Stamped Amphora Handles Found in 1931-1932
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The Mysteries of the Baratti Amphora
ISSN: 2687-8402 DOI: 10.33552/OAJAA.2019.01.000512 Open Access Journal of Archaeology and Anthropology Research Article Copyright © All rights are reserved by Vincenzo Palleschi The Mysteries of the Baratti Amphora Claudio Arias1, Stefano Pagnotta2, Beatrice Campanella2, Francesco Poggialini2, Stefano Legnaioli2, Vincenzo Palleschi2* and Cinzia Murolo3 1Retired Professor of Archaeometry, University of Pisa, Italy 2Institute of Chemistry of Organometallic Compounds, CNR Research Area, Pisa, Italy 3Curator at Museo Archeologico del Territorio di Populonia, Piazza Cittadella, Piombino, Italy *Corresponding author: Vincenzo Palleschi, Institute of Chemistry of Organometallic Received Date: April 22, 2019 Compounds, CNR Research Area, Pisa, Italy. Published Date: May 08, 2019 Abstract Since its discovery, very few certain information has been drawn about its history, provenience and destination. Previous archaeometric studies and the iconographyThe Baratti ofAmphora the vase is might a magnificent suggest asilver late antique vase, casually realization, recovered possibly in 1968 in an from Oriental the seaworkshop in front (Antioch). of the Baratti A recent harbor, study, in Southern performed Tuscany. by the National Research Council of Pisa in collaboration with the Populonia Territory Archaeological Museum, in Piombino, has led to a detailed study of the Amphora, both from a morphological point of view through the photogrammetric reconstruction of a high-resolution 3D model, and from the point of view of the analysis of the constituent -
How to Make a Smell Training Kit July 3 2019
Some frequently asked questions Q. How much oil do I need in the jar? A. You only need enough to saturate the paper disc. Any more than that is just a waste of the oil. Q. I can’t smell anything! Have I done it wrong? A. Probably not. If you’ve followed the directions, your jars should be plenty “smelly”. The saturated disc, kept in the closed space with the cap on the jar, creates a really strong smell. If you are not smelling it now, give it time. Q. Can I put my nose all the way into the jar? A. That is not recommended. Keep the tip of your nose out of the jar. Q. What if I want to reuse the jar, but with different oils? A. You can do this, but you need to give the jars a really Smell Training Kits good clean with hot water and soap. Let them dry thoroughly. The lid will smell like the previous oil (not great, but you could improvise and remove the inside of the cap, which is made of white, plastic coated paper). Then cut yourself some new watercolour paper discs and make up the new jars. How to make your own Q. Can I use cotton pads inside the jars? A. Cotton pads are not recommended. They make a great place for bacteria to collect. Watercolour paper is absorbent, but does not harbour bacteria. Contact details E: [email protected] • W: abscent.org © AbScent is a charity registered in England and Wales No. 1183468• • Registered Office: 14 London Street, Andover, Hampshire SP10 2PA © AbScent 2019 Making your own kit is easy Just follow these simple steps. -
Aspects of Ancient Greek Trade Re-Evaluated with Amphora DNA Evidence
Journal of Archaeological Science 39 (2012) 389e398 Contents lists available at SciVerse ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas Aspects of ancient Greek trade re-evaluated with amphora DNA evidence Brendan P. Foley a,*, Maria C. Hansson b,c, Dimitris P. Kourkoumelis d, Theotokis A. Theodoulou d a Department of Applied Ocean Physics and Engineering, Woods Hole Oceanographic Institution, Woods Hole, MA 02543, USA b Center for Environmental and Climate Research (CEC), Lund University, 22362 Lund, Sweden c Department of Biology, Lund University, Ecology Building, 22362 Lund, Sweden d Hellenic Ministry of Culture, Ephorate of Underwater Antiquities, Athens, Greece article info abstract Article history: Ancient DNA trapped in the matrices of ceramic transport jars from Mediterranean shipwrecks can reveal Received 29 March 2011 the goods traded in the earliest markets. Scholars generally assume that the amphora cargoes of 5the3rd Received in revised form century B.C. Greek shipwrecks contained wine, or to a much lesser extent olive oil. Remnant DNA inside 19 September 2011 empty amphoras allows us to test that assumption. We show that short w100 nucleotides of ancient DNA Accepted 23 September 2011 can be isolated and analyzed from inside the empty jars from either small amounts of physical scrapings or material captured with non-destructive swabs. Our study material is previously inaccessible Classical/ Keywords: Hellenistic Greek shipwreck amphoras archived at the Ministry of Culture and Tourism Ephorate of Greece Amphora Underwater Antiquities in Athens, Greece. Collected DNA samples reveal various combinations of olive, Ancient DNA grape, Lamiaceae herbs (mint, rosemary, thyme, oregano, sage), juniper, and terebinth/mastic (genus Shipwreck Pistacia). -
Ancient Greek Vessels Pattern and Image
ANCIENT GREEK VESSELS PATTERN AND IMAGE 1 ACKNOWLEDGMENTS It is my pleasure to acknowledge the many individuals who helped make this exhibition possible. As the first collaboration between The Trout Gallery at Dickinson College and Bryn Mawr and Wilson Colleges, we hope that this exhibition sets a precedent of excellence and substance for future collaborations of this sort. At Wilson College, Robert K. Dickson, Associate Professor of Fine Art and Leigh Rupinski, College Archivist, enthusiasti- cally supported loaning the ancient Cypriot vessels seen here from the Barron Blewett Hunnicutt Classics ANCIENT Gallery/Collection. Emily Stanton, an Art History Major, Wilson ’15, prepared all of the vessels for our initial selection and compiled all existing documentation on them. At Bryn Mawr, Brian Wallace, Curator and Academic Liaison for Art and Artifacts, went out of his way to accommodate our request to borrow several ancient Greek GREEK VESSELS vessels at the same time that they were organizing their own exhibition of works from the same collection. Marianne Weldon, Collections Manager for Special Collections, deserves special thanks for not only preparing PATTERN AND IMAGE the objects for us to study and select, but also for providing images, procuring new images, seeing to the docu- mentation and transport of the works from Bryn Mawr to Carlisle, and for assisting with the installation. She has been meticulous in overseeing all issues related to the loan and exhibition, for which we are grateful. At The Trout Gallery, Phil Earenfight, Director and Associate Professor of Art History, has supported every idea and With works from the initiative that we have proposed with enthusiasm and financial assistance, without which this exhibition would not have materialized. -
Landmarks Guide for Older Children
Landmarks Guide for Older Children Bryan Hunt American, born 1947 Amphora 1982 Bronze Subject: History Activity: Create a museum display for an object you use everyday Materials: An object from your home, pencil, and paper Vocabulary: Amphora, nonfunctional, obsolete, vessel Introduction An amphora is a type of clay vase with two handles that was used in ancient Greece. Thousands of years ago, these vessels served many purposes: They were used to store food, water, and wine. The vessels were often painted with figures that told stories about history and the gods. A person living in ancient Greece would sometimes have the same amphora throughout their lifetime. The Greeks did not have many other means for storing or transporting food and liquids, so amphorae were very important to them. These vessels, which were once a part of everyday life for the Greeks, are now kept in museums, where we can see them and learn about the people who used them. We no longer use large clay vessels like amphorae for our everyday needs. We use other types of containers instead. In making this sculpture, the artist was interested in exploring how the amphora and our ideas about it have changed over time. Notice that Hunt’s amphora is made of metal instead of clay; in other words, it is nonfunctional, and very different from a traditional Greek amphora. Questions What types of containers do we use What can these objects tell us about the today instead of amphorae? past and the people that lived then? Can you think of any other objects that What happens to objects when they were very useful to people in the past but are no longer useful to us? that are no longer useful to us today? Bryan Hunt, continued Activity Choose an object from your home that you use everyday. -
Teachers' Pay in Ancient Greece
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers from the University Studies series (The University of Nebraska) University Studies of the University of Nebraska 5-1942 Teachers' Pay In Ancient Greece Clarence A. Forbes Follow this and additional works at: https://digitalcommons.unl.edu/univstudiespapers Part of the Arts and Humanities Commons This Article is brought to you for free and open access by the University Studies of the University of Nebraska at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers from the University Studies series (The University of Nebraska) by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Teachers' Pay In Ancient Greece * * * * * CLARENCE A. FORBES UNIVERSITY OF NEBRASKA STUDIES Ma y 1942 STUDIES IN THE HUMANITIES NO.2 Note to Cataloger UNDER a new plan the volume number as well as the copy number of the University of Nebraska Studies was discontinued and only the numbering of the subseries carried on, distinguished by the month and the year of pu blica tion. Thus the present paper continues the subseries "Studies in the Humanities" begun with "University of Nebraska Studies, Volume 41, Number 2, August 1941." The other subseries of the University of Nebraska Studies, "Studies in Science and Technology," and "Studies in Social Science," are continued according to the above plan. Publications in all three subseries will be supplied to recipients of the "University Studies" series. Corre spondence and orders should be addressed to the Uni versity Editor, University of Nebraska, Lincoln. University of Nebraska Studies May 1942 TEACHERS' PAY IN ANCIENT GREECE * * * CLARENCE A. -
THE EPONYMOUS OFFICIALS of GREEK CITIES: I Aus: Zeitschrift Für Papyrologie Und Epigraphik 83 (1990) 249–288
ROBERT K. SHERK THE EPONYMOUS OFFICIALS OF GREEK CITIES: I aus: Zeitschrift für Papyrologie und Epigraphik 83 (1990) 249–288 © Dr. Rudolf Habelt GmbH, Bonn 249 The Eponymous Officials of Greek Cities: I (A) Introduction The eponymous official or magistrate after whom the year was named in Greek cities or as- sociations is well known to all epigraphists under various titles: archon, prytanis, stephanepho- ros, priest, etc. Some details about them have appeared in many articles and in scattered pas- sages of scholarly books. However, not since the publication of Clemens Gnaedinger, De Graecorum magistratibus eponymis quaestiones epigraphicae selectae (Diss. Strassburg 1892) has there been a treatment of the subject as a whole, although the growth of the material in this regard has been enormous.1 What is missing, however, is an attempt to bring the material up to date in a comprehensive survey covering the whole Greek world, at least as far as possible. The present article, of which this is only the first part, will present that material in a geographically organized manner: mainland Greece and the adjacent islands, then the Aegean islands, Asia Minor and Thrace, Syria, Egypt, Cyrene, Sicily, and southern Italy. All the epi- graphic remains of that area have been examined and catalogued. General observations and conclusions will be presented after the evidence as a whole has been given. I. Earliest Examples of Eponymity The earliest form of writing appeared in Sumer and Assyria sometime within the last half of the fourth millennium BC, and from there it spread westward. Thus, it is not at all surpris- ing that the Mesopotamian civilizations also made the earliest use of assigning names or events to years in dating historical records. -
Guide for Labeling Consumer Package by Weight, Volume, Count, Or Measure (Length, Area Or Thickness)
NIST Special Publication 1020 Guide for Labeling Consumer Package by Weight, Volume, Count, or Measure (length, area or thickness) Editors: David Sefcik Lisa Warfield This publication is available free of charge from: https://doi.org/10.6028/NIST.SP.1020 NIST Special Publication 1020 Guide for Labeling Consumer Package by Weight, Volume, Count, or Measure (length, area or thickness) Editors: David Sefcik Lisa Warfield Dr. Douglas Olson, Chief Office of Weights and Measures Physical Measurement Laboratory This publication is available free of charge from: https://doi.org/10.6028/NIST.SP.1020 June 2020 NIST SP 1020 supersedes all previous editions U.S. Department of Commerce Wilbur L. Ross, Jr., Secretary National Institute of Standards and Technology Walter Copan, NIST Director and Undersecretary of Commerce for Standards and Technology Certain commercial entities, equipment, or materials may be identified in this document in order to describe an experimental procedure or concept adequately. Such identification is not intended to imply recommendation or endorsement by the National Institute of Standards and Technology, nor is it intended to imply that the entities, materials, or equipment are necessarily the best available for the purpose. National Institute of Standards and Technology Special Publication 1020 Natl. Inst. Stand. Technol. Spec. Publ. 1020, 40 pages (June 2020) This publication is available free of charge from: https://doi.org/10.6028/NIST.SP.1020 Foreword This document, “Guide for Labeling Consumer Packages by Weight, Volume, Count, or Measure (length, area, or thickness),” is based on the Uniform Packaging and Labeling Regulation (UPLR) in National Institute of Standards and Technology Handbook 130, “Uniform Laws and Regulation in the Areas of Legal Metrology and Fuel Quality.” It provides a summary of labeling requirements for consumer products and commodities sold by weight, volume, count, or measure. -
Week 2 Packet
At Home Learning Resources Grade 7 Week 2 ELA Grades 5-8 At Home Learning Choices Weeks 2 & 3 You can continue the reading, writing, and vocabulary work from Week 1 OR continue online learning using tools like iReady, Lexia, Scholastic Learn OR complete the “Choose Your Own Adventure” Learning “Choose Your Own Adventure” This is a two week English Language Arts and Literacy exploration. Students will choose between 4 different options to pursue. Each option still requires daily reading. The goal of the project is to honor student growth and increase their learning with a project of their choice. There are different levels of independence, as well as choices for how to share their learning. (This work is borrowed from educator Pernille Ripp). Enjoy! So what are the choices? Choice To Do Choice 1: The Independent Reading Adventure See instructions below for “The Independent On this adventure, you will use a self-chosen fiction Reading Adventure” chapter book to show your reading analysis skills. Read and either write or record your answers to questions that show your deeper understanding of the text. Choice 2: The Picture Book Read Aloud See instructions below for “The Picture Book Read Adventure Aloud Adventure” On this adventure, you will listen to a picture book being read aloud every day by lots of wonderful people. Then you will write or record a response to a specific question every day. Choice 3: The Inquiry Project Adventure See instructions below for “The Inquiry Project Ever wanted a chance to pursue a major topic of Adventure” interest for yourself? Now is the chance. -
Darwinian Perspectives on Creativity
ORIGINS OF GENIUS This page intentionally left blank ~ ORIGINS OF GENIUS ~ Darwinian Perspectives on Creativity Dean Keith Simonton New York Oxford OXFORD UNIVERSITY PRESS 1999 Oxford University Press Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Copyright © 1999 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 http://www.oup-usa.org Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Simonton, Dean Keith. Origins of genius: Darwinian perspectives on creativity/ Dean Keith Simonton. p. cm. Includes bibliographical references and index. ISBN 0-19-512879-6 i. Genius. 2. Creative ability. 3. Darwin, Charles, 1809-1882. I. Title. BF412.S58 1999 153.9'8 — dc2i 98-45044 987654321 Printed in the United States of America on acid-free paper To all Darwinists This page intentionally left blank Contents ~ Preface IX 1. GENIUS AND DARWIN The Surprising Connections i 2. COGNITION How Does the Brain Create? 25 3. VARIATION Is Genius Brilliant—or Mad? 75 4. DEVELOPMENT Are Geniuses Born—or Made? 109 5. PRODUCTS By What Works Shall We Know Them? 145 6. -
Leyden Jars and Batteries According to Benjamin Franklin
eRittenhouse The Art of Making Leyden Jars and Batteries According to Benjamin Franklin Sara J. Schechner David P. Wheatland Curator of the Collection of Historical Scientific Instruments Department of the History of Science, Harvard University [email protected] Abstract The Leyden jar was arguably the most important instrument for electrical experiments in the second half of the 18th century, and Benjamin Franklin’s fame as a natural philosopher was based largely on his explanation of how it worked. In two remarkable letters written in the 1750s to scholars in Boston, Franklin offers instruction on the making of Leyden jars and assembling them into batteries. The letters also illustrate the challenges of getting and maintaining natural philosophical apparatus in colonial America, and a culture of recycling goods in order to make do. In the 1750s, Benjamin Franklin sent supplies and instructions for making Leyden jars to James Bowdoin, a Boston merchant and statesman interested in natural philosophy,1 and to John Winthrop, Hollis Professor of Mathematics and Natural Philosophy at Harvard College. Given the importance of Leyden jars to the development of Franklin’s own electrical theory, we are curious to know how Franklin made his own and what his recommendations might have been. The letters also illustrate the culture of repurposing goods and bricolage that was part of early modern science, particularly in the American colonies.2 1 James Bowdoin (1726-1790) was elected to the Massachusetts House of Representatives in 1753 and in 1757 began decades of service in the Council. His later leadership positions included governorship of the Commonwealth of Massachusetts in 1785-1787. -
Q&A with Susan Heuck Allen
Classical Spies: American Archaeologists with the OSS in World War II Greece Susan Heuck Allen http://press.umich.edu/titleDetailDesc.do?id=1735600 The University of Michigan Press, 2011 Q&A with Susan Heuck Allen, author of Classical Spies: American Archaeologists with the OSS in World War II Greece Classical Spies is the first insiders' account of the operations of the American intelligence service in World War II Greece. Initiated by archaeologists in Greece and the eastern Mediterranean, the network drew on scholars' personal contacts and knowledge of languages and terrain. While modern readers might think Indiana Jones is just a fantasy character, Classical Spies discloses events where even Indy would feel at home: burying Athenian dig records in an Egyptian tomb, activating prep- school connections to establish spies code-named Vulture and Chickadee, and organizing parachute drops. Susan Heuck Allen reveals remarkable details about a remarkable group of individuals. Often mistaken for mild-mannered professors and scholars, such archaeologists as Princeton's Rodney Young, Cincinnati's Jack Caskey and Carl Blegen, Yale's Jerry Sperling and Dorothy Cox, and Bryn Mawr's Virginia Grace proved their mettle as effective spies in an intriguing game of cat and mouse with their Nazi counterparts. Relying on interviews with individuals sharing their stories for the first time, previously unpublished secret documents, private diaries and letters, and personal photographs, Classical Spies offers an exciting and personal perspective on the history of World War II. An experienced archaeologist and author of many books and articles, including a volume on Frank Calvert's discovery of Troy, Susan Heuck Allen has taught at Yale University and Smith College and is currently Visiting Scholar in the Department of Classics, Brown University.