Because of potential unrest, no foreign missions were allowed to work in the field on Saturday, January 29, so we weren’t able to get back to the paving until Sunday. By late morning Abdel Aziz and Mamdouh had taken down the southern half of the small baulk between their 2 areas and had reached the paving across much of the area.
And here is the square at noon on Sunday. Although a few blocks are somewhat decayed, the paving is generally in pretty good condition. We had to cut steps into the baulk between the two sections of the square to allow the workers – and Mary – to get into and out of a square that is over 2 meters deep.
To get even lighting on the paving on a windy day, at noon, when shadows are narrow, took a complicated arrangement of sheets, galabiyas and scarves. Our workmen, as always, showed great good humor and willingness to cooperate with our odd requests.
It was much easier to take this south-looking photo of the paving early on Monday morning, when the sides of the square itself provided sufficient shadow. The angle of the Dynasty 25 paving to the later Ptolemaic wall is very evident, as is a narrow drainage channel cut diagonally across the paving, a feature not found in the areas closer to the gate.
As we suspected, the displaced block projecting from the west baulk of the square and forming the bottom of the large pit is, indeed, a displaced paving stone. Its original position was probably the now-empty space under the right end of the meter stick.
In this January 27 photograph taken from the enclosure wall, the continuity between the eastern section of the boundary wall of the approach to the Taharqa Gate (left) and the part excavated this season (right) is clear. In the foreground are the remains of the late Ptolemaic/Roman Period houses.
Although our excavations this year were intentionally limited, we did find some interesting pottery and objects. Here are the shallow, black-glazed Hellenistic bowl with impressed decoration and the slightly larger stone bowl mentioned in the posting of our first week’s work. The bowl appears to be serpentine, not diorite as we had first thought.
From the unexpected pottery cache found during our 2nd week came this rather elegant, highly burnished juglet with blue decoration; and a Ptolemaic colander (right). Like modern colanders it even had 2 horizontal handles (one shown here) by which you could hold it while shaking the water out of your lettuce.
Mary’s favorite piece of pottery is this carinated bowl, found at the bottom of the large pit in the square west of the Taharqa Gate. While its shape is simple and the pottery fairly coarse, the potter took the time to press a subtle pattern of radiating lines into the underside, making it rather special.
We only found 2 faience objects this season. The small amulet of a falcon-headed god (left) came from the southern excavation area. The musician was found in the square west of the Taharqa Gate. When complete, the harp would most likely have rested on an oversized phallus; such erotic figures, in faience or stone, were quite common in ancient Egypt.
Last year’s “mystery” object was the item on the left. We had no idea what it was, or even which way it stood. This year we were at least able to answer the second question: it is the rear end of a hollow terracotta animal (possibly a dog). We still don’t know its purpose.
Once the paving was fully exposed and photographed on January 31, we were able to spend our last few days at the site on other matters. I had a chance once again to examine the so-called “Montuemhat crypt”: a small chapel within the Mut Temple built by and dedicated to Montuemhat. Such chapels are extremely rare. Auguste Mariette, one of the founding fathers of Egyptology, published drawings of the chapel’s texts and scenes in 1875.
The copy of Mariette’s book in the Wilbour Library was annotated and corrected by Charles Edwin Wilbour when he visited the site in the late 1880s. Here is Mariette’s drawing (with Wilbour’s notations) of one of the most interesting scenes: the relief on the rear wall that may show an inventory of ritual objects and sculptures within the temple. (In Mariette’s book the reliefs are reversed; they are shown here in their correct orientation) I am particularly interested in comparing what Mariette and Wilbour saw with what is preserved today.
Although these scenes are very poorly preserved and difficult to light, we were able to get usable photographs of them that will assist in their study.
Not a bad end for a study season.
With the work done, Mary and I headed home on February 4 by way of Doha and Paris – a somewhat roundabout but interesting itinerary. Our last Flickr posting to “Mut 2011: Sights at the Site and Beyond” includes a few photos taken on that trip.
Richard Fazzini joined the museum as Assistant Curator of Egyptian Art in 1969 and served as the Chairman of Egyptian, Classical and Ancient Middle Eastern Art from 1983 until his retirement in June 2006. He is now Curator Emeritus of Egyptian Art, but continues to direct the Brooklyn Museum’s archaeological expedition to the Precinct of the Goddess Mut at South Karnak, a project he initiated in 1976. Richard was responsible for numerous gallery installations and special exhibitions during his 37 years at the museum. An Egyptologist specialized in art history and religious iconography, he has also developed an abiding interest in the West’s ongoing fascination with ancient Egypt, called Egyptomania. Well-published, he has lectured widely in the U.S. and abroad, and served as President of the American Research Center in Egypt, America’s foremost professional organization for Egyptologists.