Roman Fort Attacked By Moles, Archaeologists Benefit

by Sean McLachlan on

When you stroll through a museum, you generally assume that all those ancient artifacts you’re seeing were dug up by professional archaeologists or found by accident by some farmer plowing his field. Mostly you’d be correct, but researchers into England’s Roman past are getting some unexpected help. . .from moles.

Moles at the site of Epiacum, a Roman fort dating from the first to the fourth centuries AD, have been getting busy digging holes in the soil and turning up all sorts of archaeological goodies. The site is protected by English Heritage and nobody, not even the local farmers, is allowed to dig on it. The moles have apparently never heard of English Heritage and have been tossing out Roman pottery, jewelry, and even a bit of old plumbing.

Volunteers have been sifting through the moles’ backdirt, under the watchful eye of English Heritage, and the artifacts are being sent to a nearby museum.

Epiacum, known locally as Whitley Castle, lies twelve miles to the south of Hadrian’s Wall and protected some nearby lead and silver mines. Click here for more information about visiting the site.

Photo courtesy Wikimedia Commons.

Stonehenge Replicas Pop Up Everywhere!

by Sean McLachlan on


Is this Stonehenge? No, it’s Snowhenge! It’s a 1/3-scale replica built at the MacKay Jaycees Family Park in Grand Rapids, Michigan. While it certainly wasn’t as hard to build as the original megalithic stone circle in England, it still involved working 1000 cubic feet of packed snow to make a circle more than six feet tall and thirty feet in diameter. The builders did such an accurate job that they preserved the original monument’s astronomical alignments.

Stonehenge is endlessly fascinating and has inspired people all over the world to create replicas. The most realistic looking is Foamhenge at Natural Bridge, Virginia. The “stones” are made out of painted styrofoam that have been sculpted in the exact shapes of the real Stonehenge.

There’s also the Maryhill Stonehenge, a full-sized concrete recreation of what Stonehenge used to look like in its heyday rather than the ruins we have now. Located in Maryhill, Washington, it was built as a monument to the dead of World War I. In Rolla, Missouri, students at the Missouri University of Science and Technology used water jets to sculpt a Stonehenge out of some 160 tons of granite. It was named one of the year’s Ten Outstanding Engineering Achievements by the National Society of Professional Engineers in 1985. Then there’s Carhenge, near Alliance, Nebraska, which is made out of, well. . .you know.

%Gallery-153665%Americans aren’t the only people making new Stonehenges. Despite having the original, the British have built numerous replicas. Even as far back as the early 19th century, gentlemen with too much money and not enough to do were building Stonehenges on their country estates. Contemporary British Artist Jeremy Deller has put a modern twist on an old tradition with his inflatable bouncy Stonehenge in honor of the 2012 Olympics. And then there’s Stonehenge Aotearoa in New Zealand, which has similar astronomical alignments to Stonehenge (solstices, equinoxes, etc.) but aligned for the Southern hemisphere.

For all the latest on Stonehenge replicas, check out Clonehenge, a blog dedicated to them. They have info about Citrus-henge, Woolhenge, and my personal favorite: Spamhenge! If you make your own replica, send them a photo and they’ll post it online with a rating of one to ten druids. And yes, they know the druids didn’t build Stonehenge.

This isn’t just a quirky blog, but a serious research project. Well, maybe not serious, but pretty meticulous in any case. They’ve documented 72 large permanent Stonehenge replicas from all over the world in addition to the ones made with cake, jelly, glass and medicine bottles.

[Photo courtesy MichiganArchaeologist]

New Ancient Egypt And Nubia Galleries At Ashmolean Museum, Oxford

by Sean McLachlan on


The Ashmolean Museum in Oxford has always been famous for its collection of art from Ancient Egypt and Nubia (Sudan). It recently revamped these galleries as part of a major remodel.

While the new galleries reopened in November, I didn’t want to write it up until I got to see it for myself. The old galleries were dark, cramped and had endless cases crammed with artifacts. In other words, they were arranged in the old style. Museums are changing, though. The trend these days are to have brighter, more open and inviting spaces that reduce museum fatigue. Most of the Ashmolean got this treatment back in 2009, and after a big fund raising effort the famous Egyptian and Nubian galleries have also been revamped.

As you can see from the above picture, the gloomy old galleries have been opened up. Signage has been improved with lots of detailed information about each piece. The Ashmolean has become the poster child of new museum design, and its impressive collection certainly helps make it a world-class destination.

Personally I walked through the galleries with mixed feelings. Creating more space means displaying fewer artifacts. The crowded cases filled with dozens of figurines or amulets are gone, replaced by displays showing single pieces or at most half a dozen. As one of my friends complained, this slants the displays towards the best objects, while the more day-to-day objects familiar to the common people aren’t represented. She also pointed out that you lose the chance to compare typology, how the appearance of artifacts change over space and time.

On the other hand, the new galleries are definitely a more user-friendly experience. All the objects for which the galleries were famous are still there, like the phallic statue of the god Min, the Shrine of Taharqa and a Roman-era female mummy complete with golden tits. While obsessive archaeology buffs will be a bit disappointed with the new look, most visitors will find it a pleasant change.

All photos courtesy copyright Ashmolean Museum, University of Oxford.

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Met Showcases Predynastic Art Of Egypt

by Sean McLachlan on

The Metropolitan Museum of Art in New York City has one of the best collections of ancient Egyptian art in the world. Now it has opened a special exhibition focusing on the lesser-known art from the early days of Egypt before the pharaohs.

“The Dawn of Egyptian Art” brings together art from the Predynastic and Early Dynastic Periods (ca. 4000–2650 B.C.), a time when Egypt was developing into a society with towns, specialized labor and, eventually, a centralized government. This broad swath of time included several distinct local cultures that slowly became the ancient Egypt that we are familiar with.

The main culture was the Naqada culture. Villages each had their own animal deities, many of which survived as gods and goddesses of dynastic Egypt. The dead were buried with works of art such as jewelry and figurines of these deities. As agriculture became more important in the fertile Nile valley, villages grew into towns and art flourished. Local rulers became more powerful and expanded their territories until Egypt was two kingdoms: Upper and Lower Egypt.

The 175 objects from the Met’s collection, and those of a dozen other institutions, put Predynastic Art into its historical and cultural context as well as display them as objects of beauty. For example, this female figure, shown here in a photo courtesy the Brooklyn Museum, was made about 3500-3400 B.C. and is typical of the highly abstracted figures made throughout most of the Predynastic Period. It’s unclear what this figure symbolized, although many Egyptologists think these figures are goddesses, since similar figures painted onto pots are always larger than the male “priests” shown next to them.

Some art is easier to identify, like ships and hunting scenes painted onto pottery or on tomb walls. There are also statues of gods and goddesses, many of which can be identified as the major deities of the age of the pharaohs. A masterpiece of early Egyptian art is the Narmer Palette, seen in the gallery, which commemorates the unification of Upper and Lower Egypt in the 31st century B.C.

For more information, check out this excellent page on Predynastic Art and check out the gallery below.

“The Dawn of Egyptian Art” runs until August 5.

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Italy’s Famous Monuments Hit By Austerity Measures

by Sean McLachlan on

Hard economic times in Italy are threatening that country’s priceless cultural heritage.

The Times of Oman reports that billionaire Diego Della Valle said he’s thinking of withdrawing the 25 million euros ($33 million) he promised last year to restore the Colosseum, which has been crumbling due to lack of maintenance. An even more serious problem is Pompeii, which suffered a couple of spectacular collapses in 2010.

The Times reports that the government is increasingly looking to private investors to save the day, and is also promising to release 105 million euros ($138 million) from the European Union for a four-year maintenance plan for Pompeii.

Italy only spends 1.8 billion euros ($2.4 billion) annually on culture, just 0.21 percent of the gross domestic product and barely enough for basic maintenance. With tourism being a major portion of the Italian economy, it seems shortsighted not to preserve and restore the very sites that tourists come to see.

Not all news coming from Italy is bad. The government has finally cracked down on the fake Roman centurions and gladiators who prowl around the Colosseum, bullying tourists into taking pictures with them for exorbitant prices. The government says they are all ex-cons and are operating without a license. Some of the fake gladiators climbed onto the Colosseum to protest, showing that they care more about money than preserving their national heritage.

[Photo courtesy Adam Kahtava]