Although the copper axes with central shaft-hole from south-eastern Europe have a long history of research, they have not been studied on a transnational basis since the 1960s. What has also been missing, is trying to use as many methods as possible to better understand their production, use and context.

Although the copper axes with central shaft-hole from south-eastern Europe have a long history of research, they have not been studied on a transnational basis since the 1960s. What has also been missing, is trying to use as many methods as possible to better understand their production, use and context. A database was compiled to find answers to questions regarding patterns of distribution, context, fragmentation and deformation. Aspects of production were considered through experimental archaeology, metallographic analysis and a re-discovered axe blank with missing shaft-hole. The typology was re-evaluated and modified to ensure comparability across modern national boundaries. The integration of these approaches yielded some interesting results. The great variability in shape clearly shows that a variety of production techniques were used, but it is difficult to relate these to specific geographic areas. In fact the typology as well as the practice of marking the axes indicate that traditional archaeological 'cultures' rarely correspond to axe types and marking practices. Instead there were different spheres of influence, some more localised and others much larger than specific ceramic traditions. These different levels of belonging show that it was a period of complex cultural patterns and interactions. The axes were part of these networks of daily life on many different levels from the utilitarian to the ritualised placement in burial contexts.

The study of ancient metals in their social and cultural contexts has been a topic of considerable interest in archaeology and ancient history for decades, partly due to the modern dependence on technology and man-made materials. The formal study of Archaeometallurgy began in the 1970s-1980s, and has seen a recent growth in techniques, data, and theoretical movements. This comprehensive sourcebook on Archaeometallurgy provides an overview of earlier research as well as a review of modern techniques, written in an approachable way. Covering an extensive range of archaeological time-periods and regions, this volume will be a valuable resource for those studying archaeology worldwide. It provides a clear, straightforward look at the available methodologies, including: • Smelting processes • Slag analysis • Technical Ceramics • Archaeology of Mining and Field Survey • Ethnoarchaeology • Chemical Analysis and Provenance Studies • Conservation Studies With chapters focused on most geographic regions of Archaeometallurgical inquiry, researchers will find practical applications for metallurgical techniques in any area of their study. Ben Roberts is a specialist in the early metallurgy and later prehistoric archaeology of Europe. He was the Curator of the European Copper and Bronze Age collections at the British Museum between 2007 and 2012 and is now a Lecturer in Prehistoric Europe in the Departm ent of Archaeology at the Durham University, UK. Chris Thornton is a specialist in the ancient metallurgy of the Middle East, combining anthropological theory with archaeometrical analysis to understand the development and diffusion of metallurgical technologies throughout Eurasia. He is currently a Consulting Scholar of the University of Pennsylvania Museum, where he received his PhD in 2009, and the Lead Program Officer of research grants at the National Geographic Society.

The Rise of Metallurgy in Eurasia is a landmark study in the evolution of early metallurgy in the Balkans. It demonstrates that far from being a rare and elite practice, the earliest metallurgy in the world was a common and communal craft activity.

This study challenges current modelling of Bronze Age tell communities in the Carpathian Basin in terms of the evolution of functionally-differentiated, hierarchical or 'proto-urban' society under the influence of Mediterranean palatial centres.

In the prehistoric Copper Age, long before cities, writing, or the invention of the wheel, Old Europe was among the most culturally rich regions in the world. Its inhabitants lived in prosperous agricultural towns. The ubiquitous goddess figurines found in their houses and shrines have triggered intense debates about women's roles. The Lost World of Old Europe is the accompanying catalog for an exhibition at New York University's Institute for the Study of the Ancient World. This superb volume features essays by leading archaeologists as well as breathtaking color photographs cataloguing the objects, some illustrated here for the first time. The heart of Old Europe was in the lower Danube valley, in contemporary Bulgaria and Romania. Old European coppersmiths were the most advanced metal artisans in the world. Their intense interest in acquiring copper, Aegean shells, and other rare valuables gave rise to far-reaching trading networks. In their graves, the bodies of Old European chieftains were adorned with pounds of gold and copper ornaments. Their funerals were without parallel in the Near East or Egypt. The exhibition represents the first time these rare objects have appeared in the United States. An unparalleled introduction to Old Europe's cultural, technological, and artistic legacy, The Lost World of Old Europe includes essays by Douglass Bailey, John Chapman, Cornelia-Magda Lazarovici, Ioan Opris and Catalin Bem, Ernst Pernicka, Dragomir Nicolae Popovici, Michel Séfériadès, and Vladimir Slavchev.

Creativity is an integral part of human history, yet most studies focus on the modern era, leaving unresolved questions about the formative role that creativity has played in the past. This book explores the fundamental nature of creativity in the European Bronze Age. Considering developments in crafts that we take for granted today, such as pottery, textiles, and metalwork, the volume compares and contrasts various aspects of their development, from the construction of the materials themselves, through the production processes, to the design and effects deployed in finished objects. It explores how creativity is closely related to changes in material culture, how it directs responses to the new and unfamiliar, and how it has resulted in changes to familiar things and practices. Written by an international team of scholars, the case studies in this volume consider wider issues and provide detailed insights into creative solutions found in specific objects.