British Museum blog

Amara West 2012: meanwhile, back at the house….


Elisabeth Greifenstein, University of Wuerzburg and Marie Vandenbeusch, University of Geneva

Our team of archaeologists and osteologists excavating in the houses and graves of Amara West unearth a wide variety of finds – nearly all of which are brought back to the expedition house on the afternoon of discovery, even when very heavy

What then happens with all these objects?

The expedition house is very busy during the day. Marie Vandenbeusch registers the finds and is responsible for their storage in the magazine; Elisabeth draws pottery and objects, while Marie Millet is responsible for the ceramics, helped by Sallah who washes the masses of incoming sherds. Sallah, who lives nearby on the island of Ernetta, is also being trained to sieve botanical samples, which will provide insights into the food that the town’s inhabitants were eating.

Sandstone doorjamb (F990) with badly eroded hieroglyphs

Sandstone doorjamb (F990) with badly eroded hieroglyphs

All this work is providing us with a better understanding of the settlement of Amara West, and helps us date and interpret the buildings, features and objects we encounter.

For example, Elisabeth’s drawings have helped confirm the reading of the royal name at the end of the eroded inscription on a sandstone doorjamb (F990) found exposed on the surface east of the town wall. The signs written in the cartouche were not readable until seen in a variety of different lights, but also with a torch during the dark hours of the early morning. We are now confident it bears the name of Ramesses II. The jamb is likely to come from the town’s temple, or perhaps a smaller chapel, but could have been re-used in a house.

 

The anticipation builds as the excavators return to the house at around 2.30pm each day…

Find out more about the Amara West research project

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Translating the hieroglyphs on an ancient Egyptian shroud

John Taylor, British Museum

British Museum curator John Taylor examines the text for the first time with Norwich Castle Museum research associate Faye Kalloniatis, British Museum conservator Monique Pullan and textile conservation intern Melina Plottu. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

British Museum curator John Taylor examines the text for the first time with Norwich Castle Museum research associate Faye Kalloniatis, British Museum conservator Monique Pullan and textile conservation intern Melina Plottu. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

    This is the latest in a series of posts about the unfolding of the Norwich shroud, a joint project between the British Museum and Norwich Castle Museum and Art Gallery

When I visited the textile conservation lab to see the shroud unfolded for the first time, I was delighted to find that my first suspicion about its contents had been right – it is indeed a mummy cloth inscribed with texts from the Book of the Dead in vertical columns of red and black hieroglyphs.

Shrouds of this type date mainly to the early phase of the Book of the Dead (17th and early 18th Dynasty, about 1570-1450 BC) before the spells began to be written on rolls of papyrus. They are quite rare.

The handwriting appears consistent in style throughout, suggesting that all the texts were written by the same person. The script is semi-cursive: several signs have been drawn very rapidly and simply, and are closer in form to hieratic than hieroglyphic. Again this is exactly what would be expected of an inscribed shroud from the beginning of the New Kingdom.

The first glimpse of such an object brings a lot of questions crowding into the mind at once. Is it complete? Who did it belong to? What do the texts actually say?

The cartouche contains the name of King Menkaure. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

The cartouche contains the name of King Menkaure. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

The eye is naturally drawn to the double column of text in red ink roughly in the middle of the cloth and I was immediately struck by the presence there of a cartouche – the oval enclosure which surrounds a royal name in Egyptian inscriptions. For a split second I wondered if this could be the burial shroud of a king, but a closer look at the surrounding words showed this was not so.

The red text turned out to be the rubric (endnote) of spell 64 of the Book of the Dead, which gives an account of the mythical discovery of the spell in the reign of Menkaure, builder of the Third Pyramid at Giza (about 2520 BC)– and his was the name in the cartouche.

So was the owner of the shroud mentioned somewhere else? I cast my eyes further, looking for a name among the words in black, and there it was: Ipu (a woman), daughter of Mutresti. Both names are typical of the very beginning of the 18th Dynasty, and they appeared several times in different parts of the inscriptions.

Everything points to this being a classic example of such a shroud, so the next step will be to identify the texts. This is a job which needs to be done in the study, but even a preliminary glance proved to be informative.

The text of the left hand column states the shroud owner’s name (Ipu, daughter of Mutresti). © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

The text of the left hand column states the shroud owner’s name (Ipu, daughter of Mutresti). © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

The selection of spells that were written on these shrouds often varies, but some popular ones occur on most of the surviving examples. I recognised at the right-hand end part of spell 149, a description of the mounds of the netherworld, mysterious sacred places which the Egyptians believed they would have to pass by on the journey to eternal life.

This spell usually concludes early manuscripts of the Book of the Dead, and its occurrence at the edge of the textile suggested that we probably have one end of the shroud more or less intact. However, the left-hand edge is torn and there was no way of telling how much might be missing.

Once back in the Department of Ancient Egypt and Sudan I began to research parallel examples and to see whether anything else might be known about Ipu. Fortunately the great German scholar Irmtraut Munro has published a large two-volume work on early 18th Dynasty mummy shrouds in the Museum of Egyptian Antiquities in Cairo. I consulted this and, astonishingly, found that it included the shroud of a lady Ipu, daughter of Mutresti, covered with spells from the Book of the Dead.

The photograph in the volume showed that the handwriting is the same as that on the Norwich shroud and that the Cairo piece too is incomplete, so almost certainly they were parts of the same cloth.

Where did they come from and how did they become separated?

There is clearly more to be discovered about this remarkable object.

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Filed under: Conservation, Norwich shroud, , , , , ,

Getting to know you – a first glimpse at the shroud

Monique Pullan, British Museum

    This is the latest in a series of posts about the unfolding of the Norwich shroud, a joint project between the British Museum and Norwich Castle Museum and Art Gallery
The Norwich shroud. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

The Norwich shroud. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

The shroud arrived in the Organics Conservation studios at the British Museum last week, and the project has now begun in earnest.

Accompanied by Jonathan Clark and Deborah Phipps, conservators from Norfolk Museums and Archaeology Service (NMAS), and Faye Kalloniatis, research associate at Norwich Castle, the whole team was able to discuss first impressions – for some of us this was the first time we actually saw the textile. Jonathan and Deborah, together with Man Yee Liu, Head of Conservation at NMAS, will be joining us at key stages during the treatment.

The immediate reaction was one of surprise at how small the bundle is, at about 30 cm by 20 cm. But at the same time, we could see that there are many layers of fabric, and the fabric is quite fine– so potentially this could be quite large when opened.

British Museum and NMAS staff can’t wait to remove their coats before taking a first look. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

British Museum and NMAS staff can’t wait to remove their coats before taking a first look. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

So the question at the moment is – how big is it!?! And what shape is it? Not knowing makes planning difficult. We are now trying to arrange our work space and figure out how many tables we need, how big our support boards need to be, and so on. Make your bets now, as hopefully in a couple of weeks we’ll have opened it up to its full size!

It’s important to document the bundle as it is now, as this will be the last time it will be in this form. So we have to resist temptation to plunge in straight away and instead look for evidence to tell us if it has been opened up since discovery or not – if folded in antiquity we’ll need to consider if it’s more ethical to keep the bundle as it is.

Perhaps the Colman family looked at or even displayed the shroud at home or to their friends?

We can see one clue already – an anomalous pale cotton thread appears to be winding its way through to the inside of folds of the textile. This is clearly not an ancient Egyptian thread, not least because cotton wasn’t used then – probably a sign that it has been opened up since 1897.

The textile looks quite soft and flexible, but also appears very fragmentary, with some sections potentially joined to each other by a mere few threads. The newer looking thread is among the folds at the bottom. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

The textile looks quite soft and flexible, but also appears very fragmentary, with some sections potentially joined to each other by a mere few threads. The newer looking thread is among the folds at the bottom. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

We also have to decide where to start unfolding it – there are no obvious edges from which to begin. We also don’t yet know how easy it will be to open? Although it looks soft and flexible, it could turn out to be quite brittle, particularly if there are any stained areas, with the fibres set in position. We can already see many holes and tears and, worryingly, fragments joined to each other by a mere few threads. When we lift the edges of folds to get a better look at the interior of the bundle, it really does look extremely fragmentary.

One exciting observation we’ve already made is that there are small hieroglyphs visible across the exposed textile. They are executed in black (most likely charcoal) and a red/brown (probably an ochre), the two colours most usually used by scribes at this time.

View of the reverse of the fabric, with the black ink of the hieroglyphs soaked through the linen. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

View of the reverse of the fabric, with the black ink of the hieroglyphs soaked through the linen. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

Hopefully the curators will be able to decipher them, as not only will the hieroglyphic writing help us position any fragments, but of course the text will also help us understand what it is, why it was made and possibly even who it belonged to.

After we complete documenting the shroud as it is, we’ll finally start to unfold it. We’ll construct a large tent so we can work in a raised humidity environment and carefully start to lift each layer.

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Filed under: Conservation, Norwich shroud, , , , ,

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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!
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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 This colossal lion in the Great Court is one of the most photographed objects in the Museum. It weighs more than 6 tons and comes from a tomb in the ancient cemetery of Knidos, a coastal city now in south-west Turkey. The tomb stood on the edge of a cliff overlooking the approach to Knidos harbour. The building was 18 metres high and the lion was on top of its pyramid roof. The hollow eyes of the lion were probably originally inset with coloured glass, and the reflection of light may have been an aid to sailors navigating the notoriously difficult coast. It is carved from one piece of marble, brought across the Aegean Sea from Mt Pentelikon near the city of Athens. Opinions vary as to when it was built. One suggestion is that it commemorated a naval battle off Knidos in 394 BC.
We’ll be sharing more lovely lions this week! Share your photos using #mybritishmuseum and tagging @britishmuseum. Our next special exhibition will explore the remarkable story of Sicily. Discover an island with a cosmopolitan history and identity – a place where the unique mix of peoples gave rise to an extraordinary cultural flowering.
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Book now for #SicilyExhibition, opening 21 April 2016 at britishmuseum.org/sicily 
Mosaic of the Madonna originally from Palermo Cathedral. Sicily, AD 1130–1189. © Museo Diocesano di Palermo.
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