Arts and Sciences
The excavations of future construction sites for the Fehmarn Belt Link tunnel continue to strike archaeological gold. Last month it was a 3,000-year-old flint dagger with an intact bark handle. Now Museum Lolland-Falster archaeologists reveal they’ve discovered two sets of Stone Age human footprints left around an extensive system of fixed gillnets, sticks of hazel mounted on stakes to form continuous weirs that trapped fish when the tide came in, on the Danish island of Lolland.
The Stone Age footprints are estimated to date back as far as 5,000 BC to 2,000 BC, to the time when water levels in the Baltic Sea were rising due to melting glaciers in northern Europe, and prehistoric people were able to use the inlets as bountiful fishing grounds. The individuals that made the footprints constructed elaborate fishing fences to catch their prey, and researchers say that the large wooden fences which interconnected to create a single continuous trap, were likely the cause of the footprints.
“What seems to have happened was that at some point they were moving out to the [fish fence], perhaps to recover it before a storm” project manager for the Museum Lolland-Falster, Lars Ewald Jensen says. “At one of the posts, the footprints were found on each side, where someone had been trying to remove it from the sea bottom.”
At least two people were involved in this rescue operation, leaving two sets of footprints of different sizes. They walked onto the wet seabed to pull up what they could of the gillnets and left deep impressions when their feet sank into the ground. Sand and mud then flowed into their prints. Thousands of years later, those prints were still clearly visible to archaeologists, both at the original depth and in dents on the surface.
Up until land reclamation efforts in the late 19th century, the coastal area where the footprints were found was dotted with fjords and streams and subject to regular flooding from the sea. A major Baltic flood in 1872 claimed 80 lives on Lolland. As a result, a vast dyke was built along nearly 40 miles of the island’s south coast. The dyke dried out the fjords. The gillnets bear witness to the constant battle against the incursions of sea water. The wattle had to be repeatedly repaired over the lifetime of the gillnets due in part to flood damage. Museum Lolland-Falster archaeologist Terje Stafseth notes in the museum press release (pdf):
“The investigations have shown that the Stone Age population repeatedly repaired, and actually moved parts of the capture system in order to ensure that it always worked and that it was placed optimally in relation to the coast and currents. We are able to follow the footprints and sense the importance of the capture system, which would have been important for the coastal population to retain a livelihood and therefore worth maintaining.”
These are the second-oldest human footprints found outside of Africa, with the oldest being the 800,000-year-old ones discovered on the rapidly-eroding foreshore of a beach in Happisburgh, Norfolk, in May of 2013. Most Stone Age remains recovered in Denmark are midden piles, broken tools or pottery. Archaeologists have found animal footprints from the period, but these are the first Stone Age human footprints ever found in Denmark.
Footprints and fishing trips weren’t the only discoveries on this ancient beach. Archaeologists also discovered several animal skulls from domestic and wild animals that appear to have been placed there deliberately as part of a ritual offering by farmers who inhabited the area in around 4,000 B.C. Fragments of skulls from assorted animals were placed on the coastal sea floor and then surrounded by crania of cattle and sheep. Axe shafts were placed around the skull sacrifice area which turned out to be quite large at 70 square meters (83 square yards).
The excavation is ongoing but the clock is ticking. This site along with so many others is likely to be destroyed when construction of the tunnel begins in a few months. The footprints and gillnets will be covered by an above-ground facility. All that will be left of the footprints that survived thousands of years will be flat molds taken by the archaeologists.
The Batmobile made for the 1966 TV show from a 1955 Lincoln Futura concept car by legendary car customizer George Barris may be the one we think of as the first Batmobile, but that’s just because the TV show was such a smash hit (pow! bam!) and the car so damn cool that it became an instant icon. Its iconic status garnered it $4.62 million including buyer’s premium when it sold at auction in January of 2013, and I myself repeatedly referred to it as the first Batmobile.
I was wrong. It’s the first of a long line of sublime to ridiculous television and film custom Batmobiles (the 1940s serials used a black Cadillac, a limo and a Mercury Eight, all off the line), but National Periodic Publications, owners of DC Comics, officially licensed a Batmobile built years before the TV show for promotional purposes. Its design comes straight from the comic book, a particularly great one at that, a product of the vision of artist Dick Sprang.
Dated February 1950, Detective Comics #156 hit the newsstands in December 1949 (spanning two decades!) and introduced a new Batmobile for a new decade. The story is that Batman is chasing mobster Smiley Dix when the bridge he’s driving over collapses. Batman breaks his leg and the Batmobile is totalled. Our hero takes advantage of his convalescence to build a new Batmobile — stronger, faster, and full of new bells and whistles. The “Batmobile of 1950″ was high-tech marvel with a radar antenna in the tail fin and a forensic laboratory in place of a back seat. It made an indelible impression on Batman fans, many of whom consider it the definitive design to this day.
Forrest Robinson was 13 years old when Detective Comics #156 was issued, and it certainly made an impression on him. For years he sketched ideas for a real Batmobile in his notebook. Ten years later, he bought a 1956 Oldsmobile Rocket 88 and designed a new look for it inspired by Sprang’s Batmobile. It took Robinson and his friend Len Perham three years of work in the Robinson family barn in New Hampshire to replace the Oldsmobile body with a custom fiberglass body 17 feet long and seven feet wide with the iconic single giant dorsal fin, an upturned bat-nose front, quad headlights, horizontal tailfins and doors that slide into pockets on the rear fenders. In 1963 the car was done. Robinson painted it space-age silver and drove it as his personal ride.
In 1966, the popularity of the Batman television program caused a Batmania throughout the land. The All Star Dairy Association, a national dairy co-op, spent $3 million to tap into this groundswell, licensing Batman, Robin and the Batmobile from National Periodic Publications for use in dairy-based promotional campaigns. They sold Batnog that Christmas and a variety of fruit drinks, ice cream, cones, sandwiches, etc. with Batman and Robin on the packaging. (Slam Bang Vanilla Ice Cream with Banana Marshmallow needs to make a comeback, by the way. It should never have left us.) It worked like a charm. By early 1967, sales on Batman-packaged ice creams increased 300%.
All Star’s New Hampshire affiliate, Green Acres Ice Cream, leased Robinson’s car to play to make personal appearances as the Batmobile. They repainted it in Batman black, put the Batman Dairy Foods logo on the doors and under the dorsal fin, and drove it around three northeastern states promoting Batman & Robin ice cream products. This was the first ever officially licensed touring Batmobile. George Barris’ Batmobiles, the Futura and its fiberglass-on-Ford-Galaxie copies, didn’t start touring until 1967.
After its turn selling ice cream to the kiddies, Forrest Robinson sold the car for $200 to a friend of his in 1967. The friend didn’t show the car much love, I’m afraid, and it spent decades rusting in a New Hampshire field before passing through several hands until it was acquired in 2011 by Florida car collector George Albright. He researched its history, contacting Robinson, Perham and dairy executives who remembered its service as the Batmobile. Not having the time and resources to dedicate to a proper restoration of the vehicle, in 2013, a month after the Barris Batmobile made such a splash at auction, he put it up for sale on eBay with a minimum bid of $19,800. He wound up pulling it and doing a private deal, selling it for an undisclosed amount to Toy Car Exchange LLC who have spent the past year restoring it to pristine condition. Thanks to the addition of red accents, it looks more Batmanny than it ever did.
Toy Car Exchange has now put the restored 1963 Batmobile for sale at Heritage Auctions’ Entertainment & Music Memorabilia auction on December 6th. The opening bid is $90,000.
Nineteen medieval artifacts from the Sacred Convent of St. Francis in Assisi that have never left Italy since their creation 700 years ago are heading to New York. There are no known extant documents written in Saint Francis’ own hand (historians think he dictated rather than writing himself). These 13th and 14th century manuscripts are the earliest surviving documents about Francis’ and the mendicant order he founded. The exhibition, Friar Francis: Traces, Words and Images, will be on display at the UN Headquarters from November 17th through the 29th but it’s not open to the public. They will be on public display when they move to the Brooklyn Borough Hall from December 2nd to January 14, 2015.
It’s divided into three sections. The first section, Traces, focuses on documents that are closely connected to Francis’ lifetime. The centerpiece is Codex 338, a collection of the oldest existing copies of Saint Francis’ writings, including the 12 chapters of the Rule of the Friors Minor and the Canticle of the Creatures or Canticle of the Sun, one of Francis’ most celebrated poems. The Canticle of Creatures is the first surviving works written in a dialect (Umbrian) recognizably resembling modern Italian. It is considered the oldest poem in Italian literature. There are also several Papal Bulls issued in the 1220s by popes Honorius III and Gregory IX regarding the regulation of the new order and, after Francis’s canonization in 1228 just two years after his death, ordering the construction of a new church to house his earthly remains.
The second section, Words, deals with hagiographies of Francis written after his death. The oldest is a fragmentary parchment of Vita Beati Francisci (The Life of Blessed Francis) by Father Tommaso da Celano commissioned by Pope Gregory IX around the time of Francis’ canonization. There’s also a very rare manuscript of Celano’s second biography, Memoriale Desiderio Animae de Gestis et Verbis Sanctissimi Patris Nostri Francisci (Memorial of the Desire of a Soul Concerning the Deeds and Words of Our Most Holy Father Francis), aka Seconda Vita (Second Life), which was commissioned in the mid-1240s by Crescentius of Jessi, Minister General of the Franciscan Order. A later work from the end of the 14th century, Fioretti di San Francesco (Little Flowers of St. Francis), is an idealized portrayal that would become the most popular hagiography of the saint and the basis for many future works of literature and art about Francis.
The last section, Images, features depictions of Saint Francis in miniature from illuminated manuscripts. There’s Francis at the foot of the crucified Christ in Ubertino da Casale’s Arbor Vitae Crucifixae Jesu, Francis in a little box amidst floral borders in the Breviarium Fratrum Minorum illuminated by painter Sano di Pietro for the convent of Saint Claire in Siena, and Francis ranking with Adam and Christ on the first page of Genesis in a Bible.
Before these precious and fragile documents could travel, they were subject to months of careful conservation.
Over the past five months, Father Massetti, two other monks and three young restoration experts have cleaned all the manuscripts with a soft paint brush, page by page.
The restoration experts have repaired the fissures of the parchment with Japanese vegetable fiber or a bovine membrane. They have consolidated the ink and the colorful paintings through a starch gel.
Five of the manuscripts, ranging from the size of a choral book to the pocket format, were unbound, parchment by parchment, and were finally reassembled and stitched back together with a linen thread.
So not only is it the first (and probably only) chance people in the US will have the chance to see these rare artifacts, they will be in the greatest condition they’ve been in for centuries. The exhibition was on display at the Chamber of Deputies, Italy’s lower house of parliament, in the Montecitorio Palace earlier this year, and although many countries have asked to host it, only New York has received the honor. It’s a fitting choice, seeing as 40% of the six million visitors to the Basilica of San Francesco d’Assisi hail from the United States.
The Carolingian pot that was part of a Viking hoard discovered by metal detectorist Derek McLennan in Dumfries and Galloway, Scotland, last September has been CT scanned in a hospital. The silver alloy vessel is covered in verdigris (the green powdery substance produced from the corrosion of copper) and experts were concerned that it was too fragile to just take off the lid and dig out its contents blind. Richard Welander, Historic Scotland’s head of collections, contacted Dr. John Reid, a radiographer at Borders General Hospital and avid amateur archaeologist who had previously collaborated with Historic Scotland to scan the remains of a Roman soldier’s head discovered at the Trimontium fort in Newstead.
Dr. Reid secured permission from hospital chief Calum Campbell for the £485,000 CT scanner to be used on the pot. So as not to interfere with the machine’s normal operations on actual human beings, the vessel was brought in the evening and was scanned. Derek McLennan and Richard Welander were present to witness the pot’s innards scanned in 120 visual slices accurate to within a half a millimeter.
At first glance, one view revealed the presence of an Anglo-Saxon openwork brooch, a 9th century style seen in several pieces from the Pentney Hoard, now in the British Museum. Further examination of the CT scan results identified four other silver brooches, some gold ingots and ivory beads coated in gold. The contents are all wrapped in an organic material of some kind, possibly leather.
Now that they know the layout of the contents, conservators will be able to remove the contents in a controlled way.
Richard Welander, head of collections with Historic Scotland, said: “When I saw the results I was reminded of the words of Sir Howard Carter when Tutankhamen’s tomb was opened in 1922 – “I see wonderful things”.
“We are all so grateful to the Borders General Hospital for allowing us to forensically examine one of the key objects of the hoard.
“As with human patients, we need to investigate in a non-invasive way before moving onto delicate surgery.
“In this case, that will be the careful removal of the contents and the all-important conservation of these items.”
The wrapping is going to make it a particularly challenging mission since it could easily fall apart the minute it’s exposed to air or interfered with in any way. I hope they film the surgery like they did the CT scan (see video below) because it’s sure to be fascinating.
The scan also revealed more detail of the decoration on the exterior of the pot which is partially obscured by mud and a textile of some kind (no word yet on what that is). It’s that decoration that identifies the pot as Carolingian in origin, created between 780 and 900 A.D. It is a very rare discovery in Britain — only three, including this one, have ever been found — and this one is complete with its original lid still attached.
The skeletons of two Ice Age infants discovered at the Upward Sun River archaeological site in central Alaska are the earliest human remains ever found in northern North America. The presence of grave goods is also unprecedented for an infant burial of this era. The remains date to about 11,500 years ago. By analyzing tooth eruption sequences (the stages of the teeth growing out of the jaw), archaeologists were able to determine that one of them is a very young infant, between six and 12 weeks old, while the other was a neonate above 30 gestational weeks, so it was either stillborn or born too premature to live.
These are the youngest individuals from the late Pleistocene to receive a formal burial found anywhere in North America. The only discovery that comes close is the child buried at the Late Clovis Anzick site in Montana around 13,000 years ago, and he was two years old at time of death. It’s rare to find burials of very young infants from highly mobile foraging societies because they didn’t stay in one place for long so there’s no central location like a cemetery and the odds are slim of encountering individual burials even of larger humans. The Upper Sun River site was a residential campsite, not a dedicated burial ground, and yet, three individuals were found buried there within the same feature: the two inhumed infants with grave goods, and a cremated three-year-old with no grave goods. That’s another thing that is unique about this discovery.
Archaeologists found evidence of six different occupations of the site separated by hundreds or thousands of years. All but one of them were short-term camps occupied for no more than a few days while people hunted small game (squirrels, hares, ptarmigan) and fished the plentiful summer salmon in the nearby Tanana River. They’d take their harvest back to the base camp and cook it on hearths. The third occupation is the only one that had a longer-term presence. In addition to 10 cooking hearths, the third occupation features the remains of a dwelling and the burials.
Because of the undisturbed faunal and lithic material excavated from the context of the burials, it seems the two infants were buried at the same time. The cremated remains were buried later (they were found first, in 2010; the infant remains were found last year about 16 inches beneath the cremation) but all three were either buried during the same summer or in subsequent summers. Radiocarbon dating confirms that the lower and upper finds are contemporaneous. Given the consistency of the faunal remains in the ground fill and in the hearth that tops the burial pit, the third occupation base camp was populated by the same people. They could have been the one band or maybe even one family. Archaeologists are optimistic that they’ll be able to retrieve testable samples of nuclear, mitochrondrial and Y-chromosome DNA from the remains which should tell us whether they had a familial relationship.
Since the double infant burial and the toddler cremation were done by the same people around the same time, there is no obvious reason for the differential treatment of the burials. It wasn’t a seasonal accommodation — frozen ground in the winter forcing cremations — because all three burials happened in the summer. There may have been a situational distinction — who was present for the burials, say — or perhaps a religious or cultural one.
The grave goods and funerary customs in the double infant burial are extensive. Archaeologists unearthed four antler rods, foreshafts to which projectile points would have been hafted, decorated along the whole length with geometric abstract incisions. This too is unprecedented. There are some scratchings or possible ownership marks on other paleo-Indian foreshafts, but these are the first ones found with the whole length decorated. Two stone projectiles, dart or spear points, were found placed at the end of two of the rods, exactly where they would have been attached with animal sinew that has now deteriorated. That makes these the earliest hafted shafts discovered in North America, and the first concrete evidence that the foreshafts were topped with stone points.
The entire pit and its contents were covered with ochre, a common element in pre-historic burials most likely due to the association of red with blood and therefore life. The bottom of the pit was lined with ochre, all of the grave goods were coated in it and all of the bones. The articulation of the infant skeletons — knees drawn to the chest, arms folded — suggest they were wrapped in that position before burial. Over time the wrappings disintegrated and the ochre in the pit then covered the bones.
[University of Alaska Fairbanks professor Ben] Potter and his colleagues note that the human remains and associated burial offerings, as well as inferences about the time of year the children died and were buried, could lead to new thinking about how early societies were structured, the stresses they faced as they tried to survive, how they treated the youngest members of their society, and how they viewed death and the importance of rituals associated with it.
“Taken collectively, these burials and cremation reflect complex behaviors related to death among the early inhabitants of North America,” Potter said.
Here is some b-roll of the excavation with great close-ups of the ochre-coated antler rods and a projectile point in situ:
Excavation of the third chamber of the Kasta Tumulus in Amphipolis has revealed a limestone cyst grave containing human remains 1.6 meters (5’2″) beneath the surviving floor stones. The grave is 3.23 meters (10’7″) long, 1.56 meters (5’1″) wide and one meter (3’3″) high, but uprights discovered when the cyst was excavated indicate the walls were original at least 1.8 meters (5’10″) high. Two of the limestone slabs that once covered the grave are missing, and bones were found both inside and outside the grave, evidence the tomb was interfered with by looters in antiquity.
When the soil filling the grave was removed, archaeologists found a little ledge going around the bottom inside perimeter. A wooden coffin was originally placed on that ledge. It has long since rotted away, but iron and copper nails from the coffin were found scattered, as were ivory and glass decorations that once adorned it.
The bones have been removed and will be studied in the lab. The hope is that they will be able to tell us something about the identity of the tomb’s owner. It’s going to be a tall order. Even determining sex from disarticulated bone pieces is a challenge that could well be insurmountable.
The always excellent Dorothy King of PhDiva posits that if the remains prove to be male, a likely candidate for the occupant of this tomb is Hephaestion, Alexander’s the Great’s closest friend from childhood who was worshipped as a divine hero after his premature death from a fever in 324 B.C. Alexander was devastated by the loss of Hephaestion, likening their relationship to that of Achilles and Patroclos of Trojan War fame and explicitly modeling his mourning after Achilles’.
Plutarch describes Alexander’s reaction to Hephaestion’s death in Parallel Lives:
Alexander’s grief at this loss knew no bounds. He immediately ordered that the manes and tails of all horses and mules should be shorn in token of mourning, and took away the battlements of the cities round about; he also crucified the wretched physician, and put a stop to the sound of flutes and every kind of music in the camp for a long time, until an oracular response from Ammon came bidding him honour Hephaestion as a hero and sacrifice to him. Moreover, making war a solace for his grief, he went forth to hunt and track down men, as it were, and overwhelmed the nation of the Cossaeans, slaughtering them all from the youth upwards. This was called an offering to the shade of Hephaestion. Upon a tomb and obsequies for his friend, and upon their embellishments, he purposed to spend ten thousand talents, and wished that the ingenuity and novelty of the construction should surpass the expense. He therefore longed for Stasicratesa above all other artists, because in his innovations there was always promise of great magnificence, boldness, and ostentation. This man, indeed, had said to him at a former interview that of all mountains the Thracian Athos could most readily be given the form and shape of a man; if, therefore, Alexander should so order, he would make out of Mount Athos a most enduring and most conspicuous statue of the king, which in its left hand should hold a city of ten thousand inhabitants, and with its right should pour forth a river running with generous current into the sea. This project, it is true, Alexander had declined; but now he was busy devising and contriving with his artists projects far more strange and expensive than this.
So according to Plutarch Alexander had decided against turning all of Mount Athos into a sort of pre-dynamite one-man Mount Rushmore monument to himself, but he planned to make an even more elaborate tomb for his beloved companion, one worthy of a divine hero. Perhaps Alexander’s death in 323 B.C. kept the crazier of the grandiose plans from taking hold or perhaps the ancient sources were exaggerating, as they so often did, but it’s in keeping with Hephaestion’s importance to Alexander and the posthumous honors he received that the largest tomb ever found in Greece would have been built for him.
According to the Greek Culture Ministry, the Kasta Tumulus has to have a public religious purpose like the tomb of a divine hero. The tomb used the greatest amount of marble ever assembled in Macedonia, and the variety and precision of decorative and architectural techniques — the sphinxes, painted architraves, pebble mosaics in the entryway, the Persephone tile mosaic, the caryatids, the lion that was once on top of the tomb — make it a uniquely complex project. Its size and scope was so massive no individual could have mustered the resources to construct it. The archaeological team plans to examine the 430 or so marble elements from the tomb that the Romans stripped from the tomb in the 2nd century A.D. and used to shore up the banks of the river Strymon. Perhaps pieces from inside the tomb, fragments of the grave, for example, might be recovered that will lend additional insight.
The murals begin at the entry to the tomb. The perimeter of the arched doorway and wall is painted in a thick stripe of red that doesn’t appear to have faded at all. Against a white background, two human figures are painted on either side of the entryway. The left guardian is a man wearing a black hat holding a staff. The right guardian is a woman holding aloft a feathered fan. Between them centered above the arch is the supernatural bird being Garuda, hovering amongst the clouds, watching over the entryway.
Inside the tomb, the largest mural is on the north wall. It’s a domestic scene depicting the tomb owner’s household. In the background are floor-to-ceiling windows with some excellent roll-up shades, a valance on top and curtains pulled back on the sides. There’s an empty bed in the center, flanked by attendants carrying different vessels and accessories. The stars of the show, however, are a black and white cat in front of the attendants on the left and a black and white dog in front of the attendants on the right. They both have ribbons tied around their necks and the cat is playing with a ball on the end of strip of silk.
On the west wall is a dense, dynamic scene of travel through the countryside. An elaborate carriage on the top right of the wall is pulled by Bactrian camel. In the foreground a saddled horse trots, led by a groom. On the top left farmers carry water, plough and hoe their crops. A small figure of horse and rider in the bottom left looks to be transporting goods in packed saddlebags.
The east wall is a riot of food, drink and animals. Attendants on the left carry trays of food and beverages while on the ground in front of them are pitchers and bamboo steamers doubtless groaning with more of the same. On the top right is a saddle hanging on a rack with a lotus flower fountain to its left. A dear sits in front of the saddle. Other animals in the tableau are a crane, a turtle, and a snake crawling behind an axe on a platform. Between the deer and the crane are bamboo plants. A poem written on a banner to the right of the saddle ties the scene together: “Time tells that bamboo can endure cold weather. Live as long as the spirits of the crane and turtle.”
The tomb was looted at some point in the last 1,000 years, but there was one artifact still present: a statue three feet high of a man sitting cross-legged wearing a black robe. Archaeologists believe it’s a representation of the tomb’s occupant. It may even have been a symbolic substitute for his body, a common practice for Buddhist burials at that time.
University of Münster archaeologists excavating the ruins of a medieval monastery near the southeastern Turkish city of Gaziantep have discovered a basalt stele carved with a figure of a previously unknown deity. The monastery of Mar Solomon (Saint Solomon) was built in the early Middle Ages over the remains of the Roman-era temple to Jupiter Dolichenus, a deity who was a syncretized combination of the Greco-Roman thunderer, king of the Olympian gods, and the Hittite sky and storm god Tesub-Hadad. Before the Roman temple there was a sanctuary to Tesub-Hadad on the hill known today as Dülük-Baba Tepesi. The stele was recycled for use as building material in the wall of the monastery.
Archaeologist Blömer described the depiction: “The basalt stele shows a deity growing from a chalice of leaves. Its long stem rises from a cone that is ornamented with astral symbols. From the sides of the cone grow a long horn and a tree, which the deity clasps with his right hand. The pictorial elements suggest that a fertility god is depicted.” There are striking iconographic details such as the composition of the beard or the posture of the arms, which point to Iron Age depictions from the early 1st millennium B.C.
Hundreds of seals from the pre-Roman sanctuary have been found on the site, many of them carved with religious imagery and symbolism that are giving archaeologists new insight into worship practices at the sanctuary in the 1st millennium B.C. The discovery of the fertility god relief is an exciting addition to the archaeological record, and particularly relevant to the team’s investigation of how local cults survived over the millennia and in some cases expanded from their native contexts to widespread religions with adherents all over the Roman empire. Since ancient written sources — usually Roman elites — are unreliable documentation of Near Asian religions, archaeological sources are invaluable.
Excavation director Prof. Dr. Engelbert Winter:
“The image is remarkably well preserved. It provides valuable insights into the beliefs of the Romans and into the continued existence of ancient Near Eastern traditions. However, extensive research is necessary before we will be able to accurately identify the deity.”
Although Doliche was a small town, the empire-spanning prominence of the sanctuary of Jupiter Dolichenus transitioned into the Christian era. It was an episcopal see at least as early as the 4th century, and remains a titular see of the Roman Catholic Church to this day even though there’s nothing there but a glorious wealth of archaeological remains. The monastery of Mar Solomon was in use through the era of the crusades, but it was only known to archaeologists through written sources until the remains were first discovered in 2010.
Now the entire site is being transformed into an archaeological park even as excavations continue. The ruins are being carefully preserved and a trail was put in last year so visitors can view the Jupiter Dolichenus sanctuary and the remains of the monastery.
Before Howard Carter became the world-famous archaeologist who discovered the tomb of King Tutankhamun in the Valley of the Kings, he was an artist. In fact, it was pretty much all he knew how to do. Howard, the youngest of 11 children of Samuel and Martha Carter, was sick a lot in his youth. The many and varied miasmas of London were considered injurious to his health, so he was sent to live with his aunts in Swaffham, Norfolk, where his father and grandfather had been gamekeepers on the Hamond family estate.
Because of his sickliness he was never enrolled in school. His father, an artist who carved out a successful niche for himself painting portraits of the gentry and their pets, tutored Howard on regular trips to Swaffham, teaching him how to draw and paint. One of Samuel Carter’s patrons was William Amherst Tyssen-Amherst of Didlington Hall, an estate eight miles from Swaffham. As a boy, Howard visited Didlington Hall when his father painted Lord Amherst’s portrait, and this is where he first became exposed to Egyptology.
Amherst was an avid collector of Egyptian antiquities. He, his wife Margaret Mitford (whose father had a passion for all things Egyptian as well) and their seven daughters traveled frequently to Egypt, constantly acquiring new artifacts. A whole wing of Didlington Hall was dedicated to housing his vast collection. Seven statues of the lion-headed warrior goddess Sekhmet guarded the door of the museum, one for each of the Amherst daughters. Those statues are now in the Metropolitan Museum of Art.
The Amherst family didn’t just give Howard Carter the chance to explore Egyptian art through their extensive collection. It was their recommendation and contacts that secured him his first job in Egypt. He was just 17 years old when he was hired as a tracer — someone who copies inscriptions and art work found in excavations onto paper for later study — for the Egyptian Exploration Fund (EEF) in 1891. This was an essential job in the age before color photography. Watercolors were the only accurate recreations of tomb decorations available.
Carter’s first assignment was the Beni Hasan excavation where the princes of Middle Egypt were buried. He immediately distinguished himself with his artistic ability and dedication, often working all day and then spending the night in the tomb. Carter began to learn archaeology on his next assignment at El-Amarna under pioneering Egyptologist Flinders Petrie in 1892. He was still an artist, recording artifacts as they were discovered, but Petrie allowed him to dig too, and Carter made some signficant finds.
In 1894, Carter was appointed Principle Artist of the EEF’s excavation of the Temple of Queen Hatshepsut at Deir el-Bahari. For five years Carter made drawings and watercolors of the wall reliefs in the temple. One of his watercolors from this period, The Temple of Hatshepsut (1899), is going up for auction at Bonhams’ Travel, Exploration and Natural History Sale in London on December 3rd.
Carter also joined in the excavation of the temple and learned restoration techniques as well. He did such a fine job that in 1899 the Egyptian Antiquities Service offered him the job of First Chief Inspector General of Monuments for Upper Egypt. He was 25 years old, had no formal education, and was now the supervisor of all archaeological excavations in the Upper Nile Valley. Carter did great work, installing the first electric lights in six Valley of the Kings tombs and at the temples in Abu Simbel.
His extraordinary run of success came to a halt in 1905 when a group of drunk and belligerent French tourists became violent towards the Egyptian guards at Saqqara. Carter told the guards they could defend themselves. The tourists complained to people in high places and the diplomatic hotshots insisted Carter apologize. He refused. In retaliation, Carter was shipped off to an obscure site with not much in the way of archaeology. Rather than twiddle his thumbs in exile, Carter resigned.
For the next two years, Howard Carter had something of a hard scrabble existence. He sold his watercolors or guided tours to make a living. Then he hit the jackpot. French Egyptologist Gaston Maspero, Director of the Egyptian Antiquities Service who had given Carter the Chief Inspector General job, introduced him to George Herbert, 5th Earl of Carnarvon. Carnarvon had deep pockets and was keen to fund archaeological excavations. He got the necessary licenses and made Carter the Supervisor of Excavations in Thebes.
During this time, Carter painted Under the Protection of the Gods (1908), a composite fantasy that depicts a vulture — representing the goddess Nekhebet, protector of Upper Egypt — above a solar disc wrapped in a cobra — representing the goddess Wadjet, protector of Lower Egypt. It’s likely that the iconography of the watercolor was inspired by some of Carter’s finds in Thebes, including the 18th Dynasty Tomb of Tetaki and a 15th Dynasty tomb with nine coffins.
The Carter-Carnarvon partnership was very successful. By the time World War I began in 1914, Carnarvon had amassed a hugely important collection of Egyptian antiquities. That same year he secured a 15-year license to excavate the Valley of the Kings and Carter got to work. He painted The Valley of the Kings (1914) the first year of excavations. Excavations were disrupted by war, but Carter still managed to dig in 1915 and 1917.
In 1918 excavations restarted in earnest. For the next four years, Carter scoured the Valley of the Kings for the tomb of a previously unknown pharaoh whose name he had discovered. It became something of an obsession with him, but in 1922 when the tomb continued to be elusive, Carnarvon got sick of funding what seemed like a fool’s errand and told Carter that he had one digging season left. Three days after the last excavation began in November of 1922, Carter’s diggers found the top of a staircase. Three weeks later, Carter peered in through a small hole in the doorway and saw the “wonderful things,” that would take the world by storm and make him immortal.
Carter never forgot the people who helped him overcome his humble beginnings. His connection with the Amherst family continued throughout his life. William and Margaret Amherst’s eldest daughter Mary, known as May, wife of Lord William Cecil, took her family’s fascination with Egypt to even greater heights. Between 1901 and 1904, she personally funded and ran excavations at Qubbet el-Hawa in Aswan. Howard Carter was Chief Inspector for Antiquities then, and he helped advise her.
In 1906, the family was left financially devastated when their solicitor and land agent, Charles Cheston, was found to have embezzled hundreds of thousand of pounds to support his gambling habit. Cheston committed suicide. Lord Amherst was forced to sell the collections he had spent decades building into some of the greatest private holdings in the country. His library went first, auctioned by Sotheby’s in 1908 and 1909. William Amherst died two months before the second sale.
May, heir to her father’s estate and title, had no choice but to continue the sell-off. In 1910, the estate itself, home and park, was sold to Colonel Herbert Francis Smith. May refused to sell her father’s Egyptian collection, however. She held on to that resolutely for a decade until her death from breast cancer in 1919. Only after May was gone was the legendary Amherst collection of Egyptian papyri, statues and other artifacts put up for sale at Sotheby’s in 1921. It was Howard Carter who catalogued the collection that had first inspired his great vocation. At the time of the sale, even though some individual objects had been sold piecemeal before then, the Amherst Egyptian collection was the third largest private collection in England.
In 1950, Didlington Hall, broken and neglected after requisition during World War II, was stripped of its last valuables when the interior fittings were sold at auction. The house was demolished and thus what had once been one of Norfolk’s greatest treasures was lost forever.
On the evening of Sunday, October 6th, 2002, the medium density plywood pedestal supporting the 15th century marble statue of Adam by Tullio Lombardo in the Velez Blanco Patio at the Metropolitan Museum of Art buckled. All 770 pounds, six feet three inches of Adam fell, hitting the ground hard and breaking into 28 large pieces and hundreds of small fragments. The head came off at the neck, the torso skidded across the floor, the right leg broke into six pieces, the left arm into seven. Nobody even heard the crash.
The catastrophe was discovered at 9:00 PM by a security guard doing his routine rounds. The emergency call went out to curators and conservators and the patio was cordoned off to allow for a forensic crime scene-level recovery of every little chip. The museum opened as usual on Monday, but nobody was allowed to photograph the disaster. The Met didn’t want the horror of the scene to be the image of the statue in people’s heads even after it was put back together. It took two days for the precise mapping of each fragment to be completed and all the pieces carefully bagged and tagged.
Extensive damage to a sculpture is any museum’s worst nightmare — stone is much harder to repair than canvas — and this case was a particularly spine-chilling one because of Adam‘s singular importance. Commissioned for the tomb of the Doge Andrea Vendramin (d. 1478) in the church of Santa Maria dei Servi in Venice, Adam was the first monumental nude carved in the classical style since antiquity. The tomb, inspired by ancient triumphal arches, was recognized for the exceptional quality of its statuary before it was even completed. Venetian historian Marino Sanuto the Younger wrote in his diary in 1493 that the Vendramin funerary monument “will surely be the most beautiful in the world because of the excellent statues which are there.” Lombardo’s Adam was placed in a niche next to the sarcophagus of the Doge in the center of the monument. A matching statue of Eve (once attributed to Lombardo but now thought to have been the work of Francesco Segala) was on the other side.
The monastery and church of the Servi were demolished in 1812 in keeping with Napoleon’s edicts ordering the suppression of religious orders. The Vendramin tomb was rescued and installed in the choir of the church of Saints Giovanni e Paolo, but Adam and Eve never made it to the new location. Times had changed, and the classical nudes were now deemed to be not in keeping with the seriousness of the Christian religion. They were replaced by two warrior figures.
The first man and woman were moved to the Palazzo Vendramin Calergi where they both remained until 1865 (Eve is still there today). That year the palace’s owner, Marie-Caroline de Bourbon-Sicile, Duchesse de Berry, daughter of King Francis I of the Two Sicilies and daughter-in-law of King Charles X of France, sold much of the contents of the palace at auction in Paris. Adam was acquired by collector Henry Pereire. After his death in 1932, it passed through the hands of a couple of dealers before being bought by the Metropolitan Museum of Art in 1936.
The Met was thrilled to have it. Art historian Preston Remington, who was curator of the Met’s Renaissance Art department at that time, described Adam as “the most distinguished of Tullio’s sculptures” whose “importance to the collection of renaissance sculpture in the Metropolitan Museum is paramount.” Besides, he noted, “aside from its archaeological interest, the Adam is a work of great beauty and lasting charm.”
Key to that great beauty and lasting charm was the unblemished smoothness of the carving, perhaps Adam‘s most famous feature. If he couldn’t be put back together with that flawless surface, it would be an incalculable loss. Monumental Renaissance statuary doesn’t come up for sale very often, or ever, really; finding something of equivalent historical significance would be all but impossible.
Initial prognostications were fairly optimistic: the damage was bad, but there were enough large pieces that conservators thought it could be fixed and returned to display in two years or so. That estimate was left in the dust. They decided to take a far more meticulous approach, studying every aspect of the reconstruction in detail before drilling holes in it and piecing it together with adhesives and pins. They stress tested the reversible organic adhesives to see if they could handle such a large statue. They discovered that fiberglass pins were better than metal ones because when they do break, they don’t take chunks of the marble with them. They used new laser imaging technology to create a 3D model so they could puzzle it out virtually before putting the physical pieces together. They even got a crappy copy of Michelangelo’s David and deliberately broke it in the same places Adam for testing purposes.
Instead of two years it took 12, but they were 12 years well spent. After all the work, all the research, was done behind closed doors, a secrecy that caused some comment as a new decade dawned with no publically visible progress, on November 11th, Adam is going back on display at the Met.
The story of the restoration is part of the exhibition. The statue, originally intended for a niche and therefore less worked in the back than in the front, will now be viewed in the round so people can see it the same way the conservators did. The Met has made some videos explaining the epic 12-year conservation project, and there will be an article about the process in the next volume of the Metropolitan Museum Journal (bookmark this page and check back for volume 49).
3D animation illustrating the order of assembly:
Time-lapse of the reconstruction:
The Google Cultural Institute and the York Museums Trust have joined forces to create an exhibition of hoards discovered in Yorkshire. The Yorkshire Hoards exhibition gives audiences the chance to view buried treasure from the Bronze Age (1000 B.C.) to the Civil War (1650 A.D.). The entries are arranged in chronological order so you can take a virtual trip through Yorkshire history, and descriptions are accompanied by high resolution photographs and video.
Hoards were buried for different reasons in different periods. Bronze Age axe hoards, for example, were buried near bodies of water which suggests there was a ritual purpose behind it. Iron Age and Roman coin hoards are often indicators of unrest, earthly goods buried to keep them safe from danger until the owner could return. Some of them were clearly savings, however, the ancient version of stuffing it in your mattress. Valuables were added to over time, in those cases, instead of being buried in one fell swoop.
Hoards are a great way to explore a region’s history, therefore, because they’re concrete evidence of how people dealt with external threats, their religious practices, the geographic range of their connections, what kind of containers they used, etc. It’s also just cool to be able to zoom in on a great many beautiful artifacts and coins that haven’t previously been photographed in high resolution.
The York Museums Trust is also collaborating with Google to present an online highlight reel of one of their museum’s exhibitions: 1914: When the World Changed Forever, a World War I display currently enjoying great success at the York Castle Museum. Objects include a horse’s gas mask, weapons and an ingenious Zeppalarm device that connected to a home’s gas line and lit a light bulb and sounded an alarm when the gas company turned down the supply to dim the lights and warn of an impending dirigible raid.
The Google exhibitions are just the tip of the iceberg. The York Museum Trust has embraced digitization on a grand scale, placing 160,000 objects in its collections, thousands of which are not on public display, in a freely accessible online database. More than 50,000 of the entries include high resolution images of the objects, all of which are in the public domain so you can download them and use them as you wish. More photographs will be uploaded as they are taken.
After the wreck of explorer Sir John Franklin’s flagship, the HMS Erebus, was found in September, Parks Canada researchers had only two days to explore the site before temperatures plunged below zero making diving impossible. The team made seven dives during those two days, filming, photographing and measuring the wreck as extensively as possible, but they didn’t want to disturb the interior so they only sent cameras inside and did not recover artifacts.
They were holding out on us, though, because one object was removed from the sea floor: the ship’s bronze bell.
The bell was found on the deck adjacent to the ship’s displaced windlass (a form of anchor winch), above which it was originally mounted. Since then, the bell has been undergoing conservation stabilization and additional research.
The bell is intact and generally in very good condition. Two embossed markings – introduced when the bronze bell was first cast – are evident on the artifact: a Royal Navy “broad arrow” indicating property of the British Government, as well as the date “1845.”
Ship’s bells hold a great deal of meaning. In addition to their practical purpose — they struck the half-hour day and night, and signalled the change of the watch — bells are symbolic incarnations of the ship. There’s a tradition in the Royal Navy that upside down bells are used as baptismal founts for sailors’ babies. The names of the baptized children are then engraved under the bell’s lip.
Given its symbolic and archaeological value, Parks Canada decided it would be more prudent to recover the bell instead of subjecting it to another long, frigid winter in the Queen Maud Gulf. It could conceivably be damaged by ice scraping the seabed, although it has survived 168 winters thus far without serious damage. Besides, a ship’s bell can provide essential confirmation of the wreck’s identity, and on a PR note, is an iconic symbol that makes a far more immediate rallying point than sonar scans.
As the Honourable Leona Aglukkaq, Minister of the Environment and Minister responsible for Parks Canada, puts it:
“The bell of HMS Erebus provides a tangible and compelling connection to the Franklin ships and is an important part of naval and Canadian history. The recovery of this important artifact is the crowning achievement for an incredibly successful 2014 search campaign that has captivated Canadians and the entire world.”
Still, the marketing coup had to wait. Parks Canada archaeologists wanted to examine the bell without public scrutiny and begin the process of stabilizing the find before making the announcement, which is why we’re only hearing about it six weeks after the bell was recovered. At first, the bell had to remain damp to keep it from corroding when exposed to the air. It was wrapped in bubble-wrap and kept humid during transportation to Ottawa.
The bell is now sealed in a tank of distilled water in an environmetally-controlled secure location at the Parks Canada conservation laboratory. The water is being tested daily to detect any changes in the artifact. Over the course of months, perhaps as many as 18 or more, the bell will transition from fresh water baths to chemical baths that will leach all the salt from its surface and protect it from corrosion.
One the bell is cleaned and stabilized, it may reveal additional clues that are currently not visible. It will eventually go on public display at a location yet to be determined.
Building archaeologists from the Museum of London Archaeology (MOLA) surveying Knole House, the stately Kent seat of the Sackville family, have discovered protective witchmarks carved on the beams of a room built to house King James I. The marks, checkerboard lines known as demon traps because the evil ones would follow the lines and get caught in them, and interlocking Vs that stand for Virgo Virginum and invoke the protection of the Virgin Mary, were carved by craftsmen in the beams and joists under the floor and on the oak fireplace surrounds in the Upper King’s Room.
Thanks to tree-ring dating, we know exactly when the marks were carved. The oak timber was felled in the winter of 1605-06 and was used while it was still green, which means the beams were in place by the summer of 1606 at the latest. Guy Fawkes and seven other conspirators in the plot to blow up the House of Lords during the Opening of Parliament on November 5th, 1605, were hanged, drawn and quartered on January 31st, 1606. Fawkes had been arrested tending to 36 barrels of powder in the undercroft of the House of Lords just 12 hours before the explosion was set to go off, so the King and the entire ruling hierarchy of Britain came very close to annhilation and the memory of it was very fresh when the work was done at Knole.
The discovery answers a long-debated question about witchmarks. Some historians contend that they are carpenters’ marks used for practical purposes as installation guides, but the Knole timbers have both standard carpenters’ marks and witchmarks. Add to that the remodeling in anticipation of the King’s visit and the precise date in the looming shadow of the Gunpowder Plot, and the Knole marks are strong evidence that they were intended to play a supernatural protective role.
Their power never did get tested. All the construction, refurbishment and witchmarking was for nought as King James didn’t go through with his planned visit to Knole. Thomas Sackvillle, 1st Earl of Dorset, Lord High Treasurer and cousin of Queen Elizabeth I on her mother’s side, died in 1608 before the King’s visit, and his son didn’t have the clout in court to motivate James to keep Knole on the schedule.
Sackville acquired Knole House in 1566. His descendants (including his grandson Richard Sackville, 3rd Earl of Dorset, whom you might recall as Lady Anne Clifford‘s no-good first husband) have lived there ever since. They are still part owners of the estate, sharing it with the National Trust. The Trust is currently in the midst of the largest conservation project in Knole’s history, a multi-year $30 million restoration that is repairing and documenting the structure down to the individual beams. The MOLA team is recording the timber frame structure on behalf of the National Trust to provide essential information necessary to make the proper decisions on the conservation of the estate.
The showrooms are closed during the restoration, but the King’s Room will be open to the public for a special showing on November 20th and 21st. Visitors will have the chance to see the witchmarks before they are covered back up.
Speaking of the Gunpowder Plot, the earliest written report of the arrest and interrogation of Guy Fawkes is coming up for auction at Sotheby’s English Literature, History, Children’s Books and Illustrations sale on December 9th. It’s a letter written by Robert Cecil, 1st Earl of Salisbury, James I’s Secretary of State and spymaster, to Ralph Winwood, the English ambassador to the Hague.
Dated November 9th, just four days after the plot was discovered, it appears to have been written earlier as it still refers to Fawkes as John Johnson, the alias he had used when posing as co-conspirator Thomas Percy’s servant in order to rent a house next to the House of Lords. Fawkes insisted he was Johnson and had acted entirely on his own for the first two days of interrogations before escalating torture got him to confess his real name on November 7th, and the names of his co-conspirators on November 8th and 9th.
Cecil notes in the letter that despite the threat of the torture, “Johnson” insisted he acted alone and confessed solely to his own crimes from illegal practices of Catholicism to planning the destruction of the entire political hierarchy. They only got him to admit Percy was involved by claiming he’d already been captured and confessed. From the letter:
[Y]et could no threatening of torture draw from him any other language than this, that he is ready to die, and rather wisheth ten thousand deaths, than willingly to accuse his master or any other ; until by often reiterating examinations, we pretending to him that his master was apprehended, he hath come to plain confession, that his master kept the key of that cellar whilst he was abroad ; had been in it since the powder was laid there, and inclusive confessed him a principal actor in the same.
Robert Cecil sent copies of this letter to a number of ambassadors in Europe to enlist them in rumor control and to recommend they deploy a few men-at-arms in countries where the conspirators’ supporters might have been preparing military aid. You can read the full text of the letter to Sir Charles Cornwallis, British ambassador to Spain, in this 1905 book about the Gunpowder Plot. Spoiler: author Philip Sidney is no Robert Cecil fan. Check the footnote).
Cecil’s letter to Winwood was bought by the Harcourt family in the 19th century. They are now selling it. The presale estimate is £40,000 to £60,000 ($64,000 – $96,000).
Montpelier, the Virginia estate of fourth President of the United States and Father of the Constitution James Madison, went through some tough times after his widow Dolley Madison sold it in 1844. Later owners, most prominently the du Pont family who bought it in 1901 and built on it extensively, developing it into a prominent equestrian facility. Marion du Pont Scott willed Montpelier to the National Trust for Historical Preservation upon her death in 1983. The Trust established The Montpelier Foundation, an independent non-profit organization dedicated to the management of the historic estate, and in 2003 the Foundation undertook a massive architectural restoration to return the mansion to the condition it was in when Madison retired there after the end of his second term as president in 1817.
The restoration was officially concluded on Constitution Day, September 17th, 2008, and was celebrated as one of the most ambitious, authentic restorations ever done in the United States. That was just the beginning, however. There was still a great deal more to be done to return the estate to its historical condition. James and Dolley Madison’s original furnishings were long gone, sold under the financial duress of Dolley’s widowhood or dispersed through the family and then out into the market. There are more Montpelier pieces in museums and private collections scattered around the country than there are in the historic mansion.
In the five years since the architectural restoration was completed, The Montpelier Foundation has dedicated itself to locating furniture, wallpaper, paint colors, accessories and any other relevant objects that if not the actual original pieces, at the very least are authentic to the period and similar or identical to things that would have been in the home in the 1820s, like the 18th century ivory chess set model on which Madison and Thomas Jefferson played their marathon games.
The goal is to restore everything, mansion and landscape, including the dwellings of the domestic slaves, to their appearance in Madison’s time. It’s a massive research project, requiring punctilious examination of the physical space — for example analyzing the window casings for hints of how the treatments were hung and excavating the grounds for evidence of the period landscaping — as well as documentary analysis. Researchers are going through tens of thousands of pages of documents, from letters to visitor descriptions to receipts to estate financial records and so much more, to get the full picture of what was in the house and how the estate as a whole functioned in the 19th century.
About $6.5 million have already been invested in the project. Several rooms are now furnished and excavations in the South Yard have found the footprints of the six structures where Montpelier’s slaves lived and worked. To get the project into the endzone, private equity billionaire, philanthropist and committed history buff David Rubenstein has donated $10 million to The Montpelier Foundation.
Rubenstein is deeply committed to preserving history for the nation and he puts his money where his mouth is. Last year he purchased the Bay Psalm Book for $14,165,000 to loan it to libraries all over the country before settling on one library to be the recipient of a long-term loan of the book. The year before that he donated $7.5 million to restore the Washington Monument when it was damaged by a 2011 earthquake. After buying the only privately owned copy of the Magna Carta for $21.3 million, he loaned it to the National Archives and then gave them $13.5 million to build it a new custom display case.
Most of the donation, $6.5 million will go to the furnishing and restoration of the mansion’s interior. The priority areas are the South Passage entry hall, James’ mother Nelly Madison’s sitting and dining rooms, several upstairs bedrooms and their closet spaces, plus the cellar kitchens and work areas.
The South Hall used to be central hall of the original Georgian home from the 1760s. In Madison’s day, it was used as a secondary parlor and gallery space with an impressive array of art on the walls. It’s completely bare now, despite being the first stop on the daily tour. Nelly’s rooms are off the South Passage. The upstairs bedrooms are the Madisons’ primary bedchamber, guest and family bedchambers that once furnished will show visitors what a bustling, busy, active home it was. The closets will be stocked with linens and clothing, and the rooms furnished from bedding to seating to artwork to window treatments.
The cellar, which covers the entire footprint of the mansion, was the domain of Montpelier’s enslaved domestic staff. The space includes two kitchens, a wine cellar and multiple storage and work areas. The whole space is empty (the modern mechanical systems were moved to an underground vault during the architectural restoration). With Rubenstein’s donation, the Foundation will add interpretative elements that bring attention to the individual slaves who worked there, highlighting their personal histories and family links, their daily work on the plantation, how they traveled, their influence on Montpelier.
The rest of the donation, $3.5 million, will be dedicated to the reconstruction of the South Yard adjacent to the mansion. In Madison’s time, the South Yard had three duplex slave quarters (relatively comfortable housing for house slaves; the field hands lived in log and mud shacks next to the fields), two smokehouses and a detached kitchen. The kitchen, one of the duplexes and the smokehouses will be reconstructed and fully furnished to give visitors the chance to see where and how Montpelier’s enslaved community lived. The second duplex will be used as a classroom for student programs, the third for exhibition space on the slaves, field, house and skilled craftsmen, who kept Montpelier going.
Rubenstein wants to help make the estate more authentic. Montpelier could draw more visitors to learn about history, he said, if the house is fully restored and its slave quarters built out. It currently draws about 125,000 visitors a year. Last year, Rubenstein gave money to recreate slave quarters on Thomas Jefferson’s plantation.
“It’s this dichotomy. You have people who were extraordinarily intelligent, well-informed, educated; they created this incredible country — Jefferson, Washington, Madison — yet they lived with this system of slavery. Jefferson, Washington and Madison all abhorred slavery, but they didn’t do, they couldn’t do, much about it,” he said. “We shouldn’t deify our Founding Fathers without recognizing that they did participate in a system that had its terrible flaws.”
In what is becoming a sickening trend, the wrought iron gate bearing the infamous Nazi slogan “Arbeit macht frei” (“Work will set you free”) at the entrance to the Dachau concentration camp was stolen in the early hours of Sunday. There are private security guards on the premises, but the camp has no surveillance system, a deliberate choice to eschew the ugly association of constant monitoring.
Gabriele Hammermann, [Director of Dachau Concentration Camp Memorial], said Monday. “We have irregular guard patrols six to seven times per night at the camp, but all of the former concentration camps in Germany have so far not installed cameras, as we do not want to make these locations once again a high-security facility in respect for the deceased.”
The theft happened while the guards were patrolling sometime between 11:45 PM Saturday and 5:30 AM Sunday. The thieves, and there had to have been at least two of them, scaled the outer gate to reach the wrought iron one, then removed the entire door that carries the slogan off its hinges. They then had the heft it back over the outer gate. Because it’s six-and-a-half-feet high, three feet wide and weighs an estimated 225 pounds, the thieves must have had a getaway vehicle.
Police and state security are investigating the theft. They have appealed to anyone who might have seen a vehicle or suspicious people in the area Sunday morning to come forward with any information. Authorities suspect it may be a politically motivated act by right-wing extremists, although a commissioned theft is certainly possible. It has happened before.
The large “Arbeit Macht Frei” sign above the entrance to Auschwitz was stolen in December of 2009 only to be recovered less than 72 hours later. The thieves were Polish men hired by Swedish neo-Nazi Anders Högström who claimed to have acted solely as a middle man but ultimately pleaded guilty to masterminding the theft and was sentenced to serve two years and eight months in a Swedish prison.
I think this theft is slightly less likely to have been a deranged collector because the sign is not actually original. Dachau was the first concentration camp opened by the Nazi government on March 22nd, 1933, less than two months after Hitler was appointed chancellor of Germany on January 30th. It was built on the site of an abandoned munitions factory on the outskirts of the Bavarian town of Dachau, 10 miles northwest of Munich, as a forced labour camp for political prisoners. One of those political prisoners, Communist Karl Röder, was ordered to craft the iron lettering by the SS in 1936. Röder’s sign was removed after the war. A replica was installed in its place when the memorial was created in 1965.
That does not diminish the symbolic significance of the theft. Dr. Gabriele Hammermann considers it a:
“deliberate, reprehensible attempt to deny and obliterate the memory of the crimes committed in this place. The assault on this relict of highly symbolic importance demonstrates a new dimension, since it is an attempt to demolish the memorial at its very core.”
More than 200,000 people — political prisoners, Jews, homosexuals, gyspies, clergy, reistance fighters, POWs (mainly Poles) — from all over Europe were imprisoned at Dachau in its 12 years of operation. More than 40,000 died from starvation, disease, torture, executions and death marches before US Army forces liberated the camp on April 29, 1945. Today Dachau has the most visitors of any concentration camp memorial in Germany, approximately 800,000 a year.
The remains of a 3,400-year-old temple from the reign of Tuthmose III (1479-1425 B.C.) have been found underneath a house in the Egyptian town of Badrashin 25 miles south of Cairo. It was discovered two weeks ago under shady circumstances. A group of seven men dug nearly 30 feet (nine meters) under their home, even going so far as to secure wet suits, oxygen tanks and diving masks so they could keep digging after they hit the water table. The Tourism and Antiquities Police heard about the clandestine dig and arrested the men for illegal excavation. They were detained briefly but had to be released because the area where they were digging was not a designated archaeological site.
It is now. The entire Hod Zeleikha neighborhood has been declared an archeological site and is now under the control of the Antiquities Ministry. The unauthorized amateur excavation has been replaced with an official dig by archaeologists from Egypt’s antiquities ministry and workers from the state-owned Arab Contractors Company. After pumping out the groundwater, the team discovered seven large limestone blocks engraved with hieroglyphic inscriptions, the bases of several columns and a piece of a colossal statue. The colossus fragment is 6.2 feet high and carved out of pink granite. It depicts a seated person.
The hieroglyphics date the structure to the New Kingdom period (1539-1075 B.C.) and at least some of the inscriptions date to the reign of the pharaoh Tuthmose III (1490-1436 B.C.). The reign of Tuthmose III is considered a golden age in Egyptian history. The stepson and nephew of pharaoh Hatshepsut, Tuthmose III was technically pharaoh from the age of two, co-ruler with his stepmother. In practise he didn’t rule until Hatshepsut died 22 years after they ascended to the throne. He ruled another 32 years after Hatshepsut’s death. Under his reign, the Egypt empire reached its greatest extent, from northern Syria to the Fourth Cataract of the Nile in Nubia.
The recovered artifacts have been transported to Saqqara for conservation and study. Archaeologists hope the inscriptions and future discoveries will reveal more about the history of Egypt under Tuthmose III. The ministry plans to continue the archaeological survey of the site and excavate more of the temple.
A hoard of 17th century luxury consumer goods was found hidden under the floor of a tower in Dublin’s Rathfarnham Castle. All the floors in the tower had been removed to construct an elevator shaft that would make the space wheelchair accessible (the work was monitored by an archaeologist since the castle is a National Monument). At the bottom of the tower underneath the 18th century stone floor, they discovered a large cache of what may have been garbage to the inhabitants of the castle, but would have been precious treasure to most people in their era and certainly in ours.
Because the cache was sealed by the floor, the hiding place had very little air circulating. It was also quite damp and muddy, which helped preserved organic matter as well as delicate artifacts like glass bottles and porcelain. It’s an impressively large collection. Archaeologists recovered them from the mud by the bucketful. The objects may have been hidden deliberately when the castle was under attack (which it was a lot in the mid-17th century), or they may have been set aside for washing and then forgotten about, or simply thrown away. Or maybe some things were stashed with the intention of retrieval while other items were dumped as trash.
A number of late 17th century glass wine bottles, all intact, were found, some of which still had their seals, marked with a date stamp of 1688 and initials AL for Adam Loftus. Glass wine bottles only began to be used in 1650, so we’re talking very early survivals here of very fragile material. Another rare survival is of an intact crystal drinking glass, about the size and shape of a lipped shot glass. The crystal is much thinner than the wine bottles, so very few of them have made it out of their time without breaking. Then there’s the mysterious corked glass vial that still has liquid inside, possibly a perfume or essential oil. Its contents will be examined in a laboratory.
There is a complete set of pottery ointment or cosmetic jars, possibly made in Italy, one of which still has ointment in it. They’re graduated in size so they can stack neatly one inside the other. Porcelain wasn’t produced in England until 1750. Before then, it had to be imported from the far east. The porcelain discovered at Rathfarnham Castle is Chinese. The maker’s mark on the base of one plate identifies it as from the 1660s.
Other assorted objects include a group of clay pipes, chamber pots, coins going back as far as 1602, jewelry, buckles, shoes, a rare foldable travel toothbrush and weaponry. A Cromwellian armour breastplate with a musket ball hole in the lower abdomen is the stand-out piece amidst the gun flints and musket balls.
The organic remains testify to some very fine meals enjoyed at the castle. There are pits from olives, cherries, peaches and plums, melon and grape seeds, hazelnuts, oyster shells, fish bones, bird bones and perhaps most excitingly, tea leaves. Tea was also introduced in the mid-17th century, so again we’re looking at a very early luxury import.
The artifacts tell a story about the early history of the castle and of the lives of the elite. Since the 17th century was a very tumultuous time of wars and rebellions, not a great many fragile artifacts have survived. Finding so many of them in one place is an archaeological gold strike.
Built in 1583, the castle was the country retreat of Adam Loftus, Church of England Archbishop of Dublin, Lord Chancellor of Ireland, co-founder and first Provost of Trinity College Dublin. After his death in 1605, Rathfarnham Castle passed to his eldest son Sir Dudley Loftus and then to Dudley’s son Sir Adam Loftus in 1616. The artifacts date to Sir Adam’s tenure and that of his sons Sir Arthur and Dr. Dudley Loftus.
As a Protestant English noble, Loftus was a target in the Irish Rebellion of 1641 and the castle was besieged by Irish Catholic forces. Adam was imprisoned, but the castle held out and was garrisoned by Royalist troops from 1641 through 1647 when Dublin surrendered to Parliamentary troops in the English Civil War. The Irish Catholic Confederation allied with the Royalists in 1648 and by 1649, Dublin was the only Parliamentary city in Ireland. Cromwell arrived in Ireland in August of 1649. He was said to have stayed at the castle and held council there before the Sack of Wexford in October of 1649. Adam Loftus sided with Cromwell and got his property back, only to be killed at the Siege of Limerick in 1651.
Dr. Dudley Loftus, a prodigy who graduated from Trinity College at age 18 and became a noted expert in languages, inherited Rathfarnham Castle in 1659. He held it in less turbulent times until his death in 1695. In addition to his reputation as a scholar and linguist, he also had a reputation as a voluptuary whose fondness for fashion, pageantry and women was known in some excruciating detail thanks to the pamphlets he himself wrote about his exploits. God knows what shenanigans those oysters were in aid of.
The artifacts have been removed to a laboratory for cleaning and conservation, after which they will be exhibited somewhere, ideally in the castle itself. Please watch the video at this link to see the tower floor and a lovely little tour of the artifacts recovered.
Divers have recovered an altar that was used for on-board sacrifices from a 2,200-year-old shipwreck off the Aeolian Island of Panarea just north of Sicily. Such altars have been found before on land and one was discovered in the shallow Adriatic waters around the Croatian island of Hvar, but this is the first one to be found on a shipwreck.
The wreck was discovered in 2010 by researchers from Sicily’s Superintendent of the Sea Office using sonar and a remote operated submersible. The 50-foot ship, dubbed the Panarea III, and its cargo of amphorae were at a depth of 426 feet (130 meters), deep enough to keep it out reach of treasure hunters and naval traffic. The submersibles weren’t able to dive deeply enough to retrieve any objects from the wreck, so this year the Superintendent enlisted technical divers from the non-profit Global Underwater Explorers (GUE) to explore the site and recover a few artifacts. They also had the aid of two high tech submersibles with gripper arms.
They found a well-preserved wooden portion of the ship’s keel and recovered 16 artifacts — amphorae, pottery vessels, fishing plates and the altar — from the wreck, all of them in excellent condition. Divers didn’t realize what the altar was when they first saw it on the edge of the amphora field. It looked like a little pillar initially. When they blew away some of the accumulated silt, they found the bottom of it was mostly buried. About a foot in diameter at the widest point and three inches high, that was actually the top of the altar, a basin used to burn incense in ritual offerings. The base of the pedestal was found next to it. There are metal supports embedded in the base, probably the remains of fasteners to keep it from going overboard at the first swell. It’s engraved with three Greek letters (ETH) and there’s a decorative wave relief around the edge of the basin.
Archaeologists dated the objects to between 218 and 210 B.C. Because the cargo was mostly Greco-Italic jars but with Punic amphorae in the bow of the ship, archaeologists believe it was a Greek trading vessel that traveled between Rome and Carthage, possibly supplying the fleet of Roman consul Marcus Claudius Marcellus who was commander of Sicily from 214 to 211 B.C. These were dangerous times to be a merchant in the Mediterranean. The crew of the Panarea III had eminently good reason to bolt an altar to the ship’s deck and make copious sacrifices to the gods.
The Second Punic War started in 218 B.C. and while the most famous military encounters between Carthage and the Roman Republic involved elephants, alps, the Fabian strategy and pitched battles with body counts so disastrously high to this day they are ranked as among the most costly battles in human history, Carthage and Rome threw fleets of ships at each other too. Rome was rather more successful on water than they were on land in the first eight years, winning major naval encounters around Sicily and Sardinia.
Marcellus was successful on land as well, particularly when given command of Sicily. He besieged the city of Syracuse, then allied to Carthage and a powerful potential foothold for Hannibal in his struggle to conquer Italy, for two years (214 B.C. – 212 B.C.) by sea and by land. It took so long to take the city because it was ably defended by high walls and the ingenious inventions of Archimedes. After the Romans finally found a weak point in the wall and broke through, a soldier came upon Archimedes in his study and killed him despite Marcellus’ order that the great mathematician not be harmed.
The artifacts recovered from the shipwreck will be conserved and eventually put on display at the Aeolian Archaeological Museum of Lipari
The Vatican debuted a cutting edge new LED lighting system in the Sistine Chapel on Wednesday. Designed and installed by the German company Osram, the new system features more than 7,000 light-emitting diodes mounted behind a cornice high up on the walls. It’s energy efficient, requiring up to 90% less electricity than the 1980s halogen lighting system it replaced while providing five to ten times more brightness.
Using a full complement of red, green, blue, warm white and cool white LED lights, the new system illuminates the complete color spectrum of the frescoes. It took four years of careful analysis by lighting designers, restorers and colorimetry experts to ensure the LEDs were set to properly light the original colors without altering their hue. They analyzed 280 points of the fresco pigments using a non-invasive system that illuminates the points with a calibrated light and measures the reflected spectrum. This highly accurate data served as the benchmark for the adjustments to the LED lights.
This is a huge change, beneficial to visitors and the long-term stability of the frescoes. The old system had eight 150 watt spotlights and two 1,000 watt projectors installed outside the chapel windows. They were big and hot, but because the windows were covered with semi-transparent plastic to protect the frescoes from damaging UV radiation, much of their light was absorbed before it made indoors. The end result was a perpetual low-contrast twilight which made the art harder to see and cast shadows on the works that were not spotlit. In a lesser chamber, this might not be much of a loss, but the works on the side walls of the chapel were painted by the likes of Botticelli, Ghirlandaio and Perugino.
The new LEDs and accompanying reflectors ensure that not only are Michelangelo’s immortal ceiling and Last Judgment now lit with a homogeneous, visually accurate and glare-free light, but all of the art of the Sistine Chapel is illuminated to its greatest advantage. The end result is exceptionally vivid color, brightness, readability and boosted optical effects from the foreshortening technique Michelangelo used. The impression conveyed is one of enhanced three dimensionality.
Preserving the paintings and improving the visitor experience were priorities in the installation of a new climate control system as well. When the old system was installed in the early 1990s, the Sistine Chapel was visited by fewer than two million people a year. That number has more than tripled since then, and six million sweating, breathing, stinking, dirt-tracking humans do a number on the environment in a closed space. The new air conditioning and filtration system, designed by Carrier, a part of United Technologies Corp., the same company that designed the first air conditioning system in 1993.
For two years engineers studied the climate inside the chapel, using the latest and greatest simulation tools to understand the movement of air, moisture and particulate matter in the space. I love this quote from Jackie Anderson, Senior Engineer at UTC: “Thinking about the Sistine Chapel and the air within it, it’s probably some of the most interesting air I will ever deal with.” Analysis of the issues required huge computational resources and resolving them took a great deal of ingenuity, especially since the final system had to be “church quiet,” nearly invisible and utilize pre-existing ductwork since obviously this is a historic building and you can’t just drill holes in it wherever.
There was a lot on the line. If the temperature, humidity, dust and pollutants could not be controlled, then the Vatican was going to have to take drastic action to preserve the paintings, ie, close the chapel to tourists, something it definitely did not want to do. Carbon dioxide levels were a most pressing concern. In 2010, curators found areas of the paint were developing a crusty white patina. Analysis of the white powder found it was composed of calcium carbonate and calcium bicarbonate deposits, probably formed when rising carbon dioxide levels and humidity moved through the plaster walls of the chapel. The white patches were removed easily with no damage to the paint, but the situation was a big red flag that the old systems were no longer able to control the elements.
The new air conditioning system has three times greater cooling capacity, twice as energy efficient, six filtration levels and 70 different sensors to monitor the numbers of visitors and the air quality. The room will remain perpetually at 77 degrees Fahrenheit or lower, with temperatures, ventilation and humidity levels adjusted according to the number of people in the chapel. The system taps into three security cameras to actually count the bodies in the room at any given time and then governs itself accordingly. It can be monitored from a computer, tablet or a smartphone.
The total cost of both lighting and climate control systems is estimated to be around $3.8 million. The companies donated their services, plus there was additional funding support from the EU.
This video lingers on the frescoes under the new lighting system:
Here’s a Carrier video about the new air system. There isn’t much detail about the technology, sadly, but there is that quote from Jackie Anderson and several cool glimpses of the simulations.
When last we saw the tunnel underneath the Temple of the Feathered Serpent in Teotihuacan, the remote vehicle Tláloc II-TC had forged 65 feet ahead of the point where humans could tread and identified the presence of three chambers with its infrared camera and laser scanner. Wednesday Mexico’s National Institute of Anthropology and History (INAH) announced that archaeologists have reached a space just before the three chambers and have discovered there a massive cache of sacred objects.
The tunnel was discovered by chance in 2003 after heavy rains opened a hole more than two and a half feet (83 cm) wide in front of the Adosada platform, a 4th century structure inside the Citadel that faces the temple. Fifty feet under the hole, archaeologists found a tunnel almost 400 feet (120 meters) long. Excavations began in 2009, with initial explorations done with ground penetrating radar, laser scanning and two robots.
The technology was only the beginning. The tunnel was expertly sealed by the residents of Tenochtitlan in the second century A.D., filled top to bottom with soil and rocks. The heavy lifting was done by at least 25 workers at any given time, one of whom was Julio Alva, a descendant of 17th century Nahuatl chronicler Fernando de Alva Ixtlilxochitl, himself a direct descendant of Ixtlilxochitl I and Ixtlilxochitl II, rulers of Texococo, and of Cuitláhuac, the penultimate ruler of Tenochtitlan. Alva and his comrades worked tirelessly to remove 970 tons of earth and stone to make way for the remote vehicles and archaeologists to explore the tunnel.
INAH archaeologists have now reached the 103 point where they have encountered a space 13 feet wide and 26 feet long filled with an extraordinary wealth of objects: 50,000 artifacts, including organic remains perfectly preserved in the low oxygen environment. There are more than 4,000 wooden objects, bones and fur from large cats, beetle skeletons, more than 15,000 seeds from different plants and the remains of skin, possibly human, which will be submitted for laboratory analysis.
On the non-organic side are beautifully carved stone sculptures, four of them anthropomorphic figures two feet tall made from greenstone, scores of shells from the Gulf of Mexico and Caribbean Sea, imported Guatemalan jade, rubber balls, pottery, pyrite disks and a wooden box filled with dozens of elaborately engraved conchs. There are beads, complete necklaces, amber and dozens of obsidian blades and arrow heads.
All of these offerings were interred in the tunnel between 150 and 200 A.D., a period known as the Miccaotli phase when Teotihuacan’s plan was being vigorously altered with previous buildings taken down and new ones erected that would redesign the city. With no written records to go by, archaeological remains are invaluable to the study of Teotihuacan’s culture and history.
This space is 18 feet deep, and given its location close to the end of the tunnel in front of the three chambers, archaeologists think the explosion of artifacts is a strong indicator that there are significant burials in those chambers.
[Archaeologist Sergio] Gomez, who works for Mexico’s National Anthropology and History Institute, said he hoped to find a royal tomb at the end of the tunnel. “Due to the magnitude of the offerings that we’ve found, it can’t be in any other place,” he said.
“We’ve been able to confirm all of the hypotheses we’ve made from the beginning,” he added, saying ongoing excavations could yield more major discoveries next year.
Here’s a video that takes you down the tunnel and shows some of the highlights of the recent discoveries. There’s no narration but there is some music well worth muting.