Investigating Science and Engineering at the Roman Baths

The 9th-18th March 2012, is National Science and Engineering Week! Come to the Roman Baths and get involved.

There will be hands-on archaeological science, lots of information, displays, enjoyable experiments and a special science trail. Come and see themed handling tables on the 12th, 13th, 15th and 16th between 2-4pm, by the Great Bath. These will cover various science and engineering topics, from metals and their uses, through to the wonders of the water cycle.

On Wednesday 14th March, the Baths will be open late for a very special science and engineering extravaganza. As well as the children’s trail, a variety of activities and experiments will be taking place throughout the site, hosted by our science ‘buskers’- all experts in their chosen fields.

Come and take part in the various experiments – test the temperature and pH of the water, build a voussoir arch and see a fully functioning replica Roman aqueduct in action! The ‘buskers’ will also be providing demonstrations and information about the snails in the Great Bath, conservation and Roman building with lime mortar, painting walls with pigments and binders, and even some hands-on mathematics with tiles and animal footprints.

Professor Romeo needs your help!

Our very own collections creation, Professor Romeo, will guide younger visitors through a science and engineering trail, available from the front desk every day of the week. The Professor is struggling to engineer an arch, and his trail will follow the usual route through the baths to find solutions to solve his dilemma.

The Roman Baths has always been a site of scientific enquiry, and the Romans were some of science’s greatest pioneers. The collections office would not be the same without a well-thumbed copy of Vitruvius’ Architecture, providing advice on everything from ‘the stringing and tuning of catapults’ to ‘the choice of healthy sites for cities’!

Stick around for regular science table blogs appearing here over the coming months!

Focus on Freshford

St Peter's Church - Freshford

As part of our travels around the county, the collections team has recently been to Freshford to work with the local school children, to inspire the imagination. We will be returning to Freshford Memorial Hall on Saturday 3rd March 2012, for a finds liaison day with Kurt Adams, our county FLO (Finds Liaison Officer), where we hope the school children will have created their own display. If you fancy coming along to learn a little more about Freshford, or you have an object that needs to be identified, do come along and join us!

So, a little more about Freshford …. Freshford comes from the origins of Fersc, the Anglo Saxon word meaning fresh, pure and sweet, while Ford means river crossing. Sooooo this means Fersc + Ford eventually turned into Freshford. Oh yes, there is more…

Freshford is close to Hayes Woods, which is rich in archaeology. Excavations in 1935 found an enclosed Iron Age settlement known as a hillfort. Here, the remains of animals such as sheep, pig, oxen and dog were found, giving us an indication of Iron Age farming practices.

Not too far away from the Iron Age site are the remains of a Roman settlement, discovered in 1920. A cobbled surface and over 4,000 fragments of Roman pottery were found, but the most interesting find must be the stone coffin that contained the skeleton of a young girl.

Did you know?
From skeletal remains we can learn a lot, for example, the life expectancy for a Roman man was 42 and for a Roman woman it was 31.

And the history continues …

In 577 AD, ‘The Battle of Dyrham’, a huge battle between the native Britons and the Saxons took place. Three native kings from Bath, Gloucester and Cirencester were killed; this marked the beginning of Saxon rule from the Severn to Kent and 200 years of peace and stability within Britain. Peace lasted until the 8th Century when the Vikings began a series of raids in an attempt to conquer Southwest England. Unrest continued until the Battle of Stanford Bridge in 1066, where King Harold II defeated the Norwegian King Harald III. Unfortunately for Harold II, not long after this win, the Normans were on their way to invade and invade they did….

After the Norman Conquest of 1066, William I realized he needed to survey the kingdom to be able to impose taxes. So in 1086, a record was made of land ownership, ternary, valuation of agricultural land and status of the workers. This record was put together in the form of the ‘Domesday Book’, in which Freshford is included, and thus starts the historic record for the village we see today….


For more information on this or any other of events please see the links below:

http://www.freshfordvillage.com/what-s-on

https://www.facebook.com/#!/TheRomanBaths?sk=events

http://www.romanbaths.co.uk/whats_on/events.aspx

Connecting Collections - Magic Lantern Slides Part II

Old photographs can often be dated by advertising or incidental details, a good example of this being the photograph of A.Goodman’s Confectioners shop. This shows a large advertisement for Fry’s Chocolate. (Frys Chocolate Cream bars being first sold around 1866). Several were taken in Cornwall, two showing groups of people who were presumably also on holiday. In one example, they are shown enjoying a picnic luncheon, complete with large straw picnic hampers, in true Victorian style, complete (including / along with?) with flagon.

A. Goodman's Shop

Photographs taken often also document a changing world, and this is illustrated by two slides in particular. One is that of boys listening to a phonograph, invented in 1877 by Thomas Edison. This was the first device to reproduce recorded sound, clearly quite a technical innovation. The boys gathered round are listening to the phonograph playing waxed cylinders. The cylinders had grooves etched into them, into which a metal stylus fitted, as with a record player. That the world is about to change is particularly well illustrated in another slide entitled, “War of Nations” Recruits Trench Digging.” This, together with the Castle Combe photograph, are particularly relevant at present, with the release of the Steven Spielberg film, “War Horse”, as scenes for the film were filmed there.

Boys Listening to Phonograph

Recruits Trench Digging WWI

Another example of a changing world, is the slide of the post boy who may well be delivering telegrams as well as post. We live in an age of rapid communication and tend to think of this as a modern innovation our Victorian ancestors would have been amazed by. For them, however, the development of the telephone and the telegraph system must have been just as interesting. Our ancestors were just as keen on developing technology as we are today. Indeed, the slides themselves are indicative of a changing world, if we remember by the 1880’s, cameras were becoming more widely available and more portable. Being easier to carry meant it was easier to take them to other parts of the world, as illustrated in these slides.

Post Boy

The Theme of Love

Mosaic depicting Cupid astride a Dolphin - Fishbourne

Just now, I was preparing to start with heavy fighting
and violent war, with a measure to fit the matter.
Good enough for lesser verse – laughed Cupid
so they say, and stole a foot away.
‘Cruel boy, who gave you power over this song?
Poets are the Muses’, we’re not in your crowd.

What if Venus snatched golden Minerva’s weapons,
while golden Minerva fanned the flaming fires?
Who’d approve of Ceres ruling the wooded hills,
with the Virgin’s quiver to cultivate the fields?
Who’d grant long-haired Phoebus a sharp spear,
while Mars played the Aonian lyre?

You’ve a mighty kingdom, boy, and too much power,
ambitious one, why aspire to fresh works?
Or is everything yours? Are Helicon’s metres yours?
Is even Phoebus’s lyre now barely his at all?
I’ve risen to it well, in the first line, on a clean page,
the next one’s weakened my strength:
and I’ve no theme fitting for lighter verses,
no boy or elegant long-haired girl.’

I was singing, while he quickly selected an arrow
from his open quiver, to engineer my ruin,
and vigorously bent the sinuous bow against his knee.
and said, ‘Poet take this effort for your song!’
Woe is me! That boy has true shafts.
I burn, and Love rules my vacant heart.
My work rises in six beats, sinks in five:
farewell hard fighting with your measure!
Muse, garland your golden brow with Venus’s myrtle
culled from the shore, and sing on with eleven feet!

Translated from Ovid - Amores, Book I, Elegy I.

Connecting Collections - Magic Lantern Slides Part I

Magic lanterns were an early form of slide projector, used in conjunction with glass slides to project an image. The glass slides were made by putting a light-sensitive solution onto glass plates, taking a picture and creating a negative which was then printed onto another glass plate.

The pictures here are from a collection of magic lantern slides, donated to the Roman Baths Museum in 1984, by a Miss Garroway. They belonged to her father, the Rev.George Garroway, and range in date from around 1880 to at least the beginning of the First World War in 1914, and may well have been taken by different photographers. Some of the photographers must have travelled widely, as the places photographed range widely. Some were taken in the West Indies and the Caribbean, others in Schull, County Cork, Ireland, Cornwall, Jersey, North America and Versailles, France.

The slides taken locally, include what may be a family group portrait taken in Warleigh, views of Castle Combe and Great Wishford, in Wiltshire. One particularly interesting slide is that of a Roman Mosaic found near Box, Wiltshire, in 1898. It has since been reburied to help preserve it. Another, also taken in Box, shows the Market Place with, of course, a group of children as often seen in Victorian and Edwardian photographs.

Roman Mosaic at Box

Others are of Bristol, one in particular showing a horse drawn open carriage being driven on the Suspension Bridge - not a sight to be seen very often now! Another sight long gone, is the Bristol High Cross. The one photographed is a replica which stood near College Green. The original, which stood at the junction of four roads, was moved to Stourhead, Wiltshire, in the 1770’s. The replica itself has been dismantled, but a remnant can be found in Berkeley Square Gardens, Bristol.

Clifton Suspension Bridge

Bristol High Cross

Conservation Consternation

There are often times when I wonder how some archaeological finds have managed to hold together for thousands of years. I find this thought particularly alarming when handling metal objects – they are so easily damaged by long periods of time in damp or waterlogged conditions.

A Saxon Spearhead from Batheaston Bypass, still in one piece and stable.

Even metal objects found in good condition are threatened by corrosion, and all objects sometimes require specific care and treatment by experts. For example, the pewter vessels and other artefacts from the King’s Bath corridor are soon to be redisplayed, and have been sent out in groups for conservation. The objects were conserved when they were found, but over time, the state of their treatment and attitudes towards care has changed. The pewter objects in particular looked dull and were coated in a waxy substance that seemed only to attract dust. When the items were returned from conservation, the difference was amazing.

Pewter patera after conservation

It turns out that the majority of the work done was to remove the waxy coating and degrease the surface of each object. The coating was replaced with a fine layer of microcrystalline wax to provide protection, and buffed to shine. In a few cases, fragments were reattached and broken areas were filled. However, it seems that when considering conservation, less is without doubt more – the purpose is to protect an artefact without changing its composition or encouraging degradation.

Learning about different types of metals, surface treatments and the process of corrosion is very useful, if only to highlight how much could go wrong with metal objects! A major problem is corrosion, caused when a metal object combines or reacts with other elements to form an undesirable compound, such as tarnish or rust. Corrosion is different from patination, which is generally more benign and will slow and stop without intervention – this occurrence can be seen on copper clad roofs as a blue green compound known as verdigris.

Statue of Liberty – the blue green colour is a result of natural patination

Corrosion generally occurs preferentially, which means that it will affect a reactive metal in preference to a more noble metal. This is the primary reason for galvanising iron with a coating of zinc, which is preferentially eroded to protect the main iron sheet. The process of corrosion can only happen with the presence of moisture, so all metal is stored at a very low humidity. The corrosion of iron, even if contaminated, will not take place if the relative humidity of the surrounding atmosphere is 20% or less. For archaeological iron, such as the spearhead, a relative humidity of 18% or less would be safest, preventing any possible further deterioration.

If you’re looking to find out more about the scientific side to archaeology, National Science and Engineering Week at the Roman Baths, 9th-18th March 2012, is definitely a date for your diary!



Useful links:

http://cci-icc.gc.ca/crc/articles/metals/corrosion-eng.pdf  

http://www.collectionslink.org.uk/media/com_form2content/documents/c1/a130/f6/003024.pdf

Scanning Sulis Minerva

Bronze head of Sulis Minerva

This week at the Roman Baths, Dr Annemarie La Pensée, from Conservation Technologies at the National Museum of Liverpool, has been scanning the original bronze head of Sulis Minerva. We hope to make a 3D image from the scanning process to aid interpretation and possibly shed light on how she was made. Here’s a little bit more on the object and what we hope to learn from the scans…..

Sulis Minerva awaiting scanning

Vital Statistics:

Roman Name: Minerva

Position: A major deity and one of the 12 Olympian Gods

Jurisdiction: Roman Goddess of Wisdom

Mythical Family Tree/Relatives: Daughter of Jupiter and Juno

Depiction / Description / Symbol: the owl, the snake and the olive tree

Greek equivalent: Pallas Athena

Festival: Quinquatria - March 19 through to March 23.

Celtic influence: Linked to unreferenced local deity - Sulis

The gilt bronze head of the goddess Sulis Minerva is one of the best known objects from Roman Britain. Discovered in 1727, it was the first indication that the Roman site at Bath was not a typical settlement. Gilt bronze sculptures are rare finds from Roman Britain; only two other fragments are known.

The head has a fascinating story to tell that can be gleaned from the circumstances of discovery and its condition and from scientific examination.

First of all, we should note that the head is slightly larger than life size, suggesting that the original statue, of which it formed a part, was an imposing sight. For many of those who saw it, there may have been no previous encounter with an object of such awesome, golden brilliance.

Hidden in the hair line are several small holes which once held rivets that fixed her tall Corinthian helmet to her head.

Examination of the head has revealed that it has six layers of gilding. The first two use a technique known as fire gilding whilst the four latter layers are applied as gold leaf.

When looking closely at the head, we can see that it has a number of imperfections. There is corrosion which has affected it in parts where it lay in the ground for over a thousand years. There is also a strange rectangular cut beneath the chin. It is thought that this may have resulted from a flaw in the original casting process in which a bubble on the surface may have been cut out and filled with an inserted plate. When gilded over, it would not have been visible to a casual observer. This plate has subsequently fallen out as a result of corrosion whilst in the ground.

What more can scanning tell us?
In creating a 3D scan, we should be able to see these imperfections much more clearly. We also hope to better understand the casting process, in particular, where the molten metal would have been fed into the mould….

Sulis Minerva being scanned

Keep an eye on the BlogSpot for the latest news and results……

For an in-depth discussion on the head of Minerva, visit our webpage by following the link below:

http://www.romanbaths.co.uk/walkthrough/6_temple_courtyard/minervas_head,_detailed_look.aspx

Helen Harman - Collections Assistant

'Behind-the-Scenes' Tour - Digging a Little Deeper....

Birds Eye View of the Roman Baths

Are you interested in the history or archaeology of your local area? Have you ever wondered what secrets might be hidden beneath your feet? Well, here at the Roman Baths Museum, we may just be able to help you, as we hold archaeological material for the whole of the Bath and North East Somerset area. So what does that mean?

East Baths Bulk Archaeology

Whenever a new building development takes place, part of the process is to record any structures or objects that might be hidden below the surface and it’s these objects and records that form a large part of the Roman Baths Museum collection. Maps, plans, reports and objects from various sites and developments such as the Spa are stored here, as are the objects and records from historic work such as the digging of Victoria Gravel Pit and the excavation of Combe Down Villa. We don’t like to keep these things to ourselves and would invite you to come and visit our stores so we can share this information with you.

Roman bath stone burial chest-cist - Combe Down BATRM 1983.12.h.10 circa 200AD

So, if you fancy doing something a little bit different, then why not come along on a Behind-the-Scenes Tour? These Tours offer a glimpse into the stores of the Roman Baths Museum, and a chance to look ‘behind-the-scenes’ at the everyday workings of a busy and vibrant museum. See and handle objects in the reserve collections and find out why and how we care for them.

Forthcoming Tour Dates:
Thursday 26 January 2.30pm
Thursday 23 February 10.30am
Thursday 29 March 2.30pm
Thursday 26 April 10.00am

Numbers are strictly limited so advance booking is necessary on 01225 477779.

All children must be accompanied by an adult and have to be aged ten or over.

Normal admission charges apply. Bath and North East Somerset residents free with a Discovery Card.

For all the latest 'Behind-the-Scenes' Tour dates please follow this link

http://www.romanbaths.co.uk/whats_on/events/events_calendar/tunnel_tours_and_store_tours.aspx

Helen Harman - Collections Assistant

Season's Greetings

Here's hoping you all had a wonderful Christmas and wishing you a Happy New Year.

We will see you with a our latest blog in the New Year!

Please click on the link below for a message from us to you

http://www.mailimages.co.uk/banes/RB107-Christmas-ecard-v3.gif

How To Let Your Objects Know You Care

Museum objects need to be cared for, especially because they are extremely old, so proper handling and storage is very important. When handling objects, the first thing you really need is common sense – like knowing you shouldn’t throw objects around or make tea with one in your hand! It’s also useful to have a gently padded strong surface to place objects on, and to wear gloves.

Gloves are incredibly important when handling all objects, but particularly when working with metal. This is because your skin constantly secretes sweat, which contains all sorts of nasty chemicals that can actually etch into metal surfaces! Sweat also contains potassium lactate, which means that the fingerprints will attract moisture and cause dust to cling to the surface, risking corrosion and mould growth. Wearing gloves stops your fingerprints from attacking the object.

There are also plenty of airborne pollutants that can cause damage to artefacts without any human contact. In the air outside, chemicals such as sulphur and nitrogen dioxides cause metals to tarnish, and affect other objects too; damaging textiles, dyes, and photographic materials. Objects containing calcareous materials like limestone and bone can also be affected by chemicals in the air such as acetic acid from glues and sealants.

To prevent objects from all sorts of dangers, including physical damage, pests, dust, pollution and light, they are stored in polythene boxes. These also buffer changes in temperature and humidity. All the packaging involved, including the box, should be inert and as non-biodegradable as possible to prevent any chemicals from leaking out and causing damage.

Not your average lunch box: A storage box holding boxed objects safely cushioned in acid free tissue.

Objects are packed in nests of acid free tissue, and the climate within each box can be controlled with silica gel, which is conditioned to maintain a specific humidity level by absorbing moisture from the air. The most commonly used silica gel changes colour when it needs to be replaced, and can dried by gentle heating for reuse.

The graph below shows the different conditions preferred by various materials, for example wood is best preserved in a very humid environment, whereas metals require the air to be much drier. When an object is made of more than one material, it is much harder to protect, but it could be kept at a mid-range relative humidity to prevent any damage.



Graph showing recommended ranges for relative humidity

 If you would like to learn more about how to care for objects why not come along on a ‘Behind the Scenes Tour'? see the link below for forthcoming dates…

http://www.romanbaths.co.uk/whats_on/events/events_calendar/tunnel_tours_and_store_tours.aspx

More about our 'Behind the Scenes' Tours in January....

Spinning a Yarn.....

As promised, here is more about the Roman Spindle whorl, but first a little history…

A frieze on the Forum Palladium in Rome features a series of bas-reliefs of women spinning thread using the spindle whorl. This goes to show that spinning was a common activity for Roman women, girls and female slaves. Although the spindle whorl was used in creating thread for clothes and textiles, it was also used as a sacrifice to the gods and would sometimes be carried in bridal processions. The act of spinning was also associated to women coming of age and, in the myth of the 3 Fates, each thread spun by the women hold the life of every man’s past, present and future. Interestingly, in rural districts of Italy, the women were forbidden to spin when travelling on foot because it was considered an evil omen.

So, how do you use this object? Here is a fun step by step guide;

The spindle whorl normally consists of a stick of 10 or 12 inches long (spindle) and a circular weight (whorl). Spindle whorls are made from various materials - wood, stone, ceramics or metal.

Spindle Whorl

Imagine if you have the spindle whorl…

1) With your two hands, take a piece of wool and rub it together to form a long strand. Tie one end near the whorl and the other on the top of the staff (there should be a slit or catch). The weight of the whorl should help spinning.

1

2) Hold the wool in your left hand and, with your right hand, spin the spindle whorl. Let the spindle whorl weight draw the spindle down, drawing out the thread.

2

3) Once reaching the ground, take it out of the slit and wind onto the spindle. Replace the thread in the slit and twist out another length. Repeat.

3

Congratulations, you are spinning!

Web of Deceit

When working on the “Gift’s for the Goddess” display table during Heritage Open Week, I came across a replica of an ancient Roman spindle whorl. Being who I am, I was intrigued to find out more about this strange little round item, especially how it worked. Learning how it twists the thread into long strands ready for weaving reminded me of a Roman myth of a weaving competition between Minerva and Arachne. The story goes as follows…

Arachne was considered the best weaver of textiles of all mortals. People across the lands would come watch her as she created the most beautiful textiles with such grace. One day, Arachne claimed to the public that she could out weave the goddess Minerva. Unfortunately, after Minerva heard this, she was not pleased and disguised herself as an old woman. The goddess went to visit Arachne and under her disguise she warned Arachne about the wrath of the gods and to not tempt the goddess Minerva. Arachne having heard the advice, refused to do so. Minerva took away her disguise and stood before Arachne and declared she would accept her challenge. Arachne surprised and bashfully agreed to do so.

Minerva

Many gathered around the competitors as they took their stations and attached the webs to the beam. They watched in awe as they elegantly spread the slender shuttle in and out along the thread. Both of them worked with such skill and speed. Eventually the colourful images started to form on the textiles.

Weaving loom

Minerva displayed the story of her triumph over Neptune in claiming the city of Athens. Arachne wove stories of gods who failed or caused errors to mortal kind.

This outraged Minerva and she destroyed Arachne’s beautiful textile. The goddess then placed shame into Arachne’s heart for defying the gods.

The next day Arachne felt such guilt and shame that she tried to take her own life. Minerva, having heard this, felt pity on Arachne and went to visit her. While standing before Arachne she said “Live, guilty woman and that you preserve the memory of this lesson…” and promptly turned Arachne into a spider.

(Want to learn how to use a Roman Spindle Whorl?...keep reading there will be more on that later!)

A Cast of Little People Take 2

When I drew up the list of characters for the model (see blog Wednesday, 11 May 2011) I didn't realise I'd be working with little Romans again in 2011.

When we started to think of a different way of showing what people did in the Baths and Spring, for the new development in the West Baths, we soon came up with the idea of a new model with moving figures and an overhead screen to show details of a day in the life of 7 people.

To get avatars of less than 10mm and moving images of the characters in the baths, I visited Audio Motion, motion-capture experts in Oxford. They have a huge studio with many cameras that create data which can be used to make digital people and objects. The studio has worked on some big productions requiring "mo-cap", including the films Gladiator, Harry Potter and the Deathly Hallows 2, and Iron Man II, and the games Kill Zone3 and Kinect Sport

Avatars

Lee and Sean were our patient actors who took everything in their stride, including strigilling themselves with paint rollers for "the detail can be added later digitally", as I kept on being told. They were kitted out in body suite, with many reflectors stuck on them which reflected the light from many lamps and gave 3D co-ordinates to a computer as they moved. The hardest activity they had to do was mime taking off a toga (which would have been 7m long and made of heavy woollen cloth, but we couldn't use a real one as it would block the signals to the sensors). Clyde, from the company, ISO, who we'd worked with before for a touch screen interactive, directed the proceedings with utmost patience and understanding. In the weeks that followed, his incredible team managed to transform the data into believable Roman characters.

Finished Projection Table

So now, projected down onto a plan of the baths, are many of the characters who appeared in the model, once again reminding visitors that it wasn't just fun and games at the Baths (well, we have got 2 men playing ball); there were people working there as well. We see young Belator puffing away, stoking the fires from (almost) dawn to dusk, Flavia bathing, having a massage, scolding her slave Apulia and, of course, chatting to friends, and Bellinus, one of the maintenance men carefully painting the walls.

What will these little Romans do next?

Preserving Skills

Great Bath looking north easterly towards Bath Abbey

We all love the Roman Baths; the thrill and excitement of seeing, touching and experiencing one of our most treasured national monuments. Now try to imagine a future where no one has cared for its preservation and it has crumbled to dust, or makeshift repairs have defaced any reference to its historical significance. This issue appears to underline the research carried out by the National Heritage Training Group (NHTG) in 2008, not just for monuments such as the Roman Baths, but for all our historic buildings, great and small. The published report, funded by The Sector Skills Development Agency, Construction Skills and English Heritage, was created to highlight the growing gap between those older professionals with skills to conserve buildings using traditional materials and methods, and a lack of equally knowledgeable young people to continue the work.

The findings of the report and the reasons for the decline are numerous, although not always negative. They range from increased funding pressures and a reduction of the amount available for grants, to contractors having a limited knowledge of traditional building materials and methods. This has led to a culture where a greater level of commitment is given to new builds, with many training providers simply perceiving a lack of demand for specialist heritage training.

The report reveals three years of changes to the heritage sector and a greater emphasis has been placed on training, with new initiatives attempting to provide solutions to the problems. For example, the development of new training qualifications to entice younger people to the profession. These include a new Heritage Skills NVQ Level 3 and a Heritage Apprenticeship Programme. Furthermore, NHTG continues to work with English Heritage in establishing a Works and Training Contract Framework that can be used across the built heritage sector.

In the six years since the original report, there have been clear improvements with notably better recruitment practices and more effective careers and qualifications in marketing. However, the skills gap remains, with only one third of the workforce using traditional building materials and many still requiring retraining. Nonetheless, there is a concerted effort within the heritage sector to reset the balance and provide and maintain a workforce that has the skills and knowledge to authentically preserve our historical buildings, not just for us but for future generations.


http://www.english-heritage.org.uk/professional/research/social-and-economic-research/heritage-labour-market/built-heritage-professionals/

http://www.nhtg.org.uk/nhtginitiatives/publications/research/buildingpros2008.aspx#0

http://www.nhtg.org.uk/uploads/NHTG_skillsresearch_professionals_2008_fullreport_tcm27-11117.pdf


Matthew Hulm - Collections Volunteer

To Coin a Phrase

A Royal Imperial gold aureus of the emperor Allectus, on display at the Roman Baths Museum. This is a good example of a coin in excellent condition.

The Roman Baths Museum has an enormous collection of Roman coinage, primarily recovered from the Sacred Spring. Visitors in Roman times threw coins into the water as offerings to the Goddess, just as we today throw pennies into wells for luck.

As with modern coins, there were denominations of Roman coins, which were worth different amounts and made out of different materials. These are shown here in decreasing value:

Metal: Coin: Value:

Gold Aureus 25 denarii

Gold Quinarius 12 ½ denarii

Silver Denarius 16 asses

Silver Quinarius 8 asses

Orichalcum Sestertius 4 asses

Orichalcum Dupondius 2 asses

Copper As 4 quadrantes

Orichalcum Semis 2 quadrantes

Copper Quadrans ¼ as

The nature of the metal is also important for identification. The silver content of a denarius or quinarius can help with dating - the first silver coins were often 95% pure! This standard was dropped, raised, and then dropped again until in 270 it contained a mere 1% silver. The coins made from orichalcum are what we know today as brass, being made from a particular alloy of zinc and copper. This helped to distinguish similar coins through a difference in colour. The dupondius and as were about the same size, but could be told apart because orichalcum is very yellow in colour, and copper is obviously red.

Size, weight and thickness are three other factors that are very useful when identifying Roman coins. In general, the size of Roman coins decreased over time, from the hefty bronze examples of over 25mm across and more than 3mm in thickness, through to the tiny nondescript issues from the period between 260 and 402. This can provide an indication of the coin’s date at a glance, particularly when confronted by a large selection of unidentified coins.

Inscriptions and images are essential in identifying coins. Roman coins were decorated on both sides, usually with the emperor on the front (obverse). The reverse types are varied, but commonly show depictions of various deities, victories, architecture, animals, or representations of the emperor’s family. The front of the coin will generally bear an inscription showing the emperor’s titles and dignitaries, whereas the reverse is dependant on what is depicted, with the inscription being relevant to the goddess shown, for example. The reverse of the coin sometimes bears inscriptions with information about the coin itself. This includes the letters S.C., found on the backs of copper and orichalcum coins after 23 B.C. This stands for ‘Senatus Consulto’ to show that the coin has been issued by the Senate. When mint-marks appear, they are also usually imprinted on the reverse. These were introduced in order to control and standardise the activities of mints.

When coins are very worn or damaged they can be impossible to identify. This coin shows the state in which the majority of coins are found, although this one is a particularly extreme example.

References:

Richard Reece & Simon James 1986. Identifying Roman Coins. London, Seaby Ltd.

David R. Sear 1974. Roman Coins and their Values 2nd edn. London, Seaby Ltd.




Zosha - Roman Baths Intern

Let it Snow, Let it Snow, Let it Snow.......

The mountains of Caradhras from "the Lord of the Rings", Narnia, Christmas Town from "the Nightmare before Christmas"; what do they have in common? They are all miracle places and environments of snow and winter but with one common fault; they're all only fictitious.

A snowy scene - Keynsham

But the world we see around us can be a winter wonderland too if you know the right places to look. And no, I don't mean you should travel all the way to Antarctica. Many places such as woods, parks, even towns can make a dramatic transformation with a little help from the snow. When the snow began to fall around Bath, I was eager to see what attractions such as the Great Bath would look like in snowy weather. Unfortunately, being a bath full of hot water and steam, a first-ever photograph of the Baths in the snow was a futile wish; thank you very much laws of nature. At least the Roman Emperor and Governors statues around the Great Bath terrace were willing to play along with my latest photographic experiment.

Snow on the statues around the Great Bath

But that wouldn't stop me from finding some other snowy area to capture in pictures. Last year, in November, when I went to see the Don McCullin: Shaped by War exhibit at the Victorian Art Gallery and got the chance to look at some of his work with black and white winter photographs; it inspired me, the following month, to take a few snaps around the parks and fields of my hometown; Keynsham. And as you can see by the included photos, the results were quite successful.

The banks of the River Avon in the snow

A lot of people may look on this season and weather as a traffic disruption and a slippery risk. But what a snowy winter lacks in travel convenience, it makes up for in giving photographers opportunities like this. They say "an artist must suffer for their work"; and after falling over at least seven time's whist taking these photos, I think I've done the suffering part. And it's been worth it.

A winter wonderland

Exploring Mediterranean Pottery

I must admit that investigating pots from all around the Mediterranean is an exciting but challenging process. The task I had been challenged with was to “decode” a great collection of ancient Mediterranean vases dating from the Early Bronze Age to the Late Iron Age (BC 2500-30) that had mysteriously ended up in Bath. After one visit, three books, and countless articles and museum’s websites I have just about cracked it.

Here is a brief introduction to just some of the objects and their fascinating history.

The first one is a bottle-shaped vase called unguentarium or also known as spindle-shape unguentarium. This pot is a pinkish-grey bottle with a rounded biconical body, a tapering base and an uneven concave neck. Dating ito the Hellenistic Period (BC 325-30) and made in Cyprus, this small narrow-necked flask was made in order to store perfumed oils. Unguentaria were used throughout the Ancient Hellenistic and Roman World and it was common that they would not stand. These types of vessels were placed in tombs as grave offerings.


Unguentarium - BATRM1986.27.5

The next pot is a jug, and more specifically an oinochoe (οινοχόη in Greek). The name reveals that this jug was made to contain wine (οίνος in Greek). This vase is a Mycenaean style ware dating to the Late Bronze Age (BC 1650-1050) and was probably imported into Cyprus from the Aegean. It is made of a cream slipped decorated bichrome fabric and has a flat rim sloping outwards, a globular body, one vertical handle and a spherical ring base. It was decorated with lines and bands of concentric circles in purplish-red and dark brown paint, placed vertically on either side of the body. Vases of this type are found in two types of context either as an indication of high quality tableware (domestic) or as grave offerings (ritual).

Jug - BATRM1986.26.9

The last object is a black figure Attic lekythos (λήκυθος in Greek) and dates to between late 5th century and 6th century BC. This pot was made in Greece and depicts standing figures including Orpheus. Vases of this type were originally made to contain oil; however, the ones made in Attica are a bit different. They are called Attic white lekythoi (the background is white and the figures normally black) and were used as grave offerings. After the construction of the Parthenon, the ancient pot-makers were inspired by the beauty and perfection of the monument’s sculptures, and therefore they started making a new type of lekythos with both white background and figures (imitating the marbles).

Vase - 1985.293

Mystery objects: Among the collection, two objects found in Carthage were really hard to identify. After many hours of research the mystery was finally solved and the result was far more exciting than expected. The first object is a syringe-shaped pipe quite common in North Africa. The second one is an ancient rattle which was used in order to help young children fall asleep, and at the same time drive away evil spirits.

Pipe - BATRM1986.23.1

Rattle - BATRM1986.23.2



Just my Luck, a Very Interesting Coal Truck.......

The German Coal Truck prior to the move to St John's Store

Oh, the wonders of coming upon something so unique. Have you ever found an object and wanted to know more? I’ll let you in on a little secret, and I found it in the Roman Baths Local History St. John’s Store.

I was lucky enough to go behind the scenes in the store and look around. When walking into a room, gloriously to one side of the wall, something caught my eye. As always, like most people, I ran over like it was an ice cream truck. It wasn’t an ice cream truck but rather a German coal wagon. Now you may be thinking: a German coal wagon? It is more interesting than you may think.

The German coal wagon was discovered near Bath Spa railway station by Network Rail workers in 2001. This wagon was found when railway arches were opened to be changed into retail units. Along with the wagon, was a section of the track and a small section of the turntable.
The German coal wagon, which had been in Bristol for conservation, is now housed in the St. John’s Store. The wagon was considered of interest to the Railway Heritage Committee, so long-term plans were organized. This is why they found a lovely home for the wagon.

What more is there about this intriguing wagon? Well, the German coal wagon was built by Orenstein & Koppal. This company, founded in 1876, made railway equipment for trenches on the German side during the 1st World War. This particular wagon distributed coal from Bath station to the coal fired power station.

Finding such an item in Britain is rare. I sparked your interest, didn’t I?

You may now be pondering profusely: when can I see the German coal wagon? My dear friend, your time has come...
To learn more about the 1890’s wagon and other interesting and captivating items, come to St. John’s Store during Heritage Open Week, on October 29, 2011. Trust me when I say it is a visit you will not regret!

Solange - Collections Intern
 
For exact opening times please follow this link: http://www.romanbaths.co.uk/pdf/Open%20Week%20Prog%202011%20FINAL.pdf

Ancient Egyptian Time Table

As part of the Tuesday Time Tables at the Roman Baths, I chose to do my Time Table on the Ancient Egyptians, as I love Egyptian history. It was also a good opportunity to get objects out of the collections which the public rarely see. My theme was religion as it was an integral part of Egyptian culture and belief. Egyptian religion is complicated but it is better understood by looking at objects connected with it.

Most of the jewellery worn by the Ancient Egyptians would have acted as amulets to offer protection to their wearers. They often depicted gods or specific animals associated with gods, such as the three I used showing a frog, a baboon and Shu (the god of air).

One such piece is a beautiful scarab beetle. Scarabs are one of the more iconic symbols of ancient Egypt, and were often used in jewellery and decoration. They symbolised the god Khepri, who rolled the sun across the sky every day.

Scarab Beetle

As time went on, ‘shabtis’ (funerary figurines), became a common part of burials. Shabtis were servant figures that carried out the tasks required of the deceased in the underworld. They are commonly found in museum collections, but have you ever asked why they are so common? Perhaps it is due to their size which makes them both portable and beautiful? I have always been particularly fond of shabtis simply because I liked the idea of having little people come to life to help me out in the afterlife! Of the two shabtis displayed, my favourite was made of limestone. This object was my favourite because it was beautifully painted.

I also chose to display a copper alloy Osiris figurine. Osiris was the God of the afterlife and is one of the better known gods in the Egyptian pantheon. Figurines of the gods could often be found in household shrines or burials in Ancient Egypt.


For more information on objects from the Eygyptian collection please follow this link…

‎http://www.facebook.com/TheRomanBaths#!/media/set/?set=a.204898112888207.55841.123557411022278&type=1    

Oil Lamps- Lighting Antiquity

Lighting has always been important throughout the history of mankind. A long time ago our ancestors began finding ways to "illuminate their lives" - and one way they did this was with elaborate oil lamps.

The oil lamp is an old invention, the earliest date from between 15,000 to 12,000 BC. They have been found in Egypt, dating to around 4,000 BC. The Eygyptians used them not only to illuminate their houses, but also in death rituals and other religious ceremonies as a means of purification.

Historical records reveal that in ancient Greece a famous large oil lamp called Callimachos (Καλλίμαχος in Greek) “The golden lamp” was kept in Acropolis and burned daily with only one refill of oil per year. Adopted by the Romans, oil lamps spread across the Roman Empire and this is how they came to Europe. In Roman Britain lamp usage is strongly linked to military sites and large urban centres.



Pottery oil lamp - BATRM1985.324.2

A lamp has an oil chamber to contain the fuel, a filling-hole to introduce the oil, a nozzle and a wick-hole to hold the wick (the most frequently used wick-material was probably linen as it was quite soft and fibrous). In order to create a lamp, the ancient craftsman needed to construct an “archetype” of fired clay which would exhibit the shape and all the details both decorative and functional. When the “archetype” was finished it was fired ready for the mould to be taken. Wet plaster was poured around, and when it had hardened, registration hollows were cut out.

The decoration could vary…deities, myths and legends, scenes from everyday life, animals, chariot racing etc. The maker was free to play with the design and create new patterns but would often place his or the workshop’s name on the underside of the lamp (this has proved to be very helpful for archaeologists when trying to identify the date or place of a lamp’s production).

Metal oil lamp - BATRM1986.22.2

So, next time you visit a museum and you come across these small objects, look closer at the patterns, try to identify their different parts, and think about how important they were to our ancestors.

I found a very interesting museum in Portugal dedicated to oil lamps. For more information: http://en.lifecooler.com/lifecooleren/oil-lamp-museum-museums-382661-1.html