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Marie Millet, College de France, Paris

Marie Millet sorting pottery in the Ramesside town

Since the first season of excavation at Amara West in 2009, I have been studying the pottery vessels from both the town and its cemeteries. I’m now getting back into the rhythm of living and working in Amara West and the island of Ernetta where the expedition house is located.

Typically, I work at the site twice a week – for an initial sorting of the masses of pottery which comes from the town – then the remainder of my time is spent in the study rooms and pottery store.

Cooking jar from 20th dynasty house, about 1130 BC (C4000)

Most of the pottery is broken into small pieces (sherds), but diagnostic fragments (rims, bases, decorated pieces, handles …) can allow us to identify the original shape of the vessels. Of course, we do also find complete vessels.

Firstly, all the pottery needs to be washed, for which we employ a local workman named Salah Mohamed Ali. Special recording sheets are then used to record the characteristics of ceramics from each individual archaeological context (pit, wall, oven, occupation layers).

The proportion of different types of vessel can provide information on the function of a room or space. For example, the middle room in a Ramesside house yielded a cooking jar but also trays for baking bread (dokka). In the middle of this room there was a fireplace and a grinding-emplacement, suggesting the space was used for food preparation.

An ancient kitchen? A plan of the room where the cooking jar was found

In contrast, the room next door, at the back of the house, yielded a small jug (C4019), of a type used for perfume or ointment, so this room may have been more private – perhaps a bedroom?

Ointment or perfume jug (C4019)

Despite much of the ceramic looking rather unimpressive, it can clarify important aspects about ancient life, including food preparation, trade patterns and also the chronology of different occupation levels.

It is crucial that the ceramic evidence is recorded accurately – both drawn and photographed. An archaeological illustrator, Elisabeth, helps out with some of the drawings. Eventually, these will be published, allowing the finds from Amara West to be compared with those from sites across Egypt and Sudan.

All of the pottery stays in our storeroom, so it is always a race against time to finish studying it. In fact, we are always playing catch-up: this week I am working on pottery from last year, while material floods in from ongoing excavations.

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  1. […] Archaeology consists not only of walls and architectural structures, but also of objects, recovered throughout seasons of excavation. These objects are rarely masterpieces, but rather tools of all kinds: hammer- and grind-stones, small jewellery, scarabs, flint tools… and of course masses of pottery. […]

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Discover some of the amazing wearable treasures in our new #Waddesdon gallery on @Pinterest at pinterest.com/britishmuseum
The Grenville Jewel. Dating from about 1635–1640, this superb locket contains a portrait by David Des Granges of Sir Bevil Grenville, a Cornish Royalist General who died during the English Civil War in 1643. The case is a bravura demonstration of enamelling on gold. Minute pansies, marguerites and green leaves stand out against a black background. A large square sapphire adorns the centre, surrounded by rubies, opals and diamonds. A pendant pearl in an enamelled setting completes the piece.
Gold enamelled pendant jewel with a ruby-studded parrot. The top of the base is enamelled with shields and flowers. Two pendant pearls complete the jewel. The parrot itself may have 16th-century Spanish origins, but the rest of the jewel is largely a 19th-century construction by the French jeweller Alfred André (1839–1919). A similar parrot pendant is in the Museo Arqueológico Nacional, Madrid, where the bird is also modelled in the round and white enamel used to highlight the eyes. Here's another great photo from our instagramer event, a #tired_portrait in the Great Court by @zoecaldwell.
Check out #emptyBM to see all their amazing photos! US artist John Sloan was born #onthisday in 1871. 
John Sloan, painter, printmaker and teacher, first took up etching as a self-taught adolescent.  Moving to New York in 1904, he became part of a group of eight artists, better known as “The Ashcan School”, who focused on creating images of urban realism. Between 1891 and 1940 Sloan produced some 300 etchings. He was also one of the first chroniclers of the American scene and wrote about printmaking and the etching technique.
This etching comes from the series of 10 prints entitled 'New York City Life', recording the lives of the ordinary inhabitants in less affluent areas of Manhattan. The prints had a mixed reception at the time and a number were rejected from an exhibition of the American Watercolor Society as ‘vulgar’ and ‘indecent’. #August is named after the Roman emperor Augustus. Before 8 BC the Romans called it Sextilis! 
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Although Roman counter-attackers reclaimed many of the statues, they did not reach Meroë, where this head was buried beneath the steps of a native temple dedicated to Victory. It seems likely that the head, having been cut from its statue, was placed there deliberately so as to be permanently below the feet of its Meroitic captors.
The head of Augustus appears larger than life, with perfect proportions based upon Classical Greek notions of ideal human form. His calm distant gaze, emphasised with inset eyes of glass and stone, give him an air of quiet, assured strength. Coins and statues were the main media for propagating the image of the Roman emperor. This statue, like many others throughout the Empire, was made as a continuous reminder of the all-embracing power of Rome and its emperor. English sculptor Henry Moore was born #onthisday in 1898.
Drawing played a major role in Henry Moore's work throughout his career. He used it to generate and develop ideas for sculpture, and to create independent works in their own right.
During the 1930s the range and variety of his drawing expanded considerably, starting with the 'Transformation Drawings' in which he explored the metamorphosis of natural, organic shapes into human forms. At the end of the decade he began to focus on the relationship between internal and external forms, his first sculpture of this nature being 'Helmet' (Tate Collections) of 1939.
This drawing titled ‘Two Women: Drawing for sculpture combining wood and metal’ was based on a pencil study entitled ‘Ideas for Lead Sculpture’. It reflects his awareness of surrealism and psychoanalytical theory as well his abiding interest in ethnographic material and non-European sculpture; the particular reference in this context is to a malangan figure (malangan is a funeral ritual cycle) from New Ireland province in Papua New Guinea, which had attracted his interest in the British Museum. 
Henry Moore, Two Women: Drawing for sculpture combining wood and metal. England, 1939. Here's another fabulous view of the Great Court captured by @whatinasees at our instagramer event #regram #repost
Check out all of the photos at #emptyBM
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