English Medieval Industries is an authoritative modern survey of medieval crafts and their products. It is heavily illustrated by pictures of surviving objects and contemporary representations of medieval work. Each industry is approached by material (amongst others stone, tin, lead, copper, iron, brick, glass, leather, bone and wood), discussing its acquisition, working and sale as a finished product. The contributors are the leading experts in their fields. They describe the specialist work that went to make the housing, clothing, tools, vessels and ornaments of medieval people. A general bibliography provides a valuable reference tool.
Francis Cheetham's classic survey of English medieval alabasters includes a richly illustrated catalogue of the Victoria and Albert Museum's unparalleled collection. English alabasters represent a unique contribution to medieval art. Less sophisticated, perhaps, than other contemporary forms of religious art, they were a neglected area of study until this volume was first published in 1984. Stories from the New Testament and The Golden Legend were the most favoured subjects, and the numerous examples that survive in churches and museums throughout Europe attest to their wide and enduring appeal. FrancisCheetham examines here all aspects of their production and demonstrates how the panels and altarpieces can aid our understanding of life and devotional practice in medieval times. At the heart of this fascinating study is arichly illustrated catalogue of the 260 examples in the collection of London's Victoria and Albert Museum: a collection "so comprehensive that it would be possible to write a survey of the subject almost without recourse to pieces elsewhere," as Sir Roy Strong notes in his Foreword. Their division into subject categories is an invaluable aid to identification and classification. The late Francis Cheetham was an acknowledged expert on medieval English alabasters, and this reissue of his classic work will be welcomed by historians, art historians, collectors and dealers alike, taking its place alongside his Alabaster Images of Medieval England which was published by the Boydell Press in 2003.
“Archaeomineralogy” provides a wealth of information for mineralogists, geologists and archaeologists involved in archaeometric studies. The first edition was very well-received and praised for its systematic description of the rocks and minerals used throughout the world by our ancestors and for its excellent list of over 900 references, providing easy access to the fields of archaeomineralogy and geoarchaeology. This second edition of “Archaeomineralogy” takes an updated and expanded look at the human use of rocks and minerals from the Paleolithic through to the 18th century CE. It retains the structure and main themes of the original but has been revised and expanded with more than 200 new references within the text, a bibliography of additional references not included in the text, a dozen new figures (drawings and photos), coverage of many additional important mineral, rock, and gem materials, a broader geographic scope, particularly but not limited to Eastern Europe, and a more thorough review of early contributions to archaeomineralogy, especially those of Agricola. From reviews of the first edition: "... crammed full of useful information, is well-balanced using both new and Old World examples of the archaeomaterials described. It also provides a broad, but of necessity, all too brief overview of the geological raw materials used in antiquity." -- Geoscientist "...provides much interesting discussion of how particular names came to be employed by archaeologists working in different regions of the world.... much to offer for any geologist or archaeologist interested in minerals and rocks and how they have been used in the past." -- Mineralium Deposita "... a gem of a book, it's strength is that it is encyclopedic in content, if not in layout, draws on a wealth of field experience and almost every sentence contains a nugget of information" -- The Holocene
This book seeks to identify and describe all the rocks and minerals employed by the ancient Egyptians using proper geological nomenclature, and to give an account of their sources in so far as they are known. The various uses of the stones are described, as well as the technologies employed to extract, transport, carve, and thermally treat them.
1.1 Prologue What is archaeomineralogy? The term has been used at least once before (Mitchell 1985), but this volume is the first publication to lay down the scientific basis and systematics for this subdiscipline. Students sometimes call an introductory archaeology course "stones and bones." Archaeomineralogy covers the stones component of this phrase. Of course, archaeology consists of a great deal more than just stones and bones. Contemporary archaeology is based on stratigraphy, geomorphology, chronometry, behavioral inferences, and a host of additional disciplines in addition to those devoted to stones and bones. To hazard a definition: archaeomineralogy is the study of the minerals and rocks used by ancient societies over space and time, as implements, orna ments, building materials, and raw materials for ceramics and other processed products. Archaeomineralogy also attempts to date, source, or otherwise char acterize an artifact or feature, or to interpret past depositional alteration of archaeological contexts. Unlike geoarchaeology, archaeomineralogy is not, and is not likely to become, a recognized subdiscipline. Practitioners of archaeomineralogy are mostly geoarchaeologists who specialize in geology and have a strong background in mineralogy or petrology (the study of the origin ofrocks).
Late Medieval and Renaissance art was surprisingly pushy; its architecture demanded that people move through it in prescribed patterns, its sculptures played elaborate games alternating between concealment and revelation, while its paintings charged viewers with imaginatively moving through them. Viewers wanted to interact with artwork in emotional and/or performative ways. This inventive and personal interface between viewers and artists sometimes conflicted with the Church’s prescribed devotional models, and in some cases it complemented them. Artists and patrons responded to the desire for both spontaneous and sanctioned interactions by creating original ways to amplify devotional experiences. The authors included here study the provocation and the reactions associated with medieval and Renaissance art and architecture. These essays trace the impetus towards interactivity from the points of view of their creators and those who used them. Contributors include: Mickey Abel, Alfred Acres, Kathleen Ashley, Viola Belghaus, Sarah Blick, Erika Boeckeler, Robert L.A. Clark, Lloyd DeWitt, Michelle Erhardt, Megan H. Foster-Campbell, Juan Luis González García, Laura D. Gelfand, Elina Gertsman, Walter S. Gibson, Margaret Goehring, Lex Hermans, Fredrika Jacobs, Annette LeZotte, Jane C. Long, Henry Luttikhuizen, Elizabeth Monroe, Scott B. Montgomery, Amy M. Morris, Vibeke Olson, Katherine Poole, Alexa Sand, Donna L. Sadler, Pamela Sheingorn, Suzanne Karr Schmidt, Anne Rudloff Stanton, Janet Snyder, Rita Tekippe, Mark Trowbridge, Mark S. Tucker, Kristen Van Ausdall, Susan Ward.
Proceedings of the Society's conference held at the University of York in April 2002. This book brings together the papers presented at the Society for Medieval Archaeology's spring conference held in York in 2002. The conference set out to reunite urban and rural archaeology. Papers define the differences between town and country, compare the two ways of life, trace the interconnecting links between townspeople and country dwellers, and show how they interacted and influenced one another. Contributors include archaeologists concerned with artefacts, buildings, environment and regions, historical geographers working on urban space, and historians interested in material culture.
