Roman mosaic found in Cotswolds

Photo: Wilts and Gloucestershire Standard

The Wiltshire and Gloucestersire Standard reported on Tuesday, 20th January, that a Roman Mosaic had been found in the Cotswolds near Kemble by a pair of metal detector enthusiasts. They made their discovery on Sunday after returning from a day’s unsuccessful metal-detecting but noticed the field, which they had covered previously, had been freshly-ploughed.
After noticing several tesserae, which are small tiles used to make a mosaic, the pair got permission from the landowner to dig a one square foot hole, and uncovered the edge of the mosaic. The article went on to state that the mosaic which has been uncovered is believed to be the biggest Roman mosaic discovered to date in north west Europe, and there is a suggestion that the mosaic could be 40 foot in diameter.

The mosaic is described as depicting an Orpheus scene. The fragment of mosaic pavement published in the Wiltshire and Gloucestershire Standard reveals an animal's foot and thorax as it walks around an arc or circle. Orpheus was represented in a number of ways on mosaic pavements during the Romano-British period, but is typically portrayed seated with a lyre on his left knee, and wearing a Phrygian cap. Uniquely in the Roman world the Romano-British mosaic workers portrayed Orpheus at the center of their mosaics surrounded by concentric circles depicting animals and birds. It will come as no surprise that this mosaic follows in that tradition but it remains to be seen how big and elaborate the mosaic is. The part uncovered is reported as being undamaged, however the fact tesserae were found alerting the two men to the possible existence of the mosaic suggests the mosaic will not be in perfect condition. Furthermore, the story clear illustrates the mosaic is not buried deep enough to prevent damage from ploughing.

The most noted and elaborate of these Romano-British Orpheus mosaics was first referred to in 1695 in Gibson's "Camden". It was not until 1797 when Samuel Lysons published his work on the this particular mosaic pavement entitled "An Account of the Roman Antiquities discovered at Woodchester". Woodchester is situated off the Roman road that connected Gloucester (Glevum) to Cirencester (Corinium), where the mosaics were found in a graveyard. It is interesting to note the Woodchester mosaic is approximately 9 kilometers from Kemble (as the crow flies).

The Gloucester countryside and the Cirencester hinterland have yielded a number of significant finds such as the Roman villas at Chedworth, Barton Farm, Withington, Frocester Court, Great Witcombe, not to mention the individual finds in Cirencester (Corinium) and Gloucester (Glevum). It is clearly evident the region supported a prolific demand for mosaics and mosaic workers. Scholars researching and studying the Romano-British mosaics are in general agreement that there were up to three workshops, or officinae, working in this region during the 4th century. They are as follows; the Corinian Orpheus officina operating circa 300 A.D. - 320 A.D., the Corinian saltire officina operating circa 320 A.D. - 350 A.D., and finally the Durnovarian officina operating 340 A.D. - 370 A.D.

I am always captivated by these stories relating the discovery of mosaics and other archaeological remains. They invariably give a little extra insight into the romanisation of the tribes, lands and provinces of north western Europe. On a more personal note, my university thesis examined Romano-British mosaics and the existence of evidence to suggest economic and cultural links to other provinces in the Roman world. The adoption of Roman culture by the Gallic, Germanic, and British kingdoms and tribes was to some extent universal with theatres, amphitheaters, fora and richly decorated houses and villas appeared in most of the new settlements developed under Roman control.

I would subscribe to the view that the ebb and flow of the Roman army's superiority and control of the Rhine frontier caused economic uncertainty in the Gallic and German provinces towards the end of the third century, and consequently some mosaic workers may have have fled to Roman Britain, which they saw as a safe and strong economic haven. Many mosaic pavements can be dated with some certainty to the second and third centuries in Roman Britain, however the the size, quality, and subject matter of many of the pavements that date to the late third and fourth centuries reach a new level, enriched by the availability of newly arrived mosaic craftsmen and workshops with the latest designs.

To illustrate the speed with which traditions and fashions spread throughout the Roman Empire, it is interesting to note that following the official toleration of Christianity in the Roman Empire in 312 A.D. archaeological evidence suggests the Christian faith was flourishing in Roman Britain within a very short period of time. Mosaics discovered at Hinton St Mary and Frampton in Dorset are decorated with Christian symbols and iconography. Only 16 miles apart, these mosaics not only depict the Chi Rho symbol, but images of Christ, alongside a repertoire of traditional mythological pagan images.

A number of questions arise. Were the Christians in Roman Britain mono-theistic? Can these mosaic pavements truly represent a flourishing of Christianity? The romanisation of Roman Britain was in many respects a thin veneer of Roman culture applied or imposed on the Celtic tribes and the practice of indigenous pagan gods does not appear to have been fully suppressed by the Romans. Druidism was an notable exception. It could be said that the subject matter of these mosaics are more likely to be a barometer of a desire for religious subjects than the practice of an official religion. The historian and biographer Aelius Lampridius records in his life of the Emperor Alexander Severus, who reigned between 222 A.D. and 235 A.D., the fact images of Christ, Orpheus, Abraham and Apollonius of Tyana were to be found in his lararium [XXIX].

Worship in the Christian faith throughout the empire may have changed in the hundred years that separate the reign of Alexander Severus and the production of the mosaics at Hinton St Mary and Frampton, however one cannot escape the enduring contradiction that over this period the pagan repertoire of Greco-Roman mythology, including the depictions of Orpheus, remained current in many mosaics connected with the Christian faith. Moreover, and using the example of the lararium of Emperor Alexander Severus, one can easily support a theory that the typical wealthy Roman-British villa owner would commission an overall moral theme for the rooms to be decorated with mosaics, which could be represented by depictions of Christ, Orpheus and the Belerophon and Chimera scenes.

One might think that the discovery of Romano-British mosaics was a frequent event across southern England. It is true that the discovery of mosaic pavements is not infrequent but they are rarely as dramatic and potentially significant as the one discovered near Kemble. John Paddock, curator of Corinium Museum, stated: "The discovery of any mosaic in Britain is a significant one... It’s a new site which is very exciting and in an architectural career spanning many years I have never discovered a mosaic." Indeed, Romano-British archaeology is going through a period of exciting discoveries as I note in August 2008 the Telegraph newspaper reported another significant find on the Isle of Wight, following the commencement of further excavations at Brading Roman villa.

One can only hope the site where the mosaic was discovered can be properly excavated and the mosaics preserved. There have been incidents in the past, and in recent times, where the mosaic pavements have been clandestinely removed never to be seen again. An unfortunate incident occurred in 1948 when a mosaic was stolen from Brantingham Roman villa in Yorkshire. On another note, it would be rather nice to see an image of the entire mosaic some time soon, rather than being hidden away for a number of years in a museum storage facility. There is a tendency for these wonderful objects to be stored away from the public view and effectively disappear. An extreme example of this occurred in 1820 following the discovery of an Orpheus mosaic at 11 Dyre Street in Cirencester, Gloucestershire; a drawing of the mosaic was finaly published 66 years later in a "History of Cirencester" K. J. Beecham.