The Great London [Search results for ad] 

'Celts: art and identity' opens at the British Museum on 24 September and will draw on the latest research from Britain, Ireland and Western Europe. The exhibition will tell the story of the different peoples who have used or been given the name ‘Celts’ through the stunning art objects that they made, including intricately decorated jewellery, highly stylised objects of religious devotion, and the decorative arts of the late 19th century which were inspired by the past. The exhibition will then open at the National Museum Scotland in March 2016. As part of the National Programme activity around the Celts exhibition, the British Museum and National Museums Scotland will showcase two rare Iron Age mirrors as a Spotlight tour to partner museums across the UK.

Today the word ‘Celtic’ is associated with the distinctive cultures, languages, music and traditions of Scotland, Ireland, Wales, Cornwall, Brittany and the Isle of Man. Yet the name Celts was first recorded thousands of years earlier, around 500 BC, when the ancient Greeks used it to refer to peoples living across a broad swathe of Europe north of the Alps. The Greeks saw these outsiders as barbarians, far removed from the civilised world of the Mediterranean. They left no written records of their own, but today archaeology is revealing new insights into how they lived. Modern research suggests that these were disparate groups rather than a single people, linked by their unique stylised art. This set them apart from the classical world, but their technological accomplishments stand on a par with the finest achievements of Greek and Roman artists.

A stunning example in the exhibition, from National Museums Scotland, is a hoard of gold torcs found at Blair Drummond in Stirling in 2009 by a metal detectorist on his very first outing. Excavations showed they had been buried inside a timber building, probably a shrine, in an isolated, wet location. These four torcs made between 300–100 BC show widespread connections across Iron Age Europe. Two are made from spiralling gold ribbons, a style characteristic of Scotland and Ireland. Another is a style found in south-western France although analysis of the Blair Drummond gold suggests it was made locally based on French styles. The final torc is a mixture of Iron Age details with embellishments on the terminals typical of Mediterranean workshops. It shows technological skill, a familiarity with exotic styles, and connections to a craftworker or workshop with the expertise to make such an object. The Blair Drummond find brings together the local and the highly exotic in one hoard.

Although Britain and Ireland were never explicitly referred to as Celtic by the Greeks and Romans, some 2,000 years ago these islands were part of a world of related art, values, languages and beliefs which stretched from the Atlantic to the Black Sea. During the Roman period and after the fall of the Western Roman Empire, communities in Ireland and northern and western Britain developed distinct identities. The art and objects which they made expressed first their difference to the Romans, but later the new realities of living in a conquered land or on the edges of the Roman world. These communities were among the first in Britain to become Christian, and missionaries from the north and west helped to convert the pagan Anglo-Saxons.

The exhibition will include iron hand-bells used to call the faithful to prayer, elaborately illustrated gospel books telling the story of Jesus’s life, and beautifully carved stone crosses that stood as beacons of belief in the landscape. An exceptionally rare gilded bronze processional cross from Tully Lough, Ireland (AD 700-800), will be displayed in Britain for the first time. Used during ceremonies and as a mobile symbol of Christianity, the design of this hand-held cross may have inspired some stone crosses, but metal examples rarely survive. Its decorative plates show the wider artistic connections of its makers: three-legged swirls and crescent shapes owe much to earlier Celtic traditions; other geometric motifs echo Roman designs, while interlace designs were popular across Europe and probably inspired by Anglo-Saxon art.

The name Celts had fallen out of use after the Roman period, but it was rediscovered during the Renaissance. From the sixteenth century it became increasingly used as shorthand for the pre-Roman peoples of Western Europe. In the early 1700s, the languages of Scotland, Ireland, Wales, Cornwall, Brittany and the Isle of Man were given the name ‘Celtic’, based on the name used by the Greeks and Romans 2000 years before. In the context of a continually shifting political and religious landscape, ‘Celtic’ acquired a new significance as the peoples of these Atlantic regions sought to affirm their difference and independence from their French and English neighbours, drawing on long histories of distinctive local identities. First used by the ancient Greeks as a way to label outsiders, the word ‘Celtic’ was now proudly embraced to express a sense of shared ancestry and heritage.

Over the following centuries, the Celtic revival movement led to the creation of a re-imagined, romanticised Celtic past, expressed in art and literature such as the painting ‘The Druids: Bringing in the Mistletoe’ by George Henry and Edward Atkinson Hornel, 1890. Druids emerge from a grove of oaks where they have been ceremonially gathering mistletoe in this romantic Victorian reimagining of a scene described by Roman author Pliny the Elder. In an attempt to evoke an authentic Scottish past, the artists incorporated things that they thought of as Celtic: spiral motifs, the brilliant colours of illuminated manuscripts and a snake design inspired by Pictish stones. The painters claimed the faces were based on ancient ‘druid’ skulls. But the features of the central druid were really inspired by photographs of Native Americans.

Today, the word Celtic continues to have a powerful resonance. It calls to mind the ever shifting relationships between the different nations that make up Britain and Ireland, and their diaspora communities around the world. The idea of the Celts also confronts us with the long history of interaction between Britain and the rest of Europe.

Neil MacGregor, Director of the British Museum said “the word Celtic brings together a series of moments across the history of western Europe when particular communities made art and objects that reflect a different, non-Mediterranean, way of thinking about the world. New research is challenging our preconception of the Celts as a single people, revealing the complex story of how this name has been used and appropriated over the last 2,500 years. While the Celts are not a distinct race or genetic group that can be traced through time, the word ‘Celtic’ still resonates powerfully today, all the more so because it has been continually redefined to echo contemporary concerns over politics, religion and identity.”

Gordon Rintoul, National Museums Scotland Director said “Encompassing the latest research from across Europe the exhibition explores the history of the peoples who became known as Celts and examines the powerful objects created and used by them. I am delighted that this collaboration with the British Museum has allowed us to present a stronger, more rounded exhibition than either of the institutions could have achieved on their own. I am sure that audiences in Edinburgh and London will find much to engage, enthuse and inspire them.”

Source: The British Museum [August 14, 2015]

The discovery of a rare gold coin bearing the image of the Roman Emperor Nero at the University of North Carolina at Charlotte's archaeological excavations on Mount Zion in Jerusalem, has just been announced by the archaeologists in charge of the project, Drs. Shimon Gibson, James Tabor, and Rafael Lewis.

"The coin is exceptional," said Gibson, "because this is the first time that a coin of this kind has turned up in Jerusalem in a scientific dig. Coins of this type are usually only found in private collections, where we don't have clear evidence as to place of origin."

The gold coin (aureus) bears the bare-headed portrait of the young Nero as Caesar. The lettering around the edge of the coin reads: NERO CAESAR AVG IMP. On the reverse of the coin is a depiction of an oak wreath containing the letters "EX S C," with the surrounding inscription "PONTIF MAX TR P III." Importantly, these inscriptions help to work out the date when the coin was struck as 56/57 AD. Identification of the coin was made by the historian and numismatist, Dr. David Jacobson from London.

The coin dates to a little more than a decade before the destruction of Jerusalem by the Romans in 70 AD, and was found in rubble material outside the ruins of the 1st Century Jewish villas the team has been excavating. The team has hypothesized that the large houses may have belonged to wealthy members of the priestly caste, and it may have come from one of their stores of wealth.

"The coin probably came from one of the rich 2000-year old Jewish dwellings which the UNC Charlotte team have been uncovering at the site," said Gibson. "These belonged to the priestly and aristocratic quarter located in the Upper City of Jerusalem. Finds include the well-preserved rooms of a very large mansion, a Jewish ritual pool (mikveh) and a bathroom, both with their ceilings intact."

This mansion and other like it, were utterly destroyed by Titus and the Roman legions, when Jerusalem was razed to the ground. It is likely, owing to the intrinsic value of the gold coin, it was hidden away ahead of the destruction of the city, and was missed by the marauding and looting Roman soldiers.

"It's a valuable piece of personal property and wouldn't have been cast away like rubbish or casually dropped. It's conceivable that it ended up outside these structures in the chaos that happened as this area was destroyed."

The image of Nero is significant in that it shows the presence of the Roman occupation and provides a clear late date for the occupation of the residences. There is no historical evidence that Nero ever visited Jerusalem. Tabor pointed out that the coin is dated "to the same year of St. Paul's last visit to Jerusalem, which resulted in his arrest (on the charge of taking Gentiles into the Temple) and incarceration in Caesarea." Last of the Julio-Claudian line, Nero was Roman emperor for fourteen years (54-68 AD). He had the reputation for being a tyrant, and some believed he was responsible for the devastating fire of 64 AD, which resulted in the burning of much of Rome.

The archaeological project has brought to light many other significant finds during the 2016 summer season, and work at the site will be resumed next year.

Source: University of North Carolina at Charlotte [September 13, 2016]

Archaeologists announced Wednesday they have discovered hundreds of writing tablets from Roman London - including the oldest handwritten document ever found in Britain - in a trove that provides insight into the city's earliest history as a busy commercial town.

Researchers from >Museum of London Archaeology uncovered more than 400 wooden tablets during excavations in London's financial district for the new headquarters of media and data company Bloomberg.

So far, 87 have been deciphered, including one addressed "in London, to Mogontius" and dated to A.D. 65-80 - the earliest written reference to the city, which the Romans called Londinium.

Sophie Jackson, an archaeologist working on the site, said the find was "hugely significant."

"It's the first generation of Londoners speaking to us," she said.

The Romans founded London after their invasion of Britain in A.D. 43. The settlement was destroyed in a Celtic rebellion led by Queen Boudica in A.D. 61, but quickly rebuilt.

The documents show that only a few years after it was established, London was already a thriving town of merchants and traders. The records include references to beer deliveries, food orders and legal rulings.

One tablet carries the date Jan. 8, A.D. 57, making it Britain's earliest dated hand-written document. Fittingly for a city that is now the world's commercial capital, it's about money - an ancient IOU in which one freed slave promises to repay another "105 denarii from the price of the merchandise which has been sold and delivered."

The wooden tablets were preserved in the wet mud of the Walbrook - then a river, now a buried stream.

"The water keeps out the oxygen that would normally cause decay," Jackson said. "Our sticky Walbrook mud is like the ash of Pompeii or the lava of Herculaneum" - Roman towns in Italy preserved by volcanic eruptions.

In Roman times, the tablets were covered in wax, on which words could be inscribed with a stylus. The wax has not survived, but some of the writing penetrated to the wood and can still be read.

Classicist Roger Tomlin, who deciphered the inscriptions, said looking at the ancient handwriting had been "fun."

"You're thinking your way into the hand of someone else who lived 1,900 years ago," he said. "Your eyes are setting foot where man has never been before, at least not for a very long time."

Author: Jill Lawless | Source: The Associated Press [June 01, 2016]

An ornate fresco that once adorned the residence of a wealthy Roman citizen has been discovered by a team of archaeologists at 21 Lime Street, in London.

Archaeologists from the Museum of London Archaeology (MOLA) uncovered the fresco six metres below street level, whilst undertaking archaeological fieldwork for a new office development. Dating to the late 1st century AD, and the first decades of London, it is one of the earliest surviving frescos from Roman Britain.

Thanks to a huge Roman construction project, the fate of this rare wall painting was literally sealed in the ground. In AD 100, construction of the 2nd Forum Basilica, the main civic centre for the city and the largest Roman building ever built north of the Alps, began. In advance of construction of the Forum the area was flattened. The painted wall was deliberately toppled and the Forum immediately built over it, incredibly preserving the fresco for nearly 2000 years.

Discovered face down, the fresco was identified from the distinctive markings of the keyed daub onto which the plaster was attached. The fragile remains, surviving to a width of nearly 2.5 metres and a height of over 1.5 metres, were carefully removed from the site by archaeological conservators, who lifted the fresco in 16 sections.

Each section was supported, undercut and block lifted so that soil encased and protected the plaster. Back in the lab the conservators worked quickly to micro-excavate the soil whilst it was still damp, to expose the millimetre-thin painted surface beneath.

The painting is likely to have decorated a reception room where guests were greeted and entertained. Building materials specialists will study the elaborate fresco further to learn more about the fashions and interiors favoured by London’s first wealthy citizens.

The central section, on a background of green and black vertical panels, depicts deer nibbling trees, alongside birds, fruit and a vine woven around a candelabrum. Red panels, bordered with cream lines, surround the main decorative scheme.

The fresco was hand-painted by a skilled artist in natural earth pigments, except one area of red on the twisting vine stem which is picked out in cinnabar, an expensive mercuric sulphide pigment that had to be mined in Spain.

Fascinatingly, a slight error in the design reveals that the craftsman who painted the fresco made a mistake. It suggests that there was more than one person painting the wall and that they may have been working to a pre-prepared template. The mistake could only have been corrected by repainting the whole middle panel.  

Although small fragments of Roman wall plaster have been found in London, complete collapsed wall paintings are extremely rare and the 21 Lime Street example is one of the earliest known from Britain. This design scheme has not previously been seen in Roman Britain; the closest example comes from a Roman villa in Cologne, Germany.

Specialists from MOLA continue to study the fresco and archaeological records from the dig and hope to build a picture of what the area looked like in the Roman period and how it developed over almost 2,000 years of London’s history.

Source: MOLA [February 03, 2016]

A 2,000-year-old triumphal arch destroyed by the Islamic State group in Syria has risen again - in replica - in London's Trafalgar Square.

The Arch of Triumph in Palmyra formed part of one of the world's most extensive ancient archaeological sites. The ancient city, a UNESCO world heritage site, was among Syria's main tourist attractions before the civil war erupted in 2011.

IS militants overran Palmyra in May 2015, demolishing Roman-era monuments including the archway and two large temples dating back more than 1,800 years - and posting videos of their destruction online. Syrian government forces retook the city last month and authorities have begun assessing the damage to its ancient monuments.

Built under the Roman emperor Septimius Severus between A.D. 193 and A.D. 211, the arch towered over the colonnaded streets of the ancient city, which linked the Roman Empire to Persia.

The six-meter (20-foot) Egyptian marble replica - about two-thirds the size of the original - was created by the Institute for Digital Archaeology from photographs of the original site using 3-D imaging technology and computer-aided carving tools.

"When I saw the destruction, I felt like I needed to do something to try and make it right," said Roger Michel, executive director of the Institute for Digital Archaeology. The institute is a joint venture between Harvard University, the University of Oxford and Dubai's Museum of the Future.

"The first thing I thought was, when I saw Palmyra come down, is these folks are censoring history," Michel said.

London Mayor Boris Johnson unveiled the model Tuesday. It will stay in London for three days before traveling to cities including New York and Dubai - and eventually to Palmyra itself.

Source: The Associated Press [April 19, 2016]

The remains of 16 pyramids with tombs underneath have been discovered in a cemetery near the ancient town of Gematon in Sudan.

They date back around 2,000 years, to a time when a kingdom called "Kush" flourished in Sudan. Pyramid building was popular among the Kushites. They built them until their kingdom collapsed in the fourth century AD.

Derek Welsby, a curator at the British Museum in London, and his team have been excavating at Gematon since 1998, uncovering the 16 pyramids, among many other finds, in that time. "So far, we've excavated six made out of stone and 10 made out of mud brick," Welsby said.

The largest pyramid found at Gematon was 10.6 meters (about 35 feet) long on each side and would have risen around 13 m (43 feet) off the ground.

Wealthy and powerful individuals built some of the pyramids, while people of more modest means built the others, Welsby said. "They're not just the upper-elite burials," he said.

In fact, not all the tombs in the cemetery have pyramids: Some are buried beneath simple rectangular structures called "mastaba," whereas others are topped with piles of rocks called "tumuli." Meanwhile, other tombs have no surviving burial markers at all.

In one tomb, archaeologists discovered an offering table made of tin-bronze. Carved into the tableis a scene showing a prince or priest offering incense and libations to the god Osiris, the ruler of the underworld. Behind Osiris is the goddess Isis, who is also shown pouring libations to Osiris.

Though Osiris and Isis originated in Egypt, they were also venerated in Kush as well as other parts of the ancient world. The offering table "is a royal object," Welsby said. The person buried with this table "must have been someone very senior in the royal family."

Most of the tombs had been robbed, to some degree, in ancient or modern times. The only tomb with a pyramid that survived intact held 100 faience beads (faience is a type of ceramic) and the remains of three infants. The fact that the infants were buried without gold treasures may have dissuaded thieves from robbing the tomb, Welsby said.

The Kushite kingdom controlled a vast amount of territory in Sudan between 800 B.C. and the fourth century A.D. There are a number of reasons why the Kushite kingdom collapsed, Welsby said.

One important reason is that the Kushite rulers lost several sources of revenue. A number of trade routes that had kept the Kushite rulers wealthy bypassed the Nile Valley, and instead went through areas that were not part of Kush. As a result, Kush lost out on the economic benefits, and the Kush rulers lost out on revenue opportunities. Additionally, as the economy of the Roman Empire deteriorated, trade between the Kushites and Romans declined, further draining the Kushite rulers of income.

As the Kushite leaders lost wealth, their ability to rule faded. Gematon was abandoned, and pyramid building throughout Sudan ceased.

Wind-blown sands, which had always been a problem for those living at Gematon, covered both the town and its nearby pyramids.

Author: Owen Jarus | Source: LiveScience [September 17, 2015]

Two Temple Place reopened to the public with its fifth annual Winter Exhibition, Beyond Beauty: Transforming the Body in Ancient Egypt on 30th January 2016. This major new exhibition allows us to experience the ancient Egyptians at their most spectacular and at their most intimate, uncovering a civilisation fascinated by appearance and identity both in life and death.

Rare surviving imagery on exquisite painted coffins, decorated funerary masks, delicate figurines and beautifully carved reliefs emphasise the importance of body image. Meanwhile jewellery, mirrors, hairpins, scent bottles and makeup provide an insight into some surprisingly familiar daily routines and the ever changing styles of the time. Through artefacts spanning over four millennia, from 3,500 B.C. to 400 A.D., the viewer is invited to ask why Egyptians cared so much about transforming the way they looked and how our perceptions are influenced by the objects they left behind.

Beyond Beauty is created by the Bulldog Trust in partnership with 7 museums from across the country. Many of the artefacts on display come from the same archaeological excavations, and are seen together collectively for the first time since their discovery by pioneering Victorian Egyptologists. Drawn Bagshaw Museum (Kirklees Council), Bexhill Museum, Bolton Museum, Ipswich Museum, Macclesfield Museums, Royal Pavilion & Museums (Brighton & Hove) and Touchstones Rochdale, the exhibition includes the fascinating stories of how such objects reached their current UK homes, supported by outstanding original archival material.

Beyond Beauty is curated by Egyptologist Dr Margaret Serpico, with Heba Abd El Gawad, a PhD student in Egyptian Archaeology at Durham University (funded by Helwan University, Cairo) currently researching self-presentation in Ancient Egypt. It has been a long-standing aim of Dr Serpico to create such an exhibition:

‘The desire to unveil the fabulous objects held in these museums was borne out of a long term project to raise awareness of some of the 200 ancient Egyptian collections in the UK, many in regional museums. I have always been amazed by the many wonderful artefacts in these collections, objects that I wished could be seen by wider audiences. This exhibition is a fantastic opportunity to celebrate these collections and appreciate how important it is that we care for and preserve them into the future.’

Two Temple Place, a magnificent neo-Gothic mansion on London’s Victoria Embankment, is owned and run by the charity the Bulldog Trust. Its Winter Exhibition Programme aims to support regional museums across the UK, highlighting the great riches that are to be seen through an annual free exhibition.

Chief Executive of the Bulldog Trust, Mary Rose Gunn says: “It is an exceptional opportunity for us to be able to champion the stunning Egyptology collections that are held in museums around the UK. We are also looking forward to strengthening cultural ties between Egypt and the UK and are honoured that His Excellency Mr Nasser Kamel, Ambassador of the Arab Republic of Egypt in the UK will be formally opening the exhibition on the 28th January 2016.”

The Winter Exhibition Programme is supported by public funding through Arts Council England. John Orna-Ornstein, Director of Museums, Arts Council England, stated: “Museums throughout England are home to some of the most fascinating collections in the world, and through our investments we want to see people enjoy these collections for years to come. ‘Beyond Beauty’ is an exciting opportunity for people to see some of our finest Egyptian artefacts together in one place, unravelling their mysteries through creative activities for all ages, from storytelling and dance, to lectures and music.”

Source: Two Temple Place [January 27, 2016]

Opening April 27 (and running until July 24, 2016) at New York’s Metropolitan Museum of Art, the landmark international loan exhibition Court and Cosmos: The Great Age of the Seljuqs features spectacular works of art created in the 11th through 13th century from Turkmenistan to the Mediterranean.

One of the most productive periods in the history of the region from Iran to Anatolia (in modern Turkey) corresponds to the rule of the Seljuqs and their immediate successors, from 1038 to 1307.

The Seljuqs were a Turkic dynasty of Central Asian nomadic origin that established a vast, but decentralized and relatively short-lived, empire in West Asia (present-day Turkmenistan, Iran, Iraq, Syria, and Turkey).

Under Seljuq rule, the exchange and synthesis of diverse traditions—including Turkmen, Perso-Arabo-Islamic, Byzantine, Armenian, Crusader, and other Christian cultures—accompanied economic prosperity, advances in science and technology, and a great flowering of culture within the realm.

Approximately 270 objects—including ceramics, glass, stucco, works on paper, woodwork, textiles, and metalwork—from American, European, and Middle Eastern public and private collections are shown. Many of the institutions have never lent works from their collections before. Among the highlights are a dozen important loans from Turkmenistan—the exhibition marks the first time that Turkmenistan as an independent country has permitted an extended loan of a group of historical objects to a museum in the United States.

Under the Great Seljuqs of Iran, the middle class prospered, spurring arts patronage, technological advancements, and a market for luxury goods. In contrast, in Anatolia, Syria, and the Jazira (northwestern Iraq, northeastern Syria, and southeastern Turkey)—which were controlled by the Seljuq successor dynasties (Rum Seljuqs, Artuqids, and Zangids)—art was produced under royal patronage, and Islamic iconography was introduced to a predominantly Christian area.

Furthermore, a number of artists had immigrated to the region from Iran in response to the Mongol conquest in 1220. Because patrons, consumers, and artists came from diverse cultural, religious, and artistic backgrounds, distinctive arts were produced and flourished in the western parts of the Seljuq realm.

Exhibition Overview

Arranged thematically, the exhibition opens with a display of artifacts that name the Seljuq sultans and members of the ruling elite. In Central Asia and Iran, inscriptions appeared on coins and architecture. Stucco reliefs representing royal guards, amirs, and courtiers serve to evoke the courts of the Great Seljuq rulers whose names did not appear on objects.

In Anatolia, Syria, and the Jazira, names of Seljuq successor rulers and images appeared on a range of objects. Here, the famous 12th-century cloisonné dish bearing the name of Rukn al-Dawla Dawud, a leader of the Artuqids, is featured.

In the second section, the courtly environment and activities associated with the sultans and their courtiers appear on stucco reliefs, ceramics, metalwork, and other media. While depictions of the Seljuq elite on these works were not intended as actual portraits, the distinctive Central Asian facial type was a standard of beauty under Seljuq rule.

The earliest extant manuscript of the Shahnama (Book of Kings)—the Persian national epic—created in Anatolia in 1217 is a highlight of this section. Additionally, the remarkable Blacas ewer, with its myriad details of life connected to the court, is prominently exhibited.

The three centuries under Seljuq rule were also a period of inventions; and the many advances in science, medicine, and technology were reflected in the manuscripts, scientific instruments, and medical implements of the time. Pages from the early 13th-century illustrated manuscript The Book of Knowledge of Ingenious Mechanical Devices feature some of the fanciful inventions of the Muslim polymath and creative genius Ibn al-Razzaz al-Jazari, whose inventions ranged from clocks and water wheels to automata (robots).

Also noteworthy is an early Islamic astrolabe. (Among the many things that could be determined by means of this complex navigational instrument was the direction of Mecca, and hence the direction of prayer.) Also on view is an intricate pharmacy box with separate compartments for musk, camphor, and other ingredients typical of the medieval pharmacopoeia.

Seljuq art abounds with depictions of real, mythological, and hybrid animals on objects large and small. Animal combat was a favorite theme in Iranian art. The double-headed eagle was adopted as the standard of the Seljuq successor states in Anatolia and the Jazira. Harpies (composite creatures having the body of a bird and the face of a human) and sphinxes (beasts with the body of a lion, face of a human, and occasionally the wings of a bird) appear frequently.

The exquisite Vaso Vescovali—a lidded bowl engraved and inlaid with silver and decorated with complex astrological imagery—features eight personifications of planets on the lid along with the 12 signs of the zodiac and their associated planets on the base, within a profusion of other ornamentation.

The Seljuqs actively promoted Sunni Islam throughout their territory, building madrasas and mosques, and sponsoring the production of Qur’ans and other religious texts. A number of rare and beautifully ornamented examples of the book arts from the time of the Seljuqs are on view. In Syria, the Jazira, and Anatolia—where the majority of the local population, including some of the ruling elite, was Christian—artifacts bearing Christian iconography continued to be made. And a ritual vessel from Georgia, with a Hebrew inscription, attests to the presence of Jewish populations as well. The same artists often served various religious communities. Hence, the styles and artistic traditions of one group merged with those of another.

The sixth and final section of the exhibition focuses on the funerary arts. A variety of tomb markers, cenotaphs, funerary furniture, and patterned textiles discovered in Seljuq tombs are shown. In a proper Muslim burial, the deceased is wrapped in two or three sheets of plain white cloth; the presence of expensive textiles in a funerary context indicates that popular customs and official practice differed significantly.

The exhibition is made possible by the NoRuz at The Met Fund and the Iranian-American Community.

Source: Metropolitan Museum, New York [April 30, 2016]

For the second year running a project led by University of Leicester archaeologists has been nominated in the Current Archaeology Awards, this year in the category >'Rescue Project of the Year'.

The project, ‘Buried between Road and River: Investigating a Roman cemetery in Leicester’ (reported on in Current Archaeology Issue 319), investigated part of a large Roman cemetery in Leicester’s West End. Between 2010 and 2015, archaeologists from University of Leicester Archaeological Services (ULAS) carried out a series of excavations at the former ‘Equity Shoes’ factory on Western Road as part of its ongoing redevelopment.

83 skeletons were discovered, dating from the 2nd century AD through to the 4th century. Many were buried with grave goods or exhibit burial customs not previously seen in Leicester, and tantalisingly, a number possibly have African ancestry, the first evidence ever found for Leicester’s ‘migrant’ population. The project is giving archaeologists a wealth of exciting new insights into life in the Roman town, whose inhabitants were perhaps as diverse and multicultural as those who reside in the modern city.

The research being funded by Jamie Lewis Residential is part of the site’s redevelopment. Excavation and analysis of the skeletal assemblage is being carried out by a multi-disciplinary team of researchers from University of Leicester Archaeological Services (ULAS), York Osteoarchaeology Ltd., the Scottish Universities Environmental Research Centre (SUERC) and the British Geological Survey (BGS).

Mathew Morris, project supervisor for ULAS said: “Until recently, burial practices in Leicester’s Roman cemeteries were poorly understood. Now, this excavation is providing a wealth of exciting new insights into the Roman town’s diverse population.

"Five individuals have cranial features that suggest they might have African or mixed ancestry. We are carrying out stable isotopes analysis to see if they were born in Britain or elsewhere in the Roman Empire. So far, two appear to have been born in Britain, one in the Pennines area and one in the Leicester area.

"Analysis is ongoing and the information gained from the study will provide fascinating new insights into the lives of the people living in Roman Leicester. Projects like this can only come about through successful collaboration between developers such as Jamie Lewis and archaeologists, and the notable results of our research highlight how important this process is for British archaeology, as demonstrated by our nomination for this award."

The results of the competition are decided on a public vote which has now opened and can be accessed from the Current Archaeology Awards webpage >www.archaeology.co.uk/vote

Voting will be open until Monday 6 February 2017, and the winners will be announced at Current Archaeology Live! 2017, held at the University of London’s Senate House on 24-25 February.

The nomination is the fourth for the University of Leicester in the past five years. In 2013 the University was awarded ‘Research Project of the Year’ for the Grey Friars Project and the discovery of Richard III. The following year Dr Richard Buckley, Lead Archaeologist on the Greyfriars Project, was awarded ‘Archaeologist of the Year’ and in 2016 the School of Archaeology and Ancient History’s summer fieldschool at Burrough Hill Iron Age Hillfort was nominated for ‘Research Project of the Year’.

One of the highlights of the recent excavations was a simple grave which had been dug into mudstone on the west bank of the River Soar. Buried in the grave were the remains of a middle-aged man wearing an elaborately decorated belt in a style that would have been worn by a late Roman soldier or civil servant during the second half of the 4th century or the early 5th century AD. Belts like this are rare and this is the first occurrence of such a find in Roman Leicester.

Source: University of Leicester [December 01, 2016]

Beneath the Aurora Borealis an oil tanker glides through the night past the Coast Guard ice breaker Amundsen and vanishes into the maze of shoals and straits of the Northwest Passage, navigating waters that for millennia were frozen over this time of year.

Warming has forced a retreat of the polar ice cap, opening up a sea route through the Canadian Arctic Archipelago and connecting the Atlantic and Pacific Oceans for several months of the year.

Commander Alain Lacerte is at the helm as the vessel navigates the Queen Maud Gulf, poring over charts that date from the 1950s and making course corrections with the help of GPS.

"Where it's white (on the chart), it means the area hasn't been surveyed," he explains -- leaning over a map that is mostly white. "Most of the far north hasn't been surveyed, so our maps are unreliable."

The crew constantly take radar and multi-beam sonar measurements and check their position.

"We don't want any shoals named after us," says the old sea dog from behind his spectacles.

Almost the size of the European Union, the Canadian Arctic seabed remains largely uncharted. The waters are also shallow and navigating unknown parts can be deadly -- even when the north is ice-free.

Today, taking this route cuts 7,000 kilometers (4,350 miles) off a trip from London to Tokyo, saving time and fuel.

'Never imagined this'

Since the 15th century there have been a dozen expeditions seeking a faster shipping route from Europe to Asia through the north.

The Norwegian explorer Roald Amundsen was the first to cross the Northwest Passage, on board the Gjoa, in an expedition that took three years, finishing in 1906.

Afterward interest in the waterway waned. An average of one ship per year attempted to make the crossing over the past century.

But thawing of the polar ice promises Arctic nations new opportunities to open ocean trade routes and offshore oil fields.

In the summer months the Amundsen is used by Canadian government scientists -- among them Roger Provost, a Canadian Ice Service meteorologist -- as well as a network of scientists led by the ArcticNet organization.

Provost looked with amazement from the wheelhouse at the lack of any ice cover around the coast guard ship.

"Anyone who still denies climate change is real has their head in the ground, they're blind," he said.

In 37 years of Arctic exploration, he said he "never imagined ever seeing this," pointing to satellite images showing a clear path through the Queen Maud Gulf and the M'Clintock Channel, where the Amundsen is headed.

Almost 112 years ago to the day, the explorer Amundsen got stuck in the pack ice here. And in 1979, Provost recalls, another Canadian Coast Guard ice-breaker had to cut short its inaugural journey, unable to push beyond this point through thick ice.

Over the past five years the number of cargo and cruise ships, tankers and others crossing the Passage climbed to 117.

In 2010, Canada imposed shipping regulations on seafarers going through the Passage, but the United States and the European Union do not recognize Canada's ownership of the waterway, considering it international waters.

'Completely disappear'

The ice cover has steadily retreated over the past decade, with this year set to be the hottest on record, according to the US National Oceanic and Atmospheric Administration.

The previous year saw average global temperatures rise one degree Celsius -- but by three degrees in the Arctic.

What most worries Provost is the loss of "multi-year ice," formed over centuries. "In a few years it will completely disappear," he forecast.

"It's a tragedy for all humanity what is happening."

Glaciologist Lauren Candlish said: "We're now in the transition phase, from having multi-year ice through the entire summer, to a seasonally ice free Arctic."

Poring over data on her computer in a nook of the ship the University of Manitoba researcher says: "It's a different Arctic now. Less predictable, with more fluctuations."

The last such melting occurred "before the last ice age," from AD 100,000 to AD 10,000, she noted.

Most aboard the ship doubt we are headed for an Arctic shipping boom predicted by many, as the weather remains unpredictable and harsh. But there is sure to be an increase, which raises concerns for the environment.

"When it was covered in ice, this ecosystem was not threatened," says Provost. The Arctic is a unique and diverse ecosystem that is home to whales, seals, polar bears, walruses and several bird species.

"A massive oil spill like the one in the Gulf of Mexico in 2010 must never happen in the Arctic," he said. "The consequences would be much more serious."

Author: Clement Sabourin | Source: AFP [October 20, 2015]

An intricately carved gold ring containing a stone engraved with an image of Cupid — a god associated with erotic love — has been discovered near the village of Tangley in the United Kingdom.

In the engraving, Cupid (also known by his Greek name, “Eros”) is shown standing completely nude while holding a torch with one hand. The ring dates back around 1,700 years, to a time when the Roman Empire controlled England. The ring was discovered by an amateur metal detectorist. Researchers who studied it say that it may have been worn by a man or a woman and is engraved with spiral designs that contain bead-shaped spheres.

The image of Cupid is engraved on a stone made of nicolo, a type of onyx that is dark at the base and bluish at the top. The image on the stone “depicts a standing naked adolescent with crossed legs, leaning on a short spiral column; the short wings which sprout from his shoulders identify him as Cupid,” Sally Worrell, national finds adviser with the Portable Antiquities Scheme, and John Pearce, senior lecturer in archaeology at King’s College London, wrote in an article published recently in the journal Britannia.

Cupid is shown resting one arm on a column while he holds a torch with the other, Worrell and Pearce wrote. Artistic depictions of Cupid were popular among the Greeks and Romans, and several other finger rings that have stones depicting Cupid are known to exist, the researchers noted. The design of this particular ring indicates that it was created around the fourth century A.D., they said.

A person using a metal detector discovered the ring in December 2013 and reported the finding to the Portable Antiquities Scheme, which was established in 1997 to encourage people to voluntarily report the discovery of artifacts.

In England and Wales, amateurs are allowed to use metal detectors to search for antiquities if they have permission from the landowner and if they avoid archaeological sites that have been granted protection by the government. Certain finds (such as those made of precious metal) must be reported to antiquities authorities.

Worrell said that Hampshire Museums Service has acquired the ring, which will be put on display at the Andover Museum in Andover, U.K.

Author: Owen Jarus | Source: Discovery News [November 26, 2015]

A long-running smuggling scandal involving temple looters in India and a high-profile New York art dealer has widened after an independent review found that the National Gallery of Australia may have been among the prestigious art galleries duped by false documentation.

The Canberra-based gallery, which is Australia's leading cultural institution, said in mid-February that it had identified 22 objects with suspect origins in its Asian art collection, including 14 works bought from former New York-based dealer Subhash Kapoor for $11 million.

Kapoor is in custody in Chennai, India, awaiting trial on art theft charges following his arrest in Germany in October 2011 and extradition to India in mid-2012.

The Canberra gallery said an independent review of its Asian art provenance project by a former High Court judge, Susan Crennan, found the 22 objects had "insufficient or questionable" documentation of their provenance.

One of the objects, a 900-year-old Chola-era bronze statue entitled "Shiva as Lord of the Dance (Nataraja)" has already been returned to India. Former Australian Prime Minister Tony Abbott handed it over to Indian Prime Minister Narendra Modi in September 2014, along with a stone statue of Ardhanariswara (Shiva in half-female form), dating from around 1100. That statue was in the collection of another leading Australian gallery, the Sydney-based Art Gallery of New South Wales.

Both of these Hindu art treasures allegedly were stolen from temples in Tamil Nadu in southern India and shipped to Kapoor.

The Canberral gallery bought the Shiva Nataraja from Kapoor's Art of the Past gallery on Madison Avenue in New York in 2008 for $5.1 million, while the New South Wales gallery paid Kapoor 300,000 Australian dollars ($220,800) in 2004 for the Ardhanariswara. The provenance documents he provided now appear to be fraudulent, according to Crennan's report. "There is evidence that the object (the Shiva Nataraja) was stolen from an identified temple in Tamil Nadu ... and that it left India in late 2006 and was given a false ownership history," she wrote. Kapoor is alleged to have masterminded the theft of 28 bronzes from two temples in Tamil Nadu in 2006 and 2008, and their illegal export to the U.S., according to the Economic Offences Wing of the Tamil Nadu police. U.S. authorities have seized $100 million worth of antiquities from Kapoor's gallery and an associated business, Nimbus Import Export, and Kapoor may face U.S. charges after his Chennai trial. Delhi-born Kapoor, 66, moved to the U.S. in 1974 and is a U.S. citizen.

The two Australian galleries are not the only major institutions to have made purchases from Kapoor; galleries in Singapore, Germany, the U.S. and Canada have returned art objects to India over the past year.

A private New York collector surrendered a $1 million bronze to U.S. authorities in mid-2015 after it was identified as stolen. It has also become clear that many major U.S. institutions dealt with Kapoor, including the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Art Institute of Chicago, the Toledo Museum of Art in Ohio and the Smithsonian's Freer and Sackler Galleries in Washington DC.

Crennan's independent report on the Canberra gallery's Asian Art Provenance project, published on Feb. 17, covers 36 objects acquired between 1968 and 2013, including the 14 bought from Kapoor between 2002 and 2011.

Crennan found that only 12 of the 36 had satisfactory provenance, while two others needed further research and the remaining 22 had insufficient or questionable provenance documentation. The gallery aims eventually to publish the provenance of all 5,000 objects in its Asian art collection.

Aside from the Kapoor purchases, the 36 objects whose documentation was reviewed by Crennan included a red sandstone sculpture, the "Seated Buddha," which the gallery bought from Nancy Wiener Galleries in New York for $1,080,000 in 2007. Last year, after discussions about how the Kushan-period sculpture -- created between 200 BC and 400 AD -- was exported from India, Wiener agreed to refund the purchase price to the Canberra gallery and undertook to return the sculpture to India in 2016.

"Exemplary collaboration"

India's High Commissioner in Australia, Navdeep Suri, praised the Canberra gallery's actions, saying its collaboration with the Archaeological Survey of India to determine the provenance of the "Seated Buddha" was "truly exemplary." He said the Australian gallery had set an example for other countries and institutions to follow in the restitution of stolen artworks to their countries of origin.

The Canberra gallery bought the "Seated Buddha" with assistance from gallery benefactor Roslyn Packer, widow of the late media tycoon Kerry Packer. Roslyn Packer also helped the gallery to buy an 800-year-old sculpture, the "Sacred Bull Nandi, Vehicle of Shiva," for A$655,000 from another New York art dealer, Carlton Rochell, in 2009. This sculpture's provenance is also under a cloud; Crennan's report described it as "problematic" and needing further research.

In a September 2014 statement to mark Abbott's return of the two statues to India, the Canberra gallery said it "would never knowingly purchase a stolen or looted item." It said the gallery had undertaken lengthy, comprehensive and independent research before it bought the Shiva Nataraja from Kapoor in 2008. "Despite these efforts, court proceedings may yet confirm that the gallery has been a victim of a most audacious fraud," said the then director of the gallery, Ron Radford. Radford retired the same month, after 10 years as director.

The search for the Hindu statues stolen from two temples in Tamil Nadu in 2006 and 2008 was aided by photographic evidence from the archives of the French Institute of Pondicherry. The institute, established in what was once the French colony of Pondicherry, about 200km south of Chennai, had a collection of photographs of items in various temples in the region. These were matched against catalogue pictures of items being offered for sale by Kapoor in New York. Kapoor's Art of the Past gallery manager Aaron Freedman pleaded guilty in the U.S. in December 2013 to one count of criminal conspiracy and five counts of possession of stolen property. He is now helping U.S. federal authorities with their inquiries. Another New York associate, Selina Mohamed, was charged in December 2013 with possession of stolen property. She subsequently pleaded guilty to a misdemeanor charge of conspiracy and in March 2015 was given a one year conditional release.

The arrests were part of Operation Hidden Idol, run by the U.S. Immigration and Customs Homeland Security Investigations' cultural property unit, which focused on Kapoor's activities.

The Kapoor case evokes parallels with an art looting saga from the 1970s involving a temple north-east of Cambodia's famed Angkor complex. Between 2013 and 2015, six 10th century sandstone statues that were stolen from the Koh Ker temple during the Cambodian civil war were returned to Cambodia from the U.S. The Metropolitan Museum of Art in New York returned two of these statues in 2013 after it said new information had come to light that was not available when the statues were donated to the museum between 1987 and 1992.

In 2014, three items portraying characters from the Mahabharata, an epic Sanskrit poem of ancient India, were returned by the U.S., including a statue of Duryodhana that was first auctioned in London in 1975. The statue was due to be auctioned by Sotheby's in New York in March 2011 before action by Unesco, the United Nations cultural organization, stopped the sale on Cambodia's behalf.

Another statue, of the character Bhima, was returned by California's Norton Simon museum and a third, representing the character Pandava, was returned by Christie's auction house in 2014. Last year, the Cleveland Museum of Art said it would return a statue of Hanuman, a Hindu god, that it acquired in 1982.

Author: Geoff Hiscock | Source: Nikkei Asian Review [March 04, 2016]

The Islamic State released photos showing the destruction of six priceless artifacts from the ancient city of Palmyra. The photos show jihadis taking a sledgehammer and smashing the historic treasures, including one dating from the second century.

Jihadis took sledgehammers to the relics, smashed them to pieces and then lashed the man who allegedly smuggled the artifacts in a public square full of onlookers, they announced on social media Thursday.

One-fifth of Iraq's approximately 10,000 world-renowned cultural heritage sites are under the Islamic State's control and most have been heavily looted, Irina Bokova, the head of the U.N. cultural agency UNESCO, warned experts in London Thursday. Some Syrian sites have been so badly ransacked that experts say they no longer have historical or archaeological value.

"Violent extremists don't destroy [heritage] as a collateral damage, they target systematically monuments and sites to strike societies at their core," Bokova said Wednesday.

The 2,000-year-old Allat God statue, which depicts a lion catching a deer between its feet, is believed to have been destroyed Saturday. "ISIS terrorists have destroyed one of the most important unearthed statues in Syria in terms of quality and weight...it was discovered in 1977 and dates back to the second century A.D.," Ma'moun Abdul-Karim, director of museums and antiquities, told Syrian state-run news agency SANA Thursday.

It's "the most serious crime they have committed against Palmyra's heritage," he added to the AFP.

The militants have also planted improvised explosive devices (IEDs) around the ruins of the ancient city. The explosives appear placed according to a pattern that indicates they are set to optimize the "filmed destruction," says Michael Danti, co-director of the Syrian Heritage Initiative at the American Schools of Oriental Research, a group monitoring cultural damage in Syria and Iraq.

"The deliberate destruction, what we are seeing today in Iraq and Syria, has reached unprecedented levels in contemporary history," said Bokova.

Author: Barbara Boland | Source: Washington Examiner [July 02, 2015]

The British Museum is to stage a major exhibition on two lost Egyptian cities and their recent rediscovery by archaeologists beneath the Mediterranean seabed. Opening in May 2016 for an extended run of six months, The BP exhibition Sunken cities: Egypt’s lost worlds will be the Museum’s first large-scale exhibition of underwater discoveries. It will show how the exploration of Thonis-Heracleion and Canopus – submerged at the mouth of the River Nile for over a thousand years – is transforming our understanding of the relationship between ancient Egypt and the Greek world and the great importance of these ancient cities.

300 outstanding objects will be brought together for the exhibition including more than 200 spectacular finds excavated off the coast of Egypt near Alexandria between 1996 and 2012. Important loans from Egyptian museums rarely seen before outside Egypt (and the first such loans since the Egyptian revolution) will be supplemented with objects from various sites across the Delta drawn from the British Museum’s collection; most notably from Naukratis – a sister harbour town to Thonis-Heracleion and the first Greek settlement in Egypt.

Likely founded during the 7th century BC, Thonis-Heracleion and Canopus were busy, cosmopolitan cities that once sat on adjacent islands at the edge of the fertile lands of the Egyptian Delta, intersected by canals. After Alexander the Great’s conquest of Egypt in 332BC, centuries of Greek (Ptolemaic) rule followed. The exhibition will reveal how cross-cultural exchange and religion flourished, particularly the worship of the Egyptian god of the afterlife, Osiris.

By the 8th century AD, the sea had reclaimed the cities and they lay hidden several metres beneath the seabed, their location and condition unclear. Although well-known from Egyptian decrees and Greek mythology and historians, past attempts to locate them were either fruitless or very partial. The exhibition will show how a pioneering European team led by Franck Goddio in collaboration with the Egyptian Ministry of Antiquities made use of the most up-to-date technologies to find them.

Thanks to the underwater setting, a vast number of objects of great archaeological significance have been astonishingly well preserved. Pristine monumental statues, fine metalware and gold jewellery will reveal how Greece and Egypt interacted in the late first millennium BC. These artefacts offer a new insight into the quality and unique character of the art of this period and show how the Greek kings and queens who ruled Egypt for 300 years adopted and adapted Egyptian beliefs and rituals to legitimise their reign.

The exhibition will feature a number of extraordinary, monumental sculptures. A 5.4m granite statue of Hapy, a divine personification of the Nile’s flood, will greet visitors as they enter the space. Masterpieces from Egyptian museums such as the Apis bull from the Serapeum in Alexandria will be shown alongside magnificent recent finds from the sea. One such piece is the stunning sculpture from Canopus representing Arsinoe II (the eldest daughter of Ptolemy I, founder of the Ptolemaic dynasty). The Graeco-Macedonian queen became a goddess beloved to both Egyptians and Greeks after her death and is depicted here as the perfect embodiment of Aphrodite, a goddess of beauty ‘who grants fortunate sailing’.

The exhibition will also cover the arrival of Greeks in Egypt, when they were hosts and not rulers; privileged but controlled by the pharaohs. A complete stela from Thonis-Heracleion advertises a 380BC royal decree of the Egyptian pharaoh Nectanebo I. It states that 10% of the taxes collected on all goods imported from the ‘Sea of the Greeks’ into Thonis-Heracleion and on all trade operations at Naukratis were to be donated to an Egyptian temple.

A wide range of objects, from modest to grand and costly, bears witness to the piety of both inhabitants and visitors at these major religious centres. Lead models of barges uncovered in the sacred waterway linking Thonis-Heracleion to Canopus are unique and moving finds. They are associated with the Mysteries of Osiris, the most popular festival celebrated annually across Egypt during the month of Khoiak (mid-October to mid-November). Ranging in size from 6 to 67cm, these reproduce in metal a flotilla of 34 papyrus barges that would have been displayed on a waterway to celebrate the first sacred navigation of the festival. According to religious texts, each barge was to measure 67.5 cm and to bear the figure of an Egyptian god, and would have been illuminated by 365 lamps. The lead barges are lasting testimonies possibly left by people who, long ago, celebrated this festival in the Canopic region.

Only a tiny proportion of these sites have revealed their secrets. The on-going underwater archaeological mission continues to bring to light new masterpieces and further research every year as the most recent finds from 2012 will show.

Sir Richard Lambert, Chairman of the British Museum, said, “It’s hugely exciting to be announcing the British Museum’s first large-scale exhibition of underwater discoveries and to be welcoming these important loans to London. We are grateful to BP for their ongoing support without which ambitious exhibitions such as these would simply not be possible. We’re also delighted to be working with Franck Goddio, his expert team at IEASM, the Hilti Foundation and of course our Egyptian colleagues to bring the extraordinary story of these lost cities to life.”

His Excellency Nasser Kamel, Ambassador of the Arab Republic of Egypt to the United Kingdom, said, "As well as looking for partners to invest in the Egyptian economy, Egypt is always searching for partners to help in exploring its heritage and treasures which are still hidden under its lands, and waters. This exhibition shows that despite what we know of its tremendous history and culture, Egypt still has a lot more to offer to?the world and we thank our partners in the UK, such as BP, for working with us in utilising our resources to develop our economy and through such an exhibition unraveling our history as well. I invite the people of Britain to visit this exhibition to get a glimpse of what Egypt has to offer, and come to Egypt to live that experience."

Bob Dudley, Group Chief Executive, BP, said, “BP is proud to support this fascinating exhibition which showcases the power of science and the pioneering spirit to discover what lies beneath the surface of the Nile Delta. By sharing these underwater treasures the British Museum is opening a whole new frontier for visitors to explore, and we are pleased to be a part of it.”

Franck Goddio, President of Institut Europeen d’Archeologie Sous-Marine (IEASM) and exhibition co-curator said “My team and I, as well as the Hilti Foundation, are delighted that the exhibition with discoveries from our underwater archaeological expeditions off the coast of Egypt will be on display at the British Museum. It enables us to share with the public the results of years of work at the sunken cities and our fascination for ancient worlds and civilisations. Placing our discoveries alongside selected masterpieces from the collections of Egyptian museums, complemented by important objects from the British Museum, the exhibition presents unique insights into a fascinating period in history during which Egyptians and Greeks encountered each other on the shores of the Mediterranean.”

Aurelia Masson-Berghoff, exhibition curator at the British Museum said “People sometimes assume that when two cultures mix, the essence of each is diluted and, as a result, weakened; this exhibition demonstrates the opposite. It is a rare opportunity to reveal the beauty and strength of Late Pharaonic art and culture, alongside the latest research on the momentous intermingling between Egyptian and Greek communities in Egypt at this time. We are illustrating this vibrant cosmopolitan world through Egyptian, Greek and ‘hybrid’ artworks, rarely ever displayed side by side. It shows ancient Egypt not as an isolated civilisation, but as the outward looking, influential and inclusive society that it was.”

Source: British Museum [February 14, 2016]

A DNA analysis of four ancient Roman skeletons found in London shows the first inhabitants of the city were a multi-ethnic mix similar to contemporary Londoners, the Museum of London said on Monday.

Two of the skeletons were of people born outside Britain -- one of a man linked genealogically to eastern Europe and the Near East, the other of a teenage girl with blue eyes from north Africa.

The injuries to the man's skull suggest that he may have been killed in the city's amphitheatre before his head was dumped into an open pit.

Both the man and the girl were suffering from periodontal disease, a type of gum disease.

The other two skeletons of people believed to have been born in Britain were of a woman with maternal ancestry from northern Europe and of a man also with links through his mother to Europe or north Africa.

"We have always understood that Roman London was a culturally diverse place and now science is giving us certainty," said Caroline McDonald, senior curator of Roman London at the museum.

"People born in Londinium lived alongside people from across the Roman Empire exchanging ideas and cultures, much like the London we know today," she said.

The museum said in a statement that this was "the first multidisciplinary study of the inhabitants of a city anywhere in the Roman Empire".

The Romans founded Britain's capital city in the middle of the first century AD, under the emperor Claudius.

Britain's University of Durham researched stable isotopes from tooth enamel to determine migration patterns.

A tooth from each skeleton was also sent to McMaster University in Canada for DNA analysis that established the hair and eye colour of each individual and identified the diseases they were suffering from.

McMaster University also examined the mitochondrial DNA (mtDNA) to identify maternal ancestry.

The exhibition of the four skeletons, entitled "Written in Bone", opens on Friday.

Source: AFP [November 24, 2015]

A project for the deciphering of ancient papyri found in Graeco-Roman Egypt has recruited armchair archaeologists from around the world with amazing results.

The Ancient Lives project is a collaboration between the University of Oxford, the Egypt Exploration Society, the Citizen Science Alliance and others asking for anyone who can identify Greek letters to work on-line and decipher the writing on digital scans of papyri from Oxyrhynchus in Upper Egypt. Then, scholars, with the use of special online tools, carry out the translation. The latest finds were presented yesterday by Dirk Obbink, associate professor in Papyrology and Greek Literature from the University of Oxford.

The papyri, dating mainly from the 1st Century BC to the 7th Century AD, when Egypt was occupied by the Greeks and Romans, were discovered by Victorian archaeologists Bernard Grenfell and Arthur Hunt in January 1897, at what turned out to be a rubbish dump at Oxyrhynchus, an ancient city about 160m south-west of Cairo. The excavations yielded 700 boxes of documents which were shipped to Oxford for study, owned by the Egypt Exploration Society in London.

Transcribing them, however, was really time-consuming, allowing experts to transcribe over 5,000 out of the 500,000 documents between 1898 and 2012. That’s when the Ancient Lives project was piloted, asking citizen scientists from all over the world to help scientists decipher the writing on the papyri online. The project went fully live in 2014 and with the use of algorithms to help experts assess the accuracy of the work by volunteers, it has allowed a variety of individuals across the globe to participate.

The Oxyrhynchus fragments have revealed personal documents of various use, from tax assessments, grocery lists and mariage certificates, ancient remedies, to court records and pieces of literature by Sappho Euripides and Homer. Fragments of a lost tragedy by Sophocles, Andromeda, have also been found.

The results were announced by Dirk Obbink at a talk in London, held at the Royal Geographical Society and organised by the World Monuments Fund Britain.

For more on this story see:

• The Art Newspaper, http://theartnewspaper.com/news/news/armchair-archaeologists-reveal-details-of-life-in-ancient-egypt/ (29/02/2016) 

• The Independent, http://www.independent.co.uk/news/science/ancient-egypt-citizen-scientists-reveal-tales-of-tragedy-unearthed-from-centuries-old-rubbish-dump-a6905541.html (01/03/2016)

When the Black Death swept through Europe in 1347, it was one of the deadliest disease outbreaks in human history, eventually killing between a third and half of Europeans.

Prior work by investigators has traced the cause to plague-carrying fleas borne by rats that jumped ship in trading ports. In addition, historical researchers believe that famine in northern Europe before the plague came ashore may have weakened the population there and set the stage for its devastation.

Now, new research using a unique combination of ice-core data and written historical records indicates that the cool, wet weather blamed for the northern European famine actually affected a much wider area over a much longer period. The work, which researchers say is preliminary, paints a picture of a deep, prolonged food shortage in the years leading to the Black Death.

“The evidence indicates that the famine was a broader phenomenon, geographically and chronologically,” said Alexander More, a postdoctoral fellow in the Harvard History Department and a lecturer in the History of Science Department.

A widespread famine that weakened the population over decades could help explain the Black Death’s particularly high mortality. Over four or five years after arriving in Europe in 1347, the pandemic surged through the continent in waves that killed millions.

The ice-core data is part of a unique program linking traditional historical research with scientific data-collecting techniques. The program, called the Initiative for the Science of the Human Past at Harvard (SoHP), is headed by Michael McCormick, the Francis Goelet Professor of Medieval History. SoHP’s ice-core project is being conducted in collaboration with the University of Maine’s Climate Change Institute and researchers at Heidelberg University. The project’s approach puts it at the juncture of environmental science, archaeology, and history. It is supported by the Arcadia Fund of London.

More presented his findings at a conference in November arranged to discuss the project. Joining him was Harvard junior Matthew Luongo, an Earth sciences and environmental engineering concentrator from Dunster House, who discussed the discovery of volcanic tephra in the ice core. Tephra, microscopic airborne volcanic particles, are generally believed absent from cores in European glaciers, make Luongo’s assumption-puncturing discovery potentially significant.

Luongo spent several days at the Climate Change Institute last summer performing chemical analyses and examining the volcanic bits through a scanning electron microscope. Each volcanic eruption has a slightly different chemical fingerprint, so he was able to trace the tephra to the 1875 Askja eruption in Iceland, one of the largest eruptions there in history.

Since many eruptions were written about contemporaneously, the ice core’s volcanic traces can be used to align ice-core data with written records, providing greater certainty in dating other chemical traces in the ice, such as those from human activities like lead from Roman-era smelting.

“I think it was a really important project,” Luongo said.

McCormick said that the advanced technologies scientists used to understand areas like the human genome and climate change are increasingly being applied to the humanities, and opening new avenues of investigation.

McCormick was part of a team that in 2011 used tree-ring data to reconstruct European climate over the last 2,500 years, showing that the period before the fall of the Roman Empire was marked by wide climactic variability. In November, McCormick summed up the use of climate data in historical research as reading history “from the environment itself.”

“All these things are happening in the sciences and spilling over into the humanities,” McCormick said. “Twenty years ago, if you’d have told me that climate could have caused the collapse of the Roman Empire and that we would have the means to test that, I wouldn’t have believed you.”

The new data emerging from the ice core could be the first of a flood of information about the last millennium and beyond. McCormick’s University of Maine colleagues, led by Paul Mayewski, have developed a laser-based method of ice analysis. It requires far smaller samples of ice and can take 50,000 samples in a one-meter ice core, compared with just 100 in the previous method. The new technology allows much higher resolution analysis of even very thin ice layers — to the specific year and potentially to individual storms — and can go back farther than the 1500 A.D. limit of this glacier with previous techniques.

The ice core was the first ever taken specifically for historical research, McCormick said, and was drilled in 2013 from the Colle Gnifetti glacier, high in the Alps near the Swiss-Italian border. It was divided between partner organizations, with the portion allocated to the Initiative for the Science of the Human Past and the Climate Change Institute being held at the University of Maine.

The findings about the period preceding the Black Death described by More continue to fill in an emerging and newly complex picture of a key period in human history. Recent research has traced the genesis of the European plague to animal groups in Asia and climate-related outbreaks that traveled along Silk Road trade routes.

McCormick said this application of scientific methods opens new avenues of inquiry, akin to discovering colossal collections of historical records, whether read directly from the DNA of ancient people, from the trees that grew at the time, or from the ice deposited in ancient storms.

“It’s a gigantic set of archives that document the least-documented part of [history],” McCormick said. “It’s kind of a renaissance of history.”

Author: Alvin Powell | Source: Harvard University [January 07, 2016]

The Museo Civico Archeologico is hosting Egypt. Millennia of Splendour. Beneath the two towers, the splendour of a civilisation that lasted thousands of years and has always fascinated the entire world, has sprung back to life: the Egypt of the pyramids, pharaohs and multiform gods, but also that of sensational discoveries, captivating archaeology, passionate collecting and rigorous scholarship.

The exhibition ‘Egypt’, which is being held at the Museo Civico Archeologico in Bologna, is not just an exposition of high visual and scientific impact, but also an unprecedented international enterprise: the Egyptian collection of the National Museum of Antiquities in Leiden, Netherlands – among the top ten in the world – and that of the Bologna museum – among the most important in Italy for the quantity, quality and state of conservation of its collections – have been brought together in an exhibition space measuring around 1,700 metres, filled with art and history.

500 finds, dating from the Pre-Dynastic Period to the Roman Period, gave been brought from the Netherlands to the Bologna museum. And, together with the masterpieces from Leiden and Bologna, the exhibition also includes important loans from the Museo Egizio in Turin and the Museo Egizio in Florence, creating a network of the most important Italian museums.

For the first time, the masterpieces of the two collections are being displayed side by side, including the Stele of Aku (Twelfth–Thirteenth Dynasty, 1976–1648 BC), the ‘major domo of the divine offering’, with a prayer describing the otherworldly existence of the deceased in a tripartite world divided into sky, earth and the beyond; gold items attributed to General Djehuty, who led the Egyptian troops to victory in the Near East for the great conqueror Pharaoh Thutmose III (1479–1425 BC); the statues of Maya, superintendent of the royal treasury of Tutankhamen, and Merit, a chantress of the god Amun, (Eighteenth Dynasty, reigns of Tutankhamen and Horemheb, 1333–1292 BC), the most important masterpieces in the National Museum of Antiquities in Leiden have left the Netherlands for the first time for the Bologna exhibition; and, among the numerous objects attesting to the refined lifestyle of the most wealthy Egyptians, a Mirror Handle (1292 BC) in the shape of a young woman holding a small bird in her hand.

Lastly, for the first time 200 years after the discovery of his tomb in Saqqara, the exhibition offers the unique and once-in-a-lifetime opportunity to see the important Reliefs of Horemheb reunited: Horemheb was the head commander of the Egyptian army during the reign of Tutankhamen, then rising to become the final sovereign of the Eighteenth Dynasty, from 1319 to 1292 BC and the reliefs are divided between the collections in Leiden, Bologna and Florence.

Thousands of years of the history of a unique civilisation revealed in a major exhibition that brings together masterpieces from important world collections and tells of the pyramids and pharaohs, the great captains and priests, the gods and other divinities, and the people that made Egyptian history and that, thanks to discoveries, archaeology and collecting, never stop enchanting, revealing, intriguing, fascinating and charming generation after generation.

The Seven Exhibition Sections

The Pre-Dynastic and Archaic Periods – At the Origins of History: The transition from raw material to form, from the oral tradition to the written one and from prehistory to history was a fundamental moment for Egyptian civilisation. The Leiden collection is rich in materials documenting the central role played by nature during this long cultural and artistic evolution.

The exhibition opens with a selection of these objects, which are strikingly modern in style, including a vase from the Naqada IID Period (named for a site in Upper Egypt and datable between 3375 and 3325 BC) decorated with ostriches, hills and water motifs. The scene depicted on this vase takes us back to an Egypt characterised by a flourishing landscape later changed over time by climatic changes. Ostriches, here painted red, along with elephants, crocodiles, rhinoceros and other wild animals were common in the Nile region at the time.

The Old Kingdom – A Political/Religious Model Destined for Success and its Weaknesses: The historic period of the Old Kingdom (from the Third to the Sixth Dynasty, roughly between 2700 and 2192 BC) is known for the pyramids and for the consolidation of a bureaucracy at the apex of which stood an absolute sovereign, considered a god on earth and lord of all of Egypt.

This definition of State and its worldly and otherworldly rules, which were highly elitist, are well documented by funerary objects, of which the Leiden museum has a particularly rich collection, including a calcite (alabaster) table for offerings.

Offerings to the deceased were a fundamental part of the funerary ritual, ensuring life after death. The uniqueness of this table, which belonged to a high state official named Defdj, lies in its circular shape, which was unusual, as well as the repetition of the concept of the offering as indicated by the inscription, the sculpted receptacles and, most importantly, the central depiction corresponding to the hieroglyph hotep (offering), or a table upon which one places a loaf of bread.

The Middle Kingdom – The God Osiris and a New Perspective on Life in the Afterworld: The end of the Old Kingdom and the period of political breakdown that followed it led to major changes in Egyptian society, within which the individual had greater responsibility for his own destiny, including in the afterworld. Any Egyptian with the means to build a tomb complete with a sufficient funerary assemblage could now aspire to eternal life. The god Osiris, lord of the afterworld, became Egypt’s most popular divinity.

Many steles now in Leiden and Bologna came from his temple in Abydos, one of Egypt’s most important cult centres. Among them is that of Aku, major domo of the divine offering, who dedicated the stele to Min-Hor-nekht, the form of the ithyphallic god Min worshipped in the city of Abydos. Aku’s prayer to the god describes an otherworldly existence in a tripartite world: the sky, where the deceased were transfigured into stars, the earth, where the tomb was the fundamental point of passage from life to death, and the beyond, where Osiris granted the deceased eternal life.

From the Middle to the New Kingdom – Territorial Control at Home and Abroad: The defeat of the Hyksos, ‘princes from foreign lands’ who invaded and governed northern Egypt for a few generations, marked the beginning of the New Kingdom. An extremely aggressive foreign policy enriched Egypt, and this was one of its periods of greatest splendour. The social class of professional warriors rose to the top of the state hierarchy and spawned a number of ruling dynasties.

The wealth and prestige of these soldiers was also expressed in the production of sophisticated objects, including the gold items attributed to Djehuty, a general under the pharaoh Thutmose III. The Egyptian goldsmith’s art has survived in works of high artistic and economic value, an example being the pectoral element on view in the exhibition.

This piece is a sophisticated exemplar attributed to the tomb of General Djehuty, the man to whom the sovereign Thutmose III entrusted control of his foreign territories. Representing a blue lotus flower, a symbol of rebirth and regeneration, it must have served as the central element of an elaborate pectoral. The scroll engraved on the back suggests that the piece was given personally by Thutmose III.

The Saqqara Necropolis of the New Kingdom: The Leiden and Bologna museums can be considered ‘twins’ in a certain sense, since they house two important groups of antiquities from Saqqara, one of the necropolises of the city of Memphis. During the New Kingdom, this early Egyptian capital returned to its role as a strategic centre for the expansionist policy of the sovereigns of the Eighteenth Dynasty.

This is seen in the funerary monuments of high state officials who held administrative, religious and military roles, including the tombs of the superintendent of Tutankhamen’s royal treasury, Maya, and his wife, Merit, chantress of Amun, and that of Horemheb, head commander of Tutankhamen’s army and the pharaoh’s crown prince.

The statues of Maya and Merit arrived in the Netherlands in 1829 as part of the collection of Giovanni d’Anastasi. More than a century and a half would pass before, in 1986, a British/Dutch archaeological expedition identified the tomb from which they came, southeast of the pyramid of Djoser at Saqqara. These statues, which are the greatest masterpieces in the collection of the National Museum of Antiquities in Leiden, left the Dutch museum for the first time to be displayed in the exhibition.

It should be noted that, when the Egypt Exploration Society of London and the National Museum of Antiquities in Leiden began excavation work southeast of the Djoser pyramid in 1975, the goal was to find the tomb of Maya and Merit. It was therefore a great surprise when they instead discovered the burial of General Horemheb, who had capped off his stunning career by becoming the last sovereign of the Eighteenth Dynasty.

His tomb, which has a temple structure, is characterised by a pylon entrance, three large courts and three cult chapels facing onto the innermost court, which has a peristyle structure. This court is where most of the reliefs preserved in Leiden and Bologna were found, narrating Horemheb’s most important military feats against the populations bordering Egypt: the Asians, Libyans and Nubians.

The New Kingdom – Prosperity after the Conquest: Refined furnishings, musical instruments, table games and jewellery: these are just a few of the luxury goods attesting to the widespread prosperity enjoyed in Egypt as a result of the expansionist policy of the sovereigns of the New Kingdom. Through these sophisticated objects, it is possible to conjure up moments of everyday life, imagining what it was like living inside a royal palace or the residence of a high official. One example in the exhibition is a mirror handle in the graceful, sensual shape of a young women holding a small bird in her hand.

Egypt in the First Millennium: In the first millennium BC, Egypt was characterised by the increasingly clear weakness of its central power to the advantage of local governors who gave themselves the role of ruling dynasts. The loss of political and territorial power weakened Egypt’s defence capacity at its borders, opening the way for Nubian, Assyrian and Persian invasions. The temples remained strong centres of power, and managed a sizeable portion of the economy and the transmission of knowledge, taking on the role of a political intermediary between the ruling power and the devout populace.

Many of the masterpieces on view in the exhibition were part of the funerary assemblages of priests and came from important temple areas. Among them is the sarcophagus of Peftjauneith, which represents the likeness of the god Osiris, wrapped in a linen shroud and with a green face evoking the concept of rebirth. The refined decoration of this sarcophagus confirms the high rank of its owner (the superintendent of the possessions of a temple in Lower Egypt) in the temple sphere. Of particular note is the interior scene of the sky goddess Nut swallowing the sun every evening (to the west) to then give birth to it in the morning (to the east).

Alexander the Great’s conquest of Egypt in 332 BC ended the ‘pharaonic’ phase of Egyptian history. The period of Greek domination was begun by his successors, the Ptolemies, the last of whom was the renowned Cleopatra VII.

The golden decline of Egypt would continue for many more centuries, beyond the Roman conquest in 31 BC up to Arab domination in the sixth century AD.

The dialogue between old and new, local and foreign that distinguished the Greco-Roman period brought a return to high artistic achievements, including the celebrated Fayum portraits, exquisite examples of which from the Leiden collection are on view in the exhibition

Source: Museo Civico Archeologico in Bologna [October 19, 2015]

A large wooden model boat from the Egyptian Middle Period 2123-1797 BC, sold for £161,000 at Bonhams Antiquities Sale in London yesterday. The boat had been estimated at £30,000-50,000.

Boats were an integral part of Egyptian everyday life and mythology and as such they were considered necessary in the afterlife. Usually two model boats were provided for each tomb, one showing the crew sailing south with the prevailing wind and the other with the crew rowing north.

The boat was originally bought by British army officer, Esmond Sinauer, in Egypt in the early part of the 20th century and passed by descent to the Scottish private collection from which it was consigned for sale.

In total the sale made more than £1,310,000.

Other highlights included:

• A late Egyptian Bronze Cat from around 664-30 BC estimated at £20,000-30,000 which sold for £137,000. The cat had been in the well-known collection of the Antiquities dealer Raymond Richardson who acquired it in the 1950s.

• A Roman Marble Mask of a Woman from the 1st century AD which sold for £102,500 having been estimated at £20,000-30,000.

• A Roman Marble torso of a man estimated at £30,000-50,000 which sold for £60,000.

Bonhams Senior Specialist in Antiquities, Siobhan Quin, said,” The wooden boat was an exceptionally fine work of particularly impressive dimensions which attracted a lot pre-sale interest, reflected in keen bidding in the sale room on the phones and on the internet. In a strong sale, a first-century bronze Egyptian cat also stood out, but many other pieces also exceeded their estimates.”

Source: Bonhams [December 01, 2016]

Scientists at the international conservation charity Zoological Society of London (ZSL) have used historical records from China stretching back over 400 years to track changes in the distribution of gibbons, which today are some of China's most threatened species. This is one of the first instances of using ancient historical records to reconstruct the course of extinctions across several centuries.

Using local government records dating from as early as 1600 AD, across the Ming and Qing Dynasties and through China's Republican and Communist periods, researchers were able to infer the former presence of gibbons in different Chinese prefectures, and track their gradual disappearance through time.

Researchers found that only a few hundred years ago, gibbons were distributed across almost half of China. However, gibbon populations collapsed during the twentieth century, and today they survive in only a few remote forest patches in the far southwest of the country. One of China's gibbon species, the Hainan gibbon (Nomascus hainanus), is now probably the rarest mammal species in the world, with a total population of only 26-28 individuals.

Dr Samuel Turvey, lead author and Senior Research Fellow at ZSL, said: "Gibbons were of great cultural importance in pre-modern China, because they were thought to be able to channel mystical "qi energy" and live for several hundred years, and their haunting dawn calls came to symbolise the melancholy of travellers in classical poetry. Their former presence over large regions of China was widely recorded in local documents, and reconstructing when -- and why -- different gibbon populations disappeared across much of China can teach us important lessons that can help save the country's last few gibbons.

"China has a fantastically rich historical record, which includes a wealth of environmental data that has rarely been used for conservation management. Because of the current environmental crisis facing eastern and southeast Asia, we have to explore new ways to better understand the kinds of factors that can make species more or less vulnerable to extinction."

The study appears in the Proceedings of the Royal Society B.

Source: Zoological Society of London [August 05, 2015]