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

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

One Response - Comments are closed.

  1. Austin says:

    Great post, I look forward to posts by you.


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Christoph Gerigk © Franck Goddio/Hilti Foundation We are delighted to announce our first major exhibition on underwater archaeology! Submerged under the sea for over a thousand years, two lost cities of ancient Egypt were recently rediscovered. Their amazing discovery is transforming our understanding of the deep connections between the great ancient civilisations of Egypt and Greece.

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Christoph Gerigk © Franck Goddio/Hilti Foundation You can now discover thousands of British Museum objects in partnership with @googleartproject at We’ve asked staff members to highlight their favourites and explain what makes them special. Chris Spring, Curator of Africa Collections, describes why he finds the ‘Throne of weapons’ so powerful. ‘This war memorial celebrates the ordinary people of Mozambique, many of them unarmed, who stood up to a culture of violence. It represents both a human tragedy and a human triumph. The Throne's essential humanity is suggested right away by its anthropomorphic qualities - it has arms, legs, a back and most importantly a face - actually two faces. My first reaction was that these faces are crying in pain, though they could also be seen as smiling faces finally freed from conflict. These anthropomorphic qualities also link it immediately to the arts of Africa, in which non-figurative objects such as chairs, stools, weapons, pots etc are seen as - and described as - human beings. The Throne has toured the world, taking its message of peace to schools, churches, shopping centres and even prisons – and of course, to museums and galleries.’ #MuseumOfTheWorld We’re celebrating our partnership with @googleartproject, and have asked curators to tell us about their favourite objects. Hugo Chapman, Keeper of Prints and Drawings, explains why he chose this chalk drawing by Michelangelo. ‘One of the things I love about drawings is the way they sometimes allow a glimpse into the private, behind the scenes world of an artist, one unseen in finished works in paint or stone. An example of that is a red chalk drawing by Michelangelo of grotesque heads in red chalk that reveal that the Florentine Renaissance artist had a lively, if caustic, sense of humour. The three heads were probably drawn to amuse but at the same instruct his pupils, as the three studies show how slight changes can radically alter the reading of an image with the character and mood of each figure (paranoid anxiety; vacuous joy; and depressive gloom) signalled by the position and erectness of their donkey-like ears.  I wish my ears were as expressive.’ Discover many more incredible works of art in the Google Cultural Institute at

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