- I juust feel like poetry so here is one I made lately.
- September 3, 2014
- Come from far and play the home-bound game
- such a lame excuse for playless endeavour.
- Meet me in the Morn so we can break the fast as one.
- Clease me Lord You will to do
- and cast from me stolen eyes.
September 19, 2013 • 12:44 pm 1
Reading an ancient poem is often a difficult experience, and academic traditions do not always help.
The Tale of The Eloquent Peasant, was written in Egypt around 1850 BC and is a darkly passionate work, concerning a peasant’s quest for justice after his goods are stolen. But its elaborate style has made many academics regard it as simply a source of ancient words/vocabulary and grammar and not as a poetic work of art.
So once, when teaching a class in Germany, I was struck that when I asked ‘what does this verse of poetry mean?’ a student replied ‘it is a perfective verb-form’. Which is an important fact, of course, but it is not the total meaning of the poetry (and not at all the answer I was looking for!).
Last year I published a new commentary on The Tale of the Eloquent Peasant to try and encourage a deeper engagement with the poetry. As well as notes on its construction and language, I included, among other things, pictures.
In the poem, the peasant hero is beaten with a stick of iser, ‘tamarisk’. It is a minor detail, unless you visualise the shrub as you read, and remember both that it is very whippy and that it grows everywhere on river banks. The poet uses this particular plant to characterise the action as not only highly sadistic but also opportunistic: the villain grabs whatever is to hand to attack the hero. Everywhere in the poem, a concrete visualisation of the imagery allows the reader to realise the vivid interconnectedness of the poet’s thought.
The new commentary also placed text, translation and all the notes on a single page to help the process of reading as a single integrated experience: the reader does not have to flick between different sections for comments on the grammar, historical allusions, or possible meanings. Everything the reader needs appears together in one glance, and I look forward to seeing if this has worked for students when I take up a new job teaching Egyptology in Oxford.
The ability of the poem to still speak to audiences is nowhere better sensed than in the mesmeric prize-winning film of Shadi Abd el-Salam (1970), recently restored by the World Cinema Foundation, and they have generously allowed us to include an image of the actor Ahmed Marei as the frontispiece.
This is a gesture towards the humanity of the original — a reminder that the poem was written by an individual for his contemporaries (and not for Egyptologists). This may even be the first time that an Egyptological commentary on a literary text has included a photograph of a living person. And this living and subtle work of art gained new resonance with the Egyptian revolution of 2011. As author Ahdaf Soueif noted then, it represents an Egyptian tradition of non-violent protest against any abuse of authority, and it is, in the words of Shadi Abd el-Salam, ‘a cry for justice, a cry that persists throughout the ages’.’
Find out more about the Reading Ancient Egyptian poems research project
January 25, 2013 • 3:16 pm 1
Neal Spencer, British Museum
The latest excavation season at Amara West in Sudan began three weeks ago, with a wide range of excavations and associated research excavations taking place in this 3,000-year old ancient Egyptian town on the banks of the Nile.
Amidst the chilly 6.30am starts, logistical challenges, strong winds, plagues of biting nimiti-flies (and one crocodile sighting), we’ve been posting daily updates on our work – in the town, cemetery and research at the expedition house – on the project blog with more updates on Twitter: @NealSpencer_BM.
A desirable residence?
The full plan of house E13.5 was revealed in a matter of days, but the real surprise was the presence of stone doorways throughout the house, three of which were built re-using inscribed architecture from an earlier phase, including one doorjamb naming an official, Horhotep.
A five-chambered tomb discovered
Earlier this week, Michaela Binder had one of those moments that, as she put it, reminded her “that this can be the best occupation in the world”.
Removing sand from the top of a grave shaft, discovering a small opening, then another and more digging until the flash of a torch reveals five chambers in the largest tomb yet to be found at Amara West.
Read more about the discovery of a five-chambered tomb, by Michaela Binder, physical anthropologist.
Initial discoveries in the eastern burial chamber of G243
Having discovered a new chamber tomb, Barbara Chauvet set about the task of excavating it to reveal, and record its contents. Read about initial discoveries in the eastern burial chamber of G243.
Fertility figurines and ancient architecture re-used
Among the hundreds of objects revealed in excavation (and thousands and thousands of pottery sherds), a fragment of a female figurine offers a glimpse into the beliefs and concerns of the town’s inhabitants. Modelled in clay, and sometimes referred to as “concubines of the dead”, fertility figures are thought to relate to conception, rebirth or sexuality, as explained by Marie Vandenbeusch, our finds registrar.
The discovery of a door lintel inscribed for Ramses II, re-used as a shelf in a modern Nubian house, was one of the more unusual ways an object comes to light.
Ash, ovens … and faience?
While villa D12.5 is slow to reveal its secrets, outside house E13.5 we have discovered a room provided with six large bread ovens and grinding emplacements, now being excavated by Shadia Abdu Rabo from the Sudan National Corporation of Antiquities and Museums.
Further north, in an area we did not plan to excavate, Sarah Doherty is excavating a building (E13.16) that might be a house or a bakery, along with interesting finds, from hieratic ostraca to a well-preserved necklace. The last few days have seen an earlier phase emerge, with large ceramic ovens surrounded by waste that might relate to faience production.
It already feels like the end of the season is approaching too fast. With so much more work to be done, our days will become longer and longer: we’re re-organising our object storeroom, hoping to reveal the full plan of villa D12.5, wondering if the five-chamber tomb can be fully excavated this season, and about to commence detailed micromorphological sampling of floor layers.
Two new programmes of research will also start: Susie Green (UCL) will be joining us to capture 3D visualisations of the housing neighbourhood (E13.3), while Alexandra Winkels (University of Fribourg) will be investigating the technology of ancient wall-plastering in the houses.
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December 28, 2012 • 2:34 pm 1
Neal Spencer, British Museum
In the next few days, our sixth excavation season begins.
Amara West was the pharaonic capital of conquered Upper Nubia in the late second millennium BC. Thus far, we have gained important insights into how houses were modified over time to suit individual needs, religious practises in the home, but also the impact of a changing landscape.
Analyses undertaken by a range of specialists, both inside the British Museum and at universities involved in the project, are casting light on plant exploitation practises, technologies for producing ceramics, the presence of luxurious imports from afar, and the complex array of funerary traditions evident in the cemeteries, including pyramid tombs and funerary masks, but also Nubian tumulus graves.
Highlights from Amara West will continue to be featured on this blog, as in previous years, but for more regular updates as the season progresses – the discovery of buildings, objects, burials that shed light on life in a pharaonic town in occupied Nubia – follow our dedicated project blog: blog.amarawest.britishmuseum.org.
So far, you can read a preview of upcoming excavations in the ancient town, including excavation of a villa outside the town wall, and of the last house remaining in neighbourhood E13.3. And, across a now-dry Nile channel, Michaela Binder describes the excavations she will be leading in cemetery C, a burial ground providing fascinating insights into the mixture of Egyptian and Nubian funerary cultures in the early first millennium BC.
Follow @NealSpencer_BM on Twitter for further updates from the excavations.
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November 16, 2012 • 12:29 pm 10
Daniel Antoine, Curator of Physical Anthropology,
He was buried in about 3500 BC (if not earlier) at the site of Gebelein in Upper Egypt. Direct contact with the hot, dry sand naturally mummified his body, making him one of the best-preserved individuals from ancient Egypt. He has been in the British Museum collection for over 100 years and in 2012 he was taken out of the Museum for the first time to be CT scanned.
On the morning of 1 September this year, Gebelein Man was carefully packed and taken to the Bupa Cromwell Hospital in London. The detailed images and 3D models created from the high resolution X-rays taken there have allowed us to look inside his body and learn more about his life and his death in ways never before possible. As far as I’m aware, this is the first time that a well-preserved Predynastic mummy has ever been CT scanned.
Not only have we been able to discover that Gebelein Man was young when he died (18-21 years) but, unexpectedly, we have also learned that he died because he was stabbed in the back. The analysis of ancient human remains rarely reveals the cause of death but the cut on his back, as well as the damage to the underlying shoulder blade and rib, are characteristic of a single, fatal, penetrating wound.
With the help of the Interactive Institute, a virtual autopsy table (a new state-of-the-art interactive exhibit based on medical visualisation technology) is on show in Room 64 for a limited time (16 November to 16 December 2012) and will let visitors explore this natural mummy for themselves, using the interactive touchscreen and the gesture-based interface. Information points at relevant locations guide visitors to the more significant discoveries we have made.
Come and explore Gebelein Man for yourself using the autopsy table and perhaps you will spot something we’ve missed.
October 26, 2012 • 3:27 pm 4
Elisabeth R. O’Connell, curator, British Museum
‘That’s one weird looking bird,’ grinned an American student on one of my tours of the Ancient Egypt and Sudan Department study collection for university students last year.
And to Egyptology students he is. And to students of Classical Archaeology too. But that’s rather the point. Roman Egypt (30 BC-AD 642) witnessed some of the most interesting, innovative and transformative combinations of traditions in the ancient world.
The god sits casually on his throne, one sandal-clad foot forward, his knees apart and draped in a garment. From the waist down, he could be any of a number of senior Olympian deities, or Roman emperors masquerading as such. He wears a feathered mail armour shirt that ends just above his elbows. His arms, now broken off, would have held symbols of power, perhaps an orb and sceptre. His cloak, pushed back over his shoulders, is fastened with a circular broach. From the waist up, his costume belongs to military deities and, especially, Roman emperors, who were also worshipped in temples dedicated to them throughout the empire. The head, however, places us firmly in an Egyptian context.
It’s Horus, the sun god and divine representative of the living king in ancient Egyptian tradition. His head is that of a falcon, rendered in naturalistic style with the bird’s distinctive facial markings articulated by the carving and also traces of paint. His eyes, however, are strangely human; instead of being placed on the sides of the head, like any ‘real’ bird, they are frontal, and his incised pupils tilt his gaze upward. In an imaginative turn, the feathers of the falcon’s neck blend into the scales of the mail shirt. In the top of his head is a hole, into which a (probably metal) crown once fit.
Big Bird, as I think of him, has been off public display since 1996 when the gallery he was formerly displayed in was reconfigured to create the Great Court. Since I arrived at the Museum in 2007, he’s been the culmination of my tours for university students, giving us the opportunity to explore cultural identity through different kinds of objects from Roman Egypt. We look at magical papyri written in Egyptian and Greek, with some of the Egyptian words written in Old Coptic, that is, the Egyptian language written in Greek script. Why the glosses of Egyptian words in Greek script? Because in magical spells it was very important to say the words correctly or else the spell wouldn’t work. And Greek script, unlike Egyptian, represented the vowels ensuring that the words said aloud were accurately pronounced at a time when literacy in Egyptian scripts was on the wane. We also look at mummy portraits belonging firmly in the Roman tradition of individualised commemorative portraiture, but made for the specific purpose of placing over the face of a mummy, a feature that belongs unmistakably to Egyptian funerary practice. We see the same combination of traditions in this limestone sculpture of Horus and other contemporary depictions.
The opportunity to get the sculpture on public display arose last year when the Gayer-Anderson cat was scheduled to travel to Paris, then Shetland, for exhibition. Big Bird would get his very own case at the top of a ramp, amid other sculpture more readily identifiable as ‘Egyptian’ in the British Museum Egyptian Sculpture Gallery.
While preparing the display, we also had a chance to identify some of the pigments that are apparent to the naked eye: his yellow arms, black pupils and ‘eye-liner,’ garments in two different shades of green, and his red and black throne. Using an innovative imaging technique, we were also able to detect the pigment used for his armour, and it turned out to be one of the most valued pigments of the ancient world, Egyptian blue.
Although no longer apparent to the naked eye, it shows up in visible-induced luminescence imaging by British Museum scientist, Joanne Dyer. In addition to the strange (to us) combination of Graeco-Roman-Egyptian elements, he would also have been rather garishly painted.
Horus – I should really stop thinking of him as Big Bird – will not go back into the study collection when the Gayer-Anderson cat returns, but instead join a touring exhibition on the Roman Empire which will give visitors to the exhibition in locations including Bristol, Norwich and Coventry, that is, in former Roman Britain, an opportunity to see a selection of objects from Antinoupolis and other cities from the former empire’s southern frontier, Roman Egypt.
For their collaboration and enthusiasm, I thank Joanne Dyer, Tracey Sweek, Michelle Hercules, Antony Simpson, Susan Holmes, Paul Goodhead, Robert Frith, Evan York, Emily Taylor and Kathleen Scott from the American Research Center in Egypt.
October 15, 2012 • 3:11 pm Comments Off
Marie Millet, British Museum
The Amara West team is now beginning to finalise plans for its next excavation season, in January and February 2013. In recent months, we’ve been digitising our field documentation (drawings, plans, maps …), which has allowed us to reconstruct biographies for objects found during our excavations earlier this year. This work is shedding light on life at the town of Amara West, the principal administrative centre of Upper Nubia during the Ramesside Period, at the end of the second millennium BC.
One object in particular caught my attention: a large vessel (C4460) buried in the floor of house E13.8. This single object enables us to tell a chapter in the story of “House of Ramesses-ruler-of-Thebes”, as Amara West was called in ancient times.
House E13.8 was excavated last season by Tom Lyons and Shadia Abdu Rabu, between the enclosure wall and house E13.3. It was built over the remains of a production area with a kiln. Though this house was built over an empty, trapezoid-shaped space, it features all of the key elements of an Amara house: hearths, bread ovens, room with mastaba-bench.
In the back room, to the left of the door, we came across a large buried pot. Why was it there? Usually in archaeology we go back in time, because we are discovering the most recent part of a site and ‘peeling back’ the layers to find earlier remains. But with this object, we can tell the story from beginning to end.
We know that this very large jar was made on a potter’s wheel, as we can see wheel-marks on the interior surface. The exterior is a white colour. It’s made from Nile clay, which makes it difficult to distinguish whether it was produced in Egypt or in Upper Nubia: was it imported, or made locally at Amara West? Such pots are usually made from more specific Egyptian clay, ‘marl clay’, though in Abydos, examples made from Nile clay have been found with a white slip added to the exterior, to imitate pots made from marl clay.
Egyptologists call this kind of jar a ‘meat jar’, as ink labels found on them, especially in Amarna, state that meat was stored inside. Some jars from this site in the British Museum collection offer a good comparison with the newly-excavated material.
The Amara West pot bears a hieratic inscription, carefully conserved by Philip Kevin, saying it held cqw– (bread) loaves (thanks to Robert Demarée for the translation). So this jar was used to transport or store a number of loaves. At a later stage, it was then buried in the floor at the back of the house, possibly to keep food cool, a change in function we often see with this type of jar, both at Amara West and at Amarna. The archaeological stratigraphy suggests that it was buried during the 20th dynasty. As to what was stored inside; that’s a question for our archaeobotanists, Caroline Cartwright and Philippa Ryan, who will be studying the jar in due course.
Unfortunately, this jar lost its neck, perhaps while it was in use at the back of the house or when the area was refilled and the pot completely forgotten. The room was filled with rubble, containing doum-palm trees seeds, charcoal, wood, fish bones and ochre. The weight of these deposits caused the pot to collapse in on itself.
So this jar tells us its own life through its breaks, marks, shape, material and location in the archaeological stratigraphy. This provides us with a glimpse into the daily life of the inhabitants of Amara West.
September 28, 2012 • 8:55 am 2
Patricia Usick, Honorary Archivist, Ancient Egypt and Sudan, British Museum
The archive of the Department of Ancient Egypt and Sudan has recently acquired a fascinating collection of letters from Joseph Bonomi (1796-1878) to his friend and colleague Samuel Sharpe (1799-1881). Both men were important figures in early Egyptology with close connections to the British Museum; their friendship and interests are reflected in this lively, scholarly, and intimate correspondence of 1857-1878.
Bonomi’s contribution to Egyptology and his long and productive career have not been sufficiently appreciated.
Bonomi, artist and sculptor, Egyptologist curator of Sir John Soane’s Museum, and Sharpe, Egyptologist and biblical scholar, first met in 1837 when Sharpe was publishing inscriptions from the British Museum. They developed a close friendship while collaborating on the Egyptian Rooms at the Crystal Palace, and numerous biblical and Egyptian publications, including the alabaster sarcophagus of Seti I, which the architect and collector John Soane had purchased when the British Museum Trustees, alas, refused it.
Bonomi had joined Robert Hay’s expedition to Egypt as his artist in 1824, producing drawings and helping to make the plaster casts of Egyptian reliefs which are now in the British Museum along with Hay’s collections. Bonomi subsequently spent nine years in Egypt in the company of many of the eminent scholar-travellers of the day. In England, Bonomi illustrated John Gardner Wilkinson’s books on Egypt, made drawings for a Panorama of Egypt, and worked in the British Museum arranging exhibits. He designed the first hieroglyphic font produced in England for Samuel Birch, Keeper of Oriental Antiquities in the British Museum, and even designed an Egyptian temple façade for a flax mill in Leeds. Birch thought that, after Gardner Wilkinson, Bonomi knew more about Egypt than anyone of his time.
The letters touch on many of the Egyptological issues of the day: damage to Egyptian monuments, both natural and the deliberate ancient effacement of the name and image of the god Amun; the embalming of animals; their joint publication of the Soane sarcophagus – and how well their publications were selling; the statue of Khaemwaset (now EA 947), which Sharpe purchased and presented to the British Museum; Schliemann’s discovery of Troy; the provenance of a disputed basalt stone in Bologna and a fragment of a sarcophagus with the Asiatic Society; excavations at the mortuary temple of Amenhotep III in Thebes; the mathematical papyrus ‘in Birch’s room’ (The Rhind Papyrus P. BM 10058); the discovery of the famous Moabite Stone, the oldest Semitic inscription then known; and the Museum’s paintings from the tomb of Nebamun.
Bonomi considered Rev. Lieder’s collection ‘inferior much to Mr. Hay’s’, though worth a visit, and Birch had bought ‘20 pounds worth’. Rev. Rudolph Theophilus Lieder was a German missionary and collector who worked in Cairo for many years under the Church Missionary Society and collected Egyptian antiquities. In 1861 Lord Amherst purchased his collection of 186 items for £200, the inventory of which is in the Department of Ancient Egypt and Sudan archives. A glimpse of what must be Rev Lieder’s son in 1869 is revealing; ‘I found Mr Lieder with eyes denoting neglected ophthalmia hand trembling from much tobacco and perhaps excess in wine. I knew him a little boy in Cairo as I then thought much neglected by his mother’.
Despite tragedy in Bonomi’s private life – his four young children died of whooping cough in one week in 1852 and he was left to bring up his four following children when his wife Jessie, the daughter of the painter John Martin, died in 1859 aged 34 – his output was enormous, and his humorous observations and cheerful disposition bring a seminal figure to life.
April 4, 2012 • 8:42 am 4
Richard Parkinson, curator, British Museum
For many years before joining the British Museum as a curator in the Department of Ancient Egypt and Sudan, my life was tied up with the so-called ‘Ramesseum papyri’: a library of ancient Egyptian papyri that were discovered in 1895-6 under the temple of Ramses II, now known as the ‘Ramesseum’. As a school boy I had bought Alan Gardiner’s 1955 partial publication of some of the papyri and my doctorate was a commentary on one of the poems preserved in them, The Eloquent Peasant.
The 24 papyri are an almost unique surviving example of an ancient Egyptian library that was buried in its owner’s tomb around 1680 BC, but although some of them have been much studied they are extraordinarily fragmentary and fragile. Over the years, Bridget Leach, the Museum’s papyrus conservator, and I have helped many students and scholars examine them, and every time we have worried about their extreme fragility. And so we were eager to have a full visual record made in high resolution colour, so that the papyri could also be studied remotely without being disturbed too often, as well as enabling a global audience to access them. Nothing can substitute for working on an original manuscript, of course, and this will continue, but a good visual record allows much of the preliminary work to be done virtually, before a final collation with the actual fragile originals.
The British Museum’s Online research catalogue format offered a marvellous tool for this visual presentation, especially as it is linked to the collections database with its descriptions and bibliographies. Unlike a print catalogue it is continually updatable (and it needs to be: in May I am in Geneva to examine a new doctoral thesis by Pierre Meyrat on the previously untranslated magical texts in the library). Many of the fragments have not been fully published, some have never been published in photographs before, so this format will open up the library for study – as a whole and for the first time in its modern history.
Most satisfyingly for me, the catalogue includes all of the papyri. Two of the most important manuscripts are now in the great Egyptian Museum and Papyrus Collection in Berlin (including the poem of my doctorate). Thanks to their immensely kind collaboration, I was there with Lisa Baylis, a British Museum photographer, in 2007, and these two papyri now sit together with the London papyri in this new virtual version of the ancient library. The excavator had distributed the objects that he found with the papyri to the various institutions that had funded him, and they are now in Manchester, Cambridge and Philadelphia, but the catalogue has links to these items in their various institutions, and so reunites not only the papyri but the whole surviving tomb-group.
Underlying the project is the sad and rather irritating fact that Egyptologists often study texts away from their material context – both their physical reality as manuscripts and their archaeological findspot – and I hope that the catalogue will help change this and encourage a more grounded and theoretically informed approach in line with the so-called ‘Material philology’ school of textual studies. But my dominant memory of the whole enterprise is simpler: the sheer fun and overwhelming kindness I’ve encountered with so many helpful friends, students and colleagues in Britain, France, Germany, America and Egypt, who all have helped us get to this point in a common project.
But this is only a beginning, simply one step in encouraging people to start re-reading these texts that have miraculously survived (only just!) from 1680 BC.
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February 1, 2012 • 4:02 pm Comments Off
Neal Spencer, British Museum
With three weeks digging left, it’s a good time to reflect on the key discoveries of the season so far in the town of Amara West. Though these have included objects, from the spectacular to the mundane, the combination of stratigraphy and architecture unearthed has allowed us to interpret the purpose of buildings – and one of our key challenges has been to work out which walls belong to which structures, and in what order they were built.
A trapezoid-shaped house, E13.8 is tucked into a space between house E13.3 and the north town wall, and now seems to have been quite a late-comer to Amara West, as Shadia Abdu Rabu and Tom Lyons’ excavations have shown. Whereas the house next door went through over a century of internal changes (from around 1150 BC) but retained its location and basic layout, house E13.8 was built during the last phases of occupation of the town – or at least the last preserved phases.
The modest dwelling features a room directly off the alley, with a space to the left in which a number of ovens had been built into the town wall, which may have been partly eroded and destroyed at this point. The middle room of the house was set around a circular hearth, with a low brick bench on the back wall (mastaba). This room had been replastered at least once.
In the past week, earlier structures have begun to be revealed – and it seems the two back rooms sat above a larger space which contained at least one large oven. More brickwork is appearing beneath the front room, including one wall which might be part of a very early phase building excavated by the Egypt Exploration Society.
The big question we hope to solve before the end of the season is: what function did this earlier building fulfill? It does not yet display the characteristics of an Amara West house.
Again, a surprise here. Unlike the house immediately west of here (E13.4), house E13.6 was only preserved to a few courses in depth, constructed over earlier remains. The house itself was in some ways unremarkable – with a central room featuring a mastaba – though no evidence of a staircase was preserved, unlike nearly every house at Amara West; access to the roof was important for light and air in such a cramped neighbourhood. Of course, the discovery of a painted, carved, door-lintel gave a glimpse at how splendid the interior of this house may once have looked.
Beneath, Mary Shepperson and Hélène Virenque have revealed a whole series of walls of earlier phases. Many seem to relate to the long store-rooms with vaulted roofs partly revealed in previous seasons – but others might not. Finding out whether some of these rooms join with the house behind (E13.7) is a key question for the next three weeks. If not, was it built before or after? Or was one building partly dismantled to make way for the next?
Mat Dalton set out to reveal more of house E13.7, but most of his attention has been diverted to the street, where a fascinating history of refurbishing is being traced. We are now able to walk along an ancient street, past the fronts of houses, giving us a sense of the space, architectural scale, and the dense urban environment that is very rare in domestic archaeology.
In the last few days, Mat has returned to the scene of his 2010 excavations, in a square room where the presence of a number of ovens suggested it was used as a space for communal cooking. As ever at Amara West, find one oven and several more are likely to follow in quick succession. There are now at least three phases of oven use in the room, some of which are associated with grinding emplacements and their basins. This space would have allowed the neighbourhood’s inhabitants to prepare a significant amount of food.
After the excavations, results of scientific analyses on samples taken from the site should help tell us more about the inhabitants’ diet and how different spaces were used – evidence that can help our imagination make all these urban spaces bustle with people, heat, smoke and undoubtedly much conversation….
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January 27, 2012 • 9:46 am 1
Elisabeth Greifenstein, University of Wuerzburg and Marie Vandenbeusch, University of Geneva
Our team of archaeologists and osteologists excavating in the houses and graves of Amara West unearth a wide variety of finds – nearly all of which are brought back to the expedition house on the afternoon of discovery, even when very heavy…
What then happens with all these objects?
The expedition house is very busy during the day. Marie Vandenbeusch registers the finds and is responsible for their storage in the magazine; Elisabeth draws pottery and objects, while Marie Millet is responsible for the ceramics, helped by Sallah who washes the masses of incoming sherds. Sallah, who lives nearby on the island of Ernetta, is also being trained to sieve botanical samples, which will provide insights into the food that the town’s inhabitants were eating.
All this work is providing us with a better understanding of the settlement of Amara West, and helps us date and interpret the buildings, features and objects we encounter.
For example, Elisabeth’s drawings have helped confirm the reading of the royal name at the end of the eroded inscription on a sandstone doorjamb (F990) found exposed on the surface east of the town wall. The signs written in the cartouche were not readable until seen in a variety of different lights, but also with a torch during the dark hours of the early morning. We are now confident it bears the name of Ramesses II. The jamb is likely to come from the town’s temple, or perhaps a smaller chapel, but could have been re-used in a house.
The anticipation builds as the excavators return to the house at around 2.30pm each day…
Ruth Glick is a full time arbitrator and mediator whose skill and knowledge of ADR stems from her background as a lawyer, businesswoman and educator.
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It’s a treat today to welcome Rebecca York, an author with a wealth of experience to share, both in traditional publishing and indie. Tell me, Rebecca, if you could …
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Hello new friend! Nice to meet you…
My name is Kim and I write mostly creative free verse poetry. In fact, that’s all I really write (who am I kidding?) but I’ve experimented with Haiku poetry and other simple styles. I’ve also dipped my writing fingers in article writing and short stories, which takes more time to write than I’d like to spend (how ironic). I started writing from a very young age, as far back as I can remember, and that discovery has opened the door for my strong passion for poetry and I just want to explore that talent and see where it leads. Writing, for me, is therapy.
I’ve been working on a manuscript with hopes of being a self-published author in the near future 🙂 as it has always been a dream of mine to publish a poetry book or two. Well, the time has come for me to finally scramble up off my butt, stop making excuses and start working on my poetry book. All it takes is time and work, lots of both actually. Anyway, sooner than later, I will be ready to present my published work for all to fuss over. My goal is to inspire many people around the world.
Like all fellow poets and writers, I have a story to tell so I packed up my words and started on my journey to recognitionville. I am on that journey for the long haul and I will continue to write my story the best way that I know how with poetry from my soul.
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Thank you for taking the time out to pay my blog a visit. Please feel free to stop by at any time, you are more than welcome. Read on and enjoy the rest of your day.
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