British Museum blog

Season five approaches at Amara West

Neal Spencer, British Museum

For the Amara West team, Christmas and New Year is always coloured by the anticipation of a return to site. Ahead lies the unknown of new excavations, and undoubtedly some surprising logistical challenges….

House E13.8, between the town wall (left), and house E13.3, excavated last year.

House E13.8, between the town wall (left), and house E13.3, excavated last year.

Work on site will concentrate on two areas: Michaela Binder will be leading a team of specialists in cemetery D, our second full season in this burial ground where Egyptian-style tombs of the New Kingdom are found alongside later burials reflecting Nubian traditions. And this season, we’ll be joined by the first participants in the Amara West Field School, generously supported by the Institute of Bioarchaeology. Mohamed Saad, from the National Corporation of Antiquities, and Åshild Vågene, recently graduated from Durham University, will together learn the methods for excavating graves – often badly disturbed – to retrieve the maximum information on skeletal remains.

House E13.7 last month, now buried beneath sand (and with a later house built above it).

House E13.7 last month, now buried beneath sand (and with a later house built above it).

Down in the town, all our efforts will be concentrated on the dense block of housing in the northwest of the town. We’ll continue work in house E13.7, the early dwelling with white-painted walls, but also start work on two new houses, E13.6 and E13.8. We can already see the layout of the house, but cannot predict what awaits us in each room, or what earlier architecture might lie beneath!

Fragments of painted plaster, with chequerboard pattern, from a possible shrine in house E13.7

Fragments of painted plaster, with chequerboard pattern, from a possible shrine in house E13.7

Of course, the expedition house will also be a hive of activity, with work on pottery, finds and of course organisation of scientific samples continuing. This year we’ll also be joined by Philip Kevin, a conservator from the British Museum, who will work on revealing the colourful decoration on the painted plaster fragments from a possible house shrine.

We’ll be sending updates on the various aspects of work over the next two months: excavation starts 2 January….

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You can now discover thousands of British Museum objects in partnership with @googleartproject at We’ve asked staff members to highlight their favourites and explain what makes them special. Chris Spring, Curator of Africa Collections, describes why he finds the ‘Throne of weapons’ so powerful. ‘This war memorial celebrates the ordinary people of Mozambique, many of them unarmed, who stood up to a culture of violence. It represents both a human tragedy and a human triumph. The Throne's essential humanity is suggested right away by its anthropomorphic qualities - it has arms, legs, a back and most importantly a face - actually two faces. My first reaction was that these faces are crying in pain, though they could also be seen as smiling faces finally freed from conflict. These anthropomorphic qualities also link it immediately to the arts of Africa, in which non-figurative objects such as chairs, stools, weapons, pots etc are seen as - and described as - human beings. The Throne has toured the world, taking its message of peace to schools, churches, shopping centres and even prisons – and of course, to museums and galleries.’ #MuseumOfTheWorld We’re celebrating our partnership with @googleartproject, and have asked curators to tell us about their favourite objects. Hugo Chapman, Keeper of Prints and Drawings, explains why he chose this chalk drawing by Michelangelo. ‘One of the things I love about drawings is the way they sometimes allow a glimpse into the private, behind the scenes world of an artist, one unseen in finished works in paint or stone. An example of that is a red chalk drawing by Michelangelo of grotesque heads in red chalk that reveal that the Florentine Renaissance artist had a lively, if caustic, sense of humour. The three heads were probably drawn to amuse but at the same instruct his pupils, as the three studies show how slight changes can radically alter the reading of an image with the character and mood of each figure (paranoid anxiety; vacuous joy; and depressive gloom) signalled by the position and erectness of their donkey-like ears.  I wish my ears were as expressive.’ Discover many more incredible works of art in the Google Cultural Institute at

#Michelangelo #art To celebrate our partnership with @googleartproject, we’ve asked members of British Museum staff to highlight their favourite objects and explain what makes them special. Jill Cook, Deputy Keeper of Britain, Europe & Prehistory, chose this stone chopping tool from an early human campsite in Olduvai Gorge, Tanzania. ‘Holding this 2 million year old African tool in my hand I am reminded that whatever differences exist between people now, we are united by our common origin in Africa. The discovery of this piece by Louis Leakey in 1931 began to change our understanding of what makes us human. It illustrates the beginning of a transition from an ancestral ape that walked upright on two legs within the confines of a limited ecological niche to humans with more complex brains capable of changing and eventually dominating the world around us by making tools and weapons. This chopping tool is one of the seeds from which all human cultures and societies have grown.’ Discover the stories of thousands of objects in the Google Cultural Institute at

#MuseumOfTheWorld In Victorian England many people were fascinated by their past, and the ancient tribal leader Caratacus (also spelt Caractacus) was adopted as a symbol of national pride and independence. Like Boudica, Caratacus resisted the Roman invasion of Britain. Although he was eventually defeated, he earned a reputation as a noble and worthy foe. The Victorian sculptor J H Foley portrays him here standing triumphant, the embodiment of courageous English spirit. See this incredible #Movember moustache in our #Celts exhibition, until 31 January 2016.
J H Foley (1818–1874), Caractacus. Marble, 1856–1859. On loan from Guildhall Art Gallery/Mansion House, City of London. Some more #Movember inspiration! Here’s the Museum’s security team from 1902 photographed on the front steps. They include officers from the Metropolitan Police, and the London Fire Brigade (identified by their flat caps). We’re celebrating #Movember with Museum moustaches great and small. Here’s a #Movember fact: Peter the Great of Russia introduced a beard tax in 1698 and this token was given as proof of payment!

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