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Middle and Late Bronze Age Metal Tools from the Aegean, Eastern ...

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feeling that certain tools had souls of <strong>the</strong>ir own was not unusual; an axe might be marked<br />

‘Tom’ or ‘Jack’ simply because <strong>the</strong> owner felt it was a companion worthy of a pet<br />

name.” 95<br />

Using ethnographic evidence <strong>from</strong> modern Greece, <strong>the</strong> relationship of a<br />

craftsperson with a set of tools is highlighted in more detail below, <strong>and</strong> this discussion<br />

may provide insight on how prehistoric craftspersons valued tools.<br />

Ethnographic evidence <strong>from</strong> Greece fur<strong>the</strong>r clarifies <strong>the</strong> role of signs,<br />

monograms, <strong>and</strong> o<strong>the</strong>r minor marks that adorn tools. Implements were extremely<br />

valuable <strong>and</strong> small details enhanced <strong>the</strong>ir worth in <strong>the</strong> eyes of <strong>the</strong> owner. The following<br />

quotes convey <strong>the</strong> significance of markings on implements <strong>from</strong> <strong>the</strong> 19 th <strong>and</strong> early 20 th<br />

centuries in modern Greece:<br />

…The most beautiful thing I’ve ever heard came <strong>from</strong> uncle-Yianni, <strong>the</strong> blacksmith <strong>from</strong><br />

Korthi in Andros. When he made a sickle he’d carve a little bird on it along with his<br />

96<br />

stamp so that <strong>the</strong> sickle would sing when <strong>the</strong> harvester used it!<br />

The manufacturers of tools as well as <strong>the</strong> craftsmen who use <strong>the</strong>m have a deep emotional<br />

relationship with <strong>the</strong>m which <strong>the</strong>y often express with <strong>the</strong> designs <strong>and</strong> decorations <strong>the</strong>y<br />

engrave on <strong>the</strong> wood <strong>and</strong> iron. Or <strong>the</strong>y put <strong>the</strong>ir stamp <strong>and</strong> signature on <strong>the</strong> tool, an image<br />

or a monogram. Because besides being useful <strong>the</strong>y want <strong>the</strong> tools <strong>the</strong>y make to be<br />

97<br />

beautiful. They want <strong>the</strong> tools to say who made <strong>the</strong>m <strong>and</strong> who used <strong>the</strong>m.<br />

The assessment of an implement’s aes<strong>the</strong>tic value is an unusual line of inquiry in most<br />

tool analyses. Archaeologists strive to interpret <strong>the</strong> functionality of tools without entirely<br />

considering <strong>the</strong> value of an implement to a craftsperson. This task is admittedly<br />

subjective, <strong>and</strong> a metal’s weight often overshadows o<strong>the</strong>r characteristics that contribute to<br />

its value. An implement’s worth (judging by <strong>the</strong> myriad resources necessary to produce<br />

it) <strong>and</strong> <strong>the</strong> significance of ownership are not fully recognized in weight-driven analyses.<br />

95<br />

Sloane 2002, 3.<br />

96<br />

Quote by Giorgos Speis, researcher, see Polyzoi 2009, 85.<br />

97<br />

Polyzoi 2009, 83.<br />

53

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