A Roman Panpipe from EschenzHansjörg Brem

1 On the excavation see: JbSGUF 88, 2005, 355–357;JbSGUF 87, 2004, 383; JbSGUF 86, 2003, 234.

2 Inv. No. 2002.051.2060.1.3 Selected parallel finds are cited by Woltering 1999, 178–181.4 Brem 2004a; Brem/Leuzinger 2005; Brem 2007.5 Musica Romana 2005.6 Rühling 2006.

ZUSAMMENFASSUNG

Im Juni 2004 kam bei einer Notgrabung im römi-schen Vicus von Tasgetium (Untereschenz) unweitvon Untersee und Rhein eine kleine Panflöte ausBuchsholz zum Vorschein. Das Musikinstrumentwar unbeschädigt im 1. Jahrhundert n. Chr. in denfeuchten Boden gelangt. Kurz vor der Auffindungerlitt es durch Austrocknung geringfügige Beschädi-gungen, die bei der Restaurierung größtenteils rück-gängig gemacht werden konnten. Die kleine Flötemit den Abmessungen etwa 11 x 8 cm ist nur etwa13 mm dick, weist 7 Bohrungen auf und konnte aneiner Schnur oder einem Riemen um den Halsgehängt werden. Diese Flöte gehört zu einer kleinenGruppe sehr ähnlicher Instrumente, die zum größtenTeil aus Holz gefertigt sind und auch unter demNamen „germanische Syrinx“ zusammengefasstwerden. Der Begriff stützt sich dabei auf Fundorte,die sich in Frankreich, England sowie Holland undDeutschland befinden. Das Eschenzer Stück ist zwei-fellos eine der am besten erhaltenen der in rundzwanzig Beispielen überlieferten Flöten. Da inEschenz bereits seit Jahrzehnten immer wiederbedeutende Holzfunde aus römischer Zeit gemachtworden sind, war das Amt für Archäologie auf denFund vorbereitet. Computertomographien vor undnach der Restaurierung, eine ausführliche dendrolo-gische Untersuchung sowie weitere Analysen wur-den und werden durchgeführt. Die Flöte ist heute imMuseum für Archäologie in Frauenfeld ausgestellt.

1 PRELIMINARY REMARKSAND INTRODUCTION

Shortly before the morning tea break on June 2,2004, a member of the excavation, ClaudiaHäusler, was sifting through the back dirt from theongoing excavation at Römerweg in Eschenz1,when she discovered a panpipe in the black boggysoil containing wood fragments2. At the breakfasttable the finder and her colleagues immediatelyrealized that the find was a musical instrument.This interpretation seemed quite logical indeed,

but we were not sure about it until a search in theinternet revealed a number of parallel finds3.

The small panpipe (Fig. 1) measures 11 by 8 by1.5 cm and had obviously been dumped in awheelbarrow load onto the pile of excavated dirt.It was possible to reconstruct its provenance as thesoil had come from a well-defined pit consisting ofa marshy ‘cultural layer’ overlying a natural layerof dirt, which we had removed with shovels andspades. Therefore, it can be stated that the instru-ment was found during a regular excavation andthat its stratigraphic association was established.However, the panpipe was not observed in situ.

The instrument underwent a conservationprocess and a range of analyses. In November2005 it was exhibited in the Museum of Archaeol-ogy in Frauenfeld, where it currently remains. Ithas also been presented in various papers4. Severalreplicas (Figs. 2–3) and a CD including a booklet5

produced by Susanna Rühling have made this spe-cial find famous: It is the earliest known, com-pletely preserved musical instrument found inSwitzerland to date. What is still lacking is anarchaeological publication about the context of theexcavation and a detailed description of the instru-ment and its treatment up to now. An appraisal ofthe artefact and its integration into ancient musichistory – including comparison with similar pan-pipes – has been undertaken by Susanna Rühlingin a master’s thesis submitted to the University ofBonn6.

2 ESCHENZ – ROMAN TASGETIUM

The ancient name of Tasgetium refers to two topo-graphically and historically separate areas of aRoman settlement located at the effluence of the

Untersee into the River Rhine (Fig. 4)7. While theImperial vicus of Tasgetium was situated on thesouthern shore of the Untersee in the area ofpresent-day Eschenz/TG, the Late Antique fortwas built around A.D. 300 approximately 1 kmfarther west on top of a hill (district of Stein a.Rh./SH) (Fig. 5). The vicus extended over approx-imately 20 ha around the southern end of a wood-en bridge across the Untersee, for which the islandof Werd was used as a supporting pier. Only asmall number of archaeological finds are known tohave been recovered from the northern shores ofthe lake and the River Rhine.

The settlement of Tasgetium is mentioned inancient literature by Ptolemy II 12,3. Inscriptionsare also known, which mention the legal status ofthe vicus, the time of construction of the fort andthe place name. According to this information, theplace, which undoubtedly owed its economicboom to its favourable geographic location fortransport, must have been part of the Province ofRhaetia during the Imperial period. Despite thefact that the bridge across the effluence of the lakehas been proven to have existed and in one casecould even be dated through dendrochronology tothe years around A.D. 828, the further course ofthe road to the north could not be determined. Inthe south, there seems to have been a road leadingsoutheast to Pfyn (Ad Fines).

Finds made on the island of Werd illustrate aninterest in this region on the part of the Romanarmy from the turn of the 1st century A.D.onwards. From then on the vicus gained impor-tance because of its bridge and port, and in the 2nd

century rather substantial construction phases areindicative of a period of economic prosperity. Theconstruction of the Late Roman fort around A.D.294 in a strategically favourable location at thetransition of the lake to the river was most defi-nitely the reason why the settlement in Unter-eschenz was abandoned.

The remains of Tasgetium, in particular inscrip-tions and fragments of the bridge found in the lakebed near the island of Werd, have attracted interestsince the 16th century. After a number of earlierexcavations had been carried out in the 19th centu-ry, it was mainly the fort that was investigated,while the vicus and particularly Werd Island werefurther examined archaeologically in the 1930s andfrom 1975 onwards. The vicus of Tasgetium start-ed its development as a number of timber build-ings (so-called strip houses) lining a road that ledsoutheast from the bridge. As early as the begin-ning of the 1st century, workshops and installa-tions such as potters’ kilns and smithies were setup on the periphery of Tasgetium. Baths are theonly public buildings found to date, but inscrip-tions also provide evidence of the worship of

Rhenus and Fortuna. The Imperial Tasgetiumbears particular importance for Roman archaeo-logical research in Switzerland because of itsexceptional preservation conditions for organicmaterials such as wood (Fig. 6) and, with that, itspotential regarding dendrochronological datingand natural scientific analyses9.

Due to the late advent of building activity inEschenz, it has been possible since the 1990s tocarry out archaeological excavations ahead of con-struction, and these are still ongoing. As men-tioned above, the features are exceptional inas-much as large parts of the vicus lie in waterloggedground, usually due to a substantial outflow ofground or slope water and not because of its close-ness to the lake. Excavations carried out thus faron the actual shoreline have been very limited. Thewater table in vast areas of Untereschenz liesapproximately 60 cm below the present-day sur-face, so that up to several metres of layers datingfrom the Roman period have been preserved inwaterlogged conditions. This, for instance, has ledto the preservation of a timber basin from a well,built in A.D. 200 as part of a monumental com-plex, near the location where the panpipe wasdeposited. This complex indirectly provides a datefor the panpipe, as it was found above the layersthat contained the instrument.

Wetland preservation conditions are veryimportant, not only for the finds and features butalso for their dating. At this stage more than 250dates have been obtained from oak and fir timbers,and over 800 samples have been analyzed.

3 THE EXCAVATION CONTEXT

A archaeological analysis of the site ‘Römerweg’has not been completed yet, but a number of state-ments can be made regarding the panpipe, whichwas discovered at the very end of an excavationcampaign (Fig. 7). The findspot of the instrumentwas located south of a major Roman road, whichled from the bridge crossing in a south-easterlydirection. This road was constructed around thetime of the birth of Christ. In the south it wasaccompanied by plots oriented at right angles to it,which contained strip houses. These timber-framed houses, the eaves of which probably facedthe road to the north and the backyard to thesouth, measured at least 8 by 15 m and were builtfirst in the manner of post construction and laterin sill-beam construction. To the south, the houses

Hansjörg Brem4

7 Höneisen 2005; Brem 2003; Höneisen 1993.8 Bürgi 1987.9 Cf. for instance Pollman et al. 2005.

(which, however, have not yet been fully excavatedon their southern sides) had gardens, barns, pens,workshops or storerooms, while some of the ter-rain – as indicated by open ditches, fences and treetrunks – must have been left vacant. A potter’s kilnand more simple wooden constructions are indica-tive of the existence of backyards. As opposed tomany other Roman sites, Eschenz has yieldedpractically no pits; the permanently moist andsometimes very wet ground, however, demandedconstant draining10. Parts of drains have come tolight in large numbers. Organic and inorganicwaste often seems to have been spread over thesurface in order to dehumidify the ground. How-ever, it is difficult to ascertain whether the materialwas gradually deposited on the site or whether itwas brought in from another location all at thesame time.

In the 2nd century A.D. the backyard terrainwas totally restructured and included the con-struction of more substantial stone buildings andthe timber well complex mentioned earlier. Thisextensive redesigning, which was probably onlycompleted around 200 A.D., led to a significantlevelling of the subsoil and, with it, to the coveringof earlier settlement layers. At this stage, the pan-pipe was located in a layer that must have beendeposited earlier, i.e. during the first decades of theuse of the area as a backyard. As demonstrated bya number of dendrochronological dates, the gene-sis of this layer can be dated beyond doubt to theearly 1st century A.D.

4 THE TREATMENT OF THEPANPIPE AFTER ITS DISCOVERY

The panpipe, which had suffered slight damagefrom drying during the short time that it lay in thedirt pile, was placed immediately after its discov-ery in a water bath, where it subsequentlyremained when not being analyzed. At this pointwe were faced with the problem of how to gaininsight into the interior of the instrument, i.e. thecourse of its tubes. We were further confrontedwith the problem of how to avoid touching thefragile artefact as much as possible, while still pro-viding a concrete model for third parties.

As we had previously collaborated with theCanton Hospital Frauenfeld for X-rays, weapproached them again. A few days later SeniorConsultant S. Duewell MD personally examinedthe object using their new computer tomographyequipment and produced a set of data that stillforms the basis for documentation (Figs. 8–9). At alater date, other sets of data were collected at theEMPA (Federal Materials Science Institute) inDübendorf and at the Frauenfeld Hospital, but the

initial set still serves as a starting point for allanalyses. The ‘layer thickness’ (distance betweentwo X-rays) in this tomography was 0.4 mm. Inci-dentally, the medical apparatus proved far superiorto the technical equipment of the EMPA, becausethe images were completed and accessible after amuch shorter period of time.

The question of reconstructing the panpipebasing upon the gleaned data led us to the Instituteof Anthropology at the University of Zurich,where the staff is highly experienced in dealingwith polymer lasers. Stated simply, polymer lasersenable the manufacture of plastic 3D-models fromsets of data. However, the problem was that thehollow spaces in the tubes were filled with waterand consequently did not provide enough con-trast; this made it necessary to painstakingly re-process the data on the computer. Christoph Zol-likofer and Marcia Ponce de Leon mastered thistask and eventually produced a ‘repaired’ set ofdata, which essentially reproduces the originalappearance of the panpipe without the damage11.Therefore, there are two versions of plastic repli-cas, one based on the original set of data collecteda number of days after the discovery and a secondset based on the re-processed and ‘repaired’ datawith the latter replicating the estimated originalappearance (Fig. 10). Of course, both replicas fea-ture the same measurements, as they are based onthe same set of data.

The dendrological analysis of the panpipe wascarried out by Werner Schoch12. During the exca-vation, we had already presumed that the materialwas boxwood; Schoch provided the additionalinformation that the tubes had been carved tan-gentially from a section of trunk from an at least60 to 70 year old box tree, which had not had acompletely round diameter. There are indeed treesof such diameter in Central Europe nowadays –whether this was also the case in Roman times isstill being discussed. We are of the opinion, how-ever, that it was13.

Flute-maker Martin Wenner in Singen wasgiven the task of producing a new panpipe basedon the parameters of the example from Eschenz. Itwas not the intention to create an antique ‘replica’,but to have a modern expert recreate an analogous

10 Cf. Jauch 1997.11 On the process see Zollikofer/Ponce de León 2005.12 Report compiled by Werner Schoch on 27/7/2005; Archae-

ological Department of Canton Thurgovia.13 In contrast to Fellmann (1991, 26) trunks of the thickness

necessary to make a panpipe can also be found in thisregion (Fig. 1). Boxwood has been proven to have beenused in the manufacture of wooden implements – and inparticular in woodturning – in the immediate vicinity inEschenz, Oberwinterthur and Vindonissa in Roman times.

A Roman Panpipe from Eschenz 5

instrument using contemporary tools. MartinWenner carefully documented the individual stepin production photographically and thus also pro-vided us with the ability to make certain com-ments on the manufacture of the original instru-ment.

The conservation of the syrinx was carried outin Konstanz by Ralf Riens and Inka Potthast, afterit had been documented extensively while it wasstill waterlogged. It was a bonus that the laborato-ry staff had already gained experience while con-serving the Early Medieval lyre from Trossingen14.It was interesting to see that the panpipe showedonly a limited degree of shrinkage (less than 5 %of the measured values) when it was transferredfrom a waterlogged to dry condition, which meansthat we can now exhibit the instrument in an oldbut yet ‘original’ condition in the museum inFrauenfeld. Whether the restored original instru-ment can still be played has never been tried,except by the finders. As subsequent CT scansshowed, there are certain areas on the inside of theinstrument where the wood has decayed quite sig-nificantly. This loss of material can barely be seenfrom the outside, but manifests itself in the weightof the panpipe, which now weighs approximately80 g, while the practically identical replicas weighbetween 93 and 104 g. The re-processing of thecomputerized tomographic images provided asimilar picture, inasmuch as areas of highlydegraded material were clearly visible. Thechanges in the instrument due to the long time itspent in the ground (water absorption) and its sub-sequent conservation (extraction of humidity,shrinkage, etc.) have by no means followed a linearpattern, but have remained rather limited. Never-theless they make it impossible to reconstruct theoriginal appearance of the panpipe using ‘precise’measurements. This uncertainty must be empha-sized, in particular as far as musicological studiesare concerned.

5 BRIEF DESCRIPTION OFTHE PANPIPE (Figs. 11–13)

The shape of the panpipe with seven tubes of iden-tical diameters but varying lengths is approximate-ly trapezoidal, and the edge, across which thetubes were blown, is very slightly convex. Theexterior measurements are approximately 11 by 8by 1.5 cm. The diameters of the seven paralleltubes uniformly measure around 0.8 cm (perhaps0.78 cm). The tubes have various lengths; however,tubes 4 and 5 (counted from the longest to theshortest) have almost the same lengths15 (Fig. 8).The ratios of the lengths of the tubes between theshortest and the longest are approximately 1:1.9;

the ratios among the individual tubes varybetween 1.17 and 1.05. The edges of the tubes arefilleted all around, while on the blowing edge thefillet is designed steeper and shorter.

As seen in other panpipes of this type, the out-side of the instrument (i.e. the side facing awayfrom the player) is decorated. Two ring-and-dotmotifs were added deliberately as ornamentation;however, initially I had preferred their interpreta-tion as drilling attempts. A third bore hole actuallyperforates the instrument and served as a suspen-sion hole for a piece of string or a strap. Horizon-tally incised lines at the front and back must prob-ably be viewed as suggesting a binding around thebundle of tubes. Whether or not these lines wereadded at a later date remains unknown.

The precision with which the tubes weredrilled and the edges filleted, in particular theblowing edge, is remarkable; the surface treatmentis also striking and is reminiscent of other objectsturned in boxwood. We are definitely not dealingwith a chance object made by a hobby carver,which is indicated by the choice of wood alone16.

It has been determined that the boring of thetubes was done with the same drill, which had adiameter of just under 8 mm. At this stage of theanalysis we believe that the worked piece wasmoved against the drill. This assumes that somekind of lathe was used. In any case, both elements,drill and worked piece, must have been alignedand the movement must have been carried out in acontrolled manner. Nevertheless, the tubes are notdrilled exactly parallel to each other. The mainstriking feature of the Eschenz artefact is that twoof its tubes are of practically identical length. Itremains unclear whether these tubes were fine-tuned using some other material. Despite our bestefforts, we were unable to detect any other materi-als in the holes. As shown in experiments using theplastic models, the range of sound comprisesapproximately one octave.

The extreme care and attention to detail exhib-ited in the manufacture of the tubes and their simi-larity with other finds of this type raise theinevitable question as to where they were made.Because turned boxwood vessels occurred in mostparts of the Roman Empire and worked piecesprovide evidence of woodturning workshops invarious locations, we are of the opinion that theseinstruments were rare but indeed ordinary every-day objects made by specialized woodworkingcraftsmen.

14 See Theune-Großkopf, this volume. 15 Lengths of the tubes (in mm): 73; 62; 53.2; 45.7; 45.7; 42; 39.16 On the use of boxwood for implements see for instance

Pugsley 2003, 68–69; Saedlou 2002, 66; Hedinger/Leuzin-ger 2002, 28–29; Fellmann 1991, 26.

Hansjörg Brem6

6 MONITORING THE STUDIES

It was clear to us from the day of the discovery thatwe would need to discuss any potential questionsabout the panpipe in detail and in the context of itsrestoration and documentation. To this end, we dis-cussed and scrutinized the find in all of its aspects ata colloquium and in numerous individual contactswith various experts. The fact that Susanna Rühlingwas able to work on the instrument from the verybeginning was certainly an advantage, as was theextensive experience in the field of preservation ofwetland finds on the part of our department. Theexperts in all of the disciplines that have alreadybeen referred to – I would also like to mention AlexFurger from Augst – and the interest shown by along list of panpipe enthusiasts have speeded up theanalyses. The decisive factor for us was and is tohave presented the remarkable artefact to the publicas quickly as possible. At this stage, many Thurgo-vians know that an original instrument from theRoman period is on display in their museum.

7 CLOSING STATEMENTS

The Eschenz panpipe measures approximately 11by 8 cm, has 7 tubes and was made of narrow-

ringed boxwood. The artefact must have been lostat the latest during the middle third of the 1st cen-tury A.D. in the backyard of one of the houses inthe vicus of Tasgetium and must have been undam-aged when it was deposited in the ground. Thiscontext indicates that the instrument was lost bymistake. The significance of the Eschenz syrinxlies in the fact that it was possible to study the findimmediately after its discovery in the context of amethodical excavation and with all the methods atour disposal today. It is also worth mentioningthat the object was largely intact when it came tolight and that it was discovered in an excavationcontext that could be chronologically assessed andinterpreted. Preliminary work in terms of docu-mentation and conservation could be undertakenby us as archaeologists; the scientific study from amusicological viewpoint, however, is still pend-ing17.

Translation by Sandy Haemmerle

17 In order to protect the instrument it is not possible to playthe original; however, replicas as well as a reproductionmanufactured by an instrument maker and plastic copiesare all available for experimentation.

A Roman Panpipe from Eschenz 7

BIBLIOGRAPHY

BELZ, E./BREM, H./HASENFRATZ, A./KAUER-MANN, R./LEUZINGER, U./MÜLLER, C./SCHWEI-CHEL, R./STEINER, D. 2008

Neue Erkenntnisse zur Datierung der Holz-statue von Eschenz, Jahrbuch ArchäologieSchweiz 91, 134–140.

BREM, H. 2003 Die Römer am Wasser – der kaiserzeitliche‚vicus’ von Tasgetium, in: E. Roth/A. Siefert(eds.), „Was haben wir aus dem See gemacht?“Kulturlandschaft Bodensee, Teil 2 – Unter-see. Zweite Tagung der Projektgemeinschaftdes Arbeitkreises Denkmalpflege am Boden-see 12. Oktober 2001, Landesdenkmalamt Ba-den-Württemberg Arbeitsheft 12, 91–97. Stutt-gart.

BREM, H. 2004aEine Flöte für Pan aus Eschenz, InstrumentumBulletin 20, 19.

BREM, H. 2004bReger Austausch über den Rhein. Von denInselleuten auf Werd zum römischen VicusTasgetium, in: A. Troll/J. Hald (eds.), Zeitrei-sen am Bodensee, 88–89. Konstanz.

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découverte en Suisse, Dossiers d’archéologie320, 18–21.

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BREM, H./LEUZINGER, U. 2005Gebohrt, gedrechselt, gehobelt – Holzfundeaus dem römischen Vicus Tasgetium (Eschenz),Archäologie der Schweiz 28/4, 32–37.

BREM, H./STEINER, D./KESSELRING, R. 1999Neues aus Tasgetium, Archäologie der Schweiz22, 123–134.

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MUSICA ROMANA 2005Symphonia Panica. Klänge und Musik aus derAntike. Emmuty Records Bonn.

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HEDINGER, B./LEUZINGER, U. 2002Tabula rasa. Holzgegenstände aus den römi-schen Siedlungen Vitudurum und Tasgetium(exhibition catalogue). Frauenfeld.

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JAUCH, V. 1997Eschenz – Tasgetium. Römische Abwasser-kanäle und Latrinen, Archäologie im Thurgau5. Frauenfeld.

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logged Prunus Species from the Roman vicusTasgetium (Eschenz, Switzerland), Journal ofArchaeological Science 32, 1471–1480.

RÜHLING, S. R. 2006Pan im Buchsbaum – Ein Syrinxfund aus Titz-Ameln (unpublished master’s thesis).Rheinische Friederichs-Willhelms-UniversitätBonn, Institut für Kunstgeschichte und Ar-chäologie, Abteilung für Ur- und Frühge-schichte. Bonn.

PUGSLEY, P. 2003Roman Domestic Wood. BAR internationalSeries 1118. Oxford.

SAEDLOU, N. 2002Apports de la xylogie à l’archéologie: Etudesdes objets en bois gallo-romains de Saintes(Charente-Maritime, France) (unpublishedPhD thesis). Université Paris 6. Paris.

WOLTERING, P. J. 1999Roman Panpipes from Uitgeest, the Nether-lands, in H. Sarfatij/W. J. H. Verwers/P. J. Wol-terin (eds.), In Discussion with the Past. Archa-eological studies presented to W. A. van Es,173–185. Ammersfoort.

ZOLLIKOFER, CH./PONCE DE LEON, M. 2005Virtual Reconstruction. A primer in Compu-ter-Assisted Paleontology and Biomedicine.New York.

Hansjörg Brem8

Fig. 1 Panpipe upon a box tree trunk (section of the trunk of a tree from the Höri peninsula in Germany, gift fromW. Tegel, Bohlingen). Departement of Archaeology of Canton Thurgovia.

Fig. 2 Susanna Rühling playing a replica,www.musica-romana.de.

Fig. 3 M. Wenner playing a replica,www.musica-romana.de.

A Roman Panpipe from Eschenz 9

Fig. 5 Aerial photograph of Eschenz. Department of Archaeology ofCanton Thurgovia.

Fig. 4 Map, Eschenz indicated by atriangle. Archaeology Department of

Canton Zurich.

Fig. 7 Eschenz excavation 2002–2004. Department of Archaeolo-

gy of Canton Thurgovia.

Fig. 6 Excavation site with wooden basin. Department of Archaeology ofCanton Thurgovia.

Hansjörg Brem10

Fig. 10 Plastic copies made with polymer lasers. Insti-tute of Anthropology at the University of Zurich, Ch.

Zollikofer and M. Ponce de Leon.

Fig. 8 Tomography (longitudinal sec-tion). Spital Thurgau AG, Canton

Hospital Frauenfeld, S. Duewell.

Fig. 9 3D-model based on the data from thetomography. The significant decay of the woodin certain areas of the longest tubes is clearly vis-ible. Institute of Anthropology at the Universityof Zurich, Ch. Zollikofer and M. Ponce de Leon.

Fig. 11a–c Syrinx as found. Department of Archaeology of Canton Thurgovia.

A Roman Panpipe from Eschenz 11

50a b c

Fig. 13 Syrinx. Drawing by E. Belz, Department of Archaeology of Canton Thurgovia.

Fig. 12a–b Restored syrinx (back and front). Department of Archaeology of Canton Thurgovia.

Hansjörg Brem12

a b50