Obituary Notice

Abstract

St Vitus’s Cathedral, founded in 1344, is a prime example of 14th-century cathedral Gothic, a product of the cooperation between the ingenious architect Peter Parler and his patron, Emperor Charles IV. The unusual layout consisted of a pair of choirs set side by side in the eastern section of the cathedral, an arrangement inspired by the earlier Romanesque double-choir basilica. One was dedicated to St Vitus and was used by the canons, the other to the Virgin Mary and operated by the mansionars. The royal and imperial necropolis was placed in the latter of the two choirs, with Charles IV’s tomb-chest protected by a sculptured canopy and surrounded by the cenotaphs of deceased family members and later kings and queens. The form of two choirs is probably the result of an extensive rearrangement of the earlier project completed in the 1350s, when initial plans to locate the royal burial ground in the canons’ choir were abandoned. The main choir contained a tabernacle of remarkable design, dating from c. 1365. There may originally have been plans for a third choir to be built around the tomb of St Adalbert located in the middle of the nave, the work on which was initiated in 1392.     

The Enemy as Confounding Other: Interpersonal Perception and Displacement in Italian Memories of the Resistance and German Occupation of 1943–1945

Much has been written about the legacies of the Italian Resistance during the Second World War, usually based on oral accounts and memoirs of the protagonists of the events- typically produced by the winning side. Meanwhile, the emerging fields of conflict and post-conflict anthropology are opening up the epistemological horizons of a war's impact on person, place and society. Despite much promise, in the case of the Italian civil war and German occupation of 1943–1945, notions of the “enemy” have been accepted unproblematically. Questions of how the enemy was constructed, situated and perceived have not been asked. And yet the Resistance was a highly localized and “visceral” conflict where affective ties to the land were stronger than any allegiance to an abstract “Fatherland” appropriated by Fascism. In this paper, I interrogate mechanisms of perception, othering and exclusion in order to illuminate a grassroots experience of Resistance and occupation.     

Airborne LiDAR application to karstic areas: the example of Trieste province (north-eastern Italy) from prehistoric sites to Roman forts

The Trieste Karst, at the northernmost shore of the Adriatic Sea, is rich in prehistoric caves and protohistoric hill forts. Most of these archaeological sites were already identified in the second half of the 19th century when large parts of the area were almost without vegetation coverage for the effect of sheep breeding and exploitation of wood resources. Only a few open-air archaeological sites have been discovered in recent years due to the lack of systematic archaeological surveys and reforestation.     

Application of 3-dimensional microscopy and micro-CT scanning to the analysis of Magdalenian portable art on bone and antler

The appearance of portable artistic objects during the Upper Palaeolithic is characterised by a combination of a wide choice of techniques, use of different materials and a diversity of iconographic expression, with many objects made of bone and antler decorated with animal representations. Taphonomic and experimental approaches have been systematically applied in an effort to understand the technical and artistic procedures followed. In this study, we applied a new combination of 3-dimensional microscopy (focus variation optical microscope) and micro-CT scanning to the analysis of two Magdalenian engraved specimens: a reindeer antler from the site of Neschers (France), engraved with the partial image of a horse in left profile, and a horse metatarsal from Courbet Cave, Penne (France), engraved with a horse head also in left profile. Results of the analysis suggest that both the Neschers and Courbet Cave engravings had been prepared before being carved. The overall contours of the horse body/head were incised first, while anatomical features were added afterwards. In the Neschers case, the incision resulted from the repeated scratching of a previously made incision in order to enlarge the engraving, possibly reflecting the engraver's aesthetic sense. The combination of the techniques used in this study is applicable to fragile or unique archaeological specimens. Micro-CT scanning, in particular, provides non-invasive means for identifying engravings that are obscured by encrusted sediment. The application of these techniques can potentially open new avenues for the authentication, technical and gestural recognition and interpretation of incised forms and artistic creativity.     

Egyptian Blue cakes from the Ayanis fortress (Eastern Anatolia,Turkey): micro-chemical and -structural investigations for the identification of manufacturing process and provenance

The microstructure and chemical composition of blue cakes, found during the archaeological excavation of the Ayanis fortress (Eastern Anatolia, Turkey), have been investigated by means of scanning electron microscopy combined with energy dispersive spectrometry (SEM–EDS), X-ray diffraction (XRD), micro-Raman (μ-Raman) and optical microscopy (OM) techniques. The analysis of the Ayanis cakes has shown the presence of Egyptian blue (i.e. CuCaOSi₄O₁₀, cuprorivaite), as the major component, intermixed with minor amount of other phases such as partially reacted quartz grains, an adherent glass phase and copper oxides. Since the finding of Egyptian Blue in Turkey has been never reported so far, great attention has been paid to its characterisation. The micro-chemical and micro-structural investigations of the Ayanis cakes have allowed a further insight into the manufacturing process and into the sources of the starting materials. The results of the characterisation have revealed some significant differences with respect to Egyptian blue cakes found in Egypt and Mesopotamia, as for instance the absence of tin excluded the use of bronze scraps or filings in their preparation differently from those produced in Egypt and Mesopotamia. Furthermore, some peculiarities of Egyptian blue found in Ayanis, as the detection of zinc in the cakes, allow to put forward the hypothesis of a local production considering that a large part of the bronze artefacts found at the Ayanis fortress is characterised by the presence of zinc as minor alloying element.     

Ordinary culture in a world of strangers: toward cosmopolitan cultural policy *

The image of Zwarte Piet, as part of Dutch Sinterklaas celebrations has caused heated debate in the past decade, which has polarized tensions between the ‘Dutch’ and ‘strangers’. This article argues that the debate cannot be resolved within a framework of a methodologically nationalist cultural policy. Building on Kwame Anthony Appiah’s book Cosmopolitanism: Ethics in a World of Strangers, I argue that a cosmopolitan framework for belonging is not only a normative but also a policy imperative. Cultural policy should recognize our shared global belonging, rather than building a national polis predicated on difference that sets us apart. However, a methodologically cosmopolitan cultural policy cannot be a blanket approach to replace or undermine national frameworks. It should embed the nation in a cosmopolitan public policy to accommodate cultural and religious diversity under globalization that has irrevocably eroded the illusion of a national unity.