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Journal articles on the topic 'Tiles, medieval'
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1
Hansen, Birgit Als. "Medieval Floor-tiles in Denmark." Journal of the British Archaeological Association 153, no. 1 (2000): 93–101. http://dx.doi.org/10.1179/jba.2000.153.1.93.
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Goodall, John A. "English Medieval Armorial Tiles: An Ordinary." Journal of the British Archaeological Association 153, no. 1 (2000): 102–26. http://dx.doi.org/10.1179/jba.2000.153.1.102.
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Stopford, J., and Susan M. Wright. "A Group of Late Medieval Inscribed Tiles from Bordesley Abbey." Antiquaries Journal 78 (March 1998): 307–22. http://dx.doi.org/10.1017/s0003581500500092.
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A group of unusual, large, rectangular ceramic tiles excavated from the abbey church of Bordesley (Worcestershire) is presented. These tiles were handmade locally, using the sgraffiato technique, and have part of two inscriptions in English. The larger inscription, which combines Lombardie capitals with black letter, was commemorative. The stratigraphie context suggests that the tiles were originally laid in the retrochoir in the late fifteenth to early sixteenth century as part of a tiled setting over a grave. A review of examples of other special purpose tiles made using the sgraffiato technique illustrates the adaption of this technique for individual funerary memorials.
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Stopford, J., and Susan M. Wright. "A Group of Late Medieval Inscribed Tiles from Bordesley Abbey." Antiquaries Journal 78 (September 1998): 307–22. http://dx.doi.org/10.1017/s0003581500045005.
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A group of unusual, large, rectangular ceramic tiles excavated from the abbey church of Bordesley (Worcestershire) is presented. These tiles were handmade locally, using the sgraffiato technique, and have part of two inscriptions in English. The larger inscription, which combines Lombardie capitals with black letter, was commemorative. The stratigraphie context suggests that the tiles were originally laid in the retrochoir in the late fifteenth to early sixteenth century as part of a tiled setting over a grave. A review of examples of other special purpose tiles made using the sgraffiato technique illustrates the adaption of this technique for individual funerary memorials.
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Di Folco, John. "A survey of medieval floor tiles in St Andrews Cathedral Museum and the Abbot's House, Arbroath Abbey." Proceedings of the Society of Antiquaries of Scotland 115 (November 30, 1987): 289–95. http://dx.doi.org/10.9750/psas.115.289.295.
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The opportunity was afforded by chance finds of medieval floor tiles from St Andrews Cathedral and in the Abbot's House at Arbroath Abbey to re-examine some wider aspects of previous work on medieval floor tiles from Scottish ecclesiastical and secular sites. An attempt is made to suggest the extent of the tile pavement in St Andrews Cathedral and the dating and origin of the tiles in general. The limitations of the Cistercian evidence in southern Scotland is appraised. The methodology used to describe and classify the tiles is that recommended by the Medieval Tile Seminar held in Cambridge in 1978 and intended for use in the national census.
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Blair, Sheila. "A Medieval Persian Builder." Journal of the Society of Architectural Historians 45, no. 4 (1986): 389–95. http://dx.doi.org/10.2307/990209.
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Lacking many of the documentary and archival sources available to scholars of the medieval Western world, historians of Islamic architecture are forced to turn to another feature of architectural decoration to reconstruct the building tradition: the written word. A builder's signature on a set of luster tiles in the Metropolitan Museum of Art allows us to connect the set to an early-14th-century shrine complex in central Iran. Reading of another inscription on the tiles, hitherto unnoticed and containing a signature and date, allows us to reconstruct the building campaign at the site and to evaluate the position of builders and potters in Mongol society.
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Gruia, Ana Maria. "The Domestic Macabre: Devils and Violence on Medieval Tiles." Acta Musei Napocensis. Historica 57 (January 15, 2021): 175–96. http://dx.doi.org/10.54145/actamn.57.09.
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"The present paper analyzes the possible functions of medieval stove tile depictions consisting of violent scenes and images of devils and devilish monsters. The depictions on mold‑made stove tiles can be considered the first mass produced images before print and are thus valuable sources in the research of popular culture, especially in Central and Eastern Europe where print made a later appearance. The focus here is on macabre depictions of tiles (devilish monsters, scenes of deadly violence, demons, and afterlife torments). My hypothesis is that though ‘lighter’ than macabre scenes in other arts, such images on stove tiles might have played an apotropaic function, meant to repel or distract maleficent spirits that could cause people harm through stove malfunctions. Still, one cannot exclude the moralizing, instructive, and purely entertaining functions of such depictions."
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Harcourt, Jane. "The Medieval Floor-tiles of Cleeve Abbey, Somerset." Journal of the British Archaeological Association 153, no. 1 (2000): 30–70. http://dx.doi.org/10.1179/jba.2000.153.1.30.
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Rădulescu, Maria-Venera. "Cavalerul în turnir, temă iconografică redată pe cahle medievale din Muntenia." Cercetări Arheologice 31, no. 1 (2024): 261–70. http://dx.doi.org/10.46535/ca.31.1.17.
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The stove tiles from the 15th and 16th centuries discovered in some countries in Central Europe often approach, as decoration, the theme of the medieval knight. The archaeological research carried out on the territory of Romania brought to light a vast and diverse material related to this subject. The present study analyzes three stove tiles discovered in Muntenia - at Târgovişte and Curtea de Argeş, former princely courts and capitals of Wallachia, in the Middle Ages, pieces whose iconographic theme is “the knight in the tournament”. The specimens, chronologically dated between the end of the 14th century and the 16th century, stand out for the original character of the compositions.
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Moiseiev, D. A. "MEDIEVAL FLANGED TILES FROM THE SOUTH-WESTERN CRIMEA: PROBLEMS OF PRODUCTION LOCALIZATION, TYPOLOGY AND CHRONOLOGY." Archaeology and Early History of Ukraine 40, no. 3 (2021): 57–88. http://dx.doi.org/10.37445/adiu.2021.03.03.
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This text is about the problem of typology, localization of the producing and dating of medieval building ceramics (Flanged tiles) of the South-Western Crimea. The investigation of products of tile production centers in the South-Western Crimea allowed to systematize a large complex of archaeological sources. They came from various archeological sites that were located throughout the region. Technological and morphological typology allowed to arrange and dating all this complexes and different material in some cases with an accuracy of up to two decades. The unified technological and morphological description and typology of the material described development and evolution of tile production craft in the South-Western Crimea trough the Medieval time. Therefore, this work could be a variant of a unified field guide for medieval Flanged tiles from Crimean sites and a chronological chart for them.
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Anderson, Sue. "Medieval Floor and Roof Tiles from Melrose Abbey, Scottish Borders, and the ‘Westminster Tilers’." Medieval Archaeology 57, no. 1 (2013): 238–50. http://dx.doi.org/10.1179/0076609713z.00000000023.
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Kiseleva, Nadezhda A. "Subjects of the Medieval Pskov Churches’ Tiles in the Perception of their Contemporaries." Observatory of Culture 19, no. 4 (2022): 428–38. http://dx.doi.org/10.25281/2072-3156-2022-19-4-428-438.
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The article is devoted to the consideration of the subjects and artistic features of the architectural tiles placed on the Pskov Region’s Orthodox churches built in the 14th—17th centuries. The relevance of the article is determined by the increased interest in the history of the Pskov architectural school, the insufficient study, at the regional level, of medieval religious architecture in general and tile art in particular, which necessitated its in-depth study. The scientific novelty of the work lies in the classification and analogues identification of the subjects of the architectural tiles preserved on the walls of the medieval Orthodox churches in the Pskov Region, which is one of the earliest ancient Russian centers for the production of tiles. The article provides a detailed description of previously unpublished images of tiles from Pskov churches and highlights the peculiarities of their perception. By the nature of the images on the tiles, there are distinguished the following groups: geometric, floristic and ornithomorphic ornament, subject compositions. The most widespread in Pskov was floristic ornament, which includes images of grapes, cornflowers (carnations), flower rosettes, flowerpots with various types of flowers, herbal curls, “Flourishing Heart” and “Tree of Life” patterns, as well as ornithomorphic ornaments with images of peacock, turkey, nightingale and other birds. There is a single geometric triangular ornament on the porch tiles of the narthex of the Theotokos-Nativity Cathedral of the Snetogorsky Monastery (the church of the 14th century is included in the UNESCO World Heritage List, the porch is of the 17th century), and a subject composition of a horseman on the walls of the bell tower of the Peter and Paul Church of the former Sirotkin (Seredkin) Monastery of the 16th century. There are also unique tiles with a centaur on the Church of St. George from Vzvoz of the 15th century (included in the UNESCO World Heritage List). Made by Old Russian masters of tile art, the subjects reflect the Christian polysemous symbolism, the laconicism and generalization of the images, the harmonious composition and coloristics of the tiles. The visual perception of architectural tiles influences people, transmitting, in a symbolic form, the picture of the world, spiritual values and meanings of Russian culture from generation to generation.
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Baranova, Svetlana I. "Study on the Genesis of the Moscow Medieval Ceramic Tiles." Vestnik Tomskogo gosudarstvennogo universiteta. Istoriya, no. 4(42) (August 1, 2016): 53–60. http://dx.doi.org/10.17223/19988613/42/10.
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Petrică, Florin Gabriel. "Three medieval stove tiles from the Princiary Court of Târgoviste." Annales d'Université "Valahia" Târgovişte. Section d'Archéologie et d'Histoire 12, no. 2 (2010): 73–78. http://dx.doi.org/10.3406/valah.2010.1064.
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Haake, A., H. G. Strickhausen, and G. N. Strickhausen-Bode. "Applied symmetry - medieval floor tiles excavated at the Castle of Kronberg." Acta Crystallographica Section A Foundations of Crystallography 61, a1 (2005): c493. http://dx.doi.org/10.1107/s0108767305079638.
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Nabažaitė, R. "THE LATE MEDIEVAL VESSEL STOVE TILES IN THE TOPOGRAPHICAL CONTEXT OF KLAIPĖDA." Estonian Journal of Archaeology 18, no. 2 (2014): 102. http://dx.doi.org/10.3176/arch.2014.2.03.
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Пинкусова, Т. В. "Zoomorphic and anthropozoomorphic creatures on embossed stove tiles of the latter half of the 16th (?) - 18th century in the collection of the Russian Museum of Ethnography." Architectural archeology, no. 3 (February 12, 2023): 148–53. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-361-9.148-153.
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В статье представлены результаты рассмотрения изображений зооморфных и антро-позооморфных существ на изразцах второй половины XVI (?) - XVIII в., хранящихся в фондах этнографии русского народа Российского этнографического музея. В декоре рельефных полихромных и муравленых изразцов встречаются рельефные изображения разнообразных персонажей средневекового бестиария - реально существовавших, хорошо знакомых человеку того времени, и экзотических животных далеких стран, а также сверхъестественных созданий, включающих черты нескольких животных и человека The article provides outcomes of the a study of zoomorphic and anthropozoomorphic creatures as they appear on tiles made between the latter half of the 16th (?) and the 18th century and preserved among the Russian ethnography collections at the Russian Museum of Ethnography. The decor of the embossed polychrome and glazed tiles features a variety of embossed images of animals from medieval bestiaries - both real (well-known to people of the times) and exotic, as well as fantastic creatures combining human nature with physical traits of several animals.
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Staňková, Veronika. "Post-medieval oven tiles with allegoric decoration from the New Town of Prague." Staletá Praha 33, no. 1 (2017): 144–52. http://dx.doi.org/10.56112/sp.2017.1.06.
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STOPFORD, J., M. J. HUGHES, and M. N. LEESE. "A SCIENTIFIC STUDY OF MEDIEVAL TILES FROM BORDESLEY ABBEY, NEAR REDDITCH (HEREFORD AND WORCESTER)." Oxford Journal of Archaeology 10, no. 3 (1991): 349–60. http://dx.doi.org/10.1111/j.1468-0092.1991.tb00024.x.
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Stoyakin, M. A., and Park Kyujin. "Geophysical Studies at the Horogoru Fortified Settlement in South Korea." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 1 (2019): 95–102. http://dx.doi.org/10.17746/1563-0110.2019.47.1.095-102.
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The results of prospection studies at the medieval site Horogoru, in the Gyeonggi-do Province of South Korea, are described. Using ground-penetrating radar, the defense wall, built of tamped earth and masonry, was reconstructed. The analyses of GPR images and 3D-models of the wall were confi rmed and supplemented by archaeological excavations. Prospection studies in the central part of the site have enabled us to assess tentatively the thickness of the habitation layer and its preservation. Structures associated with various archaeological cultures were analyzed. The results of excavations demonstrated a relative reliability of GPR, which had revealed anomalies at various depths. However, an accurate and complete assessment of the outlines of most structures proved impossible, owing to repeated medieval rebuilding, peculiar accumulation processes, and modern disruption. The GPR analysis of the anomalies indicated several stages of habitation. Early features, dating to the Koguryo period (400–700 AD), include a reservoir and a well, and next to these, heaps of roof tiles. Late features, dating to the Koryo stage (1000–1200 AD), include seven buildings, a stone pavement, and pits with roof tiles. Overall, the results demonstrate the effi ciency of geophysical methods for the assessment of the site’s structure and of the preservation of its cultural layers.
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Kolářová, Mária, Alexandra Kloužková, Martina Kohoutková, Jaroslav Kloužek, and Pavla Dvořáková. "Degradation Processes of Medieval and Renaissance Glazed Ceramics." Materials 16, no. 1 (2022): 375. http://dx.doi.org/10.3390/ma16010375.
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Corrosion effects in deposit environments (soil, waste pit, etc.), together with the glaze adherence and fit, could cause severe deterioration accompanied by different types of defects or growth of corrosion products. The aim of this work was to identify the source of surface degradation of the lead-glazed ceramics sets from the Prague area from the Romanesque to the Renaissance period. A combination of X-ray fluorescence (XRF), X-ray diffraction (XRD), optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM/EDS), and simultaneous thermal analysis (STA) techniques along with stress state calculations was used to study the defects. Based on the interpretation of the possible sources of the observed defects, four types of degradation effects were schematically expressed for the archaeological samples. It was shown that the glazes were already appropriately chosen during the production of the Romanesque tiles and that their degradation occurred only due to long-term exposure to unsuitable environmental conditions.
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Ruiz-Ardanaz, Iván, Esther Lasheras, and Adrián Durán. "Mineralogical Characterization of Carreaux de Pavement from Northern Spain (Tiebas, Navarre)." Minerals 11, no. 2 (2021): 153. http://dx.doi.org/10.3390/min11020153.
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Several medieval tiles from Tiebas Castle in Navarre, classified as carreaux de pavement, were mineralogically analyzed. The aim was to add information to the very scarce analytical data available for carreaux de pavement in order to provide a quality primary work, mainly descriptive, in this topic. The characterization techniques applied were: optical microscopy (OM), colorimetry, Fourier transform infrared (FT-IR) spectroscopy, differential thermal analysis and thermogravimetry (DTA-TG), X-ray fluorescence (XRF) spectroscopy, petrographic microscopy (PM), X-ray diffraction (XRD), scanning electron microscopy coupled with energy dispersive X-ray spectroscopy (SEM-EDS). The tiles comprised three layers: a top glaze with mainly silicon and lead-based compounds; a thin layer of silicoaluminate (very possibly kaolinite) called engobe under it; and the pastes, composed of quartz, hematite, potassium feldspars and calcite. Honey glazes were richer in iron, being copper-based compounds responsible for dark green glazes. The orangish-reddish color of the pastes was provided by hematite. Although the tiles were found in three different locations within the castle, no significant differences were detected among them. The carreaux de pavement from Tiebas had similarities with that from the Bordeaux region. According to the composition data and thickness of tiles from other French carreaux de pavement, the Tiebas artifacts were dated to the 13th century.
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Demirci, Ş., E. N. Caner-Saltık, A. Türkmenoğlu, S. Özçilingir-Akgün, and Ö. Bakırer. "Raw Material Characteristics and Technological Properties of some Medieval Glazed Ceramics and Tiles in Anatolia." Key Engineering Materials 264-268 (May 2004): 2395–98. http://dx.doi.org/10.4028/www.scientific.net/kem.264-268.2395.
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Goodall, John A. "The Medieval Tiles of Wales. (Census of Medieval Tiles in Britain). By J M Lewis. 280mm. Pp ix + 274, ills. Cardiff: National Museums and Galleries of Wales, 1999. ISBN 0-7200046-0-8. Price not stated." Antiquaries Journal 80, no. 1 (2000): 360. http://dx.doi.org/10.1017/s0003581500050629.
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Pluskowski, Aleksander, Zbigniew Sawicki, Lisa-Marie Shillito, et al. "Biała Góra: the forgotten colony in the medieval Pomeranian-Prussian borderlands." Antiquity 88, no. 341 (2014): 863–82. http://dx.doi.org/10.1017/s0003598x00050742.
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Biała Góra 3 is a small settlement founded in the late twelfth or early thirteenth century AD in the disputed Christian borderlands of Northern Europe. The incorporation of Pomerania into the Polish state in the tenth century was followed by a process of colonisation across the lower Vistula valley, which then stalled before resuming in the thirteenth century under the Teutonic Order. Biała Góra 3 is unusual in falling between the two expansionist phases and provides detailed insight into the ethnicity and economy of this borderland community. Pottery and metalwork show strong links with both Pomeranian and German colonists, and caches of bricks and roof tiles indicate durable buildings of the kind associated with the monastic and military orders. Evidence for the presence of merchants suggests Biała Góra 3 was one of many outposts in the commercial network that shadowed the Crusades.
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Cox, Adrian, Linda Blanchard, Jonathan Burrows, et al. "Backland activities in medieval Perth: excavations at Meal Vennel and Scott Street." Proceedings of the Society of Antiquaries of Scotland 126 (November 30, 1997): 733–821. http://dx.doi.org/10.9750/psas.126.733.821.
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Two excavations within the medieval burgh provided the opportunity to investigate an early industrial zone on the western side of Meal Vennel and a relatively rich undeveloped area in the backlands of Scott Street. The artefact rich Meal Vennel excavation revealed evidence of a possible early western boundary of the town, timber and stone buildings and industrial activities including grain drying and iron smithing. Backland activities including sand quarrying, the digging of rubbish pits and dumping of midden, were investigated at Scott Street. A number of questions relating to the medieval development of Perth were addressed. `Excavations at Meal Vennel' by Richard Sermon & Adrian Cox (736--51), including: `The pottery' by Peter Cheer (753--9); a gold and sapphire ring and the copper alloy objects including dress fasteners/fittings and keys, a mount and fittings, needles, padlock components, pendants, pins, rivets, seal matrix, sheets and strips, thimbles and tweezers; lead alloy objects; iron objects including arrowheads, buckles, horse equipment, household ironwork, and knives are detailed along with a `Metallurgy of the knives' by Paul Harrison (776--7), locks and keys, structural ironwork, and tools; stone objects; bone and antler objects including perforated bones and horn cores, horn-working evidence, pins, antler offcuts; the glass including a bead, linen smoother(?) and window glass; `Coins and a jetton' by Nicholas Holmes (789--90); `The flint' by Jill Harden (790 & 791); ceramic roof tiles; industrial residues; `The leather' by Clare Thomas (792); `The animal bone' by Catherine Smith (792--4); and `Botanical remains' by Alan Fairweather (795). `Excavations at Scott Street' by Jonathan Burrows (795--801) is followed by the specialist reports from that site including: `The pottery' by Peter Cheer (801--4); copper alloy objects; lead alloy objects; iron objects; stone objects; the wooden cask; `Textiles' by Thea Gabra-Sanders (810--11); ceramic floor tiles; glass; clay pipes; `Coins' by Nicholas Holmes (812); `Mammal and bird bone' by Catherine Smith (812--13); `Botanical remains' by Alan Fairweather (813--14).
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Гасимзаде, Афган. "Construction Ceramics of Gabala XI-XIII Centuries." Grani 24, no. 7-8 (2021): 46–52. http://dx.doi.org/10.15421/172177.
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The article deals with the construction ceramics of Gabala in the XI-XIII centuries, including samples of tiles, bricks, tiles, pottery pipes and their main characteristics. Typological and analytical methods were used to study the samples found during the research, and the information and materials obtained from the archeological research reports were thoroughly analyzed by comparison.
 Construction ceramics has not been a separate field of research in the medieval city of Gabala, which has a special place in Azerbaijani historiography. Therefore, the relevance of the article is to determine the current state of construction ceramics for the period, the general level of development of the art of construction and the main characteristics.
 It is important to study the technology of making tiles used in the roofing of buildings, bricks used in masonry, tiles used to decorate the walls and pottery pipes used in the construction of water lines in the city, their shape and size.
 If we look at the shape of the tiles, most of the patterns have a protrusion in the middle. Bricks were widely used in construction because they were cheaper. The main raw material for making bricks was clay. The abundance of clay deposits in the ancient city of Gabala created ample conditions for the production of bricks here. It is noteworthy that during archeological excavations in Gabala in 2009, two bathrooms were discovered. One of the rooms was replaced by baked bricks and the other by pottery.
 In the XI-XIII centuries, tiles were widely used by craftsmen as a decorative material in construction. Tiles were mainly used in mosques, baths, palaces and other public buildings. Floral drawings were also made on the tiles of different colors. Such images gave a new shape to the appearance of the building.
 In Gabala, pottery was widely used in the construction ceramics of the time for the construction of water lines. The use of a potter's wheel by craftsmen in the manufacture of pottery and the perfect development of water pipes was a great achievement. When the pipeline was laid, the pipes were fastened to each other with lime mortar. The pottery pipes, one of which was inserted into the other, were durable and did not leak water.
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Györkös, Dorottya, Bernadett Bajnóczi, György Szakmány, Máté Szabó, and Mária Tóth. "Petrographic and XRD analysis of the ceramic body of late medieval besztercebánya/banská bystrica-type stove tiles." ArchéoSciences, no. 43 (December 31, 2019): 287–94. http://dx.doi.org/10.4000/archeosciences.7012.
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Pigarev, Evgeniy M., and Airat G. Sitdikov. "Architectural decoration of the mausoleum no. 1 of the khan necropolis nearby the village of Lapas in the Astrakhan region." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 2, no. 48 (2024): 154–74. http://dx.doi.org/10.24852/pa2024.2.48.154.174.
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This article continues a series of scientific works aimed at the study of the central mausoleum of the Khan necropolis nearby the village of Lapas in the Astrakhan region. It deals with one of the elements of architectural decoration – a tile-lintel, most often found and having a wide variety of types. The article examines the genesis of this type of tile and the ways of its appearance in the Lower Volga region. A wide range of analogies at the sites of medieval architecture of Central Asia is engaged. The authors made a technological analysis of this group of items, examined in detail all the types of revealed ornaments, and determined a scheme for recording the sizes of the findings. For the first time, a detailed typology has been developed for the tiles-lintels, including all the samples known on the site to date. In addition to architectural and artistic features, tiles-lintels have a chrono-marker function, allowing, together with other information sources, to date the construction time of the mausoleum.
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Schürr, Diether. "Wolfdietrichs Wurm." Amsterdamer Beiträge zur älteren Germanistik 83, no. 3 (2024): 333–42. http://dx.doi.org/10.1163/18756719-12340304.
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Abstract The MHG epic ‘Wolfdietrich’ and the ON ‘Thidreks saga’ contain an unlucky fight against a dragon: Wolfdietrich or Thidrek af Bern helps a lion against it, but the dragon takes the lion in its mouth and the knight in its tail and drags them to its cave. This very characteristic situation was depicted in medieval church art, at least three times: 1. on floor-tiles found in the monastery of Pilis (Hungary), including the sword broken into three pieces and three dragon cubs (13th century or roughly around 1300); 2. in the cloister of St. Michael at Hildesheim (Lower Saxony), together with a second dragon (1230/50); 3. on the richly decorated ‘Schottenportal’ of St. James at Regensburg (Bavaria), left side (second half of the 13th century). The last depiction is therefore older than the different versions of the MHG epic and the compilation of the ON saga, probably attesting that the unlucky dragon fight was already a part of a pre-literary ‘Wolfdietrich’.
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Gaimster, David R. M., and Mike Cowell. "Post-Medieval Ceramic Stove-tiles bearing the Royal Arms: Evidence for their Manufacture and Use in southern Britain." Archaeological Journal 145, no. 1 (1988): 314–43. http://dx.doi.org/10.1080/00665983.1988.11077854.
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Allan, John. "Medieval Floor Tiles of Northern England, Pattern and Purpose: Production between the Thirteenth and Sixteenth Centuries. By JenniferStopford." Archaeological Journal 162, no. 1 (2005): 348–49. http://dx.doi.org/10.1080/00665983.2005.11020647.
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Lübke, N., J. Mutterlose, N. Börste, and U. Kaplan. "A micropalaeontologically based provenance analysis of masonry and floor tiles from the medieval cathedral of Paderborn (northern Germany)." Archaeometry 60, no. 6 (2018): 1170–83. http://dx.doi.org/10.1111/arcm.12394.
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Fergusson, Peter. "Medieval Floor Tiles of Northern England. Pattern and Purpose: Production between the 13th and 16th Centuries. J. Stopford." Speculum 82, no. 3 (2007): 766–67. http://dx.doi.org/10.1017/s003871340001085x.
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Sulkowska-Tuszyńska, Krystyna. "KILKA UWAG O KOLORYSTYCE BAZYLIKI NORBERTANEK W STRZELNIE W XIII-XIV WIEKU." Slavia Antiqua. Rocznik poświęcony starożytnościom słowiańskim, no. 62 (November 8, 2021): 347–74. http://dx.doi.org/10.14746/sa.2021.62.15.
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The article sums up the reflections on the relics of medieval plaster and layers of paint on the walls, columns and pillars of the Norbertine nuns convent in Strzelno completed around the 2nd-3rd quarter of the 13th century. The relics of the polychromies observed by numerous enthusiasts of the Romanesque Strzelno and discovered during archaeological excavations were topped with the results of conservation-restoration works which uncovered the first figural polychromies in the chancel’s apse. Following verification of the dating of the colours of the church’s interior, an indication was made that in the 13th century, the colour red prevailed; in the 15th-16th centuries, the figural scenes of the apse sported many colours while the remaining part of the sacrum was brightened up with three-colour, geometric patterns. To complete the range of colours, floor tiles were added. Examples have been provided of specialist painting analyses. The entire arrangement has been compared with selected colourful medieval structures. References have been made to the symbolism of the colours used in the Middle Ages and thecontemporary, erroneous perception of Romanesque architecture as rustic, devoid of plaster and colours.
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Moisieiev, D. A. "THE BUILDING CERAMIC FROM THE EXCAVATIONS OF THE «CAVE TOWN» ESKI-KERMEN IN 1936—1937: THE CATALOGUE OF FINDS FROM THE FOUNDS OF THE BAKHCHYSARAI MUSEUM-PRESERVE." Archaeology and Early History of Ukraine 29, no. 4 (2018): 165–225. http://dx.doi.org/10.37445/adiu.2018.04.09.
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The article is about republication of the complex of the building ceramics from the excavations of the «cave town» Eski-Kermen. At the first time this complex was published in 1941 by N. I. Repnikov, who was the author of the excavations, and in the 1950 and 1979 by A. L. Yakobson. This researcher made the complex of roof tiles an important part of his medieval building ceramics investigation. The central peculiarity of these works was a special attention for the craft marks on the tiles and ignorance of common forms and ceramic paste of the tegulaes and imbrexes. Such approach led to serious mistakes in the tiles dating. The republication of this complex based on the modern methodology of roof tiles analysis is an important step for correction of these mistakes and for mainstreaming of its scientific significance. As a result roof tiles from the excavation of the Eski-Kermen were listed by the morphological and technological features and drawn with the accuracy. Instead of small-scale pictures of craft marks without the tegula background as in previous works, this publication presents pictures in scale 1 : 4, where the smallest details of the production were represented in full-size.
 This methodology showed its positive results in the work with the building ceramics from Eski-Kermen. There are three main branches of these results. At first, the work with the roof tiles from excavation of the Eski-Kermen in 1936—1937 showed mistakes in the pictures of the craft marks in the A. L. Yakobson works. One of the craft mark with the complex design was separated into the two parts, which were dated differently. At-second, some craft marks, which were absent in N. I. Repnikov and A. L. Yakobson works, were published for the first time. The craft mark with the ship and fantastic beast is the most significant of it. At-third, the tegulaes from the N. I. Repnikov excavations were dated according to the technological and morphological classification and by the findings some analogies from modern excavations. The chronology of tiles proposed in this work is demonstrated that the excavations on the Eski-Kermen in the 1936—1937 discovered stratigraphy contexts of the four periods: IX—X c., X — first half of the XIII c., the second half of the XIII c. and XIV c., which weren’t described by N. I. Repnikov.
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Tamarkin, Elisa. "The Chestnuts of Edwin Austin Abbey: History Painting and the Transference of Culture in Turn–of–the–Century America." Prospects 24 (October 1999): 417–47. http://dx.doi.org/10.1017/s0361233300000442.
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When edwin austin abbey, with eleven other artists and all the ritual of a new male order — round table, cob pipes, stone bottles of cider — founded the Tile Club in 1877, his sobriquet was “The Chestnut.” If not boating down the Erie Canal or on holiday in Easthampton, the men would make tiles for the home, ceramic wares of Shakespeare or rustics and florals, in the style of William Morris and his decorative arts. Twenty years before Charles Eliot Norton's Society of Arts and Crafts, such Tilers as Abbey, Augustus Saint–Gaudens, and Elihu Vedder would draw on the same crafts ideal, namely, an aesthetic for hard work and the “simple” productions of artisanal labor as an antidote to urban luxury. The club would find in guild fraternalism a weekly hobby, twelve men with sardines and crackers, noms de plume and seals, to revive a handicraft seen as both republican in its ethic and fashionably medieval. If modern life meant the enervation of Veblen's foppish and leisured class, the Tile Club was an authentically male pastime.
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Kristiansen, Ole. "Kakkelproduktion i Danmarks middelalder og renæssance." Kuml 57, no. 57 (2008): 245–85. http://dx.doi.org/10.7146/kuml.v57i57.24669.
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Tile production in the Danish Middle Ages and RenaissanceEveryday life in the Renaissance and Early Modern times has long been a neglected area in archaeology and much evidence has been lost. When the Department of Medieval Archaeology at the University of Aarhus, Moesgård added Renaissance Studies to the teaching curriculum in 2005, this provided an opportunity, together with new Danish museum legislation, to redress this situation.In the Renaissance, fundamental changes took place in housing, due in part to the introduction of the tile stove as a “bilægger”, i.e. a stove fed from an adjacent room. This provided an opportunity for the creation of a private, comfortable living room. In rural areas, however, the tile stove was also seen in direct association with a bread oven or as a smoke oven. Among the upper echelons of society – royalty, the Church and the aristocracy, with their strong links to European culture south of the Baltic – the tile stove became known as early as the 13th century. The earliest evidence of this is from the Cistercian Monastery at Sorø. Here, sherds have been found ofhandmoulded deep beaker-shaped vessel tiles. The outer surfaces of these were decorated with wavy lines and encircling grooves, as seen on typical 13th century Baltic-ware pottery from Zealand (fig. 1). When built into an oven, the decoration would not have been visible (fig. 2). From the episcopal/royal castles of Søborg and Gurre there are thrown, glazed beaker-shaped vessel tiles from the 14th century (fig. 3). The handmade, unglazed vessel tiles with a square rim from the royal castle ofVordingborg are broader and shallower (fig. 4); on some the base is rounded. Similar tiles were manufactured as late as the 19th century as “jydepotter”, i.e. black pots from Jutland (fig. 5). In the houses of wealthier citizens, such as Kragsnap’s House in Nykøbing Falster and Branda Huset in Helsingborg in Scania, there were stoves constructed of Late Gothic deep vessel tiles with specially formed openings (fig. 6). At the beginning of the 16th century, these developed into a green glazed, relatively shallow turned vessel tile with a reinforced rim, often with a flower or several concentric circles at the base. This type continued up into the 17th century (fig. 7). In terms of the skill needed in their firing and glazing, all these various vessel tiles were consistent with the abilities of a local potter and they are probably all of domestic origin, modelled on foreign examples.From Late Medieval times, there are imported concave panel and niche tiles, such as Den grønne sten fra Nielstrup and archaeological examples from Vridsløsemagle, Ribe and Gurre. Most of them carry a religious, Catholic message. However, two fragments of matrixes for concave panel tiles, dated to around 1500 and found in Aalborg, bear witness to an early production of moulded stove tiles in Denmark (fig. 8).With the Reformation, relations to Protestant Germany via Kings Christian III and Frederik II were strengthened. Danish students in Wittenberg and Greifswald and itinerant German craftsmen brought with them new furnishing traditions to Denmark. The tile stove became commonplace. The heyday of these stoves began around 1550 when domestic production became profitable. German potters settled in Denmark, bringing with them their moulds and their expertise, also as stove fitters. Production began of concave, quadrangular and rectangular panel tiles bearing images with a religious or political message. On the reverse they had a rumpe, a shallow funnel-shaped protrusion, which had an important function when fitting the tiles to form the stove.From around 1600, the tile stove was gradually replaced by the iron stove, although the latter did retain for some time an upper tower-like section clad in rectangular tiles. Initially, iron stoves were imported from Germany, but with the introduction of a Danish protectionist policy in the 1640s, production was started in Norway.Despite local production in the 16th century, imports of stove tiles and matrixes increased. Sometimes the origin of these can be determined on the basis of the ware; greyish-white Halle clay, for example, indicating Central Germany. Some polychrome stove tiles can be identified as imports from the Upper Weser area. No workshops producing polychrome stove tiles have been demonstrated in Denmark. Even though a workshop in Næstved was familiar with tin glaze and metallic-oxide colours, only polychrome floor tiles were produced there.Often the date of the stove tiles, or more correctly of the patrixes, can be determined on the basis of the motif and the graphic source on which it is modelled.For instance, the patrix for a matrix found in Copenhagen bearing the picture of HERSI HANS must have been carved after 1547, when he lost his title as Elector of Saxony, and prior to his death in 1554. On a stove tile modelled on a medal struck on his appointment in 1532 and attributed to Matthes Gebel, he is referred to as Johann Friedrich Kurfürst. Patrixes, and probably also most matrixes, were imported, but the origin of a patrix for the Fortuna stove tile from Næstved from 1585, attributed to Abel Schroder the Elder, is perhaps open to discussion (fig. 9). A patrix for a medallion tile from about 1550-80 from Århus (fig. 15), and patrix frames and a mould for patrix frames for arcade tiles from about 1600 from Flensburg (fig. 19), are the only definite indications we have oflocal production. Re-working of newly-made matrixes, pirate copies and potters’ botching also occurred (figs. 16, 17 and 21). On the basis of this, and inspired by Der Hafner from Jost Ammen’s Ständebuch (fig. 12), the author has experimented with the production of matrixes and stove tiles (figs. 10 and 11). Accounts are then given of seven localities where traces of stove-tile production have been found. Potters’ kilns have been excavated in Lund and Aalborg, (figs. 13 and 14). In Århus, there were layers containing rejects, kiln shelves and matrixes (fig. 15). In Næstved, deposits have been excavated containing rejects which include tiles bearing Fortuna and the West Zealand version of Judith (figs. 18.4 and 16). Clay pits backfilled with rejects from the workshop have also been discovered there. In Slagelse, an area has been excavated containing workshop refuse in the form of old or broken matrixes, reject stove tiles, kiln shelves and tools (figs. l7 and 18). In Flensburg, a potter’s workshop was excavated, revealing a great number of tiles, a few patrix frames and more than 90 matrixes, of which several are clear evidence of potters’ botching (figs. 19, 20 and 21). Impressions of matrixes from this workshop were used by the bell-caster Michel Bibler as ornamentation on bronze fonts for churches in Flensburg and Eckernförde (fig. 22). In Holbæk, layers containing rejects and matrixes from a potter’s workshop in the neighbourhood have been located. A rectangular stowe tile from 1611, showing the upper body of a lute-playing prince, was produced in a matrix trixwith a two-piece picture area. The upper part of this was used for a stove tile in Slagelse, but in a different frame (fig. 18.6). All the workshops investigated proved to belong to the second half of the 16th century, with the main weight of activity around 1600. From Køge, however, there are matrixes bearing the inscription 1662MB on the reverse. These indicate an active workshop there in the late 17th century, (fig. 23). Several of the workshops were located in association with a demolished ecclesiastical institution where the immediate area had apparently been assigned to workshops carrying out hazardous activities using fire, such as potteries and bell-casters. Finally, research results obtained over several years are presented and there is a discussion of the possibility of more detailed examination and recording to demonstrate the regionality of the individual stove-tile types and perhaps locate individual workshops. More recent scientific methods for the identification of clay types might make it possible to determine their provenance, which would be of crucial importance. Formal collaboration with countries south of and around the Baltic would probably be able to demonstrate trade routes and cultural links and the origin and distribution of stove tiles and matrixes. Closer collaboration between scientists, historians and archaeologists is strongly recommended.Ole KristiansenSlagelse
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Zeleneev, Yury A., Evgeniy M. Pigarev, Maxim V. Sivitskiy, Airat G. Sitdikov, and Maman K. Sarybaev. "Construction Materials of the Mausoleum No. 1 of the Khan Necropolis at Pos. Lapas (preliminary analysis)." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 46 (2023): 8–20. http://dx.doi.org/10.24852/pa2023.4.46.8.20.
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The authors present the latest information obtained during the archaeological research of the central mausoleum of the Golden Horde memorial complex, located near the village Lapas of the Astrakhan region. Within the scientific circle, the complex of mausoleums is associated with the burial place of the Juchid khans and representatives of the Golden Horde elite. The article gives a detailed description of the building material and architectural decoration used in the construction of the mausoleum. The analysis of the obtained samples of bricks and tiles allows us to propose their classification and typology based on the use of various materials and manufacturing techniques. The connection with architectural traditions and construction techniques of medieval Khorezm is traced. Based on the preliminary analysis, the prospects for further study of the construction technologies used in the creation of this unique architectural complex are outlined.
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Artemieva, N. G. "A Jurchen Temple at the Southern Ussuri Fortifi ed Site, in Primorye." Archaeology, Ethnology & Anthropology of Eurasia 51, no. 2 (2023): 85–92. http://dx.doi.org/10.17746/1563-0110.2023.51.2.085-092.
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The article outlines the fi ndings of excavations of a ritual building discovered at the Southern Ussuri fortifi ed site (Primorye Territory), identifi ed as the capital of the Xupin county of the Jurchen Jin Dynasty. Previously it was thought that the Southern Ussuri town was founded by the Balhae people and that during its early period it was the center of the Balhae district of Shuaibin, while the Jurchens appeared there later. However, our fi ndings suggest that the town belonged to the Jurchens from the beginning. Despite the high density of modern buildings on the territory of the medieval town, our study of what was left of the habitation deposits has allowed us to determine the architectural horizons and to associate them with specifi c historical periods. Based on the analysis of materials excavated from a building located on the upper architectural horizon, architectural features of a medieval building representing the Buddhist tradition were described: the colonnade, roof style, and sculptural representations of dragons, phoenixes, and Buddhist immortals. New decorative motifs on the tiles of the front and eaves of the roof were discovered, and new standards of building materials were identifi ed. The fi ndings suggest that the ritual structure dates to the 13th century— the second period of the Jurchen Eastern Xia State (1234–1276), preceding the Yuan Dynasty. Special architectural features revealed during the excavations of the upper architectural horizon are reliable indicators for assessing the age of other sites in Primorye.
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Ivanova, Blagovesta. "The colorful facade decorations of the secession style in Sofia. Sofia mineral baths and the recovering of missing elements." Facta universitatis - series: Architecture and Civil Engineering, no. 00 (2023): 21. http://dx.doi.org/10.2298/fuace230630021i.
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The report presents the national specific of the Secession style in the colourful ceramic decoration of some buildings in Sofia. The most representative between them are the church of St ?Nikolay Novi Sofiiski?, buildings of the Synodal Palace, the Central Mineral Baths, and the Higher Theological School at the Holy Synod, built and decorated between 1900 and 1922. They are the works of the architects Friedrich Gr?nanger, Yurdan Milanov and Petko Momchilov. The accent of the research is the ceramic decoration of the facades of the Central Mineral Baths in Sofia, by the project of Haralampi Tachev. The details of the types of ornaments are presented and analysed. The graphic designs for the restoration of the missing elements were considered. The impact of colour in the design of the facades is analysed. The peculiarities in the decoration and the connection of this style with the medieval elements, were examined. The connection of the facade solutions with the Bulgarian historical traditions of the early Middle Ages and Byzantium is explained through examples from Preslav, the capital of the First Bulgarian Kingdom. This way the coloured ceramic tiles of the facades of the Central Mineral Baths are represented as an expression of the Bulgarian medieval tradition in the Secession style in Sofia. The colour facade interpretations of the buildings in Vienna, Paris and Prague of that period are presented for comparison and demonstration of the national differences, decisions and tasks of the Secession style.
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Sánchez Ramos, S., F. Bosch Reig, J. V. Gimeno Adelantado, D. J. Yusá Marco, and A. Doménech Carbó. "Study and dating of medieval ceramic tiles by analysis of enamels with atomic absorption spectroscopy, X-ray fluorescence and electron probe microanalysis." Spectrochimica Acta Part B: Atomic Spectroscopy 57, no. 4 (2002): 689–700. http://dx.doi.org/10.1016/s0584-8547(01)00395-0.
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Teslenko, Iryna, and Liudmila Myronenko. "Ceramics of the Medieval Bilhorod: Excavation Materials of 1969, 1971." Arheologia, no. 2 (June 28, 2022): 128–52. http://dx.doi.org/10.15407/arheologia2022.02.128.
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In the focus of the study is pottery together with its archaeological context from the excavations of Bilhorod (Bilhorod-Dnistrovskyi, Odesa Oblast, Ukraine), led by S. D. Kryzhytskyi in 1969 and 1971. These are 17 items, 15 of which are stored in the Scientific Repository of the Institute of Archaeology of the NAS of Ukraine. They were found in a section of the medieval site north-east of the fortress walls in the area of one of the pottery workshops, set up on the ruins of a round antique tower. The previous researchers of medieval Bilhorod (S. Kryzhytskyi, A. Kravchenko, H. Bohuslavskyi and others) associated a thick medieval horizon outside the fortress, as well as on the area investigated in 1969 and 1971, with the “Golden Horde” stage in the history of the city, dating back to the turn of the 13th-14th – the 1370s. They identified three construction periods in its structure, correlated the earliest one with the functioning of the pottery kilns, and dated back not later than the beginning of the 14th century. However, a careful study of the excavated material allowed us determining stove tiles of Central European morphological types by the second half of the 15th century, among the main products of this pottery workshop. Therefore, firstly, the activities of the workshop cannot be dated earlier than the middle or second half of the 15th century. Secondly, this type of pottery was not inherent in the “Golden Horde” cultural tradition at all, and therefore cannot be associated with it. The dwellings and other objects on the ruins of the kilns were built even later. Thus, the remains of ceramic production, as well as subsequent construction, can be correlated only with the late stages of the “Moldavian” period of Bilhorod’s history, which lasted in general from the end of the 1370s to 1485, but not with the Golden Horde. Related ceramic finds, studied in the Scientific Funds of the Institute of Archaeology of the NAS of Ukraine, also refer mainly to the 15th century or to the last quarter of the 15th-16th centuries. The latter most likely marks the time of the destruction of buildings. At the same time, several finds from excavations in 1969 and 1971 (Dzhuchid coins, fragments of amphorae, and glazed pottery) indicate some anthropogenic activity at the site in the 14th century as well. However, they mostly do not have a clear context. Therefore, it is quite difficult to localize the stratified archaeological objects of this time through the data from the reports.
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Dyakova, Olga V., and Vladimir I. Dyakov. "THE POTTERY KILN OF THE PETROVKA-5 SETTLEMENT IN THE CONTEXT OF THE FAR EAST ARCHAEOLOGY." Ural Historical Journal 79, no. 2 (2023): 136–45. http://dx.doi.org/10.30759/1728-9718-2023-2(79)-136-145.
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In Primorye, a kiln for firing ceramic material was excavated at the Petrovka-5 monument near the town of Bolshoy Kamen. The furnace occupied the northeastern cape-shaped tip of the hollow slope. The height difference at its location was 1,35 m. The furnace was erected on a flat area paved with broken bricks and baked clay. The furnace had the shape of a truncated circle with a straight end wall on the south side and a furnace on the north. The dimensions of the structure at the base are 2 × 2,3 m, the long side is oriented Northwest–Southeast. The ceiling is made of arched masonry in the shape of a dome. Ceramic vessels and tiles were loaded into the firing chamber through the southern wall. The furnace and the firing chamber were connected by a channel. The walls of the furnace are laid with a horizontal masonry of rectangular bricks 15–20 cm long, 5–6 cm thick. Clay mortar was used as a bundle for laying bricks. By type, the oven belongs to the round one. In ancient times and in the Middle Ages, furnaces of this form were widely used in the North of China. Ceramics deposited in the firing chamber are represented by pots, vases, frying pan lids, tiles. The surface color of the vessels is gray, often specially blackened. The blackening of circular vessels is recorded on the handicraft ceramics of Yin, Wei, the culture of the Amur and Primorye Jurchens, on the monuments of the state of Eastern Xia. Modeling of vessels was carried out on a circle using a bottom-capacitive filling. In shape, the vessels do not find complete analogies among the ceramics of the medieval cultures of Primorye and the Amur region. The technical and technological characteristics of the vessels correspond to the handicraft production of the Far Eastern pottery province, dating back to the traditions of the Han era. Chinese archaeologists correlated the tile material with the periods of the Eastern Jin (317–420) and Eastern Wei (534–550) dynasties. According to radiocarbon analysis of coal from the fire-chamber of the furnace, the monument Petrovka-5 is dated 600–760.
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Lukomski, Yuriy. "ARCHITECTURAL AND ARCHAEOLOGICAL EXPLORATION AT THE STAROSTA CASTLE IN GALICIA." Current Issues in Research, Conservation and Restoration of Historic Fortifications 2023, no. 19 (2023): 6–30. http://dx.doi.org/10.23939/fortifications2023.19.006.
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The article introduces the materials of the architectural and archaeological cross-section of the defensive ditch of the Starostyn castle of the 14th - 18th centuries in the town of Halych, Ivano-Frankivsk region. The stratigraphy of the exploration trench is described in detail. Among the discovered immovable objects are a rampart embankment, a two-row palisade, the remains of an internal paving, the foundations of the defensive walls of a log-frame wooden and earthen structure, a stone wall with a drainage hole. The chronology of the archaeological complexes is based on relatively narrowly dated movable artefacts: sleeved crossbow arrowheads of the fourteenth and fifteenth centuries; bowl- and pot-shaped tiles of the fifteenth century; fragments of household ceramics, box tiles, and Gothic block bricks of the sixteenth century. Architectural details, building ceramics, iron and glass products of the seventeenth and eighteenth centuries; as well as materials of the nineteenth and twentieth centuries. Finds from the princely period of the eleventh and first half of the fourteenth century and the early Iron Age of the sixteenth century BC were found in a redeposited state. The study of Starostynskyi Castle in the historical aspect makes it possible to identify seven specific construction periods of late medieval and early modern fortifications in the stratigraphic column. On the basis of the results of architectural and archaeological research, a number of hypothetical reconstructions of the development of wooden, earthwork and stone fortifications of the southern spine of Starostyn castle were made. The analysis of stratigraphic sections and the general urban situation prompts the author to put forward a hypothesis about the possible location of the entrance to the castle in the fourteenth and fifteenth centuries. The archaeological reconnaissance crossing of the fortification line demonstrates a complex and still poorly understood history of the development of the Galician castle fortifications on the Dniester. It shows a promising prospect for both further thorough archaeological research and thoughtful preservation and use of the architectural and archaeological heritage of the unique complex in the future.
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Mastykova, Anna. "On the Finds of Metal Crosses at the Medieval Burial Ground of Gorzuvity (The Southern Coast of Crimea)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 64–80. http://dx.doi.org/10.15688/jvolsu4.2019.6.5.
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Introduction. In 2018, the Institute of Archaeology of the Russian Academy of Sciences conducted excavations of a burial ground (Artek, Gurzuf, Yalta district). The first researcher of this monument was A.L. Jacobson, and he discovered ten inventory-free graves. In 2018, more than twenty graves both with funeral inventory and non-inventory ones were discovered at the burial ground. Analysis and Results. Among the archaeological material, metal crosses from grave 7A deserve special attention. One is a bronze breast cross with a circular decor, the second one is an iron cross with a curved, elongated lower branch. The wire earrings, small metal bells-buttons, small glass beads found in the grave are known at many archaeological sites in a wide time range. Fragments of tiles from the burial belong to technological groups 1, 2, 4 that can be dated from the 8th to the 12th (13th?) centuries. The search for analogies and the comparative analysis make it impossible to unambiguously determine the time of the bronze cross. It can be dated only in a wide chronological range – the 6th – 11th centuries, not excluding the 12th century, the iron cross most likely dates to the 9th – 10th centuries. In the aggregate of items, burial 7A can be tentatively dated broadly from the 8th century to the 11th century. Perhaps, using natural science methods that are currently being conducted, we will be able to clarify the date of burial 7A. The particular interest of the considered subjects of the Christian cult lies precisely in their ordinary and standard nature; they demonstrate the uniformization of the Byzantine material culture in the very wide territory from Egypt to Crimea. The burial ground of Gorzuvity demonstrates the byzantinization of the local barbarian population both in the material culture and in the burial rite. The finds of crosses in burial 7A fit well into the Byzantine context and are another clear confirmation of the evolution and chronology of the spread of Christianity in Crimea.
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de Vingo, Paolo, Andrea Bruna, and Giovanni Battista Parodi. "The Roman and late antique site of Montessoro (Isola del Cantone – Genova): A case study of the wattle and daub construction technique." Acta Archaeologica Academiae Scientiarum Hungaricae 74, no. 1 (2023): 71–81. http://dx.doi.org/10.1556/072.2023.00005.
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AbstractArchaeological excavations at the site of Montessoro (660 m. a.sl.), carried out between 2009 and 2013 by the Department of Christian and Medieval Archaeology (University of Turin – Department of the Historical Studies) and currently under publication, have led to the large-scale exploration of a rural Apennine site which was inhabited between the first century BC and the fifth century AD. The late antique phase, which is the best-preserved, consists of five farm buildings made using a masonry base bound with clay, with an elevation in lathwork and a roof made of cover and pan tiles. The systematic study of almost 600 clay fragments, some of them large and mainly from the collapse levels caused by the fire in the granary, with negative impressions of plant material, has enabled considerable information to be obtained about the technique of wattle and daub used to construct the elevations: the morphology and arrangement of the wooden parts (horizontal and vertical), related to the woven lattice of the lathwork and the load-bearing structure, and the mixing and application of clay and plaster. This work, associated with a thorough analysis of the plentiful wood charcoal remains (carried out by Prof. Lanfredo Castelletti and Dr. Sila Motella – Museo Civico P. Giovio di Como), has yielded data about the choice and working of the plants and trees used for the construction of elevations and all the structural parts, enabling a fairly precise reconstruction of the buildings and the socio-economic and cultural context of the site.
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Tarasiuk, Maryna. "Dwelling of Volhynians at the End of XIV – the middle of the XVI century." Ethnic History of European Nations, no. 60 (2020): 7–12. http://dx.doi.org/10.17721/2518-1270.2020.60.01.
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The article discusses the kind of a typical house of the medieval Volhynian of the late XIV – middle XVI centuries. It is based on narrative and archaeological sources. The author explores the stages of building a house, material options and the help of craftsmen, external and internal appearance of the house, a variety of household utensils. It was found out that the family yard consisted mostly of living quarters, stables, farm pits and gardens. Wealthy townspeople placed baths in the yard, obtaining permission from the administration. The construction of the house was the business of the owner, who, in addition to the involvement of artisans, was himself a worker. An essential attribute of the dwelling was the furnace, which was decorated with tiles of geometric or floral ornament. Until the beginning of the sixteenth century, the living quarters were wooden, while the administrative and church buildings were made of stone. This was one of the causes of city fires that local authorities tried to fight, limiting candle light and hiring a city security guard. It is noted that in order to fill the houses, the market was filled with wide range of products from local manufactures, from shovels to variety of colored glasses, bowls and other kitchen essentials. It was proved that the home decoration was influenced by owner’s activities, his well-being and aesthetic preferences typical for the residents of the region. It was also determined that the dwellings of Volhynian were rich enough. In addition to that, the development of the city was monitored by the local authorities, which often abused its power.
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Clark, Charles W., and Melitta Weiss Adamson. "Food in Medieval Times." History Teacher 39, no. 2 (2006): 255. http://dx.doi.org/10.2307/30036773.
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Timmermans, Lucas, Eva B. Deerenberg, Gert-Jan Kleinrensink, Johan F. Lange, and Johannes Jeekel. "Medieval times in surgery." Surgery 152, no. 5 (2012): 939. http://dx.doi.org/10.1016/j.surg.2012.04.007.
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