Portland Vase
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Image:7674564574788.jpg Image:The Portland Vase, by Euheli Del Dosso, 1890.jpg
The Portland Vase is a first-century Roman cameo glass vase, which served as an inspiration to many glass and porcelain makers from about the beginning of the 18th century onwards. Since 1945 the vase has belonged to the British Museum (reference - GR 1945.9-27.1 (Gems 4036) ; on display in Room 70, Rome: City & Empire).
The vase is about 25 centimetres high and 56 in circumference. It is made of violet-blue glass, and surrounded with a single continuous white glass cameo depicting seven figures (humans and gods).
On the bottom was a cameo-glass disc, also in blue and white, showing a head, presumed to be of Paris or Priam on the basis of the Phrygian cap it wears. This roundel clearly does not belong to the vase, and has been displayed separately since 1845. It may have been to mend a break in antiquity or after, or the result of a conversion from an original amphora form (paralleled by a similar blue-glass cameo vessel from Pompeii) - it was definitely attached to the bottom from at least 1826.
Contents |
Iconography
Though still mysterious, and placed by some in a marine setting due to the presence of a ketos (sea-snake) or a marriage context or theme (ie as a wedding gift), some interpretations of the 2 main scenes are:
| Scene 1 | Scene 2 |
| the story of the Emperor Augustus' supposed siring by the god Apollo | a divinatory dream by Hecuba that the Judgement of Paris would lead to the destruction of Troy |
| Peleus and Thetis, maritime deities | ? |
| the man with woman is Mark Antony being lured by the wiles of Cleopatra into losing his Romanitas and becoming decadent, with a male personification of Tiber or Rome looking on | the woman languishing between two males is Octavia Minor, abandoned by Mark Antony, between her brother Augustus (as god) and another male deity |
Life story
Manufacture
Based on the scenes and the style of the work, the Portland Vase is believed to have been made in Alexandria some time between 20 BC and the year 100.
Cameo-glass vessels were probably all made within about two generations as experiments when the blowing technique (discovered in about 50 BC) was still in its infancy. Recent research has shown that the Portland vase, like the majority of cameo-glass vessels, was made by the dip-overlay method, whereby an elongated bubble of glass was partially dipped into a crucible (fire-resistant container) of white glass, before the two were blown together. After cooling the white layer was cut away to form the design.
The work towards making a 19th century copy proved to be incredibly painstaking, and based on this it is believed that the Portland Vase must have taken its original artisan no less than two years to produce.
The cutting was probably performed by a skilled gem-cutter.
Discovery
Legend has it that it was discovered in the sepulchre of the Emperor Alexander Severus near Rome some time around 1580, but it is not known exactly where and when the vase was really found. Another story says that it was found in a sarcophagus excavated at Monte del Grano (also near Rome) some time between 1623 and 1644.
The first possible historical reference to the vase is in a 1601 letter from the French scholar Nicolas Claude Fabri de Peiresc to the painter Peter Paul Rubens, where it is recorded asin the collection of Cardinal Francesco Maria Del Monte in Italy. It then passed to the Barberini family collection where it remained for some two hundred years.
1778 to present
Sir William Hamilton purchased it in 1778 from the Barberinis, brought it to England and less than two years later, in 1784, sold it to Margaret Cavendish-Harley, widow of William Bentinck, 2nd Duke of Portland and so dowager Duchess of Portland. [1]. She passed it to her son William Cavendish-Bentinck, 3rd Duke of Portland in 1786, who lent it to Josiah Wedgwood, who devoted considerable time to duplicating it in Jasperware and made it famous through various copies. He also loaned the vase to the British Museum for safe-keeping, at which point it was dubbed the "Portland Vase".
It was deposited permanently in the British Museum by the fourth Duke of Portland in 1810, after a friend of his broke its base.
From the standpoint of art history the vase is interesting as it twice served as a major source of artistic inspiration in two favorite British media:
- Josiah Wedgwood's copy
- in the 19th century a £1000 prize was offered by Benjamin Richardson to anyone who could duplicate the cameo work in glass
It remained in the BM ever since 1810, apart from three years (1929-32) when William Cavendish-Bentinck, 6th Duke of Portland put it up for sale at Christie's, but it failed to reach its reserve. It was purchased by the Museum from William Cavendish-Bentinck, 7th Duke of Portland in 1945 with the aid of a bequest from James Rose Vallentin.
Vandalism and reconstruction
- On February 7, 1845, the vase was shattered to pieces by the 'intemperate' vandal William Lloyd, who had drunkenly thrown a nearby sculpture on top of the case smashing both it and the vase to pieces. The vase was pieced together, with fair success, though the restorer was unable to replace all of the pieces and thirty-seven small fragments were lost for the next 100 years until the Duke's descendants sold the vase to the museum in 1945.
- By 1948, the previous restoration appeared aged and it was decided to restore the vase, but the restorer was only successful in replacing three of the fragments. The adhesive from this weakened over the 30 years it was present and by 1986 the joints rattled when the vase was gently tapped.
- The third and current reconstruction took place in 1987, when a new generation of conservators assessed the vase's condition during its appearance as the focal piece of an international exhibition of Roman glass and, at the conclusion of the exhibition, it was decided to go ahead with reconstruction and stabilisation. The treatment had a lot of press coverage as well as interest from scholars. The vase was extensively photographed and drawn to record the position of fragments before dismantling, and the BBC filmed the conservation process. All previous adhesives had failed, so to find one that would last for much longer, conservation scientists at the Museum tested many adhesives for long term stability. Finally, an epoxy resin that had shown excellent ageing properties was chosen. Reassembly of the vase was made more difficult as the edges of some fragments were found to have been filed down during the previous restorations. Nevertheless, all of the fragments were replaced except for a few small splinters. Any areas that were still missing were gap-filled with a blue-coloured epoxy resin or, where loss occurred to the figures, with white-coloured resin.
The newly conserved Portland Vase was returned to display. Little sign of the original damage is visible now and, except for light cleaning, the vase should not require major conservation work for many years to come.
External links
Bibliography
- L. Burn, The British Museum book of Greek and Roman art (London, The British Museum Press, 1991), pp. 204-5
- H. Tait (ed.), Five thousand years of glass, 2nd paperback edition (London, The British Museum Press, 1999), pp. 4-5, fig.75
- I. Jenkins and K. Sloan, Vases and Volcanoes: Sir William Hamilton and his Collection (London, The British Museum Press, 1996), pp. 187-88, no. 63
- V. Tatton-Brown and W. Gudenrath, Catalogue of Greek and Roman glass in the British Museum II (London, The British Museum Press, forthcoming)
- D.B. Harden and others, The British Museum: masterpieces of glass, a selection (London, 1968)
- K. Painter and D. Whitehouse, 'The History of the Portland Vase', Journal of Glass Studies, 32 (1990), pp. 24-84
- Susan Walker, The Portland Vase (London, British Museum Press, 2004)es:Vasija de Portland