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                    <text>Pipestem Bore Hole Size Chart from Hume's &lt;em&gt;A Guide to Colonial Artifacts in America&lt;/em&gt;</text>
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                    <text>The bore hole’s size on the pipe stem, 6/64”, is its primary clue to when the pipe is from. A chart from Hume’s A Guide to Artifacts of Colonial America shows the variations of bore hole diameters in pipestems that prove what is commonly referred to as ‘The Harrington Theory,’ which is what most pipestem dating is based around (Hume 1970). This theory states that bore hole sizes are consistent with specific time periods, and years of digging around Harvard Yard have proven this theory to be correct due to material culture found in the context surrounding the pipestems. </text>
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                    <text>Noël Hume, Ivor. 2001. A Guide to Artifacts of Colonial America. Philadelphia: University of &#13;
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                    <text>The Lawes of the Colledge published publiquely before the Students of Harvard Colledge</text>
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                    <text>These bylaws were created by the overseers of the college to protect their students from overindulging in activities that could be portrayed as sinful. The students were forbidden from bringing tobacco and strong alcohol to their rooms, as these activities were not sinful if used within reason. Storing these items in a student’s bedroom could be seen as storing an excess of imbibements, which could be why so many pipestems were found together in trash heaps near the Old College. </text>
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                    <text>“The Lawes of the Colledge Published Publiquely before the Students of Harvard Colledge.” Colonial Society of Massachusetts. Accessed February 24, 2026. https://www.colonialsociety.org/node/429. </text>
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                    <text>The president of Harvard College from 1686-1701 was Increase Mather, a puritan minister. Due to his ministry and religious belief, he would have likely signed off on permitting the use of tobacco and alcohol for pleasure. The proximity of administrators such as Mather to the students could have compelled students to go near the old college to partake in smoking their pipes. </text>
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                    <text>“Increase Mather and the 1691 Charter of the Province ...” Increase Mather &amp; The 1691 Charter of the Province of Massachusetts Bay. Accessed February 25, 2026. https://www.sec.state.ma.us/divisions/commonwealth-museum/exhibits/treasures/1691.htm. </text>
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                <text>Imagine you are a student at Harvard in 1680, trying to study for your Latin or Greek quiz tomorrow when the smell of pungent tobacco fills the air, leading to you opening the windows to the punishing winter outside. Your bunkmate and his friends have decided to light their pipes and smoke tobacco once the preceptors have fallen asleep, indulging in a taboo habit for a puritanical institution such as Harvard in the 17th century. After they finished their smoke, they threw their pipes out of the window into a trash pile below. Harvard had strictly permitted excess tobacco use, stating that one could not bring “tobacco…[to] his Chamber…[so] that all excesse and abuse thereof may bee prevented. (Overseers President and Fellowes of Harvard College 1655)” This could have led to many situations such as stated above, and students might have thrown their evidence into various trash pits around campus. These students might not have been using tobacco for pleasure; there weren’t many doctors around, and many might have reached for a cure-all, like today’s equivalent of an ibuprofen. Many artifacts, such as this one, have been found around campus, and the material culture in the context has indicated the creation of this type of pipe stem from 1680-1720. </text>
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                    <text>A Statute for Swearers and Drunkards 1625. https://chipstone.org/images.php/80/Ceramics-in-America-2003/Through-the-Lookinge-Glasse:-or,-the-Chamber-Pot-as-a-Mirror-of-Its-Time-.</text>
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                    <text>A woodcut illustration from a ca. 1625 English ballad, A Statute for Swearers and Drunkards, showing a chamber pot under a tavern table, demonstrating how chamber pots were used in everyday public and domestic spaces.&#13;
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                <text>Before modern hygiene with waste removal from proper toilets, stoneware chamber pots were often covered only with a glaze to prevent the liquid waste from leaking through. These vessels were constructed to permit the storage of human liquids in a safe manner while the unglazed exterior of the chamber pot demonstrates its utilitarian nature. Chambers pots were used in private homes and typically stored where an owner would need them every day (Hume, 1969).&#13;
&#13;
The Harvard Yard Excavations reveal how students lived in early Harvard College through the understanding of the common realities of their living environments. During the 17th and 18th centuries, the majority of students lived in dormitory-style housing that lacked indoor plumbing and sewage lines. They were given chamber pots to use overnight, which then had to be emptied in the morning into outdoor privies, cesspits, or garbage piles (Deetz, 1996). Chamber pots provided the ability to maintain cleanliness during periods of overcrowding in institutional settings.&#13;
&#13;
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&#13;
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&#13;
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              <description>A name given to the resource</description>
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              <text>Creamware Sherds</text>
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        <element elementId="67">
          <name>Inventory Description</name>
          <description/>
          <elementTextContainer>
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              <text>A lot of creamware sherds, potentially from the same vessel, one sherd has some blue and brown detailing. Some sherds appear to be part of the base of the vessel.</text>
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          <name>Peabody Number</name>
          <description/>
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          <name>Intrasite</name>
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              <text>Ceramic</text>
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              <text>Creamware</text>
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              <text>24</text>
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          <name>Width (cm)</name>
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              <text>1.8</text>
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          <name>Depth/Thickness (cm)</name>
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            <description>A name given to the resource</description>
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                <text>Creamware Sherds</text>
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                  <text>2023 Inventory</text>
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                  <text>2023 Artifact/Item Inventory</text>
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              <name>Creator</name>
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                  <text>Veronica Peterson</text>
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        <element elementId="65">
          <name>Object Name</name>
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              <text>Clear Flat Glass Shards</text>
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          <name>Inventory Description</name>
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            <elementText elementTextId="67697">
              <text>2 shards of colorless flat glass</text>
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          </elementTextContainer>
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          <name>Peabody Number</name>
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              <text>2023.11.1136</text>
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              <text>H982 Level 2</text>
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          <name>Depth</name>
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          <name>Class 1</name>
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              <text>Glass</text>
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          <name>Class 3</name>
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            <elementText elementTextId="67703">
              <text>Colorless flat glass</text>
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          <name>Quantity</name>
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            <elementText elementTextId="67704">
              <text>2</text>
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          </elementTextContainer>
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          <name>Height (cm)</name>
          <description>Dimension of Object</description>
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            <elementText elementTextId="67705">
              <text>2</text>
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          </elementTextContainer>
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          <name>Width (cm)</name>
          <description>Dimension of Object</description>
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            <elementText elementTextId="67706">
              <text>1.6</text>
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          </elementTextContainer>
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          <name>Depth/Thickness (cm)</name>
          <description>Dimension of Object</description>
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            <elementText elementTextId="67707">
              <text>0.3</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
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      <elementSet elementSetId="1">
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="67695">
                <text>Clear Flat Glass Shards</text>
              </elementText>
            </elementTextContainer>
          </element>
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    </elementSetContainer>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="62205">
                  <text>2023 Inventory</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="62206">
                  <text>2023 Artifact/Item Inventory</text>
                </elementText>
              </elementTextContainer>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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                <elementText elementTextId="62207">
                  <text>Veronica Peterson</text>
                </elementText>
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      <name>Archaeological Find</name>
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      <elementContainer>
        <element elementId="65">
          <name>Object Name</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67670">
              <text>Aqua Bottle Glass Shard</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="67">
          <name>Inventory Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67671">
              <text>A shard of aqua bottle glass.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="64">
          <name>Peabody Number</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67672">
              <text>2023.11.1134</text>
            </elementText>
          </elementTextContainer>
        </element>
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          <name>Intrasite</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67673">
              <text>H982 Level 2</text>
            </elementText>
          </elementTextContainer>
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          <name>Depth</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67674">
              <text>12 - 21 cm</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="60">
          <name>Class 1</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67675">
              <text>Glass</text>
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          <name>Class 2</name>
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            <elementText elementTextId="67676">
              <text>Bottle glass</text>
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        <element elementId="62">
          <name>Class 3</name>
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            <elementText elementTextId="67677">
              <text>Aqua bottle glass</text>
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          </elementTextContainer>
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          <name>Quantity</name>
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            <elementText elementTextId="67678">
              <text>1</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="74">
          <name>Height (cm)</name>
          <description>Dimension of Object</description>
          <elementTextContainer>
            <elementText elementTextId="67679">
              <text>2.5</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="75">
          <name>Width (cm)</name>
          <description>Dimension of Object</description>
          <elementTextContainer>
            <elementText elementTextId="67680">
              <text>1.4</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="76">
          <name>Depth/Thickness (cm)</name>
          <description>Dimension of Object</description>
          <elementTextContainer>
            <elementText elementTextId="67681">
              <text>0.2</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
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      <elementSet elementSetId="1">
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="67669">
                <text>Aqua Bottle Glass Shard</text>
              </elementText>
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          </element>
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    </elementSetContainer>
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  <item itemId="5436" public="1" featured="0">
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          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="62205">
                  <text>2023 Inventory</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="62206">
                  <text>2023 Artifact/Item Inventory</text>
                </elementText>
              </elementTextContainer>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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                <elementText elementTextId="62207">
                  <text>Veronica Peterson</text>
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      <name>Archaeological Find</name>
      <description/>
      <elementContainer>
        <element elementId="65">
          <name>Object Name</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67657">
              <text>Aqua Flat Glass Shard</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="67">
          <name>Inventory Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67658">
              <text>A shard of aqua flat glass</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="64">
          <name>Peabody Number</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="67659">
              <text>2023.11.1133</text>
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        </element>
        <element elementId="56">
          <name>Intrasite</name>
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              <text>H982 Level 2</text>
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        <element elementId="60">
          <name>Class 1</name>
          <description/>
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              <text>Glass</text>
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        </element>
        <element elementId="61">
          <name>Class 2</name>
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              <text>Flat glass</text>
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          <name>Class 3</name>
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            <elementText elementTextId="67664">
              <text>Aqua flat glass</text>
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        <element elementId="63">
          <name>Quantity</name>
          <description/>
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            <elementText elementTextId="67665">
              <text>1</text>
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          </elementTextContainer>
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        <element elementId="74">
          <name>Height (cm)</name>
          <description>Dimension of Object</description>
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            <elementText elementTextId="67666">
              <text>1.8</text>
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          </elementTextContainer>
        </element>
        <element elementId="75">
          <name>Width (cm)</name>
          <description>Dimension of Object</description>
          <elementTextContainer>
            <elementText elementTextId="67667">
              <text>1.3</text>
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          </elementTextContainer>
        </element>
        <element elementId="76">
          <name>Depth/Thickness (cm)</name>
          <description>Dimension of Object</description>
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            <elementText elementTextId="67668">
              <text>0.1</text>
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        </element>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Aqua Flat Glass Shard</text>
              </elementText>
            </elementTextContainer>
          </element>
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    </elementSetContainer>
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  <item itemId="4403" public="1" featured="0">
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      <file fileId="2886">
        <src>https://s3.amazonaws.com/atg-prod-oaas-files/anth1130/original/1d8dac1962b339dcae42ceac1a36b6a8.png</src>
        <authentication>38d3ecddcd28cbb7e5952a2b8ce58fdf</authentication>
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            <elementContainer>
              <element elementId="50">
                <name>Title</name>
                <description>A name given to the resource</description>
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                  <elementText elementTextId="62213">
                    <text>Engine-Turned Dipped Earthenware</text>
                  </elementText>
                </elementTextContainer>
              </element>
              <element elementId="49">
                <name>Subject</name>
                <description>The topic of the resource</description>
                <elementTextContainer>
                  <elementText elementTextId="62214">
                    <text>The design of our engine-turned dipped earthenware sherd almost perfectly matches an engine-turned creamware jug originally belonging to a brewery in a middle-class neighborhood (Maryland Archaeological Conservation Lab). </text>
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                </elementTextContainer>
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                <name>Source</name>
                <description>A related resource from which the described resource is derived</description>
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                  <elementText elementTextId="62215">
                    <text>“Dipped Earthenware.” Maryland Archaeological Conservation Laboratory. Accessed March 29, 2024. &lt;a href="https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/DiptWares/index-dippedwares.htm#EngineTurned"&gt;https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/DiptWares/index-dippedwares.htm#EngineTurned&lt;/a&gt;</text>
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                <name>Contributor</name>
                <description>An entity responsible for making contributions to the resource</description>
                <elementTextContainer>
                  <elementText elementTextId="62216">
                    <text>Skye Lam</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>2023 Inventory</text>
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              <description>The topic of the resource</description>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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      <description/>
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          <name>Object Name</name>
          <description/>
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              <text>Engine-Turned Dipped Earthenware</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="67">
          <name>Inventory Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="53978">
              <text>The sherd likely was part of an eating or drinking vessel.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="64">
          <name>Peabody Number</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="53979">
              <text>2023.11.115</text>
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                <text>The following engine-turned dipped earthenware was found in Level #1 of Unit H984, which is 0-20 cm below the surface. Originally pioneered by Josiah Wedgwood in the 1760s, engine turning lathes allowed potters to decorate the surface of ceramic vessels with geometric patterns (Rickard and Carpentier, 2004). Our artifact from Harvard Yard displays two prominent dark brown horizontal bands of slip that are excellently complemented by three thinner green horizontal bands on the top. Such a design was in peak production from 1790 to 1830, representative of an eating or drinking vessel that a student at Harvard would have used during the late eighteenth and early nineteenth centuries (Fitts et al., 2012). Importantly, these tableware pieces catered towards middle-class families who could not afford to import expensive porcelain to Massachusetts (The Metropolitan Museum of Art). In the same layer that we found the sherd, we also uncovered artifacts ranging from a 2001 Quarter all the way back to a Pipe Stem Fragment with a 6/64” Bore Diameter that dates from 1680 to 1720. The combination of both modern and historical artifacts, including our engine-turned dipped earthenware, signifies that a prior event disturbed the first layer of our unit. What’s more, the surrounding dirt was very fine and easy to excavate, indicative of mixed fill that a landscaping team would use to beautify Harvard Yard in preparation for events like Convocation and Commencement — unintentionally churning and redepositing artifacts from one layer to another. For that reason, like many neighboring units, our first layer came as a mixed bag of artifacts from multiple centuries.</text>
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                <text>Rickard, Jonathan, and Donald Carpentier. “The Little Engine That Could: Adaptation of the Engine-Turning Lathe in the Pottery Industry.” Ceramics in America (2004). &lt;a href="https://chipstone.org/article.php/151/Ceramics-in-America-2004/The-Little-Engine-That-Could:-Adaptation-of-the-Engine-Turning-Lathe-in-the-Pottery-Industry"&gt;https://chipstone.org/article.php/151/Ceramics-in-America-2004/The-Little-Engine-That-Could:-Adaptation-of-the-Engine-Turning-Lathe-in-the-Pottery-Industry&lt;/a&gt; &lt;br /&gt;&lt;br /&gt;Fitts, Mary Elizabeth, Ashley Peles, and R.P. Stephen Davis. “Archaeological Investigations at the Vance Site on the University of North Carolina Campus, Chapel Hill, North Carolina.” The University of North Carolina at Chapel Hill (2012): 1–107. &lt;a href="https://www.rla.unc.edu/Publications/pdf/ResRep34.pdf"&gt;https://www.rla.unc.edu/Publications/pdf/ResRep34.pdf&lt;/a&gt; &lt;br /&gt;&lt;br /&gt;“Barrel Shaped Jug.” The Metropolitan Museum of Art. Accessed March 29, 2024. &lt;a href="https://www.metmuseum.org/art/collection/search/762253"&gt;https://www.metmuseum.org/art/collection/search/762253&lt;/a&gt;</text>
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                <text>Skye Lam</text>
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                <name>Source</name>
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                    <text>Hume, Ivor Noël. 1970. A Guide to Artifacts of Colonial America. [1st ed.]. New York: Knopf. https://id.lib.harvard.edu/alma/990012245160203941/catalog.</text>
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                    <text>A visual guide to wine bottles of the 18th century. These are much more slender than the "onion bottles" from the 17th century. </text>
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                    <text>A popular song from the 1860s describing the drinking culture at Harvard during the colonial period.</text>
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                    <text>Morison, Samuel Eliot. 1964. Three Centuries of Harvard, 1636-1936. Cambridge, Mass.: The Belknap Press of Harvard University Press. https://id.lib.harvard.edu/alma/990004943010203941/catalog.</text>
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                    <text>van Giffen, Astrid. "Weathered Archaeological Glass." Accessed 24 February 2024. https://www.cmog.org/article/weathered-archaeological-glass.</text>
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                    <text>Glass fragment with patinated surface, a feature caused by the interactions between  ions in the glass and moisture in the soil.</text>
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              <text>A shard of olive-colored glass with patina on surface, likely from the neck of an 18th century wine bottle.</text>
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                <text>This fragment of olive green bottle glass was found in Level 2 of Unit H978, along the south wall of Holden Chapel in Harvard Yard. Given its patinated surface and overall thickness, this shard likely originated from a wine bottle, specifically the neck area. A visual guide compiled by Ivor Nöel Hume documents the transition from the round, onion-shaped wine bottles of the 17th century to the more slender wine bottles of the 18th century. Since this fragment has a straight vertical edge, it best matches the examples from the latter century. Drinking was quite common at Harvard Yard during this time, as students began shirking restraints from the Puritan era. Faculty records from President Benjamin Wadsworth’s tenure (1725-1737) contained many instances of  “drinking frolicks,” and alcoholic drinks were even concocted within Harvard Yard in the following decades (Morison, 1964). The condition of this glass fragment is further significant, as the crust on its surface points to weathering processes over time. Indeed, the partly-dulled yet partly-iridescent surface is largely a result of ions that leached out of the fragment due to moisture within the soil, as noted by the Corning Museum of Glass. Given these visual and historical cues, this bottle fragment in Harvard Yard can thus be linked to the 18th century. </text>
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                <text>Hume, Ivor Noël. 1970. A Guide to Artifacts of Colonial America. [1st ed.]. New York: Knopf. https://id.lib.harvard.edu/alma/990012245160203941/catalog.&#13;
&#13;
Morison, Samuel Eliot. 1964. Three Centuries of Harvard, 1636-1936. Cambridge, Mass.: The Belknap Press of Harvard University Press. https://id.lib.harvard.edu/alma/990004943010203941/catalog.&#13;
&#13;
van Giffen, Astrid. "Weathered Archaeological Glass." Accessed 24 February 2024. https://www.cmog.org/article/weathered-archaeological-glass.</text>
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                    <text>This page on printed wares places this sherd from 1834-1848 as it cross references the dates of Mulberry and green transfer print</text>
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                    <text>https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/Printed%20Earthenwares/index-PrintedEarthenwares.htm#Clobbering</text>
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                    <text>The motif and Mulberry color of this chamber pot sherd from Harvard Yard is the most consistent with the design of the Mulberry and green fragment. </text>
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Salad plate. Historic New England. &#13;
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                <text>Although small in size, this ceramic sherd is larger in meaning. Namely, it is the feature of mulberry transfer print that makes this sherd both intriguing and identifiable. The design motif on the sherd is difficult to distinguish. Because the design is not immediately apparent, focusing on the colors of the transfer print becomes more important. Refined earthenware ceramics like this sherd were often decorated with transfer print. However, blue and white, or blue on white, is vastly preferred as it mimics finer porcelain. By the mid 1800s, there were a myriad of other colors, such as green and shades of purple, that came to decorate ceramic wares. Cross referencing the production of green and mulberry, ceramics with both of these colors can be dated to the latter half of the 1830s until the 1850s (Maryland Diagnostics). Finding potential dates for this sherd is important to relate back to the stratigraphy of the unit where this was found. Ranging from 30 to 50 centimeters deep, the location where this sherd was discovered is consistent with other 19th century artifacts. &#13;
&#13;
As this sherd exists in relative isolation from its completed vessel, cross analyzing motif and color becomes incredibly important. Based on color, the potential objects that this sherd could be vary.  Even the most unsightly of objects had elements of ornamentation. Chamber pots are decorated with mulberry, making the act of the chamber pot a little more civil. Ornamenting these objects creates class associations and suggestions about who gets to use them. Mulberry also appeared on objects that are associated with dinner rather than the process afterwards. Dessert plates, salad plates, serving ware, mulberry color transfer print adorns a myriad of different objects. Consistently with mulberry designs, there is the presence of a vignette around a central image. Perhaps this sherd assisted in that element of design. Although the exact object from which this sherd comes from is not certain, the sherd gives great insight into how social class is stratified through material objects. Whether this mulberry piece decorated a plate or a privy, it tells us great details about Harvard life in the mid 1800s. &#13;
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                <text>Hume, Ivor Noël. 1969. A Guide to Artifacts of Colonial America. New York: Knopf&#13;
&#13;
Dessert Plate N.d.Historic New England. https://www.historicnewengland.org/explore/collections-access/gusn/7449, accessed April 11, 2024.&#13;
&#13;
Mulberry Ware, Ceramics N.d.Mulberry Ware, Ceramics - Guide to Value, Marks, History | WorthPoint Dictionary. &#13;
https://www.worthpoint.com/dictionary/p/ceramics/uk-patterns/mulberry-ware-ceramics.&#13;
&#13;
Rim of Ironstone Chamber Pot, Purple Transfer-Printed N.d.Collections. https://collections.peabody.harvard.edu/objects/details/594879?ctx=357bb44ae680b23a36a73228d070c8a083071605&amp;idx=538.&#13;
&#13;
Salad Plate N.d.Historic New England. &#13;
https://www.historicnewengland.org/explore/collections-access/gusn/15903.&#13;
&#13;
Transfer Print Ceramics Maryland N.d.Diagnostic Artifacts in Maryland. https://apps.jefpat.maryland.gov/diagnostic/Post-Colonial%20Ceramics/Printed%20Earthenwares/index-PrintedEarthenwares.htm#Clobbering. &#13;
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                <text>While nails today may be uniform and mundane, nails of the 17th and 18th centuries were nothing of the sort. Until the end of the 19th century when extruded wire nails were invented, each nail had its own character since they were all either handwrought or machine-cut with imperfect technology (Thomas Jefferson’s Monticello). Archaeologists can utilize these quirks to date nails and thus the other artifacts that surround them. For example, handwrought nails, such as the one shown above, taper on all four sides and come to a point, unlike machine-cut nails which taper on only two sides and come to an edge (Fairfax County Park Authority). &#13;
&#13;
The condition of nails can also indicate what they were used for. In the case of this nail, its near 90-degree bend hints at the fact that it may have been removed from whatever it was originally hammered into. Given that it was excavated next to Holden Chapel in Harvard Yard, one might reasonably suspect that it was removed from Holden Chapel when the building underwent one of its renovations. The Harvard University Archives contain some records of the renovations in the form of sketches and floor plans of the alterations undertaken in 1850. Roughly half of the pages in the folio have the words “as now existing” while the other half have the words “as proposed to be remodeled” with accompanying illustrations (Alterations to Holden Chapel). This primary source document may connect people in the present to the moment that this nail found its temporary home in the soil.</text>
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                <text>Fairfax County Park Authority, “Hand-Wrought Nails in Early America”, https://www.fairfaxcounty.gov/parks/artifacts/hand-wrought-nails.&#13;
&#13;
This blog post from Fairfax County, Virginia describes how nails were made in the 18th century and the many types of nails that archaeologists encounter in the field. </text>
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                <text>Alterations to Holden Chapel, Harvard College, 1850. Records of early Harvard buildings, 1710-1969, UAI 15.10.5, Box: 3. Harvard University Archives.&#13;
&#13;
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                <text>Thomas Jefferson’s Monticello, "How to Make a Nail in the 18th-Century," YouTube, January 29, 2019, video, 1:03, https://www.youtube.com/watch?v=qF6mXGrV4tM.&#13;
&#13;
This brief YouTube video from the Thomas Jefferson Foundation demonstrates the process of making nails in the 18th century from iron rod to finished product.</text>
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                    <text>Lockhart, Bill, Pete Schulz, and Al Morin, contributions by Brad Blodget, “Massachusetts Seals on Glass Milk Bottles,” in Milk Bottle Seals – The Other Manufacturer’s Marks (n.p., 2017), 28, figure 2-8 – A.B.C.2 seal. https://sha.org/bottle/pdffiles/MilkBottleSealsChapter2.pdf.</text>
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                    <text>Photographic views of Kirkland House. 1931. Photograph. Folder 6 of 6, HUV 664, Box: 1, Folder: 6, (seq.5). https://iiif.lib.harvard.edu/manifests/view/drs:422064188$5i. Harvard University Archives.</text>
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                <text>This fragment of the top and shoulder of a colorless glass vessel is likely part of a mid-20th century milk bottle. The fragment resembles the “Common Sense” milk bottle, with its “cap seat” design that fitted with a cardboard “ligneous disk” to form a simple and secure closure (Lockhart et al., 2017).  &#13;
&#13;
The presence of seams and lettering indicates that the bottle was mold-made, using semi or fully automatic machinery. Throughout the 20th century, Massachusetts introduced legislation promoting verification of bottle capacity and greater labeling standardization (Lockhart et al., 2017). Beginning in 1918, bottles were required to use a round “MASS SEAL” design, with the manufacturer’s mark in the center. This fragment is consistent with that standard; an arched “MASS” is visible above “B.C.2,” likely part of the Atlantic Bottle Company’s “A.B.C.2” seal, which was in use between approximately 1918-1931 (Lockhart et al., 2017).&#13;
&#13;
Consumption of milk with meals seems to have been common at Harvard in the mid 20th century; this photograph of the Kirkland House dining hall in 1931 features multiple students drinking milk. Similarly, students at the Harvard Union in 1944 appear to have glasses of milk. In this photograph, empty glasses, pitchers, and metal milk jugs are placed at the far end of the food serving line. The jugs indicate that dining services sourced milk in large quantities, yet this fragment was likely part of a quart, pint, or half pint bottle (Lindsey, 2024). As such, it may have been used for individual consumption, separate from college dining.&#13;
&#13;
&#13;
Harvard University News Office photographs, 1940-1956. Birds-eye view of the main dining room at the Harvard Union. January 1944. Photograph. UAV 605.270.1, I., H., U626-U678., UAV 605.270.1 (U-640). https://iiif.lib.harvard.edu/manifests/view/ids:9978327$1i. Harvard University Archives.&#13;
Lindsey, Bill. 2024. “Bottle Typing/Diagnostic Shapes: Food Bottles &amp; Canning Jars.” Historic Glass Bottle Identification &amp; Information Website. Last modified January 1, 2024. Accessed February 24, 2024. https://sha.org/bottle/food.htm. &#13;
Lockhart, Bill, Pete Schulz, and Al Morin. 2017. “Massachusetts Seals on Glass Milk Bottles.” In Milk Bottle Seals - The Other Manufacturer's Marks, contributions by Brad Blodget, 15-62. N.p. https://sha.org/bottle/pdffiles/MilkBottleSealsChapter2.pdf. &#13;
Lockhart, Bill, Pete Schulz, and Al Morin, contributions by Brad Blodget, “Massachusetts Seals on Glass Milk Bottles,” in Milk Bottle Seals – The Other Manufacturer’s Marks (n.p., 2017), 28, figure 2-8 – A.B.C.2 seal. https://sha.org/bottle/pdffiles/MilkBottleSealsChapter2.pdf. &#13;
Photographic views of Kirkland House. 1931. Photograph. Folder 6 of 6, HUV 664, Box: 1, Folder: 6, (seq.5). https://iiif.lib.harvard.edu/manifests/view/drs:422064188$5i. Harvard University Archives.</text>
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                <text>Balch, Francis N. “Winslow Warren (1838-1930).” Proceedings of the American Academy of Arts and Sciences 70, no. 10, 1936,&#13;
http://www.jstor.org/stable/20023201.&#13;
&#13;
Friedel, Robert. “A White Collar with a Message.” National Museum of American History, September 4, 2018, https://americanhistory.si.edu/explore/stories/white-collar-message. &#13;
&#13;
“Jewelry Made for Men.” Madison County Historical Society, Accessed February 22, 2024. &#13;
https://madcohistory.org/online-exhibits/vintage-jewelry-people-who-wore-it-introduction/jewelry-made-for-men/&#13;
&#13;
Hoffmann, Nichoals A. “Crow’s Feet and Crimson: Academic Dress at Harvard,” Transactions of the Burgon Society, vol. 9, 2009,&#13;
https://doi.org/10.4148/2475-7799.1071</text>
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                    <text>“Still Life with Mackerel, 1787.” Kimbell Art Museum. Accessed February 24, 2024. https://kimbellart.org/collection/apg-201901. </text>
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                    <text>“Table Glass Vessel Forms.” Maryland Archaeological Conservation Laboratory. Accessed February 24, 2024. &lt;a href="https://apps.jefpat.maryland.gov/diagnostic/TableGlass/thumbnails-TableGlassVesselForms.html#FacetedStems"&gt;https://apps.jefpat.maryland.gov/diagnostic/TableGlass/thumbnails-TableGlassVesselForms.html#FacetedStems&lt;/a&gt;</text>
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                    <text>“Invoice Books, Nos. 17-34, 1783 August-October Digital.” Baker Library Special Collections and Archives. Accessed February 24, 2024. https://hollisarchives.lib.harvard.edu/repositories/11/archival_objects/2446360. </text>
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                <text>After a long day of classes, you eagerly anticipate your next meal at the dining hall. Your parents have just imported fancy glassware from England, adding a touch of elegance that you can now show off to all your classmates.&#13;
&#13;
In Harvard Yard, we discovered the following fragment of glass stemware likely belonging to a student in the 18th century. More specifically, the artifact is a facet-cut stem featuring a hexagonal shape, a style that dates from 1760 to 1810 (Maryland Archaeological Conservation Lab). The colorless leaded stemmed glass features a series of mold lines that run down the length of the piece, leaving sharp edges and a flawless finish. Considering its level of craftsmanship, the glass stemware symbolizes a high level of sophistication and affluence. For example, a painting by Anne Vallayer-Coster showing the lifestyle of wealthy Parisians prominently features a silver verrière filled with crystal stemware just like ours (Kimbell Art Museum).&#13;
&#13;
The facet-cut stem design represented a shift towards a “smaller, lighter, daintier” style of glassware compared to the plain English styles from decades prior (McNally, 1982, 61–62). In fact, sources described facet-cut stems as the height of fashion in the 1780s, coveted by those who could afford it (McNally, 1977, 117–18). For colonial Americans, these imported luxuries were a status symbol, flaunted proudly, especially by students at prestigious institutions like Harvard.&#13;
&#13;
But where did these imported goods come from? Using invoice books from John &amp; Thomas Amory, a popular store in Boston for all things imported from England, we discover that they have previously ordered items like “Table Wines Cut Stem” on August 25th, 1783 (Baker Library Special Collections and Archives). That being said, it is likely that one of these companies were responsible for the artifact showing up in Harvard Yard.&#13;
&#13;
Reflecting on these pieces from the dining table sheds tremendous light on the economic disparities of Harvard still prevalent in the 18th century, highlighting the privilege of those who could afford such a high-class lifestyle.</text>
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                <text>“Invoice Books, Nos. 17-34, 1783 August-October Digital.” Baker Library Special Collections and Archives. Accessed February 24, 2024. &lt;a href="https://hollisarchives.lib.harvard.edu/repositories/11/archival_objects/2446360"&gt;https://hollisarchives.lib.harvard.edu/repositories/11/archival_objects/2446360&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;McNally, Paul. “Table Glass From the Fort at Coteau-Du-Lac, Quebec.” History and Archaeology / Histoire et Archéologie 15 (1977): 89–150. &lt;a href="http://parkscanadahistory.com/series/ha/15.pdf"&gt;http://parkscanadahistory.com/series/ha/15.pdf&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;McNally, Paul. “Table Glass in Canada, 1700-1850.” History and Archaeology / Histoire et Archéologie 60 (1982): 1–164. &lt;a href="http://parkscanadahistory.com/series/ha/60.pdf"&gt;http://parkscanadahistory.com/series/ha/60.pdf&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;“Still Life with Mackerel, 1787.” Kimbell Art Museum. Accessed February 24, 2024. &lt;a href="https://kimbellart.org/collection/apg-201901"&gt;https://kimbellart.org/collection/apg-201901&lt;/a&gt;. &lt;br /&gt;&lt;br /&gt;“Table Glass Vessel Forms.” Maryland Archaeological Conservation Laboratory. Accessed February 24, 2024. &lt;a href="https://apps.jefpat.maryland.gov/diagnostic/TableGlass/TableglassVesselForms.html"&gt;https://apps.jefpat.maryland.gov/diagnostic/TableGlass/TableglassVesselForms.html&lt;/a&gt;.</text>
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              <text>&lt;a href="https://hollisarchives.lib.harvard.edu/repositories/4/resources/4394"&gt;Record of Harvard Buildings&lt;/a&gt; to determine which building layer the sherd may have come from.</text>
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                <text>Since this flake is small, it is hard to tell what kind of ceramic it is. Given the tan paste, clear glaze, and hand-painted blue designs, it seems to be creamware with underglaze painting. If that is true, this piece can be dated to the 1770s at the earliest, but more likely the 1780s (Diagnostic Artifacts in Maryland n.d.). The blue-on-white patterning imitates Chinese porcelain, which was imported from China, as Western potters had not yet reverse-engineered porcelain. This creamware was a cheap way to mimic these designs, suitable for heavier usage, and affordable enough for students to own. &#13;
&#13;
Though it is likely that the sherd is creamware, there are also signs pointing to it being tin-glazed earthenware. The sherd is thin with a rough back. This is a flake that has fallen off a larger piece, not a complete cross-section of the vessel. This and its hand-painted cobalt blue designs point to it being tin-glazed earthenware (Peterson, Capone, and Loren n.d.). This suggests that the sherd came from a valuable object belonging to a higher-class person.&#13;
&#13;
One of those high-class people, Judge Samuel Sewall, mentions many objects in his orders from London, but not ceramics (Cooke Jr. n.d.). Most people used locally-made lead-glazed earthenwares for everyday use, as determined by archaeological evidence (Cooke Jr. n.d.). More valuable items were made of tin-glazed earthenware, which in 1719 had to be imported from London, but they would be used less frequently than local pieces (Cooke Jr. n.d.).&#13;
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                <text>&lt;br /&gt;&lt;a href="https://apps.jefpat.maryland.gov/diagnostic/ColonialCeramics/Colonial%20Ware%20Descriptions/Tin-glazed.html"&gt;Tin-Glazed Earthenware&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://apps.jefpat.maryland.gov/diagnostic/ColonialCeramics/Colonial%20Ware%20Descriptions/Creamware.html"&gt;Creamware&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Diagnostic Artifacts in Maryland reference site. These pages helped in identifying different styles of earthenware that the sherd could be. Photo is of a creamware teapot with blue underglaze painting.</text>
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                <text>17th and 18th c. Ceramics slideshow from Anthro 1130 resources. This slideshow from class last semester also helps in identifying different types of earthenware.</text>
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                <text>&lt;a href="https://www.colonialsociety.org/publications/3297/newest-fashion-case-furniture-boston-1690-1725-transatlantic-view "&gt;“Newest Fashion” Case Furniture in Boston, 1690–1725: A Transatlantic View&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;This narrative using Sewall’s letters showcases the relatively low value of ceramics as compared to other materials such as silver.</text>
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                    <text>Obverse side of a "Indian Head" penny that has been corroded but still has identifiable characteristics</text>
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                    <text>Obverse side of an "Indian Head" penny</text>
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                    <text>This is an intact “Indian Head” penny from 1865 that shows the full imagery of the obverse side, featuring a woman with Caucasian features wearing a Native American headdress.</text>
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                    <text>https://americanhistory.si.edu/collections/search?edan_q=indian%20head&amp;edan_fq[]=object_type%3A%22Coins+%28money%29%22</text>
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                    <text>"Indian Head Eagle" $10 gold coin</text>
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                    <text>Here is the next iteration of the “Indian Head” penny, the “Indian Head Eagle” ten dollars coin. This coin illustrates the government’s continued appropriation of Native American culture. </text>
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                    <text>https://americanhistory.si.edu/collections/search?edan_q=indian%20head&amp;edan_fq[]=object_type%3A%22Coins+%28money%29%22</text>
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                    <text>Coin from the Native American Coin program</text>
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                    <text>This coin from 2015 is from the Native American Coin program. No longer placing a headdress on a Caucasian woman, the mint shifted toward representing Native Americans themselves with Sacagawea.</text>
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                    <text>https://americanindian.si.edu/collections-search/objects/NMAI_412312?destination=edan_searchtab%3Fedan_q%3Dcoin%26edan_fq%255B0%255D%3Dobject_type%253A%2522Coins%2520%2528money%2529%2522</text>
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              <text>"Indian Head" Penny made between 1859 to 1909. Heavily corroded but identifying characteristics visible.</text>
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                <text>Though pennies seem common, they are an exciting find at archaeological sites! Coins often have visible dates and iconography that are invaluable to interpretation. This penny found in Harvard Yard is no exception. Despite the significant corrosion, its identifying characteristics are still visible. The obverse side features the left-facing profile of a figure wearing a Native American headdress. The reverse side features the words “ONE CENT” encircled by a wreath. These are characteristic of the “Indian Head” penny produced by the United States Mint from 1859 to 1909. Though the date is no longer visible, it must have been created during this time. &#13;
&#13;
This penny using Native American imagery is significant to understanding colonialism in the United States. Native American imagery has been systematically used in the United States to shape perception of the relationship between Native Americans and European settlers and their descendants (Davis-Delano et al. 2023). Here, despite being called the “Indian Head” penny, the coin features a Caucasian woman wearing the native headdress (Bullion 2015). By placing this image on the national currency, the idea that settlers have ownership over this aspect of Native American culture was widely dispersed and subsequently communicated this idea of ownership to all that it met. In doing so, the colonial goal of asserting ownership over North America was furthered, a shift in methodology decades after the Indian Removal act of 1830 in which ownership of the land was physically taken (National Museum n.d.). This coin is succeeded by a similar ten-dollar coin created in 1906 that features a Caucasian woman and later by the Native American $1 Coin Program which features Sacagawea and continues today. The former’s iconographic persistence and the latter’s iconographic break may show changes in how Native American imagery is used.&#13;
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                <text>1 Cent, United States, 1865&#13;
N.d. https://americanhistory.si.edu/collections/nmah_1082325, accessed February 24, 2024.&#13;
&#13;
10 Dollars, United States, 1907&#13;
N.d. https://americanhistory.si.edu/collections/nmah_1088218, accessed February 24, 2024.&#13;
&#13;
Coin | National Museum of the American Indian&#13;
N.d. https://americanindian.si.edu/collections-search/objects/NMAI_412312?destination=edan_searchtab%3Fedan_q%3Dcoin%26edan_fq%255B0%255D%3Dobject_type%253A%2522Coins%2520%2528money%2529%2522, accessed February 24, 2024.&#13;
&#13;
Davis-Delano, Laurel R., Renee V. Galliher, Adrienne J. Keene, Desi Small-Rodriguez, and Joseph P. Gone&#13;
2023 White American Historical Memory and Support for Native Appropriation. Race and Social Problems. https://link.springer.com/10.1007/s12552-023-09407-5, accessed February 24, 2024.&#13;
&#13;
Indian Head Penny (1859-1909)&#13;
2015 JM Bullion. https://www.jmbullion.com/coin-info/cents/indian-head-pennies/, accessed February 24, 2024.&#13;
&#13;
National Museum of the American Indian&#13;
N.d. The Removal Act. https://americanindian.si.edu/americans/#stories/the-removal-act, accessed February 24, 2024.&#13;
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