More than sixty years ago I came upon some illustrations in a book at primary school that made a lasting impression on me. They were black-and-white drawings of what was then known as Glastonbury Lake-Village, in Somerset, England, showing how it had looked in the late first millennium bc when it was occupied. Already referred to in Chapter 3, this site had been the subject of a model excavation for its time at the turn of the nineteenth and twentieth centuries, its results published in exemplary fashion in two large volumes (Bulleid and Gray 1911, 1917). The illustrations that so caught my childish imagination were by the artist Amédée Forestier (Phillips 2005), one showing a bird's-eye view of the village and the other showing villagers on its landing stage and in canoes adjacent to it. These pictures were originally published, together with other illustrations of the village, in the Illustrated London News on 2 December 1911 (Illustrated London News 1911: 928–933). At present, my easiest access to copies of these illustrations is in a small introductory text entitled The lake-villages of Somerset (Bulleid 1958), where each is captioned ‘supposititious’, a rather ugly word meaning ‘spurious’ or ‘substituted for the real’ (Allen 1990). Indeed, although based on excavated evidence, the Forestier drawings might be far removed from the reality of two thousand years ago, resulting as they do from the imagination of an early-twentieth-century artist, who had been born in Paris in 1854.