British Museum blog

Two hoards and one unknown Viking ruler


Ian Richardson, Portable Antiquities and Treasure,
British Museum

The saying goes that one waits an eternity for a London bus to arrive, only for two to eventually show up at the same time. Dot Boughton, Finds Liaison Officer (FLO) for Lancashire and Cumbria, is probably beginning to feel that the same rule applies to Viking silver hoards. It was only in April of this year that a hoard of over 90 coins and hacksilver from Barrow-in-Furness, Cumbria was reported to Dot. For any FLO, and indeed for the British Museum, which provides expert advice to enable the coroner to hold an inquest into the case (as required under the Treasure Act 1996), this represented a lot of material to work on. Not since the discovery of the Vale of York hoard almost five years ago had so many Viking-age artefacts and coins from one find been reported as Treasure.

But no sooner had the coroner concluded his inquest into the Barrow case than Dot was on the phone to our office again with news of an even larger hoard.

A piece of jewellery from the Silverdale Viking hoard

A piece of jewellery from the Silverdale Viking hoard

When the finder’s photographs were sent through to us, we knew this new hoard from Silverdale in Lancashire, was going to be one of the major enterprises of the year for us and our colleagues. Silver arm-rings, brooch fragments, ingots and coins had all (bar one coin) been found in, or underneath, a lead container. Barry Ager (Department of Prehistory and Europe) and Dr Gareth Williams (Department of Coins and Medals), were duly warned of the arrival of this material and they cleared their schedules.

After a furious few months spent weighing, analyzing, cataloguing and photographing the finds, the report for the coroner was ready.

Among the many stand-out objects is a coin type none of us had seen before. One side of it reads DNS (Dominus) REX, the letters arranged in the form of a cross (many Vikings had converted to Christianity within a generation of settling in Britain). On the other side, the inscription reads AIRDECONUT which appears to be an attempt to represent the Scandinavian name Harthacnut, a ruler not previously known.

A previously unrecorded coin type, probably carrying the name of an otherwise unknown Viking ruler in northern England

A previously unrecorded coin type, probably carrying the name of an otherwise unknown Viking ruler in northern England

The local museum, Lancaster City Museum, had earlier been informed of the find and as they expressed an interest in acquiring the hoard through the Treasure process, Mr Simon Jones, HM Deputy Coroner for Preston and West Lancashire has been asked to hold an inquest into the case. The inquest will be held on Friday the 16 December 2011, and we will find out whether it is ‘Treasure’ according to the criteria set out in the Treasure Act 1996.

The finder and his wife obligingly accepted our invitation to attend the launch of the Portable Antiquities Scheme (PAS) and Treasure Act Annual Reports, held at the British Museum today where they have been able to join us in showing the hoard to Ed Vaizey, Minister for Culture, Communications and Creative Industries.

The Silverdale Hoard

The Silverdale Hoard

Going forward, it is of course our sincere hope that Lancaster City Museum will be able to acquire the Silverdale hoard for its collection. If the coroner declares it ‘Treasure’, the next step is to have it valued by the independent Treasure Valuation Committee (TVC) who would recommend a market value for the hoard. The museum may very well engage in a fundraising campaign to acquire the hoard, and if they do so we’ll offer our full support.

A selection of objects and coins from the Silverdale Hoard will be on display at the British Museum in Room 2, from Thursday 15 December through the New Year.

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Filed under: Archaeology, At the Museum, Portable Antiquities and Treasure, , , ,

Fragments of ancient lives

Marie Vandenbeusch registering a grind-stone in the expedition house

Marie Vandenbeusch,
Université de Genève

Archaeology consists not only of walls and architectural structures, but also of objects, recovered throughout seasons of excavation. These objects are rarely masterpieces, but rather tools of all kinds: hammer- and grind-stones, small jewellery, scarabs, flint tools… and of course masses of pottery.

All these finds reflect the day-to-day lives of those living in the ancient town of Amara West.

Though fine amulets are found, the majority of the objects from the town are coarsely made and often badly damaged, with wood and leather generally only surviving in the cemetery. Materials such as papyrus have yet to be found at Amara West.

Serrated flint knife (F4568)

All the objects are brought back from site every day, and placed in a large metal trunk – our ‘inbox’. At this point my work as finds registrar starts.

Some of the artefacts need cleaning, but all have to be recorded on the project’s online database.

Set of ceramic counters (F4312)

After carefully studying the object, a description and measurements are added to the database – and occasionally a translation (or attempted reading!) of any hieroglyphs or hieratic.

These steps can be completed quickly with dozens of similar beads, or the very common discs or counters – circular objects cut from broken pottery vessels.

This work is all done in the dig house, and the objects are then transferred to the storeroom.

A computer and internet access are needed – with the short hours of electricity on the island, I need to take advantage of the battery life of several laptops, and plan my day carefully to maximise the number of finds registered.

Necklace as found in post-New Kingdom grave 216 (F9464)

Two weeks in, more than 250 objects have been registered. I am becoming very familiar with peculiar objects, rarely exhibited in museum collections. But it is these objects that provide a real insight into the activities, and occasionally beliefs, of the ancient population of the town – whether Egyptian or Nubian.

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Filed under: Amara West, Archaeology, , , , , , , ,

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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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