Iron Age shield boss found in Polish scrapyard

An Iron Age shield boss containing cinerary remains has been discovered in a scrapyard in Hrubieszów, southeastern Poland. The center of a shield, also known as an umbo, reinforced the wooden shield and protected the hand of the warrior who held it from a strap in the center of the back right behind the boss. It dates to the 2nd century A.D.

Włodzimierz Starykiewicz was looking for car and motorcycle parts when he came across a rusted circular piece with central spike shaped like a Hershey’s Kiss. It was so corroded and encrusted with dirt that it would have been easy to discount it as just some random part, but the finder thought it might be of archaeological significance. He immediately sent a photograph to the Father Stanisław Staszic Museum in Hrubieszów labelling it “A relic from a scrapyard!”

Museum staff confirmed that his instincts were correct and identified it from the photograph as ancient shield boss. Its design suggested it was part of a Vandal shield from the 2nd century. Starykiewicz handed it over to the museum for archaeologists to examine.

They found that inside the concave umbo was compacted dried earth with remnants of crop stubble, suggesting the original context was a cultivated field. Włodzimierz prudently and deliberately kept the soil inside the object so that it could be micro-excavated once it was at the museum. This wise decision preserved not just organic crop traces, but also burned human bones inside the compacted soil.

The iron surface also shows signs of having been exposed to high temperatures. The cinerary remains and the condition of the iron boss clearly indicate the shield was burned on the funeral pyre with a warrior of the Vandal community (Przeworsk culture). Unfortunately the grave is gone, disconnected from the shield boss that somehow made its way to the scrapyard, so there’s no way to track down what else might have been buried. Comparable burials from the period that have been excavated in their original contexts often include other weapons — swords, spearheads — and metal accessories — belt buckles, brooches.

The museum has appealed to whomever may have dropped the boss at the scrapyard in the first place to come forward with any information they have about where they found it. If they can pinpoint a find site, even within a general area, they may be able to locate what’s left of the original burial.

Old Kingdom tomb found at Saqqara necropolis

Archaeologists excavating a section of the Saqqara necropolis have discovered a tomb belonging to a high-ranking official of the Old Kingdom (ca. 2700–2000 B.C.). The burial chamber’s false door was found intact in its original position, and in front of it the full set of alabaster ritual offering objects that were used for the funerary rites.

Hieroglyphic inscriptions on the false door and the ritual objects identified the tomb owner and revealed several of his prestigious titles, including Royal Chamberlain, Overseer of All the Works of the King, Overseer of Royal Documents, Keeper of the Secrets of Royal Decrees, Priest of the Goddess Maat, and Overseer of the Scribes. The titles indicate that Sekhenty-Ptah held a prominent administrative position within the state apparatus during the Old Kingdom.

The discovery of the complete group of funerary implements in their original location provides valuable new evidence for understanding funerary rituals and practices during the Old Kingdom.

The tomb was found in the Bubasteion necropolis, the burial ground associated with the temple to the cat goddess Bastet. The site was in continuous use for thousands of years, and the discovery of a tomb dating to the Old Kingdom, adds significant new information about the necropolis’ early usage and chronology.

The excavation also unearthed a complex interconnected network of burial shafts from the Late Period containing numerous human remains, more than 100 faience ushabti figures and large quantities of painted cartonnage used in mummy wrappings. Three stone sarcophagi were also found in the shafts, still sealed and in their original locations, plus numerous pottery vessels and a wooden statue in the shape of a falcon.

Preliminary studies suggest that some of the burial shafts were subjected to looting in antiquity, evidenced by openings created by tomb robbers between burial chambers. Despite this, the surviving finds remain of considerable archaeological and scientific importance and are expected to provide further insights into the site’s internal layout, architectural development and successive phases of use.

The power of Roman fashion at The Glyptotek

A new exhibition this fall at the Glyptotek museum in Copenhagen will examine the link between fashion, power and culture in ancient Rome. The Power of Fashion in the Roman Empire draws from the Glyptotek’s exceptional collection of antiquities combined with loans from other institutions, including pieces that have never been on loan before.

Based on the museum’s long-standing research on colour and ancient dress and fashion, the exhibition presents the latest findings on the clothing, perfumes, jewellery and hairstyles those in power used to signal their position in the social hierarchy.

Covering over 1,000 m2, The Power of Fashion in the Roman Empire is an exhibition that appeals to the senses. Custom-made scents, research-based colours, a scenography of textiles and audio narratives all contribute to an immersive experience and space for reflection on people’s obsession – then as now – with status, identity and appearance.

The Glyptotek has been breaking new ground in researching the clothing, colors, accessories and perfumes of ancient Rome, investigating sculptures for traces of original polychromy, allowing researchers to make links between how draping, garment styles and colors conveyed social position and power. For example, a portrait sculpture of the emperor Tiberius with his torso and legs bare, a garment draped around his waist and over his arm, was presenting him as a demi-god hero or deity, conveying even more strength than a military costume would have. Research into the garment’s original coloring discovered that it was pink, a color then associated with divinity and power.

The museum isn’t only relying on traces of color on sculptures, however. They have secured three exceedingly rare tunics from the British Museum that have never before left the confines of the museum. Another first-time loan is the leg of a monumental sculpture of Emperor Septimius Severus from the archaeological museum in Burdur, Turkey. The leg is wearing lionskin boots, symbol of regal power, and heroic attributes like Hercules wearing the skin of the Nemean Lion.

Perfumes get special attention, too, and just as with the colors, the scent palette in antiquity had very different meaning than it does today.

The Glyptotek has worked with the Danish skincare company Karmameju to create scents based on ancient perfume recipes. There are four scent stations providing insight into Roman perfumes and their relationship to gender roles and status. Men, for example, wore flower scents for special occasions, whereas women tended to use stronger, more pungent perfumes.

This landmark show will be the last major exhibition at the Glyptotek before it closes to embark on an ambitious restoration project to preserve its historic buildings while improving accessibility, repairing structural issues and damaged mosaic floors, and modernizing its technical systems of climate control and fire safety to ensure the optimal conservation conditions for its collection of classical sculpture, antiquities and 19th century French and Danish art. The Glyptotek of the Future project is funded in large part by a grant from the Carlsberg Foundation, a fitting callback to brewer and philanthropist Carl Jacobsen who founded the museum 130 years ago with the goal of making his private art and antiquities collection available to the public.

The restoration is scheduled to begin in 2028 and will take four to six years. More than 10,000 individual works from the museum’s collections will be removed and stored. The museum will be closed for part of that time, and the Glyptotek will be taking advantage of the downtime to exhibit some of its works elsewhere in Denmark and internationally. That will set them up nicely to get loans in exchange once the new facilities are up and running.

Bronze Age shaman identified as female gold worker

The Upton Lovell Shaman, a gold worker who was buried with rich furnishings 4,000 years ago, the period when Stonehenge was constructed, has been identified by DNA analysis as a woman, unpending two centuries of presumed sex. She was also a gold metal worker and a religious leader in her community.

The artefacts date to about 1,800BC, a time when the ability of metalworkers to transform lumps of rock into molten metal would have given them a special – possibly even spiritual – position in society. Such roles, many had assumed, would have been reserved for men, but this narrative has been turned on its head by the latest analysis.

“It completely tears up previous assumptions,” said David Dawson, director of the Wiltshire Museum, which holds the remains. “It’s a fantastic revelation of the position of women in society. We’re so used to the assumption of men do everything, men are the leaders, men are the metalworkers. Here we have smoking gun evidence of a female metalworker. And metalworking was the space science of its day.”

The grave was discovered in Upton Lovell, a village 10 miles away from Stonehenge, in 1801 and excavated by antiquarian William Cunnington. Underneath a barrow bowl 40 feet in diameter and less than two feet high, Cunnington unearthed an oval cist burial chamber with the remains of one individual lying supine, head placed pointing north, and a second individual seated in the same grave. (These remains are now lost.) Because the primary burials was laid to rest with a stone axe and 17 perforated bone points on the chest, Cunnington assumed it was a man with the secondary burial his female companion.

Neolithic flint axes from shaman grave. Photo courtesy Wiltshire Museum.He was dubbed the Upton Lovell Shaman because of the elaborate bone furnishings found in the grave — pierced animal bones decorating a ceremonial cloak, boar’s tusks adorning a pouch — suggest he performed a spiritual role. Other grave goods — a heavy dolemite stone battle axe, Neolithic flint axes already 1,000 years old at the time of the burial, smooth river stones, a battle axe broken in two — contributed to the presupposition that this was a man’s grave.

The grave goods of the Upton Lovell Shaman burial went on display at the Wiltshire Museum in Devizes. In 2000, the barrow was re-excavated with modern archaeological methods and technologies. The human remains were recovered and for the first time, traces of gold were discovered on one of the stones. In 2022, the objects in the burial were re-examined by researchers from the University of Leicester.

This new research has identified a further four stone objects with gold on their surfaces and characteristic wear traces, linking a wider suite of items from the burial to the goldworking process. It also demonstrates that these gold traces are ancient. The team suggests the tools were used to make multi-material objects where a core object was crafted in a material like jet, shale, amber, wood or copper and decorated with a thin layer of gold sheet.

Researchers also found traces of ochre on the surface of the Neolithic flint axes, which in addition to being a widespread dye and paint pigment, was also a fine powder used to polish metal. Traces of ochre were also found in four cups made from fossil sponges, as were adhesives so they were used as working containers, perhaps in metal polishing or as part of a tattooing set along with an a bronze awl found in the tomb. There were also touchstones, smooth, dark river stones that gold workers used to determine the quality of the precious metal just by wiping a tiny sample of it against them and assaying its purity by the color.

The Upton Lovell Shaman was DNA tested as part of a We Go Way Back, a new exhibition that opened last month at the Francis Crick Institute dedicated to what new ancient DNA research has revealed to us about our ancient and prehistoric ancestors.

Analysis of DNA extracted from the skeleton’s skull, tooth and toe bone revealed that they had XX sex chromosomes, typical in those who present as female. Analysis of the bones showed that she was probably over 45 years old when she died and had arthritis in her right wrist, consistent with lifelong use of metal working tools.

One large stone battle axe broken in two pieces was found in her grave. Heavy wear and tear on the two pieces indicate they were used as hammerstones. These are the tools she wielded to create thin sheets of gold, that ultimately gave her arthritis.

Lisa Brown, Curator of the Wiltshire Museum, said This groundbreaking research, using cutting edge techniques, shows the importance of making museum collections available for scientific analysis. We now have a whole new understanding of this burial, rewriting their story, breaking stereotypes, and putting women front and centre in our understanding of early Bronze Age society.

Viking woman’s grave with rare surviving textiles found in Western Jutland

The tomb of a young woman from the Viking Age with rare surviving remnants of her clothing has been discovered near Varde, Western Jutland, Denmark. The burial dates to the 8th century.

Skeletal remains rarely survive the highly acidic soil of Jutland, let alone fragile organic textiles. In this case, it was the young woman’s jewelry responsible for the unusual preservation. She was buried wearing two concave oval fibulae known as skålspænder (scoop brooches), typically used to fasten an apron dress at the shoulders. The corrosion of the bronze or silver in the brooches produced metallic salts that acted as preservatives and kept the garment’s fibers from decomposing.

Both of the skålspænder have remnants of fabric on both sides, giving archaeologists a unique opportunity to study two layers of Viking-era clothing: the undergarments in contact with the skin, and the outer visible layer. The area of the tomb with the jewelry and organic remains was removed in a soil block for excavation in laboratory conditions that will ensure even the smallest traces of the textile can be recovered.

The study of these fragments will reveal new information about the textiles, how they were sewn and perhaps even the structure of the entire garment. The material will undergo chromatic analysis to identify the dyes used on the fibers, and hopefully determine the color of the clothing she was wearing. The color of a garment had social significance in the Viking era, so figuring out the colors she was buried in will also illuminate her position in the community.

The Vejle Conservation Center (Konserveringscenter Vejle) has taken on the delicate task of exhuming the funerary assemblage practically grain by grain, safeguarding the integrity of the fabrics and their contextual association with the bones and the ornaments. Meanwhile, ancient textile expert Lise Ræder Knudsen has been appointed to conduct a detailed analysis of the recovered fibers, aiming to identify the weaving techniques, patterns, and spinning quality that characterized this Viking Jutland garment. […]

However, dating the clothing presents an additional challenge that archaeologists hope to solve through cutting-edge science. Samples are planned to be taken for radiocarbon (C14) testing to obtain an absolute and precise dating of the textile assemblage. This dating is essential not only to chronologically place the garment but also to resolve a question that has sparked special interest among researchers: one of the scoop brooches shows clear signs of having been repaired in the past.

This feature suggests the possibility that the piece was not contemporary with the making of the dress but instead an heirloom passed down from a previous generation, an object with its own history that ultimately became part of the young woman’s grave goods. Comparing the dates obtained from the textile and the metal will be key to confirming whether both elements belong to the same era or if, on the contrary, the young woman wore a new dress with old jewelry.

The skeletal remains will also be studied further. Her dental enamel will give information on nutritional stress she may have experienced as a child, and stable isotope analysis will provide information on whether she was raised locally or came from elsewhere.