19th c. barracks unearthed in Ottawa

An excavation of Ottawa’s Parliament Hill in advance of redevelopment has unearthed the remains of military barracks predating the founding of city. What would become Ottawa was known as Bytown then, named after Lieutenant Colonel John By, a British military engineer charged with building the Rideau Canal to link Montreal via the Ottawa River to the Saint Lawrence at Kingston, Ontario.

The mission had a military purpose. In the wake of the War of 1812, Canada feared the United States would persist in its attempts at invasion. Having a secure supply route connecting Montreal to the British naval base in Kingston instead of having to rely on the Saint Lawrence, with its treacherous rapids and section bordering New York, would provide an important tactical advantage.

Work began in 1826. It was not an easy job. The canal had to be dug out of the earth over a distance of 202 kilometers (125.5 miles). Much of the heavy work was done by contractors who employed Irish and French-Canadian labourers, but the Royal Sappers and Miners Regiment were deployed to work on the canal under By’s command. Those 150 soldiers and their wives and children had to be quartered in Bytown.

On the north side of the future Parliament Hill, three barracks, a guardhouse, stables and kitchens were built, as was Ottawa’s first jailhouse (a very petite one with just three cells). Also latrines, which of course make archaeologists rub their dirty hands together with glee.

The items uncovered so far include a range of military items: chin straps, tags, gorgets  — which officers often wore to hold their neckties in place — and other domestic items, like coins. […]

But there might be more left to uncover, in a somewhat unusual spot: the privies.

“It’s an excellent place to dispose of things,” said [excavation project manager Stephen] Jarrett. […]

With no modern-day plumbing, it doesn’t take much to imagine the odour.

“You need to keep the smell down from the human waste, and so you put fill layers on top in order to keep the smell down,” Jarrett said.

“So that comes with all the broken dishes and anything else that can help keep that smell down.”

The canal was completed in 1832. It was a remarkable feat of engineering but it never was used for military purposes. By the time it was done, the prospect of a US invasion was no longer a concern. The barracks remained on the hill for another 25 years. Ottawa was founded in 1855. In 1858 it was declared the capital of the newly-established United Province of Canada. The old Bytown barracks were demolished to make way for the parliament buildings of the new capital.

The excavation will continue until the fall. All recovered artifacts will be cleaned and conserved by Public Services and Procurement Canada experts. Once they are stabilized, the objects will be placed on public display

Jadeite tool found at Maya salt works

Archaeologists have unearthed a jadeite tool with a rosewood handle at a Maya salt works site in Belize. This is the first time the wooden handle of one of these tools has been found intact, preserved by the waterlogged mangrove peat at the Ek Way Nal site in southern Belize. It dates to the Maya Classic Period (300–900 A.D.) when the Paynes Creek Salt Works, a network of 110 ancient salt works operated in a mere three square mile area.

The jadeite of the gouger and the wood of the handle are very high-quality materials. The stone is translucent green, the most prized color of jadeite which ranges from translucent to opaque. The jadeite’s translucency is caused by the tight microstructure of its grains, which makes it much harder and more durable than the opaque versions of the stone. Its beauty and the high degree of difficulty in working it made translucent jadeite the preferred greenstone of Maya royalty. It is usually found in the tombs of the highest rank, like King Pacal’s tomb at Palenque, and at ceremonial sites where it was used in religious rituals and as diplomatic gifts. Grave goods of jewelry, carved plaques and statuary were important indicators of elite status.

The hardness of the translucent jadeite that made it so desirable for royal adornment also made it desirable as a tool. The handle is Honduras rosewood, a dense, finely grained wood that even today is considered difficult to carve, so it too was a strong, sturdy material ideal for a tool.

An analysis of the stone found that it is 98% jadeite by volume and that its quality and translucent blue-green shade approaches gem grade. That such expensive materials were used to make a utilitarian object like a gouger attests to the importance of salt in the Classic Maya economy, and the deep pockets of the salt workers themselves. They weren’t “working in the salt mines” in the modern sense of the idiom.

“The salt workers were successful entrepreneurs who were able to obtain high-quality tools for their craft through the production and distribution of a basic biological necessity: salt. Salt was in demand for the Maya diet. We have discovered that it was also a storable form of wealth and an important preservative for fish and meat,” said lead researcher and anthropologist Heather McKillop, who is the Thomas & Lillian Landrum Alumni Professor in the LSU Department of Geography & Anthropology.

The tool would not have been used to gouge hard materials like stone or wood. It was found in a salt kitchen, so researchers believe it was probably used in jobs like scraping salt, gutting calabash gourds, or cleaning fish or meat before salting.

French & Indian War battle drawing found inside wall of 17th c. home

Restorers have discovered a battle scene believed to be from the French and Indian War drawn on the wall of a 17th-century home in East Hartford, Connecticut. A crew from the Glastonbury Restoration Company, a firm that specializes in restoring historic structures, was removing old plaster to reach the original wooden frame of the house when he uncovered a much older plaster wall covered with a mural five feet wide drawn in primitive style.

It’s a rudimentary drawing that is nonetheless incredibly active and detailed. In different colors of charcoal and chalk, it depicts a complex battle scene with soldiers in different colored uniforms, complete with winter coats and hats, cannon being moved on carts, Native Americans wielding bows and arrows and dead bodies with arrows protruding from them. There’s even a mysterious red tree-like creature in the middle of the scene who appears to have some human facial features and is waving his thick branchy “hair” in the wind. Where was the Whomping Willow in the 1700s? (I demand a cut of any prequel JK Rowling writes based on this idea.)

Glastonbury Restoration Company owner Steve Bielitz has found plenty of graffiti in the many houses he’s worked on over the years, but nothing even remotely like this. He showed the work to art experts in Connecticut and other states, among them University of Delaware architectural historian Michael Emmons Jr. who described it as an extremely rare 18th century “architectural sketch”

Emmons said he has documented thousands of graffiti and wall markings across the country. He said a vast majority were created by young males — ages 10 to 30 — but mostly by teenagers. He said although the drawing looks like it may have been created by a child, that’s not the case.

“Rudimentary drawings and less literate writings often reveal younger people’s handiwork, but admittedly, these things can also be misinterpreted because it “looks” like it’s done by a young person, when in reality it was done by someone who just couldn’t write or draw well,” he said.

Emmons said he believes the drawing could have been made by a family member after being told the story of the battle. […]

“My gut sense here is that these images were created by a younger person, rather than even a young soldier who has fought in a war. This does not preclude the possibility of these images being drawn by someone who actually participated in a war, which is definitely possible, but my instinct is that this is a younger person drawing a scene they’ve read about or heard about, or maybe even recreating an event that a family member experienced,” he said.

There certainly would have been a myriad opportunities for that kind of transmission. The home is the oldest surviving house in East Hartford, dating to the Colonial era around 1693. Its first owner was Jonathan Hills, the youngest son of William Hills who was one of the founders of Hartford. William Hills had emigrated to what was then the Massachusetts Bay Colony in 1632, and moved to Hartford four years later. He accrued significant property in a very short time, including more than 500 acres in land in an area of Hartford called Hockanum on the east bank of the Connecticut River. Hockanum would become East Hartford in 1783.

William Hills was a captain in the Hartford militia. His son William, Jr., died in King Philip’s war in 1675, shot by an Indian arrow. The family’s military tradition continued for generations. Jonathan was a lieutenant in the colonial regiments, as was his son David Ensign Hills and his son David. The latter is known to have to fought in the French and Indian War (1754–1763).

The artwork was made on the wall in situ, perhaps by a family member to entertain and educate the children. We know a renovation after 1850 covered the wall with another plaster wall because some of the figures in the mural were found behind a stud. The date hasn’t been able to be narrowed down any further than that yet. The drawing will be studied further by Michael Emmons at the University of Delaware. It will be analyzed with infrared photography and reflectance transformation imaging which may reveal details invisible the naked eye.

As for its final disposition, that is up in the air at the moment. The house is still owned by descendants of the Hills family. They are having it dismantled piece by piece and moved to South Carolina. They own the mural, of course, as it is literally a piece of their house. They might put it back on the wall where it was discovered.

Incredibly rare Roman coin found during highway works

A Roman coin that is only the second example ever discovered in England has been found during construction work on the A14 highway in Cambridgeshire. The bronze coin features the radiate bust of the usurper emperor Ulpius Cornelius Laelianus on the obverse and winged Victory holding a wreath and palm branch on the reverse. It has been hard worn and the edges are scalloped so it’s difficult to read the inscription, but Laelianus only made two versions of this coin so we know it was minted at Mainz, his imperial seat.

Very little is known about Ulpius Cornelius Laelianus. The Ulpii were an important Spanish family — Trajan was an Ulpius — but there’s no evidence he was related to them. The aureus coin he issued had a depiction of a personified Spain on the reverse, which may have meant to suggest a connection to the famous Ulpii. As a usurper who claimed the imperial throne after rebelling against another usurper (his commanding officer Postumus), he would have a good reason to promote himself as related to the legitimate emperor who expanded the Roman empire to its greatest size, even if said connection was entirely fictional.

Laelianus’ “reign,” and I use the term loosely, lasted for two months in the spring of 269 A.D. and covered a snipped of Gaul and Germania. He commanded two legions and successfully repulsed a Germanic assault with them. In the wake of his victory, he declared himself emperor in Mainz. A couple of months later, his capital was besieged by his former commanding officer and he was killed, either by his own men or by Postumus’.

Because he was such a flash in the pan, his coins are extremely rare and very much sought after by collectors. Only one aureus and two bronze antoniniani are known. This bronze antoninianus was found in a ditch of a Roman farmstead excavated in the A14 expansion project.

Julian Bowsher, numismatist at MOLA Headland Infrastructure, added: “Roman emperors were very keen to mint coins. Laelianus reigned for just two months, which is barely enough time to do so. However, coins were struck in Mainz, Germania.

“The fact that one of these coins ever reached the shores of Britain demonstrates remarkable efficiency, and there’s every chance that Laelianus had been killed by the time this coin arrived in Cambridgeshire.”

Conserved Bacton Altar Cloth goes on display

Bacton Altar Cloth, 16th century silk and embroidery textile believed to have been part of a gown worn by Queen Elizabeth I. ©Historic Royal Palaces/Courtesy of St Faith’s Church, Bacton.

After three years of study and conservation, the Bacton Altar Cloth is going on display at Hampton Court Palace. None of Elizabeth I’s clothing has survived, although a number of accessories have, so this cross-shaped piece is uniquely rare.

The embroidered silk textile was donated to  St Faith’s Church in Bacton, Herefordshire, by Blanche Parry who was one of Elizabeth’s most loyal and dedicated ladies. She served the future queen starting during the reign of Henry VIII when Princess Elizabeth was a young girl and continued uninterrupted for 57 years, reached the exalted rank of Chief Gentlewoman of Queen Elizabeth’s most honourable Privy Chamber and Keeper of Her Majesty’s jewels. The queen is known to have given Blanche clothes she longer wanted.

While there is no specific record of this particular textile being a royal hand-me-down, its materials and manufacture are so exquisite that it would have been literally illegal for a non-royal to wear such a garment. A monarchical provenance would also explain why Blanche considered the piece important enough to donate to her hometown church where her heart is also buried.

The altar cloth’s connection to Elizabeth I has been rumored for centuries. Recognizing its importance, in 1909, the church took it off the altar and placed it in a glass display case. In 2016, St. Faith’s asked Historic Royal Palaces to study the altar cloth.

On examining the textile, [Historic Royal Palaces curator Eleri] Lynn – an expert in Tudor court dress – was able to identify previously unseen features, studying the seams of the fabric to confirm it had once formed part of a skirt.

Following the exciting discovery, Historic Royal Palaces – the independent charity that cares for Hampton Court Palace – agreed to commence a conservation programme to stabilise the fragile fabric in the palace’s world-class textile studio. Further examination of the cloth by experts has added weight to Lynn’s theory that it might once have belonged to the Tudor Queen. Its creation from high-status silver chamblet silk, use of professional embroidery including real gold and silver thread, and distinct evidence of pattern-cutting all suggest that the item could have formed part of Elizabeth’s lavish wardrobe. The conservation team were also able to test the dyes within the fabric, discovering that it contained expensive Indigo and red dye sourced from Mexico – the kind of materials only available to a person a very high status.

The embroidery is truly spectacular, a profusion of flora (columbines, daffodils, roses, honeysuckle, oak leaves, acorns, mistletoe) and fauna (peacocks, other birds, frogs, dragonflies, butterflies, caterpillars, fish, dogs, dear, squirrels, a crocodile, a bear). There are also small wooden boats being rowed by tiny embroidered people.

Detail of the embroidery of the Bacton Altar Cloth from the back: the bear. ©Historic Royal Palaces/Courtesy of St Faith’s Church, Bacton.

The exhibition will delve further into the use of these motifs in the Tudor era. One of the most important works on display, and one of the most significant pieces of circumstantial evidence for the altar cloth having been part of one of Elizabeth’s gowns, is the Rainbow Portrait (c. 1600 – 02), attributed to Marcus Gheeraerts the Younger. It depicts Elizabeth in an embroidered silk gown with very similar imagery. It is being loaned from Hatfield House for the exhibition and this is the first time it will be on display at Hampton Court Palace.

Accompanying the painting will be a selection of rare domestic print books dating from the Tudor period, which would have provided inspiration for many of the embroidered motifs fashionable during Elizabeth’s reign – including those found on the Bacton Altar Cloth – brought together for the first time with other stunning embroidery work from the period.

The Bacton Altar Cloth will be on display from October 12, 2019, until February 23, 2020.