GIRI (Glasgow International Radiocarbon Intercomparison) was designed to meet a number of objectives, including to provide an independent assessment of the analytical quality of the laboratory/measurement and an opportunity for a laboratory to participate and improve (if needed). The principles in the design of GIRI were to provide the following: (a) a series of unrelated individual samples, spanning the dating age range, (b) linked samples to earlier intercomparisons to allow traceability, (c) known age samples, to allow independent accuracy checks, (d) a small number of duplicates, to allow independent estimation of laboratory uncertainty, and (e) two categories of samples—bulk and individual—to support laboratory investigation of variability. All of the GIRI samples are natural (wood, peat, and grain), some are known age, and overall their age spans approx. >40,000 years BP to modern. The complete list of sample materials includes humic acid, whalebone, grain, single ring dendro-dated samples, dendro-dated wood samples spanning a number of rings (e.g., 10 rings), background and near background samples of bone and wood. We present an overview of the results received and preliminary consensus values for the samples supporting a more in-depth evaluation of laboratory performance and variability.

The distribution and hybridization of ceramic vessels provide insights into how local elites and imperial officials navigated imperial expansion. This article presents data on ceramic sherds from the sites of La Centinela and Las Huacas in the Chincha Valley that date to the period of Inca occupation (AD 1400–1532). In Chincha, the Inca established a style of joint rule in which Inca and local authority were closely aligned. The ceramic data demonstrate that Inca imperial designs and diagnostic shapes were most numerous in contexts associated with direct Inca presence and that the types of vessels and designs that elites used to develop their authority differed among the contexts: hybrid material culture thus varied throughout the Chincha Valley. These different hybrid material cultures include state-sponsored hybrid wares (Inca vessels, on which the Inca intentionally integrated Chincha designs) and local vessel shapes on which elites used Inca symbols and vessel shapes to assert their status to a mostly local audience.

Participating in an archaeological field school is one of the only educational experiences that nearly all professional archaeologists have during their training. As a result, field schools are uniquely suited to provide experiential education in emerging skills that all archaeologists will need, such as information and data literacies at all stages of the contemporary research and publishing cycle. The “embedded” librarian program in the University of New Brunswick's Downeast Maine Coastal Archaeology Field School is an effective means to deploy that focused expertise to help students better understand the relationship between fieldwork, data, and dissemination. At the same time, being in the field provides librarians with the knowledge to respond more effectively to the complex data management and research needs of archaeologists. We encourage large research projects to consider librarians as specialist members of the research team.

This paper explores the work of Harriet Gunn (1806–69) who began making drawings of rood screens c 1830. With the help of her sisters Hannah and Mary Anne, Harriet produced approximately 250 drawings, a remarkable number considering that rood screens received very little attention at this period. This substantial body of work merits analysis not least because it constitutes the first serious attempt to visually document Norfolk’s painted rood screens and provides an opportunity to shed light on an overlooked episode of female antiquarian activity. Drawing on previously unpublished letters, this paper confirms the active role Harriet and her sisters played in recording, discovering and enhancing the understanding of English medieval painting in the mid-nineteenth century. It also considers the influence of Harriet’s father, Dawson Turner FSA (1775–1858), in encouraging a new appreciation of the art historical value of painted rood screens. Turner’s objectives are situated within the wider cultural context of emerging tastes for early Italian art and new developments in art historiography seen in the 1820s and 1830s. Harriet’s sophisticated understanding of rood screens is therefore interpreted as a response to the intellectual milieu in which she was immersed. The paper concludes by exploring how her work, and the knowledge it promoted, was disseminated through the cultural machinery of archaeological societies in the mid-1840s through printed publications, exhibition and display.