The production technology of Iznik pottery—a reassessment*

Previous research has established that Iznik pottery differs from other Islamic stonepaste pottery in that its stonepaste bodies contain lead oxide as well as soda and lime, and that a significant proportion of the tin oxide in its glaze is present in solution rather than as tin oxide particles. In order to better understand these distinguishing features, the chemical compositions and microstructures of Iznik pottery and tile samples, together with those of lumps of glass found in association, were investigated using both scanning electron and optical microscopy. These data have been supplemented by the study of replicate lead–alkali glazes produced in the laboratory with a range of different compositions. The results demonstrate that separate soda–lime and high‐lead glasses were used in the production of Iznik stonepaste bodies, and that the total glass contents of the bodies were significantly higher than those quoted by Abū’l‐Qāsim, who was writing in about ad 1300. The very high purity of the lead–soda Iznik glazes indicated that the alkali flux used was either a purified plant ash or an as yet unidentified mineral source of soda. Replication experiments established that the high solubility of tin oxide in the glaze was due to the high purity of the glaze constituents. Furthermore, it is suggested that tin oxide was added to the glaze in order to give it a very slight opacity and thus obscure any blemishes in the underlying body.     

ARCHAEOMAGNETISM IN ARCHAEOMETRY— A SEMI‐CENTENNIAL REVIEW*

The journal Archaeometry and its first co‐editor Martin Aitken played key roles in the development of archaeomagnetism. This paper briefly reviews all papers published in Archaeometry, and a few others, dealing with archaeomagnetic secular variation, archaeomagnetic dating, archaeointensity studies and related applications of magnetic studies to archaeology, to indicate some of the major developments over the past 50 years.     

COINS,ARTEFACTS AND ISOTOPES—ARCHAEOMETALLURGY AND ARCHAEOMETRY*

Archaeometallurgy is one of the earliest manifestations of archaeometric research, using science‐based approaches to address cultural–historical questions. This review first outlines the extent of the field, defining in some detail the main branches of archaeometallurgy, and their specific methodological approaches. It then looks at some of the early publications pioneering archaeometallurgical research, to set the scene for the publication pattern of archaeometallurgy in general, and the role that Archaeometry played in publishing archaeometallurgical research. The analysis of archaeometallurgy‐themed publications in Archaeometry, their change over time and their relationship to the total range of work done in the field indicates that there is a rather narrowly defined and specific type of archaeometallurgy that gets published in Archaeometry, initially with a strong focus on coin and object analysis, often combined with method developments. The more recent developments in isotope‐based studies in archaeometallurgy find only a limited representation in the journal, despite the leading role that the Isotrace Laboratory played in this discipline, for some considerable length of time. More recently, this Archaeometry‐specific ‘flavour’ of archaeometallurgy seems to weaken, with an increase of papers on iron and on primary production in general, subjects still much under‐represented.     

CERAMIC PRODUCTION,PROVENANCE AND USE—A REVIEW*

The contribution of the physical sciences to the reconstruction of the production technology (i.e., processing of raw materials, forming, surface treatments and firing methods) for earthenwares, stonewares, porcelains and stonepaste bodies are summarized. The organization of production and the reasons for technological choice are considered. Provenance studies based on both chemical analysis and thin‐section petrography are discussed, with the investigation of Minoan and Mycenaean pottery being taken as the case study. The approaches to determining how pottery vessels were used in antiquity are outlined. Finally, future developments in ceramic studies are briefly considered.     

The Kosovo—and Montenegro—effect

The post‐communist space continues to generate new internationally recognized states while incubating unrecognized but de facto states. Recent movement in the Balkans—the independence of Montenegro and the arduous deliberations over Kosovo's future —have variously encouraged other secessionist people and would‐be states, particularly in the former Soviet Union. This article analyses the impact of developments in Montenegro and Kosovo on several levels, including: their usage by de facto states; the reactions to them by central governments; Russian policy; and western and intergovernmental responses to these challenges. The article further argues that the Russian position on Kosovo and on the so‐called ‘frozen’ or unsettled conflicts neighbouring Russia could ultimately backfire on it. Western policy towards both Kosovo and on the post‐Soviet frozen conflicts will be best served by signalling to Russia, irrespective of the exact form of Kosovo's independence, that neither its own interests nor broader western‐Russian relations are served by using or reacting to any Kosovo ‘precedent’.     

LEAD GLAZES IN ANTIQUITY—METHODS OF PRODUCTION AND REASONS FOR USE*

Transparent high lead and tin-opacified lead-alkali glazes have been extensively used throughout Europe and the Near East from their first appearance in the Roman era and the tenth- to eleventh-century Islamic world, respectively, up until the present day. Using, to a large extent, information which is widely scattered through a diverse range of literature, the methods employed in the production of these two glaze types are first outlined and their merits are then compared with those of alkali glazes in terms of ease of preparation of the glaze mixture, ease of application of the glaze, ease of firing, cost of production, glaze-body fit and visual appearance. The principal advantages of transparent high lead glazes as compared to alkali glazes are shown to be ease of preparation and application of the glaze suspension, low susceptibility to glaze ‘crazing’ and ‘crawling’ and high, optical brilliance. Factors that influence the choice of tin-opacified lead-alkali glazes include ease of production of tin oxide by melting tin and lead metals together; a reduced risk of reduction of lead oxide to lead metal and consequent blackening of the glaze; and, again, low susceptibility to ‘crazing’ and ‘crawling’. Limits of current knowledge regarding these two glaze types and requirements for future research are outlined.