Bronze Age figurine: goddess or weight?

A Bronze Age female figurine discovered in the Tollense River in northern Germany may have been a balance weight, a goddess or both. The figurine was found by Ronald Borgwardt, a truck driver who has been scouting the archaeological and watery depths of the Tollense since the 1990s, on July 20th, 2020. He was snorkeling in the river east of Rostock when he discovered a small bronze figurine in the sediments of the bank. He found a bronze arm ring a few feet away.

Just a hair under six inches tall and weighing 155 grams, the figurine has a flat body, an ovoid shaped head with prominent nose and eyes, looped arms, two bumps for breasts, a shallow vertical cut at the crotch indicating female genitalia and legs with protruding knees. The right leg is strongly bowed, the left straighter. She wears a neck ring and a belt. Typology dates the figurine to the 7th century B.C.

About a dozen similar figurines have been found near the Baltic Sea in Zealand, Scandia and one in northern Germany which was then part of the Nordic Bronze Age culture. The other German figurine was discovered in around 1840 just 20 miles from the most recent find; unfortunately its whereabouts are currently unknown. Most of them have been found near rivers or the Baltic coast. The Tollense is a bit of a double-whammy as it is both a river and direct connection to the Baltic Sea.

Researchers have hypothesized that these statuettes may have been used as balance weights based on a weight unit of 26 grams, but with such a limited number of examples it seemed unlikely they could have been quotidian tools as there would be more widespread evidence of them on the archaeological record. The 155-gram weight of this example, however, is an almost exact multiple of 26 grams, which may or may not be of significance given that this is the heaviest of the figurines. The second heaviest weighs 133 grams, which is another almost-multiple of 26.

The Tollense river valley is famed for the great number of archaeological materials and remains from a violent clash (battle? massacre?) that took place there in the early 13th century B.C. It’s possible that the figurine was deposited in commemoration of the conflict that had taken place there centuries earlier.

The female figures with looped arms are related to distinctive places of the Later Bronze Age landscape, and the recently discovered specimens from the Tollense valley supports their close connection to communication routes. The significance of the lower Oder area for Later Bronze Age trade is reflected in a concentration of bronze hoards around the island of Usedom, c. 50 km to the east. The wetland context supports the notion of a deposition in a transitional sphere between the real and the underworld. The figures have been considered as evidence for worship (as epitome of a goddess), as evidence for trade (as balance weights), or both (‘goddesses of wealth’). The distribution over a relatively small area speaks rather against an interpretation as a Nordic goddess of this time.

7 saucer brooch pairs for 7 graves

Archaeologists have found seven pairs of Anglo-Saxon saucer brooches, one pair in each of seven burials unearthed in an excavation in Gloucestershire. The Cotswolds Archaeology team discovered more than 70 Anglo-Saxon burials at the site, some of them containing luxury grave goods. They date to the 5th or 6th century.

They’re known as saucer brooches after their shape: a circular central body with a raised rim. They are made of gilded copper alloy and were relief-cast (cast from a single piece of sheet metal) with decorative motifs in geometric patterns. The one pictured right features five “running spirals” (meaning they’re connected to each other like they were written in cursive) around a central boss of pellet-in-ring style. This is the most commonly found motif on saucer brooches with geometric patterns.

Ranging in size from 20-70 mm in diameter, saucer brooches were worn in pairs across the chest to fasten garments. Their designs are more simple than, for example, the long square-headed brooches which were so large they offered much more space to create complex, highly sophisticated designs. The saucer brooches are still a high-status signifier for burials from this early period of Anglo-Saxon history in England, often found in tandem with other expensive pieces of jewelry.

Those we uncovered were either positioned one on each shoulder, or two next to each other on the left shoulder with an associated clothing pin, giving a vivid impression of how they once looked on their wearers.

4,000-year-old boat recovered near Uruk

Archaeologists have recovered a 4,000-year-old bitumen boat outside the ancient city of Uruk in southern Iraq. An international team of archaeologists from the Iraqi Ministry of Antiquities and the German Archaeological Institute (DAI) salvaged the boat which was under threat from erosion and traffic running nearby.

The boat was first discovered in 2018 in the archaeological buffer zone around Uruk during a program of systematic documentation of the many remains of canals, agricultural fields, settlements and production sites that pepper the environs of the Sumerian capital, which 1,000 years before this boat was built was the largest city in the world with an estimated population of 80,000 living in the metro area. The edges of the boat had been exposed by erosion, and archaeologists have been keeping a close eye on its condition in the years since. Last month, the salvage operation began.

The Iraqi-German research team successively uncovered the very fragile boat and thus documented the unique finding: it is an almost completely preserved boat made of organic material (reed, palm leaves or wood) completely covered with bitumen. It is 7 m long and up to 1.4 m wide. It is not thicker than 1 cm in many places. The organic remains are no longer preserved and are only visible as imprints in the bitumen. During the excavation the boat was documented three-dimensionally by photogrammetry. The archaeological context shows that it sank at the bank of a river that has since silted up, probably about 4000 years ago, and was overlaid by sediments.

The boat was covered with a clay and plaster shell for stabilization directly during the excavation and could thus be recovered largely complete. In accordance with Iraqi antiquities law, it was taken to the Iraq Museum in Baghdad for further scientific study and conservation. It is planned to exhibit the boat and make the knowledge of its construction and context available to the public.

Aachen museum buys Charlemagne denarius on eBay for a steal

A rare silver denarius bearing the only known contemporary portrait of Charlemagne that was bought on eBay for a song is now on display in the Centre Charlemagne museum in Aachen. Less than three-quarters of an inch in diameter and weighing 1.51 grams, the little penny is exhibited under a magnifying glass so visitors can inspect the laureate profile of the Emperor wearing the equestrian cape. There are only 50 known examples of this coin.

It was unpublished and unrecognized in a private collection in Normandy for years and emerged on eBay when the collector’s grandson dragged grandpa’s coin collection out of the attic and sold it. An Aachen native with a sharp numismatic eye spotted the coin on eBay and alerted the Centre Charlemagne that they might want to bid. They did and they won, spending a four-figure sum (in euros) for a piece that would have sold for as much as 160,000 euros on the coin market.

Charlemagne’s father Pepin the Short had established a new monetary system early in his reign around 755 A.D., restoring the silver content in the penny that was a descendant of the Roman denarius. Under Pepin’s monetary reform, all coins were marked with the name or title of the king as they were issued by his authority and with him as guarantor of coin quality.

Charlemagne succeeded his father King of the Franks in 768 and continued his monetary policies, expanding the silver-based standard of one pound = 240 deniers (ie, denarii, ie pennies) throughout his expanding territories, even via alliance to Mercia in Britain. When Charlemagne was crowned the first Holy Roman Emperor by Pope Leo III on Christmas Day 800, his new status was reflected in his coinage.

Even though Frankish monarchs had traditionally rejected association with the ancient empire, Charlemagne selectively embraced imperial iconography and nomenclature. When he began to issue the first coins bearing his portrait in 804, he turned to the coinage of Constantine as model, hence the laureate profile on the obverse which is inscribed KAROLUS IMP[erator] AUG[gustus].

On the reverse of the new portrait coin was a structure numismatic scholars call a “temple” for its porch, column and pediment design. This one has crosses, though, one of the pinnacle and one floating in the center between the two sets of columns, perhaps representing the Edicule, the small shrine built by Constantine over the tomb of Christ in Jerusalem. It bears the inscription XRICTIANA RELIGIO (“The Christian Religion”), a reference to Charlemagne’s self-appointed role as “Defender of the Faith.”

Charlemagne’s “temple-style” silver coins were widely circulated and struck until his death in 814, but for reasons that are unclear, very few of them have survived. The example that has now gone on display in Aachen was an issue struck after the coronation of Charlemagne’s son Louis the Pious as co-emperor in September 813. These would have been presentation pieces, honorary gifts more than general use coinage. Charlemagne’s death four months later put an abrupt end to the run.

Unique Gallic tripod banquet bucket revealed

Four Iron Age busts and a beautifully preserved wooden banquet bucket have been presented to the public for the first time in an exhibition at the Musée de Bretagne – Les Champs Libre in Rennes, Brittany. The bucket is unique in Brittany, and unique for having been found in a well instead of a tomb.

The five objects were discovered in the fall of 2019 in an excavation of a site in Trémuson that proved to be a large country estate of the Gallic elite occupied and altered between the 3rd and 1st century B.C. In the middle of the 1st century B.C., some sort of upheaval caused the residents to deposit objects as offerings at the bottom of the well.

The first sculpture was found near the well, face down in a pit dug to the busts’ dimensions. It is the bust of a man wearing a torc around his neck, marking him as an aristocrat. The figure is finely modeled, with neatly combed hair and a well-shaped beard. It dates to the middle of the 1st century B.C. The three other statuettes, torcless and more roughly modeled, were found at the bottom of the ancient well. The four busts all bear traces of fire and deliberate damage. It’s possible this was once a set with religious purpose that was desecrated and burned.

The abandoned well’s waterlogged soil had preserved objects, including a great deal of wood, thrown into it during the troubled mid-1st century B.C. As archaeologists dug down, they encountered charred wooden planks and other architectural elements including poles, beams and posts. The planks may have been part of the cover of the well in its heyday. In total, the team recovered 460 pieces of waterlogged wood, most of them fragmentary and partially carbonized by fire.

At the bottom of the well were the three busts, a beautifully tuned fragment of wood furniture, an ash mallet, a cylindrical oak bucket, several staves and the exceptional tripod banquet bucket. Crafted of yew wood encircled with two bronze straps and decorated with bronze openwork plates, the tripod bucket dates to the second half of the 2nd century B.C.  They were used at banquets to serve wine. The bucket is almost complete, missing only a few small pieces of the openwork and metal accents.

The woods are so well-preserved they are remarkable representatives of Gallic woodcrafts. The oak bucket has a drain hole in the bottom that still has its maple cap in place. The ash mallet was fragmented in the way it was because a fracture in the mortise. It also has perforations from the joinery and visible marks from a planer blade on the underside of the head. The yew bucket has the small dowels used to reinforce the staves at their connection points still safely in place.

The fragile wood pieces were soaked with PEG which removes the water in the cells and replaces it with a waxy substance that keeps the wood from warping and shrinking as it dries. The process took two years. Conserved and stable, the yew bucket went on display with the four sculptures on March 18th and will remain on display until December 4th.