Computer aided techniques for the attribution of Attic black-figure vase-paintings using the Princeton painter as a model.

Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2009.Because of their abundance and because of the insight into the ancient world offered by the depictions on their decorated surfaces, Attic painted ceramics are an extremely valuable source of material evidence. Knowing the identities and personalities of the artists who painted them not only helps us understand the paintings, but also helps in the process of dating them and, in the case of sherds, reconstructing them. However, few of the artists signed their wares, and the identities of the artists have to be revealed through a close analysis of the style in a process called attribution. The vast majority of the attributions of archaic Attic vases are due to John Beazley whose monumental works set the stage for the dominance of attribution studies in the scholarship of Greek ceramics for most of the 20th century. However, the number of new scholars trained in this arcane art is dwindling as new avenues of archaeological research have gained ascendency. A computer-aided technique for attribution may preserve the benefits of the art while allowing new scholars to explore previously ignored areas of research. To this end, the present study provides a theoretical framework for computer-aided attribution, and using the corpus of the Princeton Painter - a painter active in the 6th century BCE - demonstrates the principal that, by employing pattern recognition techniques, computers may be trained to serve as an aid in the attribution process. Three different techniques are presented that are capable of distinguishing between paintings of the Princeton Painter and some of his contemporaries with reasonable accuracy. The first uses shape descriptors to distinguish between the methods employed by respective artists to render minor anatomical details. The second shows that the relative positions of cranial features of the male figures on black-figure paintings is an indicator of style and may also be used as part of the attribution process. Finally a novel technique is presented that can distinguish between pots constructed by different potters based on their shape profiles. This technique may offer valuable clues for attribution when artists are known to work mostly with a single potter

Investigating London’s Post Medieval Pipe Clay Figurines From 1500-1800: Critiquing 3D Approaches to Mould Generation Analysis Via English and Transatlantic Case Studies

This thesis has two main strands to its research, one being the first comprehensive synthesis of London’s post-medieval pipe clay figurines dating to the period 1500-1800, combined with examining the potential for inexpensive 3D imaging technology to carry out a new digitised methodology for mould matching and figurine generational analysis. By applying this new digital methodology new insights have been gained on the wider context of these artefacts. The thesis also contextualises the London material with a broad array of academic publications on pipe clay figurines from Britain, Germany, the Netherlands, Poland, Jamaica, and America. This has included an extensive comparison between the previously unappreciated pipe clay figurines from London and figurines from Germany and the Low Countries and a specific comparison with data collected from the United States of America. This compendium of data provides more information to examine a range of questions, such as production, distribution, iconography, intended audience, and the general economic, social, and religious setting in which they operated. By drawing upon these resources and new avenues of research this investigation offers an insight into pipe clay figurines within Germany and the Low Countries by examining a series of archaeological and contemporary literary sources. Following chapters go on to explore both the London and New World assemblages, presenting details on the distribution of these collections, a contextualised discussion on consumer markets, and iconographical relations of specific case studies. It is from this assemblage that figurines presenting similar stylistic qualities were selected for further analysis via 3D imaging methodologies to comprehend how closely, if at all, the morphometrics of the figurines compare and whether these figurines were produced from related mould groups. The parameters for this analysis are developed in Chapters 4 and 6, which discuss controlled datasets and a series of tests investigating the accuracy of inexpensive 3D imaging technology and their suitability for pipe clay figurine 3D imaging. These tests also analysed other potential influences on the morphometrics of the figurines and designed error parameters to be taken into account so that potential mould relationships could still be observed between figurines that had experienced damage, erosion, or manipulated on removal from their mould. These two strands are then brought together in Chapter 8, where new theories are discussed concerning the causes behind the changing iconography of these figurines, particularly those from London and the New World. This thesis also highlights the wider potential of 3D modelling for artefact studies and the limitations of Structure from Motion in the field of mould analysis. Overall, the research covered within this thesis has provided new details on a previously unstudied dataset alongside a much-needed critique of a new technological approach to 3D modelling and a brand new and revitalising means of carrying out mould-matching analysis of artefacts and other archaeological material

Treasures of Time. Research of the Faculty of Archaeology of Adam Mickiewicz University in Poznań

This publication presents the current scientific interests creatively developed by such teams at the Faculty of Archaeology of Adam Mickiewicz University. The research of these teams covers vast areas in time and space, summing up at least the last 9,000 years of prehistory. The following articles, arranged in chronological order, allow us to explore the prehistory of various areas

X-ray fluorescence applied to yellow pigments based on lead, tin and antimony: comparison of laboratory and portable instrumentation

X-ray fluorescence is a diagnostic approach particularly suited to be utilized in cultural heritage sector since it falls in the non-destructive and non-invasive analytical tools. However there are big differences between portable and laboratory instrumentation that make difficult to perform a comparison in terms of quality and reliability of the results. The present study is specifically addressed to investigate these differences in respect of the same analytical sample-set. To reach this goal a comparison was thus carried out between portable and bench top devices X-ray fluorescence devices and techniques were used on different type of yellow pigments based on lead, tin and antimony obtained in laboratory, reproducing the instructions described in “old” recipes, that is: i) mortar of lead and tin produced on the basis of the recipe 13 /c V of the “Manuscript of Danzica” and “ Li tre libri dell’arte del Vasaio” by Cipriano Piccolpasso; ii) two types of lead and tin yellow (Pb2SnO4 and PbSnO3) produced starting from the indications of the 272 and 273 recipes of the “Bolognese Manuscript”; iii) lead antimonate (Pb2Sb2O7) obtained by following the instructions of the Piccolpasso’s treatise and those contained on the “Istoria delle pitture in maiolica fatte in Pesaro e ne’ luoghi circonvicini di Giambattista Passeri” and finally iv) lead, tin and antimony yellow (Pb2SnSbO6,5) obtained starting from the information contained in the paper 30 R of “Manuscript of Danzica” [1]. The XRF analysis were performed using a laboratory instrumentation (Bruker M4 Tornado) and a handset analytical device (Assing Surface Monitor). In order to perform a significant statistical comparison among acquired and processed data, all the analyses have been carried out utilizing the same sample, the same acquisition set up and operative conditions. A chemometric approach, based on the utilization of Principal Component Analysis (PCA) and multivariate analytical based tools [2], was utilized in order to verify the spectral differences, and related informative content, among the different produced yellow pigments. The multivariate approach on the results revealed instrumental differences between the two systems and allowed to compare the common characteristics of the set of pigments analyzed

Multimetal smithing : An urban craft in rural settings?

Multimetal smithing should be defined as the use of more than one metal and/or different metalworking techniques within thesame crafts-milieu. This complex metalworking has long been linked to centrality, central places and urbanity in Scandinavia.It has been extensively argued that fine casting and smithing, as well as manufacture utilizing precious metals was exclusivelyundertaken within early urban settings or the “central places” pre-dating these. Furthermore, the presence of complex metalcraftsmanship has been used as a driving indicator of the political, social and economic superiority of certain sites, therebyenhancing their identity as “centralities”.Recent research has come to challenge the universality of this link between urbanity, centrality and complex metalworkingas sites in rural settings with evidence of multimetal smithing are being identified. This shows that the relationship between thecraft and centrality (urbanity) must be nuanced and that perhaps multimetal craftsmanship should be reconsidered as an urbanindicator.The thesis project “From Crucible and onto Anvil” started in 2015 and focuses on sites housing remains of multimetalcraftsmanship dating primarily from 500-1000 AD. Within the project a comprehensive survey of sites will be used to evaluate thepresence of multimetal craftsmanship in the landscape. Sites in selected target areas will also be subject to intra-site analysisfocusing on workshop organisation, production output, metalworking techniques and chronological variances.A key aim in the project is to elucidate the conceptual aspects of complex metalworking. The term multimetality is used toanalytically frame all the societal and economic aspects of multimetal craftsmanship. Through this inclusive perspective both thecraftsmanship and the metalworkers behind it are positioned within the overall socioeconomic framework. The metalworkers,their skills and competences as well as the products of their labour are viewed as dynamic actors in the landscape and on thearenas of political economy of the Late Iron Age.The survey has already revealed interesting aspects concerning multimetal smithing and urbanity. Although the multimetalsites do cluster against areas of early urban development there are also other patterns emerging. Multimetal craftsmanship – both as practice and concept – was well represented in both rural peripheral settings and urban crafts-milieus. This means that therole of multimetality as part of an “urban conceptual package” is crucial to investigate. Such an approach will have the dual endsof properly understanding the craft and its societal implications, but also further the knowledge of the phenomenon of urbanityas a whole. Was multimetal smithing part of an “urban package” that spread into the rural landscape? Did the multimetality differbetween urban and rural crafts-milieus? How does early urbanity relate to the chronology of multimetal craftsmanship?This paper aims to counter these questions using examples from the survey of multimetal sites conducted within the thesisproject. A comparison between selected sites will be presented. The purpose of this is to evaluate the role of multimetality withinthe “urban package” and discuss the role of complex metalworking in the establishment of urban arenas of interaction in LateIron Age Scandinavia

Exploring Written Artefacts

This collection, presented to Michael Friedrich in honour of his academic career at of the Centre for the Study of Manuscript Cultures, traces key concepts that scholars associated with the Centre have developed and refined for the systematic study of manuscript cultures. At the same time, the contributions showcase the possibilities of expanding the traditional subject of ‘manuscripts’ to the larger perspective of ‘written artefacts’

8th. International congress on archaeology computer graphica. Cultural heritage and innovation

El lema del Congreso es: 'Documentación 3D avanzada, modelado y reconstrucción de objetos patrimoniales, monumentos y sitios.Invitamos a investigadores, profesores, arqueólogos, arquitectos, ingenieros, historiadores de arte... que se ocupan del patrimonio cultural desde la arqueología, la informática gráfica y la geomática, a compartir conocimientos y experiencias en el campo de la Arqueología Virtual. La participación de investigadores y empresas de prestigio será muy apreciada. Se ha preparado un atractivo e interesante programa para participantes y visitantes.Lerma García, JL. (2016). 8th. International congress on archaeology computer graphica. Cultural heritage and innovation. Editorial Universitat Politècnica de València. http://hdl.handle.net/10251/73708EDITORIA

Exploring Written Artefacts

This collection, presented to Michael Friedrich in honour of his academic career at of the Centre for the Study of Manuscript Cultures, traces key concepts that scholars associated with the Centre have developed and refined for the systematic study of manuscript cultures. At the same time, the contributions showcase the possibilities of expanding the traditional subject of ‘manuscripts’ to the larger perspective of ‘written artefacts’

Proceedings of the 23rd International Congress of Byzantine Studies : Round Tables

Following the 23rd International Congress of Byzantine Studies, the Organizing Committee decided to produce an online publication of Proceedings from the Round Tables. According to the official title of the congress, Byzantium - a World of Changes, AIEB together with the Organizing Committee, have decided to implement some changes to the concept of the Round Tables. The aim of these changes were to encourage discussion at the Round Tables by presenting preliminary papers at the website in advance. The idea was to introduce the topic and papers of the individual Round Tables that would be discussed, first between the participants, and then with the public present. Therefore, the conveners of the Round Tables were asked to create Round Tables with no more than 10 participants. They collected the papers, which were to be no longer than 18,000 characters in one of the official languages of the Congress and without footnotes or endnotes. Conveners provided a general statement on the goal of each roundtable and on the content of the papers. The present volume contains papers from 49 Round Tables carefully selected to cover a wide range of topics, developed over the last five years since the previous Congress. The topics show diversity within fields and subfields, ranging from history to art history, archeology, philosophy, literature, hagiography, and sigillography. The Round Tables displayed current advances in research, scholarly debates, as well as new methodologies and concerns germane to all aspects of international Byzantine studies. The papers presented in this volume were last sent to the congress organizers in the second week of August 2016 and represent the material that was on hand at that time and had been posted on the official website; no post-congress revisions have occurred. We present this volume in hope that it will be an initial step for further development of Round Tables into collections of articles and thematic books compiled and published following the Congress, in collaboration with other interested institutions and editors. With this volume, the organizers signal their appreciation of the efforts of more than 1600 participants who contributed, both to the Round Tables and to the Congress in general