Τα ευρήματα υαλοπινάκων από τη Μονή της Χώρας (Kariye Camii), η τοπική βυζαντινή παραγωγή στην Κωνσταντινούπολη και οι τεχνολογικές αλληλεπιδράσεις μεταξύ Ανατολής και Δύσης

To summarize, Figures 12-13, and particularly Figure 13 for aluminia and calcium oxide, show there is some distinction between the Kariye Camii window glass, window glass of the western high medieval period, twelfth-fourteenth-century Islamic vessel glass, twelfth-century glass tesserae from the personification of Mesopotamia in San Marco and other mosaics attributed to the eleventh-thirteenth centuries from the same monument.
One can therefore show that the production of Constantinopolitan and western European window glass used entirely different manufacturing traditions and it is unlikely that the artisans had contact, though the very similar ale glaze compositions of the Fenari Isa and Cistercian tiles may reflect some level of contact. The Islamic vessel glass composition is closer to the nearly contemporary Kariye Camii window glass but the latter's production must, at least, have used different sand sources, although an Islamic influence cannot entirely be ruled out, or vice versa. Chemical analysis of the eleventh-thirteenth-century glass tesserae from San Marco shows that a wide range of glass compositions, including some similar to those of contemporary Islamic technology, was used, but none which are the same as the Kariye Camii glass.
In sum, the stained glass of the Kariye Camii has a distinctive manu¬facturing tradition and may have been made locally. Only further analysis of other Byzantine ceramic glazes can help to put the two discussed here into a broad context and the sampling of mosaic tesserae from well-dated buildings should continue.

Mango M.M., Henderson J., "Glass at Medieval Constantinople. Preliminary Scientific Evidence", C. Mango - G. Dagron (eds.), Constantinople and its Hinterland, Cambridge 1995, Society for the Promotion of Byzantine Studies 3, 355-356