During the late 1950s it was recognised that a succession of five rectangular, defensive enclosures, each astride the Watling Street ran from Uxacona (Redhill, Salop, SJ 72 10) to Tripontium (Cave's Inn Farm, Churchover, Warwicks. SP 53 79). The intervening enclosures were at Pennocrucium (Water Eaton, Staffs. SJ 90 10), Letocetum (Wall, Staffs. SK 09 06), and Manduessedum (Mancetter, Warwicks. and Witherley, Leics. SP 32 96)(FIG. 1). At the 1967 Roman Frontiers Conference, Webster referred to these as a chain of burgi, gave some details of their size and construction, and suggested a link with the restoration of order by Theodosius following the barbarian conspiracy of 367–368.

The Corbridge ‘pottery shop’ forms part of what is now known as the western enclave and was first uncovered during excavations directed by Leonard Woolley in 1907, together with the northern half of the western compound. Through the sixty-seven years since then interpretation of the evidence which he found and recorded has varied considerably, as is shown by the following extracts taken from the writings of Woolley, Forster, Birley and Richmond.

During 1983, in advance of redevelopment, archaeologists from the Museum of London's Department of Greater London Archaeology investigated the site once occupied by the palace of the medieval Bishops of Winchester, 250 metres west of the southern end of London Bridge. The excavations revealed a series of Roman buildings dating from the first to the fourth centuries a.d., one of which yielded the painted wall-plaster which forms the subject of the present article.

A ROMANO-CELTIC bust was discovered in 1967 by Mr. C. N. Moore, then Assistant Curator of the Salisbury and South Wiltshire Museum, set into a wall-niche in Chapel Cottage, Sutton Row, Sutton Mandeville, about ten miles to the west of Salisbury. It was purchased by the museum in 1968. Sor far it has only been summarily published – in JRS lviii (1968), p. 201, pl. 18, fig. 3 (front view, while still in the wall), in the Salisbury and South Wiltshire Museum Annual Report 1967–1968, pp. 16, 17, pl. l, c (left profile view, after removal to the museum), and in Salisbury Heritage, 1973, p. 18, fig 32 (same view as the last). But photographs giving several other views — three-quarters to right and left and from the back — were taken, both before and after the bust's removal from the cottage wall, by Mr Moore, who has kindly given me permission to publish here a selection of those that show it as it is now displayed.

Charles and Singleton have explained why Cassius Dio's claim (60.21.2) that elephants were among the equipment prepared for use in Britain during the Claudian invasion of a.d. 43 is probably untrue, if one assumes that by ‘elephant’ he means the animal of that name. It is argued here that the best explanation of this apparent error is that Dio preserves a reference to a type of military machine, probably a siege-tower, rather than to the animal of this name.

This paper assesses the effects which the building of Hadrian's Wall had on the patterns of supply and communication from the continent. Existing systems were strengthened rather than altered, and Hadrian's reign saw the full development of ports and military installations on the North Sea and Channel coasts. Navigation to Britain and sailing conditions on various routes are discussed, comparing their importance in the transport of wine, oil, exotic plants and samian ware and the movement of military personnel. Use of the Rhône–Rhine axis is emphasised for the movement of goods from Central Gaul and the Mediterranean, but other rivers in western and north-western Gaul were of some importance, as the details of samian distribution demonstrate. Finally, non-state organisation of the acquisition and distribution of commodities supplied to the army on Hadrian's Wall is strongly favoured.

This paper presents a new approach to an old problem, the provincial reception of the image of Roman emperors. Applying 3D computer modelling, we captured the portrait features of Hadrian as represented on coinage minted for the British province, produced a 3D model from a coin and compared it with the bronze head of Hadrian found in London. The aim was to test the possibility, previously posited by other scholars, that the London portrait might have been produced by an artisan who used coin portraits of the emperor as his main – if not only – model. More generally, the paper examines the dependencies of coinage and sculpture on shared models and applies new technology to Roman portrait studies.