The reuse of information derived from past archaeological investigations is integral to contemporary research practices. Yet, archiving practices of many (but not all) scholars, cultural resource managers, and public agencies often fall short of meeting standard best practices. This limitation impedes efficient and meaningful reuse of information in future research and management endeavors. To alleviate archival and reuse concerns, the development of publicly available, secure, online archives is crucial to improving scholarly research, assisting in land-planning activities and enhancing access to cultural heritage documents for Indigenous communities. In response to these challenges and in collaboration with state, federal, and tribal partners, the Center for Digital Antiquity established the Digital Archive of Huhugam Archaeology. This archive, preserved in the Digital Archaeological Record (tDAR), consolidates information from more than 90 years of archaeological investigations in central and southern Arizona. We outline the process of constructing the archive and describe the current methods for assessing reuse (distinguishing between quantity and quality) and the value of reuse. Even though metrics such as page views and downloads are used often, we believe that when used on their own they fail to adequately capture the true value of reused data for academics, cultural resource managers, Indigenous communities, and the public.

This article explores the representations of imperial and non-imperial women on tokens created in Rome and Ostia, exploring what these objects reveal about imperial ideology, local culture and female euergetism. After a brief introduction to tokens as a source, the analysis begins with a discussion of the representations of imperial female family members on both bronze and lead. The representation of imperial women on tokens, which is largely a phenomenon of the first century AD, forms an important precursor, alongside provincial coinage, to the eventual appearance of women on Roman imperial coinage. Similarities and differences between coin and token representations are explored, as is the question of agency; several of these tokens were issued on behalf of the emperor or a male magistrate. The article then moves on to examine the tokens issued by other women in Rome; an appendix lists the known names of these individuals. The evidence suggests tokens were issued in connection with female-sponsored benefactions by different societal groups, although women might also be shown as participants of events on tokens issued by others. The imagery chosen for female-issued tokens is explored; there does not appear to be any gendering of imagery in this class of object. The article concludes by highlighting the relative frequency of women on Roman lead tokens when compared with provincial coinage or the tokens of other regions.

Il presente articolo prende in esame tre iscrizioni sepolcrali custodite presso la biblioteca della British School at Rome (BSR) e, fino ad oggi, rimaste inedite. Si propone, pertanto, una trascrizione, accompagnata da un commento e dall’analisi stilistica delle tre lastrine di colombario, nell’attesa che le iscrizioni vengano registrate, fra gli altri, nell’Epigraphic Database Roma. Una delle epigrafi è un componimento metrico che commemora la sepoltura comune di due coniugi, di cui ci perviene solo il nome del marito, Quirino. Il testo metrico articola numerosi topoi della poesia funeraria romana e suggerisce interessanti considerazioni sul processo di componimento e consumo poetico in ambito epigrafico. Le ulteriori tabelle di colombario, che presentano ancora i fori di fissaggio, ricordano la morte prematura di due bambini, Clado e Cyclas. Riportando alla luce questi importanti documenti, l’articolo si propone di fornire utili informazioni relative alla collezione epigrafica della BSR e di contribuire alla conoscenza del materiale epigrafico lato sensu.

We used AMS 14C dating to determine the age of the composite wedge formation in the Batagay Upper Sand unit. The composite wedges are interpreted as syngenetic structures; they have grown vertically upward with aggradation of the host sandy deposits. The formation of composite wedges in Upper Sand commenced no later than 38.3 cal ka BP and stopped not earlier than 25.5 cal ka BP in the northwestern part of the slump. In the formation of ice wedges within the Upper Sand, frost cracks extended to a depth of 5–7 m, surpassing the normal depth of 3–4 m observed in the Upper Ice Complex. The composite ice wedges in the Upper Sand formed at temperatures ranging from –47 to –54°C, as evidenced by the paleotemperature reconstruction of the isotope composition of the Upper Ice Complex’s ice wedges.

Although culture contact is a well-studied area of archaeological inquiry, complex ancient cross-cultural interactions can be challenging to discern. As zones of innovation in which boundaries are obscure, ancient frontiers offer ideal contexts to analyze the nuances of such interactions. To address the challenges of interpreting a multicultural frontier in the Moquegua Valley, southern Peru, we apply a practice-based approach using foodways to elucidate the complexity of culture contact between Wari-affiliated and Indigenous Huaracane communities during the Middle Horizon (AD 600–1000). Our findings indicate that after Wari colonization of the Moquegua frontier, the Huaracane community at Yahuay Alta began brewing chicha de molle, an alcoholic beverage associated with and central to Wari political and religious social structures. They did not, however, adopt the practice in a completely Wari fashion. Instead, we see Huaracane leaders brewed and served chicha de molle in ways that aligned with their own cultural practices. The material remains of chicha de molle production and consumption at Yahuay Alta should not be seen as a simple adoption of a nonlocal cultural practice by an Indigenous group, but instead an active manipulation of practice as part of frontier cultural negotiations and entanglements.

El objetivo del trabajo es analizar la relación entre humanos y animales a lo largo del tiempo. En este contexto, buscamos puntualmente comprender el papel de estos últimos en los procesos de construcción identitaria de los grupos humanos de Sierras Centrales (Córdoba, centro de Argentina). Para ello, proponemos una perspectiva que integre herramientas metodológicas de la etnozoología, la historia y la arqueología. Desde el presente, abordamos el conocimiento ecológico local de las comunidades rurales, donde muchas familias llevan como apelativo el nombre de algún animal. En tanto, indagamos en los vínculos identificados en los documentos y trabajos históricos, lo que habilita rastrear cambios y continuidades de algunas prácticas sociales donde fueron mencionados los animales. Consideramos que la conjunción de estas líneas posibilita repensar la presencia de estos seres en las dinámicas sociales de las comunidades humanas del período Tardío (ca. 700-1550 dC), con base en el análisis de la iconografía zoomorfa del arte rupestre. La evidencia recuperada nos habilita a reconocer la continuidad del diálogo entre personas y animales como central en las dinámicas sociales, y cómo sus diferentes expresiones identitarias tuvieron lugar en distintos momentos históricos en las regiones objeto de estudio.

The Katakomben-Stichting (Catacombs Foundation) is a private institution established in 1913 by the wealthy Dutch textile entrepreneur Jan F.M. Diepen and his family on the site of a ‘facsimile’ of the most famous sections of the Roman catacombs (today Museum Romeinse Katakomben), constructed between 1909 and 1913 in an abandoned quarry in Valkenburg aan de Geul, the Netherlands. The Foundation owns a collection of early Christian artifacts, watercolours and cartoons aimed at the creation of replicas of the catacomb paintings, as well as an archive, all of which await proper study and dissemination. A careful survey of the archive has added a new and valuable piece to the history of research involving the Crypt of Saint Cecilia in the Catacomb of Saint Callixtus. Diepen, together with the Trappist monk Eugenius van Doorn, coordinated between 1912 and 1916 a pioneering stratigraphic analysis of the decorations of the so-called ‘palimpsest wall’ of the Crypt, after they discovered a previously unknown fragment of an early medieval wall painting containing the bust of a Christ hovering in the sky, from that moment known as Salvatore Olandese. The analysis was supported by meticulous documentation of the decorations, which remains largely unpublished within the Foundation’s archive. The reasons for not publishing this comprehensive study remain uncertain. Examining Diepen’s notebook and correspondence with Rome-based archaeologists and art historians reveals a ‘harsh’ picture of the so-called ‘Roman school’ of Christian Archaeology, marked by rivalries and hostilities and lacking scientific collaboration with foreign scholars. It was precisely within this environment that a certain obstructionism appears to have emerged against the Dutch amateur and his circle’s efforts to study and publish the Salvatore Olandese, contributing to the ‘cancellation’ of this fresco from collective memory to this day.