Author Archives: site_manager

Managing Archaeological Risk

Cost of change against project stage (after ICE 1996)

With profit margins becoming increasingly tight in the construction industry, developers are keen to manage and control risk and uncertainty, whether this be related to the cost and availability of materials, ground contamination, or archaeology. As a site’s archaeological potential is usually unknown, it is a case of moving the site from the unknown, to the known. It will usually be a staged process that is necessary, with each stage of work reducing the level of uncertainty, and therefore the level of risk. The earlier it is considered in a development program the better, as it allows more time to work out projected costs and incorporate any necessary changes to reduce these costs, into a design programme.

Example of Historic Environment Record data

For many projects, most commonly the first step is a desk-based assessment, a non-intrusive survey of known evidence using a range of sources such as historic maps, aerial photos, and the Historic Environment Record, the local authority’s database of sites and findspots. This will determine the likely archaeological potential for a site and is a relatively rapid and cost effective technique. This may not be necessary for small projects however – such as extensions, or one or two dwellings, but developers can seek advice from the local authority archaeologist on this at an early stage.

Deposit model prepared to consider likely depths of archaeological deposits

More and more often however, as a result of NPPF, planners are asking for much more site specific information concerning the likely impact of a development. In these instances the document required is variously called a heritage statement or heritage impact assessment, where a consideration has to be made of the precise nature and extent of the likely impacts of the development upon the identified archaeological resource, as well as putting forward proposals as to how to mitigate the effects of the development upon this archaeology. This relates to both the physical impacts on the below ground archaeology as well as on the setting of monuments in the wider landscape. The issue of setting is a much wider topic, particularly with relevance to wind turbines, which are visible for many miles.

Gathering such information at an early stage in the design programme, through minimal and often non intrusive archaeological intervention can save the time and costs of either redesigning a development plan to avoid the need for further archaeological works, or archaeological excavations further down the line causing added costs and delays. Another thing to consider is engaging an archaeologist to monitor any geotechnical works that are being undertaken, as this will give a good indication of the likely depths of archaeology, made ground or truncation across a site.

More often than not, a DBA may identify an archaeological potential for a site but cannot within certainty determine the precise nature of the archaeological resource that may be present, in which case, intrusive works may be necessary to further characterise the archaeology present within the site – usually, where ground conditions are appropriate, geophysics is a common starting point, followed by trial trenching. As well as providing information on the below ground archaeology, geophysics can help inform and also limit the extent and therefore cost of subsequent targeted trenching.

Evaluation trenching strategy based on geophysical survey results

This level of work should provide a planning authority with sufficient information upon the archaeological resource to allow for the determination of a planning application, and to establish appropriate measures, known as final mitigation, undertaken as a condition of planning. It may be the case that the trial trenching finds little or nothing of interest and that no archaeological condition is imposed. However, where this is not the case, developers will need to consider measures to either preserve the archaeological remains in situ, or to preserve by record, ie. dig it all up.

The concept of preserving the remains in the ground wherever possible, ie preservation in situ, is one of the prime considerations for archaeology and is considered preferable to excavation, ie preservation by record, as this is in itself a physically destructive process. Obviously it also reduces the developer’s bill for archaeology, and in purely financial terms, there is a consideration on such sites as to whether it would be cheaper to use a potentially more costly foundation design (eg piling) that preserves the archaeology, or fund an excavation that records the archaeology to the satisfaction of the planning authority, but allows a more cost effective foundation design to be used. Redesign of the development layout should also be considered, for example, relocating areas of public open space to protect areas of archaeological interest.

So there are ways to manage the archaeological risk, and the thing that we always try to stress to developers is to build in time to consider the likely archaeological issues that may affect a site. Most county councils employ archaeological officers whose role it is to advise planning officers and developers upon the likely implications of a development, and most archaeological contracting companies will also be happy to advise a client. It is sometimes possible to come up with ways to avoid or greatly reduce the need for archaeological investigations, and it is usually possible to manage the risks associated with the possibility of unforeseen costs or delays caused by unexpected findings. Archaeology is inherently unpredictable however, and we never know for certain what we are going to find. I am afraid that we as archaeologists can’t be held responsible for what the Romans did 2,000 years ago!

Find of the month: December

December’s Find of the month has been written by Alice and was selected from some finds which have just returned from the pottery specialist (Ian Rowlandson).

Newport is a suburb of Lincoln known for a 3rd century gateway to the colonia but lesser known is a 2nd century pottery production site our team excavated in 2013 and 2015. Whilst the kilns were not within the excavation area we found large quantities of pottery and Fragments of kiln furniture. This specific production site was unknown before the excavation so it is quite a significant find.

I’ve decided to focus on a specific type of pottery produced at Newport known as mortaria. It was initially imported from the continent and copied in Britain from around the time of the Roman conquest. It’s a type of cookware that had multiple functions, they acted as a large mixing bowl and a mortar and pestle, sometimes they were used so frequently the abrasive grits were worn away and a hole appeared in the base of the pot.

Potters stamps on ceramics from Newport

It is a complicated task to identify the source of this pottery but it can be made slightly easier when the potter stamped his name into the rim. The picture below shows four examples from this site all produced in Lincolnshire

1. IILIVS – this is possibly a product of Dragonby, North Lincolnshire. Products from these kilns are quite unusual as the clay fires orange/red instead of the usual cream.
2. ATO or OTA retrograde (backwards) – there is a possibility this was made at our site as other examples of this stamp have been found in Newport. They are dated 140-165AD
3. CRICO – A more widespread potter whose wares have been found in Brough-upon-Humber and across Lincolnshire and Yorkshire. They are also dated 140-165AD
4. SENICO – This potter was based at the kilns in Newport but also produced wares in South Carlton. Some examples have a worn die which leaves slightly blurred impressions and some have the C and O missing possibly because the stamp was trimmed after it wore down too far.

It must have taken a huge amount of skill to produce these pots and stamps. They show that the potters were capable of carving in reverse and relief. I have attempted to do this using modelling clay and had to write my name in marker on paper and turn it over to ensure the letters were correct when the stamp was used. Maybe future development within Newport will allow us to find the kiln structures and we can always hope that a whole stamped mortaria will be preserved within.

Hearlty K, 2016, Roman pottery in appendix 1.In Archaeological scheme of works: Land off Newport, Lincoln. (Report Number AAL 2015098). P23-56

From Volunteer to Project Archaeologist

My passion for history started with palaeontology. The very idea of uncovering the history of life before us, of being the one to help piece together the story of life in the UK, was always something that appealed to me greatly.

This then evolved into a healthy interest in general history, and I enjoyed history in school immensely because it allowed me to further understand just how we have gotten to where we are, how technology and culture has changed our lives and the way that our understanding of history has progressed from how it was before. Things are always changing—and Archaeology hopes to piece that together to form a comprehensive understanding; from how things were before, as opposed to now.

On site during my traineeship

My first venture into archaeology, however, was a week of Work Experience during my first year of 6th Form. I was lost, I had no idea what I wanted to do, I wasn’t allowed to go back to where I’d done my GCSE level Work Experience, and I raised my concerns with the School’s careers advisor. Allen Archaeology was, at that time, based in Branston and close to me, so it made sense for me to apply. So, for my work experience I was at Lindum Hill getting in people’s way and marvelling at how these people were, as a career, uncovering the history of the local area and piecing together the story of Lincoln—and I think after that week, there was no questioning what I wanted to do.

I wanted to be an Archaeologist.

I started with volunteering, in 6th Form I had Fridays with no lessons, and during that time I was in the office—cleaning the finds and getting to know the people there. It was an isolated job, while everyone else was finding fantastic things on site for me to later clean, it gave me an understanding of Archaeology and increased my knowledge of what was what— I started with almost no experience so I was unable to identify anything unless it was obvious. However, I caught on fairly quickly. CBM generally looks like this, Pottery looks like this, That’s not Archaeology… that’s a fossil.

I volunteered until I finished school, and I applied for a Traineeship which was swiftly answered with a ‘Yes’. Thinking back, I wonder if there was a reason I was thrown into work at the Transport Hub for my first official site; I thought I knew what I would be doing because I had been on sites beforehand and had done research on what to expect when asked to dig, record and draw what we were excavating… but everything was thrown out of the window with Single Context recording. It wasn’t like anything I’d done before, and I was once again getting in the way of those who actually did know what they were doing… it felt very familiar.

But the staff of Allen Archaeology are nothing if not patient, and have given me a comprehensive understanding of what Commercial Archaeology is like and I think I can safely say that I’m not just getting in peoples’ way anymore, i’m actively working on site.

Now, months later and beginning a new year with a job that I love as a Project Archaeologist, I know that I’ll have a bright future focusing on the past. Hopefully, I can continue my development and use the skills I have garnered over my traineeship and time volunteering to combine my passion for the past and personal interest in art.

Surveying with Fee (i’m in the undergrowth off to the right!)

12 drummers drumming

I have been given the song line twelve Drummers, drumming or as I prefer to call them, twelve Membranophonists membranophoning. I was given the task of finding something from our finds department that related to drums and drumming; not an easy task I add. I had to ask the wonderful Yvonne for help, to no avail (when I hadn’t given her any guidance other than drum please!).

I however managed to rouse myself from the torpor of defeat, I rallied and armed with a mug of tea I embarked upon something that I have often considered to be my last resort; I turned to research.

It turns out, according to the History of Drums and Drum making, (No good research should go uncredited, and this research was an epic four minutes) That drums in prehistory were made of fish or lizard skin stretched over logs or pits in the ground, later domesticated animal skins were used with the first Frame Drum appearing in the Middle East some five thousand years ago,
The use of the drum in Britain was introduced by the Romans and largely fell out of use again when they left.

Drums were once again re introduced into the country when the Crusaders brought them back from the Middle East and they have been here ever since.

So armed with this information, I would dearly like to show you a picture of some lizard bone, but I refuse to ask for help twice in a day, so here is a picture of a piece of long dead fish.

A slightly unrelated fish….

Feature image recreated from Xavier Romero-Frias https://es.m.wikipedia.org/wiki/Archivo:XRF_12days.jpg under CC license

11 Piper’s Piping

Why we may not have musical pipes, or the esteemed piper’s giving a rendition of whichever Christmas carol might be your favourite…the Archive team have managed to find a type which appears frequently on archaeological sites, the clay pipe.

A clay pipe from our archives

Tobacco arrived in Britain following the 16th century European expeditions to the Americas that witnessed the ritualistic use amongst the native tribes of the continent, and soon became a mainstay within the British lifestyle. Despite being initially disapproved and persecuted against by religious leaders, and even King James I, discontent amongst the people saw that it would be imported with a levy applied.

Although initially only affordable for the rich, the habit of tobacco smoking spread quickly across the country and by the late 17th century almost every town and city had a clay pipe makers. The size of the bowl and length of stem were all altered over time in keeping with the fashion, to allow for more tobacco or a cooler smoke. This often saw long-stemmed pipes thrown away on the spot after use as they broke so easily!

At the beginning of the 18th century the clay pipe industry declined dramatically due to the conflict between Europe and America, but became popular again in the 19th century, with intricate and artistic pipe designs commonplace.

In the modern (cigarette-loving) setting, pipe smoking is considered a novelty for those nostalgic fellows amongst us.

Feature image recreated from Xavier Romero-Frias https://es.m.wikipedia.org/wiki/Archivo:XRF_12days.jpg under CC license

10 Lord’s a-Leaping

Our lordly offering is this crest found on a piece of ceramic. Heraldry is a broad term encompassing the design, display, and study of armoury. The right to bear arms, or be allowed to display a coat of arms was a recognition of rank or status. Only those with ancestral rights or a grant made by the crown. Therefore the display of a crest like this could be seen as a display of power and authority.

A heraldic crest on a piece of ceramic

Feature image recreated from Xavier Romero-Frias https://es.m.wikipedia.org/wiki/Archivo:XRF_12days.jpg under CC license

9 Ladies dancing

From the simplest of leather sandal to the highly elaborate heeled boot of the 18th century, shoes are an artefact archaeologists seem to enjoy finding. Somehow they bring the human element of the past back to the forefront. The earliest examples of shoes in the UK are from the Bronze Age when broad strips of leather were laced together; few have been found so styles and fashions are uncertain but they appear to be mostly functional. The sandal developed into the well-recognised Roman hobnailed caligae and eventually the closed shoe came into fashion. In the medieval period (and the Discworlds Unseen University) shoes were a sign of status with the pointier the toe the higher the status. Most people had leather shoes, they were functional and mass produced.

This example is from Grimsby and is early-mid Medieval it appears unused as there is no sign of wear on the base and all the stitching holes are complete. It is quite clearly a right shoe and about a size 5 ½ .

Medieval shoe from Grimsby

Eight Maids a-Milking

Eight Maids a-Milking is fairly self-explanatory in this case, we have a cows skull!

A cow skull!

Feature image recreated from Xavier Romero-Frias https://es.m.wikipedia.org/wiki/Archivo:XRF_12days.jpg under CC license

Seven Swans are swimming

Swans have represented beauty, romance and elegance for a very long time. Earlier representations of river birds, (such as this Romano-British Nene Valley colour coated ware) may not have captured them in their regal integrity but it does indicate a common fascination with putting them on pots. Whether it’s Emma Bridgewater or Roman pottery imported from Peterborough to Lincolnshire in the 3rd to 4th centuries.

Swan’s a-Swimming across this pot

Feature image recreated from Xavier Romero-Frias https://es.m.wikipedia.org/wiki/Archivo:XRF_12days.jpg under CC license