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3. The Discovery of the mosaic, 1727

The rediscovery of the villa, 1727:

In the 12th-15 centuries a medieval linear village developed covering the ground from the site of the Roman villa east towards the present day Littlecote House. These village buildings were demolished c.1450 when Littlecote House was built, and a hunting park was created.

Around 1650-1715, over the remains of the east end of the Roman riverside building, a brick-built cottage was developed into a well-appointed house, probably the hunting lodge for Littlecote Park.

The hunting lodge can be seen in a contemporary painting of Littlecote, 1701-1730.

Painting   Prospect of Littlecote (1701 1730)

“Prospect of Littlecote (1701-1720)” © Royal Armouries

It was in the garden of this house, whilst digging post holes for a fence, that William George, the estate steward to Francis Popham (born 1682, then owner of Littlecote), first uncovered the Orpheus mosaic in 1727. The finding was immediately recognised to be of importance.

The Society of Antiquaries of London recorded the discovery at their meeting in April 1728, and the antiquarian Roger Gale referred to it as "the finest pavement that the sun ever shone upon in England".

In 1730 the Marquis of Hertford, then President of the Society, commissioned George Vertue, the eminent Court artist of the time, to make an engraving of the floor from remarkably detailed drawings by Samuel Lysons.

William George made coloured drawings (now lost), from which his widow later made an intricate piece of needlework in his memory. The embroidered panels within the work described its discovery and iconography (not absolutely accurately!).

Mrs George's tapestry

Mrs George’s tapestry, hung in Littlecote House, pre 1985. (With thanks to Pauline Mobey)

Trying to find the exact whereabouts of these various items recording the Orpheus mosaic has been surprisingly complicated!

Mrs. George’s tapestry: Mrs. George’s tapestry hung in Littlecote House until 1985, when it was sold to a private buyer by Sotheby’s on behalf of Peter de Savary. Pauline Mobey contacted Sotheby’s, who would not reveal the identity of the buyer, but promised to pass on her details to the buyer. She has heard nothing then or since. Its whereabouts are still unknown.

George Vertue’s engraving: George Vertue’s engraving was said to be in the Ashmolean Library (Museum), Oxford, but they denied that it was in their collection.

Pauline Mobey then contacted the Victoria and Albert Museum, London. She received the following reply in November 2019:
“Many thanks for getting in touch. You can read more about the print via the following page - http://collections.vam.ac.uk/item/O567630/print-vertue-george/

It is currently on display within our Prints and Drawings study room. You are welcome to book an appointment to study the piece via the following link http://vam.altarama.com/reft000.aspx. Unfortunately, I am unable to shed any light on the whereabouts of the needlework, as it went into private ownership following its sale.

However, during the original restoration, it was known that Bryn Walters worked from a hand-coloured print which was allegedly the only one that George Vertue produced. She came across a blog written by the Bodleian Library in August 2020 which confirmed they held it and the blog ( http://blogs.bodleian.ox.ac.uk/sackler/2020/08/ ) included a photo:-

Orpheus Bodleian

A print of the George Vertue engraving (in the Bodleian Library)

It had been thought that this was the hand-painted print used by Bryn Walters and the mosaic restoration team c1980 to help them re-build the damaged and missing parts of the original mosaic.

Bryn Walters produced a postcard of the mosaic at the time, which he published on a postcard at the time:

image

The Orpheus mosaic – from Bryn Walter’s postcards of c.1980

Thankfully, Bryn Walters was kindly able to clarify the various different copies (in a personal communication in June 2021):
“Firstly, the colour print you and Pauline have been sent (by the Bodleian Library) is not the original Vertue engraving. It is the later copy made by the antiquary William Fowler 1761-1832. Obviously, that is also in the Bodleian and I think it is on a single sheet.

Vertue's original is in the Bodleian but is on two separate sheets. Compare the emailed illustration with the Vertue print in my site guide. There are columns of text down each side if the square hall. They are not on Fowler’s copy and his title at the top is not Vertue’s.

Whoever has sent through the image you have may not be aware that it is a copy and have not bothered to get out Vertue’s original.

Note: The two columns of text were written by Dr L. Ware and George Vertue. The text was carefully transcribed in 2012 by Pauline Mobey from a framed copy of the colour print that used to hang in the Diamond Hall at Littlecote (it disappeared soon afterwards). It is reproduced in full in the Appendix below.

The Roman site was purposely covered:

After its discovery and recording, the mosaic was reburied and declared lost. Several oak trees were planted across the site.

See also:

- Littlecote Roman Villa - 1. Introduction.

- Littlecote Roman Villa - 2. The history of the villa, AD60 - 1700.

Littlecote Roman Villa - 3. The Discovery of the mosaic, 1727.

Littlecote Roman Villa - 4. The Rediscovery and restoration of the villa, 1976-1991.

Littlecote Roman Villa - 5. The Conservation Plan, 2019-2024.

Littlecote Roman Villa - 6. Exploring and Understanding the villa today.


Appendix:

Transcription by Pauline Mobey of the text on the George Vertue coloured engraving, c.1730:

ORPHEUS MOSAIC – CONTEMPORARY DESCRIPTION

by Dr L Ward of Gresham College

This pavement was first discovered by Mr William George, late steward to Edward Popham esquire, the present possessor of Littlecote Park. It lay about five feet under the surface of the earth, which when exposed by digging disclosed this curious monument of Roman grandeur, the largest and most beautiful of the kind that has hitherto appeared in Great Britain. The length of it was forty one feet, and the breadth twenty eight in the widest part, and the whole was not only beautified with a great variety of different colours, but likewise disposed in the shape of many emblematical figures, partly human and partly of brute animals. By the size and form of it, together with the several figures there exhibited, it seems to have been the area of the heathen temple; for it consists of two parts, as those buildings usually did, namely a templum and sacrarium, which answered in a good measure to the nave and choir in our Christian churches. And the figures are so situated that most of them appear in front at the upper end of each part.

The templum, or outer part, is ornamented at the lower end with a border, in the center of which a carchesium, or large cup with two handles which used to be filled with wine at their sacrifices and other religious ceremonies. Hence that of Vergil, in describing the funeral obsequies performed by Aeneas to the memory of his father Anchises, in Sicily:

Hic duo rite mero libans carchesia Baccho Aen V.77. This cup is supported by two sea monsters, one on each side, with fins on their shoulders like wings and fishes tails. Behind each of these is a dolphin, and two conchae, or shell fishes. Opposite to this border, at the upper end, is another like it, which has also a cup of the same form, supported by two panthers.

The emblematical figures which adorn the sacrarium seem most probably relate to the worship of the Sun. In the center stands Orpheus playing on his harp; who was said to be the son of Apollo, the god of music, by the muse Calliope. Around them are placed four female figures, each riding upon a different sort of animal. These might be desined to represent the four seasons of the year by the ancients called Horae, and reckoned among the attendants of the Sun. Thus Ovid Met II.24. In folio Phoebus claris Incente smaragdis; A dextra laevaque Dies, Mensis et Annus, Saeculaque et positae spatiis aequalibus Horae. And as they accompanied him in his annual course, the animals on which they sit, are here described as running full speed, to denote the swiftness of his motion. They are likewise distinguished from each other by different characters or attributes. One of them sits on a deer, holding a flower in her right hand, which may denote the spring. The next rides on a panther, with a swan on her right side, a summer bird, and sacred to Apollo, Aelian De animal, II.32.XIV.13. The third is placed on a bull, with a bough in her right hand, resting on her side, which might possibly be intended for a vine branch, as an emblem of autumn. And the last, which is carried by a goat, has nothing in either hand, to denote possibly the barrenness of winter, when goats especially browse on the bark of trees. It may be farther observed that the two first of these female figures are naked downwards to the waist, as representing the two warm seasons of spring and summer. Whereas the two last are wholly covered, except their arms, which very well suits with the seasons of autumn and winter, as distinguished by the ancients, who describe one as cold and dry, and the other as cold and moist. Hence Ovid said Met III 729 frondes autumno frigore tactas and Ausonius, Edyll VIII 40 autumnas pruinas. These figures are incompassed on each of the three sides on which it is not joined to the templum, with the face of the Sun emitting bright and extended rays in the form of a semicircle. This representation of the Horae, or four seasons, in the manner wherein they are here situated, I do not find to have been hitherto observed upon any other ancient monument, which renders this pavement very singular and curious. And as all the emblematical figures in the Sacrarium plainly relate to Apollo, under the image of the Sun, he may justly be esteemed as the principal deity to which this sacred building was consecrated. But as those in the templum seem to relate partly to Neptune & partly to Bacchus, it may perhaps not improbably be esteemed as a sort of Pantheon.

As to the time this temple was erected, there are some circumstances which may afford light into this inquiry. For there was an earthen urn dug up at the same place where this pavement was discovered, in which were found coins of the emperor Vespasian. And in the year of our Lord 77 Julius Agricola, being then consul at Rome, at the expiration of his office, was sent by that Emperor as legate into Britain. This was the year before the death of Vespasian who died in 79 and was succeeded by his son Titus. Before the arrival of Agricola the Ordovices, a people of North Wales, has destroyed a considerable body of the Roman forces that lay on the borders of their country. This obliging him immediately to march his army against them, he gave them a total defeat and cut off almost the whole nation. And after several other victories by which he reduced the province to a peaceable state, he applied himself to remove the occasions of war by redressing grievances. The next summer he again brought his army into the field, and having subdued all those who opposed him, and wasted their country, he employed the following winter by endeavouring to cultivate those rude nations in the arts of peace, and teach them to build temples, courts of justice, and houses. Ibidem c21. Agricola continued his command in Britain for seven years & was then recalled by the Emperor Domitian. But the account which the historian gives of him after the second winter, related chiefly to his further marches, and conquests of a great part of the island northward as far as the Grampian mountains in Scotland, where he engaged with & defeated Galgacus. And after he left Britain, the Roman historians give us little or no account of their affairs here, till the reign of the emperor Hadrian. But from what has been said above, concerning the coins of Vespasian found in the urn, and none of a later time, as likewise of the endeavours used by Agricola to engage the Britons to erect temples and other buildings; this may not improbably be thought to have been the pavement of some temple which was built here while Agricola resided in Britain.

This curious piece of antiquity is now unhappily destroyed. But before it met with that misfortune, Mr George had taken an exact draught of it upon several sheets of paper, in which all the parts and figures contained in it were expressed in their proper colours. And from that drawing his Widow afterwards made a beautiful carpet of it in needle work, reduced to the size of near one inch to the foot of the original, from which this print was copied.

L.W. and Geo: Vertue Sculp.

NOTES by Pauline Mobey, 2012:
Dr Ward’s description (above) appears in the margins of the print of the Vertue engraving, of which a framed copy hangs in the Diamond Hall at Littlecote.

Note that the Vertue engraving was made from the tapestry, not William George’s drawings, and perpetuates the errors made by Mrs George, eg she says it was found in 1730, not 1727, and the owner of Littlecote at the time was not Edward Popham but his father Francis Popham Esq (not Sir Francis). His son Edward succeeded in 1735.