Archive for the ‘Multimedia’ Category

New discoveries from the warship Mars

Saturday, July 21st, 2018

The exploration of the wreck of the 16th century Swedish warship Mars 250 feet under the surface of the cold, dark Baltic Sea has been ongoing since its discovery in 2011, and despite the zero visibility and the life-threatening challenges involved in diving the wreck, new finds continue to be made.

“This year, we have come closer to the people aboard. We found more skeletal parts, including a femur with trauma around the knee which we believe to stem from a sharp-edged weapon,” says maritime archaeologist Rolf Fabricius Warming, who is one of the researchers involved in the investigation.

“We also found large guns and a hand grenade. We can see from the wreckage that it was a very intense and tough battle. Between 800 and 1,000 men were on board. That is comparable to the population of an entire medium-sized town at the time. Most of them died in the explosion or when the ship sank into the watery depths,” he says.

The ship was the largest in the fleet of King Eric XIV (r. 1560-1568), capable of carrying a crew of 800. The reason for the estimate of how many went down with the ship is that it sank mid-boarding. The Swedish navy engaged in battle against Denmark, Lübeck and the Polish–Lithuanian Union off the coast of Öland on May 30th, 1564. On the second day of ferocious fighting, the Mars was boarded by the Danish and Lübeckian forces who didn’t know that the ship was already on fire from a cannon shot. The gunpowder stores exploded with enormous force, blowing the front of the ship clean off — that part of the wreck was found 130 feet away from the main body of the ship — and killing whatever crew had survived up until that point died along with the enemy they had been fighting. Historians estimate that at least 300 of the dead of the Mars were Danish-Lübeckian boarders.

The diving team has also discovered a historic first this season.

This time, one of the most spectacular finds was a large grapnel (grappling hook) an anchor-like hook, which hung from the bowsprits of warships and was used to cling onto another ships in order to board it.

Grapnels are illustrated in historical sources from the 16th century, but no actual surviving examples are known apart from this particular one, says Warming.

“It’s totally unique. Together with other exciting finds, it can shed new light on Medieval and Early Modern naval warfare,” he says, and adds that the divers also found remains of possible arms and armour, including helmets and swords.

Alas, there are no pictures of the grappling hook which is a bummer, but we must forgive because visibility down there is so terrible that it’s a miracle we get any photos at all, never mind the exceptional ones we’ve gotten so far. The divers have to use high-intensity bright lights to see a foot in front of their masks and they film everything they see for the archaeologists to examine. They do this carrying big tanks with a special gas mixture to keep them from getting the bends/dying and under a crazy time crunch because for their own safety, they can only dive 40 minutes at a time.

That precious footage they’ve shot is being used to create a detailed ultra high-resolution 3D model of the shipwreck. It’s not complete yet, but here’s an all-too brief demo of the 3D photogrammetry model of the Mars and it’s awesome.

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A riveting look at the Gardner heist via podcast

Friday, July 20th, 2018

Boston’s National Public Radio station WBUR and the Boston Globe have produced a podcast series dubbed Last Seen on the greatest unsolved art crime in history, the theft of 13 masterpieces from the Isabella Stewart Gardner Museum on March 18th, 1990. The case has bedeviled authorities local and federal for 28 years and is still being actively investigated. The reward money is now up to $10 million, and yet, concrete evidence of any kind remains elusive.

The 10-episode series will look at the events of March 18th, 1990 and follow the track of the investigations, but it won’t be a retelling of what went down. There will be interviews with people who have never been interviewed before, among them the second security guard on duty that night and in-depth examinations of the investigative trail over the decades. The reporters have been given unprecedented access to the Gardner heist materials and many of those materials will be posted online in tandem with the podcasts.

“Our reporters have spoken to key people who have never before publicly talked. They have seen places and documents that no other reporters have seen before. Their work even led federal authorities to conduct a high-stakes excavation in a residential neighborhood in Florida. It all comes together in a provocative look not only at the crime and all the colorful characters around it, but at the investigation that has failed to solve it,” said Jane Bowman, Vice President, Marketing and Strategic Partnerships, The Boston Globe. […]

Who pulled off what the FBI describes as the largest property crime case in U.S. history? Was it a mob associate who ran the TRC Auto Electric repair shop in Dorchester, the Irish Republican Army and Whitey Bulger, two wannabe rock ‘n’ rollers or someone else entirely? Last Seen looks at these and many more suspects as hosts Horan and Rodolico travel from Boston to Philadelphia, Florida, Ireland and Italy investigating motives, scenarios and dead bodies with key players and leading experts on the robbery.

The series begins on September 17th and subsequent episodes will air every Monday. There’s an associated Facebook group you can join to comment on the podcasts and discuss it with other listeners. If you have iTunes (I broke up with it years ago and it was a nasty split), you can subscribe to the podcast here. The podcast will also be available for streaming on WBUR’s Last Seen page and for streaming and download in any other of your favorite podcast purveyors (here it is on Podbay.fm, for example).

Get a tantalizing taste of Last Seen in this excellent trailer. That old-time radio announcer opening and the clips of statements from investigators, witnesses and suspects give it a genuinely haunted crime-thriller vibe.

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Beautiful bibliophile bait

Saturday, June 23rd, 2018


The Boston Public Library (BPL) has made available online more than 200 high-resolution photographs of its collection of exquisite fore-edge paintings. These are miniature masterpieces painted just inside the edge of the pages on the side of books. Some of them match the subject of the book; others are tributes to the wealthy aristocrats who commissioned them. All of them are gorgeous.

The idea of painting the outer page surface of a closed book took hold in the 17th century and became a popular trend for a while. It continued into the early 18th century but had largely fallen off the radar as the century came to a close. The Edwards family of Halifax, first William Edwards around 1755, followed by his even more innovative sons, revived the medium and turned it up to eleven.

John and James Edwards, sons of William, opened a bookshop on Pall Mall in London in 1784. They also maintained the family shop in Halifax which was much larger and may have been the place where some or most of the actual bookbinding for the Pall Mall shop was done. Both of the Edwards shops had a reputation for the elegance and quality of their bindings, but it was the London store that brought them the most rarified clientele of the age.

They used fine materials like calf leather, colored morocco, silk (for markers and end-leaves) and gold tooling to create expensive prêt-a-porter books and ultra-luxurious custom editions for bibliophiles and collectors from the staunchly respectable (vicars, scholars, assorted professionals) to the highest echelon of Britain society. Georgiana, Duchess of Devonshire, Marchioness of Rockingham and Queen Charlotte were repeat customers.

In 1785, James Edwards received a patent for a process to create transparent vellum that would line the covers and couple be painted or printed on the underside. This allowed books to be decorated to order with ink or pencil designs that would never rub off or smudge. The book’s front and back covers could be dusted and wiped clean with a wet cloth without any risk of the drawing on the delicate vellum lining would run. Family crests, monograms and initials were popular personalizations, on their own or accompanying figures drawn from the subject of the book.

The customized artwork of the vellum paintings neatly segued into fore-edge painting. Traditionally fore-edge paintings has been florals and heraldic motifs applied to the flat surface of the edge that could only be seen when the book was closed. The Edwards brothers eschews those limitations and created elaborate miniature widescreen panoramas of grand estates, landscapes, cityscapes, religious scenes, all applied to a thin sliver at the very edge of the pages so the pages had to be ever so slightly fanned out for the image to be seen. The painting became a sort of Easter egg, invisible when the book was closed because the outer surface was gilded; if the book was closed, all you saw was gold.

Their ambitious approach made bibliophiles swoon. Rev. Thomas Hartwell Home of the University of Cambridge described the technique in glowing terms in his 1814 book, An Introduction to the Study of Bibliography, Vol I:

To Messrs. Edwards, the lovers of ornamented books are indebted for a method of gilding upon marbled leaves, and decorating the edges of leaves with exquisite paintings; we have seen landscapes thus executed, with a degree of beauty and fidelity that are [sic] truly astonishing; and when held up to the light in an oblique direction, the scenery appears as delicate as in the finest productions of the pencil.

A Mrs. Thrale wrote about it in a letter to her daughter ca. 1812:

I have seen a newer – to me at least – a newer Method of displaying Elegance, in which, if you do not exceed all Your Competitors, it will be your own fault. Tis in Bookbinding – a White smooth Vellum cover to – [Mason] The English Garden – for example: must be painted with some Device relative to the subject on both sides – and the Leaves apparently gilt, must when you hold them in a particular manner – slanting, exhibit a beautiful Miniature Landscape painted likewise by the Lady; but concealed when the Book is shut. They are ten Guineas each, if you purchase; and Edwards of Pall Mall is the Owner of the Invention; but perhaps I am talking of a well known contrivance, which however surprized me.

We don’t know who painted the Edwards fore-edge mini-masterpieces. There are no signatures. Mrs. Thrale’s attribution of authorship to “the Lady” may have just been a groundless assumption on her part. Other accounts by people more closely connected to the Edwards suggest they were painted by one of the brothers, possibly John who made some of the finest of the vellum binding paintings.

Edwards weren’t the only bookbinders to create beautiful fore-edges. The Boston Public Library’s collection, amassed by Albert H. Wiggin in the second half of the 1940s, is the second largest in the country and the largest public collection. Its 258 volumes feature the work of several bookbinders and some of the most important fore-edge paintings extant, including a few very rare signed works.

Browse through the gallery here or click Browse to look through them by subject, category or title.

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Virtually palpate Neolithic Scottish balls

Monday, June 18th, 2018

About 525 intricately carved stone balls from the Late Stone Age have been found in northern Europe, 430 of them in Scotland, the rest in England, the Orkney Islands, Ireland and Norway. These balls have stymied antiquarians and archaeologists since they were first discovered two centuries ago. They come in a variety of designs, some with abstract carved reliefs, some carved into curious shapes, and their purpose or purposes have yet to be divined. Researchers have hypothesized that they could have been weapons like maceheads or sling projectiles, weights and measures, or symbols of power with religious significance as many of the carvings — circles, spirals, patterns of straight lines — have also been found carved on tombs.

Most of the Scottish balls were found in Aberdeenshire, including the most famous of them all, the Towie ball. It was discovered when a drain was dug near the village of Towie in or before 1860. Made of a hard black stone, the Towie ball has four discs, three of them carved with spirals and wedges, the last left blank. It is considered one of the finest examples of Neolithic art known.

Of the hundreds of Neolithic carved balls found in Scotland and the Orkneys, the National Museum of Scotland in Edinburgh has around 140 of them in its collection, the Towie ball among them. Very few of them are on display, however. The museum is making up for this by creating 3D models of 60 of its Neolithic balls and posting them online so that anybody with an Internet connection can see them in far greater detail than they ever could in person.

These models were made using photogrammetry, which uses around 150-200 images of each artifact to produce an exceptionally high-resolution 3D model. The resolution allows you to examine and appreciate these artifacts in unprecedented detail. Indeed, the model of one carved stone ball (X.AS 90) revealed traces of fine concentric circles on one projecting knob that had never been recorded before, despite the artifact having been in the museum for more than 100 years and examined by dozens of scholars. Traces of decoration and working are particularly clear in ‘matcap’ mode, which makes the artifact look like shiny metal, emphasising any irregularities in the surface.

The high resolution has also revealed evidence of how the balls were carved. Several of them show that the design changed as the balls were shaped, perhaps over the course of years of work. They are all relatively regular in dimension, a convenient size that would fit in one hand. It’s likely the stone carver held them in one hand and chipped or chiseled them with harder stone tools in their other hand.

You can examine this remarkable collection of Neolithic Scottish balls one after the other on this page. You can kick things off taking a look at a small group of them and once you get the feel of them, virtually palpate them all, starting with the exceptional Towie ball.

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YouTube masterclass on the Cosmati pavement

Thursday, June 14th, 2018

I see from the recent story on the opening of Westminster Abbey’s triforium galleries that I am not alone in my obsession with its Cosmati pavement, the glorious inlaid semi-precious stone, marble, metal and glass mosaic in front of the High Altar. It was commissioned by King Henry III for his rebuild of the less glamorous Abbey built by Edward the Confessor. Odoricus, an Italian mosaicist trained in the geometric, abstract, allegorical Cosmati style, brought tesserae from Rome and combined them with local materials to create a unique pavement.

The mosaic was finished in 1268 and has been the epicenter of monarchical ceremony ever since. Thirty-eight kings and queens have been crowned on the Cosmati pavement. Trod upon for centuries by the softest royal slipper and roughest pilgrim clog alike, the pavement suffered greatly from wear and ground-in dirt. The marble tiles, which Odoricus is believed to have sourced from the remains of ancient Roman floors, likely had a millennium’s head start on wear, and layer upon layer of wax and polish only served to darken and dim a surface that had once been vividly colored and highly reflective.

Concerned about its deteriorating condition, church officials covered most of the Cosmati pavement with carpet in the 1870s. That’s how it remained, revealed in part or on rare ceremonial occasions until 2008 when Westminster Abbey undertook a comprehensive two-year conservation project. The team cleaned the surface, removing the old wax, polish and dirt with specialized solvents. Stone and glass conservators stabilized damaged areas, repairing damaged glass, stone and mortar. The last step was applying a new protective coating to make it possible for the pavement to be displayed safely and to its best shiny, colorful advantage.

When the conserved pavement was finally revealed in 2010, I yearned to write about it but how could I without proper high resolution before-and-after images? That would be just be cruel. Unfortunately, no such photographs were to be found, not from the Abbey’s communications department, not in the press, not from funders like the Getty which is always great about providing high-res pictures when it comes to its own projects, not even in a publication that I could buy. To this day, almost a decade later, as far as I know there are no books whatsoever documenting the conservation.

The recent discussion on the Cosmati pavement view from the triforium drove me to try one more time. I checked a site dedicated to the conservation that the Abbey had put up in 2012, hoping its sad little 500-pixel images had been upgraded, but the site doesn’t exist anymore. Then I checked YouTube.

Y’all, Westminster Abbey’s channel has a playlist of 51, count’em 51, videos covering the history, symbolism and conservation of the Cosmati pavement. These films are absolutely riveting. Interested in the background of Henry III’s commissioning of the mosaic? Done. Curious about the cosmological significance of the design and how the precise date of the end of the world is calculated in the inscription? Keep watching. How about those glass tesserae so atypical in Cosmati style mosaics? Six videos about them enough for you? Want to hear from the stone masons about the Purbeck Marble background repair? The mortar repair? The yellow limestone repair? The black marble repair? Boom, a video for each.

Clear your social calendar for the next few days and make way for the greatest playlist ever played.

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Roman Republic coin collection digitzed

Friday, April 20th, 2018

Rutgers University has digitized its Ernst Badian Collection of Roman coins from the Republican era, a group of more than 1,200 coins that cover the period from 280 B.C. through 31 B.C. and the end of the Republic. Numismatics provide a unique perspective on history, not just monetary but political and social. The Badian Collection’s focus on Republican Rome makes it an invaluable (pun intended) resource for students of a period that in the earliest years of coin production has limited surviving contemporary historical documentation.

The collection begins with examples of cast bronze coinage, used in the earliest stages of monetization. The Republic moved to struck coins, some made of silver as the standard metal for coins. The denarius, half-denarius and quinarius all were struck from silver. Smaller denominations continued to be struck from bronze. Early coins found in the collection often imitate examples from the Greek colonies in southern Italy (Magna Graecia). The movement to silver denominations, like the denarius, unique to Rome, also is documented. There also are examples of brockage, an error caused when a coin adhered to the die and was struck a second time.

Coins in the collection also document the political aspects of striking coins unique to Rome. Young politicians served as official moneyers (tresviri monetales). They put their names on coins and selected motifs that conveyed messages about their families’ histories and the virtues they claimed these had. The most common message was the importance of military virtues. Patriotic images like the helmeted head of Rome and the she wolf appear together with images of deities. Reflecting affairs in Italy and beyond, changes in money weights and the addition of victory motifs show the fortunes of a rising empire. This includes evidence of the difficulties of the Republic during the Second Punic War, when Hannibal campaigned in Italy. An unusual use of gold as an “emergency” coinage during the Second Punic War is represented among the coins at Rutgers. The collection also documents financial pressures that caused debasement of currency in the same period. Victories were commemorated with special coins and the use of images of trophies won by the armies of the Republic.




The collection thus illustrates comprehensively the progressively heated political climate of the later Republic, and the various fortunes of charismatic leaders such as Marius, Sulla, Crassus, Pompey, Julius Caesar, Lepidus and Marc Antony, as well as those of numerous other ambitious families and individuals.

In-person access to the collection is limited by preservation and security concerns, so the digitization project opens up previously closed doors not just to scholars and academics, but to everyone who is interested in Roman and numismatic history. Rutgers graduate students did the work, spending four years photographing every coin from multiple angles and uploading the images to the dedicated website. They can be searched by keyword, which makes it easy to use the coins for research on a subject that is not literal monetary history.

The coins were collected by Harvard professor Ernst Badian who donated the coins to Rutgers in 2001. Professor Badian researched his own collection assiduously and wrote notes on many individual coins. Those hand-written notes identifying the coins, their dates, inscriptions and iconography have also been digitized so you can see scans of the original notes in his hand as well as transcriptions.

To search or browse the Ernst Badian Collection, click here.



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Digging the Carnoustie Bronze Age Hoard

Saturday, February 10th, 2018

If you’re at a loss on how to fritter away some time this weekend, I have a solution for you. Watch a couple of videos about the hoard of Bronze Age weapons discovered at the former Newton Farm in Carnoustie, eastern Scotland.

The first video captures the excavation in GUARD Archaeology’s Glasgow laboratory of the soil block containing the hoard. When I first wrote about this story last February, the only video available of the painstaking excavation of the 175-pound block of soil was a continuous scene a few seconds long of archaeologists scratching at the soil in minute movements. This video, uploaded to YouTube in December, summarizes the excavation and finds. There’s still minute scratching, which is awesome, but there’s so much more, plus descriptions of what you’re seeing.

In addition to the sensational weapons hoard, postholes and pits from two Neolithic rectilinear timber halls, one the largest Neolithic structure ever discovered in the British Isles, and gulleys and hearth remains from at least 12 Bronze Age roundhouses were found at the site. There wasn’t a great deal of information about these finds in February 2017, but in May, GUARD Archaeology Project Officer Alan Hunter Blair delivered a lecture packed with details, photographs and diagrams of the structures. That lecture is now available on YouTube.

He also covers the discovery of the hoard, its excavation in the lab and includes great pictures of the organic remains like the pouch the spearhead was found in and the fragment of strap still attached to the pommel of the sword. That part begins around the 15:45 mark.

I should warn you that he speaks very quickly, which is both a blessing and a curse. The former because it keeps the video nice and short at about 20 minutes; the latter because he zooms through it without looking up from his paper so delivery is a little dry and rushed. The information is fascinating, however, and the visual aids illuminating so it’s well worth watching.

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Vesuvius’ lesser known victims in 3D

Tuesday, January 23rd, 2018

Vesuvius took thousands of lives when it erupted on August 24th, 79 A.D., burying entire cities in layers of pumice, ash and mud. The cities of Pompeii and Herculaneum are the most famous of its victims, thanks to the extraordinary state of preservation in which they were found and the profound emotional impact of the plaster casts made from body cavities developed in the 19th century by pioneer archaeologist Giuseppe Fiorelli. Now the smaller, lesser known site of Oplontis is getting some high-tech attention.

Oplontis isn’t a city. It’s a multi-use villa complex composed of Villa A, a large luxury estate believed to have belonged to Poppaea, Nero’s second wife, and Oplontis B, an industrial structure that housed an active wine import-export concern. Villa A was, thankfully, not inhabited at the time of the eruption. The wine business, on the other hand, was hopping. Archaeologists have unearthed the skeletal remains of more than 50 people from a single room of Oplontis B. Thus far, they are the only human remains found at the site.

The Faces of Oplontis research project has taken a new approach to some of the unanalyzed skeletons from Oplontis B. Starting last summer, a team of archaeologists finished excavating the skeletons in Room 10 that hadn’t been fully unearthed yet and examined the remains in situ using photogrammetry (a technology that deploys high resolution photography to calculate measurements and proportions). Complete skulls were 3D scanned. All of the remains were osteologically analyzed and will be subject to mitochondrial DNA testing, stable isotope, trace element, parasitological and pathogen DNA analysis. The comprehensive study will shed light on working class Romans, their diets, health, geographical origins and, one hopes, cause of death.

Photogrammetry was also used before the excavation to record Room 10, making it a possible to create 3D model that shows were the people died (all the skeletons except for two which have been cast and moved to the front are still in their original locations at the time of death). The model gives researchers the ability to navigate the site without disturbing the remains, figuring out the stratigraphic data, which ones of them died first, by what means and how their bodies may have shifted. It’s of particular importance in Oplontis because it’s not clear what kind of volcanic fallout the site experience. Pompeii got the pumice rain. Herculaneum got the superheated mud. What took out Oplontis, which is very close to Pompeii, remains in question. The new research may help answer this once and for all.

Faces of Oplontis has created a dedicated website and have made their 3D models available to the Internet-going public. They are annotated to highlight and explain the main points of interest. I recommend clicking on the notes, especially for the skulls, because they contain a lot of information we civilians would not recognize from just looking.

Here is Room 10, the skeletons in situ before excavation:

Skull 2, an adult male of middle age (with an very cool unfused metopic suture):

Skull M, a young woman (25-30 years old) whose unborn baby was also a victim of Vulcan’s ire:

Check out the rest on the Faces of Oplontis Sketchfab channel and give them a follow to see more as the study progresses.

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Michigan State to create vast slave trade database

Saturday, January 13th, 2018

Funded by a grant of $1.47 million from the Andrew W. Mellon Foundation, Michigan State University will create a massive database that brings together scattered information about enslaved people as a priceless research hub for scholars and the public alike. The project, entitled Enslaved: The People of the Historic Slave Trade, will be one-stop-shop for people seeking slave data for academic, genealogical and personal interest purposes. They will be able to search for specific individuals, create charts, map routes and analyze demographic data.

MSU has long been at the forefront of African studies — US News and World Report ranked its African history graduate program the best in the country — and they are eminently equipped to combine scholarship with digital resources that students, researchers and anybody else who wants to delve deeper into the subject can use. This is the raison d’etre of MSU’s Matrix: The Center for Digital Humanities and Social Sciences which will be one of the databases linked together with other world-class databases to create the Enslaved tool.

“‘Enslaved’ brings new digital tools and analytical approaches to the study of African slavery and the Atlantic slave trade,” said project co-investigator Walter Hawthorne, professor and chair of MSU’s Department of History. “By linking data compiled by some of the world’s foremost historians, it will allow scholars and the public to learn about individuals’ lives and to draw new, broad conclusions about processes that had an indelible impact on the world.” […]

The partner projects in phase one are “African Origins and Voyages: The Trans-Atlantic Slave Trade Database” led by David Eltis, professor emeritus, Emory University, and Paul Lachance; “The Slave Societies Digital Archive” led by Jane Landers, Vanderbilt University; “Dictionary of Caribbean and Afro-Latin American Biography” and “Dictionary of African Biography and African American National Biography” led by Henry Louis Gates Jr., Steven Niven and Abby Wolf, Hutchins Center for African and African American Research at Harvard University; “Freedom Narratives” led by Paul Lovejoy, York University; “Legacies of British Slave-Ownership” led by Keith McClelland, University College, London; and “The Liberated Africans Project” led by Henry Lovejoy, University of Colorado Boulder; and “Slave Biographies” led by Daryle Williams, University of Maryland.

The first phase of the project is expected to about 18 months. The goal is develop a functional framework that proves that it’s even possible to link the eight online collections in the initial pilot into one searchable, cross-navigable, publicly accessible database. After that’s done, they can get down to the real nuts and bolts of getting so many moving parts to work together in harmony. It’s going to be a while, but the results could be groundbreaking. Dean Rehberger, director of Matrix and one the leaders of the project:

“In bringing together data from a number of highly successful projects, we have the opportunity from many small threads of data to weave together lives of enslaved individuals once thought lost to history.”

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The Making of a Roman Silver Cup

Sunday, January 7th, 2018

In 2014, the Getty Museum was fortunate enough to be allowed access to one of the world’s greatest Roman treasures: the silver hoard discovered by a farmer ploughing his field in Berthouville, Normandy, France, in 1830. An unprecendented assemblage of silver-gilt objects that epitomize the best Roman silversmithing had to offer, the plates, bowls, cups, pitchers, statuettes are crafted with high relief details, scenes from mythology and elaborate designs that were probably the dining set of an incredibly wealthy Roman. Inscriptions by the donor, one Quintus Domitius Tutus, dedicating them to the Gallo-Roman version of the god Mercury indicate they were later used for ritual purposes and deliberately buried, but first they were likely used to set a fabulously splendid banquet table.

Cup with Centaurs, 1–100 A.D. Cup with Centaurs, 1–100 A.D. Cup with Centaurs, 1–100 A.D.. gold det. Photo courtesy the JP Getty Museum.

The Getty Villa in Malibu played host to Berthouville’s most famous citizens starting in December 2010 as part of a collaboration with the Bibliothèque Nationale de France to employ its own greatest assets — the deep bench of conservation experience and know-how — to conserve and restore the objects. They had been roughly handled in the initial cleaning back in the olden days of the 19th century, so they needed cleaning, restoration and punctilious research to revive their shine. The work Getty conservators did uncovered a great deal of new information about how Roman silversmiths worked and how 19th century restorers worked.

Because of their aid in restoring these precious objects, the Getty was given the sole opportunity to exhibit the treasure and other fine silver pieces from the collection of the Cabinet des Médailles at the Bibliothèque Nationale de France. Ancient Luxury and the Roman Silver Treasure from Berthouville ran from November 2014 through August 2015. It was the first time the Berthouville treasure has ever been allowed to leave France and very possibly the last.

I wrote about the exhibition at the time, but I missed the very cool YouTube video showing how Roman silversmiths would have created one of the exquisite cups in the treasure. There’s also a cool 3D rotating view of the Mercury statuette that is one the stars of the Berthouville show.

The video quality on this one leaves something to be desired, but the content sure doesn’t. It’s a lecture by Getty antiquities curator Kenneth Lapatin on the background of the Berthouville Treasure.

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