World’s oldest leather shoe found in Armenia

It’s 5,500 years old and so well-preserved that the doctoral student Diana Zardaryan, who found it during a dig in a cave in Armenia, at first thought it was a whole cow ear. When she pulled it out of the hole in which a Copper Age walker had carefully placed it thousands of years ago, she saw that it was an intact leather shoe with laces threaded through eyelet.

World's oldest leather shoe

Radiocarbon dated to about 3500 B.C., during Armenia’s Copper Age, the prehistoric shoe is compressed in the heel and toe area, likely due to miles upon miles of walking. But the shoe is by no means worn out.

Shoes of this age are incredibly rare, because leather and plant materials normally degrade very quickly.

But in this case the contents of a pit in the cave, dubbed Areni-1, had been sealed in by several layers of sheep dung, which accumulated in the cave after its Copper Age human inhabitants had gone.

“The cave environment kept it cool and dry, while the dung cemented the finds in,” said Pinhasi, lead author of the new study, published by the journal PLoS ONE Wednesday.

Pit where the shoe was foundThe shoe also had additional protection from the elements. Zardaryan found it in a pit lined with yellow clay, covered by an upside-down bowl with two sheep horns on top of it. Those weren’t the only other artifacts scientists discovered in Areni-1. There were obsidian tools, which since the only source of obsidian nearby was was at least 75 miles away, may have been one of the reasons the people who used the cave needed strong shoes.

The team also found evidence of ancient winemaking appartus, dried apricots, grapes, plums (possibly the oldest known intentionally dried fruits), plus the skulls of three children or adolescents kept in ceramic pots. One of the skulls even had some brain tissue still in it which was radiocarbon dated to 6,000 years old, 500 years older than the shoe.

Areni-1 cave,  middle of the cliff faceArchaeologists suspect that the cave, first discovered in 1997, was used by high-status members of the community to hold ritual objects, although there is evidence of people actually living in the front of the cave, possibly caretakers who saw to the proper preservation and protection of the ritual objects.

The previous record-holder for oldest leather shoe was our old friend Otzi the Iceman’s kicks (the museum website hasn’t let go of the title yet, this news is so fresh), but they’re 200-300 years younger than the Armenian shoe. They’re also considerably more complex, made from bearskin soles, deerskin side panels, bark-string netting which pulled tight around the foot and grass socks. There are older shoes — some 7,000-year-old examples were found in Missouri and Oregon — but they’re made out of plant fibers, not leather, and they’re sandals rather than full coverage shoes.

Tintoretto confirmed. Now what does it mean?

William John Bankes, b. 1786, d. 1855Adventurer, collector and early Egyptologist William John Bankes purchased a dramatic octagonal painting known as Apollo and the Muses in Italy in 1849 and sent it back to Kingston Lacy, his ancestral home in Dorset. He thought it was a Tintoretto, but although he had an excellent eye for art and antiquities, he wasn’t always right, and private commissions of Tintoretto paintings are extremely rare since most of his work was made for and remains in public buildings in Venice.

When the Bankes family gave Kingston Lacy to the National Trust in 1981, the painting was so filthy and encrusted with old darkened varnish that authentication was impossible. They didn’t have the funds then to have the painting expertly cleaned, so it remained in storage until today. The painting, all 9 by 8 feet of it, is on display again in the Kingston Lacy dining room after a £36,000 ($53,000) cleaning and restoration by the Hamilton Kerr Institute in Cambridge, and now that experts can actually see it, there is no doubt that it’s a Tintoretto, probably from the 1560s or 1570s.

The Hamilton Kerr Institute took X rays and infrared images of the painting which revealed Tintoretto’s distinctive style and brush strokes. They also showed various changes Tintoretto made to the figures, their clothing, their positions before deciding on a final version.

"Apollo (or Hymen) Crowning a Poet and giving him a Spouse", Jacopo Tintoretto, 1560-1570The cleaning has raised a whole new bag of issues, however. For one thing, it’s now clear that it is not a painting of Apollo and the Muses, because there are 7 figures attending Apollo, not 9. For another thing, there are all kinds of symbols that are perplexing to our contemporary sensibility. That single die with five dots in the bottom right corner may have been part of 16th c. vernacular, but we have no idea what Tintoretto meant by it. Also what do the gold cup, dish, box and steeple beneath Apollo’s feet signify? And who are all those figures anyway? One of them is definitely Hercules wearing his characteristic lion skin, but what is he doing there?

The main figure might be Apollo, or it might be Hymen, the Greek god of marriage. The man draped in blue might be a poet who is being presented to his spouse, the rather pale lady – or he might not be. What is the die with the five dots, underneath the woman draped in red, all about? What is the significance of all the gold? That must be Hercules in the top left but who is everyone else? Is it, perhaps, Fortune, above the die?

In the meantime the painting, probably from the 1560s or 1570s, has been renamed as “Apollo (or Hymen) crowning a poet and giving him a spouse”, but Bradley said that was something like its fifth name in the last few months. “The name will probably have to change again. I would personally say it’s definitely Apollo but I’m not even sure he’s marrying someone – my boss and I are agreeing to differ on that.”

The x-ray and infrared analysis used to prove it is definitely the work of Tintoretto also throws up questions. Why, for example, did Tintoretto paint the possible poet as nearly naked before the blue robes were later added?

The National Trust is asking for help from the public in answering all the questions they have about this uniquely fabulous piece. If you have any ideas, tweet them at http://twitter.com/nationaltrust.

Meanwhile, here’s a neat graphic that highlights some of the questions art historians have about the piece.
If you are reading this anywhere else besides on www.thehistoryblog.com, it has been reprinted without author permission.

4th grade teacher finds 18th c. document on bookshelf

Fourth grade teacher Michelle Eugenio was packing up the bookshelves in her Peabody, Massachusetts, classroom in preparation for a move to the second floor when she found a yellowed document in a plastic sleeve cover. She could well have tossed it out without a second glance, but when she noticed the handwritten date of April 1792, she decided to share it with the class.

Michelle Eugenio with her students and the 1792 documentHer students were excited at the thought that it might be a genuine old document, so she brought it to the local historical society to find out if it was authentic.

The yellowed sheet of paper, protected by a thin sheath of plastic, is dated April 1792 and appears to document the discharge of a debt belonging to a man named Jonathan Bates, according to Peabody Historical Society President Bill Power. […]

[Peabody Historical Society President Bill] Power eventually verified its authenticity. Bates served in the Continental Army, and the document conveys the final payment for his service — 19 pounds, 19 shillings and 11 pence — to the person he owed, Power said.

Bates lives in Shaftsbury, Vermont. During the Revolutionary War he was in a company led by Capt. Bigelow Lawrence, but Vermont historians don’t know which battles he fought in or where the company was deployed. He died at the age of 63 in 1808 and was buried in East Hill Cemetery in Williamstown, Vermont.

How this document got from Vermont to Peabody nobody knows. Eugenio has no idea how long it was on that bookshelf or who brought it to school. Some student’s parents must have been mighty pissed off when their kid came back from show and tell minus a family heirloom from the Revolutionary War.

The teacher hasn’t decided yet whether to keep it to show to future fourth grade classes or to donate it to the Peabody Historical Society.

Largest ever gladiator graveyard found in York

Archaeologists examine skeletons in York burial groundArchaeologists excavating a Roman burial site in York believe they may have found the largest, best preserved gladiator cemetery in the world. The previous contender was in Ephesus, Turkey, and had about 60 people buried there and their remains were fragmentary. The York graveyard has yielded 80 skeletons over the past 10 years, many of them complete.

The ages, body types and violently-inflicted injuries on the bones mark many of these skeletons as belonging to gladiators or to other people who died in the arena. One man was killed by a large carnivore of some kind — lion, tiger or bear — and others bear wounds from weapons. Almost all the skeletons are male of above average height and build. Although they died at different times over a range of 250 years and came from all over the Roman Empire, 85% of the skeletons show remarkably similar physical stresses, primarily on the right arms.

One important piece of evidence is the unusually high number of men with their right arms markedly longer than their left – a feature mentioned in ancient Roman literature in connection with gladiators.

About a quarter of the 80 skeletons excavated at the York site display this characteristic, and around half of those have particularly significant asymmetry, with right arms between 1 and 1.8cm longer than their left, according to a detailed survey of the material carried out by forensic anthropologists at the University of Central Lancashire.

The discovery suggests that some men started their training at an early age, probably in their early to mid teens. Arm length asymmetry can only develop prior to reaching skeletal maturity.

Skull from York cemeteryMost of them were decapitated before death by a sword blow to the back of the head, which suggests that at least in York, the fatal blow was a head chopping rather than the more traditional stab in the neck. Some of the skulls had holes in them like the ones found in the Ephesus cemetery, suggesting they died from a hammer to the head.

All of the men were buried respectfully, so they can’t have been raiders like the decapitated Vikings found in pit in Dorset. Fourteen of them were buried with grave goods like pottery and animal remains, so they had property worth bringing with them to the underworld and maybe even the support of a burial guild ensuring that proper sacrifices were made for their dead brethren.

The most impressive is that of a tall man aged between 18 and 23, buried (probably in a coffin) in a large oval grave at some time in the 3rd century. Interred with him are the remains of substantial joints of meat from at least four horses (represented by 424 horse bones) possibly eaten at his funeral, as well as some cow and pig remains. He had been decapitated by several sword blows to the neck. After burial, a low mound up to a metre high seems to have been placed over his grave.

Significantly, the man who had been killed by the bear or lion was buried in an adjacent grave, along with two others with similar ritual deposits. These men had also been decapitated. Scientific analysis of their bones suggests that they came from an extremely hot environment, possibly North Africa.

Now, we still don’t know for sure that all the people buried in this cemetery were gladiators. They could have been soldiers, for instance. Another theory is that it was a burial ground for people classifed as infames.

Infamia was social condemnation brought on by certain professions (prostitution, acting) or by immoral acts (army desertion, adultery, contracting to kill wild animals in the arena for pay). During the Roman Republic infamia resulted in loss of public rights like voting rights and running for certain offices, but by the time Britania was Romanized, those sorts of rights were rendered moot by the very fact of Empire. Infamia also wasn’t gender-specific and it didn’t make your arm longer than your left.

There will be a documentary on the York skeletons shown on Britain’s Channel 4 next Monday, June 14th: Gladiators: Back From The Dead. For those of us out of range of British television, the show will be uploaded to their website after it airs.

Inside US Customs’ stolen antiquities warehouse

When US Immigration and Customs Enforcement (ICE) finds stolen and illegally exported antiquities in New York, the confiscated goods end up in a nondescript warehouse in Queens. There they stay in climate controlled comfort while cases wind their way through the court systems or they can be returned to their countries and institutions of origin. The process can take years.

Obviously ICE doesn’t divulge the location of its warehouses, but they recently gave the New York Post a rare peek inside the Queens facility. The reporters weren’t allowed take pictures and of course they can’t print where it is, but it’s still some Indiana Jones awesomeness to get to see where so many goodies are kept. There are over 2,500 artifacts in the warehouse right now.

Fishy-looking shipments may catch the eye of customs officers who look for phony countries of origin such as Babylon or suspiciously low values declared on packages.

Tipsters also alert [James McAndrew, the ICE senior special agent in charge of cultural property,] about particular shipments or smugglers. In one case, officials in India told him to watch for artifacts mislabeled as lawn furniture.

When a crate marked “garden table sets” arrived by ship in Newark, customs officers called McAndrew, who raced to the port along with a top official with India’s Consulate General in New York.

The crate was opened to reveal hundreds of statues of Indian deities looted from temples and private homes. McAndrew said he had a sense of satisfaction mixed with dismay. “At least call it trinkets,” he said. “It was such a blatant ruse.”

The 600 or so pieces, some dating to the 4th century, have been stored at the Queens warehouse for three years as an investigation went forward.

100412_antiquities_jc-8.jpgThe most notorious piece mentioned in the article is a 7th c. Iranian silver griffin-shaped rhyton (ceremonial drinking vessel). Widely considered the premier griffin of antiquity, it was looted from Kalmakarra Cave, known as the Western Cave, in the western highlands of Iran between 1989 and 1992 along with untold other treasures. Over the next decade, bits and bobs of the reputed treasure turned up in various museums and markets around the world.

In 2000, the rhyton was hand-carried into the United States by art dealer Hicham Aboutaam of Phoenix Ancient Art. He described it in customs forms as Syrian, but that was a deliberate and knowing lie. When he sold it to a private collector in Manhattan for $950,000, the collector demanded guarantees of its authenticity, so Aboutaam actually brazenly got 3 expert reports confirming that it was part of the Western Cave treasure.

The sale took 2 years to go through, and 2 years later, after an ICE investigation Aboutaam was arrested for illegally importing the rhyton. Sadly, he just got a slap on the wrist. He pled guilty to falsifying a commercial invoice, paid a $5,000 fine and is still happily in business to this day, still dirty as the day is long. Just last year he and his equally dirty brother Ali “voluntarily” returned an astonishing 251 antiquities for a total estimated worth of $2.7 million to Italy. I put that “voluntarily” in quotes because you can bet your sweet patoo that the Italians threatened them with legal action to get them to cough up.

Meanwhile, the poor rhyton remains in that warehouse in Queens until relations between the US and Iran are normalized, which could be a long ways away.