Hadrian’s Wall. A study in archaeological exploration and interpretation

David J. Breeze shares some thoughts on his recent delivery of the 2019 Rhind Lectures and their simultaneous publication.

There are no doubt many reasons why people write books. For me, it is the end point of a piece of research. Some may be content to undertake research and file the results in a drawer; that is not for me. But publishing the Rhind lectures was different. I had been asked two years ago to deliver the six lectures to the Society of Antiquaries of Scotland, to be given over the weekend of 10-12 May 2019. As I started to prepare the lectures, I realised that the decennial Pilgrimage of Hadrian’s Wall would be just 2 months after the Rhinds and there would be much to be said for having them published in time for that event. Archaeopress agreed that the lectures could be published in time for the Pilgrimage, indeed in time for the lectures themselves. As a result, I switched my mind to writing the book first and subsequently tweaking the text to fit more the style of lectures, though maintaining as much conformity as possible, as David Davison requested. The book was duly completed, submitted and published the weekend of the lectures. There was no problem in tweaking the lectures, but what I had not bargained for was the fact that the pursuit of knowledge continues, be it in one’s own head or through further reading. In the weeks between the submission of the text to Archaeopress and the lectures I came across Kyle Harper’s work on a plague in the 250s and 260s which affected the inhabitants of the Roman empire. Could this be the reason for the abandonment of civil settlements outside many forts on the northern fringes of the empire? Too late to include this thought in the book, but it was embraced by the lectures, and is now an interesting line of research to pursue.

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Dr David Caldwell, President of the Society of Antiquaries of Scotland, introduces the 2019 Rhind lectures. Photo © Society of Antiquaries of Scotland.
MVIMG_20190511_153327
Professor David J. Breeze delivers the 2019 Rhind Lectures. Photo © Society of Antiquaries of Scotland.

Header photo: Hadrian’s Wall at Castle Nick. Photo © Peter Savin.

9781789691672Excerpt: Hadrian’s Wall: A study in archaeological exploration and interpretation by David J. Breeze. Archaeopress, 2019. Paperback, ISBN 9781789691672, £19.99; PDF eBook, ISBN 9781789691689, from £16 +VAT (if applicable).

Preface

This book stems from the invitation of the Society of Antiquaries of Scotland to deliver the Rhind lectures in 2019, sponsored by AOC Archaeology Group. The lectures were endowed by Alexander Henry Rhind, the first being held in 1874, and with rare exceptions they have been held every year since. His legacy stipulates that six lectures have to be delivered. Until 1986 these were held over the course of one week from Wednesday to Wednesday, but in 1987 the pattern was changed and the lectures are now held over a weekend from Friday evening to Sunday afternoon. The first lecture of the series sets the scene and, as it is followed by a reception, is something of an occasion. The last lecture tends to be shorter than normal as it may be followed by questions. The subject of the lectures should relate to ‘some branch of archaeology, ethnology, ethnography, or allied topic, in order to assist in the general advancement of knowledge’. I was asked to speak on an aspect of my research on Hadrian’s Wall, the Roman Limes and army, and ‘its wider international, practical and theoretical implications’.

The first two lectures – chapters in this book – provide the historiographical background to our present understanding of Hadrian’s Wall. They start with John Collingwood Bruce, the leading authority on the Wall, from 1848 until his death in 1892, who gave the Rhind lectures in 1883 and whose influence continues to this day. Research on the Wall in the field and in the study from 1892 to the present day are covered in the second lecture. The third and fourth lectures consider the purpose(s) and operation of Hadrian’s Wall from the first plan drawn up soon after Hadrian became emperor in 117 through to the final days of its existence as a frontier shortly after 400. Five distinct ‘plans’ for the Wall are promulgated. The fifth lecture examines the impact of the frontier on the people living in its shadow and beyond. The last lecture reviews the processes which have brought us to an understanding of Hadrian’s Wall and considers the value of research strategies, with some suggestions for the way forward. The chapters in this book reflect closely the lectures themselves with the main change being the addition of references. I am grateful to the Society for its agreement to publish this book to coincide with the lectures and for its support in its preparation.

In order to try to retain a relationship with the lectures I have restricted the number of references in the text. Quotations are always referenced. Detailed references to structures on the Wall may be found in the Handbook to the Roman Wall (Breeze 2006) while work during the last decade is reported in the handbook prepared for the 2019 Pilgrimage of Hadrian’s Wall (Collins and Symonds 2019).

Hadrian’s Wall has acquired its own terminology. At every mile there was a small enclosure called a milecastle (MC), similar to a fortlet (a small fort), which contained a small barrack-block and protected a gate through the Wall. In between each pair of milecastles there were two towers known as turrets (T) after the Latin for a tower, turris. On the Cumbrian coast, the equivalent terminology is milefortlet (MF) and tower (T). These structures on the Wall are numbered westwards from Wallsend and on the Cumbria coast westwards from Bowness-on-Solway. Behind the Wall is an earthwork known as the Vallum. It consists of a central ditch with a mound set back equidistant on each side. As the essential feature is the ditch, it should be termed the Fossa, but it was named the Vallum over a thousand years ago and it is too late to change the name. One issue is to differentiate easily between the Wall, meaning the whole of the frontier complex, and the linear barrier, here called the curtain wall.

Also by or featuring David J. Breeze:

Maryport: A Roman For and Its Community by David J. Breeze. Archaeopress, 2018. Paperback, ISBN 9781784918019, £14.99; PDF eBook, ISBN 9781784918026, from £10 +VAT (if applicable).

Bearsden: The Story of a Roman Fort by David J. Breeze. Archaeopress, 2018. Paperback, ISBN 9781784914905, £20.00; PDF eBook, ISBN 9781784914912, from £16.00 +VAT (if applicable).

Roman Frontier Studies 2009 Proceedings of the XXI International Congress of Roman Frontier Studies (Limes Congress) held at Newcastle upon Tyne in August 2009 edited by Nick Hodgson, Paul Bidwell and Judith Schachtmann. Archaeopress Roman Archaeology Series #25, 2017. Paperback, ISBN 9781784915902, £90.00; PDF eBook, ISBN 9781784915919, from £16.00 +VAT (if applicable).

Latrinae: Roman Toilets in the Northwestern Provinces of the Roman Empire edited by Stefanie Hoss. Archaeopress Roman Archaeology Series #31, 2017. Paperback, ISBN 9781784917258, £35.00; PDF eBook, ISBN 9781784917265, from £16.00 +VAT (if applicable).

The Turkish Long-Necked Lute or Bağlama

Hans de Zeeuw introduces the tanbûr long-necked lute

In contemporary Turkey, the saz or bağlama, being a member of a large family of long-necked lutes called tanbûrs, is the core instrument of all folk musical ensembles and orchestras and a popular instrument in the arabesk, entertainment, and pop music in Turkey. The bağlama also plays an important role during the ceremonies of the heterodox sects of the Alevî and Bektaşî and among the âşıks, the Anatolian wandering poet-musicians, to accompany their partly religious repertory. The bağlama plays furthermore an important role in musical education to teach folk-music theory, notation, performance, and teaching of acoustics and instrument construction. Its importance is also testified by the fact that musicians, such as Arif Sağ, Musa Eroğlu, and Erdal Erzincan, play the bağlama as solo instrument on national and international concert stages.

The long-necked tanbûr, which appeared in literary and iconographic sources during the Sâsânian era (c. AD 224-651), diffused into the various musical traditions along the Silk Road, resulting in a variety of closely or distantly related tanbûrs with two or more, occasionally doubled or tripled courses, a varying number and variously tuned frets, each having its own characteristic sound, playing technique, and repertory. Similar or identical instruments are also known by other names, such as saz or bağlama, dotâr or dutâr, setâr, dömbra, and damburâ (FIGURE 1).

Plate Plate
Figure 1. Sâsânian silver plate showing a poet-musician playing a tanbûr, 5th–7th centuries AD (bottom left). Freer Gallery of Art, Washington.

The tanbûr arrived with the Seljuks in Anatolia in the eleventh century or even may be before. Possible intermediaries in the development of the Turkish saz instruments are the by Abd al-Qâdir Ibnu Ghaibî al-Marâghî in his book Maqâsid al-Alhân (The meaning of melodies, early fifteenth century) discussed tanbûr-i şirvânîyân (the tanbûr of Shirwân, located in the north of Azerbaijan) and the tanbûre-i türkî (the tanbûr of the Turks). The tanbûre-i türkî had, compared to the tanbûr-i şirvânîyân, a smaller pear-shaped body, a longer neck and two or three strings (FIGURE 2). Saz is a Persian word meaning musical instrument. It appeared for the first time in a work by Nezami van Gandja (1141-1209), one of the greatest poets in Persian poetry. In Anatolia we come across the word saz in the fifteenth century as a name for the tanbur of the travelling poet singers, the âşık, who were also called saz şaileri, poets with the saz.

Fliesen aus dem Kiosk des  Arslan II
Figure 2. Poet-musician playing a tanbûr in the usual cross-seated playing position of Central Asia with the neck pointed downwards, like the tanbûr players on the Sâsânian silver plates, on an excavated ceramic tile from the summer palace of Sultan Alâ al-Dîn Kayqubâd I, Anatolia, early 13th century. Museum für Islamische Kunst, Staatliche Museen, Berlin.

The origin of the name bağlama is still unknown. It could have been derived from the verb bağlamak (Turkish for to bind), the tying of frets around the neck or strings to the tuning pegs. The description of a saz with the name bağlama appeared in the second half of the 18th century in several European writings. Histoire générale, critique et philologique de la musique (1767) by Charles-Henri de Blainville (1711-1769), Reisebeschreibung nach Arabien und andern umliegenden Ländern (1774, 1778) by Carsten Niebuhr (1732-1815), and Essai sur la musique ancienne et moderne (1780) by Jean Benjamin de Laborde (1734-1794), who was sentenced to the guillotine during the French Revolution. De Blainville and Niebuhr were probably the sources of de Laborde. The bağlama was a small sized lute compared to the other lutes on the engravings of de Blainville, Niebuhr, and de Laborde (FIGURE 3).

FIG_3
Figure 3. Bağlama (3), bozuk (2), and iki telli (1) on an engraving from the Essai sur la musique ancienne et moderne of Benjamin de Laborde.

A few decades later we find the name bağlama as tanbour baghlama in another European writing Description historique, technique et littéraire des instruments de musique des orientaux of 1823 by Guillaume André Villoteau. Villoteau, who stayed in Cairo from 1799 until 1803 as a member of Napoleons Egypt-expedition, discussed several tanbûrs, which were mainly played by Turks, Jews, Greeks, and Armenians. In Lane’s time (1830s), tanbûrs were still ignored by native musicians in Egypt and only played by Greeks and other foreigners (FIGURE 4).

FIG_4
Figure 4. The Ottoman tanbûr (tanbour kabyr tourky) in the centre is flanked on the left by the tanbour charqy and the small tanbour boulghâry and on the right by the tanbour bouzourk and the small tanbour baghlama. Furthermore, in the foreground, a violin and a ‘ûd, engraving from the Description historique technique et littéraire des instruments de musique des orientaux (1823) of Guillaume André Villoteau.

We know from the Seyâhatnâme of Evliyâ Çelebi that sazs, which travelled with the Ottomans to the Middle East and the Balkans, were present at the Ottoman court and in the Turkish cities. Literary and iconographic sources as well as surviving instruments to reconstruct the history of the saz in the rural areas of Anatolia before the 20th century are scarce or absent. The separation between urban and rural culture was mirrored by the sophisticated courtly and urban sazs and the simple rural sazs, a situation that only increasingly changed after the establishment of the Republic of Turkey in 1923.

The proclamation of the Republic of Turkey in 1923 in Ankara had a major impact on the musical traditions and musical instruments of which the modernized and standardized saz became the most important instrument. In the 1930s musicologists started to construct a theory of folk music parallel to that of the Ottoman makam tradition. A body of modal structures, instrument tunings, plectrum movements, and rhythms were established through collection and notation inseparably linked to the saz. Moreover, the number of tied-on movable frets was, in imitation of the Ottoman tanbûr, increasingly expanded to create a larger tonal range. An earlier example of this practice can be found on a drawing of a saz from the Tefhîmü’l Makamat fi Tevlîd-in Neğamât (The concept of the makams in the making of melodies,  mid-18th century) of Kemânî Hızır Ağa.

Around 1940, the number of frets further increased, a development in which Mahmut Ragıp Gazimihâl (1900-1961) and Muzaffer Sarısözen (1899-1963) played an important role. This development took place around Radio Ankara and aimed to reform the music and musical instruments of the many regions, each with their own characteristics, into a coherent whole. For that purpose, choirs and orchestras were established, which performed uniform folk music on standardized sazs like those of Radio Ankara and Radio Istanbul.

Since the 1950s it became increasingly customary, starting in radio circles, to use the name bağlama instead of saz as a generic name for saz instruments. From literature we learn, however, that the traditional bağlama of Anatolia was a small saz. It is therefore obvious that not the small bağlama, but a larger saz was used to expand the number of frets. In contemporary Turkey, bağlama and saz are still used alternately.

FIG_5
Figure 5. Fret tuning (perde taksimati) of the long-necked bağlama (uzun saplı bağlama) and short-necked bağlama (kısa saplı bağlama) according to Cafer Açin.

Due to the modern entertainment industry and the changing taste of the audience after 1960, better trained musicians developed virtuoso playing techniques and set higher demands on technical and artistic issues such as the timbre and sound volume of their instrument, the method of stringing, and the number of frets and their arrangement on the neck. Around 1970 there was still a great variety in the number of frets and their tuning. Nail Tan concluded in Bağlama yapımı (Bağlama construction) that generally seventeen frets were used for the octave, but that the number of frets, among which non-diatonic ones, and their position on the neck was not yet standardized. Since second half of the 1980s, there seems to be some agreement. Sabri Yener in Bağlama öğretim metodu (Bağlama teaching method) and Irfan Kurt in Bağlamada düzen ve pozisyon (Bağlama tuning and vertical technique) both established seventeen frets in the octave, including five non-diatonic frets. Cafer Açin (1939-2012) established in Bağlama. Yapım sanatı ve sanatçıları also seventeen frets in the octave for the long-neck bağlama as well as short-neck bağlama (FIGURE 5).

The development of virtuoso playing techniques consisted of an increasing combination of vertical and horizontal playing techniques on the bağlama. In order to make an effective use of its vertical possibilities, the neck had to be shortened. By constructing a more pear-shaped bowl it was possible to lengthen the neck inwardly. In this way, the neck could be kept relatively short keeping the necessary space for the frets (FIGURE 6).

FIG_6
Figure 6. On the left, Muzaffer Sarısözen playing a ten-stringed of which the number of frets are expanded on the soundboard. On the right, the expansion of the number of frets on the neck by modifying the bowl of the saz.

Modern entertainment required, furthermore, the amplification of the sound. The bowl was therefore changed from a small U-shape to a larger and deeper U-shape with a soundhole (kafes) under the tailpiece (tel bağlama takozu) or, sometimes, in the soundboard. The soundboard changed from slightly arched and composite to a flat one made of a singular sheet of wood. For constructional reasons, the characteristic straight pegbox of the saz was replaced by a slightly angled attached pegbox. Moreover, on the first, third, and sometimes second course one of the strings was replaced by a so-called ‘bam teli’ or ‘octave’ string (brass-wrapped string), which was introduced towards the end of the 1950s by Neşet Ertaş (1938-2012) who was probably the last of the great bozlak (songs of agony) poet-musicians. These changes increased the soundvolume and changed the timbre. Moreover, the bağlama was amplified with electronic devices to facilitate playing in clubs or concert halls (FIGURE 7).

FIG_7
Figure 7. On the left, traditional saz. In the middle, morphological modifications of the soundbox, soundboard, and pegbox of the saz. On the right, contemporary long-necked bağlama.

The ongoing development of virtuoso playing techniques, combining the traditional horizontal playing techniques with vertical playing techniques, fuelled the development of the short-necked bağlama, being actually a long-necked bağlama with a shortened neck, an instrument suiting the combining of vertical and horizontal playing techniques. To distinguish the long-necked bağlama from the short-necked bağlama, the long-necked bağlama was called unzun saplı bağlama, the short-necked bağlama kısa saplı bağlama. The first experimental versions of the short-necked bağlama emerged after 1960. Musicians were, before Arif Sağ asked the luthier Kemal Eroğlu to develop a short-necked bağlama, not very interested in the short-necked bağlama. According to Kemal Eroğlu, the short-necked bağlama was derived from the long-necked saz/bağlama. According to Arif Sağ, however, the short-necked bağlama was not a new development but an older type saz type with a short neck. Some agree that there are certain similarities with the saz of the Alevî dedes.

The short-necked bağlama became after 1980, mainly under the impulses of Arif Sağ, a very popular instrument, particular in combination with the şelpe and parmak vurma technique (see accompanying video of Erdal Erzincan). An example is his virtuoso Teke Zotlaması, which was also played by Talip Özkan (1939-2010) on the long-necked bağlama as well as cura bağlama. Talip Özkan started in the 1960s to combine the traditional horizontal playing technique with vertical playing techniques on the long-necked bağlama tuned to the bozuk düzeni tuning, a tuning facilitating both techniques (FIGURE 8).

Figure 8. On the left, Arif Şağ playing şelpe on the kısa saplı bağlama during a concert in the Tropeninstituut in Amsterdam. Foundation Kulsan, Amsterdam. On the right, Talip Özkan playing a long-necked bağlama combining horizontal and vertical playing techniques.

Many folk musical genres can be played on the long-necked bağlama because it can be tuned in various ways. The short-necked bağlama has, on the other hand, a higher sound volume and can, because of its shorter neck and closely spaced frets, be played ‘easier’ and faster making use of all the three courses. Despite its popularity the short-necked bağlama did, however, not displace the long-necked bağlama.

Modernization and standardization resulted, furthermore, in the 1980s in the in the bağlama family (bağlama ailesi). Within the bağlama family different size categories can be distinguished, although no single classification is in general accepted and there are, moreover, also intermediate forms. A possible classification of the bağlama family, from small to large, is the cura, the short-necked bağlama (kısa saplı bağlama) and the long-necked bağlama (uzun saplı bağlama), the tanbura, the divan sazı, and the meydan sazı. The establishment of a nomenclature of the saz/bağlama family still has to be undertaken (FIGURE 9).

FIG_9
Figure 9. The bağlama family consisting of the cura, the short-necked bağlama (kısa saplı bağlama) and the long-necked bağlama (uzun saplı bağlama), the tanbura, the divan sazı, and the meydan sazı.

The systematic use of all three string courses and making a more effective use of the bağlama düzeni not only resulted in the short-necked bağlama but also initiated the development of instruments such as the dört telli bağlama (four course bağlama) and Oğur sazı, developed by the luthier Kemal Eroğlu after an idea of the musician Erkan Oğur. Both instruments are a continuation of the development of vertical and harmonic playing techniques (FIGURE 10, left).

Since the first six-stringed prototype from 1991, more prototypes were built like the thirteen-stringed and six-stringed Oğur sazı. In the meantime, various versions of the Oğur sazı were built by among others the musician and luthier Engin Topuzkanamış (Izmir) for other musicians like Efrén López and Guillermo Rizotto in Spain and Gilad Weiss in Israel (FIGURE 10, right).

Figure 10. On the left a four-course dört telli bağlama by Murtaza Çağır and ten-stringed Oğur sazı by Engin Topuzkanamış. On the right Engin Topuzkanamış playing a six-stringed version of the Oğur sazı in his workshop in Izmir.

An example of how the bağlama can inspire new forms is the divane of Yavuz Gül. Looking for a larger volume than the divan sazı, Yavuz Gül (Izmir) developed the divane, a family of hybrid instruments inspired by the long-necked bağlama and ‘ûd/lauta. The divane family consist of the efe divane, baba divane, divane deli, and the bass divane (FIGURE 11).

FIG_11
Figure 11. Three-course divane played by Yavuz Gül.

The exploration and development of vertical and harmonic playing techniques and a theory of Turkish harmony, for which the bağlama provides a model, will remain an important issue within Turkish folk music, notwithstanding attempts to standardization. Instrument makers do respond to the changes in the musical practice. This principle has dictated the evolution of music and instrument making for centuries.

FIG_12
Figure 12. Erdal Erzincan playing şelpe on a for this technique made four-stringed bağlama during a concert in the Centrale in Gent in 2017. The Centrale, Gent (Belgium).

Musical instruments are constantly changing and there is always room for improvement, innovation, and evolution. New bağlama types, of which the construction, the number of frets and their tuning, number of strings and their tuning, and playing technique vary, will therefore continue to evolve (FIGURE 12).

Further Reading

Bates, E. 2011. Music in Turkey: Experiencing Music, Expressing Culture (Global Music Series). Oxford: Oxford University Press.

Conway Morris, R. 2001. Bağlama, in S. Sadie (ed.) New Grove Dictionary of Music and Musicians 2: 469. London: MacMillan Press Limited.

Hassan, S.Q., R. Conway Morris, J. Baily and J. During 2001a. Tanbūr, in S. Sadie (ed.) New Grove Dictionary of Music and Musicians 25: 61-62. London: MacMillan Press Limited.

Sayce and T. Crawford 2001. Lute, in S. Sadie (ed.) New Grove Dictionary of Music and Musicians 15: 329-363. London: MacMillan Press Limited.

Spector, J., R. At’Ajan, C. Rithman C and R. Conway Morris 2001. Saz, in S. Sadie (ed.) New Grove Dictionary of Music and Musicians 22: 361-362. London: MacMillan Press Limited.

Stokes, M.H. 1993. The Arabesk Debate. Music and Musicians in Modern Turkey. Oxford: Claredon Press.

Zeeuw, J. 2009. De Turkse Langhalsluit of Bağlama. Amsterdam.

Zeeuw, J. 2019. Tanbûr Long-Necked Lutes along the Silk Road and beyond. Oxford: Archaeopress.

YouTube

Arif Sağ: https://www.youtube.com/watch?v=FPrTu3AWfuM

Talip Özkan: https://www.youtube.com/watch?v=ha5mAX1WaMM

Neşet Ertaş: https://www.youtube.com/watch?v=7yQI2mUX7Rc

Erdal Erzincan: https://www.youtube.com/watch?v=__ZGmCkB58I

9781789691696Sincerest thanks to Hans De Zeeuw for providing this article for the Archaeopress Blog.

Hans’ latest book, Tanbûr Long-Necked Lutes along the Silk Road and beyond (Archaeopress, 2019) is available:

Paperback, ISBN 9781789691696, £40

PDF eBook, ISBN 9781789691702, from £16+VAT

Available here:

https://tinyurl.com/9781789691696

The Mycenaean Cemetery at Achaia Clauss near Patras: People, material remains and culture in context

Constantinos Paschalidis introduces his new volume with Archaeopress reporting on excavations of a Mycenaean cemetery, located by the historic Achaia Clauss wine factory, near Patras, Greece.

This work comprises the study of the finds from the excavation of the University of Ioannina and the Archaeological Society at Athens in the Mycenaean cemetery, located by the historic Achaia Clauss wine factory, near Patras. The research was carried out between the years 1988-1992 under the direction of Professor T. Papadopoulos (figs 1, 2). The presentation of the topic expands into seven thematic chapters, proceeding from the whole to the parts – and then returning to the whole. Thus, one progresses from the general review of the cemetery space and the sites, to the analytical description of the excavation, to the remarks on the architecture, to the study of the finds, to the analysis of the burial customs and finally to the narration of the overall history of the cemetery according to chronological period and generation of its people. The eighth and last chapter is an addendum including a presentation of the anthropological analysis of the skeletal material.

Fig. 01
Fig. 1. The vineyard of Achaia Clauss wine factory as it looks from the cemetery site.
Fig. 02
Fig. 2. The vineyard of Achaia Clauss and the Koukouras hill with the Mycenaean cemetery at its feet, seen from the wine factory.

More precisely, the study is organized as follows: Chapter 1 includes a complete and brief catalogue of the Mycenaean sites in Achaea. The cemetery site is described separately with special mention of the neighbouring excavations (fig. 3). Furthermore, in this chapter the distribution and character of the sites across the entire territory is examined and presented as a general overview.

OLYMPUS DIGITAL CAMERA
Fig. 3. The Mycenaean settlement on top of the Mygdalia hill, overlooking the Achaia Clauss cemetery at the foot of the Koukouras hill (right), the plain and the gulf of Patras.

In Chapter 2, the description of the tombs is to be found, arranged into three parts for each in turn. The first section focuses on the description of the tomb’s architecture and the clustering and appearance of the finds in it. The second part sums up all the above evidence, following the chronological sequence of the burials. The third part displays, through easy-to-understand tables, the burials along with the gender, the age and the grave-goods of each individual, grouped in chronological order of introduction into the tomb. These tables also record any other non-burial episode that has been attested through the history of the chambers, in chronological order too.

In Chapter 3, the area of Clauss is examined, as well as the layout of the cemetery (figs 4, 5), the architecture of the tombs, the bedrock, the manner of construction and the structural problems related to them.

Chapter 4 contains the analytical catalogue of the finds in each tomb, recorded according to their excavation numbering, accompanied by the corresponding Museum of Patras inventory number. The catalogue contains one or more photos and drawings of each find, its detailed description and bibliographical documentation with parallels selected mainly from published assemblages from the rest of Achaea, Elis and the nearby Ionian islands.

Chapter 5 deals with the analytical presentation of the finds from the cemetery (figs 6a-b), citing typological parallels from the entire Mycenaean world, including comments on their use in the cemetery and in their era, in general. The examination of the finds is arranged according to category: pottery, bronze, bone, stone finds, along with minor objects made of various materials (spindle whorls, seals, beads and a figurine).

In Chapter 6, the burial customs of the cemetery (fig. 7) are discussed as these emerge from the investigation of the archaeological finds and the results of the osteological study by Dr Photini J. P. McGeorge, whose full analysis is not included in the present work and by DrWiesław Więckowski, whose report is presented in Chapter 8.

Fig. 07
Fig. 07. The couple of warrior and his partner from chamber tomb Θ at Clauss. (Drawing by Y. Nakas).

Chapter 7 sums up all of the research data into a brief and concise overview of the burials according to chronological period and generation (phases 1-6 of the LH ΙΙΙC period), with reference to the society that the Clauss people and their contemporaries in the rest of Achaea had brought into being, and with a presentation of the cemetery’s history.

In Chapter 8, Dr Photini J.P. McGeorge presents her detailed study of cremation Θ in tomb N, while Dr Wiesław Więckowski offers the results of his study on the anthropological material from alcove I and tombs K-N.

The richly illustrated documentation of the tombs derives from the archive of the excavation. The photographs of the nearby Mycenaean settlement at Mygdalia Petrotou (fig. 3) come from the archive of its ongoing excavation project and contribute to the understanding of the region’s archaeological landscape. The presentation of the data tables at the end of this book (Appendix) facilitates the comprehension of specific aspects of the cemetery (burial practices according to gender and age, grave-goods according to gender/age/generation, demographic data per generation etc.).

9781784919191
C.Paschalidis et al. The Mycenaean Cemetery at Achaia Clauss near Patras, Archaeopress Archaeology (2018)

The publication of the Mycenaean cemetery at Clauss near Patras, yields information on various aspects of an unknown society situated at the periphery of the Mycenaean world, soon before its gradual end. It presents in a concise way the material culture of the society: the products of the local pottery workshops and their distribution, the metalworking industry of Achaea, the imported bronze objects from the Adriatic coasts, and discuss the role played by the NW Peloponnese in the distribution of these bronze objects throughout the rest of the Postpalatial world.

The detailed presentation of innumerous aspects of the material culture is followed by an analysis of other less tangible aspects of this society such as: the burial customs, the demographics of the cemetery, the palaeopathological findings, signs of social differentiation based on burial practices and offerings, details of family life (fig. 7), habits, and stereotypes, and any other unexpected finds from a society, which despite our ambitious approach remains anonymous, largely unknown, and enigmatic.

The study of the Mycenaean cemetery at Clauss near Patras, offers the chance to enlighten the ‘golden era’ of the NW Peloponnese in the years of the deep crisis that followed the fall of the Mycenaean palaces.

Constantinos Paschalidis
Curator of Antiquities
National Archaeological Museum, Athens

Sincerest thanks to Constantinos for providing this latest entry for the Archaeopress Blog. The Mycenaean Cemetery at Achaia Clauss near Patras is expected to publish late November/early December 2018. Further information on our website here: http://www.archaeopress.com/ArchaeopressShop/Public/displayProductDetail.asp?id={F7224A06-B955-4A45-9279-2A242F2BC99B}

The Upper Tigris in Antiquity: a disappearing cultural heritage

Anthony Comfort and Michal Marciak have written a study of the upper Tigris in antiquity, published in August as How Did the Persian King of Kings Get his Wine? (Archaeopress Archaeology, 2018). This monograph examines an area which has been mostly inaccessible to scholars and looks likely to remain so – despite its great interest and strategic importance during the conflict between Rome and Persia.

The Kasrik gorge from the north (Photo by Michał Marciak 2014)
The Kasrik gorge from the north (Photo by Michał Marciak 2014)

The publication follows completion of the Ilısu dam, not far from the point at which the modern borders of Turkey, Iraq and Syria meet. When filled the reservoir created by the dam will do serious damage to the environment but also to the cultural heritage of the region; it is obliterating various sites along the river Tigris which are crucial to our understanding of the region’s history and archaeology.

The east bank fort at the Kasrik gorge (Photo by Anthony Comfort 2005)
The east bank fort at the Kasrik gorge (Photo by Anthony Comfort 2005)

Apart from the importance of the valley for river and road transport, there are also many rock reliefs which are described in the monograph. It is very sad that the current security situation in South-East Turkey makes many of these reliefs, as well as the sites along the river itself, inaccessible. In Iraqi Kurdistan the situation is better but the Tigris valley there is still difficult to visit for researchers and visitors.

The ‘citadel_ of Hasankeyf (Photo by Anthony Comfort 2005)
The ‘citadel’ of Hasankeyf (Photo by Anthony Comfort 2005)

At least now the world can have some idea of what is being lost as a result of the Ilısu dam and of what has already disappeared under the waters of the Eski Mosul dam in Iraq. But much of importance remains and needs to be studied further; The monograph provides an introduction to the region’s history and archaeology. The authors intend that it also promote further research in a notoriously difficult part of the world.

Header image: The old bridge at Hasankeyf in May 2006 (photo by Anthony Comfort)

About the Authors

Anthony Comfort is an independent scholar associated with the Centre for the Study of Greek and Roman Antiquity at Corpus Christi College, Oxford. After a career in the secretariat of the European Parliament, he completed a doctoral dissertation dealing with the roads on the frontier between Rome and Persia at Exeter University under the supervision of Stephen Mitchell. He is a specialist in the use of satellite imagery for archaeology in the Middle East but is now responsible for a project concerning the Roman roads of south-west France, where he lives.

Michał Marciak, PhD (2012), Leiden University, is an Assistant Professor at the Jagiellonian University in Kraków (Poland). He has published extensively on Northern Mesopotamia, including two monographs Izates, Helena, and Monobazos of Adiabene (Harrassowitz, 2014) and Sophene, Gordyene, and Adiabene: Three Regna Minora of Northern Mesopotamia Between East and West (Brill, 2017). He is currently also the Principal Investigator of the Gaugamela Project (in cooperation with the Land of Nineveh Archaeological Project of the University of Udine, Italy) which is dedicated to the identification of the site of the Battle of Gaugamela (331 BCE).

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Sincerest thanks to Anthony and Michał for preparing this post for the Archaeopress Blog. Their new book is available now in paperback and PDF eBook editions:

How Did the Persian King of Kings Get his Wine? The upper Tigris in antiquity (c.700 BCE to 636 CE) by Anthony Comfort and Michał Marciak. Archaeopress Archaeology, 2018.

Printed ISBN 9781784919566, £32.00.

Epublication ISBN 9781784919573, from £16 +VAT if applicable.

HERCULES’ SANCTUARY IN THE QUARTER OF ST THEODORE, PULA

Alka Starac describes the surprise discovery of a Roman temple in Pula, Croatia

The Roman colony of Iulia Pola Pollentia Herculanea present-day Pula-Pola Croatia
The Roman colony of Iulia Pola Pollentia Herculanea, present-day Pula-Pola, Croatia

The rescue excavations during 2005-2009 in the northern part of the ancient centre of Pula, Hrvatska, conducted over an area of 4000 square meters and at an average depth of 6 meters, revealed at first the foundations of St Theodore’s Church along with a female Benedictine monastery built in the 15th century. The church was pulled down during the construction of Austro-Hungarian barracks at the end of the 19th century. It was the only building complex which had definitely been expected to be revealed during the excavations, as it was the only one recorded in historical sources. It was considered likely that there might be Roman city ramparts as well, but it turned out that the assumed ramparts were in fact the wall of a Domus and a sewer situated inside the adjacent Public Thermae, destroyed in Late Antiquity and completely forgotten since then. In addition to the rich and well-preserved Domus and Public Thermae, the remains of an Early Christian and pre-Romanesque church were found below and inside St Theodore’s Church.

The biggest surprise, however, was the discovery of the foundations of a Roman temple surrounded by portico, containing the deposit of more than 2000 almost fully preserved amphorae of Lamboglia 2 type, placed for drainage and levelling of the temple terrace. Excavations at the end of the 19th century only just reached the rear temple foundation wall without entering the sacred enclosed area, so no one could assume the existence of a temple located within the barracks yard and hidden beneath the foundations of the monastery. Also, no one could know that the southern foundation wall of the 15th-century church, reaching five meters in depth, in its lower parts was the southern wall of the Early Christian church and the outer foundation wall of the northern portico wing surrounding the Roman temple, dividing the sacred terrace from the adjacent Thermae located at a lower level. At this point, the continuous sacred verticale measuring five metres in depth was documented, comprising the historical period of 2000 years since the Roman colony of Pola was founded.

But this exciting archaeological story did not end there. Descending into the lower stratigraphical layers in the sacred temple yard, the pre-Roman continuity of the cult place worshipped by the ancient Histri during the Hellenistic period was documented. It turned out that the Histrian cult place, active throughout three centuries until the foundation of the Roman colony, was placed next to a water spring in the karst terrain. A well, four meters deep, was built at the spring during the construction of the temple terrace, appearing above the ground beside the entrance to the temple. A limestone square building block with a club in relief is the only clear link with a certain deity found in the excavations, and this is obviously Hercules. Hercules is well known for having a strong ties with the Roman colony of Pola, honoured as a divine patron of the colony that carried his name among other titles, and a protector of the city Gate of Hercules decorated with his head and club in relief.

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Location of the Hellenistic rectangular paved sanctuary inside the Roman walls of the portico of the sanctuary and a well at the spring on the left side

My new book, dedicated to the sanctuary of Hercules, deals with the urban history of the Roman temple with portico, the role of Hercules in local tradition and gives an interpretation of the archeological remains. It offers a hypothetical reconstruction of the temple and portico based on the excavated foundations, scarce fragments of architectural decoration and Vitruvian rules. The inscriptions possibly related to the sanctuary are discussed, and finally the hypothetical calculations of the building period duration and construction costs are added.

Block with a club in relief
Block with a club in relief

The discovery of a completely-unknown Roman temple with temenos and portico rarely happens. The entire structure was demolished to the ground and replaced by much more modest buildings in Late Antiquity, so the lack of historical information is unsurprising. This sequence of events resulted in the loss of elements of the architectural decoration; only a few fragments secondarily used in later buildings survived. Instead of a typical Late Republican sanctuary enclosed by a three-winged portico with open front side, Hercules’ sanctuary shows an inverse plan with a portico wing closing the front side of the temple. The foundations of two portico wings were identified, while the third wing remains an assumption. The temple was a tetrastyle prostyle, only a little smaller than the Temple of Rome and Augustus at the forum of Pola. Following the collection of data of the cult of Hercules in Pola, Hercules emerges as the central figure of the sanctuary, which is also related to the presence of a spring as well as an ancestor, hero and founder cult.

I am grateful to David Davison and Rajka Makjanić, who gave me the opportunity to publish the results of my work concerning Hercules’ sanctuary.

Alka Starac
Archaeological Museum of Istria
PhD, Senior Museum Counselor, Head of excavations
alkastarac46@gmail.com

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Sincerest thanks to Dr Starac for providing this blog. Her book, Hercules’ Sanctuary in the Quarter of St Theodore, Pula (Archaeopress Archaeology, 2018), is available now in paperback (£32.00) or PDF eBook (from £16+VAT).

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Maryport. A Roman Fort and Its Community

David J. Breeze introduces his latest book on the Roman fort at Maryport, Cumbria, where the collection of Roman inscribed stones and sculpture, together with other Roman objects, remains the oldest archaeological collection in Britain still in private hands

On the west coast of Cumbria lies the 18th century planned town of Maryport. On its northern edge, sitting on the seaward side of a whaleback ridge rests a Roman fort, its earthworks still visible. To its north, but not visible, is an extensive extra-mural settlement, larger than the fort. Here probably lived the families of soldiers, merchants, priests, innkeepers, prostitutes and other people eager to relieve the soldiers of their pay. In the 16th century the owners of the estate, the Senhouse family, started collecting the inscriptions and sculpture found on their land. Today, their collection is on display in the Senhouse Roman Museum located just beside the fort.

 

A corner in the museum where some of the altars are displayed
Altars on display at the Senhouse Museum, Maryport

 

This altar erected by M Censorius Cornelianus records both his transfer to the Tenth Legion Fretensis based in Judaea and that his home was Nemausus, modern Nîmes
This altar erected by M. Censorius Cornelianus records both his transfer to the Tenth Legion Fretensis based in Judaea and that his home was Nemausus, modern Nîmes

It is unique in that it is the oldest archaeological collection in Britain still in private hands, though it has been placed in the care of the Senhouse Museum Trust. It is also of international importance. The museum contains many altars dedicated by the commanding officers at the fort. These were probably dedicated annually, on the day that all soldiers swore allegiance to the emperor and the Roman state, or on the birthday of the emperor. Many date to the reign of Hadrian and it would appear that we have one for each year of his reign. From this we can determine that each commander served about 3 years. The altars dedicated by the commanding officers of 3 regiments stationed at Maryport in the second century had interesting careers. Although many originally came from the western provinces of the Empire, including North Africa, their military service took them on to the Danubian provinces and to Judaea. Several rose many grades up the hierarchy, one becoming the chief financial officer of the province of Britain – and played host to the Emperor Hadrian, probably at his home in Italy.

The altars dedicated by the commanding officers and their families were to the gods of Rome, Jupiter, Juno, Mars, Mercury, Neptune and so on. Local gods are represented, including Belatucadrus, the deity of the local tribe. There are also many items of sculpture which provide insights into religious life on the northern frontier. These include depictures of the horned god found elsewhere in northern Britain as well as the unique Serpent Stone, a large phallic stone standing 1.3m high. There is also information on burial practices at the site within the 5 cemeteries which have been identified.

The cemetery north of the 1870 altar find spot excavated by Ian Haynes and Tony Wilmott
The cemetery north of the 1870 altar find spot excavated by Ian Haynes and Tony Wilmott

 

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Maryport: A Roman Fort and Its Community by David J. Breeze (Archaeopress, Oxford 2018)

The new book brings together all the known evidence from the fort, its extra-mural settlement, older and more recent excavations and the artefacts, as well as using evidence by analogy, to provide a view of life at a fort on the very edge of the Roman Empire.

Maryport: A Roman Fort and Its Community is available now in paperback (£14.99) and PDF eBook (£10+VAT) editions.

For visitor information please see the Senhouse Museum website:
http://www.senhousemuseum.co.uk/

Sincerest thanks to David J. Breeze for taking the time to write this article about his latest publication with Archaeopress. You can read his earlier blog post, Bearsden: the rediscovery and excavation of a Roman fort.

Recent Archaeopress publications that might be of interest:

Bearsden: The Story of a Roman Fort by David J. Breeze (Paperback, £20; PDF £16+VAT)

Roman Frontier Studies 2009 Proceedings of the XXI International Congress of Roman Frontier Studies (Limes Congress) held at Newcastle upon Tyne in August 2009 edited by Nick Hodgson et al. (Hardback, £120; Paperback, £90; PDF, £16+VAT)

Latrinae: Roman Toilets in the Northwestern Provinces of the Roman Empire edited by Stefanie Hoss (Paperback, £30; PDF, £16+VAT)

Special Place, Interesting Times: The Island of Palagruža and Transitional Periods in Adriatic Prehistory

Stašo Forenbaher introduces his forthcoming Archaeopress publication, due Spring 2018

May you live in interesting times! While nobody knows the origin of this alleged old Chinese curse, its meaning is clear: in times of upheaval and radical change, most people’s lives are neither safe nor easy. Many archaeologists are drawn to such turbulent periods, marked by rupture and innovation which they can detect in the archaeological record, try to grasp their origin, and explain their consequences.

One might say that prehistory of the Adriatic was always in transition. Step-by-step changes continued in all ages, but their rhythm was not always the same. On several occasions, a series of changes over a relatively short time period resulted in dramatic transformations. Three crucial episodes of change marked the later Adriatic prehistory. The first one, which took place around year 6000 BC, was a transformation of subsistence strategy, transition from hunting and gathering to farming. The second one, which in the absence of a better term I prefer to call the raise of elites, was a social transformation that played out in the third millennium BC, when for the first time we can see the power of individuals clearly expressed by material culture. The third and the last episode, inclusion into the Mediterranean world system and the classic Mediterranean civilization, coincided with the end of prehistory in the Adriatic region.

During all of those episodes, travel and connectivity with distant lands played an exceptionally important role. Under the circumstances, some places gained particular importance due to their unique geographic location. Palagruža is among the most prominent such places, its importance being out of all proportion to its physical size. Adriatic prehistory cannot be told without mentioning Palagruža, and prehistory of Palagruža cannot be understood without knowing Adriatic prehistory. Due to its strategic position in the very center of the Adriatic Sea, due to the mystery born of distance and isolation, due to its wild and spectacular landscape, Palagruža indeed is a special place. A reflection of its specialty is an unexpected abundance of high-grade archaeological evidence, dating precisely from the three aforementioned periods marked by radical change.

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Palagruža.

 

I first came to Palagruža in May 1993 as a member of an international archaeological team, led by Branko Kirigin and Timothy Kaiser, that carried out test excavations on the island. But we were not the first archaeologists on the scene: Sir Richard Burton and Carlo Marchesetti have beaten us to it by more than a century. They paid a visit to Palagruža in 1876, only a year after the great lighthouse had been built on its rocky summit. The island’s remoteness fascinated them, and they described in some detail its geology, flora and fauna, as well as the surprisingly abundant evidence of prehistoric, Greek and Roman visitors. Thanks to Burton and Marchesetti, we knew that there were ancient remains on Palagruža waiting to be discovered.

Figure 2
Impressed Ware potsherds, early sixth millennium BC.

Beginning in 1993, many excavation seasons followed over the next fifteen years, at first with multiannual breaks, later on a regular annual basis, and sometimes even twice within the same year. During four of those seasons, I was privileged to take part in those excavations and to experience the magic of Palagruža in the company of a small Robinsonian community of archaeologists. Thanks to that, Palagruža is a special place for me at a very personal level.

Many of the ideas that I elaborate in my book about prehistory of Palagruža were conceived during frequent periods spent together with Timothy Kaiser. Our friendship, which grew out of joint fieldwork at a series of Dalmatian prehistoric sites, goes back to my beginner’s days. The way I do archaeology owes very much to Tim. But my somewhat unusual orientation of an inlander who does Adriatic prehistory I owe mostly to Branko Kirigin, the main ‘culprit’ for my first fieldwork experiences in Dalmatia. When systematic excavation began on Palagruža, Branko entrusted me with the analysis of prehistoric finds. I admit that I kept him waiting for a long while: a quarter century has passed since his first, unforgettable and decisive visit to Palagruža (as he once vividly described it to me). I hope that my book justifies his expectations.

Figure 3
Incised-and-impressed Cetina style potsherds, second half of the third millennium BC.

 

The first, introductory part of the book discusses geographic location, natural environment and resources of Palagruža, offers an attempted reconstruction of its appearance during Holocene, and describes archaeological investigations that preceded our own work, including the archaeological evidence recovered by the early investigators. The second part of the book provides detailed descriptions of prehistoric sites and finds accumulated during our investigations that lasted from year 1992 until 2007. Most of it is dedicated to Salamandrija, the central and most important prehistoric site on the island, which is dominated by pottery, flaked stone, and ground stone assemblages from the third millennium BC. Among other sites that follow, Jankotova njiva stands out due to its few, but very characteristic, finds from the first half of the sixth millennium BC.

The contributions written by Zlatko Perhoč and Robert H. Tykot on sources of the raw materials for the lithic artifacts from Palagruža are crucially important for our understanding of long-distance connections. Zlatko’s petrographic analyses of chert demonstrated the existence of intensive and persistent trans-Adriatic interaction, while Rob’s analyses of obsidian confirmed occasional contacts with much more distant Mediterranean islands: Lipari in the Tyrrhenian, and Melos in the Aegean Sea.

Figure 4
Archery equipment: ground stone wristguards, arrow points, and crescent microlithic armatures, third millennium BC.

The third part of the book begins with an analysis of environmental characteristics of all small and remote Adriatic islands, and of peculiar circumstances that predetermined Palagruža’s special role. Discussions follow of its role in the crucial episodes of Adriatic prehistory, eight thousand years ago during the spread of farming into the Adriatic, and five thousand years ago during the rise of the first Adriatic elites. These are accompanied by an additional chapter on Adriatic pottery styles of the third millennium BC, without which it would not have been possible to write coherently about Palagruža, or about the Adriatic, during that period. The fourth part of the book, an appendix containing summary information about more than 150 sites that yielded characteristic finds, supplements the discussion of those styles.

Header image: The author excavating at Palagruža, September 2004.

 

Stašo Forenbaher is Senior Research Advisor at the Institute for Anthropological Research in Zagreb, Croatia. He studied archaeology at the University of Zagreb (Croatia), and received his PhD from the Southern Methodist University in Dallas (TX). His research interests cover Mediterranean Prehistory with a focus on the Adriatic, and include transition to farming, formation of early elites, archaeology of caves, and lithic analysis. He has excavated at many prehistoric stratified cave sites in the eastern Adriatic, including Pupićina Cave in Istria, Vaganačka Cave in Velebit Mountain, Grapčeva Cave on the island of Hvar, and Nakovana Cave on Pelješac Peninsula. His current fieldwork is focussed on the excavation of Vela Cave on the island of Korčula.

Forthcoming from Archaeopress, due Spring 2018:

Special Place, Interesting Times: The Island of Palagruža and Transitional Periods in Adriatic Prehistory by Stašo Forenbaher (with contributions written by Zlatko Perhoč and Robert H. Tykot). Archaeopress Archaeology, 2018. More details soon.