloured double thread. Maud Spaer suggests the Ottoman period as the preliminary chronology for such bracelets by including them in the D1e type.
Glass bracelets, although present in three cultures: Muslim, Christian and Jewish, are traditionally associated with the first of the three mentioned. It has been assumed that for the Muslim community of the Peninsula those who wore them were protected from bad luck. Due to the fact that women, especially pregnant ones, and children were the most vulnerable, they were the main recipients of this kind of accessories. In situ finds connected with funeral practices provide information on how these bracelets were worn. Wrists were the most obvious place for bracelets to be worn and the number of bracelets was the same on both hands, however, these decorations were also worn on forearms, ankles, and sometimes used as necklace tokens.
Bracelets from Alhama de Murcia, due to their archaeological background, which is dated to the time of presence of the post Muslim community in the city, should rather be associated with the Christian population that inhabited these areas during their Reconquista in the second half of the 13th century. Due to the fact that the majority of glass bracelets were a part of funeral practices and therefore an element of tomb equipment, archaeological dating is not easy. These items were often in the possession of a given family for a very long time, and in addition, the decorations themselves and production technology changed little over the centuries. Regarding the dating of particular objects, it should be noted that without considering the context of the find, it is very difficult to provide a narrow chronology. The stratigraphy of the excavation areas is being prepared, however, the explorers ensure that the layers from which the bracelets come date back to the 14th and 15th centuries. It is certain that the oldest examples are the bracelets with semi-circular cross-sections, which are remnants of the Roman traditions. The bracelets with circular or oval cross-sections are the most recent, as they were crafted during the Muslim period. The author is inclined to accept the period from the 14th century to the end of the time in which the castle was occupied, which was the 16th century, as the chronology of the collection of glass from the castle area.

Among the many burials of the necropolis of calle Mendivil in Malaga, only one of the individuals, identified as a young woman, contained a set of adornments composed by glass bangles. These artifacts were used during the peninsular Middle Ages with a prophylactic goal. This habit got some acceptance among women and girls of the three religions.

Özet Cam, MÖ III. binde keşfedilmiş, bilezik olarak kullanımı ise MÖ II. binden itibaren gerçekleşmiştir. Cam bilezikler kesit, süsleme ve renk olarak çeşitlilik gösteren kadın süs eşyalarıdır. Bu çalışmanın amacı Mardin Müzesi'nde bulunan 117 cam bileziğin teknik, kesit, renk ve süsleme bakımından incelenmesidir. Cam bileziklerde karşılaşılan en büyük sorun tarihleme konusudur. Özellikle sade bileziklerin cam yapımında hemen her dönem görülmesi bu tür eserlerin kesin bir tarihe verilmesini zorlaştırır. Çalışmamızda Müzedeki cam bileziklerin yapım tarihi için de önerilerde bulunulmuştur. Abstract Glass was discovered in 3000 BC and it has been used as bracelets since 2000 BC. Glass bracelets are generally the women's ornaments which vary in shape, ornament and colour. The aim of this study is to discuss 117 glass bracelets in Mardin Museum in terms of technique, shape, ornament and colour. The most important problem in the production process of glass bracelets is dating. The fact that especially the simple bracelets have been found in the construction of glass in almost every period makes giving a date to these kind of works difficult. In our study, the suggestions for the production dates of glass bracelets in the Museum have been offered. Giriş Müzelerde yer alan cam eserler arasında, cam bilezikler yaygın bir grubu oluşturmaktadır. Arkeolojik kazı ve satın alma gibi yollarla müzelere kazandırılan bileziklerin varlığı, camın, pahalı taş ve metallere alternatif bir süs eşyası olarak kullanıldığını göstermektedir. Mezarlarda bulunan cam eserlerin, mezar hediyesi olarak da tercih edildiğine işaret etmektedir. MÖ II. binden itibaren kullanıldığı bilinen cam bilezikler, Türkiye'nin hemen her müzesinde görülmekte, oldukça eski tarihlere inen Anadolu'nun cam işçiliğinin de farklı dönemlerine ışık  Atatürk Üniversitesi Edebiyat Fakültesi Sanat Tarihi Bölümü, gul.geyik@atauni.edu.tr.

L es cimetières celtiques du Bassin parisien ont livré un riche ensemble d'artefacts. Leur analyse est restée longtemps diffi cile en l'absence de nomenclature utilisable. Luc Baray offre ici une synthèse complète des systèmes typologique et chronologique, s'appuyant sur plusieurs centaines d'objets mis au jour dans 1500 sépultures, qui ont été décrits et classés en 905 types différents. Fondée sur une analyse morphométrique fi ne, cette étude propose six grands systèmes de classement typologiques pour les céramiques, les parures (torques, bracelets, bagues, anneaux de cheville, boucles d'oreilles, perles, pendeloques), les accessoires vestimentaires (fi bules, ceintures, boutons), les trousses de toilette (pinces à épiler, scalptoria, forces, cure-oreilles), les armes (poignards, dagues, épées, chaînes de suspension, fers de lance, talons de lance) et les outils (haches, couteaux). Les différents critères propres à chaque grande série d'objets ont été classés de manière hiérarchique et non systématique. Cette classifi cation répond à une nécessité de cohérence et se donne pour impératif d'être ouverte et de rendre compte de l'ensemble du corpus. La méthode utilisée pour l'obtention d'un cadre chronologique est celle des matrices combinatoires (sériations). La période qui va du dernier quart du vii e siècle au troisième quart du ii e siècle avant J.-C. a ainsi été subdivisée en une dizaine d'étapes. Pour aboutir à ce résultat, une analyse a été effectuée par cimetière, ou par groupe de cimetières quand la documentation disponible n'était pas suffi sante. Cette chronologie relative, parfaitement compatible avec les chronologies européennes en vigueur, a été défi nie en mettant en corrélation l'ensemble des périodisations obtenues sur chaque site ou dans chaque région. Ce référentiel typo-chronologique supra-régional offre la vue la plus complète et la plus synthétique de l'évolution des cimetières celtiques du Bassin parisien et constitue un outil de recherche unique pour les archéologues. Archéologue et historien, Luc Baray est chargé de recherche au CNRS, habilité à diriger des recherches et membre de l'UMR 6298 ArTeHiS (Archéologie, Terre, Histoire, Sociétés). Ce volume hors-série de Gallia constitue la réédition mise en page et imprimée du contenu du CD-ROM inclus dans le 56 e supplément à Gallia, publié par le même auteur et paru en 2003 sous le titre Pratiques funéraires et sociétés de l'âge du Fer dans le Bassin parisien (fi n du VII e s.-troisième quart du II e s. avant J.

Made of raw glass imported from the Middle East, the production of glass in La Tène societies reached its peak in the 3rd
and 2nd centuries B.C. With the production of beads and bracelets, glassmakers specialized in the first glass workshops of continental
Europe in a moment of social and economic transformation during the Late Iron Age. In order to understand the materials and human
resources involved in the production of La Tène glass jewelry, an experimental project was started in 2009 bringing together glass-makers
and archaeologists. This article aims to present the technological methods that have helped to understand how La Tène glass-maker
knowledge has evolved. Combining an ethnoarchaeological and experimental referential, this approach allows us to reconstruct a
realistic hypothetical chaîne-opératoire for almost all types of La Tène glass objects. Understanding the procedures and the technical
implications behind the different types of glass ornaments highlights the technical evolution in glass production during the Late Iron
Age. It reveals the economic choices involved in this evolution providing extra data in order to comprehend the mobilization of societies
in a specialized production of glass objects only dedicated to prestige adornments.

In this paper the development of lion protome bracelets in Western Anatolia between the 10th and the 6th century BC will be examined. As examples the golden lion protome bracelet from Tumulus A in the Phrygian capital Gordion and the lion protome bracelet made of blue glass and gold from the Lydian Tumulus at Toptepe were chosen. The comparison of the two bracelets, which are quite different from each other, will include the questions of their dating, their contexts, their ownership, their manufacturing techniques and their centers of production. Especially from the discussion about the production centers arises the question whether these two bracelets were local or imported.

At the end of the 5th century B.C., only few different types of glass artefacts exist when a new object appears in La Tène Culture: the glass bracelet. The setting up and the evolution of glass-making's standardization, can also provide a better understanding of the economies of the second Iron Age. Creating such handmade objects requires material resources as well as technical protocols that we need to piece together again. This article shows that glass jewellery requires not only raw material from Near East and transport over long distances, but also specialized and trained craftsmen. The quantitative study of glass-making shows that glass bracelet gradually becomes accessible to new categories of population. The social and symbolic value and the function of the Celtic glass adornments must be seen in light of these new data. As wine, glass comes into the domain of conspicuous consumption.

Tire (Izmir, Turkey) has a rich cultural heritage, with its large number of religious, social and civil architectural buildings of the Turkish-Islamic period. Of these buildings, Kutu Han (Inn), a symbol of commercial life, is an important structure that reflects the general characteristics of Ottoman urban inns since the first half of the th century, when it was constructed. Together with such artefacts as numerous ceramics and pipes, glass bracelets were also discovered during the excavations recently carried out in the courtyard and barn of the inn. Reasons such as the scarcity of studies on glass bracelets of the Ottoman Period and the fact that the bracelets are seen in almost every period complicate dating them. In this paper, the glass bracelets obtained during the excavation and cleaning work at Tire Kutu Han will be examined in terms of technique, decoration and typology, and compared with different examples. The study also aims to determine the place of the material from Tire Kutu Han in glass bracelet making in the Ottoman Period. *

This study presents and discusses the results of an extensive programme of
chemica! analysis of glass bracelets from the Lower Rhine region. The glass bracelets were shown to be made of soda glass imported from
the Eastern Mediterranean. A is proposed of where raw glass was imported and processed in secondary workshops to produce bracelets.

The large-scale import of seems to Mediterranean raw glass seems to follow a different exchange network than the elite-realted amphora and high-status bronzes.
It is remarkable that material with an exotic origin like (raw) glass could become a common medium to build and transfer local common identities.

This work contains an analysis of the fragments of Late Antique
glass bracelets found during cultivation of the gardens
around the houses of Petar Lukinić and Dinko Sušec. In the
relevant literature, the bracelet types discovered there have
been dated to the third to seventh centuries AD , which cannot,
however, be applied to Pannonia. Taking into consideration
the quantity of bracelets which appear at archaeological
sites, one is compelled to conclude that insufficient
attention has been accorded to this find type in previous
research. This work constitutes an attempt to contribute
to knowledge of this type of movable find and of Orešac in
Antiquity. There are two typologies for glass bracelets in
the literature; in this work M. Spaer’s typology will be applied.
According to previous knowledge, life proceeded in
Bolentio from the first to fourth centuries AD , and here the
hypothesis will be put forward that people continued to live
there even in the first half of the fifth century AD .

Depuis plusieurs années maintenant, un programme d'expérimentation associant archéologues et verriers est consacré à la re-découverte des techniques de fabrication des parures en verre celtique. En juin 2014, une nouvelle étape quelque peu exceptionnelle de l'expérimentation a eut lieu au parc archéologique de Samara (Somme) dans le cadre du 18eme colloque internationale de l'Association Française pour l'étude de l'âge du Fer (AFEAF). Sur un four chauffé au bois, l'équipe à pu fabriquer des bracelets à partir d'un matériau remarquable : 1 kilos 500 de verre brut archéologique. Mis à disposition par le Département des recherches archéologiques subaquatiques et sous-marines (DRASSM), ce bloc a été produit au Proche-Orient au III siècle av. J.-C. et retrouvé en 1988 dans l'épave des Sanguinaires A, au large de la Corse. Ce court article, présentera les objectifs techniques et archéométriques de l'expérimentation et ses premiers résultats.