Art Historical Approaches Research Articles

LET THERE BE IRONY: CULTURAL HISTORY AND MEDIA ARCHAEOLOGY IN PARALLEL LINES

Stephen Bann is well known as an art critic, art historian, cultural historian and museologist, but his writings have yet to be discovered from the point of view of media theory. This article applies Bann's proposal of an ‘ironical museum’ to a self‐reflective media culture, while at the same time establishing the difference between a media‐archaeological and an art‐historical approach, particularly in accounts of new media in the first half of the nineteenth century and in the present. To what extent was the historical imagination developed in the romantic period an effect of new media and new media technologies? It is argued that although the discourse of history has always depended on the media of its representation (verbal and visual), its character changed dramatically with the arrival of mechanical means for recording historical evidence. The ‘antiquarian’ method of archival investigation of the past, with its almost haptic taste for the mouldy, decaying fragment, is considered and compared to narrative aesthetics. A key question is considered from different disciplinary perspectives: can we speak of a cultural transition or a radical break with the emergence of photography? The essay concludes that what we learn from Stephen Bann's analyses is the significance of an ever‐alert awareness of the intricate relations between cultural and technological phenomena, a kind of media self‐irony which, apparently, was present in the past to antiquaries and historiographers, to painters, engravers and to creators of historical museums.

The arts of Antioch: art historical and scientific approaches to Roman mosaics and a catalogue of the Worcester Art Museum Antioch Collection

This book features the first comprehensive interdisciplinary study of the mosaics from Antioch, one of the four capitals of the Roman and Early Christian world. A follow-up to the critically acclaimed Antioch: The Lost Ancient City by Christine Kondoleon, this volume includes the latest scholarly and scientific discoveries that grew out of the Antioch exhibition. For the first time, the research of art historians and archaeologists is combined with that of conservators and scientists to shed new light on mosaic and glass workshops. The authors take an in-depth look at the Antioch excavations, which yielded a range of mosaics, sculpture, and glass- and metalwork spanning four centuries. They also explore the development of mosaic conservation in museums since the 1930s. Included are recent findings on mosaic materials, artistic techniques, glassmaking technology, stone quarries, workshops, trade, and patronage. An introduction by the director of the Worcester Art Museum outlines the history of the museum's involvement with the excavations of Antioch, and gives insight into several personalities who were key to the realization of the project. The catalogue section offers detailed information regarding the archaeological context, art historical significance, and technical study of over 150 objects, including the finest group of Roman and Early Byzantine mosaics in North America, and a chronological series of 106 coins from Antioch. With 400 photographs and illustrations, The Arts of Antioch provides a new basis for future scientific and art historical study. The contributors to the book include Paula Artal-Isbrand (Worcester Art Museum), Anna Gonosova (University of California, Irvine), Florent Heintz (Antiquities Department, Sotheby's), Rebecca Molholt (Columbia University), Richard Newman (Museum of Fine Arts, Boston), Antero Tammisto (Institutum Historicum Universitatis Helsingiensis), Cornelius Vermeule III (Museum of Fine Arts, Boston), James A. Welu (Worcester Art Museum), Anne Leinster Windham (Assumption College), and Mark T. Wypyski (Metropolitan Museum of Art).

Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey

Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th –16th century origin of the sculptures but also allowed a detailed technical characterization of the carversʼ basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.

Architecture in the United States, 1800–1850

American architectural history took a turn in the 1970s as historians introduced ideas borrowed from social and cultural history, anthropology, and archaeology. A discipline that had largely emphasized descriptive appreciation of high-style designs using art-historical methodology began to recognize social processes and the diversity of architectural producers and users. Women and immigrants of different ethnicities began taking center stage, and, as they did, new classes of buildings came under attention, such as ordinary houses, barns, service stations, and malls. The study of American architectural history became a serious contributor to understanding American social and cultural history. W. Barksdale Maynard's volume focuses on the early nineteenth century and celebrates Anglo-centric high-style art-historical approaches. The strengths of Maynard's book include its rich visual and narrative material, its intensity of detail, and its flawless standards of production. As Maynard notes, the early nineteenth century is less studied by architectural historians than the eighteenth...

Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey

Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th–16th century origin of the sculptures but also allowed a detailed technical characterization of the carvers' basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.

The bird illustrations in a thirteenth century Arab natural history

The thirteenth century Persian scholar Zakariyya al-Qazwini compiled a monumental encyclopaedia on natural history. The Munich manuscript, a copy of the encyclopaedia executed during the author's lifetime, is adorned with numerous coloured illustrations. Up to now a few of these have been analysed along stylistic lines, i.e.from a purely art historical point of view. Our aim instead is to understand the significance of the illustrations within the context of this particular manuscript. In this article we focus on the bird illustrations, taking a combined historical, ornithological and art historical approach. We first describe the general characteristics and technique of the miniatures, and then examine a selection in detail from an ornithologist's point of view. Finally, we explore possible sources and pictorial traditions that could have influenced the illustrator. We conclude that the illustrations are a pictorial counterpart to Qazwini's text, fitting the requirements of an encyclopaedia, which presents authoritative, up to date, scientific information in a well organised, concise and readily understandable form.

A Curatorial Dilemma: An Examination of Temporary Exhibitions Combining African and Egyptian Visual Culture

This paper considers how three exhibitions in the 1990s and 2000s displayed ancient Egyptian and African art together to form a more “holistic” art historical approach to the African continent. The effectiveness of these exhibitions will be examined, as will how this information can aid current scholars and curators in the future.

Innovations in Information Technology: Insights from Italian Renaissance Art

Information technologies help in defining historical eras. Innovations in information technology (IT) often lead to profound changes in social, cultural, and economic processes. Art historical approaches open up a realm of earlier forms of IT and provide productive fresh perspectives on technological innovations. Changes in image production during the Renaissance advanced possibilities for art to address or "hail" the viewer in more personal ways, implicating patrons and consumers alike within the artwork's system of meaning and value. Renaissance patrons successfully appropriated the form and symbols of religious art; contemporary corporations likewise appropriate cultural referent systems within marketing and image campaigns. By considering painting as an IT, we gain theoretical links between disparate yet interlinked cultural fields such as photography, art, marketing communications, and the Internet.

Archaeology and Art History: Common Ground for the New Millennium

ARCHAEOLOGY and art history are closely allied disciplines, particularly for the study of the medieval period. This paper seeks to compare and contrast archaeological with art historical approaches to medieval material culture in terms appropriate to an archaeological audience, much as Stanisław Tabaczyński examined the relationships between archaeology and history in the pages of this journal only a few years ago.1 Rather than emphasize the distinctions between archaeology and art history, an attempt is made to focus on where these two disciplines intersect and how art history at the cusp of the new millennium differs from what archaeologists on both sides of the Atlantic often assume. This seeks to bring recent changes in art historical methods and theory to the attention of medieval archaeologists, suggesting that interdisciplinary cooperation between archaeology and the humanistic disciplines, including art history, should be strengthened.

MEDIAEVAL POLYCHROME SCULPTURES IN AREZZO: HISTORY AND PAINTING TECHNIQUE

The analysis of the archival data enabled us to establish that of these five important interventions only those of 1620, 1796 and 1864-78 involved the polychrome sculptures. Another interesting aspect which emerged from the historical and aesthetic approach was the state of preservation of these sculptures in the first years of this century. At that time the polychromy was perfect and many elements of the sculptures, now lost, were described in detail: this confirmed the increase in the rate of stone decay associated with the atmospheric pollution typical of this century. The technical (restoration) and physicochemical investigation dealt with the stone materials, the 'patinas' of decay, the original pigments and binders, and possible superimposed restoration materials. The research was carried out using Fourier transform infrared spectroscopy (FTIR), X-ray diffractometry (XRD), scanning electron microscopy (SEM) coupled with energy dispersive absorption X-ray spectroscopy (EDAX), and optical microscopy. The stone materials for both the lunette and the Allegory of the Months were shown to be a local sandstone which Vasari called 'pietra serena' , except for the two sculptures The central portal of the church of Pieve di Santa Maria in Arezzo (Italy) is decorated with polychrome sculptures made of a local sandstone and of marble. These sculptures include a lunette representing the Madonna crowned between Angels (1216) and, sideways in the depth of the intrados, an Allegory of the Months (thirteenth century). Despite the fact that these sculptures are in the open, their polychromy appears fairly well preserved. Therefore the opportunity was offered to study the painting technique on stone in a genuinely interdisciplinary approach that involved historical, aesthetic, technical (restoration) and scientific considerations. The documentary and art-historical approach allowed us to identify past interventions from Vasari (1560) until more recently (nineteenth century). The attribution of the lunette is based on an autograph inscription on the architrave, now partially unreadable. In the book Vite del Vasari (1878 edition), we found information about a mould of the inscription where the date is clear: A.D. CC. XVI. MS. [mense] MADII. The same information is also found in Arezzo e dintorni by Pasqui and Viviani (1925) where the inscription is reported in full: the lunette was made in May 1216 by the sculptor Marchionne. The autograph inscription by Marchionne refers only to the lunette, in Byzantine style. Both the study and the restoration are still in progress and all the results will be published in a book on the subject. The historical study, which involved a detailed investigation of the archives, indicated that between 1560 and the present the following restoration treatments were carried out:

Impolite landscapes? The influence of local economic and cultural factors in garden history: a case study of tyne and wear

The study of garden history derives from roots planted firmly in art history. As it has matured as a subject it has gradually begun to look more broadly at what constitutes an historic landscape and make links with other disciplines of landscape study. This paper reports on a study of parks and gardens in the metropolitan county of Tyne and Wear. It argues that to understand the garden history of this area, traditionally unfashionable and essentially industrial, a restricted art historical approach is inadequate. An understanding of a complex web of economic and cultural factors is required. Issues which emerged in the research are explored through a series of themes based on site types.

:Raphael and France: The Artist as Paradigm and Symbol

From ancient Greece to Renaissance Italy to the Modern period, the classical ideal, with its elusive goal of perfecting nature, has held a tenacious grip on Western culture. Nowhere has its hold on the artistic imagination been more pervasive than in France between the seventeenth and nineteenth centuries. The art and life of Raphael formed the bedrock of the classical tradition in French art, yet no comprehensive study of Raphael's impact on the art theory, criticism, and practice of classicism exists. This book fills that gap. Transcending limited notions of artistic influence, the book demonstrates that Raphael had as much impact as a symbol as he did as a paradigm of the classical tradition. Focusing on French art and theory from the classical to the Romantic era, Raphael and France is part of the ongoing revision of views of that period which has been taking place for the last twenty years. The book demonstrates that the shifts from classical to Rococo to neoclassical aesthetics were not as abrupt or as all-encompassing as has been assumed. By tracing the continuity and transformation of the classical ideal, with Raphael's art and image as central paradigms, Rosenberg achieves a broader, more accurate, and comprehensive view of French artistic developments during this period. Rosenberg draws on careful readings of primary sources, including the correspondence and lectures of the French Academy, some of which are unpublished; most of the major theoretical treatises by French and foreign authors; and contemporary criticism and works of art. In the process, he strikes a methodological balance between traditional art-historical approaches and insights provided by more contemporary approaches, such as semiotics and post-structuralism. As the notion of isolated genius as the prime force in art has given way to a broader, more contextual view of art and history, interest in past traditions once regarded as outmoded or dead has grown tremendously. This book makes a timely contribution to this widening area of inquiry.

:Iconographic Research in English Renaissance Literature: A Critical Guide

A select and critical bibliography that focuses on an art-historical approach to the iconography of English Renaissance literature. It concerns literary scholarship that has been directly influenced by the theories, stylistic analyses, and iconographic discoveries of 20th-century art historians. In

Semiotic Elements in Academic Practices

James Elkins ends his article in the summer issue of Critical Inquiry on an enticing note: The incoherence of pictures begins here, with the admission that things are very strange indeed (James Elkins, Marks, Traces, Traits, Contours, Orli, and Splendores: Nonsemiotic Elements in Pictures, Critical Inquiry 21 [Summer 1995]: 860). This attention to incoherence, and an interest in strangeness, indeed, strangeness as a primary heuristic tool, was the leading principle of my book Reading Rembrandt, which advocated an approach to images as well as texts that would take vision and textuality as semiotic modes rather than ontological media. l It would make sense to feel that this was a congenial essay with which I could productively engage since, I expected, it would productively engage with my work. In the chapter Recognition: Reading Icons, Seeing Stories of that book, I discuss the art historical approach par excellence, iconography, and try to negotiate the disciplinary boundaries between art history and, say, a more semiotic approach to images by giving iconography maximal

The Elusive Quest for the 'Real Thing': The Chicago Lectionary Project Thirty Years on

The methods developed by New Testament scholars at the University of Chicago in the 1930s, 40s and 50s to study the text of the Byzantine lectionary deserve to be examined critically by art historians, for they played a formative role in our own discipline. Kurt Weitzmann knew the Chicago Lectionary Project well, and its methods shaped fundamentally his own art historical approach to the illuminated Byzantine lectionaries. Bound to shared premises, his interpretation of the lectionary also shared many of the Chicago project's fatal shortcomings, above all a focus on hypothetical original sources rather than on the existing Byzantine books themselves, a narrow and biased selection of evidence, and an almost total neglect of the use and reception of the texts under examination. Abandoned by textual scholars, the Chicago project ground to an inconspicuous end in the 1960s; art historians, on the other hand, continue uncritically to lean on Weitzmann's methods and conclusions. This article reviews the history of the Chicago project. It then suggests ways by which art historians might follow the textual historians out of the dead ends of its methods, into a more fruitful exploration of the Byzantine lectionary and its sometimes ravishing illumination.

African vodun: art, psychology, and power

Beads, bones, rags, straw, leather, pottery, fur, feathers and blood - these are the raw materials of vodun artworks. As objects of fury and force, these works are intended to protect and empower people and cultures that have long been oppressed. In this major study Suzanne Preston Blier examines the artworks of the contemporary vodun cultures of southern Benin and Togo in West Africa as well as the related voudou traditions of Haiti, New Orleans, and historic Salem, Massachusetts. Blier employs a variety of theoretical psychological, anthropological, and art historical approaches to explore the contrasts inherent in the vodun arts - commoners versus royalty, popular versus elite, low art versus high. She examines the relation between art and the slave trade, the psychological dynamics of artistic expression, the significance of the body in sculptural expression, and indigenous perceptions of the psyche. Throughout, Blier seeks to pushe African art history to a new height of cultural awareness that recognizes the complexity of traditional African societies as it acknowledges the role of social power in shaping aesthetics and meaning generally. This book should be of critical interest not only to those concerned with African, African American, and Caribbean art, but also to anthropologists, African diaspora scholars, students of comparative religion and comparative psychology.

The Monuments That Stood before Marathon: Tomb Cult and Hero Cult in Archaic Attica

This paper seeks to relate the form of the Marathon tumulus to both tomb and cult as practiced in Attica in the Archaic period. Distinctions are made among various archaeological manifestations of cult and between two senses of the term heros in Archaic Greece. named warrior heroes of the epic tradition are to be distinguished from the anonymous heroes whose cult was often located in or over Bronze Age tombs. popularity or prevalence of various kinds of and tomb cult can be shown to change considerably between the eighth and early fifth centuries B.C., partly in response to political change. genealogy of the Marathon tumulus can be traced back to the seventhand early sixth-century aristocratic funerary complexes with tumulus, central cremation, and offering trench. Such practices seem to be a deliberate evocation of those described in the Iliad. This fact considerably alters our interpretation of the Marathon tumulus, which can now be seen as an example of the appropriation of aristocratic values and symbols to serve the needs of the new democracy.* tumulus at Marathon is not one of the major architectural achievements of fifth-century Athens. To some, therefore, it may seem a perverse choice for an exercise in art-historical explanation.' But, though simple in form, this monument is not at all easy to explain. It is a monument that looks both forward to the full democracy of the late fifth century, and backward to the world of the Archaic aristocracy. It echoes in its design features of much earlier monuments, but, at the same time, anticipates forms of public commemoration that were to become current by the time of Pericles. Its role too is ambiguous, since it served to commemorate a battle, as a place of burial, and, in later times, as the locus of hero cult. cult is a complex issue, one too often treated simply as an aspect of Greek religion.2 This approach is clearly inappropriate in our case: the Marathon tumulus, no less than the Cenotaph in London, or the Vietnam Memorial in Washington, D.C., is primarily a political monument, one intimately connected with collective Athenian identity and self-esteem. As such, its genealogy, its relation to earlier and later forms of commemoration, burial, and tomb and cult, is a matter of some importance. Burials and cults have been popular topics in many recent discussions of early Greece. Many scholars have tried to link changes in mortuary practice * This is a revised version of a paper I gave at Corpus Christi College, Oxford in October 1991. I would like to thank everyone who contributed to the discussion that followed, in particular Christiane Sorvinou-Inwood and Robin Osborne. For permission to reproduce illustrations, I am grateful to the Deutsches Archaologisches Institut in Athens and the American School of Classical Studies at Athens, Agora Excavations. I would also like to thank Anthony Snodgrass, Nick Fisher, Hans Van Wees, Ian Morris, Sanne Houby-Nielsen, Francois de Polignac, Carla Antonaccio, and one anonymous referee of AJA for comments on earlier drafts of this paper, and Robin Osborne for encouraging me to publish it. They are, of course, not to be held accountable for any remaining mistakes, omissions, or errors of tact and judgment. following abbreviations are used: Antonaccio C.M. Antonaccio, Archaeology of Greek Hero (Diss. Princeton Univ. 1987). Clairmont C.W. Clairmont, Patrios Nomos: Public Burial in Athens during the Fifth and Fourth Centuries B.C. (BAR-IS 161, Oxford 1983). Coldstream J.N. Coldstream, Hero Cults in the Age of Homer,JHS 96 (1976) 8-17. Jeffery L.H. Jeffery, Local Scripts of Archaic Greece2 (Oxford 1990). Kearns E. Kearns, Heroes of Attica (BICS Suppl. 57, London 1989). Morris I. Morris, Burial and Ancient Society: Rise of the Greek City-State (New Studies in Archaeology, Cambridge 1987). Shapiro H.A. Shapiro, Art and Cult under the Tyrants in Athens (Mainz 1989). Stupperich R. Stupperich, Staatsbegrdbnis und Privatgrabmal im klassischen Athen (Diss. Westfailische Wilhelms-Universitit, Miinster 1977). Whitley A.J.M. Whitley, Early States and Cults: A Re-appraisal,JHS 108 (1988) 173-82. ' For explaining historical artifacts, see in particular M. Baxandall, Patterns and Intentions: On the Historical Explanation of Pictures (New Haven 1984); and most recently J. Whitley, The Explanation of Form: Towards a Reconciliation of Archaeological and Art-Historical Approaches, Hephaistos 11/12 (1992-1993) 7-33. 2 This is the approach adopted by, among others, A.D. Nock, The Cult of Heroes, HThR 37 (1944) 141-74; and L.R. Farnell, Greek Cults and Ideas of Immortality (Oxford 1921). 213 American Journal of Archaeology 98 (1994) 2 13-30 214 JAMES WHITLEY [AJA 98

America and the Daguerreotype ed. by John Wood, and: The Daguerreotype: Nineteenth-Century Technology and Modern Science by M. Susan Barger, William B. White

TECHNOLOGY AND CULTURE Book Reviews 425 lack of historical grounding is most troublesome during the lengthy section on the Erie Canal. Seelye does not acknowledge that, even before this canal opened, New York had used the auction system and good transatlantic shipments to overtake Philadelphia, Boston, and Baltimore in the quest for commercial supremacy. Certainly the opening ofthe Erie Canal strengthened the position of New York, but it was hardly the sole reason for its rank. In addition, some of the omissions are striking, particularly the shortage of material on the Southern canals. Except for the Potomac River, this region is almost completely ignored, especially with regard to steamboats and canals. In the bibliographic essay, Seelye states that he purposely chose to avoid footnotes, as he considers them disruptive to the flow of the story. Although he does refer the reader to the longer bibliographic essay from Prophetic Waters, all in all, this is an unfortunate omission. The lack of secondary material can leave the reader stranded, unable to tell whether Seelye has boldly rejected historical and technological literature or whether he is blissfully unaware of works by Drew McCoy, Sean Wilentz, Ronald Shaw, and others. In spite of these problems, there is much to recommend about this book, particularly the masterful blending of literature, art, and history with some engineering developments. Seelye reminds us ofthe close links between the fine and practical arts in the 19th century. He also reminds us in a bold fashion ofthe importance ofrivers in American development, economic and social. In his own way, he has produced an intriguing work, a cross between literary and transportation history. Although parts of it are simplistic, and the main themes get obscured, Seelye approached the topic from a unique angle, and offers an exciting, ifnot totally satisfying, version of rivers in American history. Frances Robb Dr. Robb is a historian with the Historic American Engineering Record, Mononga­ hela River Project, Homestead, Pennsylvania. Her research focuses on the development of transportation systems in the Potomac River Valley and western Pennsylvania. America and the Daguerreotype. Edited by John Wood. Iowa City: University of Iowa Press, 1991. Pp xii + 273; illustrations, notes, bibliography. $65.00. The Daguerreotype: Nineteenth-Century Technology and Modern Science. By M. Susan Barger and William B. White. Washington, D.C.: Smith­ sonian Institution Press, 1991. Ppxvi + 252; illustrations, tables, notes, bibliography, indexes. $60.00. America and the Daguerreotype, edited by John Wood, and The Daguerreotype: Nineteenth-Century Technology and Modern Science, by Susan Barger and William White, are the latest scholarly studies of the daguerreotype process. The daguerreotype was the first popular 426 Book Reviews TECHNOLOGY AND CULTURE form of photography, announced by the French science impresario François Arago in 1839. Both books are filled with beautifully reproduced photographs, and the Wood book with its 56 pages of plates might win itself a spot on a few coffee tables. Comparing these two daguerreotype history works is difficult, as their raisons d’être are totally different. The Wood book takes the traditional art historical approach to photohistory, analytical and esoteric without much in the way of primary historical evidence, while the Barger and White volume strikes out in a much different, somewhat less popular, direction, the history of science. There is one commonality that can be observed: along with most other photohis­ tory works, these are niche books. They are focused on one small aspect of photohistory with little to say to scholars outside the field. America and the Daguerreotype has offerings from eight authors. Despite the chaff from some mediocre contributions, it contains several interesting essays. An insightful article by Brooks Johnson has intriguing thoughts on occupational daguerreotypes. He argues that occupational imagery was popular because the photograph acted as a conversation piece in the Victorian parlor. This is an interesting notion and a modification of the usual concept that republican values and personal identification through occupation encouraged people to have themselves photographed with the tools of their trades. The only fault here is the lack of mention of the existing literature on occupational imagery. Johnson’s argument would be much stronger if made within the larger framework of the traditional explanation of this type of...

Elemental Characterization of Medieval Limestone Sculpture from Parisian and Burgundian Sources

The compositional patterns of limestone from quarries beneath the city of Paris, France, and of Romanesque sculpture from the Paris basin and Burgundy were characterized by neutron activation analysis and multivariate statistics. Stone from three locations in the Lutetian limestone formations of Paris is found to be consistent and significantly different from Burgundian limestone.Elemental analysis is combined with traditional art-historical approaches to solve problems of grouping sculptural fragments, assigning places of origin, and establishing authenticity.

Mind in Matter: An Introduction to Material Culture Theory and Method

Mind in Matter: An Introduction to Material Culture Theory and Method