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For the last five years, | 0:00:11 | 0:00:14 | |
archaeologists have been conducting the most far-reaching investigation | 0:00:14 | 0:00:18 | |
of the Stonehenge site ever attempted. | 0:00:18 | 0:00:21 | |
With state-of-the-art technology, | 0:00:30 | 0:00:33 | |
they've investigated every monument | 0:00:33 | 0:00:37 | |
both visible and invisible | 0:00:37 | 0:00:40 | |
around the stone circle. | 0:00:40 | 0:00:42 | |
It's an all-encompassing approach that could finally unlock | 0:00:43 | 0:00:47 | |
the mystery of the enigmatic stones | 0:00:47 | 0:00:50 | |
and the prehistoric culture that flourished around them. | 0:00:50 | 0:00:53 | |
The ground-breaking work has already helped chart | 0:00:58 | 0:01:01 | |
the first 6,000 years of the Stonehenge story. | 0:01:01 | 0:01:04 | |
Now the focus has shifted to unlocking | 0:01:06 | 0:01:08 | |
the secrets of the iconic monument itself. | 0:01:08 | 0:01:11 | |
How was it designed? | 0:01:14 | 0:01:16 | |
The Neolithic people had an architect, | 0:01:19 | 0:01:21 | |
a surveyor and a builder. | 0:01:21 | 0:01:24 | |
How did it look? | 0:01:24 | 0:01:25 | |
Just imagine how amazing Stonehenge would have looked with all of these | 0:01:25 | 0:01:29 | |
cut surfaces glistening white in the sun. | 0:01:29 | 0:01:32 | |
And what was it used for? | 0:01:32 | 0:01:34 | |
To be buried in that ditch at Stonehenge | 0:01:34 | 0:01:37 | |
suggests we have a sacrificial victim. | 0:01:37 | 0:01:40 | |
An unprecedented level of new research, | 0:01:50 | 0:01:53 | |
the latest remote sensing equipment | 0:01:53 | 0:01:55 | |
and fresh discoveries | 0:01:55 | 0:01:58 | |
has produced a more detailed and revealing picture of Stonehenge | 0:01:58 | 0:02:04 | |
and its people | 0:02:04 | 0:02:07 | |
than ever before. | 0:02:07 | 0:02:08 | |
For hundreds of years, | 0:02:30 | 0:02:32 | |
experts and amateurs alike | 0:02:32 | 0:02:35 | |
have tried to solve the enigma of Stonehenge. | 0:02:35 | 0:02:39 | |
Some of its mysteries have been explained... | 0:02:41 | 0:02:44 | |
..but the whole picture remained elusive. | 0:02:48 | 0:02:51 | |
Now a group of specialists known as the Hidden Landscapes Project, | 0:02:56 | 0:03:00 | |
led by Birmingham University and the Ludwig Boltzmann Institute | 0:03:00 | 0:03:05 | |
in Austria, have taken a purely scientific approach to solving | 0:03:05 | 0:03:09 | |
how Stonehenge was built | 0:03:09 | 0:03:12 | |
and what it was used for. | 0:03:12 | 0:03:15 | |
If you were to focus on excavation, you would by necessity end up | 0:03:18 | 0:03:22 | |
focusing on particular monuments and particular sites. | 0:03:22 | 0:03:25 | |
By surveying nearly 10 square km, | 0:03:25 | 0:03:28 | |
we can actually look at the entirety of that landscape. | 0:03:28 | 0:03:31 | |
Using the data from their ground penetrating equipment... | 0:03:36 | 0:03:40 | |
..the team have created a multi layered digital map | 0:03:43 | 0:03:47 | |
of a 10 square km area around Stonehenge. | 0:03:47 | 0:03:51 | |
If you walk around this landscape, you see some protected monuments | 0:03:54 | 0:03:59 | |
covered by grass, but if you are going to put your magnetic eyes on, | 0:03:59 | 0:04:03 | |
you see much more details | 0:04:03 | 0:04:06 | |
and also the inner structure of this monument. | 0:04:06 | 0:04:08 | |
The archaeologists have already thrown fresh light on the key events | 0:04:11 | 0:04:14 | |
that led to the raising of the stones. | 0:04:14 | 0:04:17 | |
Evidence of a 9,000-year-old settlement | 0:04:19 | 0:04:22 | |
and a newly discovered natural phenomenon | 0:04:22 | 0:04:25 | |
has suggested why of all the places in Britain, | 0:04:25 | 0:04:28 | |
Stonehenge was built where it was. | 0:04:28 | 0:04:31 | |
This is a place where memories and traditions start. | 0:04:33 | 0:04:36 | |
Stonehenge isn't just a new build, it's in response to something. | 0:04:36 | 0:04:41 | |
Traces of a communal tomb detected in a seemingly empty field | 0:04:43 | 0:04:48 | |
have shown how the ritualistic use of the landscape | 0:04:48 | 0:04:51 | |
began 1,000 years before the stone circle was raised. | 0:04:51 | 0:04:54 | |
They covered the whole thing with a big mound | 0:04:56 | 0:04:59 | |
forming this long barrow, a house for the dead people. | 0:04:59 | 0:05:02 | |
And the discovery of a myriad of hidden temples and shrines | 0:05:04 | 0:05:07 | |
has shown that Stonehenge is not alone and never has been. | 0:05:07 | 0:05:12 | |
Rather than seeing Stonehenge standing uniquely in the plain, | 0:05:15 | 0:05:19 | |
we now start to see that there are a series of similar monuments. | 0:05:19 | 0:05:23 | |
It begins to give us an insight | 0:05:24 | 0:05:26 | |
into how the wider landscape was used at the time | 0:05:26 | 0:05:30 | |
that Stonehenge was developing into the monument you see today. | 0:05:30 | 0:05:34 | |
With the first 6,000 years mapped out, | 0:05:36 | 0:05:40 | |
the rest of the Stonehenge story is now ready to be told. | 0:05:40 | 0:05:44 | |
To better understand the period leading up | 0:05:50 | 0:05:52 | |
to the raising of the stone circle... | 0:05:52 | 0:05:54 | |
..Dr Henry Chapman concentrated on one of the largest monuments | 0:05:57 | 0:06:01 | |
surveyed by the Hidden Landscapes Project. | 0:06:01 | 0:06:04 | |
Lying 3 km to the north-east is Durrington Walls. | 0:06:06 | 0:06:11 | |
Its 500m wide circular ditch and bank | 0:06:16 | 0:06:18 | |
make it the largest monument of its type in Britain. | 0:06:18 | 0:06:23 | |
Durrington Walls is a huge, huge henge. | 0:06:26 | 0:06:30 | |
It's dated from the middle of the third millennium. | 0:06:33 | 0:06:36 | |
round about the early stages of Stonehenge. | 0:06:36 | 0:06:38 | |
Giant monuments like Durrington Walls | 0:06:38 | 0:06:41 | |
were the product of emerging hierarchies | 0:06:41 | 0:06:44 | |
who wanted to demonstrate their authority in the region. | 0:06:44 | 0:06:47 | |
Clearly some very, very powerful people around at that time | 0:06:47 | 0:06:50 | |
who are able to control resources, | 0:06:50 | 0:06:53 | |
control the labour force, | 0:06:53 | 0:06:55 | |
to create some of the largest monuments we've ever seen. | 0:06:55 | 0:06:59 | |
What Durrington I think is showing is that although | 0:06:59 | 0:07:02 | |
it's just that one point which we understand, | 0:07:02 | 0:07:04 | |
it's got ramifications for the whole of the Stonehenge landscape. | 0:07:04 | 0:07:07 | |
It was this drive to build ever more spectacular monuments | 0:07:09 | 0:07:13 | |
that pushed the builders towards the ultimate expression | 0:07:13 | 0:07:17 | |
of prehistoric building prowess - Stonehenge. | 0:07:17 | 0:07:21 | |
It's possible to imagine a level of competition between different groups | 0:07:21 | 0:07:25 | |
in southern Britain, | 0:07:25 | 0:07:26 | |
and this might be related to increasing political centralisation, | 0:07:26 | 0:07:31 | |
order and control. | 0:07:31 | 0:07:32 | |
It might be related to a greater sense of identity | 0:07:32 | 0:07:36 | |
among the different groups that occupy the wider landscape. | 0:07:36 | 0:07:40 | |
Now in that context, the construction of this extraordinary building | 0:07:40 | 0:07:44 | |
of Stonehenge marks a kind of exponential increase | 0:07:44 | 0:07:48 | |
in terms of the scale of the enterprise | 0:07:48 | 0:07:50 | |
and from the point of view of competition, | 0:07:50 | 0:07:52 | |
very difficult to compete with. | 0:07:52 | 0:07:54 | |
The raising of Stonehenge's megaliths | 0:07:58 | 0:08:00 | |
began around 4,600 years ago. | 0:08:00 | 0:08:03 | |
Made of a dense sandstone known as sarsen, | 0:08:08 | 0:08:11 | |
the biggest of the megaliths weighed almost 40 tonnes. | 0:08:11 | 0:08:15 | |
No large deposits of sarsen have been found | 0:08:21 | 0:08:23 | |
in the vicinity of Stonehenge, | 0:08:23 | 0:08:25 | |
and it's wildly accepted that the enormous building blocks | 0:08:25 | 0:08:29 | |
came from the Marlborough Downs, 48km to the north. | 0:08:29 | 0:08:33 | |
This is a sarsen field on the Marlborough Downs. | 0:08:39 | 0:08:42 | |
The stones just lie on the surface. | 0:08:42 | 0:08:45 | |
They don't have to be quarried. They're here naturally. | 0:08:45 | 0:08:48 | |
Experimental archaeologist Katy Whitaker | 0:08:51 | 0:08:54 | |
believes the prehistoric architects' choice of building materials | 0:08:54 | 0:09:00 | |
went beyond the merely practical. | 0:09:00 | 0:09:02 | |
Just as now it's quite strange to come across these stones | 0:09:05 | 0:09:08 | |
lying in the landscape, it must have been very odd | 0:09:08 | 0:09:11 | |
in the late Neolithic to just discover them. | 0:09:11 | 0:09:15 | |
Why are they there, where have they come from? | 0:09:15 | 0:09:19 | |
This combination of their positions in the landscape, | 0:09:21 | 0:09:24 | |
their texture, their surface, their strangeness, | 0:09:24 | 0:09:26 | |
these are all qualities that may well have been significant to people | 0:09:26 | 0:09:30 | |
in the past, and may have influenced their choices to take them | 0:09:30 | 0:09:34 | |
all the way down to Stonehenge and use them in the monument itself. | 0:09:34 | 0:09:37 | |
At the time Stonehenge was constructed, | 0:09:39 | 0:09:42 | |
more than 500 square km of this landscape | 0:09:42 | 0:09:46 | |
was littered with thousands of huge sarsen stones, | 0:09:46 | 0:09:50 | |
from which around 80 of the biggest | 0:09:50 | 0:09:53 | |
were selected for the construction of Stonehenge. | 0:09:53 | 0:09:56 | |
Well, this is a much better example of the sort of stone | 0:09:56 | 0:09:59 | |
that the builders needed for Stonehenge. | 0:09:59 | 0:10:01 | |
The next question then is how to move it? | 0:10:01 | 0:10:03 | |
From here on the Marlborough Downs, 30 miles down to Salisbury Plain. | 0:10:03 | 0:10:07 | |
Despite numerous theories, the route taking by the huge sarsens | 0:10:14 | 0:10:18 | |
to Stonehenge is still disputed. | 0:10:18 | 0:10:21 | |
But when Professor Wolfgang Neubauer studied the data | 0:10:26 | 0:10:30 | |
from the survey, he saw a new solution. | 0:10:30 | 0:10:32 | |
How the big sarsen stones have been brought to Stonehenge | 0:10:32 | 0:10:36 | |
has been a striking question all over the centuries. | 0:10:36 | 0:10:40 | |
And one of the theories comes up with the idea that they brought | 0:10:42 | 0:10:45 | |
the stones down on the River Avon, which is a rather small river. | 0:10:45 | 0:10:49 | |
This theory then envisions the stones being dragged overland | 0:10:51 | 0:10:54 | |
for the last couple of kilometres to their final resting place. | 0:10:54 | 0:10:58 | |
Findings from the survey highlighted a problem with that idea. | 0:10:59 | 0:11:03 | |
In the topographic data, we have a dry valley | 0:11:03 | 0:11:06 | |
and this means there is a really massive depression | 0:11:06 | 0:11:09 | |
which they would have had to cross with the heavy stones. | 0:11:09 | 0:11:12 | |
So I think this theory is rather unlikely. | 0:11:14 | 0:11:17 | |
Instead, Professor Neubauer has spotted what he believes | 0:11:17 | 0:11:21 | |
to be a much more likely path, along which the stones were transported. | 0:11:21 | 0:11:25 | |
Running from the stone circle to the River Avon | 0:11:25 | 0:11:29 | |
are two parallel ditches that form the monument known as the Avenue. | 0:11:29 | 0:11:34 | |
Within the section closest to Stonehenge, | 0:11:36 | 0:11:39 | |
there are a number of striations in the ground formed by glacial action. | 0:11:39 | 0:11:43 | |
The Hidden Landscapes scans revealed that these marks | 0:11:48 | 0:11:53 | |
extend far beyond the Avenue. | 0:11:53 | 0:11:55 | |
This scratchy pattern is rather obvious | 0:11:59 | 0:12:02 | |
in the area of the stone circle, | 0:12:02 | 0:12:05 | |
and gets even more striking close to the Cursus monument. | 0:12:05 | 0:12:11 | |
They also appear on the other side where, the geological situation | 0:12:11 | 0:12:15 | |
is completely different, | 0:12:15 | 0:12:16 | |
then they go on in the direction of the Marlborough Downs. | 0:12:16 | 0:12:20 | |
Professor Neubauer is convinced that such a distinctive feature | 0:12:21 | 0:12:25 | |
in the landscape would've been the most logical course for the stones. | 0:12:25 | 0:12:29 | |
It looks very obvious to me that they took the shortest way | 0:12:32 | 0:12:35 | |
from the Marlborough area, | 0:12:35 | 0:12:37 | |
where the sarsen stones actually appear sometimes on the surface, | 0:12:37 | 0:12:41 | |
and brought them down on the direct way to Stonehenge. | 0:12:41 | 0:12:44 | |
Even taking this direct route, | 0:12:46 | 0:12:49 | |
it's estimated that it would have taken almost ten years | 0:12:49 | 0:12:53 | |
to drag all the stones to their final resting place. | 0:12:53 | 0:12:57 | |
Yet remarkable as the transportation of the stones is... | 0:13:03 | 0:13:07 | |
..it's the precision of Stonehenge's design that sets it apart. | 0:13:09 | 0:13:13 | |
Archaeological surveyor Tony Johnson | 0:13:22 | 0:13:24 | |
has studied its unique layout for over a decade. | 0:13:24 | 0:13:27 | |
The Neolithic people had, just as we have today with large buildings, | 0:13:30 | 0:13:34 | |
an architect, a surveyor and a builder. | 0:13:34 | 0:13:37 | |
Most people's idea of Stonehenge is that they just built it. | 0:13:37 | 0:13:40 | |
Well, they didn't. | 0:13:40 | 0:13:41 | |
You couldn't build something like Stonehenge without a plan. | 0:13:41 | 0:13:45 | |
Assisted by land artist Rob Irving, | 0:13:47 | 0:13:49 | |
Johnson set out to demonstrate | 0:13:49 | 0:13:52 | |
how the geometrical blueprint of Stonehenge was plotted | 0:13:52 | 0:13:56 | |
using elementary surveying tools. | 0:13:56 | 0:13:58 | |
The surveyors laid out the positions of the stones precisely | 0:14:01 | 0:14:05 | |
using ropes and pegs in a way that we hope to demonstrate today. | 0:14:05 | 0:14:09 | |
An open expanse of sand provided enough space | 0:14:11 | 0:14:14 | |
to sketch out the monument's floor plan. | 0:14:14 | 0:14:17 | |
The beach acts as a convenient scratch pad | 0:14:17 | 0:14:19 | |
where we can mark out lines that are easily visible | 0:14:19 | 0:14:22 | |
to demonstrate the geometry of Stonehenge. | 0:14:22 | 0:14:26 | |
The first step was to draw a circle with the same dimensions | 0:14:26 | 0:14:30 | |
as Stonehenge's outer ring of megaliths. | 0:14:30 | 0:14:32 | |
To match Stonehenge's orientation, | 0:14:37 | 0:14:40 | |
a line was drawn bisecting the circle | 0:14:40 | 0:14:43 | |
in the direction of the rising sun. | 0:14:43 | 0:14:45 | |
Around this central axis, the symmetrical layout | 0:14:48 | 0:14:52 | |
of the entire monument was plotted. | 0:14:52 | 0:14:55 | |
Irving used elegant geometrical rules | 0:14:58 | 0:15:01 | |
to map out the position of the stones. | 0:15:01 | 0:15:03 | |
On the circle, we're going to mark a hexagon, | 0:15:05 | 0:15:08 | |
each side of which is exactly the same length | 0:15:08 | 0:15:11 | |
as the radius of the circle, and we're going to build out from there | 0:15:11 | 0:15:16 | |
to mark those 30 points which relate to the stones at Stonehenge. | 0:15:16 | 0:15:19 | |
In total, five hexagons were etched out, | 0:15:21 | 0:15:24 | |
creating the coordinates of Stonehenge's 30 outer megaliths. | 0:15:24 | 0:15:28 | |
So you get a better idea of where the centre of the stones were, | 0:15:32 | 0:15:35 | |
what I'm doing is making a posthole-sized imprint | 0:15:35 | 0:15:38 | |
of where the stones would sit in the geometry of the whole thing. | 0:15:38 | 0:15:42 | |
From the position of key stones, | 0:15:47 | 0:15:49 | |
the inner horseshoe of megaliths known as the trilithons | 0:15:49 | 0:15:53 | |
was also calculated. | 0:15:53 | 0:15:55 | |
The axis of the rising sun was used as the fixed line of reference. | 0:16:03 | 0:16:08 | |
What we're doing now is setting out the positions of the trilithons | 0:16:08 | 0:16:13 | |
that formed the horseshoe which were the centre of the geometric array. | 0:16:13 | 0:16:17 | |
On this evidence, Johnson concluded that the monument was planned | 0:16:21 | 0:16:25 | |
as a whole from the outset. | 0:16:25 | 0:16:27 | |
The trilithons had to be erected first | 0:16:31 | 0:16:33 | |
so it proves that the surveying method they used | 0:16:33 | 0:16:36 | |
was done in one phase, one plan. | 0:16:36 | 0:16:38 | |
Everything was marked out on the ground | 0:16:38 | 0:16:40 | |
before the stones were brought in. | 0:16:40 | 0:16:42 | |
The monument's innate symmetry | 0:16:44 | 0:16:47 | |
has revealed that the architects of Stonehenge had a grasp of geometry | 0:16:47 | 0:16:52 | |
two millennia before the Greeks defined the term "mathematics." | 0:16:52 | 0:16:56 | |
4,600 years on, the remaining stones still stand | 0:17:13 | 0:17:17 | |
as a powerful reminder of the skill and ambition | 0:17:17 | 0:17:21 | |
of Stonehenge's creators. | 0:17:21 | 0:17:23 | |
A great deal of work went into the sizing of the stones to make sure | 0:17:26 | 0:17:30 | |
you had the right lintel lengths to bridge the gaps, for example. | 0:17:30 | 0:17:34 | |
And above all, the attempt to create a perfectly horizontal top | 0:17:36 | 0:17:41 | |
of the great sarsen lintels. | 0:17:41 | 0:17:44 | |
The megaliths were not simply held in place by their own weight. | 0:17:45 | 0:17:49 | |
They were interlocked using a series of elaborate precision joints. | 0:17:49 | 0:17:53 | |
On top of each upright, protruding tenon joints were carved | 0:17:55 | 0:17:59 | |
to fit into mortise sockets on the underside of the lintels. | 0:17:59 | 0:18:03 | |
The lintels themselves were carved with a groove at one end | 0:18:06 | 0:18:10 | |
and a tongue at the other. | 0:18:10 | 0:18:12 | |
They, too, interlocked. | 0:18:12 | 0:18:14 | |
It was a meticulous construction method designed to make permanent | 0:18:16 | 0:18:20 | |
the monument's primary function, to mark the passage of the sun. | 0:18:20 | 0:18:25 | |
The sophistication and precision with which Stonehenge was built | 0:18:27 | 0:18:32 | |
around this solar axis is exceptional. | 0:18:32 | 0:18:35 | |
It could be that Stonehenge is partly concerned | 0:18:43 | 0:18:46 | |
with measuring and celebrating important points in the annual cycle. | 0:18:46 | 0:18:51 | |
Midsummer, midwinter, | 0:18:51 | 0:18:53 | |
changes in the year from winter to spring to summer and so forth. | 0:18:53 | 0:18:56 | |
The complexity of the architecture cannot be paralleled anywhere else. | 0:19:00 | 0:19:05 | |
This does give Stonehenge an exceptional presence | 0:19:07 | 0:19:10 | |
in the wider world at the time. | 0:19:10 | 0:19:12 | |
There is nothing else quite like it. | 0:19:12 | 0:19:14 | |
Today, only half of Stonehenge's outer circle has survived. | 0:19:23 | 0:19:27 | |
With no clue as to what happened to the missing sarsens, | 0:19:34 | 0:19:39 | |
it's believed by some that the monument was never finished. | 0:19:39 | 0:19:43 | |
But in the summer of 2013, | 0:19:45 | 0:19:47 | |
the rare phenomenon of a British heat wave revealed new evidence. | 0:19:47 | 0:19:52 | |
In 2013, we had a very wet spring | 0:19:58 | 0:20:01 | |
followed by a hot dry spell in June. | 0:20:01 | 0:20:05 | |
And that put the grass here under great stress. | 0:20:05 | 0:20:08 | |
Grass was fighting for moisture. | 0:20:10 | 0:20:13 | |
When it does that, it begins to parch. | 0:20:15 | 0:20:18 | |
And we got a series of parch marks that showed us the positions | 0:20:18 | 0:20:22 | |
of some stones which we'd never seen before at Stonehenge. | 0:20:22 | 0:20:26 | |
So, we had the position of stone 17 here... | 0:20:30 | 0:20:35 | |
..stone 18 here... | 0:20:38 | 0:20:41 | |
..stone 19 here | 0:20:43 | 0:20:46 | |
and stone 20 here. | 0:20:46 | 0:20:50 | |
The parchmarks represented some of the most compelling evidence to date | 0:20:55 | 0:21:00 | |
that Stonehenge was actually completed. | 0:21:00 | 0:21:03 | |
To grasp how the stone circle would've looked in its heyday, | 0:21:06 | 0:21:10 | |
Katy Whitaker recreated the masonry techniques used by its builders. | 0:21:10 | 0:21:16 | |
When you look at Stonehenge today, | 0:21:21 | 0:21:23 | |
you can see that the sarsens are really quite dark greys and browns | 0:21:23 | 0:21:26 | |
in colour, a bit like this piece of sarsen here, | 0:21:26 | 0:21:29 | |
and that's because of the weathering they've undergone | 0:21:29 | 0:21:32 | |
over thousands of years. | 0:21:32 | 0:21:34 | |
Sarsen is so hard, the tools used would also have to have been made of sarsen. | 0:21:34 | 0:21:39 | |
This hammer stone is made of the densest type of sarsen | 0:21:41 | 0:21:44 | |
that you can collect. | 0:21:44 | 0:21:45 | |
It's got a good shape, it's got a good edge here, | 0:21:45 | 0:21:48 | |
which will help me pick away at the surface. | 0:21:48 | 0:21:50 | |
Whitaker has replicated the techniques Neolithic stonemasons | 0:21:55 | 0:21:58 | |
used to produce the finished sarsens. | 0:21:58 | 0:22:01 | |
It's been calculated that to shape all the megaliths like this | 0:22:04 | 0:22:08 | |
would have taken ten masons over a decade. | 0:22:08 | 0:22:11 | |
One of the things that's really noticeable about this | 0:22:16 | 0:22:20 | |
is just how little return you get for a lot of work. | 0:22:20 | 0:22:23 | |
Underneath the dust that's been created, there's a really tiny area | 0:22:23 | 0:22:27 | |
that's started to change, | 0:22:27 | 0:22:29 | |
revealing the white colour of the clean stone underneath. | 0:22:29 | 0:22:32 | |
So just imagine how amazing Stonehenge would have looked | 0:22:34 | 0:22:37 | |
with all of these standing stones, their cut surfaces glistening | 0:22:37 | 0:22:41 | |
white in the sun, as you approached up the slope towards the monument. | 0:22:41 | 0:22:45 | |
Centuries of weathering have left Stonehenge's remaining megaliths | 0:22:47 | 0:22:52 | |
dark and rough, | 0:22:52 | 0:22:54 | |
but 4,600 years ago, | 0:22:54 | 0:22:56 | |
with each stone freshly worked and set into place | 0:22:56 | 0:22:59 | |
as its architects had planned, worshippers of the day | 0:22:59 | 0:23:05 | |
would've seen Stonehenge in all of its intended glory. | 0:23:05 | 0:23:08 | |
A stunning gleaming white monument. | 0:23:15 | 0:23:18 | |
Its intricate construction a testament to the sophistication | 0:23:24 | 0:23:28 | |
and commitment of the people who built it. | 0:23:28 | 0:23:31 | |
Stonehenge truly was the crowning glory of its age. | 0:23:35 | 0:23:38 | |
But the story didn't stop with the raising of the stone circle. | 0:23:46 | 0:23:50 | |
Alongside the sarsens, | 0:23:56 | 0:23:59 | |
Stonehenge contains other megaliths known as the bluestones. | 0:23:59 | 0:24:03 | |
Although the bluestones are dwarfed by the giant standing sarsens, | 0:24:08 | 0:24:12 | |
the effort needed to transport them to the site | 0:24:12 | 0:24:15 | |
was still enormous. | 0:24:15 | 0:24:16 | |
Analysis of the rock has proved many of them were quarried | 0:24:18 | 0:24:22 | |
from the Preseli hills in Wales, over 200 km to the west. | 0:24:22 | 0:24:26 | |
Skeletal remains found close to Stonehenge | 0:24:33 | 0:24:37 | |
have provided a glimpse into the life of one family | 0:24:37 | 0:24:41 | |
dating back to the period when the bluestones were raised. | 0:24:41 | 0:24:46 | |
The remains we see here are those of an adult male | 0:24:50 | 0:24:53 | |
probably in his late 30s or his 40s. | 0:24:53 | 0:24:55 | |
Along with the man, the remains of six other people, | 0:24:57 | 0:25:01 | |
including children, were found in the grave. | 0:25:01 | 0:25:03 | |
Observed similarities in the skulls | 0:25:06 | 0:25:08 | |
suggested they belonged to the same family. | 0:25:08 | 0:25:10 | |
The individuals who came from here predominately date | 0:25:10 | 0:25:14 | |
to the time at which the bluestones were erected at Stonehenge. | 0:25:14 | 0:25:18 | |
We undertook strontium-oxygen isotope analysis | 0:25:22 | 0:25:26 | |
on the teeth from three of the adults. | 0:25:26 | 0:25:30 | |
And what we found was that they were not local to the area | 0:25:30 | 0:25:33 | |
in which they were buried. | 0:25:33 | 0:25:35 | |
They had originated from about 150 to 200 km west of Stonehenge. | 0:25:35 | 0:25:42 | |
This would take them into Wales, | 0:25:44 | 0:25:46 | |
which is also the area from which the bluestones come from. | 0:25:46 | 0:25:50 | |
The coincidence of bluestones and people | 0:26:02 | 0:26:04 | |
migrating from the same part of Britain to Stonehenge | 0:26:04 | 0:26:07 | |
became more intriguing on closer inspection of the bones. | 0:26:07 | 0:26:13 | |
Looking at this skeleton, you can see that there was a massive | 0:26:16 | 0:26:20 | |
traumatic injury to the left thigh bone. | 0:26:20 | 0:26:23 | |
The contours have undergone a major change. | 0:26:29 | 0:26:33 | |
If I compare this with a complete femur here, | 0:26:33 | 0:26:38 | |
you can see just how dramatic those changes are. | 0:26:38 | 0:26:42 | |
This is a major trauma, | 0:26:43 | 0:26:45 | |
this is a very heavy thick bone. | 0:26:45 | 0:26:47 | |
It needs a pretty powerful force acting on it | 0:26:47 | 0:26:51 | |
to break it the way it is. | 0:26:51 | 0:26:53 | |
What causes this sort of thing in modern clinical cases | 0:26:56 | 0:26:59 | |
is maybe a motorcyclist who is run into by a motor car. | 0:26:59 | 0:27:03 | |
It's that kind of level of force. | 0:27:06 | 0:27:09 | |
What you have is a major fracture mid-shaft which has ended up | 0:27:09 | 0:27:14 | |
causing massive damage to that bone. | 0:27:14 | 0:27:17 | |
This looks like it might have been a compound fracture | 0:27:17 | 0:27:20 | |
that broke through the surface as well. | 0:27:20 | 0:27:22 | |
But the amazing thing is it mended. And he lived. | 0:27:25 | 0:27:29 | |
Further archaeological investigations of the bluestones | 0:27:41 | 0:27:45 | |
have shown that after their initial placement, | 0:27:45 | 0:27:48 | |
they were re-positioned a number of times. | 0:27:48 | 0:27:50 | |
When Stonehenge was built around about 2600BC, | 0:27:54 | 0:27:59 | |
that wasn't the end of the story in terms of | 0:27:59 | 0:28:02 | |
the architectural development of the monument. | 0:28:02 | 0:28:04 | |
In the following centuries, on several occasions | 0:28:04 | 0:28:07 | |
the arrangement, particularly of the bluestones, was altered. | 0:28:07 | 0:28:11 | |
It's likely that these re-organisations | 0:28:14 | 0:28:17 | |
relate to changing ceremonial activities. | 0:28:17 | 0:28:20 | |
If you need to re-organise your ceremonies or your rituals, | 0:28:20 | 0:28:23 | |
you re-organise the stone settings. | 0:28:23 | 0:28:25 | |
And I think that accounts for why the bluestones are being shifted | 0:28:25 | 0:28:28 | |
and changed very significantly in the later life of the monument. | 0:28:28 | 0:28:32 | |
To understand what motivated these changes... | 0:28:40 | 0:28:43 | |
..the Hidden Landscapes Project has examined | 0:28:46 | 0:28:49 | |
every monument in the area. | 0:28:49 | 0:28:50 | |
Seeing Stonehenge from above, it does reinforce that sense of | 0:29:03 | 0:29:07 | |
the importance of looking at all the monuments together, | 0:29:07 | 0:29:10 | |
looking at the whole landscape rather than just the site. | 0:29:10 | 0:29:13 | |
Now that's exactly what we've been doing with the project, | 0:29:13 | 0:29:17 | |
identifying the importance of the other monuments, | 0:29:17 | 0:29:20 | |
which are going to add and enrich our understanding of this landscape. | 0:29:20 | 0:29:24 | |
Situated just to the north, in clear sight of Stonehenge, | 0:29:24 | 0:29:28 | |
a collection of tombs known as the Cursus barrow group | 0:29:28 | 0:29:31 | |
were constructed after the completion of the stone circle. | 0:29:31 | 0:29:34 | |
Their appearance marked the arrival of a culture | 0:29:34 | 0:29:37 | |
that had a profound impact on the ritual use of the monument | 0:29:37 | 0:29:41 | |
and its surrounding landscape. | 0:29:41 | 0:29:44 | |
The Cursus barrow group is a beautiful arrangement | 0:29:44 | 0:29:47 | |
of different styles of building, but in terms of | 0:29:47 | 0:29:50 | |
the overall story of Stonehenge, these are quite a late addition. | 0:29:50 | 0:29:53 | |
These things are coming in after Stonehenge has been completed. | 0:29:55 | 0:30:00 | |
We are getting new styles of burial, new styles of material, | 0:30:00 | 0:30:03 | |
pottery, grave goods. | 0:30:03 | 0:30:05 | |
We're getting the Beaker phenomenon. | 0:30:05 | 0:30:07 | |
Recovered artefacts from tombs like these | 0:30:13 | 0:30:17 | |
have given this era its distinctive name. | 0:30:17 | 0:30:21 | |
The reason we call this period of time in prehistory the Beaker period | 0:30:25 | 0:30:30 | |
is because of these pottery vessels. | 0:30:30 | 0:30:33 | |
They're bell shaped | 0:30:33 | 0:30:34 | |
and they're normally made from local clay. | 0:30:34 | 0:30:37 | |
They're found in graves and they're really finely crafted | 0:30:39 | 0:30:44 | |
with these horizontal bands of incised decoration. | 0:30:44 | 0:30:48 | |
The origin of these objects showed that Stonehenge was becoming | 0:30:50 | 0:30:54 | |
the focal point for a new wave of continental influences. | 0:30:54 | 0:30:58 | |
Men in particular are buried with weapons | 0:31:00 | 0:31:03 | |
and this burial comes with the typical male artefacts. | 0:31:03 | 0:31:08 | |
He's known as the Roundway Archer, | 0:31:08 | 0:31:12 | |
because he was found with this really beautifully fashioned | 0:31:12 | 0:31:18 | |
flint arrowhead. | 0:31:18 | 0:31:20 | |
The shaft and the feathers would have rotted away, | 0:31:23 | 0:31:26 | |
and so would the bow, the bow string and perhaps the quiver | 0:31:26 | 0:31:30 | |
that would have held arrows. | 0:31:30 | 0:31:32 | |
And alongside this arrow head | 0:31:33 | 0:31:36 | |
is the other element of the archer's kit. | 0:31:36 | 0:31:41 | |
Which is this. | 0:31:42 | 0:31:44 | |
It's a wrist guard. It would have been attached with leather straps. | 0:31:44 | 0:31:47 | |
And it was found on the archer's arm bone. | 0:31:47 | 0:31:52 | |
The really exciting thing about this is that it's made of jadeite, | 0:31:54 | 0:32:00 | |
and it's not from this country. | 0:32:00 | 0:32:02 | |
This is probably from Spain. | 0:32:02 | 0:32:04 | |
For it to be associated with this man in this burial | 0:32:06 | 0:32:10 | |
indicates how widely he and his community were connected, | 0:32:10 | 0:32:15 | |
and how important he was | 0:32:15 | 0:32:17 | |
to be buried with artefacts that are this precious and this rare. | 0:32:17 | 0:32:22 | |
From assemblages like this, we can see that people and ideas | 0:32:24 | 0:32:28 | |
are coming into Britain from the continent. | 0:32:28 | 0:32:32 | |
And we can see that in the decoration of the pottery, | 0:32:32 | 0:32:34 | |
we can see that in how far away these materials are being brought, | 0:32:34 | 0:32:39 | |
and they're being brought to the area around Stonehenge. | 0:32:39 | 0:32:42 | |
This is a place of great significance | 0:32:44 | 0:32:47 | |
and influential people are coming here. | 0:32:47 | 0:32:49 | |
As well as celebrating its dead in complex burial groups, | 0:32:54 | 0:32:59 | |
the Beaker Culture also stamped its identity on the region | 0:32:59 | 0:33:02 | |
by constructing the 2.5km long processional route | 0:33:02 | 0:33:07 | |
known as the Avenue. | 0:33:07 | 0:33:09 | |
Like the re-arrangement of the bluestones, | 0:33:12 | 0:33:15 | |
the Avenue's parallel ditches appear to have controlled | 0:33:15 | 0:33:18 | |
the passage of worshippers around Stonehenge. | 0:33:18 | 0:33:20 | |
When the Hidden Landscapes Project surveyed an area | 0:33:25 | 0:33:28 | |
close to the Avenue, they detected traces of another structure | 0:33:28 | 0:33:33 | |
built to influence the movement of people, | 0:33:33 | 0:33:37 | |
a wooden barrier, nearly 2km long. | 0:33:37 | 0:33:40 | |
One of the really weird things about the Stonehenge landscape, | 0:33:44 | 0:33:47 | |
and one that not many people know about because it's not visible | 0:33:47 | 0:33:50 | |
from the land surface is what is known as the palisade. | 0:33:50 | 0:33:54 | |
It's effectively a long fence | 0:33:57 | 0:33:59 | |
which runs from the western side of Stonehenge | 0:33:59 | 0:34:02 | |
and curves round towards one of the gaps in the Cursus. | 0:34:02 | 0:34:05 | |
Excavations of the southern end of this palisade | 0:34:06 | 0:34:09 | |
have dated it later than the construction of Stonehenge... | 0:34:09 | 0:34:12 | |
..and predicted that some of its posts were as much as 7m tall. | 0:34:16 | 0:34:19 | |
The palisade bisected the entire landscape. | 0:34:22 | 0:34:25 | |
If it was all built at the same time, | 0:34:31 | 0:34:33 | |
then that's effectively a barrier to movement from the east and west, | 0:34:33 | 0:34:36 | |
dividing this landscape. | 0:34:36 | 0:34:38 | |
The palisade is one of these things which is incredibly significant | 0:34:38 | 0:34:42 | |
to the landscape, but it's not widely understood. | 0:34:42 | 0:34:44 | |
Along with the transformation of the land around Stonehenge, | 0:34:52 | 0:34:56 | |
the Beaker period brought with it | 0:34:56 | 0:34:59 | |
new ritualistic uses of the stone circle. | 0:34:59 | 0:35:02 | |
Forensic investigations on a male skeleton | 0:35:11 | 0:35:15 | |
have provided powerful evidence | 0:35:15 | 0:35:18 | |
that three centuries after its construction, | 0:35:18 | 0:35:23 | |
Stonehenge became a site of human sacrifice. | 0:35:23 | 0:35:26 | |
This is a really nice looking skeleton. | 0:35:35 | 0:35:38 | |
This is in very good condition. | 0:35:38 | 0:35:41 | |
He was buried, very unusually, in a ditch at Stonehenge. | 0:35:41 | 0:35:46 | |
This is a very highly ritualised site, | 0:35:46 | 0:35:49 | |
so this is quite an unusual find. | 0:35:49 | 0:35:52 | |
People often get the impression that in the distant past, | 0:35:57 | 0:36:01 | |
life was nasty, brutish and short. | 0:36:01 | 0:36:03 | |
We know that this man died when he was in his late 20s, | 0:36:03 | 0:36:08 | |
but I wouldn't say that his life was nasty and brutish. | 0:36:08 | 0:36:12 | |
You look at him, he was a robust, muscly man of about 5'10". | 0:36:12 | 0:36:18 | |
Tiny nicks on the man's bones show the cause of death. | 0:36:20 | 0:36:24 | |
He was shot repeatedly with flint arrows. | 0:36:27 | 0:36:31 | |
The location of the skeleton's burial | 0:36:34 | 0:36:36 | |
showed this was no ordinary death. | 0:36:36 | 0:36:38 | |
To be buried in that ditch at Stonehenge with the injuries he has | 0:36:41 | 0:36:46 | |
suggests we have a sacrificial victim. | 0:36:46 | 0:36:50 | |
There are several injuries, all in the chest area, | 0:37:10 | 0:37:13 | |
that show where those arrows went. | 0:37:13 | 0:37:16 | |
And if we start off by looking at this bone here, | 0:37:16 | 0:37:19 | |
the breast bone of the sternum, | 0:37:19 | 0:37:21 | |
if I take this arrowhead, | 0:37:21 | 0:37:23 | |
you can see the tip of the arrowhead where it's come into his body | 0:37:23 | 0:37:28 | |
from the back and to the side, | 0:37:28 | 0:37:30 | |
and has stuck into the back of his sternum. | 0:37:30 | 0:37:33 | |
In addition, we have injuries in the right side of the ribs. | 0:37:39 | 0:37:43 | |
You can see there are two little marks, one here, | 0:37:43 | 0:37:47 | |
and although this is damaged, there is also another mark there. | 0:37:47 | 0:37:50 | |
And these are where the arrowhead has passed | 0:37:50 | 0:37:52 | |
through between the ribs and straight through into the body | 0:37:52 | 0:37:56 | |
where it has stuck within the soft tissues. | 0:37:56 | 0:38:00 | |
Similar too on the right-hand side. | 0:38:06 | 0:38:08 | |
We have two of the ribs on the left-hand side, | 0:38:08 | 0:38:11 | |
we're looking at the 10th and 11th, | 0:38:11 | 0:38:13 | |
where again an arrow has gone between the two ribs | 0:38:13 | 0:38:17 | |
and caught the top of one and the bottom of the other. | 0:38:17 | 0:38:20 | |
And we know this is one of the three | 0:38:24 | 0:38:26 | |
that would have killed this young man. | 0:38:26 | 0:38:28 | |
No other killings of this kind have been found in Stonehenge. | 0:38:42 | 0:38:46 | |
Why the man was sacrificed may never be known. | 0:38:48 | 0:38:50 | |
But his burial, so close to the stone circle, | 0:38:52 | 0:38:56 | |
suggests his death was ritualistic. | 0:38:56 | 0:38:58 | |
While one grave showed evidence of bloody sacrifice... | 0:39:05 | 0:39:09 | |
..other excavated Beaker graves in the Stonehenge landscape | 0:39:11 | 0:39:14 | |
have also been remarkably well preserved. | 0:39:14 | 0:39:16 | |
The artefacts they contain reflect the revolutionary technologies | 0:39:22 | 0:39:26 | |
that arrived in Britain at the time. | 0:39:26 | 0:39:28 | |
Burials from the Beaker period | 0:39:32 | 0:39:34 | |
are the first time we see metal artefacts in Britain. | 0:39:34 | 0:39:39 | |
This is a copper dagger. | 0:39:41 | 0:39:43 | |
When it was new, it would have been absolutely bright and gleaming. | 0:39:47 | 0:39:51 | |
This is not about cutting up your dinner | 0:39:51 | 0:39:55 | |
or fighting with the neighbours. | 0:39:55 | 0:39:58 | |
This is a ceremonial dagger and it's probably from central Europe. | 0:39:58 | 0:40:03 | |
The people with the knowledge of the technology also arrive in Britain | 0:40:05 | 0:40:09 | |
and they share that technology amongst the people here. | 0:40:09 | 0:40:13 | |
And it changes their culture. | 0:40:15 | 0:40:17 | |
This is the start of the age of metal. | 0:40:18 | 0:40:21 | |
Soon after the introduction of copper, | 0:40:27 | 0:40:30 | |
it appears that British smiths worked out the secret | 0:40:30 | 0:40:34 | |
of making a superior metal, bronze. | 0:40:34 | 0:40:36 | |
The arrival of metal in Britain | 0:40:36 | 0:40:39 | |
happens quite late compared to Europe, | 0:40:39 | 0:40:41 | |
but the discovery of tin in south-west England, Cornwall and Devon, | 0:40:41 | 0:40:45 | |
brings on the true Bronze Age very quickly. | 0:40:45 | 0:40:49 | |
In Britain, the abundance of copper and the far rarer tin | 0:40:49 | 0:40:53 | |
saw local metal workers lead the way in prehistoric bronze production. | 0:40:53 | 0:40:58 | |
By alloying the copper with a little bit of tin, | 0:40:59 | 0:41:04 | |
I'm going to make a 6% tin bronze | 0:41:04 | 0:41:06 | |
which is quite typical composition for the early Bronze Age. | 0:41:06 | 0:41:10 | |
Bronze tools and weapons were far harder and more durable | 0:41:15 | 0:41:18 | |
than anything made from copper or flint. | 0:41:18 | 0:41:21 | |
It's good, it's gone in. | 0:41:32 | 0:41:35 | |
So we should have a knife there. | 0:41:37 | 0:41:38 | |
I'm going to lift the mould out, lay it on its side | 0:41:40 | 0:41:42 | |
and then break it open. | 0:41:42 | 0:41:44 | |
This is the moment of truth. | 0:41:49 | 0:41:52 | |
So this is the end of the process of all our work. | 0:41:57 | 0:42:01 | |
Just like the knives you find | 0:42:01 | 0:42:03 | |
associated with burials in the area around Stonehenge. | 0:42:03 | 0:42:07 | |
This is the proof of the big change with the advent of bronze. | 0:42:07 | 0:42:10 | |
As Britain entered the Bronze Age, | 0:42:17 | 0:42:19 | |
Stonehenge was already over 400 years old, | 0:42:19 | 0:42:22 | |
an ancient monument in its own landscape. | 0:42:22 | 0:42:26 | |
But as an explosion of tomb building shows, | 0:42:28 | 0:42:31 | |
its reputation is greater than ever. | 0:42:31 | 0:42:34 | |
There are hundreds of Bronze Age burial mounds | 0:42:35 | 0:42:38 | |
in the area around Stonehenge. | 0:42:38 | 0:42:40 | |
When first built, | 0:42:42 | 0:42:43 | |
many of them would have been gleaming, white, shining mounds. | 0:42:43 | 0:42:47 | |
These would have been seen across very large distances across the landscape | 0:42:50 | 0:42:54 | |
Each of these circles shows the position | 0:42:56 | 0:42:59 | |
of a Bronze Age burial tomb. | 0:42:59 | 0:43:01 | |
The Hidden Landscapes Project | 0:43:02 | 0:43:04 | |
has thrown new light on their complex interconnections. | 0:43:04 | 0:43:07 | |
The geophysical survey work is allowing us to see | 0:43:09 | 0:43:12 | |
for the first time how the obvious surviving monuments relate to others | 0:43:12 | 0:43:17 | |
which we now can't see on the surface. | 0:43:17 | 0:43:19 | |
Up till now, we've only seen little snippets of the landscape. | 0:43:23 | 0:43:27 | |
This allows us to put it all together in one big picture. | 0:43:27 | 0:43:30 | |
The position and alignment of the tombs | 0:43:32 | 0:43:35 | |
revealed a clear strategy behind their placement. | 0:43:35 | 0:43:37 | |
The biggest mounds are associated with an elite class | 0:43:39 | 0:43:42 | |
within early Bronze Age society, | 0:43:42 | 0:43:45 | |
who are using Stonehenge and the other monuments around | 0:43:45 | 0:43:48 | |
as focal points, which they can refer to in relation to | 0:43:48 | 0:43:51 | |
their own power and prestige in the early Bronze Age. | 0:43:51 | 0:43:55 | |
Artefacts discovered in these graves | 0:44:00 | 0:44:02 | |
show these generations of Stonehenge people were more connected | 0:44:02 | 0:44:06 | |
than ever before with the wider world. | 0:44:06 | 0:44:08 | |
So we have a Breton style of daggers, for example, | 0:44:11 | 0:44:14 | |
turning up in British early Bronze Age graves. | 0:44:14 | 0:44:18 | |
There are various other kinds of accoutrements - | 0:44:18 | 0:44:20 | |
pins, certain kinds of wet stones, | 0:44:20 | 0:44:22 | |
other kinds of objects which suggest continental connections. | 0:44:22 | 0:44:25 | |
Two-way trade with the continental mainland had flourished | 0:44:27 | 0:44:32 | |
with Stonehenge seemingly a vital hub. | 0:44:32 | 0:44:35 | |
In Stonehenge, you do see an increase of the volume of material | 0:44:37 | 0:44:41 | |
from far afield and abroad. | 0:44:41 | 0:44:43 | |
We find amber from the Baltics, copper axes from Spain | 0:44:44 | 0:44:48 | |
and gold from Ireland, | 0:44:48 | 0:44:50 | |
whilst in Holland you would find Cornish tin. | 0:44:50 | 0:44:53 | |
The Bronze Age saw a huge increase in international trade. | 0:44:55 | 0:44:59 | |
To better understand the practical challenges | 0:45:00 | 0:45:03 | |
that made this boom possible, Professor Van de Noort, | 0:45:03 | 0:45:06 | |
along with shipwright Brian Cumby, | 0:45:06 | 0:45:09 | |
set out to build the first full scale replica of a Bronze Age boat. | 0:45:09 | 0:45:14 | |
The innovative plank-built sea craft | 0:45:15 | 0:45:18 | |
developed in Northern Europe at this time. | 0:45:18 | 0:45:20 | |
I've been building classic wooden boats for nigh on 40 years. | 0:45:20 | 0:45:26 | |
When I was given this job, | 0:45:29 | 0:45:31 | |
it was a complete new learning curve for me. | 0:45:31 | 0:45:33 | |
I had to start to think like a Bronze Age man. | 0:45:33 | 0:45:36 | |
They had to hand carve everything and fit it and look at it - | 0:45:39 | 0:45:43 | |
that looks good, that looks bad. | 0:45:43 | 0:45:45 | |
It's just a matter of building by eye all the time. | 0:45:45 | 0:45:48 | |
The design was based on fragments of prehistoric boats | 0:45:48 | 0:45:51 | |
discovered in Britain. | 0:45:51 | 0:45:53 | |
The biggest challenge was how to build | 0:45:53 | 0:45:55 | |
the craft's plank-constructed hull without nails or glue. | 0:45:55 | 0:45:58 | |
We knew from the excavation that they used yew branches | 0:45:59 | 0:46:03 | |
from the yew tree, withies. | 0:46:03 | 0:46:05 | |
And this is used to tie this plank | 0:46:05 | 0:46:07 | |
to this frame and hold the whole boat together, | 0:46:07 | 0:46:11 | |
and we are amazed at how strong she is. | 0:46:11 | 0:46:14 | |
We thought that would be one of the weak points of the boat, | 0:46:14 | 0:46:17 | |
but we've been proven wrong. | 0:46:17 | 0:46:19 | |
To test the viability of their sewn-plank hull, | 0:46:24 | 0:46:27 | |
Van de Noort and a crew of 19 | 0:46:27 | 0:46:29 | |
took the replica on its maiden open water voyage. | 0:46:29 | 0:46:33 | |
16 metres long and weighing over five tonnes, | 0:46:38 | 0:46:42 | |
these boats were bigger and had more cargo capacity | 0:46:42 | 0:46:45 | |
than any craft built before. | 0:46:45 | 0:46:48 | |
Well, I'm just measuring it using GPS. | 0:46:54 | 0:46:56 | |
2.5 knots at cruising speed, | 0:46:56 | 0:46:59 | |
so 2.5 sea miles per hour. | 0:46:59 | 0:47:02 | |
And when we push it harder, it goes just over 3.5 knots. | 0:47:02 | 0:47:05 | |
Travelling at this rate, | 0:47:08 | 0:47:10 | |
a Bronze Age boat could've crossed the Channel in less than a day. | 0:47:10 | 0:47:14 | |
By mastering the use of planks | 0:47:17 | 0:47:19 | |
instead of hollowed out tree trunks or animal hides, | 0:47:19 | 0:47:23 | |
Bronze Age ship-builders had made a huge leap forward. | 0:47:23 | 0:47:27 | |
She could probably take about seven tonnes of cargo, | 0:47:27 | 0:47:30 | |
but I think they would carry livestock, people and tin ingots. | 0:47:30 | 0:47:37 | |
Van de Noort's wider research on Bronze Age trade has identified | 0:47:38 | 0:47:42 | |
prehistoric Britain's special role. | 0:47:42 | 0:47:45 | |
How Britain fits in that picture of these Bronze Age networks | 0:47:48 | 0:47:52 | |
is really access to tin, | 0:47:52 | 0:47:54 | |
which is a rare metal, but you need it for making bronze objects. | 0:47:54 | 0:47:58 | |
And I think that is the critical valuable that Britain | 0:47:58 | 0:48:01 | |
adds into this European network. | 0:48:01 | 0:48:04 | |
At the heart of Britain's commerce | 0:48:07 | 0:48:11 | |
was Stonehenge. | 0:48:11 | 0:48:13 | |
Lots of archaeologists have come up with this idea | 0:48:15 | 0:48:18 | |
that Stonehenge has become a kind of central place, | 0:48:18 | 0:48:21 | |
a place of power, and it may well have been that if you were | 0:48:21 | 0:48:24 | |
in Germany, and you wanted gold and tin from Cornwall, | 0:48:24 | 0:48:27 | |
that you had to go through the people | 0:48:27 | 0:48:30 | |
who we have found buried near Stonehenge. | 0:48:30 | 0:48:33 | |
The increasingly ostentatious placement of tombs around Stonehenge | 0:48:42 | 0:48:47 | |
during the late Bronze Age, confirmed its status as the place | 0:48:47 | 0:48:51 | |
for the upper echelons to flaunt their power and influence. | 0:48:51 | 0:48:54 | |
The burial mounds built between about 2000-1700 BC | 0:48:57 | 0:49:01 | |
appear to be in position not only for wider communities to see | 0:49:01 | 0:49:05 | |
but perhaps more importantly for competitor groups to see | 0:49:05 | 0:49:09 | |
from other vantage points. | 0:49:09 | 0:49:11 | |
we might imagine a kind of political landscape here, | 0:49:11 | 0:49:14 | |
where the elites are jockeying for prime position. | 0:49:14 | 0:49:18 | |
Funeral events would have served as opportunities for expressing | 0:49:18 | 0:49:23 | |
the power of the dead individuals, but also the power | 0:49:23 | 0:49:26 | |
of the groups conducting the funerals. | 0:49:26 | 0:49:28 | |
But they were not just expressing their power within the community. | 0:49:30 | 0:49:33 | |
They were also celebrating their wealth, | 0:49:38 | 0:49:41 | |
because excavated from some of these high status tombs has come | 0:49:41 | 0:49:44 | |
a remarkable amount of gold. | 0:49:44 | 0:49:46 | |
This absolutely exquisite artefact | 0:49:48 | 0:49:51 | |
was discovered in the Bush Barrow in 1808. | 0:49:51 | 0:49:55 | |
The Bush Barrow is about half a mile away from Stonehenge | 0:49:56 | 0:49:59 | |
and on a direct alignment with the most sacred area of the monument. | 0:49:59 | 0:50:04 | |
It's been dated to around 1950 BC. | 0:50:04 | 0:50:08 | |
The piece itself is known as a lozenge. It's almost pure gold. | 0:50:10 | 0:50:15 | |
And across the whole of it there are geometrical designs | 0:50:15 | 0:50:20 | |
of parallel lines and diagonal zigzags. | 0:50:20 | 0:50:23 | |
And it's perfectly executed. | 0:50:23 | 0:50:26 | |
The level of workmanship and the amount of gold in this lozenge | 0:50:28 | 0:50:31 | |
indicate that this person was incredibly high status. | 0:50:31 | 0:50:35 | |
Perhaps a chief, perhaps a senior priest. | 0:50:35 | 0:50:38 | |
And they think it would've sat in the centre of the man's chest. | 0:50:39 | 0:50:44 | |
Perhaps holding together a garment | 0:50:44 | 0:50:46 | |
or perhaps hung as a pendant of some description. | 0:50:46 | 0:50:49 | |
But the most impressive item found in the Bush Barrow grave | 0:50:51 | 0:50:55 | |
is actually in this tiny little dish. | 0:50:55 | 0:50:58 | |
These are some of the estimated 140,000 tiny gold studs | 0:51:01 | 0:51:07 | |
that were placed into the handle of a bronze dagger | 0:51:07 | 0:51:11 | |
that was found in this Bush Barrow grave. | 0:51:11 | 0:51:14 | |
At ultra-high levels of magnification, | 0:51:19 | 0:51:22 | |
some of the intricately worked studs can still be seen embedded | 0:51:22 | 0:51:26 | |
in fragments of wood from the handle. | 0:51:26 | 0:51:28 | |
Artist Willard Wigan is uniquely qualified to understand | 0:51:36 | 0:51:40 | |
what it took to achieve gold working on this microscopic scale. | 0:51:40 | 0:51:43 | |
Wigan is the world's pre-eminent nano-sculptor, | 0:51:49 | 0:51:53 | |
a niche market where smaller is better. | 0:51:53 | 0:51:56 | |
I'm actually producing something | 0:51:57 | 0:52:00 | |
that's smaller than a full stop in a newspaper. | 0:52:00 | 0:52:04 | |
Wigan's completed works sit framed in the eye of a needle, | 0:52:06 | 0:52:09 | |
or on the head of a pin. | 0:52:09 | 0:52:12 | |
Because I'm working on this molecular scale, | 0:52:12 | 0:52:15 | |
you have to hold your breath. | 0:52:15 | 0:52:17 | |
I'm actually working between the pulse beat. | 0:52:19 | 0:52:23 | |
The process to actually finish one can take anything up to two months. | 0:52:25 | 0:52:30 | |
Things are going to go wrong, you're going to lose pieces, | 0:52:30 | 0:52:33 | |
something will bend and then it will turn into a little catapult, | 0:52:33 | 0:52:36 | |
and then what you've been working on for four weeks is gone. | 0:52:36 | 0:52:41 | |
Based on his own skills, Willard has figured out the techniques | 0:52:45 | 0:52:49 | |
the ancient gold workers must have used. | 0:52:49 | 0:52:51 | |
I would say two fine pieces of gold twisted and rolled. | 0:52:55 | 0:52:59 | |
If you look here, you can see where it's twisted and flattened off. | 0:53:00 | 0:53:05 | |
I cannot see an adult doing that, | 0:53:05 | 0:53:07 | |
because your eyesight starts to deteriorate, even at 21. | 0:53:07 | 0:53:12 | |
It would have to be a child that's done that. | 0:53:12 | 0:53:16 | |
Even when aided with modern technology, | 0:53:16 | 0:53:19 | |
Willard grasped the difficulties of making a gold stud on this scale. | 0:53:19 | 0:53:23 | |
They probably found a way of slicing the gold into very fine fragments | 0:53:23 | 0:53:29 | |
by perhaps using a piece of flint, | 0:53:29 | 0:53:32 | |
and then you'd get these shavings of gold would come off. | 0:53:32 | 0:53:36 | |
Your movements would have to be very, very fine. | 0:53:41 | 0:53:47 | |
Twisting one that way and one the opposite way. | 0:53:47 | 0:53:50 | |
Once I've got to the stage of where I think it's going to snap, I stop. | 0:53:55 | 0:54:00 | |
Cut them off at each end. | 0:54:00 | 0:54:01 | |
And then squeeze at the end to give that pin head look at the top. | 0:54:04 | 0:54:09 | |
Back then there was no technology, there were no microscopes, nothing. | 0:54:11 | 0:54:15 | |
This is a phenomenal achievement. | 0:54:15 | 0:54:18 | |
More prehistoric gold objects have been found in the regions | 0:54:23 | 0:54:27 | |
surrounding Stonehenge than anywhere else in Britain. | 0:54:27 | 0:54:30 | |
This golden age represented Stonehenge at the peak | 0:54:36 | 0:54:40 | |
of its power and wealth. | 0:54:40 | 0:54:41 | |
A discovery made by the Hidden Landscapes Project | 0:54:42 | 0:54:45 | |
in a field to the east provided a glimpse of when | 0:54:45 | 0:54:48 | |
the area's ritual importance began to decline. | 0:54:48 | 0:54:51 | |
This is an amazing field, so just by driving over with my magnetometer, | 0:54:53 | 0:54:59 | |
I did see on the screen a lot of pits and a lot of long ditches, | 0:54:59 | 0:55:03 | |
and in between, a lot of smaller pits the size of postholes. | 0:55:03 | 0:55:07 | |
From the shape and distribution of the features, | 0:55:14 | 0:55:16 | |
Professor Neubauer recognised the telltale footprints | 0:55:16 | 0:55:20 | |
of prehistoric buildings. | 0:55:20 | 0:55:22 | |
When I first saw it, it was of course, "Wow!" | 0:55:27 | 0:55:30 | |
Now we have a settlement, what we have been looking for all the time, | 0:55:30 | 0:55:33 | |
so there were so many empty areas without any settlement traces | 0:55:33 | 0:55:36 | |
that it really was a great thing to have it now in this large field. | 0:55:36 | 0:55:40 | |
The evidence of everyday life | 0:55:49 | 0:55:51 | |
encroaching into areas previously held sacred | 0:55:51 | 0:55:54 | |
represented the beginning of the Stonehenge landscape's demise | 0:55:54 | 0:56:00 | |
as a ceremonial site. | 0:56:00 | 0:56:02 | |
By 1500 BCE, | 0:56:07 | 0:56:09 | |
all monument building had stopped | 0:56:09 | 0:56:12 | |
and the area was broken up into farmlands. | 0:56:12 | 0:56:15 | |
Over 1,000 years old by then, | 0:56:19 | 0:56:21 | |
the stone circle was, as it is today, | 0:56:21 | 0:56:26 | |
an enigmatic reminder of a lost civilisation. | 0:56:26 | 0:56:29 | |
21st-century technology underpinned by hard archaeological evidence | 0:56:37 | 0:56:43 | |
has revolutionised the understanding of Stonehenge. | 0:56:43 | 0:56:46 | |
As we start to see our results in relation to other people's results | 0:56:48 | 0:56:52 | |
and so on, we've got as complete a picture as we can ever have | 0:56:52 | 0:56:55 | |
of the entire landscape. | 0:56:55 | 0:56:57 | |
We're reinventing Stonehenge for this generation. | 0:56:58 | 0:57:01 | |
By peeling away the land, the archaeologists have rewritten | 0:57:04 | 0:57:09 | |
the 10,000-year-old story of the sacred site. | 0:57:09 | 0:57:12 | |
From its origins as a hunting ground | 0:57:15 | 0:57:19 | |
to its rise as a ceremonial arena. | 0:57:19 | 0:57:22 | |
Having this iconic landscape now really covered, | 0:57:28 | 0:57:32 | |
we can now put the whole thing in a context | 0:57:32 | 0:57:36 | |
in space but also in time. | 0:57:36 | 0:57:39 | |
The vast array of data has provided new scientific insight | 0:57:41 | 0:57:44 | |
into the pre-planning, | 0:57:44 | 0:57:48 | |
construction | 0:57:48 | 0:57:52 | |
and use of the stone circle... | 0:57:52 | 0:57:54 | |
..forever dispelling the myth of its seclusion. | 0:57:57 | 0:58:01 | |
Just as significantly, the discoveries have placed Stonehenge | 0:58:03 | 0:58:07 | |
at the very heart of a fast evolving and dynamic culture. | 0:58:07 | 0:58:11 | |
This is the story of Stonehenge. | 0:58:15 | 0:58:18 |