Monday 21 April 2014

When was Offa's Dyke built?

It's one of the great monuments of early medieval Britain, and one of the most mysterious.

Image from www.cpat.org.uk
Offa's Dyke is a linear earthwork (bank and ditch) that runs roughly along the English-Welsh border. It isn't continuous, but the surviving stretches (shown on the map to the left) add up to 129 kilometres.

These stretches are part of a 283 kilometre-long National Trail between Sedbury and Prestatyn that I walked in 2010 (and can recommend!).

It's named for King Offa of Mercia (757-796) basically because a hundred years after he lived a Welsh monk called Asser attributed the building of the dyke to him. No source from Offa's lifetime actually mentions the dyke.

Archaeologists love a good argument. There are debates not only about when Offa's Dyke was built and why, but about whether it even ran 'from sea to sea', as Asser claims. Probably it didn't. If it did, a lot of it must have been destroyed.

But very recently the Clwyd-Powys Archaeological Trust has uncovered evidence that the dyke was built much earlier than Offa - perhaps 200 years earlier. This is based on radiocarbon results from a northern section of the dyke near Chirk in Wrexham (Wales), which give a date range of 430-642. A best guess would therefore place the building of dyke at Chirk in the later sixth century - a period about as dark as the Dark Ages get.

A hiker on a section of surviving bank. The kingdom of Mercia lay on the left side, Powys on the right.

Isolated C-14 dates should always be taken with a fistful of salt, but if they turn out to be reliable this really upsets the apple cart. Could the dyke really be this much earlier? If so, who built it, and why did Asser give Offa the credit? Maybe parts of the dyke were built long before other parts, and no single king was responsible. Could it be that Offa only refurbished and extended an older earthwork?

Most likely, this is just one new piece in a highly complicated and mysterious puzzle...

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Saturday 12 April 2014

Jesus Christ, magician and emperor

It’s easy to forget that we have no idea what Jesus Christ actually looked like.

The earliest accounts of his life were written a generation or more after his death, and none of the Gospel writers ever knew him. His face was essentially a blank.

In the early centuries, when Christianity was a small, occasionally persecuted cult, its adherents didn’t even try to depict Christ visually. The earliest portraits only date from the third century, and explode in number from the fourth century, when Christianity became an official religion of the Roman empire.

What does Jesus look like in these early portraits? Nothing like our modern image, that’s for sure. He normally appears youthful and beardless, a kind of idealised, Apollo-esque hero. And for good measure he sometimes carries a magic wand. Less Christ Pantocrator, and more Harry Potter (except without glasses).

Roman hero 

Take a look at this late fourth-century ivory panel from Rome. It depicts the two Maries discovering Christ outside his open tomb after the Resurrection. No wand in this image – but if you look closely at Christ in the lower left, you can see he’s clutching a scroll in his left hand. A Roman looking at this image would instantly understand the scroll as a standard symbol of literacy and education. (Statues of Roman emperors and aristocrats often show them holding scrolls.)

Likewise the two-finger gesture comes from Roman oratorical tradition, and was adopted into Christian art as a symbol of blessing.

In fact almost everything about this ivory panel makes Christ look right at home in fourth-century Rome. The upper frame shows his tomb as a grand circular mausoleum, not unlike those of Augustus, Hadrian and Constantine’s daughter Constantina. The dozing soldiers are wearing the tunics and distinctive box-hats (pillei) of the late Roman military. On the lower frame the doors of the tomb are carved with images from the Gospels, just like the famous fifth-century doors of Santa Sabina.

The only obvious Christian symbols are the winged ox and man at the top of the upper panel, representing the Gospels of Luke and Matthew. Otherwise this particular Christ is sitting quite happily in the late Roman world, a long way from first-century Palestine. He looks almost as content as he does in this fourth-century villa mosaic from Hinton St Mary (Dorset).


Magician

A magic wand is a curious addition to early iconography of Jesus. In depictions of the wedding feast of Cana, for example, Christ is shown touching the jars of water with his wand to turn them into wine. This ‘Christ the Magician’ appears especially on sarcophagi and catacomb paintings, but is also carved on the doors of Saint Sabina and on the ivory Andrews Dipytch (click on links for images).

Of course, none of the Gospels describe Jesus wandering about with a magic wand. Fourth- and fifth-century Romans, though, clearly thought he needed one. They effectively turned him into the sort of magician they associated with eastern mystery religions.

Emperor

After his stints as Apollo and Harry Potter, Jesus settled down as Emperor of the Universe.


Christ probably looks more familiar to modern eyes in this mosaic from the apse of Santa Pudenziana. It dates from between 401 and 417, a period which saw savage suppression of paganism and the final triumph of Christianity as the sole Roman state religion. The Church now identified itself powerfully with the Roman state; as a result, religious images were swamped with imperial symbolism.

In the mosaic, Christ is no longer a youthful magician, but an emperor: bearded, stern and distant, wrapped in folds of golden cloth, sitting on a jewel-encrusted throne.

He holds a book displaying the words ‘Lord Protector of the Church of Pudentia’. Behind him are depicted drapes of Tyrian purple and gold thread, as one would see in the audience hall of a Roman emperor.

The imperial iconography continues around him. The Apostles are seated to either side in the tunics and togas of Roman noblemen, looking for all the world like the members of a heavenly Senate.

Saint Peter and Saint Paul, meanwhile, are being crowned by female religious figures inspired by the traditional goddess of Victory depicted on Roman coins. Even the architecture, intended to represent the Heavenly City, looks suspiciously like Rome, with its marble arcades and gilded roof tiles.

We’ve become so used to this ‘Romanised’ way of depicting Christ, it seems natural. Take the portrait on the left, which is pretty typical of how Christ is portrayed for a modern audience (image from jesuschristsaviour.net).

Even if the imperial pomp has been put to one side and Jesus has been given a more compassionate, ‘human’ face, he’s still wearing the toga, and he still has that two-finger gesture of benediction. The essential elements put in place during the fourth and fifth centuries have clearly stuck. Sadly the wand never caught on.

I think Jesus has been wrapped in that toga for so many centuries, it would be hard to depict him wearing anything else. But his hand gestures? No reason we can't update them...


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  • Image of ivory panel from John Beckwith, Early Christian and Byzantine Art (1979), fig. 36

Monday 7 April 2014

The mystery of Ostia

Located at the mouth of the Tiber, Ostia is one of the greatest Roman treasures.

Perhaps it isn’t as well known as Pompeii, but Ostia has a few advantages. First, it’s easy to reach from Rome itself, just a half-hour train ride. It’s also roughly the same size as Pompeii, but with far, far fewer visitors – and the coach parties that do arrive tend to stay only a couple of hours to take in the major sights.

Map in the Museum of the Ostian Way, showing Ostia (lower left) and Portus in relation to Rome

Access off the beaten track is less restricted than in Pompeii, so it’s easy to wander into the ruins and not see another soul for an hour or more. Finally, while we know exactly how Pompeii met its end, Ostia’s story is much more mysterious.

Decline and fall

This is a melodramatic way of saying that archaeologists still don’t really know when Ostia was abandoned, or why. The traditional story is that the city lost its defining function as a port, partly because Emperor Claudius (41-54 AD) constructed a massive artificial harbour at Portus to the north, partly because the Tiber itself shifted course and left Ostia’s wharves facing nothing but mudflats and sandbanks.

Apartment of the Aurighi
Through the fourth century, the city’s docks and massive warehouses were abandoned, the working classes moved out, and their apartment blocks were replaced with fancy town houses belonging to the well-to-do of Rome. For a brief period Ostia became a kind of luxury seaside resort.

Yet by the end of the fourth century, so the story goes, the city was in deep decline. ‘Its one remaining glory,’ wrote the poet Rutilius Namatianus in 416, ‘is to have welcomed Aeneas.’

He was alluding to the myth that the founder of the Roman race, having sailed across the sea from Carthage, first made landfall at the future site of Ostia; but in Rutilius’s day, the left branch of the Tiber was ‘inaccessible’.

As the political situation worsened over the following decades – Rome and Ostia were both captured by the Goths in 410, and by the Vandals in 455 – even the posh set moved out, and the few remaining citizens moved to a new settlement a little way upriver. The one-time commercial jewel of the empire, what had been a city of 50,000 people, was left to weeds, stone robbers, and ruination.

New questions, new answers

But is the whole story? In a recent study, Douglas Boin of Georgetown University argues that Late Antique evidence from Ostia has long been neglected by archaeologists. The first large-scale modern excavations took place under Mussolini in the 1930s; obsessed with the glories of the High Empire, these ideologically-driven investigators tended to pay scant attention to activity later than the second century AD. The circular logic developed that the city quickly collapsed after this period, and so any late evidence could be dismissed as unimportant.

Ostia in its heyday - model in the Museum of the Ostian Way

This imbalance continues with the modern presentation of the site. I bought an official guidebook which speaks of a ‘grave and irreversible crisis’ by the middle of the fourth century, and claims that ‘beginning in the V century A.D. the real and definitive decline of the city was evident in all its desolation, as recalled by the poet Rutilius Namazianus [sic]’. (In fact Rutilius only mentions that the river had silted up, and says nothing about Ostia itself.)



According to Boin, the picture emerging from modern excavations is much more interesting and complex than this. Proper attention paid to Late Antique evidence is showing that an awful lot was happening in the city through the fourth and well into the fifth century.

Continued life

The city Forum, for instance, was still the busy, bustling heart of the city. Members of the élite were installing new monuments and refurbishing older buildings right through the fourth century. There was fresh commercial investment, with the building of a new market space in the latest architectural style. In the fifth century shops around the Forum were still being repaved, and judging from recent pottery analysis more than half of the town’s imported wine was coming from the eastern Mediterranean.

The Capitolium, a massive temple to Jupiter, Juno and Minerva, still stood proudly over the ancient civic space, its facade of mixed marble – purple-veined pavonazzetto, honey-coloured Tunisian giallo antico, the wavy green ribs of Karystian cipollino – still gleaming in the sun.

The Capitolium as it survives today

Religious communities, too, were investing in ambitious new projects. Ostia’s seafront synagogue was heavily refurbished in the fourth century, and in 1996 a team of German archaeologists discovered evidence of the earliest Christian basilica in the city, which was given a baptistry in the fifth century (and actually remained in use until about 800 A.D.).

Corridor in the Apartment of the Aurighi
Even as more and more Ostians left behind the traditional Roman cults for Christianity, there is no sense that they wanted a break with the past. On the contrary, in the fifth century it seems that the old sanctuary complex of Magna Mater (‘Great Mother’) was turned into a collecting space for statues and inscriptions – a kind of museum, or ‘a treasure chest of the town’s cultural heritage’, as Boin puts it. In the middle of the fifth century the citizens of Ostia were still holding their annual games in honour of Castor and Pollux.

A whimpering end

Gradually, over two hundred years, the rhythms of the traditional religious calendar were replaced with the cycle of Christian holy days, but the people of Ostia were no less Roman for it. The latest archaeological evidence for building work in the city dates from the sixth century.

At this point the city was in true decline, but this hardly marks it out from countless other Italian cities (including Rome itself) during the troubled decades of the Gothic Wars. Perhaps Ostia suffered more than most because of its strategic importance; it was used as a military depot and camp by the Byzantines. I also wonder if the bubonic plague of the sixth century also played its part – as an entry point into Italy, Ostia would have been on the front line when the deadly infection arrived.



In any case, by the ninth century it had been truly abandoned and replaced by a new, far smaller settlement just half a kilometre to the east. The rationale for this move was defensive, to provide security against worsening Saracen raids on the Italian coast.

By the twelfth century, the old city of Ostia was known as calcaria – the place of the lime kilns. Its sole function was now as a handy source for cheap building material. ‘Life at Ostia ended not with a Vesuvian bang,’ writes Boin, ‘but with a whimper.’

So, is the mystery of Ostia’s end finally answered? I doubt it; there are still so many gaps in the story, as Boin acknowledges. Much of the city has yet to be excavated (barely half of it is even visible), and there must be many more secrets waiting to be revealed by archaeologists. Only one thing is certain: the story of Ostia is not yet over.

  • Douglas Boin, Ostia in Late Antiquity (Cambridge, 2013)
  • Angelo Pellegrino, Ostia: Guide to the Archaeological Excavations (Rome, 2013)
  • www.ostia-antica.org - an excellent online resource on Ostia and Portus

Saturday 5 April 2014

Back in Rome

Has it really been twelve years since the last (and first) time I was in Rome?

Well, to be accurate it’s been twelve and a half years. My first day in Rome turned out to be a day to remember, wherever you happened to be – September 11, 2001. I was a naïve 21-year-old backpacker who had just interrailed his way through Paris, Marseilles, Nice, and Pisa, and had arrived in Rome without thinking to book accommodation in advance.

The city’s youth hostels were fully booked, and I didn’t have the cash for a hotel room, so my 9/11 was spent frantically heading from one tourist office to the next, studying my hopelessly inadequate Rough Guide map to work out where places were, darting between public phones (no mobile in those days), and fumbling with loose change to call pensiones that inevitably turned out to be fully booked as well.

Every time I entered a tourist office, all I saw on the TV was the image of the Twin Towers. Tourists were staring at the screen in that strange suspension of horror and belief we all felt that day. As evening drew on and the tourist offices closed, I had the added fear that I might end up sleeping that night on a bench in Termini Station.

Eventually, through sheer luck, I ended up staying in the spare room of an old Italian lady who spent the whole evening in front of her TV, watching the news coverage from New York. She spoke no English, and I spoke no Italian, not that it mattered. ‘Mammia mia,’ she muttered, over and over again, shaking her head.

Thankfully my second arrival in Rome has been less eventful, and this time I’ve even got a place to stay for a week. I’ve also come properly equipped for some hard-core Roman sightseeing.

  • Filippo Coarelli, Rome and Environs: An Archaeological Guide (2007)
  • Amanda Claridge, Rome: An Oxford Archaeological Guide, 2nd edn (2010)
  • John Beckwith, Early Christian and Byzantine Art, 2nd edn (1979)

Together, these books offer an unbeatable guide to Classical and Late Antique Rome. They point the reader towards some lesser-known sites, as well as revealing the more arcane secrets of the necessary tourist traps of the Colisseum, Forum, and so on.

Needless to say, there’ll be some intense (and overdue!) posting on this blog over the coming days, as I explore ancient Rome to a depth I’ve been dreaming of for years... please subscribe to the mailing list above, to make sure you don't miss a post!