Medieval Tin-Glazed Painted Tiles in North-West Europe

ALL OF THE KNOWN medieval tin-glazed tiles from NW. Europe beyond the Mediterranean littoral are discussed. They appear first c. 1290 in the Toulouse region and 14th-century examples are known from scattered sites in southern France, from the lower Loire valley and SE. Brittany, and from Flanders and Holland, with related material in Hamburg and East Anglia. The tiles are generally painted in green and brown and were locally produced. There is extensive documentation for the manufacture of such tiles for the Duke of Burgundy's chateau at Hesdin in French Flanders in the 1390s, and documentary evidence also records two Spanish tilers working for the Duke of Burgundy and the Duke of Berry at Dijon and Poitiers in the 1380s. Extant fragments from these sites and from Bourges and Mehun-sur-Yièvre include for the first time some with designs painted in blue. There is as yet no evidence for the continuing production of tin-glazed tiles in any of these areas during the 15th century or for locally-produced tin-glazed pottery before the late 15th or 16th century.     

A SCIENTIFIC STUDY OF N. MIDLANDS MEDIEVAL TILE PRODUCTION

Summary. This paper describes a study of neutron activation analyses of some medieval tiles from the North Midlands. Having established the feasibility of the method of analysis, we applied a number of multivariate statistical techniques to derive eleven reference groups, each consisting of tiles with similar compositions which could plausibly have originated from the same source of clay. While known kiln sites could be readily distinguished, less confidence could be placed on the results where it was suspected that several sources had been mixed. Design information on the tiles when combined with the analytical results has led to the conclusion that stamps may have been passed from one tilery to another, though in some cases the tiles themselves were moved. The reference groups have proved to be useful in our continuing research on the composition of tiles from this area.     

北京故宫和辽宁黄瓦窑清代建筑琉璃构件 的比较研究

为了更好地揭示清代不同地区建筑琉璃构件的原料、烧制工艺及其性能关系,本工作以北京故宫和辽宁黄瓦窑清代建筑琉璃构件为研究对象,利用WDXRF、EDXRF测定琉璃构件胎、釉的化学组成,利用热膨胀仪和理论计算方法测试计算胎、釉的热膨胀系数。在此基础上,研究了两地清代建筑琉璃构件胎釉的化学组成规律和胎釉热膨胀系数的匹配性关系。结果表明:两地琉璃构件釉料的化学组成基本一致,而琉璃构件胎体原料不同,北京故宫清代琉璃构件胎体化学组成属于硅-铝体系,辽宁黄瓦窑的琉璃构件则属于硅-铝-镁体系,因此两地胎釉热膨胀系数的匹配关系也不同。     

STUDIES OF CERAMIC TILES ATTRIBUTED TO GABRIEL DEL BARCO

This study reports the mineralogical and chemical characterization of the ceramic body of tiles created by Gabriel del Barco, an important tile painter in Lisbon from the 17th century. Six tile panels were studied: four are signed and two are attributed to the painter. The results obtained from the signed panels revealed that the samples have almost the same characteristics, with a magnesium‐rich phase, meaning that the artist, or the pottery where the tiles were made, kept to the same manufacturing procedure over some time. In contrast to this, the results of samples from the masterpiece Vista de Lisboa showed some heterogeneity, as two patterns were observed. However, one of these patterns matches with the one observed in the signed tile panels. Although a more detailed study still needs to be done, these findings, together with historical sources linked to painting characteristics, suggest that Gabriel del Barco was also the author of the non‐signed tiles.     

Heating the house. An archaeological and archaeometrical investigation into the tile-stoves of late-medieval Flanders,Belgium (14–17th centuries)

SUMMARY: Tile stoves arise in the Low Countries from the 14th century onwards. Although they have been well documented in northern and central Europe, they have remained an almost forgotten aspect of the material culture of the historic county of Flanders (Belgium). In recent years the amount of stove tiles found in archaeological excavations has increased considerably, raising questions concerning their production and origin. Micro X-ray fluorescence spectroscopy was used to determine the elemental composition of these tiles to see if they could be divided into groups and what these groups could tell us about the distribution of workshops, resources and finished products.     

南方地区唐宋元时期滴水研究

长江流域以及广东地区等南方地区的衙署、寺庙、居址、城址、墓上建筑等遗址中出土了一定数量的唐宋元时期滴水,其中以峡江地区及长江下游地区分布较密集。出土滴水整体呈长条弧形和弧边三角形两种形状,大致可分为唐-五代时期和宋-元时期两个阶段。唐-五代时期主要流行长条形滴水,饰几何形图案;宋-元时期沿用长条形滴水的同时,主要流行弧边三角形滴水,纹饰图案较为丰富。对比宋金西夏时期北方地区的滴水,可知其时南北地区滴水呈现出鲜明的地方特色,尤其是纹饰相差较大;元代后趋于一致,历明清沿用至今。     

云纹瓦当在洛阳地区的发展与演变

瓦当,作为一种建筑构件,其外形或当面图案纹饰在不同时期有着明显的变化,是现代考古发掘与研究工作中确定某一城址或建筑基址时代的可靠标志物。本文通过对洛阳地区出土的东周──魏晋云纹瓦当进行收集与整理研究,确定时代并总结出发展演变规律。     

General Meeting,March 10th, 1848

Abstract

The tiled pavement in the nave of Haughmond Abbey, Shropshire, has been partly exposed twice in the last hundred years. Although no decoration appears to survive in situ, a few decorated tiles in the loose collection may derive from this floor. The most significant of these, a roundel fragment, carries the design of a tonsured monk with a crozier. Although this design and the whole mosaic arrangement of the in situ tiles are unique, a comparison can be drawn with the pavement donated by Abbot Nicholas at Halesowen. The arrangement of roundels and frame tiles and the subject matter of the decorated roundels are sufficiently similar to posit a direct connection. There are no close dates for the Haughmond floor, but it is suggested that the Halesowen pavement, dated 1290–98, was the prototype.     

Observations on the Ancient City Walls of Rochester

Abstract

A recent survey of the floor-tiles of Cleeve Abbey has revealed a much larger range of designs and fabric groups than had previously been assumed. The style of the earliest pavements derive from those laid at Clarendon Palace in the first half of the 13th century, and may have been made on site. In the late 13th century tiles of high quality were imported from the Gloucester region to pave the frater. The next group of tiles came from a Somerset tilery operating at the same time or just after the Gloucestershire tilery. By c. 1330 the entire church was paved along with the sacristy and chapterhouse, using tiles made by a local industry. There was no revival of tile-making after the mid-14th century.     

用于古建筑琉璃瓦保护的高分子聚合物材料的分析研究

为探索高分子聚合物用于古建筑琉璃瓦的保护研究,采用所选择的9种有机高分子聚合物对现代黄釉琉璃瓦进行保护处理,分析保护材料的耐光性能及保护后琉璃瓦的憎水性、耐冻融性和化学稳定性等性能,同时选择性能较好的材料用于胎体酥粉古琉璃瓦的保护,分析憎水性、耐冻融性、耐折、抗压强度、透气性以及进行保护机理研究.结果表明,保护材料丙烯酸类材料的Primal SF和1372耐光性能较差;用于现代琉璃瓦保护的Primal SF憎水性和耐冻融性较差;有机硅的耐酸碱性较差;聚氨酯和硅丙乳液的憎水性和耐碱性能较差;氟碳清漆、氟树脂和复配材料的各项性能相对较好;含氟聚合物及其氟树脂为主的复配材料用于胎体酥粉古琉璃瓦保护的憎水性、耐冻融性、耐折、抗压强度和透气性等性能相对较好,保护材料以良好的渗透能力渗入古琉璃胎体内部,有效提高胎体强度,起到填充空隙和防止水分破坏的作用.综合几项指标,含氟聚合物及其复配材料的各种性能优良,为选择中国古建筑琉璃瓦的保护材料提供科学依据.     

误会与想象--透过对“铜雀瓦砚”的认识谈艺术品的塑造

清乾隆朝所修《西清砚谱》卷一中收录的几方"铜雀瓦砚",当时被认定为汉砚,备受重视。本文通过近年来邺城地区考古发现的瓦作遗存,判定这几方瓦砚并非汉砚。铜雀瓦砚在宋代即受到追捧,而实际上,"铜雀瓦砚"并非东汉晚期的铜雀台瓦,是使用东魏北齐时期压磨黑光瓦件所制。在这一结论基础上,作者透过"铜雀瓦砚"的诞生,分析了某些艺术品的塑造,不单纯只是匠人的创作,还夹杂着历史、想象与物质的复杂互动。     

Boole Reviews

Abstract

The roof of the Archaic Temple of Poseidon (early 7th century B.C.) at the Sanctuary of Poseidon on the Corinthian Isthmus in Greece was covered by unusually large terracotta tiles. The construction of a stone temple with a tile roof represented a major advance in building design. The tiles themselves are representative of the growth in technology at that time. Reproduction of the tiles was recently undertaken as a demonstration of the tools, skills, and manpower requirements of the new technology. It is shown here that a relatively small group of men using local materials could make all of the tiles and the kiln(s) to fire them in less than two years. The major innovation was the design of the mold.     

论秦汉文字瓦当的形式艺术

秦汉文字瓦当当面结构形式,主要承继于战国图案及图像瓦当,而变化更富,主要有无界格式、十字四分式、×形四分式等多种。秦汉匠师们,灵活运用文字、纹饰、图像以及当心凸堆、界格、线栏诸因素,大胆创新,巧思迭出,依据均齐与平衡、动与静、统一与变化等形式法则,创造出千姿百态、丰美瑰奇的文字瓦当,并对后世瓦当及形式艺术产生深远的影响。     

The Godwins of Lugwardine,and the Other Hereford Tile Makers

Abstract

Tiles were made in Hereford in Roman and in Medieval times, and the manufacture of plain quarry tiles from plastic clay maintained the tradition and technique of tile-making. During the nineteenth century the Gothic Revival stimulated the production of decorated tiles and Godwins began to make them. The firm is not as well known as some of its competitors such as Maw and Minton, but its tiles were much admired and widely used, and can still be seen in good condition in a surprisingly large number of churches. Standard reference books, give 1861 as the starting date for Godwin tiles, but the writer noticed that they had been used in 1857 in Giles Gilbert Scott's restoration of Hereford cathedral, and is attempting in this paper to give an outline of the rather complicated history of the Godwins and the other Hereford tile makers. The tile industry which began in 1850 has been an important source of employment in the Hereford area until the present day.     

湖南永顺县老司城遗址

1995年以来,对湖南永顺县老司城遗址进行了四次调查与发掘,基本明确了城址各个功能区的分布情况。宫殿区与衙署区位于城址的中心,其周围分布有街道区、土司墓葬区等。出土遗物有建筑材料和青花瓷等。老司城及其周边的建筑大多建于明代。老司城遗址的发掘对于研究土司制度、中央与少数民族关系等具有重要价值。     

Notes and News

SUMMARY: The 17th century saw the kingdom of Sweden become one of the great powers in Europe. This was also a period when Swedish kings strengthened their power and created an efficient, centralized state administration. Coats of arms were used in this context as expressions of authority and power and as signs of loyalty. This article presents stove tiles bearing the royal coat of arms of Sweden from Turku in Finland (then part of the Swedish kingdom), and analyses their dating, on the basis of heraldry and stylistic analysis. The meaning of the stove tiles and their possible makers and owners are explored by using archaeological and written sources.     

黄瓦窑琉璃构件胎釉原料及烧制工艺研究

黄瓦窑位于我国辽宁省鞍山市海城地区,经专家考证它是专门为清代辽宁地区烧制皇家建筑琉璃构件的窑厂。本文利用X射线荧光渡谱法、X射线衍射法、热膨胀分析等方法研究了黄瓦窑琉璃的胎釉原料及烧制工艺情况。研究表明：黄瓦窑烧制的建筑琉璃为低温铅釉、二次烧成,胎体属于我国陶瓷史上比较少见的MgO—Al2O3-SiO2三元体系,胎体的热膨胀系数比釉层高2～3×10—6／℃。     

Hellenistic Production of Terracotta Roof Tiles Among the Ceramic Industries at Gordion

Recent excavation at the ancient city of Gordion in central western Turkey has recovered part of the collapsed terracotta tile roof of a large Hellenistic building built in the third century BC. The roofing system consisted of large rectangular pan tiles and long half-round cover tiles. The evidence from ethnographic and historical accounts of tile production, forming and finishing methods, and chemical composition determined by neutron activation analysis has yielded insights into the organization of this coarse-ware ceramic industry, its use of local resources, and its relationship to the other ceramic industries serving the city and the local economy.     

WHERE DID THE LUSTRE TILES OF THE SIDI OQBA MOSQUE (ad 836–63) IN KAIROUAN COME FROM?*

Metallic lustre decoration of glazed ceramics is a very special kind of ornament, because its colours change with the observational conditions. In diffused light, they can be green, brown or ochre–yellow. In specular reflection, they show an associated coloured metallic shine (blue, golden‐yellow or orange). The lustre tiles at the Sidi Oqba Mosque in Kairouan still have no defined origin (possibly Kairouan and/or Mesopotamia). Physicochemical analyses of eight Kairouan lustre tile samples and four Mesopotamian lustre pottery samples show that the Kairouan tiles probably came from Mesopotamia, from a major production centre, possibly Baghdad, Samarra or Basra.     

The Glaze Technology of Hispano‐Moresque Ceramic Tiles: A Comparison Between Portuguese and Spanish Collections

For the first time, Hispano‐Moresque glazed tiles from Portuguese and Spanish collections were studied together and compared. This work is included in a wider study tackling the technology of Hispano‐Moresque tile production from several collections in the Iberian Peninsula. While showing many similarities, differences were identified between collections, regarding both chemical and morphological characteristics. The collection from the Mosteiro de Santa Clara‐a‐Velha (Coimbra) stands out from the other collections, with higher SnO₂ content (up to 14 wt%), the highest Fe₂O₃ contents in amber glazes and a Ca‐rich interface layer (mostly comprised of wollastonite, CaSiO₃). Samples from Palácio Nacional de Sintra (near Lisbon) and Seville‐attributed samples (from the Instituto Valencia de Don Juan) are chemically similar, except that most Sintra's samples display a K‐rich glaze/ceramic interface, whereas the ones from Seville exhibit both K‐rich and Ca‐rich inclusions. The samples attributed to Toledo show glazes with many inclusions, contrasting with the homogeneous glazes in most Hispano‐Moresque tiles. From these results, we identify differences that can be used as markers in future studies on Hispano‐Moresque tiles.