A Community Excavation at Calderstones Park, Allerton, Merseyside. NGR SJ 406 874 Site Code 168 Accession Number: MOL.2015.56

Prepared for the Reader Organisation

J. Speakman, E. Stewart, C. Ahmad and M. Chapman

August 2015

National Museums Liverpool Field Archaeology Unit, Museum of Liverpool Pier Head Liverpool Waterfront Liverpool L3 1DG Tel: 0151 478 4443 [email protected]

© Trustees of National Museums Liverpool

i Non-Technical Summary

This report presents the results of a community excavation carried out in four small areas at Calderstones Park, Allerton, Liverpool. The park takes its name from the Calderstones, six carved red sandstone blocks which were probably originally part of a Neolithic or early Bronze Age burial mound which was destroyed in by activity in the 18th and 19th century.

The aim of the community excavation was to understand how the landscape had been altered when the Calderstones Mansion House and the lost Harthill Mansion were built in the early 19th century. Four areas were chosen for excavation within the park. Trenches I and II were located at the front and rear of the mansion house after the results of a geophysical survey showed anomalies with possible archaeological potential. Trench III was situated towards the park’s western boundary on an area of higher ground, originally part of the Harthill estate, in order to investigate the presence of a rectangular enclosure shown on the 1893 Ordnance Survey Map. This area also had potential for features and finds related to the Pikeloo Hill which had formed part of the original surrounding Prehistoric landscape. Trench IV was located directly behind the ha-ha wall in the lawned area at the front of the mansion house in order to examine construction techniques for the sunken wall feature.

The results of the excavation in Trenches I, II and III found the remnants of relatively modern garden features including possible World War II ‘Dig for Victory’ crop ditches (Trench II) containing large amounts of 19th/20th century pottery. Trench III produced a small but interesting group of 18th century pottery, although larger from garden soil deposits. The excavation behind the ha-ha wall in Trench IV showed a rather different construction technique compared with other recorded examples from around the country.

Contents

1. Introduction……………………………………………………………………………………1 1.1 Background…………………………………………………………………………………..1 1.2 Site location…………………………………………………………………………………..1 1.3 Description of the site……………………………………………………………………….2 1.4 Geology and soils……………………………………………………………………………2 1.5 Site history and archaeological potential………………………………………………….2 2. Geophyisical Survey………………………………………………………………………….5 3. Methodology…………………………………………………………………………………...5 4. Results………………………………………………………………………………………….6 4.1 Trench I……………………………………………………………………………………….6 4.2 Trench II………………………………………………………………………………………6 4.3 Trench III……………………………………………………………………………………...8 4.4 Trench IV…………………………………………………………………………………….10 5. Finds………………………………………………………………………………………...... 14 6. Conclusions…………………………………………………………………………………..36 7. Acknowledgements …………………………………………………………………………..38 8. Bibliography…………………………………………………………………………………...39 9. Figures…………………………………………………………………………………………41 10. Results of Geophysical Survey…………………………………………………………….45

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168 Calderstones Park. A Community Excavation at Calderstones Park, Allerton, Merseyside. NGR SJ 406 874

1. Introduction

1.1 Background This report describes the results of a community excavation conducted in the grounds of Calderstones Park, Allerton, Liverpool.

The project was conducted for the Reader Organisation as part of the 'Connect at Calderstones' project which is funded by the Heritage Lottery Fund (HLF). The project contains provision for community archaeology as part of the community engagement aspect of the wider project. This became known as the ‘Caldies Big Dig’ www.caldiesbigdig.org.uk The project also includes proposals for resiting the Calderstones, a group of prehistoric carved stones likely to have once formed part of a chambered tomb but were disturbed and the tomb destroyed in the 18th century and the stones were removed from their original location in the 19th century before being relocated to the Harthill Greenhouse in the mid-20th century.

1.2 Site location Calderstones Park is situated within the eastern suburbs of Liverpool at NGR SJ 406 874 and lies to the south-east of the A562 Menlove Avenue which forms the boundary on that side of the site. The northern and north-western boundaries are formed by Calderstones Road and Harthill Road, The south-western boundary by Allerton Road and the southern boundary by Yewtree Road.

Figure 1: location map, Calderstones Park, Liverpool Ordnance Survey © Crown Copyright 2015. All rights reserved. Licence number 100022432

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Trenches I, II and IV were located on flat, level areas of maintained lawn and covered areas previously surveyed with geophysics. Trench III was situated towards the western park boundary on an area of flat, higher ground.

1.3 Description of the site Calderstones Park is a public park owned by the Liverpool City Council. A large early 19th century house, Calderstones Mansion, and its associated outbuildings including former stables form the core of the park which is laid out with grassed/lawned areas connected by paths and walkways but also includes a playground, a botanical garden, lake and glasshouses.

The house is currently occupied by the Reader Organisation on a 125 year lease from Liverpool City Council which was signed in September 2014. The lessees plan to transform Calderstones Mansion House into an international flagship project for shared reading.

1.4 Geology and soils The underlying geology consists of Early Triassic red sandstones of the Chester Pebble Beds Formation which are part of the Sherwood Sandstone Group. In the southern corner of the park these are overlain by deposits of Devensian Glacial Till (Boulder Clay) though these are not shown as extending into the survey areas discussed in this report (http://mapapps.bgs.ac.uk/geologyofbritain/home.html consulted 1/4/2015).

The urban areas of Liverpool are not classified on Soil Survey mapping but by analogy with geologically similar areas in the Merseyside region are likely to have consisted of Brown Earths and Podzols of the Clive Association across most of the site with a small area of Surface Water Gleys of the Salop Association in the southern corner of the park. The former are inherently infertile, acid and deficient in potash requiring frequent applications of fertilizer and lime, though the use of large quantities of animal manure would also improve their productivity (Hall & Folland 1970).

1.5 Site history and archaeological potential A basic desk-based assessment and gazetteer of sites within the park had been prepared in 2013 as part of a student placement at the Museum of Liverpool (Randall-Smith, 2013). There is also an extensive body of literature relating to the park, in particular the Calderstones themselves, which is summarised below.

During the Medieval period the area was adjacent to the Royal Park of Toxteth established by King John probably about the same time as the establishment of Liverpool Castle in 1207 and it was not until the 17th century that the area lost its legal status as a forest. Throughout the 18th century and until the mid-19th century the study area was sparsely populated and primarily rural and agricultural in nature.

In 1726 part of the manor of Allerton was sold by the then owners to settle family debts. The land was eventually purchased by a Liverpool merchant, Thomas Martin, who added to the estate before selling it on to lead shot manufacturer Joseph Need Walker in 1825. Walker demolished the farmhouse variously called Grove House or more simply the Old House (Farrer & Brownbill 1907, 128). Two buildings are shown on the Yates & Perry ‘Map of Liverpool’ (1769), but closer to the road than the current Mansion, which may represent the location of this original house and possible barn. Walker then built the surviving Georgian mansion Calderstone, which was completed in 1828

The house and estate were acquired by Liverpool shipping magnate Charles McIver in 1875 for £52,000. McIver, along with his brother David, and Samuel Cunard are probably more famous for creating the British and North American Royal Steam Packet Company, later known as the Cunard Line.

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Behind the Mansion House is a largely wooded area with a collection of fir trees, many of North American origin. Much of this is thought to have been originated by Charles McIver, whose involvement in transatlantic shipping lead to him developing an interest in the trees of the New World. (http://www.allertonoak.com/AMH/12Parks.html).

Calderstone house and estate were sold by the MacIvers to Liverpool Corporation in 1902 for £43,000 and formerly opened as a park three years later. By the outbreak of the First World War, the Calderstones Estate had been augmented by the Harthill Estate to produce the present park area which was as Calderstones and Harthill Park for a brief time.

Harthill House Hart Hill house (Harthill Road) was built for John Bibby II (1810-1883), a merchant around 1840 and the main lodge on Harthill Road probably dates from that time. He was the second son of John Bibby I (1775-1840), shipping magnate and founder of the Bibby Line in 1805. Later, but before 1890, a second lodge was constructed on Calderstones Road. The path that still runs alongside this lodge into Calderstones Park is what remains of the original driveway.

John II died in 1883 and his 2nd wife Emily continued to live at Hart Hill until her death in 1899. The house was taken over by John Bibby III (1839-1898) in 1883. His eldest son John Hartley Bibby (1865-1938) lived away and the house passed to John II and Fanny's younger son Alfred Bibby (1847-1920) in 1898. In the first decade of the 20th century, the house was sold to St. Helens glass manufacturer Charles Joseph Bishop (1852-1923). He sold most of the grounds to Liverpool Corporation in 1913 to form the Harthill Estate extension to Calderstones Park. He may have moved out at that time because his death was registered in Prescot. Following this the house fell into disuse and was demolished in the early 1930s. Only the lodges now survive.

Calderstones Park later history In the late 1940s Calderstones became a hub for the governments ‘Holidays at Home Scheme’ encouraging people to use their local amenities rather than wasting precious fuel travelling across the country. Variety shows, bands, plays and comedians regularly entertained locals and the events proved so successful that an art-deco stage for an open- air theatre was built at the rear of Calderstones house between 1945 and 47. Possibly designed by the renowned city architect Sir Lancelot Keay.

The house has been altered over the years and for a long time was used as council offices. In 2014 the Reader Organisation purchased a 125 year lease from Liverpool City Council for the house and outbuildings to undertake restoration work and develop a heritage and cultural centre.

The Calderstones The primary historical and archaeological focus of the park is the evidence for Prehistoric activity which centres on a group of carved stones known as the Calderstones from which the park takes its name. There is an extensive literature detailing the history and archaeology of the stones, ranging from mid-19th century antiquarian accounts (e.g. Ecroyd Smith 1868) to more recent reassessments (e.g. Cowell 2008, Falkner 2010, Roberts 2010, Nash & Stanford 2010) from which the brief summary below is derived.

The Calderstones consist of six red sandstone monoliths with carvings of spirals, concentric rings, arcs, cup and ring marks, footprints and lines. There is also later, mainly 19th century graffiti. The style of the early carvings suggest that they date to the Neolithic and Early Bronze Age and is similar to that seen on sites in the Boyne Valley, central Ireland. This, and antiquarian accounts of the original setting of the stones, strongly suggests that they

4 originally formed part of a ‘passage grave’, a class of Neolithic burial mound found across northern Europe. However, the style of the carvings is consistent with traditions closely associated with the Irish Sea area.

The exact location of the mound to which the stones belonged is not known but was probably about 200 m north of the mansion house ‘…between the west side of the park gate and the 1845 retaining circle’ (Roberts 2010, 82). There is little surviving documentation relating to the destruction of the site and the removal of the stones, but the mound appears to have been badly disturbed by quarrying prior to 1805 and finally destroyed between 1825 and 1836.

The Calderstones in Baines’ Directory (1825) Close by the farm in which the famous Allerton oak stands, and just at the point where four ways meet, are a quantity of remains called Calder stones … From the circumstance that in digging about them urns made of the coarsest clay containing human dust and bones have been discovered, there is reason to believe that they indicate an ancient burying place … Some of the urns were dug up about sixty years ago, and were in the possession of Mr. Mercer of Allerton.

The Calderstones as recalled by local gardener John Peers in the early 1800s [I] remembered the Calderstones well, before they were set up in their present position. The roads at that time were narrow country lanes. At this place there are four cross roads, and the stones lay upon a large mound at the roadside, high above the road, on … the south side. Only a few of the larger stones could be seen lying flat near the top, partly buried in the earth, and a few of the points of the other stones. Upon this mound, in the summer after work, and on Sundays, the boys and men from the neighbouring farms would come and lie in the sun … [I] well remembered the mound being destroyed. They were widening the road about the time it was done away with. When they dug down into it they found more of the stones, and the marked ones were among them. For some time the stones were laid aside on the farm, and were taken away. Mr Booker had the largest and set it up in his field where it now is for the cattle to rub on … When the stones were dug down to … They looked as if they had been a little hut or cellar. Below the stones was found a large quantity of burnt bones, white and in small pieces. He thought there must have been a cart-load or two.

Modern history of the stones The stones were then re-erected within a traffic island just outside the park boundary in the 20th century before being moved to their present location in the glasshouses of Calderstones Park in 1964.

In addition to the Calderstones a mid-16th century map shows two other landmark features named ‘Pikeloo Hill’ and the ‘Rodgerstone’, both of which are likely to have Prehistoric origins and suggest that the Calderstones formed part of a Prehistoric burial or ritual landscape. There is insufficient evidence to give an accurate location for these but Pikeloo Hill is likely to have lain close to the western park Lodge and the Rodgerstone to its east.

Approximately 1km to the south of the Calderstones is the Robin Hood Stone which also has cup and ring marks similar to those seen on the Calderstones and almost certainly forms part of the same group.

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These monuments, along with other Prehistoric sites in the wider area, suggest that Calderstones Park has considerable potential for the presence of archaeological deposits relating to Neolithic and Bronze Age ritual and settlement. However, this remains largely unassessed by modern fieldwork.

2. Geophysical Survey There have been two previous geophysical surveys in the area. The first was a small survey of the possible original site of the Calderstones which failed to obtain any significant evidence (Dave Roberts, pers. comm.).

The second, more recent survey was carried out in March 2015 by National Museums Liverpool Field Archaeology Unit (NMLFAU) and volunteers. The geophysical survey aimed to assess the archaeological potential of two areas which are proposed as new locations for the stones which are currently sited within greenhouses within the park. The survey results suggested that the lawned area to the front of Calderstones Mansion had some potential for the presence of archaeological deposits, namely post-holes and small pits. The area to the rear of the house seemed to have a lower potential due to a slightly different survey method used in that area.

3. Methodology The community excavation was carried out between 23 April and 13 May 2015. There were a total of four Trenches all of which were de-turfed by hand and reinstated at the end of the project. All excavation was carried out by hand.

The principal aim of the excavation was to allow amateur access to archaeological fieldwork and to provide training in basic archaeological methods.

The principal archaeological aim was to determine the existence of 19th century garden features related to Calderstones Mansion House, and possible features and finds relating to the original Prehistoric landscape associated with the Calderstones.

Figure 2: location plan of the four trenches excavated as part of the 2015 Calderstones Park Community Excavation, marked I, II, III, IV

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The excavation was project managed by Liz Stewart, assisted by site supervisors Clare Ahmad, Jeff Speakman and Michael Chapman from NMLFAU. On-site surveying was carried out by Mark Adams (NMLFAU) and Roy Forshaw (volunteer).

4. Results 4.1 Trench I (Jeff Speakman) Trench I was located to the eastern side of the front lawn area to the mansion house adjacent to an area of trees and shrubs and measured 4 metres by 4 metres. The geophysical survey (Adams 2015) carried out in this area had indicated strong anomalies likely to represent subsurface features, probable small pits or post-holes and a north-east to south-west aligned group running across the middle of the grid likely to represent a fence- line or similar feature.

Park garden staff remembered a larger flower bed with rhododendron bushes next to a large tree in this area, which had been removed and grassed-over.

Removal of the turf revealed mixed areas of modern disturbance [102], 104] and [106], probably as a result of late 20th century gardening, and firmer compacted sub-soil [101].

[101] was particularly evident as a raised area dominating the north-west corner of the Trench, although very similar material was seen to a lesser extent in the north-east corner and to the south of the disturbed features.

Two small pits [110]/[111] and [112]/[113], one in the north west corner and one in the south east corner of the Trench, were cut into [101]. [113] was sub circular approximately 0.28m in diameter and 0.10m deep with a single fragile heat or frost shattered stone as possible packing. [111] was circular with a 0.26m diameter; the fill 110 was 0.12m deep down to a base of rounded pebbles. The total depth was 0.20m cutting into [126]. A number of Golden Wonder crisp packets were embedded in the upper fill showing the feature to be very modern (fig 3).

The linear features [102] and [104] merged together with, at the junction of the two, a concentration of small, rounded pebbles. Neither feature had particularly strong edges, and they are likely to have been variations in the overall disturbed deposit.

The disturbed area [106] extended over a large part of the eastern half of the Trench. Within it were roughly circular areas of very black material, possibly burnt or of very rich organic material (e.g. [108]). Excavation proved difficult and the features had uncertain edges. They probably represent individual bushes, with root bowls spreading out from a central hollow. The dark black fills at the centre suggest burning, possibly as the result of trying to burn out the remaining roots when the bushes were removed or the concentration of rotted black, humic, material associated with the removal of the bushes.

Finds included crisp packets, plastic coffee cup lids, Staffordshire whitewares, glass and numerous crisp packets. Several coins were also recovered dating from the last quarter of the 20th century.

A deep sondage excavated through the larger disturbed area of feature [106] during the last two days of excavation revealed a series of highly disturbed fills (121, 122, 123, 124, 125, 126, 127, 128, 129 and 130) and a possible re-cut filled by the dark black upper fills [119], [120]. Many of the disturbed fills contain various quantities of a red sandy loam likely to have been as a result of digging through the re-deposited layer [126] and the rapid backfilling of the resultant hole, although some slumping has occurred in the sides of the feature.

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During the short period of excavation work concentrated on planning and recording these areas of modern disturbances down to a red sandstone/clay subsoil [126] as part of the community engagement exercise; necessitating the use of basic archaeological recording techniques on albeit very modern deposits. This layer was initially seen as being probable natural geology. However in final days a section through one of the probable ‘bush bowls’ revealed evidence suggesting that the red sandstone/clay subsoil [126] was re-deposited overlying a grey sandy loam [117] which was flecked with pieces of coal (fig 3: section). This grey layer may represent the earlier ground surface or plough soil relating to the previous farm occupying the site, with the overlying re-deposited layer a product of the landscaping of this part of the park at the time of the construction of Calderstones Mansion in 1827-8. The only find recovered from either deposit was an early wine bottle base, probably dating to the 1820s or earlier, and therefore possible associated with the period of the construction of the house.

Figure 3: Section through ‘bush bowl’ excavated in Trench I

The natural geology consisted of a much cleaner, and crustier, red sandstone brash.

Figure 4: volunteers planning Trench I

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The finds from Trench I tell us much about the use of the park. The archaeology revealed evidence for the redesign of the flower beds in front of the mansion and of how light materials such as crisp packets, coffee cup lids etc. can blow beneath those bushes to be trapped until they were removed and the resultant waste reburied in the holes created. The heavier materials, such as crushed aluminium cans and glass may have been thrown under the bushes intentionally.

4.2 Trench II (Michael Chapman) Trench II was located to the rear of the mansion house within an area surrounded by trees and shrubs and measured 3 x 4 metres. The previous geophysical survey (Adams 2015) showed weak anomalies within this area.

The removal of the turf revealed a loose dark/mid brown topsoil layer of loamy sand [200], which reached a depth of 0.15m. Removal of [200] revealed [201] a compact layer of dark/mid brown sandy loam subsoil, with moderate building waste mainly brick and frequent coal flecks. [201] was cut by [203] a semi-circular feature, length 0.93m, width ranging from 0.66m – 0.24m, which was located against the south facing section of the Trench, the fill [202] was a loose dark blackish brown sandy loam, slightly more humic than the topsoil, with infrequent stone and pebble inclusions ranging from 20-40mm in width. The cut [203] had gradually sloping concave sides with the base sloping to the west. Very few pottery finds were located in this fill [202], this feature was interpreted as a tree or shrub bowl.

The subsoil layer [201] was removed in 50mm spits until the context changed to [204] a compact layer of gingery mid brown sandy loam. [204] was cut by two sub-circular features: [210] in the eastern facing Trench section, with soft dark brown sandy loam fill [209]; and [212] an irregular shaped feature in the south facing Trench section, with soft gingery mid brown sandy silt loam fill [211]. Each of these contained occasional stones and pebbles ranging from 10-30mm in width, and few ceramic finds. There were some ferrous finds in fill 209. Like [203]/[202] these were interpreted as tree or shrub bowl features.

[204] was also cut by three parallel linear ditch features [206], [208] and [217] running north- south across Trench II, the fills [205], [207] and [216] were made up of a compact dark/mid brown sandy loam with moderate stone inclusions averaging 30mm in width, occasional larger stone inclusions with a width of 0.10m or greater were present. The fills contained large quantities of 20th century pottery (mainly flower pot), a few sherds of 19th century pottery (dark-glazed wear), glass, metal (Fe) and building material.

The cuts [206] and [208] were exposed for over 2 m of their lengths (fig.5 and fig. 6). They had sharp convex sides falling to a slightly concave uneven bases. Their depths were uneven and ranged between 0.19-0.26m with maximum widths of 0.52m and 0.59m respectively. in the north tapering to 0.36m to the south, the length of this ditch was 2.07m. The most easterly of the three linear ditches [217]/[216] was never fully excavated due to the time constraints of the dig and its position within the Trench. The cut [217] for this ditch therefore cannot be described in section.

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Figure 5: Plan of Trench II showing parallel ditches

Figure 6: parallel ditches under excavation (photograph from north)

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Their location and the finds material suggests that these three ditches contemporary to one- another. Their shape suggests they are gardening or crop features which were backfilled with broken pottery sherds and other materials as a convenient discard site once they had fulfilled their useful life. Oral history evidence indicates that areas of Calderstones Park were used for ‘dig for victory’ cultivation during the Second World War, and it is possible that these features date from that period.

The base of the two fully excavated ditches and a sondage was placed adjacent to the south facing section revealed a light/mid gingery orange mixed sand, which was allocated context number [215] and was interpreted as the natural for Trench II.

4.3 Trench III (Clare Ahmad) Trench III was situated towards the park’s western boundary on an area of higher ground and measured 3 x 4 metres. This western area of the park was originally part of the Harthill estate and was chosen for potential late 19th century garden features and a rectangular enclosure shown on the 1893 Ordnance Survey Map whose exact date and function was unkown. This area also had potential for features and finds related to the Pikeloo Hill which had formed part of the original surrounding Prehistoric landscape. The area more recently had included a series of rose beds which had been backfilled and grassed over according to present-serving park garden staff.

Immediately after de-turfing a distinct firm, humic layer of dark brown silty clay loam topsoil [300] was exposed. Within this topsoil layer at a depth of c. 0.10 m was a roughly circular shallow spread of loose pea-gravel [301] in the centre of the northern side of the Trench measuring c. 1.10 m in diameter by 0.12 depth. The pea-gravel contained frequent root action and occasional inclusions of angular and rounded pebbles (<100 mm) plus charcoal flecking. A number of fragments of plastic wrappers, glass sherds and 20th century pottery were recovered. A further circular deposit of silty sand loam [304] lay directly below [301] and consisted of frequent crushed sandstone (<120mm) and occasional small rounded pebbles (<50mm) inclusions also containing modern finds of plastic and metal. [304] measured c. 1.18 m (north – south) x 1.10 m (east – west) to a depth of 60 – 100 mm. Both deposits [301] and [304] lay within a shallow dish-shaped cut [304] and probably represented the drainage base for a rose bush previously located in the area.

A lower layer of topsoil [302] was identified below [300] which although was very similar in texture, consistency and colour to the upper layer contained frequent inclusions of coal, charcoal and sandstone fragments not previously observed at a depth of c. 0.18m. While this context revealed modern finds including a plastic comb and a lipstick, there were also numerous fragments of earlier ceramics including 18th century mottled ware, slip ware, tin- glazed earthenware and red slip-coated fineware.

After the removal of layer [302] a distinct compacted gingerish mid-brown, silty sand layer [305] was identified at a depth of c. 0.35 m containing frequent sandstone brash inclusions. No finds were retrieved from this layer. The layer overlay two areas of solid sandstone bedrock [306] observed along the mid-northern and north-east area of the Trench and both contexts, [305] and [306], were recorded as the natural base to the Trench with no further excavation taking place.

4.4 Trench IV (Clare Ahmad and Liz Stewart) Trench IV was located to the west of Trench I in the same open, front lawned area of the mansion house and measured 2.00 x 2.70 metres. The Trench was abutted by the sandstone revetting to a ‘Ha Ha’ (a dry ditch or sunken fence which divided the formal garden from the landscaped park without interrupting the view) which formed one of the 19th century components of the park. The purpose of the Trench was to investigate the wall’s construction from behind and retrieve any dating evidence related to the period of formation.

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There was no significant topsoil layer recognised immediately after de-turfing Trench IV. Instead a linear band of loose, mid-dark brown sandy silt loam [400] was encountered running parallel behind the ha-ha wall [403] and contrasted sharply against layer a more compacted gingerish brown silty sand clay layer [402]. The width of fill [400] varied from between 0.25 – 0.41 m and ran the width of the Trench a little over 2 metres. During excavation occasional fragments of sandstone and mortar were noted along with very modern finds of plastic wrappers, a can ring pull, glass fragments, china and a £1 and 20p coin dating from 2009. The fill continued to a depth of 0.30 m before disappearing and was interpreted as an upper backfill which had been originally dug to undertake possible repointing/repair work. The shallow linear cut [401], containing fill [400], in section narrowed from a maximum width of 0.36 m to c. 0.10 m having gradually sloped before falling sharply. This was interpreted as a modern cut created in repair of the haha wall in the later 20th century. No earlier cut associated with the construction of the haha could be identified, suggesting that the wall was built directly against a vertically-cut section.

The sunken ha-ha wall [403] dates to the early 19th century and is constructed from varying size blocks of sandstone between 0.12 x 0.06 x 0.004 m – 0.58 x 0.39 x 0.07 m. The visible outer south-west wall face has finished squared coursed blocks pointed with lime mortar, whereas the inner north-east facing wall is randomly coursed sandstone with a sandy clay mortar near the base of Trench. Near the top and outer facing wall a white/grey lime mortar where modern repairs and repointing have taken place (figs 7-10: south-west and north-east facing sections of haha wall).

Figure 7: north-east facing section of haha wall

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Figure 8: the north east facing section of the haha

Figure 9: south-west facing sections of haha wall

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Figure 10: the ‘outer’ south west facing section of the haha

The subsoil layer [402] contained occasional coal and charcoal flecking with a moderate amount of small (<100mm) rounded pebbles. During excavation a number of modern finds including tin can fragments, brick rubble, slate and a clay tobacco pipe stem were recovered from [402] to a total depth of c. 0.24 m.

After the removal of subsoil [402] a distinct compacted brownish-yellow sandstone brash layer [404] was recorded at a depth of 0.32 m across the excavated half of the Trench and contained frequent rounded pebbles (<50mm) and sandstone fragments. This layer butted directly behind the ha-ha wall [403] and showed evidence of bioturbation in the form of a possible animal burrow or root hole seen clearly in the south-east facing Trench section. No finds were recovered form this layer and reached a total depth of between 0.12 – 0.15 m.

Below [404] a compacted yellowish orange boulder clay [406] became clearly visible and was interpreted as a natural layer.

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5. Finds (Jeff Speakman with contributions by Liz Stewart) A total of 2573 finds, weighing nearly 29.0kg, were recovered from the excavations in Calderstones Park, much of which will be discarded after recording. With almost 75% of the total number of finds recovered from Trench II; most from three contexts [201], [205] and [207]. The following table shows a breakdown of the material recovered and from which Trench:

Total Total Trench number weight (g) Unstratified 8 547.90 I 244 8238.30 II 1885 17969.04 III 373 1733.69 IV 63 424.00 2573 28912.93

These figures can be further broken down by the types of material recovered: Trench Total Total Total Total Number weight Material Number weight (g) (in each (g) Trench) Undiagnostic finds II 9 54.10 III 1 30.00 10 84.1 Aluminium drinks I 2 42.80 cans IV 2 6.2 4 49.00 Bone I 2 1.20 (burn and unburnt) II 1 4.28 III 1 1.77 4 7.25 Brick I 11 4952.7 II 10 110.00 III 7 160.30 IV 1 97.90 29 5320.9 29 5320.9 Ceramic - fired I 1 73.70 clay/mortar 1 73.70 Clay Tobacco Pipe I 7 11.60 II 9 16.80 III 25 51.70 IV 2 4.5 43 84.60 Other Ceramics Fired clay I 1 1.30 Saggar? II 1 63.90

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Stoneware drain II 2 116.20 4 181.4 Chalk II 3 6.99 3 6.99 Clinker II 14 91.10 14 91.10 Coal I 7 59.90 II 8 111.70 III 4 8.89 IV 10 36.40 29 216.89 Copper-alloy III 1 4.2 1 4.2

Coins Victoria One Penny III 1 8.30 1899 Old Ten Pence I 1 10.70 1968 Two New Pence III 1 6.96 1971 Two New Pence I 1 6.60 1976 Two Pence 1988 I 1 6.70 Two Pence 1988 II 1 6.70 Five pence 1990 I 1 3.10 Twenty Pence 2009 IV 1 5.00 One Pound 1985 I 1 9.10 One Pound 2009 I 1 9.40

Electric cable I 1 13.40 1 13.40 Flint I 5 33.80 II 5 55.52 III 4 16.19 10 73.61 Glass I 48 1056.30 II 159 1144.24 III 41 147.57 IV 4 108.10 252 2456.21 Industrial waste II 51 1322.38 51 1322.38 Iron US 4 534.80 I 4 812.60 II 25 1436.23 III 4 143.97 IV 1 5.20

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38 2932.80 Iron & plastic I 1 4.7 (Screw and wall plug) 1 4.70 Pearl bead II 1 0.40

1 0.40

Plastic I 14 23.40 (including sweet & crisp packets)

III 1 5.90 IV 2 3.10 17 32.40 Plastic & Fabric I 1 32.50 1 32.50 Polystyrene I 1 0.30

IV 4 0.20

5 0.50 Pottery US 4 13.10 I 110 477.10 II 1546 12740.40 III 276 110.3.84 IV 33 122.20 1969 14456.64 Shell? II 1 0.30 1 0.30 Slate I 26 630.00 II 32 598.73 III 5 39.70 IV 2 25.80 65 1294.23 69.07 Tin-glazed tile III 1 4.40 1 4.40 Wood II 7 69.07 7 69.07

Each of the areas investigated provided a slightly different range of finds. Trenches I and IV in front of the mansion revealed hints of information about the building of the mansion, and the landscaping and use of the park since that time. The area around Trench II appears to have been a place where gardening waste, especially of broken flowerpots, were dumped; confirmed by conversations with the gardening staff and helping to explain the large numbers of finds from that Trench. Trench III, near to the site of the now demolished Harthill Mansion, produced a fairly sizeable group of 18th century pottery, albeit very fragmentary and abraded and all from topsoil deposits. The presence of such numbers hints towards a more widespread occupation of that area in the later 18th century, not suggested by the meagre map evidence, and possibly prior to the development of the two mansions.

Pottery Pottery forms the largest component part of the assemblage, comprising of over 75% of the total number of finds recovered from the excavations; from 21 contexts and unstratified

17 deposits. Almost 80% of the pottery was recovered from Trench II, much of it flowerpot. Of more significance was the fairly sizeable group of 18th century pottery recovered from Trench III; albeit from topsoil deposits.

Total Total MAT Trench Weight number (g) Pottery US 4 13.10 Pottery I 110 477.10 Pottery II 1546 12740.40 Pottery III 276 1103.84 Pottery IV 33 122.20 1969 14456.64

Early Pottery Groups There are a total of 179 sherds of 18th century or earlier pottery, much of it earthenwares1, weighing 909.95g; of these 116 were recovered from Trench III, almost 65% of the total number.

Total Average Total Trench Weight weight number (g) (g) US 3 5.90 1.97 I 21 106.40 5.01 II 31 120.22 3.88 III 116 614.43 5.30 IV 8 63.00 7.88 179 909.95

All are very small, with average weights less than ten grams, indicative of the fragmentary nature of the early pottery recovered from the site and indicating that none of the finds were recovered from undisturbed early features.

Yellow ware There is a single, small, sherd from a yellow ware vessel (SF384), weighing 4.5g, recovered from context [300].

Yellow wares are found wherever light-firing clays are available and were made from the 15th to the 20th centuries. The vessels are covered with a clear glaze, which takes on the pale yellow colour from impurities within the glaze and/or from iron oxides in the clay or slip. The impurities in the fabric can often give a dark brown speckled or mottled effect to the glaze. The characteristic early pale yellow would seem to have been deliberate and was produced by applying the glaze sparingly, resulting in a butter-like texture.

This small fragment has a darker, honey-coloured, glaze speckled by inclusions within the fabric. Such vessels were made in considerable numbers around south-west Lancashire,

1 Earthenwares: ‘a coarse ceramic fired at a relatively low temperature which does not vitrify in the kiln and remains porous, requiring a glaze so that it does not absorb moisture’ (Cohen and Hess 1993, 29).

18 with a known kiln site in Rainford, near St Helens, producing them in the mid 17th century. Although, this piece is likely to be 18th century in date and may have come from other production centres such as Prescot or Liverpool.

Self-coloured ware There are 12 sherds from 17th-18th century self-coloured wares, weighing 100.063g, nine of which were recovered from the topsoil deposits in Trench III. A further two, tiny, fragments are likely to be modern, although also from Trench III.

Whilst true yellow wares are made in a refined, clean, pale fabric, this sub-group are classed here as self-coloured wares. These are made in cheaper less refined fabrics, often retaining numerous inclusions, which give the vessels a characteristic speckled, honey coloured or darker glaze.

Figure 11: sherds of self-coloured ware from Trench III. SF 385

Dark-glazed earthenware There are a total of 69 sherds from dark-glazed earthenwares, weighing 654.9g, recovered from 13 contexts and unstratified deposits. The largest numbers from Trench III with 33 sherds, mostly from contexts [300] and [302]. Consistent with other Trench III finds these are interpreted as 18th century in date. Trench I produced a further 23 sherds. However, most are fairly fragmentary.

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Figure 12: fragments of dark-glazed earthenwares from Trench III. SF 61

Dark-glazed wares are the most common type of pottery found in the post-medieval period and form part of a long-lasting tradition of wares, drawing on the forms and techniques of the early post-medieval dark-glazed earthenwares of the late 16th century and continuing in use into the late 20th century.

The term ‘dark-glazed ware’ is used because the glaze colour is very variable, ranging from dark brown to black, the precise glaze colour depending on the colour of the fabric, the presence of slip, the amount of colorant (iron) added to the glaze, and the firing conditions. The quality of the glaze is also determined by its thickness; a thick layer giving a smooth, glossy even finish, whereas a thin coating allows for inclusions present in the fabric to create a gritty appearance.

From the 18th century these wares were produced in large quantities in centres across south-west Lancashire; such as Prescot, around St Helens and in Liverpool. The more industrialised nature is reflected in the increasing quality and control of the production process and vessels from this period have a distinctive even, glossy black glaze often with a metallic finish.

There are some chronological differences in the fabrics used during this period. Whilst the clays used to produce finewares were heavily refined, most of the 18th century larger coarsewares found on excavations have characteristic laminations of pale firing clay mixed into the red. By the 19th century the coarseware fabrics become much finer, and well mixed, due to the increased use of milling machinery to mix the clays, with well applied, glossy, even glazes. The forms, however, changed little throughout the post-medieval period.

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The potters used local boulder and coal measures clays and the differences within the vessels’ fabrics represent differences in the preparation of the clays and not of the source.

Tin-glazed Earthenware (often called ‘delft’ ware) There are a total of 41 sherds of tin-glazed earthenware pottery (weighing 49.16g), with a further piece from a tin-glazed wall tile. They were almost totally recovered from Trench III, with two small fragments from Trench II. There are no complete profiles, the sherds are very fragmentary and fragile and a number have completely lost their glaze.

Total Total Average Ceramic type Context number of weight weight pieces (g) (g) Tin-glazed 201 2 3.50 1.75 earthenware Tin-glazed 300 11 16.66 1.51 earthenware Tin-glazed 302 28 29.00 1.04 earthenware 41 49.16

Tin-glazed tile 302 1 4.40 4.4

The average weight for the pottery sherds is a tiny 4.4g, indicative of both the fragile nature of this type of pottery, but also of the nature of the archaeology being disturbed topsoil deposits. Of the 41 sherds, 17 have cobalt blue, painted decoration and a further 11 are undecorated. None of the decorated fragments have a recognisable form or surface design.

Figure 13: Fragments of tin-glazed earthenware. SF 34

Tin-glazed pottery is a low-fired earthenware, so-named because of the addition of white tin- oxide to the glaze, which gives it its characteristic appearance. The tin, imported from

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Cornwall, was burnt (oxidised) and then fused with lead-oxide and glass. The mixture was finely ground before mixing with water (Garner 1950, 2).

The clay also had to be imported, with records showing much of it came from Carrickfergus in Northern Ireland. The clay needed to be white firing in order to avoid discolouring the glaze, but also porous enough to soak up the water from the finely ground enamel wash to enable a white coating to form on the surface of the biscuit pottery. This was often decorated with hand-painted designs, similar to those seen on Chinese porcelain, although many tiles were later transfer-printed (Garner 1950, 2-3, 16-17). The low-fired, clay body was not durable, the glaze was easily chipped and the vessels proved unsuitable for use for hot beverages and the ware was quickly superseded by porcelain, salt-glazed stoneware and then Staffordshire Creamwares.

More intriguing is the presence alongside the battered, and abraded fragments of finished pottery of 13 sherds of unglazed biscuit wares2; suggesting they may have come from a factory site. However, one possibility to explain the presence of unglazed sherds is that they were actually finished wares, which have lost their glaze, but it is highly unusual for such vessels to lose all evidence of the glaze completely.

During the 18th century there were about 25 potteries in Liverpool and ‘every merchant … of note … was concerned in the tin-glazed pottery and tile industry’ (Gatty 1881, 124). It was produced in massive quantities (Ray 1994, 2), much of it ‘exported for the colonies abroad’, mainly the American market (Mayer 1855, 181 - quoting the Liverpool Memorandum Book or Gentleman’s, Merchant’s, and Tradesman’s Daily Pocket Journal for 1754). Shaw’s Brow, now William Brown Street, had upwards of six potteries and was described as “one mass of potters’ banks, with houses for the workmen on both sides of the street; and so numerous were they, that according to the census taken in 1790, there were as many as 74 houses, occupied by 374 persons, the whole of whom were connected with the potteries” (Mayer 1855, 190).

The most common tin-glazed vessel forms produced were plates, dishes, bowls, bottles, jugs and mugs (Garner 1950, 20). Production peaked in the middle decades of the 18th century and then sharply declined as new finer products, including fine white salt-glazed stoneware and English porcelain began to be produced, some of it in the Liverpool factories. During the second half of the 18th century the Staffordshire potteries began to take over the market, including Wedgwood with his creamware pottery, and many of the best Liverpool potters moved there. After c.1780 only ‘tiles, drug-pots and the like were made using a tin- glaze” (Garner 1950, 37).

Only a few Liverpool factories continued into the 19th century, the last being the Herculaneum pottery, which closed in 1841 when all production in Liverpool ceased (Mayer 1855, 205). This last pottery having been set up using workers recruited in Burslem, produced mainly creamwares.

Tin-glazed tile Alongside the pottery is a single piece of undecorated, wall or fireplace tile (SF303), context [302]. This type of find is identified by its thickness, usually 5/8” thick, with an even glaze on the flat smooth upper surface and with a sanded underside. The edges, were they survive, are slightly bevelled.

2 The term biscuit ware comes from the French, literally meaning ‘twice fired’, and refers to the first firing of a vessel, before it is decorated and glazed; and then fired for a second time in a process called enamelling (Cohen and Hess 1993, 11; Bedford 1966, 5).

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Tiles were made in large numbers at the Liverpool factories, as evidenced by the huge quantities recovered from a backfilled well in the basement of buildings under Chavasse Park, excavated prior to the development of the Liverpool ONE complex (Museum of Liverpool regional archaeology collection). Whilst many are plain, decoration was common, although decorative walls and fireplaces survive more in the United States than here.

Mottled ware There are 22 mottled ware sherds, weighing 110.28g, recovered from five contexts and unstratified deposits. However, 16 sherds were recovered from one single context, [300], with two further sherds from [302]; this equates to over 80% of the entire group coming from Trench III.

Mottled wares are characterised by a hard, fine light buff fabric with occasional streaks of white or red, while the distinctive glaze, internally and externally, is honey- or straw-coloured with dark brown streaks. There is also a dark version, with the same fabric colour but much darker, almost black, glaze due to the overloading of the streaks in the glaze. Analysis of the dark streaks in the glaze from vessels from South Castle Street, Liverpool, suggests that the mottled effect was due to the addition of iron (Philpott 1985, 54-5).

The earliest reference to a 'motley' ware appears in 1686 (Plot 1686, 123) suggesting that mottled wares were already in production by the 1670s. In south-west Lancashire the evidence of excavations at South Castle Street, Liverpool, shows that they were certainly in extensive use by the early 18th century and they continued to be produced in Prescot up to the 1780s (Davey and McNeil 1980; Oswald et al. 1982, 202; Philpott 1985, 52; McNeil 1989, 63).

Agate-bodied ware A total of three, small, agate-bodied earthenware sherds were recovered, weighing just 7g.

Agate-bodied wares were made in 18th century. The marbled effect was produced by mixing red and yellow clays and covering the body with a glossy clear glaze. The blending of the two clays was not only decorative but could also serve to make a poor clay workable. The flatwares were often decorated on top of the rim with white trailed slip, which was frequently incised with rouletted impressions. These wares were common in the third quarter of the 18th century. They were produced in south-west Lancashire and North Wales and were exported to America in large numbers (Hume 1969, 132).

Slip-decorated ware Slip-decorated ware is a “type of pottery, usually earthenware, whose decoration is based upon the use of slip, which is simply clay mixed with water into a fine liquid which is used to decorate vessels” (Barker 1993, 3).

There are 12 sherds from slip-decorated wares, weighing 64.3g, and two sherds from buff slip-coated wares, 58.3g. All bar four fragmentary sherds are from Trench III. The majority are 18th century in date and likely to be of local manufacture.

There are a number of different decorative effects which can be achieved by the use of a slip. The most basic is a slip-coating were much of a vessel is given a thin coating of a liquid slip, which is often in a contrasting colour to that of the body of the vessel. This coating can be both decorative but also cover up any impurities in the body of the pot to provide a consistent evenly coloured ground, or to just cover up a cheaper fabric. The coating can be further decorated once the slip coating is dry. These come in the form of differently coloured, often simple lines or designs of trailed slip; but these can also be combed, feathered, jewelled or joggled to add further decoration (see Barker 1993, 3-6).

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None of the surviving pieces are particularly large and no overall designs were apparent other than simple trailed slip. The sherds come from both thrown vessels and pressmoulded dishes.

Red Slip-Coated Fine Earthenwares Nine sherds of red slip-coated fineware, weighing 24.9g were recovered. This ceramic type is a thrown earthenware characterised by the use of a dark red slip-coat beneath a clear glaze, over a well-prepared pale fabric (Davey 1988). Whilst many 18th century coarse dark- glazed wares have a pale fabric with a red slip-coating, this ware is principally restricted to fine tableware forms with a very even glossy glaze covering. The use of lead glaze on a thick slip achieves a very even finish, superior to the majority of equivalent dark-glazed tablewares. The glaze is usually an even black but can appear brown in certain lighting conditions.

The red slip-coated fineware is a common find from 18th century deposits in south-west Lancashire and is likely to be a product of the local factories. This is a particularly finely made ware produced in an expensive pale buff firing clay covered with a red slip-coating giving a near black glaze finish; yellow over the un-slipped body of the vessel. Only small fragments survive probably from drinking vessels.

They are often found alongside mottled wares and have a similar date range, although wares of similar description are recorded in several places in the later 18th and into the 19th century. They are found in pre-1726 contexts at South Castle Street; in pit groups from Stafford dated to 1715-20 and also 1790-1810 (Barker and Holland 1986) and in a large pit at Bewsey Old Hall c.1800.

Stoneware There are a total of 44 sherds from various stoneware vessels (weighing 345.73g), recovered from 6 contexts and unstratified deposits, mainly from Trenches II and III.

Total Total Stoneware type number of weight (g) pieces Unclassified late Stoneware 15 175.66 Brown Stoneware 4 18.97 Stoneware jars mainly 15 117.1 jam/marmalade White salt-glazed stoneware 7 25.6 Scratch-blue stoneware 2 3.10 Debased scratch-blue stoneware 1 0.80 44 345.73

Stoneware vessels were impermeable to liquids and made hygienic by their clear, lustrous silica glaze; as a result they vastly changed food storage and consumption habits (Gaimster 1997, 33; Edwards and Hampson 2005, 11).

Stonewares began to be produced in England during the second half of the 17th century and are known to have been produced locally from the 1720s. Stoneware had first been produced in Germany, and German potters retained a virtual monopoly until Staffordshire potters started mass-producing coarse jug, tankard and chamber pots in the 1760s (Hume 1969, 283). During the second half of the 18th century English wares were produced in large numbers many copying the earlier German forms. They were made in various centres

24 including Liverpool and other potteries in south-west Lancashire. By the 19th century much of the production became concentrated in centres such as Staffordshire, with brown stoneware production dominated by the Nottinghamshire and Derbyshire factories. Some production carried on in south-west Lancashire where the potters here concentrated on producing coarser vessels, bottles and drainpipes.

White salt-glazed stoneware Amongst the most interesting fragments from stonewares recovered from the excavation are four small sherds of white salt-glazed stoneware weighing 13.7g. One of these is from a scratch-blue decorated vessel (SF292).

White salt-glazed stoneware is a dense hard pottery firing to an off-white or grey colour; fired at high temperatures to produce vitrified and watertight body after a single firing (Cohen and Hess 1993, 79). It was by far the most important stoneware development in English pottery- making of its time, appearing in archaeological contexts from around 1720 (Hume 1969, 114). White salt-glazed stoneware became the typical English tableware of the mid-18th century especially in the urban setting and with the merchant classes. By the late 1730s block moulds were introduced which enabled a wide range of decoratively shaped vessels to be produced such as plates, mugs, cups, porringers, teapots and tankards could be produced cheaply. The form of the fragments found is had to discern, but a base sherd (SF291) with a diameter of around 80mm is likely to be a drinking vessel or small jug.

Figure 14: Stoneware base fragment with cobalt blue decoration. SF 291

Salt-glazed wares are fired in the kiln, ‘when the correct heat is reached (a white heat), salt is thrown into the oven and upon the fires; this volatilises, and the soda combining with the silica in the clay causes a thin deposit of glass or glaze upon the surfaces of the ware’ (Barnard 1973, 33). This process often produced a characteristic pitted surface on the vessel, similar to that on orange peel.

Scratch-blue stoneware In the mid-18th century white salt-glazed stoneware began to be decorated with incised designs - usually floral motifs - which were filled with cobalt oxide before firing which, if carefully cleaned, produced patterns of thin blue lines (Hume 1969, 117; Cohen and Hess 1993, 80). The technique was used to decorate cups and saucers. Dated examples of scratch blue decorated vessels suggest they were made between 1742 and 1778 (Edwards and Hampson 2005, 28).

Debased scratch-blue stoneware Alongside the fine salt-glazed stoneware is a very small, sherd from a possible debased scratch blue stoneware vessel (SF292), recovered from context [302]. From the 1760s the English potters began to produce debased scratch blue designs ‘in the German manner’, where the excess cobalt blue stain was left roughly covering the areas of the incised design, rather than the clean neat designs on the true scratch blue stonewares. They produced

25 tankards and chamber pots using this technique many bearing the cypher of George III, and a profile portrait of the king, and were exported to America after the revolution.

Later Pottery Creamware There are 82 sherds of creamware, weighing 137g, recovered from 13 contexts. The majority, 42 sherds, were recovered from Trench II with a smaller group from context [302] (10 sherds). All are fairly fragmentary and as with many groups of this type of pottery often difficult to distinguish from later whiter Staffordshire wares.

Creamware is recognised as one of the most successful types of pottery ever made in Britain and was probably the material that lead to the dominance of Staffordshire potters during the nineteenth century. It was made into a huge range of forms (see Barnard 1973, 87), although most commonly it appears as tablewares; plates, cups, jugs and bowls.

Creamware was an easily-manufactured and inexpensive earthenware, with a cream coloured body and a brilliant lead-oxide-based glaze (Cohen and Hess 1993, 29). It was perfected by Josiah Wedgwood in Stoke during the 1760s and made with calcined flint to whiten, harden and stabilise the clay. Unlike some earlier materials such as tin-glazed earthenware it was able to withstand thermal shock, so was used for highly fashionable tea- and coffee-drinking.

Black Basalt A single, small fragment, from a moulded black basalt ware (SF200) was recovered from Trench IV, context [402], weighing 3.7g.

Figure 15: Black basalt moulded stoneware. SF 200

Wedgwood perfected this black coloured stoneware in 1768 (Barnard 1973, 103). He was the first to make and also name the ware calling it ‘Egyptian basalt’ or just ‘basalt’. It is a ‘dry-bodied stoneware’ – fired in a reducing atmosphere to create the black colour (Jewitt 1883, 515; Hume 1969, 121). It was also manufactured by other ‘makers of thrown, cast and engine-turned wares’3 from the later part of the 18th century (Hume 1969, 121); including the Herculaneum Pottery in Liverpool (Smith 1970, 42). Forms included bowls, baskets, inkstands, and butterdishes; as well as the ubiquitous coffee, tea and chocolate pots with cups and saucers (Barnard 1973, 111). The sherd from the excavations is likely to come from one of the latter forms and could date from as early as the later 18th or early 19th century.

3 engine turned: a process of decoration of an unfired, soft clay, vessel; produced mechanically on a lathe by using an ‘eccentric chuck’ (Barnard 1973, 30).

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Staffordshire Pearlware In the late 1770s Wedgwood perfected a whiter firing cheap earthenware body which he initially called ‘Pearl white’ from which we get the name Pearlware (Lewis 1999, 123). It contained a greater proportion of crushed flint and white clay than creamware, to whiten the body. A small trace of cobalt (FRIT) was added to the transparent glaze for a further whitening effect, giving the surface a pearly bluish-white colour, and which made it closer in appearance to the imported porcelain it was imitating.

There are 12 sherds from pearlware vessels, weighing 24.5g, from four contexts; most from Trenches I and IV in front of the mansion.

Staffordshire Whiteware From 1809 a whiter ware with less cobalt in the glaze was also developed. The gradual whitening of the pearlware glaze by the 1840s resulted in the standard white earthenwares, which became the backbone of pottery manufacture from the 1830s onwards. As a result it overtook the stonewares and early earthenwares, and helped create a wider market for colourful wares (Hughes 1959, 26; Henrywood 1997, 172). These, ubiquitous, Staffordshire whitewares came to dominate the world market.

There are 158 sherds from Staffordshire whitewares or English China, weighing 492.62g, which have received no further recording as a result.

Much of the pottery produced during the early part of the 19th century is familiar today, with shell-edged plates and transfer-printed designs in a range of colours but often blue; such as the willow pattern developed at this time.

Shell-edged earthenwares There are 23 sherds with shell-edged decoration, weighing 60g, from six contexts, mostly from context 205 in Trench II.

The shell-edged rim, painted in blue, or less frequently in green, was used commonly on pearlware plates (Hume 2001, 227-9). It is an easily identifiable form of decoration, but only appears of the plate rims and some of the plain pearlware vessels may also have had this type of decoration.

Dipped Earthenware (including mocha decoration) There are 17 fragments, from dipped earthenwares, weighing 40.42g, from eight contexts and unstratified; but none have more than four sherds. Almost half were recovered from Trench II.

The earliest types of dipped ware4 from the 1770s involved slip-marbling and engine turning, banding, cabling and combing accomplished on a horizontal lathe by a turner (Lewis 1999, 186). They often have a band of slip across the middle of the vessel which is often highly decorated. An enormous quantity of these wares were exported to America, where it was often used in inns, ale and coffee houses.

Under-glaze Transfer-printed wares Alongside the development of the new cheap and lightweight pottery types, manufacturers also made efforts to provide a cheaper method of decoration. Transfer-printing, invented during the mid-18th century, enabled designs to be reproduced quickly and cheaply, on large numbers of vessels and in various colours although blue is the most common. From this time transfer-printed earthenwares have been produced in huge quantities at factories all over

4 a dip being synonymous with slip in 18th and 19th century references.

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Britain. The ‘Willow Pattern’, which was standardised by 1790, was in common use by 1820 and continues to be produced today (Henrywood 1997, 63).

Under-glaze Hand-painted earthenware There are 10 fragments, from hand-painted earthenwares, weighing 29.67g, from 11 contexts; but none have more than three sherds.

During the early 19th century the fashion for hand-painted jugs diminished, reflecting the high cost of skilled workmanship and the natural tendency for potters to concentrate on more easily produced printed wares (Henrywood 1997, 19). The quality of the hand-painted wares that continued to be produced deteriorated steadily throughout the century (Henrywood 1997, 19, 23).

Porcelain There are 15 sherds of porcelain, weighing 90.73g, nine from Trench II. Much of it is plain and undecorated from modern cups, however there are three tiny fragments from finer hand- painted vessels. One from Trench IV and two from Trench III. The latter context may suggest a relatively early date for those sherds.

Unglazed pottery Utilitarian, undecorated, unglazed flowerpot sherds form over 65% of the total pottery recovered (1307 sherds, weighing 11921.40g); with over 95% of it (1266 sherds) excavated from Trench II. ‘Many archaeologists relegate these items to the status of recent artefacts and make little attempt to examine them in relation to their form, fabric or excavation context’ (Currie 1993, 227). Flowerpots are generally considered to be of low status, and amongst their more functional uses they were used to grow plants on, or as a vessel to transport plants. It is not surprising that sherds of this type, such items were used for moving plants between the nursery and garden, have been found in such large numbers, especially following the demolition of the glass houses in the park in the 1980s.

Figure 16: flowerpot fragments from Trench II. SF13

Flowerpots shaped like a truncated cone with a thickened rim and a small hole in the bottom, which come in a range of sizes have been made in similar shapes since the 18th century. It is one of the easiest ceramic objects to manufacture, fired at low temperatures and often using the poorest clays (Hume 1969, 223).

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Many of the flowerpots from the Park carry the mark of Richard Sankey & Son Ltd. They are probably the best known maker of these type of plant pots, used as general purpose plant pots. The firm was founded in 1855 at Bulwell on the outskirts of Nottingham and their earthenware pots are stamped with the letters 'Sankeys Bulwell Nottingham' around the full circumference of the pot just beneath the rim. Production of earthenware pots by Sankey ceased in the early 1980s and they now make plastic planters.

Other Ceramics There are 35 pieces from other ceramics, of which 30 weighing 5394.6g, are brick. The majority of this is from Trenches I and II. Most of the brick is fragmentary and broken with very few diagnostic pieces, although a number have an unusual square profile (e.g. SF115). One, a more complete piece, is a wedge-shape suggesting it comes from an architectural arch; possibly over a window or doorway (SF101) context [143].

There are also three pieces from stoneware drainpipes and a single fragment form a possible saggar all from Trench II.

Clay Tobacco Pipes Some of the most interesting finds were fragments of clay tobacco pipe. There were 43 pieces recovered from 11 contexts, weighing 84.6g. By far the majority were recovered from Trench III, with 25 pieces, suggesting they may be of 18th century date. The stamped and decorative moulded pieces, which are likely to be of 19th century in date, were recovered from Trenches I and IV.

Three stems were moulded with relief stamps of the makers name on the stem. These included T.Morgan Liverpool (SF179 Trench IV context [402]), W.Morgan Liverpool (SF201 Trench I context [131]), and Morgan (SF186 from context [402]) with the intial lost in the break.

Figure 17: T.MORGA… SF179 Figure 18: W.MO…. SF201

There are several Morgans listed as pipemakers in Gore’s Liverpool trade directory of 1790 and 1796, including Thomas at 33, John Street, and William Morgan at 40, Harrington Street respectively (as shown below).

Figure 19: Thomas and William Morgan in Gore’s directory 1790

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In 1796, Thomas is listed at 9, Cook Street and William at 6, Gradwell Street, Hanover Street.

Figure 20: Thomas Morgan in Gore’s directory 1796

William Morgan is also listed as having a pipe manufactory on Parliament Street.

Figure 21: William Morgan in Gore’s directory 1796

Neither are listed in the 1821 directory, although Eliza Morgan, pipemaker, is listed at the pipe manufactory at 6, Gradwell Street.

By the end of the eighteenth century moulded decoration on pipe bowls had become extremely common and a wide variety of regional patterns and designs were produced including a range of Masonic emblems. Masonic designs were very common, and made by numerous factories.

Figure 22: pipe bowl fragment with masonic decoration. SF213

Glass There are 252 pieces of glass, weighing 2456.21g, recovered from 17 contexts and unstratified deposits. 159 were recovered from Trench II, although larger pieces including two complete modern bottles were excavated in Trench I.

The most significant glass find is the base of a late 18th or early 19th century dark brown glass bottle (SF122) (fig 23). This example has a basal diameter of 89mm. It has a domed

30 kick-up, and a slight sag at the base heel (Jones 1986, 95 – figure 66 type a). This form remained common until the 1820s (Jones 1986, 91). No pontil scar is evident, suggesting either that the bottle did not require further finishing once it was blown, or that it was held to be moved by a ‘snap’ rather than a pontil, the former leaving no mark. This would place the date of the bottle a little later, in the 1830s onwards, but a conical kick-up would be more likely at a later date. A further fragment of a dark green bottle base (SF 199) is likely to be 19th century in date, but the find is very fragmentary.

Figure 23: late 18th or early 19th century cylindrical glass bottle base. SF122

Several later glass bottles are mould blown and have embossed lettering. A fragment of pale blue bottle (SF330) reads ‘John’ on the bottle wall; two dark green bottle bases (SF1) read ‘CB&CO. N’ and ‘…S LTD. …STH’ respectively; a clear glass bottle (SF 396) reads ‘…VEPPES’, doubtless ‘SCHWEPPES’.

A glass marble was found in Trench I (SF 378).

A complete green glass modern beer bottle (SF332) was found in Trench I. It has braille-like dots on the heel of the bottle, known as ‘mould’ or ‘heel’ codes, are simply a pattern referencing the mould in which the bottle was made. The dots are part of an automated system to monitor the quality of the bottles, and any defects, made from each mould and are important considering that numerous moulds for different bottle styles can be used during a single production run.

Metalwork There are 39 fragments of metal weighing, 2937.5. They ranged from galvanised rivets, nails and screws to unrecognisable iron objects largely very rusty and corroded. One piece described by one volunteer as ‘shrapnel’; although this is uncertain. Over half were recovered from the dump of garden waste material in Trench II. None of it appears to

31 predate the 19th century and a screw fixed into a plastic wall plug recovered from Trench I shows how modern much of the material recovered was.

One unusual find was a rolled sheet brass lipstick tube (SF305) that still contained pink lipstick, recovered from Trench III.

Coins Whilst the coins from Calderstones Park are very modern, reflecting the nature of the archaeology uncovered, there are a number of features on them which we can examine using techniques that we would use on much older and usually undated coins.

There were 10 coins recovered from the excavations, eight from the very modern period with one from 1968 and the oldest dated 1899.

One Penny 1899 (SF410) The oldest coin was recovered from Trench III, but unfortunately in unstratified deposits. It is a ‘One Penny’ coin, dated 1899, from the reign of Queen Victoria (fig 24). The coin carries the ‘Victoria Old Head issue’, which was used between 1885 and 1901 and is recorded in the Spink catalogue as being 'generally extremely rare for all denominations' (Skingley 2009, 457 - no 3961). The coin survives in poor condition.

Figure 24: SF 410, 1899 penny. 31mm diam. Figure 25: SF 368, 1968 10p coin. 29mm diam.

10p coin date 1968 (SF368) This example is a larger version of the 10p coin, first introduced in 1968, three years before the introduction of decimal coinage in 1971 (fig 25) (Skingley 2009, 493). It was produced to replace the old Florin, a two shilling coin, although the old coin continued to be used alongside the new 10p coin until 1993. Before January 2012 10p coins were made of Cupronickel (75% copper and 25% nickel), more recent coins have been made of nickel- plated steel.

2p coins There are three 2p coins dating from between 1971 and 1987. SF52 - 2p coin dated 1971 NEW PENCE (fig 26) SF392 - 2p coin dated 1976 NEW PENCE SF152 - 2p coin dated 1987 TWO PENCE

The 2p coin was one of three new coins introduced into general circulation on 15 February 1971 when the United Kingdom adopted the new decimal currency system. The other two

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1 new coins were the /2p and 1p coins. To avoid confusion between the old and new coinage all three coins had the word 'NEW' incorporated into the reverse design until 1982. It was originally made of bronze (97% copper, 2.5% zinc, 0.5% tin) until September 1992 and since then copper-plated steel, except in 1998 when the 2p was made in both alloys.

Figure 26: SF 52, 1971 2p coin. 26mm diam

5p coin dated 1990 (SF255) The small 5p coin was introduced in June 1990, replacing the larger 5p coin which had originally been issued in 1968 to replace the old one shilling coin. However, the shilling continued to be used alongside the 5p coin until 1990. They were originally made of cupronickel but since 2012 have been made of nickel-plated steel.

20p coin dated 2009 (SF157) After a review of the coinage in the late 1970s it was proposed that the introduction of a 20p piece would substantially reduce the weight of coins in the system by decreasing the number of 10p coins in use. The coin was first issued in 1982 and is made from Cupronickel (84% copper,16% nickel). In 2008 the original Crowned Tudor Rose design was replaced by the partial heraldic shield present on this example.

Pound coins There are two one pound coins: SF393 £1 coin dated 1985 SF390 £1 coin dated 2009 The one pound coin came into existence on 21 April 1983, replacing the Pound Note. The coin was considered more economic, lasted longer and more compatible with the growing number of vending machines. To make it easy to identify, the £1 coin is thicker than other coins while the 'yellow' colour allowed it to stand out from the cupronickel 'silver' coins already in circulation.

The reverse designs represent the United Kingdom and its four constituent parts - Scotland, Wales, Northern Ireland and England. The first series of designs took floral emblems as its theme, while the second series was heraldic in approach. This coin has the Shield of the Royal Arms representing the United Kingdom, which was used between 2008-14.

Aluminium Cans There are four pieces recorded from aluminium drinks cans weighing 49.0g, recovered from Trenches I and IV. These are mostly fragmentary represented by ring-pulls or broken pieces but one near complete squashed ‘Fanta’ orange can was excavated (SF354). These finds are indicative of the nature of the archaeology in these two trenches.

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In most cases such modern finds have received little attention and indeed on most sites, however, over recent years there has been a recognition that finds of a much more recent date should be included within archaeological examination. One of the most readily datable artefacts of this period is the aluminium drinks can. Flat topped beer cans were introduced into Britain during the 1950s and the materials used to make them, their use, construction and form have changed quite dramatically over time.

One part of the can which has received some analysis is the ring-pull, which was first introduced between 1961 and 1963, with the ‘retained ring-pull’ coming into regular use between 1989 and 1990. The shape and size of the ring-pull for soft drinks and alcoholic drinks is different and has changed over time. Typologies of American and Dutch ring-pulls exist (fig 27).

Figure 27: typologies of ring pulls

Plastic There are 19 plastic objects, weighing 69.6g, from a variety of objects very much representing the picnic life of the park, including a lollipop stick, crisp and sweet wrappers and coffee cup lids - and even the remains of a hairband, a plastic bead and a rawlplug with attached screw.

Sweet and crisp packets are often used by archaeologists to throw back into the trench prior to it being back filled, often alongside modern coins, to help future archaeologists date the intervention on the site. The ‘best before’ date stamp, providing the necessary dating evidence. Intriguingly the examples excavated from Calderstones Park are either unreadable or do not have a year printed.

Most where recovered from Trenches I and IV, with a comb from Trench III.

N ARE CTX MAT TYP CLS Site Notes TOT WT O A T 16 Plastic Personal Yellow IV 400 1.00 2.40 1 Ornament Bead 16 Plastic Lollipop stick hollow IV 400 1.00 0.70 5 24 Plastic Hairban I 106 1.00 32.50 5 & d Fabric

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N ARE CTX MAT TYP CLS Site Notes TOT WT O A T 24 Plastic Crisp I 106 Quavers (Commodore Amiga 2.00 4.00 6 packets promotional packet) & Ringo's 25 Plastic Dark green Tip I 106 1.00 0.60 6 26 Plastic Sheaf I 106 Probably from cable 1.00 1.10 0 26 Iron & Screw I 106 1.00 4.70 8 plastic attached to plastic wall plug 29 Plastic Comb III 302 1.00 5.90 8 33 Plastic Coffee cup I 115 one of number of examples of these 1.00 1.70 3 lid lids recovered blown from the nearby café 35 Plastic Bottle I 100 Oxysept disinfecting 1.00 3.00 3 solution/neutraliser for contact lenses 38 Plastic Crisp & I 110 Taverners' Chocolate Limes; Golden 4.00 6.70 7 sweet Wonder Ready Salted & Sausage + packets flavours 38 Plastic Crisp & I 100 Twix & Golden Wonder cheese & 4.00 6.30 9 sweet onion x2 (best before 24 Oct DC) + wrappers prawn cocktail? (bb 17DEC CI) with Lea & Perrins Worcestershire sauce bottle on back 19 69.6

Alongside the coffee cup lids a number of tiny fragments from polystyrene cups were recovered.

‘Pearl’ Bead A single imitation pearl bead (SF71) was recovered from context [207], weighing 0.4g. This was located within very mixed rubbish deposits of Trench II.

Coal and Industrial Waste There were 29 pieces of coal recovered, weighing 216.9g, from all four trenches with a further 14 pieces of clinker or burnt coal, weighing 91.1g, all from Trench II and indicating the burning of rubbish or additional waste from coals fires was also spread in that area.

There were 51 pieces which could be described as industrial waste, weighing 1322.4g; pieces of burnt or fused material, all of it recovered from Trench II. This is likely to be slag and coke; more likely the waste products from a fire or stove than industrial activity.

Stone Flint Whilst ten pieces of flint was recovered, none of it appears to have been worked, and it represents naturally occurring nodules; probably imported as part of the gardening activities.

Slate Alongside the other building material are 65 small fragments of Welsh roofing slate, weighing 1294.23g, indicative of repairs to the building.

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Chalk Three pieces of chalk were recovered from Trench II, possibly used in the potting sheds or at some random educational event in the park.

Electric Cable A short section of electric cabling (SF356) was recovered from Trench I. The wiring is red and black. Wires in domestic appliances changed in 1977 with introduction of the blue and brown wiring. Red and black cables were still used for mains wiring up to 2004. This short section of cable is therefore modern

Organic Material Organic material survives very poorly on most sites in Merseyside unless preserved in some way either in waterlogged deposits or burnt material.

There are four fragments of bone, weighing 7.25g, two of the smaller pieces are burnt but weigh less than a gram; but one of which shows butchery marks (SF192).

All of the seven fragments of wood recovered were from context [207]; suggesting the wood was from one phase of clearance and dumping.

A single tiny fragment of water-worn shell (SF133) is likely to come from gardening activity.

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6. Conclusions The Calderstones Park Community Dig, known as the ‘Caldies Big Dig’ www.caldiesbigdig.org.uk set out to investigate the long history of Calderstones Park through a series of small excavations around the park. This aimed primarily to investigate the mercantile era use of the area of Calderstones Park, but the archaeological team were highly aware that excavations were taking place within a known prehistoric landscape which incorporates the, now lost, burial tomb of the Calderstones; the lost Pykeloo Hill, the site of the discovery of the Wavertree urns, and is reinforced by chance prehistoric finds from Allerton, Wavertree and Childwall (HER refs 4188-01, 4188-02, 4188-11 and 4188-24).

Through the present work of the Reader Organisation within the park, plans are evolving for the movement of the Calderstones to a new and more appropriate location within the park. Some of the locations of the trenches were therefore placed to test the archaeological sensitivity of potential areas for relocation of the stones, as presented for community consultation by the Reader Organisation in 2014.

A final and central strand of the project was to engage local people in the process and practices of archaeology through participation in preliminary research, geophysics, excavation, and post excavation work. Although no highly significant archaeological features were identified during the excavations, the community project overall proved to be a huge success with positive feedback given from both volunteers and the general public.

The four trenches excavated presented different elements of the history of the park, and each was characterised by different types of structural remains and finds. Trench I was placed within 25m of the mansion house. Calderstones House, locally known as the ‘mansion house’ was built in the 1820s, and the earliest finds from Trench I are broadly contemporary with that, such as the bottle base (SF122), salt-glazed stoneware (SF 285) and darkware (SFs 204, 283, 338, 343, 345 and 373). These finds may relate to wider landscaping in the construction process.

Trench II to the rear of the mansion house found no evidence directly associated with either the early history of the mansion house or the farmhouse which pre-dated the mansion, probably on a site to the rear (east) of the present building, and further east than Trench II. The most significant features in this trench were the three parallel trenches which contained significant amounts of unglazed plant pot ceramics. These were interpreted as possible Second World War ‘dig for victory’ cultivation trenches. While there is no close dating evidence to confirm this, oral history interviews undertaken by the Reader Organisation as part of the ‘Connect at Calderstones’ HLF-funded project have provided evidence of extensive use of the park for cultivation of food during the War.

Trench III was located in the north of the park, and was sited to investigate an enclosure marked on the 1st edition OS map. While no remains were found of this probably insubstantial structure, a small but interesting group of 18th century ceramics were discovered within the trench, although in mixed layers along with modern material. These may relate to 18th century farming in the area, and the use of mixed waste from Liverpool was spread on fields as fertiliser, and this would have contained small fragments of ceramics broken in domestic settings and thrown away.

Trench IV was placed against the ‘haha’ in front of the mansion house. This aimed to reveal more about the construction of the sunken wall garden feature. Calderstones is a late example of a landscape garden with a ha-ha, and doesn’t feature examples of classical buildings or sculpture which many earlier gardens with hahas would, and there is little evicence that this was ever part of the scheme for the landscape garden. At Calderstones the Walker family who built the mansion house laid out an informal park garden in an area

37 which is unlikely to have had any pre-existing structures. They included some fashionable features including the haha, an ice house and avenues of trees.

The lack of early finds was not entirely surprising as three of the trenches were placed close to the mansion house, an area which would have been disturbed during the construction and through the phases of use of the house. The more modern finds, however, provided a rich assemblage for volunteers to use in developing their excavation, identification, interpretation and collections management skills.

The excavations have highlighted a theoretical issue within archaeology about whether archaeological evidence has an ‘end date’. In July 2006 archaeologists from the University of Bristol and Atkins Heritage, a contemporary archaeology project with a difference. They "excavated" a 1991 Ford Transit van, used by archaeologists and later by works and maintenance teams at the Ironbridge Museum (Bailey, Newland, Nilsson, and Schofield 2009). Newland was quoted as saying "Archaeology concerns the interpretation of material culture in pursuit of understanding. That material can be van just as a prehistoric ditch or settlement." This fits into a theoretical approach that ‘archaeology ended yesterday’ – and that we shouldn’t edit archaeology by excluding the modern as archaeology, it should be a study of ‘humanity in its entirety, from the Palaeolithic to the most recent events’. However, practicalities and expense often exclude the analysis of modern materials especially in the modern commercial archaeological world were the pressure to get off site and reduce costs to the minimum exclude the opportunity to ‘waste time’ looking at everyday modern artefacts.

The group of finds recovered from Calderstones has been used to interpret different phases of the history of the park, and evidence the agricultural, domestic, and leisure functions that this land has provided over the last 300 years.

Further investigations within the park could help enhance this understanding in more detail. There was not time within the present project to investigate the demolished lodge to the west of the park; the farmhouse site to the east of the mansion house; possible earlier sites for the Calderstones themselves; or the large more open area of the south of the park.

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7. Acknowledgements

The project was sponsored by the Heritage Lottery Fund via the Reader Organisation’s ‘Connect at Calderstones’ project. Particular thanks are due to Richard MacDonald for his assistance during the excavation and in project planning. Thanks to Liverpool City Council, especially Alan Smith and Christina Williams who provided the permission to excavate in the park, and enabled the transfer of the finds to the collections of the Museum of Liverpool.

A total of 35 volunteers worked on the site. Caldies Big Dig Participants 2015 were as follows:

Susan Anderson, Nadia Barnett, Ray Bawley, Katherine Bellamy, Charlene Carden, Frances Carleton, Martin Cooper, Ben Davis, Joyce Flynn, Sophie Flynn, Paul Gatenby, Sue Harper, Christine Hill Lynda Hill, Louise Jones, Lucy Jones, Mike Jones James Joyce, Paul Kitchen, Ann Large, James Lawler, Jude Lennon, Penny Mitchell, Carol Moscardini, Eric Murphy, Kate Owens, Heather Reade John Reed, Dave Rickus, Philip Roskell, Cindy Sharkey, Murray Silver, Helen Silver, Ken Sloan, Marion Worth, Hannah White, Kathryn White and Brian Williams.

Many of these individuals assisted with additional research and post-excavation work, experiencing a range of different types of archaeological work.

Apologies to anyone omitted, any omissions or mistakes are the authors’.

In addition to those taking part directly the excavation was visited by many local, casual visitors and numerous school groups taking an interest in the work; estimated visitor figures were in excess of 1500 over the three week project.

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8. Bibliography

Adams M. 2015. 168 Calderstones Park. A Geophysical Survey at Calderstones Park, Allerton, Merseyside. NGR SJ 406 874. ASNML.

Allerton Oak http://www.allertonoak.com/AMH/12Parks.html

Bailey, G, Newland, C, Nilsson, A & Schofield, J 2009. ‘Transit, Transition Excavating J641 VUJ.’. Cambridge Archaeological Journal, vol. 19. pp. 1-27

Barker D. 1993. Slipwares Shire Album 297 Shire Publications, Princes Risborough.

Barnard H. 1973. (republished from a work of 1924) Chats on Wedgwood Ware. T Fisher Unwin Ltd republished EP Publishing. London.

Black J. 2001. British Tin-Glazed Earthenware. Shire Publications. Princes Risborough.

Bedford J. 1966. Delftware: Collectors Pieces 7. Cassell. London

Cohen D. H. and Hess C. 1993. Looking at European Ceramics. A guide to technical terms, The J. Paul Getty Museum, Malibu, California (in association with the British Museum Press).

Cowell R.C. 2008. The Calderstones: A Prehistoric Tomb in Liverpool. Merseyside Archaeological Society.

Currie C.K. 1993. ‘The archaeology of the flowerpot in England and Wales c. 1650-1950 Appendix 3: Richard Sankey and Son Ltd., Bulwell, Nottingham’. Garden History vol. 21.2. pp 227-46.

Ecroyd Smith H. 1868. ‘An Ancient British Cemetery at Wavertree’. Historic Society of Lancashire and Cheshire vol 20, New Series 8. pp 131-46.

Edwards D. and Hampson R. 2005. White Salt-Glazed Stoneware of the British Isles. Antique Collectors’ Club Suffolk.

Falkner B.M. 2010. ‘An Analysis of Three 19th Century Pictures of the Calderstones’ Journal of the Merseyside Archaeological Society vol. 13. pp 68-76

Farrer W. & Brownbill J. 1907. A History of the County of Lancaster: Volume 3. Victoria County History. London.

Fisher S.W. 1971. A Start to Collecting English Pottery and Porcelain. London.

Garner, F.H. English Delftware. Faber and Faber. London.

Gore’s Liverpool trade directory of 1790

Gore’s Liverpool trade directory of 1796

Gore’s Liverpool trade directory of 1821

Gregson M. 1817. A Portfolio of fragments relative to the history and antiquities of the county Palatine and duchy of Lancaster. Liverpool.

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Hall B.R. & Folland C.J. 1970. Soils of Lancashire. Soil Survey of England & Wales.

Hash G. & Stanford A. 2010. ‘Recording Images Old and New on the Calderstones in Liverpool’. Journal of the Merseyside Archaeological Society vol. 13. pp 51-67.

Hume I.N. 1969 (re-issued 2001). A Guide to Artefacts of Colonial America. University of Pensylvania Press. Philadelphia.

Jewitt L. 1883. The Ceramic Art of Great Britain. London.

Jones, Olive R. 1986. Cylindrical English Wine and Beer Bottles 1735-1850. Environment Canada – Parks. Ottawa.

Lewis G. 1999. A Collectors History of English Pottery; 5th Edition. Antique Collectors Club. Suffolk.

Liverpool Parks http://www.liverpoolparks.org/red/docs/parks/calderstones_park/

Mayer J. 1855. ‘On Liverpool Pottery’. Transactions of the Historic Society of Lancashire and Cheshire, vol. 7. pp 178-210.

Mayer J. 1871. ‘On The Art of Pottery’ Transactions of the Historic Society of Lancashire and Cheshire. New Series Vol 11 for 1870-71. pp. 47-86.

Randall-Smith, A. 2013. Desk-Based Assessment: Calderstones Park, Liverpool, Merseyside. Unpublished grey literature.

Rathje W. and Murphy C. 2001. Rubbish! The Archaeology of Garbage. The University of Arizona Press.

Rathje, W.L. 1996 ‘The archaeology of us’ in Ciegelski, C. (ed.) 1996, Encyclopaedia Britannica's Yearbook of Science and the Future--1997 (New York, Encyclopaedia Britannica), 158-177.

Ray A. 1994. Liverpool Printed Tiles. Jonathan Horne Publications. London.

Ray A. 2000. English Delftware. Ashmolean Museum. Oxford Handbook, in association with Jonathan Horne Publishing. London.

Roberts D.J. ‘A Discussion Regarding the Prehistoric Origins of Calderstones Park’. Journal of the Merseyside Archaeological Society vol. 13. pp 77-86. http://www.royalmint.com/discover/uk-coins/coin-design-and-specifications/

Smith A. 1960. Liverpool Pottery. City of Liverpool Museums. Liverpool.

Skingley, P.(ed) 2009. Coins of England and the United Kingdom. Spink. London.

Tyrer F. 1968. The Great Diurnal of Nicholas Blundell of Little Crosby, Lancashire vol. one 1702-11 Rec Soc Lancashire Cheshire 110. http://www.academia.edu/7435207/A_typology_of_pulltabs_in_the_Netherlands_version_1.0

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9. Historic Maps of the area

Figure 28: 1768 Yates and Perry Map of Liverpool and Environs

Figure 29: 1786 Yates Map of Lancashire

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Figure 30: 1830 Hennet Map of Lancashire

Figure 31: 1839 Bennison

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Figure 32: 1850 first edition Ordnance Survey Map, sheet 106

Figure 33: 1893 Ordnance Survey Map

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Figure 34: 1925 Liverpool South Docks Sefton, revised 1938

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10. Results of the Geophysical Survey

Figure 35: Location and orientation of magnetometery grids. Ordnance Survey © Crown Copyright 2015. All rights reserved. Licence number 100022432

Figure 36: Grid 1, greyscale plot of processed data. Survey © Crown Copyright 2015. All rights reserved. Licence number 100022432

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Figure 37: Grid 1, interpretative plot of geophysical survey. Survey © Crown Copyright 2015. All rights reserved. Licence number 100022432

Figure 38: Grid 2, greyscale plot of processed data. Survey © Crown Copyright 2015. All rights reserved. Licence number 100022432

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Figure 39: Grid 2, interpretative plot of geophysical survey. Survey © Crown Copyright 2015. All rights reserved. Licence number 100022432