DOCUMENT RESUME

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AUTHOR Watson, lain TITLE . A Teacher's Handbook. [Revised]. ISBN ISBN-1-85074-684-2 PUB DATE 1998-00-00 NOTE 44p. AVAILABLE FROM English Heritage, Education Service, 23 Savile Row, W1X lAB, ; Tel: 020 7973 3000; Fax: 020 7973 3443; E-mail: [email protected]; Web site: (www.english-heritage.org.uk/). PUB TYPE Guides Classroom Teacher (052) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Archaeology; Foreign Countries; Heritage Education; *Historic Sites; Historical Interpretation; Learning Activities; Secondary Education IDENTIFIERS *England (); English History; Mosaics; *Roman Architecture; Roman Civilization; Roman Empire; Site Visits; Timelines

ABSTRACT Lullingstone, in Kent, England, is a Roman villa which was in use for almost the whole period of the Roman occupation of Britain during the fourth century A.D. Throughout this teacher's handbook, emphasis is placed on the archaeological evidence for conclusions about the use of the site, and there are suggested activities to help students understand the techniques and methods of archaeology. The handbook shows how the site relates to its environment in a geographical context and suggests how its mosaics and wall paintings can be used as stimuli for creative work, either written or artistic. It states that the evidence for building techniques can also be examined in the light of the technology curriculum, using the Roman builder activity sheet. The handbook consists of the following sections: Why Visit Lullingstone Villa?; Understanding the Site (Historical Background; Lullingstone's Later History; Roman Villas in Kent); Timeline; Documentary Sources; Resource Sheets (Understanding Archaeology; Found at Lullingstone; Religion and Ritual; The Roman Builder's Handbook; Mosaics; Life in the Villa; Taking a Bath at Lullingstone); Educational Approaches (Building Techniques; Everyday Life at Lullingstone; Religion; Archaeology; Presenting the Site to Visitors; Lullingstone across the Curriculum); Activity Sheets (Archaeology Training Sheet; Lullingstone on Display; Pagan or Christian?; The Roman Builder; Then and Now); and Bibliography and Resources. Containsa bibliography and list of resources. (BT)

Reproductions supplied by EDRS are the best that can be made from the original document. : A Teacher's Handbook [Revised]

lain Watson

U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement PERMISSION TO REPRODUCE AND EDUCATIONAL RESOURCES INFORMATION DISSEMINATE THIS MATERIAL HAS CENTER (ERIC) BEEN GRANTED BY Verhisdocument has been reproduced as received from the person or organization originating it. Coral Seeley Minor changes have been made to improve reproduction quality TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) Points of view or opinions stated in this document do not necessarily represent official OERI position or policy.

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A TEACHER'S HANDBOOK1 Arranging a visit to Lullingstone Roman Villa

to London to to Dartford

Location ), 1120 Lullingstone Roman Villa is situated about 1 km south-west of village, Kent, on the banks of the . Eynsford lies on the A225 Dartford- road. The villa Lullingstone is signposted from Eynsford village. Roman Villa There is a regular train service to ynsford Eynsford, and it takes about 30 nsford minutes to walk from the station to Railway Station the villa. Facilities The remains on display to the 4 public are sheltered from the to Tonbridge to Maidstone elements by a modern cover building. There is one small kerb Free educational Safety and between the car park and the cover visits supervision building. Inside, the walkway that surrounds the remains is easily Free visits are available to pre-bookedRemember that ancient buildings accessible to wheelchair users. The educational groups. Bookings should can be dangerous. While every viewing balcony is reached by be made at least fourteen days in effort has been made to protect flights of wooden stairs. The rooms advance of your visit. Booking forms visitors from unsuspected hazards, it are labelled with reference and information about site opening is not possible to make a ruined numbers, and numbers in this hours are available from building as safe as a modern one. handbook relate to these. There are Stress this to your pupils before some showcases on the ground English Heritage Education Service, your visit, and ensure that they are floor, containing some of the finds Freepost 22 (WD214), closely supervised at all times while from the excavation. London SW1E 5YY. on site, outside as well as inside the There is a car and coach park next Tel: 0171 973 3442 cover building. There should be a to the site. There are toilets in the Fax: 0171 973 3443 ratio of at least one adult to every car park, which are on ground fifteen pupils, and it is your level, but are not specifically If your pupils are to get the responsibility to make sure that all designed for wheelchair access. maximum benefit from their visit to your adult helpers are properly A small shop sells books, souvenirs Lullingstone Roman Villa, it is briefed. Check with your Local and a limited range of essential that you make a preliminary Education Authority about refreshments. planning visit. Your group visit permitinsurance and health and safety allows you to make a preparatory visitrequirements. to the site free of charge.

Written by lain Watson Edited and produced by Jennie Fordham Designed by Nick Cannan Additional illustrations by Peter Dunn Printed by Hythe Offset, Colchester Printed on recycled paper. First published by English Heritage 1991 Revised and reprinted 1998 © English Heritage 1998 The activities in this handbook remain copyright of English Heritage, but may be reproduced without written permission by educational institutions for free distribution for their own educational use. ISBN 1-85074-684-2 Frnnt rover. Mncair frnm flnnr of audience chamher_showing Snring. (English Heritage Photo Library) A Lullingstone RomanVilla A Teacher's Handbook Iain Watson

Contents

page

Why visit Lullingstone Roman Villa? 2

Understanding the site 3 Historical background 3 Lullingstone's later history 3 Roman villas in Kent 3

Timeline 8

Documentary sources 10

Resource sheets 12 Understanding archaeology 12 Found at Lullingstone 14 Religion and ritual 15 The Roman builder's handbook 16 Mosaics 17 Life in the villa 18 Taking a bath at Lullingstone 20

Educational approaches 21 Building techniques 21 Everyday life at Lullingstone 22 Religion 23 Archaeology 24 Presenting the site to visitors 24 Lullingstone across the Curriculum 25

O Activity sheets 28 Archaeology training sheet 28 (- Lullingstone on display 30 One of the marble busts from the cellar. Pagan or Christian? 31 The Roman builder 32 Then and now 34

Bibliography and resources 35 Why visit Lullingstone?

Lullingstone is an exceptional site finds from Lullingstone are also The villa as it appears today which offers a wide range of study displayed. areas for teachers and pupils to The site has a mystery and interpretation of the archaeological explore. It is primarily of interest as excitement about it, partly because evidence called into question some an example of a Roman villa which of its post-Roman history. Much of Meates' interpretations, and so was in use for almost the whole brick and tile was removed from the there remains scope for your pupils period of the Roman occupation of villa in the post-Roman period, to make their own judgements and Britain. The fortunes of the villa andsome of it again re-used in medieval suggestions. its owners fluctuated with the times for the building of Lullingstone offers an excellent prevailing conditions in the Roman Lullingstone church. The whole site opportunity for groups studying Empire at the time and the site was later buried by clay slipping . This handbook also reveals periods of great opulence as down from the hillside above. This shows how the site relates to its well as periods of decay. explains the exceptional level of environment in a geographical In the fourth century two superb preservation, and in particular the context and suggests how the mosaics, clearly designed to impress height of standing wall which mosaics and wall paintings can be visitors to the villa, were installed by survives on some parts of the used as stimuli for creative work, the wealthy owners. With their site.The mosaics were discovered in either written or artistic. The subjects featuring classical myths the late eighteenth century when evidence for building techniques can they would have given the holes for fence posts were being dugalso be examined in the light of the impression (whether true or not) around Lullingstone park. Full technology curriculum, using the that the owner was an educated excavation of the site started in 1949Roman builder activity sheet. The person, familiar with classical under the direction of Colonel G.W. evidence of pagan and Christian literature. At the end of the century Meates. religion at the site can be used in rooms to the north of the villa were Throughout the book, emphasis is religious studies teaching. converted into a Christian chapel, placed on the archaeological Older students can examine the site and these are perhaps the most evidence for conclusions about the as a leisure attraction, investigating impressive remains at the site. This use of the site, and there are how it is explained to visitors, and was recognised by the fact that the suggested activities to help pupils the extent of the visitor facilities.The chose to understand the techniques and activity sheet Lullingstone on display reconstruct the Lullingstone chapel methods of archaeology. Some of gives a focus for pupils to make in their Romano-British galleries the theories about the use of the site their own decisions about presenting where some of the more important remain tentative, as later the site to visitors. Understanding the Site

Historical backgroundalthough the symmetry sometimes century. The Gentlemen's Magazine disappeared as new rooms were recorded in 1823 that a tessellated Lullingstone is a very complex site. It added. pavement and various other Roman is the remains not just of a building at Finds of pottery and coins indicate objects had been found in the area. In one particular period, but of a that there were people living around 1949, under the direction of Colonel complex group of buildings which Lullingstone before the first villa was Meates, a group of archaeologists changed and developed over built and on the hill above the villa arebegan the excavation of the site. In time.The archaeological remains you traces of an Iron Age settlement. A 1958 the whole site was taken into can still see were built, at different timber villa may have been built at guardianship by the then Ministry of times, over a period of approxim- Lullingstone towards the end of the Works, which erected the cover ately 300 years. Sometimes rooms first century AD, by which time this building to protect the majority of the were rebuilt, almost in the same place,part of southern Britain was securely remains. The site was opened to the sometimes they were demolished and under Roman control and London public in 1963, and is now in the care new rooms with walls in quite was the administrative capital of the of English Heritage. different places were built. The use ofarea. individual areas of the villa changed Roman villas in Kent frequently as well. The villa would have been the centreLullingstone's later There are thirty known villa sites in of a large agricultural estate farming history modern day Kent. This was one of the fertile valley of the River Darent the first areas to be conquered by the and the adjacent chalk hills. It was At some date, perhaps a few hundred Romans, and quickly became stable one of a number of villas along the years after the fire which destroyed and prosperous. It was close to river, which were about 4-5 km apart. the villa early in the fifth century, London, the seat of provincial It was situated to benefit from naturalmuch stone was removed to build government for most of the Roman,& advantages: Lullingstone church. Stone may also period and rich villa owners could have been taken for other buildings oreasily journey to London from their the clear stream (which, as well as field walls. The remains of the villas in Kent. Many of these villas, providing a source of water, may havemausoleum may have been like Lullingstone, have elaborate powered corn mills and may have incorporated into Lullingstone churcharchitecture. There are very few been used for transport) in the Saxon period. mosiacs in Kent however, and it is the Some time after, in the medieval quality of those at Lullingstone which a steep slope protecting the house period, part of the hillside slipped andadd to the importance of the site. buried the villa which is why it is so The villas are generally situated in a fine south-easterly view well preserved. The villa was the valleys of the rivers which flow rediscovered in 1939, although the down into the Thames, especially the fertile land in the valley for growingpresence of Roman remains was Darent and the Medway and at the crops suspected as early as the eighteenth northern foot of the downs, close to

extensive woodland providing building timber and fuel.

A villa is a Roman rural dwelling, inhabited either by a Roman or by a native Briton who had adopted Roman ways. It contrasts with the round huts which the native British farmers lived in before the Roman invasion and which continued to be 0 used throughout the Roman period. Villas varied greatly in size and richness and, at their simplest, were little more than a number of rectangular rooms. Typically, like Lullingstone, they consisted of a number of rooms planned, initially, in a symmetrical fashion often around a courtyard or along a corridor, The granary, during excavation, with the lane leading to the river in the background. (the road from - excavations were courtyard belonging to a Roman to London).Villas existed in Roman carried out in the 1960s and again invilla. Further excavations in 1971 times near the following sites: the early 1970s. The villa appears to revealed walling, rubble, plaster and have been continuously occupied pottery. Most of the finds are in Dartford - the remains of two villa from the first century AD to the lateMaidstone Museum. Pottery and sites are known near Tenter's Hill fourth century and, like coins from the first to the fourth Fields. The site was excavated in theLullingstone, to be of winged centuries were found. 1980s revealing an H - shaped villa corridor shape. occupied around AD 250-300. Crofton - dating from about AD Shorehamthe hypocaust of a 100-400, this was a modest villa Darentha large courtyard villa was probable villa was discovered here inalthough it did have a number of excavated in 1894-5 and again in 1947-8 by Colonel Meates, who tiled floors and an underfloor 1969. Evidence was recovered for a directed the excavations at heating system. Development in the baths suite, extensive outbuildings, Lullingstone. nineteenth century destroyed much hypocausts, tessellated pavements, of the archaeology of the site, but painted wall plaster and window - excavations in 1927-8 the villa remains are open to public glass. revealed part of a corridor and view.

AD 100-150 foundations at the front of it were probably buttresses to support it. History The south wing room, room 7, was probably a living room, although no floor survived in this room.Behind Around AD 100, a small villa was built, with timber walls room 7 was room 8, which was probably a kitchen. on top of flint foundations. The villa wassymmetrical and Colonel Meates thought it was an open courtyard, but this is of a type known as the winged corridor villa. We do not is unlikely as it does not fit in with the pattern of villas know who lived in the villa at this time but it is likely to such as this. At the centre of the villa was the most have been a wealthy Romano-British farmer and his familyimportant room, the dining room, room 22. It did not who may have traded produce into London. have an elaborate mosaic at this time but may have had a tessellated floor, made of small pieces of cut pink tile. Description Room 25 may have been a bedroom. Another corridor, room 21, ran right along the back of the villa. The villa was smaller than the remains you can see today, (Numbers, in this and the following history sections, refer and may have replaced a wooden villa built twenty or so to the complete plan inside the back cover) years earlier. It had low flint walls, calledfootings, and on top of these the walls were made of timber up toroof Things to look for height. Good building stone was in short supply in this area, but there was plenty of woodland forobtaining the slope, or ramp, on which the wooden stairs would timber. Because flint is found in irregularly shaped pieces have been built and is almost impossible to square off, the walls were bonded with mortar. This was made from limestone which how rooms 4 and 7 form wings to either side of was heated, crushed and mixed with water.The timber corridor 6. was probably plastered on the inside. The mostnortherly rooms in the fast villa were the rooms labelled4-5. Here the builders took advantage of the slope of the land down towards the river Darent to construct a cellar room, which you look down into today. The cellar mayhave been used for storing grain as the Iron Age tribes in this part of Britain used pits to store grain and the Romans took up this practice. Rooms 4 and 5 formed one of the 'wing rooms' of the villa. At this time room 6 was a verandah or corridor linking room 4 to the other wing room, room 7. The entrance to the cellar was by a wooden staircase leading down from the verandah. (This entrance was blocked by the later insertion of the niche painted with .) The cellar was also directly accessible from room 5, which at that time was a passageleading from the 10 15 mon entrance to the villa. '6 The verandah, room 6, ran along the east side of the 10 20 30 10 50 audience chamber, linking the north and south wing Feet rooms. The verandah was comparatively narrow and the Plan of the first masonry villa.

A AD 150-275 grain. In a niche on the south wall, blocking the History original opening into the cellar, was a painting of About AD 150, or shortly after, the villa was extensively three water nymphs. The remodelled, using flint and tile rather than timber and central is shown daub as building materials. Further improvementswere with water flowing from made about AD 180 when a bath suite, includinga her breasts and reeds g plunge bath, was added at the south end, probably sprouting from her hair. replacing earlier baths. Changes were also made to the We think that the cellar cellar. was used at that time as a From about AD 200 onwards the villa appears to have household shrine, z been neglected. There was no new building and rooms possibly to the water began to fall into disrepair. This period was one of spirits of the river turbulence and economic stagnation throughout the Darent. Wall painting of the three water western part of the Empire. In AD 195, Clodius Albinus, At the south end of the nymphs in the cellar. the governor of Britain led a revolt against Rome, and it villa, you can see the was a number of years before the Roman Empire steps which formed part of the corridor separating the regained full control over Britain. Colonel Meates main building from the baths. At this time the baths thought that the villa had been abandoned completely in consisted of the recreation room (17), hot dryroom the third century. He thought this because the fabric of (12), hot room (11), hot plunge bath (13), tepidroom the building had considerably decayed, and because he (14), cold room (15) and water tank (16), witha furnace discovered two pits that had been dug in a room at the at the west end (10). (See page 20 for a description of back of the villa, apparently as tanning pits bya leather how the baths were used.) maker (they were full of leather boots and sandals). The Behind the villa a kitchen was built, notnow on show to foul smelling tanning process was unlikely to have been the public. Kitchens and bath houseswere often carried out in an inhabited villa. However, evidence fromseparated from other buildings because of the risk of fire. coins and pottery found on the site suggests that the villa It was 9m long by 6.5m wide, was supported by pairs of continued to be occupied throughout the third century. massive posts and had a concrete floor. At thewestern end were two large ovens which would have been used Description for baking. Archaeologists found a circular flint wall whichwas The expanded villa kept the same basic plan butwas probably the foundation for a timber-framed buildingon extended north and south. The new extensionswere the hillside above the villa. Whilst most Roman buildings separated from the main villa building by narrow were rectangular, estate workers frequently lived in passages. Symmetry was still important although, like round huts, similar to the huts built by Iron Age farmers many other villas, Lullingstone was now less symmetrical before the Roman conquest. This building, which isnot than when originally built. now open to the public, has a tessellated floor, made up In the main block of the building the main changesat of thousands of small pieces of cut tile. We think itmay this time were in the cellar. The staircase from the have been a shrine. verandah was blocked and the only entrance was from As all the rooms of this period were modifiedat a later the north passage. The cellar now had very elaborate date, there are few obvious pieces of evidenceto look wall paintings, and was clearly no longer just a store for for.

Plan of the remodelled villa, with the baths added, in use AD 150 - 200.

s-- furnace for heating these rooms was in room 1 and the room to the east of this, (now no longer visible). In this period both entrances to the cellar were blocked. Colonel Meates found that the blocked off steps into the cellar had been used as a plinth on which to display two marble busts. In the floor around the busts were buried four pots, perhaps put there to receive libations to the souls of the dead. One of them was engraved with the word `suavis', meaning 'sweet'. The room had a thick concrete floor and in the centre was a pit, approximately 0.9m deep, lined with chalk blocks. This pit may have filled naturally with spring water. Access An artist's impression, showing how the mausoleum might into the cellar at this time must have been directly from the have looked. room above, but no evidence of this remains. AD 275-350 The baths were enlarged and the cold room was extended over the south corridor and a new large, plunge bath built. History The apsed, or round-ended, plan of the dining room allowed couches to be placed around the room with a At the end of the third century the villa was extensively central tableRoman diners reclined on couches to eat refurbished. In the main villa building the east corridor (6) formal meals. This mosaic has scorch marks from where was widened over the buttresses in front of it. The baths burning timber fell on it in the final fire which destroyed were extended and a hypocaust system was installed to the villa. provide heating for a group of rooms on the north side of the villa. The large granary (now under the car park) and the temple mausoleum (not on show) were built. The death of two young people, a man and a woman, possibly at the same time, must have had a major impact on the life of those living in the villa at the beginning of the fourth century. Description

At the north of the villa, room 26, and rooms 1,2, and 3 (with hypocaust heating) were added. Heat from a furnace under the modern pavement circulated beneath a floor 5 supported originally on stacks of tiles (pilae), and up "- through chimneys set at intervals along the wall. The TIV5`.1. chimneys are an important part of the system as they Arch under the floor of room 3, which was part of a hypocaust provide the draught to draw the hot air through the flues; heating system. This photograph, taken during excavations, they also meant that the walls were heated. The arch in the shows the arch still blocked with soil and rubble. wall separating rooms 2 and 3 was originally beneath the floor and allowed the heat to pass through the foundation Room 25 is in the area of the villa where a bedroom might which supported a wall above. It is possible that the be expected. The granary was a large rectangular building 24.4m by Plan of the villa, between Al) 275 and 350, with the row of 10.7 m. It was specially designed with a raised floor which heated rooms at the north end. allowed air to circulate underneath so that the grain would not rot. It is one of the largest granaries found in a villa in Britain; from the size of the granary floor it has been calculated that the villa might have had 235 hectares of land growing wheat and oats. Things to look for

the arch between rooms 2 and 3

painting of three female figures in the cellar

the shape of the dining room

flues, made of hollow tiles, in the north and west walls of C room 3. in AD 350425 History --...------___, lit0 ._..._ ..... In about AD 360 rooms over the ...,...., .... ,...... , cellar on the north side of the villa Ili 41 u,, Id,..,,,,..,.ethil were converted into a Christian . 1 ss eV.ZV; e:\ '+.--63 a ,,,QP''!) & , chapel. From this we can assume `....'1.41C.vel,`. ,..*,.( .0 , t , ,..1 ,,,,, , ctil '.Oak)c',,, ....-''. the the family had adopted Christianity. In the mid-fourth century, around t\ AD 360, there were further \/I 1 improvements when the large apsed, or round-ended, dining I room was constructed. This cut An artist's impression of how the chapel at Lullingstone may have looked. through the west corridor of the villa. The original dining room became the audience chamber, leading into the dining height, still with their elaborately painted plaster. It is room. Fine mosaics were laid in the principal rooms. not known whether the fire was started deliberately or They were designed to impress visitors and, laid by accidentally. Archaeologists found the remains of the skilled mosaic workers, were an expensive luxury. debris that had fallen when the building burned as well By the beginning of the fifth century many towns and as many charred timbers and the nails remainingfrom villas were already in decline as a result of the unrest in timbers that had burned. the preceding years. The Roman army had been significantly reduced in number and from about AD Description 407 troops in Britain were probably no longer paid. Soldiers, who had probably been born and brought up In the fourth century the hypocaust system was filled in Britain, are likely to have stayed in the locality of theirwith rubble and the rooms were given a wooden floor. forts with their wives and children, perhaps as farmers. Room 3 became an ante-chamber leading into the AD 410 is usually known as the date which marks the chapel which was above the cellar. Many fragments of formal end of the Roman Empire. In that year the plaster had fallen down into the cellar from the room Emperor Honorius wrote to Britain, withdrawing above. These fragments were pieced together to show support and defence. Romanised life in Britain was that the rooms above the cellar had been decorated with coming to an end. By the middle of the fifth century beautiful wall paintings, indicating that the owners were Germanic tribes (Angles and Saxons) had invaded and still prosperous. The frieze, which we think was on the settled in parts of the south east. west wall of the room, showed six figures with their The villa at Lullingstone was occupied into the fifth arms outstretched in the style of early Christians at century, although the bath area had fallen into disuse prayer. Each figure was separated by a painted column. and the baths were filled in. By this time the economic It has been suggested that these figures may have been system upon which villa estates depended was breaking representations of members of the family, but we cannot down.The end of occupation at Lullingstone came with be sure of this. Painted on its south wall was a large chi- a major fire. The house burnt down, but many of the rho symbol (taken from the first two letters of Christ in walls were probably left standing to a considerable Greek). Things to look for

the slots, for the joists for the wooden floor, in the top of the wall between the cellar and rooms 1 and 2

reproduction of the wall paintings on the wall by the site entrance and scorch marks on the mosaic where burning limbers fell.

Plan of the villa after AD 360, showing the large, apsed, dining room.

_ Timeline c. 300-350 Granary and mau- soleum built. AD 1- 43 AD 43 - c.100 c. AD 330-350 Traces of an Iron Pacification of the Coins buried in pit II. Age settlement tribes of southern 1i-- in room 8. from this period on Britain. A timber the hill behind the villa may have been villa. constructed at AD 200-275 Lullingstone The fabric of the towards the end of villa decayed, this period. although it did con- tinue to be occupied.

c. AD 100-150 c. AD 180 Villa with timber Villa remodelled walls on flint foot- and a bath suite c. AD 275-300 ing constructed at built on the south Lullingstone about North side of villa side of the villa. -u remodelled and a the beginning of Circular shrine this period. row of heated built. rooms constructed.

. - °.

55 BC and 54 BC I Julius Caesar led AD 61 I AD 313 his expedition to Boudican Revolt Edict of Milan Britain. London sacked, but Kent largely legalised unaffected. Christianityprevi- ously Christians needed to keep their worship secret.

AD 43 AD 195 AD 208 Conquest of Britain Revolt against Emperor Severus under Emperor Rome by Clodius came to Britain to Claudius. Albinus. restore control.

AD 367 Roman Britain attacked by land and sea.

e's 10 LI-, 1 CIL ..J Gentleman's Magazine records c. AD 350 AD 1949-1961 tessellated pave- Construction of Excavations at ment, coins and large, apsed dining Lullingstone under other relics near room; laying of the direction of Lt the ruins of mosaics. Col G.W. Meates. Lullingstone Church.

c. AD 600-800 AD 1788 AD 1958 Remains of temple Lullingstone taken mausoleum may Roman bricks and a mosaic pavement into guardianship have been incorpo- by Ministry of c. AD 360 found when digging rated into Public Buildings The inhabitants in fence posts. Lullingstone and Works. adopted church. Stone and Christianity and tile also robbed converted heated from villa. rooms and cellar Hill wash buried into a Christian part of the remains AD 1963 church. of Lullingstone, Site opened to public.. preserving them beneath a thick c. AD 420 layer of mud. Lullingstone destroyed by fire.

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: :6 . . 6. :6 ...... AD 410 Sack of the City of Rome by Alaric and the Visigoths. Letter sent by Emperor Honorius urging -III people of Britain to defend themselves, as Roman support could not be main- tained.

Mosaic in the audience chamber showingI Bellerophon riding the winged horse, Pegasus. In the corners are the Four Seasons. I 9 Documentary Sources

The discovery of Lullingstone "...a small group...began a long and painstaking field survey The story of Lullingstone's survival is an of the upper part of the valley from Farningham to Orford. interesting and amazing one, and it is Every field and hedgerow was scrutinized. The river banks, continuing to the present. The story of molehills and rabbit burrows were examined, often with the discovery of the villa can be traced success. In a number of placessmall quantities of Roman through the writings of those who were brick and tile with pottery fragments came to light....All associated with the find. these marks of Roman occupation were inserted on the map Colonel Meates, who directed the later and it was at once evident that a building of some size had from excavations at Lullingstone, described existed once every two or three miles along the valley how local amateur archaeologists began Orford to Dartford With one exception. A gap occurred at their work in the Darent valley where Lullingstone." (Meates The Lullingstone Roman Villa there were already known to be three Excavation Report, Vol I) villas (South Darent, Farningham and Otford).

Hidden away in an issue of the "The beautiful site of Lullingstone was not, it appears overlookedin archaeological magazine for Kent the Roman times. Near the north-eastern boundary of the park atessellated archaeologists then found a reference to an pavement [mosaic] was discovered in the course of thelast century...." article in The Gentleman's Magazine for 1823.

"From the smallness of it, it appears to have been of Saxon This article then provided a reference to a architecture, and built with flints and Roman bricks, the westend book published by local historian John being chiefly of the latter. That the Romans had astation (fort) or some Thorpe in 1788, called Custumale Roffense. building at this place is evident; for the late Thomas He described the church at Lullingstone, Chfflnch informed me that Roman bricks had been dug up near of which there is now no trace, but which the said ruins, and in digging a hole for the third postof the paling may have been above the temple from the park gate, part of a tessellated pavement wasdiscovered...." mausoleum.

In addition to the mosaics a room began to be excavated The information from these writings helped immediately north east of the mosaic floor and west of the road, and archaeologists narrow down their search for after prolonged work it became clear that this room was seateddeep in the site, although the landmarks described ha the earth. The walls were of unusual height, and at the southend of the all disappeared and it was the lucky sight of house, where the baths were later recognised, the walls also rose to an Roman pottery in the roots of a fallen tree th unusual height?' gave archaeologists the clue where to begin (Meates The Lullingstone Roman Villa Excavation Report VolI their excavations. p.16) Excavations began in 1949.

One of the last incidents in the amazing story of Lullingstone's discovery happened in 1956 when the River Darent burst its banks flooding the excavations at Lullingstone. The excavators thought it was a disasier and that much valuable evidencewould have been lost. In fact the flood water dislodged someflints from the top of the cellar wall revealing the arch above thewall painting of the nymphs. Without the flood the painting wouldprobably never have been discovered.

IA Living at Lullingstone "In the first part of it the entrance room is plain but not mean. Next there are colonnades which come together in a form very much like the There is little written information about letter D, enclosing a small but pleasant area. This affords an excellent life in villas in Britain, but descriptions of retreat in bad weather, as it is protected....by the overhanging roof villa life in Italy may give some clues. The Beyond the middle of this there is an attractive inner court, and next a main difference would be the weather - in very handsome dining room....on every side this room has folding doors Britain villas would have to offer more or equally large windows, so it affords a view from the sides and the protection from winter. Pliny wrote about front over three different seascapes!" his villa at Laurentum in AD 97, on the coast of Italy, where he spent his winters. "..a bedroom connected to a passageway with a hollow floor and walls Your pupils could read these extracts fitted with pipes from which it receives hot air circulated in all before visiting Lullingstone, make a list of directions at a healthful temperature. The rest of this side of the house is the rooms and facilities Pliny had at his reserved for the use of slaves and freedmen, most of the rooms being disposal. When they visit Lullingstone, ask elegant enough to accommodate guests!" them to make comparisions, perhaps using different headings (location, rooms, "Next comes the spacious and expansive cold room of the baths, in the facilities) to focus their observations. opposite walls of which are two bath tubs...Adjacent are the anointing room, the furnace room and also the steam room, then come two small chambers...attached to these is a splendid warm pool, where one may swim..." (Pliny letters, Book II, 17)

" In the baths I have moved forward the steam room into the other corner of the changing room, for under the present conditions the furnace flues come out right beside the bedrooms. The large room and One hundred and fifty years earlier the winter room I thoroughly approve: they are spacious and moreover Cicero had written to his brother about their position faces the side of the drive nearest the baths." the architecture of his villa (left).

"Livia gets up from her bed, puts out the lamp her husband [Petronius] brought from town yesterday, and opens the shutters. "It's going to be a Many books have been written about life good day" she thinks. Her maid has brought her some bread and fruit; in Roman Britain. One of these, A place in breakfast is not a formal meal. After she has eaten she calls her second the country, written by the archaeologist maid and tells her to lay out a long white under-tunic and a coloured Brian Davison, describes the life of a over-tunic. fictional family living at Lullingstone "I won't need my head shawl today," she says. towards the end of the second century: Later, sitting in her tall chair, she watches in her bronze mirror while her maids comb and curl her hair. When it's done they will put on her make-up..."

"The lamps are lit and the couches have been drawn up round the tables. Everyone eats lying down. Livia has brought out the red tableware her mother left her in her will. She has also set out the new brown and white beakers brought by traders all the way from Germany. One of them has 'Don't be thirsty' written on it. The meal starts with a An evening meal is described. choice of shellfish or stuffed eggs. The...dormice cooked in honey and sprinkled with poppy seeds, together with sausages, olives and damsons. Next, the main meal of the evening: wild sow, roasted, with a row of piglets made of marzipan.. ?'

Ask your pupils to describe the beginning of their own days and their evening meals. What similarities and differences can they see BEST COPY AVAILABLE between their own lives and Livia's? Resource Sheet 1 Understanding archaeology

Archaeology is the science of This diagram shows a learning about past cultures by slice cut through an archaeological site. It studying their material remains. The is called a section. A, survival of objects and structures on B and C are different an archaeological site is a matter of layers in the section. chance preservation. Some objects survive much better than others when they become buried in the ground. The archaeologist has to make the best interpretation possible from the limited and incomplete evidence available.

Stratigraphy would have done had the roof been only produced for short periods of taken off in the late fourth century. time, perhaps the reign of a Stratigraphy is one of the main Some features have, however, been particular rulers. Some Roman principles of archaeology. It is basedexcavated back to an earlier period. coins can even be dated to the on the assumption that, on In the fourth century, for example, particular year of an Emperor's excavating a site, the first things the corridor running along the northreign. In the case of objects such as found by archaeologists will be the side of the reception room in fact brooches, where the design was most recent. As the archaeologists carried on over the filled-in staircasedictated by fashion, a particular style dig down they will come to earlier well which had formerly led down tomay have had only a brief period of and earlier remains. the cellar. This staircase has, popularity and the object can The sequences of building at however, been excavated to show it therefore be used to give a Lullingstone are very complex. In largely as it was in the second reasonably exact date. some rooms the floors show a century. succession of different layers representing successive floor levels from the first to the fifth centuries, Dating layers by with finds from these levels in the objects layers. The story of the walls is more complex. Some walls from the Objects found in archaeological early second century were pulled layers can be used to date the layers, down and replaced either by new if the date of the object is known walls in the same place or by totally independently. The most suitable new room layouts. Other original objects for dating are objects which walls continued in use right to the were used for only a short period of end of the villa's life. time. Coins are attractive for dating The villa today appears much as it since individual styles are usually Sometimes the Datable objects in a layer can only earliest layers be used to give a 'date after which' might not contain the layer was deposited. For the oldest example, the south pit in room 25 material. If, for at Lullingstone contained 18 coins. example, a pit has The pit cannot have been filled been dug at a later before the date when the last of time through earlier layers, the these coins was minted. In this contents of the pit case the latest coins were two will be more dating from AD 330-337, and recent than the therefore the pit cannot have been contents of the filled in before AD 330 at the original layers at earliest. Unless there is other the same level. evidence, the pit could have been

1-, r_ filled in at any time after AD 330. If the coins are in very good (mint) condition, it is likely that they were deposited fairly soon after minting. If they are very worn they may have been in circulation for a long time before being deposited. Preservation and survival

Objects are an important source of `)) information for an archaeologist. Many of the things that 0 archaeologists find are other people's rubbish. These things have been old or broken and thrown away, or possibly, as when - Lullingstone burnt down, abandoned. Some things for 0 example, coins, could be accidentally lost, and some things, for example bodies and religious The archaeological layers can clearly be seen under the mosaic floor of the audience offerings, were deliberately buried. chamber. In order not to disturb the mosaic floor, the layers were not excavated. Some things survive in the ground better than others. Most wrote 'The bones were deep had not recorded what he found in materials suffer varying degrees ofbrown in colour, sticky to the it, it would now be impossible to damage. Iron rusts and bronze touch, and the whole emitted a work out that the room was corrodes. Wood and flesh normallynoxious smell.' Pottery, if it was formerly used as a kitchen. rot but bone often survives thoughwell fired, is almost unchanged. it may become very soft. When Stone is also usually unchanged, Colonel Meates excavated the although it may be stolen from theInterpretation skeleton in the square temple he site for building houses, walls, or, Archaeologists use the evidence as at Lullingstone, a church. they find to try and build up a picture of life in the past. The Recording excavations at Lullingstone helped archaeologists understand what life When archaeologists excavate a was like in this villa site, they record carefully, and in The archaeologist has to make the great detail, everything they find. best use of the available evidence. They take accurate measurements Some interpretations can be no of the site, prepare large numbers more than intelligent guess work. of drawings and take photographs. For example, Colonel Meates This information, along with the suggested that room 25 at objects found and any standing Lullingstone may, at one time, remains such as walls, forms the have been a servants' bedroom. record of the excavation. It is the The evidence for this was the two evidence recorded that is used to pits dug in the floor, each interpret the site. It is important tocontaining coins which Meates make this record as complete as suggested could have resulted possible because when a site is from two servants burying their excavated it is effectively money under their beds. This is a One of the marble busts from the cellar. destroyed. For example, in the possible explanation but it may not Colonel Meates suggested they were case of the pit in the kitchen be the only one or even the correct portraits of real people. behind the villa, if Colonel Meates one.

11 12 Resource Sheet 2 Found at Lullingstone

During the excavations at hammer, anvil, drill bit, awl, gouge, Lullingstone many objects were and a chisel. The anvil could have found which might have belonged been used on site by a blacksmith to the owners of the villa or even to make some of the structural the slaves, who probably owned a fittings which were found, such as few simple things. Some of these large staples, hinges and hooks. objects are now on display in the British Museum, and some are on display at Lullingstone. Mortaria - the pieces of grit Hairpins were used to hold up included in the inside of the bowl hairstyles for women. Just as now, above made it easier for the fashions changed throughout the person preparing food to crush, Roman period. The complicated grind or mash ingredients. fashions of the first and second Fine pottery was the equivalent centuries required longer pins, of our 'best china'. One type of which may have protruded a fine ware called Samian ware has distance from the hair so that their a characteristic reddish colour and carved and decorated heads could sheen. It was made in France and be seen. In the third and fourth Belgium and transported to places centuries simpler hairstyles all over the Roman Empire in the required shorter pins. Brooches first and second centuries. were used for fastening tunics or Iron knives and bronze spoons, dresses. Combs were often carved used for eating, were also found at Bronze hub-cap, decorated with the head from bone or antler. Only one Lullingstone. The design of these of a lion, found in room 8. comb fragment was found at has hardly changed since Roman Lullingstone. times. Glass found at Lullingstone had Only a small number of agricultural various uses, including windows. implements were found, including Glass bottles used for cosmetics pruning knives, shears, and were also found and, in the grave inpossibly a hoe and ploughshare. the temple mausoleum, four glass Several fittings from carts and bottles were found. pieces of horse harness were also Among the everyday objects foundfound which may relate to the farm, at Lullingstone were iron styli (usedalthough the lion's head axle cap for writing on wax tablets), keys must have been from an important and an oil lamp, bone needles, and vehicle, not just a farm cart. spindle whorls for spinning wool or Animals also left their mark. Paw flax. prints have been preserved in tiles A variety of tools, which would animals could have walked over the have been used around the estate, tiles, moulded from clay and left to Pottery is often one of the most were found. They include a dry before firing. common finds on Roman sites. It was cheap to make and, apart Wood working tools: saw, chisel, from very fine pieces, when it uoiM11111111101111111 mallet, and plane. broke or, in the case of food vessels, acquired too much of a `taste', it was probably thrown z away. If pottery is well fired it does not rot or degrade in the soil. Amphorae were used for 1/1111111111111111iiiimil transporting wine, olive oil or fish sauce from the Mediterranean.

14 18 Resource Sheet 3 Religion and ritual

Religion was very much a part of everyday life in Roman Britain. Every villa like Lullingstone would have a small shrine where the statues of the household gods were kept. These were known as lares, and would be given regular offerings of food and drink. In return the lares were expected to look after the inhabitants of the house and make sure that they prospered. The two marble busts found in the cellar at Lullingstone may have been treated in the same way as lares. In Britain as in other parts of the A Empire, people were allowed to go .g on worshipping their pre-Roman ""', gods. The nymphs in the wall painting at Lullingstone may have been water goddesses worshipped Reconstruction of painted wall plaster from the south wall of the chapel, showing by the family in the house. symbols associated with early Christianity. The most important gods to the Romans were: Jupiter (or Jove), was buried with two flagons Iron Age housesthe houses the most powerful of the gods, (perhaps originally containing most common before the Roman frequently known for chasing wine), four glass bottles, two glass invasion. young women, and represented inbowls (perhaps containing food), the mosaic in the dining room at two knives, two spoons and a Lullingstone; Juno, his wife, who wooden games board with 30 Christianity was the protectress of marriage glass counters, 15 white and 15 Christianity was not legalised in the and of women and hunted down red-brown. Roman Empire until a new law was Jupiter's mistresses and their passed in AD 313. If the children, and is referred to in the Temples and shrinesinhabitants of Lullingstone were inscription on the Lullingstone Christians before this date they mosaic; and Minerva, the goddessThe Romans also built temples would have had to worship in of wisdom, the arts and trades. dedicated to particular gods, secret. It can be difficult to although the Pantheon at Rome discover when people become Burial was dedicated to all the gods - in Christians. One clue can be burials case any had been missed out andwithout possessionsalthough this People were not normally buried were angry at not having their can just indicate a poor person or a inside a house or villa, but were own specific temple. The temple- body being hurriedly disposed of. usually buried nearby. At mausoleum at Lullingstone was The cross was not used as a Lullingstone the bodies of two similar to those found in other symbol in the way that it is now people in lead coffins were buried parts of the Roman Empire. In and the symbol normally used by in the temple mausoleum. Richer ground plan they have the Christians was the `chi-rho'. This people were buried with some of appearance of one square within looks like a letter P with a letter X their possessions. Often these another. The central area, or cella,superimposed. It is made up of the consisted of food and drink for probably rose above the roof of first two letters of the word Christ their journey to the next life andthe surrounding portico. At in the Greek alphabet. The finding favourite toys or games so that Lullingstone there was also a of the `chi-rho' symbol on the wall they would have things to do. small circular shrine. These plaster at Lullingstone gave the The young man's body in the circular shrines are also common clue to the existence of the temple mausoleum at Lullingstoneand are built in a similar style to Christian chapel.

15 ©English Heritage Education Service Mosaic floors The Roman builders' handbook circumstances, a InTiled normal roofs aForFloors, furnace, under-floor for the central floor heating needed heating with to hot be raisedair circulating up on small from wereimportantofasMosaic flooringa superior usually was rooms. for used designedkind These and and weatherproof.Tiles areThey withlong firedlasting clay tiles.framestrong was covered timber roof edgeswallscarriedorpillars. round, andof Theythe the tiles,out hot roof. werethroiagh orair sometimes throughusually the madethe from from stone. large Box square, tiles ownwouldmosaiclaidstone bytile cutaworkers or specialist. their The s two types of roof tile, tegulae (these are the flat tiles strong enough.timber There wereframe were very had heavy, to be so the `c7S. . ,4 ontesserae,calledcubes, site. 4:o' oneswith ridgesto cover each the side) ridges). and The imbrices roofs (thehad tohalf be round set at a wereDesigns 0°. 110th a rte-1:44- steep angle to enable the water to run off easily. Inside walls Inside walls patternfromchosenoftensometimes, a book, orfor the very rich, ire were designed 0,0444..; PS: weremade probablytogethermade of bywattles,which young,weaving were to orStoneOutsidetake the some wasupstairs walls usedpart room. infor carrying outside In areas thewalls where weight and stonewalls of the waswhich walls in have Woodenspecially. floors floors were Plain used tiled for floor storage were ora lot cheaper. branches.thin tree Daub,or burnt clay,plasteredwas then over flint,Lullingstone,andshort the which supply,rest iswas where difficult low built foundationthe from to only build timber easily with,walls frames.available layerswere built Atof stone tile of were wasstone flooralternative.rammedcellar was areas. down needed, If aSometimes hard, hardwearing, in werebaths clay usedfor waterproof instance,or as gravel, an a paintedsmoothwould with finish. elaboratethen The have rich their walls them to give a keepbuilt itinto level. the wall to a is 7 11garb .c,IMAI% t.....,41111P ash, . concrete.wasmaterial made called by mixing opus signium crushed waspink used. tile into This coloursthe wereartist'spatterns, less pattern expensive. usually book. chosen Plain from airr-V!:"-±,..:41-40114---,*-14,t.-vc1-1 "--1 F- '410 e 04 .07,N=.4,.2 me. INIVP',Y,(11;74- Ida s21.," 1/00siggspadlb airfail one Are 11 ft closedsomeTheWindowsOtherwise rich of with theirwould simple thewindows, be opening ablewooden asto would affordat shutters. Lullingstone. have glass been in Resource Sheet 5 Mosaics

The most important rooms in a ;ZIMURN..11.010DILVRAIVAK01,444 villathe rooms which were used F Audience chamber for entertaining guestsoften had The central mosaic in the audience floors decorated with pictures chamber shows Bellerophon astride made from small fragments of the winged horse, Pegasus, killing stone and tile. the Chimaera, (a legendary fire- Some mosaics consisted simply of breathing monster). The panel in patterns and these are called the audience chamber also contains geometric mosaics. Others contain two dolphins and two open pictures, often of scenes from seashells, and the scene is edged Greek or Roman mythology. The and compasses would also have with a geometric pattern. Around small pieces of mosaic were cut, been used. It was difficult to the scene are three motifs, using hammer and chisel, from produce elaborate patterns using illustrating the seasons. Spring is different coloured stones and tiles.this technique since the mortar of shown with a swallow on her right the mosaic bed hardened quicklyshoulder, and winter with a hood. and there was little time for It is thought that the ears of corn positioning and adjusting the in the third surviving mosiac may tesserae. represent summer, but experts Some mosaics were disagree whether it is autumn prefabricated and laid as sheets. which is missing, or summer. Complicated designs could be created to a pre-drawn pattern and a piece of linen cloth then Dining room stuck with glue (made from The central panel in the mosaic in Popular patterns for mosaics were animal bones) across the upper the dining room shows another waves and intertwining designs. face of the tesserae. When the scene adapted from a Greek myth. glue had set the whole sheet could The god Jupiter, diguised as a bull, Because they were cut, be lifted, taken to the site and is swimming across the sea with individually by hand, they are positioned in a freshly prepared Europa (with whom he is in love) never perfectly square and if you bed of wet mortar. Once the on his back. There are also two look carefully at a mosaic you can concrete had set the linen could cupids in the picture. One is see that the small pieces, or be removed by dissolving the glue holding a lighted torch and tesserae, are slightly irregular. with hot water. encouraging the bull. The other is The panels of the fine mosaics at The tesserae of the mosaic in the restraining him by holding his tail. Lullingstone appear to have been audience chamber at Lullingstone The inscription translates as 'If laid directly, one tessera at a time, are made of a variety of different jealous Juno had seen the white into a bed of wet lime mortar. Thematerials, including fragments of bull swimming like this she would craftsmen who did the work wouldblue fired clay from the core of have had greater reason for going have used a template for tiles, marble (probably imported to the god of the Winds.' It refers positioning them and for marking from abroad) and local stone to an incident in the Latin poem, particular important points in the ranging in colour from purple to the Aeneid, by Virgil. pattern. Rulers, T-squares nearly black. After laying, the whole mosaic was washed over with watery pink mortar as grout. This sealed the joints, making the floor waterproof so that the mosaic could be washed over for cleaning. The mosaics at Lullingstone both relate to Greek mythology.

17 Resource Sheet 6 Life in the villa

An artist's impression of the audience chamber and dining room at Lullingstone.

The owners of the villa were as the outdoor farming work. probably very Romanised and Slaves were generally well looked followed a way of life that would after as it cost money to replace have been instantly recognisable to them. the occupants of a villa in Italy. The owner would probably They would have probably had have risen early to go several slaves to help in the day to round the estate with his day running of the house and farm manager or bailiff, estate, carrying out very specialisedprobably a free man, not a tasks. For example, there would slave, who was responsible for probably have been a lady's maid, aall aspects of managing the cook, a housekeeper and a farmbuying and selling laundress, as well as those who crops and livestock, supervising maintained the house. There wouldthe work of slaves, planning, also have been slaves who worked keeping the accounts. In the on the estate doing such tasks as afternoon he may have gone making wattles for fencing, making hunting with friends or beehives and repairing tools as well neighbours. The man is just fixing his toga and the Different types of leather sandals. woman is wearing a large shawl (called a palla) over her long tunic (a stola).

18 (a)

(c)

Writing equipment: a wooden tablet filled with wax (a) on which letters and numbers could be scratched using a stylus (b). Writing was also done with pens and ink (c is an inkpot) onto very thin sheets of wood. Three-legged table The owner's wife would have The traditional Roman clothing focused on the efficient running offor men was the toga. It consisted the house. In the afternoon she of an oval-shaped piece of cloth might have spent time with her about 6m long and 2m wide. It children, hearing their lessons. was a difficult garment to drape correctly and needed a second person to assist with putting it on, often a slave trained in toga arrangement. However the toga was better suited to the climate of the Mediterranean, and for everyday, in Britain, men generally wore a knee-length tunic with sleeves, and, if it was cold, two or more tunics. These could be covered with a cloak, sometimes with a hood. Feminalia or knee breeches would have been worn in cold weather, or for riding, by even the most Romanised of Romano-Britons. Women may have worn briefs (like a bikini) and a band of linen wrapped around the bust. They Basketwork chair then wore an under-tunic and a tunic. Married women wore longer, fuller tunics than have been made of basket work, unmarried women. with a rounded back, or may have There is some evidence for socks been simply made out of wood, and stockings. A double-ended with a straight back. Decorative knitting needle, like a modern socktables probably had three legs needle, was found at Lullingstone. carved with animal feet and heads. Couches were usually made of In the kitchen there must have wood. They might have been been a simple rectangular table for upholstered or have had rugs and preparing food. We have not cushions to make them found any of the furniture that was comfortable. Chairs might either used at Lullingstone, so we have to base our ideas on paintings and Tombstone of Julia Brica. other Roman sites.

19 Resource Sheet 7 Takingabath at Lullingstone

The rich owners of A strigil Lullingstone may have been in the habit of The furnace required a great deal bathing every day, of charcoal to heat the baths. At probably in the late this time there was extensive afternoon or early woodland around Lullingstone evening. Honoured guests which would have provided would have been invited to timber and charcoal for fuel. take a bath with the owner Much of the floor of the baths Wherever you were in the was made of opus signinum Roman Empire a bath covered with tiles. The vertical followed the same basic flue occupied the eastern end of procedure, although there the room.Look for the layer of were variations depending on bricks in the walls; the floor of the climate and on how rich you hot room was at about this level. were. Under the floor, clay was built In the late second century (see up along page 5) the recreation room and 'zzzwagag the sides of the a cold plunge bath were added. At walls to protect them An artist's impression of the baths at first this was deep enough to swim from the heat and to direct the Lullingstone Roman Villa. in, but over the years it was relined heat into the flues or hollow to stop leaks, and by the mid- channels that ran inside the walls. Taking a bath was a popular fourth century it was too shallow The walls and floors held the leisure activity. Bath houses have for comfortable swimming. Drains heat. been found in Roman forts, villas allowed the water in the plunge and towns. baths to be changed.

From the west verandah, tiled steps led, down to the baths. The bathers probably got Hot room changed in the cold room, and then moved to the warm or Stairs tepid room. They would then move on to the hot room for a good sweat. A slave would rub oil onto the Hot plunge bath bathers and then scrape it off with a blunt knife or strigil, leaving the skin clean. The Romans rarely used soap. The bathers would then use Warm room the hot bath and return through the warm room to the cold room for .a plunge in the water tank. Finally, probably in the warm room, a slave would anoint the bather with oils and perfumes.

Cold plunge bath Warm tank

BEST COPY AVAILABLE 20 0) :7 Educational approaches

This chapter suggests some ideas for Materials to secure the lids with sticky tape). activities during your site visit togther Arrange about eight to ten pupils in with ideas for preparation and appro-Ask pupils to walk round the site a line, with the tallest in the middle priate follow-up. You are welcome to looking for and writing down any ranging down to the smallest at each photocopy the activity sheets for use Roman materials they can see used end of the line. Ask each pupil to with your group, but you are strongly and any modern materials used. hold a box above his/her head, hold- recommended to visit the site to try Then, in groups, they can discuss ing the box back and front rather them out first yourself in case you the purposes the materials were usedthan at the sides. Then you need need to adapt them for your pupils. for, and which materials were used another two pupils at each end of The resource sheets are also intendedboth in Roman times and now. the line to begin pushing the boxes for photocopying, if the language in towards the centre. As the pres- level is appropriate for your pupils. Arches and lintels sure increases the pupils in the cen- You will also need to decide whether tre of the line can begin to let go of to bring any equipment with you on Using building blocks ask pupils to their boxes and stand out of the way. you visit. For instance, compasses build a block wall with a window in Finally two or three pupils will be will be very useful, both inside the it and then discuss how they build required pushing inwards at each cover building and outside in the sur- the wall above the window opening. end and, with luck, the 'arch' will roundings of the villa. They will have had to use some sortstand up on its own. It will, how- At the site your pupils should work of lintel arrangement. You may be ever, be rather flatter than a true in groups, each with an adult who able to demonstrate practically usingRoman round headed arch as you may have to give a lot of guidance a weak lintel (e.g.a lolly stick) and can see in the hypocaust (room 2) at and will need to be well briefed. applying weight to it how it will Lullingstone. If appropriate you can Adults who are not teachers may crack if overloaded. You can then investigate as a science/technology need to be encouraged to answer get your pupils to experience the problem why you have to push in to children's questions with questions strength of an arch as an alternative hold the arch up and what the impli- rather than supplying answers. Try tosolution to the problem. You will cations are for the distribution of have a short session with your helpersneed about twelve to fifteen pupils load. The round-headed arch is one to introduce the aims of the visit and and the same number of reasonably of the most characteristic features of the essential historical background. strong cardboard boxes (you can Roman architecture and, without its probably get them from a wine shopuse, many Roman buildings could Building techniques or supermarket and you may need not have stood up. Lullingstone is an excellent site for examining building techniques used by the Romans and for finding out about some basic principles of build- ing technology which remain impor- tant today. The Roman builder activ- ity sheet can be used on site, in con- junction with resource sheet 4, to investigate the archaeological remains. There are a number of other simple exercises some of which can be carried out at the site and some as preparation or follow up work. The basic principle used in building a villa such as Lullingstone is the same as that still used to build a house today - strong main outer walls 21 are proof against the elements and carry the weight of any upper storeyI and of the roof.

Round arches are characteristic of Roman architecture.

a 21 How we think the kitchen at Lullingstone may have looked.

Everyday life at Lullingstone

It can be very difficult for children to imagine what an archaeological site looked like when it was lived in and people were going about their daily business. In this handbook there are a number of activities and resources which will help you con- centrate pupils on what life was like at Lullingstone for the owners, their families, guests and slaves. These include the resource sheet on daily life and the Then and Now activity sheet. Use of these approaches will help pupils see Lullingstone in the light of their own homes, as a house Er] E_r3 O which was lived in by an ordinary Activity- weaving family - albeit quite a rich one. The Then and Now activity is Back at school you may like your desk, weave five or six rows of weft designed for young pupils who may pupils to work on a Roman craft, going under one warp thread and be on their first visit to an archaeo- such as weaving. over the next. This should have logical site, and encourages them to Large upright looms were used stabilised the weave and you can look at similarity and difference for weaving cloth in Roman times. now use the heddle to speed up through comparing a Roman villa A considerable amount of labour the weaving with their own homes. The activity and skill is required to build one of Lean back gently to tauten the sheet can be started at school. Ask these looms. A simpler approach is warp threads, lift the heddle to cre- pupils to fill in information about to make a decorative braid. To do ate a gap (the shed) between alter- their own homes and, in the process, this you will need to make a simple nate warp threads and push the learn how to use the sheet. heddle, as the Romans did. The weft through the shed. Before the visit you will need to drawing here is based on a heddle Then push the heddle down to introduce the work of the archaeolo- found at the Roman fort of South create the opposite shed and again gist and your pupils will also need to Shields near Hadrian's Wall. This push the weft through. know a little about villas, Roman heddle, if traced onto and cut out Continue weaving in this way until baths and mosaics. One preparation from cardboard (cut out six holes your braid is the required length, idea is to ask children to write a and five slots) can be used for pushing the weft threads up description of what they do when weaving a band with 11 warp against each other using a stick or they get up in the morning and threads. These bands were used in pencil. Tie off the warp threads at compare it with the description of Roman times to decorate other each end. Livia getting up on page 11. woven textiles, but could also be Back at school pupils could: used to make headbands or belts.

role play a conversation between a Instructions Roman child and a child of today comparing life then and now Tie the 11 threads (about 90 cms long) to a convenient fixed point (like the leg of a desk). Using a share their findings through a 0 0 0 0 0 0 class assembly variety of colours of warp threads will give an attractive end result. IN as a class produce a large scale Thread alternate threads through plan of the siteif you have a large the slots and holes of the heddle. wall in the classroom or a corridor a Tie the loose ends of the threads to plan at 1:10 would take up an area a belt or band around your waist approx. 3.4m long by 2.2m high. Starting from the end tied to the On to this plan you could attach

22 t. 027 2'2 Ls] itlIENEBEIIP_Pc_PE_P t_3 1 Before their visit, pupils could Activity- playing tabula devise their own musem display, on life in Britain today, by choosing six Pupils could make and play their moved, 1 point, 3 points and 5 household objects which they think own game of tabula, a game that points, as long as none of the three best illustrates the theme. They would have been played by chil- resting places is blocked by an should write a short caption for each dren at Lullingstone. opponents piece, or one or two article chosen. When they are at The layout of the tabula board pieces can be moved using a com- Lullingstone, they should look for can be copied onto card or a piece bination of numbers thrown on any examples in the display of arti- of hardboard. The original coun- the dice. For example, two pieces cles similar to those they had identi- ters were round, with a slightly could move 8 points and 1 point fied. domed shape, and were about or one piece could move 9 points, 20mm in diameter and about as long as none of the resting 7mm thick. Replicas could be places is blocked by an opponent's Religion made from clay and glazed to look piece. Lullingstone provides an excellent like the originals, or counters If a player moves onto a point site for investigating pagan and could be cut from cardboard. held by a single one of the oppo- Christian religion in the Roman nent's counters then his counter is Empire. Opportunities exist to study Rules for playing tabula thrown off the board and has to the different ways in which religion begin again at point 1. No other of was practised. Some of the ideas Each player has 15 counters and this player's pieces can be moved which could be developed include the aim is to move them round theuntil this counter is back on the looking at why the owner of the villa board quicker than the opposition. board. might have worshipped water spirits Players start with their pieces off If a player has two or more pieces (water was important not only for the board and move anti-clockwise on a point then these pieces can- the crops, but for drinking by live- from 1 to 24. not be captured and none of the stock and humans, for the baths, as The players take it in turns to opponent's counters can land on a means of transport, for powering throw three dice. If the first player,this point. water mills (for grinding corn) and for example, throws 1,3 and 5 A player must use the whole of possibly also for fulling mills for then either three pieces can be his or her throw if possible, even if making felt. Pupils might take the this means cre- role of one of the early Christians ating a weak worshipping in the chapel (in Brian point with only Davison's A Place in the Country, the one counter on first Christian owners of the villa are it. called Tetradius and Helena). xx,v1,0,,lvalx,a1,0,1x..tiltlxv,Lx,vx, (From R.C. Bell Encourage them to put themselves Board and table in the role of one of these two and games from I II III IV V V1 VII VIII IX X XI XII describe what they thought about many civilisa- the 'pagan' evidence around their tions, see home. Bibliography and resources.)

El pupils' work relating to that area of display around the site. The the villaboth creative work and resource sheet on finds will give you historical enquiry and evidence. If some idea of the sort of objects the children are involved in produc- which were found during the exca- ing the plan this helps develop their vations. You could produce a finds understanding of scale worksheet, listing a selection of the objects found and on display build a model to further their (including photocopied illustrations understanding of archaeological from this guide) asking pupils to remains. find this object in the display and then write down where in the villa When you are on site encourage they think this object might have children to look for evidence about been used and what the presence of life in the villa from the remains this object tells us about life in the themselves and from the finds on villa. Playing tabula g )g> SFS," crov AVAII ARI. F by development such as forestry, a Making an archaeological section new road or sewer, or a building with deep foundations. In order to gain a clearer idea of put a thick layer of sand followed You may wish to investigate archae- how archaeological layers, build by a thick layer of topsoil or ological processes, by trying some up, and what a section cut compost, to represent modern simple excavation activity, in the through them looks like, it is pos- topsoil. grounds of your school. Mark out a sible to create an archaeological Layers 1, 2 and 3 are the archae- small area of one or two carefully section. ological layers containing the selected square metres,(choose your You will need: remains of three phases of place carefully, and consult with ser- an old fish tank human occupation. These layers vice providers and local archaeology building sand are separated by three layers of units if necessary). Ask your pupils topsoil or potting compost sand which have blown across the to carefully remove layers of soil, broken pottery (a plant pot will site. Finally this hypothetical site recording any objects they find by do) was overgrown by plant life using a planning frame (a wooden small bones, such as chicken forming a soil on top of the site. frame one metre square, with strings bones When the section has been com- fixed every ten centimetres across charcoal pleted, your pupils can make a and down) and plotting their finds stones scale drawing of it: on to squared paper. broken brick. Over recent years television has grid the front glass of the fish played a major part in increasing In the bottom of the fish tank puttank, by taping horizontal and public interest in archaeology. Many a layer to represent natural vertical pieces of string across it people now want to visit the well- ground. You could use sand to known archaeological sites and this represent yellow clay. On top of decide on an appropriate scale, can cause a conflict between the this make the layers representing probably 1:5 need to cater for public enjoyment archaeological deposits. There and education and the need to pre- could be several layers of soil ask pupils to produce an accu- serve the archaeological remains. (separated by thin layers of con- rate scale drawing, marking all Your pupils could present arguments trasting sand, containing pieces ofthe detail, including objects visi- for and against uncovering and dis- charcoal, broken brick and brokenble and colour of each layer playing to visitors the parts of plant pot. These pieces should be Lullingstone that are not at present placed against the glass of the fish ask pupils to label each feature shownthe chapel and mausoleum. tank so that they can be seen.On carefully, giving as much detail as Their arguments could be presented top of these archaeological layers, they can from their observation. in an oral form, perhaps by staging a public debate, or in written form, Fish Tank with pupils composing letters to English Heritage or the local news- Modern topsoil paper on the topic. Sand 3 Presenting the site to Arch 3 visitors Sand 2 Arch 2 There are many ways in which an Sand 1 Arch 1 organisation such as English Sand (natural) Heritage tries to interpret or present sites for its visitors. The aim of such

Clar3 EP ES3 E3 presentation is to give visitors, who have many varied backgrounds and Pupils could be asked to draw a Archaeology needs, enough information for them picture of themselves, prepared for to be able to understand how the site burial, with their favourite objects - In the documentary section and worked in the past, and how the pre= those which they would wish to be archaeology resource sheet you will vious inhabitants might have lived. buried with. This could provide the find information about how This might be done by means of a basis for discussing the Roman view Lullingstone disappeared from view guidebook, or by information panels, of the afterlife, particularly in terms and how it was discovered. or a short video, or an audio-tour to of the choice of grave goods and Nowadays archaeologists would be accompany visitors as they go round comparing it with views of the after- unlikely to excavate, an, updisturbed the site. Some sites are able to offer life in other major religions. site like this unless it was threatened'guided tour to groups or individuals. 29 24 In all cases decisions have to be Visitors to Lullingstone made about what level of detail to include, what information will have The number of visitors to Lullingstone Roman Villa has remained fairly to be omitted, and how to make stable over the past five years, at around 50,000 per year. complicated ideas accessible to the 1997/8 47,784 including 17,670 educational visitors general visitor or to children. 1996/7 48,813 including 18,195 educational visitors Lullingstone is a particularly diffi- 1995/6 46,969 including 19,754 educational visitors cult site to explain, because of its 1994/5 48,862 including 19,295 educational visitors many phases of development. 1993/4 52,629 including 19,889 educational visitors One way to focus the site visit is for pupils to think about how they would present Lullingstone to otheremployed at the site. Encourage could ask for it to focus on the daily visitors. The activity sheet pupils to look at all aspects of the life of the inhabitants of the villa at Lullingstone on display is intended tosuggestions. For instance some, a particular time, perhaps from the be used for this purpose. such as video, will be more expen- point of view of children which may As preparation, ask you pupils to sive than others, yet may not bene- have lived there, or on the uses of think about visits made to other fit all visitors. Others, such as the the different rooms which can be sites or museums, either with their display of original objects, may seen at Lullingstone. families or as part of a school visit. have security implications. When Older students following courses They could work in small groups ofyou get back to school, ask pupils, with a specific tourism element five or six, and report back on their again working in groups, to presentcould explore how the site would discussions to the rest of the class. their proposals to the site managers,cope if it became extremely popular Can they remember using a guide (the rest of the class): what would with visitors. Some of the things to book, or reading information pan- they recommend for Lullingstone? investigate are: els? Did they watch a video, use an This sort of approach can be given audio tour or have a guided tour? a more specifically historical focus, physical damage to the site from Which approaches did they enjoy by asking pupils, after a visit, to the vibration of people walking most? Which did they feel gave devise a story board for a short around itthis could affect both them the most information? Did video about Lullingstone. the archaeological remains and the other members of their family agreeThey should be given a specific modern building with them? Can they think of some audience to aim the video atfor groups of visitors for whom some example younger children, class access to the sitehow many interpretation might not be suit- mates, a group of people from cars an hour can the road from able? another part of the country who Eynsford cope with During the visit to Lullingstone, think they might want to visit use the activity sheet Lullingstone onLullingstone but want to know car parkingis it adequate? How display, which asks pupils to con- more about it. You could also spec- long do people stay on site? Do sider several different interpretationify the main theme of the video to they use the car park for a longer techniques which could be be produced. For instance, you period than their visit to the villa?

toiletscan they cope with increased use?

shop and refreshments - are these adequate?

will there be any overcrowding at particular points in the site?

7-10:4.'"Pe Lullingstone across the curriculum History

Lullingstone is a key site in the understanding of social, economic and religious life in Roman Britain and a visit will be relevant to the Visitor using the audio tour. BEST COPY AVAILABLE Roman sections for Key Stage 2

11 25 and the sections on the classical grazing. The choice of site, local world for Key Stage 3. It also pro- routes and the availability of raw vides an excellent site to study materials are all relevant to the change over a long period of time geography curriculum. the development of the villa over 350 years is well recorded. Pupils Technology can clearly see that change took place within the Roman period. It The technology curriculum stresses provides a good opportunity to con- the importance of looking for design sider archaeological as well as his- solutions to problems in other times torical evidence and to look at how Using a groma. Roman surveyors used a and places.A study of the built the two types of evidence can be groma to mark out straight lines and rightremains is very relevant to this, angles. It consisted of a pole with a piv- used together. At Lullingstone the oted right-angle extension at the top. Eachlooking at issues such as the use of historical sources only give general arm had a plumb bob. string courses in the walls, use of or comparative evidence, for exam- arches, different flooring materials, ple Pliny's description of his Italian circulation of hot air for heating, villa, and the specific evidence is all the villa used in Brian Davison's A water supply, even how to lay a archaeological. Lullingstone can place in the country could also form complex mosaic without the mortar also be used to study how archaeo- the basis for writing stories about into which the tesserae are being logical sites are interpreted to the family life in the villa. placed setting before you have fin- public today and how the approach ished. In its modern context the site to the interpretation and preserva- Maths also raises questions such as how to tion of archaeological sites has display a two thousand year old site changed over the fifty years since Both archaeologists and Roman and simultaneously protect it from excavations began at Lullingstone. builders needed mathematical skills destruction, and how best to inform to do their work. The archaeologist visitors about what they can see. English draws accurate plans using measur- ing tapes to record features and Science Site visits generate ample opportu- plotting finds on to plans by means nities for speaking and listening. of triangulation (measuring from An archaeological site tells us much Pupils can be encouraged to two fixed points). The Roman about the properties of different develop and express a point of view builder used a groma to lay out materials. Pupils can look at the on the various interpretations of the sites, and set squares were used to choice of building materials and archaeological evidence. Writing create right angles. Shape and sym- relate that choice to their function. reports, producing guide books, metry are also topics which can be The survival of some materials and designing information panels, givingexplored. The villa, for most of its the decay of others over time and in guided tours, writing commentaries life, had a basically symmetrical certain conditions is highly signifi- for audio tours, all use different plan with the axis of symmetry cant to an archaeologist and could types of language. Classes might passing through the principal stimulate experimental work back at develop drama and role play as a rooms. The geometric mosaic on school. Examination of the evidence result of the visit based perhaps on the reception room floor can also befor crops and livestock could lead to the events surrounding the final fire used for studying shapes. study of the processes of natural that destroyed villa, on the tragedy selection and deliberate breeding. (or tragedies) that led to the death Geography of the two young people buried in Art the mausoleum, on the stories of thePupils coming to the site will need myths in the mosaics, or on the to be able to orientate themselves The imagery of Roman art as theme of the seasons represented in and to interpret plans, not least shown in the wall paintings and the mosaics. because the site itself, largely made mosaics could lead to a wider inves- The atmosphere of the site could up from wall footings, is shown in tigation of classical imagery, and to stimulate creative work, perhaps plan form. One of the most interest-consideration of the limitations picking on the theme of water, ing geographical studies is to con- imposed by the materials used. clearly so important with the well, sider land use and sphere of influ- Practical work could develop from a the bath house, the river, the water ence looking at distribution of villas study of the mosaics, the building nymphs, the spring in the cellar. up the Darent Valley from material or the whole complex and You could study a number of poemsDartford, (see page 4). This might be developed back at school about water and the pupils could reflected the need for each estate to into prints. The limited colour then begin to write their own have access to varied resources range at the site could encourage Lullingstone water poems. The riverside meadows, woodland, waterwork on tone. The repeating pat- names of the possible inhabitants of for power and transport, upland terns such as the Greek key could

26 . 1 E-aord. Eu Etuorate_a-nei mom en EnoweLlint_iientliEr3 a a Making mosaics

To recreate part of a mosaic floor, in cutting the tiles, and the small Then, using tile adhesive, pupils suitable tesserae can be made from gaps which will be left between can stick the tesserae on to the ceramic tiles, often obtained them. The colours for the design base, following their design. It is cheaply from tile discount shops. should be marked on to the paper. best to work outwards from the Tile should be cut, using a tile cut- The mosaics at Lullingstone will centre. ter, into small squares (2cm square provide a good starting point for As a finishing touch, the mosaic is a good size) A frame for the design ideas. can be grouted, used a proprietary mosaic can be made from a piece Next, smooth a layer of concrete grout, to fill in the gaps between of hardboard with rectangular (3:1 mix of sand to cement, mixed the tesserae. wooden beading stuck around the with just enough water to make it An impression of a mosaic effect edge. sticky) into the frame. If you prefercan also be created by using small Ask your pupils to design a pat- you can use plaster. squares of gummed paper, and tern for the mosaic using lcm When the concrete has set, pupils sticking these onto a previously squared paper. The design should can transfer their design to it, marked out design on sheets of be a little smaller than the area to scribing through the paper with a large paper or card. Attractive be filled, to allow for inaccuracies blunt nail or old screwdriver. friezes, developed from Roman an cl El

Mosaic in the audience chamber at Lullingstone. be used for creating fabrics or bor- ders. Some of the incidents from the history of the villa would form emotive subjects for creative work. You could use the mosaics as inspi- ration for students to design their own book of mosaic patterns for potential clients or you could make mosaics, cutting coloured card into squares for the tesserae. Mosaics are still a popular form of decora- tion and a visit to a local town may well reveal some modern mosaics.

Mosaic made by pupils.

77 Activity Sheet 1 Archaeology training sheet

This activity sheet will show you what it is like to be 2 Below is a plan of the villa. Mark on it: an archaeologist. You will have to observe, draw the entrance where you came in and measure very carefully. the place you are standing now the north, south, east and west sides of the villa 1 Start by writing down some of your first impres- (use a compass) sions of Lullingstone Roman Villa 3 Walk along the walkway on the east side of the villa and count how many times one of your feet (with shoes on) goes into each of the rooms. Write down the number next to the room on the plan above. Now you have a measurement, in units of your shoe, of the length and width of some of the rooms in the villa. (When you get back to school you can measure your foot, and work out how big the rooms are in metres and mark this on the plan too.)

4 On the right is a drawing of one half of the arch through the wall between rooms 2 and 3. Stand on the walkway along the east side of the villa and look at this arch. Notice how each stone has been drawn individually. Now draw in the other side of the arch.

3

28 CI w 6 Do you think these stones would have been easy or hard to build with? Why?

7 What other building material can you see that has been used?

8 What might also have been used for building that The arch was put there so that hot air could move has since rotted away? under the floor of rooms 2 and 3. What sort of rooms might have had this sort of heating and why? There are many possible answers to the use of rooms 2 and 3, and, as often in archaeology, nobody knows the real answer.

9 When the villa burnt down shortly after AD 400, burning wood fell across one of the mosaics. Look carefully and draw a sketch of the mosaic showing where you think the wood fell.

5 Look at the flints used to build the walls of the villa. Put circles round words you think 10 You should by now have learnt quite a lot about best describe Lullingstone, and also about the way an archaeol- them. ogist works. Look back to your first impressions rough of the site. Do you still agree with it? sualt4 Is there anything you would like to add? svutre tutupy uneven irregul4r motel Ault reet4ngut4r e4rveol skIny

2Q Activity Sheet 2 Lullingstoneondisplay

Congratulations! Your company, Brilliant display cases with real objects Solutions, has been awarded a contract to pre- pare plans for new visitor displays at smells and sounds Lullingstone. models of the villa or parts of it You could use any of the following:

II enhanced lighting Using the plan, choose two areas of the site listed below and decide what additions from the above list you would make so that these areas were more inter- replica objects for visitors to handle esting to visitors. What would you hope to make vis- itors understand that they didn't know before? virtual reality programmes Dining room and audience chamber (rooms 22 & 23) reconstruction of the building (or parts of it) on the original foundations Christian chapel and cellar (rooms 4 & 5)

reconstruction of the building not on the Heated rooms (rooms 1,2,3) original foundations Bath house (rooms 10-17) life sized models in Roman costume Kitchen (room 8)

headset with taped description of area in Take into account the effect on the site and archaeo- Roman times logical remains, on the work of the custodian and maintenance staff, on the different sorts of visitors video showing life on site to Lullingstone (e.g. school groups, families, older people, visitors with special needs). display boards with photographs and information

Area 1 Area 2

I would add I would add

I would want visitors to understand I would want visitors to understand

30 !4 Activity Sheet 3 PaganorChristian?

The year is AD 385, and you have been sent Why do you think the four seasons have been from Rome as a representative of the emperor, to shown in the mosaic? Does this tell us anything find out whether the family that lives in the villa about the family's religion? at the time is pagan or Christian. You will be writing a report for the emperor, and he will expect evidence to back up your conclu- sions. Take carethe villa has been lived in for hundreds of years, and things might have changed during that time One of the servants tells you about the picture of Explore the site, using the plan, looking carefully the water nymphs in the cellar, and you go down for any clues to religion. Use the following points to have a look. Describe the painting. Why do to help you write your report when you return to you think it might have been painted? Does it tell school. us anything about the religion of the family?

When you arrive at the villa you are taken into the audience room and then into the dining room. You notice the elaborate mosaics. Draw some of the motifs between the four seasons and the pic- ture of Jupiter disguised as a bull. You enter the room above the cellar, which has elaborate wall paintings. One of these is of a strange symbol. Draw or describe it below. (As the room above the cellar no longer exists, you will need to look at the copy of the wall painting on the wall near the entrance door to the site)

Does this tell us anything about what the room was used for? These were used as good luck symbols. Does this tell you anything about the religion of the family?

Look around the site for any other clues to reli- gion. What are your conclusions about the reli- gion of the family that live on the site?

3,6 Activity Sheet 4 The Roman builder

You are employed by Bodgit, Fudgit et Filius. You have been sent by the master mason to TO BODGIT. MOT ET FILM record the site and what BVILDERS AND TOMBSTONE MASONS needs to be done to make it habitable again. GREETINGS You will need: a pencil a compass I WRITE THIS AT LVLLINGSToNE ROMAN VILLA. My your copy of the Roman HOVSE BVRNT DOWN RECENTLY. THE LONDINIVM builder's handbook INSWING COMPANY HAS ASKED ME TO PROVIDE A BVILDERS ESTIMATE FOR THE NECESSARy REPAIR WORK. I HAVE HAD ALL THE BVRNT TIMBER AND OTHER. RVBBISH REMOVED FROM THE SITE. PLEASE SEND ME Plan of site yOVR MOST RELIABLE WORKER TO PREPARE PLANS I How big is the villa? AND AN ESTIMATE. Mark the length and VALETE. width in paces on the .1 plan. ANToNIVS DOMO PROFVGVS II Mark north on the plan. St

32 dr1 III Make a sketch of a small portion of wall. Are there VI Mark onto the plan where you any patterns in it? Label the different building suggest toilets are built. Why would materials on your sketch, and mark on the plan you suggest building them there? where this wall is.

VII Mark onto the plan the bath block, the dining room, the kitchen and the chapel.

VIII What other rooms will be needed if a family is to live at Lullingstone again?

IV Mark the water supply onto the plan. IX Mark onto the plan where you would put these V How would you suggest getting water to the house? rooms.

X Choose one room and shade it on your plan. Think about the building work necessary to make it habit- able again. Refer to your copy of the Roman Builder's Handbook. List in the box below the differ- ent materials that would be needed to do this work and where they would be used.

".? 21 Activity Sheet 5

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MY HOME LULLINGSTONE ROMAN VILLA

I live in a house/flat/villa Lullingstone is a house/flat/villa

Number of rooms Number of rooms

1 2 3 4 5 6 7 8 9 10 more than 10 1 2 3 4 5 6 7 8 9 10 more than 10

The outside walls are made from The outside walls are made from

The inside walls are decorated with Inside walls decorated with

The floors are covered with The floors are made from

Water comes from Water comes from

Heated by Heated by

The bathroom is The baths are

1 2 3 4 rooms 1 2 3 4 rooms and a furnace

On the back of this sheet draw a part of the mosaic floor if you have time.

34 Bibliography andresources

Books which have an * are suitable Birley, A, The people of Roman 445-6.* for pupils. Britain, Batsford, 1979, ISBN 0- Johnson, S, Rome and its empire, 7134- 5935 -2. Routledge, 1989, ISBN 0- 41503- Branigan, K and Miles, D, Villa 267-9. Lullingstone Roman economies:economic aspects of Johnston, D. E, Roman villas, Shire, Villa Romano-British villas, University of 1988, ISBN 0-85263-961-9. This Sheffield, 1988, ISBN 0- 90609- book is part of a useful series on Meates, G W, The Roman Villa at 029-6. Roman history and archaeology. For Lullingstone Kent, Vol I The site, Corbishley, M, The Roman World, a full list of publications, please con- Kent Archaeological Society, 1979, Kingfisher Books, 1986, ISBN 0- tact Shire Publications Ltd, ISBN 0-85033-341-5. 86272- 218 -7.* Cromwell House, Church Street, Meates, G W, The Roman Villa at Corbishley, M, Town Life in Roman Prince's Risborough, HP27 9AA. Lullingstone Kent, Vol II The wall Britain, Nelson, 1984, ISBN 0 -17- Tel: 01844 344301. paintings and finds, Kent 444244-6.* Jones, C, Roman Mosaics, Museum Archaeological Society 1987, ISBN Corbishley, M, What do we know of London, 1988, ISBN 0- 904818- 0-90674-609-4. about the Romans? Simon and 20-9. These two volumes contain details Schuster, 1991, ISBN 0 -7500- Langley, A, Roman Times, Walker of the findings excavations between0852-0.* Books, 1996, ISBN 0-7445-2867-4. 1949 and 1961. Some of the finds Davison, B.K, A place in the Renfrew, J, Food and cooking in have since been re-interpreted, and country, Hamish Hamilton, 1984, Roman Britain,English Heritage, it is best to use these two volumes ISBN 0-241-11241-9.* 1985, ISBN 1-85074-080-1. in conjunction with the more recent Deary, T, The Rotten Romans, Sauvain, P, What to look for at the guidebook. Horrible History, 1994, ISBN 0 -590-Roman fort and villa, Longman, Neal, D.S. Lullingstone Roman 55467-0.* 1986, ISBN 0-582-23513-8 Villa, English Heritage 1991, ISBN Goodwin L, Kelly, Lynn and Shephard, C and Corbishley, M, 1-85074-356-8. The colour guide- Wilcock, J, The Roman Conquest of Discovering the Roman Empire, John book to the site. Britain, 1993, ISBN 1-85074-450-5. Murray/Schools History Project, Philp, B, The Hingley, R, Rural settlement in 1991, ISBN 0-7195-5179-X.* at , Archaeological Roman Britain, Seaby, 1989, ISBN Wilson, R.J.A, A guide to the Roman Rescue Committee, 1992, ISBN 0- 1-85264-017-0. remains in Britain, Constable, 1988, 947831-11-8. This villa is close Howarth, S, Roman people, ISBN 0-09-468680-7. enough to be visited on the same Macdonald Young Books, 1993, day and compared with ISBN 0-7500-1307-9.* Lullingstone. James, S, Ancient Rome, Dorling Kindersley, 1990, ISBN 0-86318- Stamp printed mosaic design Roman Britain and Roman life

Alcock, J, Life in Roman Britain, Batsford English Heritage, 1996, ISBN 0-7134-6745-2. Bedoyere, G, de la, The Finds of Roman Britain, Batsford, 1989, ISBN 0-7134-6082-2. Bedoyere, G, de la, The Buildings of Roman Britain,Batsford, 1991, ISBN 0-7134-6311-2. Bell, R C, Board and table games g from many civilisations, Oxford University Press, 1960 (This bookI is now out of print, but you may be 1, lucky enough to find it in a library). g Bidwell, P, Roman forts in Britain, Batsford English Heritage, 1997, r.1 ISBN 0-7134-7100-X.

4-0 35 Romans and Celts, Channel 4, 1997, 75 mins. Five programmes about life in Roman Britain. Talkin' Roman, English Heritage video, 1996, 20 mins. Investigates life in Britain under the Romans, using a chat show format. Computer resources Real Romans is a CD-ROM with a Mosaics made by pupils working with a professional mosaicist on a conununity arts book for Key Stage 2 pupils. The project. CD-ROM includes a tour (with audio guide) of three Roman sites Teaching strategies Archaeology Houseteads Fort, City and Lullingstone Villa. The book gives Brisbane, M and Wood, J, A Future Curtis, E and Curtis, N, Touching an introduction to the Romans and for Our Past? An introduction to the Past: Archaeology 5-14, Historic their world and is full of activities heritage studies, English Heritage, Scotland, 1996, ISBN 1- 899827- and things to discover. English 1995, ISBN 1-85074-491-2. 63-3. Heritage/TAG Developments 1999. Copeland, T, Maths and the HistoricWhite, R, Archaeological Themes, Environment, English Heritage, Roman Period, Northern Exam- Posters 1992, ISBN 1-85074-329-0. inations and Assessment Boards, Copeland, T, Geography and the 1993, ISBN 0-901628-96-4. Archaeological Detectives Poster Game, Historic Environment, English English Heritage, 1990. Four posters Heritage, 1993, ISBN 1- 85074- Videos help pupils understand the nature of 332-0. historical evidence. Durbin, G, Morris, S and Archaeology at work:looking for the A Roman Villa Fading From View, Wilkinson, S, A teachers' guide to past /uncovering the past, English available from English Heritage, 1995. learning from objects, English Heritage video, 1994, 58 mins. Full colour poster shows the story of a Hetitage, 1990 ISBN 1-85074-259-Shows and explains archaeological Roman villa built, then in decline. 6. _ techniques for finding, excavationg Pownall, J and Hutson, N, Science and recording sites and monu- Back cover: An artist's impression showing and the Historic Environment, ments. the house as it might have been in AD350. English Heritage, 1992, ISBN 1- Archaeological Detectives, English .(English Heritage Photo Library). 85704- 331 -2. Heritage video, 1990/1991, 79 Watson, I, Using Roman Sites, mins. Groups of children investi- Our Education Service aims to help English Heritage, 1997, ISBN 1- gate buildings and objects from the teachers make better educational 85074- 334 -7. past. use of the historic environment. Educational groups can make free Historical fiction visits to over 400 historic sites cared for by English Heritage.The following free booklets are available Clarke, N, Patrick and the rotten on request. Visiting Historic Sites Roman rubbish, Faber, 1995, ISBN and Buildings contains a full list of 0-571017354-3.* our sites and details of how to Sutcliff, R, Song for a dark queen, book. Our Resources catalogue Arrow Books, 1978, ISBN contains details of our publications 0-370-32403.* and our journal, Heritage Learning, Sutcliff, R, Outcast, Oxford Puffin, is published three times a year. 1955.* These two classic children's Please contact books on the Romans should be English Heritage available from your library. Education Service Sutcliff, R, The Eagle of the Ninth, Freepost 22 (WD214) audio-cassette, BBC audio, 1996, London SW1E 5YY ISBN 0-563-38920-6.* Tel: 0171 973 3442 Fax: 0171 973 3443 or visit our web site at: www.english-heritage.org.uk . BEST COPY AVAILABLE Pupils making a mosaic.

36 41 Plan of Lullingstone Roman Villa remains 0 5 _1 10 Metres 19

KEY(10)rooms).entrance `wing1-3 furnace, Heated 6 room'to East a (11)Christian RoomsVerandahabove hot room,cellar). (built Chapel (linking (12)over 8 Storeover hot earlierthe thedry orwings). kitchen. Cellar.room,stairs 7 to (13) South 4-59-18 cellar). hotCellar Baths,'wing water 3 (underThis room'comprising bath, room the(matching (14) ground-floorlater tepid(9) usedfuel formerroom, store,as north BEST COPY AVAILABLE 26mosaicapsed(15) 19Kitchen cold Well.Dining floor). room, (later20 Room). 24Stars (16) vestibulePassage towater 22 baths. Audience linking tank,to 21Chapel). (17)West East Chamber recreation Verandah and27 Stairs West (with room, toVerandahs.(originally mosaicCellar. and floor).(18) full25 large Probablelength, 23 Diningcold but bedroom. plunge later Room bisected bath). (with by 43 ENGLISHa HERITAGE

Lullingstone Roman Villa A teacher's handbook

Lullingstone Roman Villa is an exceptional Roman site, offering a wide range of study areas for pupils to explore. The villa wasin use for almost the whole period of the Roman occupation in Britain, and the remains include fine mosaics, a wall painting and clear evidence of the bath suite. This book offers support to teachers studying Roman Britain with their pupils, and shows how the site can be related to its geographi- cal context. It also offers suggestions for using the site as a stimulus for creative work, the study of technology or as the basis for an investigation into tourism.

SBN 1-85074-684-

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