Category Archives: Roman
“A nymph of stone, who from an urn doth pour into the pitches of both rich and poor, her limpid treasures from the Western Vale, whose unexhausted bounties seldom fail; and never grudging, ever generous she, with the first element for making tea. Thanks generous Rawdon for thy kind bequest, remotest ages shall the donor bless.”
A poem thought penned by Edmund Parlett, the poet-vicar of Broxbourne (1630-43)
Sitting outside of Hoddesdon’s Lowewood museum is a well-worn and beaten effigy. It stares forlornly into the street now bereft of function, but once it was a unique and curious conduit which provided the town with a supply of clean water. The scheme to provide fresh spring water to the town appears to be a lesser known and smaller scale attempt to emulate Sir Hugh’s great venture of Amwell and Chadwell. The source became later known as Spring Close or Conduit Close.
A sacred source?
The source for the town’s water for over 100 years was a spring at Goddes Well Acre, which one presumes derives from God’s Well (TL 084 075), although, local tradition dedicated the spring to the Greek Goddess Acre suggesting that this may have been a more Romanticised site than an ancient one. The Goddes Well was piped in 1622 to Rawdon House, the property of Sir Marmaduke Rawdon. An alternative source was said to be the Linch, which is first noted as such in 1569 as ‘pond called anciently called Le Linch.’ This still exists, but as it is the other side of the New River and so separated physically.
The conduit extended half a mile to the house via a lead pipe. Then in 1631, he decided that the excess water could be made available to the local people and set about debate, but it is believed that Edward Marshall, master sculptor of St. Pauls was responsible, being as he was master-mason of Rawdon House. The land relatingto the conduit house and conduit leading to Rawdon House was also conveyed to Hoddesdon Council, laying a further pipe from the house to the Market Place. Here was set up, the fine three quarters length statue of a woman carrying a pitcher. She is called The Good Samaritan, named after the Woman of Samaria who met Jesus at Jacob’s Well (Gospel of St. John IV verses 4-42).
The gift was a welcome one as so far the town had to depend upon shallow wells which were easily fouled. For 196 years the statue sat in the Market Place, attracting considerable notice by various authors.
Similarly, Matthew Priors (1715) in his Journey to Downhall states:
“Into an Inn did this equipage roll, at a Town they call Hodson the sign of the Bull, near a nymph with an urn, divides the Highway, and into a puddle throws Mother of tea.”
There is also a note of the structure in Henley’s Harnesse’s Addition:
“Conduits representing human figure were not uncommon: one of them, a female form and weather bitten, still exist at Hoddesdon in Herts.”
Loss of a nymph
Despite the gift the supply was later under dispute. In 1725, the son of Marmaduke Rawdon, allowed so much water to supply private dwellings and businesses (in particularly breweries) that its public supply was becoming too low. As a result the problem was solved by arbitration, and the award, found in favour of the inhabitants.
This notwithstanding in 1826, the flow of water was diminishing, and the position of the pond was found to be inconvenient, so it was filled in and the figure being replaced by an iron pump with a lamp on it. (It is further thought that due to the combined effects of weathering, misuse and drilling of holes for further pipes, the figure not only looked very disfigured but slightly obscene.) The figure was first removed to Turks butchers yard, here sadly it experienced considerable abuse: local boys used it as a target for stone throwing, an action which may have lead to her nose being broken off!
In 1893 a Mr. C. P. Christie campaigned for the restoration and re-erection of the monument at the north end of the Market Place, and a small pamphlet was produced to garner support. However, the scheme failed to materialise when it was suggested that it was too vandalised to make it suitable as a public sculpture. The figure then ended up at the Rye Farm, the works of the Urban District Council. Yet, here it saw even more abuse being covered by dirt and decapitated! It lay here for 40 years, until 1935, when it was restored by a Mr. Giddiness in view of being placed in front of the Council Offices. Sadly, again the scheme was shelved due to the war’s intervention, and consequently it was relegated to a pedestal at the rear of these offices.
Return of the Good Samaritan
Fortunately, by 1970 the scheme saw fruition and the statue was erected in the Lowewood Museum gardens, where it now pours water into a pond if it flows!. Her source may be different and the function pointless but at least the last of the female conduits survives even if the water would not make a decent cuppa!
For the last twelve months I have been cataloguing some of the rich sacred spring heritage of Sardinia. For the final post, perhaps the most fascinating sacred spring site has been saved until last!
For buried beneath a fairly ordinary Sardinian church is a unique marvel – an incredible relic of ancient times and a testament to the continuation of tradition and spirituality. For 1000s of years, generations of Sardinians – whether Nuraghic, Roman, Punic, Islamic or Christian have worship here at the sacred spring.
The site is in a remote place – remote in every sense – geographically, culturally and of course historically.
The village of San Salvatore is a typical example of a temporary religious centre, such as we discussed at Santa Christina. A village of 130 houses which apart from one house the village is completely deserted centred around its church of Jesus the Saviour. So deserted in fact that I feared that the church would only be open at specific times, as my guide book suggested, but I found it was. When the church is certainly open and the village comes alive in the first Saturday of September. It is then that the village swarms with attendees of the naked foot race. This race called the Corsa degli Scalzi or Barefoot Race is said to commemorate an 1506 Arab pirate attack that forced nearby town of Cabras to run to San Salvatore to hide their Saviour’s statue. The local faithful still run this dirt track in their white tunics and stone torn feet.
It is very tempting and indeed it is likely that this ritual arose from some ancient practice at the site. This is especially considering the autumnal date of the custom which would tie in with harvest festivities which certainly were celebrated by ancient civilisations. Essentially considering the name Saviour is the same as Sin Salvatore’s church. Is this some ancient processional ceremony to celebrate the harvest?
The site today
Arriving at the church, it is a fairly typical whitewashed Italian church. Not remarkable but pleasing to the eye, a simple two aisles divided by pillars. The only clue to anything unusual is that it is arranged in an unusual orientation. This is a clue to what lies within as its arrangement was presumably done to enclosure the original sanctuary.
It is this sanctuary that we have come here to see. A rectangular hatch in the floor opens up to reveal a step set of stone steps into a dug out chamber, made of sandstone and brick faced with cement – a hypogeum – not the only one in Sardinia but unique in what we find within.
The steps lead us to three separate chambers set off a central room in essence a cross arrangement. The shapes of the chambers with their dome roofs suggest partly a Roman origin. However, it is thought that the construction of the church may have removed any firm evidence.
The central chamber is dominated by a large square well, now dry. Originally this well’s water was obtainable from the church above by an aperture now closed up. The furthest chamber is the most interesting and looks like the most significant religiously. Here is found a small table altar, a semi-circular drainage hole and circular well shaft. It is this well which is believed to be the original nuraghic site, although the evidence is scant. There is certainly no lack of evidence for its usage. This evidence being on the amazingly preserved drawings or graffitos on the walls around the chamber. The wells were dry in August but that is probably significant I could not confirm it but I would reckon that the spring was flowing in September at the time of the festival.
The site was probably a baptistery, and the dedication of the church to Jesus may well suggest this, but it is also possible that the hypogeum was the shrine of some saint. There is support for this for in Mamertina prison, a healing well was said to have used by Saints Peter and Paul, the water of which came from the catacombs of St Elena. Early baptisteries were incorporated into church and it was only after the risk of persecution was lifted that they became separate buildings.
Father Aleu, in his Successos Generales de laisla de SardeIra” (Avvenimenti generali della isola di Sardegna), sud- isla de SardeIra (Events General of the island of Sardinia) is one of the first to describe in the 1684:
“San Salvador, whose church remains until now, and has an underground until now, and has an underground chapel in the form of sanctuary, and in the area above the ground you can see the ruins of brick and cloisters, which document the existence of a Monastery.”
“Vi era un altro insediamento-scrive Fra Alèu nel 1684-non lonta- This monastery is thought to date from 1070 and suggests an importance to the settlement long since past. However, dig beneath the surface and this history is indeed very ancient. Near the village itself are Roman remains. It is en route to the city of Tharros and along the Sinis lagoon are Neolithic towns. The presence of Neolithic towns along the banks of the lagoon Sinis have left not only obsidian tools and more significantly a Mother Goddess. Clearly a very significant location.
Once in the chamber one is struck by the otherworldly nature. Sardinia has many great relics. Indeed its domus tombs are amongst the most awe inspiring. However, there is something more atmospheric about this site. Part of this is due to the artwork and inscriptions – graffiti – from over the ages on the walls.
These inscriptions span the centuries from 16th century back to Roman. Drawn in charcoal for the most part, although some have traces of colour, probably ochre, they are Arabic, Latin and Greek in origin. Inscriptions some of scripture, some harder to decipher, animals, deities and various scenes, laying upon each other in a confused manner, even modern graffiti. Like many places more recent visitors have made themselves known such as a Fin Salvatore in 1920 which is on the central well. These modern inscriptions sit with older Latin writings from the fourth and fifth century AD although deciphering them is now difficult. It is possible that these and the Greek letters represent some sacred alphabet perhaps a magical incarnation or spell. This may explain the appearance of RF written eight times on the walls. One interpretation maybe that this is someones’s name – Rufus – another that it may derive from a Semitic prayer barb-pe-aleph (ip ‘), meaning ‘heal, save, give health.’ And may have been associated with the use of the well water.
Those who visit churches will be familiar with bosses, poppyheads and misericords showing strange animals often personifying human evils. It is probable that some of these images fulfil the same function. For on the walls are geese, dogs, and large cats. More interesting and again emphasising its classical origin there is a winged horse probably Pegasus and fish. Fish of course represent a secret code for Christians and their presence on the wall must be seen as significant. It emphasises the chambers use as a secret place of worship. Although one might question why did these early Christians not remove the signs of pagans – perhaps like in many other places they were attempting to assimilate not destroy signs of earlier worship.
Another possible link with the well is the presence of ships. Some of these are of local, fassoni reed boars, and possible ancient origin. Others are three mast ships, a feature which does not belong to the ancient world, but is rather typical of the sixteenth and seventeenth century. So why are they here?
It is probable that the ships were part of some long held ritual here. Boat images are quite regularly found in the nuraghic settlements as votive offerings and it is tempting to think that these drawings are part of a continuation of this. Particularly as one shows a human figure with their arms raised to the sky presumably as prayer. Were these drawings part of a long lost tradition of going votives to a sea deity perhaps linked to the waters of the well, which may have due to the proximity of the lagoons be saline? What is also interesting is that tradition may have connections to the Greek graffiti here – the Island of Delos – where God was born and ships shipwrecked. The fact that this tradition survived possibly from prehistoric times is remarkable.
Greek iconography is very evident in the shrine. Two particular deities are present – Hercules strangling the Nemean lion. This image is particularly interesting considering the role the cult of Hercules had in the late period of the Roman empire when he vied for religious dominance against Christianity, Mithrasm and other cults. However again, Hercules was adopted by the early Christians as a metaphor. His many labours recognised as a divine struggle akin to that central to the story of Jesus and indeed he was often called Soter – the Savior. The dedication of the current church may possibly be a link to another association preserved from ancient times.
The most remarkable graffiti is that of two female figures standalone, with corona radiata on their head: identifying them as a deity. Over their heads of the figures they are painted their names: VENVS and MVRS – Venus and Mars. Above them is a winged cupid with AMOR. As a result the interpretation of this scene is the love affair of Venus and Mars. One which was particularly significant in the political and religious life of Rome: The city founders, Romulus and Remus, were said to be the children of Mars and descendent from Aeneas, a descendent of Venus. What is interesting again is the context Venus was another cult, popular at the times of emergent Christianity, and its survival here like Hercules is perhaps an attempt to adopt it perhaps as Mary.
However, there is something more significant in line with the spring arising here. The appearance of the Venus is akin to that of a water spirit and indeed, Venus was a Goddess associated with water – being associated with the waves and the morning dew.
Move forward the centuries to the Arabic inscription in the third room, which reads translated as:
“In the name of God the merciful and gracious. There is no God except Allah …. and that Muhammad. It testifies that heaven actually exists and Hell really exists.”
This may date from 1509 a time when the Sardinian coast was subject to many Arab incursions and a landing occurred not far away at Cabras. The presence of the inscription may be due to the site being used as refuge or maybe a prison!
There is so much to observe in these four small chambers remote from the outside world. However what is clear that they remain a rare relic from an ancient time and a fascinating testament to how the faiths through the millennia had one central theme – the sanctity of water.
The Roman occupation of the island has left a few remains although not as many as the mainland Italy. The most remarkable of these is the spa of Caddas, called Aquae Ypsitanae, a name coined by Roman writer Tolomeo. It is an incredible survival nestling on the banks of the river Tirso. Established in the reign of Trajan the site consists of a forum, an amphitheatre (a few metres off site) and the spa. Being located at the most significant thermal region on the island, and even on a hot August day steam can be seen building up over its waters.
For those familiar with the site of Bath in England, the site is particularly interesting as it gives an idea of what that site would have looked like before its most recent improvement. The oldest section of the complex dates from the first century A.D. and it was occupied until third Century.
The central focus on the ruins is the 12 by 6 by nearly two metre deep natatio, or bath. This is filled by the thermal spring which arises to the south of the site. These waters were mixed in another bath with cold waters entering from higher above. In such a way waters could be controlled. Other baths exist to the north and a cloaca or channel through which the water drains into the river. Over the natatio was probably a barrel roof, the arches of which remain. These arches enter the most interesting relic a nympheum, which was probably a small chapel. Here Esculapio, God of healing and nymphs were invocated for their guidance and power.
These parts formed the original nucleus of the spa complex of which, a frigidarium, tepidarium and celidarium complex was used utilising cold springs.
The source of the waters
It was thought that an aquaduct provided water from Mount Grighini but it is noted that as water on site is still so abundant it would have arisen here. For above the Roman ruins are the large tanks holding the spring water. These have been carved into the rock and are despite their algae covered waters still flowing from here and through the complex. The hot spring arose separately in such a small distance from the cold springs a quite amazing fact for these early engineers to note. This hot spring is also a sulphur spring which has lead to healing properties.
Healing and cleaning waters
These waters of Aquae Ypsitanae were famed as the S’abba de su figau’ – the waters of the livers. However they are also said to be able to cure and relieve skin complaints such as dermatitis and psoriasis, bone ailments and respiratory problems. The hot waters also have had a more functional use. The large oval pools located outside the enclosed ruins were used, and may indeed still be, used for washing clothes. Touching the water it is exceptionally hot being 56OC
The Bagnio and beyond
Whist it is not beyond realisation that one could still utilise the spa site today. The town of Fordongianus is still a functioning Spa town beyond the site. A few metres from the Roman site until recently visitors could experience the hot waters in a Bagnio Termali. This nestles closer to the village and below the level of the road. Despite its fairly modern appearance the site dates from 18th century. The site derivs its waters from another spring which fortunately are slightly colder being 44OC Sadly it appears that the site is now closed it but spa bathing still survives with an enormous investment being made into a more considerable spa complex. As the small linear building is only big enough for a normal sized bath, the new establishments located more centrally in the town. These farm more modern hotel facilities still provide the same, if slightly more modernised, wellness treatments provided by the Romans – little changes. So not only can we marvel here the cleverness of the use of both cold and hot springs which the Roman engineers manipulated excellently to provide a tepid and more tolerable water, we can see its use remains today.
Many of Sardinia’s great sacred wells are found in romantic lost landscapes, dry arid fields or high in mountainous regions. However, one of the island’s most significant and evocative is found a few feet away from a busy main road, tucked behind an industrial estate and often overshadowed by the multiply planes which fly in and out of Olbia airport from across Europe. This well enclosed in a quiet oasis is that of Sa Testa, well sign posted from Olbia.
Discovery and artefacts
The site’s discovery was in the 1930s by shepherds seeking out water supplies. It was subsequently excavated by Franceso Soldati in 1938 and subsequently restored in 1969 by Ercole Contu. The work revealed bronze objects, such as dagger hilt, bracelet, ring as well as fragments of cup. These pieces placed the date of the site in line with the other sacred springs of the island, around Bronze Age end, 1200-900 BC.
However what is perhaps more amazing is that this was a site of continued ritual use. A fashioned juniper wood figurine was the most interesting. This was believed to present the archaic Greek God of Xoanon, a sort of phallic like large headed and little or in this case no armed deity, which dates from the 7th to the 6th centuries BC. Also found were thymiateria, Greek incense burners. Both finds clearly indicate that the site was of ritual use by a group unconnected ethnologically to the Nuragic people who built it. These was probably deposited by Phoenicians whose black painted bowls and pitchers were also found. However, the finding of jar and cup fragments from the Tuscan pottery production of Arezzo, emphasizing the influence of the Romans and their continued use if not for cult reasons than for domestic use.
The ritual use by the constructors is suggested by the curious circular courtyard arrangement, 8 by 7 metres approximately around the well. This appears have been constructed so that some ceremonial activity could be undertaken with the circle with the ‘priests’ or secular members watching from around the edge from a bench. One view is that this site like that of Santa Christina was aligned astronomically with the moon’s minimum and maximum declination during its 18.6 year cycle.
Although not the largest of the wells, it is nevertheless substantially made. Built with cut granite and shale blocks it covers a length of around 18 metres and consists of a circular courtyard,, trapezoidal entrance, staircase and a tholos roof to the spring head. A second tholos has been lost but steps still ascend to it.
Seventeen steps make their way to the clear deep water and to descend into them divorces you immediately from the hot air outside. The channel down through which these steps descend is made of shale and is narrow. What is also interesting in a paved over channel which goes from above the source and round into the source. Such an arrangement is usually stated to be collect run off but with a strong source even today in August why collect rain or condensation water? Was there another source above or was something else poured into the channel to collect in the well? Perhaps we shall never know what happened in this enclosure but despite the industrial and urbanisation around one can just feel the separation from modern times in the cool confines of its chamber.
“Solinus to the goddess Sulis Minerva. I give to your divinity and majesty [my] bathing tunic and cloak. Do not allow sleep or health to him who has done me wrong, whether man or woman or whether slave or free unless he reveals himself and brings those goods to your temple.”
So translates a thin lead rectangular sheet one of 130 found in 1979-80 in the hot spring at Bath, deposited in the shrine of Sulis Minerva, the Goddess of the spring. Theses so called curse tablets were written with a stylus in a cursive script and then rolled up with the writing innermost. Sometimes these sheets are nailed interestingly the word defixio being translated into fasten and curse! Sometimes the words are written backwards or lines written in alternating directions called asboustrophedon in Greek.
Interestingly, all bar one of the 130 concerned curses to do with stolen goods, so called ‘prayers for justice’. Thefts from Roman baths appeared to be a common problem and goods from gemstones, jewellery to clothing were stolen. Often the ‘victim’ was the perpetrator of a crime and the curse would range from sleep deprivation to death. For example:
“To the goddess Sulis Minerva. I ask your most sacred majesty that you take vengeance on those who have done [me] wrong, that you permit them neither sleep…”
Sometimes the curse would be more detailed in its instruction:
“Docilianus [son] of Brucerus to the most holy goddess Sulis. I curse him who has stolen my hooded cloak, whether man or woman, whether slave or free, that .. the goddess Sulis inflict death upon .. and not allow him sleep or children now and in the future, until he has brought my hooded cloak to the temple of her divinity.”
“ To Minerva the goddess Sulis I have given the thief who has stolen my hooded cloak, whether slave or free, whether man or woman. He is not to buy back this gift unless with his own blood.”
This named the culprits:
“I have given to the goddess Sulis the six silver coins which I have lost. It is for the goddess to exact [them] from the names written below: Senicianus and Saturninus and Anniola,”
“Whether pagan or Christian, whether man or woman, whether boy or girl, whether slave or free whoever has stolen from me, Annianus [son of] Matutina (?), six silver coins from my purse, you, Lady Goddess, are to exact [them] from him. If through some deceit he has given me…and do not give thus to him but reckon as (?) the blood of him who has invoked his upon me.”
So curses appeared a little extreme considering:
“Docimedis has lost two gloves and asks that the thief responsible should lose their minds [sic] and eyes in the goddess’ temple.”
The inscriptions follow a general formula, suggesting perhaps that there was a commercial scribe more than probable as many people were illiterate around that time. The formula was as follows the stolen property was declared and transferred to the deity so it becomes their loss, the suspect and victim are named and then the later asks for punishment to induce the theft back. The language is interesting being in Latin lettering but in a Romano-British hybrid, some argue some may be Celtic. The tablets are on show in the excellent Roman Bath museum for all to wonder at this curious custom.
When the foundations of the Grand Pump room were made in 1790, some strange pieces of a unique carving were discovered. Thought to represent a Gorgon’s head, it is said to have been sculptured by Gaulish artists around the first century AD and believed to hang over the entrance to the temple.
What is this image of?
One intretation is that the head, with its beard and thick moustache is surrounded by snakes . The Gorgon of course was killed by Perseus with the aid of Athene and significantly Minerva, part of the goddess complex of Sulis Minerva, is her Roman equivalent. This seems quite appropriate especially as the carving also appears to show wings which is commonly shown in Medusa images.
But wait a minute Medusa is female it is clearly a man!! I have another interpretation. I believe that this is a water god and the flowing serpents are not that but flowing water. I cannot clearly see any snake mouths. Certainly the face looks very Celtic, expectedly if it was carved in Gaul! So who is it? Well clearly it must be the original Celtic God of Sulis before its attachment to its female side – Minerva. Whatever, the real origin, we shall perhaps never know, but clearly the power of this image, reproduced in the shop many times is still evocative.