Cast-Iron Grave Markers

Total Page:16

File Type:pdf, Size:1020Kb

Cast-Iron Grave Markers ASSOCIATION FOR INDUSTRIAL ARCHAEOLOGY IilIFIT:TI-r-L Volume 15 Number 3 1988 Etna and Filmer and Mason Cast lron 'Gravestones' recovered trom a rubbish heap at Wisborough Green, Sussex CAST IRO}I GRAVESTOI{ES included 'wife or child of By the mid- FOU N DR I ES AN D SU PPLI ERS 1700s, the headstones had become more elab- Sixteen cast crosses made by Dennings, an Gravestones and Industrial Archaeology What orate, sometimes with a skull and cross-bones agricultural foundry at Chard in Somerset, were is the connection and how can it be justiiied above the inscription This later gave way to found over 500 miles away near Ballachulish on within this discipline? They earn their place in cherubs and symbols of time passing, such as the west coast of Scotland These have the I A much as street furniture, letterboxes and hourglasses and scythes, while musical instru- makers name (Denning & Co Chard)and model milestones do; they are the product of an indus- ments and trade tools were also represented (No 6) cast on them and are dated between try, but are not an industry in themselves, and By the start of the 19th century, it was common 1876 and 1901 This foundry produced 13 dif- have in the past been very much under-re- for the middle classes to mark their graves, and ferent models in three sizes, the largest being searched and under-recorded We have only in the Victorian era the headstone became most eight feet tall They are most common in Devon, been able to trace three articles which deal with elaborate, in keeping with the style of the times Dorset, Somerset, Hampshire, Wilts and Sus- the subject in any detail(t) The term'iron grave- The not-so-rich, who could not aflord the cost of sex The remains of this foundrv were oulled stone' is used on purpose as grave memorial such engraving, erected much smaller stones down in 1986 does not have quite the meaning intended, bearing just initials and the year, enough for the Our interest in iron gravestones started in 1984 grave to be identified and often to prevent over- at the graveyard oJ the disused church of Tyn- burial ham in Dorset We realised that the cross next During the latter halJ of the 19th century, a to us, carrying the inscription 'Alice Maud number of small foundries, who had been pro- Cooper aged 4 months, Dec 24 1904', was ducing agricultural implements and their spare also marked 'Denning and Co Card B' So parts, and which were often associated with an began our interest in churchyards and foun- ironmongery business, looked around for other dries. To date we have recorded more than outlets for their skills. They began to produce 1500 examples of 200 different patterns of fireolaces, draincovers and other items which metal headstones and identified over twenty were saleable-and from there, rt was but a foundries which produced them This, however, steo to cast-iron headstones Manufacture was represents only a small sample of the total and soon taken up by the larger ioundries such as is but an introduction to the sublect Watson Gow in Glasgow and spread through- HISTORICAL BACKGROUND out the country After the mutilation and destruction of religious The iron gravestones range from a simple cross monuments during the Commonwealth, more to quite elaborate memorials, with the name of plaques and memorials were placed inside the deceased, their date of death and age cast churches to commemorate the death of the into them Cheaper stock items were available, very rich and important lt was not until the late either completely plain, or with 'R I P', 'l H S 'or 17th century that headstones as we know them some other short message cast into them; the began to be used, and then only to record the name and details could then be painted on as gentry or rich merchants required This enabled them to be produced The stones were usually inscribed with the per- quite cheaply and they were often to be found son's name, age and date of death and often many mrles from their foundry of origin Walsingham Foundry in Norfolk A B c ( V (_ 9-( a, A Locatrons of known suppliers of cast iron gravestones; B Locations of graveslones cast by Haddens ol Warminster; C Locations of gravestones cast by Johnsonsof Leicester; DSomecastirongravestones: l,FilmerandMasonolGuildford,model no 1(height4'),2,Hadensof Warminster,model no 3(cost 16/6 in 1860s, weight 56 lbs), 3, Johnsons of Leicester, model no 3 (height 5'6'),4, Siste Viator, model 384 (approx 2'x3'6"\,5, Typical Etna of Glasgow, found from Cornwall to Essex, aoorox 1' 6" x2' 4" The products of the Etna foundry (Watson Gow orials The lirm was founded in 1858 and conti- locally at 5/-(11) There are over 150 in the local & Co ) in Glasgow may be found all over the nued as a family concern until they sold out in cemetery to this day. These were produced in country, and to date we have lound more than 1962(6), two sizes, the smaller being eighteen inches twenty different models made by this firm. This The Hedges and King agricultural foundry at wide and the larger twenty six was a large foundry in the Gorbels and later in Bucklebury, Berkshire(z), obtained power from Long Melford churchyard contains over 150 Falkirk, producing items ranging from stove a water wheel in the river alongsrde, and this cast iron memorials, some of them are Etna and water pipes to sugar coolers and other still remains although the buildings are now models Five patterns with 'D Ward Melford' plantation castings, bullion sales and lamp- residences They produced large iron slabs cast into them are identical with the Etna ones, posts(2) Some of their designs were registered resembling gravestones in size and shape, and but had been made by the local loundry Other and examples have been found in the patent a cross in circle design, the latest date found foundries, such as Bakers of Compton, also office records at the PRO at Kew Their designs being 1939, but these have only been found in made Etna models but with their own name cast were also copied by other foundries in other the area near Bucklebury. into them so it seems a fair assumption that they parts of the country, presumably under licence. Filmer and Mason were ironmongers in Guild- used the same pattern under licence (Wards oi Long Melford, Stone and Turner o1 ford and their foundry was where the Yvonne One oJ the NorJolk foundries still working is at .1809 Dorking and Baker of Compton are known to Arnaud Theatre now stands Eight models by Great Walsingham This was started in by have cast Etna designs ) The Etna foundry was this manufacturer have been seen in Surrey, the Cornish tamily, and they made various cast- taken over by the Grangemouth lron Company Hampshrre, Hertfordshire and Sussex; in Cock- ings for the agricultural industry War casualties in 1929 The Falkirk lron Co, also oroduced ing Churchyard there are more than twenty ended the male line in 1919; it was sold to the memorials and a 1920 catalogue shows one examples and three are on view rn the Amber- Wright family and continued trading as a measuring 28" by 3O" for 24 shillings(3) One of ley Chalk Pits Museum They also produced foundry until the 1932 depression. In 1938 it these is in Bothkennar Churchyard and another agricultural and domestic products, and cast- was purchased by Barnhams, and renamed at Madborough in Wiltshire Also manufacturing ings for the Portsmouth railway(8) 'The Walsingham Foundry Co' and continues them in Scotland were Smith and Wellstood of An ironmonger in Leicester, W.F,Johnson, must to this day On a recent visit we were shown the Bonnybridge have had a good sales system as their prod- original wooden and the iron patterns, and they Hadens of Warminster were an ironmongers ucts are seen in graveyards from Yorkshire to have made a metal headstone costing e30, who were bought by Cordens in 1892 and are Essex and across to Dorset Eight variations plus VAT, with 'Tony Yoward'on it, but no date. still in business under that name but not making have been recorded, some of them over five (Mary gave it to me for a Christmas present!) cast iron memorials They produce at least 20 feet tall lt does seem likely that Johnson's Also we were shown the box of letters which are models and examples of nearly all ol these products were made by the Wright's foundry added to the pattern and held in place with have been found from Devon to Shropshire(a) and some of the patterns by Perry and Sons, beeswax in order to make the imoression. and across to Essex In 1860 their memorials both of Leicester Pattisons of Leicester were We had not been able to trace the manufacturer ranged lrom a simple 18" cross at 1/6d to a founders but only one of their memorials has who always put 'Siste Viator' (meaning large 7001b cross costing 19 In a testimonial, a been found so far and that is at Foxton(e) 'Journeys End') on the back of their products clergyman describes them as 'artistic, elegant, The Atlas Works at Earls Colne near Colchester Luckily they also registered the design, and a and everlastrng; but withal economical, eccle- is a working foundry, part of Christy Hunt Engin- recent visit to the PRO at Kew revealed them as srastical, and very easily kept in their place'! eering, and their large pattern shop still con- J.
Recommended publications
  • Library Author List 12:2020
    SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Abel, Isabel Multiple Harness Patterns Weaving Instruction Adelson, Laurie Weaving Tradition of Highland Bolivia Ethnic Textiles Adrosko, Rita Natural Dyes and Home Dyeing Dyeing Adrosko, Rita Natural Dyes in the United States Dyeing Ahnlund, Gunnila Vava Bilder (Swedish Tapestry) Ethnic Textiles Albers, Anni On Designing Design Albers, Anni On Weaving General Weaving Albers, Josef Interaction of Color Design Alderman, Sharon D. Handwoven, Tailormade Clothing Alderman, Sharon D. Handweaver's Notebook General Weaving Alderman, Sharon D. Mastering Weave Structures Weaving Patterns Alexander, Marthann Weaving Handcraft General Weaving Allard, Mary Rug Making Techniques and Design Rug Weaving Allen, Helen Louise American & European Hand Weaving General Weaving American Craft Museum Diane Itter: A retrospective Catalog American Tapestry American Tapestry Biennial I Tapestry Alliance American Tapestry American Tapestry Today Tapestry Alliance American Tapestry Panorama of Tapestry, Catalog Tapestry Alliance American-Scandinavian The Scandinavian Touch Ethnic Textiles Foundation Amos, Alden 101 Questions for Spinners Spinning 1 SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Amsden, Charles A. Navaho Weaving Navajo Weaving Anderson, Clarita Weave Structures Used In North Am. Coverlets Weave Structures Anderson, Marilyn Guatemalan Textiles Today Ethnic Textiles Anderson, Sarah The Spinner’s Book of Yarn Designs
    [Show full text]
  • Walk Westward Now Along This High Ridge and from This Vantage Point, You Can Often Gaze Down Upon Kestrels Who in Turn Are Scouring the Grass for Prey
    This e-book has been laid out so that each walk starts on a left hand-page, to make print- ing the individual walks easier. When viewing on-screen, clicking on a walk below will take you to that walk in the book (pity it can’t take you straight to the start point of the walk itself!) As always, I’d be pleased to hear of any errors in the text or changes to the walks themselves. Happy walking! Walk Page Walks of up to 6 miles 1 East Bristol – Pucklechurch 3 2 North Bristol – The Tortworth Chestnut 5 3 North Bristol – Wetmoor Wood 7 4 West Bristol – Prior’s Wood 9 5 West Bristol – Abbots Leigh 11 6 The Mendips – Charterhouse 13 7 East Bristol – Willsbridge & The Dramway 16 8 Vale of Berkeley – Ham & Stone 19 Walks of 6–8 miles 9 South Bristol – Pensford & Stanton Drew 22 10 Vale of Gloucester – Deerhurst & The Severn Way 25 11 Glamorgan – Castell Coch 28 12 Clevedon – Tickenham Moor 31 13 The Mendips – Ebbor Gorge 33 14 Herefordshire – The Cat’s Back 36 15 The Wye Valley – St. Briavels 38 Walks of 8–10 miles 16 North Somerset – Kewstoke & Woodspring Priory 41 17 Chippenham – Maud Heath’s Causeway 44 18 The Cotswolds – Ozleworth Bottom 47 19 East Mendips – East Somerset Railway 50 20 Forest of Dean – The Essence of the Forest 54 21 The Cotswolds – Chedworth 57 22 The Cotswolds – Westonbirt & The Arboretum 60 23 Bath – The Kennet & Avon Canal 63 24 The Cotswolds – The Thames & Severn Canal 66 25 East Mendips – Mells & Nunney 69 26 Limpley Stoke Valley – Bath to Bradford-on-Avon 73 Middle Hope (walk 16) Walks of over 10 miles 27 Avebury –
    [Show full text]
  • Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’S Cotton Frontier C.1890-1950
    Cotton and the Community: Exploring Changing Concepts of Identity and Community on Lancashire’s Cotton Frontier c.1890-1950 By Jack Southern A thesis submitted in partial fulfillment for the requirements for the degree of a PhD, at the University of Central Lancashire April 2016 1 i University of Central Lancashire STUDENT DECLARATION FORM I declare that whilst being registered as a candidate of the research degree, I have not been a registered candidate or enrolled student for another aware of the University or other academic or professional institution. I declare that no material contained in this thesis has been used for any other submission for an academic award and is solely my own work. Signature of Candidate ________________________________________________ Type of Award: Doctor of Philosophy School: Education and Social Sciences ii ABSTRACT This thesis explores the evolution of identity and community within north east Lancashire during a period when the area gained regional and national prominence through its involvement in the cotton industry. It examines how the overarching shared culture of the area could evolve under altering economic conditions, and how expressions of identity fluctuated through the cotton industry’s peak and decline. In effect, it explores how local populations could shape and be shaped by the cotton industry. By focusing on a compact area with diverse settlements, this thesis contributes to the wider understanding of what it was to live in an area dominated by a single industry. The complex legacy that the cotton industry’s decline has had is explored through a range of settlement types, from large town to small village.
    [Show full text]
  • [email protected]
    [email protected] http://ttusher.orgfree.com Textile manufacturing terminology The manufacture of textiles is one of the oldest of human technologies. In order to make textiles, the first requirement is a source of fibre from which a yarn can be made, primarily by spinning. (Both fibre and fiber are used in this article.) The yarn is processed by knitting or weaving, which turns yarn into cloth. The machine used for weaving is the loom. For decoration, the process of colouring yarn or the finished material is dyeing. For more information of the various steps, see textile manufacturing. A__________________________________________________________________ Absorbency A measure of how much water a fabric can absorb. Acetate Acetate is a synthetic fiber. Acrylic Acrylic fiber is a synthetic polymer fiber that contains at least 85% acrylonitrile. Aida cloth Aida cloth is a coarse open-weave fabric traditionally used for cross-stitch. Alnage Alnage is the official supervision of the shape and quality of manufactured woolen cloth. Alpaca Alpaca is a name given to two distinct things. It is primarily a term applied to the wool of the Peruvian alpaca. It is, however, more broadly applied to a style of fabric originally made from alpaca fiber but now frequently made from a similar type of fiber. Angora Angora refers to the hair of either the Angora goat or the Angora rabbit, or the fabric made from Angora rabbit; see Angora wool. (Fabric made from angora goat is mohair.) Angora wool Angora wool is a generic term for either Mohair if the hair is from an Angora goat or Angora fabric if the hair is from an Angora rabbit.
    [Show full text]
  • Electronic Report
    Electronic Report 52 Bank Parade Burnley BB11 1TS Phone 01282 414649 / 458410 Our Ref: Talbot St/BB10 2HW/2017 Date: 19 July 2017 Steven Hartley Hartley Planning and Development Associates Swallow Barn Lower Chapel Hill Hurst Lane Rawtenstall BB4 8TB WALSHAW MILL, TALBOT STREET, BRIERCLIFFE, BURNLEY. BB10 2HW PRELIMINARY RISK ASSESSMENT (DESK STUDY) INTRODUCTION A residential development is proposed. The objective is to carry out a desk study, supplemented with a walk over survey, to form a Preliminary Risk Assessment to consider contamination, landfill gas and geotechnical issues. SITE DESCRIPTION The site is an almost rectangular plot, about 137 by 126 metres, located to the southwest of Talbot Street in Briercliffe and at OS Grid Reference 386492, 434915. A limited inspection on 4/7/17 by Mr S Gimeno (Geotechnician) showed the site to comprise a former cotton mill, now used for pharmaceutical manufacture, with yards to the east and south and a grass field to the west. The main building was a north light weaving shed and joined to the south was stone built with extensions and alterations. To the west was a portacabin style hard roof office probably built of timber. Just north was a fenced compound for aircon condenser units. In the southeast corner was a stone built electrical substation. In the northeast corner was a gas regulator box/building. An oil drum with hand pump was seen in the southeast corner. This is a residential area with houses on all sides, including gardens to the north, southeast and southwest. The area slopes down to the southwest at about 1 in 25.
    [Show full text]
  • Whitchurch Village Council Response
    Whitchurch Village Council Community Centre Office Bristol Road Whitchurch Bristol BS14 0PT [email protected] nd 2 ​ March 2019 ​ Dear Sir/Madam, WVC: Objection to WECA JLTP4 2019-2036 Consultation Please find enclosed an objection to the WECA Joint Local Transport Plan for 2019 – 2036 on behalf of Whitchurch Village Council (WVC). WVC has responsibility for the whole parish of Whitchurch, and plays a vital role in acting on behalf of the community it represents. The Council has a wide range of powers and responsibilities including: ● Administration of open spaces, play areas, bus shelters, cemeteries, allotments. ● Assessment of planning applications and other proposals which may affect the parish ● Undertaking projects and schemes that benefit local residents ● Helping other tiers of local government keep in touch with their local communities The Village Council has previously objected to the Joint Spatial Plan (JSP). Specifically, it has significant concerns about, and has objected to the allocation of a strategic development location which allocates Whitchurch as an SDL in the JSP (7.2 Whitchurch). The WVC objection to the JLTP4 is also an objection to the principle of further unnecessary road developments which is seen as a precursor to an urban extension for Bristol, within Whitchurch, which will harm the character, setting and environment of the village. The JLTP is predicated on a false premise that the strategic development locations within the JSP are required, and are identified in the best locations. They are not. The only rationale for the relief road from Hicks Gate to Whitchurch is to open up land for development.
    [Show full text]
  • Simply Schools 2020–21
    2020 Learning with Museums & –2021 Galleries across Lancashire www.simplyschools.org.uk Welcome to Welcome to the Simply Schools 2020–21 brochure, we are confident that you will find ideas and inspiration from our Heritage Learning site activities, CPD, loans boxes and outreach, and from those activities delivered by our wider museum partners. Heritage Learning is back for 2020/2021 It gives me the greatest pleasure to with new sessions, projects and announce that the Heritage Learning programmes. Last year the Heritage Team will be delivering the learning Learning Team delivered site sessions, programmes on behalf of the Harris outreach and loans boxes that engaged Museum, Art Gallery and Library in with over 35,000 school children Preston from September 2020. across Lancashire. We have once again David Brookhouse worked with schools on some amazing As part of the national DfE funded Heritage Learning Manager projects including ‘Lancashire Sparks’ Museums and Schools Programme, we an exploration of Lancashire’s intangible are always keen to work with teachers 01772 535075 heritage through clog dancing, music and schools to develop our learning and literacy. The TIME project continues offer. Our themes for this year are STEM, to work successfully with schools Literacy and teacher development. embedding the creative arts into the curriculum. Please contact us if you The funding for Heritage Learning comes would like more information about our from a de-delegated budget which range of new school projects. schools vote to continue each year. This funding allows the team to deliver Once again our teacher CPD, twilight award winning, high quality cultural and INSET programmes have grown from learning across Lancashire.
    [Show full text]
  • Dark Age Tablet Weaving
    Dark Age Tablet Weaving for Viking and Anglo-Saxon re-enactors 1 Introduction Tablet weaving, also known as card weaving, is a method of using square tablets with holes in the corners to weave narrow decorative bands made of wool, linen or silk threads. Tablet weaving was widespread in Europe and Britain in the first millenium AD and is an excellent craft for historical re-enactors as it is portable, interesting, little known nowadays and you can make beautiful bands to decorate your outfit. However, creating replicas of Dark Age bands is challenging. Many of the surviving historic bands are difficult to weave, and so most re-enactors either buy in tablet-weaving or weave simplified bands, and may use patterns and techniques that aren't appropriate to the Dark Ages. The aim of this document is to describe the characteristic styles and methods of Dark Age tablet- weaving. There is also information about materials, equipment and tablet-weaving techniques. Perhaps the most striking theme of the historic bands is inventiveness, and the advantage of the historic techniques is that they allow the weaver to create a far wider range of patterns than the modern methods, which were mostly developed in the 19th and 20th centuries as tablet-weaving was 'rediscovered' in Europe1. This document isn't exhaustive, and I recommend that the interested reader explore further patterns and techniques. There are many good patterns available online. Just remember, as I once read on the internet, the first instruction in tablet weaving is “remove the cat”. Please contact me with any comments or corrections.
    [Show full text]
  • Basic of Textiles
    BASIC OF TEXTILES BFA(F) 202 CC 5 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Fiber Study 5-64 2. Fiber and its Classification 65-175 3. Yarn and its Types 176-213 4. Fabric Manufacturing Techniques 214-260 5. Knitted 261-302 UNIT Fiber Study 1 NOTES FIBER STUDY STRUCTURE 1.1 Learning Objective 1.2 Introduction 1.3 Monomer, Polymer, Degree of polymerization 1.4 Student Activity 1.5 Properties of Fiber: Primary & Secondary 1.6 Summary 1.7 Glossary 1.8 Review Questions 1.1 LEARNING OBJECTIVE After studying this unit you should be able to: ● Describe the Natural Fiber.
    [Show full text]
  • 'Celtic' Clothing
    ‘Celtic’ Clothing (with Greek and Roman Influence) from the Iron Age-a Realistic View Based on What We Know What, When, Where and Why? Documentation and reproduction of period „Celtic‟ clothing for reenactment purposes is a subject which not only should be approached with caution, but also a difficult and sometimes seemingly impossible task if one aims for historically correct imitation. Based on limited textile finds through out the Celtic empire and coupled with historical commentary and art representations we can generate an educated generalized guess on what the Celtic people may have worn, but then this is only a guess. This representation is further clouded by regional differences both in necessity of certain dress and textile fiber availability. What we do know however is that the Celtic peoples as a whole delighted in color and costume documented not only by textile finds, but other costume finds and backed by historical commentary. In order to begin such a feat we first must understand who were the „Celts‟. The term „Celt‟ is derived from the Greek word „Keltoi‟ and is a general broad term applied to most of the European barbarians from the Middle Danube to the Atlantic. (Cunliffe 9) Julius Caesar, writing from the First Century BC states concerning the Gauls of France, „we call (them) Gauls though in their own language they are called Celts‟. While the terms Keltoi/Celtae and Gali/Galatae were used interchangeably by early writers the term „Celt‟ became the prominent label for these people during the Victorian period, a name which today not only is misleading but brings on romantic notions most of which are not even „Celtic‟ by any historical sense.
    [Show full text]
  • East Coker Monarch's Way Walk
    East Coker Monarch’s Way Walk For nearly half of its length this walk (3.9 miles, 6.3 km) follows the long distance path known as Monarch’s Way. It returns round the northern area of the parish, passing one of the oldest properties in the area. It is marked in Dark Blue on the Discover East Coker map and walkers should refer to OS Explorer Map 129 for more detail. Countryside paths can be muddy at times and waterproof footwear is advised. Park considerately and start at the Village Hall (Grid Ref. ST537128) From the Village Hall turn right into Halves Lane and immediately right into Drakes Meadow. Follow the tarmac road round to the left and right onto a footpath and turn left onto the road towards a large old building (East Coker Mill) . Before the Mill, turn right onto the footpath signposted Chapel Row 1/6 mile over a stile. Follow the right of the field to the rear of Mill Close gardens. The Pavilion and playing fields are to the left. At the next stile, turn right past Chapel Row on Long Furlong Lane. This building originally housed the East Coker Workhouse. At the T junction, turn sharp left into Burton. After the row of cottages, take the kissing gate on the right signposted Naish Priory 3/4 mile. This follows a red brick wall and then joins a track adjoining North Coker House to the right. This walled garden supplied all the needs of the house in fruit and vegetables until North Coker House was converted into apartments.
    [Show full text]
  • On Some Iberian Unfired Pottery Sherds from the Late Iron Age (Second Century BC) Nicolas Frerebeau, Charlotte Sacilotto
    On Some Iberian Unfired Pottery Sherds from the Late Iron Age (Second Century BC) Nicolas Frerebeau, Charlotte Sacilotto To cite this version: Nicolas Frerebeau, Charlotte Sacilotto. On Some Iberian Unfired Pottery Sherds from the Late Iron Age (Second Century BC). Alexis Gorgues; Katharina Rebay-Salisbury; Roderick B. Salisbury. Ma- terial Chains in Late Prehistoric Europe and the Mediterranean - Time, Space and Technologies of Production, 48, Ausonius Éditions, pp.157-169, 2017, Mémoires, 978-2-35613-194-2. hal-01711117 HAL Id: hal-01711117 https://hal.archives-ouvertes.fr/hal-01711117 Submitted on 25 Feb 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. MATERIAL CHAINS IN LATE PREHISTORIC EUROPE AND THE MEDITERRANEAN - ausonius éditions - — Mémoires 48 — MATERIAL CHAINS IN LATE PREHISTORIC EUROPE AND THE MEDITERRANEAN Time, Space and Technologies of Production Edited by Alexis Gorgues, Katharina Rebay-Salisbury, Roderick B. Salisbury Published with the support of the Région Nouvelle Aquitaine — Bordeaux 2017 — Notice catalographique Gorgues,
    [Show full text]