Archaeology News: 2024.12.26

The fragment of the colorful bowl originating in China. Courtesy Emil Aladjem, IAA. Excavators with the Israel Antiquities Authority (IAA) and the German Protestant Institute of Archaeology made an unexpected discovery while excavating on Jerusalem’s Mt. Zion: a small porcelain bowl fragment painted with a short Mandarin Chinese inscription. With the excavation team on Mt. Zion typically uncovering material dating from the Second Temple (c. 516 BCE–70 CE) through Byzantine periods (c. 324–634 CE), a Ming Dynasty (14th–17th centuries) bowl was certainly not what they expected. This is not the first early Chinese porcelain discovered in Israel, but it is the oldest to feature writing. The enigmatic inscription reads, “We will forever keep the eternal spring.” FREE ebook: Islam in the Ancient World. Explore Islam’s biblical history and sites. First Name:* Last Name:* Email Address: * * Indicates a required field. SUBMIT If you don’t want to receive the Bible History Daily newsletter, uncheck this box. According to Joyce Leung, a Ph.D. student at Hebrew University who was not involved in the study, the inscription was likely meant as a blessing. The act of stamping the bottom of ceramic ware with such blessings was–and remains–a common practice in China. The team determined the bowl fragment dated between 1520 and 1570, although how it ended up in Jerusalem remains uncertain. Historic writings do, however, mention close trade connections between the Ottoman Empire, who ruled Jerusalem at the time, and the Ming Dynasty, with records of at least 20 official delegations from the Ottomans visiting the imperial court in Beijing during the 15th to 17th centuries. The writings of merchants and scholars also mention such relationships, with the work of Chinese scholar Ma Li (1541) mentioning colonies of Chinese merchants in Lebanese coastal cities such as Beirut and Tripoli. In the work, Ma Li even mentions Jerusalem itself. It is likely through these trade relations that the bowl arrived on Mt. Zion, as trade helped spread exotic spices and goods, such as porcelain, from the Far East to the Middle East. Related reading in Bible History Daily: OnSite: The Walls of Jerusalem Site-Seeing: El-Jazzar’s Architectural Gem All-Access members, read more in the BAS Library: Constantinople: Christianity’s First Capital Turkey’s Unexcavated Synagogues Not a BAS Library or All-Access Member yet? Join today. The post Israel’s Oldest Chinese Inscription Found on Mt. Zion appeared first on Biblical Archaeology Society. Continue Reading...

Dating to the ninth century B.C.E., the Mesha Stele describes how King Mesha rescued the Moabites from Israelite rule. Photo: “Stèle de Mésha” by Mbzt 2012 is licensed under CC-by-3.0 One of the most exceptional biblical archaeology artifacts ever found, the three-foot-tall Mesha Stele contains a 34-line inscription celebrating the Moabite vassal king Mesha’s rebellion against the Israelites. Renowned epigrapher André Lemaire identified in line 31 of the ninth-century B.C.E. stele the phrase בת[ד]וד (bt[d]wd), or “House of David”—a tantalizing reference to King David on an artifact discovered before the famed Tel Dan inscription that also references David. Scholars Israel Finkelstein, Nadav Na’aman, and Thomas Römer have recently re-examined the inscription, however, and propose a new reading: Line 31 references not the “House of David,” but the Moab king Balak from the story of Balaam in the Bible (Numbers 22–24). History Written in Stone How the Mesha Stele—also called the Moabite Stone—became public is an incredible tale itself. As described in Bible History Daily: [The] black basalt Moabite Stone was first brought to the attention of scholars in 1868 by Bedouin living east of the Jordan River and just north of the Arnon River. After several failed negotiations to purchase it, the Mesha Stele was broken into dozens of pieces and scattered among the Bedouin. In the 1870s several of the fragments were recovered by scholars and reconstructed—comprising only two-thirds of the original Moabite Stone. A paper imprint (called a squeeze) that had been taken of the intact inscription allowed scholars to fill in the missing text. In the May/June 1994 issue of Biblical Archaeology Review, André Lemaire describes how his reading of the “House of David” on the Mesha Stele helps to contextualize the inscription: The Tel Dan inscription. Photo: The Israel Museum, Jerusalem/Israel Antiquities Authority (photograph by Meidad Suchowolski).Enough has been preserved at the end of line 31 […] to identify the new enemy of Moab against whom Mesha fought in the last half of the inscription: bt[d]wd, the House of David. Having described how he was victorious against Israel in the area controlled by it north of the Arnon, Mesha now turns to part of the area south of the Arnon which had been occupied by Judah, the House of David. In the tenth and first half of the ninth centuries B.C.E., the kingdom of Edom did not yet exist. The area southeast of the Dead Sea was apparently controlled by Judah. Thus, during Mesha’s rebellion against the king of Israel (2 Kings 3:5), the king of Israel asks for assistance from the king of Judah, who agrees to provide the aid. The king of Israel instructs the king of Judah to attack the king of Moab by going through the “wilderness of Edom” (2 Kings 3:8) because apparently it was an area controlled by the kingdom of Judah. No doubt the missing part of the inscription described how Mesha also threw off the yoke of Judah and conquered the territory southeast of the Dead Sea controlled by the House of David. In its ... Continue Reading...

Was the Hebrew Bible written earlier than previously thought? That’s what a 2016 study published in Proceedings of the National Academy of Sciences suggests. The study was led by Tel Aviv University (TAU) doctoral students Shira Faigenbaum-Golovina, Arie Shausa and Barak Sober. The TAU researchers analyzed multi-spectral images of 16 Hebrew inscriptions, which were written in ink on ostraca (broken pottery pieces), using a computer software program they developed. The ostraca, which date to 600 B.C.E., according to the researchers, were excavated from the Judahite fortress at Arad in southern Israel. When was the Hebrew Bible written? Ostraca with Hebrew inscriptions excavated from the Iron Age fortress at Arad in Israel may provide clues, say researchers from Tel Aviv University. Photo: Michael Cordonsky, courtesy Tel Aviv University and the Israel Antiquities Authority. The researchers say they were able to identify at least six different handwriting styles on the inscriptions, which contained instructions for the movement of troops and lists of food expenses. A TAU press release notes that “the tone and nature of the commands precluded the role of professional scribes.” “The results indicate that in this remote fort, literacy had spread throughout the military hierarchy, down to the quartermaster and probably even below that rank,” state Faigenbaum-Golovina, Shausa and Sober in their paper. “Now our job is to extrapolate from Arad to a broader area,” explained TAU Professor of Archaeology Israel Finkelstein, who heads the research project, in the TAU press release. “Adding what we know about Arad to other forts and administrative localities across ancient Judah, we can estimate that many people could read and write during the last phase of the First Temple period. We assume that in a kingdom of some 100,000 people, at least several hundred were literate.” Israel Museum curators have called “Gabriel’s Revelation” the most important document found in the area since the discovery of the Dead Sea Scrolls. Read the original English publication of “Gabriel’s Revelation” along with Israel Knohl’s BAR article that made scholars around the world reconsider links between ancient Jewish and Christian messianism in the free eBook Gabriel’s Revelation. So when was the Hebrew Bible written? What does literacy in the Iron Age have to do with it? Scholars have debated whether the texts of the Hebrew Bible were written before 586 B.C.E.—when the Babylonians destroyed Jerusalem, razed the First Temple and exiled the Jews—or later on, in the Persian or Hellenistic period. If literacy in Iron Age Judah was more widespread than previously thought, does this suggest that Hebrew Bible texts could have been written before the Babylonian conquest? The Tel Aviv University researchers think so, based on their study of the ostraca from Arad. Not quite, says epigrapher Christopher Rollston, Associate Professor of Northwest Semitic languages and literatures at the George Washington University. In a lengthy blog post analyzing the TAU study, Rollston contends that there is not enough information from these ostraca to make estimates about the literacy of Iron Age Judah. Rollston points out that, according to a publication by Yohanan Aharoni, the original excavator ... Continue Reading...

Where is Biblical Bethsaida? One contender is the site of et-Tell, a mile and a half north of the Sea of Galilee. Photo: Duby Tal and Moni Haramati, Albatross/Courtesy of Bethsaida Excavations. The ancient village of Bethsaida is believed to be located on the northern shore of the Sea of Galilee, but where precisely the abandoned city lies remains a fiercely-debated question among scholars. Recent discoveries at the site of el-Araj have called into question the decades-old claim that et-Tell on the eastern shore of the Jordan River is this lost Biblical city. Along with Jerusalem and Capernaum, Bethsaida is frequently mentioned in the Gospels. When Jesus was first calling his disciples, he traveled to Galilee and found there Philip, who is described as being of Bethsaida along with Peter and Andrew (John 1:43-44). The town—including its nearby shore—is identified as the location where Jesus performed some of his most indelible miracles. Here he led a blind man away from the village, restored his sight, and instructed the man not to reenter the town nor to tell anyone of the miracle he had performed (Mark 8:22–26). Bethsaida is also said to be the fishing village where Jesus fed the masses with just five loaves and two fish (Luke 9:10–17; Mark 6:30–44). Discovering Biblical Bethsaida. Could a mosaic inscription at the site of El-Araj be the smoking gun archaeologists are looking for to determine the true location of biblical Bethsaida? Read More in this BHD article. A consortium of schools headed by the University of Nebraska, Omaha, claim to be excavating Biblical Bethsaida at the site of et-Tell on the east bank of the Jordan River and have published their findings as the Bethsaida Excavations Project since 1991. For years, director Rami Arav has asserted that et-Tell’s archaeological remains sync up with historical accounts of the ancient village, including ancient Jewish historian Josephus’s report that under Philip the Tetrarch (one of Herod the Great’s sons), the town was improved, “… both by the number of inhabitants it contained, and its other grandeur” (Antiquities 18:2). In 30 C.E., Philip had renamed the city Julias after Livia-Julia, Roman emperor Augustus’s wife and mother of Tiberius, the reigning emperor at the time. Arav cites occupation and substantial growth of the town throughout the Roman period as evidence corroborating Josephus’s account.1 FREE ebook: The Galilee Jesus Knew First Name:* Last Name:* Email Address: * * Indicates a required field. SUBMIT If you don’t want to receive the Bible History Daily newsletter, uncheck this box. This claim, however, has not gone without criticism from other scholars. Most notably, Dr. Steven Notley, Professor of Biblical Studies at Nyack College, New York, has charged that et-Tell, a mile and a half from the Sea of Galilee, is too far from the ... Continue Reading...

AnneMarie Luijendijk has studied a previously unknown Late Antique text called The Gospel of the Lots of Mary. Photo: Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. Beatrice Kelekian in memory of her husband, Charles Dikran Kelekian, 1984.669. Princeton University professor of religion AnneMarie Luijendijk has identified a previously unknown text called The Gospel of the Lots of Mary in a fifth–sixth-century C.E. Coptic miniature codex. Luijendijk’s research is presented in her recently published book Forbidden Oracles? The Gospel of the Lots of Mary (Tübingen: Mohr Siebeck, 2014). The miniature codex, LiveScience reports, is composed of pages just 3 inches in height and contains 37 oracles that would have been used for divination. The opening lines of the codex read, in Coptic (a script adapted from Greek and used by Egyptian Christians): “The Gospel of the lots of Mary, the mother of the Lord Jesus Christ, she to whom Gabriel the Archangel brought the good news. He who will go forward with his whole heart will obtain what he seeks. Only do not be of two minds.” FREE ebook: The First Christmas: The Story of Jesus’ Birth in History and Tradition. Download now. First Name:* Last Name:* Email Address: * * Indicates a required field. SUBMIT If you don’t want to receive the Bible History Daily newsletter, uncheck this box. In this context, “lots” refer to objects drawn at random to make a decision. The Gospel of the Lots of Mary is not a gospel (from evangelion—“good news”) in the traditional sense that it describes the life and death of Jesus or is canonized as part of the New Testament. This gospel combines divinatory phrases and Biblical allusions. “The fact that this book is called that way is very significant,” Luijendijk told LiveScience. “To me, it also really indicated that it had something to do [with] how people would consult it and also about being [seen] as good news. Nobody who wants to know the future wants to hear bad news in a sense.” According to Luijendijk, the gospel would have been used like this: A person who needed guidance or an answer to a question would go through the book and randomly pick out an oracle for the solution—leaving the selection all up to chance. The small size of the codex meant it could be carried around easily. The Gospel of the Lots of Mary, then, is sort of like an ancient Magic 8 Ball. And like the Magic 8 Ball, the oracles are vague enough that one could draw personalized interpretations from them. For instance, oracle 34 reads: “Go forward immediately. This is a thing from God. You know that, behold, for many days you are suffering greatly. But it is of no concern to you, because you have come to the haven of victory.” Read ... Continue Reading...

This article presents data from the stable isotope analysis of marble from five fragments of sculpture and a massive base that together are said to comprise the remains of the statue on Delos known as the Naxian Colossus. This key work in the early history of monumental Greek marble sculpture has attracted the attention of travelers since the 15th century (Buondelmonti, Cyriacus of Ancona). Plutarch’s testimony that the great andrias of the Naxians was knocked down by the bronze palm tree of Nicias in a storm promoted the belief that all or some of the pieces identified with the colossus belonged to a later replacement for the original Archaic-period statue (dated ca. 600 BCE). The data from stable isotope analyses, in combination with the evidence from a recent analysis of style and proportions, now points to the conclusion that the fragments and base likely belong to at least three different archaic colossal statues. We explore the present limits in our interpretation of marble isotope analyses. We argue that this evidence is currently the best available means of understanding the highly debated inscription on the east side of the base: “I am of the same stone, statue and base.” The post The Colossal Archaic Naxian Statues in the Sanctuary of Apollo on Delos appeared first on American Journal of Archaeology. Continue Reading...

This archaeological note proposes that the animal skull appearing on the Hesione Vase (Museum of Fine Arts Boston 63.420) and often identified as a Miocene giraffid belongs to an equid. The imagery of the sixth-century BCE vase is examined in relation to the iconographic tradition of the Lernaean Hydra and the ketos (sea monster). The paleogeography of the Corinthia and comparative osteology of the skull are considered. The possibility is raised that the skull belongs to a Plio-Pleistocene hipparionine equid, discovered in the Corinthia during clay collection in antiquity. The post The Trojan Ketos on the Hesione Vase: Iconography, Paleogeography, and Osteology appeared first on American Journal of Archaeology. Continue Reading...

The post Bramiana: Salvaging Information from a Destroyed Minoan Settlement in Southeast Crete appeared first on American Journal of Archaeology. Continue Reading...

The post Manufacturers and Markets: The Contribution of Hellenistic Pottery to Economies Large and Small: Proceedings of the 4th Conference of IARPotHP, Athens, November 2019, 11th–14th appeared first on American Journal of Archaeology. Continue Reading...

The post The Oxford Handbook of Palmyra appeared first on American Journal of Archaeology. Continue Reading...

 A large Roman villa was uncovered in Oxfordshire. Credit: Red River Archaeology GroupThe complex was adorned with intricate painted plaster and mosaics and housed a collection of small, tightly coiled lead scrolls. The Red River Archaeology Group (RRAG), the organization responsible for coordinating the excavation, announced in a press release that these elements suggest that the site may have been used for rituals or pilgrimages.Francesca Giarelli, the Red River Archaeology Group project officer and the site director, told CNN that the villa likely had multiple levels. The Roman villa complex, spanning an impressive 1,000 square meters (or 10,800 square feet) on its ground floor alone, was likely a prominent landmark visible from miles away.“The sheer size of the buildings that still survive and the richness of goods recovered suggest this was a dominant feature in the locality if not the wider landscape,” says Louis Stafford, a senior project manager at RRAG, in the statement.Read the rest of this article... Continue Reading...

Today, Smallhythe Place in Kent is best known as a bohemian rural retreat once owned by the Victorian actress Ellen Terry and her daughter Edy Craig. As this month’s cover feature reveals, however, the surrounding fields preserve evidence of much earlier activity, including a medieval royal shipyard and a previously unknown Roman settlement (below, first image). Our next feature comes from the heavy clays of the Humber Estuary, where excavations sparked by theconstruction of an offshore windfarm have opened a 40km transect through northern Lincolnshire, with illuminating results (below, second image). We then take a tour of Iron Age, Roman, and medieval Winchester, tracing its evolution into a regional capital and later a royal power centre.Read the rest of this article... Continue Reading...

Tom Quad, Christ Church, Oxford University – image David BeardThe Oxford Experience summer school is held at Christ Church, Oxford. Participants stay in Christ Church and eat in the famous Dining Hall, that was the model for the Hall in the Harry Potter movies.This year there are twelve classes offered in archaeology.You can find the list of courses here… Continue Reading...

‘It was killing fields as far as the eye can see’ … the Latin-inscribed slabs crossing the site of the battle, which features in the British Museum show Legion.Photograph: David Levene/The Guardian‘Their heads were nailed to the trees’: what was life – and death – like for Roman legionaries?It was the defeat that traumatised Rome, leaving 15,000 soldiers slaughtered in a German field. As a major show explores this horror and more, our writer finds traces of the fallen by a forest near the RhineIt is one of the most chilling passages in Roman literature. Germanicus, the emperor Tiberius’s nephew, is leading reprisals in the deeply forested areas east of the Rhine, when he decides to visit the scene of the catastrophic defeat, six years before, of his fellow Roman, Quinctilius Varus. The historian Tacitus describes what Germanicus finds: the ghastly human wreckage of a supposedly unbeatable army, deep in the Teutoburg Forest. “On the open ground,” he writes, “were whitening bones of men, as they had fled, or stood their ground, strewn everywhere or piled in heaps. Near lay fragments of weapons and limbs of horses, and also human heads, prominently nailed to trunks of trees.”Read the rest of this article... Continue Reading...

Schematic drawing of the relationship between climatic change and sociological, physical, and biological factors influencing infectious disease outbreaks.Credit: Science Advances (2024). DOI: 10.1126/sciadv.adk1033A team of geoscientists, Earth scientists and environmental scientists affiliated with several institutions in Germany, the U.S. and the Netherlands has found a link between cold snaps and pandemics during the Roman Empire.In their project, reported in the journal Science Advances, the group studied core samples taken from the seabed in the Gulf of Taranto and compared them with historical records.Researchers learn about climatic conditions in the distant past by analyzing sediment built up from river deposits. Tiny organisms that are sensitive to temperature, for example, respond differently to warm temperatures than to cold temperatures and often wind up in such sediment. Thus, the study of organic remains in sediment layers can reveal details of temperatures over a period of time.Read the rest of this article... Continue Reading...

In July’s post, I reviewed The Telegraph’s assertion that the Pitt-Rivers Museum had been ‘hiding’ objects that women were not supposed to see. You can find an archived version of the original Telegraph article here. The article is superficially about the exclusion of an object from public display (including digital display in collections online) to explicitly prevent a certain group (in this case women) from seeing that object. It’s main argument has been largely refuted in this article by the Pitt Rivers Museum, and in two threads about digital and in person access byMadeline Odent (@oldenoughtosay), on the platform formerly known as Twitter. In my previous post, I looked at the misunderstandings about museums that underpinned The Telegraph’s article. A careful reading of the article reveals that neither women’s access to the Igbo mask, nor the somewhat more philosophically interesting subject of who should be able to access taboo or sensitive objects, is its real theme! It’s primary purpose is to denigrate the Pitt Rivers Museum’s policies on cultural sensitivity, and the decolonisation process of which they form a part. So far so boring and predictable, but what is interesting about this article are the methods it uses to manipulate the reader. Reverse Outlining To take a really close look at the Telegraph article, I printed it out and numbered the paragraphs. Then on the left side of the paper I noted the points of each paragraph, and on the right side, details that jumped out at me about how the article was written. If you want to see what that looks like, I’ve posted images of the results below. I have blurred the human remains in two of the images so those who do not wish to see are not accidentally exposed. Annoyingly, the final sentence of the article has strayed onto a fourth page, but it is functionally the end of the previous paragraph. For copyright purposes please note that I reproduce these images of the marked-up article here, without ‘alt-text’ of the article content, as a means to criticism and review. They are not meant for in-depth reading, but merely as a visual guide to how I analysed the article. For those with an interest in academic writing techniques, I used a process known as ‘Reverse Outlining‘ in analysing the Telegraph article. If you want to see more about how it works, you can follow the previous link to Pat Thompson’s incredibly useful patter blog, or this article by Rachael Cayley. First page of the reverse outlined Telegraph article. I have blurred the image of the tsantsa. Second page of the reverse outlined Telegraph article. Third page of the reverse outlined Telegraph article. I have blurred out the human remains in the photograph at the top. The fourth page of the reverse outlined Telegraph article, only includes one sentence from the article. Womens rights The article is framed as an expose of a threat to women’s rights in the form of restrictions placed on the public display ... Continue Reading...

In my previous post, I discussed a Telegraph article, published on 17 June 2024 which criticised the Pitt Rivers Museum for ‘hiding’ objects that women were not supposed to see. You can find an archived version of the original Telegraph article here. While Madeline Odent (@oldenoughtosay) on Twitter and the Pitt Rivers Museum (in this article) rebutted most of the claims made by the Telegraph, it would not have been nearly as effective without certain gross misunderstandings of what museums are and how they work. I previously wrote here about how the redisplay of certain Wellcome Museum galleries was subject to similar misunderstandings in 2022, but it seems these misunderstandings continue. They may even be more intense in Wunderkammer-style museum, like the Pitt Rivers, which is as Madeline Odent puts it, ‘somewhat unusual among modern museums in that it has largely kept to its Victorian roots of ‘cram as many artefacts as possible into each display case’. If you’re unfamiliar with the PRM, it’s somewhat unusual among modern museums in that it has largely kept to its Victorian roots of ‘cram as many artefacts as possible into each display case’— madeline boOoOoOodent (@oldenoughtosay) June 25, 2024 Madeline Odent’s thread about visiting the Pitt-Rivers Museum, with her succinct description of its ‘Wunderkammer-style’. What is a museum? Museums, especially archaeological museums, often combine the function of object warehouse, educational institute, and art gallery. As I described in my post about the Wellcome Museum, the latter two functions are what we experience when we visit the museum galleries, or an exhibition of objects from the museum (either in the same building or elsewhere). The publicly open galleries and exhibitions do not constitute the whole Museum. They are simply the part of the museum that is prepared for public visitation with carefully curated objects and relevant signage. This is more obvious when we visit a museum with a limited number of artefacts carefully displayed, but even then I suspect many people assume that that which is on display constitutes the entire museum. In this respect, the Wunderkammer-style of the Pitt Rivers, is a disadvantage, because the very large number of items on display itself suggests that the entire collection is visible. In fact, the visible artefacts in publicly open galleries and exhibition spaces only ever constitute a relatively small proportion of any museum’s holdings! The Igbo mask, the focus of the Telegraph’s article, has not been ‘hidden’. It was never on display, along with much of the rest of the collection! The Collection The majority (exact proportions vary) of any museum’s holdings are held in storage. Together the objects in storage and those on display are described as the museum’s collection. Some of these objects are not on display because they are fragile or would be at risk in some way. Some are sufficiently similar to objects on display that including them would clutter display cases without adding further interest or value. Others are simply extremely boring to any but dedicated specialists. The holdings ... Continue Reading...

‘Regular readers will know that I’m interested in both public misunderstandings of archaeology and heritage and ‘Wunderkammer‘ style museums. So I was interested when on 17 June 2024, the Telegraph newspaper published an article critical of the Pitt Rivers Museum. The reaction to this on Twitter and in this rebuttal by the museum revealed that the article demonstrated both significant misunderstandings about the nature and purpose of museums, and how those misunderstandings are politicised. Now, do some photos have sensitivity warnings? Sure. When you visit the site, you get a pop up, and you can opt in OR OUT of the warnings. If you opt in, you can click thru to see something with a warning. For a small number, there’s no image. Here’s what that looks like. pic.twitter.com/YjlN2Y0m7i— madeline odent (@oldenoughtosay) June 19, 2024 Sensitivity warnings in the online catalogue, including one example where the image is not available to the public. (Tweet by @oldenoughtosay) Repatriation? As an aside, it’s worth noting that I am not going to engage here with the question of repatriation of objects. That is a very complex and important issue and there’s insufficient space here to do it justice. My focus here is public understanding of what museums do and are, where misunderstandings lie and how those misunderstandings can be corrected or exploited. Hiding masks? The Telegraph article was entitled “University of Oxford museum hides African mask that ‘must not be seen by women’”. You can find an archived version of the original Telegraph article here. It asserted that the museum had removed a Nigerian Igbo mask from display, and photos of it from the online catalogue because the culture of origin forbade women from seeing it. The article then linked these actions with a ‘decolonization process’ (the quotation marks are original to the article), that involved removal of the museum’s tsantsa (also known as ‘Shrunken heads’) and the addition of cultural sensitivity warnings, all resulting from the museum’s response to the Black Lives Matter protests of 2020. Truth or fiction? This swift rebuttal from the Pitt Rivers Museum and some investigative tweeting by Madeline Odent (@oldenoughtosay) revealed that the core claims of the Telegraph article were largely misunderstandings of both general museology and specific museum policy. To summarise, the Igbo mask in question has not been removed from display because it never was on display; a large proportion of the collection has yet to be photographed; some photographs have sensitivity warnings (image above right from Madeline Odent’s thread) and a very few are not available to view online; but researchers are welcome to visit and no one has ever been denied access to the mask. Pure coincidence that we just posted about this earlier. The curtains are to protect the delicate feathers from being damaged by too much light. https://t.co/PKZqBSXHX7— Pitt Rivers Museum (@Pitt_Rivers) June 25, 2024 Pitt Rivers Museum on Twitter confirming that the curtain was added for conservation reasons. Madeline Odent followed up her initial thread with this live-tweeted visit to the Pitt Rivers Museum, to test the idea that significant changes ... Continue Reading...

Mastabas in the Eastern Cemetery, with the Great Pyramid of Khufu (rear right); the pyramid of Khafre (rear, left) and the pyramid of Khufu’s Queen Henutsen (rear, centre) behind. A small chapel is visible in the ‘street’ between the mastabas in the foreground, with the denuded edge of mastaba G7430 behind it. To the left is the north edge of mastaba G7520. (Author photograph February 2024). The Eastern Cemetery East of the Great Pyramid, arranged in careful blocks, like a suburb of the dead, are a series of large mastaba (bench) tombs belonging to the nobles of Khufu’s court. The format for these tombs was relatively simple, the masonry ‘bench’ structure contained the offering places and, later, the more extensive tomb chapels, in which the cult of the dead was celebrated. The deceased with their grave goods were buried in subterranean tomb chambers, accessed via various burial shafts, concealed within the masonry structure. Most of these mastabas are closed to the public, although a rotating series of more interesting, well-preserved, and decorated tombs are accessible as part of the Giza Plateau ticket. (These include but are not limited to; G6020 Iymery; G7101 Qar; G7102 Idu; G7130-40 Khufukhaf; G7060 Nefermaat; G7070 Senefrukaef; Lepsius 53, Seshemnefer IV.) The tomb of Meresankh III is an exception to this rule. It is accessible only with a separate ticket and (after recent conservation) is almost always open. Google Maps satellite image of the Great Pyramid and the Eastern Cemetery. The mastabas of the Eastern cemetery appear as rectangular shapes, with the dark squares of the tomb shafts clearly visible cutting through the masonry. The ‘Tomb of Mers Ankh’ is correctly located. The entrance is on the eastern side of the mastaba, to the right of the red pin. The family of Meresankh III (centre), her mother Hetepheres II (left) and her son Nebemabkhet, who was later a vizier (right). Another probable son, Khenterka is shown as a child in front of Meresankh III, holding a lotus flower and a bird. Visiting Meresankh III’s Mastaba G7530-G7540 Meresankh III’s tomb is mastaba G7530-7540, roughly in the middle of the Eastern Cemetery, between the Great Pyramid and the valley. Surprisingly, the Google maps Tomb of Mers Ankh pin is almost exactly correct, just to the left of the subterranean tomb entrance (previous image). For those with small folk, it is also quite child-friendly. The scenes and statues are interesting and retain some of the paint, the burial chamber is easily accessible and, the tomb isn’t too large for a five-year-old attention span. Plus, for those with Disney-obsessed kids, she’s an actual bonafide princess and Queen! Prince Kawab, eldest son of Khufu and Meresankh III’s father, is the largest of any figure in her tomb. (Author photograph). Meresankh III Meresankh III was a granddaughter of Khufu, builder of the Great Pyramid, and wife of Pharaoh Khafre. Her Father, the eldest son of Khufu, Prince Kawab, is featured on the east wall of the first chamber. Her mother, Hetepheres II appears several times, and her son ... Continue Reading...

In my previous post, I reviewed the Grand Egyptian Museum atrium and Tutankhamun: The Immersive Experience. In this post I will address the sculptures of the Grand Staircase, the only display of ancient Egyptian artefacts currently accessible to the visitor, apart from the statues in the atrium and the hanging obelisk. When the museum is fully open, the Grand Staircase will lead to the galleries of museum exhibits, but at the time of writing (February 2024) it can be visited as part of a guided tour that also includes the hanging obelisk and the atrium and follows the immersive Tutankhamun experience. Tickets can be booked via the GEM website. The Grand Staircase from the bottom. The usurped pair of colossal seated statues of a late Middle Kingdom Pharaoh are visible to the left (GEM45807 and GEM 45808), with a standing statue of Senusret III (GEM1709) between them. Beyond them are the Thutmosides and Ramessides. To the right of the staircase is a seated statue of Thutmose III (GEM 3769) and a colossal head of Akhenaten (GEM 2220), safely isolated from his religiously orthodox peers (Author photograph). Practicalities The Grand Staircase is located in the centre of the south side of the GEM, and is accessed by turnstiles in front of the granite statues of two Ptolemaic monarchs (probably Ptolemy II and Arsinoe II). There are four travelators to the right of the staircase, allowing visitors to ride up and access three intermediate landings and the top level of the staircase. For those with accessibilty needs the travelator will be most welcome, but there is nothing to stop you from walking up, and the stairs are interspersed with seating if you need a rest, or would like to stop and soak in the statuary and sculptures. Each landing has a large board explaining the theme of the next part of the staircase, and touchable models of significant artefacts for those who need tactile formats. Spaced regularly up the staircase, with easy access all around the individual artefacts, the statuary renders the staircase a kind of vertical sculpture gallery. Group of Ramessides as standard bearers. Seti II (GEM 2236), usurped from Amenmesse, is in the foreground with Ramses III (GEM 5993) behind him. Merneptah (GEM 2234) is just visible to the right of Seti II, with Roman Emperor Caracalla (GEM 6730) beyond. The royal image The sculptures of the Grand Staircase are broadly themed around Kingship, beginning with various royal statues, followed by sculptures showing the relationship between the King and the gods, and ending with those relating to the royal afterlife. In the lowest section of the staircase, we are introduced to various Pharaohs, beginning with an unfortunate late Middle Kingdom Pharaoh (probably Sensuret III or Amenemhat IV) whose pair of seated colossal statues were usurped initially by Ramses II and now bear the cartouches of Merneptah. Several statues of Thutmose III, Hatshepsut, and a rather nice black granite seated statue of Amenhotep III serve to represent the Thutmosides. The Ramessides are ... Continue Reading...