Wonders Lost And Found A Celebration Of The Archaeological Work Of Professor Michael Vickers

Twenty-one contributions, written by friends and colleagues, reflect the wide interests of Professor Michael Vickers; from the Aegean Bronze Age to the use made of archaeology by dictators in the modern age. Seven contributions relate to Georgia, where the Professor has worked most recently, and made his home.

Chapters in this volume, with contributions from a a wide range of multidisciplinary specialists, demonstrates the diversity and vibrancy of international research collaboration in the archaeology of Georgia and underlines the enormous potential of the country’s archaeological resource.

32 papers consider issues of pottery production in the wider Adriatic area during Roman times, in particular relation to landscape and communication features, ceramic building materials, as well as general studies on ceramic production, pottery and glass finds.

This book provides the opportunity to explore the variety of meanings, undertones and contextual connotations that currently pertain to the expressions of "virtual (or digital) restoration" and "reconstruction". The book focuses on the latest applications of virtual restoration and reconstruction in different areas of Cultural Heritage through the presentation and discussion of several case studies. The goal is to provide a broad perspective on the subject. The sample presented in this book has been indeed selected and evaluated referring to different disciplinary fields such as archaeology, architecture, and conservation while encompassing a variety of cultural and chronological contexts.

The museum of the East India Company formed, for a large part of the nineteenth century, one of the sights of London. In recent years, little has been remembered of it beyond its mere existence, while an assumed negative role has been widely attributed to it on the basis of its position at the heart of one of Britain’s arch-colonialist enterprises. Extensively illustrated, The India Museum Revisited provides a full examination of the museum’s founding manifesto and evolving ambitions. It surveys the contents of its multi-faceted collections – with respect to materials, their manufacture and original functions on the Indian sub-continent – as well as the collectors who gathered them and the manner in which they were mobilized to various ends within the museum. From this integrated treatment of documentary and material sources, a more accurate, rounded and nuanced picture emerges of an institution that contributed in major ways, over a period of 80 years, to the representation of India for a European audience, not only in Britain but through the museum’s involvement in the international exposition movement to audiences on the continent and beyond.

The Oxford Handbook of the European Iron Age presents a broad overview of current understanding of the archaeology of Europe from 1000 BC through to the early historic periods, exploiting the large quantities of new evidence yielded by the upsurge in archaeological research and excavation on this period over the last thirty years. Three introductory chapters situate the reader in the times and the environments of Iron Age Europe. Fourteen regional chapters provide accessible syntheses of developments in different parts of the continent, from Ireland and Spain in the west to the borders with Asia in the east, from Scandinavia in the north to the Mediterranean shores in the south. Twenty-six thematic chapters examine different aspects of Iron Age archaeology in greater depth, from lifeways, economy, and complexity to identity, ritual, and expression. Among the many topics explored are agricultural systems, settlements, landscape monuments, iron smelting and forging, production of textiles, politics, demography, gender, migration, funerary practices, social and religious rituals, coinage and literacy, and art and design.

This book forms a final report on the underwater excavations I directed at Yassi Ada, Turkey, during the summers of 1961 through 1964 for the University Museum of the University of Pennsylvania. The excavation was the first to have been completed on the floor of the Mediterranean of a wreck with substantial hull remains. This pioneering work required the ingenuity, effort, and generosity of many people and institutions. The seventh- century ship was chosen for primary excavation not only for its lesser depth, which allowed longer working dives, but also because Throckmorton had uncovered traces of its timbers just beneath the sand and because it was more intelligible from the outset: a stack of concreted iron anchors, lying across the cargo at its upper end, suggested the forward part of the ship pointing up the slope, toward Yassi Ada, while a mass of broken terra-cotta tiles and cooking ware suggested the galley--and, presumably, the stern--at the deeper end of the site.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.