British Museum blog

Amara West 2012: inscribed lintel discovered under rubble


Mary Shepperson, archaeologist

House E13.6 at Amara West is a linear domestic house in the centre of the town. In its late phase, the house was entered from a narrow lane through two small rooms, leading to a large central room.

View from the central room through the doorway into room two

View from the central room through the doorway into room two

Excavation in the second of these small rooms revealed a cluster of large white sandstone blocks, lying under mudbrick rubble from a vaulted ceiling. They lay in a jumble in front of the doorway into the central room.

The largest stone slab lay on top of the smaller blocks and was cracked across its width near the centre. The profile of this slab showed that the underside was smooth with a raised edge down one long side; this was clearly a carefully worked stone face, suitable for carrying decoration or an inscription.

After the position of the stone blocks was carefully recorded, preparations were made to lift the top slab. Fortunately, the central crack made this operation much easier and safer, as the block could be moved in two lighter parts. Even so, six stout workmen were needed to lift each half above the height of the walls.

The inscribed block reassembled on site

The inscribed block reassembled on site

The first part was turned over, accompanied by the appropriate ‘ooohs’ and ‘aahs’ from the assembled masses, to reveal crisp, clear bands of inscription. The second section was lifted, turned and joined to show the overall design: horizontal and vertical bands of hieroglyphs running across the middle of the slab and crossing at the centre.

The decorated surface appeared to have been coated in a fine white plaster and then painted. The bands of inscription were bordered with red pigment, and the bodies of the hieroglyphs retained traces of black and white.

Moving the block to the boat

Moving the block to the boat

The block was carried to the boat by teams of local workmen, and ferried safely to the storeroom on Ernetta island, where it is being much admired.

The remaining stone blocks, when reassembled, were found to be two tall door jambs. These would have held the large inscribed block over the doorway as a lintel. When the door jambs broke, they fell into the room, with the inscribed lintel falling on top of them and cracking in two.

The lintel will be studied in due course, with copies and translations made of the inscriptions.

If you would like to leave a comment click on the title

Filed under: Amara West, Archaeology

2 Responses - Comments are closed.

  1. pwrapurley says:

    Great reporting! All archaeology teams should report like this, though of course being mindful of security for the site and its finds!

    Like

  2. Alison Tigg says:

    Wow, amazing finds, so glad I stumbled across this blog, it’s really great to hear about the work as it’s happening. And great photos too.

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 16,363 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

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
Follow

Get every new post delivered to your Inbox.

Join 16,363 other followers

%d bloggers like this: