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.     

THE ORIGIN,DESTRUCTION AND RESTORATION OF COLOUR IN EGYPTIAN TRAVERTINE*

Travertine was one of ancient Egypt's most popular ornamental stones. Upon prolonged exposure to sunlight, the rock's translucent brownish calcite is bleached to nearly white. Ultraviolet and gamma irradiation experiments were undertaken to investigate the source of the brownish colour and the process by which it fades. It was found that the coloration results from the activation of colour centres by natural radioactivity within the rock, and that these colour centres are deactivated by the ultraviolet component of sunlight. The results also demonstrate that the original brownish colour of sun‐bleached, travertine objects can be restored by artificial gamma irradiation.     

Archaeometry and materiality: materials‐based analysis in theory and practice*

Due to the diversity of contemporary archaeology, the aims and approaches of archaeological scientists and archaeological theorists are often at odds. I suggest that this position is problematic, both intellectually and methodologically, as both groups are fundamentally engaged in the same task: an understanding of past societies through the medium of material culture. This paper offers a review of the intellectual positions of both groups, with a brief discussion of the history of archaeological theory and an appraisal of its current trajectory. I will discuss how and why contemporary theoretical perspectives have fundamentally diverged from the perspectives of archaeological scientists and how the recent theoretical emphasis upon materiality offers a rapprochement between theoreticians and archaeological scientists.     

ON THE USE OF COLOUR COORDINATES TO EVALUATE FIRING TEMPERATURES OF ANCIENT POTTERY*

Colour measurement was investigated as a means to evaluate equivalent firing temperatures of ancient pottery. Colour coordinates were determined on samples of six clays previously fired, and then refired, in the temperature range 600–1100°C. Under the adopted conditions, significant variations of colour hue and saturation were normally observed on refired samples only after the original firing temperature had been exceeded; less reliable information was provided by luminosity. Original firing temperatures of clay samples were correctly recognized in most cases by projecting the points representing samples’ colour on to the a*b* plane of the ClEL*a*b* colour space.     

ANTIMONATE OPAQUE GLAZE COLOURS FROM THE FAIENCE MANUFACTURE OF LE BOIS D’ÉPENSE (19TH CENTURY,NORTHEASTERN FRANCE)*

Three types of antimony‐based, opaque ceramic colours were used in the faience workshop of Le Bois d’Épense during the first decades of the 19th century; that is, yellow, tawny and green. Yellow is generated by lead antimonate crystals (Naples Yellow), which are incorporated into an uncoloured glass matrix. According to SEM–EDS measurements, these pigments contain iron. The tawny colour is the optical result of the combined presence of similar yellow, iron‐bearing lead antimonate particles in a Fe‐rich, brownish glass matrix. The green opaque colour is produced by the combination of a blue cobalt glass and yellow Pb–Sn–Fe‐antimonate crystals. Cores of zoned pigments lighten the recipes, according to which the pigments were produced. First, they were synthesized by calcination, ground and then mixed with a colourless, brown or blue glass powder. The resulting powder mixture was added to a liquid agent and used as high‐temperature ceramic colour.     

INVESTIGATION OF THE COLOURING MATERIALS OF FUSTAT CARPET FRAGMENTS

The Benaki Museum (Athens, Greece) possesses 50 fragments that, according to its archives, are recorded as having a provenance in the Fustat area. The objects are divided into three groups on the basis of the techniques employed. Most (eight) of the objects included in the present study belong to group A (8th–11th centuries). A few (five) fragments belong to groups B and C, which include objects dated up to the 18th century. The goal is to identify the colouring compounds contained in microsamples removed from the selected Fustat carpet fragments. Identifications are achieved using high‐performance liquid chromatography (HPLC) with photodiode array detection (PDA). The following compounds are identified repeatedly in many samples: laccaic acid A and other laccaic acids (components of Kerria lacca, Kerr), alizarin, purpurin and rubiadin (madder components), luteolin, apigenin and chrysoeriol (components of Reseda luteola L.), and indigotin and indirubin (components of indigoid dyes). In one sample, the type C compound (marker compound for the identification of soluble redwoods, Caesalpinia trees) is identified. The HPLC profiles collected for the samples in which madder components are detected suggest that most probably Rubia tinctorum L. (and not Rubia peregrina L.) was used during dyeing.     

Estimation of the Production Parameters of Very Large Medieval Bricks from St. Urban,Switzerland

The aim of the present study is to determine the production technology of a particular type of large medieval brick. The firing temperature and their soak times are estimated using a combination of colour and fabric, as well as mineralogical, microstructural and open porosity analysis. A replication experiment was carried out in order to validate the estimated predictions, and to give a realistic idea of the time needed to dry and fire each large brick. The experiment also suggests the temperature distribution and firing atmosphere in the kiln, as well as providing an estimate of fuel consumption. Analytical results and replication both provide information to assess the production technology, the time parameters and the firing temperatures involved in the production of the medieval bricks of St. Urban.     

POST‐MEDIEVAL CRUCIBLE PRODUCTION AND DISTRIBUTION: A STUDY OF MATERIALS AND MATERIALITIES*

This paper is concerned with the manufacture and trade of post‐medieval crucibles (14th–19th centuries). The analytical study of crucibles from different contexts in Europe and America employed optical microscopy and SEM–EDS, coupled with archaeological and historical data. We identified two major producers of crucibles, both of them in Central Europe, whose products appear widely distributed internationally. The analytical data allow an explanation of the technical reasons behind their superior reputation, as both crucible types shared comparable material properties, such as thermal, chemical and mechanical stability. Conversely, the two crucible types were radically different in their manufacture and appearance. We argue that, besides technical considerations, sensorial aspects such as texture and colour may have played an important role in the perception and choice of materials.     

Potassium–Calcium Glass: New Data and Experiments*

The chemical composition of potassium–calcium ‘wood‐ash’ glass reflects the elemental pattern of the involved non‐volatile base materials in quartz sand, wood ash and possibly potash. The essential elemental ratio K₂O/CaO of wood ash varies between 0.2 and 0.8, and depends on the habitat and geological substratum of the wood rather than on the tree species; ratios between 1.0 and 3.0 in wood‐ash glass are only possible when potash is added as a third base material. Melting temperatures of wood‐ash glass sensu stricto, termed K–Ca‐2, produced with the two raw materials quartz sand and wood ash, are between 1250°C and 1400°C, while those of three‐component‐glasses, termed K–Ca‐3, are between 900°C and 1250°C, according to the amount of added potash. Experimentally produced glass displays different hues, from colourless to brown, olive‐green and pink, according to the chemical composition of the wood ash. Elevated MnO concentrations between 0.5 and 3 wt% may originate from wood ash and are hence not necessarily an indicator of colour‐inhibiting additives. Phosphate stemming from wood ash is an essential discriminator between wood‐ash glass and potash–lime glass. Because wood ash contains only minor amounts of sodium, wood‐ash glass with equal concentrations of potassium and sodium is a hybrid glass type, where besides quartz sand, wood ash, possibly potash and also soda‐rich cullet have been applied for glass production.     

Technological Features of Roman Terra Sigillata from Gallic and Italian Centres of Production

Technological features of sherds of Roman terra sigillata were studied. The sherds analysed represented products of workshops which were most probably located in Gaul, central Italy, north-west Italy and the plain of the river Po. Equivalent firing temperatures were estimated by colour measurement, X-ray diffraction and thermal expansion measurement; in addition, the chemical and morphological features of the red sintered slips were investigated using scanning electron microscopy coupled with energy dispersive X-ray microanalysis. The combined results suggest that, relative to northern Italian products,terra sigillata from Gaul and central Italy was made by potters who were more successful in modifying slip composition and controlling firing temperature to obtain highly sintered slips. Northern Italian potters seem to have worked their clays less successfully and fired them at temperatures which were too low to overcome the limited presence of fluxes in the slip.