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The majority of material is the common “olive jar” type sherd first identified by Holmes. in the 1950’s John Goggin, as part of an in depth analysis of New World majolica, created a typology of “olive jar” vessels which serves as the basis of present day dating and identification of this ceramic type. The unique dating qualities of securely provenienced ship­wreck material allows for a more accurate, less subjective approach towards creating a reliable chronological framework. Cohn Mar­tins work with the ceramics from the Spanish Armada of 1588 in Britain, and the collections of the Tolosa and Guadalupe both wrecked in 1741 studied by Steve James in the Domin­ican Republic have laid the groundwork for a redefined typology of this common pottery form. The finds from the Atocha have pro­vided valuable insights into the variety of types carried by seventeenth century Span­ish New World ships, as well as several clues as to the manufacturing and construction techniques used by the potters of the time.
 

OLIVE JAR RIM MARKINGS

 Of the 108 rims recovered, 10 examples have incised or stamped markings. At this point, little is known about the markings, although they have appeared on jars from contemporaneous shipwrecks. A mark al­most identical to the double “D” (Figure 3a) was recovered from the San Antonio wrecked in 1621 in Bermuda, and the introductory study by John Goggin illustrates a ‘Middle Style” rim mark very similar to the example found of the Atocha (Figure 3c). Rim markings were not found on any of the Span­ish Armada (15S8) olive jar rims or in the col­lection of the Tolosa and Guadalupe.

OLIVE JAR CONSTRUCTION

The body sherd sample (2318 pieces be­tween .7 and 1.2cm in thickness), neck sam­ple sherds (126), basal sample (108), and rim sample (108) have helped tentatively answer some of the questions of construction tech­nique.

A reconstructed olive jar, along with some rim, basal, and body sherds was taken to the Florida Keys Community College in Key West, Florida, for examination by the pottery department under the direction of Wayne Hawkshurst. Jerry Cash, Treasure Salvors’ Art Director, had worked with the College in the past and has several years of pottery

   
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