Archaeology News: 2025.03.12

HEZEKIAH IN THE BIBLE. The royal seal of Hezekiah, king of Judah, was discovered in the Ophel excavations under the direction of archaeologist Eilat Mazar. Photo: Courtesy of Dr. Eilat Mazar; photo by Ouria Tadmor. The royal seal of King Hezekiah in the Bible was found in an archaeological excavation. The stamped clay seal, also known as a bulla, was discovered in the Ophel excavations led by Dr. Eilat Mazar at the foot of the southern wall of the Temple Mount in Jerusalem. The discovery was announced in a press release by the Hebrew University of Jerusalem’s Institute of Archaeology, under whose auspices the excavations were conducted. The bulla, which measures just over a centimeter in diameter, bears a seal impression depicting a two-winged sun disk flanked by ankh symbols and containing a Hebrew inscription that reads “Belonging to Hezekiah, (son of) Ahaz, king of Judah.” The bulla was discovered along with 33 other stamped bullae during wet-sifting of dirt from a refuse dump located next to a 10th-century B.C.E. royal building in the Ophel. In the ancient Near East, clay bullae were used to secure the strings tied around rolled-up documents. The bullae were made by pressing a seal onto a wet lump of clay. The stamped bulla served as both a signature and as a means of ensuring the authenticity of the documents. FREE ebook: Ten Top Biblical Archaeology Discoveries. Finds like the Pool of Siloam in Israel, where the Gospel of John says Jesus miraculously restored sight to a blind man. Email(Required) REQUEST FREE BOOK ... Continue Reading...

The so-called Ark Tablet, recently translated by Irving Finkel, is an Old Babylonian (1900-1700 B.C.E.) account of the flood in which the god Enki instructs Atrahasis—the Babylonian Noah—on how to build an ark. The twist? This Babylonian ark would have been circular. We all know the story of Noah’s Ark. Ever since George Smith’s 1872 translation of Babylonian texts similar to the Biblical Deluge (see “George Smith’s Other Find” below), we’ve also known about echoes of the Genesis narrative in pre-Biblical Mesopotamian texts. A recently translated Old Babylonian (c. 1900–1700 B.C.E.) tablet has literally reshaped our vision of the Babylonian vessel used to weather the storm and builds bridges across the floodwaters dividing the Biblical and Mesopotamian accounts of the flood. The Babylonian Flood Tradition Babylonian flood traditions have been familiar material for BAR readers since the early days of our magazine. Tikva Frymer-Kensky’s 1978 feature “What the Babylonian Flood Stories Can and Cannot Teach Us About the Genesis Flood” introduced the Sumerian Flood Story, the eleventh tablet of the Gilgamesh Epic and the Atrahasis Epic: The Babylonian flood stories contain many details which also occur in the flood story in Genesis. Such details in the story as the building of an ark, the placing of animals in the ark, the landing of the ark on a mountain, and the sending forth of birds to see whether the waters had receded indicate quite clearly that the Genesis flood story is intimately related to the Babylonian flood stories and is indeed part of the same “flood” tradition. However, while there are great similarities between the Biblical and Babylonian flood stories, there are also very fundamental differences, and it is just as important that we focus on these fundamental differences as on the similarities. The Babylonian accounts differ from each other. In the Epic of Gilgamesh, the god Enki tasks Utnapishtim to save the world from the flood, and for his good deed, he is granted immortality (and subsequently, Gilgamesh’s envy). Later discoveries revealed that the account was an abridged and modified version of the Akkadian Atrahasis epic, a similar flood myth that was copied and adapted for centuries in the ancient Near East. Memories of an antediluvian (pre-flood) period were preserved throughout Mesopotamia: The Sumerian king list includes antediluvian kings, and reliefs of antediluvian sages known as apkallu figures (winged genies) lined the walls of Assyrian palaces and remain one of the most iconic forms of Mesopotamian art to this day. FREE ebook: Exploring Genesis: The Bible’s Ancient Traditions in Context Mesopotamian creation myths, Joseph’s relationship with Egyptian temple practices and 3 tales of Ur, the birthplace of Abraham. Email(Required) ... Continue Reading...

In 2017 scholars Eshbal Ratson and Jonathan Ben-Dov of the Department of Bible Studies at the University of Haifa published one of the last two remaining Dead Sea Scrolls in their article “A Newly Reconstructed Calendrical Scroll from Qumran in Cryptic Script” in the Journal of Biblical Literature (Winter 2017). For more than a year, the scholars diligently pieced together 62 Dead Sea Scroll fragments, on which there was writing in code. Ratson and Ben-Dov deciphered the code on the reconstructed scroll, called Scroll 4Q324d, and revealed that the scroll describes a 364-day calendar used by the Qumran community that lived in the Judean Desert. This Qumran calendar gives us insight into how the community organized the seasons and religious festivals, and it sheds light on scribal customs. A portion of the recently deciphered Dead Sea Scroll 4Q324d containing a 364-day calendar used by the Qumran community in the Judean Desert. Photo: Courtesy of the University of Haifa. The Dead Sea Scrolls—considered the greatest manuscript find of all time—were the writings of a small Jewish sect living at the site of Khirbet Qumran near the Dead Sea. Dating between 250 B.C.E. and 68 C.E., the scrolls contain both Hebrew Bible texts and texts that describe the particular beliefs and practices of this Qumran community, which called itself the Yahad (“together”). FREE ebook: The Dead Sea Scrolls: Discovery and Meaning. What the Dead Sea Scrolls teach about Judaism and Christianity. Email(Required) REQUEST FREE BOOK ... Continue Reading...

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. Email(Required) REQUEST FREE BOOK DOWNLOAD EBOOK 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 ... 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...

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...