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The Mildenhall Treasure: Late Roman Silver Plate from East Anglia
Journal of the British Archaeological Association Pub Date : 2017-01-01 , DOI: 10.1080/00681288.2017.1366722
Martin Henig

Seventy years after entering the collections of the British Museum, the Mildenhall Treasure has finally received the scholarly attention it so richly deserves. During the intervening period the Treasure, and especially the great Bacchic platter, has been much published and discussed in many excellent handbooks, not least that by the late Kenneth Painter, a leading authority on Roman silver, to whose memory this volume is rightly dedicated; published in 1977, the handbook was the best survey of the entire Treasure until now. Indeed, it is only through his work and that of others on comparable treasures found more recently, including the Thetford and Hoxne Treasures (like the Mildenhall Treasure, from East Anglia), the Kaiseraugst Treasure (Switzerland) and the ‘Seuso’ Treasure (probably from Hungary), that we can more fully situate the Mildenhall cache in its cultural and artistic context. Moreover, technical studies and high-resolution photography have advanced in quality considerably since the mid-20th century, as this splendid catalogue makes clear. Much of the mystery surrounding the Mildenhall silver originates in the obscure circumstances of its discovery during the Second World War. It was evidently unearthed by a ploughman, Donald Butcher, working for a local farmer, Sydney Ford. Ford retained the hoard in his house until a general practitioner, Hugh Fawcett, visited him in the spring of 1946 and realised the significance of the plate displayed on his sideboard, alerting the British Museum. Although Ford described the find-spot and drew a sketch map of the site, various conspiracy theories about the provenance of the silver have surfaced over the years, for instance that the silver had been found in North Africa and flown into Britain during the war, or that it had been dug up elsewhere in Britain. The first chapter, which includes a discussion of Roald Dahl’s involvement with the silver, reads rather like the scenario of a novel. The principal value of the volume is that its ten chapters, each dealing with a single vessel or group of vessels and other items (i.e. the spoons), carefully analyse each object with regard to its form, decoration and iconography and, as far as possible, date. Despite rumours, no coins are known to be associated with the plate, so dating has to rely on general techniques and comparison with plate from elsewhere. The most famous object is the unique Bacchic platter. This, and the two much smaller Bacchic plates, are evidently from the same workshop and most probably dated to the third quarter of the 4th century. They form the subject of two of the book’s chapters. The author has an eye for detail, describing each individual scene with immense precision. The description of each scene is accompanied by photographs and appropriate comparanda, bringing out details which most observers have previously overlooked. These three Bacchic pieces (and it should be noted that many other pieces in the Treasure include Bacchic imagery) raise questions not only about imagery but also of use. It can be agreed that the central roundel depicts Oceanus girt with dolphins, presiding over a marine thiasos in the register around him, although I do not think we should assume that the user would not

中文翻译:

米尔登霍尔宝藏:东安格利亚的晚期罗马银盘

进入大英博物馆的收藏已有七十年了,米尔登霍尔珍宝终于得到了它应有的学术关注。在此期间,《宝藏》,尤其是巴克奇式的大盘子,在许多优秀的手册中被大量出版和讨论,尤其是已故的肯尼思·画家,罗马银的主要权威,对这本书的记忆是正确的;该手册出版于1977年,是迄今为止对整个宝藏的最佳调查。的确,只有通过他的工作以及最近发现的其他类似珍宝上的其他作品,包括塞特福德和霍克斯尼宝藏(如来自东安格利亚的米尔登霍尔宝藏),凯瑟拉格斯特宝藏(瑞士)和“苏索”宝藏(可能是来自匈牙利),我们可以更充分地将Mildenhall缓存区置于其文化和艺术环境中。此外,自20世纪中叶以来,技术研究和高分辨率摄影在质量上取得了长足的进步,因为这个出色的目录清楚地表明了这一点。围绕米尔登霍尔(Mildenhall)银的许多谜团,都源于第二次世界大战期间发现它的晦涩环境。它显然是由耕ough者唐纳德·布彻(Donald Butcher)出土的,他在当地农民悉尼福特工作。福特将the积在他的房子里,直到全科医生休·福塞特(Hugh Fawcett)于1946年春拜访了他,并意识到了摆在餐具柜上的盘子的重要性,使大英博物馆感到震惊。尽管福特描述了发现地点并绘制了现场草图,多年来,关于银出处的各种阴谋论纷纷浮出水面,例如,银是在北非发现并在战争期间飞入英国的,或者是在英国其他地方挖出的。第一章讨论了罗尔德·达尔(Roald Dahl)与银的关系,读起来很像小说的场景。该卷的主要价值在于它的十个章节(每个章节处理单个容器或一组容器以及其他物品(即汤匙))会仔细分析每个对象的形式,装饰和图像,并尽可能地对其进行分析。 ,日期。尽管有传言,但没有硬币与该盘子相关联,因此约会必须依靠一般技术并与其他地方的盘子进行比较。最著名的物品是独特的巴克奇拼盘。这个,以及两个小得多的巴克奇板刻显然来自同一座工作室,最有可能追溯到4世纪第三季度。它们构成了本书两章的主题。作者着眼细节,以极高的精度描述每个场景。每个场景的描述均附有照片和适当的对比,带出了大多数观察者以前忽略的细节。这三个巴克契奇作品(并且应该注意,《宝藏》中的许多其他作品都包含巴克契奇意象)不仅引起关于图像的疑问,而且也引发了对使用的疑问。可以同意的是,中央圆标描绘了海豚与海豚的环礁,并主持了他周围的海豚,尽管我不认为我们应该假设使用者不会 显然来自同一车间,最有可能追溯到4世纪第三季度。它们构成了本书两章的主题。作者着眼细节,以极高的精度描述每个场景。每个场景的描述均附有照片和适当的对比,带出了大多数观察者以前忽略的细节。这三个巴克契奇作品(并且应该注意,《宝藏》中的许多其他作品都包含巴克契奇意象)不仅引起关于图像的疑问,而且也引发了对使用的疑问。可以同意的是,中央圆标描绘了海豚与海豚的环礁,并主持了他周围的海豚的海藻,尽管我不认为我们应该假设使用者不会 显然来自同一车间,最有可能追溯到4世纪第三季度。它们构成了本书两章的主题。作者着眼细节,以极高的精度描述每个场景。每个场景的描述均附有照片和适当的对比,带出了大多数观察者以前忽略的细节。这三个巴克契奇作品(并且应该注意,《宝藏》中的许多其他作品包括巴克契奇意象)不仅引起关于图像的疑问,而且也引起了对使用的疑问。可以同意的是,中央圆标描绘了海豚与海豚的环礁,并主持了他周围的海豚的海藻,尽管我不认为我们应该假设使用者不会 它们构成了本书两章的主题。作者着眼细节,以极高的精度描述每个场景。每个场景的描述均附有照片和适当的对比,带出了大多数观察者以前忽略的细节。这三个巴克契奇作品(并且应该注意,《宝藏》中的许多其他作品都包含巴克契奇意象)不仅引起关于图像的疑问,而且也引发了对使用的疑问。可以同意的是,中央圆标描绘了海豚与海豚的环礁,并主持了他周围的海豚的海藻,尽管我不认为我们应该假设使用者不会 它们构成了本书两章的主题。作者着眼细节,以极高的精度描述每个场景。每个场景的描述均附有照片和适当的对比,带出了大多数观察者以前忽略的细节。这三个巴克奇奇作品(并且应该注意,《宝藏》中的许多其他作品都包含巴奇奇图像)不仅引起图像方面的疑问,而且也引发了使用方面的疑问。可以同意的是,中央圆标描绘了海豚与海豚的环礁,并主持了他周围的海豚,尽管我不认为我们应该假设使用者不会 每个场景的描述均附有照片和适当的对比,带出了大多数观察者以前忽略的细节。这三个巴克契奇作品(并且应该注意,《宝藏》中的许多其他作品包括巴克契奇意象)不仅引起关于图像的疑问,而且也引起了对使用的疑问。可以同意的是,中央圆标描绘了海豚与海豚的环礁,并主持了他周围的海豚,尽管我不认为我们应该假设使用者不会 每个场景的描述均附有照片和适当的对比,带出了大多数观察者以前忽略的细节。这三个巴克契奇作品(并且应该注意,《宝藏》中的许多其他作品都包含巴克契奇意象)不仅引起关于图像的疑问,而且也引发了对使用的疑问。可以同意的是,中央圆标描绘了海豚与海豚的环礁,并主持了他周围的海豚的海藻,尽管我不认为我们应该假设使用者不会
更新日期:2017-01-01
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