The Llanvaches Roman coin hoard 15 July 2011 Detail of a denarius from the Llanvaches hoard showing the Roman Emperor Hadrian (117-38) One of the finest hoards of silver coins from Roman Britain in the second century A.D. came to light in 2006 near Llanvaches, Newport. The hoard of 599 silver denarii were discovered hidden in a locally made cooking pot. They are now on displayed at the National Roman Legion Museum. Llanvaches lies between the fortress of the second Augustan legion at Caerleon and the local tribal capital, Venta Silurum, at Caerwent. The 599 silver denarii, which show various Roman Emperors such as Hadrian and Nero, date back to around AD160 and were declared treasure in July 2007. Denarius, or Denarii (plural) are perhaps the best-known Roman coin. It gives us the 'd' of our old £-s-d system. At the time it was about a day's pay, whether civilian (think of the parable of the vineyard in the Bible) or for a Roman legionary soldier. In itself, therefore, the denarius was a valuable coin. Six hundred denarii would represent a very large sum - how long might it take one of us to save two years' gross wages? Please click on the thumbnails below to browse through a selection of coins from the hoard. The Llanvaches coin hoard Forgery of Hadrian - reverse copies a coin of Trajan Forgery of Hadrian Pietas offering at an altar [Diva Faustina I] life-time portrait of Faustina I Hadrian, a bare-headed portrait Pax (peace) setting fire to weapons [Trajan] clasped hands: emperor and army [Nerva] An exotic beast [Titus] Sow and piglets [Vespasian] - refers to foundation myth Antoninus Pius (138-61); Hadrian's second adopted successor Fortuna ('fortune') [Trajan] Antoninus Pius (138-61) Hadrian (117-38) Felicitas ('happiness') [Trajan] Liberalitas - the emperor's generosity [Hadrian] Concordia [Antoninus Pius] Clementia ('mercy') [Antoninus Pius] Italia - another province personified [Antoninus Pius] Sabina, wife of Hadrian Vesta, goddess of the hearth [Sabina] L. Aelius (136-8); appointed Hadrian's successor, but died first Hadrian as 'restorer' of Gaul Faustina II, daughter of Antoninus Pius, wife of Marcus Faustina I, wife of Antoninus (d.141); commemorative issue ('Diva') Priestly implements [Marcus Aurelius Caesar] Marcus Aurelius as Caesar under A Pius (139-61) Thunderbolt on a chair [Antoninus Pius] Aegyptos - one of many provinces personified on Hadrian's coins Aequitas ('fair dealing') or Moneta (the mint) [Antoninus Pius] Pietas ('piety, duty') [Hadrian] Victoria: goddess of victory [Hadrian] Fides publica: the 'good faith' of the state (!) [Hadrian] Moneta - personifies the mint and the coinage [Hadrian] Adventus ('arrival') - Hadrian greeted by Roma Neptune, god of water/the sea [Hadrian] Iustitia ('justice') [Hadrian] Hercules and his club [Hadrian] Salus ('Health'/'welfare') [Hadrian] Diana, goddess of hunting and fertility [Hadrian] Libertas ('freedom') [Hadrian] Providentia ('foreseeing') [Hadrian] Hilaritas ('rejoicing') [Hadrian] Hadrian (117-38) Hadrian (117-38) Roma - goddess/personification of the city [Hadrian] Hadrian as gubernator (steersman) of the World Oceanus, the river round the earth, personified [Hadrian] Hadrian (117-38) Virtus ('valour') [Trajan] Hadrian adopted as Trajan's heir [Hadrian] Felicitas ('happiness') [Trajan] Honouring Trajan's father Trajan's Column, Rome - still standing today Military standards [Trajan] Equestrian statue of Trajan Trajan in a triumphal procession The province of Arabia personified, with camel [Trajan] Trophy of arms [Trajan] Ceres, goddess of agriculture [Trajan] A defeated Dacian [Trajan] Trophy of arms and captured Dacian [Trajan] Via Traiana, a new road in southern Italy [Trajan] Spes ('hope') holds a flower [Trajan] Mars, god of war [Trajan] Conquest of Dacia [Trajan] Eternity, holding sun and moon [Trajan] Trajan (98-117) Hercules, wearing lionskin and holding a club [Trajan] Nerva (96-8) Minerva [Domitian Augustus] 'Concord of the armies' [Nerva] Domitian, Augustus (81-96) Julia Titi, daughter of Titus and lover of Domitian Titus, Augustus (79-81) Venus [Titus Augustus] Wolf with Romulus and Remus [Domitian Caesar] Pegasus [Domitian Caesar] Jupiter [Vespasian] Vespasian Vespasian Judaea - suppression of the Jewish Revolt [Vespasian] Vespasian (69-79), former commander of Legio II Augusta Vitellius (AD 69) Vitellius (AD 69) Otho (AD 69) and his impressive wig Jupiter, Chief of the Gods [Nero] Nero (AD 54-68) Heads Detail of Pegasus from one of the Roman denarii Unlike our modern coinage - which has few designs and only one ruler - the Roman imperial currency of the second century was full of variety: Llanvaches contains coins of 12 emperors and four of their wives or girlfriends. Tails There were many dozens of reverse designs - forming a sort of chronicle of imperial aims, values and achievements (for those who had the inclination, or indeed the literacy, to understand them). They include: history and myth, the emperor and his achievements, the army, the empire, the Roman deities, and many abstract concepts personified; even, the natural world. So here's our chance to get up close and personal with Roman rulers, their wives and girlfriends and the messages of some of the outstanding coins in the hoard. The broader context Llanvaches appears to represent saved money (rather than a sum taken from circulation at one time) - so does it relate to the compulsory and additional voluntary savings that a Roman soldier might make? Or to the savings based on a lifetime of commerce at the nearby town of Caerwent? Either way, military pay was hugely importance for the circulation of new coinage; eight hoards of the time of Antoninus Pius (AD 138-61) are known from Wales, of which Llanvaches is by far the biggest.
St Fagans Collections Manager - FIRST BLOG! Dylan Jones, 1 July 2011 My name is Dylan Jones and I am the Collections Manager at St Fagans:National History Museum. Apart from being responsible for the documentation at St Fagans I also look after the fishing and hunting collection which will be the main focus of my first blog. It will cover the work / preparation for the fishing weekend at St Fagans later on this month.Follow the blog as I finalise details for the weekend which will include Karl Chattington, Coracle maker from the Cynon Valley, lave netsmen of the Severn estuary demonstrating their unique fishing skills and Hywel Morgan giving a demonstration on fly fishing. For the first time around the Netshouse we will also be preparing and cooking fish. I hasten to add it will not be me cooking!Karl is no stranger to St Fagans and over the years he has been a popular attraction on site demonstrating his coracling skills on the ponds at Easter and in the summer months. Karl was part of the Welsh contingent that attended the Smithsonian Folklife Festival in Washington DC in 2009. It was at this particular festival Karl constructed a Tywi coracle within two weeks of the festival – no mean achievement considering the lack of tools / weather conditions. Karl’s exploits at the festival can be read in a later blog.I have already received some good news a few weeks ago with Martin Morgan, Secretary of the Blackrock Lave Net Fishermen Association confirming the presence of the fishermen at the festival. Good news indeed as the netsmen are very popular and informative. Beside showing the lave net Martin and his brother Richard will also bring with them fishing traps known as putchers and a putt which were once used on the Severn estuary until quite recently. Keep reading the blog to learn more about these hardy and unique fishermen. Follow me on Twitter @CollectionsSF
Pithead Baths Ceri Thompson, 30 June 2011 The pithead baths at Bit Pit: National Coal Museum All prevailing coal-dust Before pithead baths became widely available, most coal miners, already exhausted from a day's work had little choice but to travel home from work still filthy with coal dust. Their clothing was often soaking with sweat and mine water and they were at risk from contracting pneumonia, bronchitis or rheumatism. Once home they had the task of removing as much of the dirt as possible in a tin bath in front of the fire. The women of the house were usually responsible for the heating of water for the miner's bath and the cleaning and drying of his clothes. In addition it was a constant battle to clean the house from the all-prevailing coal dust. This was never ending and back breaking work and exhaustion and physical strain often led to serious health problems, leading in some cases to premature births and miscarriages. It took considerable lobbying by social reformers, working under the banner of the 'Pithead Baths Movement', to convince the Government, mine owners and even some of the miners and their wives, that pithead baths were needed. From the initial campaigns of the 1890s it was a long, hard struggle to the establishment in 1926 of a special fund for the building of baths under the auspices of the Miners' Welfare Committee. Social Reform Pithead baths had been in use in Belgium, France and Germany since the 1880s. In 1913, a delegation was sent by David Davies, the proprietor of the Ocean Coal Company and an advocate of social reform, to see these European baths. This visit led to the building of the first Welsh baths at Deep Navigation Colliery, Treharris, in 1916. The success of the Deep Navigation baths played a key part in the propaganda campaign by those who wished to see pithead baths at every Welsh colliery. In 1919 the British Government established a Royal Commission, (the 'Sankey Commission'), to investigate social and living conditions in the coalfields. As a result a 'Miners' Welfare Fund' was set up to '... improve the social well being, recreation, and condition of living of workers in or about coal mines.' This fund gained its income through a levy of a penny on every ton of coal mined. The fund was used for various purposes including the provision of playing fields, swimming pools, libraries, and institutes. From 1926, an additional levy was raised specifically to fund a baths building programme. Modern Architectural style During the period the Miners' Welfare Fund was in existence, from 1921 to 1952, over 400 pithead baths were built in Britain. The Miners' Welfare Committee's own architects' department established the most cost-effective way of constructing, equipping and operating baths buildings. By the 1930s, a 'house style' had developed, based on the 'International Modern Movement' of architectural design. Baths stood out amongst other colliery buildings with their flat roofs, clean lines and the plentiful use of glass to give a natural light and airy feel. Some baths, such as the one at Big Pit, were rendered white which, even today, makes it a prominent landmark on the hillside. The limited resources available to the Miners' Welfare Committee meant that many Welsh collieries were not provided with baths until the 1950s. After the nationalisation of the coal industry in 1947 the provision of pithead baths became the responsibility of the National Coal Board.
The Llandaf Diptych Mark Redknap, 25 June 2011 The diptych showing the resin replica of the Liverpool piece on display at National Museum Cardiff Laser scanning the left leaf in Liverpool. (c) National Museums Liverpool Married again: the two leaves of the Llandaf diptych. Left leaf (c) National Museums Liverpool Medieval diptychs and triptychs were two- and three-panel images intended to aid devotion and meditation of Christ's life and suffering. A right hand ivory diptych panel from Llandaf housed in the collections at Amgueddfa Cymru has recently been reunited with its left hand panel for the first time in over a century. Medieval ivories are known from secular sites in Wales, such as gaming pieces from castle sites and a small shield from Caerleon (Monmouthshire). A figurative ivory with devotional significance has been excavated from Dolforwyn Castle (Montgomeryshire), while a carved ivory diptych from Valle Crucis Abbey (Denbighshire) was reported in 1866. However, as in England, many objects of private devotion in Wales were destroyed in the sixteenth and seventeenth centuries; many diptychs in museums are now incomplete, the partner panels becoming separated in antiquity. Occasionally, missing elements are rediscovered and reunited. The Llandaf diptych For over 100 years, the right hand panel of an elephant ivory diptych from Landaff has been considered a rare survivor with a Welsh provenance. Made in Paris about 1340/60, it depicts Christ on the Cross, flanked by the Virgin Mary on the left and St John the Evangelist as a young man on the right, holding a book and turned away from the cross. The figures are positioned beneath an architectural canopy composed of three Gothic trefoiled arches, each surmounted by a triangular gable with crockets and finials. According to museum records, it was discovered by Mr Henry Bird of Cardiff during the demolition of 'the old well-house' at Llandaf in May 1836. After passing through several hands, it was purchased in 1901 by the Cardiff Museum (precursor of the National Museum of Wales) from the estate of John Storrie (curator 1878-93). Research has revealed that the decorative details, dimensions, condition and hinge positions of the Llandaf piece corresponded very closely to a left-hand ivory panel now in the collections of National Museums Liverpool. This left hand panel shows the Virgin and Child flanked by Saints Peter (bearing keys) and Paul (with sword), providing a neat visual counterpoint to the Crucifixion scene on the right panel. The architectural canopies on each leaf are the same, while the style of execution of the figures and size of the borders also correspond. When did the two become separated? The Liverpool panel was acquired in 1953 from the estate of Mr Philip Nelson, who purchased it from a dealer in Bath in 1934. The right hand leaf was bought by John Storrie from a shop of Mr L. Roberts. Could both have been found at Llandaf in 1836, to end up in different hands, or were they separated at an earlier date? Llandaf, whose focal point remains the cathedral rebuilt by Bishop Urban (1107–34) and his successors, abounded in wells. Two of the better known examples are St Teilo's holy well (Ffynnon Deilo), and the "Dairy Well" in the grounds of Llandaf Court, a house used as the Bishop's Palace from 1869 to 1940. The latter became, for a time, the resting place for a late tenth- or eleventh-century cross shaft and head, set into its end wall in 1870. The thirteenth-century fortified Bishop's Palace lies to the south-east of the cathedral: could this have been the location of the original diptych? Today the Llandaf diptych panel is displayed with a laser-cut resin copy of its partner, commissioned from National Museums Liverpool (Conservation Technologies). The latest technology was used to create an accurate replica of the Liverpool piece. A great advantage of this replication method is that it involves no contact with the original artefact surface and, therefore, no risk to the object whatsoever.
Hidden Splendour Sara Huws, 23 June 2011 Good morning. I can't stop long as there are many tasks to carry out this morning: light the incense, set up the processional cross, chalice and paten and get into 1520s costume. That itself is no mean feat, and I got up early to braid my hair medieval-style today, too. One of the Tudor Group showed me how when they were here over Easter, and she made it look really simple! I haven't quite got the hang of it, but it looks medieval enough. I hope to be up to speed for our Tudor Fashion event next month, so practice makes perfect. Meanwhile, I am preparing a film of last year's re-enactment for the gallery's 1500-1700 exhibition. Some of my favourite Tudor objects from our collection are on display, including both surviving Rood figures from pre-reformation Wales. The Cemmaes (Kemeys) Rood was found hidden in a wall in the 1850s. Not much is known about how it came to be there. What is certain is that it's a very, very rare artefact relating to Wales' religious past. Rood figure detail Conservator and all-round Renaissance lady Penny Hill has worked on the sculpture, and will be joining us on Saturday to tell us more about this mysterious object. An expert on pigments and the colour of the past, Penny will be looking at the sculpture's links to places and people beyond the small parish where it was found. Natural pigments used in the decoration of sculptures I hope you'll join us on Saturday, 2pm, in Oriel 1 at St Fagans. More information is available, Monday to Friday, on 029 20 57 3424
