Arts and Sciences
Jean-Etienne Liotard (1702-1789) was a Swiss-French artist of Huguenot extraction who is best known today for his very fine pastels. Trained as a miniaturist in Geneva and portrait painter in Paris, Liotard preferred medium was pastel on paper. They make up the overwhelming majority of his surviving work, 540 individual pieces, as opposed to only 30 oil-on-canvas paintings. In his time, Liotard was very much in demand as a portraitist and miniaturist. He travelled extensively through Europe, staying in Paris, Naples, Florence and Rome before going to Constantinople in 1738 where he lived for four years.
He returned from Constantinople with a great big bushy beard, a taste for Turkish dress and the crowned heads of Europe lining up for his services. He lived in Vienna from 1743 to 1745 where he made several portraits of the Empress Maria Theresa and her family. In 1748 he was in Paris painting King Louis XV and his family. In 1755 it was London and the Prince of Wales’ turn. His portraits were notoriously expensive, driving the bitter rival artist Andrea Soldi to grumble that the English measured “the value of his works by the length of his beard.”
After his London sojourn, Liotard went to Holland. He stayed for a year, studying the masters of the Dutch Golden Age and building a collection of more than 60 paintings from the period. He also found himself a wife: Marie Fargue, a Dutch Huguenot who posed in Turkish dress for one of his loveliest pastel portraits, now in the collection of the Rijksmuseum.
Liotard was strongly influenced by the Dutch artists of the 17th century. Even before his sojourn in Holland, his portraits were unusually restrained and naturalistic at a time when the fashion was for very stylized portraits with contrived poses, symbolic gestures and accoutrements conveying the wealth, power, profession and/or abilities of the subject. The intimate spaces, plain painted walls, varied textures and scenes from daily life captured in the works of Jan van Huysum, Gerrit Dou, Frans van Mieris and Johannes Vermeer inspired Liotard.
With one small oil-on-canvas painting, A Dutch girl at breakfast, Liotard became one of the first non-Dutch 18th century artists to create an explicit homage to the Golden Age masters. The painting depicts a modestly attired young woman seated a tripod table pouring a beverage (both coffee and chocolate have been proposed) into a cup. She sits in a classically Dutch interior. There’s a simple wood armoire against the wall, a foot-warmer on the floor beside her chair and, just in case the reference wasn’t clear enough, there’s a 17th-century Dutch painting of a church on the wall.
One of less than three dozen Liotard oil paintings and one of the only genre paintings he did (he was well-known for genre treatments in pastel, but not in oil), A Dutch girl at breakfast is rare and of great art historical significance as an example of the spreading influence of Dutch Golden Age painters. Liotard kept the painting for close to 20 years. He finally sold it in 1774 at a Christie’s auction. The buyer was Sir William Ponsonby, 2nd Earl of Bessborough, an old friend and patron of Liotard who had traveled with him in 1738 and would go on to become his biggest supporter, buying more than 70 of his works over the decades.
A Dutch girl at breakfast stayed in the Ponsonby family for 242 years until it was sold at Sotheby’s in July 2016 for $5,695,000. The buyer was revealed last month as the Rijksmuseum which has now installed Liotard’s Dutch girl next to Vermeer’s Milkmaid in the Gallery of Honour. Inspiration and inspired will only briefly be side by side. By the end of the month, the painting will be installed in its permanent location, the 18th century arts gallery. There it will be reunited with a host of brothers and sisters, the museum’s extensive collection of Liotard pastels that were donated by descendants of his and Marie Fargue’s eldest son.
The Rialto is by far the oldest and most famous of the four bridges that span the Grand Canal of Venice. Until the 19th century, it was the only bridge across the canal. The first iteration was built out of wood in 1255. The two sides of the bridge inclined upwards towards a central platform that could be removed to allow for the passage of taller ships. It was called the Bridge of Coin then, because of the toll for pedestrian passage. In 1458 shops were added to the sides and it was renamed the Rialto Bridge. With the popular Rialto market on the eastern bank and the bridge being the only non-nautical means to cross to Grand Canal, it had to withstand an enormous amount of traffic. It collapsed twice from the weight of crowds and had to be rebuilt. Another time the crowds viewing the passage of the spectacular 1,500-people-strong cortège of Holy Roman Emperor Frederick III in 1468 put so much pressure on the iron railings that they collapsed, dozens of spectators fell into the canal and died.
In the 16th century, Venetian authorities began to explore the possibility of replacing the wooden bridge with a stone bridge. It took almost the whole century to go from concept to execution. In 1551, top architects were invited to submit stone bridge ideas, but none of the submissions were deemed acceptable because they employed multiple Roman-style arches which would be a problem for boat traffic. The great Venetian architect Andrea Palladio envisioned a three-arch bridge topped with a monumental temple-like structure that would have dwarfed the mighty Mississip’. Finally architect and engineer Antonio da Ponte designed a single-span stone bridge very similar in shape, elevation and structure to the wooden bridge. Construction began in 1588 and was completed in 1591.
Legend has it that Antonio da Ponte paid dearly for having created an icon of La Serenissima. When the bridge was almost done, the Devil himself approached the architect and demanded an offering of the first soul to cross the bridge. If da Ponte refused, Satan would forever prevent the completion of the Rialto Bridge. Unable to refuse, he tried to outsmart the Devil, arranging for a rooster to be the first living being to cross the bridge. The Devil was furious. He promised to punish the architect dearly, and so he did. In disguise, he went to da Ponte’s house and told his pregnant wife that her husband was waiting for her on the other side of the bridge. She ran across and unwittingly doomed the life she was carrying. The baby was stillborn. For years the baby’s spirit was said to haunt the Rialto until a kindly gondolier finally helped him rest in peace.
The bridge’s design caused some consternation at the time. Without arches, the full weight of the structure was shouldered entirely by the two pylons and foundations and each end. There were grave doubts among some architects, most notably Vincenzo Scamozzi, that the heavy stone bridge could stand without additional supports. And yet, it stood. Over the centuries it was repeatedly altered and repaired. The first major restoration was in 1740, but it stipulated that the arch itself could not be touched. The repairs focused on the stairs, balustrade, colonnade and paving tiles. Later restorations took a similar tack, fixing the peripherals — steps, drainage issues, shops.
More than 400 years would pass before the Rialto Bridge got a thorough top-to-bottom restoration. That’s a good thing from a historical preservation perspective, because it leaves conservators with a great deal of original material and limits the damage inflicted by well-intentioned but overly invasive interventions.
The restoration project started in 2011 with an extensive nine-phase preliminary investigation of the bridge: 1) a historical survey analyzing all the different phases of construction and repair over the centuries, 2) a photogrammetric and laser scanning survey of the bridge surface to gather precise measurements, 3) geotechnical drilling into the soil of the bridge foundations, 4) underwater inspection of the foundations, 5) archaeological analysis of the foundation coring samples, 6) monitoring a year’s worth of geological stresses and shifts, 7) a structural survey of the bridge, 8) research and analysis of the bridge’s petrographic materials and state of conservation or decay, and 9) identification of underground utilities.
Armed with reams of hard data, conservators began the hands-on part in May of 2015.
The restoration has systemically treated all of the bridge’s structural elements for the first time in more than 400 years. A team of 25 conservators dismantled the sandstone paving on the central steps and the two exterior ramps for cleaning, while workers relaid the telephone, gas and electric cables powering the bridge’s 24 shops. They strengthened the walls of the arcades and added a further layer of waterproof insulation, as well as new internal sheets to the 700 sq. m of lead sheets covering the roofs.
To protect the northern and southern balustrades from the lagoon’s brackish waters, as well as the thousands of tourists who walk across it each year, the banisters were reinforced using carbon-fibre bandages and duplex stainless steel brackets that resist corrosion. The 364 columns, which presented fractures on their capitals and bases, were also reset in molten lead and some of the cornerstones were completely replaced.
This was all done piecemeal so the bridge was never closed to visitors. Unsightly scaffolding was the worst of it. Shocking everyone who has ever had needed any construction done in Italy, the restoration finished on time (but not on budget, of course) and reusing 99% of the bridge’s materials. The remaining 1% requiring replacement was mostly paving.
The scaffolding is down now, but the official opening will take place in May at the Venice Biennale.
Artifacts from an early Anglo-Saxon settlement have been unearthed at the site of a future housing development in Cherry Hinton, a suburb of Cambridge. Developers Weston Homes hired Oxford Archaeology East to excavate the construction site on the corner of Hatherdene Close and Coldham’s Lane after test pits identified an area of particular archaeological interest. The excavation discovered architectural remains of a village and a range of artifacts from the utilitarian to the rarified.
The team unearthed expensive, high-end jewelry including brooches, multi-colored glass, amber beads, rings and hairpins from the 6th century. There were tools including small knives and larger weapons, and intact pottery vases and bowls. The greatest stand-out piece is a glass vessel known as a claw beaker, so named because of the H.R. Giger-like claw-shaped handles attached to the conical walls. The glass is tinted amber or brown. These vases were very highly prized, probably imported from Germany, and have mainly been found as grave goods in 5th and 6th century Anglo-Saxon burials.
Duncan Hawkins, Head of Archaeology and Build Heritage for CgMs, said: “Evidence of the time period 5th to 7th century AD is almost non-existent so this gives us a highly important window into understanding how people lived in that era, their trade activities and behaviours.
“The academic value of this collection is therefore immeasurable. The site fell out of use in the 7th century but we discovered evidence of 8th century Middle Saxon activity including post-built structures, possibly workshops and livestock pens.
“Pits dug in this attest to local industrial activity and further processing of soil samples should help us understand what these were used for.”
The excavation also unearthed Roman dishware, early Roman kilns and a network of Late Iron Age and Roman boundary ditches. After the Middle Saxon settlement, there was a manor house built on the site in the 9th or 10th century. In the 11th century, Hinton Manor was one of several Cambridgeshire holdings of Edith the Fair, aka Edith Swanneck, first wife of Harold II. They were married in accordance with the more danico, a traditional Norse form of marriage, which is why nobody raised the bigamy issue when Harold married a Welsh princess in a Christian ceremony in 1066. Edith is best known for having identified Harold’s mutilated body after the Battle of Hastings, ostensibly from marks that only she knew he had on his chest. (One 19th century poet alleged they were hickeys.)
The town of Cherry Hinton appears in the Domesday Book (1086) listed as “Hintone: Count Alan. 4 mills.” Count Alan was Alan Rufus, a kinsman of William the Conqueror’s who fought with him at the Battle of Hastings. After the Norman Conquest, he took Hinton Manor from Edith. He got the lion’s share of her properties, in fact, sweeping up all but one of her Cambridgeshire estates.
The housing development of 60 homes will still be built on the site. All the artifacts have been recovered. They will be documented, conserved and exhibited in local museums.
One of very few English-made statues of Catholic iconography to survive the Reformation has been acquired by the British Museum and will return to its homeland after centuries abroad. The alabaster figure of Virgin and Child was made in England, likely in the Midlands area, by an unknown artist in around 1350-75. Alabaster was highly prized by carvers in the 14th century because of its translucent glow, ivory tones and a surface that welcomed painting and gilding. Cheaper and easier to carve than marble, gypsum alabaster was extensively quarried in the Midlands during the 14th and 15th centuries. During this period, Nottingham had an active and lucrative trade in small devotional statues and reliefs, buoyed by the rich supply of local raw materials.
How this statue survived the Dissolution of the Monasteries and the destruction of icons of the Protestant Reformation is unknown.
Early religious royal injunctions issued by Henry VIII had merely called for objects of religious “idolatry” to be taken down, citing the words of the second commandment: “Thou shalt make thee no graven image, neither any similitude of things that are in heaven above, neither that are in the earth beneath, nor that are in the waters under the earth.”
But a more severe injunction followed after the succession of his son, Edward VI, in 1547. It called for the clergy “to take away, utterly extinct and destroy all shrines, coverings of shrines, all tables, candlesticks, trindles or rolls of wax, pictures, paintings, and all other monuments of feigned miracles, pilgrimages, idolatry, and superstition: so that there remain no memory of the same in walls, glass-windows or elsewhere within their churches or houses. And they shall exhort their parishioners to do the like within their several houses.”
In the following months religious statues were smashed, while a few were hidden behind walls and under floorboards. Some had their eyes deliberately damaged or their heads lopped off.
All we know is that at some point after it was created, the Madonna and Child made its way to Saint Truiden Abbey, in the Flemish province of Limburg, Belgium. Founded in the 7th century by Saint Trudo, aka Saint Truiden, the monastery was an important site of pilgrimage for centuries during the Middle Ages. A deep-pocketed pilgrim could have bought the statue in England and gifted it to the abbey shortly after it was created. Or it could have been saved from destruction in the 16th century and smuggled out of the country.
It then survived another orgy of destruction: the French Revolution. French Revolutionary forces arrived at Saint Truiden in 1794. They looted and pillaged the abbey and church, setting the latter on fire. Everything of value was stripped and sold for cash, from the artworks to the building materials. Perhaps the statue survived by being sold.
It first appears on the historical record in Brussels in 1864 where it was exhibited and purchased by Austrian collector, Dr. Albert Figdor. After his death it was acquired by an anonymous European family who put it up for auction. That’s where it was spotted by the British Museum who arranged a sale through art dealers Sam Fogg with funding from the Art Fund and the National Heritage Memorial Fund.
Whatever traumas it has experienced, the statue is in incredible condition. It still retains some of its polychrome paint and gilding. Quite a signficant amount of red and gold still decorates Mary’s crown. Most of the visible wear is the result of devotion, not violence. The faces of both Mother and Child and foot of the Child are worn from centuries of kisses and caresses from pilgrims.
The statue is now on display in the British Museum’s medieval gallery next to the South Cerney head and foot. The head and one foot of Christ are all that remain of the wooden crucifix of All Hallows Church in South Cerney, Gloucestershire. They were found hidden behind the wall of the church’s nave in 1915. It seems it was secreted whole, a desperate attempt to save it from destruction, and then over the centuries most of the crucifix rotted away leaving only the head and foot. The placement illustrates the shared context of the still-beautiful Madonna and Child and the ruins of the crucifix.
3D model time! I enjoyed zooming in and searching for polychrome paint remnants.
Single-use paper or plastic cups are products of modern consumer culture, cheap, convenient, plentiful and easily discarded. You never have to worry about cleaning them or potential damage to wedding registry china or beloved “#1 Dad” mugs. In the 15th century there were no red Solo cups to fill at the keg line, but that didn’t mean some people couldn’t enjoy the convenience of not having to clean their drinkware or worry that a vessel might slip through drunken fingers to its untimely demise. They just had to be rich and like to show it.
Wittenberg castle, historic residence of the Electors of Saxony, has been undergoing an archaeological excavation since November in advance of the installation of a new sewage pipeline. The team has unearthed the remains of a ring wall encircling the castle site and courtyard pavers from the first castle built by the House of Ascania which ruled the Electorate of Saxony until the branch of the family died out in 1422. After that, the Duchy of Saxony passed to the House of Wettin. The third Elector from the Wettin dynasty, Frederick III, built the current castle on the site of the old Ascanian castle in 1480.
Multi-colored oven tiles decorated with secular and Biblical motifs found during the excavation date to Frederick’s time. They are very rare surviving examples of the original fixtures of the electoral castle. Ovens with such fancy tiles were hugely expensive, the kind of equipment found only in the grand homes of high-ranking aristocrats and ecclesiastical authorities. Martin Luther, who in 1517 famously nailed his 95 Theses to the door of the Castle Church Frederick had built, was known to have owned one of these luxury tiled ovens. It had to have been a gift from someone very wealthy and powerful.
But it’s the fragments from thousands of porcelain cups found in the castle courtyard that captures the 15th century Electors of Saxony’s version of conspicuous consumption. The cups all date to the 15th century. They are decorated in a variety of patterns, styles and colors. Some have elaborate scrollwork or masks, some are smooth. There are fragments of bright green and yellow, and in neutral shades of brown, grey and ochre red. Except for having been smashed to bits, they are brand new. Archaeologists believe they were used only one time. Once the beverage was quaffed, the imbiber tossed his cup was over his shoulder. It shattered on the courtyard floor and servants quickly supplied the guest with a new filled cup.
“We found entire layers of cups and animal bones. They ate a lot of wild meat, especially venison,” Holger Rode, the archaeologist in charge of the dig in the castle’s courtyard in Wittenberg, told German news service dpa. “The parties took place in the summer here in the courtyard. The cups were simply thrown away. That’s equivalent to paper cups today.”
Except that porcelain mugs decorated with roll stamps and mask designs likely provided a more luxurious drinking experience. Disposable dishes were a sign of great wealth at the time and only the nobility used them at the castle.
This massive porcelain cup graveyard is unique to the castle site. Nothing like it has been found in the city of Wittenberg itself. In fact, very few individual cups from this period have been found at all, nevermind broken to pieces in huge quantities. Archaeologists think large numbers of cups were made to order before each feast to supply guests with single-use porcelain to showcase the host’s devil-may-care wealth.
The ancient Latin city of Lavinium, according to legend founded by Aeneas, son of Venus, hero of Troy and ancestor of Julius Caesar, has some of the most significant archaeological remains predating the ascendance of Rome. Less than 20 miles from the modern city of Rome, the archaeological site was first excavated in the mid-1950s by Professor Ferdinando Castagnoli from the University of La Sapienza’s Topographical Institute. He and his archaeologist colleague Lucos Cozza unearthed a tumulus 60 feet in diameter richly furnished with more than 60 grave goods dating to the 7th century B.C., including a chariot, weapons, objects made of precious metals and vases for the funerary banquet. It was modified in the 4th century B.C.; a square room with a large tufa door was added. Research found that the Romans called this tumulus the Heroon of Aeneas (a heroon is a shrine dedicated to a hero, usually believed to be built over his tomb or to hold his relics).
Later excavations discovered what would become known as the Sanctuary of the XIII Altars, a cult center where 13 altars made of soft volcanic tufa were carefully lined up for religious rituals. A 14th altar was recently unearthed, and all appear to have been made between the 6th and the 4th century B.C. Archaeologists believe Lavinium was the main religious center of Latium at that time, and that the altars represent each of the important Latin cities. Excavations also unearthed an archaic temple to Minerva and two kilns used to make terracotta votive statuary.
Archaeological evidence indicates the town is very ancient indeed, going back to the 12th century B.C., the Bronze Age. It expanded in the 8th century B.C. and achieved its greatest size in the 6th century B.C. It began to decline in the 5th century, possibly after suffering damage in an earthquake, and by the 2nd century was no longer a religious center for the region having been eclipsed by its putative descendant, Rome.
The legend connecting Lavinium to Aeneas and the future capital of an empire only grew in prominence as the town itself shrank into a sleepy suburb of Rome. After years of exciting adventures, Aeneas landed in Latium where the gods and his dead father Anchises had told him he would found the greatest of all cities and sire the greatest of all lineages. Latinus, king of the Latins, welcomed Aeneas and offered him the hand of his daughter Lavinia in marriage. He accepted, married the princess and founded a new city which he named after her. His son Ascanius founded the town of Alba Longa where he and his descendants ruled for generation upon generation. The twins Romulus and Remus were born to one of those descendants, Rhea Silvia, courtesy of divine impregnation. Then there was the whole she-wolf thing and the fratricide and the Rape of the Sabine Women and voila! Rome.
The founding of ancient Rome traced to the heroes of Troy has come down to us from historian writing hundreds of years after the events they purported to describe. Early Greek historians proposed a bewildering combination of founding legends, the earliest of whom was Helanicus of Lesbos (5th century B.C.) who claimed Aeneas founded the city of Rome itself and named it after a Trojan woman. The oldest surviving source on the Lavinium version is Quintus Fabius Pictor, a third century B.C. senator from the patrician gens Fabia who is considered the first Roman historian, but all we have of his history of Rome are a few quotations and references cited by later writers including Polybius, Livy and Plutarch. The first book of Livy’s great compendium of all of Roman history, Ab Urbe Condita (“From the Founding of the City”), written between 27 and 9 B.C., recounts the story of Aeneas’ arrival in Latium, his marriage to Lavinia and his founding of Lavinium. By Livy’s time, this was the story that had stuck. Livy’s contemporary Virgil wrote about it in The Aeneid which sealed its popularity for 2,000 years.
Despite the endurance of the legend, the ancient city itself faded as the Western Empire fell apart. Around 1200, the walled medieval burg of Pratica di Mare was built over the remains of Lavinium’s ancient acropolis. It was owned by Benedictine monks until the 14th century when it passed into the hands of a succession of noble Roman families. The last of these was the Borghese family which took ownership of Practica di Mare in 1617. It is still their private property. They have an obligation to maintain the medieval town and any dispositions made regarding the archaeological site and the nature preserve that surrounds it must go through the Borgheses.
Because of this, it has been very difficult for people to get access to the ancient remains. On very rare occasions they would be open to the public, but otherwise arranging a visit to the altars or the heroon took a lot of jumping through behind-the-scenes hoops. In 2005, the Lavinium Archaeological Museum opened, giving tourists a chance to enjoy some of the archaeological treasures of Lavinium. It focuses on the legendary connection to Aeneas. Video installations tell the story of his eventful voyage after the fall of Troy and follow a virtual priest through the Sanctuary of the Altars. The terracotta statues made in the kilns are on display, as is an archaic statue of Minerva found at her temple and the tufa door from the Heroon of Aeneas.
Now a new agreement has been struck between the Commune of Pomezia, the Archaeological Superintendency for metropolitan Rome and the Borghese family to open the archaeological site of Lavinium to visitors. January 7th was the first day. It’s a wonderful opportunity for anyone in Rome or environs to see ancient Latin archaeology before the distinction between Rome and its neighbors was blurred by empire and expansion. You can’t find this kind of thing in Rome. Archaeology from the legendary days, even from the kings and early Republic, is all but non-existent.
A glass penny, the only known intact survivor of a World War II experiment, sold at auction Friday for $70,500 including buyer’s premium, more than twice its presale estimate of $30,000. The price was driven up in a bidding war between a phone buyer and one present in the room. The phone bidder, an American collector, won.
The metals used to make pennies and nickels — copper, tin and nickel — were needed for the war effort so in 1942 the Treasury experimented with coins made from alternative raw materials. Private contractors, eight plastic manufacturers — Bakelite Corporation (Bloomfield, New Jersey), E.I. DuPont de Nemours & Co. (Arlington, New Jersey), Durez Plastics and Chemical, Inc. (North Tonawanda, New York), Patent Button Company Inc (Knoxville, Tennessee), Monsanto Chemical Company (Springfield, Massachusetts), Colt Patent Firearms Manufacturing Company (Hartford, Connecticut), Tennessee Eastman Corporation (Kingsport, Tennessee), Auburn Button Works (Auburn, New York) — and one glass company — Blue Ridge Glass Corporation (Kingsport, Tennessee) — were commissioned to strike coins with a variety of non-critical materials including Bakelite, other plastics, hard rubber, wood pulp and our hero today, glass.
Chief engraver John R. Sinnock created the pattern dies using simple designs. The obverse was a Liberty Head facing right, a copy of the head on the Colombian two centavos coin, with “LIBERTY” and “JUSTICE” on the left and right border and the date 1942 underneath the head. The reverse is a simple olive branch wreath designed by Anthony C. Paquet for a Washington medalet. Washington’s dates in the middle of the wreath were replaced with “UNITED STATES MINT.”
The dies were sent to the manufacturers who struck prototype cents with their experimental materials. The Blue Ridge Glass Corporation struck their pennies on amber tempered glass blanks from Corning Glass Co.
Blue Ridge had considerable difficulty making glass 1942 sample coins. For impressing a design into glass, both glass and the dies had to be very hot — just below glass melting temperature — then the glass had to cool quickly to preserve design detail. But Blue Ridge was not able to heat the die, and the resulting experimental cents were softly detailed and had many minute surface imperfections. Blue Ridge described their process and results in a six-page report, which has been preserved among U.S. Mint documents in the National Archives.
The surface of the glass coins was susceptible to crazing — clearly visible in the “UNITED STATES MINT” on the reverse of the penny that was just sold — but at first that didn’t trouble the Treasury Department. Blue Ridge was led to believe they’d get a contract to produce the glass pennies and even began to expand their facilities and plan the additional security necessary for mint work. Then, all of a sudden, Blue Ridge’s president J.H. Lewis was informed by Treasury that the project was called off. He was not told why.
Official records indicate Treasury thought the glass coinage would be “too brittle,” but that was just a smokescreen. The real reason was as top secret as it gets. The planned production line glass pennies would have contained traces of uranium oxide that would make them fluoresce under ultraviolet light, a cool and ingenious anti-counterfeiting system. But another project that started in 1942 required every molecule of fissionable material that could be scrounged up, so the glass coins were scrapped and Blue Ridge had to send all of its uranium stock to Oak Ridge for use in the Manhattan Project.
None of the plastic, rubber and glass experiments ever went into production. The Treasury doubted if plastic would ever be accepted by the public as legitimate currency and anyway the most successful plastics, urea and phenol, soon made the critical materials list themselves. The glass penny with its poor impressions and secretly invaluable uranium wouldn’t do either. Alternative metals won the day. The wartime penny would be zinc coated steel. It was minted in 1943. For a year it was lighter than the standard 3.11-gram Lincoln Wheat penny that preceded it, weighing 2.7 grams. Starting in 1944, the weight was back up to 3.11 grams and copper was back in the mix with zinc.
Very few of the experimental coins still exist today. The Mint destroyed most of them. A few examples managed to avoid that fate, mostly reddish plastic ones. Only one other glass example is known to have survived, and it is broken in half.
Archaeologists have unearthed a vast collection of pottery (pdf) during construction of Crossrail’s new Elizabeth line station at Tottenham Court Road in London. The station is being built on the site of the former Crosse & Blackwell factory at Soho Square, where some of Britain’s most popular sauces, condiments and jams were manufactured from 1838 until 1921. The basements of the bottling warehouse were unexpectedly well-preserved. Kilns, furnaces and a refrigeration system were discovered in the warren of underground rooms. More than 13,000 pots, jars and bottles of pickle, mustard and jam were found in a cistern on the site. While many of them were broken, there were an impressive number of intact, unused pieces of ceramic, stoneware and glass.
The finds include glass bottles for Mushroom Catsup, ceramic bung jars for mustard and Piccalilli and delicately painted white jars for Preserved Ginger. Archaeologists also found white earthenware jars for Pure Orange Marmalade, Household Raspberry Jam and Plum Jam, some of which still bare their original labels. They illustrate the ambitions of one of Victorian Britain’s most prolific and enduring enterprises and evidence the development of British tastes.
Nigel Jeffries, [Museum of London Archeaology]‘s Medieval and Later Pottery Specialist and author of the book, said: “Excavations on Crosse & Blackwell’s Soho factory produced a large and diverse collection of pottery and glass related to their products, with one cistern alone containing nearly three tonnes of Newcastle made marmalade jars with stoneware bottles and jars. We think this is the biggest collection of pottery ever discovered in a single feature from an archaeological site in London.”
The company began under the name Jackson in the early 18th century. It was changed to West & Wyatt in 1819. West & Wyatt had a shop at 21 Soho Square where they sold soup, pâté, pickles and sauces to the wealthy and titled. That same year two apprentices were hired: Edmund Crosse and Thomas Blackwell. Like something out of The Secret of My Success, Crosse and Blackwell climbed the ladder with impressive speed until just 10 years later they bought the company lock, stock and barrel for £600 and changed its name to a brand that would soon become renown around the world for canned foods, sauces and condiments. The Soho Square shop became an ever-expanding bottling factory.
Crosse & Blackwell were one of the first companies to secure a Royal Warrant from Queen Victoria in 1837, the year of her accession to the throne when she was 18 years old. They were also pioneers in the use of celebrity chef as endorsers and collaborators. In the late 1840s, Alexis Soyer, high society chef, inventor, cookbook author, soup kitchen innovator and the most famous culinary genius of his time, created the tangy Soyer’s Sauce sold by Crosse & Blackwell in two versions: a stronger “Soyer’s Sauce for Gentlemen” and a milder “Soyer’s Sauce for Ladies.” They quickly became bestsellers. He followed up with “Soyer’s Relish,” which was the bestselling sauce in London in 1849 and would be sold by Crosse & Blackwell for more than 70 years, and “Soyer’s Sultana’s Sauce.”
The company also jumped on the opportunity to introduce Indian flavors to their product line. A Crosse & Blackwell employee went to India with the first troops sent by the East India Company. He came back with recipes that would shortly become Captain White’s Oriental Pickle and Curry Powder and Abdool Fygo’s Chutney.
Crosse & Blackwell was an official wholesaler of another India-inspired condiment that is still a top seller today: Lea & Perrins Worcestershire Sauce. You’d think with a name like Worcestershire it would have an English origin, but in fact, the recipe was brought back from India to Worcester by Lord Marcus Sandys in 1835. Sandys had the local pharmacists cook him up a batch but it tasted terrible, so the chemists, Messrs. John Lea and William Perrin, stashed the barrel in the cellar and forgot about for two years. In 1837 they noticed the barrel in the cellar and gave the contents another taste. They were stunned by how delicious it was. They bought the rights to the recipe from Lord Sandys and in 1838 introduced the pantry staple that makes my mom’s stuffed celery so great.
Crosse & Blackwell is repeatedly mentioned in Lea & Perrin’s 19th century ads as a purveyor of “the only good sauce,” but the excavation revealed that the Crosse & Blackwell factory was also involved on the production side. Lea & Perrins branded glass stoppers were unearthed at the factory site.
The Museum of London Archeaology (MOLA) has published a book about the factory finds. Crosse and Blackwell 1830–1921: a British food manufacturer in London’s West End is part six of MOLA’s Crossrail Archaeology series, 10 publications that explore different aspects of the unprecedented archaeological project engendered by the construction of new subway lines and stations. You can buy it online for a tenner.
A Colonial-era cannon has been recovered from Cape Fear River at the Brunswick Town/Fort Anderson State Historic Site (BTFA) in North Carolina. It was pulled from the river during a dredging operation on December 21st. The cannon is 93 inches long with an 80-inch bore four inches in diameter. There are no visible markings to identify the type of cannon and a section of the muzzle is gone, perhaps damaged in an explosion caused by a casting flaw. For now all experts can say is that it was likely a six or nine-pounder manufactured before 1756.
Brunswick was an important port town on the banks of the Cape Fear River in Colonial times. Founded in 1726, the town grew into a center for the trade in tar, pitch and turpentine, necessary materials for the construction and maintenance of the wooden ships of the era. Its commercial and naval significance were matched by Brunswick’s political prominence. Two royal governors in a row had their official residences in the town and the colonial assembly met in the courthouse. Royal taxes were also collected there. Brunswick challenged the collection of stamp taxes eight years before colonists disguised as Native Americans threw East India Company tea into Boston Harbor.
The town began to fade in significance when the residence of the royal governor was moved to New Bern in 1770. By the time of the Revolutionary War, Brunswick’s population was depleted, which turned out to be a good thing when British troops burned the town in 1776. The town was never rebuilt. In the mid-19th century, the Orton Plantation took over the land, but what was left of Brunswick became strategically important again during the Civil War when Fort Anderson was built in 1861 as part of the Cape Fear defenses protecting Wilmington and running the Union blockade.
The historic site focuses on both the Colonial and Civil War history. The discovery of the cannon has given the BTFA a unique opportunity to study and conserve a Colonial artifact at Brunswick where it was used 250 years or so ago.
“It was logical that it should stay here,” [Brunswick Town/Fort Anderson Site Manager Jim] McKee said. “But what is going to be so unique about this, is this is the first opportunity that an artifact like this is actually going to be conserved on site. Now that the gun is here … there’s no reason for it to ever leave again.”
The cannon is awaiting conservation efforts. McKee said the cannon will be visible to the public during that time. It’s the first of its kind at the site and could take several years before the restoration is complete.
Here’s an interview with Jim McKee perched next to the cannon discussing its discovery and conservation.
The Chinese figured out how to make hard-paste or true porcelain, the finest ceramic known for its hardness and translucency, in the 7th century. It would take almost another thousand years, in the 16th century under the Ming Dynasty, for fine Chinese porcelain to be exported to Europe in significant quantities. There it was admired and puzzled over. European ceramicists tried to crack the code — the combination and quantity of raw materials, the firing temperature — but failed. Only in the 18th century did Johann Friedrich Böttger, at the behest of Augustus II the Strong, Elector of Saxony, solve the mystery of hard-paste porcelain. The Meissen factory, founded in 1710, was the first European producer.
That wasn’t the end of the story, however. In the American colonies, particularly in the southern states, experimentation with porcelain took off in the 1730s, and continued for decades. There is documentary evidence of the study and eventual production of China in America, but no actual evidence of 18th century hard-paste porcelain in the archaeological record. The excavations at the site of the new Museum of the American Revolution in Philadelphia in 2014 finally found that evidence.
The survey of the museum site has proven to be one of the greatest archaeological bonanzas in American history, and so deliciously on topic to the institution that will open in historic downtown Philadelphia on April 19th, 2017. The behind-the-scenes hero of the piece is, yet again, poop. Archaeologists unearthed 12 brick-lined outhouse vaults packed with artifacts from the first decade of the 18th century through the mid-19th century. Private residents, shops and hostelries all used the privies as trash cans as well as toilets for 150 years or so, leaving 21st century archaeologists almost 85,000 artifacts to sort through.
One of the 85,000 is a small white punch bowl, unearthed in fragments in 2014. Archaeologists from Commonwealth Heritage Group initially thought the bowl was a piece of white stoneware, but a recent material analysis by Saint Mary’s University geologist Dr. J. Victor Owen, an expert on archaeological ceramics and glass, found that the bowl is true-porcelain, probably manufactured in Philadelphia.
“One of the most intriguing stories in the world of ceramic history is the search for the secrets of making hard-paste porcelain,” said Robert Hunter, editor of Ceramics in America and an author and archaeologist. “The search, however, for physical evidence of making true porcelain in 18th century America has been frustratingly unsuccessful – until now. The discovery of this bowl is like finding the holy grail of American ceramics, and is a thrilling addition to the history of the American effort to produce this coveted material.”
It also has direct relevance to the theme of the Museum of the American Revolution, because buying domestic, even for luxury goods, was a political statement in the lead-up to the Revolution.
“The discovery of this remarkable little bowl reminds us that the ‘buy local’ movement has very deep roots in American history,” said Dr. R. Scott Stephenson, Vice President of Collections, Exhibitions, and Programming at the Museum of the American Revolution. “It is also an important reminder that when colonists boycotted imported British goods as a way to protest Parliamentary taxation, they did not have to settle for crude versions of beloved luxuries from abroad. Colonial tradespeople produced elegant textiles and ceramics for a market eager use the ‘power of the purse’ to make a political point.”
A report on the discovery and analysis of the punch bowl will be published in the January issue of Ceramics in America. The little broken white Holy Grail will go on permanent display in the “homespun” gallery of the new museum when it opens this Spring, but will make its first public appearance at the New York Ceramics and Glass Fair this month. Co-author of the article Robert Hunter will be giving a lecture at the fair on the quest to make true porcelain in 1700s America and how the Philadelphia punch bowl fits into that history on Thursday, January 19th.
The Simon Janashia Museum of Georgia in Tbilisi, Georgia, has put on display the only surviving fragment of the last will and testament of the 12th century King of Georgia, David the Builder. The Georgia’s Medieval Treasury exhibition “showcases Georgian Christian art that reflected the unity and continuity of cultural traditions and formed the basis of the Georgian statehood and the national identity.” It opened in June but the objects on display are constantly changing and the will only went on display a week ago. It is the first time this priceless relic has been on public display.
David the Builder is Georgia’s greatest national hero. Just 16 years old when his father abdicated in his favor, David fought the Seljuk Turks for more than 20 years, chipping off territories under their control from 1101 until 1123 when he wrested their last stronghold of Dmanisi from them and unified the country. According to Arabic scholars like Badr al-Din al-Ayni, David the Builder respected other faiths, granted legal protection to Muslims and Jews living in the kingdom as well as adherents to minority Christian denominations like the Armenian Apostolic Church.
In 1125, King David wrote a will and determined the orderly succession of his kingdom. He died on January 24th of that year. He was just 53 years old but had reigned for 36 years. His son Demetrius succeeded him. The Georgian Orthodox Church canonized him a saint for his dedication to the faith.
Together the reigns of David the Builder and his granddaughter Tamar (r. 1184–1213) are considered the Georgian Golden Age, a military, political and cultural Renaissance in the east hundreds of years before Western Europe got around to it. The Golden Age didn’t long outlive Queen Tamar. First the Mongol invasions of the 1230s and 40s broke Georgian independence, rendering it a vassal state. In the late 14th century Timur (Tamerlane) devastated the country and forced the king to pay tribute. By 1466, the Kingdom of Georgia no longer existed even in name only; it disintegrated into several small kingdoms and principalities. It was carved up some more by neighboring powers — Persia and the Ottoman Empire, then the Russian Empire which absorbed it in 1801.
Even after centuries without a functional Georgian state, Georgian cultural identity still held on strong and David the Builder was widely revered. On display along with the fragment of the will is a glass negative of the whole document made in 1895 by photographer and Georgian nationalist Alexander Roinashvili. He took numerous photographic portraits of prominent Georgian public figures and of important sites and objects of Georgian cultural heritage. So dedicated was he to sharing and promoting Georgian history that he conceived the idea of a mobile museum of Georgian antiquities that would feature both photographs and historical artifacts — weapons, silverware, coins — he’d collected for years. In 1887, Roinashvili finally got his museum off the ground and took it on tour. The museum never did travel as far and wide as Roinashvili had hoped, but it’s thanks to his unwavering committment to documenting Georgian culture that we have a copy of David the Builder’s will.
Archaeologists have unveiled an ancient bronze sword from the Warring States period (475-221 B.C.) that is still sharp and glossy after 2,300 years. The sword was discovered in tomb No. 18 in Xinyang city in China’s central Henan Province. It was found still snug in its scabbard inside a wooden coffin. Henan Provincial Institute of Cultural Relics and Archeology filmed the reveal of the sword and released it on the Chinese microblogging site Weibo.
As the moniker suggests, the Warring States period saw constant wars between the seven leading states of fragmented Zhou dynasty China, plus a handful of smaller states pulled into the conflict at different times. Most of what is today Henan Province was one of the minor states in the struggle, its cities allied with the larger states. By the end of the period, states large and small had all been conquered by one of the leading seven: the Qin state under its king Ying Zheng. When the last competing state, Qi, fell to Ying Zheng, the former king of Qin became the emperor Qin Shi Huang, first emperor of a unified China and founder of the Qin Dynasty.
The sword is a jian, a double-edged straight sword first documented in Chinese sources from the 7th century B.C. They were first made in bronze, then as Chinese metallurgy advanced, iron and steel. The Warring States period was a transitional era for the jian; swords of bronze, iron and steel have been found from the period. Bronze jian were made with different alloys, their properties employed to the weapon’s best advantage. The central spine and core of the sword was made with high copper content bronze, making it pliant but strong and less likely to break. The edges were made from high tin content bronze for optimal sharpness.
If it seems incongruous for a 2,300-year-old bronze sword to be so shiny and sharp after all this time, consider the Sword of Goujian which dates to the Spring and Autumn period (771-403 B.C.). It was found in 1965 in a tomb where it had been submerged in water for at least 2,000 years, and yet, when the blade was unsheathed from its wood lacquer scabbard, it shone like gold and its edge was still keen. Chemical analysis found traces of sulfur which combats tarnish.
The recently discovered sword will be thoroughly studied, documented and conserved. Testing will hopefully answer questions about its composition and confirm its authenticity. There’s a significant market for fake “ancient” jian, and the condition of this sword is so extraordinary there have been some justifiably skeptical reactions on Weibo. Henan Archaeology officials insist it is authentic, discovered undisturbed in its proper archaeological context. Once it is stabilized, it will go on display, likely in the Henan Museum in Zhengzhou.
The Choir of the Saint Bavo in Haarlem (1636) by Dutch Golden Age artist Pieter Jansz Saenredam is an architectural perspective of the interior of the Gothic church of Saint Bavo. Known as the portrait painter of Dutch churches, Saenredam’s specialty was capturing the complex geometries and soaring heights of church interiors to convey their light, stillness and grandeur. Saint Bavo was one of his favorite subjects. He made about 30 drawings and 12 paintings of the church.
Saenredam took a rigorously mathematical approach to his church portraits. He usually made at least two preparatory drawings, one a pencil sketch done freehand in the space to establish the composition, the other a detailed graphite rendition of the scene made with a straight-edge and compass using precise measurements taken of the church by a surveyor.
An exhibition at the National Gallery of Art (NGA) in Washington, D.C., explores how the artists of the Dutch Golden Age employed drawing as part of their painting processes. The exhibition displays almost 100 drawings plus finished paintings by 17th century Dutch masters including Saenredam, Rembrandt van Rijn, Aelbert Cuyp and Jacob van Ruisdael. To prepare for the exhibition, Drawings for Paintings in the Age of Rembrandt, conservators at the NGA examined the paintings with infrared reflectography (IRR) which can reveal underdrawings made with black chalk against a white background. (Red or white chalk underdrawings cannot be detected with IRR.)
IRR revealed an unexpected surprise in the underdrawing of The Choir of the Saint Bavo in Haarlem: a doodle of a horse carrying four men on its back and a little stick figure in balloon pants underneath them. Drawn on the left pillar in the foreground, the whimsical figures are a marked contrast to the somber whitewashed interior of the post-iconoclasm church. There’s no way Saenredam intended to paint the doodle in the final version, so he must have just been having fun knowing he’d paint over it.
The drawing of four men on horseback is recognizable as a scene from a Charlemagne romance. The oldest extant version of the chanson de geste Quatre Fils Aymon was written in Old French in the 12th century. It recounts the legend of the four sons of Duke Aymon of Dordogne: the chivalric hero Renaud de Montauban and his brothers Guichard, Allard and Richardet. Aymon presents his sons to Charlemagne at a royal tournament with Renaud wins. For his bravery and skill in battle, Charlemagne awards Renaud a magic horse named Bayard. The gift comes in extra handy when Renaud kills one of Charlemagne’s nephews in a fight over a chess game and is forced to flee. Magical Bayard is so big he can carry all four brothers on his back. In the end, the hero Roland convinces Charlemagne to pardon the brothers which he does on condition that Renaud expiate his sins on Crusade.
The Four Sons of Aymon was immensely popular for hundreds of years. Prose versions began to be written in the 14th century in France and the story was translated in multiple languages. The earliest known English version was printed by William Caxton around 1489. The earliest surviving Dutch translation dates to 1508. In this version it’s Duke Aymon who gives Bayard to Renaud and Renaud kills Charlemagne’s son, not his nephew.
The image of Bayard carrying the four brothers on his back appears in art and sculpture, particularly in northern France, Belgium, the Netherlands and Germany, from the 12th century through the 20th. Not in religious art, though, and certainly not on church pillars. The Bayard doodle conveys the playful side of an artist like Saenredam almost four centuries after he covered it up.
Monday is the last day of the exhibition, so if you’re in D.C. take a long lunch and pop over to the NGA to see the paintings, the IRR images and the related drawings before they move on to the Fondation Custodia in Paris. The rest of us can at least have a little fun sliding between the paintings and their underdrawings as revealed by IRR on the National Gallery of Art’s website.
This year The History Blog celebrated its 10th anniverary. The Six Million Dollar Man didn’t make an appearance at this party like he did at the Six Millionth View party last year, but we made up for it with a really great comment thread. I love when readers who rarely (or never!) comment mingle with the regular commenters to say nice things about the blog. It’s downright invigorating. (No, that is not a prompt for more of same in the comments on this post. Okay it kind of is. Not that you need prompting.)
It’s the on-topic posts that capture people’s attention on the larger web. The article about the 17th century silk gown found on the Texel shipwreck was the runaway most visited of the year with 11,555 views. The story of the murder of Joe the Quilter and the discovery of the remains of his cottage was the second most popular of the year with 6,276 views. It was also one of my favorites. The tragic story, Joe’s outstanding artisanship, the rare survival of a labourer’s cottage from the 1820s and my first encounter with the Beamish Museum all captivated my attention. Then the modern Joe the Quilter topped it all off by commenting.
That wasn’t the only murderous story of the year. I was particularly interested in the story of Martha Brown, the woman who killed her abusive husband and was hanged for it. Among the thousands of people who attended her execution was a 16-year-old Thomas Hardy. Years later he would write Tess of the d’Urbervilles about a woman who kills her abuser and is hanged for murder. The century-old cold case of the Fontaubert bones only has the legend of a gloriously lurid murder behind it, but maybe the new forensic investigation will turn up something if not equally interesting, at least mildly so. Then there was the first known boomerang victim, killed in the 13th century by a fighting boomerang, a heavy, sharp-edged wood weapon that cut through his bone like metal. I’m still keeping my fingers crossed that the remains of the victim of a huge 17th century royal sex scandal have been found, but the odds are slim.
I allowed myself some shameless photographic indulgences this year. The Australian quilts were probably my richest haul in a single post, but in sheer size and beauty, the Dream Garden Tiffany mosaic gets very high ranking in the end of the year summary even though I only just posted it a couple of days ago. Another December entry gave me my greatest source of photographic gluttony, however. It’s the boxwood miniatures. When the Art Gallery of Ontario gave me access to their folder of high resolution photographs, I seriously got a rush. It’s because the carving is so, so small. Having gigantic pictures where the details could be seen in extreme close-up totally made my year.
Along similar lines, I love how high resolution 3D scans of artifacts and remains are becoming more common. This year alone we saw 3D scans of Chinese oracle bones, the Dandaleith Pictish stone, a Pictish cross slab, an Anglo-Saxon name stone found at Lindisfarne, bones and objects from the Tudor flagship Mary Rose, the first church where Norway’s Viking saint king Olaf II was buried and the irrepressible charm of the Skara Brae “Buddo” figurine.
Some of my favorite finds of the year were inscriptions. There was the Etruscan stele found in the foundations of an ancient temple in Tuscany, later found to include the name of the goddess Uni. Newly discovered Etruscan inscriptions are always cause for celebration, and this one is very long and very old. I also loved the two from modern-day Turkey, the 2,000-year-old horse racing rules and the amazing 2,200-year-old lease contract. It’s a contract! Literally carved in stone! And thus metaphor becomes literal.
With no particular thread connecting them other than my personal interest, I got a big kick out of discoveries from all over the world. There was that group of small ceremonial iron weapons found in Oman, the small fragment of 13th century pottery from Teruel, Spain, decorated with a unique depiction of a Jewish man, the Tuscan villa of Vettius Agorius Praetextatus, a 4th century senator and one of the last politically prominent adherents of traditional Roman religion to fight for its preservation, that freaking huge gold torc found in Cambridgeshire and the unbearable cuteness of the Canaanite “Thinker” figurine.
In the ephemera category, the only copy of Utrecht’s first newspaper, published in 1623, was found in a hand-bound anthology in the City Archives and Athenaeum Library in Deventer, the Netherlands. The news wasn’t fresh (even our Dutch-speaking readers struggled to follow it), but the history of newspapers was entirely unknown to me before I researched the find. Fascinating subject. The account of another battle of Thermopylae, this one between invading Goths and a combined Roman-Greek force during the 3rd century Gothic wars, discovered in a palimpsest in Vienna is a stand-out of the year. It’s a previously unknown passage in the Scythica, a history of the wars written by Athenian historian P. Herennius Dexippus who lived through them. Only a few fragments from this history survived quoted in later books. The palimpsest gave us by far the longest surviving passage, and a riveting one at that.
Denmark may win the award this year for most exciting finds in one country. There was the wee gold pendant found by a metal detectorist that is the earliest figure of Christ found in Denmark, the lead amulet invoking elves and the Christian Trinity, the rediscovery of the long-lost Ydby Runestone, the stabby beauty of the Viking treasure hoard found in Lille Karleby, the
The hoards of the Danes had sturdy competition this year from Spain and Switzerland. The sheer quantity, 1,300 pounds of Roman coins, found in Tomares outside Seville, Spain, would have been impressive enough on its own, but they came in custom matching amphorae of a type never seen before. Researchers are still going through the tens of thousands of coins from the late 3rd, early 4th century. It’s not cash or pounds of gold, but the Roman lamp hoard found in Switzerland stands next to these glories with its head held high, just because it’s so pristine and unique.
I think the highlight of the year, maybe the highlight of the first decade of The History Blog history, was the chilling Halloween three-parter about the Harrison Horror (part I, part II, part III). I’d been thinking about writing a serial for years, and a long-form treatment of the body-snatching of John Scott Harrison and Augustus Devin for at least two years. I finally did it and it was so, so worth it. I’m warning you, though, there is no way I’m even trying to top it next year, not for Halloween anyway. Maybe some other theme will inspire me, or maybe it’ll just be something that I randomly stumble across. Stay tuned to find out!
I wish you all the very best of New Years, full of prosperity, peace and nerdery. I will continue to do my utmost to contribute to the last of those.
Archaeologists have discovered a prehistoric garden with 3,800-year-old tubers still in situ near Vancouver, Canada. This is the first direct archaeological evidence that the Holocene hunter-gatherers of the northwest coast cultivated plants as well as hunting and gathering it. The site, discovered during road work, was low-lying wetland 6,000 years ago. The anaerobic soil preserved the remains of an astonishing 3,768 wild wapato tubers (Sagittaria latifolia), also known as Indian potatoes.
Wapato tubers were a dietary staple among the indigenous people of the Fraser and Columbia rivers — the garden site is in what is now the Katzie First Nation territory — and were recorded by early ethnographers. Harvested between October and February, the tubers provided much-needed sustenance during the coldest of the winter months when supplies were scarce. The newly discovered ones long predate any such records, of course, and even the waterlogged soil couldn’t keep them in eating condition for close to 4,000 years. They’re black and brown now, although some the starchy interiors of some of the roots have survived.
Adjacent to the wetland garden is a dry site on a sandy ridge that contains the remains of two rectangular dwellings dating to the Middle Component (5,300–4,250 years before the present) and a fire pit that was so actively used during the Middle and Late Component (4,100–3,200 B.P.) that archaeologists unearthed more than 12 metric tons of fire-altered rock (FAR). Late Component artifacts were also found at the dry site, including more than 90,000 stone beads.
The tubers were wild plants, not domesticated, and wapato plants can grow deep underground all on their own. It’s an assemblage of rocks that makes it clear that this site wasn’t just a very prolific wild potato patch, but a cultivated wetland garden ingeniously customized by the indigenous people of the area to enhance harvest yields. The key evidence of cultivation is the rock pavement which is too uniform and densely packed to have been the result of natural processes like water carrying small stones to the lowest lying land. Archaeologists also found fragments of 150 fire-hardened wood tools, some still embedded in the rock pavement, used to harvest the tubers en masse.
The rock pavement controlled the depth to which the wapato rhizomes could penetrate, allowing harvesters to more easily locate and release the tubers from the mucky substrate. The context, breakage pattern, and direct association with the rock pavement suggest that the wooden tips are the distal ends of digging sticks. Their stratigraphic provenience and orientation imply that wapato harvest involved pushing or thrusting digging sticks into the pavement, where a prying or rocking motion was used to break the wapato tubers free from the mat of rhizomes and muddy substrates. Once released, the tubers would float to the water’s surface. When thrust through the pavement or caught between the pavement stones, some of the digging sticks broke and the tips of the fractured sticks were left in situ or discarded in the adjacent midden area.
The rock pavement in the garden is made of mixture of fire-altered rock and cobbles. It’s likely that the FAR were first used in the large hearth pit on the dry site and then recycled after they’d been shrunk by fire to too small a size for use in roasting. This was nothing if not an efficient system. Radiocarbon analysis of the fire-hardened wood found at the wetland garden indicate it was in use 3,800 years ago. By 3,200 years ago, it had been abandoned, thousands of tubers left in their watery garden for archaeologists to find.
You can read the full report on the site published in the journal Science Advances here.
The Corning Museum of Glass (CMoG) in Corning, New York, will present the first exhibition dedicated to the intricate glass mosaics made by Louis Comfort Tiffany‘s glassworks. Tiffany’s Glass Mosaics combines works in the CMoG collection with ones from The Neustadt Collection of Tiffany Glass and pieces loaned from other institutions and private collections. Almost 50 mosaics made from the 1890s through the 1920s will be displayed, from small decorative objects to massive installations made of thousands of glass tiles.
The exhibition will reveal the process of creating a mosaic at Tiffany’s studios—through detailed watercolor studies and drawings to surviving glass sample panels and examples of completed work. Museum visitors will gain insight into the labor-intensive processes, including the selection of individual pieces of glass, which played a vital role in the overall aesthetic of the final product. Drawing on The Neustadt’s archive of Tiffany glass, objects on display will also include original examples of colored sheet glass, glass “jewels,” and glass fragments made for specific mosaics.[...]
“Although Louis C. Tiffany is best known for his pioneering leaded glass windows and lamps, his mosaics are the culmination of his experimentation and artistry in glass,” said Lindsy Parrott, director and curator at The Neustadt and co-curator of Tiffany’s Glass Mosaics. “Indeed, the mosaics represent an exciting synthesis of his work in both leaded and blown glass. Using a rich variety of materials, including multicolored opalescent glass and shimmering iridescent glass, accented with three-dimensional glass ‘jewels,’ Tiffany’s innovations in glass established a bold new aesthetic for mosaics and contributed a uniquely American character to the centuries-old art form.”
The exhibition will also explore how Louis Comfort Tiffany used his showroom to market his portfolio to wealthy clients, driving up perceived value by letting buyers get a peek behind the curtain at how the wizards in Tiffany’s workshop made every piece by hand.
“Tiffany’s successful combination of art and business coincided with the rapid development of consumer culture in the United States,” said Kelly Conway, curator of American glass at CMoG and co-curator of Tiffany’s Glass Mosaics. “His impressive New York City showroom and clever, gorgeous displays of the company’s mosaics at world’s fairs, coupled with strategic marketing, sparked consumer interest and drove demand for high-priced luxury objects for the home.”
That was just the beginning of the Tiffany mosaic business, however. As the mosaic workshop became increasingly well-established at the end of the 19th century, religious and educational institutions commissioned Tiffany mosaics on a grand scale. While individual mosaics, mostly portable, have been on display before, this exhibition is the first to display the full breadth of Tiffany’s mosaic oeuvre. The museum has created custom digital displays that will allow visitors to explore the minute details of large-scale architectural mosaics in churches, libraries and universities that cannot be moved for exhibition. Mosaics at 12 different locations in New York State, Philadelphia, Baltimore, and Chicago have been photographed in high resolution by the CMoG team for the virtual displays.
Here is a magnificent example of that photography. It’s a mural in the Curtis Publishing Company Building in Philadelphia, a huge wonderland of glass tiles that looks completely different from a distance than it does up close, like one of those magic eye posters.
EDIT: Extremely relevant information I left out for some unknown reason is that the exhibition runs from May 20th, 2017, through January 7th, 2018.
An ancient Roman bronze statue lost since World War II has been rediscovered at the State Hermitage Museum in St. Petersburg. The gilded bronze statue of Nike, goddess of Victory, was created in the second century A.D. to commemorate the victory of co-emperors Marcus Aurelius and Lucius Verus against the Parthians in the war of 161-166.
The Victory was found in four pieces: the body, torso, right hand and the sphere. The head was discovered first, churned up in February 1836 by farmers working the fields of a private estate near the town of Calvatone outside Cremona in Lombardy, northern Italy. The estate’s owner, Luigi Alovisi, was fascinated by the golden head and had people keep looking for more parts. On March 14th, 1836, they found the body, missing the left arm and leg, and a sphere with both of her dainty feet perched upon it. The inscription on the sphere — VICTORIAE AVG. / ANTONINI ET VERI / M. SATRIUS MAIOR — identified its age and that it was dedicated by local dignitary Marcus Satrius Maior to the emperors.
Italian restorers put the existing pieces back together, revealing a statue 170 cm (5’7″) in height. Even though it was incomplete, its size, quality and the elegant balancing of the winged Victory atop a sphere immediately classified it among the masterpieces of antiquity. Very few ancient bronzes survived melting down, and the Calvatone Victory not only managed to avoid the forge, it kept a large proportion of its gilding.
In December of 1841, Luigi Alovisi sold the Victory to King Frederick William IV of Prussia for 12,000 Austrian lire and a noble title. German restorers picked up where the Italian ones left off and all the statue’s missing parts — left arm, left leg, wings — were recreated and attached. Now complete, it became a favorite subject for artists to draw and sculptors to copy. A plaster cast of the sculpture was created in 1871 and another eight made after the turn of the century. Some of the copies are in museums in Berlin, Rome, Cremona and Moscow even today.
Up until 1939, the Calvatone Victory was on display in the Altes Museum in Berlin. Along with many other precious works, it was moved to the cellar of the new Royal Mint building for its protection when World War II broke out. It remained (relatively) safe there while its former home at the Altes Museum was destroyed by Allied bombs. It was in the chaotic aftermath of the Battle of Berlin in 1945 that the Victory disappeared, one of thousands of artifacts lost to looting by German Army deserters and Red Army troops.
Its whereabouts were unknown for the next 70 years. Recent research by Hermitage staff into declassified Soviet files and newly discovered documents found that the Victory was specifically targeted for removal from the mint cellar by a Russian expert in ancient art. The cellar had flooded in the waning days of the war, and the Calvatone Victory was one of many pieces stored there to suffer damage. Packed into one of 40,000 cases full of art, the Victory wasn’t assigned an inventory number. By the time it arrived at the Hermitage in 1946 and was entered into inventory there, its real identity was lost and it was mistakenly assessed to be a 17th century French sculpture.
The statue is not in great condition. The heavy gilded iron wings attached by the Berlin restorers in the 19th century fell off during its wartime service in the cellar, and there is evidence of damage from bombs and water.
Hermann Parzinger, the director of the SPK, and Michail Piotrowkij, the general director of the Hermitage, have agreed to collaborate on the sculpture’s restoration.
Parzinger thanked the Hermitage for its transparent handling of the research, and for a history of successful collaborations on exhibitions surrounding works displaced from German museums during World War II. “With the Victoria of Calvatone sculpture, our successful and mutually trusting scholarly collaboration has gained another milestone to mark.”
Danish archaeologists have found the skeletal remains of three ancient housecats in Aalborg, northern Jutland. At 2,000 years old, they are by far the oldest domesticated cat remains ever discovered in Denmark. The cat bones were found during an archaeological survey before construction of a new university hospital in Aalborg East. The bones of two of the three cats could be dated from their archaeological context to the 1st century. They will be radiocarbon dated to confirm their age.
The settlement was located on the foreland at the narrowest point on the Limfjord, an area which today is considered a marginal area for agriculture. During the Iron Age it was rich pasture land, however, and the settlement took advantage of the excellent grazing to raise livestock. The remains of longhouses from that period have been found at the site, with rare surviving chalk floors and equally well-preserved animals bones, teeth and other zooarchaeological material.
Excavations took place in 2014-2015, but they found so many different kinds of animal bones that scientific analysis identifying them were only completed this year. Most of the bones came from sheep and/or goats, cattle, horses, livestock that would have been raised, slaughtered and eaten in the settlement. A large number of fish bones attest to the sea-side settlment’s use of marine resources. No remains of game were found, suggesting hunting was not a major source of food for the Iron Age residents.
There are comparable animal remains at other settlements on the fjord, but the cats are unique. The Limfjord was an important thoroughfare during the Iron Age. Trade networks moved weapons, luxury goods and exotic animals from the south and west of Europe to what is today Denmark. The cats almost certainly came from the Roman Empire.
A genetic study reported in the journal Nature this September suggested that cats, all of ancient Egyptian lineage, spread over Europe in waves, reaching northern Europe by making themselves useful to the seafarers of the Viking era.
Cat populations seem to have grown in two waves, the authors found. Middle Eastern wild cats with a particular mitochondrial lineage expanded with early farming communities to the eastern Mediterranean. Geigl suggests that grain stockpiles associated with these early farming communities attracted rodents, which in turn drew wild cats. After seeing the benefit of having cats around, humans might have begun to tame these cats.
Thousands of years later, cats descended from those in Egypt spread rapidly around Eurasia and Africa. A mitochondrial lineage common in Egyptian cat mummies from the end of the fourth century bc to the fourth century ad was also carried by cats in Bulgaria, Turkey and sub-Saharan Africa from around the same time. Sea-faring people probably kept cats to keep rodents in check, says Geigl, whose team also found cat remains with this maternal DNA lineage at a Viking site dating to between the eighth and eleventh century ad in northern Germany.
The discovery of the three cat skeletons in an Iron Age settlement on North Jutland poses a challenge to that view. Of course, the scenarios are not mutually exclusive. It’s entirely possible cats were introduced to the fjord via trade with Rome, direct or otherwise, but didn’t establish themselves until a thousand years later.
Workers expanding a waste-water sanitation system in the village of Beit Ras in northern Jordan have unearthed a Roman or Byzantine-era tomb decorated with vibrantly colored frescoes. In rich reds, greens, yellows and pinks, the oil frescoes depict people and their animals in daily life, agricultural workers, grape vines and scenes from mythology. There are Greek inscriptions above the While some areas are eroded, on the whole the art is remarkably well-preserved and provides a unique insight into the funerary rituals of the city of Capitolias in late antiquity.
The tomb includes a cave with two burial chambers. The larger chamber contains a basalt stone rock-cut tomb decorated with raised etchings of two lion heads and with several human bones enclosed. [...]
The inscriptions and some artifacts found in the tomb are being analysed to give a more accurate time-frame of when this tomb was built and who it was built for. [...]
Her Excellency Minister of Tourism and Antiquities Ms. Lina Annab, following a visit to the site, confirmed that the Department of Antiquities will continue to excavate, expand and prepare the site for future visitors. Her Excellency also confirmed that due to the tomb’s archaeological value, the site has been closed off to visitors and on-lookers to protect the archaeological integrity of the tomb as more tests are being run to ascertain more information about its significance.
The ancient city of Capitolias was founded in the 1st century A.D. under the reign of either Nerva or Trajan. The planned city, dedicated to and named after the god Jupiter Capitolinus, prospered. By the 2nd century it was encircled by a defensive wall and continued to grow in regional significance. It was one of the cities of the traditional Decapolis, a group of 10 cities that were centers of Greek and Roman culture in the Levant. Capitolias was populated through the Umayyad period in the 10th century, and there are records of Latin titulars assigned to the city as late as the 14th century.
The site wasn’t thoroughly excavated until the 1980s, and there were limitations on how much of the area could be explored without interfering with the modern village. Very few structures have been found — a smattering of the surface remains of the city walls, a marketplace, a colonnade, an aqueduct — but there’s little left of most of them. The largest single surviving ancient structure is the 2nd century Roman theater.
Other archaeological finds, large numbers of glass fragments from the 3rd-5th century which are evidence of a major secondary glass production industry in Capitolias, indicate Capitolias was economically prominent in the region well into the Byzantine era. The newly discovered tomb may fill in more blanks about this same period.
I saved this just for today since I knew I wouldn’t have time for a full post. Remember the wonderful video from last year of the Historic Royal Palaces conservators lovingly cleaning the massive Mortlake February tapestry? Several comments on that article wished to see a picture of the tapestry after it was cleaned. Well, there are no direct before-and-after comparison images that I could find, but there is another great video, this one showing the cleaned tapestry re-hung by textile conservators in the Privy Chamber of Kensington Palace.
They take the same care hanging such a large and delicate tapestry as they do washing it.