(*or what was held to be The Truth in the Middle Ages)
At the summer solstice, Stonehenge falls under the spotlight: in the solar sense and in the cultural sense. People all over the world find it fascinating and are reminded to ponder it when the sun is at its highest. Much of the appeal of Stonehenge may be attributed to its encompassing aura of mystery, its air of mind-bending antiquity. There is much about it we don’t understand, despite the advances made by ingenious researchers, but we are not the first generations to try to account for Stonehenge. So what did our forebears believe?
According to a twelfth-century author called Geoffrey of Monmouth, the ancient stone circle now known as Stonehenge was originally brought to mount Killarus in Ireland from Africa by a group of giants. It was known then as the Giants’ Dance and had healing properties. The stones came to Wiltshire with the help of a very young Merlin, at the behest of King Arthur’s uncle, Aurelius Ambrosius, to be reconstructed as a memorial to a group of Britons massacred during the reign of the malicious usurper, Vortigern. Some decades later the structure renamed Stonehenge becomes the final resting place of Uther Pendragon.
I studied this story while writing my PhD about an illustrated medieval manuscript containing an abridged version of Wace’s Anglo-Norman French translation of Geoffrey’s history: La Roman de Brut. Even in its shortened form, the episode in which the child Merlin guides the reconstruction of Stonehenge celebrates brains over brawn, great power despite littleness of stature:
“They grasped the stones behind, in front and sideways: they pushed and thrust them hard and shook them hard, but however much force they used, they could not find a solution. ‘Rise’ said Merlin, ‘you will so no more by force. Now you shall see how knowledge and skill are better than bodily strength.’ Then he stepped forward and stopped. He looked around, his lips moving like a man saying his prayers. I do not know if he said a prayer or not. Then he called the Britons back. ‘Come here,’ he said, ‘come! Now you can handle the stones and carry them into your ships.’ As Merlin instructed, as he devised and told them, the Britons took the stones, carried them to the ships and placed them inside. They brought them to England and carried them to Amesbury, into the fields nearby.” – Based on Judith Weiss’ 2002 translation of Wace’s Roman de Brut
To the medieval mind, the stone circle was a monument to human mastery of nature, as well as to the fallen Britons. Still today we measure ourselves by the power of our prehistoric ancestors to have created it. I recently created a linocut of the child Merlin guiding the reconstruction of Stonehenge. Both Geoffrey of Monmouth and Wace focus on the dismantling of the stones in Ireland, which is also the moment illustrated in the manuscript I worked on for my PhD. Instead, I depicted the moment when that iconic plain was undergoing its momentous transformation.
Hello! I’m Louise a long serving volunteer at the History Centre in Chippenham. I have worked on and off in a voluntary capacity since 2005. I first discovered the Wiltshire Buildings Record (WBR) when it was located within the Wiltshire Record Office at Trowbridge. Dorothy Treasure, who is responsible for the day to day running of the charity, recognised my real passion for old houses and recruited me to her keen band of volunteers. Over the years my contribution has varied due to the needs of my family but I have always been encouraged to continue. Dorothy is also our Principal Building Historian; she is a real expert in her field and I feel very fortunate to be able to work with her.
Volunteers at the History Centre come from all walks of life and work the hours of their choosing. In my case I had worked as an HR professional prior to having a family rather late. Some volunteers are still in paid employment and join us when they can. This is the case with some of our committee members. Some volunteers work with the WBR for a while in order to gain experience to advance their careers in the heritage sector. What we all have in common is an interest in our country’s heritage and a wish to rub shoulders with like-minded people and those working in professional roles. There are four strands to my voluntary work - documentary research into the history of individual buildings, building recording, data entry into the Historic Environment Record (HER) and committee work.
Typically I begin the week with the Archaeology Service, entering data from the WBR archive records onto the HER database. With 18,000 buildings records to work through, I think I’ve gained a job for life! Tom, the HER Manager is always nearby to guide me through the more complex aspects of the system. I am one of four volunteers he manages each week. We all do different things based on our interests and skill sets. I love the challenge of locating buildings particularly when building names have changed, buildings have been altered and only sketchy address details are given!
Tom the HER Manager and I at the History Centre and Martin one of the archaeologists in action at Avebury (photo taken by Terry Waldron)
Working alongside the Archaeology Service has given me a real insight into the challenging work the team undertakes, the county of Wiltshire not only has an important World Heritage Site, Stonehenge and Avebury, but also many other important historic assets to protect. I always enjoy listening to the office banter, the team are a lively and adventurous bunch. The team even has its own Morris dancer!
On a Tuesday, I work with Dorothy and spend my time researching the history of individual buildings. It is a day when I am able to catch up with other office-based volunteers over coffee or lunch. As a charity we need to generate an income and we do this mainly through commission work for individual house owners. Each report we produce includes a comprehensive recording of a building and some documentary history. Documentary research is my main area of expertise, built up over a number of years. It did help studying for an Undergraduate Advanced Diploma in Local History from Oxford University. All the study was done via the internet which was fantastic. The Archives team has always provided me with great support when I needed it, along with the WBR.
Studying maps in the Archive room to locate a particular cottage in the village of Netheravon. The building I am looking at is identified by No.90 on the 1790 Enclosure Award map for the parish
Do you have an interest in archaeology? Would you like to know what has been found in your local area, or want to know more about how people lived in Wiltshire in the past? If so, then you might be interested to access our new website that allows you to research the finds, buildings, sites and monuments that exist on the county Historic Environment Record (HER).
The Historic Environment Record (HER) is a fantastic resource that holds information on all the currently known archaeology for Wiltshire and Swindon. This includes everything from Palaeolithic flint tools that are half a million years old to World War I practice trenches created only a hundred years ago – as well as everything in between! Using the HER can be fun and helps to guide your research, as it can tell you about the character and date of archaeological sites/finds as well as how they have been investigated and where you can find more (such as in journals, books and reports).
The new website allows people to easily search the archaeology of Wiltshire and presents data on both a map and dynamic database. To have a go, click to visit the HER homepage
The new website is easier to use than our previous one and allows you to search by the following themes: • Unique identifier number – so you can find records you’ve accessed before… • Keyword – to find particular find/site types – such as castles or axeheads! • Site name – for place names you know like your parish church or famous sites like Stonehenge! • Period – so you can see all Roman artefacts or all prehistoric archaeology we know about… • Grid reference – if you know exactly where you want to research - whether rural or urban!
You can also browse by navigating the interactive map – which can show both Ordnance Survey mapping or aerial photography. You can pan and zoom using the tools and the grid reference of your location handily shows at the top in case you need it!
A number of Roman finds were recently uncovered in the back garden of Marc Allum, a specialist on the Antiques Roadshow, during excavations organised by Chippenham Museum volunteers Clive Green and Mike Stone.
Mr Allum kindly donated the finds to Chippenham Museum. The Friends of Chippenham Museum worked hard to raise funds for the conservation of one of the finds - a fine Samian ware bowl - and conservators at CMAS were privileged to undertake the reconstruction of this beautiful piece.
The Samian ware is an example of a Dragendorff type 37 bowl, suggesting it is Gaulish dating from c. AD 70-130. The bowl has intricate decorative panels with repeating motifs of Gladiators battling wild cats and a more risqué scene thought to depict the deity Bacchus.
The Samian ware was found in 51 fragments forming almost half the bowl. Due to the fine nature of the form and decoration it was decided to fully reconstruct the piece, replacing lost areas to give more complete impression of its original form.
The conservator worked hard to piece together all the fragments. Interestingly the way the ceramic had broken into layers reveals its method of construction. Samian ware with such detailed patterns was formed by pressing clay into preformed moulds. The ceramic has split along the lines of the layers that were built up.
Graham Taylor of Potted History (@Pottedhistory) has created replica moulds for the vessel and its decorative features in order to produce a facsimile using the same techniques.
Once the form of the original ceramic was determined it was possible to create an accurate profile from base to rim using measurements of the thickness of the ceramic fragments and the diameter of the base and rim, comparing these with known examples.
The profile was used to form an accurate core in clay to which the original ceramic could be secured. Plaster replacement fills were then ‘spun’ using the profile as a guide. It was decided to only replace larger areas and those smaller areas required for strength.
We could see the enemy’s whole body of horse face about and run with speed… and our horse in close body firing in their rear, till they had chased them down the hill in a steep place, where never horse went down and up again.
Sir Henry Slingsby, Royalist Cavalry Commander, describing the endgame of the battle of Roundway Down.
Slingsby’s laconic words describe the best-known moment of the 1643 Battle of Roundway Down, when the broken Parliamentarian cavalry were chased from the field by the troopers of King Charles I. During this rout, both those fleeing and their pursuing enemies rode off the steep, western edge of the chalk down. The moment captured the imagination and that part of the down is known as the Bloody Ditch!
The rout of the Roundheads might be the most famous part of the action, but it was part of a bigger battle that was, in turn, part of a wider campaign as both sides tried to take control of the west of England. Both sides were seeking to exploit the region’s resources, recruit its menfolk, seize the horses and tax the populace, who were, often unwilling, participants in the increasingly bitter civil war that had broken out in 1643. Meanwhile, the battle took place on chalk downland that had already seen millennia of human activity, the landscape is rich in archaeological remains as a result, with barrows and a hillfort. The edge of the downs also gives superb views across the surrounding landscape and its archaeology.
In early September, we led an archaeological walk across part of the battlefield to explore and explain both the flow of the battle and the more ancient remains in the area.
The Roundway Landscape
The Wiltshire Historic Environment Record includes data for a number of later Neolithic or Bronze Age barrows. Like many other barrows in Wiltshire these occupy prominent locations with extensive views into the wider landscape. They have also, like many similar monuments, been investigated by 19th century antiquarians. Although some of these monuments are similar to others in the county, with prehistoric burials beneath and within earthen mounds, one barrow is exceptional. When it was opened in the 19th century a number of metal fixings were found that suggested there may have been a bed burial inserted into the Bronze Age mound during the Anglo-Saxon period. Bed burials are an unusual Saxon burial practice, usually reserved for women of high status, another example in Wiltshire comes from Swallowcliffe, between Salisbury and Shaftesbury, with others known elsewhere in Wessex and around Cambridge. These bed burials appear to date to the 7th Century AD and may relate to the conversion of England to Christianity, and the woman was buried with a dress pin decorated with a cross. The burials may also relate to the wider power struggles between the Anglo-Saxon kingdoms, including the expansion of Wessex. The mound and the artefacts were re-investigated by Sarah Semple and Howard Williams in 2001 when they suggested that the Roundway burial might actually have included an elaborate coffin, rather than a bed. Whatever the mode of burial, the status of the deceased remains in no doubt, while the reuse of the much older burial mound is typical of Anglo-Saxon burials associated with barrows. This practice suggests not only the use of the barrows as landmarks, but also that they retained some form of mythic or folkloric power to the people of Anglo-Saxon England.
The walk also visited Oliver’s Castle, an Iron Age hillfort that overlooks St Edith’s Marsh. This monument includes a ditch and bank creating a rampart that encloses a promontory on the edge of the downs. The ramparts respect two earlier Bronze Age burial mounds. When excavations took place in the later 19th century, there was little trace of settlement, suggesting that the hillfort was, perhaps, used as a place of safety in time of danger, or that it was used for ceremonial events. In either case, the prominent location meant that views of the surrounding landscape were excellent, whether to see enemies or to be closer to the gods. The site enjoyed a later life as a sheep fold; a dew pond, providing water for sheep and probably originating in the 18th century, still survives within the ramparts. By the later 19th century, a shepherd is known to have had his hut close to the pond.
Below the fort is a site known as Mother Antony’s Well. This has been the site of excavations in recent years that have found probable Bronze Age barrows, an Iron Age enclosure, and Roman remains that included kilns used to dry grain. In addition, the Romano-British population seem to have regarded the springs in the area as special, and one had an elaborate well head that may suggest a shrine.
I can’t believe that the first year of university is over! It goes so fast and with so much information it can be a bit overwhelming, but trust me, all that hard work and studying will pay off. The Conservation of Objects in Museums and Archaeology undergraduate course at Cardiff introduced me to a whole new world of practical science, as well as in-depth theory, of conservation materials and specialised equipment, such as x-ray and air abrasion machines. By the end of the year I felt pretty confident with the concept of conservation but was still nervous on how to actually apply the theory with real, archaeological objects; in a true work environment. This is where a work placement comes in. My first-year placement was at the Wiltshire and Swindon History centre, as part of the Conservation & Museum Advisory Service (CMAS), a commercial business which deals with issues both in museums and in public collections.
Although it can seem daunting at first, this experience is essential for developing those practical skills and applying the theory with real, archaeological objects, as well as understanding the treatment of different materials and the ethical choices conservators must make; focusing on what’s best for the object and adjusting treatment plans with the client’s wishes accordingly. Keep in mind that work experience is for your benefit, so don’t panic when you have millions of doubts and questions because the people you work with are there to help you (even if you ask questions every 5 mins).
So anyway, onto the actual conservation, hooray!
First things first, you will need to assess the object just by looking at it and writing up a condition report, which simply states any observable issues with the object. The majority of my time was spent working with a Roman ceramic oil lamp in the shape of a foot! Quite a fun object from Chippenham Museum, but as you can see there is a bit of a messy application of adhesive around the centre of the lamp where it has broken in two and was re-joined. There were also scratches, dust and cobwebs on the inside, layers of red dirt/soil on the surface as well as white flaking corrosion (see figures 1-4).
Ok, so the lamp required a good clean and that adhesive definitely needed to come off. Ultimately, the decision was to completely remove the adhesive and undo the join so that I could re-attach the two pieces with a better, cleaner join. In order to remove the adhesive, I needed to work out what solvent it was soluble in. For this, I took small samples of the adhesive from the lamp by slicing off some of the softer areas with a scalpel, under a microscope. I then put the samples into a petri dish and tested them with different solvents (see figures 5 & 6).
Testing solvents on the adhesive:
After about 30 minutes, I could see which solvent made the adhesive go soft and rubbery. The process of removing the adhesive required quite a lot of patience as the it didn’t want to budge; a scalpel was used to remove larger chunks of the adhesive and a poultice was placed around the join. A poultice was a way of creating a solvent environment to help loosen the adhesive and separate the two pieces. *Just to give you an idea of the tools used in this process, I’ve taken a couple of photos for reference.
Figure 7 From left to right – pin vice, plastic tweezers, scalpel, wooden stick and cotton wool
In conservation, we usually make or own cotton swabs by using a bamboo stick or cocktail sticks (depending on what you’re working on) instead of regular, pre-made cotton swabs. Making your own means that when the cotton gets dirty it can be easily replaced and the size of the swab can be varied so you can get into the small nooks and crannies that need a good clean. It also means that we aren’t throwing away millions of cotton swabs and being more environmentally friendly.
After many tries, the poultice wasn’t loosening the adhesive, so I went in with the scalpel and pin vice to try and dig out some adhesive in the join. Another poultice was then left on for a couple of hours. When it was removed I was able to gently pry apart the two pieces (finally!) and clean the new surfaces (see figure 9).