British Museum blog

Amara West 2012: exploring house E13.8

Tom Lyons, archeologist

Last year we created a plan of house E13.8, but it was otherwise just an outline of bricks walls with sand filling the rooms. This year, with the help of Shadia Abdu Rabo, I have been excavating the house, room by room.

It is a modest structure, trapezoidal in shape, tucked between house E13.3-N and the imposing, three metre-thick, town wall.

Central room of the house E 13.8 with hearth and bench (left)

Central room of the house E 13.8 with hearth and bench (left)

The house has four rooms which are arranged in a layout typical at Amara West, with one room leading through to the next, although in this instance a small room is accessed off to the left of the front room. So far we have removed layers of windblown sand and collapsed rubble to reveal two rooms containing partially preserved mud-plaster floor surfaces; the largest of these two rooms is the central room in the house with a hearth and mastaba (or bench) against one of the walls.

General view of house E13.8 from the west with town wall on the left

General view of house E13.8 from the west with town wall on the left

The smallest room in the house is located just off the front room and contains three bread ovens and lots and lots of ash and burnt material. Experience tells us we will probably come across more of these ovens as we continue digging down.

Plan of house E13.8, with town wall at top

Plan of house E13.8, with town wall at top

We are only seeing the latest phase of this house at present – earlier floors might lie beneath, or even a completely different house.

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

Filed under: Amara West, Archaeology

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

Join 15,633 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Happy #ChineseNewYear! These are called xiao hongbao, literally translated as 'little red envelopes'. Red is the colour associated with celebration in China. In the 1990s, a new style of money envelope appeared. Although it still had a red back, the front was printed in many colours and overstamped in gold. On this envelope there are lush peony flowers in full bloom. They are symbolic of spring, as well as feminine beauty, love and affection. In Chinese, the peony is known as mudanhua or fuguihua. The characters fu ('wealth') and gui ('honour') appear frequently in good luck wishes, and pictures of peony flowers add strength to the wish. The inscription on this envelope reads 'May wealth and honour blossom, in abundance year after year'. The arrangement of the peonies and the inscription is reminiscent of traditional Chinese flower painting. #GongXiFaCai 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...’
#repost #regram
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
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum This wonderful photo by @what_fran_saw captures the stunning Great Court #regram #repost
The two-acre space of the Great Court is enclosed by a spectacular glass roof made of 3,312 unique pieces!
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum The roaring lions on the walls of King Nebuchadnezzar II’s palace represented the Babylonian king himself and were intended to astonish approaching visitors. Nebuchadnezzar commissioned major building projects in Babylon to glorify the capital of his empire. Glazed bricks in bright shades of blue, yellow and white were favoured for public monuments in order to emphasise both divine and royal power. These works displayed the might of the city and its king, who commanded unlimited resources.
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.
Share your photos using #mybritishmuseum and tagging @britishmuseum.
#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.
This lion can be found on the wooden doorframe at the south entrance to the Museum, and its nose is polished smooth by the many visitors who rub it for luck on their way in. Share your photos using #mybritishmuseum and tagging @britishmuseum
Follow

Get every new post delivered to your Inbox.

Join 15,633 other followers

%d bloggers like this: