British Museum blog

Amara West 2012: the life-story of a pot

A large vessel (C4460) found buried in the floor of house E13.8Marie Millet, British Museum

The Amara West team is now beginning to finalise plans for its next excavation season, in January and February 2013. In recent months, we’ve been digitising our field documentation (drawings, plans, maps …), which has allowed us to reconstruct biographies for objects found during our excavations earlier this year. This work is shedding light on life at the town of Amara West, the principal administrative centre of Upper Nubia during the Ramesside Period, at the end of the second millennium BC.

One object in particular caught my attention: a large vessel (C4460) buried in the floor of house E13.8. This single object enables us to tell a chapter in the story of “House of Ramesses-ruler-of-Thebes”, as Amara West was called in ancient times.

A large vessel (C4460) found buried in the floor of house E13.8

A large vessel (C4460) found buried in the floor of house E13.8

House E13.8 was excavated last season by Tom Lyons and Shadia Abdu Rabu, between the enclosure wall and house E13.3. It was built over the remains of a production area with a kiln. Though this house was built over an empty, trapezoid-shaped space, it features all of the key elements of an Amara house: hearths, bread ovens, room with mastaba-bench.

Excavation at Amara West, 2012

Excavation at Amara West, 2012

In the back room, to the left of the door, we came across a large buried pot. Why was it there? Usually in archaeology we go back in time, because we are discovering the most recent part of a site and ‘peeling back’ the layers to find earlier remains. But with this object, we can tell the story from beginning to end.

We know that this very large jar was made on a potter’s wheel, as we can see wheel-marks on the interior surface. The exterior is a white colour. It’s made from Nile clay, which makes it difficult to distinguish whether it was produced in Egypt or in Upper Nubia: was it imported, or made locally at Amara West? Such pots are usually made from more specific Egyptian clay, ‘marl clay’, though in Abydos, examples made from Nile clay have been found with a white slip added to the exterior, to imitate pots made from marl clay.

Storage-jar, found at el-Amarna, Egypt, 1350 BC from the British Museum collection

Storage-jar, found at el-Amarna, Egypt, 1350 BC from the
British Museum collection

Egyptologists call this kind of jar a ‘meat jar’, as ink labels found on them, especially in Amarna, state that meat was stored inside. Some jars from this site in the British Museum collection offer a good comparison with the newly-excavated material.

The Amara West pot bears a hieratic inscription, carefully conserved by Philip Kevin, saying it held cqw– (bread) loaves (thanks to Robert Demarée for the translation). So this jar was used to transport or store a number of loaves. At a later stage, it was then buried in the floor at the back of the house, possibly to keep food cool, a change in function we often see with this type of jar, both at Amara West and at Amarna. The archaeological stratigraphy suggests that it was buried during the 20th dynasty. As to what was stored inside; that’s a question for our archaeobotanists, Caroline Cartwright and Philippa Ryan, who will be studying the jar in due course.

Unfortunately, this jar lost its neck, perhaps while it was in use at the back of the house or when the area was refilled and the pot completely forgotten. The room was filled with rubble, containing doum-palm trees seeds, charcoal, wood, fish bones and ochre. The weight of these deposits caused the pot to collapse in on itself.

So this jar tells us its own life through its breaks, marks, shape, material and location in the archaeological stratigraphy. This provides us with a glimpse into the daily life of the inhabitants of Amara West.

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For our final #MuseumInstaSwap post we’re highlighting the 'Make Do and Mend' campaign of the Second World War, as told by our partner @ImperialWarMuseums in their #FashionontheRation exhibition.

The campaign was launched to encourage people to make their existing supplies of clothes last longer. Posters and leaflets were circulated with advice on subjects including how to prevent moth damage to woollens, how to make shoes last longer or how to care for different fabrics. As the war went on, buying new was severely restricted by coupon limits and no longer an option for many people. The ability to repair, renovate and make one's own clothes became increasingly important. Although shoppers would have to hand over coupons for dressmaking fabric as well as readymade clothes, making clothes was often cheaper and saved coupons. ‘Make Do and Mend’ classes took place around the country, teaching skills such as pattern cutting. Dress makers and home sewers often had to be experimental in their choice of fabrics. Despite disliking much of the official rhetoric to Make Do and Mend, many people demonstrated great creativity and adaptability in dealing with rationing. Individual style flourished. Shortages necessitated imaginative use of materials, recycling and renovating of old clothes and innovative use of home-made accessories, which could alter or smarten up an outfit. Many women used furnishing fabrics for dressmaking until these too were rationed. Blackout material, which did not need points, was also sometimes used. Parachute silk was highly prized for underwear, nightclothes and wedding dresses.

We've really enjoyed working with and learning from our friends at @imperialwarmuseums this week. You can catch up on all our posts and discover many more stories from London’s museums with #MuseumInstaSwap. © IWM (Art.IWM PST 4773 For #MuseumInstaSwap we’re discovering the street style of the Second World War in the #FashionontheRation exhibition at @ImperialWarMuseums. In this archive photo a female member of the Air Raid Precautions staff applies her lipstick between emergency calls.

In wartime Britain it was unfashionable to be seen wearing clothes that were obviously showy, yet women were frequently implored not to let 'standards' slip too far. There was genuine concern that a lack of interest in personal appearance could be a sign of low morale, which could have a detrimental impact on the war effort. The government's concern for the morale of women was a major factor in the decision to continue the manufacture of cosmetics, though in much reduced quantities. Make-up was never rationed, but was subject to a luxury tax and was very expensive. Many cosmetics firms switched some of their production to items needed for the war effort. Coty, for example, were known for their face powder and perfumes but also made army foot powder and anti-gas ointment. Make-up and hair styles took on an increased importance and many women went to great lengths to still feel well-dressed and stylish even if their clothes were last season's, their stockings darned and accessories home-made. As with clothing, women found creative ways around shortages, with beetroot juice used for a splash of lip colour and boot polish passing for mascara.

Discover more stories from London’s museums with #MuseumInstaSwap © IWM (D 176) In the @ImperialWarMuseums exhibition ‘Fashion on the Ration: 1940s street style’ we can see how men and women found new ways to dress while clothing was rationed. Displays of original clothes from the era, from military uniforms to utility underwear, reveal what life was really like on the home front in wartime Britain.

Despite the limitations imposed by rationing, clothing retailers sought to retain and even expand their customer base during the Second World War. Britain's high street adapted in response to wartime conditions, and this was reflected in their retail ranges. The government intervened in the mass manufacture of high street fashions with the arrival of the Utility clothing scheme in 1942. Shoppers carefully spent their precious clothing coupons and money on new clothes to make sure their purchases would be suitable across spring, summer and autumn and winter. Despite the restrictions, the war and civilian austerity did not put an end to creative design, commercial opportunism or fashionable trends on the British home front.

#FashionontheRation exhibition runs @imperialwarmuseums until 31 August.

Discover more stories from London’s museums with #MuseumInstaSwap. For our final day of #MuseumInstaSwap we’re learning about the Second World War @ImperialWarMuseums, and discovering the impact of the war on ordinary people. 
Clothes were rationed in Britain from 1 June 1941. This limited the amount of new garments people could buy until 1949, four years after the war's end. The British government needed to reduce production and consumption of civilian clothes to safeguard raw materials and release workers and factory space for war production. As with food rationing, which had been in place since 1940, one of the reasons for introducing civilian clothes rationing was to ensure fairness. Rationing sought to ensure a more equal distribution of clothing and improve the availability of garments in the shops.

As this poster shows, the rationing scheme worked by allocating each type of clothing item a 'points' value which varied according to how much material and labour went into its manufacture. Eleven coupons were needed for a dress, two needed for a pair of stockings, and eight coupons required for a man's shirt or a pair of trousers. Women's shoes meant relinquishing five coupons, and men's footwear cost seven coupons. When buying new clothes, the shopper had to hand over coupons with a 'points' value as well as money. Every adult was initially given an allocation of 66 points to last one year, but this allocation shrank as the war progressed. © IWM (Art.IWM PST 8293) This week on @instagram we’ve joined up with other London museums to highlight our shared stories. Our partner is @imperialwarmuseums, whose incredible collection brings people’s experiences of modern war and conflict to life. Follow #MuseumInstaSwap to discover some of the intriguing historical connections we have found, as well as insights into everyday life during wartime. As part of our #MuseumInstaSwap with @ImperialWarMuseums, we’ve been given special access to the Churchill War Rooms – located deep below the streets of Westminster.
This is Prime Minister Winston Churchill’s bedroom, which includes his private desk, briefcase and papers, his bed and chamber pot and even an original cigar! The bedroom is located close to the Map Room, keeping Churchill as close as possible to the epicentre of Cabinet War Rooms.
Following the surrender of the Japanese Forces the doors to the War Rooms were locked on 16 August 1945 and the complex was left undisturbed until Parliament ensured its preservation as a historic site in 1948. Knowledge of the site and access to it remained highly restricted until the late 1970s when @ImperialWarMuseums began the task of preserving the site and its contents, making them accessible to as wide an audience as possible and opening them to the public in 1984.
Discover more stories from London’s museums with #MuseumInstaSwap
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