British Museum blog

The tempo of the working day gathers pace…

Tom Lyons, archaeologist

Sunrise on the Nile at Ernetta, before boarding for the commute to Amara West

Being a new member of the British Museum’s excavation team at Amara West I’ve had to adapt to a different set of working conditions including a new set of colleagues, unfamiliar archaeology, wide-ranging temperatures and a spectacular dawn commute to work on a crowded boat down the Nile.

Having left behind my regular archaeological job in Britain where one typically investigates ditches, field systems and scant remains of housing I now find myself in one of the best preserved pharaonic towns (chiefly thanks to 3000 years of windblown sand).

Collapsed doorway from an earlier house, found beneath later architecture of house E13.3-N

As I’ve worked on other archaeological projects in the near east I have encountered buildings constructed in mud brick before. Many archaeological principles remain the same and now that the excavation is nearing a close I’m very familiar with the process of revealing buried architecture among collapsed buildings, and clay floor surfaces and recovering a variety of domestic objects such as large grinding stones, ovens and masses and masses of pottery.

My task is to supervise the excavation of a narrow house dating to about 1100 BC with local workmen removing the archaeological structures and deposits after I identify, draw and describe them. This task is complicated by the fact that several different phases of architecture still exist in the same space. Distinguishing them and reconstructing the original sequence of events is a crucial component of the work.

Beginning the excavation of house E13.3-N, four weeks ago

Now that the end of this season is approaching, the tempo of the working day gathers pace – while the number of as yet unanswered questions increases.

After excavating three rooms in the building almost completely, only the standing architecture and the very earliest floors (and deposits) remain, my attention now turns to the rest of the house next door, partly excavated in 2010 during last year’s season.

Tom Lyons cleaning a door blocking in front of the house

At present we think there are three architectural phases, although identifying each one and its true extent sometimes feels like informed speculation at best – or at worst a confusing set of circular relationships. A simple sketch plan of the archaeology as you interpret it can be much more constructive than unsatisfying discussions of the buildings under the glare of the midday Saharan sun.

In most cases the answers usually reveal themselves with further digging…

If you would like to leave a comment click on the title

Filed under: Amara West, Archaeology, , ,

One Response - Comments are closed.

  1. Tom Phillips says:

    ‘my regular archaeological job in Britain where one typically investigates ditches, field systems and scant remains of housing’ – which is what Im doing at this very moment! Lovely stuff.

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,269 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

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! 
This head once formed part of a statue of the emperor Augustus (ruled 27 BC – AD 14). In 31 BC he defeated Mark Antony and Cleopatra at the battle of Actium and took possession of Egypt, which became a Roman province. The writer Strabo tells us that statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them in 25 BC.
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
Follow

Get every new post delivered to your Inbox.

Join 14,269 other followers

%d bloggers like this: