"The Toledo Museum of Art has one of the largest, most extensive and most varied collections of Roman glass vessels and objects from the eastern Mediterranean currently housed in any museum"--Foreword, p. 9.

Among glass craftsman active in the 1st century A.D., the most famous and gifted was Ennion, who hailed from the coastal city of Sidon in modern Lebanon. Ennion’s glass stood out for its quality and popularity. His products are distinguished by the fine detail and precision of their relief decoration, which imitates designs found on contemporaneous silverware. This compact, but thorough volume examines the most innovative and elegant known examples of Roman mold-blown glass, providing a uniquely comprehensive, up-to-date study of these exceptional works. Included are some twenty-six remarkably preserved examples of drinking cups, bowls, and jugs signed by Ennion himself, as well as fifteen additional vessels that were clearly influenced by him. The informative texts and illustrations effectively convey the lasting aesthetic appeal of Ennion’s vessels, and offer an accessible introduction to an ancient art form that reached its apogee in the early decades of the Roman Empire.

This publication examines the most innovative and elegant known examples of Roman mold-blown glass, providing a uniquely comprehensive, up-to-date study of these exceptional works. Included are some twenty-six remarkably preserved examples of drinking cups, bowls, and jugs signed by Ennion himself, as well as fifteen additional vessels that were clearly influenced by him. The informative texts and illustrations effectively convey the lasting aesthetic appeal of Ennion's vessels, and offer an accessible introduction to an ancient art form that reached its apogee in the early decades of the Roman Empire.

The Corning Museum of Glass possesses the most celebrated collection of glass in the world, including the extensive world-renowned collection of Roman Glass.

The first half of this exquisitely illustrated book examines the earliest techniques for making glass, including casting, core-forming, and mosaic. All were used for centuries prior to the development of glass blowing, in which molten glass is inflated at the end of a hollow tube. This technique, which started in the middle of the first century, led to entirely new shapes and decorative approaches. The second half of the book looks at glass made during the Roman imperial period.

A useful collection of papers on the first two centuries of Roman glass-making given at the symposium organised by the Society of Antiquaries in honour of Donald Harden, at the time of the Glass of the Caesars' exhibition. Contributors include: David Whitehouse, Jennifer Price, Dan Barag, Sophia van Lith, Lucia Scatozza Horicht, Yael Israeli and the editors.

"The splendor of Islamic glass is revealed in this publication, the first major study of the subject in over seventy years. Glass objects rarely bear inscriptions that provide vital information, and being so readily portable, they have throughout history been carried far from their place of origin. In a feat of patient scholarship, Stefano Carboni draws on a hugh range of sources in many languages and from many disciplines to produce this comprehensive history of Islamic glassmaking. The book is a catalogue of the superb al-Sabah Collection in Kuwait and includes clear and informative introductions to each period, as well as detailed descriptions of some 500 individual objects and fragments, accompanied by hundreds of colour photographs and specially commissioned line drawings. It begins with the legacy of Roman and Sasanian Persian traditions in the early years of Islam and extends well over a thousand years to the last phase of glass production in Mughal India and Safavid and Qajar Iran in the eighteenth and nineteenth centuries. The discussion covers a huge assortment of glass forms and decorative techniques, including the enamelled and gilded glass of thirteenth- and fourteenth-century Egypt and Syria, still unsurpassed in its magnificence, as well as many lesser-known categories of glass common to both the early and medieval periods in many locations, ranging from the undecorated to those with applied, cut, moulded or impressed decoration."--Back cover.