Bronze Age boat replica doesn’t sink!

The hand-crafted replica of a 4000-year-old sewn-plank boat was successfully launched into the waters of Falmouth Harbour Wednesday. At noon, she was officially christened Morgawr, “sea monster” in Cornish, and before a crowd of onlookers, she was guided into the bay.

Carrying a crew of 18 paddlers plus a coxswain, the oak plank boat put together with yew twigs, moss, tallow and beeswax, managed to not sink during two 500-meter (1640 feet) trial runs. The team who spent 11 months building the boat is in seventh heaven.

“I’m so happy with the responsiveness of the boat. We always said you had to build the whole boat to understand what Bronze Age people experienced,” said the project’s leader, University of Exeter archaeologist, Professor Robert Van de Noort, who is working together with the National Maritime Museum Cornwall.

“When I was steering the boat and it got up to speed, I could turn her easily and it was more seaworthy than I expected. We have learnt so much through the whole process and today’s launch has revolutionised everything we knew,” said the professor.

“There have been doubters, professionally, who questioned the feasibility of this vessel crossing the seas. This morning’s experiment strongly suggests that it was capable of doing so,” he said.

As long as the crew could paddle and bail vigorously, that is. There’s video of the launch on the BBC website and there was a not inconsiderable amount of water sloshing around in the bottom of that boat. University of Exeter experimental archaeologist Dr. Linda Hurcombe tells the reporter that some water accumulation is to be expected when a boat is first put to sea.

I don’t know enough about boating to confirm or deny that contention, but the frantic bailing you see in the beginning of the video doesn’t continue when the rowing begins. There’s still a few inches of water in the bottom of the boat, though, and they didn’t record the entire trial run so who knows how much more of it they had to do. Keeping any cargo the Bronze Age boaters would have been transporting dry would certainly have been a challenge.

There will be further trial runs to assess how Morgawr takes on water. Once they’re done, the boat will go on permanent display at the National Maritime Museum Cornwall in Falmouth.

Police find Oakland Museum Gold Rush box!

The beautiful and historic Gold Rush-era jewelry box stolen from the Oakland Museum of California in January has been recovered and appears to be undamaged. At a news conference on Tuesday, police announced that the suspect in the thefts, Andre Taray Franklin, a career criminal with 10 previous felony convictions including three for burglary and petty theft, was arrested and booked into Santa Rita Jail Sunday.

Based on security footage taken during the burglaries, the police had been looking for him in connection with both thefts at the museum. When they arrested him, police found pictures of the box and of a mid-20th century pistol on his cell phone. They were able to trace the jewelry box from that picture, locating it at a business they declined to name. The six-barrel pistol in the picture is one of the objects stolen from the museum in November. It has not been recovered as of yet, nor have the stolen gold nuggets.

Police Chief Howard Jordan and Lt. Oliver Cunningham praised Sgt. Mike Igualdo for his dedication in pinpointing the suspect and finding the box.

Police Officer Michael Igualdo, the lead investigator, said officers were ecstatic to find the gold box, although he wouldn’t say where it had turned up. “We thought we were in the movie ‘National Treasure,’ ” Igualdo said.

“What clicked in me was the history of California, the Gold Rush era, our American history, our heritage,” Igualdo said.

The Alameda County district attorney’s office charged Franklin with violating parole on a previous conviction for possessing stolen property and receiving stolen goods valued at more than $200,000 — the box (valued at $805,000) and the pistol. More charges, namely multiple counts of burglary, are likely to follow. In the meantime he is being held without bail.

Museum officials are thrilled to have the jewelry box back, of course. At the press conference, Director Lori Fogarty thanked the Oakland Police Department “for their expert assistance with recovering OMCA’s historic jewelry box” and said they plan to have to the box back on view as soon as possible. They need to examine it carefully to tend to any conservation needs, but as soon as any condition issues are resolved, the jewelry box will be the star of the Gallery of California History again. There is no question of the box being secured out of public view, despite its unfortunate history of theft. Fogarty again: “It is our mission and our responsibility to share California’s history with the public. If we were just a treasure trove, a mausoleum for objects, we wouldn’t be serving our mission.”

Instead of hiding their light under a bushel, the museum has significantly beefed up its security protocols. They’ve added security guards, additional cameras, alarm systems and lighting. Museum officials are confident that the 1.8 million-object collection will be safe.

I’m just glad it’s still whole instead of having been melted down. I hope Franklin tells authorities where all the other artifacts he stole ended up, although odds are they’re several steps removed from the first pawn shop or fence he sold them to.

Unique silver 3D valkyrie found in Denmark

Morten Skovsby had found a few coins, tools and a cannon ball in his backyard with his new metal detector when he decided to go further afield. On December 28th, 2012, Skovsby, Michael Nielsen, Jan Hein and Jacob Sietam, all members of a local metal detector group, explored a field in Hårby, central Denmark. Morton got a strong signal so he loosened a clump of frozen soil only to find a little silver face looking back at him. He scooped up the whole clod of earth, brought it home and put it on the radiator to thaw. Once unfrozen and cleaned of soil, the face turned out to belong a small female figurine just 3.5 centimeters (1.38 inches) tall.

Morten emailed the curator at Odense City Museums, Mogens Bo Henriksen who replied that it was a very interesting discovery. Further investigation by museum experts confirmed that early assessment and then some. It’s a standing figure of a Viking shield maiden broken at the abdomen. She wears a long textured gown and her long hair is in a pony tail tied in a knot at the back of her head. An eyelet behind her neck indicates the figurine was worn on a cord, perhaps as a pendant. She carries a double-sided Viking sword in her right hand, arm bent at the elbow, and holds a round shield in front of her body on her left arm.

She is made of solid silver and weighs 9.2 grams (.32 oz). The silver is gilded and the pattern details in the gown and shield are filled in with a black enamel-like material called niello. She dates to the Viking age, around 800 A.D., and the design details identify her as not just any shield maiden, but as a valkyrie, emissaries of Odin who choose who dies in battle and escort their souls to Valhalla. Other valkyrie figures from the early Viking era have been discovered in Denmark, but they are flat two-dimensional pieces (mostly brooches). The Hårby figurine is the first three-dimensional valkyrie figurine ever discovered. The fact that her back and sides are carved reveal heretofore unknown details about Viking hairstyle and dress from the period.

Odense City Museums did a small follow-up excavation at the discovery site. They found evidence of multiple pit houses, huts used as workshops for various crafts. Layers of burnt debris and fragments of scrap metal testify to the pit houses’ use as silversmiths. Perhaps the valkyrie lost her legs in the process of being chopped up and melted, her silver to be reused in new jewelry, only somehow the process was interrupted and she wound up in the trash instead.

The figurine has been declared treasure trove and the finder will receive a reward, although Morten doesn’t care about that. He’s just excited to have found such a special historical artifact. As of March 1st, she is on display at the National Museum’s yearly exhibition on treasure trove finds. After that she will be included in the National Museum’s upcoming exhibition on the Vikings which will travel to the British Museum in 2014.

Rare portrait of aged Queen Elizabeth I authenticated

A painting of Queen Elizabeth I that portrays her in all her aging glory has recently been authenticated as in now on display at the Folger Shakespeare Library in Washington, D.C. This version of Elizabeth eschews the alabaster smooth skin and preternaturally youthful look that characterize her portraits long after the bloom of her youth had faded. She has deep wrinkles, bags under eyes, a greyish skin tone underneath the blobs of blush.

She’s dignified and majestic in her posture and attire, but that wouldn’t have garnered the painter any favor with the queen. Realism was not her thing, and she started exerting control of her image from early in her reign. She was 30 years old and had been queen for just four years when she issued a Royal Proclamation in 1563 regulating the production of portraits. According to this proclamation, the Queen would approve one portrait of herself which would then be distributed to other painters to use as a template. That was fine when production was limited, but demand increased after Elizabeth’s excommunication in 1570 inspired a wave of patriotism. Displaying the portrait of Elizabeth was a way for everyone to declare support of queen and country.

The next decade would see war with Spain and the defeat of the Spanish Armada which engendered even greater peaks of patriotic fervor and even greater demand for images of the queen. It became impossible for all the portraits in circulation to be pre-approved. In 1596, the Privy Council took action against this state of affairs, ordering officers “to aid the Queen’s Sergeant Painter in seeking out unseemly portraits which were to her ‘great offence’ and therefore to be defaced and no more portraits to be produced except as approved by [the] Sergeant Painter.” Many paintings of Elizabeth were seized and burned.

One of the portraits to survive the conflagration, the 1592 Ditchley Portrait by Marcus Gheeraerts the Younger, is one of the few surviving images of the queen which allows some small indications of her age. The newly revealed portrait has key elements in common with the Ditchley Portrait. The position and posture are the same, as are the hair jewels, necklace and lace collar. The faces are also similar, only one of them looks like she chose … poorly in that cave where the ancient crusader knight was guarding the Holy Grail.

The oil on panel portrait was purchased by Ruth Coltrane Cannon, founding member of the Elizabethan Gardens on Roanoke Island, North Carolina, for $3,000 from a New York art dealer in the 1950s. If Mrs. Cannon or the dealer knew anything about its history, they left no evidence of it. She donated it to the Elizabeth Gardens, a botanical garden dedicated to the first British settlements in the New World founded by Sir Walter Raleigh during the reign of Queen Elizabeth I. When the Gardens opened on August 18, 1960, the portrait of Elizabeth was hanging on the Gatehouse wall where it greeted visitors for 50 years.

The Gardens staff didn’t try to find out more about the painting until 2007. With growing scholarly interest in the portrait, in 2010 it was removed for conservation and then moved out of the Gatehouse permanently to a more secure, climate-controlled location. The materials in the paint and the wood panel and frame date it to the Elizabethan period. Experts now think it may have originated in the London studio of Marcus Gheeraerts the Younger in the mid 1590s, although who commissioned it and which hand painted it remain unknown.

I wonder if it was a student piece. It doesn’t look complete to me. The lace on the collar, the relatively plain dress, that giant heart-shaped thing behind her are much sketchier in the Elizabeth Gardens portrait. The Ditchley Portrait was a popular model and several versions of it were made by the Gheeraerts studio. One iteration with an idealized younger face, simpler background and slightly different accessories was sent to Ferdinando I de’ Medici, Grand Duke of Tuscany, as an official diplomatic gift. It’s now in the Palazzo Pitti. Perhaps the Elizabeth Gardens version was a scrapped incomplete attempt which somehow got out into the world.

With its age confirmed, the portrait has left North Caroline for the first time in more than 50 years and is stepping into the national spotlight. It will feature on an upcoming episode of Treasure Detectives, a new appraisal and authentication program debuting on CNBC Tuesday, March 5th, at 9:00 PM. You can see it live at the Folger’s Nobility and Newcomers in Renaissance Ireland exhibit which examines the relationship between England and Ireland in the age of Shakespeare. It runs through May 19th.

Richard the Lionheart’s embalmed heart analysed

King Richard I of England, dubbed the Lionheart for his bravery in combat, died not in battle but while walking around a castle he was besieging examining the work of his offensive engineers. The castle of Châlus-Chabrol, close to Limoges in central France, was defended by crossbowmen, but they were a raggedy crew by this time and Richard had no qualms about walking the perimeter of the castle wearing no chain mail. Prideth goeth before a you-know-what, and he was struck in his left shoulder by a crossbow bolt. The doctor who removed it did so sloppily and soon infection set in. On April 6th, 1199, 12 days after he was wounded, Richard the Lionheart died.

As was a common practice for the aristocracy at the time, his body was partitioned. His entrails were placed in a coffin and buried in the Châlus castle chapel. His body was buried at Fontevraud Abbey at the feet of his father King Henri II. Later the remains of his formidable mother Eleanor of Aquitaine would join them there. His heart was embalmed, wrapped in linen, then placed in a lead case. That case was held in an elegant silver vessel in the cathedral of Notre-Dame in Rouen, capital of the duchy of Normandy.

The silver container was melted down by Blanche of Castile, granddaughter of Henry II and Eleanor of Aquitaine and mother of King Louis IX of France in 1250 to raise money for Louis’ ransom after he was captured by Egyptian forces during the Seventh Crusade. An appropriate fate, if you think about it, given how much money Eleanor had extorted out his English subjects to ransom Richard when he was imprisoned by Duke Leopold of Austria and Holy Roman Emperor Henry VI on his way back from the Third Crusade. The embalmed heart was kept in a lead case.

On July 31st, 1838, a local historian with the mellifluous name of Achille Deville unearthed the lead box near Richard’s effigy in the course of excavations at the Rouen cathedral. The box was still sealed and bore a Latin inscription: “HIC IACET COR RICARDI REGIS ANGLORUM” or “Here lies the heart of Richard, King of the English” in a font characteristic of the 12th-13th century. The remains inside were no longer recognizable as a heart. It had decayed into a brown-whitish powder.

The powder and fragments of linen that were all that remained of the Lionheart were transferred to a more airtight crystal box and placed in Rouen’s Departmental Museum of Antiquities. They are not and likely will never again be on display. The museum’s curator Caroline Dorion-Peyronnet explains why: “Visually, it is not something very pretty to present. It’s dust, it looks like nothing.”

It may look like nothing, but it’s definitely something, especially to our indefatigable forensic anthropologist friend Philippe Charlier, who when not conducting autopsies on modern Parisian cadavers enjoys examining ancient teratomas, a royal mistress who overdosed on gold, the mummified head of Henry IV and the dried blood of Louis XVI. In May of 2012, he turned his sights on the heart of Richard, hoping to learn more about 12th century embalming techniques, and in a very long shot, to find out which bacterium caused the sepsis that killed the king. On Thursday the results of his examination were published in Scientific Reports.

Museum authorities granted Charlier’s team permission to take two grams of the 80 grams inside the container, thus making Richard I’s heart the oldest embalmed hearts to be examined scientifically. The two grams would be sufficient for chemical analyses of the contents, but not for DNA testing or for radiocarbon dating. Even with a larger sample size it’s unlikely carbon dating would have returned accurate results because of contamination from the embalming materials.

Microscope examination found fragments of linen textiles compatible with a 12th-13th century origin, numerous vegetal cells, pollen grains, bacteria and fungi. The pollen came from myrtle, daisy, mint, pine, oak, poplar, plantain and bell-flower. Myrtle, daisy and mint were much better preserved than the others, and since the plants had to have been harvested and dried before Richard’s April death, it’s likely that they were used to embalm the heart. The other pollens are probably environmental contaminants. The bacteria and fungi appear to have grown on the sample after death. No cause of death could be ascertained.

Given these ingredients, you can see why 12th century embalmers were originally cooks. They had access to all the herbs, spices and fragrances they needed and expert understanding of their uses. They were also accustomed to butchering meat and removing offal, an important skill when bodies are being partitioned, and one that medieval doctors would have very little knowledge of because their expertise was in the writings of older doctors rather than in the guts and gore of human anatomy.

Analysis of elements found copious lead and tin, plus traces of iron, copper, mercury, antimony, bismuth, calcium and aluminium. The lead came from the reliquary, as did the tin, antimony and bismuth which are common in poorly purified medieval lead. The iron came from the box’s hardware. Mercury has never been found in lead impurities, but it has been found in the remains of medieval bodies, sometimes in very large quantities. Documentary evidence supports the use of quicksilver in treatment of cadavers. The calcium probably was added during the embalming process rather than from environmental contamination, perhaps in the form of lime which can be used as a disinfectant and desiccant. Creosote was also present. The anti-septic and preservative properties of this tar distillate were well known to medieval embalmers.

The most intriguing single find was frankincense, the white powder in the remains. Frankincense hasn’t been found in any other medieval embalmings. An expensive resin with ritual significance, frankincense was reputedly one of gifts given to the baby Jesus by the Magi and was later used to anoint his body after his death on the cross. Its use on Richard’s heart doubtless had symbolic significance, connecting the deceased temporal monarch to his spiritual one.

Apparently he needed any boost he could get. According to Henry de Sandford, Bishop of Rochester from 1227 to 1235, Richard the Lionheart spent 33 years in Purgatory for his sins. In a sermon at Sittingbourn in March 1232, before assembled nobility and the Archbishop of Canterbury, he announced:

“Rejoice in the Lord, my brethren all, and know ye assuredly, that of late there departed out of purgatory Richard sometime king of England, Stephen Langton, archbishop of Canterbury [d. 1228], and a chaplain of his, to go to the Divine Majesty. And in that day came forth no more than these three from that place of pains. Fear not to give full and assured faith to these my words, for this is now the third time it has been thus revealed to me, and to another man, and that so plainly as to banish all doubt and suspicion from my mind.”