British Museum blog

Dotting the ’i’s…


Silke Ackermann, former British Museum curator

It’s been a while since the last post about this project, as much has happened since Josefina wrote about her research trip to Israel. Not least is the fact that I have left the British Museum for a professorship at the University of Applied Sciences at Schwerin (Germany). I will stay involved in the project in various ways, but the British Museum will not.

However, I wanted to write a final post to report on our study of two instruments. One was the famous medieval astrolabe with Hebrew markings in the British Museum, that has already played a role in the BBC Radio 4 series A History of the World in 100 Objects as object no. 62. The other is a later astrolabe in a private collection that had been deposited at the Museum by an owner keen to learn more about his object. This is a service that curatorial departments of the Museum regularly perform.

Josefina Rodríguez Arribas (left) and Silke Ackermann examining an astrolabe

Josefina Rodríguez Arribas (left) and Silke Ackermann examining an astrolabe

We were keen to get a better feel for the instruments; to examine the lettering, and explore the language used to see what it might tell us about the cultural circumstances in which they were made, and to take a close look at a much younger astrolabe, constructed at a time when the instrument had largely gone out of use.

An examination of the markings on both instruments made it quite clear that the language used is Judeo-Arabic in both cases, that is Arabic written in Hebrew letters. This is a phenomenon that can often be observed where Jewish people are living in an Arabic-speaking-community. They may well be speaking Arabic themselves, but will often use Hebrew letters for writing as this is the script they will have learnt. To indicate letters otherwise not used in Hebrew, certain letters will have special signs, normally dots.

Scientific analysis has shown the later piece to be made of rolled metal, a technique that was virtually unknown before the nineteenth century. This means it was made when the use of astrolabes had largely been superseded by other instruments.

When examining this instrument in detail we were struck by the fact that some of the numerals used to indicate values for – amongst other things – latitudes appeared to be full of mistakes. This, together with the late date of the instrument, might on first glance raise suspicion about its authenticity. However, the explanation appears to be a completely different one. One should note that these numerals are not written in ciphers, but in the so-called ‘alphanumerical system’, that is a system used in all Semitic languages (and also in Greek) where each letter of the alphabet also stands for a numerical value. Thus aleph stands for 1, bet for 2 etc. The numbers we had been looking at should have read ‘15’ – jod he in Hebrew. However, this letter combination looks identical to an abbreviation for the name of God – and would thus have been avoided by observant Jews. Other features of this particular instrument seem to indicate that it was carefully copied from an earlier source, probably by a scholar who was reading the medieval texts trying to understand or to teach how such an instrument might have worked.

I know I’m biased, but isn’t it truly amazing what we can learn just by looking at instruments?! Working in a museum one soon begins to realize that it is often objects that give us the cultural and social contexts that we cannot glean from written sources alone – and it is the combination of instruments and texts as the historical basis for our research that makes this project so exciting for me.

For more information about this project, visit the Warburg Institute website

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Our #AfricanRockArt project team is cataloguing and uploading around 25,000 digital images of rock art from throughout the continent. Working with digital photographs has allowed the Museum to use new technologies to study, preserve, and enhance the rock art, while leaving it in situ.

As part of the cataloguing process, the project team document each photograph, identifying what is depicted. Sometimes images are faded or unclear. Using photo manipulation software, images can be run through a process that enhances the pigments. By focusing on different sets of colours, we can now see the layers that were previously hidden to the naked eye.

This painted panel, from Kondoa District in #Tanzania, shows the white outline of an elephant’s head at the right, along with some figures in red that it is possible to highlight with digital enhancement.

Tanzania contains some of the densest concentrations of rock art in East Africa, mainly paintings found in the Kondoa area and adjoining Lake Eyasi basin. The oldest of these paintings are attributed to hunter-gatherers and may be 10,000 years old.

Follow the link in our bio to learn more about the project and see stunning #rockart from Africa. This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

This photograph shows an engraving of a large, almost life-sized elephant, found on the Messak Plateau in #Libya. This region is home to tens of thousands of depictions, and is best known for larger-than-life-size engravings of animals such as elephants, rhino and a now extinct species of buffalo. This work of rock art most likely comes from the Early Hunter Period and could be up to 12,000 years old.

Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. © TARA/David Coulson. Watch the incredible discovery of this colossal statue, submerged under the sea of thousands of years. This colossal 5.4-metre statue of Hapy was discovered underwater in what was the thriving and cosmopolitan seaport of Thonis-Heracleion. It once stood in front of a temple and would have been an impressive sight for traders and visitors arriving from the Mediterranean.

Come face to face with the ancient Egyptian god Hapy for yourself in our‪ #SunkenCities exhibition, until 27 November 2016.

Colossal statue of Hapy. Thonis-Heracleion, Egypt. About 380-250 BC. Maritime Museum, Alexandria. © Franck Goddio/Hilti Foundation. The discovery of this stela, which once stood at the entrance of the main entry port into ancient Egypt, was an extraordinary moment. Its inscription detailing taxes helped solve a 2,000-year-old mystery!

This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through the cities of Thonis and Naukratis, and it originally stood in the Temple of Amun-Gereb. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis.

A bilingual decree found in 1881 refers in its Greek inscription to ‘the Temple of Heracleion’ and in hieroglyphs to ‘the Temple of Amun-Gereb’. Together these objects revealed that Thonis and Heracleion were the same place.

Learn more about the deep connections between the great ancient civilisations of Egypt and Greece in our #SunkenCities exhibition.
Stela commissioned by Nectanebo I (r. 380–362 BC), Thonis-Heracleion, Egypt, 380 BC. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that the #SunkenCities of Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the ancient Egyptian cities were believed to be lost.

Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. The amazing rediscovery of these lost cities is transforming our understanding of the deep connections between the great ancient civilisations of Egypt and Greece.

See more magical moments of discovery in our #SunkenCities exhibition, until 27 November 2016. © Franck Goddio/Hilti Foundation.

#archaeology #diving #ancientEgypt This week we’re highlighting some of the incredible clocks and watches on display in the Museum. Mechanical clocks first appeared in Europe at some time between 1200 and 1300. Their introduction coincided with a growing need to regulate the times of Christian prayer in the monasteries. Telling the time with a sundial was especially difficult in western Europe with its unreliable weather. From the end of the 13th century, clocks were being installed in cathedrals, abbeys and churches all around Europe.

The design of turret clocks (public clocks) changed little over the following three centuries and this particular example, made around 1600, has similar characteristics to clocks made for churches in the medieval period. The maker of this clock was Leonard Tenant, one of the most prolific makers of church clocks in the first half of the 17th century. The clock was installed in Cassiobury Park, a country house near Watford.

See this incredible clock in Rooms 38-39 
#clocks #watches #horology
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