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Restored 6th c. purple gospels return home

Fri, 2016-06-17 03:30

The Codex Purpureus Rossanensis is a 6th century Greek manuscript written in uncial script (upper case script with rounded letters in use from the 4th-8th centuries) that contains the gospel of Matthew, most of the gospel of Mark (verses 14-20 of chapter 16 are missing) and the Epistula ad Carpianum (a letter from Eusebius of Caesarea, the “Father of Church History,” to Carpianus on the concordance of the four gospels). Because of the letter and an illumination of all four evangelists, scholars believe the 188-page codex was originally more than double the size and included all four gospels. It’s not certain where it was written. Comparisons with other manuscripts suggest Antioch is a possibility, as is Byzantium.

It is one of several surviving manuscripts of the New Testament known as the Purple Uncials or Purple Codices after their reddish or purple pages. The vellum was dyed the royal color and the text written in silver and gold ink. St. Jerome, author of the Vulgate, the first comprehensive translation of most of the Bible into Latin, defended himself against charges that he was rejecting the authority of the Greek writers of the Septuagint in his translation by dismissing the purple codices as pretty but inaccurate.

“Let whoever will to keep the old books, either written on purple skins with gold and silver, or in uncial letters, as they commonly say, loads of writing rather than books, while they leave to me and mine to have poor little leaves and not such beautiful books as correct ones.”

For them to have been held up as examples of old-fashioned scholarship, the purple Bibles must have been widespread in Christian theological circles when Jerome wrote that in 394 A.D.

Most of the surviving Codices Purpurei date to the 6th century, but there are examples as early as the 4th or 5th century (Codex Vercellensis Evangeliorum,
Codex Veronensis, Codex Palatinus) and as late as the 9th century (Minuscule 565, Minuscule 1143). There are Purple Codices written in Greek and Latin, and one in Gothic (Codex Argenteus). They were created in numerous place within the Roman’s former sphere of influence, from Syria to Anglo-Saxon England to Byzantine Greece.

The Rossano Codex is particularly notable for its 14 illuminations depicting the life and ministry of Jesus. It’s one of the earliest surviving illuminated gospels and contains two of the first and most significant representations of Pontius Pilate. He’s depicted as a white-haired judge seated on a curule chair, a symbol of Roman political power because only magistrates were allowed to sit on them. Only one other purpureous codex from the 6th century, the Vienna Genesis, is illuminated, and it’s a fragment of the Septuagint, specifically the Book of Genesis, so no Jesus or Pilate. Images include the above-mentioned four evangelists, Lazarus being raised from the dead, the entry into Jerusalem, the parable of the ten virgins, the Last Supper (in which Jesus and Peter recline to dine) and washing of the feet, Jesus healing the blind man, the Good Samaritan, the suicide of Judas and the Pilate scenes.

It was first brought to light by poet, literary critic and journalist Cesare Malpica in 1846, but the first to track it down to the sacristy of the cathedral of Rossano, Calabria, in southern Italy, and study it with scientific rigour were German theologians Adolf von Harnack and Oscar von Gebhardt published it internationally to great scholarly acclaim in 1879.

The manuscript has suffered many centuries of dismemberment, arduous travel, fire and a botched restoration in 1919 which applied hot jelly to the illuminated vellum leaves causing them to turn transparent. Alarmed by its deteriorating condition, the Rossano archdiocese enlisted the aid of Rome’s Central Institute for Restoration and Conservation of Archival and Library Heritage (ICRCPAL). From 2012 until 2015, ICRCPAL conservators worked with chemists, physicists, biologists and the latest technology to analyze and repair the Codex. There’s a nice selection of photos of the Codex and its restoration on the project website. They’re small, sadly.

In 2015 was added to UNESCO’s Memory of the World Register of documentary heritage. Now that the restoration is complete, the Codex will return to the Diocesan Museum where it is the featured exhibit. Three newly renovated galleries are dedicated to the manuscript: one to display the Codex itself, one in which a documentary film about the work is played, one dedicated to the restoration. A new climate-controlled, continuously monitored display case will house the fragile document. The Codex Purpureus Rossanensis goes back on display on July 2nd.

Categories: Arts and Sciences, History

Long-lost Neolithic figurine found in Orkney museum

Thu, 2016-06-16 01:20

I don’t know why stories sometimes form little geographical clusters, but it seems to happen fairly regularly. Last month it was Denmark and now it’s Scotland. Today’s Scottish report comes to us from the Stromness Museum which has rediscovered a highly significant Neolithic figurine that was undocumented and unrecognized its collection for almost a century.

It’s an anthropomorphic figurine 9.5cm (3.7 inches) high and 7.5cm (3 inches) wide carved out of whale bone. Holes were carved to indicate eyes, a mouth and a navel. There are also holes carved through the sides of the head and body, possibly used to hang it as a pendant. The figurine was discovered in the Neolithic village of Skara Brae, Orkney, in the 1860s. Skara Brae is the most complete Neolithic village in Europe with eight dwellings clustered together. was found in the stone bed compartment of Skara Brae’s House 3, a structure that stratigraphically and from radiocarbon testing of the context to between 2900 and 2400 B.C., so the figurine is about 5,000 or 4,500 years old. It is one of only a handful of prehistoric representations of humans discovered in Britain. It was the first one found and the only one made of whale bone.

The figurine was found by William Watt, Laird of Skaill House and owner of the property, who had discovered the site in 1850 when a storm exposed stone walls and a midden previously hidden under drift sand. Watt excavated the entire site with occasional visits from other amateur archaeologists James Farrer and George Petrie. The only existing documentation of the figurine is in Petrie’s 1867 report (pdf) in the Proceedings of the Society of Antiquaries of Scotland on the Skara Brae settlement and its artifacts. He described it as a “small piece of Whalebone, cut as if intended for an idol or ‘Fetish.’” Petrie also made a sketch of it in his notebook.

The historical significance of the piece wasn’t recognized at the time. The artifact was assumed to be in the private museum Watt created at Skaill House, but there was no record of it. When the collection was broken up in the 1930s and distributed to various museums including the Stromness Museum, the figurine appeared in none of the inventories. It was believed lost forever.

The figurine was rediscovered by Dr. David Clarke who was going through Stromness Museum’s Skaill House artifacts as part of a research project on Skara Brae. None of the Skaill pieces included a provenance, so Dr. Clarke had to look through the entire collection for anything that might have come from Skara Brae. When he saw that little face peering out of a bed of tissue in the last box of the day, he immediately recognized it from Petrie’s illustration.

Additional research by Clarke and museum experts confirmed the identification and its original find spot. The figurine has been given a new name, Skara Brae Buddo (“buddo” is the Orcadian word for “friend”), and is now on display in the Stromness Museum’s new Rediscovered exhibition along with other artifacts from Skara Brae that have never been on display before.

You can explore Skara Brae Buddo’s amiable mien in this 3D model created by Dr. Hugo Anderson-Whymark.

Skara Brae 'Buddo' Figurine, Orkney
by Stromness Museum
on Sketchfab

Categories: Arts and Sciences, History

The rediscovery of a Pictish silver hoard

Wed, 2016-06-15 02:44

In 1838, a Pictish hoard of silver was unearthed on the grounds of Ley Farm near Fordyce, Aberdeenshire. Two prehistoric stone circles, Gaulcross North and Gaulcross South, were located a few hundred yards from the farmhouse, and the hoard was discovered a few feet south of the north circle. Maybe. Found by labourers clearing the land for agricultural use by the new tenant, the silver pieces were poorly documented at the time. The precise find spot was not recorded, nor were the pieces themselves. There were vague, conflicting accounts of what was found. Some said a silver chain four feet long, assorted buckles, pins and brooches; others reported just a silver chain, pin and armlet. The stone circles were all but destroyed during the brutal clearing process (dynamite was involved), leaving just one stone standing by 1867 when the first account of the hoard was written by John Stuart. He said the artifacts were buried inside the stone circle.

The fate of whatever pieces were found was also unclear. The property owner, Sir Robert Abercromby, 5th Baronet of Birkenbog, was said to have kept the hoard. He was also said to have given some pieces to the Banff Museum (his maternal grandfather was Alexander Ogilvie, 7th Lord Banff) in Aberdeenshire or to the Antiquarian Museum in Edinburgh. The three surviving pieces of silver were in fact at the Banff for a while. They are now at the National Museum of Scotland in Edinburgh.

In 2013, the University of Aberdeen’s Northern Picts project and National Museums Scotland’s Glenmorangie Research Project combined their efforts to investigate the site in the hopes of finding out more (anything, really) about the context of the original Gaulcross Hoard. Since they didn’t know exactly where the first pieces of the hoard had been found in the 19th century, the team had to cover a great deal of ground. A geophysical survey of the site was followed by metal detector enthusiasts scanning the Gaulcross site.

Archaeologists expected to find no more than a few fragments of silver here and there, just enough to pinpoint the find site, but on the second day metal detectorist Alistair McPherson found three Roman silver siliquae (a type of 4th century Roman silver coin that was widely cut up for use in the 5th century when fresh Roman currency was no longer imported into Britain), pieces of folded hacksilver, the endpiece of a silver strap and a silver bracelet fragment. With the tantalizing prospect of greater finds than they had expected and the daunting prospect of the field being ploughed and planted soon, the team got cracking with metal detectors and two trenches.

They ultimately unearthed more than 100 pieces of hacksilver chopped up from Roman and Pictish coins, jewelry, dishes, flatware, between the 4th and 6th centuries. It is the northernmost hoard of pre-Viking hacksilver ever discovered. The finds also included intact artifacts: a crescent-shaped pendant with double-loops at each end, a double-link chain, and two silver hemispheres that may have originally been part of a single piece.

Compared to other two other hacksilver hoards found in Scotland — the Traprain Law hoard and the Norrie’s Law hoard — the discovery of so much material left in the ground after the 1838 find gave researchers new insight into the evolution of silver in Scotland since its introduction during the Roman era.

Silver was not mined in Scotland during this period, instead it had its origins in the Hacksilber from the late Roman world, as exemplified by the Traprain Law hoard. The differing compositions of individual objects in the three Scottish Hacksilber hoards will show how, through time, late Roman silver was recycled and re-cast into high-status objects that underpinned the development of elite society in the post-Roman period. During the process of recycling, the Roman silver was remade into new objects, but its origin may not have been entirely forgotten. Some of these later objects may have also directly referenced the late antique world, with items such as hand-pins showing the adaptation of late Roman military styles, both in terms of design and decorative techniques. As Gavin notes, the use of Roman models may have been intended to evoke military prowess and ostentation amongst elites in early medieval Britain and Ireland.

You can read the full report of the investigation and discoveries in the journal Antiquity.

Categories: Arts and Sciences, History

Pierced Roman sling-bullets whistled when hurled

Tue, 2016-06-14 09:26

Archaeologists studying Roman artillery at the ancient Roman battle site of Burnswark Hill in Dumfriesshire, southwest Scotland, have discovered that a type of sling-bullet that whistled when thrown. They believe this was a deliberate design intended to instill fear in enemy troops under assault.

Burnswark Hill is an Iron Age hillfort embraced by two Roman camps, one of the north slop, one of the south. The camps were first believed to be siege camps built to assault the fort, but in the 1960s some archaeologists postulated they might instead be training camps. There are references in ancient sources to the assiduous Roman training procedures, but evidence of them in the archaeological record is almost impossible to pinpoint. Training exercises could be the reason for the large number of Roman projectiles — 130 lead sling-bullets, 11 ballista shots, nine iron arrowheads — found on Burnswark Hill in earlier excavations.

Initial research found that the bullets, cast from lead and thrown with a sling apparatus, came in two main varieties: type I, larger and lemon-shaped, and type II, smaller and acorn-shaped. When Dr. John Reid of the Trimontium Trust secured a grant from the Heritage Lottery Fund to survey and dig the site, his team found a third type: a small oblong in which a hole had been drilled on one side. The type III bullets weigh 20 grams (type I goes up to 60 grams) and the holes are just .5 mm in diameter. They are all the same standard size.

Drilling holes in cast lead is time and labour-intensive for a projectile that is going to be thrown and almost certainly lost. It also lightens the ball which means it will cause less damage in a direct hit. Reid at first considered whether the holes might have been used to deliver poison, a form of early chemical warfare, but his brother had a better idea.

Reid’s brother, a keen fisherman, offered some insight into their possible purpose when he suggested the bullets were designed to make noise in flight.

“I said, ‘Don’t be stupid; you’ve no idea what you’re talking about. You’re not an archaeologist,’” Reid joked. “And he said, ‘No, but I’m a fisherman, and when I cast my line with lead weights that have got holes in them like that, they whistle.’”

“Suddenly, a light bulb came on in my head — that’s what they’re about. They’re for making a noise,” Reid said.

Experiments with replica bullets and slings confirmed that Reid’s brother was onto something. They were useless for holding poison. The hole was tiny and there was no guarantee the small, ballistically inferior bullets would even penetrate the skin. While flying towards their targets, however, the projectiles did make a whistling or high-pitched buzzing noise like an irate bee. The replica experiments also confirmed that the bullets could be successfully thrown in small clusters of three or four for a grapeshot effect.

The point of the sound was to intimidate and make the enemy crouch down or dodge around in the attempt to avoid the strike. If you throw a projectile and it hits, you take out a guy, but if you throw a projectile and it makes a sound as it approaches, anyone in the line of fire is going to duck or dodge reflexively. In a full-on assault, the missile storm would generate a huge amount of noise as hundreds, even thousands of bullets whistled toward the enemy lines.

It total, the Burnswark Project found 700 sling-bullets, more than have been found on any other Roman battlefield in Europe. The projectiles ranged over a full half kilometer (third of a mile) across the battle front. The type III bullets are unique. They have been found on no other Roman battlefields. Examples of pierced sling-bullets have been found on Greek battlefields from the second and third centuries B.C., but they were ceramic, not cast from lead.

The Burnswark Project findings do not support the training camp theory. That high of an expenditure in effort and materiel would be wasteful in training. Reid believes the fort on Burnswark Hill was targeted by a sustained Roman attack probably during the reign of Antoninus Pius who went north of Hadrian’s famous border wall in an attempt to conquer Scotland. He did gain some ground — see the Antonine Wall — but Roman legions retreated to Hadrian’s Wall in less than a decade.

Dr. Reid’s full article on the Burnswark project, “Bullets, Ballistas, and Burnswark,” is available in the print edition of Current Archaeology. There’s a tantalizing exerpt of the beginning of the article on the magazine’s website. There’s also a cool drone flyover video of Burnswark Hill with Roman fortlet and camps labeled. There are sheep on the Roman north camp now and I don’t think they don’t like the drone much.

Here’s a recording of the sounds the replica type III bullets made when thrown with a replica sling. The thwack-pew combination is pretty badass. It would surely have been scary hurtling at you or whizzing past you, downright terrifying when multiplied by hundreds.

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Categories: Arts and Sciences, History

Bones in Trondheim well confirm Norwegian saga

Mon, 2016-06-13 03:19

On November 17th, 2014, archaeologists from The Norwegian Institute for Cultural Heritage Research unearthed a skeleton at the bottom of a well on the grounds of Sverresborg, the castle of King Sverre Sigurdsson of Norway (r. 1177–1202). Bones had been found there before in 1938, but they weren’t removed or studied. The well was refilled to preserve the remains. Then World War II and the German occupation of the area blocked further archaeological investigation. The 2014 dig was the first time archaeologists returned to the spot in the hope there was still something left to excavate. There was.

The location of the remains was notable because it matched a story in the Sverris Saga, one of a series of sagas that recount the lives of historic kings of Norway. There are few other sources for the history of this period, so any evidence that might corroborate one the accounts in the Kings’ sagas is exciting.

From 1130 to 1240, Norway was gripped by civil wars in which pretenders and puppets of various factions vied for the throne. Sverre claimed the throne on the grounds that he was the illegitimate son of King Sigurd II Haraldsson who was killed by his brother in 1155. Magnus V Erlingsson had been installed as king in 1161 when he was five years old. His father Erling Skakke held the real power when his son was a child and after he’d reached his majority, fighting off pretenders with even more tenuous claims than Sverre’s.

Supported by Swedish earls and a Norwegian rebel party known as the Birkebeiner (birch bark shoe-wearers), Sverre challenged Magnus and in 1177 declared himself king. The king and his father begged to differ, however, and it took another seven years before Magnus was finally defeated and killed in the Battle of Fimreite on June 15th, 1184, and Sverre was elected king.

Sverre and the Birkebeiner were proponents of a strong centralized monarchy that brought the Church to heel as well as secular potentates. His choice to build Sverresborg on a plateau in the city of Nidaros (modern-day Trondheim), see of the archdiocese and center of Christian Norway, was a pointed one. The Archbishop of Nidaros, Eysteinn Erlendsson, had fled to England in 1180 and remained there until 1183. Sverre took advantage of his absence to build the castle. Conflict between the archdiocese and the king was abated for a few years only to flare up again in 1188 with Eysteinn’s death and the appointment of Eirik Ivarsson as his replacement.

Conflict between the Church and its supporters and the king and his supporters continued throughout Sverre’s reign. In 1197, a pro-Church faction that would later become known as the Baglers attacked Sverresborg when Sverre was wintering in Bergen after a successful but costly assault on Oslo. The small garrison of about 80 men held the castle thanks to its excellent defensive position, but their commander turned coat and let the enemy into Sverresborg.

The event is described in the Sverris Saga:

The [Baglers] seized all the property in the castle, and then they burnt every building of it. They took a dead man and cast into the well, and then filled it up with stones. Before they left the castle they called upon the townsmen to break down all the stone walls; and before they marched from the town they burnt all the King’s long-ships. After this they returned to the Uplands, well pleased with the booty they had gained in their journey.

The skeletal remains found at the bottom of the well in 2014 were indeed covered with stones, just as the saga said. A fragment of bone recovered from the site was radiocarbon dated and found to be about 800 years old, so just the right age to match the story of the Baglers poisoning the castle’s water supply with a dead body. Analysis of the bones indicated they belonged to a man of about 30-40 years of age when he died.

Now the Norwegian Institute for Cultural Heritage Research has returned to the site to fully excavate the well and the entire skeleton.

The excavation of the stone debris down to the very first stone that hit the Birkebeiner’s body has given the archaeologists additional insight into the nature of events in 1197. In addition, it exposed the timber posts and lining for the large castle well. [...]

“This is truly astonishing. As far as I know there is no known example of the discovery of an individual historically connected with an act of war as far back as the year 1197. And the fact that this actually corroborates an event described in Sverre’s saga is simply amazing,” says lead archaeologist at the site, Anna Petersén.

Categories: Arts and Sciences, History

Antikythera Mechanism was an astronomy text

Sun, 2016-06-12 15:01

It’s been 115 years since sponge divers off the coast of the Greek island of Antikythera recovered a bronze gear device that we now know as the first analog computer, and researchers are still working on solving the mysteries of the Antikythera Mechanism. The mechanism has been at the National Archaeological Museum of Athens since its discovery. For the first couple of years, nobody had any idea what a unique treasure it was. Museum staff focused on the more showy objects from the shipwreck — the divers had raised 36 marble statues, many pieces of bronze statues, jewelry, glassware, lamps and amphorae from the site — and paid little attention to the corroded lump of bronze in storage. In 1902, an archaeologist noticed there was a gear in that lump, and there were words on that gear. The lump broke up as corrosion loosened its grip, eventually splitting up into 87 fragments.

Launched in 2005, the Antikythera Mechanism Research Project (AMRP) brings together an international team of researchers and the latest technology to thoroughly reexamine the Antikythera Mechanism in the hopes of shedding new light on how it worked, what it was used for, who made it and a panoply of other questions raised by the remains of the complex device. The first research published in the 1970s dated the mechanism to around 80 B.C., but the AMRP has confirmed a later date, between 150 and 100 B.C., based on the form of the lettering.

The first inscriptions read from the mechanism in 2,000 years were “Venus” and “sun ray.” Within months another 600 characters were deciphered and published. The advances slowed down after that, with 923 characters deciphered into the 1970s. Using 3D CT scanning, surface imaging and high resolution photography, the Antikythera Mechanism Research Project (AMRP) was able to more than double the number of characters deciphered on the device. Their first publication in 2006 brought the total up to 2,160. The most recent data, presented on Thursday, June 9th, at the Aikaterini Laskaridis Foundation, brings that number up to 3,400 characters. There are 14,000 characters discovered this far on the device — even the smallest fragments have proved an important source of inscriptions — so there’s still plenty of deciphering left to do.

By examining the structure of the gears, the numbers of teeth, how they interact with each other, and the inscriptions, the AMRP confirmed that the device was an incredibly detailed astronomical calendar that could predict eclipses, calculate the dates of the Olympics, the positions of the sun, moon and planets in the solar system and more. There is nothing else like it known from antiquity, and no other mechanical device would even come close to its complexity until the Middle Ages.

The latest research suggests that this mechanism wasn’t used by astronomers in their daily work, however.

“It was not a research tool, something that an astronomer would use to do computations, or even an astrologer to do prognostications, but something that you would use to teach about the cosmos and our place in the cosmos,” Jones said. “It’s like a textbook of astronomy as it was understood then, which connected the movements of the sky and the planets with the lives of the ancient Greeks and their environment.”

“I would see it as more something that might be a philosopher’s instructional device.”

The letters — some just 1.2 millimeters (1/20 of an inch) tall — were engraved on the inside covers and visible front and back sections of the mechanism, which originally had the rough dimensions of an office box-file, was encased in wood and operated with a hand-crank.

There is so much more to be learned about this precious device, and hopefully there will be new pieces of the puzzle discovered. The Return to Antikythera project, which in October of 2012 began exploring the shipwreck site for the first time since Jacques Cousteau’s two-day 1976 survey, proceeds apace. Artifacts like pottery, sculptures, a huge anchor and a bronze spear two meters long have been recovered from the shipwreck. Fingers crossed they’ll find more of the Antikythera Mechanism too. The newly deciphered texts have given researchers a much better idea of what parts are still missing, so marine archaeologists have a precise idea of what to look for now. The new diving season began in late May.

This video, produced four years ago for the Antikythera Shipwreck exhibition at the National Archaeological Museum of Athens, gives an overview of the wreck and its many inestimable treasures.

Also, I love this picture so much I had to feature it. It’s a marble statue of a wrestler that was half stuck in the sand and mud of the sea floor and half exposed to the water. One guess which side is which.

Categories: Arts and Sciences, History

A romp through the Prelinger film archive

Sat, 2016-06-11 10:43

It’s been a while since I had a proper weekend romp through historic films. The Prelinger Archive, a wonderfully eclectic group of home movies, commercials, government and corporate educational and instructional films and a wide range of other assorted clips is today’s fertile field.

Confused by those newfangled rotary dial phones? Have no fear, AT&T is here (or was, in 1927).

This is how you brush your teeth, boys and girls of 1928. To reinforce the message, Goofus and Gallant apply for a summer job to the man with the pince-nez glasses. Goofus’ blackened grill and busted outfit does not impress, while Gallant’s sparkly whites and sharp suit win the day. Mr. Gorman is pretty mean to poor Bill about it.

This is a 1945 Army picture about insomnia associated with what was then called Combat Fatigue and is now PTSD. It’s not the most compelling of reels — perhaps it was designed to help cure insomnia — but there are two elements of note: 1) the movie within a movie starring Donald Duck, and 2) Dick York, best known as the first Darrin from Betwitched, in the role of the lead insomniac’s friend Lucky who laughs uproariously at Donald Duck’s entirely unfunny antics and generally babbles way too much. Bonus points for the shower scene.

Lessons learned from a 1961 prom. Shake hands with the receiving line of chaperones. The boy fills in the dance card, putting his own name in the first and last positions. Showing off on the dance floor is bad; accompanying a girl off the dance floor “so she’s not stranded” is good. Shake hands with the exit line of chaperones. Enjoy the midnight supper offered by parents afterwards. Say goodnight. Nobody even come close to making out. Enjoy Coca Cola.

The Prelinger Archive was assembled in New York in the 1980s, but it acquired a collection of California pictures so they have quite a few films of the aftermath of the San Francisco earthquake of 1906.

It starts off in the Western Addition neighborhood which surviving the earthquake with limited damage. Many of its Victorian homes still stand today. A shot at the beginning shows one of those amazing thickets of overhead cables from electric and telephone companies so common in cities before consolidation and monopolies began to thin out the volume of them. Around the 3:07 mark, the view changes starkly from the comparatively unscathed Western Addition to the rubble-filled war zone of Market Street.

This one captures one of the fires that devastated the city even more than the quake had. It’s remarkable how crowded the streets are, and there’s one car zipping down the street, driving around horse-drawn vehicles, people and rubble. The film rate is sped up, so it’s not actually going fast as it looks to be, but you can see later in the film that other kinds of vehicles stayed in their lanes a lot more. There’s a running streetcar and the destroyed dome of San Francisco’s grand City Hall makes an appearance.

This one was taken from Market Street and has a wider view of what was left of the City Hall and Hall of Records complex.

San Francisco passed the first anti-drug legislation in the country in 1875 and opium was its target. The law made it illegal to own or frequent an opium den, but as usual, prohibition did nothing to stop the growth of opium in the city. By the turn of the century there were hundreds of opium dens in Chinatown. In the end it took force majeur to bring down the opium dens. Unfortunately the earthquake also took down the rest of the city with it. In 1907 the sale of the drug itself was outlawed, except for prescription purposes. The police tried to combat the scourge of opium with very public bonfires of confiscated opium and smoking accessories, but other than creating huge, dense clouds of opium smoke in downtown San Francisco for passersby to get inadvertently high off of, the autos-da-fé accomplished little.

Here’s a video of one of these opium bonfires from 1914. In an interesting contrast to the earthquake films, in the background you can see the new City Hall with its dome still under construction. It would open a year after this film was shot.

Speaking of vice, since it’s Saturday and one hopefully doesn’t have to worry about keeping one’s viewing safe for work, perhaps you might enjoy the archive’s significant group of old-timey stripper videos. This is burlesque dancing, mainly from the late 1940s and 1950s, I would guess, although there may be earlier ones in the mix. They are not dated, alas. There is a hint of nudity here and there — sheer undies, the occasional glimpse of underbutt or rhinestone pasties, that sort of thing — but nothing to clutch pearls over.

Red-Headed Riot has a Rita Hayworth thing going on.
Dance of the Doves” involves no doves whatsoever, but rather one cockatoo and one macaw. Nora the Quivering Torso lives up to her name by moving more than the rest of them put together. This lady is unnamed but is notable for her proto-twerking skills and the black censor band built into her panties to obscure her scandalous butt cleavage.

Betty Rowland, “Burlesque’s Ball of Fire,” closes out the show. She starts off with a fine gown and ends up behind the curtain (still in her underwear, of course) à la Gypsy Rose Lee.

Categories: Arts and Sciences, History

Satellites, drones find huge new structure at Petra

Fri, 2016-06-10 01:31

Archaeologists using high-resolution satellite imagery and drone photography have discovered a massive structure in the ancient city of Petra in Jordan. The UNESCO World Heritage Site, known as the Rose City after the red sandstone of the rock cliffs its most famous buildings were cut into, was built by the Nabateans beginning in the 2nd century BC and prospered as a trade hub linking East and West. It was abandoned in the 7th century and rediscovered by Swiss explorer Johann Burckhardt in 1812. Since then, it has been extensively explored. Finding a previously unknown structure of monumental dimensions is therefore unexpected, to say the least, especially half a mile south of the main city center.

Archaeologist Christopher Tuttle, who has worked at Petra for nigh on 20 years, collaborated with everyone’s favorite (only?) space archaeologist Sarah Parcak, who scanned the satellite imagery for spots of interest. She saw a large rectangular shape with a smaller rectangle inside it at a site that Tuttle was somewhat familiar with, but the glimpse he’d seen of it looked like there were just a few crumbling terrace walls of a type widely seen all over the city. Tuttle then took to the field to discover if there was anything of note at the site. Aerial drone photography confirmed the outlines of an ancient structure worth exploring further, and then Tuttle took to the field to examine the site with his own eyes.

He realized that it wasn’t busted old terrace walls but rather the remains of a massive previously unknown building. Some pottery found there dates back to 150 BC, which may indicate the platform was built in the early days of Petra’s founding.

The newly revealed structure consists of a 184-by-161-foot (about 56-by-49-meter) platform that encloses a slightly smaller platform originally paved with flagstones. The east side of the interior platform had been lined with a row of columns that once crowned a monumental staircase.

A small 28-by-28-foot (8.5-by-8.5-meter) building was centered north-south atop the interior platform and opened to the east, facing the staircase.

This enormous open platform, topped with a relatively small building and approached by a monumental facade, has no known parallels to any other structure in Petra. It most likely had a public, ceremonial function, which may make it the second largest elevated, dedicated display area yet known in Petra after the Monastery.

Most of the large public monuments, including the Monastery (which is actually a temple), were built between the late 1st century B.C. and the 2nd century A.D., so if the pottery dates pan out, the platform could be the oldest structure in Petra of monumental scale. It’s not clear how the Nabateans used these shrines as they left no written records and few hints carved in the stone since their religious monuments eschewed icons for the most part, or used portable figures that are long gone.

There are no current plans to excavate the site. Tuttle and Parcak have co-authored a study on the find published in the Bulletin of the American Schools of Oriental Research. It can be read here if you have a JSTOR login or nine bucks to spare.

You can take a virtual walk through the glories of Petra with Google Street View. Also, PBS’ always excellent NOVA had a fascinating episode last year on how the great buildings and elaborate water systems of Petra were constructed. It’s jaw-dropping at times. The Nabateans were genius engineers, truly.

Categories: Arts and Sciences, History

First ancient oracle found in Athens

Thu, 2016-06-09 01:07

Archaeologists have discovered the first ancient oracle of Apollo in Athens. Others have been found elsewhere in Greece, most famously the Oracle of Delphi, but this one is the only discovered in Athens. It’s in Kerameikos — the old potters’ quarter (hence the name) — northwest of the Acropolis in downtown Athens. It’s the site of a necropolis used over different periods known today as the Street of the Tombs for the funerary moments and stelae that line the road to Eleusis where the mysteries were performed.

Just south of the burial ground is a sanctuary discovered by Kyriakos Mylonas, a pioneer of scientific archaeology in Greece, in 1890. Myolnas unearthed a marble omphalos stone set in a rectangular enclosure between the altar and a triangular statue base in a cult niche. The omphalus, meaning navel, symbolized the center of the world. It was also believed to enable direct communication with the gods. The omphalos stone at the Oracle of Delphi was hollow and is believed to have been part of the ritual reading the oracular gases that came up through it. Because Hecate was frequently depicted as having three forms, Myolnas thought the base once held a statue of Hecate and that the sanctuary was dedicated to her, but Artemis was also sometimes depicted in triplicate, and several inscriptions and other artifacts were later found on the site indicating it was a sanctuary of Artemis Soteira, meaning Artemis the Saviour.

In 2012 during some cleaning work on the site, the German Archaeological Institute found that the omphalos was mounted on a marble slab that covered an opening. Last year, the omphalos was raised with a crane to reveal what it had been concealing for thousands of years: a circular well nine meters (30 feet) deep constructed out of semi-cylindrical clay tiles engraved with more than 20 inscriptions of the phrase “ΕΛΘΕ ΜΟΙ Ω ΠΑΙΑΝ ΦΕΡΩΝ ΤΟ ΜΑΝΤEΙΟΝ ΑΛΗΘΕΣ,” which translates to “Come to me, O Paean, and bring with you the true oracle.” Paean was an epithet of Apollo, son of Zeus and brother of Artemis. The repeated phrase was a prayer, an invocation to the deity that he reveal faithful and accurate answers to believers’ questions.

The shaft is only about 65 cm in diameter (just over two feet) which makes it a very tight fit for archaeologists to explore. Still, researchers were lowered in cautiously by crane. The style of the inscriptions place them in the Roman period, probably the third century, but the well is likely to have been in place much earlier.

Though the powers of the oracle at Delphi and others were famously plied by the ancient Greeks, this is the first ancient oracular edifice to Apollo to have been found in Athens itself, Dr. Jutta Stroszeck, director of the Kerameikos excavation on behalf of the German Archaeological Institute at Athens, told Haaretz. The well would have been used for hydromancy, a method of divination by means of water.
The ancients routinely sought oracular guidance not only on the future, for simple everyday matters, such as finding/keeping a lover, ahead of a journey, after falling ill, and so forth – or applying for asylum in the sanctuary.

This find is also significant because it confirms that the omphalos is in its original location. It is the only one in Greece to bear that distinction. The one in Delphi was moved over the years and is now in an unrelated location inside the sanctuary.

A wooden lid with a waterproof cover has been placed over the oracle well for its protection. The plan is to move some of the marble pieces, including the omphalos, to the Kerameikos museum. A replica will be placed in the sanctuary so it can take the brunt of the elements while the original is spared.

Categories: Arts and Sciences, History

6,000-year-old massacre found in Neolithic silo

Wed, 2016-06-08 01:02

Archaeologists from France’s National Institute for Preventative Archaeology (INRAP) have unearthed the skeletal remains of a Neolithic massacre in a silo in Achenheim, Alsace, northeastern France. The silo is pit number 124 of more than 300 used to store grain and other food staples unearthed inside a large Neolithic compound surrounded by a V-sectioned ditch with defensive bastions at the entrances. The silos were only used for food storage temporarily. Once they were emptied, they were used as garbage dumps or graves. The compound dates to between 4400 and 4200 B.C., a turbulent time in Alsace which explains why the settlement needed extensive protective measures.

Silo 124 is one of the larger pits at almost 2.5 meters (8.2 feet) in diameter and it was set apart from the other silos either on the site of a dwelling or in a residential area. Inside the silo archaeologists found the complete skeletons of six people, five adult males and one teenage male between 15 and 19 years of age. The fact that the six complete skeletons were all male indicates this may have been a group of warriors, or at least defenders of the settlement. They were found lying on their back, stomach and sides, sometimes intermingled. The position of the bodies indicates they were dumped in the pit and no further attention was paid to them. They were not buried with the care evinced in other silo graves; these bodies were disposed of, pure and simple.

All six of the skeletons have numerous broken bones. There are fractures on the legs, hands, feet, ribs, collar bones, skulls and mandibles. The fractures were on living bone, and the extent and quantity of the broken bones suggest they were brutally beaten to death with blows from a stone axe. The wounds are too extensive to have been received in combat. This was a methodical punishment inflicted off the battlefield on helpless individuals.

The violence wasn’t just perpetrated on the living bodies, but on their corpses as well. Post-mortem wounds were also found on the bones. The corpses were all put in the silo at the same time, meaning they likely died in the same event, a single episode of killing in a larger conflict.

In addition to the complete skeletons, archaeologists found the upper left arms of three adults and the left forearm of a youth 12 to 16 years old. The forearm was cut in the middle of the humerus. The arms are believed to be “war trophies.” It’s not possible from osteological examination to determine the sex of the people’s whose arms were severed and thrown into the silo, nor were archaeologists able to discern whether the arms were severed pre or post-mortem.

The severed left arms are reminiscent of another very similar massacre discovered in Bergheim, 35 miles southwest of Achenheim. In 2012, archaeologists found the skeletons of eight individuals, also tossed in a silo and who also died in a single event. Under the complete skeletons at the bottom of the pit were seven left upper arms. The Achenheim and Bergheim date to the same period, the Middle Neolithic.

(INRAP archaeologists also found skeletal remains in an ancient silo about 70 miles west of Achenheim in the Lorraine town of Marsal. Eight skeletons, two of them children, were discovered tossed haphazardly over each other in the silo, but they were much more recent, dating to around 500 B.C.)

Archaeologists think both the Achenheim and Bergheim massacres could have been the result of raid by locals against newcomers to the area, or a victory by locals against raiders from elsewhere. The victory was celebrated with torture and mutilation of enemy prisoners. Pottery discovered on the site indicates the residents were part of the Bruebach-Oberbergen culture, but that pottery is followed by ceramic shards in a style first made in Paris.

Archaeologists would like to do stable isotope analysis on the bones to find out where the individuals were born and raised. If they were from the Paris area, that would mean they were killed by the fierce local farmers defending their homes and supplies from raiders. If they were local boys, they were likely the victims of a successful raid. INRAP will need to raise money to fund the additional research, however, as they don’t have the budget for it now.

Categories: Arts and Sciences, History

Wrecked Piombo masterpiece restored

Tue, 2016-06-07 04:53

The University of Cambridge’s Fitzwilliam Museum has restored a 16th century painting by Sebastiano del Piombo that has been in dire condition for centuries. The restoration took a full decade of research and painstaking work by conservators at the museum’s Hamilton Kerr Institute to complete.

Sebastiano Luciani (he got the “del Piombo” moniker after his appointment to the Papal office of the leaden seal in 1531) was born in Venice around 1485. He started off his career in the arts as a lute player and while he was successful at a young age and very much in demand by the nobles of Venice, he soon changed course to painting, becoming a student first of Giovanni Bellini, who was by then in his 70s, and then of Giorgione a former pupil of Bellini’s who while still in his 20s had already made a name for himself and won several important commissions. Giorgione had a strong influence on the young Sebastiano, and indeed more than one of his early works were believed for centuries to be pieces by Giorgione.

In around 1511, Sebastiano moved to Rome at the behest of the powerful Sienese banker Agostino Chigi. There he met Michelangelo who had just revealed the first part of his epic fresco on the ceiling of the Sistine Chapel when Sebastiano arrived. Sebastiano was a congenial, charming fellow, enough to get along with Michelangelo who was notoriously prickly. According to Giorgio Vasari, Michelangelo appreciated the young artist’s color skills and the gracefulness of his work and decided to take him under his wing.

Shortly after he arrived in Rome, Sebastiano painted the Adoration of the Shepherds for an unknown patron. The influence of Giorgione and the Venetian school is seen in the color palette and in the landscape of the painting (see for example Giorgione’s Adoration of the Shepherds painted around the same time that is now in the National Gallery of Art in Washington, D.C.), while the dynamic, animated figures show the influence of Michelangelo.

The painting first appears on the historical record in 1724 as part of the collection of the Duke of Orléans. It was attributed to Giorgione at that time, and still was in 1800 when museum founder Viscount Richard Fitzwilliam bought it at the sale of the Duke of Orléans’ collection in London after the French Revolution. The painting was part of the original bequest to his alma mater the University of Cambridge that created the Fitzwilliam Museum in 1816. It was only in 1913 that scholars attributed the Adoration of the Shepherds to Sebastiano del Piombo based on the fusion of Venetian and Roman elements that was characteristic of the artist’s work.

The painting has been in storage for 70 years because it was considered undisplayable in its condition. It was marred by thick layers of overpainting and X-rays and infrared imaging had shown that the original paint underneath was severely damaged. There was much discussion about whether conservation should even be attempted on so precarious a piece. Ten years ago, conservators at the Hamilton Kerr Institute began to seriously investigate the possibility of restoring the work. Sebastiano was a very slow painter and once he got the leaden seal job he was even slower. Most of his surviving works are portraits. A large religious piece by him is a rarity. Ultimately conservators decided that the overpainting was so atrocious, so far from the original in color and design, and enough of the critical areas of the original survived that it was worth tackling, even though it would require filling in significant areas of paint loss.

Here’s what it looked like before cleaning:

When the layers of overpaint and yellowed varnish were removed, conservators could see right away that the damage to the painting was not the result of the mere passage of time. It was caused by a botched transfer from original wood panel to canvas, probably when the Adoration was in the collection of the Duke of Orleans. Such transfers were considered a valid conservation approach at that time, particularly in the France, but they were hugely risky. On smaller works the painted surface was shaved off and applied to canvas. On larger pieces, a fabric facing was glued to the surface then either the wood was removed by carving or a corrosive until all that was left was the paint stuck to the facing. Canvas was then glued to the back and the facing carefully removed. Sometimes it worked and the painted surface adhered to the canvas. Sometimes it went horribly wrong and a precipitous amount of paint was lost.

Here’s what it looked like after the overpaint and varnish were removed:

Since the owner wanted his Old Master back on the wall, the damage was obscured by repainting. When that began to fail it was repainted again, lather, rinse, repeat. The botched transfer took place around 1750. Before the tragic events, a copy of the painting when it was still on panel was made. That copy is now in the Louvre. Without this copy, conservators would likely never have attempted this restoration because filling in the missing paint would have required too much guess work to be decently accurate. Thankfully, the original paint that survived the transfer proved resilient, tough enough to withstand the removal of multiple layers of overpainting.

In order to understand the artist’s technique, a microscopic particle of paint, smaller than the head of a pin, was taken from the Virgin’s blue robe and analysed under a microscope during research. Examination of the paint cross-section demonstrated Sebastiano’s sophisticated system of layering with an application of pink paint beneath the blue, as well as his use of superior and expensive pigments, such as ultramarine blue. This and other forms of state-of-the-art analysis greatly helped to reconstruct the missing areas. [...]

[Director of the Hamilton Kerr Institute] Rupert Featherstone added, “We have conserved over 3,000 pictures in the last forty years at the HKI, but the Sebastiano is one of our biggest projects. Some might have argued to leave the painting as an archaeological relic, but I think we have made the right judgement to restore it so it can be appreciated as the masterpiece it is, aesthetically and historically. The scientific research that was conducted to aid our understanding of the technique of the artist has been key in being able to recreate it.”

Here’s what it looks like now:

The restored Adoration of the Shepherds is the Fitzwilliam’s “Object of the Month” for June and is now on display in the museum’s Flower Gallery.

Categories: Arts and Sciences, History

Hikers find first ancient petroglyphs on Montserrat

Mon, 2016-06-06 02:33

Locals Shirley Osborne and Vaughn Barzey were hiking on the Caribbean island of Montserrat this past January when they saw some carvings on a moss-covered rock face. They reported their discovery to the authorities. Volunteers with the Montserrat National Trust, archaeology professors and students from universities in the United States and elsewhere in the Caribbean studied the carvings in the hills near the town of Soldier Ghaut (Ghaut means “abrupt ravine” in Montserratian) about five miles north of the capital city of Plymouth. Officials kept the find under wraps until researchers confirmed that they were indeed ancient petroglyphs, the first ever discovered on Montserrat.

They are stylistically similar to petroglyphs made by the indigenous Amerindians (commonly referred to as the Arawaks, archaeologically known as the Saladoid culture) on Caribbean island like St. Kitts, St. Vincent and the Grenadines, among others.

“We have Amerindian artifacts on the island, but had not seen petroglyphs,” said Sarita Francis, director of the Montserrat National Trust. “These are the first, that we know of, that have been found here.”

Initial analysis suggests Montserrat’s petroglyphs are between 1,000 and 1,500 years old, Francis said, though carbon dating will paint a clearer picture of the images’ origins.

The petroglyphs consist of geometric shapes and what may be stylized animal or human figures. One figure could be a bat. Another with two deep circles cut from the stone and a line underneath is more than a little reminiscent of a rudimentary face design. The mouth doesn’t turn up at the corners, but it still manages to look like a smiley face.

The earliest artifacts found on the island long predate the Arawaks. Flint blades, flakes and other evidence of knapping about 2,500 years old have been found in the central hills of Montserrat and judging from the style and technology of the lithic materials, archaeologists believe the first settlers came from South America between 4,000 and 2,500 years ago. This Archaic, pre-ceramic culture was displaced with the arrival of the Arawak between 500 and 300 B.C. who settled Montserrat until they in turn were displaced by the raiding Caribs (also known as the Kalinago). By the time the Spanish arrived, the Awarak had left the island and the Caribs do not appear to have settled it. The next wave of settlers came in 1642 and were predominantly Irish.

Categories: Arts and Sciences, History