British Museum blog

The Beau Street Hoard: what’s in the box?

Eleanor Ghey, project curator, British Museum

Hoards of Roman coins from later in the third century AD are the most common sort of coin hoards we see at the British Museum but the Beau Street Hoard is very unusual. When I saw the X-ray of the hoard I was very excited to see what looked like clearly separate bags of coins deposited in a group – normally coins are found in a pot or in a hole in the ground together in one lump. Here we have at least six (and probably more) groups of coins – several hoards in one! It was even more exciting to learn that it was going to be possible for my colleague Julia Tubman to isolate the groups.

It raises all sorts of questions. Do the bags contain the same sorts of coins or different ones? Do they each contain the same amount in Roman money or in weight of metal? Are they all coins that were circulating at the same date or are they deposits of coins from different time-periods gathered together at a later date for re-burial?

An X-radiograph of the soil block before conservation. © University of Southampton

An X-radiograph of the soil block before conservation taken at the Imaging Centre in the University of Southampton’s Department of Engineering Sciences. © University of Southampton

It is already possible to start to speculate about the contents of the hoard from the few coins that have been removed from the block (although it may still hold surprises). The coins are mostly of the denomination known as a ‘radiate’ (from the spiky crown the emperor wears on the obverse (front) of the coin).

A silver radiate of Gordian III from the hoard

A silver radiate of Gordian III from the hoard

This type of coin first appears in the early third century AD and at the time was of a value double that of the denarius (the main silver coin in the earlier years of the Roman Empire). Initially, like the denarius this was a silver coin. Gradually over time the silver content of the radiate was reduced, until (by the 270s AD) they were almost entirely base metal (copper alloy) and became smaller in size.

The first coins Julia removed from the block were large and silvery in appearance (once cleaned) and came mostly from the first half of the third century AD. The earliest coin was a denarius of the emperor Septimius Severus (ruled AD 193-211) and the latest were coins of the emperor Gallienus and his wife, Salonina, dated to the AD 260s. This would be fairly typical for the contents of a hoard buried in the AD 260s.

A silver denarius of Septimius Severus (AD 193-211) from the British Museum collection

A silver denarius of Septimius Severus (AD 193-211) from the British Museum collection

However, when the hoard was first discovered, a sample of coins taken from another area of the block was quite different in nature. These were the smaller, more coppery radiates of the AD 270s (the most common type of coins we find in hoards from the 270s to 290s). This suggests that we may be dealing with bags containing different groups of coins, possibly gathered together at different times or sorted before burial.

Was this a secure store for bags of money that was added to gradually by one or more people over a fairly long period of time? It seems like an official store of money, organised into bags and purposely concealed in a place designed for that purpose. It was certainly a large amount of money (although we don’t have data for the later third century, pay scales for legionary soldiers in the AD 230s suggest they would have received about two and a half of these coins as a day’s wage) and it could have been looked after by an individual with authority.

It is rare to find hoards in Roman town centres. Perhaps it belonged to a local business in what was a busy town centre (deposited in a safe place in the way we leave money at the bank today). Why was it left for the archaeologists to find and not recovered by its owner?

Was there any connection with the nearby temple and sacred spring? We know that temples had treasuries; they may have periodically emptied out some of the coins thrown into the spring.

We are hoping that results from the archaeological excavation of the findspot will shed further light on this puzzle.

Find out more about the Beau Street hoard and the Roman Baths Museum fund-raising campaign.

If you would like to leave a comment click on the title

Filed under: Archaeology, Beau Street Hoard, Conservation, , , ,

3 Responses - Comments are closed.

  1. Allen says:

    Would love to have a Roman coin or two in my collection. Seems like theyre always finding new collections of coins all over Britain all the time. Its very exciting to see the money of the past.

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  2. Very interesting !! I look forward to following new instalments as work progresses. It might be interesting to look at whether there is a difference in blank production methods for coins within same or different bags. I did some experiments with this a while back and would be happy too share thoughts on this.

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  3. Stephen Trinder says:

    Wonderful job you and your colleagues are doing for our benefit. Utterly fascinating

    Like

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For our final #MuseumInstaSwap post we’re highlighting the 'Make Do and Mend' campaign of the Second World War, as told by our partner @ImperialWarMuseums in their #FashionontheRation exhibition.

The campaign was launched to encourage people to make their existing supplies of clothes last longer. Posters and leaflets were circulated with advice on subjects including how to prevent moth damage to woollens, how to make shoes last longer or how to care for different fabrics. As the war went on, buying new was severely restricted by coupon limits and no longer an option for many people. The ability to repair, renovate and make one's own clothes became increasingly important. Although shoppers would have to hand over coupons for dressmaking fabric as well as readymade clothes, making clothes was often cheaper and saved coupons. ‘Make Do and Mend’ classes took place around the country, teaching skills such as pattern cutting. Dress makers and home sewers often had to be experimental in their choice of fabrics. Despite disliking much of the official rhetoric to Make Do and Mend, many people demonstrated great creativity and adaptability in dealing with rationing. Individual style flourished. Shortages necessitated imaginative use of materials, recycling and renovating of old clothes and innovative use of home-made accessories, which could alter or smarten up an outfit. Many women used furnishing fabrics for dressmaking until these too were rationed. Blackout material, which did not need points, was also sometimes used. Parachute silk was highly prized for underwear, nightclothes and wedding dresses.

We've really enjoyed working with and learning from our friends at @imperialwarmuseums this week. You can catch up on all our posts and discover many more stories from London’s museums with #MuseumInstaSwap. © IWM (Art.IWM PST 4773 For #MuseumInstaSwap we’re discovering the street style of the Second World War in the #FashionontheRation exhibition at @ImperialWarMuseums. In this archive photo a female member of the Air Raid Precautions staff applies her lipstick between emergency calls.

In wartime Britain it was unfashionable to be seen wearing clothes that were obviously showy, yet women were frequently implored not to let 'standards' slip too far. There was genuine concern that a lack of interest in personal appearance could be a sign of low morale, which could have a detrimental impact on the war effort. The government's concern for the morale of women was a major factor in the decision to continue the manufacture of cosmetics, though in much reduced quantities. Make-up was never rationed, but was subject to a luxury tax and was very expensive. Many cosmetics firms switched some of their production to items needed for the war effort. Coty, for example, were known for their face powder and perfumes but also made army foot powder and anti-gas ointment. Make-up and hair styles took on an increased importance and many women went to great lengths to still feel well-dressed and stylish even if their clothes were last season's, their stockings darned and accessories home-made. As with clothing, women found creative ways around shortages, with beetroot juice used for a splash of lip colour and boot polish passing for mascara.

Discover more stories from London’s museums with #MuseumInstaSwap © IWM (D 176) In the @ImperialWarMuseums exhibition ‘Fashion on the Ration: 1940s street style’ we can see how men and women found new ways to dress while clothing was rationed. Displays of original clothes from the era, from military uniforms to utility underwear, reveal what life was really like on the home front in wartime Britain.

Despite the limitations imposed by rationing, clothing retailers sought to retain and even expand their customer base during the Second World War. Britain's high street adapted in response to wartime conditions, and this was reflected in their retail ranges. The government intervened in the mass manufacture of high street fashions with the arrival of the Utility clothing scheme in 1942. Shoppers carefully spent their precious clothing coupons and money on new clothes to make sure their purchases would be suitable across spring, summer and autumn and winter. Despite the restrictions, the war and civilian austerity did not put an end to creative design, commercial opportunism or fashionable trends on the British home front.

#FashionontheRation exhibition runs @imperialwarmuseums until 31 August.

Discover more stories from London’s museums with #MuseumInstaSwap. For our final day of #MuseumInstaSwap we’re learning about the Second World War @ImperialWarMuseums, and discovering the impact of the war on ordinary people. 
Clothes were rationed in Britain from 1 June 1941. This limited the amount of new garments people could buy until 1949, four years after the war's end. The British government needed to reduce production and consumption of civilian clothes to safeguard raw materials and release workers and factory space for war production. As with food rationing, which had been in place since 1940, one of the reasons for introducing civilian clothes rationing was to ensure fairness. Rationing sought to ensure a more equal distribution of clothing and improve the availability of garments in the shops.

As this poster shows, the rationing scheme worked by allocating each type of clothing item a 'points' value which varied according to how much material and labour went into its manufacture. Eleven coupons were needed for a dress, two needed for a pair of stockings, and eight coupons required for a man's shirt or a pair of trousers. Women's shoes meant relinquishing five coupons, and men's footwear cost seven coupons. When buying new clothes, the shopper had to hand over coupons with a 'points' value as well as money. Every adult was initially given an allocation of 66 points to last one year, but this allocation shrank as the war progressed. © IWM (Art.IWM PST 8293) This week on @instagram we’ve joined up with other London museums to highlight our shared stories. Our partner is @imperialwarmuseums, whose incredible collection brings people’s experiences of modern war and conflict to life. Follow #MuseumInstaSwap to discover some of the intriguing historical connections we have found, as well as insights into everyday life during wartime. As part of our #MuseumInstaSwap with @ImperialWarMuseums, we’ve been given special access to the Churchill War Rooms – located deep below the streets of Westminster.
This is Prime Minister Winston Churchill’s bedroom, which includes his private desk, briefcase and papers, his bed and chamber pot and even an original cigar! The bedroom is located close to the Map Room, keeping Churchill as close as possible to the epicentre of Cabinet War Rooms.
Following the surrender of the Japanese Forces the doors to the War Rooms were locked on 16 August 1945 and the complex was left undisturbed until Parliament ensured its preservation as a historic site in 1948. Knowledge of the site and access to it remained highly restricted until the late 1970s when @ImperialWarMuseums began the task of preserving the site and its contents, making them accessible to as wide an audience as possible and opening them to the public in 1984.
Discover more stories from London’s museums with #MuseumInstaSwap
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