Roman Artisans – A study of a Samian bowl, found at Barham Quarry

During excavations in spring 2023 at Barham Quarry, Suffolk, significant activity dating to the Roman period was uncovered. This included beamslot structures, a well or trough, post built structures and cremation burials. Among the Roman finds was a beautifully decorated Samian bowl.

What Is Samian?

Samian ware, with its smooth red glossy finish, was a type of fine tableware that was highly prized in Roman Britain. These pots were imported into Britain in vast numbers between the 1st and early 3rd centuries AD, serving as high-quality dining vessels. Samian pottery was produced primarily in regions of Gaul (modern-day France), with the bowl we’re discussing coming from South Gaul during the Flavian period of the late 1st century AD.

This particular pot, although missing parts of its rim, showcases a portion of its decorative design, giving us a glimpse into the artistry and manufacturing techniques of the time.

The process of making these decorated vessels was quite elaborate. First, the pot was thrown into a mould, which had intricate designs pressed into it. As the clay dried and shrank, it was carefully lifted from the mould, and then the base was attached. Finally, the entire pot was coated with a red slip (a type of liquid clay) and fired in a kiln. The production of Samian pottery was an industrial endeavor—some kilns could fire up to 30,000 pots at a time!

A Closer Look at the Bowl’s Decoration

One of the most captivating aspects of this bowl is its detailed decoration. The surviving part of the main panel features two kneeling stags, each delicately depicted with their pelts visible. These stags are positioned on either side of a floral cross shape, known as a saltire, which acts as a divider for two repeating decorative panels.

In each of the panels the stags would have been part of a larger scene featuring an additional stag figure, with both facing a central bush or tree – a decorative bucolic scheme but also possibly with symbolic aspects within it – for example male deer shed and regrow antlers every year, rubbing the velvet covering away from the mature antlers on trees in summer, providing a visual symbol of virility and the cycle of regeneration of life.

Above the main panel runs a repeating motif called an ovolo, a pattern resembling small swags or drapes. This served both an aesthetic purpose and a practical one, as it helped to conceal the join at the top of the moulded area between the bowl’s decorated body and plain rim.

Another interesting feature of this bowl is the lower frieze, a thin band of decoration beneath the main panels. Typically, this frieze would contain plant-like motifs, but on this bowl, it also includes small animal figures. These figures are tricky to identify due to their small size, but they may represent lionesses or possibly panthers. Curiously, these animals are upside down, adding a bit of mystery to the design.

Samian Pottery and Its Makers

One fascinating aspect of Samian pottery is that the designs pressed into the clay were often reused across multiple pots. These small carved figures, known as poinçons, were stamped into the wet clay of the moulds before they were fired. This reuse of motifs allows archaeologists to trace certain designs back to specific workshops or even individual potters.

The stags on this bowl, for example, have been associated with several potters from South Gaul, including well-known names like Mercato and Miimoris. Similar motifs have been found on other bowls, including a more complete example from Leicester featuring stags positioned on either side of a tree.

Why Is This Bowl Important?

This Samian bowl not only demonstrates the skill and artistry of Roman potters but also provides a glimpse into the cultural exchange between Roman Gaul and Britain. The fact that such finely crafted pottery was imported in large quantities underscores the influence of Roman culture in Britain during this period.

It’s also a reminder of how much effort went into creating objects that were not only functional but also beautiful. The bowl’s intricate decoration reflects the high level of craftsmanship and attention to detail that Roman artisans were capable of, and the fact that we can trace certain motifs back to individual potters adds a personal touch to these ancient artefacts.

The project was funded by Brett Aggregates Ltd.

Stephen Banfield
Finds Officer