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.

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We’re delighted to announce our first exhibition of the autumn ‘Drawing in silver and gold: Leonardo to Jasper Johns’, which opens 10 September.
This exhibition will feature around 100 of the best examples of #metalpoint spanning six centuries. Metalpoint is a challenging drawing technique where a metal stylus is used on a roughened preparation, ensuring that a trace of the metal is left on the surface. When mastered it can produce drawings of crystalline clarity and refinement.
This exhibition was organised by the National Gallery of Art, Washington @ngadc in association with the British Museum.
Book your tickets now to see these spectacular works! #art #drawing #Leonardo

Leonardo da Vinci (1452-1519), Bust of a warrior. Silverpoint, on prepared paper, c. 1475-1480. Can you guess the artist behind this work? 
All will be revealed at our special exhibition announcement tomorrow! #metalpoint Tower Bridge opened #onthisday in 1894. Here’s an early print of the iconic landmark.
#history #London #TowerBridge The mummy case of this temple doorkeeper called Padiamenet is covered with hieroglyphic inscriptions and religious images. The inscriptions on this brilliantly painted cartonnage tell us that he was the Chief Doorkeeper of the Domain of Ra, the Chief Attendant of Ra, and also Chief Barber of the Domain of Ra and of the temple of Amun. This largest scene shows Padiamenet, dressed in a long fringed robe, adoring the god Osiris, who is grasping the royal crook and flail. Behind him stands his sister, the goddess Isis.
Gain a unique insight into the lives of eight people over a remarkable 4,000 years in our #8mummies exhibition, closing 12 July #MummyMonday
#history #mummies #BritishMuseum Peter Paul Rubens was born #onthisday in 1577.
This is a magnificent drawing in both scale and style. It is drawn in black and yellow chalk, though Rubens also used a grey wash and some white heightening in order to bring the animal to life on paper.
The lioness is drawn from behind. Her front paw is raised and her mouth open, the fangs clearly visible. White heightening brings out the lighted area around the tail and the joints of the back legs. Both short and longer chalk strokes are used to suggest the different textures of the fur and mane.
Rubens used this drawing for a lioness in his painting of 'Daniel in the Lions' Den' (1613/15; National Gallery of Art, Washington, DC). The vividness of the drawing is even more remarkable given that Rubens probably based his drawing on a bronze statue of a lion and not a living animal. The strong contour line in black chalk around the animal suggests that he was studying a model. However, Rubens had the gift and genius to invest an unmoving object with both life and movement, even if the highlights give the impression of a metallic sheen.
#art #artist #Rubens #history This striking photo taken by @charlesimperialpendragon shows the colossal limestone bust of Amenhotep III in the Egyptian Sculpture Gallery (Room 4). #regram #repost

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