Pub Date : 2020-01-13DOI: 10.1080/00794236.2019.1659643
C. Rynne
The fortunes of England’s remaining Catholic population as an economic entity, in the period from the Dissolution to the onset of the Civil War, have largely been ignored by historians and barely t...
{"title":"Blood, Faith and Iron: a Dynasty of Catholic Industrialists in Sixteenth- and Seventeenth-Century England","authors":"C. Rynne","doi":"10.1080/00794236.2019.1659643","DOIUrl":"https://doi.org/10.1080/00794236.2019.1659643","url":null,"abstract":"The fortunes of England’s remaining Catholic population as an economic entity, in the period from the Dissolution to the onset of the Civil War, have largely been ignored by historians and barely t...","PeriodicalId":43560,"journal":{"name":"Post-Medieval Archaeology","volume":"54 1","pages":"390 - 391"},"PeriodicalIF":0.3,"publicationDate":"2020-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00794236.2019.1659643","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48292465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/00794236.2020.1750152
Patrice Foutakis
SUMMARY The identification of a building on Rhodes as the Hospitaller Inn of the Tongue of Italy has been subject to doubt and is contested by some scholars. This article sheds light on this question and brings new evidence from architectural, archaeological, 19th-century photographic, and manuscript sources. Some as yet unidentified structures appear to be property of the Tongue of Italy. Regarding the building in question, it was built in 1519 and likely stands on land previously occupied by the former mansion house of Fabrizio del Carretto, when he was admiral of the Order of Rhodes from 1509 to 1513.The doubts expressed about this structure, whether it should be considered as the Inn of Italy, are not well-founded. The house with the arms of Fabrizio del Carretto in the Street of the Knights can be identified as the Inn of the Tongue of Italy, as it was part of the Italian ‘Auberge’ housing some of its functions, in other words part of several buildings owned by this Tongue: the Inn of the knights, the private houses of the successive chiefs of the Tongue who held the office of admiral, the mansion houses for one or more priors from Italy, when they were at Rhodes, and the auxiliary buildings belonging to the Tongue of Italy. Today part of the historic centre of the town of Rhodes a designated World Heritage Site by UNESCO, this monument presents a significant multi-disciplinary dimension. It was built by a Christian military and religious Order. For almost four centuries, it was an Ottoman house, and the ground floor was converted into a grocery and tobacco store. By the beginning of the 20th century, after it was restored, its medieval architecture was highlighted. Today, it houses the Service of the Direction of the Medieval Town of Rhodes. Despite the fact that this structure went through different uses during the last five centuries, it stands as a most worthy-of-consideration example for intercultural identity.
罗兹岛上的一座建筑被认定为意大利舌头医院旅馆一直受到质疑，一些学者对此提出了质疑。这篇文章揭示了这个问题，并从建筑、考古、19世纪的摄影和手稿中获得了新的证据。一些尚未确定的结构似乎是意大利之舌的财产。关于这座建筑，它建于1519年，很可能坐落在法布里齐奥·德尔·卡雷托（Fabrizio del Carretto）的前豪宅所占据的土地上，当时他在1509年至1513年担任罗德勋章（Order of Rhodes）海军上将。人们对这座建筑的怀疑，即它是否应该被视为意大利旅馆，都没有充分的依据。骑士街上法布里齐奥·德尔·卡雷托（Fabrizio del Carretto，一个或多个意大利修道院院长在罗兹时的豪宅，以及属于意大利之舌的附属建筑。如今，这座纪念碑是联合国教科文组织指定的世界遗产罗兹镇历史中心的一部分，具有重要的多学科意义。它是由一个基督教军事和宗教教团建造的。在将近四个世纪的时间里，这是一座奥斯曼帝国的房子，一楼被改建为杂货店和烟草店。到20世纪初，在修复后，它的中世纪建筑凸显出来。如今，这里是中世纪罗德斯镇的指挥服务中心。尽管在过去的五个世纪里，这种结构经历了不同的用途，但它是跨文化身份最值得考虑的例子。
{"title":"The Inn of the Tongue of Italy for the Hospitaller knights in Rhodes","authors":"Patrice Foutakis","doi":"10.1080/00794236.2020.1750152","DOIUrl":"https://doi.org/10.1080/00794236.2020.1750152","url":null,"abstract":"SUMMARY The identification of a building on Rhodes as the Hospitaller Inn of the Tongue of Italy has been subject to doubt and is contested by some scholars. This article sheds light on this question and brings new evidence from architectural, archaeological, 19th-century photographic, and manuscript sources. Some as yet unidentified structures appear to be property of the Tongue of Italy. Regarding the building in question, it was built in 1519 and likely stands on land previously occupied by the former mansion house of Fabrizio del Carretto, when he was admiral of the Order of Rhodes from 1509 to 1513.The doubts expressed about this structure, whether it should be considered as the Inn of Italy, are not well-founded. The house with the arms of Fabrizio del Carretto in the Street of the Knights can be identified as the Inn of the Tongue of Italy, as it was part of the Italian ‘Auberge’ housing some of its functions, in other words part of several buildings owned by this Tongue: the Inn of the knights, the private houses of the successive chiefs of the Tongue who held the office of admiral, the mansion houses for one or more priors from Italy, when they were at Rhodes, and the auxiliary buildings belonging to the Tongue of Italy. Today part of the historic centre of the town of Rhodes a designated World Heritage Site by UNESCO, this monument presents a significant multi-disciplinary dimension. It was built by a Christian military and religious Order. For almost four centuries, it was an Ottoman house, and the ground floor was converted into a grocery and tobacco store. By the beginning of the 20th century, after it was restored, its medieval architecture was highlighted. Today, it houses the Service of the Direction of the Medieval Town of Rhodes. Despite the fact that this structure went through different uses during the last five centuries, it stands as a most worthy-of-consideration example for intercultural identity.","PeriodicalId":43560,"journal":{"name":"Post-Medieval Archaeology","volume":"54 1","pages":"94 - 116"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00794236.2020.1750152","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44520095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/00794236.2020.1750154
David Dawson
Ken Barton died peacefully on 28th August 2018. He had had a distinguished career in museums and a lifelong passion for medieval and post-medieval pottery. Having been a founder member of the Society for Medieval Archaeology in 1957, he with John Hurst, and with the encouragement of Alan Warhurst, was instrumental in founding the Post-Medieval Ceramic Research Group in 1963, and was active in the process of its transformation into the Society for Post-medieval Archaeology. He served as our President from 1976 to 1978 and one of our two Vice-presidents from 1979 to 1981. Perhaps his greatest achievement whilst an officer of the society was organising our first joint conference with the Society for Historical Archaeology in Bristol in 1980. He was born in Liverpool on 7th August 1924. It was not until 1949, after leaving school at the age of 14 and taking a variety of jobs including active war service with the Irish Guards, when he realised that Ken at home (reproduced by courtesy of Marilyn Barton)
{"title":"Obituary: Kenneth J. Barton 1924–2018","authors":"David Dawson","doi":"10.1080/00794236.2020.1750154","DOIUrl":"https://doi.org/10.1080/00794236.2020.1750154","url":null,"abstract":"Ken Barton died peacefully on 28th August 2018. He had had a distinguished career in museums and a lifelong passion for medieval and post-medieval pottery. Having been a founder member of the Society for Medieval Archaeology in 1957, he with John Hurst, and with the encouragement of Alan Warhurst, was instrumental in founding the Post-Medieval Ceramic Research Group in 1963, and was active in the process of its transformation into the Society for Post-medieval Archaeology. He served as our President from 1976 to 1978 and one of our two Vice-presidents from 1979 to 1981. Perhaps his greatest achievement whilst an officer of the society was organising our first joint conference with the Society for Historical Archaeology in Bristol in 1980. He was born in Liverpool on 7th August 1924. It was not until 1949, after leaving school at the age of 14 and taking a variety of jobs including active war service with the Irish Guards, when he realised that Ken at home (reproduced by courtesy of Marilyn Barton)","PeriodicalId":43560,"journal":{"name":"Post-Medieval Archaeology","volume":"54 1","pages":"117 - 119"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00794236.2020.1750154","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41421427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/00794236.2020.1750147
J. Santiago
SUMMARY This article addresses the work of the epigraphic workshops and their relationship with sculpture workshops in the final years of the Middle Ages and the beginning of the Modern Period. Our primary source has been the inscriptions executed in Gothic minuscule script in Sigüenza Cathedral. We have done a comparative analysis of the script used in these inscriptions, associate it with the sculpture workshops which we know operated in Sigüenza in the aforementioned years, and propose the hypothesis that there were specialists in epigraphic work who provided their services to the large sculpture workshops.
{"title":"Epigraphic workshops in Sigüenza Cathedral (Guadalajara, Spain) in the late middle ages","authors":"J. Santiago","doi":"10.1080/00794236.2020.1750147","DOIUrl":"https://doi.org/10.1080/00794236.2020.1750147","url":null,"abstract":"SUMMARY This article addresses the work of the epigraphic workshops and their relationship with sculpture workshops in the final years of the Middle Ages and the beginning of the Modern Period. Our primary source has been the inscriptions executed in Gothic minuscule script in Sigüenza Cathedral. We have done a comparative analysis of the script used in these inscriptions, associate it with the sculpture workshops which we know operated in Sigüenza in the aforementioned years, and propose the hypothesis that there were specialists in epigraphic work who provided their services to the large sculpture workshops.","PeriodicalId":43560,"journal":{"name":"Post-Medieval Archaeology","volume":"54 1","pages":"60 - 77"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00794236.2020.1750147","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42890583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/00794236.2020.1750145
Miguel Busto-Zapico
SUMMARY: The aim of this paper is to determine the degree of standardization of pottery production and the units of measure that regulated their production. The group chosen to test this methodology is known as the Spanish olive jar. It is a series of productions manufactured in the south of the Iberian Peninsula throughout the Early Modern Period. The methodology begins with the morphometric characterisation of each vessel around a series of quantitative variables. Then, the Test for Normality is performed, and the Product-Moment Correlation Coefficient is calculated. Subsequently, a Cluster Analysis identifies different groups of Spanish olive jars. The Principal Component Analysis provides additional information that allows for a deeper understanding of the groups obtained. As a final step, calculating the Coefficient of Variation allows us to know the degree of standardization of each variable. Finally, once all these data are known, the possible units of measure that governed the production system of the Spanish olive jar can be recognized.
{"title":"Standardization and units of measurement used in pottery production: the case of the post-medieval botijuela or Spanish olive jar made in Seville","authors":"Miguel Busto-Zapico","doi":"10.1080/00794236.2020.1750145","DOIUrl":"https://doi.org/10.1080/00794236.2020.1750145","url":null,"abstract":"SUMMARY: The aim of this paper is to determine the degree of standardization of pottery production and the units of measure that regulated their production. The group chosen to test this methodology is known as the Spanish olive jar. It is a series of productions manufactured in the south of the Iberian Peninsula throughout the Early Modern Period. The methodology begins with the morphometric characterisation of each vessel around a series of quantitative variables. Then, the Test for Normality is performed, and the Product-Moment Correlation Coefficient is calculated. Subsequently, a Cluster Analysis identifies different groups of Spanish olive jars. The Principal Component Analysis provides additional information that allows for a deeper understanding of the groups obtained. As a final step, calculating the Coefficient of Variation allows us to know the degree of standardization of each variable. Finally, once all these data are known, the possible units of measure that governed the production system of the Spanish olive jar can be recognized.","PeriodicalId":43560,"journal":{"name":"Post-Medieval Archaeology","volume":"54 1","pages":"42 - 59"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00794236.2020.1750145","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43069502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/00794236.2020.1750239
T. Casimiro
SUMMARY: In the Early Modern age, Portugal was among the first European countries to engage in overseas trade and colonial ventures. The influx of new people and things rapidly transformed it into a multicultural country in permanent contact with the rest of Europe and the wider world. While we possess a vast amount of knowledge describing the overseas contacts and acquisition of goods from historical documents, in recent years archaeological excavations have begun to reveal direct evidence of these interactions. This includes thousands of people and objects such as ceramics, ivory and stone artefacts produced in overseas territories in Africa, South America and Asia. They were exported in vast amounts to several European countries, and are frequently found in archaeological excavations. These commodities were in part responsible for changing European perceptions of the world, its dimensions and cultural plurality. They also rapidly left their mark on European goods production, leading to changes in aesthetics and the introduction of new forms. This paper will discuss some of these objects in terms of how they reflect an Early Modern globalized world, and their influence on European daily life.
{"title":"Globalization, trade, and material culture: Portugal’s role in the making of a multicultural Europe (1415–1806)","authors":"T. Casimiro","doi":"10.1080/00794236.2020.1750239","DOIUrl":"https://doi.org/10.1080/00794236.2020.1750239","url":null,"abstract":"SUMMARY: In the Early Modern age, Portugal was among the first European countries to engage in overseas trade and colonial ventures. The influx of new people and things rapidly transformed it into a multicultural country in permanent contact with the rest of Europe and the wider world. While we possess a vast amount of knowledge describing the overseas contacts and acquisition of goods from historical documents, in recent years archaeological excavations have begun to reveal direct evidence of these interactions. This includes thousands of people and objects such as ceramics, ivory and stone artefacts produced in overseas territories in Africa, South America and Asia. They were exported in vast amounts to several European countries, and are frequently found in archaeological excavations. These commodities were in part responsible for changing European perceptions of the world, its dimensions and cultural plurality. They also rapidly left their mark on European goods production, leading to changes in aesthetics and the introduction of new forms. This paper will discuss some of these objects in terms of how they reflect an Early Modern globalized world, and their influence on European daily life.","PeriodicalId":43560,"journal":{"name":"Post-Medieval Archaeology","volume":"54 1","pages":"1 - 17"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00794236.2020.1750239","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46321511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/00794236.2020.1750142
M. Shapland
SUMMARY I am fortunate enough to spend my working life exploring many different buildings, from medieval manor houses to 20th century football stadia, as part of a development-led brief to record them for posterity. This provides the opportunity to access places that few members of the public (other than squatters and urban explorers) ever see. It also involves many hours picking round derelict hulks with the rain coursing down the walls. This work feeds into the undeniable research value that arises from the study of individual buildings and how they inform our understanding of past societies and social practices. Conversely, there is also the less classifiable output of our attempting to capture the ‘spirit’ of a building prior to its demolition or conversion. Whilst the former is prioritised in guidance literature and methodologies, the latter arguably comprises the majority of what we do. What follows is an attempt to reconcile these two mindsets, with what can be termed a ‘biographical’ approach to historic building recording.
{"title":"Capturing the Spirit of Singular Places: A Biographical Approach to Historic Building Recording","authors":"M. Shapland","doi":"10.1080/00794236.2020.1750142","DOIUrl":"https://doi.org/10.1080/00794236.2020.1750142","url":null,"abstract":"SUMMARY I am fortunate enough to spend my working life exploring many different buildings, from medieval manor houses to 20th century football stadia, as part of a development-led brief to record them for posterity. This provides the opportunity to access places that few members of the public (other than squatters and urban explorers) ever see. It also involves many hours picking round derelict hulks with the rain coursing down the walls. This work feeds into the undeniable research value that arises from the study of individual buildings and how they inform our understanding of past societies and social practices. Conversely, there is also the less classifiable output of our attempting to capture the ‘spirit’ of a building prior to its demolition or conversion. Whilst the former is prioritised in guidance literature and methodologies, the latter arguably comprises the majority of what we do. What follows is an attempt to reconcile these two mindsets, with what can be termed a ‘biographical’ approach to historic building recording.","PeriodicalId":43560,"journal":{"name":"Post-Medieval Archaeology","volume":"54 1","pages":"18 - 41"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00794236.2020.1750142","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47290472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/00794236.2020.1750150
A. Marriott
SUMMARY The Victoria Cross, Britain’s highest award for gallantry in the face of the enemy, is commonly believed to be cast from the bronze of Russian cannon captured at Sebastopol during the Crimean War. There is no corroboration for this belief beyond an entry in The Times in 1857. Historical sources suggest that neither the Queen nor her Prime Minister would have favoured an association of the medal with Sebastopol. From 1914, however, it is likely that many Victoria Crosses were indeed sourced from captured ordnance, but probably using Chinese guns. Some may even have been cast from entirely unprovenanced metal. Recent examination of VCs and putative sources of their metal by X-ray fluorescence suggest multiple sources of material, presenting medals variously of bronze, brass and copper.
{"title":"Manufactured tradition? – the Victoria Cross","authors":"A. Marriott","doi":"10.1080/00794236.2020.1750150","DOIUrl":"https://doi.org/10.1080/00794236.2020.1750150","url":null,"abstract":"SUMMARY The Victoria Cross, Britain’s highest award for gallantry in the face of the enemy, is commonly believed to be cast from the bronze of Russian cannon captured at Sebastopol during the Crimean War. There is no corroboration for this belief beyond an entry in The Times in 1857. Historical sources suggest that neither the Queen nor her Prime Minister would have favoured an association of the medal with Sebastopol. From 1914, however, it is likely that many Victoria Crosses were indeed sourced from captured ordnance, but probably using Chinese guns. Some may even have been cast from entirely unprovenanced metal. Recent examination of VCs and putative sources of their metal by X-ray fluorescence suggest multiple sources of material, presenting medals variously of bronze, brass and copper.","PeriodicalId":43560,"journal":{"name":"Post-Medieval Archaeology","volume":"54 1","pages":"78 - 93"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00794236.2020.1750150","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48882745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1080/00794236.2019.1659586
Rachel Ama Asaa Engmann
Since 2014, my research has focused on Christiansborg Castle, a 17th-century former trading post, Danish and British colonial seat of government and Office of the President of the Republic of Ghana. Christiansborg Castle is a United Nations Educational, Scientific, Cultural Organization (UNESCO) World Heritage Site. Today, it is locally known as simply ‘The Castle’. This is the first archaeological excavation at Christiansborg Castle. Work was conducted under the guise of the Christiansborg Archaeological Heritage Project (CAHP) (www.christiansborgarchaeologicalheritageproject.org) (Fig. 1). This brief preliminary report directs close attention to locally manufactured pottery. Certainly, European colonial written accounts document local manufacture and trade, but they rarely provide detailed descriptions and illustrations of locally manufactured pottery. This note examines the criteria necessary for developing a locally manufactured pottery typology classification for the Christiansborg Castle site. As materially distinct deposits, locally manufactured pottery is the most abundant dataset found at the site. In the past, pottery was commonly employed for a number of purposes and within reach of most households economically. Pottery is a durable material and, though it fractures and breaks into sherds, it does not disintegrate. Since pottery fragments retain their material form, they can be studied. Archaeological analysis is still ongoing, yet some preliminary observations can still be made. BredwaMensah has proposed a typological sequence for local pottery ceramics from Frederiksgave, a Danish plantation site nearby in the Akwapim Hills. Once a detailed study is complete, it will be possible to ascertain whether Bredwah-Mensah’s typology is appropriate for this study. Clearly, this topic finds resonance with existing archaeological scholarship in the region.
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Pub Date : 2019-09-02DOI: 10.1080/00794236.2019.1659651
Lara Band
and literacy as a means of identity-creation and distancing from an author’s origins — Douglass as a former slave, and Yezierska as an immigrant. The final chapter of the book by Benjamin Skolnik, under the section title ‘Coda’, returns to Wye House and the ‘Archaeology in Annapolis’ project, on which much of the archaeology in the book is based. The chapter situates Douglass (and, by extension, the book) in its comparative historical context, as well as a wider intellectual context of post-colonial scholarship. While not concluding the contents of the book in a formulaic way, Skolnik’s chapter provides an appropriate bookend to Leone and Jenkins introduction, synthesizing the archaeological elements of the book in their historical context. This book is occasionally evocative and emotional and is unapologetic about this. The intended readership is undoubtedly academic, but the book is nonetheless pitched to appeal beyond the academy, to a general readership. While the standard of scholarship is very high, the book is well written and easy to read. Students will find the book useful as a detailed comparative study of the transnational history and archaeology of slavery and migration, and as an example of good interdisciplinary practice. Indeed, the bibliographies alone are a valuable resource. A general readership may be more interested in the case studies and sites employed within. For this reason, it is a pity that the volume is so expensive (for example, Amazon sells the book at $72 plus shipping, with no clear UK purchasing option) and difficult to locate easily online. The publishers ought to consider cheaper options for a future edition.
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