British Museum blog

From ancient coins, to Medieval gold: public archaeological finds revealed

Michael Lewis, Portable Antiquities Scheme, British Museum
Today, we launched the latest Portable Antiquities and Treasure Annual Report at the British Museum, with the help of Ed Vaizey, Minister for culture, communications and creative industries.

The report outlines the thousands of archaeological objects discovered and reported by members of the public through the Portable Antiquities Scheme (PAS) in 2008 and to mark the occasion we had some of the more important or interesting finds on show.

Late Iron Age coin hoard of 840 gold staters, about AD 15-20.

Late Iron Age coin hoard of 840 gold staters, about AD 15-20. © Portable Antiquities Scheme

Among them was a Late Iron Age coin hoard of 840 gold staters from the Wickham Market area in Suffolk, dating to about AD 15-20. The coins were discovered in March 2008; and more were later found during an excavation of the findspot by Suffolk County Council’s Archaeology Service. It’s the largest hoard of Iron Age gold coins discovered since a similar hoard – the Whaddon Chase Hoard (Buckinghamshire) – was unearthed in 1849.

Unfortunately the Whaddon Chase Hoard was partially dispersed following its discovery, making it difficult to estimate the number of coins found. It is hoped that Colchester and Ipswich Museums will be able to raise the funds to acquire it, which is currently on display in Room 41 at the British Museum.

Roman knife handle from Syston, Lincolnshire.

Roman knife handle from Syston, Lincolnshire. © Portable Antiquities Scheme

Another intriguing find is a Roman knife handle from Syston, Lincolnshire. Its precise date in unknown. It was found by a man named David Barker and depicts an erotic scene involving two males and a female, and a decapitated head.
Only a handful of erotic knife handles are known from Britain, and this is of a new type. The significance of the decapitated head is unclear. The find has been acquired by The Collection, Lincoln.

On 7 August 2008 Darren Hoyle found a Medieval gold locket in Rolleston, Nottinghamshire, which dates to about AD 1450-1500. It has an inscription, which reads cauns [sauns] repentir (without regret), which may have been an amatory phrase. It is closely comparable to a similar object found as part of the Fishpool Hoard (also from Nottinghamshire), in 1966, which is on display in the British Museum.

The Fishpool Hoard is thought to have been deposited in May 1464, during the Wars of the Roses, and it is possible the Rolleston and Fishpool lockets were made by the same workshop. The Rolleston locket has been acquired by the British Museum.

Medieval gold locket found in Rolleston, Nottinghamshire, about  AD 1450-1500

Medieval gold locket found in Rolleston, Nottinghamshire, about AD 1450-1500. © Portable Antiquities Scheme

The PAS was established in 1997 to record archaeological objects found by the public, to coincide with the passing of the Treasure Act 1996, under which finders have a legal obligation to report precious Treasure finds. The British Museum now manages the PAS and administers the Treasure Act.

Since 1997 there has been a significant increase in the reporting of both Treasure and non-Treasure finds. In 2010, 90,146 archaeological objects were recorded through the PAS – a 36% increase on 2009 – and 859 Treasure cases, up 10%. These finds, are important clues for understanding the past, telling us where and how people lived, and what they did. They also offer a tangible link with everyday people, often ignored in written sources.

The finds recorded are of many different types, including flints worked into tools, coins and tokens, pottery, copper-alloy dress accessories (brooches, pins, buckles etc), as well as high-status gold and silver objects. Some are complete, but many are incomplete, broken and/or worn. Even so all have archaeological value.

Group of Early Medieval gold objects from West Yorkshire, about AD 600-1100.

Group of Early Medieval gold objects from West Yorkshire, about AD 600-1100. © Portable Antiquities Scheme

Most importantly, all finds recorded with the PAS have good findspot information. Archaeologists need to know exactly where a find was found to fully unleash its archaeological potential.

Without a findspot, the most spectacular discovery has almost no archaeological value. Conversely, if the findspot is known then it is possible to compare an object with others of that type, to see if there are distribution patterns, or learn more about the area where the find was discovered. Indeed, some common finds can be rare for a particular place, and therefore the findspot is of crucial importance.

A majority of the finds recorded by the PAS or reported Treasure have been found by members of the public; in fact the PAS only records object found by the public, though archaeologists too have a legal obligation to report Treasure.

Most archaeological finds nowadays are found by metal-detectorists, but now and again someone out walking or digging in their garden will make a chance discovery, and should take it to their local museum so it can be recorded with the PAS.

Now the funding of the PAS has been secured for the next four years there is great potential for the Scheme to further advance our knowledge of the past. Over the past few years there have been some amazing finds – such as the Staffordshire Hoard and Frome Hoard – and it is almost certain others will be found before long. But only if the finds are properly recovered and recorded will they have the potential to change the archaeological map of the country…

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

Filed under: Archaeology, Portable Antiquities and Treasure, ,

One Response - Comments are closed.

  1. Pauline says:

    I find that the gold objects from West yorrkshire very well done, and so fine for this period. Would the gold have come from Wales perhaps?

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 16,387 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

The grandeur of the Enlightenment Gallery is captured in this superb photo by @ykyoon5. This space was formerly known as the King’s Library, and was the first part of the ‘new’ 1823 Museum building to be completed. Careful restoration work began in the year 2000 to revive the room to its previous glory, and this is what visitors see today. The oak and mahogany floor and classical architectural features were cleaned and repaired after nearly 200 years of welcoming visitors. Hundreds of square metres of plaster were restored, along with the yellow and gold ornamentation on the ceiling. The balcony was also regilded and the whole room retains its Regency pomp.

#BritishMuseum #regram #Regency #interiors #restoration We’re sharing our favourite photos taken by visitors – use #myBritishMuseum if you’d like to feature! Here’s a brilliant shot by @j.ziolkowski that really captures the cool tones of the Great Court. We love the collision of lines in this photo – the hard edges of the original 1823 building set against the curvature of the later Reading Room and tessellation of the glass roof. 
Get snapping if you’d like to feature in our next #regram. 
#BritishMuseum #architecture #perspective #GreatCourt This Degas print is an example of the subject matter and technique the artist moved towards in the early 1890s. During this time, Degas produced sketchy prints showing female figures post-bathing. In this print we can see that the ink has been reworked during the printing process – the hair and shoulders show evidence of additional brushstrokes. The backgrounds of these works are much more sketchy and blurred than works he produced earlier in his career, perhaps showing his increased interest in figures.
#Degas #print #portrait The intense gaze of this young woman was originally intended to appear in the background of a horse racing scene by Degas, but the painting was never completed. This type of challenging composition is typical of the French artist’s work – he liked to crop the viewpoints of his paintings and sketches to create a different atmosphere. The coolly returned stare reverses the traditional relationship between viewer and subject, and emphasises Degas’ progressive approach to painting.
#Degas #painting #sketch #Paris French artist Edgar Degas died #onthisday in 1917. Today we’ll feature works that showcase his radical approach to framing subjects, and his subtle handling of form and tone. This vivid oil sketch from 1876–1877 depicts a repeated motif in Degas’ work – the Parisian ballet. He captured both performances and behind-the-scenes moments in his paintings and sketches, often using vantage points that give a fly-on-the-wall impression to his work. Degas worked rapidly but precisely – mirroring the movements of the dancers he portrayed – and this work is completed in thinned-down oil paint so that his quick brushstrokes could dry quickly.
#Degas #sketch #oilpainting #Paris #ballet Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation.
%d bloggers like this: