Guercino masterpiece stolen from Modena church

August 16th, 2014

A 17th century Baroque masterpiece by Giovanni Francesco Barbieri, better known by his nickname Guercino, has been stolen from the Church of San Vincenzo in the historic center of Modena. The painting, Madonna with the Saints John the Evangelist and Gregory Thaumaturgus, was painted by the master in 1639 and has been in the church ever since. An allied bomb struck San Vincenzo on May 13th, 1944, destroying the presbytery and the choir and its late 17th century frescoes, but the Guercino survived. Let’s hope it can survive human greed.

The painting was not insured because “church cannot afford to insure every painting in its possession,” as San Vincenzo’s priest Father Gianni Gherardi put it, and as callous as that sounds, the truth is that practically every church in Italy is stuffed to the gills with masterpieces. It would be prohibitively expensive, even if private insurers could be secured, to cover everything. The alarm system installed with funding from the Modena Savings Bank Foundation a decade or so ago was turned off because “it was too expensive to keep up,” which I presume refers to the monthly bill.

San Vincenzo is not a parish church so it doesn’t stay open all week. The doors are opened every Sunday for mass and locked after the service is over. The thieves made their way inside, stole the painting and got out without leaving a trace. There is no sign of forced entry on the church door. The priest only realized something was wrong because the door was open.

Police believe at least three men were involved in the theft because the piece is so big and heavy, especially still inside the frame, that it one or two people wouldn’t be able to move it. They probably got in during mass on Sunday, August 10th, and hid until they could do their dirty deed under cover of night. They must have had transportation, most likely a van.

Not that insurance would be much consolation. The painting is invaluable and irreplaceable. It could be worth something like $8 million if we hypothetically considered a market value and if it were actually salable, but of course it’s not. It’s hugely famous and at nine and a half feet high and six feet wide, it’s impossibly conspicuous. Authorities are concerned that the thieves might cut it up into individual figures in the attempt to sell it, but they went through a lot of trouble to keep it whole. That’s why the current preferred theory is that it was a theft commissioned by a Bond-villainesque collector. That’s the go-to preferred theory, but time and time again we’ve seen thieves steal something first and only think of disposal once the object is burning a hole in their pockets. Then they bumble around for years trying to unload their ill-gotten gain in the most ridiculous ways, often to undercover cops.

The Carabinieri’s Tutela Patrimonio Culturale unit (a national police squad dedicated to investigating stolen art and antiquities) are in charge of the investigation. They’re looking through phone records and security camera footage from along the street. There are no cameras pointed at the church, but a van large enough to contain the painting should have been captured by other cameras.

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Update: 200-year-old seltzer bottle contains alcohol

August 15th, 2014

The 200-year-old salt-glazed stoneware bottle recovered from a shipwreck at the bottom of Gdańsk Bay off the coast of Poland does not contain its original prized mineral water from the internationally known springs of Selters, Germany. Or at least, that’s not all it contains. Testing at the J.S. Hamilton laboratory in Gdynia has found the contents are 14% alcohol distillate. The remaining 86% could still be the original seltzer water since its chemical composition is consistent with Selters mineral water.

It’s not certain what variety of distilled spirits is inside the bottle.

[A]ccording to the laboratory staff, the alcohol may be a kind of genever gin (jenever) – traditional liquor of the Netherlands and Belgium. “Did someone really pour this drink into a soda bottle, or are we dealing with a different beverage? Experts will try to determine this in another series of analyses, which will be completed in early September” – said [National Maritime Museum archaeologist Tomasz] Bednarz.

Chemical analysis suggests the alcohol is still potable in the sense that it won’t kill you, but it might make you wish you were dead.

The archaeologist added that according to laboratory workers, the alcohol in the bottle is suitable for drinking. “This means, it would not cause poisoning. Apparently, however, it does not smell particularly good” – he explained.

There’s a little more information about the bottle as well.

Bednarz explained that according to the latest findings, stoneware bottle recovered from the Gulf of Gdańsk was made in Ransbach, approx. 40 km from Selters springs. “The manufacturer was determined by reading the print under the main emblem +Selters HN+: letter R and the number 25, denoting the number of the manufacturer.

I looked for but couldn’t find any kind of master list of the manufacter names and their corresponding numbers. There were dozens of small producers in all the towns around Selters, so we know the town thanks to the R mark but not the shop.

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Mummification in Egypt began 1,500 years earlier

August 14th, 2014

Archaeologists have long believed that artificial mummification in Egypt began during the Old Kingdom, around 2,500 B.C. Mummies have been found from the Late Neolithic and Predynastic periods (ca. 4500 – 3100 B.C.), but they were thought to have been naturally mummified in the arid heat of the desert. Evidence for the use of embalming agents was found on one examples from the late Old Kingdom (ca. 2,200 B.C.), only becoming frequent in the Middle Kingdom (ca. 2,000-1,600 BC).

Now the results of an 11-year study are upending the conventional wisdom with chemical analysis of preservative resins found in prehistoric funerary wrappings. Researchers from the Universities of York, Macquarie and Oxford have identified complex embalming agents in linen fragments from some of the earliest tombs in Egypt found in the Neolithic cemeteries at Badari and Mostagedda in Upper Egypt.

Egyptologist Dr. Jana Jones of Sydney’s Macquarie University started the ball rolling in 2002 when she examined 51 wrapping samples excavated from Badari and Mostagedda in the 1930s and preserved in the collection of the Bolton Museum. Viewing them under a microscope revealed the presence of “toffee-like” substance likely to be resin. Researchers from Oxford University radiocarbon dated the samples to confirm they were indeed prehistoric as the archaeological evidence had indicated.

The resinous substances had to be confirmed chemically, however, because the microscopic analysis couldn’t conclusively identify them. That’s where University of York archaeological chemist Dr. Stephen Buckley came in.

Corresponding author on the article, Dr Buckley, used a combination of gas chromatography-mass spectrometry and sequential thermal desorption/pyrolysis to identify a pine resin, an aromatic plant extract, a plant gum/sugar, a natural petroleum source, and a plant oil/animal fat in the funerary wrappings.

Predating the earliest scientific evidence by more than a millennium, these embalming agents constitute complex, processed recipes of the same natural products, in similar proportions, as those employed at the zenith of Pharaonic mummification some 3,000 years later.

Dr Buckley, who designed the experimental research and conducted the chemical analyses, said: “The antibacterial properties of some of these ingredients and the localised soft-tissue preservation that they would have afforded lead us to conclude that these represent the very beginnings of experimentation that would evolve into the mummification practice of the Pharaonic period.”

Dr Buckley added: “Having previously led research on embalming agents employed in mummification during Egypt’s Pharaonic period it was notable that the relative abundances of the constituents are typical of those used in mummification throughout much of ancient Egypt’s 3000 year Pharaonic history. Moreover, these resinous recipes applied to the prehistoric linen wrapped bodies contained antibacterial agents, used in the same proportions employed by the Egyptian embalmers when their skill was at its peak, some 2500-3000 years later.”

This revolutionary discovery underscores the importance of historic specimen collections in museums. They may seem like dust-magnet clutter, but as technology advances they can be an invaluable resource. First the cholera genome was mapped from 19th century specimens in Philadelphia’s Mütter Museum, now the history of Egyptian mummification has been rolled back 1,500 years.

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Official War Dept. art from Western Front digitized

August 13th, 2014

When the United States joined World War I, the War Department commissioned eight accomplished artists to go to France with the American Expeditionary Forces and sketch what they saw. Illustrators William James Aylward, Walter Jack Duncan, Harvey Thomas Dunn, George Matthews Harding, Wallace Morgan, Harry Everett Townsend, architect and etcher J. André Smith, and illustrator and muralist Ernest Clifford Peixotto were given the rank of captain in tn the Army Corps of Engineers and sent to the Western Front in 1918.

This was the first time the US put official artists in the field and the AEF artists had a specifically documentary brief. Their job was to make a visual record of the people and activities on the front lines.

Throughout 1918, prior to the war’s end in November, the artists produced some 700 works, ranging from charcoal sketches to completed ink or watercolor compositions. Bart Hacker, a curator at the National Museum of American History, says the artists depicted four types of scenes: soldier life (washing up, meal time); combat, aftermaths of war (destroyed churches, devastated fields); and technology. In one image, wounded men carry the fallen through trenches and barbed wire. In another, soldiers on horseback travel through a destroyed French village. Notably, Hacker says, the artists did not depict dead bodies.

That isn’t entirely true. They did not depict Allied dead, perhaps, but there are German dead. No blood or gore, however, not even in the field hospital scenes or in combat actions. So their work was meant to document the front, yes, but not the horrors of war in an explicit or even impressionistic way. These images were going to be shown to the public, after all, and bodies torn apart by artillery don’t really sell a war or reassure worried loved ones.

When the artists completed their sketches and watercolors, the pieces were sent to the War Department in Washington, D.C. where some of them were exhibited immediately. Works deemed to be incomplete were kept for the artists to finish upon their return. In January of 1920, the collection was given to the Smithsonian for exhibition. The drawings were put in storage in 1929 and have only been exhibited a handful of times since then.

This year’s centenary of the start of World War I has brought new attention to these works. The American History Museum has digitized the Smithsonian’s collection (there are a few pieces in other museums) and made them available for browsing in high resolution on its website. They may go on public display once again in 1917, the centennial of America’s entry into the war.

While I’m on the subject of the Smithsonian and digitization, the institution has just launched a massive transcription project asking volunteers to sift through millions of images of documents, artifacts and natural history specimens in its collection and transcribe them to make these invaluable resources searchable. Beta testers took days to convert handwritten notes and archives into searchable text that would have taken Smithsonian employees months to complete.

All you have to do is register here, then activate your account by clicking the link in an email they send you and setting your password. Once you’re logged in, go to the Transcription Center and pick your project. Quite a few of the first round of projects are complete but you should look through them anyway because you can enjoy the transcripts which can be browsed page by page or downloaded in their entirety. You can transcribe pages that haven’t been done yet or you can review transcriptions that others have done.

A few open projects on my short list:

Archives Center – NMAH, Charles Francis Hall on his 1860 journey to the north, exploring western Greenland.
National Anthropological Archives – Horatio Hale’s notes on the vocabulary of more than a dozen West and Central African languages spoke by slaves in Rio de Janeiro and on their facial scarification.
Smithsonian Institution Libraries – Mary Smith’s Commonplace Book Concerning Science and Mathematics manuscript about science, math, medicine, religion, etc. written around 1769-1780.

Bookmark the site and check back regularly for new projects.

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Entrance to “extremely important” Amphipolis tomb found

August 12th, 2014

Excitement is mounting in Greece over the excavation of a vast tomb atop Kasta hill in the ancient Central Macedonian city of Amphipolis. The Kasta Tumulus was first excavated in 2012, revealing a circular tomb almost 10 feet high (eroded from an estimated original height of 80 feet), 525 feet in diameter and 1,640 feet in circumference, making it significantly larger than the Great Tumulus at Vergina (43 feet high, 360 feet in diameter) that houses the tombs of Philip II of Macedon and other members of the royal family. In fact, it’s the largest tomb ever discovered in Greece.

Almost as soon as digging began, speculation exploded in the media about who might be buried in such a monumental tomb. Could it be Roxana of Bactria, last wife of Alexander the Great, and their son Alexander IV Aegus? According to historian Diodorus Siculus (The Library of History, Book 19, Chapter 52 and 105), they were imprisoned and killed in Amphipolis by Cassander, distant relative of Alexander the Great and Regent of Macedon, in around 310 B.C. Siculus says Cassander had his minion kill them and conceal the bodies. The largest tumulus in Greece doesn’t seem like an ideal spot to conceal anything. Outside of the fever dreams of the press, therefore, there is zero historical evidence that mother and son were interred in Amphipolis and zero archaeological evidence attesting to who was interred in the tumulus.

With Greece’s economy in deep recession, there was no budget to continue excavations or even to secure the site, now exposed to the world in injudiciously excessive terms as a tomb of great historical interest. Archaeologists found Philip II buried in a 24-pound gold casket. Even the most distant possibility that someone in the Macedon royal family or adjacent thereto could be buried in the Kasta Tumulus would surely prove an irresistible lure to looters.

Somehow the money was scraped up to continue excavations and by Spring of 2013, much of the perimeter of the tomb had been unearthed. The foundation of the perimeter wall was built of large limestone blocks clad in marble from the island of Thasos, the same kind of marble used to make a sculpture known as the Lion of Amphipolis. The lion and blocks of marble were found in the Strymon river in the early 1910s. Greek soldiers dragged the blocks out of the river and used some of them to build a base for the lion a few kilometers away from the Kasta Tumulus. The loose blocks and columns that weren’t used in the reconstruction are still there, grouped together next to the lion monument.

Many of the marble pieces from the tomb were missing, so Michaelis Lefantzis, the archaeological team’s architect, went looking among the lion’s marbles for blocks that may have come from the tomb. He found that 400 blocks from around the lion and 30 from the base were the same in shape, size and elaboration as the ones in the wall encircling the tumulus. It seems the Romans stripped them in the 2nd century A.D. and used them to stabilize the banks of the river. Archaeologists believe the lion was once perched on the top of the tomb before it was tossed in the Strymon.

The discovery underscored what an impressive monumental structure the tumulus was in antiquity. Now archaeologists are on the verge of getting inside and maybe discovering who was so important as to garner such a fancy final resting place.

So far, workers have unveiled a flight of 13 steps that lead to a broad path, flanked by masonry walls, which end in a built-up arch covering two headless, wingless sphinxes — mythical creatures that blend human, bird and lion characteristics.

Archaeologists believe the entrance will be unearthed by the end of the month. They haven’t found any evidence of tomb raider activity, no tunneling, no break-ins, so they expect to find an intact tomb. Anticipation is so high the Prime Minister of Greece, Antonis Samaras, visited the site Tuesday, calling the tumulus “clearly extremely important.”

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Ancient instrument found in 7th c. Kazakhstan burial

August 11th, 2014

Archaeologists have found an artifact they believe to be an ancient musical instrument in the burial of a Turkic warrior in the region of East Kazakhstan. The burial in the Altai mountains was found intact, with the remains of an adult male in his 40s at the time of death and those of a horse buried next to him. The grave goods identify the deceased as a warrior of some status, and their design allowed archaeologists to provisionally date the burial to the 7th century.

The scientists found weapons belonging to this epoch next to the warrior: a helmet, a quiver, an arrow, a sword, sabers, as well as a horse with a golden harness and a bridle. The most important discovery of the excavation was a musical instrument, similar to (Kazakh) kobyz….

The kobyz is an ancient Kazakh instrument that has two strings made of horsehair. It was believed to be a sacred instruments that could drive away evil spirits. It was often used by spiritual medics and shamans.

There has been a dedicated effort by the Kazakh government and institutions of higher learning to expand historical and archaeological explorations of the nation’s past. The Altai mountains have been the site some of the most important archaeological finds relating to the nomadic peoples who inhabited the region from the 1st millennium B.C. on.

This most recent find was made as part of a Turkic Academy project investigating the statehood system of Western Turkic Khaganate, a state ruled by a Khagan (or Khan) of the Ashina clan after the founder’s kingdom, the Göktürk Khaganate, was split into east and west by his sons in the early 7th century. At its peak, the Khaganate’s sphere of influence stretched from the Caspian Sea in the west to the Sea of Okhotsk in the east, from modern-day Kazakhstan all the way to the other side of Russia. Its founder, Bumin Khagan, was crowned in the Altai mountains, so this was an important center of power.

The Khaganate united a great many nomadic tribes under one (or after the splintering, two) rulers. In the second half of the 7th century, the ten tribes of the Western Turkic Khaganate began to fight amongst themselves which left the state vulnerable to Chinese invasion. In 659 A.D., it was absorbed into Tang Dynasty China. They didn’t get to keep it for long. The tribes revolted and in 682 A.D., the Second Turkic Khaganate was established. It was the first Central Asian state that used Old Turkic as its official language, as evidenced by its appearance on stele known as the Orkhon inscriptions that tell the history of the Khaganate and its liberation from Chinese rule.

The remains of the Altai warrior will be removed for further investigation by the Turkic Academy. The bones will be directly dated and the surviving organic elements like the wooden musical instrument conserved and studied.

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18th c. sculpture of Jesus has human teeth

August 10th, 2014

Restorers from Mexico’s National Institute of Anthropology and History (INAH) working on a polychrome statue of the Christ of Patience have found eight human teeth in the figure’s mouth. These types of statues often have teeth, but they’re carved out of wood or bone either as a plate or as individual teeth. This is the first time actual human teeth have been found.

The ends of the teeth can be seen through the open mouth of the statue (they’re rather impressively white and even, too), but it wasn’t until restorers X-rayed the head to determine its conservation needs that they saw that they were full adult teeth complete with roots. According to Fanny Unikel, head restorer of INAH’s Restoration Workshop of Polychrome Sculpture of the National School of Conservation, Restoration and Museology (ENCRyM), the teeth were probably donations made by devout parishioners, a practice seen frequently with far less painful materials like hair for wigs or clothing. Had they been saintly relics, they would have been displayed on their own and highlighted for people to revere.

The dental implant Christ is one of a group of 17th and 18th century statues of the saints belonging to the church of San Bartolo Cuautlalpan, a farming community in the central Mexico municipality of Zumpango. They have major condition problems — missing parts, termite and rodent damage, multiple layers of overpainting obscuring the original paint, bad previous repair attempts, thick coatings of hardened eggs and baby oil used by the parishioners to polish the statues — and have undergone an extensive program of restoration this year.

Saint Bartholomew, Saint Joachim, Saint Anne and Our Lady of Sorrows were all in significantly worse condition than the Christ of Patience. He may be drenched in blood and have bone-deep gouges in the flesh of his cheek and knee, but over the centuries he was always covered in clothing and only taken out for the Holy Week procession. The other statues have carved clothes and appear on saint days and other religious events; some spent time in a warehouse where they were at the mercy of vermin and less than ideal climactic conditions. Our Lady of Sorrows has a very rare mechanical element — her hands could be raised to her face as if she were crying — that hasn’t worked in years. In order to examine her insides with the aim of repairing the mechanism, restorers had to give her a CT scan because X-rays couldn’t see through the layer of lead paint, one of eight layers of overpainting just on this one statue.

Compared to his mother’s travails, Jesus has had it relatively easy. After examining the statue closely and X-raying to determine any internal damage, restorers found his structure is sound. The statue was cleaned and some areas of paint loss on the torso, sandal, legs and soles of the feet were filled in using a technique called rigatino which lays stripes of several hues in short brush strokes that from a distance blend in with the original painting but that do not attempt to disguise the fact that restoration was done. The platform on which Christ of Patience sits had been overpainted in a tragic beige. Restorers were able to remove it and reveal the reds and greens of the original polychrome.

There are some lovely gruesome views of the statue in this Spanish-language video featuring restorer Fanny Unikel talking about the teeth, the statue’s excellent condition and restoration.

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World’s oldest eel dies at 155 in Swedish well

August 9th, 2014

Sweden is in mourning today over the death of the world’s oldest eel. Åle the eel was around 155 years old when he left a country bereft, a prodigious age for the European eel Anguilla anguilla which in the wild typically lives around seven years in fresh water before returning to the ocean to spawn and die. They can be very long-lived, though. The oldest recorded wild eel was 85 years old.

Åle was put in the well in the fishing village of Brantevik on the southeastern tip of Sweden by eight-year-old Samuel Nilsson in 1859. This was a common practice in a time when running water was rare (Stockholm only got public water mains in the 1850s; it took more than a century after that for waterworks to be installed in smaller towns) and a good eel could keep the home’s water supply free of bugs, worms, eggs, algae and any other number of critters. European eels will even eat carrion, so they’re extremely helpful additions to a well.

This particular eel has been a star for close to a hundred years, garnering articles in the paper, TV news stories and documentaries, even making an appearance in the Swedish Tom Sawyer, Bombi Bitt and I written by Fritiof Nilsson Piraten in 1932. Thomas Kjellman, current owner of the cottage, remembers Åle from when he was a boy. His family bought the house in 1962 with the understanding that the eel came with the property.

Last Tuesday, Kjellman lifted the lid off the well to show his famous eel to guests when he discovered Åle was no more. He had fallen apart, in fact, which must have put a bit of a damper on the annual crayfish party. They had to drain the well in order to recover the delicate remains which are being kept in the freezer until eel expert Dr. Håkan Wickström comes to pick them up. He will then take them to a laboratory in Stockholm for a necropsy.

Although the body is in pieces, the entire spine is intact and the family is hoping to send along the head as well. Rings in the otolith, or ear stone, of the eel would reveal its exact age.

The Kjellman family will have to take solace in the fact that they have a backup superannuated eel. Their other well eel, currently unnamed, is only about 110 years old.

You can catch a glimpse of Åle in his rather depressing well home/dungeon at 2:39 in the following video. You can see him in all his big-eyed glory (reportedly a result of a century spent in near constant darkness) when they bring him up into the light starting at 4:00.

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Chianti well preserves 15 centuries of history

August 8th, 2014

An Etruscan well in Cetamura del Chianti, an archaeological site on the property of the Badia a Coltibuono wine-making estate in Tuscany, has proven a cornucopia of historical artifacts from 300 B.C. through the end of the Middle Ages. The well — which technically is a cistern rather than a well since it isn’t spring-fed but rather a rain catchment shaft — was dug more than 105 feet deep into the sandstone bedrock of the Cetamura hilltop. Over the centuries, a vast number of artifacts made from bronze, silver, lead and iron, plus ceramics, glass, bricks, tiles, wood, 70 bronze and silver coins, jacks-like game pieces (astragali), animal bones, antlers and grape seeds were thrown into the well, probably as votive offerings in antiquity and as simple discards in later eras.

The Cetamura settlement has been excavated since 1973, unearthing Etruscan remains including an acropolis and extensive artisan quarters, a Roman villa and baths and a medieval fort. The well is in Zone 1, the acropolis area on the top of the hill, and a team of archaeologists and students led by Florida State University Etruscan expert Nancy de Grummond have been excavating it since 2011. So far the team has unearthed 14 Roman and Etruscan bronze vessels, an impressive number of very rare Etruscan wood pieces and almost 500 grape seeds.

The bronze vessels, of different shapes and sizes and with varying decorations, were used to extract water from the well, which has been excavated to a depth of more than 105 feet.

“One of the Etruscan vessels, actually a wine bucket, is finely tooled and decorated with figurines of the marine monster Skylla,” de Grummond said. “Another was adorned with a bronze finial of the head of a feline with the mane of a lion and the spots of a leopard and, for handle attachments, had African heads, probably sphinxes.”

The grape seeds, found in at least three different levels of the well — including the Etruscan and Roman levels — are of tremendous scientific interest, according to de Grummond.

The seeds date to the third and second centuries B.C. (Etruscan) and to the late first century B.C., early first century A.D. (Roman). The waterlogged environment preserved them exceptionally well which will give researchers the rare opportunity to do DNA testing as well as radiocarbon dating. This has the potential to illuminate the viticultural history of one of the famous wine growing regions of the world, a history that is very little known. Genetic and morphometric analyses of the seeds will categorize the different grape varieties and, if all goes well, will determine if any of these ancient Chianti grapes are related to the ones used to make Chianti wines today. The Roman seeds discovered in the 2012 and 2013 dig seasons have already been sorted into three different types.

Interestingly, the grape seeds weren’t just thrown in to the well in handfuls. The team found most of them inside the bronze vessels, evidence that they may have been ritual offerings rather than garbage. The wood from the early Etruscan level also appears to have played a ritual role.

“Many of the pieces of wood were worked, and already several objects have been identified, such as parts of buckets, a spatula or spoon, a spool and a rounded object that might be a knob or child’s top,” [de Grummond] said. “The sheer amount of Etruscan waterlogged wood — with some recognizable artifacts — could transform views about such perishable items.”

To follow the news from the Cetamura del Chianti well excavation, keep an eye on their Facebook page.

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Plough turns up rare Pictish symbol stone

August 7th, 2014



In May of last year, a farmer ploughing a field in Dandaleith, near Craigellachie in northeastern Scotland, encountered an intriguing obstacle. The landowner reported to the authorities that he had “broken his plough on a rather large stone with some sort of carving on one side,” but he was underestimating it. The solid pink granite stone actually has carvings on two sides, which makes it rare, and those sides are adjacent, which may make it unique.

Experts found that the boulder, which is nearly five and a half feet long and weighs almost 1,500 pounds, is a Class I Pictish Symbol Stone, meaning it’s an unshaped stone incised with symbols but no cross. This is the earliest type of symbol stone, and the Dandaleith Stone may date to as early as 500 A.D. The symbols on one face are an eagle with a crescent and V-rod underneath it. On the adjacent face there’s a mirror case symbol (a circle atop a rectangle) with a notch rectangle and Z-rod symbol underneath.

The symbols have been typed and categorized from the 350 or so stones that have been found, but experts still don’t know what they mean or how the stones were used. One theory is that the symbols represent a kind of heraldry for important families. The stones could have been grave markers (although archaeological evidence of burials associated with Pictish Symbol Stones is sparse) or perhaps boundary markers. For more information about the Picts and the symbol carvings, see Historic Scotland’s dedicated website.

Dr David Clarke, former Keeper of Archaeology at the National Museum of Scotland, said: “The presence of two sets of symbols on a single stone is itself a very unusual feature relative to the corpus of symbol-bearing stones, but the presence of two sets of symbols on adjacent faces may be unique. The corresponding orientation of the sets of symbols is also a very unusual feature.”

The stone was declared a Treasure Trove following its discovery, and was reported to Aberdeenshire Council Archaeology Service (ACAS), who act as the regional archaeology service for Moray Council. Claire Herbert, regional archaeologist at ACAS, said: “Members of the public regularly contact the Archaeology Service about artefacts they have found, but the reporting of the Dandaleith Stone was something truly unexpected, a real rarity. I would like to thank the ploughman and landowner for reporting their find to us, and for their continued help and cooperation.

“To our knowledge, this is a truly unique find which has the potential to alter our understanding of Pictish Symbol Stones. We are privileged to be involved in the continued protection of such a wonderful object.”

As per the Treasure Trove law, once an object is declared treasure, the Scottish Archaeological Finds Allocation Panel (SAFAP) determines which of the interested museums will be allocated the artifact and what sum it will pay the finder as an ex gratia payment. The amount of the payment is determined by how much it would cost to purchase an equivalent object on the antiquities market. In March of this year, the SAFAP allocated the Dandaleith Stone to the Elgin Museum which is just 15 miles north of Dandaleith.

While the museum raises the funds for the payment, display and transportation of this large and heavy piece of granite, the stone is being conserved and documented at Graciela Ainsworth Sculpture Conservation in Edinburgh.

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