Updated: 48 min 10 sec ago
Do you speak English, French, German, Dutch, Italian or Slovene? Okay well if you’re reading this you can obviously speak English, and I know many of you are fluent in other languages, ancient and modern. You can put your polyglot skills to good use by transcribing a collection of World War I-era love letters in Europeana’s digital collection.
Europeana, an online cultural heritage network that brings together millions of digitzed items from libraries, museums, collections and assorted other institutions in Europe, launched a crowdsourcing campaign last November to transcribe personal, handwritten texts from World War I. The records come from libraries and archives all over the world, and from members of the public who submitted their precious family keepsakes to memorialize their loved ones’ experiences in the Great War. The Transcribe Europeana 1914-1918 project enlists the aid of an Internet’s worth of eyeballs to decipher the idiosyncracies of handwriting. Once transcribed, the item can then be translated and searched by keyword, subject, author, etc.
The Love Letter Run, as this sub-initiative of Transcribe Europeana is called, contains more than 40 letters, notes, postcards, diaries, autograph books and other personal documents written by soldiers at the front and their loved ones waiting desperately for their safe return.
To cope with the separation, many soldiers sent long, romantic letters of to their loved ones back home. Some women waited longingly for their lovers on the field, while others sought companionship with the men left behind. There was love that transcended borders, love that lasted the ages, and love for one woman fought over by two different men. In the Love Run, we present you stories of romance and betrayal, of lust and longing, heartbreak and new beginnings – all the makings of your favourite melodrama, but from real, handwritten sources of real, lived experiences.
It’s a poignant experience reading the sweet yearnings of young war-torn lovers. There are also all kinds of interesting side-issues that crop up. For instance, if you’re a postcard aficionado (which I am), there are some fascinating pieces in the collection: war propaganda postcards, postcards featuring slightly naughty stolen kisses, sentimental postcards targeted to loved ones separated by war, postcards bearing the official “censored” mark.
Because I am not the only sucker for a theme, the Love Letter Run was launched on February 14th. It will run through 2018, the centennial of the end of the Great War. The database of love letters will be updated with new documents regularly so check back every so often to see the latest offerings. There are plenty of records yet to be transcribed even in English which tends to be the first category completed in crowdsourcing project because the pool of English-speakers on the Internet is so large.
A wrought iron gate bearing the infamous Nazi slogan “Arbeit macht frei” stolen from the entrance to Dachau in 2014 was returned to the concentration camp memorial in a ceremony on Wednesday, Feb. 22th. The gate was stolen from the Dachau memorial on the night of November 1-2, 2014. It was found two years later rusting under a tarp in a parking lot in Ytre Arna outside Bergen, Norway. The thieves remain unknown.
“This is a meaningful day for the memorial,” said Ludwig Spaenle, the Bavarian minister of cultural affairs. He called the theft of the gate an attack on a place of remembrance and said that the integrity of the memorial could now be “somewhat healed.”
Karl Freller, who heads the foundation responsible for the Dachau memorial, said he was “happy and grateful,” stating “now that we have the gate back we will not let it out of our sight.”
Dachau bears the repulsive distinction of being the first concentration camp established by the shiny new Nazi government on March 22nd, 1933, less than two months after Hitler’s ascension to the chancellorship of Germany. The former munitions factory was converted into a forced labour camp for political prisoners which at that time were the Communists and Social Democrats who opposed the Nazi Party. As soon as Hitler was appointed chancellor, he ordered the systematic persecution of his political rivals to consolidate his grip on power. Dachau became a death camp for the slaughter of Jews, homosexuals, Roma and anyone else they deemed inferior during the war, but of course they kept that “Works Sets You Free” sign (always a blatant lie since from day one none of those political prisoners could ever work their way to freedom), as if the purpose of the camp were labour, not mass-murder.
The Jourhaus, the entrance and exit to the prison camp, was built by prisoners by command of the SS in May and June of 1936. The SS ordered Communist political prisoner Karl Röder to make the “Arbeit macht frei” sign. The news stories about the theft, recovery and reinstallation all refer to the stolen gate as the “original,” in contrast to the replica that was put in its place in 2015 for ceremonies commemorating the 70th anniversary of the liberation of Dachau by the US Army on April 29th, 1945. In fact, the “Arbeit macht frei” sign in the stolen gate is not the original made by Röder.
It’s not clear what happened to the original original. It was in place right after liberation. There’s an undated photograph of the gate taken by former political prisoner Franz Brückl that shows the sign in place. Researchers believe it was taken immediately after liberation. Another photograph, also unfortunately undated, but taken after Brückl’s shows the gate with the inscription removed. An exact replica was created from historical photographs and installed in the gate after the Dachau memorial opened in 1965. This is confirmed by a 1972 memorandum in the memorial’s archives which notes: “Reconstruction of the inscription removed from the iron gate, work is free.”
So the gate is original, but the sign is not. The symbolic significance of the gate and the most chilling words inscribed over a doorway since Dante’s Inferno remains undiminished, which is why it and the much larger Auschwitz sign were stolen in the first place.
The recovered gate is now being treated by conservators. It will go back on public display this April 29th, but will not be reinstalled in the Jourhaus. Instead, it will be on view in the Dachau concentration camp memorial museum. The 2015 replica will stay in place.
Archaeologists from France’s National Institute for Preventative Archaeology (INRAP) have unearthed an ancient Roman sanctuary dedicated to the God Mithras in Lucciana on east coast of Corsica. This is an exceptionally rare found as it is the first mithraeum ever discovered in Corsica, and only a dozen have been found in all of France.
The site was excavated by INRAP in advance of roadwork planned in the neighborhood. The remains of the ancient city of Colonia Mariana are within the municiple boundaries of Lucciana, but this particular area had not been excavated before. It would have been a peripheral sector of the Roman town, and the remains of modest homes and artisan workshops found in the excavation confirmed that it was a working class neighborhood.
The team began the archaeological survey in November of last year. In the three months since, archaeologists have found the worship room of the mithraic sanctuary and an antechamber. The main hall is a rectangle about 36 feet by 16 feet in dimension. It has a central nave with two long benches going down its length. The benches are six feet wide. A vaulted brick niche was built into each bench taking up the full thickness of the banquette. They were positioned opposite each other, and one of the niches contained three intact oil lamps. This was how the sanctuary was lit.
Other artifacts recovered from the site include a marble head of a woman, a marble foot, pottery, two bronze bells, numerous broken lamps and glass paste jars that may have been liturgical furnishings. Two inscribed plaques, one of bronze, one of lead, were found; the inscriptions have yet to be deciphered. Three fragments of a marble bas-relief are of particularly significance because while some of the carving is missing, it is still recognizable as the tauroctony, the iconic scene of Mithras slaying the sacred bull while a dog and snake drink its blood and a scorpion stings its testicles.
The Persian deity Mithra inspired the religion, but the version that spread throughout the Roman Empire starting in the 1st century A.D. bears little religion to the original. The mystery religion is believed to have been brought west by Roman soldiers and spread from military bases and ports. From what we can tell — there are no written records of the faith — it was only open to men and was particularly popular with soldiers. What we know of Mithraism has been gleaned from archaeological remains, mainly artifacts and art depicting myths and rituals.
The Roman city of Colonia Mariana, was founded around 100 B.C. by Roman general, military reformer and seven-time consul Gaius Marius. He and his one-time friend and colleague turned nemesis Lucius Cornelius Sulla, each founded a colony in Corsica (Sulla’s was Aleria) which they seeded with their veterans. Mariana was an important center in Roman Corsica, thanks largely to its commercial harbor that was a hub of maritime trade on the Mediterranean. The patron saint of Corsica and of the Principality of Monaco, Saint Devota, was born in Mariana in the late 3rd century and was martyred there in 303 A.D. Her martyrdom inspired many a conversion and by the end of the century Mariana was solidly Christian. The Diocese of Mariana was created in 4th or early 5th century, one of the first Christian dioceses in Corsica.
It’s possible the rise of Christianity in Mariana came in direct conflict with the worship of Mithras. Emperor Theodosius I made Christianity the official religion of the Empire in 392 and outlawed all pagan religions, including Mithraism. Some of the objects found in the Mariana sanctuary were damaged in antiquity, most notably the altar, and the sanctuary itself appears to have been deliberately destroyed and filled with rubble. A large Paleochristian church and baptistery complex was built in the city around 400 A.D., the first archaeological traces of Christianity in Corsica. There were likely tensions between the adherents of the religions.
Archaeologists have discovered child-sized footprints in an ancient mortar pit at the archaeological site of Pi-Ramesse, modern-day Qantir, in Egypt. The site at the eastern edge of the Nile Delta about 70 miles northeast of Cairo was once the capital of the pharaoh Ramesses the Great (r. 1279–1213 B.C.) and is recorded in ancient sources as a city of great beauty, power and wealth. An estimated 300,000 people lived in the city which covered seven square miles during its heyday, making one of the biggest late Bronze Age cities in the Mediterranean both in area and population. It had a massive temple, riverside mansions, modest mud-brick homes, a planned street grid, a harbour, a system of navigable canals and lakes like Venice, Ramesses’ great palace, industrial works and high-end artisan workshops.
It was inhabited from the reign of Ramesses until and 1050 B.C. when the branch of the Nile that provided Pi-Ramesse with all of its water silted over. The pharaohs of the 21st Dynasty (1077-943 B.C.) used the former capital as a ready source of building materials. All the splendid architecture — temple reliefs, obelisks, statues, sphinxes — were moved whole to the new capital Tanis and reinstalled there. Entire buildings were dismantled in the abandoned city and rebuilt in the new capital. If the buildings weren’t worthy of reassembly at Tanis, they were simply demolished and their stone used for new structures. They were so thorough that nothing of Pi-Ramesse survives above the surface today.
The site was discovered in the 1960s by Austrian Egyptologist Manfred Bietak. An international team of archaeologists based at the Roemer-Pelizaeus-Museum in Hildesheim, Germany, have excavated the site since 1980, discovering, among many other things, the largest bronze foundry ever discovered, glass-making workshops specializing in red glass, faience factories, a chariot manufacturer with massive stables that could accommodate close to 500 horses and a bone workshop that used the bones of animals long-since extinct in Egypt (lions, elephants, giraffes) that can only have been exotic imports in Ramesses’ days.
From 1996 through 2003, Caesium-Magnetometry was used to take measurements of the ancient city. The technology can differentiate between materials with different magnetic signatures, so for instance since mud brick responds differently than soil, mud-brick structures under the surface became apparent. With the magnetometry data, the team was able to map the layout of Pi-Ramesse.
In one area they identified the remains of a monumental structure measuring about 820 by 490 feet and sections of walls. Archaeologists believe this was a construction site for the renovation of a monumental complex, likely a palace or a temple. Pottery sherds found on the spot date the building to between 1300 and 1200 B.C., so either during the reign of Ramesses or shortly thereafter. Near the monumental remains, the team found an intriguing feature this season: a mortar pit. The pit measures about eight by 26 feet and at the bottom an ancient layer of mortar was still extant. Embedded in the mortar were prints left by the pitter-patter of tiny feet.
The footprints are 5.9-6.6 inches long, so about the size of kids between three and five years old, according to modern growth charts (which may or may not apply). Archaeologists can’t tell yet if they were left by multiple children or if the prints were smeared.
The reason for the children’s presence remains a mystery. Although no modern concept of banning child labor was in place, the footprints seem to be too small even for children who may have been working.
On the other hand, it appears unlikely that royal kids were left to play in the mud and mortar.
It does feel very satisfyingly squishy between your toes. I could easily see a little Prince demanding to have a stomp through the wet mortar, protocol be damned.
On top of the mortar layer, the team found smashed piece of wall plaster bearing the remains of polychrome paint in black, yellow, red and shades of blue. The fragments are small and the original paintings appear to have been large-scale, so the team has not yet been able to identify imagery or motif from the pieces. The fragments are of hard plaster, a substance rarely used in Egyptian art, so may indicate foreign craftsmen were employed at the site. Fresco technique — pigment applied to wet plaster — is also extremely rare in ancient Egypt. More analysis is needed to determine whether this painted plaster was a fresco.
Next season, archaeologists will excavate the pit further in the hope of recovering more missing pieces of the colored plaster. They will then try to puzzle them together to determine their motif and size, which will in turn suggest which walls the paintings may have once adorned. From what we know now, it was likely the monumental structure nearby. The mortar pit could have been used in the renovation and the frescoes stripped from the wall to redecorate in a style more au courant with the fashions 1200 B.C. They will also bring in specialists to analyze the footprints.
A new campaign has been launched to keep the Galloway Viking Hoard for exhibition in the county where it was found. Buried in the 10th century, the hoard was discovered by a metal detectorist in field near Castle Douglas in Dumfries and Galloway, Scotland, in September of 2014. Archaeologists excavated the hoard and found more than 100 silver and gold pieces, from ingots to jewelry to fragments of Byzantine silk to an extremely rare Carolingian pot stuffed with more treasure. The Galloway Viking Hoard is the largest Viking treasure found in Scotland since 1891.
Since then, the Carolingian pot CT has been scanned and painstakingly excavated in the laboratory and the other objects cleaned and stabilized, but there’s still much more to be learned from this unique assemblage of artifacts. Bordered by the Cumbria, with its high Norse population, to the south, and the Viking-dominated Irish Sea to the west, Galloway had a strong Viking presence from the 9th until the 11th century. The person who buried the hoard was almost certain Norse, burying his or her most precious valuables, many of them heirlooms, handed down spoils from long-ago raids on Anglo-Saxon, Irish French and/or German communities. No other Viking hoard has been found with such a wide variety of objects — gold, silver, glass, enamel, textiles — from such a wide geographic area. The rare survival of textiles, the precision wrapping of each object and careful burial in order of priority makes this hoard a particularly rich source of information about Viking Galloway beyond just the value and significance of the precious objects.
The news of the hoard made headlines all over the world and electrified its home county of Dumfries and Galloway. A pre-existing plan to convert the Kirkcudbright Town Hall into a major art gallery gained whole new steam with the prospect of the Galloway Viking Hoard as the centerpiece of the collection. The budget for the conversion was cranked way up and hefty contributions secured from the Heritage Lottery fund, the Kirkcudbright Common Good Fund and the council itself. The new Kirkcudbright Art Gallery would be a secure, state-of-the-art setting for the display of the hoard near where it was discovered.
But the course of true hoard love never did run smooth, and some David-and-Goliath museum drama has churned in the background of this campaign. The Kirkcudbright Art Gallery doesn’t actually exist yet, while National Museums Scotland (NMS) sure does. NMS wants the Galloway Hoard. The Dumfries and Galloway Council released a statement last month expressing their support for a joint bid with NMS that would give the county and the national museum joint custody of the hoard.
In order to find a way forward, our Council has conducted a detailed options appraisal. This appraisal highlighted 3 main options that our Council could take. We could apply for sole ownership of the Hoard, we could enter into a joint agreement with NMS, or we could withdraw our interest in homing the Hoard. This appraisal provided many positive and negative reasons why each option should be explored, but mainly highlighted that the Hoard needs to have some connection with Kirkcudbright and the region, and that applying for sole ownership would bring serious financial pressures with it. It was therefore decided by Members at the meeting on 24 January to pursue a joint agreement with NMS, but for adjustments to be made to the current proposal, to give Kirkcudbright Gallery and Dumfries and Galloway as a whole, a more flexible position in terms of a joint ownership of the Galloway Viking Hoard.
NMS totally ghosted them. Requests from the council that National Museums Scotland spell out the details of the partnership and clarify how much time the hoard would spend in Kirkcudbright went unanswered. With deadlines on the horizon and the ominous prospect of a deep-pocketed national museum bidding against the scrappy county underdog, the Galloway Viking Hoard Campaign has taken matters in hand.
[Campaign chair Cathy Agnew] said: “This is a time for Scotland to take the lead. The Galloway Viking Hoard is quite extraordinary and should have pride of place in a specially created exhibition space in the new Kirkcudbright Art Gallery. Remarkable finds have so often been whisked away from the communities where they were discovered only to become a small feature in a large national museum. This is a very old-fashioned approach and in 2017 we should be making sure that regions fully benefit from their cultural riches.
“Having a collection of this kind in Dumfries and Galloway would act as a powerful magnet to bring in visitors from all over the country and overseas, benefiting the local economy by encouraging them to spend time here visiting historic sites.”
The Scottish Archaeological Finds Allocation Panel (SAFAP), the body of the Treasure Trove Unit tasked with advising the Queen’s and Lord Treasurer’s Remembrancer which museum a treasure should be allocated to and how much the ex gratia payment to the finder and landowner should be, is scheduled to meet on March 23rd to determine their recommendation for the Galloway Viking Hoard. The campaign is hoping to make some substantial noise before that meeting in the hopes of boosting Dumfries and Galloway’s bid. The website is still a work a progress — there isn’t even a donation button yet — but for now the campaign is asking for people to send letters to the Dumfries and Galloway Council and SAFAP. They also have an email sign-up if you’d like to receive updates on the campaign.
On Tuesday, February 21st, the first archaeological museum underneath a McDonald’s opened in the Frattochie ward of Marino, a town about 12 miles south of Rome. The museum was built around a pristine stretch of Roman road dating to the 2nd/1st century B.C. discovered in 2014 during construction work on a new McDonald’s. McDonald’s Italia financed the conservation of the road to the tune of 300,000 euro ($317,000). The local Archaeological Superintendency supervised its careful excavation and the installation of underground museum gallery.
The restaurant was still built over the site, but it was designed in a bridge-like shape with transparent flooring that makes the Roman road visible under your feet both when you’re waiting inside for your Royale with Cheese and when you’re sitting outside on the patio. If you prefer to eat elsewhere, what with being in Italy and all, you can still visit the underground museum. It has independent access so you don’t have to walk through MickyD’s to get to it, and entrance is free of charge, courtesy of the Clown.
The road begins near the XI mile of the Via Appia. It’s stretch 45 meters (148 feet) long paved with slabs of siliceous rock bounded on both sides with opus incertum walls made of medium to large pieces of local volcanic rock (peperino and basalt) set in a grey mortar. The ruts of hundreds of years of wagon wheels are deeply embedded in the pavers. The average width is 2.1 meters (a hair under 7 feet). Going towards the Appia, a u-shaped drainage canal runs along the right side of the road, while on the left side the edge stones survive in excellent condition and there’s a little sidewalk .8 meters (2.6 feet) wide. There is evidence that the road was repaired repeatedly in antiquity.
The section was cut off relatively recently, on the east end by the construction and demolition of an industrial plant and by the construction of the New Appian Way on the west end. Nobody noticed the ancient road they cut through. It wasn’t a complete unknown, mind you, just forgotten. The existence of a road feature had been noted on topographical maps as early as the 18th century, but it was architect and antiquarian Luigi Canina who put it on the archaeological map. Canina in his role as Papal Commissioner of Antiquities directed the project of cleaning, restabilizing and restoring the Via Appia Antica and its many funerary monuments between 1851 and 1855. His efforts transformed fragmented, overgrown, ramshackle ruins into the usable road and open-air archaeological park it still is today. In his 1853 work documenting the first section of the Appia, La prima parte della Via Appia dalla Porta Capena a Boville, Canina identified it as a “communication route of the Appian Way at Castrimenio.”
Frattochie, next to Castrimenio, is the modern descendant of the ancient Roman town of Bovillae, the legendary place of origin of the Gens Julia. According to the founding myth of Rome, its father city Alba Longa was destroyed by Roman king Tullus Hostilius in the 7th century B.C. and all of Alba Longa’s sacred objects were moved to Bovillae. These objects and the rituals connected to them were the foundations of Rome’s religions, so Bovillae became an important (and wealthy) religious center. The offshoot of the Appia was likely built for the benefit of a wealthy noble resident of Bovillae who wanted a nice, properly paved road to take him to his doorstep.
Bovillae reached its peak when the Julians came to prominence in Roman politics. Augustus’ body lay is state there before returning to Rome, and Tiberius invested heavily in public buildings including a theater, a circus and a chapel dedicated to the Gens Julia. The town declined after the Julio-Claudians died out in the 1st century. By 326 A.D., it was so insignificant it didn’t garner a mention in a document wherein Emperor Constantine I donated land that included Bovillae to a cathedral in Albano Laziale. Whatever was left of it must have suffered greatly when Alaric I sacked Rome in 410. The towns along the Via Appia were the first to feel the Visigothic wrath.
Following the fortunes of the town, between the 2nd and 3rd centuries A.D. the road fell into disuse. It became overgrown with vegetation and covered with soil. The locals put the path to good use. Like the Via Appia, it was lined with burials and tombs. One of the tombs is still visible today on the property of the Abbey of Our Lady of the Holy Sacrament, a Trappist monastery in Frattocchie which, just fyi, makes outstanding chocolate.
The McDonald’s excavation unearthed the skeletons of three adult males buried in the 2nd-3rd century A.D. along the stretch of road. Each was in his own grave, with the three graves relatively close together towards the center of the surviving road section. Casts of the skeletons have been placed in the locations of the original graves along the road in the underground museum.
A huge polar bear skull with very different features from modern polar bear skulls has been discovered at an eroding archaeological site in northernmost Alaska. Its massive size and elongated, narrow shape recall an unusual polar bear reported by Inuit hunters but never photographed, filmed or in any other way scientifically verified.
In interview projects documenting the traditional knowledge of the Inuit peoples of northern Alaska and the western Canadian Arctic, hunters report very rare sightings of a bear “that has a longer neck; it’s high and pure white, but looks like a weasel and runs fast like a weasel”. This creature is known as “tiriarnaq” in the Siglitun dialect, “tigiaqpak” in the Kangiryuarmiut dialect, all of them translating to “weasel bear.”
Here’s a description of a weasel bear by a Sachs Harbour hunter from a 2010 interview:
“You get sometimes bears which we call tiriarnat, and they get over 11 foot. They get very big; they’re slim, their necks are way longer than the stubby bears that we get now. I never seen a weasel type bear for years, years and years…. We used to see some north of Storkerson Bay when we travel…. And they’re very big…. Stubby bears get ten [feet] three [inches], ten [feet] four [inches], that sort of thing. But a weasel type bear is 11-foot plus.
There are differences between some of the accounts of the weasel bear — some say they’re fat, not slender, others say they’re all male — but the large, long, narrow head and neck is common to all the stories. The recently discovered skull fits the description.
“It looks different from your average polar bear,” said Anne Jensen, an Utqiaġvik-based archaeologist who has been leading excavation and research programs in the region.
Through radiocarbon dating and subsequent analysis, Jensen and her colleagues estimate that the big bear skull — which appears to be the fourth largest ever found — is from a period between the years 670 and 800. It is possibly the oldest complete polar bear skull found in Alaska, inspiring a name for the departed creature that owned it: The Old One.
Exactly what accounts for its differences is yet to be determined; genetic testing is needed for that, Jensen said. It could have been a member of a subspecies or a member of a different “race” in genetic terms — similar to the varying breeds that are found among dogs — or possibly something else entirely, said Jensen, who works for the science department of the Native village corporation, Ukpeaġvik Iñupiat Corp., or UIC.
The rapid thawing of the permafrost on the Chukchi Sea coast has exposed the archaeological site of Walakpa, 13 miles southwest of Utqiaġvik (the northernmost city in the United States formerly known as Barrow). First excavated by Smithsonian anthropologist Dennis Stanford in the late 1960s when the permafrost was still perma, Walakpa is a settlement from the Birnirk period (600-1300 A.D.). It was widely believed to have been so thoroughly explored by Stanford’s team that there were no archaeological materials of note left to discover.
Climate change proved that consensus wrong in the late summer of 2013 when the face of a bluff sheered off after a storm, exposing the timbers of an ancient house. They could not be fully excavated due to adverse environmental conditions and lack of funding. In 2014, a 90-foot section of soil collapsed. A local discovered the polar bear skull at that time, although exactly where and when is unclear.
Anne Jensen was finally able to raise the funds for a solid three-week dig last summer. The exposed timbers were lost by then, but Jensen’s team unearthed a number of artifacts and remains preserved for centuries in the permafrost and recovered before their decay was accelerated by the warming soil. The sheered-off bluff where the timers were found still harbored a rare treasure: four mummified seals, naturally preserved in what had once been an ice cellar. These are the only mummified seals ever found outside of the McMurdo Dry Valleys of Antarctica. Jensen excavated one of them, a female dubbed Patou dating to the mid-1940s whose body is intact from fur to claws.
Time is running out for this site and many others in Alaska, and funding hasn’t come to close to keeping up with the pace of site deterioration.
The good condition of the artifacts is only temporary. As thaw and erosion occurs, items fall into the sea or, if exposed to the air, are at risk of decay.
Even if they are not exposed to air, artifacts can be vulnerable to below-ground degradation, Jensen said. As soils warm, bacteria are better able to decompose bones and other items. Even worse, warming soils can bring the items to a point where they generate their own heat, speeding the decomposition process.
With open water present up to eight months of the year instead of two and with temperatures rising and shorelines crumbling, the threats to the archaeological sites are increasing exponentially, Jensen said. Sites are eroding at a rate that far outpaces the normal grant process used to secure funding for work, and some new emergency approach is probably warranted, she said.
“It’s like the library is essentially on fire — now,” she said.
The U.S. Navy has released a comprehensive archaeological report on the recovery of the Confederate submarine H.L. Hunley and it is a total page-turner.
The Hunley sank off of Charleston Harbor on February 17th, 1864, but not before taking down its target, the USS Housatonic, in the first successful torpedoing of a ship by a submarine. Famous for this feat and for its disappearance immediately after the clash, the wreck of the Hunley was much sought by scholars, archaeologists and an adventure novelist. After decades of scholarship and fruitless searches, it was the novelist, Clive Cussler, with a team of exports from the National Underwater and Marine Agency (NUMA), who found the wreck in 1995. It was tilted on its starboard side, embedded in the seabed at a 45 degree angle and buried under feet of silt.
The idea of raising the hand-cranked iron submarine that played such a seminal role in the development of naval technology was a daunting one. It had been protected for 131 years by its silten blanket, and any excavation could endanger the sub. If it survived being dug out, then it would have to be safely raised out of the water, a logistical challenge of massive proportions. But the incentives to take the plunge were strong. Unlike other shipwrecks, Hunley almost certainly had sealed compartments that contained not just untouched artifacts, but the remains of the eight brave crewmen who operated this terrifying contraption. With the news of the discovery making headlines all over the country, the wreck would certainly become the target of looters.
Five years passed from discovery to recovery, five years of assiduous research, planning and problem-solving. You don’t have to be Civil War or naval history buff to find the Navy’s report on the recovery project riveting. It covers so much ground that anyone with an interest in archaeology, conservation, science, engineering, metallurgy, museums, even project management will be fascinated. I’ve read a lot of archaeological reports over the years, but I’ve never read one this thorough. It goes into depth on the historical background of Hunley, including its predecessors, recovery attempts after the war and searches in the 20th century. It’s not just verbiage, either. There is a plethora of pictures, maps and diagrams.
Dr. Michael McCarthy of the Western Australia Museum, who participated in a 1999 symposium of experts convened to discuss the recovery of H.L. Hunley, puts it beautifully in the foreword:
[This report] ably brings to the world the complexity of such a multi-faceted project, its own history, including the search and finding, the engineering problems and solutions, the archaeology, conservation, historical research, public access, and future exhibition plans. Clearly evident is the fact that it has all required perseverance, dedication, and exceptional time management from not only the archaeologists, researchers, and conservators, but those who managed the funding and the enormous resources required to complete the project. What editors Robert Neyland and Heather Brown have brought together and presented in what follows is a fitting and lasting tribute to the project’s many and various constituents and, like H.L. Hunley itself, it is a monument to its builder and to its three brave crews, young men once lost and now known to all.
The 321-page document can be downloaded free of charge in pdf format here.
For a brief window in the 1870s and 80s, cycloramas were all the rage in the United States. The trend began with large-scale panoramas in the late 18th century. European artists pioneered the form, creating massive works that depicted famous battles, Biblical and mythological scenes, landscapes, famous explorers exploring exotic lands and more. This evolved into cycloramas, 360 degrees paintings installed in purpose-built circular buildings so that viewers on a central platform could have a full-immersion experience of being in the middle of the action.
Cycloramas caught on in the 1870s after the Franco-Prussian War inspired a proliferation of battle depictions. It was European artists who brought their techniques of creating massive 360 degree paintings to the United States. The Battle of Gettysburg, now at the Gettysburg National Military Park and the largest oil painting in the world, opened the cyclorama floodgates. French artist Paul Philippoteaux, who had been painting cycloramas in Europe since 1871, was commissioned to create the massive panorama by a group of Chicago investors in 1879. It took him two years and a couple of dozen of assistants to finish the piece. It went on display in Chicago in 1883 and was a runaway success, so much so that Philippoteaux was commissioned to make another three Battle of Gettysburg cycloramas.
The Gettysburg blockbuster started a trend, and the same year it first went on display, German-born Milwaukee resident William Wehner founded the American Panorama Company. He had little difficulty investors that there would be a market in the United States for massive-scale views of scenes from the Civil War. The Battle of Atlanta, fought on July 22nd, 1864, was the chosen subject for the American Panorama Company’s second and most elaborate work, and little wonder since one of Wehner’s patrons was Illinois senator and Union Major General John “Black Jack” Logan who had commanded the Fifteenth Corps in the Battle of Atlanta.
Wehner recruited a team of 20 artists from Germany, each experts in large-scale painting and specializing in certain areas — landscape, horses, human figures — and researched the battle assiduously. They had access to the sketchbooks and notebooks of Harper’s Weekly Civil War campaign artist Theodore Davis, official government documents and maps, spoke to veterans of the battle from both sides, and traveled to Atlanta so they could scope out the site of the battle with their own eyes. Even though the neighborhood where the battle took place (Edgewood, then an eastern suburb, now intown Atlanta) was completely unrecognizable just 20 years later, the artists were able to view tracks and landscape features by sketching from towers.
The Battle of Atlanta made its debut in February 1887 in Detroit. Senator Logan had died in December of 1886 and the work was advertised as “Logan’s Great Battle” in homage to him. His cavalry charge to reinforce the Union lines was a featured scene in the cyclorama. Believe it or not, this massive painting more than 370 feet wide and just shy of 50 feet high was designed to be moved. After it was shown in Detroit, vast swaths of the canvas were draped on wooden frames and taken on the road where it was shown in Minneapolis and Indianapolis. The Cyclorama opened in Indianapolis in May of 1888 and by then Wehner’s company was in trouble. He sold The Battle of Atlanta to a local exhibitor. In 1890, that company sold it to promoter Paul Atkinson of Madison, Georgia.
Atkinson put it on display in Chattanooga, taking it south of the Mason-Dixon line for the first time. It finally set foot in Atlanta in February 1892, where Atkinson put it on display in a wooden building on Edgewood Avenue, close to the battle site. In Atlanta, Atkinson promoted the one-time “Logan’s Great Battle” as the only painting of a Confederate victory, and he had it altered to make sure it fit the new pro-Southern narrative. A group of cowering Confederate prisoners were changed to retreating Union soldiers, for example.
(It’s true that the Battle of Atlanta ended with the Union’s failure to take the city and the death of Major General James McPherson, one of the highest-ranking Union soldiers to fall in battle during the Civil War. General Sherman had to besiege Atlanta for more than a month before the city finally surrendered on September 2nd, 1864. Still, the one-day Battle of Atlanta was something of a Pyrrhic victory given the 5,500 Confederate casualties they could ill-afford this late in the war, and since the final conclusion of the wider fight for Atlanta was a decisive Union victory that played an important role in revitalizing Northern enthusiasm for the war and in re-electing President Lincoln, Atkinson’s pitch was more than a little disingenuous.)
The days of the great panoramas in the round drawing crowds were over by then, however, and the Edgewood Avenue exhibition was financial failure. A year later, the painting was sold for a comparative pittance to Atlanta business magnate Ernest Woodruff. He quickly resold it to George V. Gress and Charles Northen. They had it repaired and installed in a new building in Grant Park, but again The Battle of Atlanta failed to attract visitors. In 1898, George Cress donated the painting to the City of Atlanta.
The city created a new building to house it in Grant Park in 1921. For some unfathomable reason, instead of just measuring the thing and making proper calculations, the new building which, once more for emphasis, was custom-built to house the painting, could not fit the whole painting. About eight feet of sky and a vertical section six feet wide were sliced out to squeeze it into the new Atlanta Cyclorama building.
In 1936, a Works Project Administration team completed a diorama covering the space between the bottom of the painting and the edge of the viewing platform. On a red clay floor evoking Georgia’s characteristic russet heavy soil, landscape features, artillery, railroad tracks and 128 plaster soldiers were added to bring the painted scene into three dimensions. The soldiers ranged in size from 20 to 50 inches high and were placed to ensure they’d be in proper perspective and scale with the painting when viewed from the platform.
Condition issues proliferated over the decades at Grant Park. Twenty years of discussions from the late 1950s until the late 1970s considered a number of solutions to the problems, all of them rejected as too expensive. Finally between 1979 and 1982 the painted and diorama were conserved and the building renovated to include a revolving viewing platform.
Since then, the painting continues to struggle with condition issues. Meanwhile, Zoo Atlanta, which shares space in Grant Park with the Atlanta Cyclorama and draws far, far larger crowds than the painting could ever dream of drawing, is keen to expand. In 2014, Atlanta Mayor Kasim Reed announced that the cyclorama would be moved to a new state-of-the-art facility at the Atlanta History Center‘s 33-acre campus in the toney Buckhead neighborhood.
Moving a painting 359 feet wide and 42 feet high that weighs seven tons is not for the faint of heart. It has taken more than two years to plan and prepare the move. Earlier this month, the deed was done, in a painstaking series of steps.
Workers, Mr. McQuigg replied, will spend days rolling the painting, which is appraised at $7.5 million, onto a pair of 6,200-pound spools. A crane will slowly lift the spools — “We’re hoping paint-drying goes faster,” Mr. McQuigg said in an interview — through seven-foot holes cut in the roof of the nearly century-old building. Then, once the shrink-wrapped painting is resting aboard two trucks, the workers will let the clock tick.
“We’re going to wait until everybody goes home and the traffic dies down and there’s no more Atlanta rush hour,” Mr. McQuigg said in the musty room where the cyclorama has hung for generations. “Heck, it might be 3 in the morning.”
That’s pretty much what happened, although the two giant spools were raised on different days. The first scroll did end up being transported in the middle of the night to the new Lloyd and Mary Ann Whitaker Cyclorama Building at the Atlanta History Center. The second was moved during the day.
Now that they’re in the new building, the sections of the painting will be reunited and restored.
The restored painting will finally have the proper perspective: Until now, the painting hung like a shower curtain and there were folds and creases. When the painting reopens next year, the aim is to return the “immersion” effect.
The Battle of Atlanta will be displayed in its original hyperbolic, or hourglass shape. Through proper tension at the top and bottom, the painting’s horizon will appear closer to the viewer, restoring the original 3D illusion.
You’ll be able to see the whole painting: At Grant Park, patrons sat on a carpeted revolving grandstand, which kept them from taking in the entire painting at once. At the AHC, visitors will gaze from a platform 15 feet above ground. The diorama will be rebuilt. The idea is to remove as many obstructions as possible and let the painting make its own statement.
The Battle of Gettysburg is the same height as the Atlanta Cyclorama, but it’s 377 feet wide. When the restoration is complete, The Battle of Atlanta will get a little closer in width and beat it in height. The pieces cut out to squeeze Procrustes the Painting into the 1921 Atlanta Cyclorama building will be readded so that for the first time in almost a century, the complete panorama will be seen as the German painters created it. The restored cyclorama will be 371 feet wide and 49 feet high. The Atlanta Cyclorama will reopen to the public in the fall of 2018.
Here are timelapse videos of the two halves of the painting being scrolled up. The first half was scrolled on December 7th, 2016, the second on January 21st, 2017.
Here is the first scroll raised from a hole in the roof of the old Atlanta Cyclorama building and then being laid on the flatbed truck for transport to the new building.
This news story has film of the cranes lowering the massive scrolls into the new cyclorama building at the Atlanta History Center:
A drawing of a dog in the Herzog Anton Ulrich Museum in Braunschweig, Germany, has been identified as the work of 17th century Dutch master Rembrandt Van Rijn. The chalk sketch of a little terrier, believed to have been drawn around 1637, has been in the museum’s collection since the 1770s, but was mistakenly attributed to German animal painter Johann Melchior Roos. His father, landscape painter and portraitist Johann Heinrich Roos, his brother Philipp Peter Roos, two other brothers and a sister were all known for their drawings of animals. Philipp Peter even kept a mini-zoo at his villa in Tivoli just to have live models for his drawings. The Roos were so strongly associated with animal studies that for centuries if a Dutch/German Baroque animal drawing turned up without a clear attribution, it would by default be categorized as a piece by Roos. The Herzog Anton Ulrich Museum in particular has a large collection of Johann Melchior Roos drawings because he spent the last years of his life in Braunschweig.
The dog study was noticed two years ago by the museum’s head of drawings, Dr. Thomas Döring, when he was going through their collection of 10,000 drawings for the Virtual Kupferstichkabinett, a major digitization initiative virtually reuniting the collections of the Herzog Anton Ulrich Museum and the Herzog August Bibliothek in Wolfenbüttel which began life as the private art and book collection of the Dukes of Braunschweig-Wolfenbüttel. The ducal collections were gradually split up between the two institutions between the 18th and early 20th centuries. The Virtual Kupferstichkabinett brings them back together online.
While cataloging the drawings, Döring saw the terrier and suspected there was a more illustrious hand behind the dynamic canine that previously realized.
“It’s been on display for decades under the name of Johann Melchior Roos,” he told CNN, “so the idea that this could be a Rembrandt was never considered before. But the boldness of the strokes, the variations in the shading from very gentle to quite violent and the expressive gaze [of the dog] — these are very typical idiosyncrasies of Rembrandt’s work.”
Doring said his experience cataloging drawings by Rembrandt and his pupils during an earlier project was key to the discovery.
“I was used to looking out for the differences between Rembrandt’s work and drawings by other artists,” he explained.
Two years of research ensued, including microscopic examinations of the drawing and extensive studies of comparable Rembrandts in museums and collections in Amsterdam, Paris and Vienna. Döring then consulted international authorities on Rembrandt for their opinions. Dr. Holm Bevers, Chief Curator for Dutch and Flemish Prints and Drawings at the Kupferstichkabinett of the Staatliche Museen zu Berlin in Berlin was the first to officially attribute the drawing the Rembrandt. Pieter Roelofs, curator of 17th century Dutch painting at the Rijksmuseum, was the second. An Old Master specialist at the British Museum was the third. Dr. Döring published the drawing as an original Rembrandt in the quarterly journal Master Drawings and so far has received unanimously positive responses.
Dogs appear as secondary figures in many of Rembrandt’s paintings, see the little fellow excitedly play-bowing on the bottom right of The Night Watch, and several of his sketches of people have a dog in the scene as well. Other animals he drew — lions, pigs, elephants, camels, cats, horses — as studies for larger Biblical, historical, pastoral and mythological paintings. Not many of his drawing of animals survive. Rembrandt is believed to have collected most of them in a single volume he called “Animals, from life” (“Beesten nae’t leven”) which was listed in a 1656 inventory of his belongings but is now lost.
Rembrandt’s doggie will go on display at the Herzog Anton Ulrich Museum starting April 6th in the Dürer, Cézanne, and Me: How Masters Draw exhibition. It runs through July 7th, 2017.
They already been rounded up, truth be told, but when a stolen 17th century masterpiece is found in Casablanca, the headline pretty much writes itself. The masterpiece in question is Madonna with the Saints John the Evangelist and Gregory Thaumaturgus, an oil on canvas painted made in 1639 by Giovanni Francesco Barbieri, aka Guercino. For the next 375 years, the painting remained safe in the Church of San Vincenzo in Modena. Even a direct hit on the church by an Allied bomb in 1944 left the Guercino unmolested while the presbytery and the frescoed choir were reduced to rubble.
The lucky streak broke in August of 2014 when the painting was stolen from the church, probably the night of August 10th. The theft wasn’t noticed until the morning of the 14th when the priest saw the front door was unlocked. The church is only open on Sunday for mass and the doors are kept locked at all other times. There was no sign of forced entry on the door, so the thieves must have gotten in when the doors were open and hid in the church until the coast was clear. Then they somehow made off with a painting nine and a half feet high and six feet wide still in its huge wooden frame.
Police investigated thoroughly, going full CSI on the church looking for any microscopic speck of evidence that might help track the painting and its kidnappers. They also collected hours of security camera footage from the streets around the church in the hope of finding a van or truck large enough to transport so large and unwieldy an artwork. The investigation enlisted the aid of Interpol and local authorities in countries around the world, but came up empty. There was no trace of the Guercino.
There was the usual speculation by police and in the press you see every time something huge and famous and therefore virtually impossible to resell is stolen that the theft was commissioned by a villainous private collector. And again as it so often seems to be the case, the real explanation is that art thieves are, as a group, terrible at everything but the stealing (and sometimes at the stealing too).
Last week, like a bolt from the blue, Interpol got a call from the Moroccan police alerting them to a large canvas discovered during an investigation, a canvas they believed to be the stolen Madonna with the Saints. A man claiming to be an art dealer had offered the painting for 10 milioni dirham (about $1 million) to a wealthy Moroccan businessman and art collector. He recognized it as a Guercino right away, and since he wasn’t off planet in August 2014, he knew it had to be the painting stolen from Modena. He reported the encounter to the cops. The judicial police of Casablanca’s Hay Hassani prefecture arrested three people, all Moroccan nationals, the ringleader a longtime resident in Italy, for the theft.
Interpol alerted the Italian authorities on the evening of Wednesday, February 15th. On Thursday, February 16th, Lucia Musti, chief prosecutor of Modena, confirmed “with the greatest satisfaction” that the painting recovered in Morocco was indeed Madonna with the Saints John the Evangelist and Gregory Thaumaturgus by Guercino, stolen from the Church of San Vincenzo between the 10th and 13th of August, 2014.
The Italian and Moroccan authorities are working out the details of the repatriation of the painting now. There are no reports yet as to its condition.
Metal detectorists discovered eight Roman copper-alloy vessels — an iron-rimmed cauldron, a deep bowl, a shallow bowl, a high-sided pot and four small scale pans — in Wiltshire’s Vale of Pewsey in October, 2014. They dug them out of the ground, unfortunately, but they did have the forethought not to clean them, a decision that ensured the survival of the pots’ incredibly rare contents. What looked like dirt and weeds was in fact ancient plant material packed in the vessel hoard when it was buried.
A hoard of eight Roman pots is already a great rarity. Fewer than 30 copper alloy vessel hoards have been found from late antiquity in Britain. As small as this number is, it’s still more than have been found anywhere else in the Roman world. That the organic remains the vessels contained didn’t decay into dust makes it a unique find. The plants were preserved by the creation of an air-tight pocket inside the carefully nested pots. It was probably a fluke, a result of the way the vessels were stacked and positioned inside each other.
Inside the cauldron, the biggest piece, was placed the shallow bowl (Vessel A). The high-sided pot (Vessel B) with the four little scale pans inside was placed in the shallow bowl, its rounded feet raising it from direct contact with the bottom of the bowl. The deep bowl (Vessel C), of a type known as an Irchester bowl, was flipped upside-down to cover vessel B entirely and cover the rim of Vessel A. The organic remains were almost entirely contained in Vessel B. As the metal corroded over the years, the copper salts were absorbed by plant material, also helping to preserve it. The plants have a powdery consistency now because of the copper salts, but they’re microscopically identical to when they were fresh.
Finds Liaison Officer Richard Henry has led the exciting quest to discover more about the find. He brought in a team to excavate the site of the discovery, led by David Roberts of Historic England and with the Assistant County Archaeologist, members of the Wiltshire Archaeology Field Group and the finders. Richard then brought in more experts, including Dr Ruth Pelling of Historic England and Dr Michael Grant who identified the plant remains and pollen. Peter Marshall, also of Historic England, coordinated the radiocarbon dating of the flowers and undertook analysis of the results. [...]
Richard Henry said “Such discoveries should be left in situ to allow full archaeological study of the find and its context. The finders did not clean or disturb the vessels which has allowed us to undertake detailed further research. If the vessels had been cleaned none of this research would have been possible”
Ruth Pelling commented that “It has been an absolute pleasure to examine this unique assemblage. By combining the plant macro and pollen evidence we have been able to identify the time of year the vessels were buried, the packing material used, the nature of the surrounding vegetation and the likely date of burial.”
Radiocarbon dating of the plants by Historic England found they were buried between 380 and 550 A.D., a turbulent time when the Romans were in retreat or just plain gone (Emperor Honorius pulled the last legions from Britain in 410 A.D.) and the Anglo-Saxons began spreading through England from their strongholds in the south and east.
Hoards from this period are generally thought to have been buried to keep them safe from Saxon raids. Roman copper vessels were relatively common household goods during more prosperous times, but at the remote ends of empire after the collapse of Roman rule they would certainly have been hoardworthy. The plant material packed inside the vessels consists mainly of knapweed flowers (23 knapweed flowers, to be specific, two of them black knapweed) and pinnules and stem fragments of bracken. There are also cowslip, buttercup and sedge seeds. The seeds indicate the hoard was packed and buried in the mid to late summer out of doors in a location with both pasture and farmland.
Why the plant material was included is more mysterious. They could have been simple packing material. There was hay in the mix, too, so the plants may have been the far less annoying 5th century equivalent of styrofoam peanuts. They may also have been a votive offering. It’s notable that the hoard was buried on the boundary between Roman and Angle territory, a dangerous frontier at that time and a hotspot of upheaval during the transition from Roman rule, the kind of place where you would have good reason to appeal to higher powers for protection.
The plants and seeds were donated to the Wiltshire Museum in Devizes where they have been and will continue to be studied and analyzed. Some of the flowers are now on display at the museum. Experts were able to study the vessels, but the metal detectorists have chosen to keep them instead of donating them along with the plant materials. They can make that choice because the 1996 Treasure Act doesn’t define ancient artifacts made of base metals as treasure.
This is the same loophole that allowed the sale of the exceptional Crosby Garrett Helmet to an anonymous private collector. If there are two or more prehistoric artifacts, they count as treasure even if made of base metal. If an artifact is between prehistoric and 300 years old, it has to be composed of at least 10% gold or silver to qualify as treasure. It’s a nonsensical standard, particularly for archaeology where a literal bag of feces can be of inestimable value. Also, the finders can’t possibly be qualified to conserve very delicate ancient metalwork. The cauldron, for instance, is fragmentary, with the base, the little that remains of the body and the rim all in separate pieces.
The plants and bronze vessels have been together for 1500+ years. As a group, they are a great archaeological treasure. I hope the finders have a change of heart and reunite these longtime companions.
Archaeologists have discovered a hoard of Bronze Age weapons of international significance in Carnoustie, Angus, eastern Scotland. The property at Newton Farm was bought by the Angus Council last year with the stipulation that it be dedicated to community use. Because an earlier dig in the area in 2004 had found evidence of extensive prehistoric and medieval remains, the council also had to ensure the site was excavated to recover any archaeological remains before construction. GUARD Archaeology were contracted to excavate the site.
In a shallow pit, the team unearthed a bronze spearhead next to a bronze sword, a pin and scabbard fittings. Decorated with gold ornamentation, the bronze spearhead is an incredibly rare object. Only a handful of Bronze Age spears of this type have been found in Britain and Ireland. One of them was discovered in a weapons hoard in 1963 at a farm just miles away from Carnoustie, so that means that out of the few gold-decorated bronze spearheads known, two of them were found in Angus. This suggests the area had a significant a wealthy warrior class around 1000 B.C.
Since the bronze weapons are around 3,000 years old, the metalwork is very fragile. To ensure these delicate artifacts could be excavated with all necessary caution in a protected environment, the soil surrounding the pit was cut out and the entire 175-pound block was removed to the GUARD Archaeology Finds Lab. There conservators analyzed the block to develop an excavation plan that would safely preserve the finds.
These few seconds of video convey how painstaking the process of excavation was:
The en bloc excavation proved even wiser when organic remains were found in the hoard. The leather and wood scabbard, while broken into several fragments, is the best preserved Bronze Age scabbard ever discovered in Britain. Textile fragments were found around the pin and scabbard; fur around the spearhead. These kinds of materials almost never survive outside of waterlogged or arid environments.
Another great archaeological boon to this hoard is that it was unearthed within the confines of a Late Bronze Age settlement. It’s not isolated on the edge of a ploughed field where all we can find about the hoard’s history is in the hoard itself. It’s part of a much wider context. The team unearthed the remains of around 12 roundhouses, probably from the Bronze Age, and other large pits holding what appears to be refuse (broken pottery, lithics). About 650 artifacts were discovered from the Bronze Age settlement. Most of the finds give a date range of between 2200 and 800 B.C. for the Bronze Age occupation of the site.
There were people living there long before the Bronze Age, though. Archaeologists found the remains of two rectilinear structures dating to the Neolithic. The oldest dates to around 4000 B.C., and it too is a testament to the area’s prehistoric prominence. It’s the largest Neolithic hall ever found in Scotland. There is no clear evidence of continuous occupation, so the site could have been inhabited from the Stone Age through the Late Bronze Age, or successive settlements could have been built on the site with gaps of centuries between them.
The site is slated to be converted into two grass soccer fields, as per the community use requirement, and construction will begin at the end of the month. The excavation of the larger site will continue.
The National Archaeological Museum in Athens, Greece, has taken one of their most curious artifacts out of storage and put it on display. It’s a Neolithic statuette carved out of granite about 7,000 years ago. It is 36 centimeters (14 inches) high and has a pointed, beak-like nose, a rounded torso with a prominent belly and thick, irregularly cylindrical legs. There are no arms, no genitalia or breasts to indicate sex, no facial features other than the pointy nose. I think he looks like the secret illegitimate love child of Sam the Eagle and the Shmoo.
Its design, material, great age and unknown origin make it an intriguing archaeological mystery. Museum curators call the figurine a 7,000-year-old enigma.
“It could depict a human-like figure with a bird-like face, or a bird-like entity which has nothing to do with man but with the ideology and symbolism of the Neolithic society,” Katya Manteli, an archaeologist with the museum, told Reuters.
Unlike most Neolithic figurines made of soft stone, it is carved out of hard rock even though metal tools were not available at the time.
And while it is too short for a life-size depiction of the human figure, it is bigger than most Neolithic statues, which are rarely found over 35 cm tall.
“Regarding technique and size, it is among the rare and unique works of the Neolithic period in Greece,” Manteli said.
It’s possible that the lack of sex characteristics and detailed features are a practical limitation of having to carve hard granite with stone tools. It could also be incomplete, although the high gloss polish indicates this is a finished piece.
There are more than 200,000 objects kept in permanent storage at the National Archaeological Museum. This charming Neolithic fellow is one of the treasures pulled from the storeroom for The Unseen Museum, an exhibition that gives the bench players a chance to start the game for once. It runs through March 26th of this year.
An excavation around a medieval church in Sutton Farm, Shrewsbury, has unearthed the remains of a previous Anglo-Saxon church and a series of unusual animal burials that may be pre-Christian. The Church of the Holy Fathers, as it is now known, was bought from the Church of England by the Greek Orthodox Church in 1994. Built in the late 12th, early 13th century, the church had been abandoned in the late 19th century and was being used as a storage shed. The Greek Orthodox Church restored the nearly derelict Grade II-listed building and a congregation has worshipped there ever since.
The field on the west side of the church is slated for development — it will be a parking lot for a 300-home estate — and a team from Baskerville Archaeological Services was contracted to excavate the site before construction began. By the terms of the planning contract, developers Taylor Wimpey funded an archaeological survey of the parking lot site from late summer until November. The Greek Orthodox Church stepped in to fund an extension of the excavation and developers gave the archaeologists more time to explore the site.
They were able to unearth foundations of the current medieval church extending 20 feet from the modern-day walls, indicating that this small church was once much larger. Next to the medieval foundations and between 15 and 18 inches deeper under the soil, archaeologists found the stone foundations of an earlier building which they believe to be an Anglo-Saxon church. Several artifacts were discovered in a rubble pile: three garnet pins, a carved stone of indeterminate age and two coins, one of them a Charles I half farthing minted between 1624 and 1635.
The very last day of the dig on the west side, the team unearthed a 15-section of a wooden post, likely a door post, in the layer believed to be Anglo-Saxon. This was a key discovery, because wood can be radiocarbon dated to confirm or deny whether the earlier structure does date to the Anglo-Saxon period.
On the south side of the church, archaeologists found more foundations of the medieval church. These indicate the church had a transept, the arms on either side of the nave that form the traditional cross shape. They also discovered the medieval graveyard. The remains of three people were unearthed, including an intact skeleton of a woman buried in shroud, but that’s to be expected in a churchyard. Less expected were the elaborate animal burials: the skeletons of a calf and a pig carefully posed together with yin-yang symmetry, a Stone Age flint found between the ribs of the calf, the skeletal remains of a pig laid to rest in a leather-covered wood coffin, the bones of a large female dog that died during whelping found next to the bones of six chickens, a pregnant goat and what appear to be the bones of one more dog and a large bird. Those last two have yet to be fully excavated.
“It was a huge surprise to find these burials in a church graveyard. To find animals buried in consecrated ground is incredibly unusual because it would have been a big no no,” [Janey Green, from Baskerville Archaeological Services,] said. “The bones don’t show any signs of butchery and the animals appear to have been deliberately and carefully laid in the ground.”
“The site is a few hundred metres from known prehistoric human burial mounds so they may be connected. Initially I thought I may have come across a whimsical Victorian burial of a beloved pet. But the Victorians usually left objects in the graves such as a collar, a letter or a posie of flowers and we haven’t found a shred of evidence of anything like that here. Neither is there evidence that the animals were fallen farm stock that were disposed of in modern times.”
Green thinks these are likely pre-Christian burials. The bones will have to be carbon dated before we can know, and it doesn’t look like they have the budget for it at this point. They’re working on it.
The parking lot is still going forward. Taylor Wimpey have agreed to seal the medieval foundations under a geotextile membrane before pouring the asphalt. This will protect them from damage and make them more easily accessible should someone in the future pick the archaeological remains over the parking lot. Meanwhile, the excavations on the south side of the church will continue. The remains, both human and animal, will be reburied at the church in a special funerary service.
One of those artists was Louis-François Cassas (1756-1827) who made highly detailed drawings of the ruins of Palmyra in 1785. Cassas spent a month in Palmyra, recording all of the ancient ruins he saw. As an architect, Cassas had a keen eye for sculptural features which gave his renderings a precision matched by none of his predecessors in the voyage pittoresque tradition of illustrated travel accounts. His drawings of Palmyra, detailed views of ornamental features, architectural elevations and reconstructions illustrated his own travel account, Voyage Pittoresque de la Syrie, de la Phenicie, de la Palestine, et de la Basse Egypte, published beginning in 1799.
Following in Cassas footprints but using a new medium was Louis Vignes (1831-1896), a French career naval officer and a photographer. In 1863, Vignes was assigned to accompany Honoré Théodore d’Albert, duc de Luynes, on a scientific expedition to Palestine, Syria and Lebanon. Luynes was an avid amateur archaeologist and antiquarian, an expert in Damascus steel and a patron of the arts with a particular taste for commissioning works in the classical style. The year before the expedition, the duke had donated his vast collection of antiquities — coins, Greek vases, medallions, intaglio gemstones — to France’s Cabinet des Médailles, and as an immensely wealthy aristocrat with a passel of big titles, when Luynes demanded that the French government provide him with a naval officer for his voyage, he got what he wanted.
Vignes was a particularly good choice for a mission that would encounter numerous archaeological remains, because he had been trained by pioneering photographer Charles Nègre and could be of as much help to the duke on dry land as he was on the seas. Luynes’ primary objective was to do one of the first scientific explorations of the Dead Sea. From the Dead Sea, the expedition traveled the Jordan River Valley, the mountains of Moab and the full length of the Wadi Arabah to the Gulf of Aqaba. Over the 10 months of the expedition, they also visited Palmyra and Beirut where Vignes took pictures of the ancient ruins.
The scientific report of the expedition, Voyage d’exploration à la mer Morte, à Petra, et sur la rive gauche du Jourdain, wasn’t published until 1875, eight years after Luynes’ death. Vignes photos of the Dead Sea were included in the publication, but by then Vignes had long since cut to the chase. He hooked up with his old mentor Charles Nègre to develop and print the negatives Vignes had taken in Beirut and Palmyra. The albumen prints were given to the duc de Luynes before his death in 1867. The Vignes photographs are the earliest known pictures of the Greco-Roman remains in Palmyra.
They have taken on even more significance in the light of recent events. Palmyra’s ruins have been devastated in the Syrian Civil War, bombed and shelled by everyone, deliberately destroyed by IS ostensibly out of iconoclastic fervor, although their real motivation, I think, is to taunt the world into multiple impotent rage strokes; cultural heritage destruction as a brutal mass troll. The temples of Bel and Baalshamin were blown up, as were three of the best preserved tower tombs, the Arch of Triumph on the east end of the Great Colonnade and, if recent reports bear out, the tetrapylon and part of the Roman theater.
In 2015, with the monstrous savaging of Palmyra’s ancient monuments well underway, the Getty Research Institute acquired an album of 47 of Vignes’ original photos taken in Palmyra and Beirut. That album was digitized — the pictures can be browsed here — as were 58 additional Vignes prints from the duc de Luynes’ personal collection.
Now the Getty Research Institute has enlisted its Vignes photographs, Cassas drawings and other important sources in an online exhibition dedicated to history of Palmyra.
The online exhibition draws heavily from the Getty Research Institute’s collections as well as art in museum and library collections all over the world. The exhibition explores the site’s early history, the far-reaching influence of Palmyra in Western art and culture, and the loss, now tremendous and irrevocable, of the ruins that for centuries stood as a monument to a great city and her people.
“The devastation unleashed in Syria today forces a renewed interpretation of the early prints and photographs of this extraordinary world heritage site.” said Getty Research Institute curator Frances Terpak. “They gain more significance as examples of cultural documents that
The Legacy of Ancient Palmyra is the Getty Research Institute’s first online exhibition and it’s beautifully curated. I hope it’s the first of many to come.
Mainly found in Scandinavia, Viking boat burials are as rare as they are fascinating. The ones that have been archaeologically excavated in the UK were unearthed on the isles, like Orkney, Shetland and Man. The only boat burials found on mainland Britain were discovered in the 19th century and were excavated, if you can call it that, outside of archaeological protocols. Few artifacts from them have survived and it’s difficult to confirm that they were in fact boat burials. The discovery of an intact Viking boat burial in Swordle Bay on western Scotland’s Ardnamurchan peninsula in 2011, therefore, was a momentous one. The Norse were known to have been in the area when they were still raiding and exploring the British Isles in the 9th and 10th centuries, before they founded any settlements, but this is the first archaeological evidence of their presence.
The grave was first identified in 2006 as part of the Ardnamurchan Transitions Project‘s survey of potential archaeological sites in the area dating from the Neolithic through the 19th century. The ATP team dug a test trench across the low turf-covered mound and found stones collected and placed by human hands, as well as a rove, a metal plate or grommet that rivets pass through in boat construction. The dating of the mound wasn’t clear. Possibilities included Bronze Age or medieval origin.
Full excavation of the mound would have to wait until 2011. Just under the topsoil, archaeologists found a spread of stones. Some of them were undisturbed, still placed where human hands had laid them centuries earlier. Others were scattered around the main stone pile and bore plough marks suggesting they’d been dislodged during later agricultural activity.
Once the soil and fill were removed, the stone feature was revealed to be an oval outlined by kerb stones embedded in a cut. A spear head and a shield boss were found on a cairn stone underneath the silt layer that overlays them. That suggests they were deposited around the same time as the stones, like at the time of burial, but that can’t be confirmed because the cairn has shifted significantly over time. Under the stones were layers of decayed organic material and a wealth of artifacts, among them a large iron pan with a handle three feet long, a ladle, the copper-alloy top of a drinking horn, more than 200 rivets and roves, a sword decorated with silver and copper wire with textile fragments wound around the blade, a broad-bladed axe, a copper alloy ring pin likely of Irish origin, a Norwegian schist whetstone, and an iron sickle.
The rivets and roves, the sword style, the whetstone, the pointed oval boat cut and the organic decay likely from wood confirmed this was a rare Viking boat burial, the only one on the British mainland excavated to modern archaeological standards. The boat was about 5.1 meters (17 feet) long, a small rowboat, not a seafaring vessel. It was placed in the boat-shaped cut, the body of the deceased placed in the boat and then surrounded with grave goods. Rocks were piled atop the body, creating a burial mound. Preliminary analysis of the finds dated the burial to the late 9th, early 10th century. The weaponry suggests the deceased was male, but the pan and ladle are more typical of female burials. A small fragment of bone and two teeth are the only human remains discovered in the grave, neither of them sufficient to conclusively gender the burial.
The latest report on the findings has now been published in the journal Antiquity. Strontium, lead and oxygen isotope analysis was done on the teeth to determine the deceased’s diet between the ages of two and 15 and thus a possible national origin.
Results showed that the person ate a land-based diet until he or she was 15, with a boost in seafood consumption when the individual was between three and five years old. Marine proteins were rarely consumed in Britain during the first millennium A.D., even for people who lived on the coast. In Norway, on the other hand, people ate plenty of seafood, although children less than adults. The fact that this person ate so much fish during that brief period as a small child suggests there may have been a food shortage that pushed the locals towards additional marine sources of nourishment. The stable isotope results exclude the deceased coming from the west coast of Britain, from western Britain in general, western Ireland or the Northern and Western Isles of Scotland. Other parts of Ireland are still possible candidates, but the likeliest is Scandinavia.
The authors of the study conclude from the evidence of the boat burial that the individual was someone of high rank and status:
When we consider this burial, what can we say about identity? At least three terms could potentially be used to describe the deceased: ‘Norse’, ‘warrior’ and ‘high status’. Evidence for the first of these comes from the boat and related connotations of travel and voyaging; from the material culture from Scandinavia and Ireland; and from the surviving teeth. Even though a definitive place of origin cannot be proven from the isotope evidence alone, when combined with the material from the grave itself a Scandinavian homeland is suggested; Ireland cannot, however, be ruled out. The evidence for a warrior identity lies, of course, in the weapons, although this imposes a traditional assumption that grave goods belong to the deceased and directly disclose their identity. Finally, the whole assemblage–the artefacts and their elaborate interment–suggests a notion of high status.
The fact that a person of such high status deserving of a boat burial with rich grave goods was interred on the peninsula may be a significant marker of the transition between the Vikings as raiders of Britain and the Vikings as settlers.
The warrior’s final resting place could indicate the first settlement of the area by the Vikings–indicated by Swordle Bay originating as a Norse name meaning ‘grassy valley’.
“I don’t think they are just sailing up and down the coast, someone has died, and they have just rowed into the nearest harbour and buried someone there,” Harris said. “There is a kind of connection to this landscape that is more substantial than that.
“It is perfectly possible [the burial] is linked with the process of settling in this bay.”
You may have noticed your trusty blog about history has not been so trusty the past couple of days. A server update is apparently the culprit. The site went down Thursday afternoon and we’ve been struggling ever since to get it back. Finally the planets aligned and we are back. Buggy and error-riddled, but I’ll take it for now while we iron out the kinks.
The trauma of the last few days has only underscored how desperately important it is that I upgrade the software of this site. It’s ancient and all kinds of features are broken because of it. Perpetually perched on the razor’s edge of functionality, it can fail at the least provocation. That means we’re going to have to say goodbye to my old-fashioned theme and the blog will look completely different. As history nerds tend to like old-fashioned things, I’ve dragged my feet to avoid having to make so big a change. Time to face facts.
I’m so sorry for the outage. Real post coming up.
A previously unknown photograph of Harriet Tubman has been found in a carte-de-visite album compiled in the 1860s. She is seated, immaculately clad in a gingham skirt and dark shirt with gathered sleeves. It was taken shortly after the Civil War, between 1865 and 1868, and captures a younger, less care-worn Harriet than she is usually pictured.
[Historian and Tubman biographer Dr. Kate Clifford] Larson said that in her 20 years of researching Tubman, she’s been sent dozens of photos of black women by people claiming to have discovered a new image of the soon-to-be face of the $20 bill. But not one has actually depicted Tubman, Larson said.
On the other hand, she continued, she knew it was Tubman in Swann Galleries’ photo as soon as she saw it.
“There’s no doubt in my mind about the provenance of the photo and that it is Tubman,” she said. “I had never run across it.”
The album belonged to Emily Howland, an abolitionist and educator from a prominent Quaker family in Sherwood, New York, whose childhood home was a stop on the Underground Railroad. She taught at schools for free blacks in the late 1850s, and during the Civil War taught freed slaves and the children of slaves to read and write in the contraband camps of Union-occupied Virginia. After the war she donated land and founded dozens of freedmen’s schools in multiple states.
Tubman escaped slavery in 1849 when she was in her 20s and spent the next two decades dedicated to the abolitionist cause in the most dangerous, hands-on way. She personally risked her life returning to Maryland no fewer than 13 times to free 70 of her families members and other slaves, guiding them up north over the Underground Railroad to safety, which after the Fugitive Slave Act of 1850 made the north almost as terrifying a place for escaped slaves as the south, often meant Ontario. Abolitionist journalist William Lloyd Garrison nicknamed her “Moses” because she led her people out of slavery. During the Civil War, Harriet Tubman was a Union Army scout, spy and guide of the successful Union raid on Combahee Ferry, South Carolina, which liberated 750 slaves. After the war, she worked several jobs to support her family, gave extensively to charity though she had very little, and was a tireless advocate for women’s suffrage.
Tubman moved to Auburn, New York, in 1859 where she bought land from Senator William Henry Seward, future Secretary of State under Lincoln and engineer of the Alaska purchase under Johnson. The Sewards were part of a tightly knit network of abolitionists in Cayuga County, Emily Howland among them, and Harriet and Emily soon met. They became life-long friends, and worked together in the suffragist movement. Harriet Tubman died in 1913 at around 90 years of age. Emily Howland lived to cast her first vote in the 1920 election at the age of 92 after the ratification of the 19th Amendment. She lived almost another decade after that, passing away in 1929 at the age of 102.
The album has 44 pictures of prominent figures, including two of Tubman (the other is a very well-known full-length portrait of Harriet standing with her hands on a roll-back chair taken by Harvey B. Lindsley in the early to mid-1870s) and one of John Willis Menard, the first African-American elected to Congress in 1868. He would have represented Louisiana’s 2nd congressional district had he ever been seated, but his opponent, Caleb Hunt, lodged a challenge contesting Menard’s right to be seated which was ultimately decided by the full House of Representatives in neither’s favor. The black man was too black and the other guy didn’t even bother to show up, so they voted both of them down and left the seat vacant.
The new photograph goes under the hammer at Swann Auction Galleries in New York City on March 30th. The carte-de-visite album will be sold in its entirety, including the pictures of Tubman and John Willis Menard. The pre-sale estimate is $20,000 to $30,000.
The two early oil paintings by Vincent Van Gogh stolen from Amsterdam’s Van Gogh Museum in 2002 and recovered in Italy last fall will be heading home next month. When the announcement that the paintings had been found was released last September, it wasn’t clear when they would be returning to Amsterdam. As evidence in a complex international drug trafficking trial, the artworks could have been tied up in Italy’s Bleak House-slow court system for years. Italian authorities took quick action, however, and on January 19th, a judge in Naples released the paintings from attachment, freeing them to be returned to the Netherlands.
In gratitude for the efforts of the Guardia di Finanza, the financial police who spearheaded the raid on the apartment of drug trafficker Raffaele Imperiale the village of Castellammare di Stabia and discovered the stolen paintings in the basement, other law enforcement agencies, the judiciary and people of Naples, Seascape at Scheveningen (1882) and Congregation Leaving the Reformed Church in Nuenen (1884/85), have gone on display at the Capodimonte Museum for a short exhibition before their homecoming. The paintings went on public view for the first time in 14 years on Tuesday. The show ends on February 26th.
Axel Rüger, director of the Van Gogh Museum: “It is really a miracle that the paintings, which since 2002 were thought to have vanished from the face of the earth, have been found. The efforts of so many people have made the impossible possible. The fact that these two Van Goghs are again on public display after fourteen years calls for a celebration worthy of the occasion. As a ‘grazie mille’ for the efforts of all those involved in Italy in the recovery of the artworks, they are first being shown to the public in the region where they were found. Afterwards, our Van Goghs will return home, where a festive welcome awaits them and our visitors can once more admire them in the Van Gogh Museum. I cannot tell you how happy I am!”
The discovery of the paintings has inspired an upsurge of Van Gogh love in Naples. Vincenzo De Luca, the President of the Campania region, asked Joep Wijnands, the Dutch ambassador to Italy, to help arrange a new Van Gogh exhibition at the Capodimonte Museum. He also said they’re working on a loan of Van Gogh’s iconic The Starry Night, now in the permanent collection of the Museum of Modern Art in New York City. That’s a lofty goal. The Starry Night has never been loaned to an Italian museum before.
The case raises an interesting question on the wider issue of art crime. This article quotes Giorgio Toschi, general with the Guardia di Finanza:
“More than ever we are seeing art works being used by criminals either as safe haven investments or as a way of making payments or guaranteeing deals between organized criminal groups,” he said at the unveiling of the two paintings on Monday.
This is the first I’ve heard of extremely valuable and recognizable artworks being used as a kind of black market currency in the criminal underworld. It’s fascinating. The most popular explanation, that major paintings are stolen on commission by shadowy private collectors in volcano lairs, almost never seems to pan out. When the paintings are found, they’ve been stashed in barns or sheds or moved all over the place because volcano lairs aside, it’s actually really, really hard to unload a world-famous painting whose theft made international news. It’s always seemed more likely to me that the most of the time thieves have no idea they’ll be saddled with unsaleable goods. Organized crime networks, on the other hand, are hardly cash-poor, so they don’t have to scrounge for buyers. Whether it moves or not, a Van Gogh is still worth tens of millions of dollars. Using it as a marker or a pension fund makes perfect sense.