PANTELLERIAN WARE: A COMPREHENSIVE ARCHAEOMETRIC REVIEW*

Pantellerian ware is a Late Roman cooking ware whose production centre was established on the island of Pantelleria by the pioneering research of Fulford and Peacock almost 20 years ago ( Peacock 1982 ; Fulford and Peacock 1984 ). Archaeological and archaeometric studies carried out by the authors of the present contribution during the past four years have aimed to fully characterize this ceramic class. Recurrent ceramic forms, their distribution over time and space, their petrographic characteristics and their chemical identity, as well as possible raw materials and their technological properties, were considered. The present paper is a comprehensive review of this archaeometric work and aims to establish a ‘reference group’. Using a representative number of samples of Pantellerian ware that were recently discovered in the island through archaeological field surveys or surface and submarine excavations, it was possible to characterize in detail the compositional variability of this ware in terms of chemistry and petrography. Furthermore, the physical properties of this ceramic type have been defined in order to better understand its performance characteristics, mainly in response to induced thermal stress. In the meantime, the experimental mixing and tempering of locally sampled raw materials have shed light on the ancient manufacturing process and have led to an approximation of the original paste.     

CHARACTERIZATION OF THE AMPHORAE,STONE BALLAST AND STOWAGE MATERIALS OF THE SHIPS FROM THE ARCHAEOLOGICAL SITE OF PISA–SAN ROSSORE,ITALY: INFERENCES ON THEIR PROVENANCE AND POSSIBLE TRADING ROUTES*

In December 1998, during excavation for the construction of a new building near San Rossore railway station in Pisa, the remains of ancient ships were discovered. These findings have been dated (radiocarbon) to between the end of the 10th century bc and the fifth century ad ( Belluomini et al. 2002 ). Several transport amphorae belonging to the Hellenistic ship, samples of rocks (stone ballast) belonging to ships B, D and the Hellenistic ship, and stowage materials belonging only to ship B have been analysed. The mineralogical and petrographic data of the investigated samples provided information on the possible provenance of the raw materials utilized in the manufacture of the ceramic amphorae, as well as on the provenance of the rock materials found in the ships as ballast and stowage. The compositional data (obtained through XRD, XRF, OM and EPMA) and their statistical analyses suggest that the provenance of the Dressel amphorae belonging to the Hellenistic ship was the Middle Tyrrhenian coast of Italy, and more precisely the area between Tarquinia and Naples, according to the numerous kilns and wine production sites found in this area. The provenance of the volcanic rocks was from southern Tuscany, northern Latium and possibly the Pontine Islands, whereas the intrusive rock possibly comes from the Calabrian–Tyrrhenian coast and/or the Peloritani area. The impure limestones and the dolostone come from southern Tuscany and the Latium coast; the semi‐metamorphic rocks could come from the coast of southern Tuscany, the Tuscan Archipelago or possibly also from the Ligurian coast; only the sample of mylonitized granitoid possibly comes from either the Calabria–Peloritani arc or the Tuscan Archipelago. The stowage materials, consisting of lapilli and scoria of a pyroclastic nature, are sourced from the Neapolitan area. These data might shed some light on the centres of production of the amphorae and of the trading routes followed by the ships, according to the ports of call.     

Does the Standardization of Ceramic Pastes Really Mean Specialization?

In the literature dealing with the development of ceramic specialization, paste uniformity has been suggested as a surrogate index of product standardization and the result of a more intensive level of specialization. More recently, the amount of paste variability has been seen as an indicator of different types of production organization. Ethnoarchaeological data from Mexico, Peru, and Guatemala suggest that a variety of environmental, technological, and social factors influence paste variability. These factors are important in all production contexts and complicate inferences drawn about production organization in antiquity. As a consequence, social and economic inferences derived from ancient ceramic pastes need to be understood in relation to numerous other factors such as natural variability of the ceramic raw materials, their procurement, and their use in paste preparation. Furthermore, changes in resource use and paste preparation over time can obscure intracommunity and other fine-scale patterns. As a consequence, it is argued that little, if anything, can be learned about the organization of production below the level of the local production community. Rather, the primary usefulness of paste compositional analyses lies in the identification, in geographic and geological spaces (community signature units), of source communities that exploit raw materials within a limited range of probably no more than 3 to 4 km. Paste analyses thus provide important information about the organization of ceramic distribution, revealing the emergence and demise of source communities and the movement of their ceramic products.     

LUSTRE COLOUR AND SHINE FROM THE OLLERIES XIQUES WORKSHOP IN PATERNA (SPAIN), 13TH CENTURY AD: NANOSTRUCTURE,CHEMICAL COMPOSITION AND ANNEALING CONDITIONS*

Lustre is a medieval ceramic decoration, corresponding to a nanostructured thin layer formed by metallic copper and silver nanocrystals embedded in a glass matrix, which required deep knowledge on the part of the artisans with regard to the raw materials used and the kiln conditions. Their empirical knowledge led to the achievement of colourful lustre decorations ranging from reddish to yellowish or even greenish, some of them with a metallic shine with an associated purplish iridescence. Lustre ceramics dating from the 13th century from the Olleries Xiques workshop in Paterna (Spain) have been studied, linking their chemical composition and nanostructure with their colours and shine. Two kinds of nanostructures are found, yellowish lustre decoration constituted by a silver metal–glass nanocomposite, and reddish lustre decoration constituted by metallic copper nanocrystals and copper oxide nanocrystals; in some cases, metallic copper nanocrystals covered with an oxidized shell of CuO and partly Cu₂O have been found. However, even with significant amounts of copper oxide, the lustre still exhibits a copper metal‐like shine. The bluish iridescence observed at a specular angle in the lustre could not be explained completely by means of the chemical composition, and metallic silver nanoparticle light scattering is proposed as a possible explanation.     

THE EMIGRATION OF PREALPINE LAKE MASTERS: A STUDY OF A 17TH‐CENTURY MANTELPIECE ATTRIBUTED TO THE CARLONE FAMILY OF ROVIO (TICINO,SWITZERLAND)*

This work illustrates the possible connections between the phenomenon of the seasonal emigration of lake masters and the production of artistic artefacts. Within the ambit of these dynamics, a stucco mantelpiece was taken into consideration. Nothing was known about the object: neither its origin, nor the artist who produced it, nor the period of execution. Historical, stylistic and formal analyses of the materials and of the technique with which the work was executed allow us to verify that the mantelpiece was produced using the stucco technique in the 17th century, in Rovio (southern Switzerland, Ticino), and that it comes from one of the exponents of the Carlone workshop, whose representatives were important in the tradition of itinerant artistic workers. Due to their good technical and professional specialization, the Carlone workshop served both public and private buyers. Tommaso Carlone is the principal representative artist of the Carlone workshop; it is certain that his workshop produced the stucco mantelpiece. The migrations of the artists were seasonal and they maintained a close bond with their country of origin. When they returned to the country of origin, they produced works of great artistic value, of which the mantelpiece represents a splendid example. Through the employment of conventional analytical techniques (optical and electron microscopy, infrared spectroscopy and porosity measurements), it has been possible to study the technique with which the work was executed, the materials used and the decay. The mantelpiece was produced using the stucco technique by means of a body layer (slaked lime and silicate and carbonate aggregates) and a marmorino finishing layer (slaked lime and pointed calcite crystals). Above this layer, whose thickness varies in relation to the executed result, there is a thin lime plaster whitewash, pigmented with the dispersion of yellow ochre particles; chromatic alterations are an oxalate patina caused by firm adhesion to the marmorino layer, due to the denaturation of the proteic substances employed. The final treatment was made with beeswax, which increased the marmoreal effect. Several additional layers of lime plaster whitewash have also been applied over the centuries. The figurative central square of the plastic decoration was made using red ochre.     

Building materials from Thamusida (Rabat,Morocco): a diachronic local production from the Roman to the Islamic period

A total of 67 bricks and tiles found in different archaeological contexts during excavations at Thamusida have been investigated here. The first analysed set consists of 27 bricks found in the area of an Islamic ceramic workshop, which was active at Thamusida from the 8th century onwards. The second set of 40 bricks and tiles was found mostly in situ. They date to the Roman occupation of the site (1st-3rd century AD). Thirteen of them bear different types of stamps. In addition, two types of clay (7 samples) from the surrounding area were analysed as reference for the materials used in the local ceramic production. The samples were investigated by optical microscopy, scanning electron microscopy, X-ray diffraction and X-ray fluorescence. The results allowed reconstructing two local productions of building materials: one during Roman and one during Islamic times, both using local grey tirs (without any manipulation or temper additions) as raw materials. Imports were further identified, tracing both short- and medium-range trade connections. Banasa could be addressed as a likely production site of bricks stamped QAP and APP, while the bay of Tangiers should be indicated as a likely provenance of bricks stamped C∞ and HADRIAVG.     

UNOFFICIAL COINAGE IN THE THIRD CENTURY ad IN THE GALLO‐ROMAN WORLD: CHEMICAL AND PHYSICAL ANALYSES FOR DETERMINING THE LOCALIZATION OF THE WORKSHOP*

The third century ad was a complex period of crisis in the Roman world. In this paper, official and unofficial antoniniani, and double sestercii and sestercii, were analysed by fast neutron activation analysis (FNAA) to determine the alloys used by the craftsmen for producing forgeries. Moreover, at Châteaubleau, archaeologists discovered antoniniani and bronze forgeries from Postumus. Similar materials have been found in other hoards. They are believed to have been produced by a workshop called ‘atelier II’ by numismatists. The question was whether it is possible to differentiate the Châteaubleau production from the atelier II production.     

PHYSICOCHEMICAL COMPOSITIONAL ANALYSIS OF CERAMICS: A CASE STUDY IN KENTING,TAIWAN*

The composition of ceramics does not just reflect the component of some specific, unprocessed, geological, raw material source, but also certain forms of human behaviour involved in its manufacture. The purpose of this research project is to apply the acid‐extraction chemical method, complemented by a thin‐section petrographic study, to the compositional analyses of certain local ceramic collections (mainly from several sites in the southern Taiwan area). The results present the raw materials that the ceramic manufacturers of the two cultural traditions (O‐laun‐pi Phase II and Phase III–IV), which overlapped temporally, used. These materials came from the same sources, but the ceramics were manufactured in different ways. Particularly, the people of O‐laun‐pi Phase III–IV also procured certain materials from either local sources or from somewhere in eastern Taiwan to make their pots. The results also indicate that there might have been a variation in terms of their manufacture among sites of the same cultural tradition.     

TECHNOLOGY AND COLOUR DEVELOPMENT OF HISPANO-MORESQUE LEAD-GLAZED POTTERY

Lead-glazed pottery from the medieval workshop of Les Olleries Majors (Paterna, Spain) has been studied by Mössbauer spectroscopy, X-ray diffraction, X-ray fluorescence and optical spectroscopy. Yellow, brown and honey-coloured glazes occur on pots glazed on only one surface. They have virtually identical compositions and transmittance spectra, their apparent differences in colour are due to the colours of the underlying pastes. Yellow glazes occur on cream-coloured calcareous bodies, honey-coloured glazes occur on less calcareous bodies with some development of hematite, while brown glazes occur on red siliceous cooking-pots. Green glazes are found on pots glazed on both surfaces; the glazes trapped CO₂ evolved by decomposing carbonates, resulting in an internal reducing environment. This caused the reduction of iron to the ferrous state which coloured the glaze green by diffusion.     

INCISED SLIPWARE PRODUCTION AT CASTELFIORENTINO (FLORENCE): THE ‘VIA BERTINI’ SITE (15TH–17TH CENTURIES)*

This study deals with the physical–chemical and mineralogical–petrographic investigations (OM, SEM–EDS, EPMA, ICP, XRpD, Mössbauer and IR) conducted on first‐ and second‐firing wasters belonging to two types of incised slipware (sgraffito), manufactured at Castelfiorentino between the late 15th and the early 17th centuries. Raw materials, colouring agents and firing products were analysed in order to establish the production technology of the ceramic coatings, by means of detailed microtextural and chemical investigations. The pottery underwent two firing processes: the firing of the white slip‐coated ceramic body and a further firing after application of the glaze. The homogeneity of the raw materials, white slip and glaze is remarkable, and demonstrates the use of well‐established recipes with a constant supply of raw materials from the same places. Highly efficient kiln management during both firings is revealed by body–glaze interface reactions.     

Ceramic Ethnoarchaeometry in Western Sardinia: Production of Cooking Ware at Pabillonis

Ceramic ethnoarchaeology has been used to explore fully the chaîne opératoire and to understand all of the stages and factors involved in pottery production, such as raw material selection or paste recipes used by the potters. This work presents the results of the application of compositional analysis undertaken in the village of Pabillonis (western Sardinia, Italy), the main cooking ware production centre of the island. Pottery and local clays have been characterized using a combination of analytical techniques. By integrating the ethnographic information and the archaeometric approach, it was possible to reconstruct the operational sequence, exploring the relationship between the processing of raw materials and the functionality of the final products, and the intra‐production compositional variability.     

Archaeometric characterisation of coarse and painted fine ware from <Emphasis Type="Italic">Posta Crusta</Emphasis> (Foggia,Italy): technology and provenance

Coarse and painted fine wares from the Late Antique residential complex of Posta Crusta (Lucera, Foggia, Italy) have been here investigated. The ceramic characterisation was our main concern; even so, the provenance and the production technology have been further investigated, focusing on both ceramic bodies and coatings. Optical microscopy, scanning electron microscopy and a set of bulk chemical analyses (inductively coupled plasma optical emission spectrometry, inductively coupled plasma mass spectrometry, instrumental neutron activation and X-ray fluorescence) were used for the characterisation of 44 samples. Chemical and mineralogical data here obtained were compared with results previously achieved on San Giusto local production, in order to distinguish production areas and identify possible exchanges. As for coarse wares, the characterisation of Posta Crusta pottery shed new light for the reconstruction of the production/distribution framework of this part of northern Apulia. The following trends can be identified: (1) pots from Posta Crusta and San Giusto settlement that can be referred to a single production site, likely located in the nearby territory of one of this two sites; (2) pots from San Giusto kiln exported to Posta Crusta; (3) pots of unknown origin but compatible with the northern Apulian area. Furthermore, it was possible to verify that all Posta Crusta ceramics used the alluvial deposits widely outcropping in northern Apulia as received. As for painted fine wares, Posta Crusta samples enucleated a distinct and homogenous group, including six samples from San Giusto. This result is highly encouraging as it provides the clear evidence of a production group, although it is not possible to refer it to a precise locality. The marine deposits outcropping in northern Apulia can have been surely exploited for raw materials supply. Coatings texture seems to suggest two different ways of application: immersion and painting.     

ROMAN GLASS‐MAKING AT COPPERGATE,YORK? ANALYTICAL EVIDENCE FOR THE NATURE OF PRODUCTION*

Ceramic vessels and associated vitreous debris, excavated at Coppergate, York, UK, have been interpreted as the remains of Roman glass‐making from the raw materials. This paper reports the results of analysis of this assemblage by XRF, ICPS, XRD, SEM– EDAX and thin‐section petrography. These findings suggest that some ceramic vessels, used as crucibles, have been subjected to temperatures up to 1200°C, well above the firing temperatures of the local domestic assemblage from which they were selected. Analysis of quartz‐rich debris, intimately mixed with glass in some samples and in others interleaved with glassy phases, indicates partially reacted glass‐making raw materials, with α‐quartz, tridymite and cristoballite phases represented. This could represent evidence either of a failed attempt to frit the raw materials, or a batch that had not fully fused. Variability in the composition of glass at the site is viewed in the light of glass‐making technology, and possible interpretations concerning this episode are discussed in the light of the archaeological evidence.     

Lustre Recipes from A Medieval Workshop in Paterna

The discovery of the workshop ‘Les Olleries Xiques’ in Paterna has provided a unique opportunity to analyse the raw materials, and in particular the recipes used in the production of the lustre decorations. Chemical and phase analyses of lustre raw materials and of lustre decorations belonging to the workshop pottery are shown. A comparison with existing ancient documentation on lustre recipes is also presented.     

A STUDY OF CHINESE PORCELAIN RAW MATERIALS FOR DING,XING, GONGXIAN AND DEHUA WARES*

The raw material used largely determines the type and quality of porcelain produced. Twenty-three raw materials used for making Ding, Xing, Gongxian and Dehua porcelain bodies were studied using principal component analysis. Results show that for Dehua wares, only one raw material was used. For Ding wares, although there were many possible raw materials, the use of one alone is unlikely. Lingshan clay was the main raw material but it has to be mixed with other raw materials: Pinjiawa clay, quartz, feldspar and dolomite. The Xing pieces can be divided into three groups and Gongxian wares into two groups, which are discussed in detail.     

CHARACTERIZATION OF TAKATORI STONEWARE FROM CHIKUZEN PROVINCE,JAPAN*

This study reports the findings of an examination of stonewares from the Takatori kilns of seventeenth- to nineteenth-century Chikuzen Province, Kyushu, Japan. Scanning electron microscopy and inductively coupled plasma atomic emission spectroscopy were used to determine the mineralogy and chemical compositions of the ceramic bodies. The results of this broad characterization are used to comment on the relationships between these wares and the raw materials used. Despite close similarities in some cases, it is possible to distinguish the wares of many of these kilns from each other and from outwardly similar wares from contemporary kilns in adjacent provinces.     

The Faragola Ceramic Collection: Ceramic Production,Consumption and Exchange in Seventh‐Century Apulia

A collection of 30 ceramic samples, 16 of coarse wares and 14 of fine painted wares, have been investigated by optical microscopy, scanning electron microscopy, inductively coupled plasma optical emission spectrometry, inductively coupled plasma mass spectrometry and neutron activation analysis. Further samples of clayey sediments, both locally outcropping and found within the settling tank, have been submitted to the same analytical techniques for comparison with the ceramic collection. The results demonstrated that local clayey sediments were used as received for the production of coarse wares. The same raw materials were sieved and/or refined by decantation for the production of fine painted wares, which, in fact, provided results that were perfectly comparable with those for the clayey raw materials found within the settling tank. The Faragola productions were distinguished from the neighbouring Apulian productions according to petrographic features (the presence of leucite‐bearing volcanic rocks and Mn‐rich wads) and their bulk chemical composition.     

Adhesive Production and Pottery Function During the Iron Age at the Site of Grand Aunay (Sarthe,France)*

A combination of elemental, functional and molecular analyses performed on amorphous organic residues dating from the Iron Age was developed in order to identify these remains and to understand their relationship with ceramic vessels in which some of them were found. These analyses made it possible to distinguish between ceramic vessels used for the production or storage of adhesive materials, mainly birch bark tar, and those dedicated to the preparation of culinary commodities, which contained animal fats. The organization of the production of adhesives is described and the addition of beeswax to birch bark tar is reported for the first time. The use of birch bark tar for coating ceramic vessels is also discussed.     

NORTH APULIAN COARSE WARES AND FINE PAINTED WARES: A REAPPRAISAL ACCORDING TO NEW DATA FROM HERDONIA AND CANUSIUM

Late Antique coarse cooking wares and painted fine wares found at Herdonia (second half of the fourth century to mid‐fifth century ad ) and Canusium (late sixth century to early seventh century ad ) have been chemically and mineralogically characterized. A total of 74 samples (40 of coarse ware and 34 of fine painted ware) was investigated through optical microscopy, scanning electron microscopy, X‐ray powder diffraction, inductively coupled plasma optical emission spectrometry, inductively coupled plasma mass spectrometry, neutron activation analysis and X‐ray fluorescence. A new statistical method, namely the classification tree methodology, was used for the treatment of geochemical data. The characterization of the Herdonia and Canusium assemblages was combined with a review of earlier results obtained for San Giusto and Posta Crusta, in order to get an insight on Late Antique ceramic trades in northern Apulia. It appears possible to reconstruct a production pattern organized at multiple production sites, both rural and urban, that exploited similar raw material deposits, specialized in certain productions, and commercialized products at different geographical scales. Imports from outside northern Apulia may be identified for coarse wares. A likely area of production is difficult to establish; however, the northern Adriatic coast and the area of Greece may be suggested.     

Embroidery as a Means of Diplomacy: The Artisans’ Part in a Royal Marriage Proposal, 1560–1561

The use of fashionable dress played an important part in early modern dynastic politics. In this paper, the diplomatic efforts to engineer a marriage between Erik XIV of Sweden and Elizabeth I of England are used as an example of the interrelations of textiles and diplomacy. Parallel to their negotiations in London, the Swedes organised the production of luxury goods and set up temporary workshops on the spot. The study looks at the Swedish embroidery workshop in London, using written records to investigate its organisation and production, and to discuss artisanal skills and the transnational element in employment in a royal workshop. It is suggested that the entire enterprise was a diplomatic practice, designed to enable the Swedes to draw attention to their presence in London and make their consumption visible on all possible levels.