Brontë portraits

Thursday, 19th April, 2012

 Rare painting of the three Bronte sisters due to go under the hammer at Northamptonshire auction

AN auctioneer is aiming to secure a rare hat-trick by selling an “important” picture thought to depict all three Bronte sisters.
Jonathon Humbert, of  JP Humbert Auctioneers, based in Towcester, says he is confident the painting, which he claims is of “superlative quality”, is of the three literary sisters, Charlotte, Emily and Anne.
The rare portrait, thought to be a hitherto unknown watercolour, is the latest in the series of unrelated items concerning the trio to be put up for sale by the same firm.
The Northamptonshire auction house’s sale of  a small portrait believed to be of Emily Bronte recently fetched £4,600. In December, JP Humbert sold another painting of the reclusive writer for £23,836.
However, Mr Humbert said the latest painting could prove to be the most important yet.
He said there was no estimate on the latest discovery, which it believed to have come from an owner in Dorset, as it was impossible to say how much it would fetch.
He added: “We just had one and then with all the media interest someone came into us with the second and now we have a third one, which is by far the most important painting.
“The evidence has been put together by the vendor for the past four years and our own investigations.
“We have been incredibly forensic about this and we believe that not only is this a hitherto unrecognised portrait of the Bronte sisters, but moreover we believe it was painted by  Edwin Landseer, who went on top become Sir Edwin Landseer.”
The piece of art is thought to contain the signature of Landseer, who was an important Victorian painter, and depicts a broach [sic] and bracelet believed to have been worn by the sisters.
The jewellery is now kept in museums.
Mr Humbert added: “It has come to us from a long way away and we are already having a lot of international press interest and what we hope is the art world will embrace it accordingly.
“We have had success from two out of two and we are hoping for the hat-trick but we have no idea what it will make because there is nothing to compare it to.”
He added: “I hope it will end up in a museum or collection, where it will be recognised for what it is.”
The painting is set to go under the hammer on April 26 as part of a two-day fine art and antiques sale.

Other portraits:

The Brontë sisters by Patrick Branwell Brontë (1817-1848) © National Portrait Gallery, London

‘We don’t think it’s a painting of Emily’
The Bronte Society has cast doubt on claims a painting being auctioned in Northampton this month [December 2011] is a portrait of the famous literary figure Emily Bronte.
Ann Dinsdale, collections manager at the Bronte Parsonage Museum, said the society doubted the provenance of the oil painting and would not be bidding on it next Thursday.
“We are not 100 per cent convinced it is Emily. There isn’t enough provenance on the painting and there is an element of doubt about it,” she said.
“There are two portraits of Emily, both in the National Portrait Gallery, and they don’t bare a striking resemblance to this one. The experts are saying the woman in the painting is wearing the kind of clothes Emily would have worn, which probably thousands of other women of that period were wearing. They have done a huge amount of research on that painting but we are still not convinced.”
But art experts, who have assessed the picture, say there is strong evidence to suggest it could be of Emily Bronte.
The oil painting, which shows a young woman wearing a straw bonnet held in place by a silk scarf, was painted earlier than previously thought.
The picture, recently given to auctioneers J P Humbert of Northamptonshire by a retired headmaster, was found to have been painted circa 1840, making it contemporary with the age of the possible subject – Emily Bronte died in 1848.
It is almost identical to a print of a portrait of the writer published in the July 1894 issue of The Woman At Home, which itself was attributed to Charlotte Bronte. It is thought the artist responsible for the newly-found picture may be John Hunter Thompson (1808-1890) of Bradford who was a portrait artist and friend of Emily’s brother Branwell.
As well as that, written on the back is “Emily Bronte – Sister of Charlotte B… Currer Bell”, and on the backing paper “Emily Bronte/Sister of Charlotte Bronte/Ellis Bell”. Currer and Ellis Bell were the pen names of Charlotte and Emily Bronte from the winter of 1845 when the sisters published their poems and adopted pen names.
Auctioneer Jonathan Humbert said the attribution confirms that the portrait is earlier than previously thought.
“After much research, we are confident this portrait, recently discovered, is of Emily Bronte,” he said.
“So many factors support this contention and, as such, this represents a very important study of one of English literature’s most perennial figures.”
The oil on panel painting is set to go on sale at JP Humbert Auctioneers in Towcester, Northants, at a provisional estimate of £10,000 to £15,000.
The sale coincides with an auction where the society will be bidding for a rare Charlotte Bronte manuscript the Young Men’s Magazine.

And:

Emily Brontë portrait goes under the hammer
For the second time in two months, a previously unknown portrait captioned “Emily Brontë” is to be auctioned, showing the Wuthering Heights author as a winsome but pensive young woman.
Painted in oils and with the subject gazing directly at the artist with clear brown eyes, the picture is less formal and possibly more flattering than the smaller, bonneted study that sold in December for £23,836, exceeding the reserve price of £10,000-£15,000.
Measuring 33 by 24cms (13 by 9.5ins), the painting has been reliably sourced to the mid-19th century and has a note of the subject probably made by the artist around the time of painting. But absolute attribution is unlikely, as has been the case with most supposed Brontë portraits apart from the famous study of the sisters painted in 1835 by their brother, Branwell.
The painting has been sent for auction by the Northamptonshire firm JP Humbert, which handled the “bonnet picture” sale. Jonathan Humbert said a private owner brought the portrait into the firm’s office after reading about the previous sale. “One unknown portrait of Emily Brontë is lucky enough, but two in two months is quite remarkable,” he said. “I am amazed that both have turned up on our doorstep.”
Anything with a Brontë tag appears to sell well, although uncertainty about the authenticity of the latest picture has seen the reserve set at between £3,000 and £4,000. Last month the Haworth Parsonage museum, which has the world’s greatest trove of Brontë relics, was outbid by a Paris museum for a miniature magazine made by Charlotte Brontë when she was 14.
The dainty handwritten manuscript was bought at Sotheby’s by the Musée des Lettres et Manuscrits for £690,850, more than twice the reserve and a record for a literary work by any of the three sisters. The price of the bonnet painting was driven up on the same day by determined phone bidding to Northampton from the US.

Emily by Patrick Branwell Brontë (1817-1848)oil on canvas, arched top, circa 1833 © National Portrait Gallery, London.

Charlotte Brontë
by George Richmond
chalk, 1850
© National Portrait Gallery, London

Anne Brontë ( 1820 – 1849 ), English poet and writer by Charlotte Bronte, her sister.

Branwell Brontë by J. B. Leyland

Brontë Photographs

A photograph believed to be that of Charlotte Brontë taken in the last year of her life in 1854.  Brontë Parsonage Museum.

The Brontë sisters?

Whether it depicts them or not there’s certainly a Bronte connection. The ladies resemble them, their names are on the back and there’s a link to a photo in the Bronte Museum.

Patrick Brontë.

Update: Bronte portrait withdrawn from auction

Update: Charlotte Brontë letter

Update:Charlotte Brontë poem

BronteSomethingAboutArthurBlog

Sir Charles Bell’s watercolours

Saturday, 18th February, 2012

 

The harsh reality of war and nineteenth-century surgery is encountered in the anatomical watercolours of Charles Bell. They depict his patients and their injuries, especially the horrific wounds dealt with by army surgeons in Wellington’s army.

“Johnnie! How can we let this pass? Here is such an occasion of seeing gun-shot wounds come to our very door. Let us go!”: Charles Bell to his brother.

Charles Bell (1774-1842) KGH, FRS, FRSE, was a renowned surgeon, anatomist and artist, who discovered Bell’s Palsy and produced many anatomical drawings and watercolours, some of the most important of which were produced while he was working as a medical officer at the Battle of Waterloo in 1815. He was born in Scotland and came to London in 1804. He built up a private teaching practice and then bought the Great Windmill Street School of Anatomy founded by William Hunter. His association with The Middlesex began in 1814 when he was appointed surgeon there. This was followed by appointments as Professor of Anatomy and Surgery at the Royal College of Surgeons in 1824, and then as Professor of Surgery at the new University of London (now University College London). Bell left the University in 1830 and was instrumental in establishing a Medical School at The Middlesex Hospital in 1835. In 1836 Bell went back to Edinburgh to take up a post of Professor of Surgery, and died in 1842.

Born into a respectable Scottish family in 1774, Charles Bell was an accomplished anatomist, surgeon, physiologist, author and artist. His highly successful civil medical career coincided with the Revolutionary and Napoleonic Wars of 1792–1815. In early 1809, Sir John Moore’s Peninsular Army landed on the South Coast following the desperate retreat to Corunna. About 28,000 ill and wounded soldiers disembarked, causing consternation in the local population. The army medical services were overwhelmed and Bell was among a number of civilian surgeons who volunteered to help. He performed a similar altruistic service 6 years later in the aftermath of the Battle of Waterloo where 55,000 dead and wounded were left on the field. These sudden transitions from civilian to military surgery were not straightforward and Bell’s operation results in the Brussels hospitals were not impressive. Only one of his 12 amputation cases survived—a mortality rate of 92% which was high even allowing for the more hazardous nature of secondary operations which had had to be delayed long after the initial injury.From: Howard, M. R. 2005. ‘A surgical artist at war: the paintings and sketches of Sir Charles Bell 1809-1815: review’, J R Soc Med, 98 (11): 517.

 Watercolour of the brain by Sir Charles Bell

Wellcome Collection (not for the squeamish).

Further reading:

Crumplin, M. K. H. & Starling, P. original 1819 (2005 reprint). A Surgical Artist at War: The Paintings and Sketches of Sir Charles Bell 1809-1815, Royal College of Surgeons (London).

Vermeer’s Women: Secrets and Silence

Tuesday, 4th October, 2011

Mellon Gallery

Fitzwilliam Museum
Trumpington Street
Cambridge CB2 1RB
Wed 5 October 2011 to Sun 15     January 2012

 

 

 

 

 

 

At the heart of this visually stunning exhibition is Vermeer’s extraordinary painting The Lacemaker (c.1669-70) – one of the Musée du Louvre’s most famous works, rarely seen outside Paris and now on loan to the UK for the first time.

New improved XRF

Sunday, 27th March, 2011

X-ray technique peers beneath archaeology’s surface
Striking discoveries in archaeology are being made possible by strong beams of X-rays, say researchers.
A report at the  American Physical Society meeting in Dallas, US, showed how X-ray sources known as synchrotrons can unravel an artefact’s mysteries.
Light given off after an X-ray blast yields a neat list of the atoms within.
The technique can illuminate layers of pigment beneath the surfaces of artefacts, or even show the traces of tools used thousands of years ago.
This  X-ray fluorescence or XRF works by measuring the after-effects of X-ray illumination.
As atoms absorb the X-rays, the rays’ energy is redistributed, and very rarely some is re-emitted as light.
Each atom releases a characteristic colour of light, yielding a full chemical analysis, and as such the XRF technique is gaining ground as a means to meticulously analyse artefacts from the past.
Small X-ray sources have been used in the past to get a laundry list of atoms generally present in art, but Robert Thorne of Cornell University in the US told BBC News that the intense, focused X-rays from enormous sources known as synchrotrons have more recently shown their potential.
“These give you extremely intense X-ray beams, and what that allows you to do is not just collect a spectrum from one point, but you can ‘raster scan’ your sample in front of the beam and collect the full chemical analysis at each point.”
The technique has already been used to elucidate Roman and Greek inscriptions
Compared to handheld sources, he said, “you can get months’ worth of photons delivered in a second, and that’s critical”.
Professor Thorne and his collaborators were in  2005 the first to use the technique to analyse inscriptions  from Greek and Roman pottery.
The technique has been shown to shed light on layers of glaze beneath the surface of finished pottery.
It has even shown, in the case of an inscription that had worn entirely away, that minuscule amount of iron left by the chisel showed a pristine version of the inscription on what appeared to be smooth stone.
“We did an experiment at  Diamond [Light Source in Oxford] last year on a heavily-worn surface, and we couldn’t quite guess what the letters were,” he said.
The translation said it was a decree involving three different individuals. We looked at the pattern of iron we saw from tool wear and pigments that one letter couldn’t be consistent with the letter that had been put there – it turns out that letter changed the name of one of the people, and the story was about three brothers – just down to that one simple change.”
More recently, the team – including Cornell physicist Ethan Geil and archaeologists Kathryn Hudson and John Henderson – has turned its attention toward the Americas. The technique is best used on artefacts whose inscriptions or decoration has worn away completely – but these, Professor Thorne said, are much harder to find because collectors and museums have until now viewed them as less valuable.
“That’s what’s exciting about working on pottery from Mesoamerica, because there’s a ton of it in American collections, much of which we can get access to,” he said.
“We’re looking at some Mayan artefacts with some collaborators at Cornell and they’re interested in the iconography of a particular subgroup within the Mayans.
“On the pottery a lot of the glaze has flaked off, so what you see is little black dots on the surface; it’s very hard to tell if those black dots are glaze or dirt, but with the XRF you can tell.”
Dr Thorne was guarded about the most recent results from the Mayan studies, which will be published soon.
“The message here is that physicists have developed this really fantastic technique to do full XRF imaging of objects.
“It’s not a magic bullet – there never is in this business. But I think as a general tool for art and art historical and archaeological exploration, it’s the best new thing to come out in a very long time.”

“What ho, Giotto!”*

Friday, 5th November, 2010

Giotto masterpiece crucifix restored to former glory

Giotto’s 14th century masterpiece, the Ognissanti crucifix, has been put back on public display in Florence after a seven year restoration.
A small team has worked thousands of hours to remove centuries of dirt from the painting.
Giotto is regarded as the father of the Italian Renaissance, but it was only through the restoration that it became clear the crucifix really was one of his works.

*Stanley Spencer’s response to being given the commission to paint the walls of Sandham Memorial Chapel, Burghclere, Hampshire

Oyster shell holds clue to medieval Dereham

An oyster shell found among rubble unearthed when a Dereham church wall was demolished could have been collected on the Norfolk coast and used by a medieval artist creating wall paintings.

The shell, one of two found in the rubble, contains residues of two colours , a rich yellow and a reddish, earthy brown colour and there is also a small spot of black.

Archaeologists believe that these palettes are of the medieval period, stretching back to the 12th and 13th centuries, and usually associated with church sites.

According to a report of the archaeological survey carried out on the southern boundary wall of  St Nicholas’ parish church, it is probable that these shells provided medieval artists with a free, readily available and disposable supply of palettes.

The connection of painters’ palettes with archaeological sites reflects the fact that during medieval times the church was part of the minority within the community able to afford to commission art.

According to the report, the discovery of this palette among the waste from this trench indicates either church waste or rubbish from a high-status household.

Two of the other interesting finds found in the rubble when the wall was demolished last year were an ivory handle and a tang knife with antler handle. These items suggest higher status remains than would be expected from a small cottage.

According to the report compiled by assistant project officer Suzie Westall, the animal bones indicate that every part of the animal was being utilised and it may also point to the fact that – with the inclusion of wild game – even poorer members of the community ate a diet rich in meat.

The presence of two fragments of human bone may be explained by the fact that the edges of the new foundation trench for the wall cut slightly into the churchyard soils.

NAU Archaeology prepared a project design for the survey work and it is likely that the items found will be offered to the church and may end up in  Dereham’s Bishop Bonner Cottage museum.

Ms Westall explained that demolition of the 11-metre stretch of wall revealed remains of former buildings on the outside of the wall and showed that the wall itself had been built on to the remains of those buildings. This indicates the collapsed wall was a 20th-century construction.

Flickr pics of excavation in progress by Sue White

Finding Shakespeare

Monday, 9th March, 2009

BRITAIN SHAKESPEARE PORTRAIT

Is this the real Shakespeare at last?
A PORTRAIT owned for nearly 300 years by a family will tomorrow be claimed as the only known picture of William Shakespeare painted during his lifetime.
No other image, executed at first hand, is thought to exist of Britain’s greatest writer.
The claim will be supported by the world’s foremost expert on Shakespeare, Stanley Wells, emeritus professor of Shakespeare studies at Birmingham University and general editor of the Oxford Shakespeare series for 30 years.
The portrait, which was painted in 1610, six years before the playwright’s death, has been in the possession of the Cobbe family since the early 18th century. It was initially kept at a property in Hampshire but more recently in Hatchlands, the family house in Surrey, which is run by the National Trust.
For three centuries the family was unsure of the identity of the figure in the portrait. According to Alec Cobbe, an art restorer, at one time it had been thought to be of  Sir Walter Raleigh.
In 2006 Cobbe visited the National Portrait Gallery’s exhibition Searching for Shakespeare. On display were  several pictures, which over the years some had suggested were of Shakespeare.
His attention was caught by one known as the Janssen portrait because it is thought to be by Cornelis Janssen, a Flemish painter who worked in England in the early 17th century. The picture was on loan from the Folger Shakespeare Library in Washington, which has the world’s greatest collection of Shakespeare memorabilia.
Cobbe was amazed that the Janssen portrait was almost identical to the painting at Hatchlands. He took his picture to the National Portrait Gallery for comparison. “We had it for two days, and they certainly looked very, very similar,” said Tarnya Cooper, curator of the 16thand 17th-century collections at the gallery. “But we did not do any tests on it.”
Cobbe has since used a variety of tests and scientific imaging to check if it is an original or has been altered from its original composition.
In its favour, the portrait looks very similar to the only two other images of the playwright accepted as having been by people who knew Shakespeare when he was alive. These are the bust of him in Holy Trinity church, Stratford-upon-Avon, where he is buried and which was erected not long after his death; and the engraving of his image, made in 1623, at the front of his First Folio.
This weekend both Wells and Cobbe declined to divulge any more information. However, tomorrow they will unveil what they regard as very strong evidence that the portrait is of Shakespeare and that it was painted when he was 46 years old, six years before his death in 1616.
They will also claim that the portrait initially belonged to the third Earl of Southampton, who was Shakespeare’s patron and, according to some, the “fair youth” of his sonnets. Wells and Cobbe are writing a book on Southampton and Shakespeare. Their claims, however, will cause controversy, especially since some experts doubt the Janssen portrait is Shakespeare.
The first known owner of the Janssen portrait was a certain Charles Jennens who lived in Leicestershire. He bought it in 1770. The painting appeared on an edition of King Lear, which was also published by Jennens that year. It is obvious that he had only acquired the picture in 1770 because the portrait was not mentioned in two accounts of his collection compiled in the late 1760s.
The Folger Library bought that painting at auction in 1932, believing it might portray the playwright. Since then some argued that it might be of  Edward de Vere, the Earl of Oxford, who some have suggested was the “real” author of Shakespeare’s plays even though he died before several of them were written.
Since the late 1960s the Folger painting has been described by the library as being of  Sir Thomas Overbury, a courtier and poet, who died in 1613 after being poisoned by Frances Howard, countess of Essex, after she was infuriated that Overbury tried to stop her from remarrying. When the painting was displayed at the National Portrait Gallery in 2006, it was labelled as probably of Overbury.
To complicate matters further, the Folger painting has been altered. In 1988 the overpainting was removed to reveal a lower hairline. “The higher hairline must have been done at some stage to make the sitter a bit more bald to reflect his age,” said Erin Blake, curator of art at the Folger.
Neither Blake nor Cooper are as convinced as Wells and Cobbe that the Hatchlands picture is of Shakespeare and done during his lifetime.
Over the centuries many portraits allegedly of Shakespeare have been presented as that of the writer. Some are fakes, produced simply to make money.
The National Portrait Gallery owns what is known as the Chandos Shakespeare, which also bears some facial resemblance to the 1623 engraving on the folio. “But we still probably don’t think it is Shakespeare though it was done between 1600 and 1610,” said Cooper.
Others portraits at the Searching for Shakespeare exhibition included the Sanders, which makes Shakespeare look too young; the Flowers, which is now owned by the Royal Shakespeare Company; the Grafton, which is in the John Rylands gallery in Manchester; and the Soest, which was clearly painted at least 50 years after the writer’s death. None have been proven to be of Shakespeare.
“It would be wonderful if this is shown to be a picture of Shakespeare painted when he was actually living,” said Blake. “People so want there to be such a portrait.”

Also:

Mystery relic found during London excavation is linked to Shakespeare
The bearded Tudor face, framed by long hair and a ruff, certainly looks familiar. As the Shakespeare Birthplace Trust prepares today to unveil what it says is a portrait of the Bard painted during his lifetime, archaeologists may have beaten them to it.
A team working on the site where Shakespeare learned his trade has discovered a piece of 16th-century pottery that features a face resembling that of the great man.
It was found during excavation work in Shoreditch, east London, at the site of what used to be The Theatre, lost for more than 400 years and where Shakespeare performed as an actor, as well as staging his earliest plays.
Archaeologists unearthed the Tudor structure last summer while working at the site – which, by coincidence, is to be turned into a new theatre.
There is no proof that the face on the fragment of Beauvais pottery is that of the Bard’s, but insiders are excited by the discovery.
“We knew we would be somewhere near Shakespeare’s theatre when we got this site for our new building, and that was thrilling enough,” said Penny Tuerk, a director of the Tower Theatre Company. She added jokingly that the face could have been from an ale mug sold in The Theatre’s souvenir shop – and that it could make another appearance one day when the new Tower theatre opens in 2012.
The Theatre was originally built by James Burbage, father of Richard Burbage, Shakespeare’s friend, fellow actor and business partner in 1576. It was located just outside the walls of London in an area consisting of taverns and slum houses. The Burbages fell out with their landlord, and in 1598 with Shakespeare’s help, they dismantled the building and took it across the Thames to Bankside where it rose again as a far more famous theatre: The Globe.

BBC video of The Theatre archaeology

new film questioning Shakespeare’s authorship of the plays

Princess Elizabeth portrait found

Tuesday, 27th May, 2008

Rare Elizabeth I portrait found
A rare portrait of Queen Elizabeth I as a young princess has been discovered in a private collection at a stately home in Northamptonshire.
The portrait, dating from 1650 to 1680, was found in the Duke of Buccleuch’s collection at Boughton House.
It shows Elizabeth with siblings [later to be] Edward VI and Mary I, father Henry VIII and his jester, Will Somers.
It is a copy of an original panel painting, which is thought to date back to the early 1550s.
The portrait was examined by historians Alison Weir and Tracy Borman after they were told of its existence by the director of Boughton House.
It will now be put on display at the stately home, and historians hope to trace the original through publicising the discovery.
Portraits of Queen Elizabeth I before her accession to the throne are extremely rare, with only two other proven portraits known – one at Hampton Court and the other at Windsor Castle.
Tracy Borman said that when she was first sent a picture of the portrait she realised it had never been seen before.
“The more we found out, the more obvious it was that nobody had come across this,” she said.
“It’s clearly a copy of a lost original and it’s that mystery that we started to try to solve.
“It’s also a very different look to Elizabeth and comparing it to other portraits it helps us to solve the identity of other portraits – for example one always known as the Unknown Lady in the National Portrait Gallery.”
Charles Lister, house manager at Boughton House, said the picture was to go on public display when the house opens in August.
He said: “The portrait is normally in a private area of the house with a number of other Tudor portraits.
“When we had a meeting with Tracy it came under discussion and it sort of all went from there.
“We knew it was important because it’s a picture of Henry VIII and his family but we did not realise it in the context of Elizabeth as princess.”
The finding is reported in the latest edition of the BBC History Magazine.

Person Henry VIII
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Pinin’ for the fjords

Thursday, 15th May, 2008


This is palaeontology, not archaeology, but quite an amusing piece:

*City man finds oldest parrot in world

It is most certainly an ex-parrot, which ceased to be some 55m years ago – and there is no way this bird could ever have been pinin’ for the fjords.

Dr David Waterhouse, assistant curator of Natural History at Norfolk Museums and Archaeology Service, could not resist the Monty Python associations after the discovery of a fossil which he says is the oldest parrot ever found.

The dead parrot in the classic sketch was a Norwegian Blue, but the one which Dr Waterhouse has been studying was found on the isle of Morse in the northwest of Denmark.

Reported in the current issue of the journal Palaeontology, the fossils indicate that parrots once flew wild over what is now Norway and Denmark.

Parrots today mainly live in the tropics and southern hemisphere, but this new research suggests that they first evolved in the North, much earlier than had been thought.

Officially named Mopsitta tanta, the bird has already been nicknamed the Danish Blue, and like John Cleese in the sketch, his first task was to establish it actually was a parrot.

He said: “Obviously, we are dealing with a bird that is bereft of life, but the tricky bit is establishing it was a parrot.

“As with many fragile bird fossils, it is a wonder that anything remains at all, and all that remains of this early Danish parrot is a single upper wing bone (humerus).

“But, this small bone contains characteristic features that show that it is clearly from a member of the parrot family, about the size of a Yellow-crested Cockatoo.”

The fossil is the oldest and most northerly remains of a parrot ever found and Dr Waterhouse said: “It isn’t as unbelievable as you might at first think that a parrot was found so far north.

“When Mopsitta was alive, most of Northern Europe was experiencing a warm period, with a large shallow tropical lagoon covering much of Germany, South East England and Denmark.

“We have to remember that this was only 10 million years after the dinosaurs were wiped out, and some strange things were happening with animal life all over the planet.

“No Southern Hemisphere fossil parrot has been found older than about 15 million years old, so this new evidence suggests that parrots evolved right here in the Northern Hemisphere before diversifying further south in the tropics later on.”

But while Michael Palin’s shopkeeper tried to convince John Cleese his dead parrot was pinin’ for the fjords, this one definitely did not.

Dr Waterhouse said: “It’s a lovely image, but we can say with certainty that it did not. This parrot shuffled off its mortal coil around 55 million years ago, but the fjords of Norway were formed during the last ice age and are less than a million years old.”

The research was supported by the Irish Research Council for Science, Engineering and Technology (IRCSET) and University College Dublin (UCD). Dr Waterhouse was funded by a UCD postgraduate scholarship from 2002 to 2006.

The paper on the parrot is published in today’s edition of Palaeontology magazine.

*Apparently Dr Waterhouse is not an East Anglian, but originates from Pontarddulais


Friends Francis Bacon and Lucien Freud on top of world art market
On Tuesday Freud, 85, became the world’s most expensive living artist at auction when his work Benefits Supervisor Sleeping, a lifesized depiction of a voluptuous civil servant lying naked on a battered couch, sold for $33.6 million at Christie’s equivalent sale. Freud thus joins the pantheon of the most collectable postwar artists, eclipsed only by Rothko, Bacon and Andy Warhol at auction.

This is a snippet of interest, with picture, that has been in the news for the past few days – I’ve been hoping that Remote Central might be able to post more information on this one.


Zanjan Museum houses Iran’s salt men

The Zanjan Archaeology Museum has housed four of the salt men discovered in the Chehrabad Salt Mine located in northwestern Iran.

Iranian archeologists have unearthed six salt men over the past decade, the first of which is housed at Iran’s National Museum.

The sixth salt mummy has been left untouched since a snowstorm hit its resting place earlier this year. The fourth Salt Man, placed in the Zanjan Archaeology Museum is in better condition.

Archeologists say the fourth salt man died during the Parthian era at the age of 15 or 16, while the first one died during the Sassanid dynasty when he was between 35 and 40 years old.

Salt Mummies update at Remote Central

St Mary’s Church, Houghton-on-the-Hill

Tuesday, 4th December, 2007

St Mary’s Church Houghton-on-the-Hill has been recommended as a very interesting and outstanding place to visit. It is on our ever-growing ‘To visit’ list.  The church is sited just outside North Pickenham, near Swaffham, Norfolk, UK. Grid ref: TF869053 or 586931,305358.

Towards the end of the twentieth century the village of Houghton-on-the-Hill and its church had almost dwindled to nothing more than a few lumps and bumps and a ruin. However, thanks to funding from several government bodies, numerous charities and private donations, together with the enthusiasm and hard work of The Friends of St Mary’s, the site has experienced a startling renaissance. Visitors from many parts of the world come to see the remarkable wall paintings, to worship at the church or to appreciate its beautiful setting.

How the church has changed over the centuries

There has been a church on this site since 630, the first one would have been constructed out of wood and consisted of a chancel and nave. This was pulled down and a stone building started in 750/800. This stone building would have had a round tower and apsidal (round ended) chancel some time between 950 and the 12th century the nave was heightened and the south aisle was built. To serve it two arches were cut in the south wall.
The shapes of the two semicircular-headed arches of the aisle can be traced in the south wall, with the plaster underneath the arches still visible. A holy water stoop and two alter niches created either side of the chancel arch are part of the original flint church

The north door is part of the original building. It was the custom that the north door be opened and left opened during the service and until the priest left, in order to drive Satan out. But during the 13th century all churches were ordered by Pope Innocent III to have the north doors blocked up, because he decided this was mere superstition. One door jab on the north side survives in the wall, with a tiny shaft supporting a miniature Romanesque cushion capital.

The most striking survival of this early period are the wall paintings on the east wall of the nave. They show a very rare image of the Holy Trinity. This is the earliest known example of a wall painting showing the Holy Trinity in this way in Europe, and most likely unique to Britain.

Several further alterations took place in the 15th century. The aisle was demolished and the arches filled in, a new door was made in the south wall. A large window with decorated tracery was inserted at the east end of the north nave wall. In the 15th Century the chancel was almost doubled in length to 26 feet and given a square end. This chancel survived until the 1760′s when it was then considered to be in a ruinous state demolished and the present chancel built.

There are two nave alters one either side of the nave arch which would have been used for low mass, these are presently blocked up and enclosed. Originally they would have been open in order for the congregation to view the proceedings in the chancel. These low mass alters represent a very rare surviving Celtic influence for an English church and is thought to be a surviving part of the church that was built in the 8th century. The rest of the original chancel was slightly narrower than the nave, and appears to be bonded into the east end of the nave showing that they were built at the same time. This can just be seen where the surviving masonry breaks the surface of the ground. Remains of the east end foundation (just below ground level) have been discovered, and confirms that the chancel had a rounded semi -circular east end (apsidal). This was the normal practice in the 10th century.

There is also evidence of Romano-British rounded chancel within the Anglo-Saxon chancel. Of special interest is the Anglo-Saxon keyhole arch in front of the alter, thought to be one of only two examples in England. (The other can be found at St Olaf’s chapel/church in Gloucester)

The present nave is estimated to have been built as early as the 8th century. The small round-headed double splayed windows in the north and south walls are also typical of this period. Another visible clue to the early dating of this part of the building is the use of long and short work at the corners of the nave , together with the use of the roman bricks. (Which look like very thick tiles). On the south side of the east wall and the north side of the west wall you can see the original line of the nave roof. The semicircular arch between the chancel and the nave also dates from around this time.

The tower is estimated to have been built in the 14th century perhaps earlier, replacing a round Anglo-Saxon tower. (Typical of this area at that time). Evidence for the round tower is the higher archway leading to the tower. The tower has been added to in height over the years. The first two sections are original, the second was added around 100 years later and in 1630 a steeple was added, however this was blown down in 1665.