‘Would I were in an alehouse in London!’: a finds assemblage sealed by the Great Fire from Rood Lane,City of London

During the development project at 20 Fenchurch Street in the City of London, archaeological excavations were undertaken adjacent to Rood Lane. This uncovered part of a 16th- to mid 17th-century brick built cellar which had collapsed sealing in situ pottery, glass, clay tobacco pipes and a stove tile, an event interpreted as the result of the Great Fire of London in 1666. The composition of this artefact assemblage suggests it was derived from a property used to providing large-scale entertainment, with a high proportion of the material associated with drinking. This article situates this group within the context of other similarly dated victualling establishments from the City of London.     

‘To Clapham’s I go’: a mid to late 18th-century Cambridge coffeehouse assemblage

SUMMARY: The recovery of a large closely dated assemblage that can be unambiguously associated with a mid to late 18th-century Cambridge coffeehouse provides the first opportunity for a detailed consideration of material associated with these significant institutions. A cellar located off All Saints’ Passage in Cambridge, England, backfilled c. 1775–80, produced a substantial assemblage of over 500 objects; principally ceramics, but also including vessel glass, clay tobacco pipes, animal bone and other material. Marked items and assemblage composition allows this material to be unambiguously associated with Clapham’s Coffeehouse, run by William and Jane Clapham c. 1746/48–79. Relatively few archaeological assemblages related to these important 18th-century socioeconomic institutions have been recovered and the material associated with Clapham’s Coffeehouse possesses a distinctive ‘signature’, albeit one that is not necessarily generally applicable to other coffeehouses. There were a substantial number of ceramics associated with tea drinking. Coffee-drinking vessels were frequent but less common and there was relatively little evidence for chocolate drinking. A range of alcoholic drinks were also consumed and dining was common, with a particular emphasis on snacks, whilst smoking appears to have been uncommon. The assemblage is compared with other groups associated with coffeehouses, a series of groups from earlier inns in the vicinity and broadly contemporary domestic assemblages from Cambridge and inn groups from England. The archaeological evidence indicates that the materialities of coffeehouses were not significantly different to that of other establishments, such as inns, and challenges some currently held views of coffeehouses derived from documentary sources.     

The ‘Gresham Ship’: an interim report on a 16th-century wreck from Princes Channel,Thames Estuary

Abstract

The ‘Gresham Ship’ was found in Princes Channel by the Port of London Authority in 2003. Investigations culminated in the recovery in 2004 of the remains of a small to medium-sized armed merchant ship built soon after 1574, probably in East Anglia or Essex. The wreck provides archaeological evidence of the documented practice of ‘furring’ (rebuilding a ship to increase its breadth). The cargo included folded iron bars, lead ingots and tin ingots, and amongst the four recovered guns is a rare English early cast-iron saker, marked with the grasshopper motif and initials of Sir Thomas Gresham.     

Rethinking ‘Bellarmine’ contexts in 17th-century England

SUMMARY: Archaeologists have identified and examined ‘Bellarmine’ vessels for many years. Their accumulated research has proven instrumental in providing abundant information about the vessels’ dates, styles and distribution. Seldom, however, have archaeologists considered the deeper significance or the major terms used for the vessels. This paper investigates the meanings of various terms and argues for a greater understanding of the relationships between the bearded-man images on the vessels and two eras in which the terms appear — the past and the present. The concept of conceptual frames assists with the interpretation.     

The ‘Liverpool model(s)’: cultural planning,Liverpool and Capital of Culture 2008

Within the UK, the ‘Liverpool model’ is being celebrated as the new template for Capital of Culture festivals, and culture led urban regeneration in general. This paper will question this celebration and argue that there are, in fact, two ‘Liverpool models’: the first, outlined in its bid and developed within its initial planning strategy, represented the apogee of a New Labour informed ‘cultural planning’ framework for urban development; the second, developed post-2008 within the impact analysis Impacts08, is a more sober and realistic reflection of the role of culture in urban regeneration. This paper will demonstrate how this first model, while politically expedient and rhetorically seductive, was both theoretically unstable and practically unrealizable. Its subsequent abandonment represents an indictment of cultural planning as a nostrum for the complex structural, social and economic problems of the post-industrial city.     

A ‘Europe of the regions’? A view from Liverpool on the Atlantic Arc periphery

The paper attempts to address recent debates surrounding the supposed emergence of a ‘Europe of the Regions'—from the perspective of a city situated at the core of a lagging region’ on the European periphery, Liverpool. After briefly exploring whether the social and economic regeneration of Liverpool makes sense in this European context, the paper attempts to explain why the city's political participation in Europe has hitherto been relatively limited, drawing upon a combination of economic, social, political and cultural factors. Some of the constraints and choices that the city is facing in its attempts at urban regeneration are used to throw light on broader issues surrounding local and regional development in the European context and political and policy lessons are suggested.     

‘Fashioned from Nature’

Abstract

This paper examines the situation of the male draper in terms of his relationships to textiles and female customers between the 1870s and the outbreak of the First World War. Drawing on accounts of shop work produced by men employed as drapers and drapers’ assistants, the essay highlights the ridicule levelled against men who sold textiles, their work with fabrics and clothing, as well as the service they provided for an almost exclusively female clientele, being widely derided as unsuitable labour for a man. Analysing three first-hand accounts of the draper’s lot — H. G. Wells’s discussion of his years as a draper’s apprentice in his Experiment in Autobiography (1934); William Paine’s Shop Slavery and Emancipation (1912), based on the injustices experienced by drapers’ assistants; and the diary of a Bond Street draper, Charles Cavers, posthumously published as Hades! The Ladies! Being Extracts from the Diary of a Draper (1933) — the essay shows how social constructions of masculinity framed the draper’s work, particularly the handling of fabrics.     

Inside Tallis: Reconstructing the Interiors of Tallis’s London Street Views

This paper will examine how the physical reality behind Tallis’s illustrations can be illuminated to explore the commercial, domestic and social dimensions of Tallis’s London. It will explore the range of material culture available, and how this can be used to analyse interior space, in particular through English Heritage’s Architectural Study Collection. Two preliminary case studies will investigate the future potential for looking behind the façades of early Victorian London.     

‘Come Buy,Come Buy’: Christina Rossetti's ‘Goblin Market’ and the Cries of London

Placing Christina Rossetti's ‘Goblin Market’ (1862) within the rich context of children's London guidebooks establishes a literary tradition in which readers are counseled to be wise urban consumers. During this period of rapid industrialization, exotic foods appeared on English tables amid public fears about food adulteration. Rossetti's poem and contemporary guidebooks transmit the anxiety surrounding food selection and consumption. From Aunt Busy-Bee's New London Cries (1852) to Aunt Louisa's London Alphabet (1872), London is depicted as an urban sounding board for commercial opportunities and moral choices. Removed from agrarian sites of production, urban readers are urged to select food according to the moral character of the vendor. In Rossetti's famous poem, Lizzie's and Laura's choices are immediately relevant to readers who hearkened to similar cries shouted daily in their neighborhoods. Rossetti herself would have heard them growing up in London, and these traditional cries bear semantic and metaphoric similarities to the goblins' cries. Apart from serving as inspirations for Rossetti's work, guides to the cries are also important documents in their own right, part of the corpus of near-forgotten work penned for children to amuse them in their idle hours as well as to instruct them in proper practices of commercial enterprise and moral consumption. The child reader is invited to know London and to absorb lessons by piecing together the letters and sounds of the metropolis.     

Who were the Reunion ‘Coolies’ of 19th-century New Caledonia?

The history of the importation of ‘coolie’ labour from Reunion Island to New Caledonia in the 19th century is little known. While most historians mention the groups of ‘Malabars’ brought in to help colonists from Reunion set up the New Caledonian sugar industry, few have delved into the backgrounds or indeed identities of this particular group of contract labourers. Who were they? Where did they come from? What languages did they speak? What was their status in the colony? What became of them after the demise of the sugar industry? Based on archival research, this paper traces the arrival and settlement history in southern New Caledonia of the sugar industry ‘coolies’ and discusses the problems of status and identity among this surprisingly heterogeneous group.     

‘Resemblances to archaeological finds’: Guido Boggiani,Claude Lévi-Strauss and Caduveo body painting

In 1942, Claude Lévi-Strauss published an article on Caduveo body painting in the first number of the surrealist magazine VVV, with the editorial assistance of André Breton and cover by Max Ernst. In the article, Lévi-Strauss uses the photographs of the Caduveo women taken during his fieldtrip in 1935–36, together with drawings of facial designs collected to reflect on their ‘strong originality’, which ‘evokes a very ancient culture, and one full of preciosities’. Amongst these illustrations, there is an engraving taken from Guido Boggiani’s book, I Caduvei, published in 1895. Boggiani, an Italian landscape painter who visited South America in 1887–93, was captivated by the Caduveo graphic art, which he sketched in detail. In 1896 he returned, travelling to Paraguay, this time equipped with a new tool to help his ethnographic research: a photographic camera. Over a period of five years, Boggiani completed more than 400 photographs on glass gelatin plates of various sizes. For Lévi-Strauss, as for Boggiani, the originality of the Caduveo graphic art remained enigmatic, evoking a very ancient culture; it was a topic to which he would return in several of his most influential works. In this article, I focus on the visual images (engraved, drawn, photographed and filmed) that depict the body painting of the Caduveo people in central Brazil by Boggiani and Lévi-Strauss in order to explore the ways in which they enabled an ephemeral art – delicate arabesques painted on skin – to be studied as archaeological vestiges. In the process, I trace the aesthetic sensibility of Boggiani and Lévi-Strauss that provided them with the imaginative tools to do so.     

Enthusiasm,craft and authenticity on the High Street: micropubs as ‘community fixers’

The retail recession has left a legacy of vacant shops on many shopping streets, with closures having significant consequences for local populations. But several new ‘pop-up’ formats are bucking this trend by bringing community-oriented forms of consumption back to the High Street. The micropub is a notable example, a small-scale venue selling real ale that has taken over a vacant shop premise, usually in smaller and struggling town centres. The rapid take-up of the micropub concept has attracted considerable attention, suggesting a model for retail regeneration based on community-mindedness and a close relationship between owner and customer. Based on ethnographic research in micropubs, alongside interviews with landlords, this paper suggests that their success is dependent upon the enthusiasm of landlords and customers alike, with such ‘cultures of enthusiasm’ encouraged via the nostalgic motifs of craft, tradition and Britishness that inform the curation of these seemingly ‘authentic’ spaces. The paper concludes that the micropub offers a form of socially-connective consumption highly valued by some, but stresses that there are clear limits to the ability of such spaces to be ‘community fixers’ given enthusiasm for real ale remains a distinctly white, male, and middle-aged pursuit.     

Mid 17th- and 19th-century English wine bottles with seals in London’s archaeological collections

Abstract

This article details work which has, for the first time, delivered a comprehensive catalogue of 17th- and 19th-century dated English glass bottles with applied seals derived from archaeological excavations in London by MOLA (Museum of London Archaeology) and its predecessors. This text introduces the cataloguing methodology employed, reviews the historiography of bottle seal studies and summarizes the survey results. We consider, among other issues, the context and parallels behind individual seal designs, their chronologies, geographies of their movement and spaces of use in early Modern London.