Research Theme 2: The later 5th and the 6th c AD witnessed the gradual siltation of the outer Claudian basin, a contraction in the extent of the port, a transformation of the function of its buildings and in the volume and range of its traffic and cargo. In the 470s, the five buildings under study were enclosed within a defensive wall designed to protect the inner Trajanic basin from seaborne attack, possibly from Vandal pirates. Buildings 5 and 3 were systematically demolished in the mid to later 6th c, probably by the Byzantine authorities, and burials began to proliferate amongst the ruins.
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Research Theme 3: The large scale and complexity of the port infrastructure at Portus is best appreciated by remembering that by the early 2nd c AD it was the central node in what might term as a "port-system". Communication between Portus and Ostia and the commercial district of Rome, was articulated by a network of canals and the river Tiber itself. Our work has greatly increased understanding of a key part of this, the Isola Sacra, that lies between Portus and Ostia. It has revealed a massive new canal running south from the Fossa Traiana and parallel to the cemetery, field divisions, and warehouse complexes.
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Knowledge Exchange: One aim of the Portus Project has been to develop and enhance collaborations between academic and other organisations and individuals. This includes the development and application of digital methods of value both to the Portus Project and to industrial, government and third sector partners. For example, we worked with L-P: Archaeology to develop and test the functionality of their new ARK database. These developments have fed into their other commercial and research contracts. The project has also worked with Microsoft Research (MSR) on areas such as data capture, research data management and publication and learning technologies.
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Illustration by Charles Malcolm Allen in Betty Allen and Mitchell Pirie Briggs, If You Please: A Book of Manners for Young Moderns, rev. ed., J. B. Lippincott Company,  1950, p. 194.
Allen and Briggs’s books exemplify a tendency to show in the illustrations what is censured by the text. Scenes of teenagers having fun—listening to loud music, socialising without permission—carry disapproving captions. However, these depictions of censured activity might provide scenarios of identification for young people in a manner unplanned by authors and possibly even illustrators in the absence of an authorial voice for that group in post-war advice books.
Read more about ‘Although your elders’ love for you amounts to adoration, a scene like this would be improved by greater moderation’
Registered by ‘William Morris trading under the style of Morris & Co’ on 8 February 1876. BT 43/372/298226. This original design is for a woven wool and silk fabric. It demonstrates Morris’ use of natural forms and motifs, which were the result of his careful study of the natural world, within flat, stylised patterns. Like Pugin, Morris believed in ‘truth to materials’, saying that he tried ‘to make woollen substances as woollen as possible, cotton as cottony as possible, and so on.’ At the time this design was registered, Morris was experimenting with different dyes, in particular indigo, as an alternative to the newer chemical dyes.
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Registered by Morris, Marshall, Faulkner & Co on 1 February 1864. BT 43/99/171341. ‘Daisy’ was the first wallpaper designed by William Morris to be put into production. Morris, like the Pre-Raphaelite painters with whom he set up Morris, Marshall, Faulkner & Co, shared Pugin’s passion for medieval art, culture and design, as well as his belief in the intrinsic value of hand craftsmanship and dislike of contemporary British design. ‘Daisy’, formed of stylised floral motifs, is thought to have been inspired by an illustration in a fifteenth-century version of Froissart’s Chronicles, shown in an illuminated manuscript at the British Museum. By the 1870s Morris’s wallpapers were often regarded as key elements of an Aesthetic interior.
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Registered by Jeffrey & Co on 28 May 1879. Christopher Dresser was a prolific designer, working across most areas of the decorative arts. He wrote a number of influential works on design and design theory, but unlike proponents of the Arts and Crafts Movement embraced mass production. Like Pugin and other designer reformers, Dresser believed in using nature as the basis of ornament. Trained as a botanist, he pioneered the concept of ‘artistic botany’, contributing a plate to his former tutor Owen Jones’ book The Grammar of Ornament. Like Jones, Dresser believed that representations of nature should be ‘conventionalised’ rather than naturalistic, as shown in this design featuring stylised cornflowers.
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Registered by John Trumble & Co on 23 June 1858. BT 43/97/114049. The principles of design set out by Pugin were taken up by the design reform movement based around the Government School of Design in South Kensington. A key figure in the movement was Owen Jones. Jones travelled widely, researching different styles of design which were brought together and categorised in his hugely influential book The Grammar of Ornament, published in 1856. He was particularly inspired by Islamic design, as can be seen in this wallpaper, and led the way in the nineteenth century revival of what was termed the Moorish style in architecture and decoration.
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Registered by Jeffrey & Co on 18 February 1873. BT 43/100/270551
E W Godwin helped to popularise the Anglo-Japanese style, one of the defining characteristics of the Aesthetic movement. He introduced one of the movement’s most popular symbols, the peacock, shown here in the highly stylised form of a Japanese crest or mon. The diagonal ‘H’ pattern in the background was also derived from Japanese ornament. This formal peacock design was intended for use as a dado, with another of his designs, ‘Bamboo’, an informal, asymmetrical design, as the filling, or main section of wallpaper. The three-part division of walls into a dado, filling and frieze became a distinctive feature of Aesthetic design.
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Registered by John Trumble and Company on 23 June 1858. BT 43/97/114061. ‘Persian Sprig’ again reflects Jones’ interest in Islamic design. It also demonstrates his design precepts. He said that ‘all direct representations of nature in paper hangings should be avoided’ but instead natural forms should be ‘conventionalised’, or stylised, and distributed across the surface using geometric principles. Jones was well-known as a colour theorist, and received high praise for his colour schemes for the interior of the Crystal Palace. For wallpapers, he said that colours should be blended so that from a distance they would present ‘a neutralised bloom’.
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