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Saturday, June 9, 2012

Marina and Maggie overlooking central trench 6. You see Marina and Maggie at Marina’s central trench 6. Although there is Late Period (25th/26th Dynasty) reuse in this area (as in most sectors behind the lake), just beneath the surface the pottery is a mixture of New Kingdom and Late Period. The pure New Kingdom levels are in evidence in parts of the square as high as 30 cm. below the surface, and here you see the round silo of New Kingdom date that appeared in Level 4. Most of the silos that we excavated in earlier years were larger in diameter than this one, and it will be interesting to see whether we find additional examples on this scale, about 1.5 meter diameter (more similar to those found by Helen and Jean Jacquet at North Karnak).

Abdel Aziz works on excavating skeleton. Skeleton uncovered.

However, in the next level at the east of the square, bones became visible coming out of the baulk. We noted that they were large and presumed that they were of a large animal. As the gufti Abdel Aziz continued to work we began to think that we had an articulated quadruped, and I took quick photos to ask Salima and Roxie about it. But then more definition appeared that clarified this was the lower half of a human with a discernible hip area and, more diagnostic, a foot. The upper half is still beneath the baulk, but nearby is a large animal bone also in the baulk. And the ground is scattered with red ochre. We have no pottery associated so far, and this find has been covered to await next winter – along now with a growing number of other human remains. The pottery for this area, as already stated, was mixed Late Period and New Kingdom, but first we must excavate the remainder of the burial. Then we will look very carefully at the context immediately above this area.

Skeleton.

Afternoons at the Amon Hotel have been dedicated either to visiting monuments (after showers and cool downs) or drawing pottery under Darcy Hackley’s supervision. Here are a group of photos that show our students learning to draw and some of the steps they must master.

You see Darcy first looking at sherds – a very important beginning. Learn to look at the pottery for fabric, shape, surface finishes, and decoration. Darcy.

Here is Sean. To begin he decided to start by drawing bases rather than rims, and it took him a little time to get going. Sean.

Gaultier smiles for the camera. In front of him you see standing a perpendicular triangle that provides a vertical right angle to help place the sherds at the correct stance. Gaultier.

Maggie is using the square to stand her sherd in this photo. The stance directs them how to place the profile on the paper, but they also must get a proper outline of the sherd’s shape. This is achieved by using a mason’s form with small metal rods that are pushed up against the sherd and produce a perfect copy on their opposite ends. Maggie.

This is achieved by using a mason’s form with small metal rods that are pushed up against the sherd and produce a perfect copy on their opposite ends.

See the images here of Katie, Sean, and Marina using the form and the close up of Allie’s hands with the profile image and the sherd both visible.

Katie and Marina using mason's form.
Sean using mason's form.
Allie holding mason's form.

Sheri. Hannah and Monika.
Next they trace the outline from the mason form onto the paper and check the exact dimensions with a caliper, as you see Sheri doing. Then they flip the profile image they have put down, having used a diameter chart to determine the size of the vessel’s rim, and place the mirror image of the profile according to the vessel’s diameter.  The drawing is largely done – except for the details. Now you see Hannah and Monika studying their sherds to draw in any decoration or any surface elements that are distinctive.
Hannah and Monika.

And now they show their work to Darcy. Betsy will eventually look over the drawings before they are inked for publication. Marina consults Darcy.

 

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