British Museum blog

Out in the cold

Alexandra Baldwin, British Museum

Out in the fields

When an email came round from Allison Marccucci at Wessex Archaeology calling for volunteers to go field walking at the Chiseldon cauldrons find spot my colleague Jamie Hood and I volunteered enthusiastically.

Jamie had never been to the site before and knew it only from photographs and my hazy recollections. It was important for him to put the cauldrons into the context of the surrounding landscape, and we would both represent the British Museum and tell everyone what had been happening since 2005.

Clothed in waterproofs, wellington boots and several jumpers we walked out across muddy fields to the find spot. Winter is not the nicest time to be out on an exposed ridge in the Wiltshire countryside, but field walking has to be done at this time of year – after ploughing and before the crop growth obscures the ground.

As we approached I could see a cluster of people standing over the find spot. The original find had produced a lot of interest in the local area and in total 10 people had volunteered to field walk including Peter Hyams, the finder; John Winterburn, who did an initial excavation; and members of the local history society.

A grid of five metre squares was set out over the field and we walked across each square in pairs picking up fragments of pottery, worked stone and metal. The finds were bagged and their location recorded by square.

Further study of the fragments by Wessex Archaeology and their spread throughout the field will give an indication of the periods of activity and also the extent of the archaeological area. When combined with geophysics results it should help to place the cauldrons in context.

Pausing in the rain, alongside the field

By this time it was bitterly cold and the rain had started driving across the field horizontally. Taking what shelter we could by the field boundary we ate a hasty lunch. Although unpleasant, the rain did have the advantage of washing the ground surface and making the potsherds more visible, but with darkness descending and the weather worsening we called it a day.

Despite the freezing rain it was great to be out in the field and talking to other people about the find. The importance of local knowledge to archaeology is vital, and often landowners and users know details of the local landscape that it would take archaeologists a long time to accumulate.

We have to remember that, although the objects have passed over to us in the British Museum to conserve and investigate, their importance is not only academic. The turnout for fieldwalking in less than ideal weather showed how important the cauldrons are to the people involved, something that can be easily forgotten when working back in the lab.

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

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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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