British Museum blog

Amara West 2012: through ancient doorways


Neal Spencer, British Museum

Five weeks ago, Mary Shepperson revealed the remains of a stone doorway, tumbled into room two of house E13.6. Over the last few days we have reconstructed the gateway in the courtyard of our house – albeit laid flat on the ground rather than vertical…

Reconstructed sandstone door to room three of house E13.6

Reconstructed sandstone door to room three
of house E13.6

The imposing appearance of the doorway is now more evident, standing 2.35m tall, with a passageway of 88cm wide by 1.75m tall. In terms of scale, many of our field team would have to stoop to walk through the door.

The lintel is made from an unusually fine sandstone – perhaps from Sai island – whereas the doorjambs are of the poor quality sandstone we more often encounter. This doorway would have been set into the mudbrick wall.

The jambs are not inscribed – any inscription would have been into a layer of white plaster, now largely disappeared. On the lintel, the red- and yellow-painted hieroglyphs invoke the god Amun-Ra and Horus Lord of Ta-sety, and also refer to king Tuthmosis III.

Doorway in house E13.9 (excavated 2009)

Doorway in house E13.9 (excavated 2009)

Interestingly, this door was not the main house door, but rather framed the entrance to the central reception room, with a low bench against its back wall. As such it may have marked the transition from more prosaic spaces at the front of the house, towards a more formal space which could be used for welcoming visitors.

Beyond lay two more rooms – presumably the most private areas of the house.

A doorway in an adjacent and contemporary house (E13.9), excavated in 2009, simply lined with mud plaster and with unworked schist slabs for a lintel and threshold, shows how simple internal house doors could be at Amara West.

 

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We’re sharing our favourite photos taken by visitors – use #myBritishMuseum if you’d like to feature! Here’s a brilliant shot by @j.ziolkowski that really captures the cool tones of the Great Court. We love the collision of lines in this photo – the hard edges of the original 1823 building set against the curvature of the later Reading Room and tessellation of the glass roof. 
Get snapping if you’d like to feature in our next #regram. 
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