British Museum blog

Amara West 2012: looking back on the season in the cemetery


Michaela Binder, Durham University

After seven weeks of excavation we can look back to a very successful season in the cemetery at Amara West. In total, the two field school members (Åshild Vagene and Mohamed Saad), Laurel Engbring, Milena Grybowska and I were able to excavate and document 11 graves.

Multiple burials in the eastern chamber of G314

Multiple burials in the eastern chamber of G314

All of them proved to be complex features with one or two burial chambers used for the interment of several individuals – up to 15 in the case of G314. But even though the general outline of the graves appears similar, they differ from each other considerably in terms of size, shape and orientation. The results of this season confirm our picture of a mixed culture combining elements of Nubian and Egyptian funerary customs.

Copper alloy mirror (F8448) found within G309

Copper alloy mirror (F8448) found within G309

G309, the newly discovered pyramid tomb, attests to the wealth of some individuals living at Amara West. The use of a pyramid superstructure, the decorated coffin and a copper alloy mirror, only discovered on the very last day of the season, show that the people buried in this grave chose to be buried surrounded by recognisably Pharaonic objects and architecture. However, this does not prove they were Egyptians – they could also have been acculturated Nubians, or descendants of intermarriage between Egyptians and Nubians.

The discovery of an Early or Middle Kerma tumulus, dug by Åshild and Mohamed, shows that the area of Amara West had already been occupied long before the establishment of the Egyptian town. Even though the site of settlement changed, the inhabitants of the Pharaonic settlement chose to use the same burial grounds, which would have been demarcated by the prominent Kerma tumuli back then just as they are today. Was the cemetery placed here, over a Kerma burial ground, to underline Egyptian domination of the area perhaps?

Excavation area – Due to the strong wind the graves had to be covered with tarpaulin for most of the season

Excavation area – Due to the strong wind the graves had to be covered with tarpaulin for most of the season

The preservation of organic remains allows for more refined insights into funerary customs during the New Kingdom and post-New Kingdom period. As an example, we can differentiate different types of funerary containers such as coffins, different mats, textiles and burial beds.

Abdu Yassin, Hassan Awad and Milena Grybowska excavating in G309

Abdu Yassin, Hassan Awad and Milena Grybowska excavating in G309

The coming months will see work on the large amount of drawings, notes and context sheets, while the human remains excavated this season are already on their way to London where I will again spend a few months studying them. This time I will be joined by Åshild and Mohamed for two weeks as part of the field school project.

Many thanks to the excavators, workmen and everyone else who helped make 2012 a very successful season.

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Amara West 2012: a pottery kiln?


Shadia Abdu Rabo, National Corporation for Antiquities and Museums, Sudan and Neal Spencer, British Museum

Towards the end of the season, working in layers beneath house E13.8, we found a circular kiln – our first at Amara West.

The kiln had been made by cutting a deep pit into the natural surface of the island, and building a circular brick structure above it, with internal cross walls. The red-orange colour of the bricks, especially on the inside, were the first indication that this might have been a kiln for firing pottery vessels, with an upper chamber for placing the pots to be fired, and the lower space – cut into the alluvium – housing the burning fuel (wood, charcoal?). A shallow pit, sloping down to the entrance of the kiln, would have allowed the fuel to be inserted into the lower chamber.

The kiln with the later wall of house E13.8 built over the top

The kiln with the later wall of house E13.8 built over the top

We only excavated part of the lower chamber, as a wall of the later house ran over it. Inside, we found debris which post-dates the abandonment of the kiln, but right at the base were the compact ashy deposits we would expect in such a structure. Beneath that lay the burnt natural surface. There was clear evidence for the kiln being refurbished, with extra layers of plaster added to line the inside.

Many questions remain: what types of objects or vessels were fired in this kiln? What temperature could it have reached? We have taken samples from the walls, and the deposits inside, which might shed light on how this structure was used.

It is also interesting to consider how the kiln fitted into urban life. We found very little evidence for architecture in this area, so this might have been an open space between the house to the south (E13.3) and the imposing town wall – suitable for what must have been a smoky, dirty activity.

There’s a description of ‘the potter’ in a famous Egyptian literary text, the Satire of the Trades, which caricatures the profession as follows:

He is muddier with clay than swine
to burn under his earth.
His clothes are solid as a block
and his headcloth is rags,
until the air enters his nose
coming from his furnace direct.

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Recording old cauldrons with new techniques


Stephen Crummy, archaeological illustrator, British Museum

As illustrator in the Department of Prehistory and Europe at the British Museum, I am always looking for the best way to help our curators interpret an object. My role is to produce artwork that shows the form, construction and nature of objects and any decoration on them so that they can be clearly understood. This will usually result in illustration for academic publications and exhibitions as a result of research work on the Museum collection, or excavations.

Traditionally I have produced pen and ink technical drawings but new opportunities are available through various computer-generated methods of recording, analysing and understanding information about objects and excavation. With the Chiseldon Cauldrons material, I am exploring some of the possibilities of these new technologies, and in this case using photogrammetry and laser scanning programs to produce 3D records of the archaeological remains of individual cauldron blocks as they are excavated by Alex and Jamie.

Three-dimensional scan results

Three-dimensional scan results

We are using a laser scanning system to produce 3D computer models of the individual pieces from each cauldron. This is achieved by plotting a thin red laser line as it is slowly moved across the surface of an object. Having recorded each piece we are hoping to use the photogrammetry programme to virtually re-construct the blocks as excavated.

The early results we achieved proved somewhat variable, especially with the laser scanning, but we are now starting to produce some very good quality scans in terms of both modelling and colour accuracy.

The plan is to produce virtual models of each cauldron as excavated which will enable us to understand much better what they would have originally looked like, and how they were made. It is also hoped that an overall plan of the pit and its contents can be reproduced. We’ll also be able to produce artwork for both printed and online publication, and to generate virtual re-constructions for publication and display. As we create interesting images, we’ll also post some of them here on the blog so you can see what we’re finding.

The Chiseldon cauldrons research project is supported by the Leverhulme Trust

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Amara West 2012: excavating one last tomb


Mohamed Saad, Inspector, National Corporation of Antiquities and Museums, Sudan and Amara West Field School participant

I spent the end of the season excavating a chamber tomb, Grave 319. The tomb features a two metre-wide burial chamber on the western side of a shaft cut into the alluvial surface; no above ground architecture is preserved.

A moment of contemplation: Mohamed recording G319

A moment of contemplation: Mohamed recording G319

On the east side, we found the top of a doorway to another chamber, but this proved to be only 10 cm deep – for some reason plans to cut an eastern chamber were never completed. Some very large schist slabs found lying in the shaft must once have covered the grave.

Glazed steatite scarab (F8365)

Glazed steatite scarab (F8365)

As often at Amara West, these heavy stones did not protect this grave from looting in ancient times. Nevertheless, we recovered the skeletal remains of four individuals within the sandy deposit inside the western chamber.

Remnants of the funerary equipment buried with the deceased individuals indicated the range of original burial goods: pieces of wood and painted plaster (showing at least one individual was buried in a decorated coffin), ostrich egg shell, an Egyptian-style beer jar and a fragment of a wooden headrest.

Standing out among this material was the bright blue of a glazed scarab, bearing the inscription: ‘Ramesses, beloved of Amun-Ra and Ra-Horakhty, born of the gods, who founded the Two Lands’.

While this inscription mentions Ramesses II, the scarab might have been made after his long reign. Furthermore, we will never know which of the four individuals was buried with the scarab.

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Amara West 2012: the end of work on site


Neal Spencer, British Museum

Work on site finished yesterday, with final recording, photography and then the logistics of getting all our equipment back by boat to the expedition house after sunset.

A last sunset over the ancient town

A last sunset over the ancient town

Some of our workmen, experienced in building mudbrick architecture on Ernetta island, constructed new walls along the ancient walls of house E13.7, to preserve the painted plaster surface from wind erosion over the coming months.

Ghazafi Mohamed and Hassan Nouri constructing protective walls in house E13.7

Ghazafi Mohamed and Hassan Nouri constructing protective walls in house E13.7

In the next few days we’ll be closing the house, moving objects to the Sudan National Museum in Khartoum and starting our journeys home….

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Amara West 2012: a splash of colour….


Neal Spencer, British Museum

The houses at Amara West can look a little drab to the modern eye: brown mud walls, often with brown mud plaster and even brown clay floors. We are missing the wooden furniture and any textiles that might have broken this monotony, but it is also clear that some parts of houses were brightly painted.

British Museum conservator Philip Kevin has been studying and conserving fragments of painted plaster on mud from Mat Dalton’s excavations in house E13.7 last year. After removing a rather dull white plaster layer from one fragment (F5133d), we can now see that earlier decoration featured yellow, blue, red and black.

Painted decoration from house E13.7

Painted decoration from house E13.7

It seems to consist of a yellow area bordered with a black line, and a more complex decorative motif to the right, which might have framed a door, or the shrine we believe was located in this room.

The same fragment, before removal of the white layer

The same fragment, before removal of the white layer

Further fragments will hopefully reveal more of the room’s original decoration, and the discovery of areas where pigments might have been prepared provides potential for further avenues of research.

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Amara West 2012: coffin mask emerges from a pyramid tomb


Michaela Binder, Durham University

Painted plaster mask on a coffin lid, as revealed in G309.

Painted plaster mask on a coffin lid, as revealed in G309.

There is a general rule in archaeology, the most important finds always come at the very end of the season… and why should it be any different at Amara West?

In the western chamber of pyramid tomb G309, Åshild Vågene has started to reveal a Ramesside coffin made of wood and decorated with painted plaster.

So far, we have exposed most of the red-painted face of a coffin mask, shown with large yellow earrings and a black wig.

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Amara West 2012: through ancient doorways


Neal Spencer, British Museum

Five weeks ago, Mary Shepperson revealed the remains of a stone doorway, tumbled into room two of house E13.6. Over the last few days we have reconstructed the gateway in the courtyard of our house – albeit laid flat on the ground rather than vertical…

Reconstructed sandstone door to room three of house E13.6

Reconstructed sandstone door to room three
of house E13.6

The imposing appearance of the doorway is now more evident, standing 2.35m tall, with a passageway of 88cm wide by 1.75m tall. In terms of scale, many of our field team would have to stoop to walk through the door.

The lintel is made from an unusually fine sandstone – perhaps from Sai island – whereas the doorjambs are of the poor quality sandstone we more often encounter. This doorway would have been set into the mudbrick wall.

The jambs are not inscribed – any inscription would have been into a layer of white plaster, now largely disappeared. On the lintel, the red- and yellow-painted hieroglyphs invoke the god Amun-Ra and Horus Lord of Ta-sety, and also refer to king Tuthmosis III.

Doorway in house E13.9 (excavated 2009)

Doorway in house E13.9 (excavated 2009)

Interestingly, this door was not the main house door, but rather framed the entrance to the central reception room, with a low bench against its back wall. As such it may have marked the transition from more prosaic spaces at the front of the house, towards a more formal space which could be used for welcoming visitors.

Beyond lay two more rooms – presumably the most private areas of the house.

A doorway in an adjacent and contemporary house (E13.9), excavated in 2009, simply lined with mud plaster and with unworked schist slabs for a lintel and threshold, shows how simple internal house doors could be at Amara West.

 

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Finishing a 3D, 2,000 year-old Roman jigsaw puzzle: the Hallaton helmet unveiled


JD Hill, British Museum

This morning a rare and extraordinary Roman helmet was shown in public for the first time since it was buried 2,000 years ago. A decade after its discovery in Leicestershire, the painstaking process of reconstruction, and conservation is complete and it is ready to go on display at Harborough Museum.

The helmet after conservation

The helmet after conservation

Still in the soil block in which it was found, the fragile helmet was brought to the British Museum where initial study in the Department of Conservation and Scientific Research revealed a much more complex assemblage than had been expected.

The block that the helmet pieces have been extracted from

The block that the helmet pieces have been extracted from

British Museum conservator Marilyn Hockey, and colleagues Fleur Shearman and Duygu Camurcuoglu undertook the micro-excavation, stabilisation and reconstruction of the hundreds of fragments – a task described as being like a 3D jigsaw puzzle. Thanks to this process we know the helmet was probably made between AD 25 and AD 50 and that it was crafted from sheet iron, covered with silver sheet and decorated in places with gold leaf.

A reconstruction drawing of how the helmet might have originally looked. Illustration by Bob Whale

A reconstruction drawing of how the helmet might have originally looked. Illustration by Bob Whale

This decoration features a wreath, the symbol of a military victory, and a scallop-shaped browguard, which shows the bust of a woman flanked by animals. The cheekpieces depict a Roman emperor on horseback with the goddess Victory flying behind and, beneath his horse’s hooves, a cowering figure (possibly a native Briton).

Clearly, such an object would not have been cheap to produce, so we can say with some certainty that it was the property of someone very important, perhaps a high-ranking Roman officer.

 


 

It was found by members of the Hallaton Fieldwork Group and professional archaeologists from the University of Leicester Archaeological Services and caused quite a stir at the time. The original finders joked that they’d discovered a “rusty bucket”, but in fact they’d got one of the earliest Roman helmets found in Britain, believed to have been buried in the years around the Roman Emperor Claudius’ invasion of AD 43.

But that wasn’t all they’d found. Some 5,296 Iron Age and Roman coins were also unearthed, most of them locally-made and dating to about AD 20/30-50. That’s almost 10 percent of all known surviving British Iron Age coins – and the largest number of Iron Age coins ever excavated in Britain – found at this one site.

Most of the hoards included Iron Age silver coins, as well as a small number of Iron Age gold and Roman silver coins

Most of the hoards included Iron Age silver coins, as well as a small number of Iron Age gold and Roman silver coins

Add to that, evidence suggestive of ritual feasting dating back to the first century AD and the significance of this discovery really begins to emerge.

Collectively these finds became known as the Hallaton Treasure and were acquired by Leicestershire County Council with help from a large number of funding bodies, organisations and institutions.

But why was it buried in east Leicestershire (very likely by the hands of native Britons)? The answer is; we just don’t know. But there are a number of theories.

Perhaps it was actually owned by an important local man who served in the Roman cavalry before or during the Roman conquest. He might have chosen to bury his highly-prized helmet at his local shrine as a gift to the gods on his return home.

Or, perhaps it was a diplomatic gift to a supportive local population. It has also been suggested that it was spoil of war, or captured during a battle or a raid.

British Museum conservator, Marilyn Hockey with the helmet

British Museum conservator, Marilyn Hockey with the helmet

We may never know for sure why this amazing collection of objects ended up buried in the east Midlands, but it certainly speaks of a fascinating moment in the history of this part of the world and, in its current state, the skill and dedication of conservators, scientists, archaeologists and curators here at the British Museum and in Leicestershire.

As for the helmet, if you ask me it will become a new iconic object of the Roman conquest. Future books and TV programmes about this momentous event will have to feature it. That’s the sort of key find this is.

The Hallaton Helmet will be displayed permanently at Harborough Museum, Market Harborough, Leicestershire from Saturday 28 January alongside the other finds from the Hallaton Treasure. The helmet will not be on display at the British Museum.

Find out more about the Hallaton Treasure

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Observation to object: bringing a small piece of fieldwork back to the British Museum

Making a Savings and Loans boxMaxim Bolt, researcher, British Museum

I have spent the last few months on fieldwork in Blantyre, Malawi for the Money in Africa project at the British Museum. I have been investigating how money is used on the ground: how people handle it, and its role in social relationships. One way I did this was to attend Savings and Loans (S&L) group meetings in peripheral areas of the city. Whether in the yard of someone’s house, a vacant room in a trading centre or a free classroom in a school, these meetings are highly ritualised settings for the handling of money. The example of one meeting will help illustrate how they work.

One group meets in the yard of Mrs Phiri, the custodian of their strongbox, in which records, calculator and money are kept – a Non-Governmental Organisation (NGO) provides the basic equipment. Mrs Phiri makes a living producing a non-alcoholic, fermented drink from maize and millet, and selling it. Her house, part of a settlement on the edge of the city, is half way down a steep valley, the top of the slope dominated by a church, and the bottom by a stream in which residents wash clothes.

The group, like many others, is all women – I was told that men have less patience for the meetings, and for the collaboration in business that such meetings represent. Many of the women also have more marginal positions in the economy than many men, and collaboration in the groups helps address this. All members are small-scale businesspeople, such as street vendors, owners of small restaurants, and charcoal burners.

Monthly or bimonthly meetings have variable turnout: some members have to look after their crops, others are occupied with important visits to hospital, and others again may stay away after a hard month, because they have no money to contribute to the group. Members trickle in, and eventually Mrs Ndhlovu, the chairwoman, calls for the meeting to start. A reed mat is laid out in the yard, so that the women do not have to sit on the bare earth. And the strongbox, containing records, calculator and cash bags, is brought out. After a prayer, the group is ready to begin.

Proceedings commence with a call for small contributions to a social fund (MK20, or about 8p). There may also be small fines for being late. Contributions are presented to Mrs Phiri and her neighbour in the circle, the money counter. They, in turn, place the notes and coins in a plastic tub, on display to everyone. After all members have contributed, the serious business of buying shares begins. The value of shares has been decided at MK500 (or about £2), and each member in turn buys between one and ten shares each time (or pleads lack of disposable funds), thus continually increasing the group’s capital base. The money is then used to lend to members for their everyday needs – they can each borrow to the value of the shares they have bought. Each member’s share purchase is publicly recognised, as banknotes are handed over and placed in the tub in the middle of the circle. At some meetings, applause greets contributions, as it does loan repayments and the tallying of grand totals. Indeed, this ritual keeps members contributing, even though some have little to give. The interest from loans and the social fund are put in dedicated bags, to be stored in the strongbox. The money from share purchases is taken straight to the bank, with transport paid out of the social fund.

Making a Savings and Loans box

Making a Savings and Loans box

What is all this for, and what does it tell us?

To make what is perhaps an obvious point, members are just borrowing back their own money. So why bother? At the end of a year, a sizeable money pot is divided between members, according to the proportion of shares they hold in the group. The whole scheme is a way to enforce saving. And the loans offer access to cash during the year, while adding interest to the final saved amount. When groups work well, members are left with tidy lump sums each year. To many small businesspeople, especially women, such socially enforced saving is attractive, and it keeps cash away from the competing demands of family members. I even know women elsewhere in Blantyre who are trying to sign up to such a scheme. What all this shows us is how crucial it is to understand the handling of money in social situations, if we want to grasp how it is thought about, used and saved.

What, from such fieldwork, could be brought back to the British Museum? S&L strongboxes neatly tell us things about the groups that use them. Constructed from robust metal plate with a handle on the lid, such a box has three padlocks, so that four members (three key holders and a box keeper) must be present to open it. A compartment holds the calculator, members’ record books and fund bags. Another compartment has a corresponding slot in the lid, so that, between meetings, members can make contributions (they deposit money, along with pieces of paper identifying them and specifying the amount). The box’s unlocking and relocking represent the beginning and end of each meeting. In a sense, therefore, it stands for the group itself.

Bringing such a box to the Museum comes with its own, distinctive challenges. Each is purpose built, so the first thing was to find a tinsmith with experience making such objects. A fieldworker from the NGO that established the Savings and Loans groups I attended introduced me to Word Of God tinsmith, located in an informal market. But this particular box was going to be different from any other that the tinsmith, Pastor Peter, had made. Faced with constraints on space in the redisplayed Money gallery back at the Museum, I commissioned a box with the same basic design as those generally used, but only 15 cm deep.

After some consideration, Pastor Peter proposed a design. The hinge was placed inside the box to allow it to open within this space, and the front lock pointed upwards rather than forwards – a model of space-efficiency! Pastor Peter got to work, buying used plate metal, hinges, and silver paint to finish off the job and prevent rust. Sat on a lorry’s hubcap, he beat the reclaimed scrap metal into shape on a piece of rail, visiting a welder close by in the market when necessary. Soon, an S&Lstrongbox, perfectly suited to the British Museum’s needs, was ready to be wrapped up and put in the post.

Names have been changed to protect the identity of those discussed in this post in accordance with ethical research practice

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Filed under: Money in Africa, Research

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