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 16,353 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design Mapungubwe was the capital of the first kingdom in southern Africa from AD 1220 to 1290. This gold rhinoceros, alongside four other gold sculptures, was discovered in three royal graves there. They are among the most significant sculptures in Africa today. They depict animals of high status – an ox, a wild cat, and a rhinoceros – and also objects associated with power – a sceptre and a bowl or crown. These treasures were discovered alongside hundreds of gold objects, including bracelets and beads. Gold was mined in the regions around Mapungubwe for trade with the coast, as part of an international trade network stretching as far as China, becoming a status symbol for the kingdom’s rulers.

On loan from the University of Pretoria @upmuseums, these gold treasures will be a highlight of our #SouthAfricanArt exhibition, opening 27 October 2016. Find out more about the exhibition by following the link in our bio.
#SouthAfrica #rhino #art #history Our special exhibition this autumn will explore the fascinating history of South Africa through art, telling a story that stretches back 100,000 years.

Rock art is one of South Africa’s oldest artistic traditions. It was first made by the ancestors of San|Bushmen and Khoekhoen, South Africa’s first peoples, at least 30,000 years ago.

This rock painting will feature in the exhibition. It depicts San|Bushmen running between eland, a type of antelope that is spiritually important. Hunter-gatherer rock paintings such as this are understood to relate to a ritual practice named ‘the great healing’ or ‘trance dance’, which continues today in the Kalahari outside of South Africa. 
The paintings address the relationship between healers, or shamans, and the worlds of the living and the dead. In the painting some eland are bleeding from the nose and frothing at the mouth. Eland do this when they are close to death, and shamans show similar symptoms when they are metaphorically ‘dying’ and entering the world of the dead during the great trance dance.

Find out more about our #SouthAfricanArt exhibition by clicking on the link in our bio.

The Zaamenkomst Panel. Detail of rock art depicting San|Bushmen running between eland. Made before 1900. On loan from Iziko Museums of South Africa, Social History Collections and SARADA. Photo: Neil Rusch.
#rockart #SouthAfrica #painting
Follow

Get every new post delivered to your Inbox.

Join 16,353 other followers

%d bloggers like this: