tag:blogger.com,1999:blog-35322379244183975902024-03-13T18:52:47.105+00:00Yan, Tan, TetheraAnnahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.comBlogger68125tag:blogger.com,1999:blog-3532237924418397590.post-79414682768161181712017-02-21T11:03:00.000+00:002017-02-26T13:09:48.962+00:00Histories of Ancient Lives, Artefacts and Tunnels: A week of London Exhibitions<div dir="ltr" style="text-align: left;" trbidi="on">
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I spent a productive few days in London last week in libraries and archives undertaking research for my thesis. While the majority of my time was spent reading, scanning and writing as quickly as I possibly could, true to form I also made time to visit some current exhibitions, all of which had a strong focus on archaeology. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVST0zzTl7C0ssVeF9wazRUtGWAncaTX7jwz_LG2bX685pNvAZo7g_IU8cgjGm_NdFw29uEUuCtDra8AQBXg2KV3o_kgDUWKH6yycQ_DK1x8RPde0NXSmFsHCox-4MZzdRCtwxRNQ6KZZ/s1600/20170214_094638.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVST0zzTl7C0ssVeF9wazRUtGWAncaTX7jwz_LG2bX685pNvAZo7g_IU8cgjGm_NdFw29uEUuCtDra8AQBXg2KV3o_kgDUWKH6yycQ_DK1x8RPde0NXSmFsHCox-4MZzdRCtwxRNQ6KZZ/s200/20170214_094638.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGehgZhYVmTc5omoNJLIBxIar5alfLRXTeQCcYpNjbWvBoAe8AFQdk0iZ5pjwfTtBYYxi5ZyryA0d5wfk2NYS73XNolEvA2SASdmBGU7EmbmWDHsTqREqg5Mie0IpHy5zcRpYPxiOBNAv0/s1600/20170214_094942.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGehgZhYVmTc5omoNJLIBxIar5alfLRXTeQCcYpNjbWvBoAe8AFQdk0iZ5pjwfTtBYYxi5ZyryA0d5wfk2NYS73XNolEvA2SASdmBGU7EmbmWDHsTqREqg5Mie0IpHy5zcRpYPxiOBNAv0/s200/20170214_094942.jpg" width="112" /></a>The first (and admittedly the laziest as I was studying in the British Museum) was their current Room 3 exhibition on the <a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=283002&partId=1">Jericho Skull</a>. While I was aware of this skull in the collection, I'm ashamed to say I was often one of those BM staff who would whizz past its permanent display on the way to the canteen. Room 3 displays - those in the small room immediately to the right as you enter the Museum - are an ideal platform to present the fascinating individual stories of objects which may otherwise be lost in the vast displays upstairs. </div>
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Not only that, they are an opportunity to test more innovative interpretation of objects as a case study for future display. For the case of the Jericho Skull, I especially liked the way that the female excavator of the skull, Kathleen Mary Kenyon (on behalf of the British School of Archaeology in Jerusalem) was given a leading role in the panels to tell the story of the discovery to younger visitors and to ask them questions directly which is a great engagement tool. These panels are also in a bright colour and sit at a lower height for younger visitors. Here, a complex (and sometimes controversial) story of archaeological excavation is presented not only through the Skull itself and the interpretation panels, but also through a <a href="https://3dprintingindustry.com/news/interview-thinksee3d-behind-british-museums-jericho-skull-102746/">3D print</a> of the skull beneath the plaster which reveals further information about the individual which would not otherwise have been known.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiezIETwKgYwmqRHcKbV6xYOZqdSIr6Txzq2Zl4lFAxWFn5pOsjEYIv3j79bbpM6f7NfIRBu9rYW1oqMZS78nbf1ep__eSO6tXH2_7aJqnCxG1WAhMRK06HvJSfkrWDB0ZdAd0D_7LLhYti/s1600/20170214_094709.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiezIETwKgYwmqRHcKbV6xYOZqdSIr6Txzq2Zl4lFAxWFn5pOsjEYIv3j79bbpM6f7NfIRBu9rYW1oqMZS78nbf1ep__eSO6tXH2_7aJqnCxG1WAhMRK06HvJSfkrWDB0ZdAd0D_7LLhYti/s320/20170214_094709.jpg" width="180" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOa_bHfmUqIM1OFlRyoOH59ySFlhZnG3nA1y0CiboZm1TXcnjPoitA0SxZ8nJ9B2C9bVPgwx0BKZ2RwztQKitoJAXA2HEaiqNoBW_Ebzoet1LTtnHDIkyjbKNznttKTKSiqglEUzyeZZY_/s1600/20170214_094604.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOa_bHfmUqIM1OFlRyoOH59ySFlhZnG3nA1y0CiboZm1TXcnjPoitA0SxZ8nJ9B2C9bVPgwx0BKZ2RwztQKitoJAXA2HEaiqNoBW_Ebzoet1LTtnHDIkyjbKNznttKTKSiqglEUzyeZZY_/s200/20170214_094604.jpg" width="200" /></a>The exhibition also includes a facial reconstruction of the male individual, based on the 3D print of the skull. While facial reconstructions, particularly of ancient individuals, are inevitably <a href="https://en.wikipedia.org/wiki/Forensic_facial_reconstruction#Subjectivity">subjective</a> to a degree, it is always fascinating to gaze on the (potential) face of an individual who lived, and died, thousands of years ago, and this reconstruction allows the visitor to do just that.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlKMrlrs8g2pgYxYzL2QYGxo2aM95EcfPisDVHjaLSWAgTBEeacHpDk3jx94pgHNCC2puFyf-y0noQyWhQoRTRAIvJMu0kLiOmroQ1omKTgZPFFZPFx1udzPo55KntefKNl2qRWn8idGrN/s1600/20170214_134559.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlKMrlrs8g2pgYxYzL2QYGxo2aM95EcfPisDVHjaLSWAgTBEeacHpDk3jx94pgHNCC2puFyf-y0noQyWhQoRTRAIvJMu0kLiOmroQ1omKTgZPFFZPFx1udzPo55KntefKNl2qRWn8idGrN/s200/20170214_134559.jpg" width="200" /></a>My second exhibition was the Petrie Museum's '<a href="https://www.ucl.ac.uk/culture/projects/artefacts-excavation">Exporting Egypt</a>', in association with the ongoing collaborative AHRC-funded <a href="http://egyptartefacts.griffith.ox.ac.uk/">project</a> between UCL and the Griffith Institute, University of Oxford. This exhibition explores the history of licensed British excavations in Egypt from the 1880s to the 1980s (before the <a href="http://portal.unesco.org/en/ev.php-URL_ID=13039&URL_DO=DO_TOPIC&URL_SECTION=201.html">UNESCO Convention </a>came into full force) through a critical lens, presenting the background to the <a href="http://www.ees.ac.uk/userfiles/file/EA%2046_27-29%20Stevenson%20and%20Libonati_reduced%20size.pdf">object 'partage'</a> system whereby objects excavated in Egypt were legally exported and distributed to individuals and institutions who sponsored the expeditions. One of the main aims of the 'Artefacts' project is to critically question this practice of object distribution and assess how it impacted on the relationships between archaeology, Egyptology and museums, and this is presented in several ways in this exhibition. One of the most effective is a display on the 'Harageh Treasure', excavated by the British School of Archaeology in Egypt (BSAE) during 1913-14, which was put up for <a href="https://www.bonhams.com/auctions/21928/lot/160/">auction</a> by Bonhams in 2014 on behalf of the Archaeological Institute of America’s (AIA) St Louis Chapter.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge61aK7zr3XSfx-JCqlyvHCA4Xv9eoU6t-EMum4YWW-12ZEh51_y16hVhpHoTjIWM7JPl1V8kilEVVNzPlaROzED7EdOZ4WF_BlNRjKmZr2Qm1M11DbyybxWgb5Amwlt7rHImzYKJpuKGN/s1600/20170214_134247.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge61aK7zr3XSfx-JCqlyvHCA4Xv9eoU6t-EMum4YWW-12ZEh51_y16hVhpHoTjIWM7JPl1V8kilEVVNzPlaROzED7EdOZ4WF_BlNRjKmZr2Qm1M11DbyybxWgb5Amwlt7rHImzYKJpuKGN/s200/20170214_134247.jpg" width="112" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDNWRB1-rOp0C0-HnCtgukQZQ9y2Ouz2dmgLhUVL11YPFs9V4u3Neuc7e9OP7sDzunvVxWSaLP-RuI01QYy0Ca5OyhXOffXQfaCdr6DygFINq9f1iG9L3mQbMv2iz9Ybl4vr_ger3QodoE/s1600/20170214_134827.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDNWRB1-rOp0C0-HnCtgukQZQ9y2Ouz2dmgLhUVL11YPFs9V4u3Neuc7e9OP7sDzunvVxWSaLP-RuI01QYy0Ca5OyhXOffXQfaCdr6DygFINq9f1iG9L3mQbMv2iz9Ybl4vr_ger3QodoE/s200/20170214_134827.jpg" width="112" /></a> This case questions 'Who Owns Antiquities' - since the 'Harageh Treasure' held precise archaeological provenance through the published accounts of the excavators, this only helped to create a secure biography for the objects. But as they were allotted to the AIA by the BSAE on the grounds that they were a public institution, this sale was <a href="http://ees.ac.uk/news/index/279.html">contested</a> on ethical grounds since they would no longer be made available to the public and, if sold on the open market, may be transferred to collections which may not provide sufficient safeguards and make them accessible. This case thus challenges the public's perception of how Egyptian objects came to be in UK collections, how auction house sales of objects remain controversial, and in the end to question who actually owns the excavated material in the first place. I especially enjoyed some of the visitor responses to this question, which were written on object labels and hung in the gallery.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglHeNgvQTm3bKYFZfAIrYrIz1PHaMK3NRxVjAOIrnFtmDPhMym24mGPcEPq8ZES_rhpgLGKyazW-hshUd5-iG53uNPDqDpQQ5_NjCGBP1i6jgJ344P_5R-XOsj0B-AhHu31Ctua7g0a3JF/s1600/20170218_121901.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglHeNgvQTm3bKYFZfAIrYrIz1PHaMK3NRxVjAOIrnFtmDPhMym24mGPcEPq8ZES_rhpgLGKyazW-hshUd5-iG53uNPDqDpQQ5_NjCGBP1i6jgJ344P_5R-XOsj0B-AhHu31Ctua7g0a3JF/s200/20170218_121901.jpg" width="112" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFvge3WIh7ZRlJlABN-JOiMf-jNOMCQ-TSAVlYk4-U9ILhENol8td6LzqDlBqo9QJMUMb2ZieCEXmPc1iChGqJy7-6jHl3z5ZIgVszsd7fyRfNxR4ICtKPmz80VKAkt86Cb6D0sP_ddlS5/s1600/20170218_132104.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFvge3WIh7ZRlJlABN-JOiMf-jNOMCQ-TSAVlYk4-U9ILhENol8td6LzqDlBqo9QJMUMb2ZieCEXmPc1iChGqJy7-6jHl3z5ZIgVszsd7fyRfNxR4ICtKPmz80VKAkt86Cb6D0sP_ddlS5/s200/20170218_132104.jpg" width="200" /></a>My third exhibition during my week in London was the Museum of London Docklands' '<a href="https://www.museumoflondon.org.uk/museum-london-docklands/whats-on/exhibitions/tunnel-archaeology-crossrail">Tunnel: the Archaeology of Crossrail</a>' exhibition, which presented 8000 years of London's history excavated during the construction of the new Elizabeth Line. I'd never visited this site before, so I was looking forward to seeing how it would compare with the Museum of London, one of my favourite galleries in the city. I wasn't disappointed: I made a bee-line for the 'Tunnel' exhibition and just loved the PPE equipment made available to younger visitors, before they even entered the exhibition, to make them feel like they were one of the workmen on the Crossrail project. In fact the whole exhibition was very child-friendly - I visited during Half Term and the gallery was full of fascinated young visitors with their magnifying glasses (made available throughout the exhibition) and asking their parents lots of interesting questions.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRYeVGmfZen7VLiNC7_5nShGPFxjawt5sZRnY11evTU-_6m6GSlZOfaRdybxjmp1l2fgVzgHVAFurUL3C7FTe9WAIkxiZhCNudoC3J-wcKn2mgcnAWacRXMtKxJF96oGgFgLz16Dd1O5uJ/s1600/20170218_130528.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRYeVGmfZen7VLiNC7_5nShGPFxjawt5sZRnY11evTU-_6m6GSlZOfaRdybxjmp1l2fgVzgHVAFurUL3C7FTe9WAIkxiZhCNudoC3J-wcKn2mgcnAWacRXMtKxJF96oGgFgLz16Dd1O5uJ/s200/20170218_130528.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BTmeRaPTZOKepjSGR0jjzCESsW-_rqlZdWqoYBY4uogUFCLDXKJhMBL2WngeF08BKO__P-OgEZUgm7JqnCUWuHnhST9QjY-Ehv8NEdpGmzuEQRlyZ5jJx2dIFiJFjfYR2DbYCbhgujeb/s1600/20170218_133328.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BTmeRaPTZOKepjSGR0jjzCESsW-_rqlZdWqoYBY4uogUFCLDXKJhMBL2WngeF08BKO__P-OgEZUgm7JqnCUWuHnhST9QjY-Ehv8NEdpGmzuEQRlyZ5jJx2dIFiJFjfYR2DbYCbhgujeb/s200/20170218_133328.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJB7_Uc6Nto1GRvMjgikGLXUkQoUGj_b4mo2huuVrSzoa3c4druzLmK75buaQYdTZvCkEsDKLXw3xvG-OMIFOmcr1xXEyhtgD2Zs5SGSGhBOJiDn7BWwwuy1IUbmIZDs8Cj5mn23ib6FRS/s1600/20170218_130934.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJB7_Uc6Nto1GRvMjgikGLXUkQoUGj_b4mo2huuVrSzoa3c4druzLmK75buaQYdTZvCkEsDKLXw3xvG-OMIFOmcr1xXEyhtgD2Zs5SGSGhBOJiDn7BWwwuy1IUbmIZDs8Cj5mn23ib6FRS/s200/20170218_130934.jpg" width="200" /></a>It is truly the most effective interpretation of archaeological work that I've ever seen in a museum exhibition: from the clipboards with completed context sheets alongside associated objects and human remains, to the display on stratigraphy and video presentations from archaeologists and post-excavation researchers presenting their work to the visitors, the scientific basis for the archaeological excavations was projected loud and clear. This message didn't detract from the exhibition design however, which was eye-catching, sleek and clear to follow as the story made its way along the length of the tunnel excavations. </div>
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While I used my Museums Association membership card to enter other exhibitions that week (including <a href="https://www.vam.ac.uk/exhibitions/undressed-a-brief-history-of-underwear">Undressed at the V&A</a>), I have chosen to focus on my visits to these three free-to-enter exhibitions, to highlight how much can be done for free in London and hopefully also show how much can be gained from a little further exploration in the city.</div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com1tag:blogger.com,1999:blog-3532237924418397590.post-9481230992668797112016-04-28T17:12:00.000+01:002016-04-28T17:12:03.955+01:00Death on the Nile at the Fitzwilliam: Uncovering the afterlife of ancient Egypt<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE6twMjakIQLdaMRjMwgd1Spasi46m-ChP8EDnZigFdK_jTBFXBrUT4k8CXX6uOGdRLmCbRaeEF3WVuOc89jRozB2tcg4nnLEjvNODtP0IqbfWzN4al66iOpH66tW9k8n9oLmVNOsmIohm/s1600/CfrheTeWQAA6WPh.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE6twMjakIQLdaMRjMwgd1Spasi46m-ChP8EDnZigFdK_jTBFXBrUT4k8CXX6uOGdRLmCbRaeEF3WVuOc89jRozB2tcg4nnLEjvNODtP0IqbfWzN4al66iOpH66tW9k8n9oLmVNOsmIohm/s320/CfrheTeWQAA6WPh.jpg" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I visited the Fitzwilliam's <a href="http://www.fitzmuseum.cam.ac.uk/gallery/deathonthenile/about.html">'Death on the Nile'</a> exhibition on a particularly sunny April day - which inadvertently helped to create a sense of entering the netherworld, moving from light into darkness.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The concept of this exhibition was immediately appealing to me: to reconnect ancient anonymous faces on coffins with the craftsmen who made them, and the people who commissioned them. This idea of revealing the people behind the objects is, quite rightly, becoming increasingly popular in museum displays, and helps to create a real sense of context for the visitor. Whether the ancient Egyptians themselves, or modern excavators or scientists, relating to people seems a much more natural approach to such displays, rather than only presenting complex ideas and chronologies which can be much more challenging in a limited space.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcvIkkSvQrNm378Eb5yHDWGRlIFgegkLPs3uXylynZLL5Tvyyhcj3QrbY-XYdxLKafdlyuIXsVmaopeKPp8qZgJPrWCi7Q2rPfs6rVqCpqgWdH6_Q6Gqc3Nzpo_KpPZl41K2mA7C6w0nXr/s1600/thOCUCON0K.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcvIkkSvQrNm378Eb5yHDWGRlIFgegkLPs3uXylynZLL5Tvyyhcj3QrbY-XYdxLKafdlyuIXsVmaopeKPp8qZgJPrWCi7Q2rPfs6rVqCpqgWdH6_Q6Gqc3Nzpo_KpPZl41K2mA7C6w0nXr/s200/thOCUCON0K.jpg" width="160" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On entering the exhibition, the visitor is introduced to ancient Egyptian burial customs, beginning with a reconstructed Predynastic grave with a silhouette of a naturally mummified crouched burial. The subtle lighting throughout is especially effective in this first room, where golden faces from coffins at the exhibition entrance catch the light beautifully.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The exhibition follows a chronological thread, moving into the Middle Kingdom where wooden tomb models are displayed with details of their context and technology. The models from the <a href="http://www.fitzmuseum.cam.ac.uk/collections/greeceandrome/objectinfocus/E.71c.1903">tomb of Khety</a> at Beni Hasan stand out, which I was especially interested in given the John Garstang connection. Perhaps there would have been an opportunity here to display more of Garstang's archive photography to give a greater sense of context, but this is really an aside as the focus is mainly on the detailed technology of the objects. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbkFcOruYOjVicEQN3VKYlRWr1QkpX-bZVC68TEnM8APMFjiVgAh35DjjRq9B-PVrVV0feUSVhxKra5dNsgVDTwlDyh2meoi4AX_qWIWOzPr21ou9wt4STLyqasWoJqXe7KAPk6Tg6VlMd/s1600/dotnpb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbkFcOruYOjVicEQN3VKYlRWr1QkpX-bZVC68TEnM8APMFjiVgAh35DjjRq9B-PVrVV0feUSVhxKra5dNsgVDTwlDyh2meoi4AX_qWIWOzPr21ou9wt4STLyqasWoJqXe7KAPk6Tg6VlMd/s200/dotnpb.jpg" width="151" /></a><span style="font-family: Arial, Helvetica, sans-serif;">Aside from providing details of individual agency in the creation of these objects, the exhibition uniquely includes a live conservation area, where visitors can get a real sense of the painstaking work that goes into conserving ancient objects. I also enjoyed seeing the experimental objects on display, made by Dr Geoffrey Killen, and the attempts to recreate the ancient coffin technology based on modern non-invasive analysis of the ancient objects, including data from CT scans. Video footage of craft techniques were also captivating for visitors, including one family who, on watching the videos together, could then more easily explain the father's work as a carpenter to his children.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The exhibition succeeded to reveal the people and stories behind the objects and it was great to see much of the Fitzwilliam's collection on display in a fresh, new context. The fact that no photography was allowed in the exhibition is unfortunate but it was good to see that an exhibition audio guide and comprehensive publication were available, should visitors wish to enhance their visit further.</span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-76345427596869436672016-04-27T09:49:00.000+01:002016-04-27T09:49:30.880+01:00Objectively Speaking: The Value and Practice of Object-Based Teaching<div dir="ltr" style="text-align: left;" trbidi="on">
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I attended a conference and series of round-table workshops at the British Museum on 4th April, which aimed to explore the value of object-based teaching and to capture the impact of different object-based approaches to teaching and learning.</div>
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I described my experience for the British Museum's International Training Programme blog, which you can find <a href="https://bmtrainingprog.wordpress.com/2016/04/19/objectively-speaking-the-value-and-practice-of-object-based-teaching/">here</a>. </div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-66523208127351325212014-08-16T21:48:00.000+01:002014-08-16T21:51:09.679+01:00Egypt in London 2014: Carreras Cigarette Factory, Camden<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Fd0lTrNZaYIynQZB3LXnms-cz0jIAADw5l3OQPQ1uMATtAUNGDkacfZR1QKucIZiErprxYbQgdYWkTNmOog1fe8MU3Ua4MIL-fFuHJJ2MshNd9TJTFWkprGZrC36vaYfgmknmcg6qBLn/s1600/IMG-20140811-00433.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Fd0lTrNZaYIynQZB3LXnms-cz0jIAADw5l3OQPQ1uMATtAUNGDkacfZR1QKucIZiErprxYbQgdYWkTNmOog1fe8MU3Ua4MIL-fFuHJJ2MshNd9TJTFWkprGZrC36vaYfgmknmcg6qBLn/s1600/IMG-20140811-00433.jpg" height="150" width="200" /></a><span style="font-family: Georgia, 'Times New Roman', serif;">I'm back in London and happily reviving my <a href="http://annagarnett.blogspot.co.uk/2012/06/cinematic-necropolis-egypt-in-ne-london.html">discoveries</a> of Egyptianising architecture in the city. This week I was walking down <a href="http://en.wikipedia.org/wiki/Mornington_Crescent_tube_station">Mornington Crescent</a> with friends when something caught my attention, and as a result I was completely soaked by a passing bus veering through a huge puddle! Nevertheless my spirits weren't too dampened since that distraction was in fact the wonderful old <a href="http://en.wikipedia.org/wiki/Carreras_Cigarette_Factory">Carreras Cigarette Factory</a> in Camden, now Greater London House. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGuaamDZzQZJld7qqfp-PwKK9PVkc-5PfVcYU0cvIIWHLq-wXyVVL2DJLeb3jm-sBK3kIV8GgLkgszd3f1MLRXE2W-rQaU-NNlaRDKjNu3d6AcCc6INqWLl3oteYVw1sUX9A4mkawEYPtg/s1600/IMG-20140811-00435.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGuaamDZzQZJld7qqfp-PwKK9PVkc-5PfVcYU0cvIIWHLq-wXyVVL2DJLeb3jm-sBK3kIV8GgLkgszd3f1MLRXE2W-rQaU-NNlaRDKjNu3d6AcCc6INqWLl3oteYVw1sUX9A4mkawEYPtg/s1600/IMG-20140811-00435.jpg" height="150" width="200" /></a><span style="font-family: Georgia, Times New Roman, serif;">This building is another incredible illustration of the early 20th century vogue for Egyptianising architecture in London, much like the <a href="http://annagarnett.blogspot.co.uk/2012/06/cinematic-necropolis-egypt-in-ne-london.html">Carlton Cinema on Essex Road</a>, juxtaposing 'traditional' ancient Egyptian temple elements in a distinctive Art Deco design. It was erected in 1926-28 by the <a href="http://en.wikipedia.org/wiki/Carreras_Tobacco_Company">Carreras Tobacco Company</a> and the original design included an ornamental winged solar disk and two colossal seated bronze cat statues flanking the entrance in the form of the cat goddess Bastet. Carreras used the black cat as a marketing device; their <a href="http://en.wikipedia.org/wiki/Carreras_Cigarette_Factory">cigarette packets</a> also included a similar image. The main facade of the building was composed of a row of twelve brightly-painted papyriform columns and the handrails of the main entrance took the form of serpents. The outer ornamental railings incorporated a series of hieroglyphic motifs including the djed-pillar and decorative lotiform elements.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuT4vkYgN9jqWhhrA8kde7nJgseEYFyz0a9Uy-QfYYCdIfuXYjPeOi0ZMRp6cvg9EZEpkaLdcgM59GFGRqqDiCXw20FSiFV9JU1idQnANXyioGX8FknB3kIMMVuUGYHOywGBxbEQQumiWg/s1600/IMG-20140811-00434.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuT4vkYgN9jqWhhrA8kde7nJgseEYFyz0a9Uy-QfYYCdIfuXYjPeOi0ZMRp6cvg9EZEpkaLdcgM59GFGRqqDiCXw20FSiFV9JU1idQnANXyioGX8FknB3kIMMVuUGYHOywGBxbEQQumiWg/s1600/IMG-20140811-00434.jpg" height="200" width="150" /></a><span style="font-family: Georgia, Times New Roman, serif;">The official opening of the building was a <a href="http://en.wikipedia.org/wiki/Carreras_Cigarette_Factory">grand event</a>, including a procession of cast members from the contemporary theatrical production of Aida and a chariot race on Hampstead Road. It has since been <a href="http://en.wikipedia.org/wiki/Special:BookSources/978-1-84472-006-4">argued</a> that this design may have been deliberately chosen by the company in order to associate their cigarettes with the glamour and luxury of ancient Egypt. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">During the 1960s many of the original Egyptianising elements were removed, in order to give the building a more minimalist modern appearance when it became <a href="http://digilondon.com/greater-london-house">Greater London House</a>. Thankfully these elements were restored in the 1990s when the building was returned to its former Egyptianising glory, though interestingly the winged solar disc above the main entrance was not restored since it was considered to close</span><span style="font-family: Georgia, 'Times New Roman', serif;">ly resemble the </span><a href="http://en.wikipedia.org/wiki/Reichsadler" style="font-family: Georgia, 'Times New Roman', serif;">eagle imager</a><span style="font-family: Georgia, 'Times New Roman', serif;">y of the Third Reich. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">A very pleasant chance discovery on a rainy London day!</span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com1tag:blogger.com,1999:blog-3532237924418397590.post-11306292849633592252014-07-24T23:11:00.002+01:002014-11-24T16:35:53.411+00:00For the Love of Tut: Discovering Tutankhamun at the Ashmolean Museum<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><span style="font-family: Georgia, Times New Roman, serif;">'There is only one topic of conversation... one cannot escape the name of Tut-Ankh-Amun anywhere...'</span></i></div>
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<span style="font-family: Georgia, Times New Roman, serif;">New York Times, 1923</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">I had the pleasure of attending the private view of the '<a href="http://www.ashmolean.org/exhibitions/discovertut/">Discovering Tutankhamun</a>' exhibition at the Ashmolean Museum yesterday; a major Egyptological event which delighted the <a href="http://www.theguardian.com/artanddesign/gallery/2014/jul/23/ancient-egypt-fever-tutmania-strikes-the-uk-in-pictures">media</a> and the hundreds of guests who enjoyed the great hospitality of the Museum as well as a sneak-peak at the Museum's summer exhibition. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The exhibition was officially opened by the 8th Earl of Carnarvon, whose rousing speech followed those of Christopher Brown (Ashmolean Director) and Prof. Richard Parkinson (Professor of Egyptology, University of Oxford). </span></div>
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<a href="https://pbs.twimg.com/media/BtQAR__IEAAwAQI.jpg:large" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://pbs.twimg.com/media/BtQAR__IEAAwAQI.jpg:large" width="200" /></a><span style="font-family: Georgia, Times New Roman, serif;">On entering the exhibition the visitor is introduced to </span><span style="font-family: Georgia, 'Times New Roman', serif;">a gallery space </span><span style="font-family: Georgia, 'Times New Roman', serif;">showcasing</span><span style="font-family: Georgia, 'Times New Roman', serif;"> </span><a href="http://en.wikipedia.org/wiki/Howard_Carter" style="font-family: Georgia, 'Times New Roman', serif;">Howard Carter</a> and<span style="font-family: Georgia, 'Times New Roman', serif;"> his work in Egypt before the discovery of Tutankhamun's tomb - the project which subsequently became his life's pursuit. A personal favourite is a famous painting from Carter's work at the temple of </span><a href="http://en.wikipedia.org/wiki/Deir_el-Bahari" style="font-family: Georgia, 'Times New Roman', serif;">Hatshepsut at Deir el-Bahri</a><span style="font-family: Georgia, 'Times New Roman', serif;"> in Thebes showing a beautifully reproduced Horus falcon. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The background setting moves rapidly into the wonderful discovery, </span><span style="font-family: Georgia, 'Times New Roman', serif;">told through diary entries and correspondence,</span><span style="font-family: Georgia, Times New Roman, serif;"> which Carter made on November 4th 1922</span><span style="font-family: Georgia, 'Times New Roman', serif;"> - the first step leading down to the tomb, which he and the 5th <a href="http://en.wikipedia.org/wiki/Earl_of_Carnarvon">Earl of Carnarvon</a> entered three weeks later. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The beauty of the exhibition is that it tells the story of the discovery by intertwining ancient and contemporary objects with rare archive material from the <a href="http://www.griffith.ox.ac.uk/">Griffith Institute</a>, and in doing so effectively illustrates the different stages of discovery, study and conservation, and ultimately the painstaking removal of the many hundreds of objects from the tomb, not to mention the politics associated with such an overwhelmingly vast task.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">This technique of display highlights the different roles of those individuals involved in the project - artists, conservators, linguists, scientists, and photographers: the products of <a href="http://www.griffith.ox.ac.uk/gri/carter/gallery/">Harry Burton's pioneering photographic work</a> in particular formed impressive backdrops to the gallery. I was pleased to see Griffith archive material that I'd never seen before, including beautiful and incredibly detailed artwork of some of the finds from the tomb by <a href="http://en.wikipedia.org/wiki/N._de_Garis_Davies">Nina de Garis Davies</a> and <a href="http://en.wikipedia.org/wiki/Winifred_Brunton">Winifred Brunton</a>. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The exhibition then transports the visitor back in time to the 1920s, when 'Tut-Mania' took over the world. This immersive experience includes cases full of Egyptianising and Tut-inspired products from the UK and beyond, including a <a href="http://www.sothebys.com/en/auctions/2013/magnificent-jewels-n09054/magnificent-jewels/2013/11/five-rare-egyptian-r.html">Cartier</a> brooch in the form of a winged scarab and some tiny ladies' gloves embroidered with ancient Egyptian hieroglyphs, all while listening to the original recording of <a href="https://www.youtube.com/watch?v=-wCze__MSZs">'Old King Tut'</a> by William Jerome and Harry von Tilzer from the height of Tut-Mania in 1923. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">It was also fascinating to see the general public's reception of the great discovery - from letters written to Carter asking for 'souvenirs' from the tomb, to those wishing him luck and giving him tips on how to avoid the 'Curse of the Pharaoh' which had already 'claimed' Lord Carnarvon. Contemporary newspaper articles are also on display, alongside Carter's <a href="http://www.griffith.ox.ac.uk/gri/4lantern.html">wooden cabinet full of slides </a>which he used to present the incredible story of his discovery to an insatiable public. </span></div>
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<a href="http://www.britishmuseum.org/images/ps343013_m.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.britishmuseum.org/images/ps343013_m.jpg" /></a><span style="font-family: Georgia, Times New Roman, serif;">The exhibition concludes with an overview of Tutankhamun's historical context: the <a href="http://www.britishmuseum.org/explore/highlights/articles/a/ancient_egypt_amarna_period.aspx">Amarna Period</a> and it's aftermath. Here I was delighted to see objects from <a href="http://www.theguardian.com/artanddesign/gallery/2014/jul/23/ancient-egypt-fever-tutmania-strikes-the-uk-in-pictures">Berlin and the Metropolitan Museum</a> which I'd never seen before, as well as large-scale British Museum sculpture in a new display context including a <a href="http://www.britishmuseum.org/explore/highlights/highlight_objects/aes/g/granite_statue_of_tutankhamun.aspx">statue of Tutankhamun</a> as a priest of the god Hapy, likely from Karnak (EA 75). My only issue with this display is that the complex history of the period is somewhat condensed in order to fit into that space, but of course if the visitor would like to know more then they can certainly fill their boots in the excellent Amarna Period section of the Museum's newly-redisplayed Egypt and Sudan gallery downstairs. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">A final section introducing the recent <a href="http://www.factum-arte.com/pag/21/Work-on-the-Facsimile-of-Tutankhamun">facsimile of the tomb made by Factum Arte</a>, and an <a href="http://www.tut-ausstellung.com/en/linz/contact.html">exhibition of replica objects from the tomb by Semmel Concerts</a>, explores current issues in presenting Tutankhamun and his story to a worldwide audience always thirsty for their own 'Tut' experience. The icing on the cake was seeing digitally coloured versions of the original 1920s black-and-white photography, and the seated portrait of Howard Carter, painted by his brother William, from the Griffith Institute. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6oDuhAvaGx-8f90JjD4t2Skpyb1TATxp6-6V0tpeUfl1xqeb7yCtmoAg1rW9K5V-l4aombxfR1MhvRtwceOZ1FV-jms79nsMmDm26wz-hku2-Kkz0TuRZaSdiVfKq4KZYuH2Rtl2FNI65/s1600/P7241829.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6oDuhAvaGx-8f90JjD4t2Skpyb1TATxp6-6V0tpeUfl1xqeb7yCtmoAg1rW9K5V-l4aombxfR1MhvRtwceOZ1FV-jms79nsMmDm26wz-hku2-Kkz0TuRZaSdiVfKq4KZYuH2Rtl2FNI65/s1600/P7241829.JPG" height="240" width="320" /></a><span style="font-family: Georgia, Times New Roman, serif;">As you might tell there is far too much for me to fit into one post and this is really only skimming the surface of an exhibition truly full of 'wonderful things'; things which have been successfully curated to make the story of 'Discovering Tutankhamun' appeal to the widest possible audience, whilst including all of the finer details necessary for a nuanced discussion of the discovery. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">I'd like to extend grateful thanks to the Ashmolean Museum, and to Liam McNamara for the opportunity to attend the Private View. I look forward to attending the <a href="http://www.ashmolean.org/events/">exhibition events</a> due to run over the coming months (the exhibition runs from </span><span style="text-align: left;"><span style="font-family: Georgia, Times New Roman, serif;">24 July 2014 to 2 November 2014)</span></span><span style="font-family: Georgia, Times New Roman, serif;"> - in the meantime follow <a href="https://twitter.com/hashtag/DiscoverTut?src=hash">#Discover</a></span><span style="font-family: Georgia, 'Times New Roman', serif;"><a href="https://twitter.com/hashtag/DiscoverTut?src=hash">Tut </a>to find out more and see the exhibition trailer <a href="http://www.ashmolean.org/exhibitions/discovertut/about/">here</a>. </span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-3977753609654137222013-09-01T14:50:00.000+01:002013-09-01T15:06:13.359+01:00Future Curators hit the North-East: Visiting the Great North Museum and Durham's Oriental Museum<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;">Despite living within spitting distance of the north-east for the past 27 years I had never visited Newcastle or Durham, so I was particularly happy when a <a href="http://www.britishmuseum.org/about_us/skills-sharing/future_curators.aspx">Future Curators</a> visit was arranged this week. After a tour of their stores we visited the <a href="http://en.wikipedia.org/wiki/Hancock_Museum">Great North Museum: Hancock</a> and I made a bee-line for their Egyptian galleries. The GNM's Egyptian collection is made up partly of their own objects and also of a <a href="http://www.britishmuseum.org/whats_on/uk_tours_and_loans/great_north_museum.aspx">long-term loan</a> from the British Museum. The gallery was arranged thematically which in most cases worked well, typically splitting the gallery into aspects of life and death in ancient Egypt. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh40J7pPywll9Q-J2w5ZV9JxKdUyhwIINHrLPa-f8OWw0TOLCh1eVJxiPT_8gdF1LA5uJv4HllBeXbMltMxSgBPY17wMpuKrjAMdrSkCvq03W4OR56OHT8UWNCSTBf99giIgCJzr9c187sd/s1600/P8309725.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh40J7pPywll9Q-J2w5ZV9JxKdUyhwIINHrLPa-f8OWw0TOLCh1eVJxiPT_8gdF1LA5uJv4HllBeXbMltMxSgBPY17wMpuKrjAMdrSkCvq03W4OR56OHT8UWNCSTBf99giIgCJzr9c187sd/s200/P8309725.JPG" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Visitors heading into the Afterlife interactive</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZnBgPyL_XAtkXyzsrDRTR2z9bSOT6Me4MbCd2arysX7qqx9sTal65EkUy7orBlsTXSfD0Ku2HTdMgt0iQJWSJe0bR6qjaD5lFFkLxnDh-IGjKYUPCc2KcEF36qD-ZnBd0miUek1CTkIBa/s1600/P8309711.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZnBgPyL_XAtkXyzsrDRTR2z9bSOT6Me4MbCd2arysX7qqx9sTal65EkUy7orBlsTXSfD0Ku2HTdMgt0iQJWSJe0bR6qjaD5lFFkLxnDh-IGjKYUPCc2KcEF36qD-ZnBd0miUek1CTkIBa/s320/P8309711.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Signing and video accompaniment</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpx-Wg4o-4AngM43DmbLb9Qw8zWwTywt1igAVJQxuXekT3Js8GwxAmd84Up0mpC4_77Vgoveh2PJxwIb6tpVwYlbYH_9wgTYnybl-kM-hQVTYLU4bx-v8e-G0aQjKcS-DqlCBWqnjP85W1/s1600/P8309751.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpx-Wg4o-4AngM43DmbLb9Qw8zWwTywt1igAVJQxuXekT3Js8GwxAmd84Up0mpC4_77Vgoveh2PJxwIb6tpVwYlbYH_9wgTYnybl-kM-hQVTYLU4bx-v8e-G0aQjKcS-DqlCBWqnjP85W1/s320/P8309751.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Snakes in the Underworld</span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">The way the museum did this however was pretty innovative: after visiting the 'life' part of the gallery, the visitor passes through an interactive doorway into the next life on the condition that they successfully pass through the dangers of the underworld. We visited at the end of the day when the gallery was quiet and the experience was a bit disconcerting, especially when the snakes slither past! A booming voice reads through the tasks while a computer screen with signing and subtitles for those hard of hearing, making it a meaningful and memorable experience for all visitors. The collection itself contains several important pieces and overall I enjoyed the layout and design of the gallery though I would
have liked to see more information on the object labels, particularly
provenance and accession number, and the gallery also had a number of other interactive stations but unfortunately some of these were out of order so I look forward to using them on my next visit.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsPTFAiFPcXf6F1onlctp7l-qwAK8HLkWYXNl1HWEdiNIMQpGesRmI8_RGDgGMDAU-soe0aSDH-QUkZ5ZXrusk1cRWy_jmpoV0vqfdFGhRPzVx7eESUBV3GAR7NgpTI0MLxrRB7VbE39dQ/s1600/P8319834.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsPTFAiFPcXf6F1onlctp7l-qwAK8HLkWYXNl1HWEdiNIMQpGesRmI8_RGDgGMDAU-soe0aSDH-QUkZ5ZXrusk1cRWy_jmpoV0vqfdFGhRPzVx7eESUBV3GAR7NgpTI0MLxrRB7VbE39dQ/s320/P8319834.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Durham Oriental Museum</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHK6oQ35DXcXu2ZCVSdW-v6S2AOIlc4tG4v5SJ4XAYvCp1yjWNjfLkZ6Qxo5UV_vwPVNrmlcsqR2kH7boINwvv46Y1UpFQzLCXwp7TJqSwcUtS5EZWu__miVIDVLtisQiGnJ1p43kGuGH_/s1600/P8319794.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHK6oQ35DXcXu2ZCVSdW-v6S2AOIlc4tG4v5SJ4XAYvCp1yjWNjfLkZ6Qxo5UV_vwPVNrmlcsqR2kH7boINwvv46Y1UpFQzLCXwp7TJqSwcUtS5EZWu__miVIDVLtisQiGnJ1p43kGuGH_/s200/P8319794.JPG" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Sphinx of Tuthmosis IV</span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">We then trekked to Durham's <a href="https://www.dur.ac.uk/oriental.museum/">Oriental Museum</a> where we were greeted by friendly staff and a beautiful museum, not so large in size but with an incredibly important <a href="https://www.dur.ac.uk/oriental.museum/collections/egypt/">Egyptian collection</a>. Two galleries are named after Prof. T. W. Thacker, Director of Oriental Studies at Durham from the 1940s until 1977 and contain <a href="http://ssndevelopment.org/acces_ssndevelopment/home/acces/public_html/?page_id=148">objects</a> acquired from the Duke of Northumberland's Collection (Prudhoe Collection), the Wellcome Collection and from the sponsorship of fieldwork in Egypt and Sudan during the 1950s and 1960s. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi07l0C_1tU0KbNPG6yJsA2TJv8RNbQ2cX7fsYXsyet_kHPrL9pxj7pw_dzNizyW8vY_A0Nl0TcwJuwRTer9Z68eCHD5ItAmQkthavQ-JZqZ83rEYfu1zxb0Kknfmqh9EhwVEF7LKQjvI6b/s1600/P8319799.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi07l0C_1tU0KbNPG6yJsA2TJv8RNbQ2cX7fsYXsyet_kHPrL9pxj7pw_dzNizyW8vY_A0Nl0TcwJuwRTer9Z68eCHD5ItAmQkthavQ-JZqZ83rEYfu1zxb0Kknfmqh9EhwVEF7LKQjvI6b/s200/P8319799.JPG" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Steatite statuette of Amenhotep III</span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">The overall layout of the galleries and use of the space was appealing; each object is relevant to the thread of the collection story and several key pieces were exhibited in their own cases, well-lit, as highlight objects, including my personal favourite - a glazed steatite statuette of Amenhotep III from his memorial temple at Kom el-Heitan, Thebes (EG 3998). I was also pleasantly surprised to learn that a diorite sphinx of Tuthmosis IV on display (EG 3997) was the inspiration for the two bronze sphinxes flanking Cleopatra's Needle on the Embankment in London. And of course it was a pleasure to finally see the beautiful wooden servant girl; probably the most famous Egyptian object in the whole collection (EG 4007; temp. Amenhotep III). </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Throughout the museum the panels were word-heavy which I don't think is necessarily a bad thing for a University Museum, though I found myself sticking with the object labels provided as laminated handouts next to each case; a technique which I would normally question as it can sometimes make finding the objects rather time-consuming, however it worked very well as most cases were not particularly full and the labels contained a lot of useful information.</span> </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-Cmn8aITNEwmWWNrJe2L0QVe6zl0tmLqLyy1hWhf65n2a4MdQQm2mLPcBbeP0mPDxOgpReiUwmEU6tjUFjQ-OpdQ-fKrTdfDY3vMBcKx7HA6OuyhBr1X3XKT0lmiq40neonVjBufOdRE/s1600/P8319899.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-Cmn8aITNEwmWWNrJe2L0QVe6zl0tmLqLyy1hWhf65n2a4MdQQm2mLPcBbeP0mPDxOgpReiUwmEU6tjUFjQ-OpdQ-fKrTdfDY3vMBcKx7HA6OuyhBr1X3XKT0lmiq40neonVjBufOdRE/s320/P8319899.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Snippet of the 'Satire of the Trades' alongside ancient Egyptian tools</span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">I also enjoyed the use of snippets of Egyptian literature in some of the cases, which added interest and helped to bring the objects to life for visitors.</span> <span style="font-family: Georgia,"Times New Roman",serif;">I think my only bugbear was the lack of Sudanese objects on display from their collection, or when they were on display (e.g. a vessel from Buhen) the provenance was not named. Overall though definitely worth a visit and happy to have had the opportunity to spend an afternoon in the galleries and have a chat with the staff of the museum.</span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-18596215449380290382013-08-25T14:20:00.000+01:002014-11-24T16:38:14.352+00:00Visiting West Park Museum, Macclesfield<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;">This week I visited West Park Museum in Macclesfield on an afternoon trip with my <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6pTcx8bIMtm-VCuIF0dr43gmOUVf-IKKbXMqOvP5wELZtgPLjqZosuIIPnk9M_0NZFOTphDSGoLj7oPHUDOMvaayLfDW0_JRRcJvIpMQc_MjvcaA5pDKdm8mQf-zv83lLGavmie8AHolo/s1600/p1030168.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6pTcx8bIMtm-VCuIF0dr43gmOUVf-IKKbXMqOvP5wELZtgPLjqZosuIIPnk9M_0NZFOTphDSGoLj7oPHUDOMvaayLfDW0_JRRcJvIpMQc_MjvcaA5pDKdm8mQf-zv83lLGavmie8AHolo/s200/p1030168.jpg" height="200" width="171" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">West Park Museum</td></tr>
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supervisor Campbell to see their collection of Egyptian objects. West Park's small but well formed Egyptian collection came into being because of a <a href="http://www.egyptological.com/2013/04/marianne-brocklehurst-and-the-west-park-museum-macclesfield-part-1-11073">Miss Marianne Brocklehurst</a>, the child of a wealthy silk manufacturer in Macclesfield and a lady with a keen interest in all things ancient Egyptian. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="http://egyptmanchester.wordpress.com/tag/marianne-brocklehurst/">Miss Brocklehurst</a> travelled around Egypt with her companion Mary Booth, and the pair became known as the 'MBs'. They had a keen eye for high-quality Egyptian objects and had the opportunity to acquire a personal collection when they also had the chance of making use of their contact with Luxor's infamous <a href="http://louxor-egypte.e-monsite.com/pages/un-peu-d-histoire/trouveurs-de-tombes/trouveurs-de-tombes.html">Abd el-Rassoul</a> family from whom they bought a number of objects including this ring preserving the cartouche of Ramesses II. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOp1WMJZPvgQfTBgWM6Npw444Mwog8Z0N_d-SZoeSszk6lMvSr8HN55NJ5cnESKiXbkg5Ja0p2GEiSjm6HAkPfbDY0n-_FbHyNrwd7zk9FKTjpAHpH0Oe5KMuRtxDYa4wuCLtclhpIhXmh/s1600/P8209661.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOp1WMJZPvgQfTBgWM6Npw444Mwog8Z0N_d-SZoeSszk6lMvSr8HN55NJ5cnESKiXbkg5Ja0p2GEiSjm6HAkPfbDY0n-_FbHyNrwd7zk9FKTjpAHpH0Oe5KMuRtxDYa4wuCLtclhpIhXmh/s200/P8209661.JPG" height="153" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Ring with the cartouche of Ramesses II</span> </td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">Miss Brocklehurst was also a friend of <a href="http://digital.library.upenn.edu/women/edwards/edwards.html">Amelia Edwards </a>(the founder of the Egypt Exploration Fund, now Society) and subsequently became a member and donor of the EES, forming a Macclesfield Branch of the EES with Mary Booth as secretary. As a result of her membership Miss Brocklehurst received a portion of the excavated objects with secure contexts which complemented her own personal Egyptian collection. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">West Park Museum was built in 1898 at the instruction of Miss Brocklehurst but unfortunately she became ill and died before she was able to visit the museum herself. From museum records it is clear that Miss Brocklehurst's Egyptian collection was donated and exhibited at West Park from the very beginning, and now forms an integral part of West Park's modest collection of ancient objects, anthropology, natural history and fine art. <span style="font-size: small;"> </span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"> One of the most important </span>Egyptian objects at West Park is this beautiful <a href="http://books.google.co.uk/books?id=K_Ill17K2wsC&pg=PA69&lpg=PA69&dq=queen+tiye+macclesfield&source=bl&ots=dqDmFliJ_L&sig=SvElXQjtYL-GIc8mM0X0FSoYXPQ&hl=en&sa=X&ei=H_0ZUom6N-ib1AXV3IHwBw&redir_esc=y#v=onepage&q=queen%20tiye%20macclesfield&f=false">steatite statuette</a> of <a href="http://en.wikipedia.org/wiki/Tiye">Queen Tiye</a>, Great Royal Wife of pharaoh <a href="http://en.wikipedia.org/wiki/Amenhotep_III">Amenhotep III</a> (1390-1352 BC) <a href="https://www.facebook.com/123557411022278/photos/a.193061177405234.51157.123557411022278/193061660738519/?type=1&permPage=1">depicting the queen standing</a>, wearing an enveloping wig and vulture headdress which may originally have been fronted with two uraei. She holds a flywhisk in her left hand and a lotus in her right, and the back pillar preserves her name: <i>Hmt-nsw wrt Tyy</i> (Great Royal Wife, Tiye). This object is truly a masterpiece and I was very lucky to have had the privilege of handling and examining it on my visit. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">The West Park Museum may be small, and perhaps a little out of the way, but it is definitely worth a visit and you will be rewarded with a beautiful collection of Egyptian objects including several outstanding unique pieces, together with a CD ROM catalogue of the Egyptian collection which you can purchase from the museum shop. I'd like to thank Honorary Curator of West Park, Alan Hayward, for his generosity and for facilitating access to the collection.</span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com2tag:blogger.com,1999:blog-3532237924418397590.post-26508881501299754952013-04-28T17:23:00.004+01:002013-09-01T13:47:40.501+01:00Catching the Trade Winds: Photographing my Travels<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://4.bp.blogspot.com/-XnORp1fXyb4/UX1H0v_nRYI/AAAAAAAAArs/U1HYQheiX1o/s1600/P12543132.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-XnORp1fXyb4/UX1H0v_nRYI/AAAAAAAAArs/U1HYQheiX1o/s200/P12543132.jpg" width="150" /></a></div>
<span style="font-family: Georgia,"Times New Roman",serif;">I'm going to share more of the photos that I take of Egypt and Sudan, as well as photos of museum visits in the UK and Europe, using Picasa albums. To start this off: my visits to the <a href="https://picasaweb.google.com/102164166681638003023/TempleOfAmenhotepIIISoleb">Temple of Amenhotep III at Soleb</a>, Sudan, and the<a href="https://picasaweb.google.com/102164166681638003023/NeuesMuseumBerlin"> Neues Museum in Berlin</a>. All images taken with an Olympus E320 DSLR. You can find the links to the images to the left in a folder named "Albums: Egypt and Sudan". </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">You may also like to watch this short BBC <a href="http://www.youtube.com/watch?v=IMwhYyyuv1c">Timewatch </a>video featuring Soleb Temple.</span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-90697786001568287582012-10-14T16:29:00.003+01:002012-10-20T12:22:00.653+01:00Pylons, Obelisks and Time Travel: An Egyptianising Tour of Brompton Cemetery<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikB8qasw46-JJ9T-CUrNZ9DetfLErFBmdU_mZuc4CsNmuMDqlC-iWHzn64vwPw13LZmtwdpVm2U-uAKRqPcrB2c2-L_uGGbKeTWWXsrClppmUB8nCxG6gZRgfyn9oQNoo5QNV36sjfmN9U/s1600/PA136184.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikB8qasw46-JJ9T-CUrNZ9DetfLErFBmdU_mZuc4CsNmuMDqlC-iWHzn64vwPw13LZmtwdpVm2U-uAKRqPcrB2c2-L_uGGbKeTWWXsrClppmUB8nCxG6gZRgfyn9oQNoo5QNV36sjfmN9U/s200/PA136184.JPG" width="200" /></a><span style="font-family: Georgia,"Times New Roman",serif;">Yesterday I attended another of Cathie Bryan's wonderful walking tours of the Egyptianising monuments of London, this time the Petrie Museum's 'Egypt Undead' tour of <a href="http://www.royalparks.org.uk/parks/brompton-cemetery/about-the-cemetery">Brompton Cemetery</a> in South-West London. This cemetery covers 16.5 hectares and is described as 'one of the finest cemeteries in the country', containing a number of monuments of great historical interest including that of <a href="http://en.wikipedia.org/wiki/Emmeline_Pankhurst">Emmeline Pankhurst</a>, leader of the British Suffragette Movement. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">As this tour was organised by the <a href="http://www.ucl.ac.uk/museums/petrie">Petrie Museum</a>, the main focus was on the Egyptianising and Egyptology-related monuments in the cemetery. It is clear that particular features were used for Egyptianising burials in London during the period 1700-1900 which appear time and time again, including the obelisk and the temple pylon (see also <a href="http://annagarnett.blogspot.co.uk/2012/09/travellers-and-egyptomania-guided-tour.html">Kensal Green</a> and <a href="http://annagarnett.blogspot.co.uk/2012/06/cinematic-necropolis-egypt-in-ne-london.html">Abney Park</a> cemeteries). We also saw these motifs at Brompton, though some have unusual details:</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMK77ISvphNNiXF1puZSTjyOCdH5TDJ7hAo_lzwOiJzkmwHDtRwcbXiJ0ASlhj-w5pfSGb5lyLM0Qtozg8pR2uHxdGJ2FRK1Z1zOAfGfm7RVlcbtUlx2LgUdCSX8d90JZNiRGgOX1GEOZa/s1600/PA136186.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMK77ISvphNNiXF1puZSTjyOCdH5TDJ7hAo_lzwOiJzkmwHDtRwcbXiJ0ASlhj-w5pfSGb5lyLM0Qtozg8pR2uHxdGJ2FRK1Z1zOAfGfm7RVlcbtUlx2LgUdCSX8d90JZNiRGgOX1GEOZa/s320/PA136186.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Obelisk memorial with Japanese characters of Jugoi Nagayori Asano (1865-1886)</span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">One monument with an unusual history is that of Hannah Courtoy, an illustrious individual who possessed a huge fortune. This structure is shaped like an Egyptian temple-pylon and apparently no documentation of the construction of the monument within the cemetery survives. This somehow led to a belief that Courtoy's monument was <a href="http://www.royalsociety.org.nz/1998/10/24/time-travel-secret-said-to-lurk-in-london-cemetery/">proof that the Egyptians had invented time-travel</a>!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NzU3jAdjijJHTBZztEg2rjt5hH02tytV905eXBNta2tiZK8nsE2TRxxVcgz0XuFRhj14wFOEjARgGPHI0H2RpqaZx5wTms56lGb1tBQNlF_h87ILy75hyphenhyphenDOdJdbG4XglqKOy2znOwd5B/s1600/PA136191.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NzU3jAdjijJHTBZztEg2rjt5hH02tytV905eXBNta2tiZK8nsE2TRxxVcgz0XuFRhj14wFOEjARgGPHI0H2RpqaZx5wTms56lGb1tBQNlF_h87ILy75hyphenhyphenDOdJdbG4XglqKOy2znOwd5B/s320/PA136191.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Magnificent Egyptian temple pylon-style monument of Hannah Courtoy (1784-1849)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik-KuYZ20A7vT21cclrH-__3rG4OyR-3VH5qBuc_S0mKaZKySA1CnlAvA8_TUhIDCJwbinsY5MDxCoKarmesAJurV5gzROLGfbm8Htq4rPs1kyvoa42CdsR-biua5adyV9USc_5xtxBkcs/s1600/PA136200.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik-KuYZ20A7vT21cclrH-__3rG4OyR-3VH5qBuc_S0mKaZKySA1CnlAvA8_TUhIDCJwbinsY5MDxCoKarmesAJurV5gzROLGfbm8Htq4rPs1kyvoa42CdsR-biua5adyV9USc_5xtxBkcs/s320/PA136200.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Temple pylon-style monument of Charles Thompson, built in 1881</span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0xPYNEZmHALhQ5N8Cu2x63Bm6AvL6QdAz3joDvR062qN1ffJwpXaYUT6BzhVCFVT7FZ8gq5m44S7vXXFWLBnn7JBNwhlP0DPAjrvZjyq_s7WPZDDllvenuDEY1iWYSeutP45Jg71CVPq/s1600/PA136202.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0xPYNEZmHALhQ5N8Cu2x63Bm6AvL6QdAz3joDvR062qN1ffJwpXaYUT6BzhVCFVT7FZ8gq5m44S7vXXFWLBnn7JBNwhlP0DPAjrvZjyq_s7WPZDDllvenuDEY1iWYSeutP45Jg71CVPq/s320/PA136202.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Another pylon-style monument of Augustus Horsfall Bill, built in 1874</span></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">Most interesting of all was the grave of <a href="http://blog.britishmuseum.org/2012/09/28/a-correspondence-with-the-history-of-egyptology/">Joseph Bonomi</a> and his family. Bonomi was an artist, sculptor and Egyptologist who famously worked in Egypt with <a href="http://en.wikipedia.org/wiki/Robert_Hay_%28Egyptologist%29">Robert Hay</a> in 1824. He was the Egyptologist curator of the <a href="https://www.soane.org/">Sir John Soane Museum</a>, London, and also worked at the British Museum most famously on Hay's Egyptian <a href="http://www.ancientegypt.co.uk/pharaoh/explore/main.html">temple casts</a>. Sadly Bonomi lost four children in one week due to whooping cough, and his wife soon afterwards. Their family monument was engraved with <a href="http://en.wikipedia.org/wiki/Anubis">Anubis</a>, Egyptian god of the afterlife.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8v5zsRjMkNyRlpGSFxU_LwPhbuaOBnEJU7le_MdaFtBq9n082O-hpqmI7kJNqIIAXuMFidzNcEr4b6CcUZTnUA69L6Ln9EjRGrfh5QAmXCyQJifBNNzeGGhpKHUCmxgwbw7Fsa6eHrHf/s1600/PA136193.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8v5zsRjMkNyRlpGSFxU_LwPhbuaOBnEJU7le_MdaFtBq9n082O-hpqmI7kJNqIIAXuMFidzNcEr4b6CcUZTnUA69L6Ln9EjRGrfh5QAmXCyQJifBNNzeGGhpKHUCmxgwbw7Fsa6eHrHf/s320/PA136193.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Joseph Bonomi's family monument</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpLTSx5G6Fzq8S4TXsh0okFAB-tXykEIJ98Jxz449c259QhcczFU2nur12Lwdq8k51_zcdnpkNXoPAPrTIfh6pgWTUHCTlFqfxVFga4hKIBwJYgj2QJuBfv0FQMmoJk2S46DNHEzwWiDnF/s1600/PA136194.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpLTSx5G6Fzq8S4TXsh0okFAB-tXykEIJ98Jxz449c259QhcczFU2nur12Lwdq8k51_zcdnpkNXoPAPrTIfh6pgWTUHCTlFqfxVFga4hKIBwJYgj2QJuBfv0FQMmoJk2S46DNHEzwWiDnF/s320/PA136194.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Detail of Bonomi's grave</span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">The Brompton walk was a great way to spend an crisp Autumn afternoon in London and once again the group were kindly treated to tea and delicious biscuits by the Friends of Brompton Cemetery. My heartfelt thanks go to Cathie Bryan for her kindness in arranging for me to attend the tour. </span></div>
<br />Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com3tag:blogger.com,1999:blog-3532237924418397590.post-44132521366325437822012-09-30T18:04:00.000+01:002012-09-30T23:08:56.582+01:00Travellers and Egyptomania: A guided tour of Kensal Green Cemetery<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhxXP7EThV_VvvE1Pi-q05_kZctl_ZUbHb7OQUDwlf9DM2NLlzz4d53pgS4YaZ7AE_-oe1fBe5rOhce72uFLwf8WORVXPoy6hqqOPxDJ8XKStY7I2ajX9mTLpiRLCN3NRRnEjH1As9M4i2/s1600/P9226130.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhxXP7EThV_VvvE1Pi-q05_kZctl_ZUbHb7OQUDwlf9DM2NLlzz4d53pgS4YaZ7AE_-oe1fBe5rOhce72uFLwf8WORVXPoy6hqqOPxDJ8XKStY7I2ajX9mTLpiRLCN3NRRnEjH1As9M4i2/s200/P9226130.JPG" width="200" /></a><span style="font-family: Georgia,"Times New Roman",serif;">I am gradually making my way around the Egyptianising monuments of London during my time in the city working at the British Museum. My most recent visit was to <a href="http://www.kensalgreencemetery.com/about/index.html">Kensal Green Cemetery</a> as part of a guided tour organised by <a href="http://www.astene.org.uk/">ASTENE</a> (Association for the Study of Travel in Egypt and the Near East) led by Cathie Bryan, who also led the excellent <a href="http://annagarnett.blogspot.co.uk/2012/06/cinematic-necropolis-egypt-in-ne-london.html">'Cinematic Necropolis'</a> tour organised by the <a href="http://www.ucl.ac.uk/museums/whats-on/petrie_listings">Petrie Museum</a> which I attended in June 2012.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Unlike the rainy Petrie tour in June, the autumn sun shone beautifully on the cemetery and the leaves were crisp on the ground. At Kensal Green, one of London's oldest public cemeteries, Cathie's tour was intended to highlight monuments of well-known travellers as well as those in the Egyptianising style. The group slowly made their way around the cemetery - together with a playful local cat - on a two-hour tour which included the following monuments:</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizG5o4ZjrmmpYsfVDHDCipAEJ_Pu1QDG8YF_FOc7Phe3Vprkq-TBceizGAMXDyrQv1ixFl1-u5TFPNBEJceXB6Ze7Z1ET8gClYq7MznMoWeHRvIH5hwaG1kNT1Cb-wT16EdCEm4__1WIgJ/s1600/P9226114.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizG5o4ZjrmmpYsfVDHDCipAEJ_Pu1QDG8YF_FOc7Phe3Vprkq-TBceizGAMXDyrQv1ixFl1-u5TFPNBEJceXB6Ze7Z1ET8gClYq7MznMoWeHRvIH5hwaG1kNT1Cb-wT16EdCEm4__1WIgJ/s320/P9226114.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">John McDouall Stuart (1815-1866) in the form of an Egyptian obelisk</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUucbe6gj_BN05VRSpRT3WvTnrjNyCCvzJ4qU_BBsALqn_gM54430P3A4x8N1gr-YD2GtO5uTT70W6RqsL9e0FYuaBzIrJutnspuFmlFnzm1HA_LBsO2n1zYiuyvJr7YfIrskblGPFZcWT/s1600/P9226117.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUucbe6gj_BN05VRSpRT3WvTnrjNyCCvzJ4qU_BBsALqn_gM54430P3A4x8N1gr-YD2GtO5uTT70W6RqsL9e0FYuaBzIrJutnspuFmlFnzm1HA_LBsO2n1zYiuyvJr7YfIrskblGPFZcWT/s320/P9226117.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Isambard Kingdom Brunel (1806-59) - Mechanical and Civil Engineer</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM1B997uy4JqP2k_w7nEUcRTRH_iKoJK-MtziXQMd-GgQrvosY6oaqjyjWDsArfhG3Ez1EpGjymBlO_mg9YN1yJK4rK_0wrghjabr5nE-dV1wJEUVIEJc67HNBagOtd0urQm9qTaeBZ3cN/s1600/P9226125.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM1B997uy4JqP2k_w7nEUcRTRH_iKoJK-MtziXQMd-GgQrvosY6oaqjyjWDsArfhG3Ez1EpGjymBlO_mg9YN1yJK4rK_0wrghjabr5nE-dV1wJEUVIEJc67HNBagOtd0urQm9qTaeBZ3cN/s320/P9226125.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">General Sir William Casement (1780-1844) - a British General who served in India</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglf1i9hAOjLUsEiptTDV_O1cyKvbyMchYfOHtHFeqtkvqPs75o_hWicuBw_E7Rwtom9KXEsLxKw3kA0BY73YD2ki4OKva4nCayNNmtUW2voh_xKQBKb9ZpL6_37AD_zyy6g9nQAxRpgdgj/s1600/P9226128.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglf1i9hAOjLUsEiptTDV_O1cyKvbyMchYfOHtHFeqtkvqPs75o_hWicuBw_E7Rwtom9KXEsLxKw3kA0BY73YD2ki4OKva4nCayNNmtUW2voh_xKQBKb9ZpL6_37AD_zyy6g9nQAxRpgdgj/s320/P9226128.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Sir George Harris (1827-1902) in the form of an Egyptian temple pylon with winged sun disk (with Cathie)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWl1nVhPBZLxtsmM6LRVv2gApuq3xGiunH9MtWJ4VZ38nIniIGQqDkNUaJ1T6JfDjWbAHcbG-pPIr1QDx3MZNbo3wZpRasaLmmXHxwvWA30T4YgAKz4_EZ_9gpl7gMhBuZuPLoDp2ipzCR/s1600/P9226143.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWl1nVhPBZLxtsmM6LRVv2gApuq3xGiunH9MtWJ4VZ38nIniIGQqDkNUaJ1T6JfDjWbAHcbG-pPIr1QDx3MZNbo3wZpRasaLmmXHxwvWA30T4YgAKz4_EZ_9gpl7gMhBuZuPLoDp2ipzCR/s320/P9226143.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Sir George Farrant (1770-1844) in the form of an Egyptian temple pylon with a winged sun disk and a stylised winged Hathor-head</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmA4f0e5R8iQQxVJqYq4zlIj8Pnk3AEL0gqS4InJYErMYvWpuRRbM8ih9oxcyK0zIupk9gRxkJYSLpgMD_Xz2iKQHm8errWyrHeQDKQWiLQnS_ZHkx8N4TQ_-bMGq8-v-xUyH5_AxamHMA/s1600/P9226150.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmA4f0e5R8iQQxVJqYq4zlIj8Pnk3AEL0gqS4InJYErMYvWpuRRbM8ih9oxcyK0zIupk9gRxkJYSLpgMD_Xz2iKQHm8errWyrHeQDKQWiLQnS_ZHkx8N4TQ_-bMGq8-v-xUyH5_AxamHMA/s320/P9226150.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Detail of above</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGas1K2PF0TmVXFqPAqYjNFIvtQOLL-FWM7MTs0pWa6kMzXgvOi_00vOfAQ1JERGQ923nMNQSvK5yVRpbaxDaYXJ6eM6cnMx7QJQ0vFcWN5mDB7lIL1YNpOCHWH56skJjzmY2p-lXHwta/s1600/P9226153.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGas1K2PF0TmVXFqPAqYjNFIvtQOLL-FWM7MTs0pWa6kMzXgvOi_00vOfAQ1JERGQ923nMNQSvK5yVRpbaxDaYXJ6eM6cnMx7QJQ0vFcWN5mDB7lIL1YNpOCHWH56skJjzmY2p-lXHwta/s320/P9226153.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Andrew Ducrow (1793-1837) in the form of an Egyptian temple pylon with winged sun disks and sphinxes</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjacdskUWr0lcTS9lc4ro7XrewB_NQmCKchQsQId_0vigFk_IpXZLJNBqXr6KcMR7Oy8D533EVGo-swzu9tXncbfxfgwTe52ylrm0SzyiLQM3aE9o8-VxfifBLCi4TZyNHr-TJqgQ0Dxi2W/s1600/P9226160.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjacdskUWr0lcTS9lc4ro7XrewB_NQmCKchQsQId_0vigFk_IpXZLJNBqXr6KcMR7Oy8D533EVGo-swzu9tXncbfxfgwTe52ylrm0SzyiLQM3aE9o8-VxfifBLCi4TZyNHr-TJqgQ0Dxi2W/s320/P9226160.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">John Shae Perring (1813-1869) - Engineer who worked with the Egyptologist <a href="http://en.wikipedia.org/wiki/Richard_William_Howard_Vyse">Howard Vyse</a></span>, <span style="font-family: Georgia,"Times New Roman",serif;">in the form of an Egyptian <a href="http://en.wikipedia.org/wiki/Pyramidion">pyramidion</a></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06CagPM7nc18ExAp1BqSiy2L-RcUs5PKsdqWggJsJYMoIB-TcgYMpM9HgGOv-xSBDP1lj0I2FW3QTQBYotvOx8die6ckn1R5thBUGYEbq8N-8XgRkJ55D0cawCb1Lc_km_Cgio8iU6HDL/s1600/P9226164.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06CagPM7nc18ExAp1BqSiy2L-RcUs5PKsdqWggJsJYMoIB-TcgYMpM9HgGOv-xSBDP1lj0I2FW3QTQBYotvOx8die6ckn1R5thBUGYEbq8N-8XgRkJ55D0cawCb1Lc_km_Cgio8iU6HDL/s320/P9226164.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Lt. Col. Charles Seton Guthrie (1805-1874) in the form of an Egyptian temple pylon with metal grilles in the form of stylised Egyptian cartouches (detail below)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmmq_H51OlQwyX_CHBksQBAMbzW15QRXnCisH1ejr8nbnQ5JXFScqAJvh7Idbi_6CFlp2VTRWV1jIej-8lVy55xuFbSXSLGICl7dpJ2xMwaHlUfAOBrahwAgjwIo4AGksJWMHKZbITFiwb/s1600/P9226165.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmmq_H51OlQwyX_CHBksQBAMbzW15QRXnCisH1ejr8nbnQ5JXFScqAJvh7Idbi_6CFlp2VTRWV1jIej-8lVy55xuFbSXSLGICl7dpJ2xMwaHlUfAOBrahwAgjwIo4AGksJWMHKZbITFiwb/s320/P9226165.JPG" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8CVDYRwRLvkhpE1BMcS8Reg6mO_AzZM3N9_N-shbkYi24Sro18awO_D03jle4coCRYdjSxqIbF39S43klAfaHfbBzwYlh4Q5QMsL-4NH-m6IsRfzPc8X7QiG17kSoVtrznwThAPU6SYX0/s1600/P9226134.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8CVDYRwRLvkhpE1BMcS8Reg6mO_AzZM3N9_N-shbkYi24Sro18awO_D03jle4coCRYdjSxqIbF39S43klAfaHfbBzwYlh4Q5QMsL-4NH-m6IsRfzPc8X7QiG17kSoVtrznwThAPU6SYX0/s320/P9226134.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">The friendly local cat who followed the tour!</span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">The tour ended in the Anglican Chapel where the group was treated to well-earned hot drinks and biscuits. Many thanks once again to Cathie Bryan, and also to Patricia Usick for organising a fascinating day out. </span></div>
Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-19539528782129471692012-09-09T17:09:00.001+01:002016-04-27T09:57:55.535+01:00The Workmen's Huts in the Theban Mountains: Documenting the royal tomb-builder's huts above the Valley of the Kings<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">Yesterday I attended an excellent study day organised by the <a href="http://www.ees.ac.uk/events/index/148.html">Egypt Exploration Society</a> which focussed on '<a href="http://www.egyptologinenseura.fi/fieldwork/engl/index.html">Theban Mountains Project</a>', being the current work of <a href="http://www.helsinki.fi/egyptology/research.html">Jaana Toivari-Viitala</a> and her team at the so-called <a href="http://xy2.org/lenka/Huts.html">'Workmen's Huts'</a> on the west bank at <a href="http://en.wikipedia.org/wiki/Thebes,_Egypt">Thebes</a>, funded by the Academy of Finland. This project, begun in 2008 and due to finish in 2013, is building upon the work of <a href="http://www.ifao.egnet.net/">IFAO</a> at the site under <a href="http://www.ifao.egnet.net/bases/archives/bruyere/about">Bernard Bruy</a><span style="line-height: 115%;"><a href="http://www.ifao.egnet.net/bases/archives/bruyere/about">ère</a> in 1935 </span>and the Finnish team have the challenge of finding out exactly why these stone huts were built, and for whom. The huts are commonly attributed to the workmen who built the royal tombs in the <a href="http://en.wikipedia.org/wiki/Valley_of_the_Kings">Valley of the Kings</a> who lived at the village of <a href="http://www.leidenuniv.nl/nino/dmd/dmd.html">Deir el-Medina</a> during the 19th and 20th Dynasties.</span></span><br />
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<span style="font-family: Georgia;"><img alt="Workmens huts on the Theban Mountain" class="aligncenter size-full wp-image-1845" src="https://egyptsites.files.wordpress.com/2009/02/wv-5.jpg?w=497" style="border-image: none; border: 0px currentColor;" /></span><br />
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<span style="font-family: Georgia;">(Photo: <a href="https://egyptsites.wordpress.com/2009/02/10/deir-el-medina-workmens-village/">https://egyptsites.wordpress.com/2009/02/10/deir-el-medina-workmens-village/</a>) </span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">The remit of the <a href="http://www.egyptologinenseura.fi/fieldwork/engl/index.html">project</a> is as follows:</span></span><br />
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">'A multidisciplinary study on human agency, housing construction and social and ritual space in Egypt 1550-1069 BC with special focus on the 'Station de Repos' area [the 'Workmens' Huts']'.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;">The team are using the same numbering system that Bruy<span style="line-height: 115%;">ère established in the 1930's, and have split the excavation area into three sections: the Northern (worked on in 2008-9), Eastern (<a href="http://helsinki.academia.edu/JaanaToivariViitala/Papers/1493760/ACADEMY_OF_FINLAND_AND_UNIVERSITY_OF_HELSINKI_WORKMENS_HUTS_IN_THE_THEBAN_MOUNTAINS_PROJECT_PRELIMINARY_REPORT_OF_THE_">worked on in 2010</a>) and Western (2011) clusters. The plan of the site made by the team differs slightly from the original plan by Bruy<span style="line-height: 115%;">ère and is more precise. </span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><br /></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">Dr. Toivari-Viitala split her lecture into two sections; the first presenting the archaeological setting of the huts within the context of the Theban landscape, and the second focussing on the finds from the site. <span style="line-height: 115%;"><span style="line-height: 115%;">Despite searing working temperatures - sometimes hitting 63<span style="line-height: 115%;">°c - and often challenging working conditions dealing with the garbage which constantly accumulates at the site, the team have made some fascinating discoveries since 2008, including the following:-</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- 141 stone huts have been found at the site by the team to date.</span></span></span></span></span></span></span></span><br />
<span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span><br /></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- The floors of the huts were often covered with a limestone plaster made from local stone.</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- '<a href="http://en.wikipedia.org/wiki/Mastaba">Mastabas</a>', or benches, were a regular feature in the huts, which were normally between 20-30cm in height. The mastabas were typically marked out with large boulders and filled with loose earth and rubbish, and the whole mastaba was then covered with white plaster to make a smooth surface for sitting. One unusual rock-cut 'mastaba' was also found by the team, although the precise nature of this features remains questionable as it is also much taller than the other mastabas in the group (c. 70cm).</span></span></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><br /></span></span></span></span></span></span></span></span><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- Limestone slabs were also used as thresholds, and would have been placed over loose boulders and plastered.</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span></span></span><br />
<span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span><br /></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- Fossilised shells, commonly found on the Theban hills, were used as fill for the walls of the huts.</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span></span></span><br />
<span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span><br /></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- <a href="http://en.wikipedia.org/wiki/New_Kingdom_of_Egypt">New Kingdom</a> pottery were discovered as fill in the mastabas.</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- Remnants of 20 fireplaces have been found both inside and outside the huts, identified by surviving ashes. New Kingdom and Coptic pottery have been found inside two of these fireplaces which proves that the site was also utilised during the <a href="http://www.britishmuseum.org/explore/highlights/article_index/a/ancient_egypt_coptic_period.aspx">Coptic Period.</a></span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- A partly-finished bundle of textile rags containing 27 lamp wicks </span></span></span></span></span></span></span></span><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">has also been discovered</span></span></span></span></span></span></span></span></span></span></span></span>, together with used pottery lamps.</div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span></span></span><br />
<span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span><br /></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">- A small shrine with a single central room </span></span></span></span></span></span></span></span><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">has been identified with </span></span></span></span></span></span></span></span></span></span></span></span></span>two unusual small<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"> spaces at each side, what Dr. Toivari-Viitala referred to as 'dummy spaces', which seem to be too shallow for storage. There are also roughly-cut hieroglyphic graffiti on the rock-cut steps at the edge of the shrine.</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">-------------- </span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">But the precise motivation for the construction of the huts remains a mystery. Some ideas concerning the site's function were debated by the audience:-</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><br /></span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">1. Game boards and gaming pieces have been found, which some members of the audience suggested might be evidence of the huts being used as a 'gentleman's club' - a place for the husbands to have a break from their wives who lived at Deir el-Medina.</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span></span></span><br />
<span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></span></span></span><br /></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">2. Was it a purely administrative area for the workmen to check the tools in and out on the way to and from the Valley of the Kings? Evidence of the well known scribe <a href="http://www.thebanmappingproject.com/articles/article_4.6.html">Qenherkhepeshef</a> (temp. <a href="http://en.wikipedia.org/wiki/Ramesses_II">Ramesses II</a>) at the site, including three rooms which he used, may support this theory, but then why the gaming boards? Were they simply used while the administrative staff at the huts were bored or had time to kill? </span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">3. The big question still remains that after the workmen had finished their daily work in the Valley of the Kings, it must have been more difficult to walk up to the top of the mountain to the huts, than to walk down to Deir el-Medina at the bottom of the mountain, and wouldn't they rather have wanted to go home if they were already halfway there? That the northern wind is quite strong at the site may suggest that it was used as a halfway point during the very hot summer months.</span></span></span></span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;">Dr. Toivari-Viitala presented a compelling argument but it is clear that the precise function of the site is yet to by fully established. However, it was fascinating to hear more about the work of the team, particularly to see some of the finds from previous seasons, and certainly a great day was had by all. A great benefit was that many of the audience had previously visited the site and walked over the Theban hills from Deir el-Medina to the Valley of the Kings, so the discussion was particularly engaging. I look forward to hearing more after next season to see whether more tantalising details are revealed, and would welcome any comments if readers have any further ideas to contribute!</span></span></span></span></span></span></span></span><span style="line-height: 115%;"><span style="line-height: 115%;"><span style="line-height: 115%;"></span></span></span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com1tag:blogger.com,1999:blog-3532237924418397590.post-8624965494653821292012-09-09T12:14:00.000+01:002012-12-11T11:15:07.876+00:00Peter Pan in London: Great Ormond Street Statue<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia,"Times New Roman",serif;">Since I was a child I've been captivated by <a href="http://en.wikipedia.org/wiki/J._M._Barrie">J. M. Barrie</a>'s <a href="http://en.wikipedia.org/wiki/Peter_Pan">Peter Pan</a>, and while in London I'm making the most of easy access to Pan-related features of the city. I had previously visited <a href="http://www.royalparks.org.uk/parks/kensington-gardens">Kensington Gardens</a>, near to where Barrie lived, to see the famous bronze <a href="http://golondon.about.com/od/londonforfree/ss/Peter_Pan.htm">Peter Pan statue</a> erected in 1912. This week I visited Great Ormond Street Hospital where a <a href="http://golondon.about.com/od/londonpictures/ig/Less-seen-Sights/Peter-Pan-Statue-at-GOSH.htm">statue of Peter and Tinkerbell </a>stands in a little garden in the forecourt of the hospital, unveiled in 2000. Barrie generously gave the rights to Peter Pan to <a href="http://www.gosh.org/gen/peterpan/history/peter-pan-and-the-hospital/">Great Ormond Street Hospital</a> in 1929, and the hospital has benefited greatly from royalties ever since.</span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com1tag:blogger.com,1999:blog-3532237924418397590.post-12262832389721504502012-08-25T17:40:00.000+01:002012-09-09T18:52:53.556+01:00Egyptianising London: Cleopatra's Needle Benches<div class="separator" style="clear: both; font-family: Georgia,"Times New Roman",serif; text-align: justify;">
Whilst in London for 2012 I am trying to seek out Egyptianising monuments around the city. Although I'd seen <a href="http://en.wikipedia.org/wiki/Cleopatra%27s_Needle">"Cleopatra's Needle"</a> on the Thames Embankment a few years ago I'd previously failed to note a group of benches set up next to the obelisk in the form of elaborate winged female sphinxes, wearing the<i> nemes</i>-headdress with uraeus. The benches have individual plaques recording their donors, who include <a href="http://en.wikipedia.org/wiki/W_H_Smith">W. H. Smith</a>. </div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-54303851514984641452012-06-17T13:33:00.000+01:002012-06-17T13:44:16.588+01:00Cinematic Necropolis: Egypt in NE London<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbxARTUzf-fP3VTl0iNIF2wLsV8BtqIzyv369DJMYxCeNv5yY-SBF7toXT0Vsa3Kzic52CQiwfz-hyDTajqWDPQQ5PAV8l5On6pwaH1Q833BkYIPNOlR4AlU2CSedp5htu-_O4fPd9R_3/s1600/P6165229.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbxARTUzf-fP3VTl0iNIF2wLsV8BtqIzyv369DJMYxCeNv5yY-SBF7toXT0Vsa3Kzic52CQiwfz-hyDTajqWDPQQ5PAV8l5On6pwaH1Q833BkYIPNOlR4AlU2CSedp5htu-_O4fPd9R_3/s200/P6165229.JPG" width="200" /></a></div>
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Yesterday I attended a walk organised by the Petrie Museum entitled '<a href="http://www.ucl.ac.uk/museums/whats-on/petrie_listings">Cinematic Necropolis</a>', intended to explore Egyptianising monuments in North-East London. Being a newcomer to the city, and indeed to the Islington area, this seemed the perfect opportunity to combine local sightseeing with an interest in Egyptian-style architecture. Despite the threat of rain the group gradually assembled at the <a href="http://www.islingtonpeople.co.uk/groups/islingtonproperty/Islington-Buildings-Carlton-Cinema-Essex-Road/story-11077415-detail/story.html">Carlton Cinema</a> on Essex Road, Islington, which was the first stop on the walk.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5sX_7eER8I6yOs6QXZCCPyel1ZyfBhElY56243xqGqUni3X2jaOimQkc7pNFVEaTUOXD06zLVS6Z3vZlkDQx9hPtr-fEL_DlZ8kCBYzOQiEwfg9KXt2U-zl6y7A5ahHha4ayZgF7-LBTB/s1600/P6165231.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5sX_7eER8I6yOs6QXZCCPyel1ZyfBhElY56243xqGqUni3X2jaOimQkc7pNFVEaTUOXD06zLVS6Z3vZlkDQx9hPtr-fEL_DlZ8kCBYzOQiEwfg9KXt2U-zl6y7A5ahHha4ayZgF7-LBTB/s320/P6165231.JPG" width="240" /></a>This Grade II-listed building was designed by <a href="http://en.wikipedia.org/wiki/George_Coles_%28architect%29">George Coles</a> in 1930 in the Egyptian style which was particularly fashionable at the time as Egyptomania gripped the world. An interesting talk was given by Cathie Bryan on Egyptian temple architecture and how different elements of the ancient temples were combined to form the unique Carlton Cinema building, particularly the illusion of perspective through the use of different-sized columns to suggest that the viewer is actually looking through the 'temple pylon' to the courtyard beyond. Cathie's presentation of comparable temple-style buildings in both the <a href="http://en.wikipedia.org/wiki/Egyptian_Hall">UK</a> and the <a href="http://www.americancinematheque.com/egyptian/egypt.htm">USA</a> was useful for placing the Carlton in the context of contemporary architectural design. The building was unfortunately <a href="http://artdecobuildings.blogspot.co.uk/2009/10/former-carlton-cinema-islington.html">closed to the public</a> in 2007 after its reuse as a Bingo hall so we were unable to gain access to the interior, but from <a href="http://www.cinema-theatre.org.uk/atrisk/carlton_islington.htm">archive photos</a> it is believed to have had a Neoclassical theme. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">The front gates of Abney Park Cemetery</span></td></tr>
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From the Carlton the group hopped onto a bus towards <a href="http://en.wikipedia.org/wiki/Abney_Park_Cemetery">Abney Park Cemetery</a> - just as the rain started! - where we arrived at the rear gates of the cemetery about 15 minutes later. Once again Cathie presented the history of the cemetery to the group, and pointed out significant headstones such as that of <a href="http://www1.salvationarmy.org.uk/uki%5Cwww_uki_ihc.nsf/stc-vw-sublinks/F7EDE370A66032C88025704B003A42AE?openDocument">William Booth</a>, founder of the Salvation Army. I was pleasantly surprised to discover that the cemetery also functioned as a <a href="http://www.abney-park.org.uk/Abney_Park_Trust/Welcome.html">nature reserve and arboretum</a>, which seems to make Abney Park Cemetery more a place of life rather than death. </div>
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But it was the front gates of Abney Park which the group had come to admire, which we reached just in time as the cemetery was being closed due to the high winds and the threat of falling branches. The gates were designed in 1840 by Prof. William Hosking and Joseph Bonomi Jr. in the Egyptian style, complete with a hieroglyphic inscription which states 'Abode of the Mortal Part of Man'. The elaborate column capitals and winged sundisc motifs, combined with the flower-bud design on the cast-iron gates, makes the cemetery frontage unmistakeably Egyptian. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">A hieroglyphic inscription on the Abney Park gateway</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">One of Abney Park's Egyptianising columns</span></td></tr>
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<span style="font-family: Georgia,"Times New Roman",serif;">I highly recommend a visit to either of these monuments to anyone with an interest in Egyptianising architecture, and to keep up with the </span><a href="http://www.ucl.ac.uk/museums/whats-on/petrie_listings" style="font-family: Georgia,"Times New Roman",serif;">Petrie Museum Events page</a><span style="font-family: Georgia,"Times New Roman",serif;"> for similar events in the future. Many thanks to Debbie Challis, </span><span style="font-family: Georgia,"Times New Roman",serif;">Jan Picton and </span><span style="font-family: Georgia,"Times New Roman",serif;">Cathie Bryan for organising a great day out! </span></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com1tag:blogger.com,1999:blog-3532237924418397590.post-49618406152979080892012-06-16T19:06:00.000+01:002012-06-16T19:15:23.928+01:00Image of the Week #5: Discobolus in the Great Court<div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">
After a particularly hectic few weeks I'm finally going to pull my socks up and blog! To start with, here's a photo of the <a href="http://www.britishmuseum.org/explore/highlights/highlight_objects/gr/d/discus-thrower_discobolus.aspx">Townley Discobolus</a> (Discus-Thrower), which is currently on display in the Great Court of the British Museum as part of the <a href="http://www.britishmuseum.org/whats_on/for_the_olympics.aspx">London Olympics celebrations</a>.</div>
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This famous marble statue is a Roman copy of a 5th Century BC Greek bronze sculpture, and was found, along with many other statues, in the grounds of <a href="http://en.wikipedia.org/wiki/Hadrian%27s_Villa">Hadrian's villa</a> at Tivoli, Italy.<br />
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For more on the recent redisplay of the Discobolus, listen to this <a href="http://news.bbc.co.uk/today/hi/today/newsid_9721000/9721860.stm">BBC interview</a> with Dr. Ian Jenkins, Senior Curator at the British Museum. </div>
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<br />Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-37163720932547381182012-04-15T23:27:00.000+01:002012-06-17T13:50:11.812+01:00Image of the Week #4<div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">
Here's a shot of the British Museum's touring <a href="http://www.britishmuseum.org/whats_on/uk_tours_and_loans/pharaoh_king_of_egypt.aspx">'Pharaoh: King of Egypt'</a> exhibition from my visit to <a href="http://www.leeds.gov.uk/citymuseum/">Leeds City Museum</a> on Saturday (April 14th), with the iconic upper section of a <a href="http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=177500&partid=1&searchText=ramesses+II+statue&fromADBC=ad&toADBC=ad&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=2">colossal statue of Ramesses II</a> in the foreground and a <a href="http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=177955&partid=1&searchText=%22Pharaoh%3a+King+of+Egypt%22&numpages=10&orig=%2fresearch%2fsearch_the_collection_database.aspx&currentPage=6">statue of a seated falcon</a> behind the cartouche of Ramesses II in the background (more photos of the exhibition to follow).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh286fHMhSdFYSwNh0b3qQs-W3JjgA5BByl5gxEjpESvCjBDW4Bp1ZcYgJS5-PsjiaUFH-mhvpjWZzOcimrAfnxZUvlVJ42cqHIsou40uH1utKwFJtx-VwsouWKArwHv3Ycg7kBw_1yxsAQ/s1600/P4144771.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh286fHMhSdFYSwNh0b3qQs-W3JjgA5BByl5gxEjpESvCjBDW4Bp1ZcYgJS5-PsjiaUFH-mhvpjWZzOcimrAfnxZUvlVJ42cqHIsou40uH1utKwFJtx-VwsouWKArwHv3Ycg7kBw_1yxsAQ/s320/P4144771.JPG" width="240" /></a></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-72449787692630529042012-04-04T21:08:00.000+01:002012-04-04T21:08:45.895+01:00Visiting Haweswater<div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">I finally made it to Haweswater last Sunday (April 1st) long after gaining an interest in the site after reading a book about Mardale and the Haweswater Reservoir from Kendal Library as a child (see previous blog post: <a href="http://annagarnett.blogspot.co.uk/2011/06/mardale-village-lost.html">Mardale: A Village Lost</a>). </div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">Here's a photo taken from beside Haweswater Reservoir, at the opposite end of the reservoir to Haweswater Dam. Unfortunately (though fortunately with regards to the country's water supply!) the reservoir was not low enough to reveal Mardale, but I hope to make it up there again soon when the water may be a little lower. </div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-yKHLa0R0w2M/T3ypNmyQFoI/AAAAAAAAAWs/bZzhatNfj0o/s1600/hs2b3oij+tw1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://3.bp.blogspot.com/-yKHLa0R0w2M/T3ypNmyQFoI/AAAAAAAAAWs/bZzhatNfj0o/s400/hs2b3oij+tw1.jpg" width="400" /></a></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-69496742101656418542012-04-03T22:25:00.000+01:002012-04-03T22:25:47.250+01:00Image of the Week #3<div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">On a very special week for me, this week's Image of the Week is a photo of a quote from Alfred Tennyson's poem <a href="http://en.wikipedia.org/wiki/The_Two_Voices">'The Two Voices'</a> in the Great Court of the British Museum: "and let thy feet, millenniums hence, be set in midst of knowledge". </div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn42oXSB1p-WxMm6tDw16Hym0J-p2hpCAxN-UnzZ7ezCOjLwVeZwcB4RPhnFUVizGNSatdrwZ3CQpYLiblheArpuhrMa56T80o1yBaibkCUiBD_LrX9N5JUuCMExqQM-S9evlBBeHBtbM3/s1600/P9164078.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn42oXSB1p-WxMm6tDw16Hym0J-p2hpCAxN-UnzZ7ezCOjLwVeZwcB4RPhnFUVizGNSatdrwZ3CQpYLiblheArpuhrMa56T80o1yBaibkCUiBD_LrX9N5JUuCMExqQM-S9evlBBeHBtbM3/s400/P9164078.JPG" width="400" /></a></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-2756644009413334212012-03-17T13:29:00.001+00:002012-03-25T22:23:52.695+01:00Image of the Week #2<div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">This week we have a view taken in June 2010 of the interior of the rock-cut tomb of <a href="http://www.touregypt.net/who/ankhtify.htm">Ankhtify</a> at <a href="http://en.wikipedia.org/wiki/El-Mo%27alla">el-Mo'alla</a>, where a team from the <a href="http://www.liv.ac.uk/precinct/Oct2002/4.html">University of Liverpool</a> is currently working. Ankhtify was Governor of the ancient Upper Egyptian town of Hefat in the 9th Dynasty. </div><br />
<div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgewyLxfDheF6990OP1vYRqgxy44Ogt-OOTdoDu2UBWCfxfOm_kmBPYqgh_ZBc2u4f3PFpQ-YaXnlSi6GjupNHN84FBaRda2iAvWAYXzXAzMifvqF5TqEIKBnWri2GeDru3OATmorj6q1Yz/s1600/P6220709.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgewyLxfDheF6990OP1vYRqgxy44Ogt-OOTdoDu2UBWCfxfOm_kmBPYqgh_ZBc2u4f3PFpQ-YaXnlSi6GjupNHN84FBaRda2iAvWAYXzXAzMifvqF5TqEIKBnWri2GeDru3OATmorj6q1Yz/s400/P6220709.JPG" width="400" /></a></div></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-61442204977832656742012-03-17T13:08:00.000+00:002012-03-17T13:08:05.196+00:00From Egypt's Sands to Northern Hills - Thank You Blackburn!<div style="text-align: justify;"><a href="http://www.kendalmuseum.org.uk/images/news-110308_garstang_exhibition.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="106" src="http://www.kendalmuseum.org.uk/images/news-110308_garstang_exhibition.jpg" width="320" /></a><span style="font-family: Georgia,"Times New Roman",serif;">The second leg of the </span><a href="http://annagarnett.blogspot.co.uk/2011/07/from-egypts-sands-to-northern-hills.html" style="font-family: Georgia,"Times New Roman",serif;">'From Egypt's Sands to Northern Hills' </a><span style="font-family: Georgia,"Times New Roman",serif;">touring exhibition on </span><a href="http://en.wikipedia.org/wiki/John_Garstang" style="font-family: Georgia,"Times New Roman",serif;">John Garstang</a><span style="font-family: Georgia,"Times New Roman",serif;">'s excavations in Egypt has just closed at </span><a href="http://www.blackburn.gov.uk/server.php?show=ConWebDoc.52330&changeNav=2303" style="font-family: Georgia,"Times New Roman",serif;">Blackburn Museum and Art Gallery</a><span style="font-family: Georgia,"Times New Roman",serif;">, and the objects are due to be unveiled on their third leg at </span><a href="http://www.burnley.gov.uk/towneley/" style="font-family: Georgia,"Times New Roman",serif;">Towneley Hall, Burnley</a><span style="font-family: Georgia,"Times New Roman",serif;"> on March 24th, where they will remain until June 28th.</span></div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Georgia,"Times New Roman",serif;">The exhibition has been very well received on the first and second legs at </span><a href="http://www.kendalmuseum.org.uk/" style="font-family: Georgia,"Times New Roman",serif;">Kendal </a><span style="font-family: Georgia,"Times New Roman",serif;">and Blackburn respectively, and we look forward to seeing the exhibition in its stunning new venue at Burnley. Any feedback from visitors to the exhibition so far would be gladly received. </span></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com2tag:blogger.com,1999:blog-3532237924418397590.post-64625630561480469272012-03-13T22:19:00.000+00:002013-04-27T22:27:06.089+01:00University of Liverpool Poster Day 2012<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;">Here's my contribution to the University of Liverpool's Poster Day 2012</span></div>
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Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-52399476352009793922012-03-08T18:12:00.001+00:002012-03-08T18:13:47.881+00:00Image of the Week #1<div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">I've decided that I have far too many photos and drawings sitting unused on my computer, and so I'd like to start sharing them in the form of 'Image of the Week'.<br />
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This will include photos and drawings of ancient Egyptian sites, museum visits and the landscape of Cumbria and North Yorkshire. </div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">The first is this photo of bound captives at the <a href="http://www.touregypt.net/featurestories/komombo2.htm">Temple of Sobek at Kom Ombo</a>, taken in June 2010. </div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMiAXdx6ZltYGwAUtLYk9ptJ6_EInweAcU1MNYFRzeJEUZ00S4k3jiBXM9YhCcKJSpgpKbZDH2pzSmTvR6hpNNbr_egBrw72f0cmPaojJMfwNLpQE1PxkvgEPOjCkCDWMJ9aUr6hzRDtKV/s1600/P6230885.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMiAXdx6ZltYGwAUtLYk9ptJ6_EInweAcU1MNYFRzeJEUZ00S4k3jiBXM9YhCcKJSpgpKbZDH2pzSmTvR6hpNNbr_egBrw72f0cmPaojJMfwNLpQE1PxkvgEPOjCkCDWMJ9aUr6hzRDtKV/s400/P6230885.JPG" width="400" /></a></div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-26324655230989124212012-02-27T17:24:00.004+00:002012-02-27T17:34:13.214+00:00Website of the Week: Digitisation of Davies Theban Tomb tracings<div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><a href="http://www.griffith.ox.ac.uk/gri/gif-files/davieses.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.griffith.ox.ac.uk/gri/gif-files/davieses.jpg" /></a>This is my first 'Website of the Week' for a while due partly to fieldwork commitments and to my encroaching Ph.D deadline, but I'd like to kick-start it again with a <a href="http://www.griffith.ox.ac.uk/gri/4daviest.html">link</a> to the newly-digitised collection of Theban Tomb tracings made by <a href="http://en.wikipedia.org/wiki/N._de_Garis_Davies">Norman and Nina de Garis Davies</a> during the early 20th Century by the <a href="http://www.griffith.ox.ac.uk/">Griffith Institute, Oxford</a>. This is an indispensable resource for those studying the Theban necropolis; a plan of the tomb and copies of the traced wall decorations are provided where available for 73 tombs which the Davies' recorded. My personal favourite is the <a href="http://www.griffith.ox.ac.uk/gri/4TT96.html">tomb of Sennefer</a> (TT96), Mayor of the Southern City during the reign of <a href="http://en.wikipedia.org/wiki/Amenhotep_II">Amenhotep II</a>. </div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-family: Georgia,"Times New Roman",serif;">The tracings are cross-referenced with Porter and Moss' '<a href="http://www.griffith.ox.ac.uk/topbib.html">Topographical Bibliography</a>' and it is possible to buy high-resolution images from the Griffith Institute <a href="http://www.griffithinstituteprints.com/">on request</a>. By preserving these unique images and making them freely available this site will significantly aid both relevant Egyptological research and those curious in the subject.</span></div><div style="text-align: justify;"><span style="font-size: xx-small;"><span style="font-family: Georgia,"Times New Roman",serif;">[Image: http://www.griffith.ox.ac.uk/gri/gif-files/davieses.jpg]. </span></span></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0tag:blogger.com,1999:blog-3532237924418397590.post-20408007856402011152012-02-10T20:15:00.005+00:002012-04-05T20:16:10.477+01:00Sesebi and Sudan 2012<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash4/419143_10150542605701194_504621193_9138114_2064326247_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash4/419143_10150542605701194_504621193_9138114_2064326247_n.jpg" width="200" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-size: small;">The confluence of the Nile at Khartoum</span></span></td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">For the last four weeks I've been working and travelling through Northern Sudan, not only missing a great chunk of the bitter British winter but also gaining valuable experiences along the way. I flew into <a href="http://en.wikipedia.org/wiki/Khartoum">Khartoum</a> on January 7th where I had a couple of hours to see some of the city, including the <a href="http://www.nasaimages.org/luna/servlet/detail/nasaNAS%7E7%7E7%7E40993%7E144837:Confluence-of-the-White-and-Blue-Ni">confluence of the Nile</a>.</div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
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<tr><td class="tr-caption" style="text-align: center;">The temple of Akhenaten at Sesebi</td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">I was based at <a href="http://www.ees.ac.uk/research/Excavation%20Award%20Grants.html">Sesebi</a> on the west bank of the Nile just north of the Third Cataract, which was the site chosen by <a href="http://en.wikipedia.org/wiki/Akhenaten">Akhenaten</a> for a colonial temple-settlement during the early part of his reign, working as part of a joint <a href="http://www.mcdonald.cam.ac.uk/reports/miar-report-2011.pdf">University of Cambridge</a> and <a href="http://www.oeai.at/index.php/projects-in-sudan.html">Austrian Archaeological Institute</a> mission. The three surviving columns of the tripartite temple, dedicated to the <a href="http://en.wikipedia.org/wiki/Theban_Triad">Theban triad</a>, are the most recognizable elements of the site, though it is also still possible to see the associated settlement, storage magazines and enclosure wall of Akhenaten amongst evidence of earlier 18th Dynasty occupation. Sesebi was excavated between 1936 and 1938 by the<a href="http://www.jstor.org/pss/3854419"> Egypt Exploration Society</a>, who published short reports of their findings but did not publish their work in full. Whilst at the site I worked on the documentation of the Sesebi New Kingdom ceramic corpus, which allowed me to gain an in-depth knowledge of a wide variety of vessels and their manufacture, as well as to question their precise function in antiquity. </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Georgia,"Times New Roman",serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash4/402019_10150542607171194_504621193_9138123_862299939_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash4/402019_10150542607171194_504621193_9138123_862299939_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sunrise on Sai Island</td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">I also found time for several site visits with my colleagues from Sesebi. The first of which was to <a href="http://www.bsr.ac.uk/research/archaeology/geophysics-2/projects/sai-island-sudan">Sai Island,</a> where a New Kingdom settlement and an Ottoman fort are still well preserved. Sai is probably the most picturesque place I can say I have ever visited, and we were lucky to have arrived when very few biting flies were in residence due to the harsh winds! I then travelled on to <a href="http://www.britishmuseum.org/research/research_projects/all_projects/featured_project_amara_west.aspx">Amara West</a>, the site of a Ramesside settlement and cemetery currently under investigation by the British Museum. Both Sai and <a href="http://blog.britishmuseum.org/category/archaeology/amara-west/">Amara West</a> are situated to the north of Sesebi and so were within an hour's drive of the site. </div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Georgia,"Times New Roman",serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://a2.sphotos.ak.fbcdn.net/hphotos-ak-snc7/398700_10150542607881194_504621193_9138129_848390144_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://a2.sphotos.ak.fbcdn.net/hphotos-ak-snc7/398700_10150542607881194_504621193_9138129_848390144_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The temple of Amenhotep III at Soleb</td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">On the second day trip we headed to the temple of <a href="http://en.wikipedia.org/wiki/Amenhotep_III">Amenhotep III </a>at <a href="http://en.wikipedia.org/wiki/Soleb">Soleb</a>, which was an hour's drive north and is comparable in some aspects of style to Sesebi, and the temple of <a href="http://en.wikipedia.org/wiki/Tiye">Queen Tiye</a> at <a href="http://www.sfdas.com/blog/?page_id=182">Sedeinga</a>. This visit was a personal highlight for me as both of these sites had played a major role in my BA and MA research into the art and architecture of Amenhotep III. Soleb is the site of a sandstone temple dedicated by Amenhotep III to <a href="http://en.wikipedia.org/wiki/Amun">Amun-Re </a>and to his own deified form, <a href="http://en.wikipedia.org/wiki/Amenhotep_III">Nebma'atre Lord of Nubia</a>, together with New Kingdom and <a href="http://www.sfdas.com/blog/?page_id=182">Merotic cemeteries</a>. Sedeinga was the site chosen by Amenhotep III for a sandstone temple dedicated to the cult of his principal queen, Tiye. The temple itself lies in ruins, with only a single column left standing, though it still remains a spectacular sight alongside a large Merotic cemetery. Both Soleb and Sedeinga preserve many inscribed blocks, several of which, despite their beauty, are unfortunately being slowly destroyed as a result of graffiti. This day finished with a visit to <a href="http://www.britishmuseum.org/pdf/4a%20The%20Egyptian%20Inscriptions.pdf">Gebel Dosha</a>, where after climbing up the rock face we were rewarded with a rock-chapel of Tuthmosis III and several New Kingdom rock stelae carved into the gebel. We also met several caravans heading back on the desert roads containing hundreds of camels!</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Georgia,"Times New Roman",serif; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://a4.sphotos.ak.fbcdn.net/hphotos-ak-snc7/420034_10150542609436194_504621193_9138135_542789437_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://a4.sphotos.ak.fbcdn.net/hphotos-ak-snc7/420034_10150542609436194_504621193_9138135_542789437_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The temple of Queen Tiye at Sedeinga</td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"></div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">The final day on site meant a brief visit to <a href="http://www.bsr.ac.uk/research/archaeology/geophysics-2/projects/sesebi-sudan">Gebel Sese</a>, around 1km walk from site, where impressive mud and stone architecture dating to the Medieval and Ottoman periods can be seen by hiking up to the top, which is also the best place to get a panoramic view of Sesebi itself. The next day meant a ten-hour road journey to Khartoum, and then a flight back to Heathrow which thankfully was allowed to land despite the conditions in London!</div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://a7.sphotos.ak.fbcdn.net/hphotos-ak-ash4/418850_10150542618586194_504621193_9138190_1118600835_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://a7.sphotos.ak.fbcdn.net/hphotos-ak-ash4/418850_10150542618586194_504621193_9138190_1118600835_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif; font-size: small;">The top of Gebel Sese, looking down onto Sesebi</span></td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><u>Further Reading:</u></div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"></div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><a href="http://cambridge.academia.edu/PaulvanPelt/Papers/1240597/Sesebi_2011">Spence, K., <i>et al</i>., (2011), <i>'</i>Sesebi 2011', <i>Sudan & Nubia</i> 15: 34-38.</a></div><div style="text-align: justify;"><a href="http://www.ees.ac.uk/userfiles/file/EA%2035%20Spence_Rose.pdf" style="font-family: Georgia,"Times New Roman",serif;">Spence, K., & Rose, P. J., (2009), 'New Fieldwork at Sesebi', <i>Egyptian Archaeology</i> 35: 21-24. </a></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com2tag:blogger.com,1999:blog-3532237924418397590.post-63235142685260899412011-10-30T17:18:00.004+00:002011-12-18T14:54:39.891+00:00Sacred and Profane at the Barber Institute<div class="separator" style="clear: both; text-align: center;"><a href="http://t0.gstatic.com/images?q=tbn:ANd9GcT_J-1jBCUf0oIgjCSBBbpcJm4dKebeEDfFFXmvd6AW5fswrRG69w" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://t0.gstatic.com/images?q=tbn:ANd9GcT_J-1jBCUf0oIgjCSBBbpcJm4dKebeEDfFFXmvd6AW5fswrRG69w" width="243" /></a></div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">Yesterday I spent the day in Birmingham and finally got around to visiting the exhibition <a href="http://www.barber.org.uk/pr16062010.html">"Sacred and Profane: Treasures of Ancient Egypt from the Myers Collection, Eton College and the University of Birmingham"</a> at the <a href="http://www.barber.org.uk/index.html">Barber Institute of Fine Arts</a>. The objects in the exhibition belonged to <a href="http://1879zuluwar.talk-forums.com/t3657-major-william-joseph-myers">Major W. J. Myers</a>, an alumnus of <a href="http://www.etoncollege.com/">Eton College</a> who amassed a fine collection of Egyptian antiquities during his time in Egypt during the 1880s. On his death in the Second Boer War in 1899 Myers' collection of antiquities, his libraries and his diaries were bequeathed to Eton College. This exhibition is a collaboration between Eton College, <a href="http://www.birmingham.ac.uk/index.aspx">The University of Birmingham</a> and <a href="http://www.jhu.edu/">Johns Hopkins University</a>, and uses objects to illustrate key aspects of the religious life of the ancient Egyptians and the beliefs behind their burial and afterlife. </div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
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<tr><td style="text-align: center;"><a href="http://www.barber.org.uk/sacredimages/rowerssml.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="132" src="http://www.barber.org.uk/sacredimages/rowerssml.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia,"Times New Roman",serif;">Detail of a wooden rowing boat (ECM 1550)</span></td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">Though the exhibition is a little smaller than I had first anticipated, the space available had been effectively utilised and four large cases had been arranged to accommodate 80 objects, ranging from a gilded fragment from the 18th Dynasty <a href="http://www.barber.org.uk/sacredimages/mummycaselge.jpg">coffin</a> of the master builder Amenhotep from Thebes, to Old and Middle Kingdom <a href="http://www.barber.org.uk/sacredimages/offeringbearerlge.jpg">tomb models</a>, to decorative clay and faience vessels, and Hellenistic and Roman papyri and coins. For me the most interesting object in the exhibition was a wooden architectural cramp or dovetail inscribed with the name of Seti I and thought to have originated from his mortuary temple on the Theban west bank. This object would have been used to connect two blocks of stone in a building, perhaps while the mortar was drying. </div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><a href="http://www.barber.org.uk/barbimgs/sacredmontage2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="http://www.barber.org.uk/barbimgs/sacredmontage2.jpg" width="153" /></a>It was also interesting to see two of Myers' 34 notebooks on display, which contain details of his travels around the world. Unfortunately the two notebooks were left closed in the case, meaning that it is not possible to see Myers' handwriting and the details of his journeys. This decision may have been made to preserve the structural integrity of the notebooks as they are over 100 years old, though if it were possible for one or both of them to be opened at particular pages it would be interesting to catch a glimpse of Myers' original notes on Egypt, especially if those notes refer to any of the objects in the exhibition. </div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">The layout of each case was particularly striking; they were neither too cramped nor too empty, and the use of number labels next to each object, referring to a list of longer labels next to each case, meant that more information could be provided without cramping the interior of the case. The exhibition clearly caters to an older audience, which given the nature of the university-affiliated Barber Institute is understandable, however a children's trail has also been designed to accompany the exhibition meaning that younger visitors are still able to benefit from their visit.</div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; text-align: justify;">I do recommend a visit to the exhibition if you are in the area, and to get the most out of your visit (as photography is not allowed in the Institute) I would suggest that you get hold of the accompanying exhibition catalogue to read beforehand if possible, or buy it on the day in the Museum shop, which contains a great deal of information on Myers the man and his Egyptian collection. </div><div style="text-align: justify;"><span style="font-size: xx-small;"><span style="font-family: Georgia,"Times New Roman",serif;">All images from http://www.barber.org.uk/sacredimages/index.html. </span></span></div>Annahttp://www.blogger.com/profile/00413691163959837197noreply@blogger.com0