British Museum blog

Manufacture, wear and repair of the Chiseldon Iron Age cauldrons


Jamie Hood and Alexandra Baldwin, British Museum

With the Iron Age Chiseldon cauldrons excavated and cleaned to expose the metal surface we are beginning to see interesting technological features and evidence of manufacture revealing them to be sophisticated and high status objects.

Tool marks on the surface from the original manufacture

Tool marks on the surface from the original manufacture

Although they’re over 2,000 years old, different tool marks from shaping and thinning the copper alloy are preserved on the surface of the metal. These suggest the careful and deliberate use of specific tools for different jobs, indicating that the objects were made by a craft specialist skilled at working sheet metal.

Faint incised lines marking-out the position of rivets

Faint incised lines marking-out the position of rivets

Other features likely to relate to construction are the lines, faintly incised into the surface of the sheet copper-alloy and only visible in raking light. These appear to mark the overlap of plates making up the sections of the cauldron, and the regular distribution and position of rivets indicating that the cauldrons were carefully designed and made.

Examination is also showing that, while the 12 cauldrons are broadly similar in their design, there are variations in their size, shape and construction. We have already identified three different types of rim construction. These differences are extremely intriguing and suggest that the cauldrons were made by different makers and/or at different times.

Multiple repair patches on the cauldron base

Multiple repair patches on the cauldron base

Another intriguing feature we are encountering is a high number of patched repairs. Some repairs appear to have been applied at the time of construction and placed over fatigue cracks caused by raising the metal. Others quite clearly cover areas of damage caused during the useful lifetime of the cauldrons, indicating that they were used and repaired over a period of time and were already old and well-loved items at the time of their burial.

Preserved details like this mean that while the cauldrons are in relatively poor condition there are minute pieces of evidence that allow us to build up a wider picture of how the cauldrons were designed and made, and really bring the objects to life by allowing us to see the craftsman’s thought process and the practical application of their art.

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,

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

Join 11,852 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Born #onthisday in 1820: Sir John Tenniel, who illustrated the first edition of Lewis Carroll's Alice's Adventures in Wonderland in 1865. Here's Alice and the Cheshire Cat
#books #history #illustration Every ‪#‎PayDay we're sharing a ‪#‎MoneyFact!
The first coin issued with the dollar denomination was not in the USA, but in West Africa by the British Sierra Leone company in 1791.
You can explore the history of money around the world in the Citi Money Gallery (Room 68): britishmuseum.org/money
#history #money #coins #coin #fact ‪#‎DefiningBeauty opens in one month! Look out for our highlight #FridayFigure each week. 
The exhibition brings these three sculptures together for the first time, creating new narratives.
These sculptures show the work of three of the greatest artists in ancient Greece: Phidias, Myron and Polyclitus. Myron’s discobolus (disc-thrower) is the perfect balance of opposites and Polyclitus' doryphoros (spear-bearer) is constructed on a precise set of ratios. In contrast, Ilissos is carved from life rather than arithmetically calculated. Discover more on tumblr: britishmuseum.tumblr.com
#exhibition #behindthescenes #installation #art #sculpture You can now explore #AfricanRockArt from #Chad with new images available online at www.britishmuseum.org/africanrockart 
Chad has thousands of rock art engravings and paintings, some up to 7,000 years old! 
Throughout the caves, canyons and shelters of the Ennedi Plateau in Chad, thousands of images have been painted and engraved, comprising one of the biggest collections of rock art in the Sahara. A series of engravings at Niola Doa of groups of life-sized human figures have become especially renowned for their singularity and quality.
#art #rockart #Africa #Chad #engraving #painting This week we’re highlighting the #AfricanRockArt project, cataloguing 30,000 years of rock art.
Did you know that some rock art in #Niger is thought to be several thousand years old? Find out more about the rock art in Niger with new images online at www.britishmuseum.org/africanrockart
These spectacular life-size engravings of giraffe can be found at Dabous in Niger. Thought to date from between 6,000 and 8,000 years ago, the engravings cannot be seen from ground level and are only visible by climbing onto the boulder.
#RockArt #Africa #giraffe #art #history Here’s an exquisite chalk drawing by Renoir, born #onthisday in 1841.

Renoir began his career as a painter of porcelain in Limoges, aged thirteen, before studying with Sisley and Monet at the École des Beaux-Arts in Paris. His early work flitted between sober academic painting and freer, more colourful en plein air ('open-air') work. He was, with Monet, at the forefront of the movement that became known as Impressionism. The two artists painted side-by-side on occasion, most famously for their paintings of the popular bathing-spot La Grenouillère (1869), then just outside Paris on the banks of the Seine.

His later works concentrate on the female nude and he tended to emphasize simple forms and solidity, as well as relishing pink and orange flesh, as this study illustrates. Several versions of this pose survive, all probably intended as finished pieces rather than sketches for grander work.

Crippled by rheumatism in his last years, Renoir continued to paint with brushes jammed between his fingers. 'If painting were not a pleasure to me I should certainly not do it'.
#art #artist #Renoir #impressionism #history #drawing
Follow

Get every new post delivered to your Inbox.

Join 11,852 other followers

%d bloggers like this: