For over 60 years, spectacular discoveries have been made on a wooded hillside at Snettisham, overlooking the northwest Norfolk coast, close to Hunstanton. The location of the discoveries, at Ken Hill, is known as the ‘gold field’ because of the large number of gold and silver alloy neck-rings (‘torcs’) and coins recovered from the site. Known as the ‘Snettisham Treasure’, these objects represent one of the largest collections of prehistoric precious metal objects ever discovered, and one of the largest concentrations of Celtic art. The objects were found in at least 14 separate hoards buried between 150 BC and AD 100 – spanning the late Iron Age and early Roman periods, but with a peak of activity during the late Iron Age. The objects from Snettisham are widely known, but the site has never been fully published. This book is the first comprehensive account of the discoveries and excavations at the site and presents a full catalogue of the finds. The majority are in the British Museum, with a significant collection also held by Norwich Castle Museum. The book also presents the results of extensive scientific analysis, revealing new and exciting details about how torcs were manufactured. The final section places Snettisham in its wider social and landscape context. The authors argue that each hoard represents different collection and depositional histories. The repeated, yet varied, acts of deposition at the site were part of creating, negotiating and reinforcing social structures, as well as performing and creating social change.

This volume was prompted by the recent discovery in Britain of two large coin hoards dating from the first decade of the fourth century AD – Wold Newton and Rauceby. Coins of this early Tetrarchic period are relatively uncommon finds in Britain and elsewhere, due mainly to the brevity of their periods of issue followed by successive reductions in the weight of the coinage. The book also republishes the 1944 Fyfield hoard within the context of these more recent finds and contains preliminary reports on two very large hoards of coins of the same period that have been found in recent years in France (Juillac) and Spain (Tomares). The Tetrarchic system of rule (AD 293−c. 313) was initiated by the Roman Emperor Diocletian to stabilise the Roman Empire, with the rule of the western and eastern Empire being split between two senior emperors and their two junior colleagues. The transition from the third to fourth century AD is a pivotal phase in the history of Roman Britain, with Britain coming once again under the control of the Empire following periods of turbulence and usurper rule between AD 260−296. Under the Tetrarchy, Britain was subjected to the extensive monetary reforms undertaken by Diocletian which saw the introduction of the denomination now referred to as the nummus. The period is of particular interest to numismatists as during this time Roman coinage was minted in Britain at the mint of London. The volume therefore covers not just the hoards themselves, but also considers the wider significance of these hoards for Britain and the early fourth century monetary economy, particularly in the western empire.

This volume presents details, images and discussion of the contents of twenty English coin hoards, ranging in date from the 730s to the 1090s. Found between the 1960s and 1990s, all were studied by the late Marion Archibald at the British Museum but have never been published in full before now. Each hoard is the subject of its own chapter, with discussion of the discovery, and of the historical context in which the hoard was buried, before a catalogue of the relevant coins. The volume also contains an introductory chapter, providing an overview of developments in the use of coinage in England in the seventh to eleventh centuries, as well as a discussion of hoarding in this period. This provides context for the more detailed presentation of the individual hoards in this volume, but also draws on other major hoards of the period, both published and unpublished.

This volume provides an authoritative and systematic account of the coins minted for Roman Egypt between AD 138 and 192. It is the first of four volumes, which will cover the provincial coinage of this crucial period of Roman history in its entirety.The coinage in this volume was produced at Alexandria, the commercial and cultural capital of the eastern Mediterranean. It is dated by the year, making it an invaluable guide to imperial presentation and to economic developments during this transitional period. Its iconography is of exceptional interest to scholars and collectors, combining fascinating aspects of Greek, Roman and Egyptian culture.The book gives a complete picture of the material, meeting the needs of numismatists and providing an essential reference for historians, archaeologists and other students of the Roman empire. The introductory chapters and extensive catalogue are accompanied by illustrations of virtually all known types.

Strategies for the preservation of health and for the prevention and treatment of illness and disease have been discerned in the surviving written records and material remains of most societies since earliest times. Compared to the prehistoric past the evidence for the ancient Greek and Roman periods is comparatively full, though still sparse or lacking in some key areas. Most accounts of the history of Greek and Roman medicine are based on ancient medical texts. As a study of the subject through its material remains, this book will be a unique and major contribution to the understanding of ancient medical implements and surgical instruments, of surgery, and of the history of medicine. In addition to medical instruments, the British Museum collection also includes an important range of objects which help to illustrate the multi-faceted approach to healing in antiquity. They include one of the largest holdings of collyrium-stamps − small inscribed stone tablets which were used to mark sticks of eye medicine; Greek inscriptions honouring public physicians; stone statues, bronze figurines and engraved gemstones depicting the principal healer deities; and marble and terracotta models of body parts (‘anatomical votives’) dedicated to the healer deities by those seeking divine cures. Together with the instrumentation, the publication will show how they encompass most aspects of ancient medicine and represent starting points from which to develop discussions of strategies for health and healing.

This publication has been developed from ideas first presented at the international symposium Late Hokusai: thought, technique, society, held at the British Museum in May 2017. The symposium was organised to enable specialists in a range of disciplines relating to early modern Japan to view and consider the critically acclaimed exhibition Hokusai: beyond the Great Wave, then being presented at the British Museum. The exhibition brought together representative works by the artist Katsushika Hokusai (1760−1849) in the various media in which he worked – colour woodblock printed, woodblock-printed illustrated books, brush paintings on paper or silk, and brush drawings − that were produced between the age of 61 and his death aged 90. Building on the themes of the exhibition, authors from the UK, Europe, Japan and USA have engaged with late Hokusai from a variety of perspectives, both intrinsic and extrinsic to his life and works. Essays have been grouped within the broad categories of ‘thought’ -- Hokusai’s intellectual concerns and the ways his art brought these to life; ‘technique’ – how the artist pursued excellence in a wide range of media, within a commercialised art market; and ‘society’ – dimensions of cultural interaction and patronage. A fourth section on ‘legacy’ looks at how stories of Hokusai have been as much generated by 130 years of scholarship, as they have by his works themselves. Challengingly, faked paintings and printed works have both contaminated and supported those stories. This innovative approach provides new insights into the work of one of the world’s most celebrated artists and suggests many new avenues for Hokusai research.

The Hay archive of Coptic manuscripts consists of seven fragmentary sheets of leather bearing spells for divination, protection, healing, personal advancement, cursing and the satisfaction of sexual desire. Purchased from the heir of the Scottish Egyptologist and draughtsman, Robert Hay (1799–1863), the manuscripts arrived at the British Museum in 1868. Since they were first published in the 1930s, they were understood to be the work of a single copyist writing around AD 600 in the Theban region of Upper Egypt. The present volume has confirmed, nuanced or challenged these assessments on the basis of scientific analysis and close study of the manuscripts. Prompted by the urgent conservation needs of the corpus, this study seeks to provide a model, integrated approach to the publication of ancient texts as archaeological objects by providing a full record of provenance and collection history; scientific analysis; conservation approach and treatment; a new complete edition and translation of the Coptic texts; and an extended discussion of the cultural context of production. Written on poorly processed calf, sheep and goat skin, the manuscripts were copied by multiple non-professional writers in the 8th–9th centuries. Employing a striking combination of ancient Egyptian, Graeco-Roman, biblical and extra-biblical motifs, their contents represent a Christian milieu making use of the mechanics of earlier ‘magical’ practice in a period well after the arrival of Islam.

Models of non-European watercrafts are commonly found in museum collections in the UK and throughout the world. These objects are understudied, rarely used in museum displays and at risk of disposal. In addition, there are several gaps in current understanding of traditional watercraft from the Indian Ocean, the region spanning from East Africa through to western Australia. Using models of a range of boats from 13 museum collections throughout the UK, this book considers the value of these objects for both researchers and museums. The book explores how models can help us to understand traditional boats and boat-building practices, some of which no longer exist. Two case studies investigate a number of ideas about the physical attributes of these objects and how representative they are of full-size vessels. In addition, the wider cultural processes and contexts of the models are considered, including ideas about collecting, miniaturisation and the iconic symbolism of watercraft. The aim of this publication is to encourage the use of models of boats from the Indian Ocean and throughout the world in future studies of traditional watercraft. At the same time, the research presented here will help museums to re-evaluate the significance of model boats in their collections, and to use them in displays in the future to explore a range of narratives.

This volume presents for the first time an authoritative and systematic account of the coins minted in the Roman provinces between AD 238 and 244 (except the province of Asia, previously covered in volume VII.1), and shows how these coins can be regarded as an integral part of the coinage minted under the Roman emperors. The book gives a complete picture of the material, thereby not only meeting the needs of numismatists but also providing an essential reference for historians, archaeologists and other students of the Roman empire. The introductory essays and extensive catalogue section are followed by indexes and an illustration of every major issue listed.

The art of Edvard Munch is striking for the originality and universality of its themes, which cross moments in place and time. Yet he was very much an artist of the nineteenth century, and the focus of this publication is to show how especially in his prints and photographs Munch was enabled by technical advances developed by his contemporaries to create an entirely new visual language. Munch is probably best known for his desire to express emotions surrounding love, illness and death. However, the authors in this volume show that this preoccupation was not only based on biographical events but reflects wider contemporary debates on developments in medicine and science, including treatment of mental illness, as well as a proliferation of technical expertise in the production of prints. The arguments presented expand on subjects touched upon in the critically acclaimed British Museum exhibition Edvard Munch: love and angst (2019). Munch's remarkable prints were fundamental to establishing his international career, but there remains much to investigate in connection with the background to his innovatory techniques, his relationship with contemporary printmakers and his experiments with photography. The authors in this volume go some way to address these themes and outline future avenues of research.

At centre stage in this volume is the Royal Clock Salt, an exceptional national treasure from the courtly culture of the Renaissance. Most probably made in Paris around 1530 by Pierre Mangot, the royal goldsmith to Francis I, the Clock Salt is somewhere between a jewel and a table ornament. Now part of the collection of the Goldsmiths’ Company in London, it is one of only a handful of treasures surviving from the renowned Jewel House of Henry VIII. It is unknown whether it was a diplomatic gift from Francis I or whether Henry VIII bought the Clock Salt himself; regardless, the object raises interesting questions about the role of diplomatic gifts at the Tudor court which is a subject addressed by a number of the authors. Many questions still remain about the Clock Salt’s history following its sale in the aftermath of the English Civil War, but this publication presents the fullest account to date of what is known about the object. Importantly, the authors also place it within a wider European Renaissance context by comparing it with other similar objects known to have been made or designed by Mangot and his contemporaries such as Hans Holbein. A secondary strand in the volume places the Clock Salt in the context of nineteenth- and twentieth-century taste in England and, in particular, reflects recent trends in scholarship by considering the influence of European collectors such as the Rothschilds on the British taste for historic silver. The volume therefore sheds new light on an exquisite object that has beguiled and fascinated owners and viewers for centuries. It also marks the completion of a collaborative research project between the British Museum, the Goldsmiths’ Company and The Rothschild Foundation.

Museums across Great Britain and Ireland hold Aboriginal and Torres Strait Islander (collectively referred to as 'Indigenous') cultural heritage of exceptional value, but which is largely unknown, rarely seen and poorly understood. Gifted, sold, exchanged and bartered by Indigenous people, and accepted, bought, collected and taken by travellers, colonists, explorers, missionaries, officials and others, these rare objects date from Captain Cook in 1770 to the present day. Numbering over 35,000 items, they represent all regions of Australia's vast landmass, from deserts, islands and coasts to tropical rainforests. The book uses nearly 160 artefacts, selected from over 30 public museums, both large metropolitan and small regional, to present a multi-stranded narrative that opens up vistas on Britain's Australian history as much as Australia's British history. More than twenty Indigenous, Australian and international experts weave together deeply-contextualised accounts of objects and object-types; of makers, communities and regions; and of collectors, networks and institutions, while also exploring the meanings and importance of this material in Australia, Britain and Ireland, and the world today. Distanced from their places of origin and dispersed throughout Britain and Ireland, these objects are gathered together for the first time. Out of museum stores and into this book, they are evidence of the complex, and often difficult, relationships between Indigenous Australians and British people and institutions, as well as being powerful conduits for telling that history anew and in ways that seek to challenge and rework its legacies.

Robert Codrington (1830-1922) trained to be a priest at Oxford University. He volunteered to work in Nelson, New Zealand, from 1860-4 and was appointed as headmaster of the Melanesian Mission training school on Norfolk Island in 1867. He spent the next twenty years in this post and for eight of these he was the head of the Mission travelling through the Melanesian region. Throughout his time in the region he attempted to gain an ethnographic understanding of the people whom he was serving. To this end he studied local languages and translated scriptures into Mota, the lingua franca of the Mission. However, for Codrington material artefacts were fundamental to his understanding of Melanesian life. He took a lively interest in material culture as a collector and donated objects to a number of museums, including the British Museum and The Pitt Rivers Museum. His specialist knowledge made him a valued informant for scholars of Melanesia who regularly consulted him. He is regarded today as one of the founding scholars of Pacific anthropology. This book intends to provide a more comprehensive understanding of how Codrington formed his collection, through the study of his written anthropological works, correspondence with other collectors and scholars and particularly through the private correspondence with his brother and his five journals written between 1867 and 1882. The book also highlights his equally important contribution to the development of material culture studies in the region and how his work has influenced Melanesian studies to the present day.

The book discusses and catalogues Charles Masson’s 1833–8 collections from the urban site of Begram and Kabul bazaar. It utilises Masson archival material which appears as a supplementary BM online publication The Charles Masson Archive: British Library, British Museum and Other Documents Relating to the 1832–1838 Masson Collection from Afghanistan: http://www.britishmuseum. org/pdf/Masson%20archive%20Vol.%202.pdf The catalogued objects will be selected from c. 7600 coins and c. 1500 artefacts from Begram and Kabul bazaar now in the British Museum, supplemented by illustrated coins recorded in Masson's archival manuscripts (F526/1a) and in H.H. Wilson (Ariana Antiqua London 1841), but no longer in the collection. A key resource will be the records and images of all the artefacts already available on the Museum’s Collection online database: http://www.

From AD 500–1000, the Indian Ocean emerged as a global commercial centre, and by around 750–800 a sophisticated trade network had been established involving the movement of goods from Japan and China in the east, to southern Africa and Spain in the west. However, the Indian Ocean’s commercial system has been relatively understudied, with many of the key assumptions regarding its development based on narrative textual sources and selective archaeological evidence. This study sets out the case for the unique significance of quantified ceramic finds as an indicator of long-term changes in the scale and volume of maritime exchange in a period for which few other sources of systematic economic history survive. The publication presents archaeological data from thirteen sites distributed across the western Indian Ocean, including Siraf (Iran), Anuradhapura (Sri Lanka) and Manda (Kenya). The ceramic assemblages are considered in terms of their general compositional characteristics and the distinctions between local, regional and long-distance exchange. The volume concludes with a discussion of how this data can be used to address the broader issues of long-term economic change and the relationship between state power in the Middle East and the commercial networks of the Indian Ocean operating via the Persian Gulf.

From the introduction of woodblock printing in China to the development of copper-plate engraving in Europe, the print medium has been used around the world to circulate knowledge. Ceramic artists across time and cultures have adapted these graphic sources as painted or transfer-printed images applied onto glazed or unglazed surfaces to express political and social issues including propaganda, self-promotion, piety, gender, national and regional identities. Long before photography, printers also included pots in engravings or other two-dimensional techniques which have broadened scholarship and encouraged debate. Pots, Prints and Politics examines how European and Asian ceramics traditionally associated with the domestic sphere have been used by potters to challenge convention and tackle serious issues from the 14th to the 20th century. Using the British Museum’s world-renowned ceramics and prints collections as a base, the authors have challenged and interrogated a variety of ceramic objects – from teapots to chamber pots – to discover new meanings that are as relevant today as they were when they were first conceived.