The working life of Museum of London

Cooking Pots, Bones, Milk (Street) & Eggs?

A culinary delight of ingredients provided the setting for week 7’s recipe of fun.

On the general finds side of the project, two sites were improved this week; Monday & Friday’s teams ploughed on through the material from St John Cass School, (CASS72), admiring the numerous amounts of pottery and steadily reducing the number of boxes these pots are stored in, by effective repacking and ordering. Wednesday’s groups tackled animal bone from the Triangle site (TR74), the final type of material they’ll be getting their hands on as next week it’s over to the Museum of London for them as they start to put together the photos they’ve been taking throughout to produce their video diaries.

Over with Registered finds, we started a new site, Milk Street (MLk76) which produced our first object of the week – a saxon bone comb which used to be on display in the old medieval gallery. A few bits of leather remaining from last week was also completed and Friday’s team completed all the glass, wood and started a box of pigment samples which produced our second object of the week – an oyster shell paint palette.

This week’s workshop was something quite different to the usual ones as we welcomed archaeological conservator, Luisa Duarte to LAARC to guide us through “Eggscavation”. Quite possibly my favourite workshop so far, Eggscavation, is all about how conservators lift delicate artefacts on site and a great practical way of learning the techniques behind it.

On entering our common room, volunteers were confronted with a seed tray full of compost, with an egg buried in the centre. Not knowing whether the egg was whole, hard boiled or indeed covering something else, the task was to careful lift the object, before carefully excavating it further.

Wrapping the visible shell with wet tissue first, then ten created a barrier to surround the egg, using laminated card. Once fenced in, volunteers mixed some plaster of paris and poured this into the fenced off space, covering the tissued egg.

Whilst waiting for the plaster to set, Luisa showed us some brilliant pieces of leather and wood and explained the process of freeze drying in relation to these organic finds.

Then it was back to the egg, the next stage being to put a fish slice beneath the barrier of card and flipping the whole thing over, plaster side down. Finally, with a small stick and brushes, they removed the remaining soil, until the egg and the contents inside were exposed.

I’m pleased to report that not one egg cracked!

To view more photos from the week, visit our Flickr site by clicking here: Flickr

To find out more about the excavations we’re currently working on or any other associated information click on the highlighted links in the text.

Last weekend I took some of our lab coats home. We have a washing machine at work but washing powder is of course verboten and I thought they needed some serious enzyme action. I am disappointed. They are not as dazzling as I expected them to be from the TV ads of one of the products I used. But my disappointment probably has another, deeper reason (doesn’t it always?).

I think I was hoping for a complete transformation of these standard issue coats – into what exactly, I don’t know. I am aware that lab coats are mainly meant to be useful, but couldn’t they also be a little bit exciting? That they are not, is probably the reason why we only tend to wear them to protect ourselves from objects (you might think this kind of object does not exist in a dress store, welcome to the freezer room).

Occasionally – very occasionally, I swear – Hilary and I discuss our dream work wear and we have found it to be a tricky business. It is not easy to find something that combines utility with beauty and with the need to preserve (or acquire?) authority. Hilary came upon this beautiful Vogue pattern, which has the added advantage that it is ’straight from Paris’ (via America, mind). It would make a lovely lab coat, but I’m not so sure about the authority situation, and it would need serious customisation to be super-practical.

I always thought my favourite uniform would be a jumpsuit-type-thing. At my last workplace I was known to don my Tyvek suit at the slightest provocation (I kept it in my desk drawer, just in case …). I loved my boiler suit, but even I have to admit that it wasn’t very flattering (white does nothing for me), it didn’t have any pockets and, true to its name, there were microclimate issues.

Having always been an admirer of Constructivist art and design, I thought Rodchenko’s overall might be it (scroll down a bit on this page), but now that I have looked at it again, I’m not so keen on the leather trim. A friend recommended Ernesto Thayaht’s TuTa, which I really, really like, particularly as I have just realised I have a detailed pattern in a book at home. Laszlo Moholy-Nagy also looked very good in his ‘Arbeitsanzug‘.

Maybe a flying suit like the ones popular in the 1980s could work? Here is a beautiful example from our collection:

This one was bought from Austin Reed, oh yes, and worn over a T-shirt with rolled-up sleeves with the suit’s legs tucked into thick, white, woolly ankle socks. The look was completed with Dunlop plimsols, also preserved at the Museum. And this was six years before Top Gun!

I could have suits in different colours, one for each day of the week (or for particular moods) with a lamé number for special occasions. I could even have my name embroidered in a suitable spot, a non-negotiable requirement for the kind of work outfit I’m after.

Or maybe a smock, like the one below, apparently worn by a milkman as a bit of an advertising gimmick around 1900? But who would do the smocking?

Oh, I don’t know. Maybe you do? If you have found the perfect solution, want to share a fabulous customisation job or provide the address of a supplier of practical, yet stylish, work wear, we would love to hear from you! And you don’t have to be a girl.

PS: Gertie Millar’s story will be resumed next week.

Our excavation in Burgess Park has sadly now finished.  The machine arrived yesterday and we filled in the trenches.  Today the cabins will be collected. 

I have really enjoyed working in Burgess Park.  We have uncovered some interesting details about the history of the park and met some interesting local residents who kindly shared their research and memories of the area.  Some 400 local school children have helped explore the archaeology and we’ve trained 31 adults in the techniques and principles of archaeological excavation. 

We may have finished excavating but this is not the end of our work on the site.  The next stage is done back at the office and we need to pull together our research, photos, maps and finds, consult with specialists and write up the results.  These results will be published and available to anyone who is interested.  The records and finds from the site will be archived with the London Archaeological Archive and Research Centre (LAARC) in due course, and again these will accessible by appointment to anyone who would like to see them.  After all that the process starts again.  Where shall we excavate next summer…?

Thanks to all the staff and volunteers who helped run the excavation; thanks to everyone who took part; thanks to all the local people who shared their knowledge and memories; thanks to Southwark and Lambeth Archaeological Excavation Committee for their funding and finally thanks to Southwark Council for allowing us to excavate in Burgess Park.

Kate Sumnall, Community Archaeologist, Museum of London

Two trenches were excavated at Waite Street,  Burgess Park, Southwark. The difference between the two trenches reveals how the area developed over time. Trench 1 revealed a mid-Victorian house built to a high standard whilst Trench 2 exposed a later Victorian house built under completely different conditions. Some Roman pottery (Samian ware) was also found in the Trench 2 which gives us information about the earlier use of the whole site.

Maps from 1746 show the area of the excavations was used for market gardening. Vegetables needs fertiliser, – so every night a great supply arrived from London in the form of human waste matter, politely known as ‘night soil’. Other debris was also thrown in to this mixture, including the sherds of Roman pottery which have been found. Other historical periods are represented by finds such as a medieval roof tile complete with peg hole and a 17^th century clay tobacco pipe with a small bowl. The size of the pipe bowl is the clue to the period in which it was produced – tobacco at this time was rare and very expensive.

Trench 1 revealed pottery which was decorated and of good quality and some fine cut glass-ware was found indicating a respectable residential area. As London expanded and became more prosperous, the fields of vegetables had evolved to become a desirable mid-Victorian residential area. Evidence of this can found in the house uncovered in trench 1. The streets around the site also reflect the popularity of Lord Nelson after the battle of Trafalgar e.g. Nile Street and the Lord Nelson pub on Trafalgar Avenue. The houses were three-storey with a sub-basement.

The nearby Surrey Canal with its easy access to the port of London ensured that, later, the growth of major industry would move to the area. At this point, the residents of the mid-Victorian houses such as that exposed in trench 1 moved away and the houses were occupied by the families of those who worked in the increasing number of factories, for example, the R.Whites lemonade factory. The house revealed in trench 2 relates to this period.

London was attacked by the world’s first ballistic missile, the V-2 rocket (in German Vergeltungswaffe 2 which means Vengeance weapon 2) in 1944. The devastation from the 13 tonne rocket, which impacted at over 3000 miles an hour without warning, was catastrophic. There was no warning because it travelled faster than the speed of sound. Survivors only heard the sonic boom after the blast. At 10am on St Valentine’s Day 1945 our site at Burgess Park was hit by a V2 bomb. The area had been targeted because of the industry located here and the canal which was used by German bombers as a landmark leading to the city of London.

Our dig has provided evidence of the evolution of the area now occupied by Burgess Park which was created from the bomb site. The dig has shown that at the time the houses were destroyed by the bomb, both the mid- and late-Victorian houses, as represented by the archaeological remains in trenches 1 and 2, were occupied by people working in the local factories.

 Today Burgess Park is a green and peaceful park enjoyed by the local community who now have a window to the past through the findings from this dig. It was very enjoyable to meet local residents who came down to look at the dig and tell us their stories of the past including the photographs they brought with them. A whole new generation of the local community was also represented by the school children who came to help, some of whom want to become archaeologists.

Sylvia and Jo

Pots, Plaster &  Tip Top Textiles

For today’s blog, I’m going to get straight to the highlight of the week – our fantastic workshops on archaeological textiles. Curator of Fashion & Decorative Arts, Hilary Davidson headed over to lead the session which separated itself into three parts; medieval textiles found along the river sites, Tudor items found back in the days of the Guildhall Museum & burial garments found during the Spitalfields excavations at Christchurch (CAS84).

I think it fair to say that we were blown away by some of the material that survived in our collections, from decorated silks to knitted wool, from burial bonnets to Tudor socks. And even a medieval hair extension and Tudor codpiece popped up during the talk.

During the sessions, we tried to link things together by checking and auditing the leather & textile fragments from 1983-1986’s excavations. A couple of volunteers got to pack some textiles – one of the trickiest packing techniques there is – whilst others got to add sketches of the textiles to the reverse of the finds cards. Although the majority of objects were no way near as good a condition as those in the workshop, there were still some pretty amazing bits that’s we came across, like the 19th century decorative boot from Mansion House, (SON85), the shoe heel from Carter Lane, (CAT86) and the piece of rope from the former city of London Boy’s School (BOY86)

When not working on organic material it was on to our next big site in the general finds, Sir John Cass school, (CASS72). Monday’s team almost completed the animal bone with Friday’s team rounding it off before moving on to the pottery assemblages. already, several boxes are being saved by this basic repacking of artifacts and the accessibility has improved beyond a doubt.

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Wednesday’s groups tackled building material from the Triangle of Billingsgate Buildings site (TR74), completing it all in the morning, leaving only roman wall plaster for the young archaeologist team to complete. Both groups ended their session by visiting the ceramic & glass store to take photos to supplement their project and view some of the best wall plaster ever excavated.

As a bonus this week, we had the second set of students from the Burgess Park Training Excavation join us. After a thorough tour of all archaeological aspects of the building, they joint in with the VIP project by working on more general pottery from the Triangle (TR74) and Registered Finds from the Modern Foreshore site (MFS76)

For more photos visit our Flickr site by clicking here: FLICKR

And to find out more about any of the excavations we’ve worked on this week click on the highlighted sitecode in the text above.

Welcome back…

Work continues a pace as we approach the final three weeks of the excavation period,  So do our minutes hasten… (Sonnet 60).

Last week we welcomed a new member to the team, Dave Saxby, whose insights and vast experience will be invaluable to our understanding of the site.

Of nuns and beer – a brief history from the holy to the profane…

Up until the mid 12^th century, the area of the site here would have been just fields.  Previous archaeological excavations in the area immediately surrounding The Theatre have found no substantial evidence for Pre-historic, Roman and Saxon occupation.

This all changed in the 1150s with the founding of the St John the Baptist Priory.  Our colleague, Hana Lewis excavated the Priory Church as a part of the nearby East London Line excavations in 2007.  An article about that dig appeared in the latest issue of London Archaeologist (the periodical covering history, heritage and archaeology in London, follow this link for more information: http://www.londonarchaeologist.org.uk/). 

In its four hundred year history the Priory was the ninth richest in Britain and held sizable tracts of land and like other religious establishments of its type, it was mostly self sufficient.  Britain’s Priories were usually equipped with barns for storing crops raised on their lands, mills to grind the corn, cellars, dairies orchards and sometime vineyards.  Our site lies entirely within the precinct walls of Holywell Priory and directly over some of the buildings west of the main complex that would have provided the nuns with their daily bread and beer. 

Map of Holywell Priory

On this map of the Priory, created in the nineteenth century from historical records, the buildings that would have occupied our site are listed as a bake house and a brew house on the left (west) side of the Great Court and above (north) of the pond.

Bread has always been a staple and before modern piped water infrastructure, drinking beer was safer than drinking water (the brewing process effectively sterilises the drink), this was especially true in built up environments like the rapidly expanding Tudor London, where ground water and wells could easily become contaminated.  The beer in question wasn’t always the strongest of ales as we may know them today.  More frequently consumed was small beer, which was weaker and made from a second fermentation of malt that had already produced the more intoxicating first brew.

When the Priory was dissolved in 1539, its lands and remaining buildings were split up and sold and by 1576 the area including our site was in the possession of one Giles Allen who sold a 21 year lease to James Burbage and his business partner and brother in law John Brayne to build and operate The Theatre.  As Burbage (and more of him anon) appears to have been a canny business man, he would clearly have seen the advantage of some on site catering to extract a few more pennies from his punters.  The later Bankside theatres such as The Globe and The Rose were known to have dedicated tap houses for their catering needs and just as The Theatre served as the prototype for the playhouses it is not inconceivable that our brew house served as a pragmatic re-use of an existing build for the prototype tap house.

Would I were in an alehouse in London!  I would give all my fame for a pot of ale… (Henry V. III. i. 13)

Black glazed red ware pottery

Historically we know that the brew house and bake house complex survived the dissolution and were rented out at least in part as tenements, but it is also likely that they continued their original purpose.  We have evidence, in the form of black glazed red ware pottery, in a form that is traditionally associated with brewing and beer drinking.  This pottery is contemporary with The Theatre, likewise the pottery fragment with the bearded gentleman design mentioned in our first blog posting; he was found crushed into the theatre yard – home to the groundlings!  What would be more natural than to share a pint or two with ones friends when one comes to see a show. 

Photograph of brew house wall

We have now found the back wall of the medieval brew house building and on initial inspection it seems we now have hard evidence for its survival through the dissolution.  It seems that the later Tudor builders were not averse to a little recycling as demonstrated by the discovery of a remnant of an inserted stone floor made of a green sandstone called Reigate stone.  This was probably taken from one of the Priory buildings as they were being demolished. 

Dave Saxby cleaning the re-used stone floor

The photo of Dave shows him cleaning this re-used stone floor; the stone just below his left knee has a rounded moulding carved around its edge and an oval groove cut into one side.  These carved elements indicate that the stone was formerly used as a decorative architectural feature, probably the top of a small column or pair of columns.  The find resembles some of those found by Hana in the Holywell Priory church. 

Hana visits our site to see the Priory stonework

We are currently analysing the finds from this area and hope to update you as soon as we know if they back up our current ideas, or whether we will have to form an alternative hypothesis.  In this game you are only as good as your last hypothesis and if the evidence doesn’t support it, you have to re-don the thinking cap, formulate another and rigorously test it against new data.

O! there be players that I have seen play, and heard others praise, and that highly…(Hamlet III. ii. 1)

As a part of the Tower Theatre Company’s fund raising campaign (http://www.thetheatre.org.uk/index.htm), last week the actors Paul McGann and Susannah Harker performed scenes from Midsummer Night Dream and Romeo and Juliet upon the very ground where four hundred years ago, the same words were enacted before an equally rapt audience.  

Suzannah Harker and Paul McGann on site

From historical records we know that Romeo and Juliet was premiered here at The Theatre and with James Burbage’s son Richard in the lead role.

There seems to be more than just a little serendipity surrounding this place and as archaeologists we feel a sense of privilege to be a part of this project that completes the circle from stage to stage.

Next time…

• Some of the characters who once populated this space
• Echoes in the landscape
• Exciting new developments, the latest finds and their implications

Links:

London Archaeologist: http://www.londonarchaeologist.org.uk/

Tower Theatre Company: http://www.towertheatre.org.uk/

Tower Theatre Company, the new theatre: http://www.thetheatre.org.uk/index.htm

Footage of the 2009 evaluation: http://www.youtube.com/watch?v=savcpQFVu8w

MOTCO UK directory and image database, antique maps, prints and books: http://www.motco.com/default-Markou.asp

Museum of London: http://www.museumoflondon.org.uk/english

Museum of London Archaeology: http://www.museumoflondonarchaeology.org.uk/English/

Ben Crystal: http://www.shakespeareontoast.com/

After a day’s break from blogging, find out what happened on Day 9 of the dig below!

We began the day doing section drawings of trench two. This involved drawing the stratigraphic layers of a 2.5 metre section, and then the difficult task of creating a Harris Matrix of the section. This went well until it began to rain! Later in the day, we learned about environmental sampling, and how it can reveal even the tiniest of archaeological clues about diet and status. We then carried on digging in trench one, with an aim to reveal the boundaries of the construction cut and the walls of a Victorian coal basement. This continued until lunch time, at which point we travelled to the London Archaeological Archive and Research Centre (LAARC) which involved eating our lunch on the bus! We were given a very in-depth tour of the LAARC, viewing archaeological remains ranging from medieval human hair to Roman footwear. Afterwards, we viewed the Museum’s incredibly large and amazing Ceramics and Glass collection, including Samian ware and large marble busts.  We then headed back into the archive where we viewed the rather outdated packaging materials used to store finds in the 1970s, and the questionable labelling of some of these finds. We finished the day repackaging finds in order to create a more up-to date and effective archive.

Wendy and Russell

Before I write about our Gertie Millar photo album, I thought I should introduce her. Not that she needs much introduction. There is a lot of information on the internet (216!!! images on Flickr alone), so I will try to stick to the basics.

Gertrude was born in Bradford on 21 February 1879, the third daughter of Elizabeth Miller [sic], a worsted-stuff worker and dressmaker. Gertie later claimed that her father was a wool merchant called John Millar, but he was not listed on her birth certificate (ODNB). According to Gertie’s obituary in The Times (26 April 1952):

‘Gossip in her heyday said that she had been a mill-hand and worn the clogs; but the records state that in December 1892, at the age of 13, she was the female Babe in the pantomime The Babes in the Wood at the St James’s Theatre, Manchester, that in December 1899, she was Dandini in Cinderella at the Grand Theatre, Fulham and that during the intervening years she was appearing in pantomime and comedy in provincial towns.’

Gertie could not have found a better time to arrive in the capital. With the first performance of In Town on 15 October 1892 at the Prince of Wales Theatre, a new type of entertainment had been introduced to England, which perfectly suited Gertie’s talents: musical comedy. In Town had been produced by George Edwardes (1855-1915), aptly named to dominate the London theatre world during the Edwardian age. Since 1886, Edwardes had been running his own theatre, The Gaiety on Aldwych, and he opened a second, Daly’s Theatre off Leicester Square, in 1893.

Edwardes next musical comedy, A Gaiety Girl (1893) was so successful that, for a while at least, he stuck to this winning formula with The Shop Girl (1894), The Circus Girl (1896) and A Runaway Girl (1898). Gertie’s appearance as Dandini coincided with Edwardes’ switch to boys, title-wise, and she was engaged to tour in the role of Isabel Blyth in The Messenger Boy in 1900. Music had been provided by Ivan Caryll and Lionel Monckton, the latter a lawyer turned critic and songwriter. Monckton took a shine to Gertie and made sure she was cast as the bridesmaid Cora in his next collaboration with Caryll. The Torreador opened at The Gaiety on 17 June 1901 and ran for a staggering 675 performances.

Gertie did not have the lead role, but apparently brought the house down when, together with a chorus of bridesmaids, she sang: ‘Keep off the grass, / Keep off the grass, / Conduct like this I won’t pardon. / Play at your ease, but if you please, / Keep off the grass in the garden!’. Soon Monckton added another song for her: ‘For I’m not a simple little girl, / I’m not a goody-goody girl, / I know exactly what is what , / I know what’s right but I prefer what’s not’. Monckton seems to have expressed his own feelings for Gertie in a second addition, a duet with Dora, ‘A Ward in Chancery’ (i.e. a minor in the care of the court), extolling the virtues of ‘Captivating Cora’. By 20 December 1902, Monckton and the 28-years younger Gertie were married. (By the way, if you want to read these fascinating lyrics in their entirety and sing along, karaoke-style, have a look here.)

As you can guess from the above, musical comedies were not exactly highbrow but they had beautiful scenery, even more beautiful costumes and … girls, lots of them. It is may not suprise that King Edward, with Queen Alexandra, was in the audience when the re-built Gaiety opened in 1903 with The Orchid, another Caryll/Monckton collaboration, this time with Gertie in the lead as The Hon. Violet Anstruther, Principal Pupil at the Horticultural College (don’t ask).

The review of The Orchid in The Times (27 October 1903) gives a good idea of what an evening at The Gaiety was all about. The article starts with a list of characteristics a critic would expect from a ’serious’ play: it had to be witty, poetical, comment on life, illuminate politics, provide social critique and rational amusements (among a few other things). The writer then imagines the response of The Gaiety:

‘I don’t want to make you think about yourselves or any one else; I want to make you forget to think; when you come to see me, do, if you can, be merely frivolous and forget your worries. I am inconsequent, irresponsible, irrelevant; I know it, but just see what a lot of pretty girls I’ve got; I can’t teach you anything, but look at these gorgeous dresses – the programme will tell you how many different people have been employed in the making of them; I can’t get nearer to throwing light on our national life than the caricature of a living politician, but I can tickle your ears very pleasantly for an hour or two if only you will let me.’

The audience went to The Gaiety and Daly’s to have a good time, to look at the girls and to check out the frocks. Like the Gibson Girl in America, the Gaiety Girl became a fashion icon and Gertie Millar was probably the most famous of them all. She made a big impression on the young Noël Coward who remembered in 1966 (The Times, 26 July) that the star was well groomed on and off the stage:

‘I remember Gertie Millar who was always beautifully dressed and emerged after a show in a flurry of scent and flowers. It left a tremendous impression. As a small boy I used to wait for hours to see her and once she gave me a red rose from her bouquet which I kept for years pressed in a … volume of Chums. (Chums was a boys’ magazine published between 1892 and 1942.)

I don’t know when a photo of Gertie first appeared on a postcard. Some actresses were said to spend more time in the photographer’s studio than on the stage and judging from the number of postcards that have survived, Gertie’s seem to have been very popular. We only have two in our collection, the one at the top of this blog is from around 1906, the one below shows Gertie as ‘Mitzi’ in The Girls of Gottenberg from 1907 (Edwardes obviously wanted another stab at his Girl comedy successes).  The photographs in our album are different and only a few ever appeared on postcards, as far as I can tell.  You will finally see them next week when we pick up the story in 1909 with Gertie’s probably most successful performance, as Mary in Our Miss Gibbs.

PS: I should mention, the description of Gertie I used for the title is from A.E. (Albert Edward) Wilson’s Edwardian Theatre (first published in 1951):

‘Hers was not perhaps the conventional standard of beauty but there was a real charm in the saucy tilt of her nose, in the buoyancy with which she took the stage, and the air of joyous delight and good nature with which she entered into the fun and frolic of the business.’

PPS: After reading my last blog one of my colleagues pointed out this article about the return of Pierrots. There must be something in the air.

Day Two and more digging and more dust! We began the day with a quick introduction to what we would be doing in the morning which was unsurprisingly more digging.

During the dig we stumbled across some Roman pottery, an unusual and interesting find for this dig. Later on we found the bottom of a teacup, slowly followed by a side of it.

After the morning’s dig we proceeded with a spot of levelling, made interesting with a competition of accuracy (and of course Tom’s amazing drawing skills). We learnt the importance of levelling, as it helps form a 3D image of the site using GPS for surveying, and also for locating different phases of archaeology.

We ended the day with a talk on pottery from pottery specialist Roy Stephenson (Head of the Museum’s Department of Archaeological Collections and Archive). During this talk we learnt of the importance of pottery with regards to dating. We learnt how dates would be identified through pottery fabric, formation and decoration. After this we finished the day with a little more digging!! The highlight of the day was definitely the finds we excavated from the trench.

Christie, Jasmine, Mathilde and Nathaniel

To begin our day, we had an introduction into the project, discussing the various techniques and tools we needed to use throughout the week, along with the local history of the area.

After the introduction we separated into two groups to continue digging in the existing trenches that had been excavated prior to us arriving. Our task was to continue excavating and documenting finds, these included objects such as fragments of pottery, clay pipes and various pieces of metal and china. Another task which we all conducted was to plan the excavated area onto permatrace paper to show the layout of the sites.  

During the course of the day we were lucky enough to meet a local resident, who grew up in the area, called Elvera “Babs” Lawrence. She enjoyed telling us tales of life growing up with her family during war time and the post-war era. She brought along with her a photograph of her grandfather, Alexander Joseph Douraf, and his shop on the corner of Trafalgar Avenue.

It was enjoyable to talk to the local residents in the area who were taking an interest in the project. This added to an exciting and educational first day for us at the dig.  

Katherine & James