In the Lens: George and Agnes Horsfield’s Photographs

Amara Thornton (British Academy Postdoctoral Research Fellow, UCL Institute of Archaeology)

“My life has been so lonely – until I met you – dear Comrade … my extraordinary friendship with you – which I gradually found was absorbing the whole of my life – I did not in the least understand – you stood as pure intellect to me.”

-       George Horsfield to Agnes Conway, c. November 1931

Everyone loves a love story, right? Well, dear readers, this is one.

MicroPasts has now launched an application where you can tag a group of photographs of different sites and locations in the Middle East. The photographs come from an archive that belonged to the British archaeologists George Horsfield (1882-1956) and his wife Agnes Conway Horsfield (1885-1950).

I’ve been researching and publishing on the Horsfields for a number of years now. I first came across these photographs and others in the Horsfield archive in 2006, when I was an MA student. The images were what inspired me to undertake a PhD investigating the history of archaeology through a network of British archaeologists – including George and Agnes. The following sections will introduce George and Agnes, provide a bit of context on the historical period in which they lived and worked, and examine the circumstances of their archive’s accession. I hope you’ll find exploring Mandate Palestine and Transjordan with the Horsfields as interesting as I do.

Meet the Horsfields

Leeds-born George Horsfield trained as an architect in London and worked for one of the most well known American Gothic Revival architectural practices in New York City before the First World War. At the outbreak of war, he enlisted as a volunteer, and saw action on the Western Front. At war’s end, demobilised, he embarked on a new career in archaeology. Admitted in 1923 as a student in the new British School of Archaeology in Jerusalem (BSAJ), Horsfield gained experience in excavating and excavation management, and brought his architect’s eye to interpreting and conserving sites. After his BSAJ training in Palestine, Horsfield worked primarily in Transjordan. He became the Chief Curator/Inspector in the Transjordan Department of Antiquities.

Fig 1. Agnes Horsfield at Damieh, Transjordan.

Fig 1. Agnes Horsfield at Damieh, Transjordan.

In 1928, he met Agnes Conway for the first time. Conway was the daughter of a mountaineering art-historian, author and politician and his American wife. She studied History at Newnham College, Cambridge – before Cambridge started giving women degrees. Her interest in archaeology developed at Newnham too, under the supervision of the classicist Jane Harrison.

After leaving Cambridge, Agnes Conway embarked on many different projects, including studying at the British School at Rome and the British School at Athens, and cataloguing and enhancing her father’s vast photograph collection. When her father became the first Director General of the Imperial War Museum during the First World War, she worked with a team of other women to collect material relating to women’s war work, and continued working on the collection and display of this material into the 1920s. By this point she had also published two books: A Child’s History of Art (1909)and A Ride Through the Balkans: On Classic Ground with a Camera (1917). She also began extensive research on the Wyatt family, whose Kent castle the Conways were slowly restoring.

Fig 2. A detail from Fig 1, showing Agnes Horsfield more clearly with her camera in her hands.

Fig 2. A detail from Fig 1, showing Agnes Horsfield more clearly with her camera in her hands.

In 1929, after meeting George Horsfield, the pair began an investigation of the site of Petra in Transjordan, the famous “rose red city” of the Nabataean civilisation, with two other scholars, Tewfiq Canaan and Ditlef Nielsen. George and Agnes continued to collaborate on analysing Petra over the next few years, and their friendship evolved into love. They married in January 1932 in Jerusalem, and settled in a house in Jerash, in the midst of the remains of the Roman town that had once flourished there.

They remained based at Jerash, travelling frequently in Transjordan and Palestine, until 1936, when George Horsfield left his position at the Department of Antiquities. The Horsfields embarked on a few years of Mediterranean travel, returning to live in London during the Second World War. Agnes Conway Horsfield died in 1950; George Horsfield moved to Cyprus thereafter and died in Kyrenia in 1956.

Archaeology in the Mandates

Prior to the First World War, the region that became Palestine and Transjordan was part of the Ottoman Empire. During the war, the Sykes Picot agreement, the Arab Revolt and the Balfour Declaration all contributed to the post-war reshaping of former Ottoman Empire territories into distinct countries – Syria, Mesopotamia (renamed Iraq) and Palestine. Britain had occupied Jerusalem from late December 1917. Then, under League of Nations issued Mandate agreements, Britain gained administrative responsibility for Palestine from 1920. In 1923 Transjordan (the land east of the Jordan River) was separated from Palestine under a new British Mandate agreement.

A British-run administrative framework was instituted in Palestine, with a British High Commissioner at the top, and various departments such as Treasury, Customs, Immigration, Education, Agriculture, and Health. There was also a Department of Antiquities, established in 1920, with antiquities legislation set out in Article 21 of the Mandate Agreement.

The Department of Antiquities issued permits for excavation and generally undertook survey work, documented archaeological sites and antiquities, made provision for guards for the sites, and took steps to open sites to tourists. There was also a revitalisation of the museum in Jerusalem, and provision for smaller local museums elsewhere in Palestine.

Transjordan also had its own Department of Antiquities, with close links to the Department of Antiquities in Palestine. George Horsfield had originally been sent to Transjordan from Palestine to lend his architectural expertise to the conservation of sites, specifically Jerash. When he became Chief Curator/Inspector in Transjordan he had similar responsibilities to the Director of Antiquities in Palestine: inspecting sites, ensuring guards were in place, and, with Agnes as his collaborator, documenting sites throughout the country where possible. He also helped to build a small museum at Jerash, and wrote a guide to the site that was published in 1933.

The Transjordan Department of Antiquities had little funding for large-scale work. Thus the Horsfields mainly undertook survey work and facilitated excavations by others, including archaeological teams from the American Schools of Oriental Research and the French Ecole Biblique et Archéologique Française of Jerusalem.

Fig 3. George Horsfield at Damieh, Transjordan.

Fig 3. George Horsfield at Damieh, Transjordan.

The Horsfield Photographs

In 1951, after Agnes’s death, George Horsfield wrote directly to V. Gordon Childe, then Director of the Institute of Archaeology in London, offering Childe what he described as his wife’s material on Petra and Transjordan which he hoped would be useful for the Institute’s students. Two boxes were duly shipped to the Institute’s premises at St John’s Lodge, Regent’s Park, and a further packet of photographs arrived a short time later. (Whether any students actually used the archive is still to be discovered.)

George Horsfield’s correspondence with Childe reveals that the contents of the boxes had been put together ‘without examination’, which I think contributes to the variety (and in some senses haphazard array) of material associated with the Horsfields in this collection. The two boxes that arrived in 1951 have over the ensuing decades been distributed into seventeen archive boxes, which (most likely because the material was not examined before its donation) contain a collection documenting not only the Horsfields’ work at Petra and travels in the region, but also Agnes’s pre-marriage trips to Greece, Sierra Leone and Iraq.

Fig 4. A detail from Fig 3, showing George Horsfield.

Fig 4. A detail from Fig 3, showing George Horsfield.

What results from George and Agnes Horsfield’s donation, then, is a partial but by no means insignificant view into the life and work of an antiquities inspector and his wife (and equal partner) in archaeology in Mandate Transjordan.

The photographs now available for tagging in MicroPasts are among the most formally presented in the archive, being mounted and labelled. They reflect George and Agnes’s lives and work in the Middle East. The Horsfields themselves appear only rarely in front of the camera, and when they are there, they are absent in the captions (see Figs 1-4). Agnes Conway was very interested in photography, and spent hours practicing with her camera – as you can see from Fig 2, she holds her camera firmly in her grasp.

The Horsfields’ photographs document an archaeological and historical landscape that has changed dramatically in the decades since the photographs were taken. They need to be read as part of an important period in the history of Britain and the Middle East – and this history continues to affect the region to this day.

Researching the context of the Horsfield archive is a continuing work in progress, particularly as complementary archives become more accessible through active cataloguing. There are many more histories yet to be revealed. However, we can start to discover them together here, through images. The MicroPasts platform forces you, as contributors, to look at these photographs in detail – and the closer you look, the more you find!

References/Further Reading

On the Horsfields:

Conway, A. and Conway, W. M. 1909. The Children’s Book of Art. London: Adam & Charles Black. Available at: http://archive.org/stream/childrensbookofa00conw#page/n7/mode/2up

Conway, A. 1917. A Ride Through the Balkans: On Classic Ground with a Camera. London: Robert Scott. Available at: http://archive.org/details/ridethroughbalka00conwuoft

Conway, A. and Horsfield, G. 1930. Historical and Topographical Notes on Edom: with an account of the first excavations at Petra. Geographical Journal 76 (5): 369-390.

Evans, J. 1966. The Conways: A History of Three Generations. London: Museum Press.

Horsfield, A. 1943. Journey to Kilwa, Transjordan. Geographical Journal 102 (2): 71-77.

Horsfield, G. 1933. Official Guide to Jerash: With Plan. Government of Transjordan, Department of Antiquities.

The Times. 1950. The Hon. Mrs George Horsfield. The Times Digital Archive [Online], 7 September. (subscription)

The Times. 1956. Mr George Horsfield. The Times Digital Archive [Online], 15 August. (subscription)

Thornton, A. (forthcoming). The Nobody: Exploring Archaeological Identity with George Horsfield (1882-1956). Archaeology International.

Thornton, A. & Perry, S. 2011. Collection and Production: The History of the Institute of Archaeology through Photography.  Archaeology International, 13/14, 101-107. DOI: http://dx.doi.org/10.5334/ai.1319.

Thornton, A. 2011. British Archaeologists, Social Networks and the Emergence of a Profession: the social history of British archaeology in the Eastern Mediterranean and Middle East, 1870-1939. Unpublished PhD thesis, University College London.

Thornton, A.  2011. The Allure of Archaeology: Agnes Conway and Jane Harrison at Newnham College, 1903-1907. Bulletin for the History of Archaeology, 21 (1), 37-56. DOI: http://dx.doi.org/10.5334/bha.2114.

Thornton, A. 2009.  George Horsfield, Conservation and the British School of Archaeology in Jerusalem.  Antiquity Project Gallery [Online]: http://antiquity.ac.uk/projgall/thornton322/

Thornton, A. 2006. Explorations in the Desert: The Photographic Collection of George and Agnes Horsfield. Papers from the Institute of Archaeology 17, 93-100. DOI: http://dx.doi.org/10.5334/pia.273.

Who Was Who. HORSFIELD, George. Who Was Who. A & C Black [Online edn]. Available at: www.ukwhoswho.com/view/article/oupww/whowaswho/U2388067 (subscription)

On the history of archaeology in Mandate Palestine and Transjordan:

Albright, W. 1963. The Archaeology of Palestine. Harmondsworth: Penguin Books.

Abu el-Haj, N. 2001. Facts on the Ground: Archaeological Practice and Territorial Self-Fashioning in Israeli Society. Chicago, IL: University of Chicago Press.

Gibson, S. 1999. British Archaeological Institutions in Mandate Palestine, 1917-1948. Palestine Exploration Quarterly 131 (2): 115-143. DOI: dx.doi.org/10.1179/peq.1999.131.2.115.

Moorey, R. 1991. A Century of Biblical Archaeology. Cambridge: Lutterworth.

Thornton, A. (forthcoming). Social Networks in the History of Archaeology: Placing Archaeology in its Context. Workshop Proceedings: New Historiographical Approaches to Archaeological Research. Berlin Studies of the Ancient World.

Thornton, A. 2012. Archaeologists-in-Training: Students of the British School of Archaeology in Jerusalem, 1920-1936. Journal of Open Archaeology Data, 1:1, DOI: http://dx.doi.org/10.5334/4f293686e4d62.

Thornton, A. 2012.(ed). Tourism as Colonial Policy? The History of Heritage Tourism in Mandate Palestine and Transjordan [Special Issue] Public Archaeology 11 (4). (subscription)

General histories of Mandate Palestine and Transjordan

Abu-Nowar, M. 1989. The Creation and Development of Transjordan, 1920-1929: a history of the Hashemite Kingdom of Jordan. Oxford: Ithaca Press.

Abu-Nowar, M. 2005. The Development of Transjordan 1929-1939: a history of the Hashemite Kingdom of Jordan. Oxford: Ithaca Press.

Fromkin, D. 1989. A Peace to End all Peace: the fall of the Ottoman Empire and the creation of the modern Middle East. New York: Avon Books.

Luke, H. and Keith-Roach, E. 1922. The Handbook of Palestine. London: Macmillan and Co., Limited. Available at: http://archive.org/stream/handbookofpalest00lukeuoft#page/ii/mode/2up

Luke, H. and Keith-Roach, E. 1930. The Handbook of Palestine and Transjordan. (2nd edn). London: Macmillan and Co., Limited.

Wasserstein, B. 1978. The British in Palestine: the mandatory government and the Arab-Jewish conflict 1917-1929. London: Royal Historical Society.

Wilson, M. 1987. King Abdullah, Britain and the Making of Modern Jordan. Cambridge: Cambridge University Press.

Posted in Research

MicroPasts at Digital Humanities 2014, Lausanne

The project has just been represented at the Digital Humanities 2014 conference in Lausanne, Switzerland.

Posted in Presentations

Shabtis and the Ancient Egyptian Afterlife

If you’d lived in Ancient Egypt, you would probably have strongly believed that death was not the end, and that it was only a transition between this world and the next. Ancient Egyptians believed that after they die, or more precisely after their bodies die, some parts of their soul (termed ‘ka’ and ‘ba’) kept on living in a spiritual realm known as the underworld, or Duat – the realm of the dead.

It was not at all straightforward to get to this underworld. You first had to be mummified so that your body was well preserved and thus suited to move on to the next life. Secondly, you had to pass a crucial test on your judgment day, a procedure known as the ‘weighing of the heart’. If you were a good person and hadn’t sinned, then your heart would be lighter than the feather of truth and justice (Ma’at), and you’d be allowed to continue your journey into the afterlife. Finally, you’d have to know how to overcome all obstacles on your journey, so it was advised to have a copy of the Book of the Dead handy. This book contained magic spells devised to help you to complete your journey successfully.

Faience shabti from the tomb of Sety I, Valley of the Kings, Egypt. 19th Dynasty, around 1290 BC. Courtesy of the British Museum

However, making it to the underworld was not the end of the story. In order to ensure your immortality after death, your family, friends and/or subjects should have remembered to place some food and drinks in your tomb. In addition, even though dead, you were not exempt from work. You were expected to carry out tasks such as ploughing fields and harvesting crops. But if you were well prepared, you made sure that someone else could do the work for you. So while you could enjoy your days watching the sun god Ra on his daily boat ride through the sky, someone else was tasked do the tedious routine chores for you. Therefore, alongside your mummified body, some food, the Book of the Dead, everyday objects, and other paraphernalia needed to smooth your journey into the afterlife, your tomb would include a series of funerary figurines known as shabtis (or ushabtis). These shabtis were usually shaped like a mummy and may have had your name and title inscribed on them. Otherwise, they may have been inscribed with a text from the 6th chapter from the Book of the Dead, including a phrase sending them to action – “to plough the fields, or to fill the channels with water, or to carry sand from the East to the West”.

Tasked mainly for agricultural duties, the shabtis often carried a hoe in their hands, a basket on their backs, or some other tools (depending on their roles). They were usually small, between 10 and 30 cm in size, and would most commonly be made of faience, or otherwise from terracotta, wood, stone, metal or glass. While the practice of using shabtis emerged in the Old Kingdom, they became common starting from the Middle Kingdom onwards and were in use until the end of the Ptolemaic Period. Many of them were made in mass production, and from the 21st Dynasty on, tombs could be found filled with a great number of shabtis. Some tombs had hundreds of shabtis covering the tomb floors. Better be prepared for all that afterlife work!

Adi

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Posted in Research

Later Prehistoric Britain & the Development of Bronze Age Metal Objects

What we call the ‘later prehistory’ in Britain and Ireland traditionally spans the first use of metal artefacts and thereafter the replacement of bronze technologies with iron, an overall period of approximately two and a half millennia which starts around 2500 BC and, by academic convention, is said to end with the Roman conquest of Britain in AD 43 (which brings in the a series of hitherto missing documentary sources for the historian and hence is deemed to be roughly the end of ‘prehistory’ where our evidence is largely archaeological), spanning the Bronze Age and Iron Age chronological periods.

Bronze Age Metal Objects: Background & Overview

Given that a major early component of the MicroPasts project involves looking at Bronze Age metal objects from Britain, the following section provides a little background information in order to understand how the subject developed and the basic outline of the period and topic.

worsaee_drawing_spearheads

Antiquarian depiction of Danish & British Bronze Age implements by J.J.A Worsaae (1843)

The term ‘Bronze Age’ was developed by the Danish archaeologist Christian Thomsen (b. 1788 – d. 1865), to sit between the Stone Age and the Iron Age in his ‘three-age system’. Although the simplicity of Thomsen’s scheme has been questioned in the intervening years, and other important divisions have been recognised, it remains relevant, and the Bronze Age has a distinct character of its own. The date and character of the Bronze Age do, however, differ across Europe, with communications and mobility between regions and countries also changing through time.

In Britain, the Bronze Age is a period used by archaeologist to refer to the centuries from 2500 to 800 BC. At the start of the period (from 2500 to 2200 BC) only gold and copper were being used, but from 2200 BC bronze was created by mixing (alloying) tin and copper. In the initial period (around 2200-2000 BC), Irish copper and Cornish tin were used in bronze production. The sources of copper then changed as new mines (especially in Wales) were exploited and Continental metal was brought into Britain. The first iron objects appear from around 1000 BC, and the Iron Age is said to begin around 800 BC (again, this is more a convenient academic label, rather than an abrupt historical  ). The Bronze Age chronologies are notoriously complex, but here is a table summarising the main developments by period:

BA Chronology Chart-1

Major chronological periods of the British Bronze Age (largely based on Needham 1996; see also Roberts 2008 & Roberts, Uckelmann, & Brandherm 2013).

From around 1500 BC, the evidence for the contexts in which we find metal objects changes from burials to ‘hoard’ deposits. Hoards, defined loosely as two or more objects deposited together, that are often treated in special and unusual ways prior to deposition (for instance swords may be intentionally bent and ornaments folded and broken up). This hoarding practice may sometimes have had a religious or ritual significance, a point also suggested by the location of the deposits in unusual and special places (e.g. rivers, bogs and natural features). Indeed, although opinions vary, current thinking tends to suggest that hoards were ‘gifts for the Gods’ (akin to pennies thrown into wells with the expectation of a granted wish), rather than purely ‘rubbish’ or items stored for safe keeping.

Communities also made use of ceramics throughout the period, expressing identities through particular styles. These were often deemed important enough to deposit with the dead, particularly during the period between 2500 to 1500 BC (e.g. Beakers, Food Vessels and Collared Urns). Although the survival of organics from this period is rare, there are sufficient examples to know that communities were highly skilled at working these materials as well.

Most of the archaeological evidence for the earlier part of the period (c.2500 to 1500 BC) comes from funerary evidence and monuments and there is little evidence for permanent settlements of any size or scale. This may suggest that communities and populations were still relatively small-scale by comparison with later periods. Towards the end of the Bronze Age (from 1500 to 800 BC) there is, however, greater evidence for roundhouses and field systems, particularly in Southern England.

The Arreton hoard from the Isle of Wight includes flanged axes and spearheads (socketed and tanged types).

The Arreton hoard from the Isle of Wight includes flanged axes and spearheads (socketed and tanged types).

If you are interested in reading more about later prehistoric Britain these resources might help to get you started:

Published resources:

Books & articles:

  • Cowie, T. 1988. Magic Metal. Early metalworkers in the North-East. Aberdeen: University of Aberdeen
  • Cunliffe, B. 2004. Iron Age Britain (Revised Edition). London: B.T. Batsford/English Heritage
  • Darvill, T. 2010. Prehistoric Britain (2nd edition). London: Routledge
  • Langmaid, N.G. 1976. Bronze Age Metalwork in England and Wales, Aylesbury: Shire Archaeology
  • Needham, S. 1996. “Chronology and Periodisation in the British Bronze Age”. Acta Archaeologica 67, 121–40.
  • Parker Pearson, M. 2005. Bronze Age Britain (Revised Edition). London: B.T. Batsford/English Heritage
  • Pearce, S.M.1984. Bronze Age Metalwork in Southern Britain, Aylesbury: Shire Archaeology
  • Piggott, S. 1938. “The Early Bronze Age in Wessex”. Proceedings of the Prehistoric Society 4, 52-106.
  • Pollard, J. (ed.) 2008. Prehistoric Britain, London: Blackwell
  • Pryor, F. 2004. Britain BC: life in Britain and Ireland before the Romans, London: Harper Perennial
  • Roberts, B.W. 2008. “The Bronze Age”. In L. Atkins, R. Atkins and V. Leitch (eds) The Handbook of British Archaeology, 63-93. London: Constable and Robinson
  • Roberts, B.W., Uckelmann, M., & Brandherm, D. 2013. “Old Father Time: The Bronze Age Chronology of Western Europe”. In H. Fokkens & A. Harding (eds) The Oxford Handbook of the European Bronze Age, 17-46. Oxford: Oxford University Press.
  • Worsaae, J.A.A. 1843. The Primeval Antiquities of Denmark (Danmarks Oldtid oplyst ved Oldsager og Gravhøie). London: John Henry Parker.

 Web resources:

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Posted in Research

3D Modelling via SfM

What is it and how can it be used?

Archaeology was unusually quick to adopt 2D mapping (GIS) technologies at the end of the 1980s and early 1990s, but now 3D approaches to recording everything from small artefacts to whole excavations and large landscapes are fast becoming popular. There are a variety of different methods involved, including both the use of laser scanners (sometimes known as LiDAR, especially when used at the landscape scale) and of photograph-based techniques that fall under the umbrella term ‘photogrammetry’.

axe2

A 3D model of a Bronze Age palstave, shown both with a photographic texture and with an ‘ambient occlusion’ surface (for an online version visible in most browsers on a desktop/laptop, see micropasts.org/3D/)

MicroPasts is fostering a photogrammetric method known as Structure-from-Motion (SfM) which does away with most of the complicated camera and target set-ups used by more traditional methods. SfM can create 3D colour-realistic models from ordinary digital photographs, often taken in ordinary conditions with ordinary cameras. Most generally, SfM is also a form of ‘computer vision’, the science of allowing computers to ‘see’ the world around them whether through range-finding, still images, video, etc.

3D models are fun to play around with and can be re-used in museum displays, immersive virtual environments or computer games. This is one of the reasons we are making them available under licenses that encourage rather than restrict such unanticipated uses (we would be really interested to hear on the forum of any applications that you can think of). They are also useful for school and university teaching, especially in situations where it is impossible to access the physical objects or archaeological landscapes themselves.

For research purposes, 3D landscape models allow us to place archaeological finds in an accurate topographic setting, and we can also then modify these virtual landscapes better to reflect the way they looked in particular periods of the past. This then allows us to explore more rigorously what factors might, for example, have affected where people from a particular period chose to locate their settlements, or to consider what parts of the archaeological landscape have suffered from erosion or have been covered up by river silts. 3D models of standing buildings (e.g. prehistoric megalithic monuments or Medieval churches, see Susie Green’s blog) not only preserve a 3D snapshot of archaeological structures that unfortunately get damaged and decay through time, but  also allow better studies of masonry styles and construction techniques.

3D models of artefacts allow specialists to compare finds in the same virtual space in ways they could never do so physically: for example, you can interact with and compare the details of several different bronze axes via 3D models in ways you could never do physically because those artefacts might each live in a different museum. One key further implication of SfM for artefact-based research is the fact that we can now collect not just one or two models, but hundreds or thousands. This means we can compare the sizes and shapes statistically (e.g. of similar Bronze Age axe types), because the sample of modelled objects is big enough. Although it is early days for such research, the expectation is that computer-based 3D shape analysis will lead to much finer, more informative typologies/taxonomies of objects, a better sense of how these change through time, and in some cases finer dating. You can even apply such statistical comparisons to irregular shapes such as the body-parts of statues (for an example looking at the ears of the Chinese Terracotta Warriors, see here and a related blog post).

Photo-capture of a Bronze Age axe on a white background using a turntable (but otherwise with poor indoor lighting and photographic conditions).

Photo-capture of a Bronze Age axe on a white background using a turntable (but otherwise with poor indoor lighting and photographic conditions).

How can I create a 3D model?

SfM models are constructed in several distinct steps, involving photo-capture, image-masking, camera alignment, point-cloud construction, meshing and texturing (some of these being obligatory, others optional). There are also ways to use online tools with which anyone can build 3D models via SfM by uploading raw photos they have captured (e.g. photosynth or 123dcatch). However, better results can usually still be achieved offline, and for objects, ‘masking’ out the background of the photo achieves a much better result than simply asking a computer to distinguish crisply between object and background on its own, especially when the object has had to be flipped over at several stages to capture all sides (hence the background has been altered in ways that deceive the computer).

Currently, we have focused on enabling photo-masking tasks on the MicroPasts platform but are currently developing a project where we ask contributors to visit certain kinds of archaeological sites themselves, capture their own photographs and upload them to the site. If you are interested in contributing in this way, you can also have a look at two very good ongoing projects of this kind in Scotland and Wales (heritagetogether or accordproject).

We have written a set of working notes about good practice in creating SfM models (comments and improvements welcome) that will give you a clearer sense of how these methods work (SfM Photographic Strategy, SfM Offline Photo Masking, SfM Model Construction). These working notes provide examples using both commercially-licensed software and open source alternatives wherever possible.

Andy

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Posted in Research

Crowd-sourcing

What do we mean by crowd-sourcing?

Crowd-sourcing is a relatively new digital method for collecting information, services or funds from a large group of people, in small chunks, over the internet. This practice emerged less than a decade ago in the commercial sector, where companies had been exploring ways of out-sourcing labour to potentially interested people around the world. It is sometimes also called ‘micro-tasking’ and, as many novelties in the world of technology,  it featured in the well-known magazine Wired, where, in 2006, Jeff Howe wrote an article entitled ‘The Rise of Crowd-sourcing’.

In recent years, crowd-sourcing has been increasingly used also by professionals and institutions in the science and cultural heritage sectors as a way of conducting research, curating museum collections and managing heritage resources in collaboration with the public.

The landing page of the Zooniverse website featuring Citizen Science projects on ‘Space’.

In some cases, people are invited to contribute their time and skills to help with projects that have been designed entirely by these institutions. In other cases, members of the public can instead propose ideas for projects they would like to undertake and institutions provide platforms and resources to make them happen.

Some crowd-sourcing platforms, like Zooniverse, host a number of differently themed Citizen Science projects focussing on astronomy, climate issues, nature, biology and the humanities. In other cases, museums, libraries or universities set up individual crowd-sourcing pages linked to their websites, as is the case with the Australian Newspaper Digitisation Programme.

Developing crowd-sourcing platforms where tens or hundreds of thousands of people can work, potentially simultaneously, is a very challenging endeavour. For example, it is important to ensure that data are produced in formats and at levels of quality that allow for meaningful analysis to be undertaken. In this way contributors’ efforts are not wasted and can really bring new knowledge. For this reason, in the MicroPasts transcription applications only information that is entered by at least two contributors in the same way is saved, and, similarly, we have developed a method for maximising the quality of the images masked via photomasking. Another key element is that of communication both within the group of contributors and between contributors and institutions in order to share ideas, confront any problems and propose new initiatives. To this end, MicroPasts uses Facebook, Twitter and a community forum, where we invite comments, suggestions and questions, while providing updates and news about the project.

The technical side…

If you are a developer or just interested in what is ‘behind the scenes’ of the MicroPasts crowd-sourcing website, please do have a look at the code that makes it function.

Some of the online repositories where we store the code that makes MicroPasts platforms work.

We have stored it in repositories that are available online on GitHub. Feel free to use and improve the work we have done so far. You might also like to read a step-by-step guide on how to create your own crowd-sourcing applications using the Pybossa framework. We will be happy to answer any questions and hear any observations you might have on MicroPasts software and infrastructure via the forum.

Chiara

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Posted in Research

Online Transcription

How can it be useful?

Letters, documents and literary works are useful for several different kinds of research into the human past. For example, transcribing old excavation records can make them more amenable to spatial and quantitative analysis, whilst transcribing historical documents from past literate societies can be compared and contrasted with the evidence from contemporary objects. Other kinds of transcriptions can also be important for exploring family histories, broader historical movements and phenomena, and personal biographies of archaeologists, historians, philosophers etc. To be used for research purposes, however, this (often hand-written) material needs to be carefully transferred from paper form to digital (typed) formats. In this way, it is possible to preserve the records, while making them widely available beyond the walls of archives and study rooms and enabling computer-aided analysis.

A letter from Hilda Petrie to Veronica Seton-Willliams (1936), archived at UCL; courtesy of UCL Institute of Archaeology Collections

Transcribing large quantities of text is not an easy or quick task and requires interpretation skills that computers do not yet have at adequate levels. For this reason, crowd-sourcing the transcription of letters or documents via interested volunteers can produce high quality results, as in the case of the Transcribe Bentham project. In this project, contributors are transcribing the unpublished works of the philosopher and reformer Jeremy Bentham (1748-1832), thereby helping to prepare a new edition of the Collected Works of Jeremy Bentham. As Bentham himself wrote: ‘Many hands make light work. Many hands together make merry work’. Another interesting project where transcription is successfully used to research the history of archaeology is UR Crowdsource. Here, people are helping document the famous excavations that took place from 1922 to 1934 at the site of Ur, in present-day Iraq, by reading and transcribing letters, field notes and reports from the dig.

On the MicroPasts crowd-sourcing platform, we have developed an application to transcribe the object cards that were written to record a vast number of Bronze Age metal artefacts found in the eighteenth, nineteenth and twentieth centuries up until the 1970s. These cards allow us to know more about objects’ features, places of discovery, and any published information relevant to them. The information is hand-written in often neat and aesthetically pleasing styles, but can at times be difficult to decipher. Thus, volunteers’ help is crucial for digitising these resources and enabling the exploration of the Bronze Age Index and the history of this catalogue (e.g. the geographic and chronological scope of its records), but also, for example, the examination of the recurrence of certain features within a same class of artefacts.

Currently, we are working on the development of a second type of application for transcribing cards which are also part of the Bronze Age index, but describe the context of discovery of specific finds rather than the objects themselves. This transcription work will be slightly different, requiring fewer text boxes and more ‘free text’. We also hope that, in future, the MicroPasts crowd-sourcing platform will foster further transcription work. One way to achieve this is for both volunteer communities and academic institutions to identify archaeological and historical transcription projects of joint research interest and fund them via the MicroPasts crowd-funding site.

Chiara

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The British Museum Index

The index of the British Museum was a major archaeological initiative first founded in 1913 and then moved to the British Museum in the 1920s. For over 70 years, it represented the highest standards of Bronze Age artefact studies. This catalogue contains index cards detailing object find spots and types, alongside detail line drawings and a wide range of further information about the object’s context of discovery.

BM Card Index

Drawers of index cards at the British Museum

Part of the reason to transcribe the index is so that its estimated 30,000 records can be incorporated rapidly into the Portable Antiquities Scheme database, which has also been created with the help of people across England and Wales. The PAS database includes nearly 930,000 objects, which have been collected by the public, usually by metal detectorists. Integrating the transcribed cards with the numerous records of archaeological objects discovered by the public will thereby create a near complete digital inventory of metal finds from Bronze Age Britain. There are also some records of finds from outside of Britain in the index and in some cases, these can be sent to other national databases in Europe as well.

Georeferencing the finds will support the kinds of large-scale spatial analysis discussed here. Knowing as much information as possible about the archaeological context of these finds (e.g. as recorded on the cards) is very useful for building up a clearer picture of how metal objects were produced, exchanged, used and discarded in the Bronze Age.

 

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GitHub 3D modelling

A GitHub embedded model of a Palstave:

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3D Modelling of the Arreton Down Hoard

We are in the process of adding a new photo-masking application to the MicroPasts site. This is going to be a bit of a ‘pop-up shop’ as it will only include one Bronze Age British hoard, although it is one of considerable importance.

A hoard is an archaeological terms for two or more objects, normally of metal, deposited together. In some cases these were buried with the intention of recovery, but in other cases they were intended as ‘gifts to the gods’ or suitably auspicious ways of casting off old fashioned or damaged objects.

This particular hoard was found on Arreton Down on the Isle of Wight sometime before 1735, and we think that it was associated with a series of aligned pits. It constitutes a major group of Early Bronze Age spearheads and axes (as well as at least one dagger) that was probably placed in the ground around 1700-1500 BC.

Antiquarian drawing of the Arreton Down Hoard, from the The Antiquaries Journal XXVII (1947)

Antiquarian drawing of the Arreton Down Hoard, from the The Antiquaries Journal XXVII (1947)

The Arreton Down hoard represents the final metalwork traditions of Early Bronze Age (EBA) in southern England, c. 1700-1500 BC (Britton 1963, 284-97; Burgess & Cowen 1972; Needham 1986). The hoard gave its name to the ‘Arreton phase’ of Early Bronze Age metalwork. This arguably represents the first large scale and frequent burying of metalwork in prehistory, a practice that would continue for many centuries (and millennia) to come.

Arreton Decorated Socket Spearhead

Decorated socketed spearhead description in the BA Index

The Arreton phase gained its important position in the EBA chronology partially due to its early discovery in 1735, and its extensive documentation and exhibition by the Society of Antiquaries of London, the foremost archaeological body of its day (Society of Antiquaries Minutes 1732-7,128-9; Cooke 1737). Arreton Down belongs to a sub-set of hoards which are dominated by spearheads and have been assigned to a particular sub-phase of the Bronze Age (MA VI), and it has one of the best ranges of bronze equipment known from a single EBA context. This rare combination of metalwork types in combination with what appears to be purposeful deposition in a series of aligned pits suggests that the hoard was deposited in the course of ritual practices.

The Arreton hoard includes 16 objects of which 13 are currently in the BM collections: 2 tanged spearheads with rivet, 6 tanged spearheads, 1 tanged and collared spearhead with rivet, 1 socketed spearhead, 1 halberd or dagger, 1 dagger, and 4 flanged axes (illustrated below).

Photograph of the Arreton Down Hoard, as it currently exists in the BM collections © Trustees of the British Museum

Photograph of the Arreton Down Hoard, as it currently exists in the BM collections © Trustees of the British Museum

The fun thing about this assemblage from a specialist point of view is how it shows the evolution from low-flanged axes (Arreton-flanged axes) in the Early Bronze Age towards something closer to the earliest palstaves (a type of axe with cast flanges and a stop-ridge that is currently also the subject of much work by contributors on the MicroPasts site; see http://crowdsourced.micropasts.org/app/category/featured/ (Roberts 2008, 75).  Unfortunately, for a long time the provenance of the hoard was subject to great confusion, with some of the bronze finds actually given false provenances to other parts of the UK! Fortunately, research by Stuart Needham, a former British Museum curator of Bronze Age Collections, allowed for the original provenance to be re-established for all but three of the Arreton finds (Needham 1986). Subsequent, responsibly-reported metal detecting in the Arreton area have led to the discovery of additional bronze implements, adding to our understanding of this region in the Bronze Age.

Adi, Chiara, & Andy preparing a decorated socketed spearhead from the hoard for 3D scanning

Adi, Chiara, & Andy preparing a decorated socketed spearhead from the hoard for 3D scanning

This will be the first complete hoard photographed for 3D modelling and a major challenge will be how well this modelling approach handles the thin edges of the spearheads and internal socket of the dagger. Last week we took hundreds of photos of these objects in the hoard at the BM’s store, including both in very controlled photo-capture conditions and the more ad hoc set-up you see in the image above!

Close-up of the spearhead

Close-up of the spearhead

Soon these files will be uploaded as a new MicroPast’s photomasking application, allowing us to create for the first time a full set of 3D models of a Bronze Age hoard! Later this year, we hope to use these photomasked models to potentially make 3D printable models of the hoard on a 3D printer at one of the Samsung Digital Discovery Centre’s (http://www.britishmuseum.org/learning/samsung_centre.aspx) sessions at the BM.

References

  • Britton, D. 1963. “Traditions of Metal-Working in the Later Neolithic and Early Bronze Age of Britain, Part I”. Proceedings of the Prehistoric Society XXIX: 258-325.
  • Burgess, C.B. and Cowen, J.D. 1972. “The Ebnal hoard and Early Bronze Age Metalworking Traditions”. In F. Lynch and C.B. Burgess (eds) Prehistoric Man in Wales and the West: Essays in Honour of Lily F. Chitty, 167-88. Bath.
  • Cooke, B. 1737. “Letter to Peter Collinson”, dated 1 Jan 1736/7, Society of Antiquaries Minutes, Vol. II: 285.
  • Needham, Stuart P. 1986. “Towards the Reconstitution of the Arreton Hoard: A Case of Faked Provenances”. The Antiquaries Journal LXVI: 9-28.
  • Piggott, S. 1947. “The Arreton Down Bronze Age Hoard”, The Antiquaries Journal 27: 177-8.
  • Roberts, B.W. 2008. “The Bronze Age”. In L. Atkins, R. Atkins and V. Leitch (eds) The Handbook of British Archaeology, 63-93. London: Constable and Robinson.

 

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