Divine and Demonic Imagery at Tor de'Specchi: Religious Women and Art in 15th-century Rome. By Suzanne M. Scanlan. Visual and Material Culture, 1300–1700. Amsterdam: Amsterdam University Press, 2018. 219 pp. 25 color plates and 57 black-and-white figures. $120.00 cloth.

2019 ◽  
Vol 88 (3) ◽  
pp. 821-823
Author(s):  
Diane Apostolos-Cappadona
Author(s):  
Cristina Dondi ◽  
Abhishek Dutta ◽  
Matilde Malaspina ◽  
Andrew Zisserman

A presentation of the 15cILLUSTRATION database and website, a searchable database of 15th-century printed illustrations developed by the 15cBOOKTRADE Project in collaboration with the Visual Geometry Group (VGG) at the Department of Engineering Science of the University of Oxford. 15cILLUSTRATION is the first comprehensive and systematic tool to track and investigate the production, use, circulation, and copying of woodblocks, iconographic subjects, artistic styles, within 15th-century printed illustrated editions. The paper illustrates the potential of the 15cILLUSTRATION website as a research support tool for art historians, book historians, philologists and historians of visual and material culture.


Author(s):  
Timothy K. Perttula

The Shelby site (41CP71) is an important Late Caddo period, Titus phase, religious and political center on Greasy Creek in the Northeast Texas Pineywoods. The site, occupied from the 15th century A.D. until at least the late 17th century A.D., is a large and well-preserved settlement with abundant habitation features as well as plant and animal remains, evidence of mound building activities in the form of a 1.5 m high structural mound, and a large community cemetery with at least 119 burial pits and perhaps as many as 200. The Shelby site is the nexus of one of a number of Titus phase political communities in the Big Cypress Creek stream basin. Nevertheless, very little is known archaeologically about the site—or the history of the Caddo’s settlement there—since almost all the work done at the site since it was discovered in 1979 has been by looters. Perttula and Nelson completed a limited amount of work in the village area in 2003, and Bob Turner and others worked in the 1.5 m high structural mound between 1985-1988, but an overall synthesis of the Caddo occupation at the Shelby site awaits more extensive professional archaeological investigations. One key step in any professional archaeological work that may be forthcoming at the site includes the documentation of Caddo material culture remains, especially Caddo ceramics, that are known to have come from the site, as they provide a record of the temporal, functional, and stylistic range of the ceramic vessels used and discarded at the site, as well as evidence of interaction and contact between different but contemporaneous Caddo groups. In August 2009, I had an opportunity to document a collection of Caddo ceramic sherds held by Vernon Holcomb from the Shelby site. He collected these sherds from the surface of the site some 25-30 years ago where they had been eroded out of the banks of a dry or intermittent stream branch that drains north to Greasy Creek.


Author(s):  
Pavlo Nechytaylo ◽  
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Olena Onohda ◽  
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...  

The paper analyses ceramics and buildings remains of the second half 13th – first half 15th centuries, coming from excavations in Kamianets-Podilskyi. It aims to introduce materials into scientific circulation, to compare the collection with synchronous objects from adjacent territories, to trace interactions in the material culture development in late medieval towns. Ceramics of the Golden Horde and the Grand Duchy of Lithuania times began to be systematically researched relatively recently in Ukraine. Thus, the materials from Kamianets-Podilskyi contribute to deepening our knowledge of less-known periods in the history of Ukraine and Eastern Europe. Materials analyzed were obtained during rescue archaeological research on the Polish Market square in Kamianets. These were fragmented parts of underground and aboveground building structures, as well as a collection of various household items. Building materials were mostly local clays and loam, less often wood and stone were used. A set of clay ‘roll’ blocks set in one of the pits allows us to assume similarity with the Golden Horde building technologies. Finds of coins and Crimean polychrome bowls fragments also indicate the complex emerged during the Golden Horde period. However, certain groups of pottery and coins of European minting define the complex upper date within the first half 15th century. Diverse ceramic types range from the complex is an interesting local typological phenomenon. It reflects mutual influences of the pottery traditions development both in time and space. After processing artefacts collection, the main groups of pottery were identified according to technological features. Some of them are rooted in the local ancient Rus’ traditions, others were formed under the influence of Western trends, while samples of a ‘specific’ group were common for almost the entire territory of modern Ukraine during Late Middle Ages. Pots collection was preliminary systematized up to 5 most common types selection, based on rim profiles. Many of them have a wide range of analogies, locally from Kamianets, as well as from the Western Ukraine, in Poland, Moldova and Romania. In addition to pots, the collection includes other types of kitchen and tableware, such as makitras, lids, jars and other single samples of ceramics. The typological diversity correlates with the multi-layered processes which took place in Kamianets-Podilskyi life during the Golden Horde and the Lithuanian periods. Materials from the complex, as well as other finds from synchronous objects within the city, deepen our understanding of the city’s development large-scale picture, which, however, requires further research.


2021 ◽  
pp. 1-16
Author(s):  
Candace Bailey

Locating women’s musical practices in the performance of gentility provides one path forward in reconciling archival evidence (binder’s volumes and other aspects of material culture that are often labeled ephemera) with existing music histories because gentility, unlike social status, belonged to no single group of people. Gentility crossed class boundaries and allowed black and white women to define or redefine their status during a time of great social change. The Introduction clarifies the use of the term gentility in this book and contextualizes its role in the performance of culture by amateur musicians in the parlor.


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