Dr Pinar Durgun discusses the context and background behind her innovative new handbook presenting ‘recipes’ for teaching about the ancient world.
How did the book come about?
The world has changed so quickly and so drastically around us in 2020. So has our teaching: online and open-access resources have often been the only way students and educators can access and share information, when libraries, schools, and cultural organizations have been closed for much of the year, and in many cases remain so. Even when they have re-opened, educators have been forced to teach in entirely new or hybrid formats.
Now that many of us are required to teach over digital platforms, can we expect our students to listen to us lecture for two hours and give us their undivided attention? The instructional designers I work with in preparing my online courses suggest that online lectures should be 10 minutes maximum. So do many other educators. This is how long your students can focus on your lecturing voice and your ‘floating head talking’ video. In the physical classroom, the maximum is around 15-20 minutes. So how do we communicate information and teach content for longer stretches of time while still enabling students to interact and engage?
Interactive classroom activities make learning undeniably more engaging and fun, in addition to providing students with physical dexterity, collaboration, critical-thinking, problem-solving, and analytical skills. There are very creative educators among us who have been teaching about the ancient world in exciting ways using hands-on, project-based, and experiential activities. I wanted to use these activities in my classes. And based on dozens of activity exchanges with my educator friends, I was sure that other educators were also looking for new strategies to engage their students with the ancient world. This is why I created An Educator’s Handbook for Teaching About the Ancient World.
What is in the book?
The initial idea was to format the lesson plans into a cookbook, with teaching ‘recipes’, which include the materials, budget, preparation time, and level of students so that any educator could replicate these recipes in their classes. Some of these activities require materials, some do not. Some need to be prepared before class, some require no preparation. Some of the activities are very much tied to the culture, time period, or place, but some can be applied to any content. Some of the activities were written by a single educator, and some are a product of collaborative teaching. All of the activities, however, are tested in the classroom and peer-reviewed by other educators. More importantly, all activities are engaging, hands-on, immersive, and/or experiential. They are only a small portion of the endless possibilities of making teaching and learning about the ancient world fun, meaningful, and informative.
In addition to these teaching recipes, this book also addresses some important issues in ancient world pedagogy: Why should we publish educational resources as open access? How can we effectively make use of museums and ancient objects in our teaching? Why should our research and pedagogy be collaborative? Our teaching has broader implications. These essays address such implications and provide great examples and case studies for educators to apply these methods and ways of thinking to their own teaching. I hope this book will be a resource where we can learn from each other about ancient world pedagogy regardless of the time periods, cultural or geographical areas, and subjects we teach.
Who is this book for?
Educators teaching about the ancient world. Students and parents learning how to teach about ancient world. Anyone who is interested in the ancient world and pedagogy. The activities in this book can be implemented online or in-person, in school, university, library, museum, or home classrooms. Every activity specifies the age/grade level of students for which the activity is appropriate. Many activities also have optional steps to make the activity work for other ages/levels. The activities and essays were written by school teachers, university instructors, and museum educators who teach about ancient objects, materials, peoples, and cultures.
Some of the activities were also written in different languages. Contributors and educators Leticia Rovira and Cecilia Molla from Argentina, who wrote their activity both in English and Spanish, say that this book is:
“a novel contribution to the didactics of ancient societies’ teaching. The main objective is challenging and enthralling: to go beyond the thresholds of academy and reach another very important audience –students at different levels- and try to capture their interest, drawing their attention towards our fields of study through a wide diversity of appealing didactic proposals.”
One of the goals of this book was to open up the conversation about ancient world pedagogy and create a hub for more collaboration. I encourage you to try out the teaching activities and share your photos and observations with other educators: https://pinardurgunpd.wixsite.com/teachancient/gallery
Dr Pınar Durgun is an art historically-trained archaeologist with a background in anthropology, cultural heritage, and museums, passionate about outreach and education. She received her Ph.D. from Brown University and has been teaching for about a decade in universities, museums, and school classrooms about archaeology and the ancient world. As a dedicated public scholar and educator, Dr Durgun hopes to make academic information about the ancient world accessible, fun, and inclusive. Find out more about her work here: https://pinardurgunpd.wixsite.com/pinardurgun
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The eBook version of my book is FREE to download in Open Access. To download the free eBook or to purchase a printed hardback copy, please click on the cover image below:
Sincerest thanks to Dr Durgun for writing this article for the Archaeopress Blog. To submit an article, please send your proposal to Patrick Harris: email@example.com
Paweł Gołyźniak of the Jagiellonian University in Krakow presents an introduction to his new book which aims to place engraved gems alongside literature, architecture, sculpture and coins in discourse surrounding Roman propaganda.
How did the Romans effectively communicate their private successes? Whom did they set as examples to follow? How did they manifest their political affinities? How did the political leaders of ancient Rome employ the noble and luxurious art of gem engraving for their political purposes? How did their official seals contribute to the spread of information on their successes and help to build up a positive image within the society? These and many more questions are answered in my book, Engraved Gems and Propaganda in the Roman Republic and under Augustus (see fig. 1).
I think it is one of the most important books on Roman gems ever produced, and hopefully it will become a standard work in university teaching…
Martin Henig, Emeritus Professor at the Faculty of Classics, University of Oxford
How did the book came about?
The book deals with small, but highly captivating and stimulating artwork – engraved gemstones (carnelian, agates, amethysts etc. with images carved upon their surfaces). I began studying them a few years ago when I accessed a long forgotten but magnificent collection of intaglios, cameos and seals in the National Museum in Krakow. That assemblage, composed mostly of the gems gathered together by one of the most successful Polish art dealers and collector Constantine Schmidt-Ciążyński (1818-1889), was my first major study, resulting in the publication of the ancient part of the cabinet in 2017. This study was, in fact, the initial spark for my more comprehensive work on the use of intaglios and cameos for self-presentation and propaganda purposes in the Roman Republic and under Augustus. In Krakow, there is a good selection of stones related to this issue. Besides this, engraved gems have so far been somewhat neglected in the analysis of Roman propaganda, with discourse focused mainly on literature, architecture, sculpture or coins. Intaglios and cameos had multiple applications in Antiquity (seals, jewellery or amulets), but despite their various function, the images engraved upon them offer snapshots of people’s beliefs, ideologies, and everyday occupations. Thus, they cast light on the self-advertising and propaganda actions performed by Roman political leaders, especially Octavian/Augustus, their factions and other people engaged in the politics and social life of the past. The major aim of the new book is to place glyptics in the interdisciplinary discourse mentioned above, and fill this gap in the studies of Roman propaganda.
What is inside?
On 618 pages and with the help of 1015 mostly colour illustrations in Engraved Gems and Propaganda in the Roman Republic and under Augustus you can find out how gems can show both general trends (the specific showpieces like State Cameos) as well as the individual and private acts of being involved in politics and social affairs, mainly through a subtle display of political allegiances, since they were objects of strictly personal use. Gems enable us to analyse and learn about Roman propaganda and various social behaviours from a completely different angle than coins, sculpture or literature. The miniaturism of ancient gems is in inverse proportion to their cultural significance. My book presents an evolutionary model of the use of engraved gems from self-presentation (3rd-2nd century BC) to personal branding and propaganda purposes in the Roman Republic and under Augustus (until 14 AD). The specific characteristics of engraved gems, their strictly private character and the whole array of devices appearing on them are examined in respect to their potential propagandistic value and usefulness in social life. Hence, you can see that self-advertising through glyptics did not come out of nowhere in the early 1st century BC. Individuals used to refer to their personal accomplishments as early as in the 3rd century BC as we read in Pliny the Eleder’s Natural History book 37: ‘Intercatia, whose father challenged Scipio Aemilianus, and was slain by him, was in the habit of using a signet with a representation of this combat engraved upon it’.  People used to set the heroes like Achilles, Theseus or Herakles as examples to follow or even to act as a comparison. The display of family legends and origio stories was another important aspect of self-promotion through glyptics. For example, it is plausible that Ulysses engraved upon an intaglio might have been a reference to the legendary ancestor of the gens Mamilia (see fig. 2). The very same depiction of him welcomed by his dog Argos appears on the denarii minted by C. Mamilius Limetanus in 82 BC (see fig. 3). Even though gems’ iconography is complex, and often it cannot be determined if it represents one specific narrative, still gems seem to be as vital in the promotion of personal or familial stories as were coins.
I tried, in the presentation of this book, to make good use of more than one hundred Roman Republican and Augustan coins (counting only those illustrated, many more are referred in the text) in order to prove the numerous connections between glyptics and numismatics, not only on technical and stylistic grounds, but most importantly in the propaganda agenda they both transmit. Coins sometimes compensate for important lost intaglios like in the case of the two seals of Lucius Licinius Sulla and they offer immeasurable help with portraits’ identification as well as dates. The first seal of Sulla represented the dictator seated on a raised seat with a bound Jugurtha kneeling beside him while before him kneels Bocchus, offering an olive-branch. The seal portrays Sulla’s first great victory, in which he ended the Jugurthine War (112-106 BC) and its iconography was most likely based on the sculptural prototype which was a gilded statuary group sent by Bocchus to Rome and installed on the Capitol. That event enormously boosted his political career and for a nobleman seeking to raise his authority it was a perfect occasion to promote his success. There was no better way to illustrate his exceptional military and political achievement than upon a personal seal. The seal itself as well as the statuary group have not survived, but the seal’s iconography inspired the son of Sulla, Faustus Cornelius Sulla (questor in 54 BC), who in 56 BC minted a denarius presenting exactly the same scene.
However, the particular strength of gems if compared to coins and any other branch of art and craft is that they exhibit the real involvement of the society into politics and prove propaganda campaigns successfulness. This is due to the fact that they were strictly private objects; they carried images that people identified with. Hence, a portrait of a political leader like Pompey the Great or Julius Caesar upon one’s ring was a clear manifestation of support towards a patron (see fig. 5). Moreover, intaglios and cameos were both mass produced objects (especially glass gems) and the luxurious ones (for instance the so-called State Cameos). This makes glyptics particularly effective propaganda channel suitable for agitation and integration and reaching all social strata. The most effective with the employment of gem engravers for his political purposes was, of course, Emperor Augustus. He not only organised an imperial court workshop lead by the famous Dioscurides and his three sons producing intaglios and exceptional cameos for him, but was also quite influential on the whole glyptic production at the time of his reign. This is clear from analysis of gems iconography since, for instance, many bear subjects related to the mythological foundations of the New Rome (see fig. 6). It seems that glyptics, apart from coinage and sculpture, was also another channel promoting Augustus successors because one finds their numerous portraits cut upon gemstones (see fig. 7).
Overall, the aim of my book is to offer new insights into the political and social affairs of ancient Rome. It should be of interest not only to those studying intaglios and cameos but coin enthusiasts will certainly find the exposed interconnections between numismatics and glyptics useful and interesting. I hope all those interested in Roman propaganda, archaeology and art will profit from the book as well.
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The eBook version of my book is FREE to download in Open Access. To download the free eBook or to purchase a printed hardback copy (£90), please visit: https://tinyurl.com/9781789695397
About the Author
Paweł Gołyźniak works as a Research Fellow in the Institute of Archaeology, Jagiellonian University in Krakow. His research interests include engraved gems (ancient and neo-classical), Roman Republican and Augustan numismatics, history of antiquarianism, collecting and scholarship as well as 18th century drawings of intaglios and cameos and the legacy of antiquary and connoisseur Philipp von Stosch (1691-1757). Author of two monographs (Ancient Engraved Gems in the National Museum in Krakow (Wiesbaden: Dr. Ludwig Reichert Verlag, 2017) and Engraved Gems and Propaganda in the Roman Republic and under Augustus (Oxford: Archaeopress, 2020)) and more than a dozen scientific articles, most can be found on his Academia.edu profile: https://jagiellonian.academia.edu/PawelGolyzniak
 Gołyźniak, P. 2017. Ancient Engraved Gems in the National Museum in Krakow. Wiesbaden: Dr. Ludwig Reichert Verlag. See also an article providing an overview of the whole cabinet: Gołyźniak, P., Natkaniec-Nowak, L. and Dumańska-Słowik M. 2016. A nineteenth-century glyptic collection in the National Museum in Cracow: The cabinet of Constantine Schmidt-Ciążyński. Journal of the History of Collections 28 (1), (March 2016): 85-96 (DOI: 10.1093/jhc/fhu056).
 Plutarch, Life of Sulla, 6.1. However, Flower has suggested that Bocchus took the inspiration for his monumental sculptural group directly from Sulla’s ring device (Flower, H.I. 2006 The art of forgetting: Disgrace and oblivion in Roman political culture. Chapel Hill: 113).
St John Simpson and Svetlana Pankova whet our appetites for the forthcoming proceedings volume, ‘Masters of the Steppe: The Impact of the Scythians and Later Nomad Societies of Eurasia’
We are delighted and relieved in equal measure to now offer you this blog announcing the forthcoming publication of papers arising from the major international conference at the British Museum which was inspired by and connected to our blockbuster exhibition Scythians: warriors of ancient Siberia!
The packed programme ranged from broad sweeping overviews to the latest excavation discoveries, scientific analyses of gold and anthropological analyses of cemetery populations. We also had many other papers accepted but, owing to an unfortunate combination of visa problems and personal health issues, some had to be delivered in absentia and others were not presented at all. However, we decided to include them, and expand our proceedings into an even larger volume which captures some of the richness of the archaeology of the Eurasian nomads of antiquity.
Nomads have an image problem but only amongst non-nomads. Today, people without fixed homes are viewed disparagingly in many societies, even though a tent or even the temporary shade of a tree may be considered a suitable home by those on the move or the so-called ‘homeless’. Herodotus gives a more nuanced world view: as an exiled Greek from western Anatolia staying in one or more northern Black Sea ports, he almost sympathises with the Scythians he describes as he attempts the first ethnographic description of where they came from, how they lived, what they ate and drank, believed and valued most.
The 45 papers by 51 contributors and co-authors in this volume capture some of the latest thinking and research on the early nomads of Eurasia, from present-day Romania, Ukraine and the northern Caucasus in the west to southern Siberia, Kazakhstan and China in the east. From them, we get a much richer, more varied and, occasionally darker, picture of life on the steppe. This was a hard but dynamic environment and these people understood how to exploit it. They took care of their appearance: women used scent and makeup, manicuring was surely not limited to the dead, and leather and fur preserved in the ‘frozen tombs’ of the Altai provide exceptional evidence for local and imported forms of dress. We also have papers on their horses, how they were cared for, saddled and dressed up for ceremonies. We have new scientific analyses looking at the sources and working of leather, including human skin, textile dyeing and weaving technology, bead production, the making of a ‘Scythian bow’, swords, and the various techniques used in working gold. There are papers on famous sites of different cultures, such as the Scythian kurgans of Alexandropol, Arzhan-2, Issyk, Kelermes and Taksai-1, the massive settlement at Bel’sk, an intriguing hoard from the fortress at Stâncești, and much later cemeteries at Noin Ula and Oglakhty. Surveys and GIS-based studies show how some of these were situated within their physical and socio-political landscape. Other papers discuss the development and possible reasons behind the development of ‘Animal Style’ art, as well as its many forms and applied media from metal and carved horn to rock art. And, of course, we have papers on kurgans: how and why they were built as monuments to the dead, and what forms of funerary feasting and even more macabre activities took place around them. Some papers re-examine the relationship of the Scythians with colonial Greek and forest-steppe communities around the Black Sea, another details changing directions of influence in the northern Caucasus, and yet others examine new evidence for interaction and mediation of motifs between nomads, Achaemenids and Greeks, and the penetration of new ideas into northern China. Close connections between peoples occupying the Minusinsk and Tarim Basins at a later date are the subject of one paper, and the dramatic effect the Huns had on the fortunes of the Sasanian and Gupta empires is the topic of another; yet others focus on the collections in the State Hermitage Museum and Royal Collection in London to retrace the original context of pieces which passed through private hands, the impact early discoveries had on ‘Scythian Revival’ decorative arts and Western scholarship.
The adaptation of the horse from a herd and pack animal to a means of rapid transport revolutionised society. Greater mobility accelerated the pace of introduction of ideas, fashions and technologies: whereas before it might have taken a cart two years to travel the 4,500 km from the Black Sea to Tuva, a horseman could now theoretically go and return within a few months. It also created a new predatory approach to acquiring and controlling vast new resources which is reflected in the new weaponry and dynamic early phases of ‘Animal Style’ art. These people understood their animals and the available natural resources, and were highly skilled horse breeders as well as excellent riders.
The nomads moved camps seasonally and varied their activities accordingly. After shearing their sheep in the early summer there was plenty of wool for making felt items. This was also the ideal period to weave textiles although spinning must have been an all-year-round activity, and the same probably applies to whittling bone or carving small wooden objects. It was in the summer that many tribes sowed and harvested millet. Trapping and hunting were year-round activities. Some tribes also knew how to extract metal: some must have established base camps near the rivers where they knew placer deposits were present and spent part of their time patiently panning as well as probably fishing, whereas others returned year after year to camp near ore veins and extend their mine shafts deeper into the rock. The working of metals did not require large or complicated tool-kits and the variety of regional styles and quantity of metal in circulation prove they had ample access to metal, knew how to work it and supply it to the nearest settlements. The interaction between these different groups was much more complex than simply avoidance or conflict; there may have been regular tensions but each community relied to some extent on the other and carefully negotiated relationships must have been developed locally. Access to the different areas and types of resource on the steppe and in the valleys must have been jealously guarded by different tribes and sub-tribes. However, the weaponisation of Scythian society and level of inter-personal violence exhibited in the archaeological record illustrate how competition could easily lead to conflict with resolution through violence rather than tribal discourse. These were people with skills, traditions, beliefs and complex social structures. They developed a sustainable lifestyle which lasted for almost three millennia and one which continues to resonate strongly in the region today.
Sincerest thanks to Dr Simpson and Dr Pankova for providing this blog post.
David J. Breeze introduces an edited festschrift volume, new from Archaeopress, where nearly 40 archaeologists, historians and heritage managers present their researches on the Antonine Wall in recognition of the work of Lawrence Keppie, formerly Professor of Roman History and Archaeology at the Hunterian Museum, Glasgow University
Arranging a Festschrift can be a fraught task. The organiser wants to honour the recipient, but if s/he is a university lecturer it is likely that the potential contributors will come from a range of interests, creating a rather disparate book, which in turn might have an impact on sales. With Lawrence, a former museum curator, the decision for Bill Hanson and myself was simple; the obvious focus of the volume was the Antonine Wall. After all, Lawrence had excavated throughout its whole length and curated its most famous artefacts, the distance slabs. Within a week of inviting all the archaeologists currently working on the Wall we had a full volume. Moreover, the 39 contributors, writing 32 papers, easily covered the wide range of Lawrence’s interests.
We start with looking at the Antonine Wall in its landscape and its impact on the indigenous population. The core of the volume are papers on the frontier and its artefacts, examining its building and occupation. The final section embraces Lawrence’s historiographical interests as well as the presentation of the Wall today and its role as part of the Frontiers of the Roman Empire World Heritage Site. Colleagues rose to the challenge of writing on Roman women on the Wall and on veterans for both of which there is so little evidence. There are papers here which we knew would interest Lawrence and acknowledge his major contribution to understanding Rome’s North-West frontier, including one on the structure of the Wall itself which goes to the heart of the monument as well as to Lawrencce’s investigations along its line.
Cover image: The Distance Stone of the Twentieth Legion from Hutcheson Hill (RIB III 3507) found in 1969 lying face down in a shallow pit immediately to the south of the Wall (copyright Hunterian, University of Glasgow).
John F. Potter examines the evidence for the measures taken to make church buildings secure or defensible from their earliest times until the later medieval period. In particular he studies the phenomenon of ‘bar locks’.
Professor John F. Potter BSc, PhD, FGS, CBiol, FSB, FIEnvSc 6th July 1932 – 27th November 2019
A note from the Publisher:
We were greatly saddened to hear of the passing of our friend and colleague Professor John F. Potter in late 2019. John had been a regular collaborator with Archaeopress and we shall miss his visits to our office very much. We were very far into production for John’s latest title Bar Locks and Early Church Security in the British Isles when he died and, with the kind permission and co-operation of his family, were able to complete the project for final publication. The book is published in our Access Archaeology imprint where the PDF eBook can be downloaded free of charge. A printed paperback edition is also available, priced £40.00.
We are very pleased to present the introduction below, along with a link to continue reading via the free PDF download.
Bar Locks and Early Church Security in the British Isles
John F. Potter
Chapter One. Keys and Bar Locks
The evolution of this study
Forty plus years of detailed study of the fabrics and structures of early Christian ecclesiastical sites and buildings, throughout the British Isles have led the author to some unexpected discoveries. One, in particular, has been that very little examination, discussion or observation has been made as to how the earlier of these buildings were made secure when they were first built. That castles should possess defensive features such as the moat, drawbridge, portcullis and thick walls, all constructed to provide defence and security, has never been questioned. In 2004, Harrison in a description of many of the larger, predominantly monastic, religious structures in the northern hemisphere described them as ‘Castles of God’ and that ‘architecturally, the ecclesiastical edifice is subservient to the military’. Early churches, perhaps erected at much the same time and on occasions presumably in the possession of valuables, would often appear to remain lacking in any similar level of protection.
The populace at large today, and most persons associated with churches, including those whose work or study embraces these churches, in response to comment or the question as to how the early protection of the buildings was accomplished, may well answer ‘with doors and keys, of course’. A very limited number of persons have used, or are aware of instances of, a means of locking a church door without a key. Scrutiny of some older doorways does, however, certainly reveal evidence in the jambs of what might be termed ‘wooden sliding cross bar security systems’, or briefly, ‘bar locks’ (Figure 1.1). In the British Isles, as far as the present author originally believed, no attempt had been made to fully describe the function, distribution, or use and implications of this means of security. In the earliest years of the second millennium the present author identified and recognised the importance of bar locks which he had observed in Wales for the first time. At that time, bar locks, had been recently reported in churches in Southern Sweden and described in the PhD thesis of Dr Raine Borg. Possibly without intention, Dr Borg intimated, in correspondence, that this occurrence was the first to be recorded in Europe. More recently, the present author was to discover the large amount of study undertaken in recent years on the subject of the defence of churches and like buildings. An earlier study in France also refers to the defensive aspects of large churches.
In past times, just as today, it has always been necessary for buildings to provide security. This has been sought in order to protect various possessions, and to offer personal refuge and safety within the building. Before the invention of the locking devices with which we are familiar today, and in particular, the innovation of keys, the requirement must have created major and significant problems. For those with money and power, the ultimate protective structure in the past was provided by the sanctuary of the castle. At that time, in contrast to the castle, the early churches and the smaller monastic properties of the period were established to provide religious services and leadership, as well as the facility for personal private prayer. These were offered by invitation, and as today, they were dependent upon the buildings involved being open for attendance. Unless permanently supervised and controlled, the churches and their valuable contents could have, therefore, been subject to substantial damage and possible loss.
The historical records disclose that Viking, Norse and Danish marauding visitors found churches especially, relatively easy picking. Some of these raids have been documented by the current author and certain periods of Viking and Danish activity are referred to in Table 1.1 of the present work. These particular accounts highlight the need for church security in fraught circumstances, but it is easy to imagine the routine need for church security in much less difficult ‘everyday’ circumstances, both in earlier and later periods. At the simplest level there would be a need to keep undesirables, animals and the weather out of churches. (The special circumstances of the churches in the Border country between England and Scotland in the early medieval period are examined below).
The relatively recent recognition that some early churches, in the absence of keys, were kept secure from the inside of the church, by means of thick wooden bars (bar locks), confirms the requirement that often permanent occupation by a person or persons must have become a necessity. Only from within the church was the positioning of bar locks possible.
The capability to lock a strong church door from the inside would have been the first fundamental step in securing the building and possibly providing some sanctuary for temporary occupants who had fled from their more fragile dwellings. The shuttering and provision of bar locks for windows is analogous. Instances are evident where the original church may have needed supplementary structural protection beyond that provided by the installed door bar locks, and these measures could have major implications for structural change and design in the buildings. These supplementary protective requirements and methods for achieving them are many and various and are considered below. The recognition of the role of bar locks in securing churches led the present author to consider the further measures introduced to enhance church security, but the starting point of this study is an examination of the evidence for bar locks which takes up the first half of this work. The more varied measures taken to enhance more general church security provide the basis for the second half of this work.
What is a bar lock?
Typically constructed of metal such as iron or steel, a modern bar lock might be described as a long bolt which may be attached to the inside or outside of a door, so that the shaft of the bolt may be slid into a housing either built into, or attached to, the door jamb on the opposite side of the door to the door’s hinge. Commonly, in current modern systems, the bolt may be additionally secured, or prevented from further movement, by some form of locking system involving a key. An enormous range of modern bar locks exists and modified forms of this type of security range from the standard ‘push-bar’ emergency exit, to other instances of longer bars across a full door width, such as where a central key withdraws a catch from the housings on both door jambs.
If security is required only from one side, as in the home, it is more common to separate the mechanical functions of the bolt from those of the lock and key. Simple effective door bolts may be applied manually. Outside the scope of this discussion there are the many non-mechanical means of modern origin (such as electronic and electrical methods), which can provide safe-keeping.
The term ‘draw bar’ has been used by certain authors as an alternative term for bar lock, placing the emphasis on the unlocking rather than the locking process.
Keys and locks
The security of buildings today may be optimised both inside and outside by using a locking system which typically involves one or more keys. For a single key to access both sides of a door locking system, a key-hole is necessary. The simplicity of this form of security poses the question as to how long locks and keys have been available, and in particular, for how long have they been used in churches? Both locks and keys vary enormously in their structure. Raine Borg has defined keys as being instruments that are programmed or coded through the shape of the bit, which matches the pins and wards of the lock (See Figure 1.2). The turning of the key typically closes or opens the lock. The bit is that part of the key which acts directly on the locking mechanism.
It is possible that the earliest locks and keys were constructed five or six thousand years ago and wooden keys and locks are recorded from ancient Egypt. Such a wooden device was recorded in Assyria in the city of Nineveh at the palace of Khorsabad (in Iraqi, Kurdistan) and said to date from 704BC. It is probable that originally gravity-controlled pins fell into position to control the movement of a security bolt. The bolt was then freed by inserting a large and cumbersome wooden key which was used to manually lift and free the pins. The ancient Greeks may have invented and certainly used the keyhole and metal (typically bronze or iron) locks and keys. Homer’s Odyssey (Book 21) recounts how Penelope, wife of Odysseus, ‘… quickly undid the thong attached to the hook, passed the key through the hole, and with an accurate thrust shot back the bolt.’ Elsewhere, Penelope is said to use a ‘well-made bronze key with an ivory handle’ and the ‘bolting and barring’ of the courtyard gate is requested. Metallic bronze and iron keys were widely used by the Romans. Raine Borg suggests that the Romans could manufacture sufficiently suitable iron to create springs to enable padlocks to be created. The craft indeed was so sophisticated to allow the creation of somewhat similar so-called small ‘puzzle padlocks’ bearing a face or ‘mask’ in Celtic style. The padlocks were designed to secure small bags or money pouches and their distribution extended across Europe.
Keys are collected widely but dating them and determining where, or for what purpose, they were used is difficult to ascertain. A useful ‘lexicon of locks and keys’ can be found on the web site http://www.historicallocks.com/en/site/h/historicallocks/dictionary/. This site gives details of the many varied locks and keys which may be found and their possible functions. Figure 1.3, again from a sketch by Raine Borg, illustrates several iron keys with claws, each long key, used to manually release different locking systems. They were probably of Viking (Celtic) age and were found in the Vӓrnamo area of Sweden. They were in all probability used in much the same manner as described by Homer.
Figure 1.4 illustrates a bronze key identified as of Viking source with a clawed blade (Historia om nycklar 3 liten) which is believed to have been used about AD 300; while Figure 1.5, which is a similar clawed key, has been described as of Anglo-Viking origin and dated to about AD 900 (author J. F. Smith). Dr Raine Borg holds a large personal collection of keys, and he has produced a drawing of one of his keys from southern Sweden which is thought to date from the early 1100s. It is believed to have been operated as a metallic (iron) mechanism within a block of wood and, as the key is more than 150mm long, it is possible to presume that locking could be achieved from either side (of a door) by means of a keyhole. In many locking mechanisms little of the action can be readily viewed and the workings may be encased. The pull-ring lock from Sweden (shown in Figure 1.6) required two hands to operate, one for pulling the ring whilst the other turned the key. It is dated to 1312-13 and is photographed here by Raine Borg.
Early Bar Locks
Figure 1.1, taken from the above-mentioned web site, shows the very simplest of bar locking systems created in timber. It has no key. Critically, it would protect only those people or objects on the side of the door bar lock. Such a locking system has not been observed by the present author in an ecclesiastical site. However, on occasions somewhat modified examples exist. Typically they are strengthened with metal parts and padlocks, to be used on rarely-used doorways in small churches, in order to secure the building. Such an example may be observed at Stragglethorpe church (SK 913 524), in Lincolnshire (Figure 1.7). The door illustrated must be of relatively modern construction. In other churches, bar locks of no great age and without supportive padlocks may provide security to a minor entrance, where the church has keys with locks to control principal entrances to the building.
There is ample evidence that bar locking systems were used in many churches of much greater age. In the oldest examples it is possible to attribute their origin to the Anglo-Saxon period. Typically, thick wooden doors were barricaded by an interior bar locking system. This amounted to a long, bulky length of solid wood about 0.08 to 0.12m in cross section, which ran across the back of the door and was held in position by a hole in the wall on either side of the door. On occasions there were two bars of this nature, one towards the top of the door, the other towards the bottom. This (or these) left the door immovable between the door rebate and the bar. To open the door the bar was slid into a cavity in the wall which was deep enough to accommodate the full length of the bar. The cross bars were typically at least 1.5m long, more than sufficient to cover the full width of the doorway aperture. Full evidence of the door (or the cross bar) involved is observed only rarely in the British Isles, but it is possible that, for ease of use, the weight of the bar was supported by appropriate attachments on the back of the door.
In his studies in Southern Sweden, Borg discovered three instances where remains of the cross bar were still present (all in Gotland County), and in all, 16 instances of churches with cross bar holes or ‘grooves’. Twelve of these were in Gotland County. In many examples in Southern Sweden, two, three or even four doorways (but generally all the doorways in an individual church) carried evidence of cross-bar locking. The churches involved, were given building dates mainly within the early 13th C., but in the range of 1086 (Lӓrbro, Gotland) to 1400 (Sjösås, Kronoberg County). Dr Borg has advised that the work is to be published in the http://www.historicallocks.com web site (of which he is the author).
In the British Isles, with the invention of simple, cheap and effective mechanical key locking systems, the bar locks tended to fall into disuse and the holes for the bars were often filled and forgotten. In many instances the presence of a bar lock hole is difficult to ascertain for it may have been infilled with stone or wood when it was no longer required. It must be accepted that if all entry points to a church possessed a bar locking system those persons involved in locking the church (or other building) would have to remain inside the premises.
In the majority of churches where bar locking systems of the type just described occur, it is evident that the buildings were secured, therefore, for the defence of both people and property. This involved both the clergy and, if necessary, local inhabitants. According to the number of doors, each door would have been similarly protected in times of potential danger or need for security. It is clear that those involved in security by this means remained within the church until any imminent danger had disappeared. Occasionally these bars would have been of such a size and weight as to require more than one person to be able easily to fit them into position, rather than individuals.
What regrettably cannot be determined is the date from which each church acquired a key locking system to permit both exit and entry. That keys were readily available to the wealthy is clear from carvings on gravestones, typically those dated to about the 15th C. Keys were certainly known much earlier but they were uncommon. King Henry VIII is known to have been accompanied always by a door key locking system which was fitted for his privacy, wherever his geographical locality. The British Museum holds three keys, described as padlock keys, tentatively dated to the period 9th to 11th C. Although they might possibly have been used in a church, they have not been related to any specific church by locality: neither has their precise function been suggested.
Bonde, S. 1994. Fortress-Churches of Languedoc. Architecture, religion and conflict in the High Middle Ages. Cambridge University Press, Cambridge.
Borg, R. 2002. Smålands medeltida dopfuntar. En inventering i komparativ belysning. (Medieval Baptismal Fonts in the Swedish province of Smolandica. An inventory in the light of comparison). Göteborg University: Gothenborg Studies in Art and Architecture, 11, 281 pp., Göteborg, Vols I-II.
Brooke, C.J. 2000. Safe Sanctuaries: security and defence in Anglo-Scottish Border Churches 1290 – 1690. John Donald, Edinburgh.
De Vries, M.J., Cross, N. and Grant, D.P. (eds), 1992. Design Methodology and Relationships with Science: introduction. Kluwer Academic, Eindhoven.
Harrison, P. 2004. Castles of God: fortified religious buildings of the World. Boydell Press, Woodbridge, Suffolk.
Potter, J.F. 2005b. No stone unturned – a re-assessment of Anglo-Saxon long-and-short quoins and associated structures. Archaeological Journal, 162, 177-214.
Potter, J.F. 2005c. Field Meeting: Romney Marsh – its churches and geology, 22 May 2004. Proceedings of the Geologists’Association, 116, 161-175.
Potter, J.F. 2009c. Patterns in Stonework: The early church in Britain and Ireland; an introduction to ecclesiastical geology. British Archaeological Report, British Series 496, xxvi + 191pp., Archaeopress, Oxford.
Potter, J.F. 2013a. Searching for Early Welsh Churches: a study in ecclesiastical geology. British Archaeological Report, British Series 578, xxxvi + 457pp., Archaeopress, Oxford.
Potter, J.F. 2015. Patterns in Stonework: The Early Churches in Northern England: a further study in ecclesiastical geology. Part A. The Counties of Cheshire, Cumberland, Derbyshire, Durham, Lancashire and Lincolnshire. British Archaeological Report, British Series 617, xxxvii + 314pp, Archaeopress, Oxford.
Potter, J.F. 2016b. Patterns in Stonework: The Early Churches in Northern England: a further study in ecclesiastical geology. Part B. The Counties of Northumberland, Nottinghamshire, Staffordshire, Westmorland and Yorkshire. British Archaeological Report, British Series 624, xxxvi + 234pp.
Manning, C. 2010. Patterns in stonework: The early church in Britain and Ireland; an introduction to ecclesiastical geology. British Archaeological Report, British Series 496. Book Review, Royal Society of Antiquaries of Ireland, Dublin. (And associated correspondence).
Slocum, J. and Sonneveld, D. 2017. Romano-Celtic Puzzle Padlocks: a study in their design, technology and security. Archaeopress, Oxford.
Ian Meadow’s report on the Pioneer Burial is nominated for Current Archaeology Magazine’s Book of the Year Award 2020. Here, Ian relives the discovery and reminds us how serendipitous archaeological finds can be…
The Pioneer Burial epitomises the serendipitous nature of archaeology and the reason archaeologists do what they do. We had been working in the quarries at Wollaston from 1993 and had recorded two sections of landscape totalling a length of over 2 kilometres and over 100 hectares which was dominated by the remains of Iron Age and Roman settlement: a series of land divisions and then numerous small farmsteads, including honey bees from an Iron Age ditch and the first proven Roman vineyard in Britain. The whole site was arranged along a droveway that had its origins in the Iron Age and became a Roman road (perhaps running between Irchester to the northeast and Towcester to the southwest.)
The scale of works by the quarry was reflected by the machinery that was used to open up the ground, D8 caterpillar tractor units pulling box scrapers each weighing many tonnes. The scale of works, and the intention to return the ground to agriculture once quarrying had finished, meant large stacks of soils were created to preserve the agricultural topsoil and subsoil. Guidance on soils advised that, whilst topsoil could be stacked directly upon topsoil, a subsoil stack would require the topsoil removing so that it was stacked only on subsoil, thereby avoiding contamination. Areas of the landscape were therefore cleared of topsoil to enable the storage of the subsoil ready for reinstatement.
The discovery and excavation
Throughout the project a detailed metal detecting survey was carried out by Steve Critchley, the project’s detectorist, not just of the excavation areas but also on the footprint of these areas for subsoil stacks. As it was agricultural land the brief was not to bother with ferrous signals as they were generally nails, horse shoes or bits of tractor. One lunch time Steve came to the shed having recovered part of a bronze bowl and a decorative mount. From our previous experience we recognised these fragments as part of an Anglo-Saxon hanging bowl, an object-type of which there were around a hundred known at that time and which are often associated with rich Anglo-Saxon burials. Steve said that in the same area there were numerous ferrous signals. When we all went to investigate we saw that the bowl fragments were found about 1 metre from the edge of the latest area to have its topsoil removed, exposing the subsoil. If the area had been only slightly smaller it would never have been found. We carried out some initial excavation which exposed a long iron object, the sword.
We were very aware of the significance that a bowl and a sword indicated this was probably a rich burial but as it was Friday afternoon we would not be able to complete the excavation and recover the objects. I decided we should stop digging and conceal the grave location as best we could. We gathered an oil drum, various pallets and other bulky pieces of rubbish that we stacked on the grave, hiding its location to anyone that did not know it was there.
On the Monday morning we commenced the hand excavation of what we knew was likely to be a rich Anglo-Saxon grave. The digging was slow and careful with small tools so as not to miss anything and slowly but surely the remains of a bronze bowl, a long iron sword, a small knife, three buckles and a rough jumble of ferrous material was defined along with a couple of lengths of long bone, part of a cranial dome and bunter cobble. As these things were being exposed I tried to ensure the conservator was available to deal with the items. I duly phoned, only to be told he was out of the office. On the Tuesday, while the excavation continued, I tried again and got much the same response and on the Wednesday I was told he was on holiday until the following Monday. Knowing we could not leave the finds in the ground we carried on the excavation and recording of the grave.
Once everything was exposed and recorded we lifted the sword on a plank of wood (upcycled from a skip) and, to hold it together, we wrapped the rough jumble of ferrous material first in cling film and then in bandages soaked in plaster of Paris (the bandages came from the site first aid kit). This object was quite large, about the size of a big Christmas cake, but its shape was not clear. Whilst we wondered if it might have been a helmet we thought, given there were then only three other examples, it was unlikely; as a result the bags of stray pieces were marked ‘possible bucket’. Once all lifted the finds were taken back to the unit’s office in Northampton but no one else was told what we might have recovered. On the following Monday the finds were taken to Leicester and when we got the rough lump X-rayed and saw the distinct outline of a boar crest – it was obvious that what we had found was no bucket!
From that point on this burial dominated our lives. The quarry company (Pioneer Aggregates) funded the conservation and PR and the grave and finds were on the news around the world. As it was such a rare object, we had offers of help and support (much of it for free) from numerous specialists without which we would never have got all the information that features in the report. We also had ‘interesting’ offers including one from a member of the public who said he could trace his ancestry back to the God Odin and offered us a DNA sample to see if he was related to the body in our grave.
Given what we knew about the landscape in the quarry, a rich Anglo-Saxon grave was not something we would have anticipated and the fact it lay only just within an area stripped of topsoil shows how serendipitous archaeology is. We really were very lucky finding this grave that occupied only a couple of square metres in the hundreds of hectares we recorded and, ironically, the area stripped was ultimately not all used for stacking.
Sincerest thanks to Ian Meadows for providing this article for the Archaeopress Blog.
A conference on the Rise of Parthia taking place in April 2020
The Parthian empire is by far the least understood of the great empires of antiquity. Until recently our knowledge has been both hazy and Euro-centric. In recent decades, however, new approaches have been adopted and these, together with new archaeological discoveries, are changing our preconceptions. Recognising this, in April 2020 the British Musuem will host leading international scholars presenting their most recent research on the history, culture and archaeology of the early Parthian Empire. Set against the complex political scenario of Iran, Mesopotamia and Asia Minor in the 2nd-1st centuries BC, speakers will address a wide range of issues on the rise of the empire and the relationship of the early Arsacids with their neighbours. Contributions will include re-evaluations of historical sources, analyses of material datasets, numismatics and reports on new work in the field. Specific themes addressed will include diplomacy, religion, sculpture, painting, chronology, ideological motifs, warfare and trade. This will lead to the promulgation of new models and a new understanding of the social, economic and political systems leading to the emergence of the Empire.
The conference will run in conjunction with two British Museum exhibitions – Rivalling Rome: Parthian coins and culture (April – September 2020) in the Museum itself; and the touring exhibition Ancient Iraq: New Discoveries, travelling to Nottingham and Newcastle (March-November 2020).
For details about the conference, including how to register, please visit the page on the British Museum website:
Professor Howard Williams, University of Chester, introduces his co-edited volume stemming from the 2nd University of Chester Archaeology Student Conference, April 2017.
How should communities be engaged with archaeological research and how are new projects targeting distinctive groups and deploying innovative methods and media? In particular, how are art/archaeological interactions key to public archaeology today?
There remain surprisingly few edited collections in the field of public archaeology. Building on recent work, including the edited collection from 2015 Archaeology for All: Community Archaeology in the Early 21st Century edited by Mike Nevell and Norman Redhead, and Gabriel Moshenska’s edited collection: Key Concepts in Public Archaeology, this new book helps to extend and expand critical discussions. It provides an outlet for an original and distinctive mix of fresh perspectives and approaches, specifically addressing art/archaeological intersections in public archaeology’s theory and practice. Our book focuses on UK perspectives and practices in public archaeology, although we feel many of the themes addressed are of global significance.
How did it come about?
Following the 2nd University of Chester Archaeology Student Conference, 5 April 2017, Dr Caroline Pudney and I teamed up with former student Afnan Ezzedin to take the research presented forward to publication. We have crafted a proceedings which combines distinctive and select contributions from (undergraduate and Masters) archaeology students together with a range of original investigations and evaluations from academics and heritage practitioners.
There are 22 contributions all told by 26 authors; many chapters are supported by colour illustrations.
Sara Perry writes an insightful and personal Foreword, using her own experiences as a means on reflecting about how we write critical public archaeologies which take our practices in new directions. Following this, there are two chapters by me. The first is an introduction which surveys pertinent themes and issues in public archaeology and art/archaeology interactions in particular, and the second, written to showcase the student presentations incorporated into the book as well as those that were not, reviews the conference and the development of the book.
The main body of the book is split into 3 sections. ‘The Art of Engagement: Strategies and Debates in Public Archaeology’ contains 8 chapters exploring different ways in which strategies are being deployed in public engagement and how we evaluate our practices. For example, I have co-authored a chapter in here which draws on the conference paper and essay by Rachel Alexander; we evaluate the much-lauded Operation Nightingale’s dialogues with early medieval warriors.
The second section – ‘Arts in Public Archaeology: Digital and Visual Media’, incorporates 6 chapters, each exploring different means of public engagement and evaluating their potential and challenges. My chapter in this section, for example, critically reviews my Archaeodeathblog from its inception in 2013 to the end of 2018.
The third and final section – ‘Art as Public Archaeology’ – has 4 chapters, considering different visual media as subject and strategy for public and community projects.
The Afterword by Dr Seren Griffiths identifies that all archaeology should have a ‘public’ dimension, and that creativity and playfulness must be key ingredients of good public archaeology.
Libraries at least should definitely have physical copies to complement the online ones I think! Also, in case you weren’t sure, archaeology books as Christmas presents are definitely a thing!
I duly acknowledge the hard work of the students and colleagues in facilitating the conference. I also recognise the help and camaraderie of my co-editors Caroline and Afnan, the enthusiasm and contributions of the authors, the generous guidance of so many of my fellow archaeologists, the critical insights of the peer-reviewers, and the steadfast support of Archaeopress. Together this team has shown commitment in creating a high-quality peer-reviewed academic publication with no funding and sparse other support. I’m therefore very proud that these conferences and their publications are recognised as a positive thing: it was great to receive the 2019 Educate North Teaching Excellence Award as a result.
The book is dedicated to the memory of Dr Peter Boughton FSA, Keeper of Art for West Cheshire Museums who had worked hard to facilitate the conferences taking place at Grosvenor Museum as public free day conferences in the heart of the city of Chester.
November will see the 100th title released in the Archaeopress Access Archaeology imprint where all titles are available as free-to-download pdf eBooks or in printed paperback.
Here at Archaeopress we are fond of what we call a ‘bath idea’. In 2014 it was a bath idea that led to our first experiments with Open Access publishing, and in 2015 we began to conceive of a new publication model – a side-line to our more regular publishing endeavours – designed to function outside the parameters of the accepted wisdom of academic publishing.
Archaeopress is owned and run by archaeologists, and this has always influenced our perspective on what constitutes a useful publication. We receive many proposals that, following traditional publishing models, would not be commercially viable. But that is not to say they are not academically valuable, containing unique data, rare catalogues, intriguing synthetic analysis etc.
Access Archaeology evolved as a model to support many types of archaeological publication including PhD dissertations, smaller conferences and symposia, research projects, and commercial archaeology from parts of the world where funding is limited. It also supports publications that fall between conventional models: too long perhaps for a journal article, but too short for a traditional monograph.
All Access Archaeology titles are available as free-to-download pdf eBooks and in print format. The free pdf download model supports dissemination in areas of the world where budgets are more severely limited, and also allows individual academics to access the material privately, rather than relying on a university or public library. Print copies, nevertheless, remain available to individuals and institutions who need or prefer them.
Dr Boyd Dixon, Senior Archaeologist for the Cardno GS office in Guam and the Commonwealth of Northern Mariana Islands (retired), explains how the model afforded greater outreach in the local area:
‘Our recent volumes about Yellow Beach 2 and Afetna Point have found a receptive audience in the public, and in secondary school and community college on Saipan.
I feel it is the caliber of Archaeopress publications and photographs and maps, with their open access to a broader public that makes [the] volumes of particular interest.’
By asking authors and editors to take a greater role in the production process and by making use of the huge improvements seen in recent years in print-on-demand technology, the books are typically made available in print and online formats, including the free download option, at no cost to the author/editor. Howard Williams, Professor of Archaeology at the University of Chester and co-editor of two forthcoming Access Archaeology titles, Public Archaeology: Arts of Engagement(due November 2019) and Digging into the Dark Ages, explains:
‘I’m a relatively experienced academic editor (having edited the Royal Archaeological Institute’s Archaeological Journal for 6 volumes over 5 years, and edited/co-edited special issues of the journals Anglo-Saxon Studies in Archaeology and History, Early Medieval Europe, Mortality and European Journal of Archaeology.) In this context, I was happy I could maintain high academic standards and take on editing and typesetting supported by the friendly and helpful Archaeopress team. Access Archaeology allows the latest research to be published as both print-on-demand and open-access online without a cost to the contributors. This was especially important for me given the books develop from student conferences and include a mix of student pieces with those by more established heritage professionals and academics.’
Gina L. Barnes, Professor Emeritus at Durham University and co-editor of the 2019 publication TephroArchaeology in the North Pacific, notes the free download and on-demand model offers considerable flexibility regarding colour content and page count:
‘The format allowed for considerable freedom in presenting the material, without word limits or restrictions on illustrations; colour pictures were possible for both the digital and print versions… I have been very pleased with the process throughout, through encouragement by David Davison in commissioning the work, communication with the team about formatting problems, assistance in the peer review process, and getting the document out in a timely manner…’
‘I found Access Archaeology to be the ideal publisher for the specialist, data-heavy manuscript I had prepared from my doctoral thesis. The editorial staff were very helpful and enthusiastic, and the production process was impressively fast once I had submitted my text according to the formatting instructions. Within two or three months, an open-access PDF and a high-quality paperback, including colour illustrations, were both available. I’d recommend Access Archaeology to anyone looking for an efficient way to publish specialist, data-driven monographs.’
‘So many people encouraged us to publish a Proceedings volume after our Invisible Archaeologies conference, but I wasn’t really sure how to go about it. Archaeopress were super helpful and their Access Archaeology range meant that it wasn’t out of reach, even for an impoverished student conference. Traditional publishing is often so slow and restrictive, and it is fantastic that our authors will have digital access to their own work immediately!’
We are very proud of how the Access Archaeology imprint has developed from a bath idea to a thriving publishing model. We hope it offers a unique path to publication within the academic publishing landscape for research that might otherwise struggle to find a wider audience. The range may well continue to evolve over time, but its ambition will always remain to publish archaeological material that would prove commercially unviable in traditional publishing models, without passing the expense on to academics, be they author or reader.
Publish in Access Archaeology
If you have a proposal you think fits within the scope of the range we would be very pleased to hear from you; simply complete our brief submission form and send by email to Archaeopress editor Dr David Davison: firstname.lastname@example.org.
Download / Buy Access Archaeology Publications
See the full list of Access Archaeology publications on our website, all available as free PDF downloads or to purchase in paperback editions.
Caroline Mackenzie introduces the research behind her new publication
Background to the book
2019 is a rather special year for Lullingstone Roman Villa – it marks the 70th anniversary of the commencement of the excavations. The first clues as to the existence of a Roman site in the vicinity of Lullingstone in the Darent Valley, Kent had been recorded in about 1750 when the fence around Lullingstone deer park was being renewed and diggers of the post holes struck a mosaic. However, it was not until 1939 that an archaeological survey undertaken by Ernest Greenfield and Edwyn Birchenough of the Darent Valley Archaeological Research Group concentrated on the Roman finds and that the remarkable story of the discovery of Lullingstone Roman Villa properly began.
The Second World War halted the 1939 survey which had to be put on hold until 1947 when the archaeological team was joined by Lieutenant-Colonel Meates, recently retired from the Royal Artillery and by this time resident in the gatehouse at Lullingstone Castle. Excavations formally commenced in 1949 and these revealed the remains of a Roman villa which boasted much evidence of a luxurious lifestyle: mosaics, sculpture, wall-painting, a hypocaust and baths. By 1955, Meates had become leader of the excavations and he oversaw them until their completion in 1961, documenting the finds in a series of publications.
The excavation team included numerous volunteers, some of them still schoolchildren, who dedicated much time and effort to uncovering the site. Many of these volunteers, now in their 70s and 80s, returned to the villa in July this year to celebrate the anniversary at a special reunion. I was fortunate to be invited to meet them and their families and it was fascinating hearing their stories.
I, too, visited the villa as a schoolchild. By this time the excavations had been completed and the site was being managed (as it is today) by English Heritage. I was inspired by the beauty of the mosaics and enthralled by the thought that this had been someone’s home over 1,500 years ago. I became fascinated by the Greeks and Romans and went on to study Classics at university. Many years later, and after a career as a solicitor, I visited Lullingstone again. Within months I had become a Classics teacher at a local school in Sevenoaks. I believe Lullingstone may have had some influence on this decision!
A few years later, when I began studying for an MA in Classical Art and Archaeology at King’s College London, the choice of topic for my dissertation was obvious. I lived near Lullingstone and visited it often, and I wanted to learn more about its history. I decided to focus on two main aspects: first, the villa within its landscape setting and the role of topography in the owner’s self-representation; second, the choice and use of mosaics in the fourth century villa and how the patron presented his cultural identity and status through pavements. Two modern television programmes sprung to mind: Location, Location, Location and Grand Designs! I started to wonder whether modern criteria for choosing a home have changed much from Roman times.
In assessing the landscape setting, I realised I would need to explore the vicinity of the villa on foot. This was an approach first adopted by Tilley in his innovative 1994 book. I also wanted to research the ancillary buildings which included a circular shrine, a temple-mausoleum and a granary. I used the experience of exploring the area to examine the relative prominence of the villa and its ancillary buildings; for example, were they highly visible in the landscape? I also considered how the architects combined the setting with the layout of the villa to create a conspicuous display of the owner’s standing and worth.
By way of comparison, I decided to examine some other Romano-British villas. I had recently visited the Isle of Wight and the magnificent site of Brading Roman Villa. Themes such as the four seasons in Brading’s stunning mosaic provided direct comparisons for Lullingstone and helped me to answer questions such as what might have been represented in the part of Lullingstone’s mosaic which had been accidentally dug up in the 1700s. Chedworth Roman Villa, now managed by the National Trust, provided a particularly interesting case study in the context of its landscape setting.
In addition to Lullingstone’s central room which boasts the seasons mosaic framing Bellerophon killing the Chimaera, the adjacent apsidal dining room is celebrated for its mosaic of Europa riding the bull. The Europa mosaic is accompanied by a Latin inscription and, in this context, I studied Classical literature in other Romano-British villas to see if Lullingstone is what we would expect or whether it is exceptional.
I was fortunate to be supervised in my research by Dr John Pearce at King’s College London. I learned a huge amount from him and he made the project of researching and writing up rewarding, challenging and enjoyable. After my dissertation was complete and as preparations for the anniversary celebrations at the villa began to get underway, I started to work with Dr David Davison, Director at Archaeopress Publishing, on what would become my first book, Culture and Society at Lullingstone Roman Villa. David and all the team at Archaeopress made the process as smooth as possible and were such a pleasure to work with.
In the remainder of this blog, I shall set out the main themes of the book and hope you will be inspired to learn more!
Wall-paintings from Lullingstone and now on display at the British Museum indicated that Christian worship had taken place in the villa. The evidence of religion has been exploited and applied to the mosaics in the adjacent rooms. However, I interpreted the evidence in other ways and asked questions based instead on the use of space, landscape setting and architectural context of the mosaics. Wallace-Hadrill’s work in Pompeii and Herculaneum focused on the use of domestic space and the public and private spheres of a home. Scott subsequently applied a similar concept to the interior space of Romano-British villas and extended it by placing more emphasis on the landscape setting. In my research, I applied Scott’s methods to examine how Lullingstone’s inhabitants used domestic space to assert their status and cultural identity. A key example for Scott was that, by alluding to knowledge of Graeco-Roman culture, owners expressed their paideia: their appreciation of literature, philosophy and mythology enjoyed by the Roman élite. In my research, I examined the practices of the inhabitants primarily during the late third and fourth centuries AD and how they adopted Roman culture in their domestic space.
Lullingstone Roman villa is in the Darent Valley in west Kent. It sits on a terrace cut into the hillside 55m west of the west bank of the river Darent, whose valley cuts through the North Downs, and was around 20 miles from Londinium (London). Lullingstone was a favourable site because of its access to varied resources and agricultural riches.
In total there are around sixty known/suspected villas in Kent, most of which are in north Kent. Lullingstone was therefore part of an intensively exploited and agriculturally rich landscape. The Darent Valley villas probably supplied food and other agricultural produce to London and provided residences for the London elites.
A symbolic dimension of the owner’s appropriation of the landscape and its resources was the establishment of a cult room apparently relating to water deities complete with a niched wall-painting of three water-nymphs. This was created c. AD 180, contemporaneous with the baths, and demonstrated the owners’ reverence for water. It was located at the northeast of the villa, where the slope had been excavated to create what is known as the ‘Deep Room’. The niche was later blocked up and could have easily escaped the excavators’ notice but, in a twist of fate, the site flooded mid-excavations and dislodged the plaster concealing the water-nymphs. The villa-owner who created the water cult room might have seen this as a sign!
Visitors today may appreciate the tranquil setting and the view from the villa. While modern subjective assessments of ‘a lovely setting’ must be qualified, we know from Roman authors that observers then were sensitive to the aesthetics of views and this is not just a modern phenomenon (Ausonius: Moselle; Pliny the Younger: Epistulae 2.17).
In c. AD 100 a circular building was constructed on a prepared terrace 24.4.m northwest of the villa. A flint and mortar construction with a thatched roof but no windows, it is thought to have been used for cult purposes until c. AD 180. The slope is steep and the elevated shrine must have made an imposing statement.
It is believed to have fallen into ruin following disuse in the third century. However, the terrace on which it stood was extended to receive a temple-mausoleum in AD 300. This stood prominently around 6m above the ground to the west of the villa and exemplifies skilful use of the hill-slope to create monumentality and visibility. The building took the form of a 12.2m square Romano-Celtic temple. Beneath this was a tomb chamber with two lead coffins and various grave goods. We do not know the identity of the couple buried but it may be the villa-owner and his wife, and the temple-mausoleum seems to have been created for this double burial.
The date of construction of the temple-mausoleum coincides with a major refurbishment to the villa and its surroundings, all of which demonstrated the wealth and aspirations of the owner. The bath complex had been rebuilt and extended in around AD 280 and in AD 293-297 a large granary was constructed to the northeast of the villa, a statement of agricultural prowess. The temple-mausoleum was a necessary part of the refurbishment for a villa-owner who wanted to make his mark on the landscape, in death as in life.
This illustration shows both the temple-mausoleum (top centre) and the circular shrine (top right). However, the circular shrine is believed to have fallen into ruin following disuse in the third century and before construction of the temple-mausoleum.
The large granary would have complemented the architecture and positioning of the villa. The granary may also exemplify ‘the conspicuous display of agricultural production, processing and storage’. Taylor argues convincingly for more detailed studies of entire rural settlements and not just domestic buildings, the latter which attract scholarly analysis due to the existence of their mosaics, hypocausts and baths.
The use of landscape to create immediate impact on visitors was used to similar effect in the villa at Great Witcombe in the Coln Valley, which was built into a steep hillside with the main part of the complex highest up ensuring that the most important visitors and household members were, quite literally, placed above everyone else.
Chedworth villa merited a more detailed discussion in the context of its landscape setting and display of wealth and status. It was constructed in a small steep-sided valley of the river Coln, Gloucestershire. Visitors to the late fourth century villa would have been struck by its impressive stature in its landscape setting.
The central room was a part of the villa which had been in use in every phase of its occupation but in c. AD 330-60 it was given a facelift with the instalment of a lavish mosaic. It depicted Bellerophon mounted on the winged horse Pegasus and killing the Chimaera. Surrounded by a cushion shaped guilloche, this part of the mosaic also contained four dolphins and two shell-type objects. Around the guilloche was a plain, square border, the four corners of which each contained a roundel depicting one of the four seasons, represented by female busts.
The location and size of this room suggest that it served as an audience chamber, like the atrium in Italian villas, where the aristocrat held his morning salutatio (greeting) by his clients. The British equivalent might have been the farmworkers coming to the villa to receive instructions for the day, or tenants coming to pay their rent.
Seasons were a popular mosaic choice in Roman Britain (c.f. Brading and Littlecote) and the rest of empire. In my book, I discuss several possible interpretations of the seasons including them reflecting the liberality of the owner; this might be exactly the message the Lullingstone patron had in mind, at a time when he was investing finances in his property.
Bellerophon could represent a heroic model for the patron’s own hunting exploits and an allusion to power. It was comprehensible to most viewers familiar with Homer’s Iliad in which the story was first told (6.155-202). The Homeric reference therefore reflects Lullingstone’s owner’s classical learning, a message consistently conveyed in all the mosaics he chose.
The apsidal room at Lullingstone was added as part of the overall embellishment of the villa c. AD 330-60. A 23cm high step led from the audience chamber to the apse’s entrance, providing a natural extension to the space used for receiving clients and entertaining guests.
The figure scene in the apse portrays Europa riding on a bull (Jupiter in disguise) over the sea, accompanied by two cupids with an inscription above. The allusion is to Book 1 (50) of Virgil’s Aeneid and plays on the story of Juno’s anger at her husband Jupiter’s infidelity. Ovid’s Metamorphoses 2.846-75 recounts Jupiter’s transformation into a bull to trick and seduce Europa. As with Bellerophon, the overriding message that the owner wanted to convey was his paideia, his wealth and, by the inscription, his wit.
My book sets out to demonstrate how the ensemble of the architecture, the mosaics and the exterior space worked to persuade visitors of the owner’s wealth and status. This included his right and ability to tame the landscape. The choices of mosaics provide compelling evidence of a traditional Classical education and sophisticated knowledge of Virgil and Ovid. The inscription is a remarkable paradigm of paideia. The Lullingstone owner acted out his role as a powerful and influential individual, displaying his cultural identity and status. We are fortunate that the landscape which served the owner’s purposes in Roman times has also performed a service for us in the years since, by washing soil and debris downhill and thus preserving much of the villa and its mosaics for us to explore 1,600 years later.
I should like to thank a number of people who helped me during my research. I was fortunate to meet the team at DROP (Discover Roman Otford Project). Kevin Fromings (Project Leader) and Gary Bennett (Membership Secretary) welcomed me to their dig, just a few miles from Lullingstone. Rod Shelton kindly provided a copy of his own research on Lullingstone and images of his scale model of the villa. Rob Sherratt helpfully shared his thoughts as to the construction of the villa and provided images of his 3D reconstruction. I should like to thank Dr John Pearce at King’s College London for his invaluable help and guidance during my research and writing of my dissertation. Last but not least, I should like to reiterate my thanks to everyone at Archaeopress and in particular to Dr David Davison, Ben Heaney, Patrick Harris and Dan Stott. I am very grateful to them all for their hard work and commitment, from reading the first draft of the manuscript to all their work and support post publication.
An excellent study of a remarkable Roman villa.Mackenzie walks us through the estate, from the fields and granary to the temple-mausoleum and extravagant dining room… There are nicely produced photographs of the art (especially the incredible Bellerophon/Pegasus and the seasons mosaic), location, and comparable sites, and charming illustrations showing how the villa and its rooms might have looked in their heyday.