experiment

Experiment Background

Unfortunately, no intact furnaces survive. Only the base plates for these potential furnaces and an additional scattering of sherds exist in the archaeological record. Thus, the shape of the body, lid, and chimneys must be inferred and then tested through experimental bead production.

The premise

The author is currently studying for a PhD in experimental archaeology at the University of the Aegean. The focus of the research involves the recreation of a 4th Century B.C. wall painting (Tomb of Persephone, Vergina) using the same pigments and painting method that was used by the ancient painter. In this project, we sought to identify the painting technique used, and wanted to demonstrate the way in which the wall was painted. The technique that was used in the tomb is a variation of the fresco technique, which is why we examined similar methods.

Part of the reorganisation of the archaeological open-air area at Asparn are plans for a remaking of the Iron Age workshop area. The construction of an Iron Age smithy and a glass production furnace are also being planned. As is widely known ‘glass can be made out of quartz sand, potash and lime’. But is it as easy as that? It is therefore legitimate to discuss here the experimental efforts involved in its production.

Introduction

Although a long list of publications has been dedicated over the last several decades to the questions concerning early metallurgy, the achievements and the potential contributions of experimental archaeology in this area of interest still remain quite underestimated by a consistent part of academia, at least in Italy. At some official occasions the debate between the theoretical knowledge-holders and the technical skill-holders strongly emerges, but very few come back home with a true increased respect and acceptance for the counterpart's work.