British Museum blog

Amara West 2012: an osteoarchaeologist’s dream…


Laurel Engbring, physical anthropologist

Archaeology can be a bit of a gamble: you can dig for weeks and find nothing.

I began this season at Amara West excavating two shafts. They had little preserved inside them; though we did find the disarticulated remains of a neonate (a newborn child).

Laurel planning a layer of stones above the shaft in G314

Laurel planning a layer of stones above the shaft in G314

The tumulus I am currently excavating (G314) started out as a simple raised mound in Cemetery D, and initially proved somewhat frustrating. Beneath the sandy surface of the shaft lurked a series of schist slabs and large stones, covering a smaller east to west oriented shaft, lined in places with mudbrick. After photographing, leveling, planning and sectioning the stones, I excitedly removed the layer of huge stones, anticipating what lay beneath.

This turned out to be another layer of stones. After documenting this layer, and removing it, a third layer was revealed. In some ways this was frustrating. In other ways, the effort enhanced the anticipation.

Removing the schist slabs from G314

Removing the schist slabs from G314

When a fourth layer of schist slabs was removed, we finally discovered chambers extending to the east and west, nearly two metres in each direction.

My initial peek into the western chamber revealed disarticulated human bones and a few large ceramic vessels: an osteoarchaeologist’s dream!

The excavation and recording of the bones has just begun, making the 5.30am starts much easier.

Find out more about the Amara West research project

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

Filed under: Amara West, Archaeology, ,

2 Responses - Comments are closed.

  1. Teri Engbring says:

    This entry in the British museum blog is a fascinating intro to the drama and the drudgery, the frustration and the thrills of archaeological field work. There are literally hundreds of Laurel’s friends and family back in the US who are following every word to share in her adventure there. Thanks!

    Like

  2. William Hickman says:

    “drama . . . drudgery, frustration . . .. thrills “. It leaps right off the screen.

    Thank you Laurel . And all the rest.

    Bill Hickman

    Like

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

Join 16,359 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 16,359 other followers

%d bloggers like this: