The collection within Colchester Castle contains one of the best presented collections of objects from Roman Britain. It is displayed in an imaginative and engaging way from the mosaics and (funerary) sculptures to the inscriptions and pottery.
In spite of this Colchester has, surprisingly, not featured as high in the list of museums for the RSA Heritage Index.
The Troy: Myth and Reality exhibition at the British Museum has just opened in Gallery 30. The beautifully designed exhibition takes the visitor from the Skaian Gate at Troy through to the installation of the Shield of Achilles.
The narrative of the Trojan War was supported by a range of objects, underpinned with figure-decorated pottery from the museum’s extensive collection. One of the first pieces on display is the Geometric ‘Nestor’s cup’ from Pithekoussai (‘I am the cup of Nestor, good to drink from’).
There is a section on the excavations at Troy, and another one on the documentary evidence. The final section is on the reception of Troy, and includes a poem written by a British officer at Gallipoli in his copy of The Shropshire Lad.
The exhibition contained two late 15th century Italian panels by Biagio d’Antonio (on loan from the Fitzwilliam Museum) showing the Death of Hector and the Wooden Horse entering the city.
Schliemann’s part in the uncovering of Troy was explored a space that displayed some of the finds from the excavations against a backdrop of the great trench.
What were the personal highlights in the exhibition? The Roman silver kantharoi from Hoby in Denmark were stunning pieces of luxury art. The representation of Priam seeking the return of Hektor’s body before Achilles on one of them was moving.
The real surprise was the Roman sarcophagus from Ephesus that now forms part of the collection at Woburn Abbey. This scene shows the weighing of Hektor’s body.
This is one of the best temporary exhibitions to be mounted in Room 30. The design and installation of the exhibition was inspired, especially the graphics explaining the iconography on Attic figure-decorated pottery.
The Awards Ceremony for Suffolk Museum of the Year 2019 was held at the University of Suffolk on Wednesday 30 October 2019. I was honoured to be one of the judges and we were all impressed by the variety and quality of museums across the county.
Suffolk Museum of the Year 2019: large category. The Red House, Aldeburgh
Suffolk Museum of the Year 2019: small category. Bawdsey Radar
Highly Commended: Felixstowe Museum
Innovation Award. Ipswich Museum
Family Friendly Award. Lowestoft Maritime Museum
Volunteers of the Year: Natural Science Volunteer Team at Ipswich Museum
Highly Commended: Elaine Nason from Laxfield Museum and Paul Durbidge from Lowestoft Museum
The sanctuary of Jupiter Dolichenus lies just inside the northern ramparts of the fort at Vindolanda. It was excavated in 2009.
One of the finds was a stone inscribed altar (now displayed in the museum). It bears a relief of Jupiter standing on the back of a bull. The inscription is dedicated to Jupiter Dol<o>chenus by Sulpicius Pudens, prefect of the Fourth Cohort Gallorum.
Sulpicius Pudens also appears on a second altar dedicated to Jupiter (but not Jupiter Dolichenus) that was found at Staward Pele in 1885 (RIB 1688). The earliest dedication to Jupiter was probably made by the prefect Quintus Petronius Urbicus dating to 213-235 (RIB 1686). Another prefect also made a dedication to Jupiter (RIB 1687). A fourth inscription, dedicated Naevius Hilarus, probably came from Vindolanda (RIB 2062). Some of these may have been dedicated in the praetorium building.
The Fourth Cohort Gallorum was stationed at Vindolanda from c. 213 to 367. The unit is identified in an inscription of c. 213 (RIB 1705). The unit is recorded in a building inscription of 223 (RIB 1706); it probably relates to the rebuilding of the south gate of the fort. The cohort is recorded on an inscription that dates to the reign of Probus, 276–282 (RIB 1710). Another prefect, Pituanius Secundus, erected an altar to the genius of the praetorium at Vindolanda (RIB 1685).
I will be exploring the relationship between Winifred Lamb’s work as an archaeologist in the Aegean, and her role as Honorary Keeper of Greek Antiquities at the Fitzwilliam Museum, Cambridge. In the museum there are recognisable strands to her curatorial work: the display (and publication) of the Greek figure-decorated pottery, supplemented by the Ricketts and Shannon loan (and later Shannon bequest); the formation of a prehistoric gallery; the development of a collection of Greek, Etruscan and Roman bronzes; and finally material from Anatolia. The Greek pottery interest was influenced by her work with (Sir) John Beazley in Room 40 during the final stages of World War 1.
In a second paper I will consider the process of writing Lamb’s biography: the archive sources including her correspondence, diaries, and photographs; her acquisitions for and gifts to the Fitzwilliam; and her publications. I will then turn to the writing of a life from an essay in Breaking Ground to the memoir in ODNB. What should be included or excluded? Where do the emphases lie?
C.A. Ralegh Radford and Gordon Donaldson prepared an official guidebook for Whithorn and Kirkmadrine in 1953. This covers the monastery and later priory at Whithorn; St Ninian’s Chapel at the Isle of Whithorn; St Ninian’s Cave at Glasserton; the museum at Whithorn that contains material from surrounding locations; and the Kirkmadrine stones displayed in the old church. There is a fold-out plan of the priory at Whithorn. The guide contains an extensive history of the region (pp. 3–27).
The present History Scotland guide is by Adrian Cox with Sally Gall and Peter Yeoman. The focus is on Whithorn but there are sections on St Ninian’s Chapel and Cave, as well as a double page spread on Kirkmadrine.
I have been reflecting on why Winifred Lamb deserved a biography.
First, she pursued two parallel careers (captured in the sub-title). She was an active field-archaeologist during the inter-war period at sites that included Mycenae and Sparta, and her own excavations on Lesbos, Chios, and later at Kusura in Turkey. At the same time she was the honorary keeper of Greek antiquities at the Fitzwilliam Museum over nearly a 40 year span.
Second, she was closely involved with the on-going work of the British School at Athens (and contributed to its Golden Jubilee celebrations in 1936). She was also involved with the establishment of the British Institute of Archaeology at Ankara after the Second World War.
Third, she worked alongside some key figures in the discipline of archaeology. Among the names was Sir John Beazley with whom she worked in Naval Intelligence (Room 40) during the First World War. Sir Leonard Woolley introduced her to the Turkish language section of the BBC during the Second World War.
Fourth, she was one of a small group of women who worked at the British School at Athens immediately after the First World War. She was also one of the first women to excavate in Turkey in the 1930s.