This is the first comprehensive publication of the Knaresborough 1864 hoard of copper-alloy vessels and tools. A consideration of the circumstances of the hoard’s discovery, along with a biographical account of Thomas Gott (the man who deposited the hoard in the Yorkshire Museum), for the first time enables a case to be made for a findspot. A consideration of the vessels and other objects establishes the hoard as one of the most unusual assemblages of its kind from late Roman Britain. pXRF analysis of the vessels sheds light on their composition. Finally, a discussion of the hoard places it within the international context of late Roman deposition practices.

The cemetery at Sutton Hoo in East Suffolk includes tumuli dating to the sixth–seventh centuries ad. The largest contained an intact ship-burial. The man commemorated is not identifiable, but is often presumed to be Rædwald, rex Anglorum c ad599–624/5. Excavation was curtailed by the outbreak of war in 1939. Despite subsequent re-excavation and lengthy research, questions remain.

Information dispersed in the definitive publication is correlated and developed. Digital 3D imaging of the ship’s iron fastenings are used here to extrapolate curved lines of missing rivets and superimpose them on the burial chamber plan. A digital roof reconstruction is also presented.

Mechanisms of collapse of the objects are deduced from their positioning and damage, revealing space for access to the chamber. A cross-section depicts the calculated height of the deck and known tilt of the ship. Residues of phosphate, Middle Eastern bitumen, tar and tape cumulatively suggest embalming practices. A temporary coffin and a bed on which possessions were placed are proposed.

The most valuable object relinquished is deduced to be the ship. Fragments of a possible anchor are identified. The suggested identification of the iron stand as a raised light would allow supporting ships to follow.

One of the finest examples of secular Hiberno-Urnes art from England and Wales was discovered by a diver on the offshore reef known as The Smalls (Welsh Gwales), Pembrokeshire, in the Irish Sea. The guard was probably made in Ireland about ad 1100–25 in a distinctive Hiberno-Scandinavian decorative style and technique with niello and silver inlays, and it illustrates the skills of a master craftsman or saer working for secular and ecclesiastical patrons. The findspot is now designated as historic wreck site under the Protection of Wrecks Act 1976 (no. 38).

In ad 872–3 a large Viking Army overwintered at Torksey, on the River Trent in Lincolnshire. We have previously published the archaeological evidence for its camp, but in this paper we explore what happened after the Army moved on. We integrate the findings of previous excavations with the outcomes of our fieldwork, including magnetometer and metal-detector surveys, fieldwalking and targeted excavation of a kiln and cemetery enclosure ditch. We provide new evidence for the growth of the important Anglo-Saxon town at Torksey and the development of its pottery industry, and report on the discovery of the first glazed Torksey ware, in an area which has a higher density of Late Saxon kilns than anywhere else in England. Our study of the pottery industry indicates its continental antecedents, while stable isotope analysis of human remains from the associated cemetery indicates that it included non-locals, and we demonstrate artefactual links between the nascent town and the Vikings in the winter camp. We conclude that the Viking Great Army was a catalyst for urban and industrial development in Torksey and suggest the need to reconsider our models for Late Saxon urbanism.

This essay considers a mode of thought and a tradition of composition inculcated by four Latin writers, the translator of Anatolius of Laodicea’s De ratione paschali (post ad 283, ante ad 402), Evagrius of Antioch’s translation of Athanasius’s Life of Saint Antony (c ad 360–74), Jerome’s Biblia Vulgata (ad 382) and Sulpicius Severus’s Vita Sancti Martini (ad 397), based upon the Life of Antony, and his latercus (ad 410), based upon the work of Anatolius, all texts known in these islands during the period from ad 410–25 to the seventh century. A simple calculus of literary composition in the anonymous Lindisfarne Life of Saint Cuthbert, dedicated to Eadfrith bishop of Lindisfarne in ad 698, is exhibited in the iconographic elements of the Evangelists’ portraits in the Lindisfarne Gospels, written and illuminated by Eadfrith. The same calculus is displayed both in the iconographic designs and in the inscriptions in Northumbrian Old English and Latin on the Franks Casket of c ad 700 and on the Ruthwell Cross of c ad 730–5.

The Augustinian friary in Cambridge, England, was founded in the 1280s and dissolved in 1538. Investigations in 1908–9 and 2016–19 have revealed much of the friary cloister, with evidence for an initial late thirteenth–mid-fourteenth-century phase, a major phase of construction in the mid–late fourteenth century and some fifteenth-century construction. This paper will primarily consider what can be reconstructed of the claustral buildings, complemented by what is known of the rest of the friary site. The friary will also be contextualised in terms of mendicant beliefs and anti-fraternal criticisms.

In 1913 a set of leg shackles was recovered among skeletal remains during excavations at the east end of the ruinous cathedral of Old Sarum, Wiltshire. A recent examination of the excavation’s photographic record indicates that two further similar examples were recovered at the same time. Since the early twentieth century a body of scholarship has refined our understanding of the arrangement of the east end of the cathedral, and a closer examination of the archive in the light of this work allows for both skeletal remains and shackles to be confidently located in an archaeological context related to the tomb of Bishop Roger. This paper explores the value this evidence has for our understanding of the so-called ‘Arrest of the Bishops’, an event of notable constitutional significance in the tumultuous reign of King Stephen. It goes on to examine the shock with which the event was recalled by contemporary writers to reflect on the power of shaming and incarceration as a device of extortion, political manipulation and the infliction of social death. The integral nature of iron bonds in these strategies lends them a socio-symbolic role and the reception of their use in this well-recorded episode may facilitate the interpretation of such items from early and high medieval contexts when, frequently, primary provenance is lacking.

This article explores the history of St Catherine’s chapel at the abbey of Savigny, head of Normandy’s only monastic congregation. Built in the twelfth century, the chapel was, at the time of its demolition in 1705, the oldest remaining part of the medieval monastic complex. It therefore appears fairly regularly in the written record and has attracted not an insignificant amount of attention as a result. That said, the near total destruction after 1789 of Savigny’s buildings, and the often contradictory nature of those written sources by which antiquarians and academics have attempted, in the absence of sustained archaeological work, to reconstruct their medieval layout, mean that a great deal remains uncertain. St Catherine’s is no exception to this rule. Its precise location and design have to date been matters of conjecture, while a great deal of what has been written about it is either inaccurate or inconsistent (or both). This article brings together for the first time all the available references to (and scholarly discussions of) the building. It combines the findings of recent archaeological work with a reassessment of the written sources to argue that the chapel’s location within Savigny’s monastic precinct was almost unique in the Cistercian world, with its closest parallels being found instead in the Cluniac one. These circumstances were born more of accident than design, but they nevertheless presented challenges for Savigny’s medieval community, the consequences of which help shed light on wider issues relating to the use and reuse of Cistercian monastic spaces.

This article examines a group of five surviving twelfth- and thirteenth-century wax seal impressions from the British Isles that depict a scene of an armed knight in combat with a lion. This seal motif has tenuously been linked with crusading in the past, and so this paper seeks to address the connections between the sigillants and crusade, as well as the significance of commemoration of crusade culture on medieval seals. It highlights numerous links between this specific design and crusading experiences, literature and allegory. This paper focuses on an aspect of the medieval memory of crusade and the means of displaying chivalric, crusading identities within literate culture (on charters and letters) and in personal adornment.

This paper examines Master Lucas, a bell founder based in Venice who was active between the thirteenth and the fourteenth centuries. Through the examination of sixteen bells, some of which are no longer extant, the career of one of the earliest known Venetian bell founders can be traced. A catalogue of the bells describes their measurements, inscriptions and decorations. The distribution of his products to locations in Montenegro and central Italy demonstrate the importance of Venice as a bell casting centre in the Middle Ages. Written documents are cited to provide further information about Lucas’s life and some of the bells that he cast. Collation of this evidence sheds important light on the practices of bell casting in Venice around ad 1300.

2020 saw the celebration of significant anniversaries connected with several medieval English saints, led most notably by the triple anniversary of the birth (1120), death (1170) and translation (1220) of St Thomas Becket, archbishop of Canterbury (1162–70, canonised 1173). This offered scholars an occasion to review and revisit important aspects of the documentary sources and material culture relating to the saints’ cults in England and across Europe. The celebrations of St Thomas Becket also coincided with the 700th anniversary of the canonisation of St Thomas de Cantilupe, bishop of Hereford (1275–82, canonised 1320). Renewed scholarly interest in Cantilupe’s posthumous cult has particularly offered insights into daily life and devotion in late thirteenth- and early fourteenth-century England and Wales. Likewise, it has recently been demonstrated that, in the wake of the Cantilupe cult at Hereford Cathedral, a period of intense church building occurred throughout the diocese. This paper is the first to assemble and publish a comprehensive catalogue of all known lost and surviving iconographical images of Cantilupe from the Middle Ages. More significantly, keeping the 2020 celebrations of both the Becket and Cantilupe cults in mind, this paper is the first to bring attention to all the examples of medieval iconography that associate England’s two Thomases, demonstrating how Becket was utilised as a model of sanctity par excellence with Cantilupe presented as a ‘second Becket’.

This paper discusses a rare Late Ming blue and white porcelain bowl with five cartouches depicting scenes of sexual intercourse, which was found during archaeological excavations in the Santana convent, a former Franciscan nunnery located in Lisbon founded in 1562. The paper begins with a description of the bowl, the context of its recovery and its significance, highlighting its extreme rarity among Chinese export porcelains. The second section discusses Chinese sexuality and the production of erotica during the Late Ming period, namely porcelains with erotic and sexual imagery, a subject that has been overlooked by mainstream scholarship. The last section proposes an explanation for the presence of this bowl in the Santana nunnery, emphasising the gap between the ideals of Iberian Catholic monastic life and the worldly practices conducted by the members of these religious orders in the Baroque era.

This paper explores the work of Harriet Gunn (1806–69) who began making drawings of rood screens c 1830. With the help of her sisters Hannah and Mary Anne, Harriet produced approximately 250 drawings, a remarkable number considering that rood screens received very little attention at this period. This substantial body of work merits analysis not least because it constitutes the first serious attempt to visually document Norfolk’s painted rood screens and provides an opportunity to shed light on an overlooked episode of female antiquarian activity. Drawing on previously unpublished letters, this paper confirms the active role Harriet and her sisters played in recording, discovering and enhancing the understanding of English medieval painting in the mid-nineteenth century. It also considers the influence of Harriet’s father, Dawson Turner FSA (1775–1858), in encouraging a new appreciation of the art historical value of painted rood screens. Turner’s objectives are situated within the wider cultural context of emerging tastes for early Italian art and new developments in art historiography seen in the 1820s and 1830s. Harriet’s sophisticated understanding of rood screens is therefore interpreted as a response to the intellectual milieu in which she was immersed. The paper concludes by exploring how her work, and the knowledge it promoted, was disseminated through the cultural machinery of archaeological societies in the mid-1840s through printed publications, exhibition and display.

George Finlay was a British gentlemen and philhellene, resident in Greece in the mid-nineteenth century. His journals, letters, library and antiquities now reside at the British School at Athens, collections that provide a wealth of information both about Finlay himself and about the world of his contemporaries. This paper looks at two episodes from Finlay’s life as preserved in his archive, documenting two overseas travels: the first is a tour around Egypt, Jerusalem and the Near East in 1845 and 1846, and the second is a series of repeat visits to Switzerland beginning in 1859 and continuing in the late 1860s. By looking at Finlay’s itineraries and at the activities he undertook in Egypt and Switzerland, and by analysing what and how Finlay chose to document in his notebooks, the aim of this paper is to understand more about Finlay’s motivations for travel and his intellectual formation. While Finlay’s time in the Near East was likely spurred by the recent publication of handbooks and by a developing fashion for (biblical) tourism, his time in Switzerland coincided with the flurry of excitement from recent excavations of the Swiss lake villages, allowing Finlay to re-engage an interest in prehistory that he had long since developed. In each case, Finlay’s social connections and his networks played a large part in directing his programme.

In 1936 the author, politician and garden designer Harold Nicolson bought four, round antique altars and a Corinthian capital from the sale of Shanganagh Castle, Co Wicklow. Nicolson and his wife, Vita Sackville-West, placed these marbles in a garden compartment at Sissinghurst that was intended to evoke the landscape and antiquities of the Cycladic island of Delos. These are among the most important antiquities in the collections of the National Trust, yet their provenance and significance has been obscured by their presumed status as ‘mere’ ornaments to the celebrated gardens at Sissinghurst Castle. This paper traces the provenance of this group of antiquities back to Delos and their discovery by a hero of the Greek War of Independence. Historic context for Vita and Harold’s use of the altars as adornments to their garden will be examined in the context of earlier use of similar Delian altars in earlier garden design – the seventeenth-century ‘garden museum’ at Arundel House, Strand, London, or the eighteenth-century gardens at Wrest Park. Finally, entry of the Sissinghurst altars into British collections will be examined through a political lens and through Nicolson’s philhellenism.

Most recent archaeological studies of prisoners of war have concentrated on resistance to confinement and identity creation within the camps. In contrast, the findings at Les Blanches Banques, Jersey, occupied by German military prisoners during the First World War, are here viewed through the lens of the varied placemaking strategies applied by both prisoners and camp staff. The prisoners created places of meaning within the regimented and confined conditions of their internment, but the guards were also limited by their duties in their assignment to this remote location, though all also saw the camp within its wider island landscape setting. This is the first study to consider placemaking at a prisoner of war camp at nested scales and from different perspectives.