albertoguerra:

Cormorant palace, sketch in situ; Acanceh, Yucatan

albertoguerra:

Cormorant palace, sketch in situ; Acanceh, Yucatan

(via scientificillustration)

Yesterday was the Summer Solstice so here’s a quick update to celebrate (though I’m still in Germany on an excavation)

Stonehenge on summer solstice, with the sun rising behind the slaughter stone in the middle distance, seen from the four standing rocks in the foreground. 
Etching
Bertram Buchanan

Yesterday was the Summer Solstice so here’s a quick update to celebrate (though I’m still in Germany on an excavation)

Stonehenge on summer solstice, with the sun rising behind the slaughter stone in the middle distance, seen from the four standing rocks in the foreground.

Etching

Bertram Buchanan

mediumaevum:

Decoding Anglo-Saxon art

Rosie Weetch, curator and Craig Williams, illustrator, British Museum

(via scientificillustration)

Excuse the radio silence, two of us are away on fieldwork in Germany


Decoding the square-headed brooch. Rosie Weetch, curator and Craig Williams, illustrator, British Museum


One of the most exquisite examples of Style I animal art is a silver-gilt square-headed brooch from a female grave on the Isle of Wight. Its surface is covered with at least 24 different beasts: a mix of birds’ heads, human masks, animals and hybrids. Some of them are quite clear, like the faces in the circular lobes projecting from the bottom of the brooch. Others are harder to spot, such as the faces in profile that only emerge when the brooch is turned upside-down. Some of the images can be read in multiple ways, and this ambiguity is central to Style I art.

Decoding the square-headed brooch. Rosie Weetch, curator and Craig Williams, illustrator, British Museum

One of the most exquisite examples of Style I animal art is a silver-gilt square-headed brooch from a female grave on the Isle of Wight. Its surface is covered with at least 24 different beasts: a mix of birds’ heads, human masks, animals and hybrids. Some of them are quite clear, like the faces in the circular lobes projecting from the bottom of the brooch. Others are harder to spot, such as the faces in profile that only emerge when the brooch is turned upside-down. Some of the images can be read in multiple ways, and this ambiguity is central to Style I art.

amodernhuman:

Australopithecus africanusParanthropus robustusHomo habilisHomo sapiens sapiens

amodernhuman:

Australopithecus africanus

Paranthropus robustus

Homo habilis

Homo sapiens sapiens

(via theolduvaigorge)

houghtonlib:

Stukeley, William, 1687-1765. Abury, a temple of the British druids, and some others described, 1743.
Arc 855.214*
Houghton Library, Harvard University

houghtonlib:

Stukeley, William, 1687-1765. Abury, a temple of the British druids, and some others described, 1743.

Arc 855.214*

Houghton Library, Harvard University

(via scientificillustration)

lamus-dworski:

Tereny dawnej Polski - ornamentyka - “Illustrowane dzieje literatury polskiej” T. 1 Henryka Biegeleisena, 1898.

redintoothandclaw:

from Pete Whiteridge, PhD thesis, University of Arizona 1999

redintoothandclaw:

from Pete Whiteridge, PhD thesis, University of Arizona 1999

perplexingly:

Source: [x]

Not particularly archaeological but interesting

(via scientificillustration)

Arrow Head