Another thing which strikes the imagination is the sight, after the lapse of so many centuries, of the erasures on various inscribed stones--erasures of some emperor's or Caesar's name after his death by the chisel of a soldier in one of his legions on this far-away post of his empire. It is one thing to read one's Gibbon, and learn of the murder of Geta, son of Severus, by order of his brother Caracalla, and another to see the youth's name roughly scratched out on a stone in Hexham Abbey crypt; and to read of the assassination of Elagabalus does not move us one whit, but to see his name erased from a stone in Chesters museum brings the tumultuous happenings in ancient Rome very closely home to us.
Here are also several Roman milestones, with their lengthy and sonorous inscriptions, from various points on the Wall; and a miscellaneous and deeply interesting collection of smaller articles, such as ornaments of bronze, jet, or gold, fibulae (brooches or clasps), coins of many reigns, Samian-ware, terra-cotta and glass, parts of harness, etc., etc.
Of carven figures there are several besides the standard bearer already mentioned. The best is a figure of Cybele, with elaborate draperies, but unfortunately headless; another, of Victory, holds a palm branch in the left hand, but the right arm is missing. A soldier is shown with spear, shield, and ornate head-piece; and a representation of a river-god, the genius of the Tyne, is worthy of notice. He is a bearded figure, after the style of the figures of Nilus, or the representations in old prints of Father Thames. From Procolitia comes an altar to the goddess Coventina, a name not met with elsewhere, the presiding genius of the well in that station. She is shown reclining on a water-lily leaf, holding in one hand a water-plant, and in the other a goblet from which a stream of water runs. An elaborate carving of three water nymphs, most probably meant to be in attendance on the goddess, is one of the few pieces of sculpture that are not greatly mutilated.
Centurial stones are numerous, having been put up at all parts of the Wall to record the building of such and such parts by various centurions and their companies. The mark >, which Dr. Hodgkin supposes to be a representation of the vine rod, a centurion's symbol of authority, and the sign C or Q, are used to signify a century. Thus a stone inscribed Q VAL. MAXI. states that the century of Valerius Maximus built that part of the Wall. Two or three small altars are inscribed DIBVS VETERIBVS--"To the Old Gods"; and Mars Thingsus is well represented.