A Bronze Age barrow, one of several in the Rhee valley, was encircled by two concentric rings of posts in the early to middle Iron Age, and a single crouched inhumation was buried nearby. A small group of roundhouses and granaries was built on the clays c.100m from the river, and nearly 200 possible grain storage pits were dug on chalk deposits next to the river. Some of the pits contained human burials and animal bone groups of the pit burial tradition common in central southern and south-eastern England Significant assemblages of Chinnor-Wandlebury pottery and animal bone, including examples of rarely-found wild species, were also found. The site was unoccupied in the late Iron Age and Roman periods but still farmed, as evidenced by animal pens, field ditches and sparse domestic debris probably spread by manuring. During the later 6th century AD, a small open farming settlement of six sunken-featured buildings was established, akin to many similar settlements investigated in South Cambridgeshire. A substantial ditch enclosed the settlement in the 8th or 9th century, and occupation had shifted to Harston village by the 10th century.

This volume contains reports on excavations undertaken in the lower walled city at Lincoln, which lies on sloping ground on the northern scarp of the Witham gap, and its adjacent suburbs between 1972 and 1987, and forms a companion volume to LAS volumes 2 and 3 which cover other parts of the historic city. The earliest features encountered were discovered both near to the line of Ermine Street and towards Broadgate. Remains of timber storage buildings were found, probably associated with the Roman legionary occupation in the later 1st century AD. The earliest occupation of the hillside after the foundation of the colonia towards the end of the century consisted mainly of commercial premises, modest residences, and storage buildings. It seems likely that the boundary of the lower enclosure was designated before it was fortified in the later 2nd century with the street pattern belonging to the earlier part of the century. Larger aristocratic residences came to dominate the hillside with public facilities fronting on to the line of the zig-zagging main route. In the 4th century, the fortifications were enlarged and two new gates inserted. Examples of so-called ‘Dark Earth’ deposits were here dated to the very latest phases of Roman occupation.Elements of some Roman structures survived to be reused in subsequent centuries. There are hints of one focus in the Middle Saxon period, in the area of St Peter’s church, but occupation of an urban nature did not recommence until the late 9th century with the first phases of Anglo-Scandinavian occupation recorded here. Sequences of increasingly intensive occupation from the 10th century were identified, with plentiful evidence for industrial activity, including pottery, metalworking and other, crafts, as well as parish churches. Markets were established in the 11th century and stone began to replace timber for residential structures from the mid-12th century with clear evidence of the quality of some of the houses. With the decline in the city’s fortunes from the late 13th century, the fringe sites became depopulated and there was much rebuilding elsewhere, including some fine new houses. There was a further revival in the later post-medieval period, but much of the earlier fabric, and surviving stretches of Roman city wall, were swept away in the 19th century.

This PhD thesis discusses the practices of wealth depositing in the 1st–9th century AD eastern Baltic (Estonia, Latvia, Lithuania). Wealth deposits are one or more valued object/s that is/are hidden deliberately as an intended separate deposition in a selected place in a specific, distinguishable manner. Wealth depositing is regarded as an important cultural practice which relates to and derives from various past social phenomena and changes respectively in spatial and temporal terms. It is emphasised that wealth deposits should be analysed as a cohesive corpus of material, regardless of specific artefact types, functional groups, production material, environment of concealment, and most importantly without any predetermined interpretation categorisations.The dissertation presents different patterned practices of concealing valuables in the 1st–9th century AD eastern Baltic through a detailed contextual analysis of their main material characteristics: artefacts, their assemblages and appearance, environment of concealment, chronology and location in the cultural landscape. The study demonstrates how depositional practices change in time and space, and analyses relations between specific depositional practices and developments on a wider social scale. A comparative analysis of wealth deposits and important social changes in contemporary society based on overall archaeological material is presented. The key regional and cross-regional practices of wealth depositing in the 1st–9th century AD eastern Baltic are identified. Additionally, further comparisons are drawn between depositional practices in the eastern Baltic and other parts of the Baltic Sea region, especially Scandinavia.This thesis contributes to the discussions of concepts of value and depositional practices in a long-term and cross-regional perspective. A further aim is to look beyond the problematic ‘why?’-questions posed in the studies of wealth deposits, and move instead to more comprehensible questions of ‘how?’: how do depositional practices change in time and space, and how are these processes related to developments in a broader social context?The book contains a catalogue of all the 1st-9th century AD Eastern Baltic deposits analysed in the dissertation with descriptions of objects, environments of concealment, find circumstances, illustrations/photos and further references.

Prompted by the recent discovery of an impressive three-metre tall late Gothic drawing of a soaring tower and spire, this book offers a rare insight into the processes of designing and building a major gothic project. The drawing’s place and date of creation are unknown, and it corresponds to no surviving Gothic tower. Equally mysterious is the three-quarter, top-down perspective from which the tower is represented, without parallel in any other medieval drawings. Who drew this? When? And what did he hope to convey with his choice of a top-down representation of the tower? Building a Crossing Tower explores these questions, and uncovers the dramatic circumstances in which this drawing was created. The first part of the book links the drawing to an early 16th-century building project in the city of Rouen in Normandy, France. Rouen was then a thriving port, one of the most populous cities in France, and a vibrant construction site, where dazzling, flamboyant creations were erected side by side with Renaissance buildings. At the centre of this intense building activity was Roulland le Roux, the city’s leading master mason, most likely the author of the newly discovered drawing. Given the scarcity of French gothic drawing, the discovery of this impressive piece and its attribution to a known artist are significant events in themselves. Moreover, in this exceptional case it is also possible to recreate the social context of the drawing’s production, explored in the second part of the book. Previously unpublished minutes of the cathedral chapter reveal that the drawing was realised following the dramatic fire which destroyed the cathedral’s crossing tower in 1514. The fire sparked fierce disputes among the cathedral’s canons, who divided into two factions: one hoping to see the crossing tower reconstructed in stone, the other lobbying for a safer and cheaper wooden spire. The differences between the two parties and the changing fortunes of artists employed in the reconstruction project are documented in gripping detail in the chapter’s minutes, which reveal how the new drawing was commissioned and realised. But the minutes also reveal that this drawing ultimately failed to convince the chapter to support and authorise the project, despite its impressive size, perspective and skilful representation of virtuoso carving. The flamboyant gothic tower never was erected, and the worksite came to a standstill until 1542, when a Renaissance tower was eventually built by Robert Becquet. This drawing then represents a failed design proposal. Yet, for this very reason, it offers a unique insight into the politics of building a great late gothic project, shedding light on an ever-changing landscape of contrasts and collaborations. If drawings are often interpreted as a direct window into a master’s mind, graced by the touch of his hand, this drawing is unexpectedly revealed as a mirror of the social life of a key late Gothic building site.

There has been a lot of new data discovered on Medieval Dutch cities in recent decades. This has provided new insights on the develeopment, topography, material culture and the functioning of cities. This study combines and synthesizes data from several Dutch Medieval cities. The focus of this data is an analysis of data retrieved from cesspools. Cesspools have reveiled a wealth of information in the form of artefacts which can shed light in daily life in the Medieval city. Cities included in this analysis are Alkmaar, Haarlem, Leiden, Amersfoort, Dordrecht, Deventer and ‘s-Hertogenbosch.

This book presents, in twenty international papers, the origin and development, and some of the main characteristics and diversities, of the academic discipline of medieval - and later - archaeology in a number of countries in northern Europe. Denmark is the main focus, together with the four other Scandinavian countries, the Faroes and Greenland. The book also provides an insight into some of the discipline's major achievements and fascinating discoveries in these parts of the world, as well as into some of the current research agendas, with their new perspectives, including developments towards the inclusion of the archaeology of more recent periods. The book is based on the proceedings of a conference held to celebrate 40 years of medieval archaeology as a university discipline in Denmark - one of the first countries to have a chair of medieval archaeology, established at Aarhus University, in 1971.

The Hundred Years’ War between England and France is a story of an epic conflict between two nations whose destinies became inextricably entwined throughout the later Middle Ages. During that time the balance of architectural power moved from religious to secular domination, the Gothic form continued to grow and the palace-fortress was in the ascendancy. Seats of Power in Europe is a major new study of the residences of the crowned heads and the royal ducal families of the countries involved in the Hundred Years’ War. Though they were the leading protagonists and therefore responsible for the course of the war, do their residences reflect an entirely defensive purpose, a social function, or the personality of their builders? As well as the castles of England and France it also looks at rulers residences in other European countries who supported one of the protagonists. They include Scotland, Castile, Aragon, Navarre, Portugal, the Low Countries, the imperial territories of Bohemia, and the papacy in Avignon and then Rome.The study concentrates on sixty properties extending from the castles at Windsor and Kenilworth to those at Saumur and Rambures, and from the palaces at Avignon and Seville to the manor-houses at Germolles and Launay. A number of subsidiary or associated properties are also considered in more broad-based sections. Each region and its residences are prefaced by supporting historical and architectural surveys to help position the properties against the contemporary military, financial, and aesthetic backgrounds. Extensively illustrated in full colour with over 120 photographs and over 70 plans this is an attractive and accessible overview of how architecture both shaped and was influenced by events during this tumultuous period in the history of Europe. Essential reading for students of architecture, architectural historians, historians and those interested in Medieval Europe.

This book, aimed at a general audience, presents the results of all archeological research performed in the Dutch city of Helmond during several decades. Starting in the early prehistory the authors present the earliest evidence of people living in the current region of Helmond, the rise of the city up until recent times.

What have a deaf nun, the mother of the first baby born to Europeans in North America, and a condemned heretic to do with one another? They are among the virtuous virgins, marvellous maidens, and fierce feminists of the Middle Ages who trail-blazed paths for women today. Without those first courageous souls who worked in fields dominated by men, women might not have the presence they currently do in professions such as education, the law, and literature. Focusing on women from Western Europe between c. 300 and 1500 CE in the medieval period and richly carpeted with detail, A Medieval Woman’s Companion offers a wealth of information about real medieval women who are now considered vital for understanding the Middle Ages in a full and nuanced way. Short biographies of 20 medieval women illustrate how they have anticipated and shaped current concerns, including access to education; creative emotional outlets such as art, theatre, romantic fiction, and music; marriage and marital rights; fertility, pregnancy, childbirth, contraception and gynecology; sex trafficing and sexual violence; the balance of work and family; faith; and disability. Their legacy abides until today in attitudes to contemporary women that have their roots in the medieval period. The final chapter suggests how 20th and 21st century feminist and gender theories can be applied to and complicated by medieval women's lives and writings. Doubly marginalised due to gender and the remoteness of the time period, medieval women’s accomplishments are acknowledged and presented in a way that readers can appreciate and find inspiring. Ideal for high school and college classroom use in courses ranging from history and literature to women's and gender studies, an accompanying website with educational links, images, downloadable curriculum guide, and interactive blog will be made available at the time of publication.

In the mid-fourteenth century the Black Death ravaged Europe, leading to dramatic population drop and social upheavals. Recurring plague outbreaks together with social factors pushed Europe into a deep crisis that lasted for more than a century. The plague and the crisis, and in particular their short-term and long-term consequences for society, have been the matter of continuous debate. Most of the research so far has been based on the study of written sources, and the dominating perspective has been the one of economic history. A different approach is presented here by using evidence and techniques from archaeology and the natural sciences. Special focus is on environmental and social changes in the wake of the Black Death. Pollen and tree-ring data are used to gain new insights into farm abandonment and agricultural change, and to point to the important environmental and ecological consequences of the crisis. The archaeological record shows that the crisis was not only characterised by abandonment and decline, but also how families and households survived by swiftly developing new strategies during these uncertain times. Finally, stature and isotope studies are applied to human skeletons from medieval churchyards to reveal changes in health and living conditions during the crisis. The conclusions are put in wider perspective that highlights the close relationship between society and the environment and the historical importance of past epidemics.

This beautiful and extensively illustrated catalogue presents in-depth case studies of twenty-four rare and remarkable Late Medieval panel paintings, many from the German-speaking regions of Europe, but also from Spain, France and the Southern Netherlands. These works – often fragments of larger altarpieces designed for liturgical performance and communal or private devotion – can be monumental and dramatic or small and intimate, but all on close examination prove to be rich in meaning – even in cases where the painters remain anonymous, and the precise contexts of their creation have become obscured or fragmented. The collected essays will encompass a broad spectrum of artistic styles, techniques, and interests, including in some instances the works’ original frames, and the attendant meanings they give to the imagery housed within. The group will also be augmented by a rare and important small-scale tapestry altarpiece with close links to panel painting. The inclusion of such a piece, one of the many newly resurfaced works to be included in the catalogue, will offer an innovative approach to the scholarship of Medieval paintings, and enrich our understanding of the cross-pollination of ideas between mediums and the role played by painters in tapestry production at the turn of the sixteenth century.The book, a follow-up to Susie Nash’s important 2011 catalogue, considers the physical history, original form, condition and technique of the assembled works, using wood analysis and dendrochronology, paint samples, infra-red, x-rays and macro photography to document the materials and methods involved in their making and the alterations and transformations they have undergone with time. This new information is combined with close readings of their imagery and its presentation to explore issues of meaning, creative process, patronal intervention and artistic intention, leading in many cases to new reconstructions, attributions, dates and iconographic readings.The text is extensively illustrated with a series of images of all of the works, along with technical photographs and comparative material.

The British Museum citole is a unique example of medieval craftsmanship and is one of very few surviving instruments from the Middle Ages. This new publication includes selected papers from the first international symposium on the British Museum citole, held in November 2010 to highlight recent new research, conservation work and scientific findings related to the British Museum citole. Highly illustrated to reflect the visual richness of this beautiful instrument, The British Museum Citole: New Perspectives features a wide range of academic approaches to the subject, drawing together experts from the fields of history, art history, music, organology, conservation and science and performance practice.

The popular romances of medieval England are fantasy stories of love at first sight; brave knights seeking adventure; evil stewards; passionate, lusty women; hand-to-hand combat; angry dragons; and miracles. They are not only fun but indicate a great deal about the ideals and values of the society they were written in. Yet the genre of Middle English romance has only recently begun to attain critical respectability, dismissed as "vayn carpynge" in its own age and generally treated by twentieth-century critics as a junk-food form of medieval literature. Chaucer's Tale of Sir Thopas has been assumed to be a satire of the romances' clichéd formulas and unskilled authors. But the romances evidently enjoyed popularity among all English classes, and the genre itself continued to flourish and evolve down to present-day novels and movies. Whatever Chaucer and his contemporaries thought of romances, they would have needed some personal familiarity with the stories and texts for comic tales such as Sir Thopas to be understood. A century ago, Beowulf faced the same problem that the Middle English romances still face: no modern translations were published because few had heard of the poem- because there were no modern translations published. Where the romances have been printed, they have normally been reproduced as critical editions in their original language, or translated into heavily abridged children's versions, but few have been published as scholarly close line translations with notes. This book is an attempt to remedy this by making some of these romances available to the student or lay reader who lacks specialized knowledge of Middle English, with the hope that a clearer understanding of the poems will encourage not only enjoyment but also further study.

A major conservation programme took place between 1998 and 2003 on one of Europe's greatest medieval painted wooden ceilings. Investigation and analysis were an integral part of this conservation workin the former Benedictine abbey church of Peterborough. The knowledge gained and the discoveries made during that time, as well as the conservation programme itself, are documented and fully illustrated here. Not just the marvellous nave ceiling, but the medieval roof structure that supported it and the transept wooden ceilings that preceded it feature in a story whch spans the period from the mid 12th centurfy into the 21st and saw many significant post-medieval interventions. Documentary history and iconography are freshly examined; structural and scientific studies (including tree-ring dating, paint analysis and environmental monitoring) afford new understanding of both the original works and later repairs.

The aim of this book is to provide an informed introduction to the subjects so that the reader will be able to confidently recognise Anglo-Saxon church architectural features and Anglo-Saxon and Anglo-Scandinavian stone sculpture. The contents, including illustrations and photographs, all meticulously checked on site, are drawn from the author’s extensive research and travels over many years. Especially useful is the gazetteer section offering a selection of 127 sites providing excellent examples of the features described.

A key publication on the British Museum’s internationally renowned Late Antique gold glass collection, this is the first publication in 50 years to offer new ideas on Late Antique gold glass, one of the most important areas in the field of ancient glass studies. It provides new insights into Early Christian iconography and will appeal to specialists and non-specialists as well as museums and collectors. Includes a full catalogue of the British Museum’s collection with beautiful colour illustrations. Edited by Chris Entwhistle and Liz James.