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Neal Spencer, British Museum

Surveying newly discovered graves in the post-New Kingdom cemetery

Following months of planning, preparation and travel it is always a relief to start work – but also rather unusual in that the initial days of excavation are very different from later in the season.

In the town, we must first remove deep layers of sand that have accumulated in the houses we partly excavated last year. There are no finds or pottery in these deposits so there is little recording and a fair bit of waiting before we reach real archaeology.

Clay floor revealed in the middle room of a small Ramesside house, about 1150BC

In two of the small houses, we are already down on earlier clean clay floors, with the remnants of a cooking hearth in the middle room of each house. It is likely that further occupation phases lie beneath.

A trench inside the southwestern corner of the wall is proving a little frustrating. Here, the buildings have been badly damaged by digging for clay, so there are deep pits filled with clean sand.

Looking for the southwestern town beneath thick layers of sand

Only a few fragments of walls have appeared so far, despite over 20 men and six wheelbarrows working seven hours a day to remove the sand! Sandbags are needed to keep up the trench sides.

In cemetery C, the team has revealed a number of small graves with niches for burials, but thus far all have been robbed, with only jumbled skeletal remains and fragments of pottery remaining. The robbers missed one nice object in Grave 220 – a faience scaraboid with a representation of Thoth as a baboon in place of the usual beetle form.

Faience scaraboid (F9312) with representation of Thoth, from Grave 221.

Another reason that the start of the season is unusual is that the daily rhythm has yet to crystalise – many of us are still setting up systems for later in the season (including a new electricity supply!), ordering and obtaining equipment from the town of Abri, while also trying to integrate new workmen into our digging system – we’ve hired 38 men this season.

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We’re delighted to announce our first exhibition of the autumn ‘Drawing in silver and gold: Leonardo to Jasper Johns’, which opens 10 September.
This exhibition will feature around 100 of the best examples of #metalpoint spanning six centuries. Metalpoint is a challenging drawing technique where a metal stylus is used on a roughened preparation, ensuring that a trace of the metal is left on the surface. When mastered it can produce drawings of crystalline clarity and refinement.
This exhibition was organised by the National Gallery of Art, Washington @ngadc in association with the British Museum.
Book your tickets now to see these spectacular works! #art #drawing #Leonardo

Leonardo da Vinci (1452-1519), Bust of a warrior. Silverpoint, on prepared paper, c. 1475-1480. Can you guess the artist behind this work? 
All will be revealed at our special exhibition announcement tomorrow! #metalpoint Tower Bridge opened #onthisday in 1894. Here’s an early print of the iconic landmark.
#history #London #TowerBridge The mummy case of this temple doorkeeper called Padiamenet is covered with hieroglyphic inscriptions and religious images. The inscriptions on this brilliantly painted cartonnage tell us that he was the Chief Doorkeeper of the Domain of Ra, the Chief Attendant of Ra, and also Chief Barber of the Domain of Ra and of the temple of Amun. This largest scene shows Padiamenet, dressed in a long fringed robe, adoring the god Osiris, who is grasping the royal crook and flail. Behind him stands his sister, the goddess Isis.
Gain a unique insight into the lives of eight people over a remarkable 4,000 years in our #8mummies exhibition, closing 12 July #MummyMonday
#history #mummies #BritishMuseum Peter Paul Rubens was born #onthisday in 1577.
This is a magnificent drawing in both scale and style. It is drawn in black and yellow chalk, though Rubens also used a grey wash and some white heightening in order to bring the animal to life on paper.
The lioness is drawn from behind. Her front paw is raised and her mouth open, the fangs clearly visible. White heightening brings out the lighted area around the tail and the joints of the back legs. Both short and longer chalk strokes are used to suggest the different textures of the fur and mane.
Rubens used this drawing for a lioness in his painting of 'Daniel in the Lions' Den' (1613/15; National Gallery of Art, Washington, DC). The vividness of the drawing is even more remarkable given that Rubens probably based his drawing on a bronze statue of a lion and not a living animal. The strong contour line in black chalk around the animal suggests that he was studying a model. However, Rubens had the gift and genius to invest an unmoving object with both life and movement, even if the highlights give the impression of a metallic sheen.
#art #artist #Rubens #history This striking photo taken by @charlesimperialpendragon shows the colossal limestone bust of Amenhotep III in the Egyptian Sculpture Gallery (Room 4). #regram #repost

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