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

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 16,342 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Our #AfricanRockArt project team is cataloguing and uploading around 25,000 digital images of rock art from throughout the continent. Working with digital photographs has allowed the Museum to use new technologies to study, preserve, and enhance the rock art, while leaving it in situ.

As part of the cataloguing process, the project team document each photograph, identifying what is depicted. Sometimes images are faded or unclear. Using photo manipulation software, images can be run through a process that enhances the pigments. By focusing on different sets of colours, we can now see the layers that were previously hidden to the naked eye.

This painted panel, from Kondoa District in #Tanzania, shows the white outline of an elephant’s head at the right, along with some figures in red that it is possible to highlight with digital enhancement.

Tanzania contains some of the densest concentrations of rock art in East Africa, mainly paintings found in the Kondoa area and adjoining Lake Eyasi basin. The oldest of these paintings are attributed to hunter-gatherers and may be 10,000 years old.

Follow the link in our bio to learn more about the project and see stunning #rockart from Africa. This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

This photograph shows an engraving of a large, almost life-sized elephant, found on the Messak Plateau in #Libya. This region is home to tens of thousands of depictions, and is best known for larger-than-life-size engravings of animals such as elephants, rhino and a now extinct species of buffalo. This work of rock art most likely comes from the Early Hunter Period and could be up to 12,000 years old.

Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. © TARA/David Coulson. Watch the incredible discovery of this colossal statue, submerged under the sea of thousands of years. This colossal 5.4-metre statue of Hapy was discovered underwater in what was the thriving and cosmopolitan seaport of Thonis-Heracleion. It once stood in front of a temple and would have been an impressive sight for traders and visitors arriving from the Mediterranean.

Come face to face with the ancient Egyptian god Hapy for yourself in our‪ #SunkenCities exhibition, until 27 November 2016.

Colossal statue of Hapy. Thonis-Heracleion, Egypt. About 380-250 BC. Maritime Museum, Alexandria. © Franck Goddio/Hilti Foundation. The discovery of this stela, which once stood at the entrance of the main entry port into ancient Egypt, was an extraordinary moment. Its inscription detailing taxes helped solve a 2,000-year-old mystery!

This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through the cities of Thonis and Naukratis, and it originally stood in the Temple of Amun-Gereb. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis.

A bilingual decree found in 1881 refers in its Greek inscription to ‘the Temple of Heracleion’ and in hieroglyphs to ‘the Temple of Amun-Gereb’. Together these objects revealed that Thonis and Heracleion were the same place.

Learn more about the deep connections between the great ancient civilisations of Egypt and Greece in our #SunkenCities exhibition.
Stela commissioned by Nectanebo I (r. 380–362 BC), Thonis-Heracleion, Egypt, 380 BC. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that the #SunkenCities of Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the ancient Egyptian cities were believed to be lost.

Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. The amazing rediscovery of these lost cities is transforming our understanding of the deep connections between the great ancient civilisations of Egypt and Greece.

See more magical moments of discovery in our #SunkenCities exhibition, until 27 November 2016. © Franck Goddio/Hilti Foundation.

#archaeology #diving #ancientEgypt This week we’re highlighting some of the incredible clocks and watches on display in the Museum. Mechanical clocks first appeared in Europe at some time between 1200 and 1300. Their introduction coincided with a growing need to regulate the times of Christian prayer in the monasteries. Telling the time with a sundial was especially difficult in western Europe with its unreliable weather. From the end of the 13th century, clocks were being installed in cathedrals, abbeys and churches all around Europe.

The design of turret clocks (public clocks) changed little over the following three centuries and this particular example, made around 1600, has similar characteristics to clocks made for churches in the medieval period. The maker of this clock was Leonard Tenant, one of the most prolific makers of church clocks in the first half of the 17th century. The clock was installed in Cassiobury Park, a country house near Watford.

See this incredible clock in Rooms 38-39 
#clocks #watches #horology
Follow

Get every new post delivered to your Inbox.

Join 16,342 other followers

%d bloggers like this: