CORE ELEMENTS AND LAYOUT CLASSES IN SWIFT CREEK PADDLE ART

Our work here extends a study in which we identified a set of task models used by early Swift Creek artisans to produce paddle designs. Reconstructed procedures for early bandwork compositions highlighted the importance of the placement of guide points and guidelines to the final product as well as the hierarchal nature of the production sequence, leading to the realization that designs can be profitably classified by the geometry of these initial steps. In this paper, we examine two layout classes defined from observations across some of the more common core elements in the Swift Creek design corpus. We then seriate the most common of the core elements, the Omega, by virtue of variation in its visual characteristics. We draw on the stratigraphic sequence at Fairchild’s Landing (9SE14), Seminole County, Georgia, as a test of the core-element seriation and discuss developmental differences in the Omega between two prolific Swift Creek regions, the lower Chattahoochee River of southwestern Georgia and southeastern Alabama and the lower Ocmulgee and upper Satilla rivers of central and south-central Georgia, on the other.     

Tracing Medieval and Renaissance Alabaster Works of Art Back to Quarries: A Multi‐Isotope (Sr,S, O) Approach

Multi‐isotope fingerprinting (sulphur, oxygen and strontium isotopes) has been tested to study the provenances of medieval and Renaissance French and Swedish alabaster works of art. Isotope signatures of historical English, French and Spanish alabaster source quarries or areas are revealed to be highly specific, with a strong intra‐group homogeneity and strong inter‐group contrasts, especially for Sr and S isotopes. The chosen combination of isotope tracers is a good basis for forensic work on alabaster provenance, allowing verification of hypotheses about historical trade routes as well as identification of fakes and their origin. The applied analytical techniques of continuous flow isotope ratio mass spectrometry (CF–IRMS) and thermal ionization mass spectrometry (TIMS) only require micro‐samples in the low‐milligram range, thus minimizing the impact on the works of art.