Page 94 - Hrobat Virloget, Katja, et al., eds. (2015). Stone narratives: heritage, mobility, performance. University of Primorska Press, Koper.
P. 94
stone narratives
ing and worshipping. Central to the concept of Empire was the manifestation of a common
identity expressed through imperial power and imagery, language, ritual and beliefs, mon-
umental architecture and the introduction of coinage and a monetary economy primarily
through a paid, professional army. This theme is introduced through a varied and immer-
sive experience in a dark space and includes two audio-visual installations. The relationship
between Britain and the Empire is evoked through display of local objects (column capitals,
sculptures of deities, tombstones) juxtaposed with their equivalents from places across the
Empire (generously provided on long term loan from the British Museum).
The second theme (Figure 2) recognises that the Roman frontier in Britain ebbed and
flowed according to the success of the army, imperial ambition, politics and external pressures.
Hadrian’s Wall represents only part of the frontier narrative that began with the
advance of Vespasian’s troops into the north of England on their way into Scotland, in-
cluded the construction of both Hadrian’s Wall and the Antonine Wall, and continued
with the major third-century campaign under Severus and onwards to the end of Roman
rule. This clearly challenges the popular and erroneous impression in the UK and else-
where that Hadrian’s Wall marked (and still marks!) the boundary between England and
Scotland. Most people in the UK (including many Scots) have never heard of the Anto-
nine Wall and are not aware of the extent of Roman occupation and influence north of
Hadrian’s Wall. To emphasise the point that Hadrian was not the only Emperor involved
in this narrative, the Emperors Vespasian, Hadrian and Severus were chosen as key fig-
ures around which to construct the displays. An audio-visual installation graphically il-
lustrates the ebb and flow of the frontier in Britain and the relationship to frontier issues
elsewhere in the Empire. The location of this theme within the gallery is itself a border, a
transition zone between the immersive first theme and the more open, expansive zone that
follows. It includes also a reference to the archaeologically and historically poorly docu-
mented native people who would nonetheless have constituted the vast majority of the
British population.
The third and fourth themes (Figure 3) explore the idea of Britain as a Roman prov-
ince, generally and then with specific reference to the civitas of Carlisle.
Britain was, in the modern sense, a colony of the Roman Empire. The colony was ex-
pected to produce a return, to help pay for the army, the administration and to become a
part of the Empire. The Empire achieved these aims through control of the colony and its
people and the exploitation of its natural resources. Imperial officials administered the col-
ony and the Roman way of life was promoted amongst the native elite and amongst a multi-
cultural commercial class drawn from across the Empire. An urban way of life was a key ele-
ment of Romanitas; towns were where trade and commerce was carried out, where the elite
could show off and buy into the Roman lifestyle and where the influence and dominance
of Rome could be expressed through public buildings. Carlisle was the largest town in the
north of Roman Britain and was the military and administrative hub for Hadrian’s Wall
and the centre for trade and commerce in the region; it was the only town in the north of
Britain to be given the status of civitas – to have its own civilian government. This theme is
displayed in a light, open, spacious zone with more numerous objects, no audio-visual and
an area where children and adults can explore fashion and dress using modern versions of
Roman fabrics and jewelery.
92
ing and worshipping. Central to the concept of Empire was the manifestation of a common
identity expressed through imperial power and imagery, language, ritual and beliefs, mon-
umental architecture and the introduction of coinage and a monetary economy primarily
through a paid, professional army. This theme is introduced through a varied and immer-
sive experience in a dark space and includes two audio-visual installations. The relationship
between Britain and the Empire is evoked through display of local objects (column capitals,
sculptures of deities, tombstones) juxtaposed with their equivalents from places across the
Empire (generously provided on long term loan from the British Museum).
The second theme (Figure 2) recognises that the Roman frontier in Britain ebbed and
flowed according to the success of the army, imperial ambition, politics and external pressures.
Hadrian’s Wall represents only part of the frontier narrative that began with the
advance of Vespasian’s troops into the north of England on their way into Scotland, in-
cluded the construction of both Hadrian’s Wall and the Antonine Wall, and continued
with the major third-century campaign under Severus and onwards to the end of Roman
rule. This clearly challenges the popular and erroneous impression in the UK and else-
where that Hadrian’s Wall marked (and still marks!) the boundary between England and
Scotland. Most people in the UK (including many Scots) have never heard of the Anto-
nine Wall and are not aware of the extent of Roman occupation and influence north of
Hadrian’s Wall. To emphasise the point that Hadrian was not the only Emperor involved
in this narrative, the Emperors Vespasian, Hadrian and Severus were chosen as key fig-
ures around which to construct the displays. An audio-visual installation graphically il-
lustrates the ebb and flow of the frontier in Britain and the relationship to frontier issues
elsewhere in the Empire. The location of this theme within the gallery is itself a border, a
transition zone between the immersive first theme and the more open, expansive zone that
follows. It includes also a reference to the archaeologically and historically poorly docu-
mented native people who would nonetheless have constituted the vast majority of the
British population.
The third and fourth themes (Figure 3) explore the idea of Britain as a Roman prov-
ince, generally and then with specific reference to the civitas of Carlisle.
Britain was, in the modern sense, a colony of the Roman Empire. The colony was ex-
pected to produce a return, to help pay for the army, the administration and to become a
part of the Empire. The Empire achieved these aims through control of the colony and its
people and the exploitation of its natural resources. Imperial officials administered the col-
ony and the Roman way of life was promoted amongst the native elite and amongst a multi-
cultural commercial class drawn from across the Empire. An urban way of life was a key ele-
ment of Romanitas; towns were where trade and commerce was carried out, where the elite
could show off and buy into the Roman lifestyle and where the influence and dominance
of Rome could be expressed through public buildings. Carlisle was the largest town in the
north of Roman Britain and was the military and administrative hub for Hadrian’s Wall
and the centre for trade and commerce in the region; it was the only town in the north of
Britain to be given the status of civitas – to have its own civilian government. This theme is
displayed in a light, open, spacious zone with more numerous objects, no audio-visual and
an area where children and adults can explore fashion and dress using modern versions of
Roman fabrics and jewelery.
92
