British Museum blog

In the back rooms

Neal Spencer, British Museum

Large vessel (C4029) found buried in the floor of the back room

Halfway through our third season of excavations in the northwest part of the walled town, our understanding of the nature of the area, and how it changed – whether on a room-by-room or building-by-building basis – is continuing to evolve.

No two house plans are the same, undoubtedly dictated by a range of factors. Here, some of the houses needed to be built into and over existing architecture, including large vaulted storerooms. But the circumstances of individual household units could also prompt houses to be joined, divided or internally re-arranged.

Papyri contemporary with Amara West describe complex fluctuations in houses at Thebes, with numbers oscillating between six and 15 people in a short time frame, due to deaths, marriages and even divorce.

The four 20th dynasty houses excavated so far in the northwestern town have between three and four rooms each, and the back room in three of the houses has a rather different character.

View along house E13.3-N with back room far from the front door

These are small spaces – only five metres² – and as we have no evidence for windows in any of the rooms, they are likely to have been very dark. None of the three back rooms has an outside wall, thus would have stayed cool during hot days and retained warmth during the very cold nights.

How were these rooms used? It is tempting to assume some were bedrooms, but none have bed alcoves familiar from larger pharaonic houses, including villa E12.10 at Amara West.

In fact, the inhabitants may have slept in the central room, warmed by the hearth. The back of one house clearly functioned as a space for ritual activity – an ancestor bust was found there.

A notable concentration of finer pottery vessels is found in these rooms – but also objects of more glamorous materials.

Plan of house E13.3-N, with room 27 to top right

In the last weeks, we have completed excavation of the back room in house E13.3-N. The pattern continues in the earliest layers in the room – fragments of a fine calcite (Egyptian alabaster) bowl were recovered alongside faience beads, a bone earring, and a faience Taweret amulet.

Fragments of a calcite bowl (F4743) found in back room of house E13.3-N

The purpose of the niche in the back wall remains unknown. But as with one other back room, we also found a large pottery vessel buried in the floor. We have taken samples from the pot, found with its lid still in place: perhaps chemical or botanical analyses can hint at the original contents?

However, a more prosaic function for these rooms is also possible. Finding objects in a room does not mean the inhabitants used them in that space, or placed them there for safe-keeping.

Some back rooms may simply have become areas in which to place unwanted rubbish – tucked out of the way at the back of the house.

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Another #MummyMonday space: it's Room 63 – together with Room 62 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. As it's #MummyMonday here's Room 62 – together with Room 63 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. It's time for our next #MuseumOfTheFuture gallery space. This is Room 61, the Michael Cohen Gallery of Egyptian life and death (the tomb-chapel of Nebamun). The British Museum acquired 11 wall-paintings from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350 BC, they are some of the most famous works of art from ancient Egypt.
Following a 10-year period of conservation and research, the paintings were put on display together for the first time in 2009. They give the impression of the walls of colour that would have been experienced by the ancient visitors to the tomb-chapel.
Objects dating from the same time period and a 3D animation of the tomb-chapel help to set the tomb-chapel in context and show how the finished tomb would have looked. (There is no Room 60 in the British Museum.) To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 59. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans. To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 58. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans. To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 57. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans.
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