Page:Roman Manchester (1900) by Charles Roeder.djvu/99

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ROMAN MANCHESTER RE-STUDIED.
63

to Mr. G. F. Hill,[1] the date of the deposit is fixed at a few years subsequent to 73 by the fact that the four coins of Vespasian are only slightly worn and the British coins in fresh condition. He classes these South Yorkshire coins with the Brigantes, and refers the Volisios Carti(o)ve to Queen Cartismandua. The hoard was probably hidden during the British wars against Frontinus or Agricola.

We possess also some altars which refer to the god, the goddess, and the nymphs of the Brigantes, as: Deo. S. Berganti, at Longwood, near Huddersfield; Dvi. Ci. Brig, at Greetland; Deæ Victoriæ Brigant, found in the Calder, near Castleford, South Yorkshire; Deæ Brigan, Adel, near Leeds,[2] which shows their strength in South Yorkshire.[3]

The Second Iter, viz., the Roman road from the eastern gate of the station, viâ Newton Heath, Hollinwood, Castleshaw, to Slack (Cambodunum), and the supplementary road from Hunt's Bank, viâ Long Millgate, Castleton, Rochdale, Littleborough, Blackstone Edge, to Sowerby Bridge, went straight into their country, and these hill people, who held the Yorkshire highlands so close to Mancunium, had a natural command of the western slopes which run out and spread to the foot of Manchester.


  1. See Numismatic Chronicle, vol. xvii., part iv., p. 294–301, G. F. Hill's paper "On the Coins of Cartismandue."
  2. Also Deæ Nymphæ, Brig, Castlestead (about a.d. 203); Deæ Brigantiæ Sacrum, South Shields; Brigantiæ S. Amandus, &c., a statuette found at Birrens (Annandale).
  3. In the Horæ Britannicæ, by John Hughes, London, 1818, vol. i., p. 132, the Brigantian war-dance, chwareu Brigant, is alluded to. In Owen's Welsh-English Dictionary, 1793, it is described as follows: In the British war-dance, the parties sometimes move in a circle, and at other times they clap their hands in particular passages of the music; after having taken one of the party, who is called brigant, he is made to pass under their arms, and then he is sent to some work, as a tailor or shoemaker, to denote his being a slave. He, being reconciled, falls to work and sings a song, whilst the dance continues.