NEW EVIDENCE FOR APULIAN RED‐FIGURE PRODUCTION CENTRES

A total of 52 South Italian red‐figure vases were subjected to neutron activation analysis. The primary aim of the study was to determine whether all Apulian red‐figure pottery datable to the period c. 430–340 bc was produced at the Greek colony of Taras, as has been widely assumed. Three chemically distinct compositional groups were isolated and compared to archaeological reference material from Taranto. The results of this comparison suggest that some Early Apulian red‐figure pottery may have been produced outside of Taras from the fifth century bc onwards.     

IDENTIFICATION AND DIFFERENTIATION OF OPAQUE CHINESE OVERGLAZE YELLOW ENAMELS BY RAMAN SPECTROSCOPY AND SUPPORTING TECHNIQUES*

Using Raman spectroscopy, energy-dispersive X-ray fluorescence and X-ray diffraction, the Pb–Sn–Sb triple oxide yellow and lead–tin yellow have been identified on two pieces of cloisonné enamel (Falangcai) porcelains. Lead–tin yellow and lead antimonate yellow have been identified on famille rose porcelains manufactured before and after 1911, respectively. The replacement of the Pb–Sn–Sb triple oxide yellow by lead–tin yellow and that of the lead–tin yellow by lead antimonate yellow are discussed.     

CHARACTERIZATION OF CORAL RED SLIPS ON GREEK ATTIC POTTERY*

Samples of red and black gloss from Greek Attic pottery of the late sixth to fifth centuries bc were examined using scanning electron microscopy (SEM and FIB/STEM). The focus of the study was the chemical and microstructural characterization of the red gloss that was first produced during this period. Two groupings of red gloss were revealed. One red was found to be compositionally similar to the black glosses (labelled ‘LCM coral red’). The other red showed more significant chemical differences, such as higher calcium and magnesium, in comparison to the black (labelled ‘HCM coral red’). The existence of two chemically distinct reds—otherwise identical in colour and texture—suggests that there was more than one source of clay available to the Attic potters for producing red.     

LEAD ISOTOPE ANALYSES OF BRONZE AGE COPPER‐BASE ARTEFACTS FROM AL‐MIDAMMAN,YEMEN: TOWARDS THE IDENTIFICATION OF AN INDIGENOUS METAL PRODUCTION AND EXCHANGE SYSTEM IN THE SOUTHERN RED SEA REGION*

The results of the lead isotope analysis (LIA) of 15 copper‐base artefacts from the Bronze Age site of al‐Midamman, Yemen, are reported. The LIA data suggest the existence of an indigenous Bronze Age metal production and exchange system centred on the southern Red Sea region, distinct from those in neighbouring regions of Arabia and the Levant. These preliminary results are highly significant for the archaeology of the region, suggesting that local prehistoric copper extraction sites have thus far gone unrecorded, and highlighting the need for systematic archaeometallurgical fieldwork programmes in the countries surrounding the southern Red Sea.     

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.     

BYZANTINE OPAQUE RED GLASS TESSERAE FROM BEIT SHEAN,ISRAEL*

This paper presents the results of analysis of Byzantine opaque red glass tesserae derived from three separate locations in the ancient city of Beit Shean, Israel. Investigation proceeded using reflective light microscopy, energy dispersive X‐ray fluorescence and energy dispersive scanning electron microscopy. The glass matrix of the tesserae was found to be heterogeneous, with many inclusions. Similarities and differences between tesserae from the two mosaics are examined and discussed. Implications for locale of manufacture and production techniques are considered. Comparisons between the three locations led to conclusions about the use of the tunnel as a storage site and the implications of this for future research on mosaics.     

THE RED INK OF THE DEAD SEA SCROLLS

The red ink on four fragments of the Dead Sea Scrolls was analysed by X-ray fluorescence and X-ray diffraction. The red pigment was identified as mercury sulfide (HgS), cinnabar. The significant archaeological and historical aspects of this finding are discussed.     

MAGNETIC SUSCEPTIBILITY THICKNESS CORRECTIONS FOR SMALL ARTEFACTS AND COMMENTS ON THE EFFECTS OF‘BACKGROUND’MATERIALS*

Correction factors for magnetic susceptibility measurements on thin (<c. 50 mm thick > artefacts have been determined experimentally for a KT‐5 Exploranium G S. instrument using prepared blocks of Whin Sill dolerite. The cor rection factor is large (> 1.4) for samples less than 10mm thick, and reduces to 1 01 for samples of 50mm thickness. Measurements on thin samples can also be affected by the backing or substrate material on which they are measured. ‘Background’material, for example, soil or plaster, can contribute significantly to recorded measurements on artefacts, particularly for thin artefacts with low susceptibilities     

MINERO‐PETROGRAPHIC STUDY OF COOKING WARE AND POMPEIAN RED WARE (ROSSO POMPEIANO) FROM CUMA (SOUTHERN ITALY)

Excavations carried out in Cuma by the Centre Jean Bérard archaeologists have uncovered a large quantity of pottery. This study is focused on cooking ware and on internal red‐slip cookware, also known as Pompeian Red Ware (Rosso Pompeiano), dated from the first century bc to the first century ad . A comparison with the minero‐petrographic composition of beach sands collected along the Bay of Naples coastline highlights the provenance of the temper from the Somma‐Vesuvius area, marked by leucite‐bearing scoriae and garnet. Petrochemical analyses allow us to distinguish two main groups of pottery characterized by different technological options based on the amount of temper and on the type of clay. X‐ray diffraction and scanning electron microscope data demonstrate improved accuracy in the production of Rosso Pompeiano, especially with regard to firing control, which was in a prevailing oxidizing atmosphere and in a narrow thermal range, between about 800 and 900°C.     

ROMANO‐EGYPTIAN RED LEAD PIGMENT: A SUBSIDIARY COMMODITY OF SPANISH SILVER MINING AND REFINEMENT*

Samples of red pigment from a group of seven Roman‐period Egyptian mummies, known as red‐shroud mummies, are investigated. Elemental analysis by inductively coupled plasma time‐of‐flight mass spectrometry (ICP–TOFMS) shows that the samples contain mostly Pb (83–92% by weight), along with 0.2–2.0% Sn. All of the samples are found to have similar trace element distributions when normalized to the continental crust, suggesting that they share a common geological origin. Lead isotope ratios are found to match the mixed lead sources typically associated with Rio Tinto, Spain – a site extensively mined for silver during the first century ad . Raman microspectroscopy identifies the major phase of each sample to be red lead (Pb₃O₄) with a minor phase of lead tin oxide (Pb₂SnO₄). Lead tin oxide does not occur naturally, and its incidental occurrence within the sample indicates that the material was heated under oxidative conditions at temperatures in excess of 650°C. In archaeological contexts, the high‐temperature oxidative treatment of lead is typically associated with metallurgical refinement processes such as cupellation. Based on this evidence, it is argued that the pigment was produced out of litharge associated with silver cupellation at the Rio Tinto site.