British Museum blog

A charred seed…

Alexandra Baldwin, British Museum

Conservator, Jamie Hood working on one of the cauldrons

The two Chiseldon cauldrons we chose to work on first were found next to each other in the pit and had corroded together.

My colleague Jamie Hood has been given the first cauldron to be removed from the ground during excavation to work on.

Although it appeared to be in one piece in the ground, it was heavily corroded with large cracks hidden by the mud and soil. It was impossible to lift whole, so was removed in four large chunks surrounded by soil. The fact that it is in pieces actually makes it better for Jamie to work on as it is easier to move, handle, and support, and also fits under a microscope.

When he first started work within a few minutes I heard: ‘WOW, look at this, a charred seed!’ from the other side of the room.

My cauldron was probably the last one placed in the pit thousands of years ago. This meant that it was resting on top of the others and was therefore the one first discovered by the metal detectorist in 2004.

Of all the cauldrons, it is in the worst condition – a chunk lifted in plaster bandages and a lot of small pieces of corroded metal. But, it might also be the most interesting.

Some small fragments of the copper alloy already cleaned have decorative scalloped edges, or, apparently, as decorative as it gets for cauldrons in the late Iron Age.

As yet we don’t know much more about this cauldron and wont until I excavate it from its soil block. However, due to its highly fragmentary condition it will not be possible to physically reconstruct it.

Instead I will try and concentrate on a virtual, or at least an intellectual reconstruction, trying to gain as much information from the fragments as possible.

A piece of one of the cauldrons

The most important areas are the rim, handles and decorative patches, and if we can relocate these and examine how they were constructed then this will tell us a great deal about the cauldron.

To make things more complicated some of Jamie’s cauldron was corroded to and lifted with mine. Trying to decide which fragments of 0.5mm metal belong to which cauldron will be very difficult and the whole process will need very careful excavation and detailed recording.

The Chiseldon cauldrons research project is supported by the Leverhulme Trust

Find out more about this research project

If you would like to leave a comment click on the title

Filed under: Archaeology, Chiseldon cauldrons, Conservation, , , ,

One Response - Comments are closed.

  1. Austin says:

    Great post, I look forward to posts by you.

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,049 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

For #ThrowbackThursday this photograph from 1875 shows the Museum’s first Egyptian Room.
This is one of a collection of photographs taken by the photographer Frederick York of Notting Hill, London in 1875.
#tbt #throwback #archives #mummies We’re delighted to announce our first exhibition of the autumn ‘Drawing in silver and gold: Leonardo to Jasper Johns’, which opens 10 September.
This exhibition will feature around 100 of the best examples of #metalpoint spanning six centuries. Metalpoint is a challenging drawing technique where a metal stylus is used on a roughened preparation, ensuring that a trace of the metal is left on the surface. When mastered it can produce drawings of crystalline clarity and refinement.
This exhibition was organised by the National Gallery of Art, Washington @ngadc in association with the British Museum.
Book your tickets now to see these spectacular works! #art #drawing #Leonardo

Leonardo da Vinci (1452-1519), Bust of a warrior. Silverpoint, on prepared paper, c. 1475-1480. Can you guess the artist behind this work? 
All will be revealed at our special exhibition announcement tomorrow! #metalpoint Tower Bridge opened #onthisday in 1894. Here’s an early print of the iconic landmark.
#history #London #TowerBridge The mummy case of this temple doorkeeper called Padiamenet is covered with hieroglyphic inscriptions and religious images. The inscriptions on this brilliantly painted cartonnage tell us that he was the Chief Doorkeeper of the Domain of Ra, the Chief Attendant of Ra, and also Chief Barber of the Domain of Ra and of the temple of Amun. This largest scene shows Padiamenet, dressed in a long fringed robe, adoring the god Osiris, who is grasping the royal crook and flail. Behind him stands his sister, the goddess Isis.
Gain a unique insight into the lives of eight people over a remarkable 4,000 years in our #8mummies exhibition, closing 12 July #MummyMonday
#history #mummies #BritishMuseum Peter Paul Rubens was born #onthisday in 1577.
This is a magnificent drawing in both scale and style. It is drawn in black and yellow chalk, though Rubens also used a grey wash and some white heightening in order to bring the animal to life on paper.
The lioness is drawn from behind. Her front paw is raised and her mouth open, the fangs clearly visible. White heightening brings out the lighted area around the tail and the joints of the back legs. Both short and longer chalk strokes are used to suggest the different textures of the fur and mane.
Rubens used this drawing for a lioness in his painting of 'Daniel in the Lions' Den' (1613/15; National Gallery of Art, Washington, DC). The vividness of the drawing is even more remarkable given that Rubens probably based his drawing on a bronze statue of a lion and not a living animal. The strong contour line in black chalk around the animal suggests that he was studying a model. However, Rubens had the gift and genius to invest an unmoving object with both life and movement, even if the highlights give the impression of a metallic sheen.
#art #artist #Rubens #history
Follow

Get every new post delivered to your Inbox.

Join 14,049 other followers

%d bloggers like this: