David J. Breeze introduces his latest book on the Roman fort at Maryport, Cumbria, where the collection of Roman inscribed stones and sculpture, together with other Roman objects, remains the oldest archaeological collection in Britain still in private hands
On the west coast of Cumbria lies the 18th century planned town of Maryport. On its northern edge, sitting on the seaward side of a whaleback ridge rests a Roman fort, its earthworks still visible. To its north, but not visible, is an extensive extra-mural settlement, larger than the fort. Here probably lived the families of soldiers, merchants, priests, innkeepers, prostitutes and other people eager to relieve the soldiers of their pay. In the 16th century the owners of the estate, the Senhouse family, started collecting the inscriptions and sculpture found on their land. Today, their collection is on display in the Senhouse Roman Museum located just beside the fort.
It is unique in that it is the oldest archaeological collection in Britain still in private hands, though it has been placed in the care of the Senhouse Museum Trust. It is also of international importance. The museum contains many altars dedicated by the commanding officers at the fort. These were probably dedicated annually, on the day that all soldiers swore allegiance to the emperor and the Roman state, or on the birthday of the emperor. Many date to the reign of Hadrian and it would appear that we have one for each year of his reign. From this we can determine that each commander served about 3 years. The altars dedicated by the commanding officers of 3 regiments stationed at Maryport in the second century had interesting careers. Although many originally came from the western provinces of the Empire, including North Africa, their military service took them on to the Danubian provinces and to Judaea. Several rose many grades up the hierarchy, one becoming the chief financial officer of the province of Britain – and played host to the Emperor Hadrian, probably at his home in Italy.
The altars dedicated by the commanding officers and their families were to the gods of Rome, Jupiter, Juno, Mars, Mercury, Neptune and so on. Local gods are represented, including Belatucadrus, the deity of the local tribe. There are also many items of sculpture which provide insights into religious life on the northern frontier. These include depictures of the horned god found elsewhere in northern Britain as well as the unique Serpent Stone, a large phallic stone standing 1.3m high. There is also information on burial practices at the site within the 5 cemeteries which have been identified.
The new book brings together all the known evidence from the fort, its extra-mural settlement, older and more recent excavations and the artefacts, as well as using evidence by analogy, to provide a view of life at a fort on the very edge of the Roman Empire.
Sebastien Rey, Director of the British Museum’s Tello/Ancient Girsu Project and Lead Archaeologist for the Iraq Scheme, provides an introduction and overview for the Tello/Girsu excavations and their place within the Iraq Scheme.
The Iraq Scheme is a programme funded by the UK government, through the Department of Culture, Media and Sport, directed by Jonathan Tubb (keeper of the ME department), and delivered through the British Museum, with the aim of building capacity in the State Board of Antiquities and Heritage by training Iraqi archaeologists in cultural heritage management and practical fieldwork skills. The training is intended to provide participants with the expertise and skills they need to face the challenges of documenting and stabilising severely disrupted and damaged heritage sites in preparation for potential reconstruction. The training consists of two months based in London at the British Museum followed by two months hands-on training on site in Iraq. This practical training takes place at the two field projects of the Iraq Scheme, in the south of Iraq at the site of Tello, and in the north at the Darband-i Rania in the Kurdish Region of Iraq.
Tello, the modern Arabic name for the ancient Sumerian city of Girsu, is one of the earliest known cities of the world together with Uruk, Eridu and Ur. In the 3rd millennium BC Girsu was considered the sanctuary of the Sumerian heroic god. It was the sacred metropolis and centre of a city-state that lay in the south-easternmost part of the Mesopotamian alluvium. Pioneering explorations carried out between 1877 and 1933 and the decipherment of the cuneiform tablets discovered there revealed to the world the existence of the Sumerians who invented writing 5,000 years ago and may have developed a primitive form of democracy or polyarchy well before the ancient Greeks.
Like the recently liberated Assyrian capitals of northern Mesopotamia, Nimrud or Nineveh, Girsu is a mega-site extensively excavated in the nineteenth and early twentieth centuries, with a similar topographical layout shaped by huge excavation pits and spoil heaps. It includes fragile remains of monumental architecture excavated before World War II such as the Bridge of Girsu – the oldest bridge as yet brought to light, which is the focus of site conservation. Tello is therefore a site of the first order, ideal for delivering the training for the Iraqi archaeologists in the context of a fully-fledged research programme.
The story of the renewed field-work at Tello-Girsu, after some eighty years of interruption, is a palimpsest of archaeological layers spanning five thousand years which reflects superimposed or overlapping destinies of gods, demons, and men.
The central protagonist is the mighty god Ningirsu, the tutelary deity of the city who battled fiercely with the demons of the primordial Mountain where both the Tigris and Euphrates originate, and, thus, made possible the introduction of irrigation and agriculture in Sumer. Ningirsu was the god of the thundershowers and floods, and was envisaged originally as the thundercloud. The demigod or demon Imdugud (Anzû), the thunderbird, perceived as a giant lion-headed eagle, was Ningirsu’s avatar or hypostasis, and the emblem of the city.
Other dominant figures of the excavations include the sovereign Gudea who ruled Girsu four-thousand years ago and who, throughout his reign, never ceased to pride himself in his abundant commemorative inscriptions for his zeal in religious behaviour and of having undertaken and completed the construction or renovation of magnificent temples to serve as abodes to the pantheon of Girsu. Adad-nadin-aḫḫe was an enigmatic Babylonian potentate, perhaps the lord of a fiefdom of the fading Seleucid Empire. He built a palace two thousand years after Gudea on the ruined sacred city of Girsu and, truly fascinated by the past, perpetuated the old Sumerian rituals of burying foundation deposits, stamping bricks with his name, in both Aramaic and Greek, and, also, collected Gudea’s statues as holy antiques and embodiments of ancestral kings. Ernest de Sarzec was the last archaeologist-consul of Mesopotamia. Two-thousand years after Adad-nadin-aḫḫe, he resurrected Girsu and its gods only thanks to his fierce desire and determination paying for it with his life.
That Tello/Girsu has a strong connection with the British Museum is proven by the abundant artefacts on display, including a truly unique statue of the ruler Gudea.
Although the god Ningirsu is not represented herein, at least in his anthropomorphic form, the Sumerian galleries are nevertheless charged with his overwhelming divine aura. Many votive artefacts, foundation tablets, and copper figurines of gods were indeed dedicated to the tutelary deity of Girsu. The god appears en majesté in his pre-human form of the tempestbird on the Ninḫursag temple relief from Ubaid, and a votive mace head from Tello, both depicting the lion-headed eagle grasping stags or lions, i.e., mastering the Mesopotamian wilderness. The British Museum also holds the very first rediscovered statue personifying the charismatic ruler Gudea found by William Loftus in 1850 at the site of Tell Hammam which also represents the first Sumerian sculpture to have reached Europe together with the reliefs of the genii accompanying the winged bulls from Khorsabad.
Excavations in the autumn of 2016 and spring of 2017 at Tello were carried out in the heart of the sacred district of Girsu, at Tell A, also-known as the Mound of the Palace. They led to the discovery of extensive mudbrick walls – some ornamented with pilasters and inscribed cones – belonging to the Ningirsu temple constructed and several times renovated by Sumerian rulers, including Ur-Bau and Gudea. This temple called Eninnu: The-White-Thunderbird dedicated to the heroic god was considered in antiquity as one of the most important sacred places of Mesopotamia, praised for its splendour in many contemporary literary compositions. The search for the Eninnu has mesmerized generations of Assyriologists. Known until now only by cuneiform texts and a plan carved on a statue of a worshipping Gudea, its discovery represents a significant milestone in the history of renewed archaeological research in Iraq.
Of this four-thousand-year-old religious complex, were exposed during the first two seasons what appeared to be the central part of the sanctuary: a decorated entrance featuring buttresses, a peripheral ambulatory with in situ cones, the cella composed of an offering altar facing the podium for the divine cult statue, and passageways marked by colossal inscribed stones.
The results of the last autumn 2017 season were extremely successful. In the Mound of the Palace, we continued to excavate the monumental sacred complex belonging to the god Ningirsu. The main highlights were the discovery of the South gate flanked by two towers and the temenos wall which included a foundation box.
The box was unusually big, 9 courses high, with a large Gudea brick as the cover with the inscription face down. Under the cover, a well-preserved impression of a reed mat in bitumen. The box unfortunately had been opened in antiquity and the copper foundation figurine removed. But, at the bottom of the box, we found the stone tablet still in situ. A white square tablet with the inscription in two columns. The tablet was oriented towards the cella and the podium for the divine cult statue. It was buried in a deposit of pure sand and was placed on a small reed mat. Samples of bitumen and soils from the ritual box have been brought back to the British Museum to be analysed.
More than fifteen inscribed cones were found in situ in the walls of the temple. The recording of the exact location of each cone reveals that they were laid in a complex pattern; we are currently analysing this pattern to establish whether it encodes information of magical/religious significance.
Excavations under the temple also led to the discovery of two superimposed monumental platforms, the oldest of which, made of red mudbricks and built in two steps, may be dated to the beginning of the third millennium BC. This is an important discovery since this proto-ziggurat, a precursor to the legendary Tower of Babel, would therefore predate the earliest-known Mesopotamian stepped-terrace by a few hundred years.
Four new soundings were opened in Tell L, situated at the edge of the ancient city in the vicinity of the city wall. They also yielded important results. We have uncovered mudbrick walls, and another foundation box made of fired bricks, unfortunately empty. We have reasons to believe, however, on the basis of inscribed cones in secondary context and others scattered on the surface, that this mound (Tell L) and the one adjacent to it (Tell M) formed a large complex, perhaps a temple gate dedicated to the goddesses Inanna and Nanshe. This new excavation was closely connected to the extensive survey that was carried out in the western residential area, between the Sacred city and Tell L, which yielded important new information on the domestic quarters of the city of Girsu.
New conservation work was initiated on the Bridge of Girsu, discovered and excavated at the end of the 1920s and early 1930s. The preliminary condition assessment of this unique monument of Sumerian architecture, left exposed for 80 years, stressed the urgency of carrying out a larger and more ambitious conservation programme, including preventive excavations.
Since excavation, the site has remained open and exposed, with no identifiable conservation work to address long-term stability or issues of erosion, and no plans to manage the site, or engage with a local or wider audiences.
The objectives of the 2017 autumn season at the bridge site were therefore to understand the structure, record its condition and to test conservation options, as the first steps towards developing a comprehensive conservation plan, with the Iraqi archaeologists involved at every stage.
Excavations to establish the condition and stability of this construction led to the discovery of exceptionally well-preserved deposits of the prehistoric Ubaid period, including painted pottery and uninscribed cones, which yield a wealth of information on the origins of Girsu and consequently the birth of urban centres in Mesopotamia.
All the important finds from these excavations have already been safely delivered to the Iraq Museum in Baghdad, while a column base from the Ningirsu temple will be displayed in the nearby museum of Nasiriya.
Tello-Girsu Autumn 2017 team & Iraqi participants: Sebastien Rey, Fatma Husain, Jon Taylor, Ashley Pooley, Angelo Di Michele, Joanna Skwiercz, Faith Vardy, Elisa Girotto, Ella Egberts, Dita Auzina, Dani Tagen, Andrew Ginns, Luke Jarvis, Thea Rogerson, John Darlington, Zahid Mohammad Oleiwi, Ali Kamil Khazaal, Toufeek Abd Mohammad, Qasim Rashid.
With Special Thanks to Vice Minister Dr Qais Hussein Rasheed, State Board of Antiquities and Heritage, Iraq
Contacts and website
Iraq Emergency Heritage Management Training Scheme
For more information on the Iraq Scheme, contact the Director of the Scheme, Jonathan Tubb (Head of the Middle East Department of the British Museum). Email: firstname.lastname@example.org
Tello-Ancient Girsu Project
For more information on the work at Tello, contact Sebastien Rey (Director of the Tello-Ancient Girsu Project). Email email@example.com
Featured image: Aerial view of the main complex of archaeological mounds of Tello (Tello-Girsu Project, Iraq Scheme, The British Museum)
Sincerest thanks to Sebastien Rey for providing this blog post. Sebastien’s book For the Gods of Girsu: City-State Formation in Ancient Sumer (2016) is available now in paperback and eBook formats. English and Arabic editions available.
Stašo Forenbaher introduces his forthcoming Archaeopress publication, due Spring 2018
May you live in interesting times! While nobody knows the origin of this alleged old Chinese curse, its meaning is clear: in times of upheaval and radical change, most people’s lives are neither safe nor easy. Many archaeologists are drawn to such turbulent periods, marked by rupture and innovation which they can detect in the archaeological record, try to grasp their origin, and explain their consequences.
One might say that prehistory of the Adriatic was always in transition. Step-by-step changes continued in all ages, but their rhythm was not always the same. On several occasions, a series of changes over a relatively short time period resulted in dramatic transformations. Three crucial episodes of change marked the later Adriatic prehistory. The first one, which took place around year 6000 BC, was a transformation of subsistence strategy, transition from hunting and gathering to farming. The second one, which in the absence of a better term I prefer to call the raise of elites, was a social transformation that played out in the third millennium BC, when for the first time we can see the power of individuals clearly expressed by material culture. The third and the last episode, inclusion into the Mediterranean world system and the classic Mediterranean civilization, coincided with the end of prehistory in the Adriatic region.
During all of those episodes, travel and connectivity with distant lands played an exceptionally important role. Under the circumstances, some places gained particular importance due to their unique geographic location. Palagruža is among the most prominent such places, its importance being out of all proportion to its physical size. Adriatic prehistory cannot be told without mentioning Palagruža, and prehistory of Palagruža cannot be understood without knowing Adriatic prehistory. Due to its strategic position in the very center of the Adriatic Sea, due to the mystery born of distance and isolation, due to its wild and spectacular landscape, Palagruža indeed is a special place. A reflection of its specialty is an unexpected abundance of high-grade archaeological evidence, dating precisely from the three aforementioned periods marked by radical change.
I first came to Palagruža in May 1993 as a member of an international archaeological team, led by Branko Kirigin and Timothy Kaiser, that carried out test excavations on the island. But we were not the first archaeologists on the scene: Sir Richard Burton and Carlo Marchesetti have beaten us to it by more than a century. They paid a visit to Palagruža in 1876, only a year after the great lighthouse had been built on its rocky summit. The island’s remoteness fascinated them, and they described in some detail its geology, flora and fauna, as well as the surprisingly abundant evidence of prehistoric, Greek and Roman visitors. Thanks to Burton and Marchesetti, we knew that there were ancient remains on Palagruža waiting to be discovered.
Beginning in 1993, many excavation seasons followed over the next fifteen years, at first with multiannual breaks, later on a regular annual basis, and sometimes even twice within the same year. During four of those seasons, I was privileged to take part in those excavations and to experience the magic of Palagruža in the company of a small Robinsonian community of archaeologists. Thanks to that, Palagruža is a special place for me at a very personal level.
Many of the ideas that I elaborate in my book about prehistory of Palagruža were conceived during frequent periods spent together with Timothy Kaiser. Our friendship, which grew out of joint fieldwork at a series of Dalmatian prehistoric sites, goes back to my beginner’s days. The way I do archaeology owes very much to Tim. But my somewhat unusual orientation of an inlander who does Adriatic prehistory I owe mostly to Branko Kirigin, the main ‘culprit’ for my first fieldwork experiences in Dalmatia. When systematic excavation began on Palagruža, Branko entrusted me with the analysis of prehistoric finds. I admit that I kept him waiting for a long while: a quarter century has passed since his first, unforgettable and decisive visit to Palagruža (as he once vividly described it to me). I hope that my book justifies his expectations.
The first, introductory part of the book discusses geographic location, natural environment and resources of Palagruža, offers an attempted reconstruction of its appearance during Holocene, and describes archaeological investigations that preceded our own work, including the archaeological evidence recovered by the early investigators. The second part of the book provides detailed descriptions of prehistoric sites and finds accumulated during our investigations that lasted from year 1992 until 2007. Most of it is dedicated to Salamandrija, the central and most important prehistoric site on the island, which is dominated by pottery, flaked stone, and ground stone assemblages from the third millennium BC. Among other sites that follow, Jankotova njiva stands out due to its few, but very characteristic, finds from the first half of the sixth millennium BC.
The contributions written by Zlatko Perhoč and Robert H. Tykot on sources of the raw materials for the lithic artifacts from Palagruža are crucially important for our understanding of long-distance connections. Zlatko’s petrographic analyses of chert demonstrated the existence of intensive and persistent trans-Adriatic interaction, while Rob’s analyses of obsidian confirmed occasional contacts with much more distant Mediterranean islands: Lipari in the Tyrrhenian, and Melos in the Aegean Sea.
The third part of the book begins with an analysis of environmental characteristics of all small and remote Adriatic islands, and of peculiar circumstances that predetermined Palagruža’s special role. Discussions follow of its role in the crucial episodes of Adriatic prehistory, eight thousand years ago during the spread of farming into the Adriatic, and five thousand years ago during the rise of the first Adriatic elites. These are accompanied by an additional chapter on Adriatic pottery styles of the third millennium BC, without which it would not have been possible to write coherently about Palagruža, or about the Adriatic, during that period. The fourth part of the book, an appendix containing summary information about more than 150 sites that yielded characteristic finds, supplements the discussion of those styles.
Header image: The author excavating at Palagruža, September 2004.
Stašo Forenbaher is Senior Research Advisor at the Institute for Anthropological Research in Zagreb, Croatia. He studied archaeology at the University of Zagreb (Croatia), and received his PhD from the Southern Methodist University in Dallas (TX). His research interests cover Mediterranean Prehistory with a focus on the Adriatic, and include transition to farming, formation of early elites, archaeology of caves, and lithic analysis. He has excavated at many prehistoric stratified cave sites in the eastern Adriatic, including Pupićina Cave in Istria, Vaganačka Cave in Velebit Mountain, Grapčeva Cave on the island of Hvar, and Nakovana Cave on Pelješac Peninsula. His current fieldwork is focussed on the excavation of Vela Cave on the island of Korčula.
Forthcoming from Archaeopress, due Spring 2018:
Special Place, Interesting Times: The Island of Palagruža and Transitional Periods in Adriatic Prehistory by Stašo Forenbaher (with contributions written by Zlatko Perhoč and Robert H. Tykot). Archaeopress Archaeology, 2018. More details soon.
St John Simpson introduces the BP exhibition ‘Scythians: warriors of ancient Siberia’, open at the British Museum from 14 September 2017-14 January 2018
On 14 September a major new exhibition opened at the British Museum and creates a unique opportunity to see the world of the Scythians, warriors and nomads, in an atmospheric setting and with hundreds of stunning objects. This was organised with the State Hermitage Museum in St Petersburg, from which most of the objects have been very generously loaned, and includes other important loans from the National Museum of the Republic of Kazakhstan, the Ashmolean Museum and a magnificent portrait of Peter the Great lent by Her Majesty the Queen.
This exhibition was devised four years ago to mark the British Museum’s contribution to the past year of exhibitions and events celebrating Russian art and culture in the UK. The British Museum team was led by St John Simpson, with Svetlana Pankova of the State Hermitage Museum co-ordinating her colleagues in the Departments of Archaeology, Ancient World and Russian Culture: together they have co-edited the sumptuous catalogue published by Thames & Hudson to go with it.
The exhibition is attracting 5* reviews and is a once-in-a-lifetime chance to see these objects together. The exhibition begins with some of the first Scythian gold objects to be discovered in the early eighteenth century as explorers during the reign of Peter the Great set out to explore and map newly conquered territories in present-day southern Siberia. These were found in burial mounds and excited huge interest in Russia at the time: they are shown here alongside early eighteenth century watercolours commissioned in St Petersburg, and astonishingly this is the first time they have been exhibited together.
The exhibition continues with a stunning digital panorama based on late nineteenth century Russian watercolours showing parts of the route taken by the Trans-Siberian Railway as it passes through Siberia. They evoke the scenery and show that Siberia is not just the place of hardship, cold and forest that is mentally conjured up in most peoples’ minds but the southern portion was a grassy corridor which connected China with the edge of Europe.
Separate sections in the exhibition then set out to answer common questions with carefully selected objects set against massive landscape backdrops with succinct text panels printed on cloth banners and illustrated with contextual images and accurate reconstructions. Some of the earliest tattoos and a beheaded chieftain’s head illustrate personal appearance and body art. Trousers, a fur-lined coat, exquisite gold dress appliques, an embroidered shoe and a tall woman’s headdress bring home a sense of style. Mirrors, manicured fingernails, a false wig and pouches filled with black hair dye show that vanity is not a modern concept and these men and women were careful to show themselves to best effect. A portable lifestyle meant that possessions had to be easily transported, and people of status wore their wealth on their bodies. Oversized gold buckles demonstrate this in one way; massed rows of miniature gold dress ornaments show it in another and mark the beginning of a very long Eurasian nomad tradition.
A reconstructed miniature tent and a brazier with hemp seeds confirms a famous passage by Herodotus that Scythians appreciated the effect of consuming cannabis in a confined space and enjoyed “hot boxing” so much that they “howled with pleasure”. These nomads moved according to the seasons and the availability of water and pasture, but exhibiting ancient nomads is tough when they leave a light footprint in the landscape. Fortunately they buried their essentials as well as their status items in tombs for an anticipated afterlife. Exceptional preservation in the permanently frozen subsoil beneath these mounds in the Altai mountain region has meant the preservation of all the organic remains: a sable fur bag, leather, wood, felts, rugs, horse harness and even lumps of cheese, labelled with a “best before” date of 300 BC.
Life was tough though and evidence for weapons and trauma on excavated human remains shows that there must have been considerable competition over resources. Showcases contain deadly aerodynamic arrowheads, fired from the famous Scythian bow described by Greek authors, an efficient pointed battle-axe with its original honeysuckle wood handle, wooden shields, armour, a bronze helmet and a serried rank of daggers and short swords. And of course there is the horse-tack: not just bronze horse-bits but complete bridles with leather straps and carved wooden ornaments, and another Scythian invention: the soft saddle, stuffed with straw and deer hair and covered with an extraordinary decorated cover.
Fittingly, the largest object in the exhibition is a super-sized perfectly preserved log coffin from Pazyryk which weighs a third of a ton! Digital media show frozen tombs like this being excavated and how the interiors were encased in solid ice which had built up over centuries inside. Even so, the Pazyryk tombs were robbed in antiquity so although the organics are spectacular there is precious little of intrinsic value: that is where the exhibition has drawn on late eighteenth and nineteenth century tomb finds from the northern Black Sea region (all from the State Hermitage and the Ashmolean) and very recent discoveries in southern Siberia and neighbouring Kazakhstan.
The exhibition closes by looking at life in southern Siberia after the Scythians. Although even the names of the tribes are unknown, the excavated tomb finds show increasing complexity and long-distance connections: the remains of a composite bow, colourful beads imported from the Mediterranean, a scrap of Chinese silk reused along the hem of a toy quiver. The archaeology of the Scythians and other early nomads of Eurasia is a very active field and there are many surprises. New scientific research carried out at the British Museum answered some questions we had about gold objects from the Siberian Collection of Peter the Great, and in fact there is more scientific research on show in this exhibition than in any ever before at the British Museum! One of the last things a visitor sees is the CT-scan of a (post-Scythian) man’s head concealed beneath his painted death-mask and what this brand new piece of Russian research shows is that he has a carefully stitched up scar on his left cheek and the hole where his left temple had been trepanned as part of an embalming ritual.
The subject of continuing new discoveries is the topic of an exciting three-day archaeological conference to be held at the British Museum this coming 27-29 October. This will bring together scholars of all ages and nationalities to share the results of their research projects, latest archaeological discoveries and new scientific research. Many of these results are presented here for the first time and they evoke the world of the steppe: a natural open corridor without borders which connected Russia with Europe, the Middle East and China. There will be papers on Scythians, Hephthalites and other Eurasian nomad economies, tombs, burial rites, gold-working, human remains, the invention of trousers, early Scythian dyes, “Animal Style” art, rock art, connections with China, and some tantalising if not gruesome answers as to where the Scythians got their leather for their bow quivers! This conference is being generously supported by the ERC and the British Museum and is part of the public programme associated with the exhibition. Booking is via the British Museum box office.
A conference, Scythians and early nomads from Siberia to the Black Sea, will be held in the BP Lecture Theatre at the British Museum from 27-29 October 2017. This major three-day conference is open to all. It will include the latest research on early nomads of Eurasia with papers on horseriding, warfare, technology and many other topics. It will also include results of recent archaeological excavations and new scientific research, and poster displays. Click here to view the conference programme.
Header image: Landscape in Southern Siberia courtesy of V. Terebenin.
Sincerest thanks to St John Simpson for providing this latest post for the Archaeopress Blog. We are actively seeking new content for the blog; articles on all aspects of archaeology and related heritage topics will be considered. Perhaps you would like to highlight a small find on an excavation that won’t be fully reported until years from now; an opinion piece; summaries of local activity; introductions to new and ongoing exhibits; conference reports; the list goes on. Articles should be approximately 2,000 words in length with 4-8 accompanying illustrations, but please note this is just a guide and both shorter and longer articles would be considered. Please submit blog proposals to Patrick Harris at firstname.lastname@example.org
Gavin McGuire considers the first phase of a photographic study of an archaeological excavation in Crete, highlighted in his book ‘Minoan Extractions – A Photographic Journey 2009-2016’
With the Sissi Archaeological Project, my seven year photographic study of the Bronze Age Minoan excavations under the auspices of the Belgian School in Athens, Université Catholique de Louvain, I have been offered an extraordinary opportunity to capture moments of human interaction during excavations as they interconnected with an ancient Minoan culture that stretches back millennia (2600-1200 BC). And there is more to come with the new dig campaign under way at a three hectare site which has been described as one of the most important Bronze Age excavations in Crete during the past decade.
The Minoan Extractions has also been a personal journey with the chance to pay homage to the work of influential photographers – in and out of the archaeological sector, including my mentor, the outstanding photographer – Harry Burton. During the 1920’s his iconic monochrome images of the Tomb of Tutankhamun, as well his work at other sites in Egypt, have fascinated people throughout the world, and yet only in recent years has there been a growing reassessment of his contribution to photography.
Of course photography within archaeology is not new – with its origins arising during the early nineteenth century and especially in 1904 becoming ‘official’ with Egyptologist Flinders Petrie’s manual ‘Methods and Aims in Archaeology’. For nearly 200 years in the Mediterranean and Near East in particular, photographers in conjunction with archaeologists have played a crucial role in pushing back the barriers of the ancient world for both scholars and for a demanding global general audience.
With the Sissi photographic project, at a unique coastal landscape about four kilometres from Malia palace in Crete, I have continued a proud photographic tradition that is once again facing a new era of major technological change – from digital to virtual, from handheld cameras to drones and to live excavation access. It is also the age of the smartphone – easy for anyone to use, producing high quality images and ultimately engaging a wide general audience.
Needless to say these changes are highlighting the importance of imaging, especially at this time as we are seeing wanton destruction of major archaeological sites in the Middle East and of general neglect and a lack of financing. Discovery may be an over arching goal for archaeologists, but the truth is rescue and preservation dominate excavation campaigns. The past is present but the present is a very fragile one indeed.
The photography at Sissi is simply being at the right place and at the right fleeting moment, making images that highlight motion and emotion from the 80 or so ‘players’ on the archaeological stage for their six week or so excavation during July-August. It is what the renowned French photographer and humanist, Henry Cartier Bresson, referred to as ‘The Decisive Moment’.
There are images of scientists at work – archaeologists, anthropologists, technical specialists, such as surveyors, local workmen digging (many proudly following in the wake of their forefathers) and restorers and conservators dealing with the thousands of finds housed at the apothiki or workshop.
Yet the Sissi Project encompasses not only the excavation period but includes images of the site throughout the year, showing, in part, the impact of the environment. Indeed if there is a favourite ‘out-of-dig-season’ photographic period then it must be autumn and winter, where the dominating Selinari mountain range and often violent seas and dark storms combine to conjure up a dramatic contrast to the Bronze Age remains. This is surely what the Minoans must have witnessed for more than nearly 1300 years.
I photograph in both colour and black-and-white but in recent years have preferred the latter, mainly because of what I see as the aesthetic qualities of the genre. It is a realism ensured through the subtle variations of contrast and light without the distraction of colour. In other words it comes down to getting the viewer to look into the image not at it.
The Sissi site is an ideal laboratory to test any camera and its paraphernalia – the near stifling heat, the dust, sea grit and water and general bashing about. In this respect I have stayed faithful to my favoured Olympus E-510 SLR and lately with the mirrorless OM-D E-M5 Mark II. Of the Digital ED lenses I prefer to use the 9-18 ultra-wide and 50mm. The one filter that has become indispensable is the HD digital protector screw-in filter. They are a godsend to protecting lenses from the damaging environment and I have certainly got through a few of those over the years. Post production is kept at a minimum.
I have certainly produced many hundreds of photographs at the site during the last seven years. There is never a daily schedule and time to prepare once there. My photography is on the run or more importantly on the sly – as I prefer subjects not to be aware of my efforts.
Looking back at what I would consider my favourite images I would say they reflect the work of the anthropologists in the cemetery with the excavated skeletal remains, highlighting memory, time and mortality and of their attempts to seek closure for such finds through the processes of DNA and isotopic study.
But I would also confess that the photographs that have proved particularly successful have been nothing more that opportunistic, often arising from one rapid shot, almost from the hip. It happens. Nothing planned but if the brain connects with the eye then you can walk away highly satisfied. Job done – at least for the moment, for as archaeologists well know the excavation is never over until the sound of the last shovel dies away. It is generally accepted that the last 48 hours of a dig is the period in which new and sometimes site changing discoveries are made – and so it has happened at Sissi. It makes this Bronze Age settlement worth photographing. So watch this space.
Gavin’s book will be available in July/August in paperback (£25) and PDF eBook (from £16). A special pre-order price of £20 is available for the paperback edition until 31/07/2017. To pre-order at the special price please e-mail email@example.com
Josef Mario Briffa SJ introduces his new volume: Catalogue of Artefacts from Malta in the British Museum (Archaeopress, 2017)
Some books are born of serendipity: being at the right place at the right time, finding something you weren’t looking for. This book is one of them.
It started quite simply and unexpectedly. Some ten years ago (2006/7), I was conducting research at the British Museum on letters written by Father Emmanuel Magri SJ to Dr E.A. Wallis Budge. Chatting – as you do – with the duty curator that day (Dr St John Simpson, now Assistant Keeper in the Department of the Middle East), who was responsible for taking care of visiting researchers, and in my case bringing over the volumes of correspondence that I needed to consult, the conversation fell, naturally on Malta and Maltese archaeology. St John asked whether I knew of the British Museum artefacts database (online here), which I didn’t … so I was introduced to Merlin, as the database is called, and merely out of curiosity, we searched for “Malta”. A quick scroll through the results, and I was quite positively surprised, and felt there was potential for this project. Somewhere, I must still have the first list that St John emailed me, with an Excel extract from Merlin.
I realised immediately that such a project would have been impossible for me to handle alone: firstly, I felt that I lacked the experience to start with, and, secondly, I was busy with my studies to the priesthood as a Jesuit (then in theology in London), such that I would never have managed to finish it at all. Very early on, I roped in Dr Claudia Sagona, who I had known through the archaeological excavation at Tas-Silġ, and whose experience with catalogues of material I knew could bring important expertise to the project. Looking back, it was the most important decision I could take, and without Claudia’s significant contribution, the book would probably still be very much in the realm of ideas.
The book has been slowly cooking away on the back burner. Ten years, with many trips to the British Museum, its departments and storage facilities, by both Claudia and myself. Thousands of photos taken both in preparation for publication, as well as to help in the study of the material. Not to mention the drawings of the various items, and the detailed descriptions, and introductions to each of the collections. And many emails, phone conversations, as well as numerous drafts. I must say that after ten long years, seeing the book in print has something surreal about it.
I cannot imagine the book to become a major best seller. Catalogues of material aren’t exactly designed to be. But I hope that in its own way, this catalogue may shed some light on the history of archaeology in Malta, and make some material from historical excavations more immediately accessible to researchers in Malta and worldwide.
The catalogue is published by Archaeopress.
viii+326 pages; illustrated throughout in colour and black & white.
Paperback | 9781784915889 | £50.00
eBook | 9781784915896 | from £16.00 (+VAT if applicable)
Josef Mario Briffa SJ is Lecturer at the Pontifical Biblical Institute in Rome, and a Roman Catholic priest. He has recently completed his PhD at the Institute of Archaeology, University College London on The Figural World of the Southern Levant during the Late Iron Age. He also holds a Licentiate in Sacred Scripture from the Pontifical Biblical Institute in Rome. His research has included the history of Maltese archaeology, with a focus on the work of Fr Emmanuel Magri SJ (1851-1907), pioneer in Maltese archaeology and folklore studies. He has excavated in Malta and Israel, and is currently a staff member of The Lautenschläger Azekah Expedition.
Claudia Sagona is Honorary Principal Fellow in the Centre for Classics and Archaeology at The University of Melbourne. Her research has taken her from the islands of the Maltese Archipelago, to the highlands of north-eastern Anatolia and the Caucasus. She has written a number of books concerning Malta’s ancient past, including a comprehensive volume for Cambridge University Press, The Archaeology of Malta: From the Neolithic through the Roman Period (2015), another on the Phoenician-Punic evidence, The Archaeology of Punic Malta (2002), and has delved into the Mithraic mystery cult, Looking for Mithra in Malta (2009). In 2007, she was made an honorary member of the National Order of Merit of Malta (M.O.M.).
Martin Odler introduces his recent publication and points towards his current and future research
The Old Kingdom of Egypt (Dynasties 4–6, c. 2600–2180 BC) is famous as the period that saw the building of the largest Egyptian pyramids. Generally, it has been accepted that only humble remains of copper alloy tools are preserved from this era. What might be more surprising, is that there has been little analytical work of archaeometallurgy on the preserved metal objects from the Old Kingdom. My name is Martin Odler; I am working at the Czech Institute of Egyptology, Faculty of Arts, Charles University in Prague. Last November, Archaeopress published my book Old Kingdom Copper Tools and Model Tools, aiming to update the research on the metal tools of the pyramid builders and other craftsmen during the Old Kingdom.
My research was initiated by one of the largest Old Kingdom finds of copper alloy model tools in the tombs of the sons of Vizier Qar at Abusir South by a team from the Czech Institute of Egyptology, led by Miroslav Bárta, in early 2000s. The tools were from the Sixth Dynasty, reign of Pepy II, and altogether there were about 3 kilograms of copper found in the burial chambers. Copper tools became the topic of my M.A. thesis in 2009. After its defence, I received a grant from the Grant Agency of Charles University to study unpublished collections of copper alloy objects in the European museums and in the Museum of Fine Arts in Boston. The monograph is a result of these research visits and also of the processing of the finds of copper alloy objects from Czech excavations at Abusir.
I have collected the textual, iconographic and palaeographic evidence. The evidence available to modern archaeologists is largely determined by preselection by the past culture, by conscious and unconscious rules that were applied to the creation and production of the sources. Everyone is aware of that, but in the case of the Old Kingdom, we have data that shows how much is missing from the evidence. Old Kingdom evidence shows in great detail the extent to which the range of artefacts available for study by archaeology today is influenced or even biased by a selection made by the past culture. Had it not been for the custom of depositing copper model tools in the burial equipment (and in the richest assemblages, there are altogether more than a thousand tools preserved), we would have almost nothing preserved from metal tools used in the era. Iconographic sources indicate the use of other metal artefacts that were not even fragmentarily preserved from the Old Kingdom (such as metal blades of weapons). Scattered finds from Old Kingdom settlements provide artefacts which were included neither in the burial equipment (or very rarely) nor in the iconography (e.g. needles). Harpoons and fish-hooks have their firm place in Old Kingdom iconography, yet their specimens in the Old Kingdom material culture are rather rare.
Furthermore, I have provided in the book updated definitions of tool classes and tool kits, together with the context of their use. They can be divided into artisan tool kit (comprising chisels, adzes, axes, saws and drills), cosmetic tool kit (razors, mirrors, tweezers, hair curlers, kohl-sticks and cosmetic spatulas), weaving tool kit (needles, awls and pins), leather-working tool kit (leather-cutting knife), hunting weapons and tools for food procurement (fish-hooks, harpoons, knives), and weapons as a separate category of metal blades (battle axes, arrowheads, spearheads, and daggers).
Besides rare specimens of full-size tools, scattered in the museum collections world-wide, the largest corpora of the material have been preserved in the form of model tools in the burial equipment of the Old Kingdom elite and were most probably symbols of their power to commission and fund craftwork. Metal tools occurred already in the Pre-dynastic Period, in the graves belonging probably to craftsmen and also in the rich graves of the supposed elite. It is hard to believe that kings and high officials spent their time in craftwork; already then, the tools were most likely to have been symbolical representation of the elite households, with craftsmen present in the households (and in the subsidiary graves) to wield those tools.
I should dispel one of the most common misunderstandings. You may have read in many popular and semi-popular works that Old Kingdom Egyptians knew and used only tools made of pure copper. This is simply not true; they were using arsenical copper as the main practical alloy, typical for the whole Ancient Near East in the Early Bronze Age. For Egypt, this fact was proven already in 1976, in an article “Near eastern alloying and some textual evidence for the early use of arsenical copper” by E. R. Eaton and Hugh McKerrell. Already, in the Early Dynastic Period, Egyptians certainly knew bronze as the oldest securely-dated bronze objects, spouted jar and wash basin, have been found in the tomb of King Khasekhemwy, built and furnished at the end of Second Dynasty. To know more, we need to analyse more objects from secure archaeological contexts.
The long-standing division in the Egyptological literature between full-size tools and model tools is questioned. One of the most important arguments is that the traces of tools on objects are actually very close to the size of some bigger so-called “model tools”. The typology alone and use of the preserved textual and iconographic sources are not sufficient for the correct understanding of Old Kingdom material culture. Typological studies can be enriched by the use of morphometry, further vital knowledge can be provided by the archaeometallurgical study of the objects. Statistical studies of Old Kingdom material culture are only just beginning, with an exception of Old Kingdom pottery. Ceramic studies have thrived in recent decades and more Egyptologists than ever realize the importance of pottery for the reconstruction of the site histories.
The second case study is the first application ever of a method of geometric morphometry on a corpus of ancient Egyptian copper tools, in this case Old Kingdom adze blades. We have analysed the assemblage with a mathematician Ján Dupej. Morphometry proved my suspicion, already expressed elsewhere, that the size of the model tools is somehow connected to the specific parts of the sites and social status of the buried persons. The bigger the models are, the higher the status of the person. However, this rule is sometimes broken by less affluent officials and I think that those bigger models were probably “royal” gifts. Although uninscribed, they might have been perceived as status objects by the Old Kingdom Egyptians.
My book is only one of the steps leading to better knowledge of ancient Egyptian material culture. Already when submitting the final manuscript, I knew that the contents could not be called complete. In spring 2016, we excavated anonymous tomb AC 31 at Central/Royal Abusir, a tomb with rich remains of original Fifth Dynasty burial equipment, including copper model tools. The tomb provided us with incredibly detailed information on the late Fifth Dynasty burials of the elite, and we now know that it is one of the most important Czech discoveries at Abusir.
There are also some open questions, regarding which my book could be helpful for future research. If you would like to produce for yourself your own Old Kingdom artisan tool kit and do experimental work with it, the drawings of the tools are published. But, please, document it. Also the tool traces on the Old Kingdom objects need to be gathered in a more systematic way. My current research is focussed on the archaeological evaluation of the archaeometallurgical analyses of objects from the Egyptian Museum of Leipzig University (not only from the Old Kingdom). The first phase of the research was presented last year at 41st International Symposium on Archaeometry in Kalamata (Greece) and our poster received honourable mention from the Society for Archaeological Sciences in the R.E. Taylor Student Poster Award. Another project focused on the ancient Egyptian objects from the documented archaeological contexts in the collection of Kunsthistorisches Museum Wien, datable from the First Dynasty to the Second Intermediate Period. The results of both projects will be published this year and hopefully I will write about them more in a future post on the Archaeopress Blog.
Praise for Old Kingdom Copper Tools and Model Tools:
“In short: the authors have succeeded in presenting a reference and standard work, in which no one who is concerned with this period and this material should pass by; a work that will always be consulted with pleasure and joy.”– Robert Kuhn, Staatliche Museen zu Berlin (KunstbuchAnzeiger.de) (Translated from the German)
Sincerest thanks to Martin Odler for submitting this article for the Archaeopress Blog. If you would like to submit something for consideration to be published on the blog please contact Patrick Harris (firstname.lastname@example.org). Articles on all aspects of archaeology will be considered. They should be approximately 2,000 words accompanied by up to five images.