British Museum blog

Recording old cauldrons with new techniques


Stephen Crummy, archaeological illustrator, British Museum

As illustrator in the Department of Prehistory and Europe at the British Museum, I am always looking for the best way to help our curators interpret an object. My role is to produce artwork that shows the form, construction and nature of objects and any decoration on them so that they can be clearly understood. This will usually result in illustration for academic publications and exhibitions as a result of research work on the Museum collection, or excavations.

Traditionally I have produced pen and ink technical drawings but new opportunities are available through various computer-generated methods of recording, analysing and understanding information about objects and excavation. With the Chiseldon Cauldrons material, I am exploring some of the possibilities of these new technologies, and in this case using photogrammetry and laser scanning programs to produce 3D records of the archaeological remains of individual cauldron blocks as they are excavated by Alex and Jamie.

Three-dimensional scan results

Three-dimensional scan results

We are using a laser scanning system to produce 3D computer models of the individual pieces from each cauldron. This is achieved by plotting a thin red laser line as it is slowly moved across the surface of an object. Having recorded each piece we are hoping to use the photogrammetry programme to virtually re-construct the blocks as excavated.

The early results we achieved proved somewhat variable, especially with the laser scanning, but we are now starting to produce some very good quality scans in terms of both modelling and colour accuracy.

The plan is to produce virtual models of each cauldron as excavated which will enable us to understand much better what they would have originally looked like, and how they were made. It is also hoped that an overall plan of the pit and its contents can be reproduced. We’ll also be able to produce artwork for both printed and online publication, and to generate virtual re-constructions for publication and display. As we create interesting images, we’ll also post some of them here on the blog so you can see what we’re finding.

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, Research, , , , ,

One Response - Comments are closed.

  1. ritaroberts says:

    Conservation of the Chiseldon cauldrons sounds really interesting,as do your illustrations.I will be interested to see further results. The advance in technology these days is so rewarding in the field of archaeology.

    Like

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Odilon Redon was born #onthisday in 1840. This is one of Redon's (1840-1916) most famous coloured pastels, and was first shown in the gallery of Durand-Ruel - the favoured dealer of the Impressionists - in 1894. There it was seen by Tatiana Tolstoy, the daughter of the great Russian novelist Leo Tolstoy, who noted in her diary: 'One of them whose name I could not make out-something like Redon-had painted a face in blue profile. On the whole face there is only this blue tone, with white-of-lead.' Tolstoy quoted this in his diatribe against contemporary art, 'What is Art?', first published in 1898, as irrefutable evidence of the degenerancy of modern art.

One of many studies of female profiles in Redon's work, La Cellule d'Or ('The Golden Cell') suggests introspection, its golden glow embodying the power of thought. The intense colour and strict composition recall the portraits of the early Florentine Renaissance. Here however, the feeling dominates over objective representation; the blue and gold halo are the traditional colours of the Virgin Mary, but no further religious message intrudes.

The drawing is made on paper in oil paint over a white ground, which gives the colour its luminous intensity.
#art #history #drawing #artist Construction of St Peter’s Basilica began #onthisday in 1506. It was completed 120 years later. This print by Giuseppe Vasi was made in 1774
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