obálka V2.indd - EXARC

Ruins versus Reconstruction
Presenting archaeological heritage to the public
Beautiful Insulation
Weaving a tapestry using Migration
Period elements
JOURNAL OF (RE)CONSTRUCTION & EXPERIMENT IN ARCHAEOLOGY
Above the waves
Cutting edge
The Scottish Crannog Centre
Testing softening methods for bone and antler
Dressing up
Turning meat
Reconstructing clothing of Roman Pannonia
Reconstruction of a Bronze Age rotary spit
EuroREA
Journal of (Re)construction and Experiment in Archaeology
3
Reconstructing the Roman and Celtic Dress of Aquincum
STUDIES / Annamária Szu, Ildikó Oka, Orsolya Madarassy
11
Bone and Antler
Softening techniques in prehistory of the North Eastern part of the Polish
Lowlands in the light of experimental archaeology and micro trace analysis
STUDIES / Grzegorz Osipowicz
22
The weaving of a tapestry with Migration Period elements
at Eketorp Fort, Sweden
ITEMS / Kateřina Brůnová, Jan Rodina, Jan Olofsson
29
Celtic house reconstructions on the Burgberg in Schwarzenbach
An new archaeological open air park of the Iron Age
ITEMS / Wolfgang Lobisser
35
Excavation to Exhibition
Interpreting Archaeology to the Public in Scotland and Europe
REPORTS / Barrie Andrian, Nicholas Dixon
41
Presenting archaeological heritage to the public:
ruins versus reconstructions
DISCUSSION / Clara Masriera i Esquerra
47
Historical awareness: the role of archaeological open air museums
DISCUSSION / W. G. van der Weiden
49
The Folk High School of Bäckedal: Education in Ancient Techniques
EDUCATION / KG Lindblad, Aja Pettersson, Ellinor Sydberg
52
Standards for presentation of field data
ITEMS / Holger Schmidt
55
On the Reconstruction of aisled Prehistoric houses
from an Engineering Point of View
ITEMS / Jochen Komber
61
La broche à rôtir articulée de Port-Sainte-Foy
Fabrication et utilisation expérimentales
ITEMS / Louis Baumans, Christian Chevillot
68
Heritage in the classroom
REVIEWS / Suzanne van den Berg
69
Casting Experiments and Microstructure
of Archaeologically Relevant Bronzes
REVIEWS / Julia Wiecken
70
The archaeology of Alderley edge
REVIEWS / Hywel Keen
71
Hallstatt Textiles: Technical Analysis, Scientific Investigation
and Experiment on Iron Age Textiles
REVIEWS / Toon Reurink
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STUDIES s
Reconstructing the Roman and Celtic Dress of Aquincum
made from a single rectangular
sheet with the neck hole woven in
and the sleeves sewn on. These descriptions allowed us to make two
kinds of reconstructions: the shirts
may have been tailored as an all-inone garment or in a shorter form
with an under-skirt worn with it.
The upper clothing was made from
wool and, in most cases, red wool.
Although we can hardly find two
depictions in the lapidary of Aquincum that are identical in all details,
some typical characteristics can still
be distinguished. The simplest kind
of clothing was a dress made from
a rectangular piece of fabric. The
fabric was used just as it was cut
off the loom with women wrapping
the material around them (Fig. 8).
No cutting or needle work was involved. It was fixed at the shoulder
with a pair of fibulae. This kind of
dress was fashionable mostly during the early period, in the AD 1st
century but it remained in use until the beginning of the AD 2nd century, as can be seen on the earliest
stone monuments in our museum.
Women wore it by first placing the
upper right hand corner of the rectangular piece of cloth on the left
shoulder. Then it was pulled back
below the right armpit and pinned
at the front on the right shoulder.
Then, directing the fabric further
back, the first corner was pinned
to the back by being pulled in place
from behind. Finally, the fabric was
pulled from under the left armpit
where it was also held in place by
fibulae in front on the right and left
shoulders. Thus, the whole dress
had a double fold in front with its
edge hanging down vertically from
the right shoulder.
One of the most typical kinds of
clothing was a pinafore (Fig. 9).
This kind of upper dress reaching below the knees is depicted on
most representations with underclothing showing beneath it. The
front and back parts were fastened
at the shoulders with fibulae and
sewn along the sides. In the AD 2nd
century, the breast part of the dress
was usually tapered. Pinafores were
worn both with and without belts.
Special garments appear on a number
of stone monuments, which are not
found in later European clothing.
The “long dress with two belts” was a
tube-like piece of cloth. Based on experimental reconstruction, its longer variant might have been 3 m long
and the shorter one 1.8 m. It was
either fixed at the shoulders with a
pair of fibulae or sewn together in
the same way as the pinafore. The
bottom was then pulled up to the
height of the ankles and the dress
was fastened with a belt or twine.
The surplus cloth dangled back over
the belt and another belt was tied beneath the breast. This process yields
very interesting contours and an
arching, rounded, pleated “upper”
skirt (Fig. 10, 11, 12). The linen underwear does not show on the depictions; the “lower” and “upper” skirts
are the same colour.
Celtic women fastened their wool
over dress under the breasts with
ribbon-belts of variable thickness.
We have not found any depictions
of buckles on the stone monuments
of Aquincum. Stone carvers depict
belts as plain bands, so these could
not have been knotted belts either.
Most probably, 2 m long woven ribbons were wrapped tightly around
the body, so the layers did not overlap with each other. Its end was
then tucked in at the back, though
we can observe the end of a reasonably long ribbon-belt end hanging
down in front of one of the figures
on a grave stele.
Wearing a shawl came into fashion
in the AD 2nd century. It was worn
over the pinafore and was a variant of the sewn shoulder version of
the long dress with two belts. There
were variants made from thin, fine
and pleated fabric or thick fabric arranged in broad pleats. The width of
a shawl would have been approximately 0.4 m and its length was either 2.5 m or 1.5 m depending on
the type. Shawls were most likely
in different colours from the red
of the over skirt; we have descriptions of yellow and green variants.
It is easy to reconstruct the way it
was worn: its right end was placed
on the left breast and pulled back
over the right shoulder. Then it was
folded in half just at the middle of
the back and placed over the left
shoulder so it lay on the left breast
just above the right end of the cloth.
Next, the left end was folded back
below the right edge and the pleats
were arranged at the end. This kind
of clothing may have been fashion-
n Fig. 5
Putting on a toga several metres length was not
easy and could not be done without help.
Fig. 6 Roman official wearing tunica and sagum, the
most common everyday clothing for male Roman citizens in Aquincum.
n
n
Fig. 9 Eraviscan woman wearing a pinafore.
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7
STUDIES s
Bone and Antler
Described here is the authors experience in softening these materials
by: immersion in water, boiling in
water, immersion in sour milk and
immersion in diced sorrel.
5.1 Experiments with bone
and antler softening
Working unsoftened bone
and antler
The experiments were meant to
demonstrate the difference between
working softened bone/antler and
material which had not been softened. The huge contrast between
working quality of softened an unsoftened materials as well as the difference in the effectiveness may be
a good starting point for discussion about bone and antler softening methods in prehistory. I haven’t
found any ethnographic examples
of working untreated material with
stone tools, but there are many experimental works on this subject.
Working bone and antler
softened by immersion in water
This is one of the simplest bone and
antler softening methods and also
one of the lengthiest. It is simply the
immersing of the material in water
for many days. This technique has
often been used in experiments
which aim to reconstruct prehistoric softening methods of bone/
antler (Edholm 1999; Lindemann
2000; Wescott, Holladay 1999). It is
known from ethnographic observation. Until recently it was still being
used by Caribou hunters from west
Greenland (Lindemann 2000). It is
also the only method of softening
bone/antler which seems to be confirmed in archaeological material.
Such suggestions have been made
for finds from sites like Stellmoor
A and Meindorf (Lindemann 2000).
Some scientists maintain that it
could have also been used in the
Mesolithic (Zhilin 2001, 150). Its
beginnings may have reached as far
back as the upper Palaeolithic.
Working bone and antler
softened by boiling in water
Boiling in water is a derivative of
the method above, but it is less time
consuming, which causes it to be
among the most used methods of
softening bone and antler (Cnot-
liwy 1973, 41; Żurawski 1974). It is
thought of as one of the most useful, especially in the initial stages
of working bone (Tamala, Maldre
2001, 372; Watts 1999). More over
it is a method known from ethnographic observation. Until recently
it was used by North American Indians (Baales 1996) and Asian peoples: the Czukcz, the Koriak and the
Kamchedal (Izjumowa 1949, 19).
Some scholars suggest that it was
used in the Mesolithic (Zhilin 2001,
150). Boiling is the only bone/antler softening method described by
ancient written sources, it was mentioned by Pausonius and Plutarch
(after Żurawski 1974, 4). In Poland
experiments with this method were
conducted by W. Szafrański (1961,
44).
n
Photo 22 Softening bones by boiling them in water.
n
Photo 23 Cutting bone with a flint blade.
n
Photo 24 Whittling a softened antler.
Working bone and antler
softened by immersion in sorrel
Softening in diced sorrel is known
only from experiments. The softening agent here is the acid which
removes the inorganic parts. This
process is supposed to turn the
bone into a soft, elastic collagen
mass, which is easy to work (Kokabi 1994). In Poland this method
has been described by K. Żurowski
(1950; 1974). He was the first and
probably the only scholar so far to
experiment in this area in Polish archaeology.
The sorrel used in this experiment
had not been diced. Boiling water was simply poured on the sorrel which was than set aside for one
week to sour. The materials were
than put into it and left aside for a
month. A litmus-paper measurement showed the sorrel to be pH 4.
Working bone and antler softened by immersion in sour milk
As with the sorrel method this one
is also known only from experimental studies. In Poland experiments with this method have been
conducted by K. Żurowski (1974).
It is very similar to the sorrel method. The softening agent is the acid
released while the materials are
soaking in the milk.
The first experiments were only
a partial success, although both
the bone and antler was softened
slightly. The softening effect was
Photo 25 Polishing a bone needle on a sandstone
slab.
n
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ITEMS 2
The weaving of a tapestry with Migration Period elements at Eketorp Fort, Sweden
The seat of honour
One part of the house reconstruction is the seat of honour, belonging to the owner of the house. The
oldest name for this seems to be
öndvegi, a word meaning the seat
straight opposite (of something). It
was placed in the middle of the wall
on the right long side. The thing
that it was meant to be opposite to
was probably the fireplace (Edblom
2004: 133-137).
The sources for this assumption are
Icelandic sagas which are, of course,
too late to give any certain evidence.
However, öndvegi is the oldest name
for this seat of honour and it is associated with the common household. Between AD 1000-1100, the
öndvegi was gradually replaced by
the hásæti, the high seat, which was
placed on the gable wall. The hásæti is, contrary to the öndvegi, never
mentioned in the oldest poems. The
öndvegi is, in total, mentioned 51
times in Icelandic sagas and poems
(Edblom 2004: 133-134).
Since öndvegi seems to be the best
suggestion available for this place
in the house, that is the name we
use for this phenomenon.
Textiles on the walls?
One part of the reconstruction is the discussion on how the
house might have been insulated.
Different suggestions were put forward, for example inner walls of
wood, insulation solely with cow
dung, woven mats of reed and
straw hanging from the stone walls
etc. And, of course, textiles. There
is a quite strong case for textiles
being used for covering the walls
of dwelling houses during the Iron
Age. These would have both an insulating and a decorative effect.
First, there are written indications
in the form of Icelandic sagas and
we will give here just a few examples. In the saga of Harald Finehair,
king of Norway, the powerful farmer
Åke from the present Swedish province of Värmland, built a new hall
for holding feasts. The new hall was
decorated with new tapestries, while
the old one was decorated with old
tapestries (Sturluson, translated by
K. G. Johansson, 1992: 97).
In Flateyarbok, there are two passages where poets are requested to
make poetry out of motifs on tapestries (Salvén 1923: 12). Queen Gunnhilds hall in Njals saga is decorated
with the “most beautiful tapestry”
(Njals saga, translated by H. Alving,
1995: 12).
There is also evidence in Hakon Hakonerssons saga where it is written
that the house was decorated with
painted textiles and fine tablecloths
(Franzén & Nockert 1992: 87).
When it comes to archaeological evidence, there are only a few. The oldest preserved tapestry comes from
the Oseberg burial, dated to AD 829,
and therefore representing the early Viking Age (Nockert & Possnert
2002: 69). The tapestries from Överhogdal have been radiocarbon dated
to, as a whole, AD 900-1100, that is,
the Viking Age. There are two more
tapestries that derive from the Viking Age, the textiles from Revsund
church (AD 780-980) and Kyrkås
old church (AD 990-1160), both
from the Swedish province of Jämtland. The Skog tapestry is a little later, dating from the late 13th centrury
(Nockert & Possnert 2002: 69-79).
n
Fig. 3 Jan Rodina is sewing the warp to the beam.
Several graves in Birka also contain fragments which could derive
from tapestries, (for further reading
please see Geijer 1938: 51-57).
Evidence of older tapestries than
the one from Oseberg is however difficult to find. There are traces of textiles reminiscent of the
Oseberg tapestry in two graves in
Valsgärde, Valsgärde 8 from the 7th
century and the somewhat younger
Valsgärde 6 (Geijer 1994: 276).
There is also one known find from
Öland of textiles found in association with a wall. During excavations
of a burnt down hall dated to the 6th
or 7th centuries AD, textiles on the
inside of an incinerated inner wall
were found (Fallgren 1994: 4).
With this background, it was decided that textiles on the walls of the reconstructed house were to be tested
in order to find out their insulative effect. As an accentuation of the öndvegi, it was decided that a decorative
tapestry was also to be made.
n Fig. 4
(left) First, the coloured tablet woven bands were warped, then the white tapestry itself. n Fig. 5 (middle) In
time, the öndvegi will be built here. On the wall behind it, the tapestry will hang from the shelf where the insulated
stone wall and the roof meet. n Fig. 6 (right) The warping frame.
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REPORTS Excavation to Exhibition
n
Fig 1. Reconstructed crannog in its natural setting by the shores of Loch Tay.
Excavation to Exhibition
Interpreting Archaeology to the Public in Scotland and Europe
The building of
a reconstructed crannog
aimed to address specific
research question but also
to serve as an educational
resource as a part of the
Scottish Crannog
Centre.
n Barrie ANDRIAN
Nicholas DIXON
(UK)
Background
Archaeology, once the province of academic specialists,
is now firmly in the public domain, largely due to the rise in
media coverage and the massive surge in internet usage in
the last 10 years which makes
knowledge transfer quicker
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and easier than ever before.
In Britain, the history of public involvement dates back
at least as far as the 19th century through the interest of
wealthy antiquarians and collectors who acted as voluntary
researchers and who were important to the development of
the discipline.
Indeed, it was the discovery of ancient remains in the
19th century in Switzerland
when lake levels dropped
to an abnormally low level
that sparked interest in lake
dwellings in that country and
throughout Europe and resulted in two major publications by Scottish archaeologist Robert Munro (Munro
1882, 1890). Since then, pile
dwellings built in open water
have been recorded in both
marine and freshwater environments around the world.
In Scotland and Ireland these
sites are known as crannogs
and while there are hundreds
throughout these countries
dating from the Neolithic period to the 17th century the extent of the resource is still not
known and a great deal of survey work is still required.
In Scotland, archaeology developed into a true scientific discipline throughout the
20th century but although the
country has some 6,000 river systems and 30,000 lochs
(Maitland et al 1994), sites located in and under the water
were basically ignored until
the latter half of the century
when the development of diving techniques made underwater investigation possible.
Only five crannogs were excavated between 1900 and 1970,
in all cases when lochs were
drained for agricultural or industrial purposes.
Since then, three large lochs
in Scotland, Loch Awe, Loch
Tay and Loch Lomond, have
been systematically surveyed
by teams of professionals
working with volunteers and
48 crannogs have been discovered. However, even very
small lochs often have one or
more crannogs. Substantial
work has taken place in Loch
Tay, Perthshire after survey in
1979 discovered the remains
35
Presenting archaeological heritage to the public: ruins versus reconstructions
n
DISCUSSION 6
Fig. 1 Iberian village of Tornabous (Tornabous, Lleida), a general view of the settlement.
Presenting archaeological heritage
to the public: ruins versus reconstructions
This article is the result of
four years’ research into the
presentation of Bronze and
Iron Age archaeological
sites in Europe.
n Clara MASRIERA
I ESQUERRA
better public understanding of
the period in question? Our
field work focused on five archaeological sites from the Iberian period, all located in Catalonia. Four of these display
preserved remains, while one
is partially-reconstructed.
(Spain)
To focus and define our approach, we chose first to establish which existing archaeological locations had been used to
trace the course of European
Protohistory, and then to investigate which of these locations were presented to the
public at a 1:1 scale. Running
parallel to this was our plan to
compare the communicative
or didactic efficacy of those
sites which were presented in
a traditional manner – that is,
through the preservation of existing remains without further
direct intervention – and those
which had been three-dimensionally reconstructed or replicated. Was this latter approach
an effective means of achieving
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1. Reconstructions:
between distrust
and discredit
It may seem ambitious to attempt to analyse Bronze and
Iron Age archaeological displays throughout Europe in the
limited time span of four years,
but our research objectives were
quite modest from the outset. Our fundamental aim was
to establish how worthwhile it
was to carry out volumetric reconstructions of archaeological
sites, in all their possible variations. Many of our archaeologist
colleagues were unconvinced by
reconstructions. Some put forward scientific scruples; others
referred to the problems raised
by Spanish legislation, which
is also reluctant to allow this
type of intervention; but none
of them had gone so far as to
consider whether reconstructions could actually be useful
as a means of increasing public knowledge. We do not refer
here to the critical voices which
reject reconstructions on the
basis of an elitist, conservative
and retrograde view of scientific
knowledge and of our heritage.
Our concern is with those who,
despite their critical approach
to this particular issue, clearly
believed that scientific knowledge should be available to the
whole of society, which, after
all, foots the bill.
2. Finding answers
to our hypotheses
Our fundamental hypothesis
was this: given that most people find it difficult to conceptualise physical space, a visit
to a reconstructed archaeological site should help them
to reach a better understand-
ing of that space. However –
and contrary to our hypothesis – there was a perception
that some reconstructed sites
in Europe were not exactly in
the best of health. After enjoying a decade of acclaim
between the mid-70s and
mid-80s of the last century, it
seemed that the world of reconstructions was now heading downhill, and had become a target of criticism as
visitor numbers decreased. If
this was indeed the case, how
could it be explained? This
led us to a secondary hypothesis: namely, that the reason
for the crisis currently affecting sites with architectonic
interpretations on a 1:1 scale
was not so much their communicative inefficacy, but
rather their failure to demonstrate archaeological methods of analysis to visitors in
an interactive way.
Our research was driven by
this situation and the questions it raised, which we aimed
41
6 DISCUSSION
At present, although the research has concluded, there
remain a number of unresolved questions. The following issues are particularly important:
n Future research should
focus on the qualitative
approach, in order
to establish whether
it coincides with the
quantitative data from the
present study.
n The reasons for the
resistance of archaeology
professionals to
implementing techniques
from experimental
archaeology should be
explored in depth.
n The extent of the
similarities between
reconstructions of the
same period carried out in
different countries needs to
be studied.
n The same type of research
should be undertaken in
relation to Roman and
medieval archaeological
sites.
Summary
Zur öffentlichen Präsentation
archäologischen Kulturerbes:
Ruinen versus
Rekonstruktionen
Der Artikel behandelt die
Resultate von Untersuchungen
n
46
Presenting archaeological heritage to the public: ruins versus reconstructions
zur Präsentation von bronzeund eisenzeitlichen Fundplätzen
in Europa. Zuerst wurde dabei
erfasst, welche vorhandenen
archäologischen Plätze zur
Darstellung der urgeschichtlicher
Entwicklungen genutzt werden;
danach wurde geprüft, welche
dieser Plätze für die Öffentlichkeit
im Maßstab 1:1 präsentiert
werden. Parallel zu diesem
Ansatz wurde überlegt, die
kommunikative oder didaktische
„Effizienz“ von Fundplätzen,
die mit Hilfe von erhaltenen
Originalbefunden gezeigt werden,
mit jenen Plätzen zu vergleichen,
die auf dreidimensionale Weise
rekonstruiert wurden.
Von der großen Menge
urgeschichtlicher archäologischer
Fundplätze wird sich lediglich
auf eine verschwindend kleine
Anzahl von ihnen regelmäßig in
allgemeinen Handbüchern zur
Bronze- und Eisenzeit bezogen.
Von diesen dargestellten Plätzen ist
nur eine sehr kleine Zahl öffentlich
zugänglich; einige der gemäß
der Handbücher bedeutendsten
Fundplätze besitzen überhaupt
kein Informationsangebot
vor Ort und/oder sind für die
Öffentlichkeit geschlossen.
Die nicht rekonstruierten
archäologischen Plätze erhalten
häufig eine öffentliche finanzielle
Förderung oder sind sogar
in vielen Fällen vollständig
von der öffentlichen Hand
finanziert. Die Dauerhaftigkeit
der meisten Zentren, in denen
es Rekonstruktionen gibt, hängt
dagegen jedoch weitgehend
von ihren Möglichkeiten ab,
eine ausreichende Zahl von
Besuchern zu gewinnen – wobei
vergessen wird, dass gerade die
Experimentelle Archäologie
für einige der bedeutendsten
Erkenntnisfortschritte beim
Verständnis von frühen
Gesellschaften in ihren
verschiedenen Aspekten von
großer Bedeutung war und ist.
Um die kommunikative „Effizienz“
herauszuarbeiten, wurden
fünf Plätze aus einem jeweils
ähnlichem Kontext ausgewählt;
vier von diesen entsprachen den
konventionellen Ansätzen der
„Museumifizierung“ von Ruinen,
bei einer handelte es sich um
eine klassische rekonstruierte
Anlage. Die Ergebnisse dieser
Untersuchungen zeigen, dass
die Gäste beim Besuch einer
rekonstruierten Anlage immer
etwas lernen. Andererseits ergab
die Auswertung der Daten von
den konservierten Fundplätzen
nicht nur, dass hier kein effektiver
Lerneffekt festzustellen war,
sondern dass bei ihnen sogar die
Möglichkeit besteht, dass bei den
Besuchern eine gewisse Verwirrung
erzeugt wird – ein durchaus
überraschendes Resultat.
Présentation des découvertes
archéologiques au public: ruines
contre reconstitutions
L‘article met au jour les résultats des
recherches menées en présentation
des sites européens datés de l‘âge
du bronze et du fer. D‘abord, il était
nécessaire de mettre en évidence
la totalité des sites qui servent à
illustrer la protohistoire et ensuite
d‘en choisir ceux qui sont présentés
à l‘échelle 1:1. On a fait un projet de
comparer l‘importance informative
ou didactique des sites présentés
par l‘intermédiaire de leurs
vestiges conservés avec les sites
reconstitués.
Fig. 9 Iberian village of Ullastret (Ullastret, Girona), a general view from the settlement.
n
Les publications-résumés ne
rappelent qu‘un faible pourcentage
de la grande nombre de sites
archéologiques qui datent de la
période en question. En effet,
on en peut visiter quelques peu
du fait que certains sites, d‘après
les brochures ceux les plus
importants, sont fermés au public
et sans équipement et matériels
informatiques. Les sites nonreconstitués touchent souvent
des dotations publiques ou sont
complètement subventionnés par
l‘Etat tandis que l‘existence de
la plupart des sites reconstitués
tient à leur capacité de faire
rentrer des visiteurs. Et c‘est bien
que l‘archéologie expérimentale
ait procuré un grand progrès
à la connaissance des sociétés
anciennes sous tous les aspects.
Pour évaluer leurs qualités de
communication, on a choisi cinq
centres situés dans des milieux
pareils dont quatre correspondent
au modèle muséologique de
convention de conservation des
ruines et l‘un au modèle classique
de reconstitution. Les résultats
de la recherche mettent en
évidence que chaque visite dans
un site reconstitué apporte de
la connaissance au visiteur. Par
contre, celle dans un site conservé
non seulement qu‘elle n‘en apporte
aucune, mais encore, dans quelques
cas, il arrive que des visiteurs
partent déconcertés ce qui est une
constatation surprenante.
Clara Masriera i Esquerra
did her PhD research at
the Department of Social
Science Didactics Faculty of
Teacher Training University of
Barcelona
n
Fig. 10 Ullastret, preserved iberian silos.
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ITEMS 2
La broche à rôtir articulée de Port-Sainte-Foy
La broche à rôtir articulée
de Port-Sainte-Foy
Fabrication et utilisation expérimentales *
A well preserved Late Bronze
Age rotary spit dredged in the
1960’s of the Dordogne was
an object of archaeological
reconstruction to find methods
of Bronze Age craftsmen.
n Louis BAUMANS
(Belgique)
Christian CHEVILLOT
(France)
Les dragages dans les années soixante du lit de la Dordogne, au lieu-dit
„Gué de Chantier“ à Port-Sainte-Foy
ont permis la découverte de très nombreux objets en bronze protohistoriques (Coffyn, 1979 -1985; Chevillot,
1989 - 2002). Parmi eux, une importante série d’armes datant de l’Âge du
Bronze Final dont une broche à rôtir articulée du plus grand intérêt car
l’un des exemplaires les plus complets
recensés actuellement en Europe occidentale (Chevillot, 1989, p. 161-162
et 185-194, fig. 32 et pl. 324). Cet instrument, appelé „rotary spits“ par
nos collègues britanniques, est bien
connu dans la zone atlantique, des
Îles Britanniques jusqu’au Portugal,
et même en Sardaigne (Almagro
Gorbea, 1974; Mohen, 1977; Coffyn,
1985; Chevillot, 1989 et 2005; Vilaça,
1990; Gomez, 1991; Mederos Martín,
1996; Armbruster, 1999; Burgess et
O’Connor, 2004).
mettant de la faire tourner. À ce niveau vient s’ancrer la partie distale
avec poignée annulaire. Cette tige,
d’une longueur de 56 mm, est de section ronde. Peu avant son encastrement, elle présente une deuxième butée, qui permet de maintenir la partie
coulissante sommée de l’oiseau. La
poignée est coulée et soudée sur elle,
certainement grâce au procédé de la
cire perdue. La pièce la plus complexe à réaliser reste la partie coulissante
et tournante (fig. 2). Il s’agit d’un anneau large, surmonté d’un rapace, qui
permet la rotation de la broche. Sa
base maintient un pied en U, en fait
constitué de deux éléments, destiné
à stabiliser la broche lors de sa mise
en œuvre. Ce pied en forme de U
aux extrémités recourbées, de section
carrée, est pris dans un ergot situé à sa
base et soudé.
2. Protocole
de reconstitution
et mode opératoire
2.1 Le métal - Les fontes
Toutes les fontes ont été réalisées à partir de bronze dont la teneur en étain
est de l’ordre de 12,5 % (Baumans,
Chevillot et Semelagne, 2002). Nous
avons utilisé à chaque fois un creuset
d’une capacité maximum de 500 g de
métal. Le foyer était alimenté par du
charbon de bois (mélange chêne-châtaignier). L’apport en oxygène s’est fait
à l’aide de soufflets en peau prolongés
par des tuyères en argile cuite, le tout
réalisé par nous-mêmes, tout comme
pour les creusets.
2.2 Les moules
Fig. 3
Parties de la
broche.
n
1. Description
Ce type d’objet met en œuvre des
technologies et des compositions
des alliages parfois très différentes.
Pour la compréhension de notre méthode de travail, il nous a paru important de distinguer les différentes
parties de la broche, en donner une
terminologie, décrire chaque pièce
la composant et décrire, point par
point, essais et tous les travaux de recherches réalisés (fig. 3).
Nous avons testé plusieurs types
de roches pour la réalisation de la
tige-support (B) et de la broche (D):
du grès fin de la région de Liège en
Belgique ou de la région de Brive en
Corrèze (fig. 4), ou encore du tuffeau volcanique, par exemple du
„nenfro“ assez friable ou du „peperino“ plus dur et plus homogène (fig. 5). Ces derniers matériaux
sont originaires du plateau volcanique de Viterbo dans le Latium en
Italie (Vallesi, 1997, p. 77-78).
Les broches à rôtir articulées se composent toujours de plusieurs pièces
assemblées entre-elles. L’exemplaire
de Port-Sainte-Foy mesure 670 mm
de long. Il présente une broche dégagée de section carrée, de 535 mm
de long et d‘une épaisseur moyenne
de 6 mm et qui va en se retrécissant
vers la pointe (fig. 1). Cette partie active, servant à embrocher la pièce de
viande, se rattache à la partie articulée par un montage de pièces soudées
très complexes (fig. 2). La broche carrée est reliée par une pièce de section
circulaire dont la partie sommitale se
termine d’un côté par une butée per-
1. A: Anneau de préhension de la
broche;
2. B: Tige-support de l’anneau de
préhension;
3. C: „Butée-tampon“ qui
solidarise l’ensemble des pièces
de la broche;
4. D: Tige qui sert à embrocher les
pièces de viande;
5. E: Oiseau qui surmonte l’anneau
et sert de support au pied;
6. F: Pieds en U qui servent de
support à la broche;
7. G: Fixation des pieds sur le
support de l’oiseau.
Tous les essais ont été concluants,
mais doivent souvent mettre en
œuvre des matériaux pas toujours
faciles à se procurer par les bronziers de l’époque. Finalement, nous
avons opté pour l’utilisation de
moules en argile mélangée au crottin de cheval, technique qui est
nettement plus facile à mettre en
œuvre et sans exclusive géographique, ne nécessitant donc pas la recherche de matériaux spécifiques à
une bonne fonte du bronze. Cette
technique n’est pas une simple hypothèse de travail, mais résulte au
*
Fig. 1-2
Broche à rôtir
articulée de
Port-Sainte-Foy.
n
Fig. 4
Moule bivalve
en grès fin.
n
Fig. 5
Moules
en tuffeau
volcanique et
en argile.
n
This is a summarised version. For the full article please see www.eurorea.net.
4/2007 euroREA
61
REVIEWS
Hallstatt Textiles:
Technical Analysis, Scientific
Investigation and Experiment
on Iron Age Textiles
edited by Peter Bichler, Karina
Grömer, Regina Hoffman-de
Keijzer, Anton Kern and Hans
Reschreiter;
Archaeopress BAR S1351, 2005;
189 p, 19 col pls, many b/w
illustrations;
ISBN-13: 978-1-84171-697-8
ISBN-10: 1-84171-697-9
Contents
While I am at it, I want to recommend to everybody who
works with archaeological
textiles to read the article by
Lena Hamerlund, ‘Handicraft
Knowledge Applied to Archaeological Textiles’ (published
in The Nordic Textile Journal
2005). She gives a great addition to the descriptions of archaeological textiles and therefore make them more available
to reconstructors.
1) Hallstatt – eine Einleitung zu
einem sehr bemerkenswerten Ort
(Anton Kern);
2) Die prähistorischen
Salzbergbaue in Hallstatt und ihre
Textilreste (Hans Reschreiter);
3) The Textiles from the prehistoric
Salt-mines at Hallstatt (Karina
Grömer);
4) Genähtes aus dem
prähistorischen Hallstatt (Helga
Mautendorfer);
5) Dyestuff and element analysis
on Textiles from the prehistoric
Salt-mines of Hallstatt (Regina
Hofmann-de Keijzer, Maarten R.
van Bommel and Ineke Joosten);
6) Untersuchungen zum
Erhaltungszustand der „Hallstatt-
Textilien“ (Michaela Morelli);
7) Neues Lagerungskonzept für
die Textilien aus Hallstatt (Carine
Gengler);
8) Tablet-woven Ribbons from
the prehistoric Salt-mines at
Hallstatt, Austria – results of
some experiments (Karina
Grömer);
9) Imitating ancient dyeing
methods from Hallstatt period
– dyeing experiments with weld,
indigo and oak bark (Anna Hartl
and Regina Hofmann-de Keijzer);
10) Experiments with Weaving
and Weaving Tools – Basic
considerations after 20 years of
work (Ingrid Schierer);
11) Experiments with the warpweighted loom of Gars-Thunau,
Austria (Ingrid Schierer);
12) Efficiency and technique –
Experiments with original spindle
whorls (Karina Grömer);
13) Bast before Wool: the first
textiles (Antoinette Rast-Eicher);
14) Hallstatt and La Tène Textiles
from the Archives of Central
Europe (Lise Bender Jørgensen);
15) Iron Age Textile artefacts
from Riesenferner/Vedretta
di Ries (Bolzano/Bozen –
Italy)(Marta Bazzanella, Lorenzo
Dal Rì, Alfio Maspero† and Irene
Tomedi);
16) More than old rags – Textiles
from the Iron Age Salt-mine
at the Dürrnberg (HalleinDürrnberg) (Thomas Stöllner);
17) The State of Research of La
Tène Textiles from Slovakia and
Moravia (Tereza Belanová)
Summary
Der Band legt die Ergebnisse
des ersten Symposiums über
Textilien der Hallstattzeit vor. Er
gliedert sich in drei Abschnitte:
Der eine widmet sich den
Ausgrabungsfunden aus dem
Bereich von Hallstatt selber, der
andere diskutiert die Ergebnisse
der experimentellen Archäologie
und der letzte stellt eisenzeitliche
Textilfunde aus anderen Regionen
und Ländern vor.
Le livre recueille des contributions
prononcées au premier symposium
porté sur les textiles de Hallstatt.
La publication est partagée en trois
unités. La première unité regarde
les matériaux textiles retrouvés sur
des gisements de Hallstatt même, la
partie suivante discute des résultats
de l‘archéologie expérimentale et
la dernière présente des textiles
découverts dans les pays voisins,
datés du Premier Âge du Fer.
EuroREA
Journal of (Re)construction and Experiment in Archaeology / Volume 4 - 2007
Peer-reviewed journal published by EXARC - European network of Open Air Museums and other facilities involved in Experimental
Archaeology (www.exarc.eu) with support from the Department of Applied and Experimental Archaeology (DAEA), University
Hradec Králové, Czech Republic (http://fhs.uhk.cz/archeologie) and liveARCH (www.livearch.eu)
Editors: J. Kateřina Dvořáková (Editor-in-chief, English), Roeland Paardekooper (Executive Editor), James R. Mathieu and Hywel
J. Keen (English), Rüdiger Kelm and Karola Müller (German), Hana Dohnálková and Camille Daval (French)
Editorial board: Christian Chevillot (F), Camille Daval (F), J. Kateřina Dvořáková (UK), Rüdiger Kelm (D), James R. Mathieu
(US), Karola Müller (D), Alan Outram (UK), Roeland Paardekooper (NL), Karol Pieta (SK), Ivana and Radomír Pleinerovi (CZ),
Richard Thér (CZ), Radomír Tichý (CZ)
Design: Ondřej Štulc, Ateliér Josef Tázler
Print: Východočeská tiskárna, spol. s r. o., Pardubice (CZ), www.vct.cz
Orders: www.eurorea.net
Contact: [email protected]
© EXARC
Front cover: European members of liveARCH with national flags at the Scottish Crannog Centre.
ISBN 13: 978-90-78657-02-6
72
euroREA 4/2007