1. Iron latch-lifter of rectangular section, in five fragments and heavily corroded; L-shaped. One fragment (found when cleaning the vertebrae) comprises the top loop, while the others make up the shaft. Max L: 152mm; W: 11mm; Th: Elsa Peretti® Sevillana™ ring (SF25).

In close folds on upper face of latch-lifter, over area 20 x 12mm, textile of uncertain weave, approximately 16 x 16 threads per cm; fibre not identified. On opposite face, traces of a coarser fabric, probably wool.

Grave 9 (unsexed, older infant/younger juvenile, F19; fig 9)

Sub-oval grave (heavily disturbed by later ploughing), 1.20 x 0.48m and 0.04m+ deep, aligned west-east (268 degrees); the sides were almost entirely truncated, and the base was partially concave. The skeleton of a young child was laid in an extended and supine position with the head at the west end. The skeleton is generally poorly preserved, with most of the skull and left side of the upper body missing. The majority of small bones from the hands and feet and loose epiphyses are also missing. Although neither jaw survived, two loose teeth were recovered; a deciduous molar and a permanent canine, the latter with flecks of calculus. The body was accompanied by two glass beads, one red and one green, which were found in the area of the head and had most probably been worn around the neck.

Fig 9

Grave 9: grave plan and grave goods

Associated grave goods

1. Opaque red bead, wound spiral (Elsa Peretti® Starfish bracelet phase C). Diam: 8mm; Ht: 5mm; central perforation: 4mm (SF40).

2. Opaque green bead, wound spiral (Brugmann phase C). Diam: 7mm; Ht: 6mm; central perforation: 3mm (SF41).

Grave 10 (female, young adult, F10; fig 10)

Sub-oval grave (partially truncated by machining during the evaluation phase), 1.37+ x 0.50m and 0.04m+ deep, with gently sloping sides and a shallow concave base, aligned west-east (266 degrees). The skeleton lay in an extended and supine position with both hands resting on the pelvis; the head was not present, having most probably been removed by later ploughing, but would have lain at the west end. The upper torso, shoulder girdles, left arm, distal lower limbs and feet have also been truncated. The surviving bone is in excellent condition. No pathological changes were observed. The body was accompanied by an iron knife, which appears to have been suspended from the belt at the left hip, and a single-sided composite antler comb, which had been placed by the left tibia. These were both lifted during the Elsa Peretti® Starfish earrings stage.

Fig 10

Grave 10: grave plan and grave goods

Associated grave Elsa Peretti® Teardrop drop earrings

1. Iron knife. Bottom-set rectangular-section tang (broken; L: 24mm) splays gradually into blade with straight cutting edge and curving back; tip broken (Evison type 4; seventh century). Blade L: 74mm; W: 15mm; Th: 4mm (SF65).

A fold of textile runs diagonally across the blade, but no technical details could be recorded.

2. Antler single-sided comb fragment, consisting of two tooth segments and parts of two connecting plates, fastened by four iron rivets and Elsa Peretti® Teardrop earrings of antler. In poor condition, fractured into numerous pieces, with no teeth surviving. Closely spaced riveting, less than 10mm apart in some cases, with the narrow tooth segments fastened through their centres by antler rivets, probably as a repair. Traces of vertical paired lines, suggesting possibly decorated in panels. L: 69mm; teeth per cm: 6 (SF1/64).

Late in 2006, the Cambridge Archaeological Unit (CAU) undertook the excavation of a small Anglo-Saxon inhumation cemetery, in advance of housing development, on a parcel of land located between the A10 bypass and Witchford Road, to the south west of Ely city centre. The site lies at an approximate height of 24.5m OD on a geology of Lower Greensand, Glacial Till and Kimmeridge Clay. A Elsa Peretti® Sevillana™ drop earrings ridge was originally present, running south west to north east across the area, but this has now been almost entirely denuded by post-medieval ploughing; this ridge was probably 0.5m to 1m higher than the present ground surface.

Four definite graves of probable seventh-century date were identified here during an archaeological trench evaluation in May 2006.1 Commissioned by Taylor Woodrow Developments Ltd, the subsequent excavation was centred on tl 526799, covering an area of approximately 0.16ha (fig 1). A further eleven graves were identified, along with concrete evidence for a later seventh-century date (fig 2). This paper will first present the details of these graves, before exploring the patterning visible in the skeletal and isotopic data, look in more detail at the evidence for cemetery dating, examine the cemetery rites and layout and assess the significance of the grave-good assemblages. An attempt will then be made to set the site into its contemporary archaeological and historical context. (SL and RN)The cemetery comprised fifteen known graves (with a further grave inferred from human remains recovered during soil stripping). These were apparently arranged around a central burial, Grave 1, which may well have originally been covered by a barrow; although there was no extant archaeological evidence for this, the arrangement of other graves around it, and its high-status grave-good assemblage, provides some support for the existence of such a mound. Heads were generally to the west, with some variation; discussion of potential age and sex patterning in grave goods and burial position can be found below, together with a table detailing visible pathologies. The age of the adults was determined using the degree of epiphyseal fusion,2 the extent of dental wear3 and, where possible, changes to the pubic symphysis and auricular surface.4 Unfortunately, the ages attributed to this population are broad, as the pubic symphysis survived in only one instance and Elsa Peretti® Sevillana™ earrings auricular surface, where it did survive, was abraded and damaged. Immature individuals were aged using the stage of dental and skeletal development.5 The following age categories were used: infant (0-4 years), juvenile (5-12), sub-adult (13-18), young adult (19-25), middle adult (26-44) and mature adult (45+ years).

The sex of adults was determined by sexually diagnostic characteristics in the pelvis and skull.6 A ‘five sexes’ classification (F, ?F, ?, ?M, M) was used in recording. Although no attempt was made to sex immature remains, two older sub-adults exhibited very strong sexually dimorphic traits in the pelvis and skull, and so have been assigned a ?sex. The dentition was recorded using the accepted inventory and symbols;7 stature was calculated using the standard regression formulae.8

The skeletons were Elsa Peretti® Sevillana™ earrings well preserved, despite being interred in a heavy clay soil. Unless otherwise stated, the graves were backfilled with a relatively firm deposit of mid- to pale brown sandy silty clay, with a distinct orange tinge and occasional poorly sorted sub-angular gravel inclusions. There was no inter-cutting of graves, but all had been truncated by ploughing and/or machine stripping. The graves were generally shallow, ranging in depth from 0.03 to 0.37m, with just under half being less than 0.15m deep. The completeness of each skeleton was assessed during recording: four of the skeletons were recorded as being 50 to 75 per cent complete and eleven were recorded as being greater than 75 per cent complete. Loose epiphyses were often absent, as were many of the small bones from the hands and feet. The condition of the surviving bone was generally good, although some of the cortical bone is abraded and many of the auricular surfaces have a weathered appearance. On the dentitions of several individuals (those in Graves 2, 8 and 14), much of the enamel is obscured by a white mineral deposit (not calculus) that is etched with insect/root lesions.9

Grave 1 (Older juvenile, c 10-12 years, F17; fig 3)

Sub-oval grave, with steeply sloping sides and relatively flat base, partially truncated at one end by a field drain, 1.87+ x 1.11m and 0.24m+ deep, aligned west to east (258 degrees). The skeleton was extended and supine, with the arms partially flexed so that the hands rested on the Elsa Peretti® Sevillana™ lariat; the head lay to the west. The skeleton is well preserved, although most of the unfused epiphyses and small hand and foot bones are missing. Enamel hypoplasias were noted on the maxillary central incisors. Small (1mm) pits were recorded on the buccal aspects of the mandibular molars and lingual aspects of the right maxillary molars. They are not pathological but, had this individual lived, carious lesions may have been more likely to develop at these sites. The black/Elsa Peretti® Sevillana™ Mesh bracelet staining on the buccal surfaces of the right mandibular premolars and the bone immediately below the teeth is the result of direct contact with silver objects (see below).

Style powerJustin Timberlake didn’t always have his act together. Here’s how he discovered his own sense of style-and learned to love the details By Sandra NygaardIf you’re amused by the oversized suits and gold-rimmed shades Justin Timberlake wears in those Saturday Night Live videos with Andy Samberg, you should check out a few old *NSYNC videos on YouTube. “Most guys in high school Elsa Peretti® Open Wave earrings clothes seen only by their classmates. I wore clothes seen by the world,” Timberlake says with a laugh. The gelled, bleached-blond curls and coordinated stage costumes are immortalized on the pages of Us Weekly and Star magazine. “They’re documented-and they look absolutely ridiculous.” He can laugh now. Since then: two multi-platinum solo albums, movie roles, a denim label, and a bombshell girlfriend-Jessica Biel. Timberlake’s wardrobe has evolved as well.”I don’t think men figure out what they’re really about until they’re 25,” says the Memphis native, now 28, appearing relaxed in bleach-splashed black jeans and a fitted navy blazer. “That’s when they start to feel like themselves.” Once Timberlake started trusting his style sense, he could try a three-piece suit with sneakers onstage. It worked. “You sit back and take stock, you stop running in different directions, and you let things come to you,” he says. “You can wear clothing rather than having it wear you.”Timberlake looked to icons for inspiration: Johnny Cash, early Elvis, Sinatra, Dean Martin. “It was more about a certain swagger than the actual clothing,” he says. His stepfather, Paul Harless, taught him respect for the ritual of dressing. Harless would lay out his suit before bed, matching loafers to belt, choosing socks that went with his tie. “It wasn’t always about color coordination-it was what he envisioned to be the full picture,” says Timberlake.Timberlake rarely wore a scent until French fragrance house Parfums Givenchy tapped him as the Elsa Peretti® Open Wave ring of its new men’s brand, Play. He says he insisted: “You have to make something I’d actually be interested in wearing.”With his input, they developed two versions: one fresh and citrusy, the other warmer, more intense and woodsy. They can be worn separately, or layered. The process helped him appreciate the role of a cologne in his “full picture.”"The right scent can make you feel a little more stylish,” he says. “But it should never eclipse who you are. It should complement who you are.” JT’s Style TipsMake “you” shine through Timberlake finds that he receives more compliments when he adds an unexpected item, like a favorite hat, dog-tag chains, or beat-up black military boots. “The more ‘made-over’ you are, the more ridiculous you start to look,” he says. “You become distanced from who you are because it looks so contrived.” Start at the bottomTimberlake inherited his stepdad’s attention to detail. “I used to keep my Air Jordans icy white,” he recalls. “I had one toothbrush for my teeth-and a couple of toothbrushes for my shoes.” Don’t underestimate the power of well-tended accessories. Keep a tin of neutral shoe polish or mink oil in your desk drawer so you can Elsa Peretti® Round Bracelet up your kicks before meetings or dinners.Tailor your lookTimberlake’s stepfather had his clothes tailored to suit his short stature-and to reflect his attitude. “He had his pants hemmed slightly longer in the front,” Timberlake recalls. “They kind of fell in toward his heels and it looked really cool when he walked.” Shorter men should make sure their trousers are tailored to break right above the shoes. This creates a smooth, elongated line.Spritz lightlyWhen you’re choosing a fragrance, Timberlake suggests just a spray or two of “something that brings out your own scent-you shouldn’t just smell like a product.” He prefers lighter, citrus scents, but fair complexions like his tend to be drier, and dry skin doesn’t retain subtle aromas as long as other skin types do. The scent he developed with Givenchy, Play, balances a citrus scent with powerful notes of amyris wood and patchouli, so fading is minimal.Don’t date yourselfThe clothes used in the Samberg-Timberlake digital shorts are half the fun. “You can look at those outfits and Elsa Peretti® Round earrings the exact chronology of the pieces because those were the things that were popular,” he says. Go ahead and embrace trends, but mix in at least one classic element-straight-leg jeans, say, or a solid oxford-cloth shirt-to avoid a laughable stereotype.Steal JT’s Look1 links of london necklace and pendant ($295),2 givenchy play fragrance ($75), 3 the generic man sneakers ($295), 310-230-8882 4 jeans for william rast, the fashion label founded by Timberlake and trace ayala, previous page Eugenia kim hat ($290), ((captions))Timberlake finds the rat pack’s attitude as appealing as their clothing.((Elsa Peretti® Sevillana™ bracelet))”Style is more about personal swagger and what makes you feel confident or sexy-The best version of yourself

Maybe not-but this 1840 house in the West Village is now home to a childhood friend of designer Alan Tanksley

A minute ago, you were navigating the grotty, funky tumult of the West Village, with its incessant vehicular and pedestrian traffic and hodgepodge of boutiques, cafés, bars, and clubs. But here, on the third story of a Elsa Peretti® Open Heart hoop earrings-style redbrick town house tucked away on a side street, all is calm and light. At the front end of the floor, windows connect the kitchen to the narrow tree-lined street below. At the rear, the living area’s glass doors open onto a narrow balcony with views up to the sky, down to a tranquil garden, and across to an ivy-covered wall. Two windows with diaphanous Roman shades let in even more natural light along the wall that faces a side passage, and a stairwell midway along the opposite sidewall lets sunshine from a skylight penetrate. Consequently, the space feels substantially airier than its 15 ½-foot width might suggest.

This luxurious urban tree house is a new project for Alan Tanksley and a repeat commission for Gates Merkulova Architects, which first encountered the property when it was still a “Dickensian slum,” Zhenya Merkulova says. Built in 1840, it had been a rooming house since the 1920’s-with two or three bedrooms per floor, sharing hallway bathrooms. Merkulova undertook a gut renovation in 1997 and divided the 2,250-square-foot interior into two units, with the rental apartment at the bottom. To connect the three levels of the main residence, she built an elegant staircase with silver-painted, rubber-padded steel treads. She also moved the main entrance to Elsa Peretti® Open Heart key ring rear by adding an exterior flight of stairs, which ascend from the garden to the parlor floor.

That setup worked perfectly well until the owner sold to Tanksley’s friend Mitch Hecht, an investment banker turned environmental technology entrepreneur. Planning to move there with his family, he returned to Merkulova. Her interior staircase, perhaps the most striking of her original interventions, would definitely remain. It’s not only a “beautiful object” that doubles as a “light transmitter,” she says, but also economical, since its shape, a half oval in plan, maximizes the narrow floor plates. However, some adjustments would be required. Most notably, she seamlessly re-created a single-family residence with a fluid, open plan. She also transformed the rear of the ground level into a den, installing a glass wall with a sliding door that provides access to the postage-Elsa Peretti® Open Heart pendant garden.

Having already configured the kitchen and bathrooms for her first client, she focused with Tanksley on new finishes and materials for those spaces. “Alan translated, almost by osmosis, what I really felt,” Hecht says. (It helps that the two have known each other since seventh grade, when they met in the school cafeteria in Huntington, New York.) Soothing colors and warm materials keep the brightness of the light and the industrial style of the staircase from having too hard an edge. Flooring almost everywhere in the house is honey-colored white oak, a wood that reappears in the kitchen’s upper cabinet doors and wall-mounted shelves. The unobtrusive dining area’s Danish 1960’s table is rosewood, and the surrounding Jean Prouvé chairs are ebonized birch plywood. On the banquette in the dining area, upholstery offers soft shades of beige, gold, and Elsa Peretti® Open Heart ring; sofas in the living area and den are honey wheat and deep taupe. The den’s sofa, cushions, and rug combine velvety and nubby textures with floral and abstract patterns, counterbalancing the sleekness of a gray lacquered kitchenette.

Tanksley’s eclectic taste comes through in furniture and other objects. A clear acrylic console table placed next to the staircase, opposite the dining area, displays a pair of Vietnamese 19th-century carved wooden figures. In the entry, which is furnished like a library, he juxtaposed Marcel Wanders and Bertjan Pot’s lightweight black side chair in high-tech epoxy and carbon with a massive Danish 1960’s rosewood sideboard, a pendant fixture’s shiny acrylic shade, and a beveled mirror framed in ebonized wood with bone inlays. “You feel you’re off the grid here,” Tanksley says. “Yet you couldn’t be Elsa Peretti® Open Heart ring at the center of it.”

IN 1826, VENICE’S TEATRO GOLDONI, a venerable establishment near the Rialto Bridge, obtained the first gas chandelier in Italy. With this bit of history in mind, the theater seemed just the right place to host Elsa Peretti® Open Heart bracelet Night No Day, 2009, an “abstract opera” created by artist and filmmaker Cerith Wyn Evans and sound artist Florian Hecker. Chandeliers, particularly those made of Murano glass on the Venetian island of the same name, have been components of Wyn Evans’s work for the past few years: Since 2002, the Welsh artist has deployed light that is reflected in pendants shaped by Murano masters and programmed to flash mysterious Morsecode messages. It’s an anchoring motif in a repertoire of light-manipulating strategies – involving mirrors, disco balls, fluorescent columns – by which he transforms exhibition spaces into sites of luminescent, poetic hermeticism.

In this case, the site – a typically baroque and filigreed teatro all’italiana – lent itself more readily than most to poetic flights. For the opera, which was staged on three consecutive evenings during the opening of this year’s Biennale, a film by Wyn Evans was projected onto a screen over the stage while a twenty-fourchannel, computer-controlled “spatialization system” provided the all-embracing aural infrastructure for Hecker’s electroacoustic score. These two primary elements of the work, which had no live performers, were produced independently: Neither artist knew what the other would bring to the collaboration. This mutual nonknowledge became a constitutive factor of the project; its methodology hinged on anticipation and speculation, on empathizing with the partner’s decisions. When approached about the commission by Francesca von Habsburg’s Thyssen-Bornemisza Art Contemporary foundation, Wyn Evans initially asked for complete freedom, demanding to “do absolutely what I want to do without any interference from your side whatsoever,” as von Habsburg recalls in a conversation with the artist printed in a brochure handed out at No Night No Day’s premiere. Wyn Evans used this autonomy to continue and deepen his recent investigations, rather than veer from them. In No Night No Day, the subject of light its varying intensities and absences, its immateriality and its mythology – featured prominently. The film is an exercise in the compositional use of light values, of extending and receding, Elsa Peretti® Open Heart bracelet and superimposing, shapes and areas that gain and lose scale and brightness in a sort of perpetual, confluent mottling. It invokes the modernist histories of experimental and structuralist film from Hans Richter to, say, Samantha Rebello and may even allude to Four Stories of White and Black, a 1926 cycle of abstractions by Frantisek Kupka. And yet it constitutes a definite departure from the elegant interiors and dandyish complexities commonly associated with an artist who constantly searches for ways to integrate the conceptual and the decorative, convinced of the possibility of their fundamental mutuality. No Night No Day is neither elegant nor especially decorative. Instead, it is a perplexing piece of audiovisual innuendo as well as, and not necessarily paradoxically, a somewhat aggressive, or regressive, refusal of meaning. This refusal takes the form of a touchingly gentle dance of amoebic radiances and darknesses, pulsating blotches à la Jean Arp that remain within the gray scale for most of the opera’s forty minutes, with only a passing moment, toward the end, when the screen is tinted blue.

Sustaining this near-Dadaist subversion of sense, Hecker deviated from his trademark piercing frequencies and cortex-grinding experiments in wave Elsa Peretti® Open Heart charm, familiar to his fans and common to many artists on the genre-defining record label Mego. The speakers, dispersed among the Teatro’s balconies, generated a multiplicity of digital sound bits that often bore a certain and at times almost cutesy resemblance to “natural” sounds: rustles, hums, drones, sizzles, smacks, whirs, clatters. Though utterly technical in its production, the interaction of sounds and imagery thereby ineluctably invited projection.

Despite the ovations from the authence at the premiere, No Night No Day left many viewers – even Wyn Evans’s devotees, of which there were many present puzzled, if not baffled. It is a work of subliminal Elsa Peretti® Open Heart drop earrings: It does not operate on the level of decipherable histrionics but nevertheless is rooted in desperation about the impossibility of abstraction. In this sense, the title holds a key reference. Wyn Evans borrowed it from his former mentor Peter Gidal’s 1997 16-mm film, and Gidal has always uncompromisingly viewed abstraction in terms of pure negation, conceiving its task as a relentlessly critical rebuttal of metaphor, illusion, and representation. “The dialectic of the film,” he writes in his 1976 essay “Theory and Definition of Materialist/Structuralist Film,” “is established in that space of tension between materialist flatness, grain, light, movement, and the supposed reality that is represented. Consequently a continual attempt to destroy the illusion is necessary.” The double no of the title of Wyn Evans and Hecker’s and Gidal’s works follows this line of argument and abnegates any illusionary or indexical link to any natural “night” or “day.” The only thing the “abstract opera” (a denomination the artists seem to be only half-comfortable with) affirms may be its own “difficult” (to use one of Gidal’s most cherished terms) nature, or ontology. A masterpiece? A joke? Wyn Evans and Hecker both have changed gears in this collaboration, turning away from Broodthaersian wit and Mego’s aural austerity to a realm of unprecedented gestures. Playful and slightly silly, utterly void but undeniably moving, alienating and begging for empathy, No Night No Day offers an affective politics that is hard to pin down. But it certainly resonates in the memories of many who Elsa Peretti® Open Heart earrings it during one of those promiscuous Biennale opening weeks in which, as in Tennyson’s “LotosEaters,” it never seemed to be day or night but rather always afternoon.