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Stratigraphy handling table at the Roman Baths |
Stratigraphy
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What is stratigraphy? |
Stratigraphy trays
Historical pottery
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Pottery from different time periods |
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Stratigraphy handling table at the Roman Baths |
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What is stratigraphy? |
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Pottery from different time periods |
Your impression of accessories may be beautiful and decorative, but have you ever thought about how they add beauty and style to our lives and serve a functional purpose at the same time? The Roman Bath houses a stunning collection of accessories spanning various historical periods. Reflecting on history, it becomes clear that accessories have long been a fusion of functionality and aesthetics.
In the Roman period, people already focused
on developing aesthetically pleasing and useful ornaments. Brooches were
particularly popular, and people used them to fasten their clothing. These
brooches came in various types, including the penannular brooch with an open
frame, the plate brooch prevalent during the first century, and the bow brooch
commonly found in Roman archaeological sites. Don’t think these two thousand
years ago ornaments are just simple copper alloys. On the contrary, they are
often very exquisite, with changeable shapes and colourful enamel surfaces.
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Left to right: Roman plate brooch, bow brooch, and replica of a penannular brooch |
By the medieval period, in addition to
delicate metalwork techniques like inlay, enamelling, and filigree becoming
more common, their function began to reflect individuals' spiritual convictions
or to show people's faith. For example, before the trend of wearing bells
gained widespread popularity, it was mainly priests and pilgrims who adorned them,
thereby symbolising their affiliation with the religion. Pilgrims collected
various badges in different shapes to commemorate their pilgrimage and to
express their religions. Similarly, influential figures have often awarded
badges to their allies to commend their loyalty and support towards a certain
belief or ideology.
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Left to right: Medieval dog badge and bell |
After the 16th century, with the development of craftsmanship, the styles of functional ornaments became more varied and popular. For instance, in the Georgian period, wigs changed from functional preventing head lice to a symbol of style. Following the Industrial Revolution, the advent of mass production brought about an increase in diverse and accessible ornaments, which were no longer considered a luxury reserved for the upper class alone. Buttons, once the exclusive of the nobility during the medieval era, became a commodity that could be easily moulded and mass-produced. With the rise of the bourgeoisie, the popularity of shirts gave way to the fashion of cufflinks. Though seemingly unremarkable at first glance, these functional items embody a sense of style, and the variety of their forms and materials showcase the wearer's discerning taste.
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Left to right: Georgian wig curler, moulded metallic button, and cuff links |
Upon observing today's clothing, can you
think of other decorative features that are functional but also fashionable?
Maybe it is your stylish watch, glasses or even a zipper? Let us take a closer look
at our clothing and appreciate the practical and astonishing accessories that
have been thoughtfully designed.
Yushin
Placement student
Have you ever wondered, in a world dominated by concrete and synthetic materials, what the Romans used over two thousand years ago to produce enduring buildings, all without the aid of modern technology?
Experienced craftsmen then made the raw materials into durable building components. For instance, tufa, which is a porous sedimentary rock created in mineral springs. Its sponge-like texture, which was both light and robust, made it an ideal material for creating vaulting structures. Due to the tufa's special characteristics, craftsmen used it to create wedge-shaped voussoirs that, when placed next to each other, supported beautiful vaults or arches.
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Tufa from the Great Bath, Roman Baths |
The Romans were more than just engineers; they were artists who celebrated both beauty and function. The colorful and well-designed mosaics that adorned their rooms were a clear sign of this mix.
Mosaics have a long and interesting past. They started in Mesopotamia in the 3rd millennium BC and spread to places like Ancient Greece and Rome before being used all over the world. In the Roman Baths, mosaic art is a burst of color. The secret? The tesserae made from different stones including hematite, pyrite, yellow iron oxide, and local Bath Stone. Bath Stone, which is also called freestone, got its name because it is soft and easy to cut in any direction. Since Roman and Medieval times, it's been a go-to for building across southern England. From churches to homes, its honey-colored beauty remains. Even today, Bath's Georgian buildings shine, thanks to this ancient material.
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Bath Stone (photo credit: The Open University Geological Society) |
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Sea Horse Mosaic, Roman Baths |
As the Roman Empire expanded, a wide variety of building materials flowed in from diverse lands, bringing abundant supplies. A good example is the Roman Baths, which made use of both native materials and imported ones.
Due to a scarcity of natural marble in England, this expensive stone was imported from Spain or Southern Italy, giving luxury to the construction. Purbeck marble stepped in as a low-cost replacement. It has a polished shine while not being real marble. This fossiliferous limestone from Dorset, England, sometime contains fossils of ancient freshwater organisms. This is a Labrum fragment made of Purbeck marble found at the Roman Baths to hold water, which was used to cleanse before entering the bath or to cool down in the Caldarium (hot bathroom).
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Labrum fragment made of Purbeck marble |
Xingyue Yang Placement Student
古罗马建筑的秘密
生活在一个被钢筋水泥和复合材料包围的世界,你是否想过,两千多年前,没有任何现代科技的罗马人使用什么材料去建造房屋呢?
取自自然
罗马不列颠的每一个小镇都有不同的小作坊,生产不同种类的产品以满足本地需求。罗马人利用自然资源,并将其改造加工成不同部件的建筑材料。地下的岩石与粘土,森林中的树木,海边的沙子,都是他们充满智慧的选择。
在完成选择材料后,经验丰富的工匠将原材料加工成坚固耐用的建筑构件。比如说,Tufa,这是一种多孔的沉积岩,形成于矿物质泉水之中。Tufa如同海绵般的结构赋予了它兼顾轻巧和坚固的特点,使之成为修建拱顶的理想材料。由于这种特性,工匠们将Tufa制成楔状穹顶部件,当一个个部件紧密相连就构成了美观的圆形拱顶或者拱门。
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在罗马巴斯浴场发现的 Tufa |
罗马人不仅仅是建筑工程师,更是兼顾美观与实用性的艺术家。汇聚设计巧思的五颜六色的马赛克便是最好的例子,它常用于室内装饰。
马赛克历史悠久,起源于公元前三世纪的美索不达米亚,然后传播到古希腊和古罗马,最终全世界都能发现它们的身影。在罗马巴斯浴场,马赛克迸发出绚烂的艺术之光。五颜六色的马赛克由不同石料制成的 tesserae 组成,包括赤铁矿、黄铁矿、黄色氧化铁和当地的Bath Stone。Bath Stone,又称 "freestone",因其质地柔软、易于从任何方向进行切割而得名。从罗马时期和中世纪起,在英格兰南部地区,Bath Stone 便成为常见的建筑材料。无论是神圣的教堂,还是日常的民居,都可以找到Bath Stone的如同蜂蜜般的黄色外观。时至今日,巴斯城中的乔治亚风格建筑依然熠熠生辉,这要归功于这种历史悠久的材料。
Bath Stone (图片来源: The Open University Geological Society)
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罗马巴斯浴场中的海马装饰马赛克 |
来源丰富的原料
随着罗马帝国的扩张,建筑材料的原产地更加多样,带来了丰富且充足的供给。罗马巴斯浴场就是一个好的例子,同时使用了本地和进口的材料。
在英格兰本土,天然大理石十分稀少,这种昂贵的石材往往从今天西班牙或者意大利南部进口,属于极其奢侈的建筑材料。Purbeck
marble 是天然大理石的平价替代品。这种石材虽然不是真正的大理石,但打磨后也有抛光的质感。这种产自英格兰 Dorset 的石灰岩化石,有时含有古代淡水生物的化石。下图是在罗马巴斯浴场发现的由 Purbeck
marble 制成的 Labrum 的文物遗存,用于装盛清水,在进入浴场前用来清洁,或在 Caldarium(热浴室)中用来降温。
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由 Purbeck marble 制成的 Labrum |
杨星月
实习学生
How much do you know about the Roman religion? The Romans worshipped many gods, and they were part of their lives every single day. It seems that the Roman gods are everywhere and on everything at times. Coins, pottery, figurines, and more constantly depict the gods in all of their glory. However, there are more to the gods than we realise.
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Roman Religion handling table at the Roman Baths |
Who are the major gods?
Venus with an apple (l) and Venus Victory (r)
Which gods were worshipped at the Roman Baths?
Sulis
Minerva is the main goddess worshipped at the Roman Baths, but she is not the
only one. Others worshipped here include Diana, Jupiter, Mercury, and Mars.
Jupiter is on an altar in the Temple Courtyard, and we can also see him on
coins and pottery. On a coin, Jupiter is seated holding Winged Victory and, on
a piece of pottery, his arm is flexed to throw his thunderbolt. Even though
this site is dedicated to Sulis Minerva, it does not mean that we cannot see
other gods represented at this same location.Jupiter holding Winged Victory (l) and Jupiter’s hand on thunderbolt from the altar in the Temple Courtyard (r)
Who are the minor gods?
The minor gods are not as well known by the general public and are personifications of virtues that the Romans promoted and tried to follow. One coin that shows this depicts Libertas, goddess of liberty. On the reverse of the coin, we see Libertas holding a soft pileus (a hat that freed slaves wore) and a sceptre. The pileus on the coin symbolises freedom for freed slaves which was a common virtue to put on a coin. Libertas is one of many smaller gods who represent Roman virtues.
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Libertas holding pileus and sceptre |
Take a look
at your money today! Do you see symbols or themes represented on your coins?
Samantha
Kestler
Collections
Placement (MA Museum Studies)
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‘Stone Age Toolbox’ handling table, August 2023 |
The oldest man-made object in the Roman Baths collection is a Palaeolithic hand axe made of chert (a type of rock).
A hand axe is a hand-held stone tool used for digging, chopping, scraping,
piercing, and hammering. These axes are the longest
used tool in human history, used throughout the Palaeolithic period (1,000,000 to
12,000 years ago) and most likely into the Mesolithic period (12,000 to 6,000 years
ago).
Replica of a Palaeolithic hand axe
This hand axe, found near Bath, dates from
500,000 – 250,000 years ago! It was made by Homo Heidelbergensis, a
species of early human who no longer exists, and yet it still fits comfortably
in the palm of your hand. This physical connection to early
humans is what makes the Prehistoric period so interesting.
During the Neolithic period (6,000 to 4,200
years ago), handles were added to axe heads, as they start to be used to cut
down trees to create fields. This was the start of crop farming, a new idea which
spread from the continent.
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Axe head with handle |
Axes continued to be used to cut down trees for
the rest of the Prehistoric period however the format of the handles changed
drastically during the Bronze Age (4,600 to 2,700 years ago). This was to
compensate for the new methods of construction of axes; they were being cast in
bronze in two-part moulds, creating the distinctive ridge around the axe head.
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Bronze Age socketed axe head |
Flint was used to create tools during the Prehistoric
period. Large pieces were used as axes and smaller pieces used to make tools.
This was done in a process called flint knapping, where the hammerstone (a
rock) is hit against a core (piece of flint) to create the desired shape. This
is continued until a tool has been created that is comfortable to hold. To
create the sharp cutting edge, the flint knapper chips away at the tool with
smaller, softer items, such as bone, which is more precise than the first
attempt.
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Flintknapping, drawing by José-Manuel Benito Álvarez |
Palaeolithic burins and flint blades were made
from the flint chips created during flint knapping. Burins are small pieces of
flint with sharpened edges, usually in the shape of a circle. They were used to
create leather by scraping the skin, then to make clothing by piercing holes
into the leather and sewing it together with grasses. Flint blades were used to
cut soft materials such as food, animal skin, plants, or twigs.
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Palaeolithic burin |
During the Mesolithic and into the Neolithic
period, microliths and arrowheads start to be used. Microliths are small flint
shards, usually attached to a handle.
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Mesolithic microliths |
Prehistory is about so much more than just
weapons and fighting. Most of the objects in the collection are tools for the
creation of food or resources, for example arrowheads used for hunting animals.
Jen
Placement student
Edited by Eleanor, Collections Assistant
Animal bones found at archaeological excavations can provide valuable information about the past. They can tell us about butchery and eating habits, tool use, and the environment the bones were disposed of or buried in.
First, we must identify
which animal the bones belong to. We can look at the overall size and
robusticity of the bones, as well as the cranium (skull) and the mandible (jaw).
The size, curvature, and profile of the mandible display distinct differences
between animals. Sheep mandibles flare at the curve of the jaw, which differs
from the more sloping profile of pig mandibles.
Pigs have one of the most distinctive teeth of domestic mammals. As omnivores, their teeth need to be able to both slice and grind their food, and so they display more pronounced canines and incisors compared to herbivores. Their teeth have flat shaped cusps ideal for their diet, this contrasts with the “W” shaped profile of sheep teeth, deer and cattle.
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Sheep mandible (left), pig mandible (right) |
Once the bone has been identified, we can examine the texture for signs of use by humans. Looking at the long bones for marks and scrapes can indicate intentional defleshing and butchery.
Differences in butchery methods and skill can lead to differences in cut marks, and it can sometimes be difficult to identify signs of intentional butchery. The clearest way to do so is by observing a V-shaped cross section. This V shape is characteristic of cutting with a lithic or metal knife, whereas a U-shaped mark indicates stone tools were used.
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Sheep tibia with cut marks (left), split cow radius (right) |
Worked bone is also common, and indicates bone was also used to make tools, decorations and jewellery. Bone can be polished and incised with a decorative pattern.
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This worked Roman sheep metapodia that was used as a handle for a blade or utensil |
The colour and condition of the
bones can also reveal information about the environment the remains were
discarded or buried in, as well as actions of other animals.
When bones are discarded there is
often still meat on the bone, and this can attract rodents which leave distinct
parallel grooves and scrapes.
A bright white bone indicates it
was bleached by sunlight, whereas black and dark brown suggest exposure to
bacteria, fungi and soil minerals. Green marks indicate contact with copper; this
is a frequent occurrence in human remains due to grave goods. By noting these observations,
we can construct a profile of the animal's environment.
Overall, there is much to be
learned from animal bones in the archaeological context!
Lauren
Collections placement student
Map of Bath (1959) showing Victorian spa sites. |
This consisted of three sites:
The Stall Street entrance to the Roman Baths with a sign for the King’s and Queens Baths. |
These centres and their spa treatments remained popular
through to the 20th century.
With the Physical Treatment Centre, new and fashionable treatments were made available, inspired by spa towns on the continent. Much of the spa equipment was custom made, and included variants on the Needle Douche, the Plombières Douche, and a sulphur bath. The Vichy Needle Douche was named after the prestigious spa town in Vichy, France. A lifting mechanism was custom made for the Hot Bath, slings or chairs lifted patients in and out of the water.
The water was celebrated for its healing properties, some
believed this to be due to the presence of radium, now known to be a toxic gas.
This was seen in treatments such as Radium Inhalatorium, in which radium was
inhaled through the nose or mouth, or, when used with mineral water, as a nasal
or throat spray. Although the water was proudly advertised as radioactive, in
reality radium is only present in minute quantities.
During World War One, thousands of wounded soldiers were
sent to Bath to recover. They received treatments at the Mineral Water Hospital
and the New Royal Baths were enlarged in 1915 to provide facilities specifically
designed for them.
After the Second World War, the baths’ popularity began to decline. Leisure travel and spa therapy were no longer fashionable, and the city’s infrastructure had been damaged during the Bath Blitz. The New Queen’s Bath was demolished in 1970 and the Physical Treatment Centre closed in 1976, following the withdrawal of NHS funding established in 1948.
Temporary display in the King's Lounge. |
You can see the display for free by accessing the Stall
Street entrance during opening hours between 10am-5pm.
Eleanor
Collections Assistant