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              <text>A shard of aqua flat glass</text>
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                    <text>Engine-Turned Dipped Earthenware</text>
                  </elementText>
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                    <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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                    <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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              <text>The sherd likely was part of an eating or drinking vessel.</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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              <element elementId="50">
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                    <text>Glass shard, interior</text>
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              <element elementId="50">
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                    <text>Glass shard, exterior</text>
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              <element elementId="48">
                <name>Source</name>
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                <elementTextContainer>
                  <elementText elementTextId="53571">
                    <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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              <element elementId="50">
                <name>Title</name>
                <description>A name given to the resource</description>
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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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              <element elementId="50">
                <name>Title</name>
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                    <text>A popular song from the 1860s describing the drinking culture at Harvard during the colonial period.</text>
                  </elementText>
                </elementTextContainer>
              </element>
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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="54424">
                    <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>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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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;
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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>Colorless Glass Milk Bottle Fragment</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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Several students in the Kirkland dining hall in 1931 can be seen with glasses of milk, indicating the common nature of milk in the everyday dining experience.</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>Birds-eye view of the main dining room at the Harvard Union.&#13;
This view of the Harvard Union highlights the quantities of milk procured for the dining services; large jugs of milk were used, rather than small bottles like the fragment found.</text>
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                    <text>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.</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>Visibly displays the collar stud, helping the viewer understand the placement and look of a collar stud in use.</text>
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                    <text>https://madcohistory.org/online-exhibits/vintage-jewelry-people-who-wore-it-introduction/jewelry-made-for-men/</text>
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                    <text>Coming from a prominent Massachusetts family, Winslow Warren represents the higher status Harvard student who could afford regular washings of his shirts and collars. </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;
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                <text>Up until the 1960s, Harvard University required students and faculty to adhere to a dress code which paralleled period appropriate fashion. As of 1822, students were expected to wear an outfit including a greatcoat, a waistcoat with a standing collar, bombette trousers, and a cravat (Hoffmann, 2009, 43-44). One element of this required dress stood out as an expression of class - the collar. The “white-collar” appearance was important for the 19th century man, as it alluded to wealth and status. Winslow Warren, pictured above, was a member of a prominent Massachusetts family and the third of his name to attend Harvard (Balch, 1936, 592-593). His stiff, starched white collar was most likely the result of regular laundering. Many middle and lower class men, however, could not afford this luxury, making way for the introduction of the detachable collar in the early 1800s (Friedel, 2018). Prized for its easy washability, the removable collar was generally stiff, white, and attached to a shirt with a collar stud. A collar stud featured a flat, button-like segment that could include insets or engravings (Madison County Historical Society). The steel collar stud excavated in Harvard Yard may have once featured a glass or gem inlay, indicated by the indent on its face, though no decoration remains. The popularity of the removable collar in the 19th century, which necessitated a collar stud, indicates the artifact would be from this period. Although the detachable collar became widespread during the 1800s, its initial association with the middle class suggests this stud may have belonged to a student of average or lesser means. </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>Facet-Cut Stem Design with a Hexagonal Fluted Stem (1760 to 1810)&#13;
&#13;
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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 Book Record from John &amp; Thomas Amory Showing "Table Wines Cut Stem" &#13;
&#13;
On August 25th, 1783, a record from John &amp; Thomas Amory reveals the purchase of "Table Wines Cut Stem" delivered from England to Boston. One of their primary customers was Harvard.</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>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>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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                <text>In the mid 18th century, the Buckley district potters of North Wales were hard at work creating ceramic vessels - creampans, storage jars, and pitchers - to be shipped across the Atlantic for use in the New World. This unique artifact type is readily identifiable by its pink-firing and yellow clays, which are believed to have been combined to make the clay more workable (JPPM, Noël Hume 2001). It is most often found with the black lead-glaze interior coating seen here. On complete Buckley-type ceramics, there is often a thick ribbing around the body accompanied by a prominent, angular rim (SMU). This type of ceramic saw continuous shipment from Wales to the Colonies from approximately 1720-1775; its end coinciding with the beginnings of the American Revolution (Noël Hume 2001). &#13;
	At Harvard, this paints a powerful image of Buckley-type ceramics as a vestige of the colonial period. Placing ourselves in the shoes of a Harvard student in the period just after the American Revolution, Buckley-type ceramics may represent just one manifestation of things to change as a new country found its feet and won its independence. The cessation of importing this type of ceramic symbolizes the deeper separation to take place between the soon-to-be United States of America and Great Britain. Unlike revolution and the struggle for independence, Buckley-type ceramics would fade quietly into the archaeological record to be re-discovered and learned from by us today.</text>
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                <text>https://www.smu.ca/anthropology/anthropology-buckley-ware.html&#13;
- This source reflects an academic record of this ceramic type with its origin and median date of use in the archaeological record. As an academic source, I find it helpful and trustworthy for reliable information about this artifact type and its colonial context.&#13;
&#13;
https://apps.jefpat.maryland.gov/diagnostic/ColonialCeramics/Colonial%20Ware%20Descriptions/Buckley.html&#13;
- This site due to its wealth of information, availability of quality photographs, and trustworthiness as an official government website for cataloging information about diagnostic artifacts.&#13;
&#13;
&#13;
Noël Hume, Ivor. 2001. A Guide to Artifacts of Colonial America. University of Pennsylvania Press.&#13;
- As our go-to reference for classifying colonial artifacts in North America, Hume is a textual resource with a wealth of knowledge that has informed archaeologists concerned in this time period and location since its publication.</text>
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                    <text>&lt;a href="https://hvrd.art/o/237351" title="Two Men, One Smoking by Franz van der Steen"&gt;"Two Men, One Smoking" by Franz van der Steen&lt;/a&gt;</text>
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                    <text>Steen, Franz van der. Two Men, One Smoking , S5.11.2,” Harvard Art Museums collections online, Feb 24, 2024, https://hvrd.art/o/237351.&#13;
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                <text>Discovered within Harvard Yard, this 17th-century clay pipe bowl brings to the surface the nuances of colonial student life. Dated between 1650 and 1680, using Hume’s depictions of the evolution of pipe bowls, the pipe lies as evidence of the silent defiance practiced within the grounds of Harvard College, where tobacco was a discreetly enjoyed contraband (Hume 2001) (Loren 2022). Despite Puritan regulations condemning tobacco as a needless vice, its prevalence among the student body was unmistakable. The pipe’s English origin speaks to a time when the Atlantic was bridged by the trade of such goods, making smoking a widespread, if not an openly discussed, pastime among Harvard's youth. &#13;
The archaeological record from Harvard Yard, enriched with numerous pipe fragments, suggests that smoking was a clandestine ritual that transcended social boundaries. These fragments reveal a culture of reuse and community—where pipes, likely shared among students, became artifacts of commonality in an environment stratified by class. The craftsmanship of the bowl, indicated by its refined shape and the consistency of the stem hole size, reveals a sophistication in production, pointing to well-established English techniques that had matured by the 17th century (Hume 2001). The white clay, a hallmark of such pipes, was a canvas upon which the social and cultural practices of the time were etched. This pipe bowl from Harvard Yard is not just a relic of individual use but a fragment of a broader narrative. It reflects a historical tapestry where tobacco was intertwined with notions of health, propriety, and camaraderie—a small yet significant thread in the fabric of early American history.&#13;
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                <text>Claesz, Pieter. (1636). Still Life with Clay Pipes. Scala Archives. Retrieved from https://library-artstor-org.ezp-prod1.hul.harvard.edu/asset/SCALA_ARCHIVES_10313879677&#13;
Hume, I. N. (2001). A Guide to Artifacts of Colonial America. University of Pennsylvania Press.&#13;
Loren, D. D. (2022). Smoke and Spirit: Exploring Bodily and Sensual Concerns at Early Harvard College. Historical Archaeology, 56(2), 217–226. https://doi.org/10.1007/s41636-022-00344-5&#13;
Steen, Franz van der. Two Men, One Smoking , S5.11.2,” Harvard Art Museums collections online, Feb 24, 2024, https://hvrd.art/o/237351.&#13;
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