Posts Tagged ‘treasures’
When the Virginia Company sent the first batch of 104 settlers to colonize the New World, they chose Jamestown Island, marshy and mosquito-ridden with virtually no farmland, bad hunting and no fresh water but secure from any potential attack by Spanish ships, as the site for their new colony. They built James Fort, a triangular wooden palisade, within two weeks and the first Jamestown settlement was established inside its perimeter. It was small, but soon contained at least a storehouse, several houses and one church, the first Protestant church in the New World.
Built in 1608, the church served the community for almost decade. Secretary of the colony William Strachey described it as “pretty chapel” 60 feet long and 24 feet wide with a cedar wood chancel. In 1614 Pocahontas married tobacco planter John Rolfe there. Within three years of that wedding, the church had fallen into disrepair and was abandoned when a new church was built nearby as the settlement expanded eastward from the original confines of Fort James. Over time the location of the first fort and its church was lost.
It was Strachey’s description that helped archaeologists identify the remains of the church when they were discovered during a 2010 excavation of the rediscovered Fort James site. The structural posts matched the dimensions documented by Strachey, as did the structure’s orientation in the middle of the fort. At the eastern end of the building, archaeologists found four graves. This space was the cedar chancel Strachey mentioned, the area in the front of the church with the altar which was reserved for the most important people during services. Only people of very high status were honored with burial under the chancel.
Since the archaeological site of Jamestown is open to visitors, the church remains were refilled for safety. Jamestown Rediscovery archaeologists, working with forensic anthropologists from the Smithsonian’s Museum of Natural History, returned in November of 2013 to fully excavate the graves in the hopes they might be able to identify the people buried there. The remains were under threat, as is the entire Jamestown site, by rising sea levels, and one of the skeletons had been significantly damaged by workers in 1938 (when the location of the fort was still unknown) unwittingly dug a trench through the chancel to install electric cable. The excavation revealed one body had been buried only in a shroud (the others had wooden coffins) and two of the people were buried with artifacts that could help identify them.
The team carefully unearthed and documented the graves, using a precision laser tool to record the positions of the graves, skeletons, coffin fragments and artifacts. Then the Smithsonian’s outstanding 3D Digitization Program Office did their magic, laser scanning the entire site, collecting millions of data points and high resolution photographs that would allow them to create an interactive 3D model of the burials. I won’t embed it because the last time I did it caused some loading problems, but here’s the 3D model of the chancel graves on the Smithsonian website.
The skeletal remains were then removed to the lab for analysis. Time and environment had not been kind to them — only 30% of each skeleton was recovered — but the bones could still speak through science. All four were men who were between their early 20s and their 40s when they died, and all four were found to have carbon and oxygen isotope values indicating they were raised in England. None of them show the tell-tale osteological signs of strenuous labor, but the teeth of two of them were in bad shape with numerous cavities and abscesses. That was a clue that those two men may have been in America longer than the other two and had thus been exposed to a potentially tooth-rotting sweet corn diet for a few more years. High levels of lead in the bones of two of the men suggested they were high-born since in the 17th century the wealthy and noble ingested more lead than the poor courtesy of lead-lined and pewter tableware.
The artifacts proved as challenging to study as they were revelatory. In the southernmost grave, archaeologists found a textile made of silk cloth, silver threads and silver spangles between the rib cage and left arm of the skeleton. A near-miraculous survival, the artifact was too fragile to be excavated and was removed in a soil block. X-rays found the hundreds of silver threads and spangles in the soil block. Micro CT 3D scanning revealed the object was a captain’s sash decorated with bullion fringe.
The two artifacts found in the other burial were placed in the grave outside the coffin. One was an iron fragment three inches long that turned out to be the finial below the tip of a ceremonial spear known as a leading staff. The other was a silver box placed on top of the coffin. The box was corroded shut, so the research team turned to X-ray and CT scanning in the attempt to see what might be inside. With help from increasingly higher resolution microCT scanners, gradually the silver box gave up its secrets. It’s a reliquary containing a lead ampulla, a vial used to hold holy water, oil or the blood of a saint, broken in two pieces and seven fragments of bone, also probably holy relics. Their final scans were so detailed they were able to 3D-print reproductions of the contents for examination.
Reliquaries are Catholic and like other Catholic devotional objects they were outlawed by Elizabeth I and her successor James I. This box may be evidence of a crypto-Catholic presence in the colony, which is also supported by other more modest finds made elsewhere in Jamestown like pilgrim’s tokens, crucifixes and rosary beads.
Thanks also to copious documentary research on likely candidates, the Jamestown Rediscovery team was able to identify the four men as:
- The Reverend Robert Hunt, the former vicar of Reculver, England, who arrived with the first settlers in 1607 and died aged around 40 between January and April of 1608.
- Captain Gabriel Archer, a bitter rival of Captain John Smith (he once called for his execution), who explored the interior along the James River valley. He died during the horrific “starving time” in the winter of 1609-1610 at the age of 35. The reliquary is his, and since his parents were Catholics, once fined for non-attendance of Anglican services, he could very well have been as well, only on the downlow.
- Sir Ferdinando Wainman, the earliest English knight known to have been buried in the New World, arrived in June of 1610 with his relative, the first governor of Virginia Thomas West, Lord De La Warr. He was appointed Jamestown’s master of the ordnance and cavalry, but he didn’t have a chance to serve for long as he died between July and August of 1610. He was 34.
- Captain William West, another relative of Lord De La Warr’s who arrived in June 1610 only to die within months. He was killed in battle against Powhatan warriors in the fall or winter of 1610. The glorious sash is his.
The two men with the high lead levels were Wainman and Archer.
The Historic Jamestowne website is excellent, packed with information on the history of the site and its ongoing archaeology. I strongly advise starting on the chancel burials page and clicking through the large icons which will lead to pages with other large icons beneath. In addition to detailed information on the four men, they have many videos related to this find, all short enough to binge on like popcorn one after the other.
On October 10th of last year, licensed metal detectorist Florian Bautsch struck gold on the outskirts of Lüneburg in the northern German state of Lower Saxony. Nazi gold. Scanning an area with hillocks that archaeologists suspected might be ancient burial mounds, Bautsch first found a single gold coin and then nine more in the hollow under a pine tree. He recorded the find location by GPS and notified the relevant authorities at the Lüneburg Museum .
Thanks to Bautsch’s conscientiousness, archaeologists were able to do something they rarely get the chance to do: excavate a portable treasure in its proper context. The two-week excavation unearthed another 207 gold coins buried under that three, bringing the total up to 217. The oldest coin dates to 1831, the newest to 1910, and none of them were minted in Germany. The majority — 128 coins — are Belgian. Another 74 coins were minted in France, 12 in Italy and the last three in the Austro-Hungarian Empire. Despite their diverse origins, all of the coins have the same diameter (21 millimeters) and weigh the same (6.45 grams). The total coin weight is 1.4 kilos (3 lbs). These are not circulation coins. They were minted in large batches to be purchased by individuals and banks for investment purposes.
Archaeologists also found two aluminium seals bearing the swastika, the imperial eagle and stamped “Reichsbank Berlin 244.” They also found remnants of tar paper and some individual fibers. These elements are what’s left of two coin bags, lined with tar paper and sealed by the Berlin Reichsbank during World War II. Those type of seals were used starting in 1940 and the chemical composition of the tar paper identifies it as a type produced before 1950. It is the greatest treasure from this period ever found in northern Germany. Had the finder just dug it all out himself and taken the gold, nobody would have been the wiser and the key evidence identifying it as Nazi gold, as fragile as it is important, would have been lost forever.
The working theory right now is that the gold coins, likely looted by Nazis from occupied territories before being grouped by exact size and weight, bagged and sealed, were stolen in the waning days of the Second World War. If so, it was almost certainly an inside job, a theft by a bank employee looking for some financial security in the most insecure of times.
As the coins were buried relatively recently under shady circumstances, at first authorities gave any potential legitimate owners the opportunity to claim the treasure. It was a long shot (although it has been known to happen) and indeed, nobody stepped forward to claim ownership. Then, because the find bears the marks of a previous government bank, state authorities contacted the German Ministry of Finance but they weren’t interested in claiming the coins either. Finally the orphaned gold was adopted by Lower Saxony which of course had wanted it all along.
England’s Treasure Act has a mechanism that gives finders and landowners a reward in the amount of the discovery’s market value as assessed by a valuation committee. German monument protection laws (they differ from state to state) have no such mechanism, so while the estimated value of the coins is €45,000 ($49,000), Florian Bautsch will receive a €2,500 ($2,710) reward from the state of Lower Saxony. He’s a proper history nerd, bless his heart, so the money isn’t what matters to him. The archaeological significance of the find is reward enough.
The gold coins went on temporary display at the Lüneburg Museum yesterday. Curators are now discussing how best to integrate the hoard into the museum’s permanent display in the future.
An unprecedented cache 2,000 gold spirals from the Bronze Age has been discovered in a field near the town of Boeslunde on the Danish island of Zealand. Bronze Age spirals have been found before — gold ones in the Syke hoard in Germany, for example, and bronze ones in Poland — but these are the first to be discovered in Denmark.
The spirals are made of very thin, very pure, flat gold thread just 0.1 millimeter thick and up to three centimeters (1.18 inches) long. Some of the spirals are complete at up to three centimeters long; some are in small fragments. All totalled, the gold weight of the spirals is between 200 and 300 grams (7-10 ounces). Two gilded fibulae found with the spirals date the find to 900-700 B.C.
In 2013, metal detectorists Christian Albertsen and his uncle Hans Henrik Hansen found four gold bangles, so-called oath rings, in the same Boeslunde field. Six other gold oath rings had been unearthed in the field earlier (each individually at different times, not as part of a hoard) and in the 1800s local farmers found a group of six elaborately decorated gold bowls, two of which have incredibly thin gold wire wound around elongated handles crafted to look like stylized dragons. The total weight of the 10 oath rings found in Boeslunde is 3.5 kilos (7.7 pounds). The set of bowls weighs another kilo (2.2 pounds). That makes Boeslunde the richest gold field of the Northern European Bronze Age, and there may well be more to find.
It was the oath ring discovery that spurred the discovery of the spirals. After the bangles were found, the West Zealand Museum undertook an excavation of the field. It was a small search area — only a few square meters of soil were dug up — and archaeologists found a small group of three or four spiral fragments bundled together. Christian Albertsen, the finder of the oath rings who was assisting in the dig, brought one of the spirals to a jeweler. He confirmed that it was made of gold, not brass, so the Zealand Museum decided to dig again in the same spot, this time enlisting the aid of experts from the National Museum of Denmark.
During this second excavation archaeologists made the bulk of the find: a large pile of gold coils. Underneath and around the pile were shards of a grey-black material. Analysis in the National Museum’s lab identified these black chunks as birch bark tar, a substance used by prehistoric peoples, including the Neanderthals, as an all-purpose adhesive starting 80,000 years ago. The copper axe found with the 5,300-year-old iceman Otzi was hafted with birch bark tar. The tar chunks found under the spirals bore the imprint of a flat wooden surface on one side of the flakes and the imprint of animal skin on the other, which indicates the tar was used to glue a leather lining into a wooden box. Archaeologists think the spirals were placed inside a jewelry box or dress chest before being buried in the Boeslunde field.
It’s not clear how the coils were used or for what purpose. Given the high quantity of sacrificed gold found in the field, the location may have held ritual importance.
Flemming Kaul from the National Museum also believes that the area had some sort of religious significance as a place where Bronze Age worshippers carried out rituals and sacrifices to the higher powers.
“Maybe the priest king had a golden bracelet around his wrist, and the gold spirals adorned his cape or his hat, where during rituals they shone like the sun. The sun was one of the holy symbols in the Bronze Age and gold was presumably seen as having some sort of particular magic power. It is colored like the sun, it shines like the sun, and because gold lasts forever, it was also seen as containing some of the Sun’s power,” Kaul said.
The Zealand Museum and the National Museum plan to continue to excavate the site in cooperation with amateur archaeologists/metal detectorists like Christian Albertsen who has been so instrumental in the momentous discoveries made in Boeslunde. The gold spirals will be on display at an open house at the Skaelskor City Museum on Wednesday, July 15th. Visitors will be able to enjoy the shiny pretty things and hear curator Kirsten Christensen speak about their discovery.
High in the Andean cloud forest of Peru’s remote Amazonas Region, archaeologists excavating the site of Purunllacta de Soloco have unearthed two silver vessels that lend unique insight into the history of the area in the transitional period after the Spanish conquest. Built by the pre-Inca Chachapoya culture, Purunllacta de Soloco is a thousand-year-old fortress with forbidding stone walls perched on a mountain top covered in jungle vegetation. The site, while known, was excavated by archaeologists for the first time in 2014, and no wonder, since it takes three hours of hard climbing from the town of Chachapoyas to reach the summit.
The cups are ceremonial vessels known as aquillas, used by the Inca in almost every ritual and found all over their former empire. They are 4.4 inches high and 4.6 inches in diameter at the widest point around the rim. They each weigh 152 grams (5.36 ounces) and are made from sheets of relatively thick (.8 – 1mm) silver. They taper to a wide mouth with a straight lip around the rim. They are in excellent condition, with no visible signs of corrosion or any corrosive by-products like carbonates, chlorides and copper oxides. The lack of silver chlorides indicates the percentage of pure silver is very high.
The slightly concave walls are decorated under the rim with a high relief of figures divided into four scenes separated by two parallel vertical lines. Horizontal parallel lines frame the relief top and bottom. Each of the scenes features two characters, male and female, wearing clothes with geometric patterns and hats or headdresses. The characters hold hands, facing outwards. Some of them carry a bag or an axe. There are also points and notches in low relief in the background. The hats are typical of Spanish colonial style and the geometric garments are the traditional dress of the Inca empire.
The decoration was made using a mixture of three techniques: repoussé, embossing and incision. The repoussé was done by wrapping a single sheet of metal around a wooden mold on which the decoration had been carved and hammering the sheet against the molds until the relief transferred. Embossing was done by drawing concave shapes into both sides of the metal with a blunt tool. The incised designs were carved into the outside of the metal sheet. The quality of the relief work is exceptional.
Because of the Spanish influence, archaeologists believe these vessels were carved during the first Spanish occupation of the area between 1536 and 1580. This is the first time silver aquillas have been found at Chachapoya sites. They were not known to have worked in precious of semi-precious metals so it’s probable the vessels were of Inca manufacture rather than made locally. Wood artifacts carved with Inca-style figures dating to 30 years after the Spanish conquest have been recovered from Chachapoya sites before, however, and it’s not entirely impossible that the aquillas were made by Chachapoya artisans influenced by the Inca and Spanish, but the strength of the relief indicates very expert silversmithing that was not native to Chachapoya culture.
The aquillas were found nested into each other inside a hole and were probably ceremonial offerings. A stone building was then constructed above the vessels. The fact that they were made and deposited up to 50 years after the Spanish arrived means that the Andean elites were still practicing traditional rituals for decades after the conquest. It also confirms that both the Inca Empire, which conquered the Chachapoya in the 15th century (a fitful conquest, since the Chachapoya resisted their invaders so consistently for so long that they actually sided with the Spanish when they first arrived), and the Spanish in the 16th century reached the remote, strongly fortified settlement of Purunllacta de Soloco, something archaeologists have believed but found no archaeological evidence of until now.
After they were excavated, the aquillas were sent to the Brüning National Archaeological Museum in Lambayeque for cleaning and conservation. Some kind of organic residue has been found inside the vessels. Researchers will test the substance to identify its makeup. Since the vessels were likely used for ritual purposes before their deliberate burial, whatever they held will tell us more about the ceremony. (The Incas used chicha, fermented corn beer, in their rituals.)
Conservation took three months and is now complete. The aquillas have been officially transferred to the Regional Directorate of Culture of Amazonas who will keep them until they go on display in the new Regional Museum of Chachapoyas which isn’t open yet. The space will need to be modified to display the vessels in ideal climactic conditions and keep them secure.
A gold sun disc discovered in an early Bronze Age grave in 1947 went on public display Friday for the first time in its history. The Wiltshire Museum in Devizes celebrated the Summer Solstice by adding the gold circle about the size of a penny that represents the sun to its permanent exhibition of prehistoric artifacts.
The sun disc is one of only six of its kind ever found in Britain. It was unearthed from a burial mound at Monkton Farleigh in 1947 along with some flint arrowheads, a pottery beaker and pieces of the skeletal remains of an adult male. The grave was discovered by dowser and author Guy Underwood who believed dowsing could be used to locate archaeologically significant sites and whose studies of the alignment of prehistoric British sites evolved into theories about earth energy patterns that would be published after his death in The Pattern of the Past.
Monkton Farleigh is 24 miles or so northwest of Stonehenge and the sun disc dates to around 2,400 B.C. which is about the time when the great sarsen stones were arranged in a circle at Stonehenge (between 2,600-2,400 B.C.). Both the stone circle and the sun disc are connected to ancient solar worship.
The sun-disk is a thin embossed sheet of gold with a cross at the centre, surrounded by a circle. Between the lines of both the cross and the circle are fine dots which glint in sunlight. The disc is pierced by two holes that may have been used to sew the disc to a piece of clothing or a head-dress, and may have been used in pairs.
After its discovery in the 1940s, the sun disc was kept by the property owner (that sort of thing wouldn’t fly today because ancient precious metals would be considered treasure and by law property of the Crown) Dr. Denis Whitehead. After almost 70 years squirreled away — it wasn’t shown to an actual archaeologist until 2013 — the sun disc was donated to the Wiltshire Museum in memory of Dr. Whitehead.
The Wiltshire Museum has a new Prehistoric Wiltshire gallery that includes the gold artifacts unearthed in 1808 from a grave at Bush Barrow one kilometer (.6 miles) south of Stonehenge, most famously a lozenge-shaped sheet of gold about seven inches long incised with geometric decorations that was found on the breastbone of the deceased. The Bush Barrow artifacts — a gold belt buckle, a second much smaller gold lozenge, three copper daggers, a bronze ax, a bronze spearhead, a stone mace with bronze fittings, the remains of a shield, a bone scepter — were on display before at the Wiltshire Museum in the 19th century but security concerns spurred the Wiltshire Archaeological and Natural History Society to lend the Bush Barrow gold to the British Museum. After a disastrous restoration in 1985 that irreversibly altered the large lozenge’s shape, the society took the pieces back. Now they and the Monkton Farleigh sun disc are on display together in the new gallery, an exceptional collection of Bronze Age gold.
The excavation of the princely tomb from the early 5th c. B.C. unearthed at Lavau in France’s Champagne region was completed a few days ago. Archaeologists from France’s National Institute for Preventive Archaeological Research (INRAP) have now published more about what they found in the richly appointed grave.
The deceased is laid out in the center of the tomb, head oriented south, with his two-wheeled chariot. The prince wears a torc in solid gold weighing 580 grams (1.28 pounds), significantly heavier that 480-gram 24-carat gold torc in the Lady of Vix grave discovered in 1953 about 40 miles south of Lavau. This rigid neck ring is richly decorated in a double motif of winged monster, extended by pear-shaped stamps. On his wrists are gold bracelets while his bicep is encircled by an lignite armlet. Near the nape of his neck are several finely worked amber beads, the remains of a necklace or hair ornament. There are also very rare surviving organic remains from his clothing. Archaeologists found two iron and coral hooks attached to fragments of leather and a row of rivets — remnants of the collar from his top — bodkins and bronze hooks from his shoes.
The largest and most elaborately decorated find — the bronze cauldron three feet in diameter adorned with four circular handles attached to the head of Greek river-god Achelous and eight lion heads around the rim — is part of a wine set that includes the Attic black figure ceramic oinochoe, perforated spoon and smaller bronze vessels found inside the cauldron. It’s Greco-Latin in manufacture and was probably the centerpiece of an aristocratic Celtic banquet.
The Lavau burial has several elements in common with the Lady of Vix, including the huge and hugely fancy banquetware. It dates to around 500 B.C., on the cusp between the end of the Hallstatt and the beginning of the La Tène period. She too was buried with exceptionally rich grave goods of Greek and Celtic extraction: a bronze volute krater of immense size — 5’4″ high, 290 gallon capacity, 450 lbs total weight including base and lid — which is the largest metal vessel from Classical antiquity known to survive, an oinochoe wine jug (although the Vix one was bronze while Lavau’s is black figure ceramic with a gilded rim and foot) a two-wheeled chariot, a heavy gold torc and jewelry with amber beads.
Another slightly later tomb (mid-4th century B.C.), that of the Princess of Reinheim, unearthed near Saargemünd, Germany, just across the border with Lorraine, also has similar grave goods: a gold torc around her neck and gold bangles on each wrist, amber beads by her side (once held in a long-decayed wooden jewelry box, perhaps), and an expensive beverage set composed of a large bronze flagon (1’8″ high), other bronze basins and the remains of gold fixtures thought to be from drinking horns.
The Lady of Vix’s remains were almost completely decomposed. She was deemed a lady because even with all the priceless treasures interred with her none of them are weapons. The same conclusion was drawn from the lack of a weapon in the grave goods of the Princess of Reinheim whose skeletal remains were annihilated by the acidic soil, but modern archaeology is reluctant to draw firm conclusions on sex based on the nature of the grave goods. A knife still in its sheath was found in the Lavau grave, but Celtic women were known to have fought, so we can’t assume the prince is not a princess. The bones that have survived are in very poor condition so it’s not possible to determine the deceased’s sex just by observation. Unlike with the Lady of Vix who was unearthed in 1953, modern archaeology may be able to make the determination by other means (DNA testing, stable isotope analysis).
Archaeologists excavating the oldest cemetery in Ribe, southwestern Denmark, have discovered an intact Merovingian-era pitcher. It is the only vessel of its type ever found in Denmark and because Ribe, founded in the early 8th century, is not only the oldest extant city in Denmark, but the oldest in Scandinavia, this teapot-sized jug is of disproportionately large historical significance.
The pitcher was found underneath a large upside-down vessel which was cracked and broken. It may have been deliberately placed over the little treasure to protect it, but if it wasn’t, it performed that function anyway, keeping the jug from being damaged or broken over the centuries. When the archaeologists removed the pieces on top of it, they immediately saw they had something special. Danish pottery from the early Middle Ages is black, brown or red. The bright color of this ceramic marked it as imported. When they excavated it fully they were amazed to find a complete piece of such high quality and great age.
Unsure of what exactly they had unearthed, the team consulted with experts who identified it from its features — the clover leaf spout, the shape of the handle — as a trefoil pitcher made during the Merovingian dynasty (circa 450-750 A.D.) in France or Belgium. Unlike domestic ceramics, this pitcher was made on a turntable and fired in a kiln.
Merovingian vessels have also been found in the late 8th century trading settlement of Hedeby, also on the Jutland peninsula but today just across the border in Germany about 80 miles south of Ribe. They are very rare. Out of 2,000 graves excavated in Hedeby, only three of them included Frankish pitchers, none of them of the trefoil type.
“It is a unique find,” said Morten Søvsø, the head of archaeology at Sydvestjyske Museum.
“The pitcher is an example of the finest pottery produced in northern Europe at the time, and it has never been seen before in Denmark. The vessel reveals information about the vast trading network that put Ribe on the map during the Viking era.” [...]
“The jug is a masterpiece from the French or Belgian workshops, and its elegant form is a direct legacy from ancient Roman potters. No pottery at home could technically produce such a thing at the time,” said Søvsø.
Archaeologists couldn’t narrow down the precise date it was made or when it was buried. It was certainly interred more than 1,000 years ago and most likely when Ribe was still new. Archaeologists have long thought that Ribe grew gradually into a city of import, but the discovery of the pitcher suggests there were early connections with the Franks. It could have been traded or the person with whom it was buried was of Frankish origin. According to lead archaeologist Søren Sindbæk, the grave goods found in its cemetery are useful objects that had meaning to the people buried with them, not exotic objects like this pitcher would have been to someone native to the area. If he was a Frank, he must have been well-enough known in Ribe society to garner a formal burial in the cemetery.
The archaeological team is hoping to be able to answer some of the questions about the origin of the pitcher and the person whose grave it adorned by studying the bones found in the grave. Stable isotope analysis of the teeth and bones can narrow down where someone lived in early childhood.
The burial ground has a wide variety of graves from different periods: pre-Christian cremation burials, urn burials, boat burials, Christian inhumations, animal burials. Last year the team unearthed the unique grave of a fully outfitted warhorse and rider from the earliest days of the city. Elite mounted warrior burials have been found before, but they date to the 10th century, the end of the Viking period, while this grave is from the early 8th century almost a hundred years before the first Viking raid on Lindisfarne (793 A.D.).
The hoard of 159 Roman gold coins discovered near St. Albans, Hertfordshire, in the fall of 2012 has been acquired by St. Albans’ Verulamium Museum. The first 55 coins were unearthed on September 23rd by first-time metal detectorist Wesley Carrington who found the first coin seven inches under the surface just 15 minutes after beginning his search. After consulting with the owner of the shop where he had bought his metal detector, Carrington reported the discovery to his local Finds Liaison Officer. On October 1st, Carrington returned to the site with a team of archaeologists from St. Albans City and District Museums Service and they found another 104 coins.
The coins are all 22-carat gold solidi from the late 4th and early 5th century struck in Milan, Ravenna, Rome, Trier during the reigns of Emperors Gratian, Valentinian II, Theodosius I, Arcadius and Honorius. Although they were found all over the field, archaeologists believe that’s the result of a couple of centuries of farming scattering the cache, that the solidi were originally buried together in a now-lost container. Their rough treatment by one or more ploughs has left surprisingly few marks on the coins. They are in pristine condition.
This is the second largest group of Roman gold solidi found in Britain. The largest was the 565 solidi found in the massive Hoxne Hoard that also contained 14,272 silver coins as well as jewelry and silver dinnerware. The St. Albans Hoard is the largest in Britain composed entirely of gold solidi.
Gold solidi were enormously valuable coins. By law they could not be spent on retail market goods, but only for large purchases and deals like property sales and entire ship’s of goods. Whoever owned these coins was very wealthy, a merchant or a banker. The last coins to arrive in Roman Britain from the continent came in 408 A.D., two years before the army withdrew leaving the province to deal with the descending chaos on its own. One of the ways they coped was to bury their valuables to keep them safe from pillagers until they could reclaim them, which is likely what happened here. It could also have been buried as a sacrifice to the gods, but it’s on the generous side for a votive, to put it mildly.
After the discovery of the hoard, the coins were examined by an independent panel of experts at the British Museum. Based on the panel’s report, a coroner’s inquest in July of 2013 determined that the hoard was treasure according to the UK’s Treasure Act. The British Museum panel then assessed fair market value of the coins at £98,500 ($150,000) and the relevant museum closest to the discovery spot, in this case the Verulamium Museum, was given the opportunity to acquire it for that amount.
They raised it and then some. Thanks to a sizeable Heritage Lottery Fund grant of £105,000, £24,000 from an overseas benefactor who prefers to remain anonymous, £11,000 from the St. Albans Museums and Galleries Trust and £6,000 from the Council, the museum was able to secure the hoard and some funding to create a display worthy of their rarity and beauty. The coins will go on display at the museum in September.
In 2011, archaeologists from the University of Wollongong (UOW) and the University of New England (UNE) excavating the Brremangurey Rockshelter on the north Kimberley coast of Western Australia discovered a pearl in the site’s shell midden. The rockshelter was used by Indigenous peoples for more than 12,000 years, as attested by rock art and shell middens. The pearl was found in a layer of marine shell that radiocarbon dating found was 1800-1906 years old. It is the only pearl known to have been recovered from a prehistoric archaeological site in Australia.
The unique find caused much excitement in the community because of the area’s rich pearling history. The harvest of natural South Sea pearls from the large oyster species Pinctada maxima was a major industry along the Kimberley Coast in the 19th century, and while those beds collapsed more than a century ago, since the introduction of the Japanese techniques of pearl culturing in the 1950s, the coastline has been a center of pearl production.
The marine pearl is small but comely at 5.9mm in maximum diameter and weighing a quarter of a gram. Its petite size, warm golden-rose color and almost spherical shape are characteristic features of a cultured Akoya pearl rather than a natural South Sea pearl. Local pearl experts thought it more likely to be an intrusive cultured pearl that somehow made its way into an ancient midden pile instead of the one and only prehistoric pearl ever found in Australia. Indeed, tests on the midden pile found that some of the deposits had experienced significant time-averaging and downward movement of shell layers.
In order to determine the pearl’s true nature, the archaeological team had to eschew the usual analytic methodologies like radiocarbon dating and stable isotope analysis because they result in the destruction of samples. Instead they teamed up with Cygnet Bay Pearl Farm to do a comparative analysis of a cultured Akoya pearls with the Brremangurey pearl using non-invasive X-ray computed microtomography to capture the pearls’ inner architecture. They scanned three Cygnet Bay pearls — two seeded in 2010 and harvested in 2012, one keshi pearl that grew without a bead — and the Brremangurey pearl.
The scans left no doubt whatsoever that the Brremangurey pearl is natural. The CT scans of the seeded pearls showed a very clear homogeneous spherical nucleus (the bead made of crushed and compacted Mississippi mussel shells) wrapped in two relatively thick layers of nacre, one per year of growth. The Brremangurey pearl has a much smaller nucleus and 14 thin layers of nacre. There is no pearl farmer in his right mind willing to wait 14 years for a six millimeter pearl to grow, nor has this ever been a practice in the history of pearl culturing.
The nucleus is also very different. Like the cultured bead, it is almost spherical, but that’s just a fluke. A separate scan of the nucleus itself underscored how different its structure is to the beads of the cultured pearls. Instead of being a solid homogeneous material, it has a tiny hollow center — a cyst formed as a result of damage to the edge of the mantle — surrounded by rays of calcium carbonate terminating in an exterior surface the published paper describes evocatively as “pustolose.” That surface was then wrapped in layer of nacre. That’s how natural pearls form.
“This analysis confirmed that it was a natural pearl that had grown inside a small pearl oyster for over a decade before the animal was harvested for eating,” [PhD student and co-author of the study Brent Koppel] said.
Although there are no records to suggest that pearls are of cultural significance to Indigenous peoples of the Kimberley, the pearl oyster shells which produce them are very important. The shells formed the basis of a historically-recorded trade which stretched from the Kimberley to the Central Desert. It is likely that the pearl at Brremangurey is a by-product of pearl shell collection. The great numbers of pearl shells within certain layers of the shell midden at Brremangurey suggests that the shells’ cultural value extends well back into prehistory.
You can read the paper about the pearl study here (pdf). The Brremangurey pearl will go on public display along with some of those highly significant prehistoric pearl shells in the Lustre: Pearling & Australia exhibition which opens on June 20th at the Western Australian Maritime Museum.
Gold vessels found in a Scythian burial mound in the Caucasus Mountains near Strovopol, southwestern Russia, have traces of cannabis and opium inside them. The artifacts were discovered in the summer of 2013 when kurgan Sengileevskoe-2 was being excavated in advance of power-line construction. Archaeologist Andrei Belinski didn’t expect to find anything of note — the kurgan had already been looted — but after a few weeks of digging, the team encountered a thick layer of clay. Underneath the clay was a rectangular chamber lined with flat stones that held a treasure trove of 2,400-year-old solid gold artifacts.
The trove consists of two gold bucket-shaped vessels turned upside down on top of three gold cups with holes in their bases, a heavy gold ring, two neck rings and a bracelet. Their total weight is 3.2 kilos (seven pounds). Seeing a black residue at the bottom of the vessels, Belinksi had forensic criminologists in Strovopol analyze the substance. It tested positive for opium and cannabis, providing archaeological evidence for a practice mentioned by ancient Greek historian of dubious accuracy Herodotus.
Herodotus gives an account in Book IV of his History of Scythians using hemp in a purification ritual after the funeral of a king.
After the burial, those engaged in it have to purify themselves, which they do in the following way. First they well soap and wash their heads; then, in order to cleanse their bodies, they act as follows: they make a booth by fixing in the ground three sticks inclined towards one another, and stretching around them woollen felts, which they arrange so as to fit as close as possible: inside the booth a dish is placed upon the ground, into which they put a number of red-hot stones, and then add some hemp-seed. [...]
The Scythians, as I said, take some of this hemp-seed, and, creeping under the felt coverings, throw it upon the red-hot stones; immediately it smokes, and gives out such a vapour as no Grecian vapour-bath can exceed; the Scyths, delighted, shout for joy, and this vapour serves them instead of a water-bath; for they never by any chance wash their bodies with water.
The elaborate decoration on one of the upside down gold vessels may also tie into one of Herodotus’ anecdotes. At the beginning of Book IV, he describes the Schythian warriors returning home after 28 years of war in Persia to find that their wives gave up on them years ago and had children with their slaves instead. The sons, knowing they would not be accepted by the cuckolded husbands, attempted to block their return. They were successful at first, winning battle after battle, but soon they were overcome by the mere symbols of their slave heritage.
“What are we doing, Scythians? We are fighting our slaves, diminishing our own number when we fall, and the number of those that belong to us when they fall by our hands. Take my advice — lay spear and bow aside, and let each man fetch his horsewhip, and go boldly up to them. So long as they see us with arms in our hands, they imagine themselves our equals in birth and bravery; but let them behold us with no other weapon but the whip, and they will feel that they are our slaves, and flee before us.”
The Scythians followed this counsel, and the slaves were so astounded, that they forgot to fight, and immediately ran away.
This conflict became known as the Bastard Wars. One of the vessels has a scene of an older bearded man slaying a young warrior, a possible reference to the Bastard Wars. Andrei Belinski thinks the imagery isn’t referring to a specific battle, but is more likely to be a metaphoric representation of chaos in the wake of a king’s death, an appropriate subject for royal grave goods. It would be more in keeping with the decoration of another vessel: a mythological scene of griffons tearing apart a horse and stag in what may be the Scythian underworld.
The high quality of the decoration on the solid gold pieces suggests they were made for royalty. The designs are exquisitely detailed.
To archaeologists, the information contained in the images on the gold is exciting. From the warriors’ shoes to their haircuts, the depictions are amazingly lifelike. “I’ve never seen such a detailed representation of the clothing and weaponry of the Scythians,” says Belinski. “It’s so detailed you can see how the clothing was sewn.”
The excavation of the kurgan was completed last fall, but archaeologists are hoping to return to excavate the network of trenches and earthen rings circling the mound which may indicate a ceremonial complex built around the central mound.
Anyone who has ever done a large jigsaw puzzle knows how essential it is to put like with like. When your puzzle is 4,000 pieces of Anglo-Saxon gold, silver and gem-festooned objects, sorting out which are part of the same artifact is essential. Thus one of the most important and complicated labours in the first phase of conservation of the Staffordshire Hoard was the grouping together of fragments according to their physical and stylistic characteristics. From the grouping exercise, researchers identified more than 1,500 fragments of silver gilt foil they believe were part of an extremely rare Anglo-Saxon helmet.
Only four other examples of Anglo-Saxon helmets have been found, including one unearthed in the famous Sutton Hoo ship burial in 1939, so it’s imperative that the puzzle be pieced together. It’s a painstaking job, figuring out how 1,500 sheets and strips of foil, many of them no larger than 10mm (.4 inches) across, fit together. So far they’ve been able to piece together a zoomorphic frieze and many of the fragments making up the helmet band that runs around the circumference of the object. The helmet band designs are die-stamped warriors armed and kneeling.
Here’s a glimpse of the tiny pieces of a zoomorphic frieze from the helmet conservators are negotiating:
The Sutton Hoo helmet is silver. The Staffordshire Hoard is gilded. That suggests that whoever donned this elaborate and expensive helmet was of extremely high status, perhaps a king or prince.
Another object conservators have pieced back together from fragments is a pommel. There are more than 70 pommels in the Staffordshire Hoard, but this one is unique. Reassembled from 26 fragments, the gold, gold filigree, garnet, niello and inlaid glass pommel has a rounded piece on the shoulder called a “sword-ring.” Although only one of the pommel’s sword-rings has been found in the hoard, the construction indicates there were two originally, one on each side. This is the first pommel ever discovered to have two sword-rings, making it an entirely new type. It is also lavishly decorated in a combination of Anglo-Saxon and British or Irish motifs. It may even have a combination of early Christian and traditional polytheistic decorative themes — the garnet and glass inlaid disk could be a stylized Christiana cross, while three serpents on the back of the pommel are pagan.
Chris Fern, project archaeologist, said “The Staffordshire Hoard links us with an age of warrior splendour. The gold and silver war-gear was probably made in workshops controlled by some of England’s earliest kings, to reward warriors that served those rulers, when multiple kingdoms fought for supremacy. The skill of the craftsmen is equally thrilling to behold, with many of the finds decorated with pagan and Christian art, designed to give spiritual protection in battle.”
“The newly recognised pommel is truly exciting. It combines multiple different styles of ornament, much in the same way as the earliest 7th century illuminated manuscripts do, like the Book of Durrow. It suggests the coming together of Anglo-Saxon and British or Irish high cultures.”
The second stage of conservation and research has been funded to the tune of £400,000 by Historic England, but they need to raise another £120,000 to complete the project. This phase will entail the conservation and physical joining of the fragments that have been matched to each other, a comprehensive study of the exquisite cloisonné cellwork seen on so many pieces from the hoard (see the gold and garnet Bible bindings in the video below for an example), a microscopic analysis of materials that are as of yet unidentified, contextual research of the practice of hoarding and the creation of an online database of the complete hoard by 2017.
If you’re in the Birmingham area today, hustle on over to the museum to meet the Staffordshire Hoard conservation team. You’ll get to ask them questions and you’ll even have the chance to clean a piece of the hoard and examine it under a microscope. The event is free and open between 11:00AM – 1:00PM and 2:00 – 4:00PM.
A massive silver ingot weighing 110 pounds has been found in the Indian Ocean waters near the island Sainte Marie off the east coast of Madagascar. It was discovered by explorer Barry Clifford on a shipwreck that he alleges is what’s left of Captain Kidd’s vessel the Adventure Galley. The silver bar is believed to be the largest ever found on a shipwreck.
The ingot has extensive markings on both sides which Clifford’s team thinks point to its originating in 17th century Bolivia. The History channel (they dropped “channel” from the official name but I just can’t bring myself to call it HISTORY the way they do), which has been filming Clifford’s exploration of the wreck for an upcoming multi-part series, has an image of the underside of the ingot with the marks labelled but not explained. I guess they’re saving the full explanation for the show. The ingot was recovered from the wreck and handed over to Madagascar’s President Hery Rajaonarimampianina in a public ceremony.
Clifford found this wreck 15 years ago and has been returning to it regularly ever since. The problem is there is no concrete evidence that it’s the Adventure Galley. They found an oarlock that’s the proper size for a galley like the Adventure and copious fragments of Ming Dynasty blue and white porcelain that stylistically dates to the late 17th century and that’s it. They had hoped to find personal belongings sailors might have left behind that would help identify the wreck, but that came to nought.
Île Sainte-Marie became known as the Island of the Pirates because a number of pirates used it as a base due to its convenient location next to the lucrative shipping lanes of the East India trade, its many protected bays and inlets and its rich endowment of fruit. Captain Kidd is known to have harbored there in the Spring and Summer of 1698, but the ship could have belonged to any of the many pirates and privateers who hung out on Sainte-Marie around that time.
That hasn’t stopped Clifford from making claims that are, to put it generously, hyperbolic.
“Captain’s Kidd’s treasure is the stuff of legends. People have been looking for it for 300 years. To literally have it hit me on the head – I thought what the heck just happened to me. I really didn’t expect this,” Mr Clifford said.
“There’s more down there. I know the whole bottom of the cavity where I found the silver bar is filled with metal. It’s too murky down there to see what metal, but my metal detector tells me there is metal on all sides.”
This has generated many a breathless “Captain Kidd treasure found!” headlines, but it’s really a shameless equivocation because even if Clifford truly did find the remains of the Adventure Galley — an if even bigger than a 150-pound silver bar — the legendary treasure of Captain Kidd was not on it. The £100,000 treasure he claimed in his famous last letter to have hidden was in a secret location in the Caribbean, and indeed, what kind of pirate would leave any part of his vast treasure on a derelict vessel while he took his best ship across the world to the Caribbean Sea?
According to Kidd’s testimony at his trial and a statement from pirate Theophilus Turner, the Adventure Galley, which by then was taking on so much water as to render it barely seaworthy, was burned to the waterline and then sunk. Before it was destroyed, Kidd had anything of value, from the cannon to the very hinges, loaded onto the Quedagh Merchant, a 400-ton merchant vessel he had captured in January of 1698 and renamed the Adventure Prize. Kidd testified that the Adventure Prize was loaded with 10 tons of scrap iron and 14 or 15 spare anchors before leaving Madagascar for the Caribbean. A giant silver ingot is not likely to have been overlooked.
The archaeological record supports his testimony, as the wreck of the Quedagh Merchant, discovered in 2007 in the Caribbean Sea near Catalina Island off the southern coast of the Dominican Republic, was found with 26 cannons, most of them stacked in the hold muzzle to cascabel as cargo rather than armed on deck. Three large anchor crowns were found underneath one of the cannon piles and there were magnetic anomalies detected underneath the anchors that are consistent with the tons of scrap iron Kidd mentioned.
Even Clifford himself noted in 2000 when he first found the wreck that the Adventure Galley was stripped to the bone before it was destroyed and that therefore he did not expect to find any treasure. Now that a magnificent ingot has “literally” hit him on head (in actual fact he literally picked it up from the seabed, as is clear from a screencap of the History channel footage), instead of concluding from this that the wreck is likely not the Adventure Galley, Clifford has chosen to embrace it as Kidd’s legendary treasure no matter how groundless a claim it is. The ingot is so awesome on its own it really doesn’t need this kind of sensationlism tarnishing its cool.
From the dig that brought you the barrels full of 14th century human excreta in the city center of Odense, Denmark, the latest find is a small wooden stick inscribed with runes in the early 13th century. Excavations were already complete (the last day was August 29th, 2014) when archaeologists picked out three small pieces of wood while processing the large number of finds. The three fragments fit together to form a stick 8.5 centimeters (3.3 inches) long, 1.2 cm (.47 inches) wide and a few millimeters thick. Archaeologists saw there were lines on the front and back and recognized them as runes.
Lisbeth Imer, a rune expert from The National Museum of Denmark was called in to examine the stick. Preserved for 800 years in the anoxic, water-logged environment, the wood was soft with the texture of cold butter. After conservation — a long soak in water-soluble wax — the wood will firm up, but it might also obscure key details of the runes making them harder to interpret accurately. Imer therefore had to work with the soft piece as it was. There’s also a divot missing in the middle and at some point in its long life the stick was gouged by a root growing against the back.
She was nonetheless able to extract key words. The runes are in Latin (the runic alphabet can be used to write in any language, just like the alphabet I’m using right now). There’s the word salu, which can mean “good health” and the back is inscribed t = umi or t = ume famulum suum which together can be read as “Tomme his servant,” Tomme being the stick’s owner and the “his” referring to God. It seems, therefore, that this rune stick was an amulet meant to keep its bearer healthy. A broken hole at one end suggests it may have been worn on a string.
It’s the first runic inscription on a wooden stick found in Denmark in 50 years, but we know these sorts of objects were widespread in medieval Scandinavia despite their relatively poor survival rate because a stash of 670 rune sticks were discovered during excavations at the Bryggen commercial buildings in Bergen, Norway, after a 1955 fire. This rune stick was also found in a commercial milieu. It was unearthed in a layer containing the remains of trade stalls from the 1200s when the area is known to have had a fish market before it was moved just north to a site still known today as Fisketorvet or Fish Square.
The rune stick was displayed to the public on April 25th at Møntergården, Odense’s cultural history museum, as part of Research Day, but it won’t be exhibited again until conservation is completed.
Now I know what you’re thinking. Runes shmunes. What about the poop?! I’m delighted to report there is an update on the barrels of 700-year-old poop excavated at I. Vilhelm Werners Square in 2013, and it may be the greatest update of all time.
First about the barrels themselves: dendrochronological analysis found that the trees used to make the barrels came from Kolobrzeg, Poland, and were felled from 1348 to 1352 and 1346 to 1358. They were used to transport salt from Poland to Denmark and once the contents were removed, the barrels were repurposed. The poop dates to the 1360s, so the turn-over was quite quick. The staves of used barrels loosen up leaving gaps between them, a bug if you’re trying to carry salt, but a feature if you’re using them as latrines. The loose staves allowed liquid to slowly seep out into the ground leaving the solid waste to compact in the barrel. Studies have shown that with proper seepage, a single barrel can remain usable for one person for 20 years.
The compacted poop was removed from the two barrels and is being kept in plastic bags in refrigerators at the Odense City Museums. Researchers take out a teaspoon at a time, run it through a sieve and look at the particulate matter under the microscope. Grains and seeds can be identified by their cellular structure to give us a comprehensive picture of people’s diets in medieval Odense. So far they have found the remains of a variety of lovely fruits — apples, figs, elderberries, raspberries, blackberries, wild strawberries — and mustard seed which would have been used as a flavoring spice. They also found miller’s bran and corn cockle seeds from a weed that grows alongside edible grains. The seeds are actually poisonous, but because they are difficult to separate from the grain during harvest and processing, a few seeds make their way up the food chain and down the poop chute. Corn cockles are most commonly found in rye fields, so it was likely rye bread or porridge.
Regarding the moss discovered in the barrels, moss has been found in medieval latrines in England as well. Several species of moss make excellent toilet paper, it seems, and sphagnum moss, aka peat moss, not only provides a comfy wipe, but it has additional hygienic properties as well. There are two kinds of cells in the leaves. The larger of the two can hold water much like a sponge, so it acts as a wet wipe, washing the business area instead of just drying it. In the Middle Ages it was also believed to have antiseptic properties. Interestingly, peat moss is a common additive to modern composting toilets because it encourages the absorption of liquid, encourages aerobic action and helps block odor.
Speaking of odor, Odense City Museums invited Kouki Fujioka from Tokyo’s Jikei University to take a whiff of their medieval poop. He is a scent expert, you see, and has developed a system to detect, isolate and categorize scents. He took odor samples from the barrel excrement and will measure the proportions of acids and alcohols in them which will indicate the level of spoilage. He will also work to replicate the various hearty aromas of 700-year-old human excrement which may sound less than enjoyable, but the museum is excited about the possibilities of recreating the smells of the past. Imagine a museum exhibition in Smell-O-Vision. What an intensely immersive connection to history.
Human excrement isn’t the only scatological gold unearthed at this site. Archaeologists also found a perfectly formed dog crap from the 12th century, a very rare survival, which they are analyzing for pollen and seeds to discover what dogs ate in medieval Denmark.
Oh and they found some gold gold too — a 14th century cross pendant and a delicate 13th century ring with a cabochon garnet — if you’re the kind of weirdo who’s into that sort of thing.
Last summer, archaeologists excavating an Iron Age settlement on the Baltic island of Bornholm, Denmark, unearthed a rare enameled brooch in the shape of an owl. The excavation of the Lavegaard settlement on the outskirts of the town of Nexø was carried out in advance of construction of a daycare center. The archaeological team from Bornholms Museum has found large quantities of pottery, the remains of workshop ovens, hearths, clay and daub construction, traces of iron smelting and ceramics firing and more than 1,300 postholes. The owl pin was found by metal detectorists working with the archaeologists a few meters from an ancient home in the Roman Iron Age layer. Its design and composition date it to the middle of the 1st century through the end of the 3rd century A.D.
The owl’s most prominent features are its huge round eyes with bright orange irises around a black pupil. Its body has a wing decoration filled with green enamel inset with five circles, each containing concentric rings of red, yellow and black. The bird’s tail feathers are marked with semi-circular indentations and its neck is encircled by a rope design. All the colors are made of enamel.
The artifact is a plate or disk fibula, a pin used to fasten garments made from a flat disk that could be shaped into a variety of designs, including zoomorphic ones. It was made of bronze and decorated with multi-colored enamel accents. The enamel in the piece was created by applying various colors of powdered glass onto the glass rods you see in millefiori designs (that’s how those concentric circles in the eyes and on the body were made) and then firing the brooch until the powder fused into enamel. The technique used to make the owl so colorful is known as pit enamel because the surface of the enamel becomes uneven upon subsequent firings done to harden the enamel.
Roman enamel came in a variety of colors — orange, red, azure, dark blue, green, yellow, white, black — but it rarely survives in brilliant condition. Many enameled fibulae found today have seen their colors fade or change into a yellowish brown. The owl’s colors are still diverse and bright because it was preserved by archaeological layers topped by a thick clay sealing layer. Also, the area was not ploughed anytime in the recent past which saved the little owl from being churned up and potentially damaged by heavy equipment.
While enameled fibulae do not appear to have been very popular north of the Germanic border — Scandinavia had excellent artisans of its own, particularly metalworkers, and the fashion was to leave metal jewelry as is rather than putting lots of color on it — more of them have been found on the island of Bornholm than anywhere else in Scandinavia, about a dozen of them so far. This is the only owl fibula known to have been found in Scandinavia. They’re rare anyway, and the few that have been found were unearthed in German frontier forts or closer to the heart of the empire in what are today Belgium, France, Italy, Austria and Switzerland.
Somebody must have loved this colorful owl, perhaps appreciating its rare design or symbolic significance, enough to take it home. Archaeologists believe it was likely to have been brought to Bornholm by a mercenary returning from a stint in the Roman army rather than openly traded.
Owls have a keen sense of night vision, enabling these highly skilled silent hunters to catch their prey unawares. This notion of owls as intelligent and wise animals is one that has endured throughout the ages as famous companions to both Athena, the Greek Goddess of war, and later to Minerva, the Roman goddess of wisdom, art, trade, and war.
In fact, Minerva was often depicted with an owl on her shoulder as a symbol of wisdom, making it a highly desirable animal for a Roman soldier.
We do not know if the Germanic perception of the owl was the same as the Romans, but many of them would have been mercenaries in the Roman territories and developed a deep insight into the Roman mentality and culture. It is likely that they also adopted Roman traditions of symbolic jewellery.
The brooch must have been something quite special at the time, both because of its unusual shape and bright colours. It must have given the wearer a great level of prestige.
In Danish the word for owl fibula is uglefiblen which is, I think we can all agree, extremely adorable. The uglefiblen is now on display at the National Museum of Denmark along with other treasures discovered in 2014.
After years of conservation to preserve organic remains, artifacts from the wreck of the 19th century Hawaiian royal yacht the Ha’aheo o Hawai’i have returned to Hawaii. They will become part of the permanent collection of the Kaua’i Museum where they will go on display close to where they spent almost two centuries under the turquoise ocean.
The yacht started out its life in far less congenial waters. Captain George Crowninshield, scion of the prominent Boston Brahmin seafaring family, commissioned Salem’s greatest shipwright Retire Becket to build him the first ocean-going pleasure yacht in the country. Crowninshield was involved in every aspect of construction and he spared no expense. The ship cost $50,000 to build, plus another $50,000 was spent on the furniture and finishes like flamed mahogany and birds-eye maple paneling, custom furniture by Boston’s premier cabinetmaker Thomas Seymour, silk velvet upholstery with gold lace trim, ormulu chandeliers, bespoke sets of silver, porcelain, glass and linens. It even had indoor plumbing. Cleopatra’s Barge, an 83-foot brigantine, was launched on October 21st, 1816. Inclement winter prevented her from sailing right away and the vessel was instantly famous so when the ship was frozen at the dock after a short trial run in December, it was opened up to visitors. Thousands came to see it.
When the ice thawed in late March of 1817, George took Cleopatra’s Barge on a long, leisurely Mediterranean cruise. Everywhere he stopped, Crowninshield was greeted by thousands of admirers wanting to get a glimpse of his luxurious ship. One day in Barcelona the yacht had 8,000 visitors. He was also watched by less friendly people: the British and French navies, who put men-of-war on his tail because they had heard the widespread rumor that Captain George was secretly planning on rescuing Napoleon from St. Helena and bringing the ex-emperor home with him to America. Whether this was truly his cockamamie scheme or not, his actions could certainly be seen in a suspicious light. He got 300 letters of introduction to important people on the continent, stopped at Elba where he met Napoleon’s aides who gave him more letters of introduction to the Bonaparte family, visited with the family in Rome — Napoleon’s sister Paulina Bonaparte, Princess Borghese, gave Crowninshield a snuff-box, her sister Princess Murat, Queen of Naples, gave him a ring, Napoleon’s mother gave him a Sevres chocolate mug and her son’s boots — but ultimately went home without an exiled former emperor on board.
Crowninshield and Cleopatra’s Barge returned to Salem on October 3rd, 1817. George stayed on board making an extremely fancy houseboat out of his yacht. He got less than two months’ use of it, sadly, as he died of a heart attack on board on November 26th, 1817. He was 51 years old. His family stripped the elegant furnishings and used it as a trade vessel for a few years before selling it to another mercantile concern. In November of 1820, Cleopatra’s Barge was sold again, this time to King Kamehameha II (aka “Liholiho”) of Hawaii. The King paid 8,000 piculs (1,064,000 pounds) of sandalwood, an estimated value of $80,000, for the ship and thus Cleopatra’s Barge became the first and only royal yacht in any part of what would become the United States.
Kamehameha II loved his new toy. He outfitted it in additional finery and cannon for ceremonial shots and traveled the islands with it. The honeymoon period was short-lived, however, as by April 1822 it became clear that so much of the wood was rotting the ship would have to be dry-docked and extensively repaired. Fresh lumber had to be secured from the Pacific Northwest so it was more than a year before the yacht was seaworthy again. The king renamed her Ha’aheo o Hawai’i (Pride of Hawaii) and the rebuilt ship was relaunched on May 10th, 1823.
Again his enjoyment of the yacht would be short-lived. King Kamehameha II decided to go to London to meet King George IV. Instead of taking the Ha’aheo o Hawai’i, however, he was persuaded to book passage on the whaler L’Aigle because its crew, led by one Captain Valentine Starbuck (no word on his relation to the Battlestar Galactica pilot), was familiar with the route. The king, his wife Queen Kamāmalu and other Hawaiian notables, left for England in November of 1823. After a stop in Brazil, they arrived in Portsmouth on May 17th, 1824, and then hung around for a few weeks waiting for King George to fix a date for the audience. They were finally scheduled to meet on June 21st, but they had to postpone it when the Hawaiian royals were struck with measles. On July 8th, 1824, Queen Kamāmalu died. King Kamehameha II died six days later. Their bodies returned to Hawaii almost a year later, on May 6th, 1825.
His beloved royal yacht would precede King Kamehameha II to the grave. It ran aground on a reef in Hanalei Bay on the north coast of the island of Kauai. It’s unclear what the ship was doing in such a remote location. The Christian missionaries the king had often given rides to on his ship said it was persistent drunkenness of the crew that led to the Ha’aheo o Hawai’i‘s wreck. An attempt was made to rescue the vessel which was still above the waterline, but it failed, snapping the main mast, and when the news reached the islands that the king was dying, whatever parts of it could be salvaged were and then the ship was abandoned to the surf.
The surf did its job well and the wreck of the opulent royal yacht remained unexplored for more than 170 years. In 1994, Paul Forsythe Johnston, Curator of Maritime History at the Smithsonian Institutions’ National Museum of American History and formerly the curator of the Peabody Essex Museum in Salem which has a long history with the yacht from her Cleopatra’s Barge days, applied for and was granted Hawaii’s first underwater archaeological permit to search for the Ha’aheo o Hawai’i. The next year, diver, historian and shipwreck hunter Richard Rogers volunteered his own vessel to help in the search. This video follows the team in the first few weeks of the search:
For four weeks each year between 1995 and 2001, the search party looked for the wreck. At first they only found debris, but a couple of seasons in they finally discovered the wreck under 10 feet of water and 10 feet of sand, documented it thoroughly and recovered some of its artifacts.
All told, more than 1,000 artifacts were retrieved.
“We found gold, silver, Hawaiian poi pounders, gemstones, a boat whistle, knives, forks, mica, things from all over the world, high- and low-end European stuff. Every bit of it is royal treasure,” Rogers said. [...] His favorite discovery was a trumpet shell.
“I found it under a bunch of sand and carried it onto the deck. This was in 1999. I blew it and it made the most beautiful sound going out over Hanalei Bay,” Rogers recalled. “I thought about how it hadn’t been blown in over 170 years.”
The principal value of the artifacts is historical, said Paul F. Johnston, Ph.D., Curator of Maritime History at the National Museum of American History Smithsonian Institution. They represent the only known objects from the short but intense reign of Kamehameha II, the man who abolished the Hawaiian kapu (taboo) socio-cultural system and allowed Christian missionaries into the kingdom.
“He only reigned from 1819 -1824, but Old Hawaii changed forever and irrevocably from the changes he put into place during that short period. He was an important member of our nation’s only authentic royalty,” Johnston said.
The Smithsonian has held the artifacts since their discovery for conservation and study, but they belong to the state of Hawaii. The museum has received four crates of objects recovered from the wreck and is expecting another two. Once everything is in place, curators will open the boxes and start unpacking their royal treasure for display.
Archaeologists from the Museum of London Archaeology (MOLA) have unearthed a rare 14th century devotional panel dedicated to the death of rebel-turned-martyr Thomas, 2nd Earl of Lancaster. The team was excavating the north bank of the Thames near London Bridge in advance of construction in 2000 when they found the rare piece in a medieval land reclamation dump. The waterlogged soil of the Thames riverbank is an outstanding preserver of artifacts, and this lead alloy panel with its delicate openwork has survived in excellent condition along with organic artifacts like timber revetments from the Roman period and the Middle Ages, the remains of plants used for cloth dyeing and a medieval leather knife sheath.
The panel was originally a mass-produced object sold at a pilgrimage site dedicated to the earl. People bought them as devotional objects, often for use in small home shrines. Thomas Plantagenet, Earl of Lancaster, would not at first glance seem to be the ideal subject for religious reverence. A holy man he was not. What he was was a powerful baron, the holder of no fewer than five major earldoms (Lancaster, Lincoln, Salisbury, Leicester, Derby) that made him the second wealthiest man in England after the king, the paternal grandson King Henry III of England and a thorn in the side of the unpopular King Edward II, his cousin.
At first Thomas supported Edward, but the bloom was soon off the rose, in large part thanks to Edward’s lavishing of titles, monies and power on his low-born favorite Piers Gaveston. By 1311, three years after he’d carried Curtana, the sword of St. Edward the Confessor, at his cousin’s coronation, Thomas was the leader of the Ordainers, a group of barons, earls and bishops demanding, among other things, that Gaveston be exiled. When Gaveston returned less than two months after this his third exile and Edward gave him all his lands and titles back, the Ordainers went to war. He was captured, tried and beheaded. Lancaster was one of the judges and Gaveston was executed on his property.
From then on it was one fight after the other between the royal cousins. For a while Lancaster had the upper hand in a big way, becoming the de facto king after Edward’s army was defeated by the forces of Robert the Bruce at the Battle of Bannockburn in 1314, but in 1318 he was ousted and the two Hugh Despensers, father and son, took over as power behind the throne and Edward’s favorite. Lancaster marshalled his private army, struck up a deal with Robert the Bruce and rebelled against the crown.
On March 16th, 1322, Lancaster and the King’s allies went head to head at the Battle of Boroughbridge. Lancaster lost. He was taken prisoner and tried for treason in a sham court (the judges included both Despensers and the King) in his own castle at Pontefract where he was not allowed to speak in his own defense. He was convicted, of course, and on March 23rd, he was executed by beheading (Edward had commuted the traditional sentence of hanging, drawing and quartering on account of Lancaster’s royal blood).
Within weeks after Lancaster’s execution, shrines dedicated to him began to crop up, at the site of his execution at Pontefract Castle, his tomb in Pontefract Priory and at Old St. Paul’s Cathedral in London. Rumors of miracles at the priory tomb and execution site abounded and soon Thomas was venerated as a popular saint. He was so popular Edward II put an armed guard around the priory to keep the crowds away. In response money was raised from all over England to build a chantry chapel on the site of his execution.
His saintliness rested not in his personal piety or holy behavior (there certainly wasn’t much of the latter), but in his rebellion against a despised king. This was a thing in Medieval England: make saints out of fallen political/military heroes. Simon de Montfort received similar devotions after his death in 1265. What better way for Edward III to distance himself from his father after Edward II’s murder than to side with the cult of St. Thomas of Lancaster? In 1327 petitioned Pope John XXII that Thomas be canonized as an official saint of the Church, but it never happened.
Notwithstanding his lack of a Church-sanctioned halo, Thomas continued to be revered locally at least until the Dissolution of the Monasteries. His relics were believed to hold specific healing properties — his belt helped women in labour, his hat cured migraines — and a hymn called the Lancaster Suffrage was included as part of the daily prayers in the psalters and Books of Hours of wealthy Lancastrians. Here’s the one from Manuscript 13 (ca. 1330) in the Bridewell Library at Southern Methodist University:
Antiphon: Oh Thomas, Earl of Lancaster,
Jewel and flower of knighthood,
Who in the name of God,
For the sake of the state of England,
Offered yourself to be killed.
Versicle: Pray for us, soldier of Christ.
Response: Who never held the poor worthless.
Collect: Almighty everlasting God, you who wished to honor your holy soldier Thomas of Lancaster through the lamentable palm of the martyr for the peace and state of England just as he is lead through the sacrament for God’s own exceeding glory [and] through your holy miracles. Bestow, we pray, that you grant all faithful venerating him a good journey and life eternal. Through Christ our Lord, Amen.
For people who could not afford to have French illuminators make them their own personal prayer books, devotional panels provided a less expensive entre into the private veneration of St. Thomas. Although they were very popular in the 14th century, few of these panels have survived. The British Museum has two examples, one smaller and one larger, neither of them are in great condition. The figures on the smaller piece are crudely designed and while the larger panel has an elaborate Gothic cathedral-like structure and more people in it than the MOLA panel, they aren’t as finely crafted and the piece is fragmented. You can see in the picture that it’s being held together with wires.
The MOLA piece is five inches high and 3.5 inches wide and divided into four scenes that are to be read clockwise from the top left. In scene one, Thomas is captured. The caption in French reads “Here I am taken prisoner.” In scene two he is put on trial. The caption reads “I am judged.” In scene three he is convicted and conveyed by horse (the quality, or lack thereof, of this horse was a big issue in some of the chronicles) to the site of execution. The caption: “I am under threat.” In the last scene Thomas is beheaded by sword. The caption states simply: “la mort” (death). These shenanigans are presided over by Jesus Christ and the Virgin Mary, perched atop the sun and moon, waiting to welcome Lancaster’s saintly soul to heaven.
This is the only Lancaster devotional panel known to have French labels explaining each scene. It’s also the only one known with surviving gilding which highlights the sun and moon.
Up until now the panel has only been known by Museum of London experts, but the riverbank excavation, including detailed information about the panel, has just been published (Roman and Medieval Revetments on the Thames Waterfront) so the museum is putting the panel on display for the first time. The exhibition in the museum’s Medieval Galleries will run from March 28th to September 28th of this year.
On February 28th of this year, Peter Kotowicz, an archaeologist with the Historical Museum of Sanok, received a phone call from a history-loving friend named Tomasz Podolak who told him he had found something interesting, possibly treasure, in the village of Pakoszówka near Sanok in southeastern Poland. Podolak has discovered ancient bronze artifacts before that are now in the museum — he received an award by the Minister of Culture last year for the finds and his reporting of the objects while they were still in situ — so as soon as Kotowicz hung up he got in his car and started driving.
When he arrived at the find site, he saw several shallow wells in the earth, each containing some bronze fragments. One of them held a larger piece with only the tip showing above the soil. At first glance, Kotowicz was unable to identify the objects although he suspected they might be of Celtic origin. When he excavated the initial finds and an area of approximately 20 feet around them, he realized the fragments were all pieces of a single item of a jewelry: a bronze anklet in a characteristic Celtic design from the 3rd century B.C.
The largest piece formed about half the ring. The traces of two hinges are visible on the end pieces. The edges of the fragments suggest the jewel broke apart in antiquity rather than as a result of modern activity. As one piece was found more than 50 feet away from the central cluster, it’s possible the anklet had been deliberately destroyed and its fragments strewn about, perhaps for ritual purposes.
Known by German term hohlbuckelringe, meaning hollow bulge ring, these ornaments are among the most distinctive Celtic designs. You can follow the trail of Celtic expansion into eastern Europe in the 3rd century B.C. by following the hohlbuckelringe like breadcrumbs. They first appear in southern German and the territories of the Boii tribe in what is today Bohemia, Czech Republic, in the early 3rd century. As the Celtic tribes moved east, so did the hohlbuckelringe. Examples have been unearthed in Slovakia, Hungary, Romania, Bulgaria, Greece and southeast from there into Asia Minor.
While Celts were known to have settled in the Sanok area during the La Tène period (450 B.C. – 1 B.C.), very little of their material culture has been recovered from this part of Poland. Almost nothing was known of the Celtic presence in the San river valley until excavations in the 1990s found evidence of settlement like pottery sherds, fragments of a glass bracelet, a hearth, an iron sword and, the most prized Celtic artifact in the Historical Museum of Sanok, a gold coin discovered by happenstance in the village of Trepcza.
So while this newly discovered anklet is in pieces, incomplete and plain in decoration (more elaborate versions were made from precious metals and added swirls and bumps to the bulges), it’s a significant and unique find. No other examples of this archtypical form of Celtic female adornment have been unearthed in the region. Kotowicz believes that after the gold coin and the iron sword in the Regional Museum in Rzeszów, this ankle ring is the most exceptional Celtic artifact south of the Carpathians.
The location where the hohlbuckelringe was discovered has not previously been considered of archaeological import. Archaeologists plan to thoroughly scan the area with metal detectors. They’re also hoping to secure funding for more in depth research and additional excavations, but that will depend on the assessment of the regional conservation office.
The ankle ring is now being conserved at the museum in Sanok. It will go on display later this year in one of the underground exhibition halls of Sanok castle.
A finger ring discovered in a grave in the Viking trading center of Birka on Björkö Island, Sweden, in the 19th century is the only ring with an Arabic inscription ever found at a Scandinavian archaeological site. It was unearthed by archaeologist Hjalmar Stolpe during his two-decade-long (1872–1895) excavation of the Birka burial grounds in the grave of a woman dating to around 850 A.D. Although the skeleton was completely decomposed, the grave goods — two oval brooches, one with a needle case hanging in a chain, one with a pair of scissors underneath that were probably attached with a string, an equal-armed brooch, a row of glass, rock crystal and carnelian beads — and remains of clothing — a flax undergarment and a blue wool garment — identify the deceased as female.
The ring was found inside the wooden coffin where her chest would have been, next to the scissors under the right oval brooch. Either it too was connected to the brooch with a now-decayed string, or the woman’s hands may have been placed on her chest when she was placed in the coffin. It is made of silver and set with a translucent purple cabochon stone engraved with Arabic Kufic script. Rings of similar design have been found in Viking graves before, including three in graves at Birka, and in Eastern European graves of the period, but none of them have inscriptions.
The ring is part of the collection of the Swedish History Museum in Stockholm now, but it has never been scientifically analyzed. To answer some questions about its material and construction, the ring was recently subjected to non-invasive examination while a replica took its place on display. Researchers studied the ring under a standard optical stereomicroscope and a scanning electron microscope (SEM) equipped for elemental analysis which would allow them to determine the metal content and identify the stone without having to take any destructive samples.
They found that the museum’s interpretation of the ring was wrong on several counts. The museum’s inventory catalogue describes its as a gilded silver signet ring set with an engraved violet amethyst. It’s not gilded silver. It is a high-grade silver alloy consisting of 94.5% silver and 5.5% copper. The stone is not an amethyst. It is not even a stone. It’s colored soda-lime glass, which isn’t to say it was cheap or a fake because glass was a prized luxury import in Viking Scandinavia. The inscription, engraved in an angular form of Arabic Kufic script that was in use from the 7th century through the 12th, reads, researchers believe, “il-la-lah”, or “For/to Allah.” Interpretation is challenging due to the stylized script, so it could be saying something else, but Allah is definitely a part of it, which means that it’s not a signet ring.
The ring shank was at some point in its history broken in three places and then glued back together. This couldn’t have been done before the burial because the glue is a polymer rather than an animal glue and the latter wouldn’t have been strong enough to keep the ring together anyway. It’s more likely that it was either found broken or damaged in the excavation and then glued back together. There is no documentation of any such action being taken.
Researchers also found that the metal surface of the ring bears parallel striations that are likely file marks left by the original maker when he filed the ring to remove flash and mold lines left by the casting process. There are file marks on the prongs as well, which means the filing was done before the glass was added. These marks would normally be eroded away by usage. The fact that they’re still everywhere on the ring body indicates the ring was barely used before being buried. That suggests it didn’t gradually wend its way to Sweden trade by trade, but rather got from the maker to the deceased with no or very few other owners in between.
The glass, on the other hand, has the scratches and dents of moderate use. It may have been recycled from an older piece, or it may just be the victim of how far it juts out from the ring and of glass’ inherent softness compared to the silver of the ring body.
Nobody’s disappointed that the ring isn’t gilded and the stone isn’t a gemstone. The value of this ring is not in its materials, but in the historical significance of the inscription which connects it to the Islamic world. In fact, gilding would have obscured the file marks and those marks are key archaeological evidence of direct or at least very close interaction between Viking Scandinavia and the Caliphate. There are historical records documenting direct contact (The 13th Warrior, man! Just because it’s a bad movie doesn’t mean it’s not awesome.) and archaeological evidence of direct contact in Spain and Eastern Europe, but not in Scandinavia itself. That’s what makes this ring so important.
Not content with digging up mass graves under Paris supermarkets, France’s National Institute for Preventive Archaeological Research (INRAP) announced Wednesday that archaeologists have unearthed a large princely tomb from the early 5th century B.C. in the Champagne region town of Lavau. Excavations on the site began in October 2014 in advance of construction of a new commercial center. The team found a tumulus 40 meters (130 feet) in diameter that had been used as a funerary complex for more than a thousand years. The earliest tombs are cremation burials and small mounds encircled by moats that date to the end of the Bronze Age (1,300-800 B.C.). Next are early Iron Age inhumations of an adult male warrior buried with an iron sword and an adult woman buried with solid bronze bracelets.
At the center of the tumulus archaeologists found a burial chamber 14 square meters in area containing adult human remains, a chariot and extremely wealthy grave goods. At an angle from the skeletal remains are a group of vessels, a bronze bucket, fine ceramic decorated with a fluted pattern and a knife still in its sheath. At the bottom of the chamber is a bronze cauldron one meter (three feet) in diameter. This is a metallurgic and artistic masterpiece, each of four circular door knocker-like handles decorated with the bearded, behorned, bull-eared and moustachioed visage of the Greek river-god Achelous. Eight lion heads adorn the rim of the cauldron.
Inside the cauldron are more treasures: a perforated silver spoon, likely used to strain wine into drinking cups, smaller bronze vessels, and most signficantly, an Attic black-figure oinochoe (wine jug) depicting the wine god Dionysus sitting beneath a vine across from a comely lass. It would be precious just as the rare Greek vase it is, but someone went above and beyond with this example, gilding the lip and foot of the jug and adding a gold filigree border in a kind of squiggle Meander design. The vase is of either Greek or Etruscan manufacture and its the northernmost discovered to date.
The Champagne-Ardenne region in northeastern France on the border with Belgium marked the westernmost reach of the Hallstatt culture, the Late Bronze Age, Early Iron Age predecessor of the La Tène culture. The presence of Greek artifacts in the wealthiest burials in Hallstat-period Gaul are evidence of a vigorous trade in luxury goods between Greece and its colonies and pre-Roman France. The end of the 6th century and beginning of the 5th saw the city-states of Attic Greece, Etruria and the Greek colonies develop new economic ties to western Europe. Greek traders sought slaves, metals, gemstones, amber and other valuables from the Celts whose elites then acquired artifacts of exceptional quality from Greece.
The city of Massalia, today’s Marseille, was founded as a Greek colony in 600 B.C. and became an important center for luxury imports from Greece like Attic black-figure pottery and massive bronze cauldrons. So valued were these objects that they were buried in monumental tumuli with their owners. The Vix krater is probably the most prominent Greek bronze object found in a Celtic grave from the late Hallstatt, early La Tène period. This massive volute krater is 5’4″ tall and weighs 450 pounds (see the picture to get a sense of its immense scale). It is the largest metal vessel known to survive from antiquity. The krater was discovered in the grave of a woman in Vix, northern Burgundy, about 40 miles south of Lavau, who was buried around 500 B.C.
Just like we have no idea who the Lady of Vix was, we are unlikely to ever put a name to the resident of the princely tumulus. He was a person of august rank and great fortune, that much is made undeniable by the rich contents of his grave and the fact that he was buried in the center of an already sacred funerary complex. His burial and the ones that predate him were only united into one monument in around 500 B.C. when ditches were dug deep around the perimeter to create a single large enclosure. The complex was still in use during the Gallo-Roman era when people were buried in the tumulus’ moat.
Four Bronze Age artifacts discovered in Wales by a metal detectorist were declared treasure trove at a coroner’s inquest on Wednesday. A gold and silver ring and three fragments of copper ingots were found on farmland in Cwm Cadnant, on the North Wales island of Anglesey, by Philip Cooper in May and June of 2013. Although archaeologists believe the artifacts were buried together as a single hoard, over the centuries they’d been scattered by movements of the earth and farming activities so Cooper found them several meters apart.
The find was reported to Ian Jones, curatorial officer at the Oriel Ynys Môn, an art and history museum in Anglesey, and Roland Flook, curatorial archaeologist at the Gwynedd Archaeological Trust. The artifacts were then examined by archaeologists at the National Museum of Wales who determined that the ring is a piece of Bronze Age jewelry known as a hair ring and that the ingots were a shape know as cake form used as raw material in the making of tools and weapons, typically found buried in Late Bronze Age hoards. That puts the date of the hoard at 1000-800 B.C.
The hair ring is made of a bar of gold that was curved and then had silver strip wrapped around the surface horizontally to give it a handsome two-tone striped look. It’s a pennanular design — an incomplete ring — and the terminals are flat. One side of it is heavily worn from repeated use before it was buried. They are commonly found in England, Ireland and Wales, including Anglesey.
A more simple piece made of sheet gold rather than bar and without the silver stripes was discovered at Trearddur during an excavation in advance of construction conducted by the Gwynedd Archaeological Trust in October of 2007. Although these adornments are thought to have been worn in the hair, they could also have been worn as earrings with the curved gold bar being inserted into a pierced lobe. The image to the right is the Trearddur hair ring at twice life size, so you can see how it could fit in an ear although it would certainly require a largish hole.
Adam Gwilt, principal curator for prehistory at National Museum Wales, said: “This gold hair-ring is finely made and was once worn by a man or woman of some standing within their community.
“It could have been made of gold from Wales or Ireland. The copper ingot fragments are an important association with the ring.
“It would be interesting to know whether they were transported and exchanged over a long distance by sea, or perhaps smelted from local ores mined at Parys Mountain or The Great Orme.”
They may be able to determine the ingots’ geological origin through isotope analysis and by comparing the concentration of trace elements to known sources of Bronze Age copper ore.
Now that they have officially been declared treasure, the artifacts will be assessed for market by experts and local museums given the chance to acquire them by paying the finder and landowner a finder’s fee in the amount assessed.
Thanks to a £349,000 grant from the Heritage Lottery Fund, the National Museum Wales in conjunction with the Portable Antiquities Scheme in Wales (PAS Cymru) and The Federation of Museums and Art Galleries of Wales (The FED) has established the Saving Treasures, Telling Stories program which will fund the acquisition of artifacts by museums in Wales. The program just began in January of this year and will run through December of 2019.
Oriel Ynys Môn will draw on this fund to secure the hair ring and ingots for its collection where they will join the hair ring found at Trearddur in 2007 that was donated to the museum by the landowner.
A 3,500-year-old Bronze Age hoard containing the head of an ice axe, fragments of a spiral necklace and a bracelet with tapered ends, all made of bronze, was found last month in the village of Rzepedź in Bieszczady Mountains of southeastern Poland. The hoard was discovered by Łukasz Solon from the nearby town of Sanok who was visiting the old wooden church of St. Nicholas with his girlfriend. They were walking towards the north side of the village when Łukasz noticed a metal object sticking out of the ground. Its green patina contrasted against the brown grass reminded him of artifacts he had seen in the Historical Museum of Sanok, so instead of indulging a perfectly natural curiosity and digging it up, Łukasz left the object alone and alerted the museum experts when he got home.
Archaeologist Peter Kotowicz from the Historical Museum of Sanok and Marcin Glinianowicz from the Carpathian Archaeology department of Sanok’s Folk Architecture Museum went to the site the next day and recovered the exposed object. They recognized it as an ancient bronze ice axe and immediately applied for an emergency permit to conduct an archaeological survey of the spot. The day after that, permit in hand, they excavated the find site.
First they explored the area with a metal detector and found fragments of bronze spirals and a strong signal indicating that there was more to found deeper underground. They dug a small trench about two feet square and carefully raked into the soil, recovering multiple pieces of bronze spirals until, about a foot under the surface, they encountered potsherds that were the edges of a clay vessel about 10 inches in diameter. Much larger sections of bronze spirals lay within the vessel’s perimeter. Underneath those archaeologists found another 15 bronze spiral fragments and a bracelet with tapered end broken in two pieces. When they got to the bottom they discovered the earthenware vessel had been deliberately placed upside-down on a circular sandstone plate.
According to Kotowicz, the discovered objects were probably made south of the Carpathians. “The treasure is probably related to the communication route, which ran from the nearby Łupków Pass through the Osława and San valleys” – noted the archaeologist.
Bronze monuments from Rzepedź have been preliminarily dated to approx. 1500 years before Christ. “We do not yet know who and why had hidden the treasure so carefully. Axe and jewellery are most likely related to the Piliny culture, then existing south of the Carpathians” – noted Kotowicz.
The Piliny culture is one of the Urnfield cultures, named after their practice of cremating their dead, placing the remains in urns that would then be buried in cemeteries that in some cases have been found to contain thousands of urn burials. Archaeologists have found pottery vessels of different shapes and sizes, bronze pins, bracelets, rings, weapons and more in those Piliny cemeteries and in settlements and hoards. The bronze work is particularly exceptional, the product of a well-developed metallurgic trade courtesy of the Carpathian mountains’ plentiful supply of ore. The area was an important center of metallurgy from the Early Bronze Age on, introducing innovations in the making of alloys and other metallurgic techniques.
The bronze spiral fragments in the Rzepedź hoard are typical of jewelry that has been found at Piliny sites. They used that spiral configuration in all kinds of designs: arm rings, leg rings, wrist guards, finger rings, pendants.
In order to ascertain whether the hoard was a one-off buried in a remote location far from the madding crowd or part of a larger settlement, the find site will have to be more extensively explored. A survey or the wider area has already begun, a first step to a broader program of research under the aegis of the regional conservation office.
For the first time since it was discovered in 1830, the entire Berthouville Treasure, a group of exceptional Roman silver objects, has left France and is on display at the Getty Villa in Malibu. Ancient Luxury and the Roman Silver Treasure from Berthouville exhibits the complete 93-piece treasure — which includes a statue of Mercury, elaborately decorated silver pitchers and cups, a repoussé silver jug, plain silver beakers, a spoon collection and a number broken handles, rims and fittings — along with a selection of luxurious jewels, like the eight gold, emerald, pearl and amethyst necklaces of the Treasure of Naix, all on loan from the Département des Monnaies, Médailles et Antiques (the department of coins, medals and antiques) of the Bibliothèque Nationale de France.
On March 21st, 1830, farmer Prosper Taurin was working his field in Berthouville, near Bernay, Normandy, when his plowshare jammed against an ancient Roman tile. Once dislodged, the tile was found to be protecting a trove of 95 or so Roman silver and gold objects buried only eight inches beneath the soil. Weighing a total of 55 pounds, the stand-out pieces were two statuettes of the god Mercury and about 60 vessels.
Several of the vessels were incscribed with votive dedications to Mercury, including a group of nine ultra deluxe gilded silver vessels — a pair of wine pitchers with scenes from the Trojan War, a pair of drinking cups decorated with scenes of centaurs, a pair of drinking cups with masks, a silver and gold beaker with scenes from the story of Corinth and Isthmia, a large bowl with a central medallion of Omphale and Eros laying on Hercules’ Nemean lion skin and a ladle decorated with Mercury, a goat and a tree — made in the 1st century. These nine pieces all bear the inscription “MERCVRIO AVGVSTO Q DOMITIVS TVTVS EX VOTO,” or “To August Mercury from Quintus Domitius Tutus as vowed,” and are superlatively high quality silver and gold work from 1st century Italy.
Subsequent archaeological excavations of the site in 1861 and 1896 found two temples, a theater and hypocaust-heated rooms: a Gallo-Roman sanctuary built in at least two stages. One of the temples was dedicated to the important Romanized Gallic deity Mercury Canetonensis, the same god name-checked in the vessels’ votive inscriptions. The other was dedicated either to his mother Maia or his wife Rosmerta. The hoard was buried under the brick paving in the gallery of the sanctuary.
Archaeologists did not encounter evidence of a town or cemetery in the vicinity of the sanctuary, so it seems likely to have been a pilgrimage site. The objects date from the 1st to the late 2nd centuries A.D. and are therefore thought to have been buried in the late 2nd, early 3rd century. They could have been buried for their own preservation during turbulent times, but given the context they may have been cached for ritual purposes rather than under extremis.
Taurin put the treasure in the hands of a local nobleman who prevented archaeologists from examining it. An expert from the Louvre and one from the Cabinet des Médailles of the Bibliothèque Royale, today the Département des Monnaies, Médailles et Antiques of the Bibliothèque Nationale de France, were allowed access to the group to arrange a sale. The Cabinet acquired the treasure for 15,000 francs, a modest sum even then. At the library in Paris the objects were cleaned and the fragments that could be puzzled back together were. There the Berthouville Treasure remained (with some individual pieces taking occasional short trips elsewhere in France) for 180 years.
In December of 2010, the whole treasure was shipped to the Getty Villa for an extensive program of documentation, analysis, research, cleaning and conservation. Each of the 93 objects (plus four unrelated platters from late antiquity in the Cabinet collection) were photographed and X-rayed to assess their condition and for evidence of how they were manufactured. After a metallurgic study, conservators began to clean the surface of the vessels with simple damp cotton swabs. The grime and dust removal promptly revealed gilding and inscription details that had long been obscured. Further progress was made with mild cleansers and solvents like acetone and ethanol which were able to remove the thick tarnish layers, accretions and corrosion that the 19th century conservation had been unable to budge.
The restoration project took four years to complete and the beautiful results are now on display in California. The exhibition runs at the Getty Villa through August 17th, 2015, after which it returns to Paris whose citoyens will get a chance to see the treasure clean and shiny for the first time.
Here’s a nifty video from the Getty conservation team on how Roman silversmiths would have made the Cup of the Centaurs.
A metal detectorist has discovered a bronze figure of Silenus on the island of Falster in southeastern Denmark. When she first unearthed the bust of a togate, bearded figure, the metal detectorist thought it was a modern piece because it was so finely crafted and in such good condition. It wasn’t until she showed it to experts at the National Museum of Denmark that it was properly identified as a Roman bronze from the 1st century A.D.
The figure is small at just 4.5 centimeters (1.8 inches) high and depicts Silenus, the tutor and boon companion of Bacchus. Silenus is portrayed as an old man, bald and bearded, with thick lips and a squashed nose. He is the wisest of the god’s followers and, appropriately, also the drunkest, so drunk that he is usually shown riding a mule or being supported by satyrs.
The Romans often used Bacchic themes in their dining room decoration and this Silenus was originally part of a lectus, the couch or bed on which diners reclined. Lecti had s-shaped headrest supports called fulcra (plural for fulcrum) on both sides. Usually made of bronze, fulcra were richly decorated, inlaid with precious metals and/or ivory. Each end of the fulcrum culminated in a sculpted figure. Satyrs and sileni were popular for one end, while the other end was often topped with the head of a donkey or mule, a reference to Silenus’ preferred form of transportation. The British Museum has a beautiful pair of intact fulcra with satyrs and mules on the ends. You can see how the Falster Silenus’ turned position matches the satyrs’.
Originating in Greece, the lectus reached its peak of popularity in the early Roman Empire. No wealthy person’s triclinium (dining room) was complete without three lecti arranged in a U shape at right angles to each other. In fact, the “tri” in triclinium is a reference to the three lecti. The Walters Art Museum in Baltimore has a complete set of bronze lectus fittings from the late Republic, early Empire that they have put together with modern wood elements so you can see the architecture of the frame. In its day, it would have been topped with a mattress and sumptuous textiles and cushions.
These furnishings were expensive, highly prized pieces, so much so that they would sometimes be buried with their owners. That’s unlikely to have been the case with the Falster Silenus. It probably was separated from its bed long before it wound its way into the soil of Denmark. The Roman furniture fittings that have been discovered in Denmark thus far appear to have been individual objects rather than part of a larger piece, brought to the area as art works or war booty.
The number of Roman finds in the Danish islands south of Zealand may indicate an active trade network moving goods from southern Europe to Denmark, and there is some documentary support for contact during the early empire. In a passage from the Res Gestae Divi Augusti, an autobiographical summary written by Augustus during his lifetime for use on funerary inscriptions after his death, he dispatched ships to the peninsula of Jutland and established friendly relations with the locals.
My fleet sailed from the mouth of the Rhine eastward as far as the lands of the Cimbri to which, up to that time, no Roman had ever penetrated either by land or by sea, and the Cimbri and Charydes and Semnones and other peoples of the Germans of that same region through their envoys sought my friendship and that of the Roman people.
Fulcrum fittings weren’t a big part of that friendship, though. This is the first one that has ever been found in Denmark.
Barely did the year turn before news broke of a new hoard of coins unearthed by metal detectorists in an English field. The finder, Paul Coleman, was scanning farmland near Aylesbury, Buckinghamshire, as part of the Weekend Wanderers Detecting Club‘s yearly Christmas rally when he discovered a piece of lead and a silver coin. When he moved a larger fragment of lead, he saw there were rows of coins underneath. Buckinghamshire Finds Liaison Officer Ros Tyrrell was on site in case something notable was found, so she was able to coordinate a proper excavation after the first few coins were exposed.
The area was cordoned off and before an increasingly large crowd of detectorists (there were more than 100 club members at the rally) the find carefully excavated. Silver coins filled a large lead container, apparently a bucket that was folded over at the top to cover the hoard, buried about two feet underground. Portraits on some of the coins identified them as having been minted during the reigns of Ethelred the Unready (reigned 978-1013, 1014-1016 A.D.) and the Danish King Cnute (r. 1016-1035 A.D.).
As the coins were removed from the soil, they were packed in poly bags and then carried to the farmhouse in an orange Sainsburys plastic shopping bag. On the farm’s kitchen table spread with newspapers, the entire hoard was counted out. The final tally was 5251 silver pennies (plus half of another), one of the largest hoards of Anglo-Saxon coins ever discovered.
After the counting was done, Ros Tyrrell brought the coins that night to the Buckinghamshire County Museum in Halton and the next day they were transported by van to the British Museum. It was December 22nd, so much of the staff was on holiday, but the conservator who was at work immediately set about cleaning and cataloguing the coins. The cleaning process went smoothly, revealing coins in excellent condition. They are shiny, unclipped and so free of wear and tear that it seems likely they were never circulated.
There was a Royal Mint in Buckingham during the reign of Ethelred within a day’s walking distance from the find site. Given the dates and flawless condition, it’s possible these coins went straight from the mint into the ground, perhaps to hide them from the army of William the Conqueror as it advanced towards the mint.
There will be a coroner’s inquest to determine whether the hoard qualifies as treasure trove which it certainly will since it’s more than 300 years old and made of precious metal. Once declared treasure, a British Museum valuation team will determine its market value and a local museum will be given the opportunity of acquiring the hoard by paying the amount of the valuation. The fee will then be split between the finder and the landowner. Early speculation puts the possible value as high as $390 a coin for a total of $2 million, but that’s just spitballing based on the Ethelred coins. We won’t have solid figures until every coin has been identified and dated.