Excavations in advance of housing development at Longforth Farm, Wellington revealed limited evidence for late prehistoric settlement, but the principal discovery was the remains of a previously unknown high status medieval building complex. This is thought to have been a manor house and though heavily robbed, key elements identified include a hall, solar with garderobe and service wing. A forecourt lay to the north and a service yard with at least one ancillary building and a possible detached kitchen to the south. To the east was a complex of pits, enclosure and field ditches and a pond. ere was a restricted range and number of medieval finds, but together these suggest that occupation spanned the late 11th or 12th century to probably the 14th century. There was a notable group of medieval floor tiles and roof furniture, but documentary research has failed to identify the owners and any records relating specifically to this important building. One possibility is that it belonged to the Provost of Wells cathedral, and was perhaps abandoned in the 14th century when the Bishops may have established their court within the nearby and then relatively new market town of Wellington.
This first volume, presenting research carried out through the Exeter: A Place in Time project, provides a synthesis of the development of Exeter within its local, regional, national and international hinterlands. Exeter began life in c. AD 55 as one of the most important legionary bases within early Roman Britain, and for two brief periods in the early and late 60s AD, Exeter was a critical centre of Roman power within the new province. When the legion moved to Wales the fortress was converted into the civitas capital for the Dumnonii. Its development as a town was, however, relatively slow, reflecting the gradual pace at which the region as a whole adapted to being part of the Roman world. The only evidence we have for occupation within Exeter between the 5th and 8th centuries is for a church in what was later to become the Cathedral Close. In the late 9th century, however, Exeter became a defended burh, and this was followed by the revival of urban life. Exeter’s wealth was in part derived from its central role in the south-west’s tin industry, and by the late 10th century Exeter was the fifth most productive mint in England. Exeter’s importance continued to grow as it became an episcopal and royal centre, and excavations within Exeter have revealed important material culture assemblages that reflect its role as an international port.
Author: Central Committee of the British Archaeological Association for the Encouragement and Prosecution of Researches into the Arts and Monuments of the Early and Middle Ages
Gorhambury, just north of Verulamium, was the site of a substantial Roman villa complex which was excavated between 1972 and 1982 as part of a programme designed to test the interrelationships between villa sites in the Verulamium area and to examine trends in their growth, decline and prosperity. The villa was found to have grown out of a settlement belonging to the late Iron Age. A series of ditches of this phase enclosed an aisled barn, a nine-post granary and a circular house; these were the beginnings of a sequence of structures on the same spot which show increasing signs of Roman influence, all of which lay within the limits of the farmstead established at this early period. Timber buildings of the first half of the first century were followed around AD100, by a small but luxurious villa, rebuilt in the late second century, and thereafter in a gradual decline until its apparent abandonment around AD 350. Work on virtually the whole of the farmstead area has enabled a full sequence of plans of the main houses and all the ancillary structures - including barns, subsidiary housing and bath-houses - to be presented in the report. The catalogue of finds is an attempt to show the full range of material recovered from this working farmstead.
'A beguiling author who interweaves past and present' The Times Teenager Lewis Hoxworthy discovers a disturbing painting in a medieval barn; a find which excites archaeologist Neil Watson, who is excavating an ancient manor house nearby. But when a man is found shot through the head in Lewis's father's field and Lewis himself goes missing, it is Neil's friend, Detective Inspector Wesley Peterson, who faces one of his most intriguing cases yet. It seems that the Devon village of Derenham is full of secrets, both ancient and modern. As Neil uncovers the story of Derenham's medieval past, it becomes clear that the Doom, a 500-year-old painting of hell and judgement, holds the key to the mystery. And as events reach a terrifying climax, Wesley has to act swiftly if he is to save a young life . . . Whether you've read the whole series, or are discovering Kate Ellis's DI Wesley Peterson novels for the first time, this is the perfect, gripping mystery if you love reading Elly Griffiths and Ann Cleeves.
Analysis of hundreds of art works from the period provides insights into forgotten landscapes and hidden geographies.After the Napoleonic wars many wealthy British women and men settled along the coast in Liguria and travelled in Piedmont and Valle d'Aosta in search of warmth and health. They established English-speaking colonies of retired clerics, colonial officials, aristocrats and industrialists at places such as Alassio, Bordighera, Sanremo and Portofino. Many were keen artists.This book assesses hundreds of topographical drawings, paintings and photographs of north-west Italy produced by these British visitors and residents in the nineteenth and early twentieth century. Through the identification and analysis of these works, scattered today in private and public collections in Italy and Britain, it provides insights into the way Italian landscapes were understood and appreciated. Considered in conjunction with historical photography, maps, archives and fieldwork, they deepen our knowledge of past land management traditions and recover how the contemporary landscape looked. The artists are placed in their intellectual and geographical contexts; and interconnections between British and Italian artists and between topographical art and photography are explored. Different chapters assess the main subjects depicted, including mountains, seascapes, rivers, agriculture, trees and woodland, castles, churches, villages, industries and landscapes of luxury.anagement traditions and recover how the contemporary landscape looked. The artists are placed in their intellectual and geographical contexts; and interconnections between British and Italian artists and between topographical art and photography are explored. Different chapters assess the main subjects depicted, including mountains, seascapes, rivers, agriculture, trees and woodland, castles, churches, villages, industries and landscapes of luxury.anagement traditions and recover how the contemporary landscape looked. The artists are placed in their intellectual and geographical contexts; and interconnections between British and Italian artists and between topographical art and photography are explored. Different chapters assess the main subjects depicted, including mountains, seascapes, rivers, agriculture, trees and woodland, castles, churches, villages, industries and landscapes of luxury.anagement traditions and recover how the contemporary landscape looked. The artists are placed in their intellectual and geographical contexts; and interconnections between British and Italian artists and between topographical art and photography are explored. Different chapters assess the main subjects depicted, including mountains, seascapes, rivers, agriculture, trees and woodland, castles, churches, villages, industries and landscapes of luxury.
Walking in the Pyrenees, Matthew Parris stumbled upon a magnificent medieval house. Inspirational and instructional, this is the story of one man's dream to turn a forgotten ruin into his very own castle in Spain.
