Student Blog — Plato, Plotinus and Archaeology

Here’s an interesting interweaving of philosopy and archaeology contributed by Bjorn. Making connections is definitely a most essential part of the practice of archaeology. Thinking about why and how we make those connections in reconstructing the past is a vital part of the process. — Kate
Over the past two weeks I had been ruminating over what I could write my blog post about. So I decided to combine archaeology with another academic interest of mine and that is ancient philosophy. One of the things that drew me to archaeology in the first place is its room for cross disciplinary inquiry and creative thinking. Aside from the hours of field work, cleaning, and cataloguing, what I have observed about archaeology especially after taking this field course, is that archaeology is about making connections. Making sense of things with an often sparse and incomplete picture of the past requires resourcefulness and deep thinking on the part of archaeologists. In a sense, archaeology attempts to reconstruct past realities through the merging of the material and the intelligible.
Plato
Plato
The philosophers of ancient Greece obsessively thought about the concept of reality and how matter and ideas were related. The most famous and my own favourite philosopher, Plato, put forth the influential concept of the forms. Which, if we recall our intro to philosophy courses in High School or University, puts forth the notion that the physical realm before us is not truly reality. Rather the physical world with which we interact with our bodies is a shadow, or image being projected by the real, realm of forms, also known as the realm of ideas. in dialogues like ‘The Republic’, Plato describes the forms as perfect, unchanging concepts or ideals that transcend time and space. In this dialogue, Plato uses the famous allegory of the cave to describe how things we see in the physical world are not real, but projections of ideals from the realm of the forms. Which in his allegory he compares to light from a fire, projecting shadows of objects onto a cave wall in which the observer sees the shadow but is unaware of the actual object beyond his or her grasp that is being projected onto the wall. I feel I should keep this summary of Platonism, brief and simple for the sake of blog space and interest, so I will cut to the chase with how I believe this relates to archaeology.
In everyday life we interact with material objects, and generally we understand their uses. When I show the word “Cellphone”, an image may appear in your mind of what a cellphone looks like and what it is meant to do, you have an idea of this physical thing. In archaeology, we are removed from the world of the past as we are living in the present. Thus the marriage of idea and matter does not occur as naturally to the uninitiated observer, especially the farther back into the past you go. So I’ve been toying with the notion that as archaeologists, we are often purposefully reversing the roles of Platonic reality. Instead of the ideal, intelligible realm projecting the material, we work in reverse, using matter to project a reality with which we have no natural, waking connection to. By understanding the physical properties of an artifact, archaeologists can infer much about its use, when it was created, and its role in a time long past. An example in our own lab experience would be our cataloguing of ceramics. Compiled resources on the history and use of certain ceramic techniques give clues to their age and use. Especially in historical archaeology like this, we also use small material fragments to restore and reconstruct these materials back into one complete artifact, turning the physically formless back towards a faithful representation of its ideal reality.  We use our own intellect to reconnect the material (artifacts) to the realm of ideas, making the past more real.
Plotinas
Plotinas
 To get another perspective on this notion, we can look to another great ancient philosopher. The later Neo-platonic philosopher of the third century AD, Plotinus, expands further on Plato’s concept of the forms and presents a cosmology in which “The One” (like the realm of forms) emanates outwards to project things like the universe and matter.
To Plotinus, this is how reality operates, however, due to us being bound in a physical body, we see an inverted perspective of this cosmology.
Instead, we naturally see matter as the central underpinning of reality, and all else emanates outwards from it. Now Plotinus sees this perspective as a negative one and associates it with the “fall of the soul”. However when removed from his cosmology and applied to the science of archaeology, the inverted perspective is perfect for making sense of the past. Material culture emanates a past world which emanates past lives and past intelligence.  Whether you agree with Plotinus’ mystical, and confusing metaphysics or not, I believe his inverted cosmology provides a great diagram as to how the process of archaeology brings the past to reality, working from matter towards the intelligible.
I have no conclusion or grand insight as to how this philosophical connection can be applied to the work of archaeologists. However I found it to be an intriguing exercise in understanding for myself the purpose and intrigue of archaeology, and what it means to reconstruct the past. I tried to make this as concise and brief as possible so I apologize if I glossed over some concepts, but I will provide a link below if you are interested in learning more about Plotinus. I hope this provides any who may read this with some interesting ideas to think about and have us draw more connections between archaeology and other fields! After all, that’s largely what this is about, making connections.
For a great intro into the cosmology of Plotinus, see this video from Dr. Eric Steinhart:
— Bjorn Bols

Student blog — T.A. Lytle Bottle

Today’s student blog post comes from Selena Barre, and illustrates what happens to artifacts once we have dug them up! The most important part is taking these artifacts and situate them in the broader context of space, time, and human behaviour. — Kate

As we get into the later stages of investigation at our site, we’ve found a lot of artifacts. Many of us have been spending our days sifting through masses of clean ceramic and glass sherds. In lab, we can take our time to examine each small sherd carefully and – if we’re lucky – some may even fit together (like the spittoon)!

While sorting through massive piles of glass from context 6, Kate pointed out a particular pattern on some manganese-tinted pieces (a chemical present in the glass that gives it a purple tint). As you can see in pictures below, it’s a vine and leaf design, possibly with some berries. We decided to set them aside, and I got lucky in recognizing a piece of a base that refitted. It has embossed lettering! Individually, the lettering on the two pieces was not clear enough to track down this maker, but with the pieces together the name “T.A Lytle /  Toronto” is visible.

A view of the refitted base pieces, with the lettering somewhat visible. Glass is difficult to photograph! Photo: Selena Barre
A view of the refitted base pieces, with the lettering somewhat visible. Glass is difficult to photograph! Photo: Selena Barre
All the sherds belonging to the vessel(s) with this specific decoration. Photo: Selena Barre
All the sherds belonging to the vessel(s) with this specific decoration. Photo: Selena Barre

A quick Google search is often enough to find all kinds of information, and T.A Lytle is no exception. The company operated, as advertised on their bottle, out of Toronto. Mr. Lytle was an Irish immigrant who had first found work in Canada at a vinegar factory, and apparently he took to the trade because a few years later he created his own company in 1882. They had a factory (still standing!) on Sterling St in Toronto and sold vinegar, pickles, preserves, catsup, club sauce, and maple syrup.

T.A Lytle’s factory, now home to other establishments, but the sign remains.
T.A Lytle’s factory, now home to other establishments, but the sign remains.
An example of an advertisement for their Sterling brand pickles. I wonder if the factory’s location in the food producing district of Sterling St inspired this branding choice!
An example of an advertisement for their Sterling brand pickles. I wonder if the factory’s location in the food producing district of Sterling St inspired this branding choice!

All these products would have been essential in a turn-of-the-century era worker’s household like the one we are investigating. In times past, and in rural areas, many people would have made their own pickles, jams, and sauces. Preserved foods were essential for making it through the difficult Canadian winters. However, these were labour intensive processes and easy to get wrong. Processing fruits and vegetables would have been a long and difficult task to begin with. As well, mistakes could be costly. Bad jam, for instance, can harbour the bacteria that cause botulism – a seriously toxic illness. It is no surprise that people would have turned to factory made products to save themselves not only the labour but also the risks of home making preserved food.

Returning to our example, which we know was produced by the “pickle packers” at T.A Lytle’s factory, one might wonder what specifically it contained. Though we have many pieces with the same pattern, only the bases refit. That leaves us with the base as the best clue to the bottle’s size and shape. It is less than 10cm in diameter. Based on the curvature of the other sherds of glass we have, it seems likely to have been a tall, sort of narrow bottle. This means it was probably not for pickles, but perhaps for one of T.A Lytle’s sauces or other liquid products.

T.A Lytle’s maple syrup bottle is third from the left. Second from the left is a lime juice cordial bottle from another producer (Rose’s – it might be familiar looking since it is still in stores today!) with a motif that looks a lot like ours.
T.A Lytle’s maple syrup bottle is third from the left. Second from the left is a lime juice cordial bottle from another producer (Rose’s – it might be familiar looking since it is still in stores today!) with a motif that looks a lot like ours.

There are some pictures of examples of T.A Lytle’s bottles that had maple leaves in a similar sort of design. These bottles would have contained maple syrup, as indicated by their exterior. The design that looks the most like ours is one from a bottle that has been identified (on the internet, anyway…) as containing lime juice cordial. Although this bottle is from a different manufacturer, a similar product was reportedly produced by T.A Lytle & Co. Nowadays, lime juice cordial is used most commonly in cocktails, but it was originally invented to give to sailors to prevent scurvy on long sea trips! It was often mixed with a ration of rum, which probably gave it its original association with drinking. This drink seems to have caught on with the general population, because this particular Rose’s brand lime juice cordial has been produced commercially since 1867 in the U.K and the company is now owned by Coca-Cola.

While the pattern on our sherds seems to resemble the lime cordial bottle, we don’t have enough to be certain. Without an exact match, my guess is as good as yours as to the contents of this particular bottle!

— Selena Barre

 

Artifact of the Day for June 5th, 2017 — Turk’s Head effigy pipe

We made great strides in lab today, eliminating our backlog of washing and making sure everything is ready for cataloguing once dry. We also managed to knock out the catalogue of several contexts, which is thrilling! Check out the update to the spittoon post, as today’s lab session added a vital piece of information!

We also can’t believe we are in the last week of the field school. This week we are joined by some members of the Peterborough Chapter of the Ontario Archaeological Society. One of the places they are excavating is in the middle of the structure, where today they recovered:

Turk's head kaolin pipe bowl.
Turk’s Head kaolin pipe bowl.
Turk's Head kaolin pipe bowl.
Turk’s Head kaolin pipe bowl.

This is what is known as an effigy pipe or a portrait pipe. This version depicts a turbaned man with a long moustache. It is likely a representation of a Turk’s Head.

Turkey (especially the Turkish or Ottoman Empire) has long been associated with ‘exotic’ practices such as the Turkish bath, and consumables such as coffee, sweets, opium, and tobacco, especially by the Victorian Era.

The Crimean War during the 1850s popularized Turkish tobacco, and it was common in large private houses for gentlemen to retreat after dinner to a Smoking Room, usually decorated with Turkish themes, weapons, and heavy velvet curtains. The men would change out of their formal tail coats into velvet smoking jackets and caps, designed to absorb odours and protect clothing.

While this custom was likely not extensively practiced in the early Euro-Canadian settlement of Ontario, the association of the Turkish Empire with fine tobacco surely was present.

Illustration of a Turk's head pipe that closely matches the one recovered. Image from Kenyon and Kenyon, 2008
Illustration of a Turk’s head pipe that closely matches the one recovered. Image from Kenyon and Kenyon, 2008

Turk’s head pipes were most popular from 1820 to 1880. The other kaolin pipes we have found from this site have come from McDougall (Glasgow), and Henderson (Montreal). Henderson pipes date from 1846-1876. McDougall pipes date from 1846-1891. While I haven’t been able to pin down a manufacturer for our pipe, I have found references suggesting Henderson made effigy pipes.

This pipe was slip-cast in a two-piece mold, each half of the mold generating one half of the finished pipe. You can see in the illustration and in our artifact the seam line from the mold.

Student blog — A Look Back

One of the best parts of the field school is having the chance to experience many different facets of archaeology. Some people quickly learn they love the technicalities of excavation, while others become enamoured of surveying and mapping. Still others discover their true interests lie in the lab, or with certain kinds of artifacts or time periods. Here’s a peek into Emily’s experience in this year’s field school. — Kate

As the field school comes to a close, it’s nice to take a look back at what I’ve learned. Over the course of the program I’ve had the opportunity to learn about archaeological techniques in both the field and in the lab. When most people think about archaeology, they think about the excavation process – where artifacts are removed from the ground. Of course finding artifacts is important, but an equally important aspect of archaeology is organizing and cataloguing artifacts so we can make sense of what we’ve found. In order to do this, we must be familiar with the types of artifacts found at our site.

In the first week of the course Kate and Marit gave us a lesson focusing on the types of glass, ceramic, and other artifacts we would be finding. While I enjoyed learning about these material types (and being able to identify them in the field and in lab), the thing I most enjoyed working with were the animal bones found on site. Since I haven’t had the opportunity to take a course focusing on human or animal bones yet I was excited to learn everything I could during the field course. As it turns out I think I’ve learned quite a bit!

Kate is amazing and identified every bone I showed her, telling me which animal it probably belonged to and what bone it is. In my limited experience with bones in a biological anthropology course I took, I had a tough time siding bones. Kate showed me how to side ribs during the course, and I was really excited when I got it! I also learned how to identify bird bones, which are hollow unlike mammal bones, and was happy about that too! I’m excited to continue learning how to identify bones in the future!

A bird bone, possibly from a chicken. Found on the exterior side of the North wall. Photo: Emily Finbow
A bird bone, possibly from a chicken. Found on the exterior side of the North wall. Photo: Emily Finbow

Animal bones found at a site can be used to understand the people who lived there. While not all of these applications are relevant to the Nassau Mills site, I enjoy learning about what certain artifacts at a site mean – specifically bones!

A faunal assemblage can sometimes be used to determine what the environment was like when the site was occupied. This can be done because specific animals require specific habitats. This application would typically be useful for sites much older than the Nassau Mills site. Animal bones found at a site can also be used to determine subsistence strategies of the people who lived there. For example, a major indicator of an agricultural society is a large number of young male animals being butchered. Male animals would be killed to eat as soon as they were old enough, while females were kept to produce milk and offspring.

Although interesting, this application wouldn’t give us too much new information about the Nassau Mills site because we already have a large amount of historical documentation for this period. Even though the animal bones being found at the Nassau Mills site may not be the most important artifacts for dating and determining the significance of the site, I still enjoyed applying the concepts I’ve learned about in class to a real archaeological site!

— Emily Finbow

Artifact of the Day for June 2nd, 2017 — Spittoon


We had a split group today. Marit and I stayed back in the Archaeology Centre with some of the crew to wash and catalogue artifacts, while the rest of the crew went out on site with James to finish assessment units and continue with drawings and mapping in control points.

While cataloguing, we re-encountered pieces of a kind of ugly [ in my opinion…the decal poppies don’t do anything for me! –Kate ] ceramic vessel that came from the midden area. This thing had been quite puzzling from the moment it was first discovered, because pieces of it had a strange form that wasn’t easily resolved into a piece of tableware.

Now that we finally reached the stage of having the material from that context all washed and spread out, it was easy to locate other pieces that likely came from the same vessel. Jacob became mildly obsessed with the reconstruction.

Jacob after refitting the rim of the vessel.
Jacob after refitting the rim of the vessel.

And then we saw we had a spittoon!

Our spittoon!
Our spittoon!

This artifact is a perfect example of how quickly and comprehensively culture can change. It used to be extremely commonplace in the nineteenth century and earlier for people to spit on floors, streets, and sidewalks, wherever they happened to be. I am sure you can imagine how unpleasant this was, especially as a lot of people at the time primarily consumed tobacco by chewing it, and needed to dispose of large volumes of saliva and bits of tobacco generated through the process.

Spittoons were first seen as an improvement of public hygiene. Instead of spitting on the floor, one would spit into a special receptacle for the purpose. Spittoons were often made of brass, and had a flared rim to catch drips. You would find spittoons in banks, trains, barber shops, saloons, court rooms, and business offices.  You would think nothing of watching people spit into it, and there were people employed in the service of emptying and cleaning spittoons.

Here’s an excerpt about spittoons from a fascinating look at nineteeth-century American culture:

In houses, in clubs, in offices, one cannot help admiring the ingenious forethought, the wonderful care, with which the smallest wants and the slightest commodities of life have been studied: it seems as if there were nothing left to desire.

It is impossible, however, in speaking of American interiors, to pass over in silence a certain eyesore, which meets your sight at every turn.

The most indispensable, most conspicuous, piece of furniture in America is the spittoon. All rooms are provided with this object of prime necessity; you find one beside your seat in the trains, under your table in the restaurants: impossible to escape the sight of the ugly utensil. In the hotel corridors, there is a spittoon standing sentinel outside every door. In public edifices, the floors are dotted with them, and they form the line all up the stairs.

The Americans, used to these targets from the tenderest age, are marvellously adroit at the use of them: they never miss their aim. I saw some really striking feats of marksmanship; but perhaps the best of all at the Capitol, in Washington.

The Supreme Court of Judicature was sitting. As I entered, an advocate was launching thunders of eloquence. All at once he stopped, looked at a spittoon which stood two yards off, aimed at it, and, krrron, craaahk, ptu!—right in the bull’s-eye! Then on he went with his harangue. I looked to see the seven judges and the public applaud and cry “Bravo!” Not a murmur; the incident passed completely unnoticed. Probably there was not a man in the hall who could not say to himself: “There’s nothing in that; I could do as much.”

— excerpt from Jonathan and His Continent: Rambles Through American Society, by Max O’Rell and Jack Allyn, 1889.

Thomas Alva Edison, 1914, with a spittoon by his desk.
Thomas Alva Edison, 1914, with a spittoon by his desk.

The decline of the spittoon can be linked to the great influenza epidemic of 1918, when it became apparent that this practice (although better than spitting on the floor or street) wasn’t very hygienic! Interestingly, around this time is when chewing gum and cigarettes became very popular as well, redirecting people away from chewing tobacco.

Our spittoon is made of refined white earthenware, and has a molded decoration around the rim. The flower design is a decal, which is kind of like a sticker applied on top of the glaze. This gives us a date range of post 1890, and a mean age of around 1910. Decalware was popular into the 1930s and is even still manufactured today, however, we can use the fact about the decline of spittoons to suggest that our piece is probably not younger than the 1930s.

Today, one hundred years later, spitting is considered an unnecessary and repulsive act, as demonstrated by the fact that most places have anti-spitting laws in place!

[June 5th, 2017 update] – During a lab session on June 5th, Jacob and Trevor discovered another bag of ceramics from the same context, and excitingly, there were more pieces from the spittoon, including a mark! The mark indicates the spittoon was made by Unger and Schilde in Roschuetz, Thuringia, Germany.  The company was in business from 1882 to 1953. The particular mark, however, is really interesting. It is specific to items imported into the US and distributed by Jon H. Roth (trademark name Jonroth) of South Bend, Indiana between 1909 and 1916. The German connection continues! How it got to Peterborough county, to then be disposed of in a garbage dump is a mystery!

Three Crown China mark, John H. Roth, importer.
Three Crown China mark, John H. Roth, importer.