The Portland Vase
By 1810, the now named Portland Vase was on display at the British Museum, who eventually acquire it for the nation in 1945.
The vase measures about 25 centimeters (9.8 inch) high and 18 cm (7.1 inch) diameter. It is made of translucent blue glass, and has a single continuous white glass frieze with two distinct scenes carved in cameo, depicting seven human figures, plus a large snake, and two bearded, horned heads below the handles which separate the two scenes.
The bottom of the vase 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, having different colours to the rest of the vase, and has been displayed separately since 1845. It may have been added in antiquity or later, or is the result of a conversion from an original amphora form. It was detached from the vase in an accident caused by the Duchess of Gordon, Jane Gordon, known as “Jenny of Monreith“, soon after its return from Wedgwood.
This Roman treasure was brought to the public’s attention in 1845 when it was knocked off its pedestal by a drunken “student”. The pieces were gathered and tediously stuck together. In 1947, thirty seven fragments of glass were discovered that had not been used in the 1845 reconstruction. Since the old adhesive had become discoloured and obtrusive, it was taken apart and rebuilt incorporating most of the remaining pieces using new glue; it remained in tact until it was taken apart for conservation and rebuilt in 1988.
Conservation of the vase:
John Northwood
In the late 19th century, John Northwood was the person who rediscovered the art of cameo glass carving in the Stourbridge area, being stimulated by his employer Benjamin Richardson who challenged his workforce to reproduce the Barberini or Portland vase in glass offering £1000 to the person who could achieve this.
John had experimented on his decorating skills by trying his hand at carving in relief and succeeded in producing a small vase in the cameo style of opal glass carved in relief on a coloured ground, the decoration was a depiction of St George and the Dragon. This was probably the first modern cameo piece to be produced. The only limited record of it was given by John Northwood II in the book about his father. It was reportedly completed in circa 1860 but was broken some years later.
His next endeavour was to carve flint glass producing the Elgin vase for Sir Benjamin Stone, which he completed in 1873. The two handled vase had a frieze around the middle showing a section of the Elgin marbles in relief.
It can be assumed that Philip Pargeter, the proprietor of the Red House Glass Works, knew what John was doing with the Elgin vase and prompted him to tell Northwood, “I believe I can make the Portland Vase if you can decorate it.” Pargeter’s challenge echoed the sentiment expressed by Benjamin Richardson years earlier. John took up the challenge and the blanks were produced by one of Pargeter’s chairs comprising Daniel Hancox, Joseph Worrall (servitor), Charles Hancox (foot-maker and Daniel’s son) and Benjamin Downing (taker-in). The carving work was executed over the period 1873 to 1876 and was completed to win the £1000 prize offered earlier by Benjamin Richardson.
The production of the vase was not without incident the most catastrophic being recalled by Edwin Grice in a 1913 interview.
Upon its completion the vase was received with great acclaim. Various articles were published in the press at the time including an article in The National Union of Flint Workers Magazine., which also describes the discovery and history of the original.
Replica of the Portland vase. Executed by John Northwood, dated 1876. Image courtesy of Corning Museum of Glass.