To browse Academia. Schofield, W. Johnson and C. Beck eds. Materiel Culture: the archaeology of twentieth-century conflict, pp. Jody Joy. The archaeology of twentieth-century conflict can seem very impersonal and detached, often involving the assessment of battlefields or military installations on the basis of standard criteria.
Although the medal is one of over 20 DFCs awarded in the Second World War Litherland and Simpkin it is important to my family and to me because of its strong association with the life of my grandfather. By charting the biography of the medal this chapter will recount how the medal has become a vehicle for remembrance and reminiscence and how it has become so firmly tied to the life and experiences of my grandfather during the Second World War.
Suzanne Evans. The Memorial Cross, as it is formally known, was made official on 1 December It was designed as a memento for the mother and widow of a sailor or soldier killed in battle.
The evolution of the medal has taken many centuries, beginning from fourteenth century Renaissance period where it was widely accepted by Italy, Germany and the Netherlands, and later by France and the rest of Europe. The treatment of the style and form has also differed from civilization to civilization even at the same period of time in history.
Medallists in Italy for example, modelled their medals in wax, while German medallists modelled theirs in wood and stone. France preferred making their medals by the striking process while England opted for the chasing process. This paper will trace the history of medals from fourteenth century Italy to twenty first century Britain, by comparing the works of two medallists Michael Gaspard Rizzello and Felicity Powell, their style, form, materials and techniques and their overall influence on my work.
