British Museum blog

Digging Domuztepe: week two – sore arms and bruised palms

Alexandra Fletcher and Rachel Swift are a curator and a conservator working at Domuztepe, a Late Neolithic site (about 6200-5500 BC) in south eastern Turkey. This series of posts traces the weekly progress of their recent excavation season.


Rachel Swift, British Museum

The trickle of small finds from site has increased as the digging has really got going and I have been cleaning lots of Neolithic beads, including a group found lying together as if they were once a necklace. I have also had the chance to do some digging on site giving me a better understanding of the context for the finds I work on.

Neolithic beads found at Domuztepe, undergoing conservation

Neolithic beads found at Domuztepe, undergoing conservation

I helped to excavate a large oven which I then had to draw a plan of – resurrecting archaeological skills I haven’t used in a while.

At the end of this week the whole dig team has a slightly longer break than normal – two days off instead of one. It’s great to get sleep without being bothered by mosquitoes and recharge our energy that tends to get low in the relentless heat. It gets hotter than 40˚ C on most days.


Alexandra Fletcher, British Museum

The site is working really well and the plan of a Late Neolithic house with several rooms is gradually emerging.

Alexandra Fletcher (left) and Rachel Swift, excavating on site at Domuztepe

Alexandra Fletcher (left) and Rachel Swift, excavating on site at Domuztepe

The walls are made from mud and are surrounded by soil formed from the collapse of more mud walls. This makes them very hard to see and excavate properly. You end up scanning the soil carefully for slight signs of straight lines or different textures. Then you feel your way through the deposits using your trowel with a forward thrusting, twisting motion. This looks most odd to anyone used to working in the wet soils of Britain, where you tend to scrape the soil backwards.

Hopefully, the thump and twist motion means you spot the point where the soil breaks vertically and that’s your wall face. You really have to have the courage of your own conviction, because if you keep digging past the face – it’s gone forever.

Needless to say everyone is getting sore arms and bruised palms from chasing wall edges.

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Filed under: Archaeology, Domuztepe dig 2011

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We welcome nearly 7 million visitors a year to the Museum and this photo by @zoenorfolk wonderfully captures the movement of people around the Great Court. Completed in 2000, the Great Court also features a quote by Tennyson: 'and let thy feet millenniums hence be in the midst...’
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Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum In 2000, the Queen Elizabeth II Great Court designed by Foster and Partners transformed the Museum’s inner courtyard into the largest covered public square in Europe. We love this striking photo by @adders77 showing this incredible space at night #regram #repost
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The two-acre space of the Great Court is enclosed by a spectacular glass roof made of 3,312 unique pieces!
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Glazed brick panel showing a roaring lion from the Throne Room of Nebuchadnezzar II, 605–562 BC. From Babylon, southern Iraq. On loan from Vorderasiatisches Museum, Berlin.
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#lion #art #history #BritishMuseum Lions have perhaps been adopted as a symbol more than any other animal. They are seen as proud, fierce and magnificent – characteristics that made kings and countries want to associate themselves with these charismatic big cats. As well as being the national symbol of England and Scotland, the lion is in many ways the symbol of the British Museum. Lions guard both entrances to the building. At the Montague Place entrance are the languid lions carved by Sir George Frampton, and on the glass doors of the Main entrance are the cat-like beasts designed by the sculptor Alfred Stevens in 1852.
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We’ll be sharing more lovely lions this week! Share your photos using #mybritishmuseum and tagging @britishmuseum.
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