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Neal Spencer, British Museum

Surveying newly discovered graves in the post-New Kingdom cemetery

Following months of planning, preparation and travel it is always a relief to start work – but also rather unusual in that the initial days of excavation are very different from later in the season.

In the town, we must first remove deep layers of sand that have accumulated in the houses we partly excavated last year. There are no finds or pottery in these deposits so there is little recording and a fair bit of waiting before we reach real archaeology.

Clay floor revealed in the middle room of a small Ramesside house, about 1150BC

In two of the small houses, we are already down on earlier clean clay floors, with the remnants of a cooking hearth in the middle room of each house. It is likely that further occupation phases lie beneath.

A trench inside the southwestern corner of the wall is proving a little frustrating. Here, the buildings have been badly damaged by digging for clay, so there are deep pits filled with clean sand.

Looking for the southwestern town beneath thick layers of sand

Only a few fragments of walls have appeared so far, despite over 20 men and six wheelbarrows working seven hours a day to remove the sand! Sandbags are needed to keep up the trench sides.

In cemetery C, the team has revealed a number of small graves with niches for burials, but thus far all have been robbed, with only jumbled skeletal remains and fragments of pottery remaining. The robbers missed one nice object in Grave 220 – a faience scaraboid with a representation of Thoth as a baboon in place of the usual beetle form.

Faience scaraboid (F9312) with representation of Thoth, from Grave 221.

Another reason that the start of the season is unusual is that the daily rhythm has yet to crystalise – many of us are still setting up systems for later in the season (including a new electricity supply!), ordering and obtaining equipment from the town of Abri, while also trying to integrate new workmen into our digging system – we’ve hired 38 men this season.

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Edward Burne-Jones was born #onthisday in 1833. This watercolour from his ‘Flower Book’ is titled ‘White Garden’. This was a name for Atriplex hortensis, a small garden plant that has edible leaves. In this painting Burne-Jones has created an imaginary ‘white garden’, populated with lilies that are being picked by two white-clad angelic figures. Like other figures in his works, they appear dressed in classically inspired white robes, with their blonde hair tied back.
#EdwardBurneJones #BurneJones #PreRaphaelite #flowers In this second watercolour from the ‘Flower Book’ of Pre-Raphaelite artist Edward Burne-Jones, we can see the goddess Venus walking through the night’s sky with doves. This painting is titled ‘Rose of heaven’ – a name given to the plant campion, a small pink flower. Burne-Jones took inspiration from the name of the flower and its connotations, rather than what the flower actually looks like. The depiction of Venus seems to be heavily influenced by Botticelli’s ‘Birth of Venus’, with flowing blonde hair and a dynamic pose.
#EdwardBurneJones #BurneJones #PreRaphaelite #flowers To mark the birthday of Pre-Raphaelite artist Edward Burne-Jones (1833–1898) this week, we’re featuring paintings from his ‘Flower Book’ – a sketchbook full of watercolours and drawings that contained fantasy artworks inspired by the names of flowers. This painting is titled ‘Love in a tangle’ – a name sometimes used for the climbing plant clematis. The scene suggests the story of Ariadne, who gave Greek hero Theseus a ball of golden thread to unwind as he wandered through the labyrinth in search of the minotaur (a mythological creature – half-man and half-bull). Here she waits anxiously for her lover to follow the thread back out of the maze. The clematis and its maze of tangled foliage inspired Burne-Jones to represent this story from ancient Greek mythology in his Flower Book.
#EdwardBurneJones #BurneJones #PreRaphaelite #flowers #mythology Here’s a #regram from @mrapachekat. Doesn’t this lion look majestic? The Museum’s Montague Place entrance is just as grand as the more-visited Main entrance on Great Russell Street. This part of the Museum contains the King Edward VII galleries, and the foundation stone was laid by the King in 1907. This side of the building was designed in the Roman style rather than the Greek Revival of Great Russell Street. It features numerous imperial references, including the coat of arms above the door, and sculptures of lions’ heads and crowns. The architect Sir John James Burnet was knighted for his work designing these galleries, and the building was opened by King George V and Queen Mary in 1914 (Edward VII had died in 1910). #regram #repost #architecture #BritishMuseum #lion Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum
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