British Museum blog

Amara West 2012: return to cemetery D


Michaela Binder, Durham University

In the cemeteries, our work will mainly focus on cemetery D this year, the cemetery area to the north-west of the town. Located on an escarpment, previous excavations in this cemetery by the Egypt Exploration Society (1938/39) and by us in 2010, revealed evidence suggesting that this area was used as a burial ground for the elite. As we’ve only excavated a small number of graves in this area so far, the additional graves excavated this season will allow us to confirm – or modify – this hypothesis.

Two of the burial mounds we’ll excavate this season

Two of the burial mounds we’ll excavate this season

We’ll start with graves in the immediate vicinity of the elite Ramesside tombs excavated in 2010. On the surface, the tombs are visible as low circular mounds of schist blocks and rubble. The rubble might indicate that the underlying substructures are carved into the bedrock and therefore could be rather substantial. I can’t wait until the team finally arrives to find out what is underneath.

Early morning, first day of excavating in cemetery D

Early morning, first day of excavating in cemetery D

Early on Tuesday, a beautiful but rather brisk morning, I and a small group of three workmen started removing the windblown sand from the shaft of grave G307, where excavation had begun in 2010. Presumably due to wind erosion of the surface, a large proportion of the grave’s original height has disappeared over the centuries. How much is left of the burial chamber on the west side of the rectangular shaft will be seen over the next few days.

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We’re delighted to announce our first exhibition of the autumn ‘Drawing in silver and gold: Leonardo to Jasper Johns’, which opens 10 September.
This exhibition will feature around 100 of the best examples of #metalpoint spanning six centuries. Metalpoint is a challenging drawing technique where a metal stylus is used on a roughened preparation, ensuring that a trace of the metal is left on the surface. When mastered it can produce drawings of crystalline clarity and refinement.
This exhibition was organised by the National Gallery of Art, Washington @ngadc in association with the British Museum.
Book your tickets now to see these spectacular works! #art #drawing #Leonardo

Leonardo da Vinci (1452-1519), Bust of a warrior. Silverpoint, on prepared paper, c. 1475-1480. Can you guess the artist behind this work? 
All will be revealed at our special exhibition announcement tomorrow! #metalpoint Tower Bridge opened #onthisday in 1894. Here’s an early print of the iconic landmark.
#history #London #TowerBridge The mummy case of this temple doorkeeper called Padiamenet is covered with hieroglyphic inscriptions and religious images. The inscriptions on this brilliantly painted cartonnage tell us that he was the Chief Doorkeeper of the Domain of Ra, the Chief Attendant of Ra, and also Chief Barber of the Domain of Ra and of the temple of Amun. This largest scene shows Padiamenet, dressed in a long fringed robe, adoring the god Osiris, who is grasping the royal crook and flail. Behind him stands his sister, the goddess Isis.
Gain a unique insight into the lives of eight people over a remarkable 4,000 years in our #8mummies exhibition, closing 12 July #MummyMonday
#history #mummies #BritishMuseum Peter Paul Rubens was born #onthisday in 1577.
This is a magnificent drawing in both scale and style. It is drawn in black and yellow chalk, though Rubens also used a grey wash and some white heightening in order to bring the animal to life on paper.
The lioness is drawn from behind. Her front paw is raised and her mouth open, the fangs clearly visible. White heightening brings out the lighted area around the tail and the joints of the back legs. Both short and longer chalk strokes are used to suggest the different textures of the fur and mane.
Rubens used this drawing for a lioness in his painting of 'Daniel in the Lions' Den' (1613/15; National Gallery of Art, Washington, DC). The vividness of the drawing is even more remarkable given that Rubens probably based his drawing on a bronze statue of a lion and not a living animal. The strong contour line in black chalk around the animal suggests that he was studying a model. However, Rubens had the gift and genius to invest an unmoving object with both life and movement, even if the highlights give the impression of a metallic sheen.
#art #artist #Rubens #history This striking photo taken by @charlesimperialpendragon shows the colossal limestone bust of Amenhotep III in the Egyptian Sculpture Gallery (Room 4). #regram #repost

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