As the lockdown from the Covid 19 pandemic continues, taking breaks from managing the heritage research team, and seeing the outside world physically rather than through the window, takes on all sorts of importance – physical wellbeing and mental resilience being the main two.
However, this has also been a valuable exercise in getting to know the place where I moved at the start of autumn last year and have not yet had the opportunity to explore. I now live in a rural area containing a multitude of public walks direct from my doorstep, with no driving required, a massive bonus right now.
One of the unexpected pleasures of this, with my distinct leanings towards prehistoric archaeology, has been the chance to do a bit of fieldwalking along the public rights of way which are ploughed. An opportunity which has only slightly affected the choice of routes for my daily walks. The finds have been expanding not only my knowledge of the area but have also been reported to the local HER with photos of each (with scale) and their grid reference.
Whilst this has been a welcome relief from the current problems, archaeology has to compete against the other distractions, which include red kites and grass snakes, and some beautiful views and sunsets, which do sometimes make it difficult to concentrate on the ground! Looking up at the views and skies is something I think we all need to do in the present circumstances, simply for the break from the computer or TV screen, and managing the work-life balance, which can be difficult when working from home.
As part of our work in the heritage research, we spend some of our time visiting various historical archives up and down the country to look at historical maps and documents covering an array of locations. These maps can vary in date, size and condition and include early tithe and enclosure (sometimes inclosure) maps, to maps produced by the Ordnance Survey.
Whilst looking at these maps we’ve noticed that some of the earlier maps are highly decorative with symbols and illustrations so being the curious sort of people we are we thought we’d delve into what these are and why they’re used.
These decorative emblems are referred to as cartouches and
commonly frame map titles and other information about the map itself.
Cartouches were first thought to be used on Italian cartography during the 16th
century and originated due to the fact that the colour applied by hand to maps
engraved on copper plates obscured the fine lines of the engraver. Therefore, cartouches were introduced to aid
the decorative character of the map without detracting from its geographical intricacies
(Garfield, 2012; Adams et al, 1975). Often containing cursive handwriting,
cartouches can be iconographic, descriptive, and ornate, and have often been
observed for their symbolism, social commentary and artistic beauty.
One example we have recently discovered is on the Survey of the County of Kent, engraved and published by Jonathon Andrews, Andrew Dury, and William Herbert in 1768. In this example, the cartouche is very large and shows the Royal Coat of Arms in the centre.
Cartouche from the Survey of the County of Kent, Andrews, Dury and Herbet, 1768
Another cartographer, famous for his heavily stylised maps,
is John Speed. Speed’s maps are highly decorative and often include drawings of
cherubs, coats of arms, and separate plans of major cities. In this plan of the
British Isles, London and Edinburgh are drawn as separate illustrations and the
map is adorned with a myriad of decorative detail including some rather ominous
looking sea creatures in the English Channel!
‘The Kingdom of Great Britain and Ireland’, John Speed, 1611
In another recent archive trip we also came across this
lovely seal on the Dartford Bignores Estate Enclosure, awarded in 1877. Enclosure
maps, and their associated Enclosure Awards, were produced as a result of the
Parliamentary Enclosure Acts which became common from 1750. Such seals on
Enclosure Awards and maps testify to the accuracy and quality of the map, as
determined by Enclosure Commissioners.
As we’ve observed, decorative embellishment was often used on early maps partly to give character to the map but also to provide awareness into the social commentary of the period. They also give us an insight into the mind of the map-maker! As such, some early maps are highly colourful and descriptive, and, although may not be hugely accurate, are certainly works of art in their own right!
Map images used with
permission from Kent History and Library Centre
References
Adams, I, H., et al, 1975, Cartouches, Imago Mundi – The International Journal for the History of
Cartography, Vol 27: 1
Garfield, S., 2012, Welcome to Amerigo (p. 103-125), In: On the Map – Why the World looks the way it
does, London, Profile Books Ltd
Following on from yesterday’s ‘Ask and Archaeologist’ day we thought we’d do a little office round up to give you an insight into what our staff have been working on this week!
Our Finds and Archive Department have been busy this week preparing finds for archive deposition and preparing material to go off to the relevant specialists. We have also had a number of volunteers come to work with us from the University of Lincoln over the past month and this week we welcomed Roksana and Louise who have been washing various finds from some of our recent sites and marking the pottery ready for archive deposition.
Roksana and Louise marking some pottery from a recent site
The head of our geophysics team, Rob, has been doing some digitisation for a large linear infrastructure site in Lincolnshire as well as doing a watching brief in a small village just outside Lincoln. Mia, one of our Project Supervisors, has been busy working on some building recording reports for a range of sites in Lancashire and Cambridgeshire.
Rob of our Geophysics team looking very studious!
The Heritage Research Team (affectionately known as Heritage HQ) have been working on a variety of desk-based assessments for sites in Nottinghamshire, Cambridgeshire, and Lancashire. Heritage team member Harvey has been out visiting sites in Cambridgeshire and Nottinghamshire and has discovered some interesting cropmarks just outside of the Cambridgeshire Archives at Shire Hall which relate to the site of the old county prison. He thought it might have been a Roman building associated with a known Roman settlement to the north. Better luck with your interpretation next time Harvey, it happens to the best of us! Thanks to the effect of the hot weather on the ground, a lot of cropmarks have now become clearly visible across the UK.
Possible cropmarks visible outside of the Cambridgeshire Archives
And of course, our field teams have been busy across the country! With sites in Lincolnshire, Leicestershire, Suffolk, and Cambridgeshire (amongst others!) our field archaeologists have been working hard to excavate and record an array of archaeological features. We’ve also had some great finds from our sites this week, including some complete Roman vessels from a site in Lincolnshire!
Our field team having fun on site in Leicestershire
So it has been a busy week for us all here at Allen Archaeology and with the food festival coming to Lincoln this weekend I’m sure a few of our staff will be visiting!
By Isobel Curwen, Trainee Heritage Research Supervisor
Here in the Heritage Research team we’ve had a few sites recently which we’ve been getting very excited about, because they are located in areas with extensive earthworks and cropmarks. Earthwork remains usually means there are earthen banks, ditches, low walls and perhaps building platforms. These can either be upstanding archaeological remains or show up as features beneath the surface often visible because of variations in crop growth – commonly referred to as cropmarks.
Remains of deserted medieval villages in rural Lincolnshire
Some of the earliest cropmarks we see date to the prehistoric period (think hill forts, barrows and henges) but some are much later and tell us about the medieval landscape in the form of ridge and furrow, mottes and deserted medieval villages (DMV). In previous blog posts we have looked at ridge and furrow and we’re now going to explore their counterpart, the deserted medieval village.
Many medieval settlements in midland Britain were first established in the 9th and 10th centuries. They often contained burgage plots, set back from the main road with a back lane linking them and a church and a manor house contained within larger plots at the end of the village (Stamper 2011). In the Middle Ages some settlements were abandoned because of the Black Death (1348-49), warfare and famine but also due to clearance to provide space to graze more profitable sheep. Some were abandoned due to the deliberate actions of their lords (White 2012), and the natural progression of the settlements saw that they contracted, expanded and gradually shifted, following regional and local trends of change and continuity (Stamper 2011).
Today, the remains of these medieval settlements can be recognised from the patterns of roughly rectangular tofts, sometimes with building platforms which are raised and enclose banks and ditches, and by holloways – worn down tracks that pass between the house platforms.
So with the summer fast approaching keep your eyes peeled for any unusual looking lumps and bumps in the landscape and you may find yourself walking within what used to be a medieval village!
Stamper. P, 2011, Medieval Settlements, Historic England Introduction to Heritage Assets
White. G. J, 2011, The landscape of rural settlement, In The Medieval English Landscape (1000-1540, London: Bloomsbury, 55-99
For centuries we have been leaving a written record of our daily lives and when we find evidence of this it is very exciting. Recent excavations in London uncovered a significant collection of Roman waxed writing tablets, some of the earliest hand-written documents found in Britain (for more information visit the MOLA website), and we have even earlier records such as prehistoric cave art and runic writing systems.
Our Finds team are currently analysing some stamped Roman pottery found in Lincolnshire. Mortaria and Samian ware are the most common pottery types to be stamped, although other types of Roman pottery were occasionally stamped too. The stamp could be a name or a word, or sometimes a symbol, possibly suggesting that the potter was illiterate (Read our blog post by Alice for some examples of stamped pottery found in Lincoln). In order to create the impression on the pot, the stamp had to be created in relief and in reverse which requires considerable skill (see how quickly you can spell your own name backwards!).
Stamped Mortaria found from Lincoln – see the range of potters markings including both symbols and words
Roman grey ware pot base with a pot firing ‘X’ graffito that has been trimmed to form a disc or counter (Photo Credit Hugh Fiske/Ian Rowlandson)
These lovely sherds of stamped pottery have survived for thousands of years and this got us thinking. In today’s digital world what record will we leave of our own lives? Handwritten letters have been replaced by emails and text messages. Digital mapping and GPS render paper maps obsolete, used only when technology fails us or when there is a lack of signal. In our on-site recording of archaeological sites we use a combination of physical and digital recording techniques. With recent advances in archaeological practice suggesting and implementing systems for entirely paperless recording systems (Roosevelt et al. 2015) we are heading in the direction of an almost entirely digital historic record.
It looks like the record we leave about our lives will be less tangible and physical than that of our predecessors. Read the following article for more information on our digital footprints.
Christopher H. Roosevelt, Peter Cobb, Emanuel Moss, Brandon R. Olson &
Sinan Ünlüsoy (2015) Excavation is Destruction Digitization: Advances in Archaeological Practice, Journal of Field Archaeology, 40:3, 325-346
We’re lucky enough to get to visit churches fairly often, whether it’s for building recording, heritage statements/ impact assessments, or just while we’re in the area after work. Quite often churches are the oldest building around, with surviving examples of Anglo-Saxon or Norman stonework visible all over the country but the form of churches differ greatly. Anglo-Saxon examples tend to be built along a simple ‘tower-nave’ design with a squat tower and a nave jutting out, but after that all bets are off with additions and subtractions enacted with wanton abandon (or as close to wanton abandon as one can get in church). What makes churches so interesting is the way bits get added here and there. A 13th century window might sit encased in brickwork installed during the Victorian Restoration – it’s a very Victorian attitude to look at a building that’s stood for hundreds of years and think, ‘you know what this needs? A complete redesign, by me!’, but that’s often exactly what happened. With that in mind, here are some of our favourites.
St Andrew’s, Calceby
This is the lovely Grade II Listed ruin of St. Andrew’s Church, Calceby, Lincolnshire (1063635, Grade II). Originally a Norman church, the only parts now surviving are sections of the chalk tower and nave, along with some herringbone-style masonry which is often thought of as a much older style of building, making the most of poor quality stone. It presides over the remains of a deserted medieval village on the Lincolnshire Wolds, and is believed to have been pillaged to build other structures in the local area.
St Leonard’s, South Ormsby
One of those structures is St. Leonard’s church at South Ormsby, Lincolnshire (1168707, Grade I), with at least parts of a Norman door from St. Andrews being incorporated into this (slightly) younger church down the road from Calceby. The oldest surviving fabric is mostly of 13th–15th century origin, with a significant amount of Victorian restoration (1871–1872). Inside this small church is an elegant wooden ceiling, with beautiful multi-coloured stonework on the arches.
Further afield (we do leave Lincolnshire!) is Chichester Cathedral, in Sussex (1354261, Grade I). The cathedral was consecrated in the 12th century, built to replace the Anglo-Saxon Selsey Abbey. Inside are the remains of a lovely Roman mosaic set beneath the church floor, and inscriptions dating back to at least the 17th century.
Chichester Cathedral, the mosaic and inscriptions
Also in Sussex is the 14th century Church of St Nicholas (1027914, Grade I). St Nicholas seems recent compared with the examples above, however inside are the remains of wall paintings. The survival of wall paintings is quite rare, due in part to the Reformation, and in part to the Victorian Restoration when many paintings were whitewashed, so it was a real thrill to see. Church wall paintings of this style date back to a time before literacy was widespread, and the pictures allowed church-goers access to biblical stories and imagery without having to read. Definitely not an everyday sight, unless you happen to be a local parishioner…
Wall paintings at St Nicolas
To find out more about the churches we’ve visited here, you can read their listing details using the links below:
A few weekends ago, whilst wandering round the small market town of Louth, I stumbled across these rather unusual knitted churches which are currently on display at St James’ Church. Originally commissioned by The Collection, Lincoln, these knitted masterpieces form part of a countrywide project entitled the ‘Woolly Spires’ project, managed by artsNK.
During the medieval period, Lincolnshire prospered as a wool producing county using wool from the iconic breed of sheep, the Lincoln Longwool (see our previous blog post for more details about the Lincolnshire wool trade!). The profits from this trade went mainly to a few wool merchants and wealthy landowners who in turn founded many of Lincolnshire’s churches (Vince 2003).
In order to reflect both the founding of many of Lincolnshire’s churches as a result of the wool trade, and their rural nature, residents and community groups were gathered from the six rural districts of Lincolnshire to created knitted versions of their churches using wool exclusively from the Lincoln Longwool breed. The churches created include St Deny’s Church, Sleaford, St Mary and St Nicholas’ Church, Spalding, St Botolph’s Church, Boston, St James’ Church, Louth, St Wulfram’s Church, Grantham, and St Mary’s Church (Stow Minster), Stow.
The knitted churches on display at St James’ Church, Louth
St Mary and St Nicolas, Spalding
Many of Lincolnshire’s churches can be found in rural settings which can be divided into distinct geographical areas (Jenkins 1999). The churches to south of the county, in the area around the Fens and The Wash, have their origins in the monastic houses of Norman England. St Botolph’s Church, Boston is a particularly nice example with its famous ‘Boston Stump’. To the west lie the coastal marshes and the Wolds, with St James’ Church steeple providing a focal point to the open landscape. Inland Lincolnshire is represented by both the Humber and Trent valleys with St Deny’s church, Sleaford providing a fine example of stained glass windows and the tower of St Wulfram’s Church, Grantham providing a visual masterpiece of early Gothic architecture.
The churches of Lincolnshire, and their associated land and settlements, are a fundamental component of the county’s history and as result play a key part in the work undertaken here at AAL whether this be as part of research for a desk-based assessment or as part of a building recording survey.
We think these woolly churches are great and they are currently doing a tour throughout Lincolnshire so do keep a lookout for them coming to a church near you!
Jenkins. S., 1999, ‘Lincolnshire’, In: England’s Thousand Best Churches (pp 363-400), Penguin Group, London
Vince. A., 2003, ‘The new town: Lincoln in the High Medieval Era (c.850-c.1350), in: Stocker. D. (ed) The City by the Pool (pp 159-249), Oxbow Books, Oxford
This year for International Women’s Day we’ve been thinking about how women are represented in the archaeological record. The archaeology of gender has become a large part of our interpretation, where previously women’s lives were overlooked by antiquarians in favour of kings and emperors, work has been done to readdress this imbalance. We’ve picked three of our most interesting examples for discussion.
Recently excavated head pot, ‘Marion’
Neither face pots nor head pots are especially common, but have been found distributed widely across Britain including around 50 examples from York, a famous example of which depicts the Empress Julia Domna (York Museums Trust n.d). Head pots appear to be almost exclusively found in Roman Britain and North Africa, and are generally made of finer fabric than face pots (Braithwaite 2011). While researching this piece it seemed like a majority appear to be depictions of women. Our example, Marion, was found in Bourne, Lincolnshire. We chose the nickname Marion as we thought the frills around her face looked like a medieval headdress.
Saxon chatelaine
Chatelaines (sometimes referred to as chatelaine chains) were a popular item of women’s dress from around the 7th century in Anglo-Saxon England, and are sometimes found in the burials of female individuals (Owen-Crocker 2004). The chatelaine itself was attached to a belt worn at the waist, with smaller objects hung from it and thought to be worn by the female head of the household, indicating a level of status. Common items carried during the period included functional items like keys and personal hygiene (metal picks, small spoons intended for the cleaning out of one’s ears, etc) (ibid). Later, Viking women’s fashion dictated one’s personal items were often hung from brooches which are themselves commonly (but not exclusively) associated with the burial of women (ibid).
The misidentifying of an individual’s gender in archaeology based on materials remains isn’t uncommon, prominent examples include the ‘Red Lady of Paviland’, identified as Roman female in 1823 due to the presence of ivory and rings (assumed to be female items) but later revealed to actually be a man from the Upper Palaeolithic period, and the Skaill boat burial in Orkney, which was assumed to be male based on the presence of finds believed to be associated with warriors (a sword, an axe, a spear etc.), but was later identified as female (Hedenstirna-Jonson et al 2017). The example in Orkney was still presumed to be a man even after osteological analysis in the 1970s identified the individual as a woman (Laskow 2017)!
19th century ribbon from the grave of a female adult
During excavations in a 19th century burial ground a fashionable silk gauze ribbon with self-woven stripes was found in the burial of an adult female. Several other examples of fashion ribbons were also found, personal touches allowing those interred to retain elements of their identity after burial.
You can also find our previous blog posts for International Women’s Day here:
Hedenstierna-Jonson C, Kjellström A, Zachrisson T, et al. A female Viking warrior confirmed by genomics. Am J Phys Anthropol. 2017;164:853–860, accessed online 08.03.2018: https://doi.org/10.1002/ajpa.23308
Today marks the start of the Chinese New Year (or the Lunar New Year), this year the Year of Dog, an animal which symbolises luck! However, doing any of the following is deemed unlucky: cleaning clothes, using scissors, sweeping floors and encountering crying children. Some omens are easier to avoid than others…
With the use of scissors being forbidden, that got us here thinking. Here in Lincoln, scissors were probably used as part of the wool trade. Lincoln’s attractive location along the banks of the River Witham facilitated a prosperous, expanding wool trade during the early medieval period with finished textiles transported east along the River Witham and then exported abroad (Pawley 2001). The flat, open agricultural land provided a perfect location to rear sheep.
Some rather fierce looking sheep from Lincolnshire…
In particular, two shades of these textiles were highly prized: the coveted Lincoln green and Lincoln scarlet. Lincoln was renowned for not just the high quality of dye used but also the consistency of the colour (apparently Kendal green which was notoriously inconsistent)! The green colour, created by dying the wool with woad and then with ‘dyers broom’, was less expensive than Lincoln scarlet, a cloth that was aimed at more affluent members of society (Santos 2013). Lincolnshire green (or greene as it was known) was, of course, made famous by being worn by Robin Hood and his merry men, or so legend has it.
Sadly, the textile industry collapsed between 1275 and 1300 AD. The loss of wool staple, which designated that Lincoln was a key place for its trade, was a result of increasing competition from both nearby towns such as Boston and from abroad (Stocker et al 2003).
So, getting back to the Chinese New Year, it appears we’re all exempt from doing laundry, using scissors and cleaning floors today – great news for a Friday! Although managing to avoid crying babies may provide more of a challenge, particularly for those here at AAL with young children…
References
Pawley. S., 2001, Maritime Trade and Fishing, 1500 – 1700, In: An Historical Atlas of Lincolnshire, Bennett. S, and Bennett. N (eds), Phillimore, West Sussex
Vince. A., 2003, The new town: Lincoln in the High Medieval Era (c.850-c.1350) pp. 159-249, In: Stocker. D (eds), The City by the Pool, Oxbow Books, Oxford
