British Museum blog

A hoard from the dawn of Roman Britain

Coin from the hoardEleanor Ghey, curator, British Museum

Sometimes as curators we are lucky enough to be brought the most amazing new finds that through careful study can offer a tantalising glimpse into the ancient past. One such discovery that sheds light on the earliest years of Roman Britain is now on display in the Citi Money Gallery.

Coins from the hoard on display.

Coins from the hoard on display.

In 2010 metal-detector user Jason Hemmings found – in a field in Dorset, southern England – what at first glance seemed to be just a handful of Roman and Iron Age coins. When he reported them to the Portable Antiquities Scheme it soon became apparent he had a hoard that can be closely linked to the years following the Roman conquest of AD 43.

It is a mixed sample of the different coins in use in Britain during these turbulent years. It contains worn silver Roman republican coins that had been in circulation in the Roman Empire for around 150 years and were also valued by local people as a source of silver. There were a few Iron Age staters, base silver coins issued by the native inhabitants of Dorset before the Roman conquest. Finally, and most significantly, there were copper alloy coins of the emperor Claudius issued between AD 41 and 50.

Coin of Emperor Claudius, Roman Imperial, AD 41-50

Coin of Emperor Claudius, Roman Imperial, AD 41-50

Official issues of the emperor Claudius are rare in Britain, although they were later copied in large numbers, probably to meet a shortage of supply. Two of the coins from this hoard are stamped with an official mark of approval found only in Rome and Britain. It is thought that these coins were produced in Rome in order to supply the invading army with useful currency whilst on campaign in Britain and may have even arrived with them. So they are likely to be close in date to the conquest of Britain in AD 43.

If this hoard belonged to a soldier, we can assume he was of lower rank, probably a legionary. At this time a legionary would have received an annual salary of 225 denarii. The hoard represents 4.25 denarii. A hoard of 34 Roman gold coins buried at Bredgar in Kent during the Claudian invasion – a vast amount of money more likely to have belonged to a high-ranking officer – is on display in Room 49. It is easier to imagine these coins from Dorset as the sort of sum carried by an individual: one of the lowest value Roman coins in the hoard would have bought two small sausages in ancient Pompeii!

Roman Republican coin, 100 BC

Roman Republican coin, 100 BC

So how did these coins get into the ground in Dorset? It could be that we are seeing the contents of a purse lost by a Roman soldier as the famous Legio II Augusta advanced through the county in the years immediately following the conquest (under the command of the future emperor Vespasian). Alternatively, the coins could have found their way into local hands, which might explain the presence of local issues alongside Roman ones.

The question of how and why coin hoards were buried in the Roman period is currently being investigated in a new AHRC-funded research project by the British Museum and Leicester University. It will study the large number of hoards now known from Roman Britain (about 2,700) with a view to understanding the circumstances of their burial and what changing patterns of hoarding behaviour tell us about the economy and society of the time.

Coin of Emperor Tiberius, Roman Imperial, AD 14-37

Coin of Emperor Tiberius, Roman Imperial, AD 14-37

For now, we can only speculate as to why these coins ended up where they did; while being grateful, of course, that some 2,000 years later we have the opportunity to try and tell their story.

The Money Gallery is supported by Citi

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

Reading an ancient Egyptian poem

The opening sections of the poem written on a papyrus in the British Museum collectionRichard Parkinson, curator, British Museum

Reading an ancient poem is often a difficult experience, and academic traditions do not always help.

The Tale of The Eloquent Peasant, was written in Egypt around 1850 BC and is a darkly passionate work, concerning a peasant’s quest for justice after his goods are stolen. But its elaborate style has made many academics regard it as simply a source of ancient words/vocabulary and grammar and not as a poetic work of art.

The opening sections of the poem written on a papyrus in the British Museum collection

The opening sections of the poem written on a papyrus in the British Museum collection

So once, when teaching a class in Germany, I was struck that when I asked ‘what does this verse of poetry mean?’ a student replied ‘it is a perfective verb-form’. Which is an important fact, of course, but it is not the total meaning of the poetry (and not at all the answer I was looking for!).

Last year I published a new commentary on The Tale of the Eloquent Peasant to try and encourage a deeper engagement with the poetry. As well as notes on its construction and language, I included, among other things, pictures.

In the poem, the peasant hero is beaten with a stick of iser, ‘tamarisk’. It is a minor detail, unless you visualise the shrub as you read, and remember both that it is very whippy and that it grows everywhere on river banks. The poet uses this particular plant to characterise the action as not only highly sadistic but also opportunistic: the villain grabs whatever is to hand to attack the hero. Everywhere in the poem, a concrete visualisation of the imagery allows the reader to realise the vivid interconnectedness of the poet’s thought.

A tamarisk in the Wadi el-Natrun

A tamarisk in the Wadi el-Natrun

The new commentary also placed text, translation and all the notes on a single page to help the process of reading as a single integrated experience: the reader does not have to flick between different sections for comments on the grammar, historical allusions, or possible meanings. Everything the reader needs appears together in one glance, and I look forward to seeing if this has worked for students when I take up a new job teaching Egyptology in Oxford.

The ability of the poem to still speak to audiences is nowhere better sensed than in the mesmeric prize-winning film of Shadi Abd el-Salam (1970), recently restored by the World Cinema Foundation, and they have generously allowed us to include an image of the actor Ahmed Marei as the frontispiece.

Ahmed Marei as the peasant in Shadi Abd el-Salam’s film; courtesy of the World Cinema Foundation and the Egyptian Film Centre.

Ahmed Marei as the peasant in Shadi Abd el-Salam’s film; courtesy of the World Cinema Foundation and the Egyptian Film Centre.

This is a gesture towards the humanity of the original — a reminder that the poem was written by an individual for his contemporaries (and not for Egyptologists). This may even be the first time that an Egyptological commentary on a literary text has included a photograph of a living person. And this living and subtle work of art gained new resonance with the Egyptian revolution of 2011. As author Ahdaf Soueif noted then, it represents an Egyptian tradition of non-violent protest against any abuse of authority, and it is, in the words of Shadi Abd el-Salam, ‘a cry for justice, a cry that persists throughout the ages’.’

Find out more about the Reading Ancient Egyptian poems research project

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Filed under: Collection, Egypt and Sudan, Research, , ,

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Beatrix Potter was born #onthisday 150 years ago. Known for her series of children’s books and illustrations, her stories followed the exploits of Peter Rabbit and Benjamin Bunny among other countryside characters. Here is an illustration from ‘The Tale of the Flopsy Bunnies’. It shows the rabbits munching on some lettuce in Mr McGregor’s rubbish heap after Peter Rabbit didn’t have enough food to share around. 🐰
#Beatrix150 #rabbits #illustration #BeatrixPotter #PeterRabbit Today we’re celebrating the work of #BeatrixPotter, born #onthisday in 1866. Her loveable characters and illustrations made her a firm favourite with all ages. This watercolour from her 1909 publication ‘The Tale of the Flopsy Bunnies’ shows the rabbits asleep around a cabbage plant.
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#SuttonHoo #AngloSaxon  #archaeology #archive #blackandwhite
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