 The Regards, hello everyone! Thank you to the organisers for accepting my abstract and inviting me to join the session, which I'm very pleased to do. I read the abstract this session, there was a thread in it that I was really recognised and I thought I can make this small contribution. I have a bit of a theme running through which is PHAR, which is obviously a very emotive subject and elemental On Write is You, it's Something Good. Can't've Comes Out Of The Fire. When I was staying someone was searching for the paper. I was reminded about the great Sir Christopher Wren, the architect who built St Paul's Cathedral in London. And he actually put a phoenix rising from the icies – a mythical phoenix after the Great Fire of London to inspire everyone to keep going I suppose. Anyway. Mae'r gweithio i'r llwyddiadau ar gyfer ymddangos gyda'r gweithio arweithio ar y cyfnodd ymymwr yn ysgrifftiol o'r gwasanaethau'r ddweud o'r lleol, ac mae'n byw i dda i'r ysgrifftiol i'r hefyd yn ysgrifftiol. Mae'r gweithio i'r gweithio'r gweithio, ac mae'n o'n fwy o'r gweithio i'r gweithio, mae'n gweithio i'r gweithio'r gweithio ym Llywodraeth. I'm actually honorary secretary at the moment of the site of Articles of London, I'm very privileged. It's quite a lot of work actually, but anyway, I just thought I'd tell you a little bit about their collections. And then I've got a little case study about William Lucas. Many of you have heard me talk about the Lucas family before, but this is just a little case study of some of the work that William did and what happened to it and so on and so forth. OK, so far as very destructive as we know, we won't watch with horror. Sorry Nathan, if this gets to your heart more than anything, but some famous bars we had in the UK, York, Minster, where the Fantastic Rose window was lost. Windsor Castle where Her Majesty the Queen of England said it was her annus frivolous because lots of horrible things had happened that year. And colleagues who are not historic England worked very hard to unpick all the archaeology and what remained under all that ash and everything. The Clandon heist is a sort of stately home in England run by the National Trust. And then horrors of horrors of the National Museum of Brazil where they lost nearly 90% of their collections. It just doesn't bear thinking about it, does it? And I don't know if any colleagues were involved in that, but lots of things that really make you stop and think and very painful. Anyway, we'll move on to something hopefully a bit more gentle. So the Society of Antiquities of London was established as a learned society in 1717. And it really goes back to it grew out of the Enlightenment and goes back to Sir Isaac Newton, the great scientist who really wanted to at that time separate science from the humanities. And when the Royal Society was formed in England in London, he wanted it specifically for science. So some they were all men at the time decided they wanted to meet together to talk about antiquities and the humanities and were better to do it than in the pub on a Friday night. So they used to meet in the Bear Tower in a pub in London. It's not there anymore on Friday nights at six o'clock and discuss things that they wanted to discuss particularly antiquities. But it covered quite a range of things that you'll see in a minute. In 1920, suitable women were invited to join. You'll be pleased to know. And we did get our first woman president and then Joan Evans, who was elected not till 1959, though. And today there are over 3,000 fellows and the society celebrated its terrason tunary 300 years in 2007. But I thought there was a little connection in that this lamp of knowledge, they thought it was a Roman lamp was used as a symbol for a ticket for the society. And as you can see, there's sort of smoke coming from the lamp. In fact, it's a medieval lamp. It's not a Roman one, but it's still used today as part of the logo of the society. So the society has fantastic collections, over 45,000 artifacts, material culture, fine and decorative arts and objects that are valuable in themselves, but also illustrate the history of the society. So an invaluable source for anyone who wants to study the history of the society, but also in the development of many disciplines, including archaeology. The collections today cover a wide range. I've just put a few on here. The bronze shield was discovered in Wales in 1784, and actually this is a drawing. It's not a photograph. In those days, they engaged a man called John Carter to do these wonderful drawings. They almost looked like photographs, but of course they didn't have the benefit of photography. The many paintings in the collection. There was a carriage request on this fabulous painting of Mary I. If any of you have visited, I'll talk a little bit about that later on as well. This painting hangs in the meeting room and it's really fabulous. The picture doesn't really do justice to it. It's the Society of Antiquities of London, of course. So we have a diptych of old St Paul's Cathedral that I mentioned earlier on. This is by John Gip Llypin in 1616. There's a picture of Halmscott Manor, which is also owned by the society and was the home of William Morris, who of course was the father of the Arts and Crafts movement. There's the famous Hoxney Axe, which was found in Norfolk by John Frear, who famously wrote on a kind of flint weapons to the society. He said these tools date from a very remote period indeed, and I love this expression, even beyond the present world. Of course, it's very crucial to the study of prehistory today. Last, but not least, I put in this medieval seal of Robert's son of John. No, we haven't a clue who Robert's son of John was, but it's just to illustrate the point that some artifacts don't necessarily have to belong to anybody famous or rich or whatever, whatever, but they can give us quite a lot of information. Whoever Robert was, he had his own seal. He got broken, tells you a little bit about the design, tells you a little bit about him. So it's somebody that was well known, but still can be brought to life. So the collections of the society are absolutely fantastic, and hopefully some of you might get to engage with them at some point. Okay, so on to the case study. Now, many of you have heard me talk about the Lucas family before, who the father, Frederick Lucas, grew up in Guernsey in the Tunnel Islands, and as many large Victorian families, he had a big family, and William Lucas was his third son, and really he became the most prominent archaeologist. He attended Trinity College in Cambridge from 1837 to 1840, and then took orders, so he became a vicar, and had various livings in Wiltshire at East Grafton, Great Bedwyn, and Collingorn Ducas. He married Lucy, who was the daughter of Admiral Sir Thomas Fellows, and if any of you have time to watch television, the famous Dynton Abbey series was written by Julian Fellows, who is, I don't know, but he's related anyway, because I think she was his grandmother, who was married to William Lucas, so they sort of connect up. But anyway, he became a member of lots of many British and French loan societies, and elected to the Society of Undercruits of London in 1855 as a fellow. He wrote at length on archaeology, but he was also interested in church bells and plits, and a lot of ecclesiastical records. He lived in Wiltshire and then moved to Yorkshire to Wath, which is near York. But when he was at Cambridge, he met Sir Henry Dryden of the Dryden Literary family. Dryden was a gentleman, he didn't have to work, but he became an archaeologist, an antiquary, but I think he deserves the epithet archaeologist as well. And they started a lifelong friendship. Dryden was the fourth baronet of Cammons Ashby in Northamptonshire, which is near Daventry, if that means any of you north of London. And he was a superb draftsman as well in Surveyor. And the pair of them used to take off in the summer months and go round and plan and record prehistoric monuments, as far apart as Scotland, Aberdeenshire, Wiltshire, Wales, South East England. And then they also went to Britain. He spent quite a long time in the Carnac area and the Netherlands as well. And there's a lovely letter from William to Henry in 1840 when there was still a very young man where William had been at home in Guernsey planning megaliths, and he sent to Dryden saying, lest you think I've been idle, I'm sending you some plans. So they obviously spurred each other on. So William elected a fellow in 1855 and he immediately started sending communications to the society, two million north Wiltshire, and then they presented their work on the megalith of Brittany in 1872 with very detailed plans and notes. And then it came to the attention of the society that he was doing these plans all around the country, and eventually he was commissioned by the society to actually carry out these surveys in a systematic manner. And in fact, at the time the president of the society was probably at the British Museum, and he suggested that if there was enough support that the society should publish the work in a series of classicals on prehistoric monuments. And Lord Carnarvyn was president at the time and he supported the idea that they should do this. So they sent out a circular. The anniversary meetings were always on St George's Day, the 23th of April, asking for subscriptions from the members for the publication of the plans. And if enough funds were found, they were going to start with Cornwall and it would be 15 shillings. So it struck me this was an early form of pride funding really, which was quite ahead of its time. So I spent a few happy hours delving through the minutes of the Society of Antiquaries and I can tell you that if anybody's got time or interest, they are an absolute mind of information and I wish in a way that I'd had longer, but I will go back to them at some point when I get a chance. So they say things like the summer, £50 to be granted toward the expenses of Mr Lucas's operations in the present summer. Curiously, he was requested to defer Stonehenge. They didn't think Stonehenge needed surveying at this point, which was quite curious. And complete parts of Devon and adjacent counties that she'd been surveying. And he was invited to continue his surveys and £50. I signed it an awful lot in the 1880s, but in fact it seemed to be around £5,860, which isn't too far removed from some of the research grants that might be given today, but it was still quite forward-thinking in those days. And yes, I'm just going to read you a little quote from the minutes. That the council were asked about this and they said that they recognise the value of the proposal. Made to them by one so thoroughly competent cariatite in the most satisfactory manner. So Lucas had obviously proved his worth by them. They feel however that they were doing less than justice to Mr Lucas if they transferred it to other hands, the work that the surveys, which form part of the general scheme and the course of execution under that gentleman's auspices with such auspicious success. And the great liberality with which Mr Lucas had presented or promised to present to the society, large collections of scale plans and drawings of megalithic monuments at home and abroad, makes it all the more incumbent on the council not to embark on any new arrangements so long as Mr Lucas is able to give them a benefit of his skills and experience. So he obviously convinced them that his work was a good thing. So they spent quite a long time in Carnac region and surveyed a lot of the major monuments, including the Tabla de Marshaun, which you'll be known to many of you. And this has brought them to the attention of French archaeologists today, which I'll talk a little bit more about in a minute. And also to Stuart Piggott and Atkinson, who had excavated at Stonehenge. And again, I'll come back to that in a minute. And these are some of the Cornwall ones. And they were drawn to a formula. And Lucas is the one where he coloured the capstones pink and the props with a natural tint. They used cartridge paper. The scales were all done through a standard. And then they did sketches, sort of topographical sketches as well. So they were scientific drawings, if you like, even at that time. And then they went to Scotland as well. Driving himself actually did more in Scotland, but they spent a summer in 1884. I'm sorry, these are a bit pale probably, but this is one of the sites known as a dilapidated camp, Sunhoney, and then the Picks cave, excuse me, in Aberdeenshire, sorry. OK. So they got around the country. And considering they were going by carriage, so they didn't... Well, the trains would have been coming in by the time they were going to Scotland, but in the early days, they would have used carriage to get around. So, here's some of the handwritten minutes. And I was joking about, not talking about Stonehenge to somebody, but I thought I'd just put Stonehenge, sorry, I'm just going to read it again, another little bit, where it said, oh, those Stonehenge does perhaps stand in such urgent need of being a plan and drawn as other prehistoric remains of less magnitude and importance. It has always been an understood thing that Mr. Lucas should undertake it for the society. And under the circumstances, the council are persuaded that Mr. Diamond will be the first to acknowledge that they have only one course open to them and must deny themselves the satisfaction of making use of his obliging offer. So they sent out the circular and they did get the money in to publish. And I won't go into too much detail because of time, but when they sent all the plans, about 200 plans went to unorthographers and they ended up in a catastrophic far. And I was really quite keen to try and find the reference to that place. So I ended up going through all the cash books at the society and eventually did find the name of the orthographers. And actually it was an uncle William Griggs and he had been quite instrumental in developing a technique of photolithography. So it was a slightly different form of printing. And I thought it was the same orthographers that printed archaeologia, which is the journal of the Society of Antiquities, but in fact it wasn't. And so it was a completely different technique. But the only reference I could find is this one where it says that they're going to give Lucas some more money after afar at Griggs' premises and they were in Peckham in South London. But you can imagine the devastation that they must have felt that Lucas himself must have felt at the time. You know, you hear about people losing research and losing PhDs on trains and things. I mean, these days it's a bit different because hopefully we all back everything up. We get caught out occasionally, but you can sort of imagine what it must have been like. But amazingly, when Lord Cronar announced in his anniversary address in 1884 that there had been this far at the lithographers, Lucas' reaction was to say, well, would you like me to do them all again? Which I must admit, I thought was quite amazing. But all is not lost because there was some outcome. And I mentioned Atkinson and Pigot and Atkinson wrote at the time of Pigot's 65th birthday in a first riff. There can be no doubt that this project had been completed. It would have ranked as one of the major archaeological publications of the 19th century. And really Lucas didn't get the QDOS, if you like, that he should have done. But luckily, a lot, they copied the plans. So a lot of them do survive in many different institutions, not just the Society of Antiquities of London, the Society of Antiquities of Scotland, the Ashmolean Museum, have a lot of the French material. Guarantee Museum had some copies, the British Museum. Williams, he collected artefacts as well as many of them did. And his collection was sold to the British Museum just before he died. And Dryden's archives are held in Northampton. But some of the invisible surveys did get a new life. So this is the site in Scotland, Hill of Many Stains. And I'm sorry, this is so pale, but headland archaeology, who were doing a digital survey of the same site, were able to use the plans to see how many stones survived and how much the site had changed in all that time from 1871 to 2004. And sorry, that should not say historic environment Scotland. I forgot to change it. And there were publications that came out from the archives that survived in those institutions I've just talked about. They had been to the Jonathan area in the Netherlands and a recent survey has just been published about the Huna Beden. Richard Bradley used some of the Scottish material in one of his many books, The Good Stones, where he looked at some of the clavicarins. Serge Cassan and colleagues put together all the material from the Carnac area in Brittany or to the other table and used a lot of the Lucas material and my own work on the Chonol Islands. I use some of these plans as well. So my conclusion was that archives and collections are very important. And of course we must try and make them accessible. So this material is a bit invisible, but it does survive. And quite a lot of it has been digitised. The work has not only is it interesting for the history of archaeology, but it has intrinsic value as well. So good things can arise from the ashes. I hope you agree. And I just wanted to say, in case you think the Society of Antiquities is a very closed society for just the fellows, this is not true at all. We are a charity in like all charities today. We have a whole programme of outreach. People can come and study, just have to contact the library. There's a whole series of lectures that are up into the public and if anybody wants to know anything more about it, do let me know. Anyway, thank you.