British Museum blog

Amara West 2012: a new pyramid chapel


Milena Grzybowska

As my area of expertise is osteology (the scientific study of bones), I’m working in Cemetery D under Michaela Binder’s supervision. This is my first season on the Amara West project and the second day onsite has already brought the excitement I was hoping for.

Remains of a pyramid and tomb-chapel (G309)

Remains of a pyramid and tomb-chapel (G309)

I completed the pre-excavation documentation of feature G309 on Friday, and yesterday started excavating its central portion, with four local workmen, Nail, Mohammed, Ashmi and Akasze. The south-west interior corner of a building appeared very quickly. Brushes and trowels in hands, we were eager to define the extent of this structure.

Milena cleaning the remains of the chapel

Milena cleaning the remains of the chapel

The surviving remains, although presently not very high – 40 centimetres at the southern edge – still suggest a structure of impressive scale. Eight metres long and four metres wide, it is larger than the examples exposed previously. Constructed on an east-west axis, the grave originally consisted of a chapel, at the western edge of which stood a small brick pyramid.

Cleaning back sand from around the small pyramid base (right)

Cleaning back sand from around the small pyramid base (right)

What next? We will excavate the burial shaft, which might be over two metres in depth. Judging from the extent of the buildings and the adjacent mound of debris, whose height should reflect the depth of the grave, this phase of excavation might take some time. Let’s hope our patience will be rewarded with intact human remains and associated burial assemblages.

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

Filed under: Amara West, Archaeology, , , ,

2 Responses - Comments are closed.

  1. David says:

    Exciting stuff!

    Where do you think the material came to build this structure – is there a quarry nearby? Also Is there enough left to determine where the entrance was – and do these buildings all adhere to a strict layout, which allows you to more easily interpret the structure?

    Like

    • @ David

      The superstructure (tomb chapel and pyramid) was made of mudbrick. These are formed from Nile clay, which is abundant along the banks of the Nile; shaped in moulds, and left to dry. The chapel may have had stone elements (perhaps doors) but these do not survive. These would have been of sandstone, quarried in the local region. The entrance is likely to have been at the eastern end (facing the rising sun), on the basis of parallels from other broadly contemporary cemeteries (e.g. Tombos, Sai, Sesebi, Soleb etc).

      Neal Spencer, British Museum

      Like

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

Join 13,189 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

May the fourth be with you! Here’s a chocolate coin from the collection featuring Darth Vader #StarWarsDay
#StarWars #DarthVader #museum Machiavelli was born on #onthisday in 1469. Here’s a portrait of the notorious writer.
#art #portrait #history #BritishMuseum Born #onthisday in 1360: the Yongle emperor of China. This beautiful blue-and-white moon flask was made during his reign
#China #art #porcelain #history Leonardo da Vinci died #onthisday in 1519. Here's his drawing of the Virgin and Child (& cat!) This drawing shows the seated Virgin holding the Christ Child on her right knee. The Child in turn grasps a cat which struggles to escape. The forms twist and turn within the space defined by the thin line of an arch. The moving figures form a triangle or pyramid, in a geometrical composition that is typical of Leonardo. At the top left of the sheet, the outline of a clock suggests that the sketch was a study for the Virgin and Child in a domestic setting.

This sheet shows how Leonardo rapidly developed his compositional ideas. First he drew the Virgin's head in the centre, tracing through the thin paper from a similar composition on the reverse of the sheet. Leonardo then placed the Virgin's head looking out to the left. Finally, he settled on the Virgin looking down to the right, to balance the heads of the Christ Child and the cat who face left. He then painted a thin brown wash over the final composition and strengthened his figures with thicker lines.

Leonardo made a number of drawings of this theme, but no painting of the Virgin and Child with Cat survives. Instead, the geometry and balance of the composition and sense of movement became characteristic of his High Renaissance style.
#art #history #drawing #Leonardo Born #onthisday in 1769: Duke of #Wellington Arthur Wellesley. He defeated #Napoleon at #Waterloo. In this satirical print from 1815 Wellington, with drawn sword, drives Napoleon before him, pointing out with extended forefinger the route his captive is to take.
Discover prints from the age of Napoleon and Wellington in our free exhibition #BonaparteAndTheBritish in Room 90.
#exhibition #free #BritishMuseum #propaganda #art May is named after the Greek goddess Maia. Here’s an allegorical print of the month by German artist Christian Bernhard Rode.
#May #months #art #history #print
Follow

Get every new post delivered to your Inbox.

Join 13,189 other followers

%d bloggers like this: