Beyond the borders of Egypt, the British Museum has the largest collection of granodiorite statues and fragments of statues of the goddess Sekhmet produced in the reign of Amenhotep iii (c 1390–1352 bc; eighteenth dynasty). With so much new material being uncovered in recent years at the site of Amenhotep iii’s funerary temple at Kom el-Hettan in Luxor (Egypt), a reassessment of the British Museum statues was inevitable. The British Museum statues are an ideal sample group for study, offering variations in type, proportions, stone colouration, decoration and state of finish. The group also includes a formerly uncatalogued head fragment with an unusual uraei crown, which relates to surviving examples found at the Mut Temple at Karnak and at Kom el-Hettan in Luxor.

Iron Age studies in Britain operate in a world populated by roundhouses. Post-ring evidence is generally interpreted in domestic contexts. However, research on later prehistoric roundhouses in north-east Scotland has identified a small yet significant number of round structures in unusual locations, with unusual architectural details and a distinct lack of domestic material. Some of these relate to Chalcolithic and Early Bronze Age stone circles, for which Richard Bradley’s work in the wider region has highlighted progressive biographies of construction and reuse. This paper, rooted in architectural design theory, selects a particular case study – the multiple timber post-rings at Candle Stane (in Aberdeenshire) – to highlight the complexities in interpreting these fascinating and enigmatic buildings. The architectural approach develops alternative reconstructions that lead to new perspectives on later prehistoric architecture as event-based and concerned with process. These processes only gradually lead to an architectural end-product, which displays distinctly non-domestic connotations. The research not only highlights the usefulness of data derived from rescue work for academic study, but the advocated approach of reconstructing in alternatives also lends itself to developing innovative approaches in Higher Education to teach visual competence.

Discovered in 1857, the site of La Tène, in Switzerland, played an important role in the rapid development of European prehistory in the mid-nineteenth century including the adoption of the three-age system in which it was named as the type site for the later Iron Age. The finds from it are now scattered across museums in Europe and America, and those in London are published here as part of a project to locate and publish all the finds from the site. The discovery of the site and the dispersal of its finds are discussed in the context of contemporary understandings of the past and collecting practices. Usually seen as votive offerings placed in a river, the finds have been re-interpreted recently as the remains of a trophy that displayed the bodies and equipment of an army defeated in c 220–200 bc.

This paper explores the cross-cultural portrayals of an unusual and striking musical instrument, the carnyx, on the coinages of the Romans and the inhabitants of Iron Age Britain and Gaul. Fashioned as a snarling boar, the carnyx was a war horn used by the Gauls and Britons that not only captivated the minds of their artists, but also those of the Romans. This paper studies the cross-cultural phenomenon of its appearance in the coin iconography of the late second to late first centuries bc. This simultaneous analysis of Roman, Gallic and British coinage reveals that while each culture had a shared belief in the carnyx’s military role, each culture also had its own interpretation of the object’s significance. To the Romans, it was a symbol of the barbarian, to be cherished as a war trophy after a Roman victory, but to those northern Europeans, it was a sign of pride and spiritual significance. An image’s meaning is, therefore, seen to transform as it crosses into a new cultural context.

St Wystan’s at Repton is one of the most important churches of the Anglo-Saxon period because of its royal connections, the extent and character of its surviving Anglo-Saxon fabric and the historical puzzles it presents. Our understanding of the building has been transformed by the investigations undertaken by Harold Taylor, Martin Biddle and Birthe Kjølbye-Biddle. The paper begins with a brief summary of the evidence discovered and the conclusions reached by the three scholars, and then analyses what in those conclusions can be debated concerning the function and date of the columns and vaults inserted into the crypt.

A decorative scheme applied to the internal gable wall at the ‘high’ end of the hall of Oakham Castle, in Rutland, has been the subject of recent investigation, with the removal of later over-painting. Analysis indicates that the scheme is original Romanesque work dating from the 1180s, an exceptional survival for a secular building. Very unusually, the decoration was produced with self-coloured plaster rather than paint. The scheme, of which quite extensive sections survive, consisted of a large semi-circular arch with voussoirs (similar to the hall’s main stone arcade), and a lattice pattern simulating opus reticulatum in the tympanum below. The pattern was created by laying white lime strips over a buff-coloured plaster background. The only comparable example yet identified – at Chepstow Castle, in Monmouthshire – is on a smaller scale and a century earlier. The scheme seems to have survived because the interior of the hall has been little disturbed, with a tradition since the fifteenth century of displaying outsized horseshoes on the walls.

In an earlier paper that looked at the dating of Edward the Confessor’s shrine at Westminster Abbey and which was published in volume 97 of The Antiquaries Journal, the authors suggested that a scribal error in the recording of the original inscription by the fifteenth-century monk Richard Sporley may have led to the incorrect date of 1279 being given for the construction (or, at least, completion) of the shrine. As a result of the debate aroused by that earlier paper, the authors have now reconsidered and slightly amended their original argument.

This paper draws attention to an unrecognised group of six pin-hinged, clamped, early medieval chests with gothic arcading in East Kent, England. It provides dendrochronological dates for four of the chests and systematic evidence concerning their construction, decoration and ironwork, including the specific type of lock originally fitted. Comparisons are made with pin-hinged, clamped chests made in some other counties and abroad at roughly the same time. The carved façades contrast with the plain façades of the thirteenth-century chests in Westminster Abbey. The group has the earliest dendro-dated examples thus far of gothic arcading on English clamped chests as well as other distinctive features, suggesting that the chests are the product of a workshop that developed with a degree of independence from other workshops. Their likely origin in Canterbury and a hypothesis about their use are discussed, and topics are identified for future research. This paper aims to provide a solid one-county base for the comparative study of pin-hinged, clamped chests elsewhere in England.

This paper focuses on the material study (radiocarbon dating, wood identification and strontium isotope analyses) of four large ‘India occidentali’ clubs, part of the founding collections of the Ashmolean Museum, in Oxford, and originally part of John Tradescant’s ‘Ark’, in Lambeth (1656). During the seventeenth century, the term ‘India occidentali/occidentales’ referred not only to the ‘West Indies’ (its literal translation), but to the Americas as a whole; hence, the Ashmolean clubs and, indeed, the c forty examples of similarly large, decorated clubs known in international museum collections had no firm provenance and lacked even the most basic information. Previous attempts at attribution, based on stylistic comparisons with nineteenth- to twentieth-century Brazilian and Guyanese clubs, have proved inconclusive given the unique features of this club style, raising the intriguing possibility that these may be exceptionally rare examples of ‘Island Carib’ (Kalinago) material culture, particularly as images of such clubs appear in seventeenth-century ethnographic accounts from the Lesser Antilles. This paper provides new data for these poorly known objects from early collections, revealing not only the type of wood from which they were carved (Platymiscium sp. and Brosimum cf guianense) and their probable dates of manufacture (c AD 1300–1640), but also their possible provenance (strontium results are consistent with a possible range from Trinidad south to French Guiana).

The sixth edition of Camden’s Britannia was published in 1607 with over fifty county maps printed from engraved plates. It was a pioneering work. In 1611, John Speed published his Theatre of The Empire of Great Britaine, again with over fifty county maps, many of them engraved by Jodocus Hondius from Amsterdam, and with an abridged version of Camden’s text. These books established a model that was followed later in Amsterdam itself in the great atlases of Blaeu and Janssonius. One of the ways Camden sought to augment the authority of his work was by using Anglo-Saxon types in his text for county names and the occasional passage in Anglo-Saxon (Old English). As the practice persisted, the progress of these type-designs is examined in relation to the development of the atlases. While Hondius’ map-making skills were imported to add to the English text, when the English text was brought to Amsterdam to add to the Dutch maps, the Dutch printers had to use their own skills to reproduce the Anglo-Saxon characters.

Between 1840 and 1846 the Scottish physician David Boswell Reid produced a scheme for a central ventilation system serving the Palace of Westminster. This scheme included a proposal for a sophisticated ventilation and climatic control system in the House of Commons. Although the plans for a central system were abandoned after six years, Reid was able to implement his idea within the confines of the House of Commons. Existing literature on Reid’s involvement in the design of the Palace of Westminster has focused largely on his difficult relationship with the architect Charles Barry, but his actual contribution to the design of the ventilation system has remained largely unexplored. Neither his unfinished early proposal nor his final design for the House of Commons has been studied in any depth before. This paper retraces the evolution of Reid’s original plans, and provides a systematic reconstruction of the ventilation system implemented inside the House of Commons between 1847 and 1854. The historic system is now completely lost, but new archival research, involving the study of several hundred letters, sketches and plans, has yielded detailed insights into its design and how it performed historically. In addition to revealing the ventilation system’s physical arrangements, research has uncovered how scientists and engineers had evaluated its design empirically from a human and technological perspective. As such, this paper provides a new perspective on antiquarian studies and illuminates how architectural technology in the mid-nineteenth century was shaped, evaluated and refined based on environmental performance. Although environmental factors, such as climate or air purity, were more transient dimensions of architecture, in the case of the House of Commons this paper shows that they were key drivers of architectural form.

The prosecution in Cyprus of an Italian citizen for illicit excavation in 1878 is a very early case in modern cultural heritage law. In taking over from the Ottoman empire the administration of Cyprus in June 1878, Britain inherited the Ottoman legal system, including its 1874 law on antiquities. Four months later, the British arrested Alessandro Palma di Cesnola for flouting a newly announced ban on excavation. The evidence of official, confidential records reveals the steps leading to the Italian’s arrest, trial and conviction in court. His trial followed Ottoman legal procedures, but the verdict was decided by the district commissioner, a British military officer unfamiliar with local law and languages. Alessandro Palma di Cesnola’s claims of American citizenship and a diplomatic status are shown to have been invalid. A closing review suggests that the British Museum was influential in prompting the ban on excavation and that moral and financial pressures led Alessandro Palma di Cesnola to ignore it.