Woodworking

SUMMARY: Chapter 8, in Renfrew & Bahn's textbook (Archaeology: Theories, Methods, and Practice), covers what typically survives, what constitutes an "artifact", interpreting usage, obtaining materials (e.g., quarrying; mining), transporting materials, installing materials, manufacturing items, identifying function, experimental archaeology, etc., regarding stone, bone, antler, shell, leather, wood, plant, metal, faience, glass, and other materials and diverse artifacts.  In my view, this is one of the best college textbooks available, and is invaluable for students, archaeologists, and the public in general, to obtain a top notch overview of approaching and interpreting the archaeological record.  UPDATED May 2023.

"Karamellkastemaskinen" is a blue-print for building a small catapult, which can throw small pieces of candy. It is not a difficult project and it can be completed using simple woodworking skills. All metal and rubber parts are standard parts, which you should be able to find in a common hardware store. The text is in norwegian, but you should be able to build the catapult simply by looking at the images.

Om du har vore aktiv i handverks-og bygningsvernmiljøet i Noreg dei siste åra har du neppe unngått å få med deg at det har vore ein del snakk om noko som heiter skottbenk? Under bygningsvernkongressen på Norsk Folkemuseum i 2014 var skottbenken heilt sentral under opningsseremonien og hadde ein eige sesjon i programmet. Tekst: Roald Renmaelmo, universitetslektor i bygningsvern ved institutt for arkitektur og teknologi, NTNU Kva er det med skottbenken? Einar Strand, bygningsvernrådgjevar i Nord-Trøndelag fylkeskommune demonstrerer bruk av skottbenk til høvling av golvbord. (Foto: Roald Renmaelmo) 158 159

Why would I embark on designing an Electric Upright Bass? Because the advent of CAD-CAM and the affordability of CNC Routers makes it possible for someone with industrial design skills. Luthier (musical instrument making) used to be limited to the realm of master craftsmen. That is no longer the case.

FOR MORE INFORMATION PLEASE VISIT: www.BerlezBass.com

EN: The period of the second half of the 17th century was frequent for building activities of many church orders, which has continued in the following 18th century. The individual monasteries often chose already proven artists to decorate the church interiors, ie the altar architecture, paintings and sculptures, especially for more important commissions. In connection with the work of these and other artists, the historiography has noticed the participation of lay brothers who participated with them in the decoration of churches. This work aims to use the hitherto unused sources to describe the participation of these lay brothers in the artistic decoration of churches of the Dominican order. The work analyses how they moved between convents and whether they traveled to foreign convents. First part of the text describes the Art in the Dominican order in general and then with the closer look at individual Moravian monasteries. The three subchapters deal in more detail with the preserved and unpreserved furniture of the churches in Boskovice, Olomouc and Znojmo. Emphasis is placed primarily on the inclusion of newly discovered archival records to the already known history of particular church decoration. The next part describes newly found findings about the location and appearance of the monastic carpentry workshops. The last chapter deals with the books used by the lay brothers and describes what these books can tell us about work and life of these lay brothers. In the appendix, the reader can find a list of all lay brothers who have been engaged in arts or crafts in the Czech province of Dominican order. The list contains biographical data and information on the assignments between the monasteries.

CS: S obdobím druhé poloviny 17. století se pojí čilé stavební aktivity mnoha církevních řádů, které pokračovaly i v následujícím 18. století. Na výzdobu kostelních interiérů, tedy především oltářní architekturu, malby a sochy, si jednotlivé konventy často vybíraly již prověřené umělce, a to především u důležitějších zakázek. V souvislosti s prací těchto i dalších umělců si dosavadní historiografie povšimla účasti laických bratří, neboli konvršů, kteří se s nimi na výzdobě kostelů do různé míry podíleli. Tato práce si klade za cíl pomocí dosud nevyužitých pramenů popsat podíl těchto konvršů na umělecké výzdobě kostelů dominikánského řádu, zmapovat jakým způsobem se mezi konventy pohybovali a zda cestovali i do zahraničních konventů. V první části textu jsou rozebrána témata uměleckých zakázek dominikánů nejprve obecně a posléze s ohledem na jednotlivé moravské konventy. Tři podkapitoly se podrobněji zabývají dochovaným i nedochovaným mobiliářem konventů v Boskovicích, Olomouci a Znojmě. Důraz je kladen především na zasazení nově zjištěných informací do již známé a popsané historie výzdoby konventů. Další část popisuje zjištěné informace o umístění a podobě klášterních truhláren. Poslední kapitola se pak věnuje knihám používaných konvrši a tím, co nám tyto knihy sdělují o jejich práci a životních a duchovních obzorech. V závěru je přiložen katalog všech nalezených konvršů české provincie, kteří se zabývali uměním či uměleckým řemeslem, s jejich biografickými údaji a záznamy o jejich přesunech.

Que tal Transformar Paletes em um lindo M óvel para sua casa e deixar ela mais linda e Rústica. =>CLICK AQUI PARA SABER MAIS<= COMO FAZER MOVEIS DE PALETES Móveis feitos com paletes sã o baratos para produzir, preservam o meio ambiente, e enriquecem sua casa de uma forma muito criativa e moderna! Decore sua casa com móveis sustentáveis e criativos! Para os mais atrevidos crie um negócio de vendas de móveis de paletes e fature alto! QUER APRENDER A COMO FAZER MOVEIS DE PALETES PASSO A PASSO? O que você acha de aprender a fazer seus próprios móveis de palete? E se eu te disser que existe um curso que te ensina a como fazer moveis de palete em pdf. Ficou interessado? Entã o fique comigo para saber mais.

The only natural material for building boats is wood. There are various designs in the art of wooden boat building. The techniques for building wooden boats depends on the type of boat, the technique and procedure for making day sailors is different from the one used for construction of powerboats, cruising boats, or performance rows among several others.

Likewise, depending on the type of boat you want to build, you have an option of choosing from a large variety of timbers....

This thesis describes the construction of two models of La Belle, a light frigate constructed in France during the late seventeenth century. The archaeological remains of La Belle are important as a unique example of a little understood vessel type and as an informative example of several construction techniques that were in use in the French shipyards at the end of the seventeenth century.


Using data recorded during the excavation and conservation of the original ship's timbers, historical documents, and contemporary drawings and models as guides, various configurations of La Belle's structure were created to determine her probable appearance. Whenever possible, the original materials and construction techniques were closely approximated to determine their effect on the overall appearance of the ship. Many of the artifacts excavated from the original vessel were reproduced in scale and incorporated into the model to determine their influence on the layout of the ship's structure.


The resulting model provides not only a picture of a specific ship type, but also, a glimpse into the technologies that existed at the time La Belle was constructed. The vessel may have been small in comparison to other naval vessels of the 17th century, but her contributions to our knowledge of shipbuilding and ship design are immense.

История развития древнего водного транспорта насчитывает многие тысячелетия, но, к сожалению, археологические находки древних лодок очень редки. К тому же, не всегда удается сохранить находку для музейного хранения и экспонирования, должным образом законсервировать и отреставрировать ее. Отдельной проблемой является установление возраста найденных лодок, так как типологические характеристики часто не позволяют его определить. Особенно это касается наиболее архаичных по конструкции судов – лодок-долбленок. Наиболее результативным методом определения возраста этих находок является метод радиоуглеродного датирования. В этой работе мы всесторонне рассматриваем 50 археологических находок долбленых лодок, найденных в интервале начиная от конца XIX в. и до 2020 г.

The Aleppo minbar (pulpit for Friday sermons) is a monumental architectural sculpture, commissioned in the middle of the 12th century in Aleppo, Syria, by Nur al-Din al-Zangi, who was ruling from Damascus. Envisioning the end of the Crusades, Nur al-Din sought to place the minbar in the Aqsa Mosque after Muslims reclaimed Jerusalem, where it was installed in 1187 by the Ayyubid ruler, Saladin. Richly ornamented with many geometric forms and designs, the wooden minbar expresses an algorithmic Islamic aesthetic based on symmetry, with patterns that imply an infinite expanse contained within borders. Manifesting an aesthetic that persisted for generations into the present, the Aleppo minbar broadly engages the intersecting trajectories of craft production and knowledge, symmetry and beauty, mathematics and pattern, religion and politics, architectural forms and theological concepts. As a monumental expression of beauty, the minbar represents the epitome of Islamic art in its time. This paper was presented at the International Symmetry Conference in Kanazawa Japan in November 2019.

London was the administrative centre for and largest city in Roman Britain. After centuries of excavation, Londinium is one of the best understood cities in the Empire. London is also home to one of the most exceptional collections of craft and agricultural tools in the Roman world. These objects represent a wide range of practices, including woodwork, metalwork, leatherwork, masonry, agriculture, and animal husbandry. Due to excellent preservation in waterlogged contexts, many are in exceptional condition.

This thesis brings together c.837 metal (mostly iron) tools from multiple collections, many of which have not been published before. Using a combination of detailed typological study and theoretical perspectives on technology and practice, this thesis provides an innovative insight
into society and economy amongst the working people of a Roman city; a diverse population of locals, immigrants, specialists and amateurs. A typological discussion identifies these usually neglected objects with reference to French and German literature, highlighting new types for the first time in Britain, and demonstrating a close connection to Continental working practices. These artefacts are then used as the basis for a discussion of craft and agricultural practice in London, focussing on how tools were made, used and discarded. Tools are synthesised with evidence from finished objects, waste, tool marks, structures, epigraphy, iconography and classical sources. This discussion reveals that craft
practices were highly specialised, with numerous distinct professions which cannot be accurately condensed to ‘woodworking’ or 'leatherworking’. Tools were used in working practices which shaped peoples’ lives; either limiting their opportunities of social mobility or
providing avenues to express pride in their work. Several industries were controlled in part by the state, or by Roman citizens. Finally, a detailed contextual analysis reveals high levels of metalwork consumption, with deposition in the Walbrook valley largely reflecting rubbish disposal, and not ritual activity.

Welcoming remarks 9:15-9:30 Dimitris LIAKOS Τhe study of woodcarving from the 11 th to the 16 th centuries in the Balkans and the Eastern Mediterranean. A brief overview 1st SESSION-BΥΖΑΝΤΙΝΕ WOODWORK: CASE STUDIES AND RESEARCH QUESTIONS Chair: Pagona PAPADOPOULOU 9.30-9.50 Nikolaos SIOMKOS The relief icon of St. George in Kiev revisited 9:50-10.10 Yiannis VARALIS Wooden artifacts with inlaid ivory and bone of the byzantine period 10.10-10.30 Ioannis SISIOU Late byzantine wooden artifacts from Kastoria 10.30-10.50 Varvara PAPADOPOULOU The byzantine wooden artifacts from Epiros 10.50-11.10 Μanuel CASTIÑEIRAS Byzantine wooden thrones and devices for icon display: some intriguing issues concerning the Kahn Madonna 11.10-11.30 Paschalis ANDROUDIS Late byzantine wooden doors from the Church of Panaghia Chrysafitissa and the Hermitage of Prodromos at Vassaras (Laconia, Peloponnese). A comparative case study 11.30-12.00 Questions-Discussion 12.00-12.10 Break 2nd SESSION-WOODWORK FROM THE LATIN WEST: NARRATIVES OF ORNAMENT AND INTERCULTURALISM Chair: Μanuel CASTIÑEIRAS 12.10-12.

The old wooden church from Botiza was taken to pieces a century ago and reused for the construction of a confessional school in Hoteni. The timbers from the ancient church, that surfaced during the demolition of the former school, in 1997, are in the focus of this study. This very old church should not be confused with the wooden church standing today in Botiza, brought from another village in 1899.

This paper aims to emphasize the documentary value of a few fragmentary beams for the study of the sacred wooden architecture of Maramureş, a region where many old wooden churches are still standing.

A few beams were selected and documented in detail. From three of them, there were also taken samples for dendrochronological dating. The results complete and correct the descriptions of the church found in three unpublished inventories from the 19th century.

Due to the identification of the place the selected beams had in the initial construction and with the help of the written records it is purposed a reconstruction of the church’s plan and elevation. It is also possible to establish which type of corner joint was used and to study several technical refinements and decorative elements utilized by carpenters.
The preliminary dendrochronological results date the old church from Botiza from the last decade of the 16th century. Without this firm dating, it would never have been known the historical value of the material documented and presented here. However, by reconstructing the plan, it was possible to unveil one of the smallest parish churches in the region, dimensioned about 4,4-5,4 m large, for up to 160 worshippers. The square sanctuary with only two door-openings from Botiza proves that the sanctuaries from Onceşti, Poienile Izei, and Săliştea de Sus Nistoreşti were not rare in the Iza Valley and they certainly continued an old local tradition. In elevation, this church in all probability had two eaves, being, in this case, the smallest of its kind known until now in Maramureş. Indeed, the partial reconstruction of this church contributes to recover an empty page in the history of the local sacred architecture, two decades before the oldest standing wooden churches were built.

Finally, it is underlined the necessity to support or establish certain repositories in the regional museums for wooden pieces recovered from valuable wooden constructions. Furthermore, a few reflections are made about the alarming state of the Romanian heritage of wooden constructions.

El descubrimiento del libro de pasantías del gremio de maestros carpinteros de Barcelona que
data de 1778 a aproximadamente 1820 nos permite reconocer en el carpintero un profesional
que domina las complejas ramas del oficio y que defiende el dibujo como herramienta esencial
de su trabajo. Los proyectos de decoración y de muebles del libro son abundantes y de calidad,
ofreciéndose como una nueva e interesante fuente de estudio.
Palabras clave: Dibujos; gremio; carpinteros; Barcelona; muebles.

Il legname è stato impiegato dall’uomo come materiale da costruzione fin dalla preistoria, con una lenta ma progressiva evoluzione degli strumenti e delle tecniche per la lavorazione. Al medioevo appartengono i primi documenti certi relativi all’impiego di macchine azionate da forza idraulica (si veda ad esempio il taccuino di Villard de Honnecourt). In Italia già a partire dal XIV secolo queste macchine ebbero buona diffusione in ambito veneto, tanto da assumere il nome di seghe veneziane.
Altrove il taglio e la segagione continuarono ad essere quasi esclusivamente manuali almeno fino all’inizio dell’Ottocento, quando l’evoluzione tecnologica connessa alla rivoluzione industriale portò alla sostituzione dell’energia umana ed alla nascita delle prime macchine moderne per la segagione dei legnami: oltre a tradizionali seghe alternative (a telaio o a lama libera) anche seghe a nastro e seghe circolari. Lo sviluppo dell’ingegneria meccanica favorì inoltre gli studi sull’ottimizzazione delle dentature e del moto delle seghe.
Per tutto l’Ottocento e almeno fino alla prima metà del Novecento, la marcata varietà delle condizioni economiche e sociali garantirono in Italia la convivenza della tradizionale lavorazione manuale con quella meccanica.
I segni di queste lavorazioni sono ancora oggi visibili sui legnami che costituiscono le strutture di tetti e solai (in particolare con l'ausilio di fotografie realizzate con luce radente), costituendo una importante testimonianza di una cultura materiale ormai quasi interamente perduta.
La memoria descrive i tipi di strumenti manuali e di macchine per il taglio e la segagione dei legnami nelle rispettive fasi di evoluzione e mostra le relative tracce di lavorazione.

Tradisjonsberar Konrad Stenvold (1908-2012) lærte ein tradisjonell arbeidsmåte for kløyving av tømmer av sin bestefar tidleg på 1900-talet. Eg har lært arbeidsmåten av han og prøvd den ut i samband med ulike restaureringsprosjekt der slik kløyvd material er aktuell.

As a result of archaeological studies of Old Rus’ hillfort Voinska Hreblia in 1956—1959, a large amount of data was obtained possible to reconstruct, at least in general, the level of development of crafts based on the use of organic materials. This work sets two tasks. They are detailed publication and interpretation of the artifacts relating to the processing of wood and bone, and characterization of local crafts, which are based on the use of organic raw materials.
The monograph consists of two parts. The first part deals with woodworking crafts, the second one does with bone carving. Each part includes a description and characteristics of the detected artifacts and an analytical part devoted to the development of appropriate craft industries.
Various products characterize the local woodworking, including remains of wooden constructions and interior equipment, utensils, cooperage, weaving tools, small charred fragments of containers. Metal artifacts related to woodworking also were found. The presence of forests around the city ensured an availability of raw materials for woodworking.
Wood samples, that were determined, included local tree species. They are oak, pine, maple, ash, willow. In building mainly oak wood was used. Pine floorboards were found only once. Cooperage products were made of pine. The material for two fragments of products interpreted as a cooperage hoops or blanks for them was willow. Turning tableware was made of maple and ash, and carved one was made of maple. There were several thick-walled vessels carved from linden. Material for household items was ash and for weaving tools it was maple. The properties of each type of wood and its suitability for different types of products were well-known to masters from Voin’.
Basic woodworking craft should be differed on the basis of the relationship to the different types of wood raw materials, methods of processing and product range. Within each sector could exist subspecialties.
Carpentry was based on the use of building wood. Production of carpentry includes buildings, engineering structures, vehicles, burial structures and so on. Findings of ship rivets, related to the construction of clinker ships are of great importance for the history of Old Rus’ shipbuilding. The work of carpenters included as an actually carpentry so a joinery. A work of wood carvers and turners was based on the processing of relatively small pieces of wood. Products of these crafts were tools and their parts, utensils, combs, etc. Basing on the analysis of artifacts, it is possible to identify products of two turners worked in Voin’. Cooperage is based on the use of clapboards. Products of coopers are represented by the residues of buckets and barrels that were the most common types of cooperage products in the XI—XII centuries. Relatively common sizes of cooperage vessels from Voinska Hreblia also detected in other settlements confirm the existence of established tradition of making certain types of vessels on the entire Old Rus’ territory. In addition to professional woodworking crafts, homemade crafts existed. In homemade crafts, derivatives from woodworking (bark, bast, branches, etc.) are often used in addition to mature wood. The kinds of domestic production represented among the materials from Voinska Hreblia are remains of basketry and containers made of bast and bark.
Local bone carving craft is represented with a significant number of artifacts. They are not only finished products but also raw materials, blanks, unfinished objects and wastes. Products of bone carving include primitive tools, handles of knives and other implements, needle cases, objects of daily use (combs, buttons, etc.), details of armament and equipment of rider and horse, decorative mounts, gaming pieces and amulets. Three-part containers of an antler, characteristic for the avar and khazar antiquities, as well as knife-shaped amulets, widespread in the north of Rus’, and going back to the Finno- Ugric antiquities were specific local products. An antler of local ungulates, such as deer, elk, roe deer was the main raw material for bone carvers of Voin’. A deer antler is dominated. Both possible ways of obtaining of antler raw materials were used: they were hunting and gathering antlers thrown off in autumn. The role of animal bone in the local bone carving was limited. Products from fish bones are rare and primitive in the manufacturing technique. In Voinska Hreblia only a few items of horn cores were found. Horn cases detected in one of the buildings of this hillfort do not bear traces of processing (sawing, cutting).
A technique of processing bones does not differ from that practiced by craftsmen in other Old Rus’ cities, which was due to the properties of raw materials. Implements of bone carvers reconstructed on the basis of the traces of tools on the products were an ax, saw, knives, file, and abrasives for polishing. A special bifurcated tool for the application of the circular ornament was also used.
Most of products uncharacteristic for the Old Rus’ bone carving complex as well as some of the findings in the area near Voinska Hreblia genetically traced back to the elements of antiquities that were characteristic for the south part of Eastern Europe. They indicate the priorities of cultural contacts.
We can say about a small stratum of artisans who treated osseous materials in a professional manner. It is possible that they combine this activity with other crafts. Products of such craftsmen meet the needs of the local townspeople and could extend beyond the town in the surrounding settlements.

Arqueta daurada i policromada, de temática eucarística. Les arquetes decorades amb treball de daurat presenten un recobriment exterior format per una preparació d'enguixat, daurat i acabat amb treball de puntejat. El repertori formal i el caire del treball tenen punts de contacte amb les arquetes decorades amb paStillatge.

Tres obres tortosines: un sostre «a usança nostra», un dibuix del segle xvi i un «quadro embigat» del mil sis-cents r e s u M En aquest text s'analitzen tres teginats que només tenen en comú el seu origen geogràfic, la ciutat de Tortosa. En canvi, per la seva diversitat, es tracta d'obres significatives des del punt de vista cronològic (un teginat típic de la baixa edat mitjana, un d'habitual en les estances representatives del Renaixement i un altre d'utilitari de tota l'època moderna), decoratiu (pintat, entallat, sense decoració) i també des del punt de vista del seu estudi, ja que es tracta d'una obra conservada sense documentar, d'una obra perduda, però documentada, i finalment d'una obra conservada i documentada.

a Институт за балканистика с Център по тракология, Българска академия на науките, ул. Московска" 45, ABSTRACT This study of the widespread utilisation of timber in Thrace is based on a broad range of evidence such as ancient written testimonies, representations on pieces of art, palaeobotanical data, as well as carpenters' tools and worked wood remains discovered in various archaeological contexts. The majority of relevant sources dates to the second half of the 1 st millennium BC. A close examination of the available evidence indicates that the most popular wooden objects either were manufactured at home or were products of highly and less so qualified craftsmen. The cultural contacts of ancient Thrace with the Aegean, Anatolia and the Mediterranean world changed the consumption patterns of the local communities. Consequently, imported wooden commodities were introduced to the life of the Thracian elites, while highly skilled carpenters established themselves in regional workshops.

Among the famous collection of the Ancient Egyptian woodwork in the Museo Egizio di Torino, a set of chairs,
beds, boxes and other items including lamp stand, found at the tomb of the architect Kha and his wife Merit, would
be eminently remarkable. The paper examines the wig box of Merit in detail from the viewpoint of woodworking
technique. The box seems to be the largest and tallest of its kinds as a wig container throughout the pharaonic period,
particularly assembling work on the connection of four legs to the box is noteworthy.

El título de este texto contiene una pregunta que parece fácil de responder: ¿Hubo cubiertas mudéjares en la Cataluña de los siglos XIII, XIV y XV? 1 La respuesta, si sólo ha de ser una palabra, es sencilla y afirmativa. En mazo de 1402 Martín el Humano, que se encontraba en Xàtiva, fue a casa de Guillem de Bellvís expresamente para ver "una cuberta de un palau morisch"; la obra le gustó y envió al canónigo Francesc Martorell a pedírsela al noble, que lógicamente se la cedió al monarca. Además el rey compró otras dos techumbres "moriscas" durante su estancia en esta población valenciana. 2 Por lo tanto, aunque sólo tenemos evidencia de que uno de estos tres techos se montó en una cámara del Palacio Real Mayor de Barcelona -la que los documentos llaman significativamente "palauet d'en Bellvís"-, 3 es incuestionable que este gusto existió en la Cataluña medieval, y podemos encontrar rastros de su pervivencia en época moderna: por ejemplo, en la techumbre de la biblioteca monástica de Santes Creus, una obra que debemos datar ya en el siglo XVI. 4

Dokumentationen av tolv takkonstruktioner vid Örlogshamnen i Karlskrona kan sammanfattas i några viktiga slutsatser. Takstolen är oftast byggnadens konstruktivt mest komplicerade del. Dess struktur kräver uppfinningsrika lösningar anpassade till varje byggnads behov. De som tog sig uppgiften att uppföra dessa takkonstruktioner lämnade många värdefulla kulturhistoriska spår efter sig som berättar om deras hantverkskunskap, arbetsmetoder och identitet. Denna dokumentation vittnar om takkonstruktionernas dolda skatter ch uppmärksammar deras känslighet för förändringar.

ÖZET Anadolu'da Türk Süsleme Sanatları içerisinde ayrı bir önem taşıyan ahşap tavan göbeklerini, Ankara Cami ve Mescitlerinin günümüze ulaşabilmiş seçkin eserlerinde görmek mümkündür. Ankara kent merkezindeki 12. yüzyılın sonuna tarihlenen bir, 15.yüzyıl'a ait üç, 17.-18. yüzyıldan sekiz, 20. yüzyıldan ise üç adet olmak üzere toplam on beş adet caminin sanat değerine sahip tavan göbeği olduğu anlaşılmaktadır. Bu cami ve mescitlere dair çeşitli yayınlardaki kısa bilgiler dışında, bu konuyla ilgili doğrudan bir çalışma bulunmamaktadır. Çalışmamızda tavan göbeklerimizin yer aldığı bu on beş adet cami ve mescidin her birinin kısa mimari tanımı yanında, esas itibariyle tavan göbeklerinin süslemeleri ve diğer özellikleri detaylı bir şekilde tanıtılacaktır. Ayrıca Ankara'daki cami ve mescitlerde yer alan tavan göbeklerinin tespit edilmesi, yapım ve süsleme özelliklerinin tahlil edilerek sanat tarihi bakımından irdelenmesi ve Türk Sanatı itibariyle yerinin belirlenmesi hedeflenmektedir.

Machine tools use physical barriers, made by flexible thermoplastic materials, to protect the environment and the operators against the projections of wood chips and parts of cutting tools. These barriers constitute a partial closure and allow the passage of the workpiece, being simultaneously able to contain sharp fragments projected at high speed. The present research was conducted with the aim to evaluate the real effectiveness of these barriers, to investigate their dynamic behaviour by numerical simulations. Results showed that these barriers, if properly considered, could retain heavier masses and higher speeds. The research also allowed, in fact, to investigate the influence of several factors in design, selection and use, as material, shape, position, assemblages and many others, highlighting weaknesses and identifying possible measures to increase its effectiveness.

Els arxius dels antics territoris de la Corona d'Aragó conserven un notable volum de documents que permeten resseguir el procés de construcció de teginats, des de la tria del model o tipus de coberta fins al seu muntatge, tot passant per la localització, recollida i tractament de la fusta. També són nombrosos els indicis sobre la decoració de les cobertes més distingides amb pintures, motius escultòrics i daurats. És oportú, doncs, fer dialogar les fonts històriques amb les obres conservades, per tal de comprendre millor la construcció i l'ornamentació dels teginats.

The minbar from Siirt Grand Mosque, whose foundation dates back to the Great Seljukid dinasty, is considered to be one of the most remarkable works of pre-Mongol Anatolian Seljuk art. Based on a more recent renovation’s inscription, it is believed to date back to 611/1214.  The classical structure of the pulpit with a portal, the stairs with nine steps covered with geometric panels and culminating with a throne and a canopy on an octagonal support, reminiscent of the earliest minbars from Aksaray and Konya. The decorative style of the minbar, which combines epigraphic bands, geometric grids and arabesques, carved with varying depths, became an expression of the characteristic traits of the Seljuk style of Anatolian woodcarving. Research into this style is especially productive when the carvings are compared to those of Syrian and Iranian works of 11th -13th centuries.
Almost every surface of the minbar bears inscriptions containing quotations from the Qur’an or the names of the artisans and the foreman of the late-Ottoman era repairs. Careful inspection of the minbar’s epigraphy, as well as traces of later changes to its construction and decorations, allow one to draw conclusions on the method of the reconstruction of the pulpit’s lost pieces, as well as the perception of the Seljuk style after almost seven centuries.

Significant amounts of wood materials have been uncovered in archaeological sites from the Roman Period in the Land of Israel. This work deals with wooden items that could be determined to be manufactured objects, or had traces of working on them. The catalogue of this study contains 532 objects, most of which were discovered in the Judaean Desert, the Negev or the Arava regions, where preservation conditions are better than in other areas of the Land of Israel. It is most likely that the same repertoire of items was used in other areas of the country, but did not survive.