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The Colosseum after antiquity

Tue, 2017-03-07 00:49

The Colosseum is the most visited monument in the world today. The great amphitheater built in Rome during the reigns of the Flavian dynasty emperors Vespasian and Titus (72-80 A.D.) is an icon of ancient Roman engineering and bloodlust, but it has outlived the empire that created it by 1,500 years. The Colosseum saw many changes in its long post-antiquity lifespan, its architecture altered by activity both human and seismic, dedicated to a wide variety of uses from cemetery to shopping mall to fortress. That rich later history is overshadowed by its ancient resume, and the millions of tourists who flock to the Colosseum every year hear a lot more about the gladiatorial combat of the 1st century than about the butchers’ stalls of the 11th.

A new exhibition seeks to correct that oversight. Colosseum. An Icon is the first exhibition to tell the full story of the Flavian Amphitheater, from the gladiators to the butchers and beyond. It covers the numerous attempts at repair and restoration, how the space was repurposed over the centuries, the construction of brick buttresses in the 19th century to keep the outer walls from collapse, how it became a favorite subject of artists from the Renaissance through the Grand Tour era, launching it as the iconic representation of the city of Rome and ancient Roman grandeur. That image spread even wider when moneyed travelers brought back fine marble miniatures and micromosaics of the Colosseum as souvenirs in the 19th century.

The exhibition also illustrates the profound shift in attitude towards the amphitheater from Christians in general and the Papacy in particular. The last recorded games were held in 523 A.D., an animal hunt celebrating the consulship of Anicius Maximus, and already then the Colosseum was very much reduced. The top gallery had collapsed, entrances were impassable, the hypogeum flooded. Neglect, earthquakes and the failure of the unmaintained drainage system took an enormous toll on the building. Travel writers in the Middle Ages thought it was some sort of pagan temple and associated it with nefarious demonic goings-on.

That demon-haunted reputation clung to the Colosseum well into the Renaissance. Renown goldsmith Benvenuto Cellini had a raucously occult experience at the amphitheater in the 1530s which he recounts in his memoirs.

We went together to the Coliseum; and there the priest, having arrayed himself in necromancer’s robes, began to describe circles on the earth with the finest ceremonies that can be imagined. I must say that he had made us bring precious perfumes and fire, and also drugs of fetid odour. When the preliminaries were completed, he made the entrance into the circle; and taking us by the hand, introduced us one by one inside it. Then he assigned our several functions; to the necromancer, his comrade, he gave the pentacle to hold; the other two of us had to look after the fire and the perfumes; and then he began his incantations. This lasted more than an hour and a half; when several legions appeared, and the Coliseum was all full of devils.

As late as 1594, the Popes were still renting the Colosseum out to glue makers and contemplating converting the whole structure into a factory with residences for the workers in the top galleries. That changed in the Jubilee year of 1675, when Pope Clement X declared the Colosseum a sacred site of martyrdom for all the Christians said to have been condemned to death in the arena. (There is little evidence that Christians were martyred at the Colosseum, btw, and the stories of martyrdom in the amphitheater only began circulating in the Renaissance.) Clement had ambitious plans to dedicate a church to the martyrs inside the Colosseum, asking the great polymath Gianlorenzo Bernini to design it. It was too expensive, though, so Clement just had a cross installed in the arena instead.

The idea didn’t die with him. Twenty years later, architect Carlo Fontana was enlisted to design a prospective Church of the Holy Martyrs inside the Colosseum. Again, the church never happened, but he studied the amphitheater in great detail for this project and wrote a book about its architecture, ancient history, current condition and the proposed church that was published posthumously in 1725. (Random History Blog connection: Fontana’s original architectural drawing of the church in the Colosseum is in the collection of the wonderful Sir John Sloane’s Museum in London.) The architectural model and several of Fontana’s drawings are on display in the new exhibition.

The major restoration of the Colosseum, which is still ongoing, discovered many objects and remains from its later life which are will be part of the exhibition. An abundance of butchered animal bones and cooking utensils were found, a testament to the butchers, eateries and private residences which rented space in the ground-level vaults through the 12th century. Of course they unearthed ancient sculptures and architectural details galore. They will join one of only two surviving statues of the 160 that adorned the arches of the second and third-floor arcades when the Colosseum was first built.

The restoration also discovered traces of the Colosseum’s life as a fortress for the powerful Roman noble Frangipani family. Restorers found holes bored into travertine blocks on the top tier of the southern wall. The holes held beams that supported a wooden walkway used by Frangipani soldiers as a lookout station. The find was announced Monday at the press conference about the new exhibition.

Colosseum. An Icon opens Wednesday, March 8th and runs almost a full year until January 7th, 2018. It’s at the Colosseum, in case that wasn’t clear.

Categories: Arts and Sciences, History

Unique Lodz Ghetto photos at the MFA, Boston

Mon, 2017-03-06 00:32

The Lodz Ghetto was the second largest (after the Warsaw Ghetto) of more than 1,000 ghettos created to corral Jews in cities as the first step in the “cleansing,” ie, extermination, of European Jewry. Conditions were appalling by design, so that the overcrowding, disease and starvation would do the Nazi’s murderous work for them. Starting in 1942, ghetto residents were regularly deported to concentration camps. Chelmo, the first extermination camp with a gassing system (trucks, not chambers), opened in December of 1941 just 30 miles from Lodz; its first victims came from the Lodz Ghetto, 70,000 of them in 1942 alone.

Because the Lodz Ghetto was uniquely productive — its factories produced uniforms and other materials for the war effort — it lasted longer than any other World War II ghetto, from 1940 until 1944. In August of 1944 it too was liquidated; everyone was rounded up and sent to their deaths, most of them to Auschwitz-Birkenau. By the end of the war, more than 200,000 Jews had passed through the Lodz Ghetto on, their way to almost certain death at Chelmno and Auschwitz. When the Red Army liberated Lodz on January 19th, 1945, only 877 survivors, 12 of them children, emerged from their hiding places in the ghetto. Out of the 223,000 Jews who lived in Lodz before Hitler’s invasion of Poland, just 10,000 survived the war.

One of those survivors was Henryk Ross, a Polish Jew who before the war had been a journalist and sports photographer. He was employed as an official photographer for the Jewish Council, aka the Judenrat, ostensibly a self-governing body which administered the day-to-day operations of the ghetto and enforced Nazi orders. Working for the council’s the Department of Statistics, Ross’ job was to take pictures of the ghetto factories, demonstrating their productivity, and of the registered workers for their identification cards.

Ross and the other Department of Statistics photographer, Mendel Grossman, secretly took unauthorized photographs of the horrors all around them. Ross captured the deportations, destruction and deprivations — barefoot workers pushing carts of human excrement out of the ghetto (there was no plumbing or sewage), public executions, children torn from their parents during the Sperre, the September 1942 mass deportation of almost all of the children under 10 to Chelmo where they would be murdered. He also captured small moments of daily life, even happy ones, amidst the nightmare, like young lovers kissing behind a shrub and a children’s birthday party. The variety and range of Ross pictures underscored the class divisions that persisted even in so extreme a context. His photos show the contrasts of ghetto life — the workers, the destitute, the well-fed and well-dressed elite.

In the summer of 1944 when it became clear the Nazis were winding down operations in the ghetto and preparing for the final slaughter, Henryk Ross saw the writing on the wall. Not expecting to survive, he buried 6,000 negatives. His wife and a few select friends helped him, so they knew where Ross’ photographic treasure trove was hidden should he die. As it happened, Ross was not deported to the extermination camps. He was one of the 800 Jews ordered to clean the ghetto. Of course they Nazis were going to kill them all once the clean-up was done — they had eight mass graves dug already — but the Soviets arrived before they could get to it.

After the liberation of Lodz, Ross dug his negatives back up and found that more than half of them had survived. He later said of his fateful decision: “Just before the closure of the ghetto I buried my negatives in the ground in order that there should be some record of our tragedy, namely the total elimination of the Jews from Lodz by the Nazi executioners. I was anticipating the total destruction of Polish Jewry. I wanted to leave a historical record of our martyrdom.”

He certainly got his wish — his pictures were used as evidence in the 1961 trial of Adolf Eichmann — but he left a broader historical record than that, documenting the realities of life and death in the ghetto.

Ross’ collection of photographs and film was donated to the Art Gallery of Ontario (AGO) in 2007. The AGO has collaborated with the Museum of Fine Arts, Boston (MFA) to organize an exhibition of Henryk Ross’ Lodz Ghetto photographs, plus film of the Eichmann trial and Lodz artifacts like identification cards from the ghetto, notices and announcements. Memory Unearthed: The Lodz Ghetto Photographs of Henryk Ross debuted at the AGO last year. It will open at the MFA on March 25th and runs through July 30th, 2017.

The AGO has created an exceptional website with more than 4000 images from the Henryk Ross collection. You can search by keyword and create an online collection of your own for the price of a free registration.

Categories: Arts and Sciences, History

Skeletons of early colonists found under Florida mall

Sun, 2017-03-05 00:09

Archaeologists have unearthed human remains under a Florida mall that may be some of the earliest colonists in what would become the United States. The excavation began this February after David White, owner of the Fiesta Mall in downtown St. Augustine, offered city archaeologist Carl Halbirt a chance to dig under a recently closed wine shop whose floor had been damaged by Hurricane Matthew last fall. They quickly found a human bone, a right elbow, and further excavation found that it belonged to an articulated and complete skeleton. A second skull was found near the skull of the intact skeleton. Meanwhile, digging just outside the building unearthed a leg and a skull from two different individuals.

Carl Halbirt believes they were buried inside the Church of Nuestra Senora de los Remedios, the earliest documented parish church in the United States. The 2010 excavation of a parking lot a block west of the Fiesta Mall discovered a builder’s trench and the back wall of the church. The front of the church faced the bay, just like the mall building does today. The 1888 structure is a National Historic landmark today, but it’s just the latest in a long line of different buildings constructed around the St. Augustine’s historic Plaza area, the central green characteristic of Spanish urban design. The plaza served as community’s meeting ground and recreational area, and would be ringed with important civic, religious and military buildings. The plaza and Nuestra Senora de los Remedios were built in the same year: 1572, seven years after the founding of the city by conquistador Pedro Menéndez de Avilés.

The first church of Nuestra Senora de los Remedios was burned down in 1586 by Sir Francis Drake. Queen Elizabeth had sent him to raid Spanish holdings in the Old World and New. England’s support of the Dutch rebellion against Spain had been made official in the Treaty of Nonsuch in 1585, and Philip II retaliated by seizing English merchant vessels in Spanish waters. While he began the naval build-up that would lead to the Spanish Armada’s miserably failed attempt to invade Britain three years later, Elizabeth sent her privateers to harry Spanish shipping and holdings. Drake did quite the round trip: England to Vigo in Galicia (sacked), to Baiona (sacked), to Santiago, Cape Verde (sacked), across the Atlanta to Santo Domingo, modern-day Dominican Republic (sacked), to Cartagena de Indias, modern-day Colombia (sacked). Last on his hit list was St. Augustine, sacked on June 6th, 1586. After that, he sailed up to Roanoke, picked up all the original colonists and returned to England.

Neustra Senora de los Remedios was rebuilt in 1587. That one burned down too, in 1599, although apparently it was an accident the second time around. The hurricane took what the fire did not. The church was rebuilt one more time before the British burned it and the city of St. Augustine to the ground in 1702. After the third fatality, Nuestra Senora was not resurrected. The parish moved to a new church and the location of Nuestra Senora de los Remedios was forgotten until its archaeological remains were rediscovered under that parking lot in 2010.

The pottery sherds found near the skeletal remains stylistically date to 1572-1586, so to the time of the first church in the 20 years after the founding of the city. The deceased were likely interred under the floor of the church, a common practice in mission churches of the colonial period. As time passed, it could be a tight fit under a modest church floor. The excavation has now unearthed at seven more burials in a compact area about 12 by six feet. Three of the burials are of children.

“We’ve mapped some of the particular bones,” [archaeologist Kathleen] Deagan pointed to some round circles she said indicated skulls. She says two of the children found were buried in the same pit, possibly at the same time.

“The bio-archaeologist will be able to tell us the precise age but he thinks — based on the bones — they probably are under 7 years old,” Deagan said.

It was not unusual for children to die so young. “When you look at the parish registers of St. Augustine, children died at a much higher rate than they do today,” Deagan explained.

Researchers will need permission from the state of Florida and the Catholic Church to do any further testing, like collecting DNA from the bones. Out of respect for the remains and the consecrated ground they were once in, the skeletal remains found under the floor will remain where they were buried. They will not be removed. The bones found outside the building will be reburied in a Catholic cemetery because the city is running a water line through the area.

Categories: Arts and Sciences, History

The greatest one sheet I’ve ever seen

Sat, 2017-03-04 00:00

I love film history so I’ll browse movie poster sales whenever I get the chance. The catalogue for Heritage Auctions’ upcoming Vintage Movie Posters Signature Auction in Dallas on March 25-26 is a treasure chest of cinematic gems. Amidst the many iterations of cat people and leopard men, there are a surprising number of Italian posters for classic Hollywood movies as well as classic Italian ones, lobby cards and one sheets for much of Alfred Hitchcock’s oeuvre, iconic horror films — Frankenstein, Dracula, King Kong — and all-time greats like Casablanca, The Wizard of Oz and Singin’ in the Rain.

Some of the posters are more iconic than the movie. The famously scandalous poster for The Outlaw (United Artists, 1946) starring Jane Russell’s magnificent cleavage, was so controversial that the film, which was made in 1941, didn’t get wide release until 1946. Howard Hughes, the film’s director and producer and a connoisseur of the cleavage arts and sciences, had a new bra designed with cantilevered underwire construction to display Ms. Russell’s bosom to its best advantage. (It was terribly uncomfortable, apparently, so Jane just hiked up her straps, stuffed the cups and used her regular bra for filming and never told Hughes.) He intended to promote those breasts, Motion Picture Code be damned, hence the famous still of Jane Russell leaning back on the haystack, one of World War II’s most popular pinups, and this poster from an image originally designed by pinup illustrator and model Zoë Mozert. The pre-sale estimate for this poster is $1,500 – $3,000.

It’s not exceptional for its artistry, but the half sheet of Manhattan Melodrama (MGM, 1934) is still noteworthy for its stars — Myrna Loy and William Powell in their first of more than a dozen movies together, an up-and-coming Clark Gable — and for the crucial role the movie it advertises played in real-life historical events. Bank robber John Dillinger was shot to death by the FBI upon exiting an evening showing of Manhattan Melodrama at the Biograph Theater in Chicago on July 22nd, 1934. The pre-sale estimate of $2,000 – $4,000 rests primarily on the film’s connection to this iconic moment.

The Art Deco style of this double grande poster of The Passion of Joan of Arc (Gaumont, 1928) is not only striking, but fits perfectly with Carl Theodor Dreyer’s jaw-dropping expressionist cinematography. The massive 5’3″ x 7’11″ poster was designed by Rene Peron, a leading French artist already in the 1920s who would go on to have a decades-long career illustrating more than 2,000 movie posters. This is one my favorite movies. It was so original, so groundbreaking that people are still trying (and failing) to capture the emotional impact Dreyer conveyed with bare sets, rudimentary costumes, camera angles, lighting and the sublime visage of Renée Falconetti who delivers what is in my opinion the greatest tour-de-force cinematic acting performance of all time. It’s such a stellar representation of a landmark film, that it’s no surprise the pre-sale estimate for the poster is $12,000 – $24,000.

But it’s the poster for a classic horror film that inspired the title of this post. My previous favorite was the gloriously lurid red one sheet for James Whale’s 1935 The Bride of Frankenstein, but this one sheet for The Invisible Man (Universal, 1933) has just supplanted it. Like the one sheet for the The Bride of Frankenstein, this one was a teaser poster, released by the studio in advance to generate buzz in theaters for an upcoming attraction. Studios didn’t usually bother with the expense of teaser posters for their horror pictures, but when they did invest in a little advance marketing, the posters that resulted were often spectacular, viz:

The Bride of Frankenstein red teaser was estimated to sell for $700,000 because of its graphic impact, the importance of the movie, and most relevantly, its extreme rarity. Apparently the reserve was not met because the poster failed to sell. The Invisible Man isn’t as rare nor the movie as culturally significant, so its pre-sale estimate is $80,000 – $160,000. I suspect that’s largely a tribute to the powerful impact of the imagery.

Categories: Arts and Sciences, History

47 ingots alleged to be fabled metal found on shipwreck

Fri, 2017-03-03 00:05

In 2014, an ancient Greek shipwreck was discovered off the coast of Gela, Sicily. The ship dates to the 6th century B.C. and was transporting cargo from Greece or Asia Minor to Gela when it sank, probably in storm, just 1,000 feet from the coast. Divers recovered 39 ingots of a brass-like alloy from the wreck unlike any other metal discovered on ancient shipwrecks.

Archaeologist Sebastiano Tusa, head of Sicily’s Superintendency of the Sea, suspected the ingots might be the mysterious ancient metal orichalcum, a material about which much has been said and almost nothing known. In the dialogue Critias, the 4th century B.C. philosopher Plato describes orichalcum as a material already legendary in his time. The metal features prominently in his description of the fabled wealth of the lost island of Atlantis.

For because of the greatness of their empire many things were brought to them from foreign countries, and the island itself provided most of what was required by them for the uses of life. In the first place, they dug out of the earth whatever was to be found there, solid as well as fusile, and that which is now only a name and was then something more than a name, orichalcum, was dug out of the earth in many parts of the island, being more precious in those days than anything except gold.

And because Atlantis had something of a Vegas thing going on, they didn’t refrain from showing off their riches.

The entire circuit of the wall, which went round the outermost zone, they covered with a coating of brass, and the circuit of the next wall they coated with tin, and the third, which encompassed the citadel, flashed with the red light of orichalcum.

In the interior of the temple the roof was of ivory, curiously wrought everywhere with gold and silver and orichalcum; and all the other parts, the walls and pillars and floor, they coated with orichalcum.

Each of the ten kings in his own division and in his own city had the absolute control of the citizens, and, in most cases,
of the laws, punishing and slaying whomsoever he would. Now the order of precedence among them and their mutual relations were regulated by the commands of Poseidon which the law had handed down. These were inscribed by the first kings on a pillar of orichalcum, which was situated in the middle of the island, at the temple of Poseidon….

The composition of this metal has been subject to much debate. Most scholars lean towards it being a brass-like alloy of zinc and copper that the ancients created by mixing zinc ore, copper and charcoal in a crucible. That could create a metal that “flashed with red light.” There is no consensus on this, however, and other theories abound. The Gela ingots were subjected to X-ray fluorescence analysis and were found to be made of an alloy of 75-80% copper, 15-20% zinc and trace amounts of nickel, lead and iron. This fits neatly with the zinc-copper alloy theory of orichalcum.

It makes sense that a valuable cargo like this would be headed to Gela. Founded around 688 B.C. by Greek colonists, Gela (then known as Ghelas) became an important Greek colony almost immediately. Only a century later, around the time when the ship sank, Gela was the most important city in Sicily. It even had its own offshoot colony, Agrigento, home of the Temple of Concord and that awesome story about the archbishop, the prostitute conspiracy and the trial with the shocking twist ending. Its government and residents had access to the best artisans and could afford the most prized materials.

The shipwreck is still being excavated. Earlier this month, divers discovered 47 more ingots of the alleged orichalcum, bring the total haul to a mind-boggling 86. They also recovered an amphora, a bottle from Massalia (modern-day Marseille), the first Greek colony in what is today France, and a pair of Corinthian helmets in outstanding condition. It’s not clear whether all of these artifacts were cargo on the same ship — there are two other known archaic shipwrecks in the area — but they were found in close proximity in a topographically homogeneous area, so Tusa believes they were indeed shipmates.

Categories: Arts and Sciences, History

1,000-year-old toy boat found in Norway

Thu, 2017-03-02 00:02

Archaeologists have discovered a well preserved toy boat carved 1,000 years ago on the peninsula of Ørland about 60 miles northwest of Trondheim, Norway. Ørland today is a peninsula of some girth, but during the Iron Age it was skinny and curved downwards, creating a sheltered bay on the south side. The land has risen up in the centuries since then, and today that bay is on terra firma more than a mile from the coast. That land is slated to be used for an expansion of the Ørland Main Air Base. Before construction could begin, the site had to be extensively explored by archaeologists from the Norwegian University of Science and Technology (NTNU) University Museum in Trondheim.

The NTNU University Museum has been excavating the site every year since 2014. In three seasons of fieldwork, the team has excavated a vast area of almost 120,000 square meters (1,292,000 square feet). It is by far the largest archaeological dig the museum has ever undertaken. So ambitious a scope was necessary because Ørland had been inhabited for thousands of years. Its fertile land and strategic location at the mouth of Trondheim Fjord made it an ideal spot for farmers and traders alike.

Archaeologists have unearthed evidence of seven farms having occupied the land over the course of the 1,500 years from 500 B.C. to 1000 A.D., a unique temporal cross-section that will give researchers new insight into how farming communities in the area evolved. Remains found include postholes for houses and fences, the ever-valuable garbage middens, cooking pits and wells.

Two of those wells yielded exceptional organic artifacts. Filled with dirt centuries ago and then waterlogged by the high water table of land that not so long before had been a bay, the wells proved adept at preserving objects that otherwise would have rotted away centuries ago. In one well archaeologists found a wooden toy boat. In a second well they found pieces of leather from shoes and one shoe that was almost intact. At first archaeologists though the leather shoes and boat must date to early modern times at the earliest, but radiocarbon dating revealed that the artifacts dated to the reign of Olav den Hellige, ling of Norway from 1015 to 1028.

The toy boat is carved with care. It has a raised prow and a hole in the middle where a mast with a sail could be inserted.

“This toy boat says something about the people who lived here,” said Ulf Fransson, an archaeologist at the NTNU University Museum and one of two field leaders for the Ørland Main Air Station dig, where the well and the boat were found.

“First of all, it is not so very common that you find something that probably had to do with a child. But it also shows that the children at this farm could play, that they had permission to do something other than work in the fields or help around the farm.”

That may seem a little on the obvious side — that a farmer’s child might have a homemade toy to play with seems more plausible to me than a farm where the children are only allowed to work day and night — but the notion of leisure time varies over time, social class and geography. A toy boat from this period has been found in Trondheim, for instance, but that was more expected because Trondheim was the capital of Norway then and a major center of trade, so it had a concentration of people with disposable income could afford to give their children cool toys and the free time to play with them.

The find from Ørland, however, is very different, says Ingrid Ystgaard, an archaeologist who is head of the entire Ørland Main Air Base project.

“The Middle Age farm here is far from the sea, it is not that strategically located,” she said. “There are other farms in Ørland that were better located.”

Thus, this medieval farm was probably not the richest farm in the area, far from it. Yet life here was good enough so that someone had time to carve the toy boat for a child. And the child had time to play with it.

The shoes and fragments found in the other well also suggest that the inhabitants of the farm trod the line between frugality and some measure of comfort.

“These were more of an ordinary shoe, a work shoe that they wore every day,” Fransson said. One of the shoe pieces that was found was a heel piece from a large sole, with a hole worn through it. The clean-cut front edge of the heel piece shows that “the shoe was worn out and they did repair it,” he said.

But because the researchers found much of a whole shoe, “that tells me that they weren’t that poor either, because they had the means to throw (a whole shoe) out,” he said.

The excavations are now complete, but the research will continue for years. Archaeologists have a great many samples collected from the middens, cooking pits and postholes, plus they have core samples taken from a neighboring wetland. The middens and pits are replete with bones from land animals, fish and shellfish, which will provide more information about the local diet. The posthole soil samples include pollen, seeds, grains so we can found out what kind of crops they raised or ate. The pollen in the core samples will provide a vegetation map of the area over the last 2,500 years.

Categories: Arts and Sciences, History

Torc hoard is earliest Iron Age gold found in Britain

Wed, 2017-03-01 00:02

It’s the first gold hoard of the year! We’ve had Bronze Age weapons and Roman copper vessels packed with plants. Now we have a group of four ancient gold torcs discovered by metal detectorists in a cow pasture in Leekfrith on the Staffordshire Moorlands.

The torcs were found last December by Mark Hambleton and Joe Kania. Hambleton had scanned the field some two decades ago without success. They were about to give up when Joe Kania’s machine signalled the presence of metal. All they’d found up to that point was trash and a 19th century coin or two, so Hambleton had already packed up his metal detector when Kania pulled a gold torc out of the ground. Then another. And another. And another. Three of them are necklaces, one a bracelet. Three are complete and intact, the fourth broken, likely by agricultural interference. The torcs were about six inches beneath the surface about a meter (three feet) apart from each other.

Hambleton spent a fitful night failing to sleep with the hoard by his side. The next morning, the finders alerted the Portable Antiquities Scheme to their discovery. Stoke-On-Trent City Council dispatched archaeologists to the field but they found no evidence of further treasure. Hambleton and Kania defied the odds again, though, returning to the spot last Sunday where they discovered the second half of the broken torc.

The Leekfrith Iron Age Torcs were examined by Dr. Julia Farley, the British Museum’s Curator of British & European Iron Age Collections. She determined they were not of British origin, but likely from what is today Germany or France. Analysis of the gold content found that it was no less than 80% in every torc, making them more than 18 carat gold which is 75% pure. The torcs weigh between 31 grams for the smallest piece, the incomplete bracelet, and 230 grams for the largest. The one bracelet stirred particular excitement because it is decorated, etched with lines inside loops. This is some of the earliest Celtic art ever discovered in Britain. All of the workmanship on the torcs is extremely high quality. One of them even has an incredibly rare maker’s mark.

Dr. Farley:

“This unique find is of international importance. It dates to around 400–250 BC, and is probably the earliest Iron Age gold work ever discovered in Britain.

“The torcs were probably worn by wealthy and powerful women, perhaps people from the continent who had married into the local community. Piecing together how these objects came to be carefully buried in a Staffordshire field will give us an invaluable insight into life in Iron Age Britain.”

A coroner’s inquest was held in North Staffordshire on Tuesday. Coroner Ian Smith asked questions of experts about the hoard, its continental origin and how they pieces may have made their way to Leekfrith. After hearing testimony about the torcs’ age and precious metal content, the coroner ruled that the pieces are treasure trove. The next step is for the independent experts of the Treasure Valuation Committee to determine fair value of the torcs. Local museums will then be offered the first opportunity to raise the amount of the valuation. That money will be divided between the finders and the landowner.

Stoke-on-Trent, which is bidding to be a 2021 UK City of Culture, is mighty keen to secure the torc hoard. Another little hoard you might have heard of, the Staffordshire Hoard, spends half its time in Stoke and it has brought millions of tourists and their cash to the region. The Leekfrith Iron Age Torcs will be on display in the Potteries Museum and Art Gallery in Stoke-On-Trent, one of two local museums that share custody of the exceptional Staffordshire Hoard, for three weeks before they go back to the British Museum for valuation.

See Joe Kania and Mark Hambleton tell the story of the discovery (notice the awesome traditional dry stone walls behind them as they goof around for the camera in beginning; I love a quality dry stone wall) and Staffordshire officials glow with happiness over their shiny new babies in this video:

Categories: Arts and Sciences, History

Help transcribe World War I love letters

Tue, 2017-02-28 00:46

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.

Categories: Arts and Sciences, History

Stolen “Arbeit macht frei” gate returned to Dachau

Mon, 2017-02-27 00:45

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.

Categories: Arts and Sciences, History

Mithras sanctuary found in Corsica

Sun, 2017-02-26 00:50

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.

Categories: Arts and Sciences, History

Child’s footprints found in ancient Egyptian mortar

Sat, 2017-02-25 00:34

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.

Categories: Arts and Sciences, History

Galloway Viking Hoard Campaign launched

Fri, 2017-02-24 00:20

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.

Categories: Arts and Sciences, History

This Roman road brought to you by McDonald’s

Thu, 2017-02-23 00:33

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.

Categories: Arts and Sciences, History

Is this the skull of the legendary “weasel bear”?

Wed, 2017-02-22 00:45

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.

Categories: Arts and Sciences, History

Navy posts Hunley recovery report online

Tue, 2017-02-21 00:15

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.

Categories: Arts and Sciences, History

How to move a painting the size of football field

Mon, 2017-02-20 00:15

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:

Categories: Arts and Sciences, History

Who’s a good Rembrandt? You are! Yes you are!

Sun, 2017-02-19 00:59

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.

Categories: Arts and Sciences, History

Guercino found! Round up the usual suspects.

Sat, 2017-02-18 00:22

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.

Categories: Arts and Sciences, History

Roman vessel hoard packed with plants found

Fri, 2017-02-17 00:59

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.

Categories: Arts and Sciences, History

Bronze Age weapons hoard found in Scotland

Thu, 2017-02-16 00:36

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.

Categories: Arts and Sciences, History