Seven tons of iron nails in one fort!

The latest online talk from the Yorkshire Museum’s Ryedale Hoard series is so good I was rapt the whole time. (Actual footage.) →

Entitled Metals, Making and Magic: The Smith in Roman Britain, the talk was delivered by Dr. Owen Humphreys of the Museum of London Archaeology, an expert in Roman ironwork. He opens with a bang by summarizing the enormous differences in metalworking production between Iron Age Britain (even after contact with the Empire was well-established) and Roman Britain. Despite the name of the era, very few iron nails have been found at Iron Age British sites, whereas Roman archaeological sites even from the earliest years of the conquest is full of metal.

The title of this post is a reference to one salient example: The Roman legionary fortress of Inchtuthil in Scotland was built in 82/3 A.D. to garrison troops for Roman governor Gnaeus Julius Agricola’s invasion of Scotland. He was recalled by Emperor Domitian in 85 A.D. and the fort was abandoned less than two years later. The buildings were dismantled and all of the iron nails removed and buried in a large pit. When archaeologists excavated the site in the early 1950s, they found seven tons of iron nails in that pit. Seven tons of nails. More than 875,000 of them. (Plus another three tons of assorted iron objects.) Granted, Inchtuthil was a big fort with barracks, a hospital building, a workshop and other buildings, but it’s a startling example of the scale of Roman metalwork only 40 years after the conquest.

Humphreys then delves into the craft itself — its cultural depictions, tools, differences between Roman smithing and local techniques. If you watch nothing else, watch the Humphrey’s explanation of the lost wax method of casting bronze starting 40 minutes in. He uses the bust of Marcus Aurelius from the Ryedale Hoard as a model to illustrate how the process worked. It’s probably the clearest brief explanation of the technique I’ve ever seen. Also extra points for listing Pliny’s recipes for bronze, different depending on what was being made with it. 

Okay watch!  

13th c. shipwreck full of stones granted protection

Maritime archaeologists have discovered the wreck of a 13th century ship off the coast of Dorset, England. Dubbed the Mortar Wreck, it is the only known wreck of seagoing ship from the 11th to the 14th centuries in English waters. The announcement of its discovery was delayed until the wreck was designated under the Protection of Wrecks Act of 1973. This designation requires careful monitoring of the site and that any divers who wish to explore it be licensed by Historic England.

The shipwreck was first discovered in 2020 by Bournemouth University divers who were exploring an obstruction on the western edge of the Swash Channel in Poole Bay. The central area of the wreck site is a large mound of unworked quarried Purbeck stone covering the remains of the port side of a wood frame clinker-built ship. Dendrochronological analysis of the hull planking found the boards were made from Irish oak trees cut down between 1242-1265, during the long reign of King Henry III (r. 1216-1272).

The cargo also included smaller use objects. The shipwreck got its nickname from a number of Purbeck stone mortars found in the wrecks. Other artifacts that went down with the vessel include a millstone, a cooking cauldron that would have been placed directly onto a fire and a large Fred Flintstone-like stone mug.

Just northeast of the mound are two gravestone markers, one decorated with an uncommon wheel headed cross design, one with the more common splayed arm cross. Neither of the slabs were polished or personalized.

The two carved grave slabs are similar to examples still seen in churches of the period, but unlike them are in pristine condition, with their chisel marks still clearly visible. Each is decorated with a different style of cross, which until now archaeologists thought dated from different periods, says Meara.

“But this goes to show that actually these designs were contemporary and in use at the same time. And so the question is: are these things that have been made to order? Or are they speculative and being sent out?

“This is evidence of industry – they’re quarrying the stones, carving them, dressing them. And it shows that these are really desirable products [being] exported far and wide, all around the coast of England, to Ireland, to the continent. And this gives us a really interesting indication that it’s not just the stone itself that was desirable. It’s the skills of the local craftspeople.”

The tree-ring dating and surviving finds indicate the wreck was a cargo vessel carrying quarried stone and gravestone slabs from the Purbeck region when it sank just off shore on its outbound journey.

The site is under threat from sediment erosion exposing the wood to boring sea organisms and boring organisms of the human variety (ie, looters). For its own protection, the wreck has been reburied. The new designation adds another layer of protection by making interference with the scatter field, ship or any artifacts related thereto illegal.

Roman cavalry mask fragment found on Rhine battlefield

A rusted lump of iron found at an ancient battlefield in Krefeld, Germany, has revealed itself to be a large fragment from a rare 1st century Roman cavalry mask.

The cavalry mask is of the Nijmegen-Kops type. Only 15 of them are known, most of them found in the former territory of the Batavi, so the type is closely associated with Batavi horsemen. It was attached to the headband of the helmet with a hinge. The emotionless silvered visage was meant to be intimidating for opponents on the battlefield and in hand-to-hand combat.

The Batavi were already intimidating, so famed for their prowess in combat that Rome granted them a special tax and tribute exemption in return for their service in Roman auxiliary infantry, cavalry and in the Augustan-era imperial bodyguards. Out of a population of less than 40,000 Batavi in the 1st century, 5,500 served as elite troops in the Roman military. That means that half of all Batavi men enlisted after they turned 16.

Batavi troops were essential to the conquest of Britain, but after they were withdrawn from Britannia in 66 A.D., tensions rose between the Batavi soldiers and Rome. Gaius Julius Civilis, the son of a Batavi chief who had served in the Roman auxiliaries for 25 years, led to an uprising. He used Roman military tactics against them successfully for a year. In the fall of 69 A.D., Civilis’ crack troops surprised 12,000 Roman legionaries and auxiliaries in their field camp at Gelduba on the left bank of the Rhine. The Batavi entered the camp and started slaughtering, but they weren’t able to finish the job because Roman reinforcements arrived. Technically Rome eked out a victory, but they lost so many men it was Pyrrhic at best.

Since excavations began at the suspected site of the battle in 2017, thousands of relics of the battle have been unearthed, including 200 horse skeletons, armor and weapons. The corroded, lumpy metal plate was brought to the Archaeological Museum in Krefeld for documentation, conservation and study.

The fragment was X-rayed, and when archaeologists saw an eye slit, an ear and a rivet where the helmet attachment likely was, they realized they had a Phantom of the Opera section of a cavalry mask. Using a thin stream of sand, conservators exposed the eye slit and ear  to confirm it was what it seemed to be. The rest of the corrosion will be removed after it spends six months in a lye bath for desalination. Once it is cleaned and conserved, the mask will go on display at the Krefeld Archaeological Museum.

Embalming cachette’s owner was military commander of Egypt’s foreign troops

The owner of the largest-ever cachette of Egyptian embalming materials has been identified as the military commander of Egypt’s foreign troops in the late 26th/early 27th Dynasty, (early 6th century B.C.). His name was Wahibre-mery-Neith, and the most important title recorded on his funerary inscriptions was “Commander of Foreign Mercenaries.” That made him responsible for all the muscle Egypt hired, mostly from the Greek islands and Asia Minor, in the desperate attempt to fend off the rising power of Achaemenid  Persia.

The embalming cachette with more than 370 pottery jars full of mummification materials, the largest ever found in Egypt, was discovered by the Czech mission last year. The materials were all ritually buried after they were used to mummify Wahibre-mery-Neit. His name was inscribed on the canopic jars, but not his rank or profession. It was clear from the sheer scale of the cachette that he was someone of very high rank, one of the most important dignitaries of the Late Period.

The shaft tomb next to the cachette was excavated this spring by the Czech archaeological mission from Charles University. The inscriptions in the burial shaft confirm that the tomb belonged to Wahibre-mery-Neith, whose name and the name of his mother Lady Irturu appear on the canopic jars in the cachette.

The main well of the tomb is 20 feet deep and 46 feet square. It is divided into sections by narrow bridges that were cut out of the bedrock. A smaller, deeper shaft (52 feet deep, 21 by 11 feet wide) descends down the center of the main well. There is no other shaft tomb in Egypt with this exact layout.

At the bottom of the deeper well are two sarcophagi nested inside each other. The outer sarcophagus is composed of two massive slabs of white limestone. The inner sarcophagus is anthropoid in shape and carved out of heavy black basalt. It is inscribed with spells from chapter 72 of the Book of the Dead which describe the resurrection of the deceased and his journey to the afterlife.

Looted in antiquity, the inner sarcophagus contained no human remains and very few objects. Only a scarab and a small headrest amulet were found inside the coffin. Looters broke into the outer sarcophagus and smashed the head area of the inner sarcophagus to steal valuables buried with the deceased. Two Coptic vessels found in the main shaft indicate the looting likely took place in the 4th or 5th century A.D.

The double sarcophagus was situated directly on a filling of sand at the bottom of the burial shaft. Within the shaft, at the western and eastern sides of the sarcophagus, rather sparse burial equipment has originally been placed. At the east, several items were excavated intact and in situ: two wooden boxes with altogether 402 faience shabtis (servant figures who were to undertake labour instead of the owner in the afterlife), two uninscribed alabaster canopic jars, a faience model of an offering table, ten model cups and a limestone ostracon inscribed with religious texts written in black ink and hieratic script. Due to the limited space, the author of the text decided to cover the ostracon with brief excerpts from the Book of the Dead spells that also formed parts of the ritual of transfiguration and thus guarantying an undisturbed afterlife existence of the owner. […]

Although the archaeological excavation of the burial of Wahibre-mery-Neith did not offer many excavated objects or an elaborate funerary equipment, it is unique and important, as it offers new insights into the troubled period of the beginning of Persian dominion in Egypt. In combination with outcomes of the ongoing research on the owner’s embalming deposit, a picture of Wahibre-mery-Neith’s life, family background and professional career starts to emerge. He most probably died very unexpectedly, when his tomb and burial equipment were still unfinished. Thus, both the layout of his tomb and its contents provide very valuable information on the importance and meaning of individual parts of the burial equipment and tomb decoration. It also shows us how the ancient Egyptian adapted the material culture of their religious beliefs under difficult circumstances and in times of crisis when the indigenous character of ancient Egyptian civilisation started to vanish.

Gilded crossbow trophy returned to Dresden

An early 17th century silver trophy stolen from Dresden’s City Hall in the chaos following the end of World War II has been returned to the city by the Philadelphia Museum of Art.

The trophy commemorates the victory of Elector Johann Georg I of Saxony at Dresden’s Witsun crossbow shooting competition in 1618. The shoots had been held since the early 15th century, at least, and it became tradition for winners to donate engraved silver trophies to the city of Dresden. After his win, Johann Georg I commissioned the gilded silver shield 22 centimeters (8.7 inches) in diameter engraved with his coat of arms and a wonderfully specific inscription:

“For God’s honor and Christian hearth I battle as long as my life lasts. By God’s grace Johann Georg, Duke of Saxony, Jülich, Cleve, and Berg, Arch Marshall of the Holy Roman Empire, and after the death of Emperor Matthias, in his most laudable memory, Imperial Vicarius for the second time; Landgrave in Thuringia, Markgrave of Meissen, Burggrave of Magdeburg, Count of the Mark and Ravensberg, Lord of Ravenstein, has shot down the Pentecost bird this 27th of May in the 1618th year; yet this shield was made in the 1619th year.”

The Schützenschild took its place in the council treasury. In 1888, the City Council’s silver collection became part of the permanent collection of the newly-opened Dresden City Museum. The treasure was removed for its protection during World War II and stored in the basement of City Hall. Its location provided protection from the Allied bombing that devastated the city, but not from post-war looting. The trophy disappeared in 1945 along with other objects from the Dresden city treasure.

It would emerge again a decade later in, where else, Switzerland. It was bought by a private collector at a 1956 auction in Basel. That collector bequeathed the trophy to the Philadelphia Museum of Art in 1977. At that time, its true origins were not known, but when the museum did some research in 2016, it came across a listing of the lost silver in the German Lost Art Database. Museum officials contacted the Stadtmuseum Dresden and formally recognized them as the owners of the Schützenschild. The Philadelphia Museum of Art published their findings in 2019. Repatriation arrangements were made but the pandemic delayed the return until this year. In June, the trophy returned to Dresden.