British Museum blog

Piecing together the Chiseldon cauldrons puzzle

Alexandra Baldwin, British Museum

Alexandra Baldwin working on one of the Chiseldon cauldrons

As is often the case, the painstaking process of excavating the cauldron I’m working on has been more complex and time consuming than we initially thought.

The majority of the cauldron was lifted from its findspot in a block of soil supported by plaster bandages. Hundreds of smaller fragments were also removed from around the object during excavation. The fragmentary state of this cauldron is partially due to the fact that it was buried upside down, and over time the weight and the pressure of the overlying soil crushed and distorted it.

I began by carefully cutting away thin strips of plaster to reveal the top of the block and clear soil from the metal. With heavy clay soil, which is more solid than the objects, this has to be done with great care using scalpels and leaf trowels to remove soil dampened with water and alcohol.

One of the Chiseldon cauldrons before being unwrapped

Working down in layers, the sheet metal is uncovered, and the true condition of the object revealed. It is highly fragmentary and even undisturbed areas are in pieces.

Fragments loose in the soil have to be rejoined back onto larger sections immediately otherwise their location will be lost. This is done using thin tabs of nylon gossamer, a thin random weave of synthetic fibres, adhered over the join.

Removing the plaster support and soil from around the object makes it very unstable and because of this you are unable to see the entire object at once; the metal is so thin and fragile that it is unable to support its own weight.

I have now laid out the fragments from the excavation on a large table and have been looking for joins between them, and also between the fragments and metal contained in the soil block. Although I have found a number of joins there have been disappointingly few.

Fragments of one of the Chiseldon cauldrons

Very quickly it became apparent that there was something strange about this cauldron – there seemed to be too much copper alloy – several folded layers in the block as well as large sheet fragments.

From knowledge of other cauldrons we can tell that they are made in sections riveted together; the iron rim supporting the handles, then below this, two sections of copper alloy bowl. As I began to reveal more it appeared that there were two bases on top of each other – was this two cauldrons one inside another? Or were we looking at areas of a separate cauldron either displaced during burial or placed into the pit in fragments?

As each layer is revealed the position of the fragments is carefully recorded. Stephen Crummy, one of the Museum’s illustrators, has been using 3D laser scanning and photogrametery to map the block.

The next stage will be to try and decipher and interpret the remains. Then, after supporting and stabilising them, we will remove sections of the metal, effectively disassembling the object from around the soil.

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, , , ,

2 Responses - Comments are closed.

  1. Ken Ormsby says:

    Saw the section on your work with the cauldrons on Digging for Britain. Fascinating, keep it up, can’t wait to see the final conclusions and reconstructions etc.

    Like

  2. Cassy Cutulle, UCL says:

    Very intriguing, can’t wait to see the publication! Thank you very much for the lecture and the tour of the labs today, Alexandra!

    Like

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

Join 10,381 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This is Room 69, Greek and Roman life. It's the next gallery space in our #MuseumOfTheFuture series.
Room 69 takes a cross-cultural look at the public and private lives of the ancient Greeks and Romans. The objects on display have been chosen to illustrate themes such as women, children, household furniture, religion, trade and transport, athletics, war, farming and more. Around the walls, supplementary displays illustrate individual crafts on one side of the room, and Greek mythology on the opposite side. This picture is taken from the mezzanine level, looking down into the gallery. The next gallery in our #MuseumOfTheFuture series is Room 68, the Citi Money Gallery. The history of money can be traced back over 4,000 years. During this time, currency has taken many different forms, from coins to banknotes, shells to mobile phones.
The Citi Money Gallery displays the history of money around the world. From the earliest evidence, to the latest developments in digital technology, money has been an important part of human societies. Looking at the history of money gives us a way to understand the history of the world – from the earliest coins to Bitcoin, and from Chinese paper money to coins from every nation in the world. You can find out more about what's on display at britishmuseum.org/money The next gallery in our #MuseumOfTheFuture series is Room 67: Korea. The Korea Foundation Gallery is currently closed for refurbishment and will reopen on 16 December 2014. You can find out more about the refurb at koreabritishmuseum.tumblr.com  The unique culture of Korea combines a strong sense of national identity with influences from other parts of the Far East. Korean religion, language, geography and everyday life were directly affected by the country’s geographic position, resulting in a rich mix of art and artefacts.
Objects on display in Room 67 date from prehistory to the present day and include ceramics, metalwork, sculpture, painting, screen-printed books and illuminated manuscripts.
A reconstruction of a traditional sarangbang, or scholar’s study, is also on display and was built by contemporary Korean craftsmen. This is Room 66, Ethiopia and Coptic Egypt. It's the next gallery space in our #MuseumOfTheFuture series.
By the 4th century AD, Christianity was flourishing in both Egypt and Ethiopia. Christian Egyptians became known as the Copts (from the Greek name for Egyptians) and the church maintained strong links with its Ethiopian counterparts. Since antiquity, Ethiopia had been a major trade route, linking Egypt and the Mediterranean with India and the Far East.
The resulting history of cultural exchange and religious diversity is illustrated through objects in Room 66, which reflect the faiths and identities which coexisted in Egypt and Ethiopia. Objects from towns, monasteries and settlements range from decorated textiles and architectural elements to sculpture and ceramics. It's time for our next #MuseumOfTheFuture gallery. This is Room 65, the Raymond and Beverly Sackler Gallery of Sudan, Egypt and Nubia. Ancient Nubia, the Nile Valley upstream of the First Cataract, now straddles the border between Egypt and Sudan. Rich and vibrant cultures developed in this region at the same time as Pharaonic Egypt. Among them was the earliest sub-Saharan urban culture in Africa, which was based at Kerma.
These cultures traded extensively with Egypt and for two brief periods Nubian kingdoms dominated their northern neighbour.
The objects on display in Room 65 illustrate these indigenous pagan, Christian and Islamic cultures and the interaction between Nubia and Egypt. This is our next gallery space in the #MuseumOfTheFuture series. It's Room 64, the Raymond and Beverly Sackler Gallery of Early Egypt. Rapid advances in the technology and social organisation of Egypt during the 5th millennium BC produced a material culture of increasing sophistication. Further innovations followed in about 3100 BC when the separate Predynastic peoples of Upper and Lower Egypt were united under a single ruler. The resulting increase in wealth and strong central control led to dramatic achievements in architecture, writing and fine goods, culminating in the building of the Great Pyramids of Giza in around 2600 BC.
Objects on display in Room 64 illustrate the cultural, technological and political development of early civilisation in Egypt throughout this period. In this picture you can see Gebelein Man, a mummy who was naturally preserved in the desert sands, and who used to have the unofficial nickname of Ginger (although the Museum doesn't use this name). In the background you can see an interactive virtual autopsy of the mummy which was installed in the newly refurbished gallery last year.
Follow

Get every new post delivered to your Inbox.

Join 10,381 other followers

%d bloggers like this: