Portuguese Blue‐on‐Blue 16th–17th Century Pottery

Blue‐on‐blue (‘berettino’) sherds have appeared in numerous production and consumption archaeological excavations in Lisbon and other archaeological sites in Portugal (dated from the mid‐16th century to the beginning of the 17th century). The abundance of this interesting faience led us to compare it with similar pottery from other well‐known production centres in Italy, namely Liguria (Savona and Albisola), Spain (the Triana kilns) and the Low Countries. Differences in the diffraction patterns of the sherds' pastes from the four countries were observed. In most samples, cobalt blue silicate (cobalt olivine) was identified in the dark blue or light blue glazes through the use of micro‐Raman spectroscopy and diffuse reflectance spectra. A remarkable difference in the calcite contents of the Lisbon and Seville pottery sherds was observed, in accordance with previous observations of high calcite contents of Seville ceramics. A comparison was also made for all of the blue‐on‐blue sherds studied here with many other 16th–17th century sherds from Lisbon using bivariate plots of K/Si versus Ca/Si. Lisbon and Seville pottery behave very differently, whereas sherds from Italy and the Low Countries occupy intermediate positions.     

A CASE STUDY OF ARTHROPODS PRESERVED ON ARCHAEOLOGICAL BRONZES—MICRO‐ARCHAEOLOGICAL INVESTIGATION HELPS RECONSTRUCTING PAST ENVIRONMENTS

This paper offers new perspectives for improving our knowledge of arthropods in wet and aerobic archaeological contexts. The very‐near environment of uncleaned buried bronze artefacts, two ronde‐bosse ornaments of a Celtic grave from the Iron Age (275 to 250 bc , La Fosse‐Cotheret, Roissy‐en‐France), was studied by means of optical and scanning electron microscopies. Taking into account recent knowledge on bronze corrosion (decuprification), this micro‐investigation (micro‐archaeology) allowed identification of two fossilized arthropods—Cryptophagus sp. (Insecta, Coleoptera, Cryptophagidae) and Coccotydaeolus sp. (Acari, Tydaeoidea, Iolinidae)—which sheds some light upon the complex taphonomic process that occurred after the burial of a Celtic chariot. These first results support the idea that the local corroded metal/soil system has to be investigated for a better understanding of archaeological microenvironments. Efficient minute investigation of soiled bronzes could be performed prior to systematic cleaning of artefacts.     

The Depositional Contexts of the Ships from Thonis‐Heracleion,Egypt

Over 70 ancient vessels have been discovered by the Institut Européen d'Archéologie Sous‐Marine in the port‐city of Thonis‐Heracleion, Egypt. These were deposited both individually and in groups from the 8th to the 2nd century BC. This paper investigates the contexts of these vessels to suggest that a variety of explanations—shipwrecking, ritual deposition, abandonment, and structural reuse—account for their deposition. It also seeks to place these events within the changing landscape of Thonis‐Heracleion to understand the agency behind many of the decisions about what to do with old ships and boats at the end of their use‐life.     

CUERDA SECA CERAMICS FROM AL‐ANDALUS,ISLAMIC SPAIN AND PORTUGAL (10TH−12TH CENTURIES AD): INVESTIGATION WITH SEM–EDX AND CATHODOLUMINESCENCE*

Since little is known about the cuerda seca technique, our aim has been to complete an initial analysis of 11th‐century cuerda seca by studying fragments from the 10th century (Pechina, Almería) and the 12th century (Mértola and Almería), so as to establish the diachronic evolution of this technique. Characteristics specific to cuerda seca ceramic glazes were investigated using scanning electron microscopy (SEM) and quantitative chemical analysis with energy‐dispersive X‐ray spectrometry (EDX). The chemical compositions of the different‐coloured glazes (green, black, yellow and white) have given us valuable indications about the evolution of the technique. The opacification mode and the firing process were also investigated. With the help of cathodoluminescence (CL) and the study of modern ‘cuerda seca’ glazed ceramics, new hypotheses regarding the number of firing stages, taking into account glaze and paste transformations and their interactions, are put forward.     

CHARACTERIZATION OF ARCHAEOLOGICAL AND IN SITU SCOTTISH WINDOW GLASS

Scottish window glass from both archaeological sites and historic buildings was examined using portable X‐ray fluorescence (pXRF) and scanning electron microscopy – energy‐dispersive X‐ray micro‐analysis (SEM–EDX). The elemental composition of the glass provides information regarding the materials used and, subsequently, an approximate range of dates of manufacture. pXRF is shown to be more vulnerable than SEM–EDX to the effects of surface corrosion and matrix effects in archaeological samples. The study showed that the production of window glass in Scotland from the 17th century onwards appears to closely parallel that in England. It also demonstrated the potential of pXRF for in situ studies of window glass in historic buildings. pXRF was used to assess two Scottish buildings; one in state care and one in private ownership. The building in state care, the Abbot's House at Arbroath Abbey, showed a uniform glass type, suggesting that the building was re‐glazed completely at some point during the late 19th or early 20th century. The building in private ownership, Traquair House, had a range of glass types and ages, demonstrating a different maintenance and repair regime. This type of data can be useful in understanding historic buildings in the future, particularly if re‐glazing is being considered.     

A MICRO‐RAMAN AND INTERNAL MICROSTRATIGRAPHIC STUDY OF CERAMIC SHERDS FROM THE KILNS OF THE MEDICI CASTLE AT CAFAGGIOLO*

Nine representative sherds from the old (14th–16th century) kilns at the Castle of Cafaggiolo in Tuscany have been analysed by means of internal microstratigraphic analyses and micro‐Raman spectroscopy and classified as follows: six engobed and glazed fragments, of which three are covered with an opaque white, decorated layer, one is marbleized, and two are engobed. The surface of the two engobed sherds, fragments of unfinished products, indicates that at least two firing processes were used. Two samples show characteristics of Byzantine pottery, and three of them can be classified as Islamic ware or maiolica, whilst the other one displays intermediate characteristics. The variety of ceramic wares indicates the presence of craftsmen with differing expertise, and suggests that part of their work was dedicated to experimentation on new ceramic production techniques.     

Characterization of Materials and Artistic Techniques on Two 17th‐Century Neapolitan Wood Sculptures

Two sculptures of Gaetano Patalano, one of the most important Italian sculptors of the late 17th century, were analysed to study the stratigraphy, the organic and inorganic materials, and to distinguish the original layers from the repaintings. Samples taken from the Immacolata Concezione and from San Gaetano da Thiene (Santa Chiara church, Lecce, Italy) were studied by optical microscopy, μ‐Raman spectroscopy and Py‐GC–MS. Different binders and pigments were used for the preparatory layers on the different parts of the statues: the results demonstrate that Patalano mastered the various materials and techniques, and that his choices have allowed his carving ability to be emphasized.     

French Decorative Ceramics Mass‐Produced During and After the 17th Century: Chemical Analyses of the Glazes

Chemical analyses of a group of Pb silicate–glazed decorative objets d'art showing scenes of the French royal family (Louis XIII and Henri IV), and biblical and classical figures, have been analysed and compared with other similar heritage ceramics and with the rustiques figulines of Bernard Palissy (1510–90) and his followers and imitators. In particular, non‐destructive ion‐beam chemical analyses (PIXE and PIGE) have been performed on 11 ceramic artefacts from the Cleveland Museum of Art (CMA) and a like number from several French museums; results for 13 objects are described in detail in this paper. SEM–EDX has been performed on chips (‘microsamples’) taken from small unobtrusive defective regions on the CMA ceramics. The results of the ion‐beam and SEM–EDX techniques are in good agreement. All the decorative ceramics included uniform non‐opacified glazes. None of these objects can be of 16th century production; all must date from the 17th to the 19th centuries.     

Lead‐Glazed Rustiques Figulines (Rustic Ceramics) of Bernard Palissy (1510–90) and his Followers

The glaze chemistry of a group of rustiques figulines attributed to the renowned French potter Bernard Palissy (1510–90), or to his followers and imitators, has been determined non‐destructively using PIXE and PIGE analyses. The glazes are all lead silicates, the colourants being transition metal oxides—CuO, CoO, MnO and Fe₂O₃—with a small addition of SnO₂ to some of the glazes being common. Some distinction can be made between the various fabricated objects based on details of the overall composition and on the concentrations of the various colourants. The presence of B₂O₃ in any glaze, even in quantities as small as 0.1–0.3%, indicates a post‐16th century production. Additionally, B₂O₃ in larger quantities, a few per cent or greater, very probably indicates an 18th–19th century production. However, at least one object known to be of 19th century production contains no B₂O₃.     

THE ALPS—A BARRIER OR A PASSAGE FOR CERAMIC TRADE?*

The Alps as a barrier : ceramic remnants of the so‐called Laugen‐Melaun culture (c. 11th to c. sixth centuries bc ) can be found in the northern Italy (Trentino/Alto Adige)—eastern Switzerland—Liechtenstein and western Austria region. A petrographic study of 454 sherds from this area covering a time span of 500 years reveals the following. (1) The pottery from the Trentino/Alto Adige contains a predominantly volcanic temper, which can be linked to the volcanic rocks of the Bolzano area—in other words, to the core region of this culture. This material is therefore of a local/regional production. (2) These ceramics were imported from the Bolzano region to southeastern Switzerland (the Inn Valley) and the amount of imported pottery decreases markedly from the 11th century bc (approximately 70% imported) to the seventh to sixth centuries bc (approximately 10% imported). (3) No imported pottery can be detected north of the Alpine crest in Switzerland, Liechtenstein and Austria, and in this region serpentinite temper was preferred by ancient potters. These results demonstrate that long‐lasting contacts and ceramic trade existed between the populations of the Inn Valley and the Trentino/Alto Adige. Such contacts could have been motivated by intermarriages between the two populations and/or economic exchange. The potters north of the Alpine ridge adopted the Laugen‐Melaun style and produced such pottery locally. The use of serpentinite temper is puzzling and not related to any technological advantage. (Could it be recycled material? Or does it have any sociocultural specificity?) The Alps as a passage : 59 fragments of a black gloss ware, the so‐called Campana, unearthed at 11 Late Latene sites (second to first centuries bc ) in Switzerland and neighbouring Germany were analysed chemically by X‐ray fluorescence. The results revealed: (1) that all of them were produced either in Italy or Lyon and then exported to the north; (2) that two principal south–north exchange routes existed, (a) fluviatile, along the Rhône–Rhine corridor and (b) trans‐Alpine, using the Alpine passes, such as the Simplon and the Grand St Bernard.     

Vietnamese (15th Century) Blue‐And‐White,Tam Thai and Lustre Porcelains/Stonewares: Glaze Composition and Decoration Techniques*

EDS, X‐ray fluorescence, Raman spectroscopy, thermal expansion–shrinkage measurement and scanning electron microscopy were applied to determine the elemental components, structural phases and glazing temperatures of the transparent glazes, blue underglaze and overglaze tam thai (including gold‐like lustre) decorations from the 15th‐century Vietnamese porcelains/stonewares found at the Chu Ðâu–My Xa kiln site and in the Cù Lao Chàm (Hôi An) cargo. The ancient technology for colouring the glazes is discussed. The various blue tones in the underglazed décor result from cobalt‐containing manganese ore, with the intentional addition of iron oxide. The overglaze copper‐green and the gold‐like lustre were obtained by dispersing copper in lead‐based glass. The red colour was made using hematite dispersed in lead‐rich flux.     

“SEEING” THE PAST: TEXT AND QUESTIONS OF HISTORY IN THE RĀJATARAṄGIṆĪ

Traditional scholarly opinion has regarded Kalha?a's Rājatara?gi?ī, the twelfth‐century Sanskrit chronicle of Kashmiri kings, as a work of history. This essay proposes a reinvestigation of the nature of the iconic text from outside the shadow of that label. It first closely critiques the positivist “history hypothesis,” exposing its internal contradictions over questions of chronology, causality, and objectivity as attributed to the text. It then argues that more than an empiricist historical account that modern historians like to believe it is—in the process bracketing out integral rhetorical, mythic, and didactic parts of the text—the Rājatara?gi?ī should be viewed in totality for the kāvya (epic poem) that it is, which is to say, as representing a specific language practice that sought to produce meaning and articulated the poet's vision of the land and its lineages. The essay thus urges momentarily reclaiming the text from the hegemonic but troubled understanding of it as history—only to restore it ultimately to a more cohesive notion of historicality that is consistent with its contents. Toward this end, it highlights the concrete claim to epistemic authority that is asserted both by the genre of Sanskrit kāvya generally and by the Rājatara?gi?ī in particular, and their conception of the poetic “production” of the past that bears a striking resonance with constructivist historiography. It then traces the intensely intertextual and value‐laden nature of the epistemology that frames the Rājatara?gi?ī into a narrative discourse on power and ethical governance. It is in its narrativity and discursivity—its meaningful representation of what constitutes “true” knowledge of time and human action—that the salience of the Rājatara?gi?ī may lie.     

Once upon a time,Zoroaster

Martin Haug's Essays on the sacred language, writings and religion of the Parsis (Bombay, 1862) seems to be the monument that founds modern Zoroastrian studies, both because it is grounded in the discovery and the study of the Gathas and because it proposes an evolutionist view of the history of Zoroastrianism. If Haug's philological work is the consequence of his belonging to the German school of indo‐iranian and indo‐european studies (Benfey), his methodology was deeply influenced by Ewald, a well‐known historian of the Hebrews, while he retained the Hegelian notions of the acme and of internal evolution drawn from his contacts with the Tübingen school of historical theology.

Actually, this modern conceptual apparatus did not lead Haug to break with the conclusions of the 17th and 18th century scholars. Since he was faced with the demands of the Parsis, eager to disprove the accusations of dualism and polytheism, Haug continued to make use of the conceptions of Hyde (1700), Beausobre (1734) and Anquetil (1769): Zoroaster is the great prophet of ancient Iran, he is an author — and the Gathas are his work —, he preached a monotheism, while his dualism is philosophical in nature and the post‐zoroastrian polytheism is the product of decadence.

It is this mixture of the ancient and the modem, structured within the dialectic model of evolution that satisfied all at once both the Parsi Reformists and the tradition of Western Zoroastrian studies and that has inspired the most recent research (Gnoli, 1980).     

INVESTIGATING MATERIAL DECAY OF HISTORIC BUILDINGS USING VISUAL ANALYTICS WITH MULTI‐TEMPORAL INFRARED THERMOGRAPHIC DATA

This paper shows how visual analytics methodology can be used to facilitate interpretation of multi‐temporal thermographic imagery for the purpose of restoration of cultural heritage. We explore thermographic data in a visual environment from the unifying spatio‐temporal perspective in an attempt to identify spatial and spatio‐temporal patterns that could provide information about the structure and the level of decay of the material, and the presence of other physical phenomena in the wall. The approach is tested on a thermographic dataset captured on the façade of a Romanesque building from the 13th century—the Cathedral in Matera (Italy).     

ANALYTICAL CHARACTERIZATION OF ROMAN PLASTERS OF THE ‘DOMUS FARINI’ IN MODENA*

The paper refers to the analytical characterization of Roman painted plasters dating back to the second century ad . The following techniques were used: optical microscopy (OM), scanning electron microscopy (SEM–EDS), micro‐Raman and Fourier transform infrared spectroscopies (µ‐Raman and FT–IR), X‐ray diffraction (XRPD), colorimetry and thermal analyses (TG/DTA). The investigation analysed the chemical composition and structure of the plasters, the chemical composition of the pigment layers, the use of binders and any chemical alteration of pigments as well as deterioration of the samples. Stratigraphic analysis of plasters allowed identification of their individual components, which proved helpful in finding out more about the mural painting technique employed.     

THE TRADING OF ANCIENT GLASS BEADS: NEW ANALYTICAL DATA FROM SOUTH ASIAN AND EAST AFRICAN SODA–ALUMINA GLASS BEADS*

The occurrence of similar glass beads at archaeological sites in Africa and Asia bears witness to the trade relationship between the two continents. This paper reports elemental analysis results from a recent in‐depth laser ablation – inductively coupled plasma – mass spectrometry (LA–ICP–MS) study of a group of archaeological glass beads with a specific alumina‐rich composition from East Africa, India and Sri Lanka. Based on the concentrations of the trace elements, two different subgroups were identified. One subgroup occurs at early periods (fourth century bce to fifth century ace ) in South India and Sri Lanka. The second subgroup appears at later dates in Africa and was identified at different Kenyan sites dated from the ninth to the 19th century ace , and at the contemporaneous site of Chaul in western India.     

A STUDY ON LATE MEDIEVAL TRANSPARENT‐GLAZED POTTERY AND ARCHAIC MAJOLICA FROM ORVIETO (CENTRAL ITALY)*

Nineteen samples of medieval transparent‐glazed pottery and archaic majolica from Orvieto (central Italy) were studied. They were classified by archaeological criterion as follows: five transparent‐glazed fragments with green and brown decorations (first half of the 13th century), eight green transparent‐glazed fragments (13th century) and six tin‐glazed fragments with green and brown decorations (second half of the 13th century). SEM–EDX, XRD (the Rietveld method) and XRF were used to characterize the chemical and mineralogical compositions both of the bodies and the coatings. In all of the samples, the paste is Ca‐rich with CaO contents as high as 13–20 wt%. The mineralogical composition is compatible with a firing temperature of about 950°C, which is the typical temperature reached in a wood kiln. No difference was observed between the bodies of transparent‐ and tin‐glazed pottery. In the case of transparent glazes, the burial conditions lead to heavy weathering of the samples. However, on the basis of the analyses carried out in non‐weathered areas, the typical composition is PbO 55–65 wt%, SiO₂31–35 wt%. In tin glazes, the tin is scattered on the mass of the glaze as SnO₂crystals with a concentration of 7–14 wt%. Concerning the decorations, it is established that the green colour is due to the presence of copper, while manganese is responsible for the brown colour. These pigments, which represent the typical colours of ‘archaic majolica’, are spread through the glaze homogeneously, apart from one case in which there is clear evidence of manganese oxide crystals.     

The Mortella II & III Wrecks: premiminary observations on two 16th‐century archaeological sites discovered in Saint‐Florent Bay,Corsica, France

In 2005 and 2006 the remains of great armed vessels dated from the 16th century were discovered within an archaeological survey framework led by the Société d'Etudes en Archéologie Subaquatique (SEAS) in Saint‐Florent Bay (north Corsica, France). The preliminary study of the two archaeological sites located, named Mortella II and Mortella III, sheds light on these highly interesting shipwrecks and the contribution their excavation—programmed for 2010—will be able to provide to the maritime archaeology of this period, about which relatively little is known. © 2010 The Author     

ROMAN WINDOW GLASS: A COMPARISON OF FINDINGS FROM THREE DIFFERENT ITALIAN SITES

Thirty‐three samples of window glass and five glass lumps coming from three Italian archaeological sites—the Suasa excavations (Ancona, settled from the third century bc to the fifth to sixth centuries ad ), the Roman town of Mevaniola (Forlì‐Cesena, settled from the Imperial Age up to the fourth century ad ) and Theodoric's Villa of Galeata (Forlì‐Cesena, settled from the sixth century ad onwards)—were analysed to track the changes in the chemical composition and manufacturing technology of window glass through the centuries. The aims of this study were: (1) to establish the origin of the raw materials; (2) to verify the chemical homogeneity among samples coming from different sites and/or produced using different techniques; and (3) to sort the samples into the compositional groups of ancient glass. The analysis of all the chemical variables allowed two groups to be distinguished: (a) finds from Mevaniola and Suasa; and (b) finds from Galeata. All the samples had a silica–soda–lime composition, but the analysis of minor elements—in particular, of Fe, Mn, and Ti—made it possible to split the samples into two groups, with the higher levels of these elements always found in the Galeata samples (HIMT glass). In conclusion, it can be asserted that the main differences between the samples are related to their chronology.     

DISCOVERY,PRODUCTION AND USE OF TIN‐BASED OPACIFIERS IN GLASSES,ENAMELS AND GLAZES FROM THE LATE IRON AGE ONWARDS: A REASSESSMENT*

Tin‐based opacifiers (lead stannate yellow and tin oxide white) were first used in glass production for a short period in Europe from the second to the first centuries bc , and then again throughout the Roman and Byzantine Empires from the fourth century ad onwards. Tin oxide was also used in the production of Islamic opaque glazes from the ninth century ad , and subsequently in enamels applied to Islamic and Venetian glasses from the 12th century ad onwards. A selection of published analytical data for the tin‐opacified glasses, enamels and glazes is summarized, and the methods used in their production are reassessed. The phase transformations occurring when mixtures of lead oxide, tin oxide and silica are fired are investigated with high temperature X‐ray diffraction (XRD) using a synchrotron radiation source, and these results are used to explain the observed differences in the glass, enamel and glaze compositions. Possible reasons for the use of tin‐based opacifiers in the second to first centuries bc , and for the switch from antimony‐ to tin‐based opacifiers in the fourth century ad are suggested, and the possible contexts in which tin‐based opacifiers might have been discovered are considered. The introduction of tin‐opacified glazes by Islamic potters in the ninth century ad is discussed in terms of technological transfer or independent invention.