Monday, 18 February 2019

Object-Based Learning at the Egypt Centre

This past week has been quite a busy one at the Egypt Centre with several modules at Swansea University utilising the collection. On Monday, Dr. Ersin Hussein, an ancient historian with interests in local identity formation in the Hellenistic and Roman Mediterranean, had a handling session at the Egypt Centre as part of her module Set in Stone? Inscribing and Writing in Antiquity. This module provides an overview of a history of inscribing objects in antiquity with a focus on the use of epigraphic evidence for the study of ancient history. For this session, a total of six objects were chosen for the students, some of which had never been used as teaching aids before (fig. 1).

Fig. 1: Handling session in progress (photo by Ersin Hussein)

While the name of the Egypt Centre implies that we only have Egyptian objects in the collection, this session was a great opportunity to showcase some non-Egyptian material. One of the most interesting pieces is W953, a fragment of an Old South Arabian funerary stela (fig. 2). This is one of three Old South Arabian objects in the collection, which were all published by Prof. Ken Kitchen in 1997. The fragment, which is made of pink alabaster, contains the head of the owner with a partial horizontal text above. The text identifies the owner as "Sharah, son of (the clan) […]" (Šrḥ / bn / […]). Although the provenance of the fragment is unknown, it likely comes from the cemetery at Qataban (modern Yemen). The closest parallel is YM 69, housed in the National Museum of Yemen, Sana'a, which dates to the first century BC. YM 69 depicts the owner with his right arm upraised (an act of prayer or greeting) while holding a sword in his left (fig. 3). 

Fig. 2: W953

Fig. 3: YM 69 (

Another object used during this handling session was W950, a Sumerian fired brick with a stamp written in cuneiform (fig. 4). The text, written from left to right in four horizontal lines, reads as “Ur-Nammu, king of Ur, who built the temple of Nanna” (ur – {d}nammu lugal urí{ki}-ma lú é {d}nanna in-dù-a). Ur-Nammu (𒌨𒀭𒇉) was the founder of the Sumerian Third Dynasty of Ur, in southern Mesopotamia, who ruled around 2047–2030 BC. His death on the battle-field against the Gutians after a rule of eighteen years was commemorated in a long Sumerian poetic composition. The Code of Ur-Nammu is one of the oldest known law codes surviving today. Nanna (𒀭𒋀𒆠) was the god of the moon whose main temple was at Ur. Parallels to this stamp are well-known, such as British Museum 90801.

Fig. 4: W950

Recent studies have shown that Object-Based Learning has many benefits, including the long-term retention of ideas. Handling sessions offer a tactile experience for students, challenging them to interrogate the object and conceptualise their thinking. Object-Based Learning has been practised at the Egypt Centre for many years now, enhancing the degree schemes at Swansea University (fig. 5).

Fig. 5: Examining a mummy label (W549)

Chatterjee, H. and L. Hannan. eds. (2017) Engaging the Senses: Object-Based Learning in Higher Education. London: Routledge.
Hamblin, W. J. (2006) Warfare in the Ancient Near East to 1600 BC. London: Routledge.
Kitchen, K. A. (1997) ‘Three Old-South-Arabian Fragments in the Wellcome Collection, University of Wales, Swansea’. Arabian Archaeology and Epigraphy 8: 241–244.
Paris, S. G. ed. (2002) Perspectives on Object-Centered Learning in Museums. London: Routledge.
Walker, C. B. F. (1981) Cuneiform brick inscriptions in the British Museum, the Ashmolean Museum, Oxford, the City of Birmingham Museums and Art Gallery, the City of Bristol Museum and Art Gallery. London: British Museum Press. 

Monday, 11 February 2019

Work in the Valley of the Kings

On Saturday I spent my last day working in the Valley of the Kings before returning home to Swansea. As mentioned in my previous post, I am part of the Pacific Lutheran University Valley of the Kings Project (PLUVK) directed by Dr. Donald ("Don") Ryan. The project has been working in the Valley since 1989, specifically on undecorated tombs. In total, Don is responsible for re-excavating 11 of the 64 tombs in the Valley. This season, work focused on KV 49, which was discovered in January 1906 by Edward R. Ayrton (1882–1914) working for Theodore M. Davis (1837–1915). We commenced work on the 2nd February, with a team consisting of Don (Project Director), Denis Whitfill (Assistant Field Director), Dr. David Aston (Ceramicist), myself, and 8 Egyptian workmen (fig. 1).

Fig. 1: Team photo (Photo: Denis Whitfill/PLUVK)

KV 49 is a small undecorated tomb, which can be dated by its architecture to the Eighteenth Dynasty. The tomb appears to have been reused at the turn of the Twentieth and Twenty-first dynasties, as is evident from two hieratic graffiti written above the entrance. Both texts mention a number of officials, including the well-known royal scribe Butehamun. The texts describe the bringing of large quantities of linin over a period of several months. This led Egyptologist Nicholas Reeves to propose that the tomb had been employed as a storeroom for linens used in the restoration of the royal mummies (fig. 2)

Fig. 2: Outside KV 49 (Photo: Denis Whitfill/PLUVK)

The tomb's entrance had remained open for over 100 years and its interior encumbered with all manner of natural and human debris. Most of this debris had been removed during the 2018 campaign. As a result, it only took us a little over a week to finish up the clearing and cleaning. During the brushing of the floor on my final day, several nice seal impressions were recovered by the sifters. (fig. 3). Since some are only the size of a fingernail, they would probably have been overlooked if it wasn't for all the debris from the tomb being carefully screened by the keen-eyed workmen.

Fig. 3: Registering the seal impressions (Photo: PLUVK)

My time with the project was split between working in the Valley and with the objects housed in the magazine, located a short distance from the house of Howard Carter. Denis and I focused on photographing and studying coffin fragments from KV 45 and fragments of painted plaster on linen originating from KV 60. KV 45, the tomb of an official of the Eighteenth Dynasty named Userhat, was discovered by Howard Carter in 1902. Carter noted two mummies of the Twenty-second Dynasty, which were contained within double coffins. However, due to the tomb being badly decayed by water, he was unable to remove the coffins at the time. It wasn't until the PLUVK project re-excavated the tomb in between 1991 that the fragments of these coffins could be recovered. KV 60, which also dates to the Eighteenth Dynasty, was discovered by Howard Carter in 1903. The tomb contained two bodies of females, including Sitre, the wet nurse of the female pharaoh Hatshepsut. The identity of the second mummy has been the subject of much discussion, with some scholars believing that it's none other than that of Hatshepsut herself! During the re-excavation of the tomb by the project in 1989, many fragments of painted plaster on linen, which were originally attached to wooden coffins, were identified. These fragments originally belonged to a coffin of the temple signer Ty, a large fragment of which was recovered from the tomb (fig. 4). For more on this enigmatic and controversial tomb, please read the following blog post:

Fig. 4: Coffin fragment of the temple singer Ty (Photo: Denis Whitfill/PLUVK)

Aside from the work, it was great to meet so many colleagues and friends. This incudes one of the Egypt Centre volunteers, Dulcie Engel, who was travelling with her husband (Gabby) to Egypt for the first time. On Thursday evening we had an excellent meal in Pub 2000. (fig. 5), where we also discussed the various sites they had visited!

Fig. 5: A relaxing evening at Pub 2000

Carter, H. (1903) ‘Report of Work Done in Upper Egypt (1902–1903)’. Annales du Service des Antiquités de l’Égypte 4: 171–180.
Reeves, C. N. (1990) Valley of the Kings: The Decline of a Royal Necropolis. Studies in Egyptology. London: Kegan Paul International.
Reeves, C. N. and R. H. Wilkinson (1996) The Complete Valley of the Kings: Tombs and Treasures of Egypt’s Greatest Pharaohs. London: Thames and Hudson.
Ryan, D. P. (1990) ‘Field Report: Who is Buried in KV60?’. KMT 1, 1: 34–39, 58–59, 64.
Ryan, D. P. (1992) ‘Some Observations Concerning Uninscribed Tombs in the Valley of the Kings’. In After Tut’ankhamūn: Research and Excavation in the Royal Necropolis at Thebes, ed. C. N. Reeves. Studies in Egyptology. London: Kegan Paul International. 21–27.
Ryan, D. P. (2010) ‘Pacific Lutheran University Valley of the Kings Project: Work Conducted during the 2007 Field Season’. Annales du Service des Antiquités de l’Égypte 84: 383–388.

Monday, 4 February 2019

Gold from the Valley of the Kings

On Wednesday 30th January I flew to Luxor to spend the next 12 days as part of the Pacific Lutheran University Valley of the Kings Project directed by Don Ryan. The work this season will focus on the clearance of KV 49, which was discovered in January 1906 by Edward R. Ayrton (1882–1914) working for Theodore M. Davis (1837–1915).

Working in the Valley provides a good opportunity to highlight some objects in the Egypt Centre collection that originate from here. These objects are currently on loan from the Swansea Museum, having been donated by Miss Annie Sprake Jones of Bryn Myrddin, Abergwili (Carmarthenshire) in the late 1950s. The objects had been left to Miss Jones by her brother, Ernest Harold Jones (1877–1911), after his death (fig. 1). Harold Jones, as he was more commonly known as, was first employed by John Garstang (1876–1956) as an illustrator for the 1903–1904 season at Beni Hasan. After this, he took on responsibilities directing excavations at Beni Hasan, Hierakonpolis, Esna, Hissaya, Abydos, and various sites in Nubia. In 1907 he parted company with Garstang and joined the expedition of Theodore M. Davis (1837–1915) in the Valley of the Kings.

Fig. 1: Portrait of Harold Jones

First to be discussed is a small box containing gold leaf fragments (SM.1950.3.9), believed to have come from the gold shrine discovered within KV 55 (fig. 2). This tomb, which was found in 1907 by Edward Ayrton working for Theodore Davis, is perhaps the most controversial burial place in the Valley of the Kings. KV 55 had been looted in ancient times, but it had also suffered from flooding and moisture. This caused the large decorated wooden panels, which were gilded with a thin layer of gold leaf, to disintegrate soon after their discovery. Visitors to the tomb at the time noted that there was gold dust everywhere. Miss Jones reported that during a visit to the tomb her brother asked Theodore Davis if he could take a handful of 'souvenirs'. Davis' response was "Certainly, take two"!

Fig 2: Fragments of gold leaf from KV 55

The second object to be presented is a fragment of glass (SM.1959.3.2) bearing the cartouches of the Eighteenth Dynasty pharaoh Amenhotep II (fig. 3). According to Miss Jones, this fragment also originated from KV 55. Yet SM.1959.3.2 joins with a white amphora vessel (Cairo CG 24804) excavated by Victor Loret (1859–1946) within the burial chamber of Amenhotep II (KV 35) in 1898. The debate surrounding the provenance of this fragment has been discussed by Bosse-Griffiths (originally in 1961, reprinted in 2001) and Aldred (1962). More recently, the article by Nicholson and Jackson (2013) nicely sums up the various possibilities. In particular: (1) that the vessel was originally deposited in KV 55 before being moved to KV 35 along with the mummy of Queen Tiye (the "Elder Lady"), with the fragment collected by Jones overlooked by the ancient Egyptians since the vessel had been broken by looters. (2) The vessel originated from KV 35 with the Swansea fragment having been recovered by Jones during his clearance of Davis' spoil heap.

Fig. 3: Glass fragment with the cartouches of Amenhotep II (SM.1959.3.2) 

Harold Jones is well known for the beautiful watercolours he produced for a number of tombs in the Valley of the Kings, particularly those used in the publication of the tomb of Siptah (KV 47). Some of these watercolours and objects originating from excavations in which Harold Jones participated are currently housed in the Carmarthenshire County Museum. At an unknown date Kate Bosse-Griffiths (1910–1998), the first Honorary Curator of the Egypt Centre collection (formerly known as the Wellcome Collection) acquired two lesser-known watercolours produced by Jones. One of them depicts the modern cultivation with a mountain range in the background, perhaps the Theban hillside where he spent his formative years (fig. 4). The story of Harold Jones was rather brief as he succumbed to Tuberculosis in 1911 at the age of 34. The bilingual inscription on his Luxor gravestone reads:

Fig. 4: Watercolour perhaps depicting the Theban hillside.

Aldred, C. (1962) ‘The Harold Jones Collection’. Journal of Egyptian Archaeology 48: 160–162.
Bierbrier, M. L. (2012) Who Was Who in Egyptology. London: The Egypt Exploration Society. 4th edition.
Bosse-Griffiths, K. (2001) ‘Finds from “the Tomb of Queen Tiye” in the Swansea Museum’. In Amarna Studies and other Selected Papers, ed. J. G. Griffiths. Freiburg (Schweiz); Göttingen: Universitätsverlag; Vandenhoeck & Ruprecht. 97–107.
Bosse-Griffiths, K. (2001) ‘Gold-leaf from the Shrine of Queen Tiye’. In Amarna Studies and other Selected Papers, ed. J. G. Griffiths. Freiburg (Schweiz); Göttingen: Universitätsverlag; Vandenhoeck & Ruprecht. 108–110.
Davis, T. M. ed. (1910) The Tomb of Queen Tîyi. Theodore M. Davis’ excavations: Bibân el Molûk. London: Constable.
Delaney, C. (1986) “A Son to Luxor’s Sand”: A Commemorative Exhibition of Egyptian Art from the Collections of the British Museum and Carmarthen Museum. Dyfed: Dyfed County Council. 
Evans, N. (2014) ‘A Welshman in Egypt: Harold Jones: Tombs, Treasures, Artist Extraordinary’. Ancient Egypt: The History, People and Culture of the Nile Valley 84: 26–33.
Nicholson, P. T. and C. Jackson (2013) ‘Glass of Amenhotep II from Tomb KV55 in the Valley of the Kings’. Journal of Egyptian Archaeology 99: 85–99.
Pinch-Brock, L. (2007) ‘The Short, Happy Life of Harold Jones, Artist and Archaeologist’. In Who Travels Sees More: Artists, Architects and Archaeologists Discover Egypt and the Near East, ed. D. Fortenberry. Oxford: ASTENE; Oxbow. 31–39.
Reeves, C. N. and R. H. Wilkinson (1996) The Complete Valley of the Kings: Tombs and Treasures of Egypt’s Greatest Pharaohs. London: Thames and Hudson.
Schlick-Nolte, B., R. Werthmann, and C. E. Loeben (2011) ‘An Outstanding Glass Statuette Owned by Pharaoh Amenhotep II and Other Early Egyptian Glass Inscribed with Royal Names’. Journal of Glass Studies 53: 11–44.

Monday, 28 January 2019

Decorated Faience Tiles (Part 2)

In my last blog post, I presented two fragmentary glazed faience tiles decorated with lapwings identifying the rekhyt-people. Although lapwing tiles are well known, they are not quite as famous as those depicting bound foreigners. Some of the most detailed are those discovered within the memorial temple of Ramesses III at Medinet Habu, dating to the beginning of the Twentieth Dynasty (fig. 1). I was therefore quite surprised to find at least three fragments of such tiles in the Egypt Centre collection while searching through the box containing the lapwing tiles. Although not obvious at first, they each have a number of key identifying features.

Tiles from Medinet Habu (Museum of Fine Arts, Boston: 03.1573, 03.157103.1572, 03.1569)

The first fragment is EC397a, which is the most obvious of the three (fig. 2). When rotated correctly, it is possible to identify the rear of a head, including the strands of the hair. Most importantly, directly above this are the remains of a horizontal feather. This feature was commonly worn by the Libyans, as shown in the tomb of Seti I (fig. 3). Egyptian sources describe Libyan men with long braided and beaded hair, neatly parted from different sides and decorated with feathers attached to leather bands around the crown of the head. Aside from their headdress, the Libyans were described as wearing thin robes of antelope hide, dyed and printed, crossing the shoulder and coming down until mid-calf length to make a robe.

Fig. 2: Head of a Libyan (EC397a)
Fig. 3: Four Libyans from the tomb of Seti I (KV 17)

The identification of the second fragment (EC398b) is much more difficult (Fig. 4). However, looking at parallels, it appears to depict the dress of a Nubian. At the top is a small rosette next to a small circle, which is similar to the decoration of the dress worn by the Nubian on British Museum EA 12293 (Fig. 5). Further similarity is also seen in the wavy line below this, while the small dots in a slight curve on the left side seem to correspond nicely to what looks like a sash in the British Museum fragment. Finally, the slightly ribbed section on the right can be interpreted as the folds of the dress.

Fig. 4: Dress of a Nubian (EC398b)

Fig. 5: Nubian (British Museum EA 12293)

The identification of the third fragment (EC397d) is much less certain, but it is possible that it represents part of the dress of a Shasu Bedouin (fig. 6). In particular, the fragment seems to be the section of the right shoulder with a blackish-brown dress containing a yellow diamond-shaped pattern. This is similar to one of the complete tiles in the Cairo Museum (JdE 36457g), which was excavated at Medinet Habu (fig. 7). While the irregular shape of this fragment might suggest that is broken, this is not the case. These faience tiles were composed of many small pieces that fit together like a jigsaw puzzle to produce beautifully coloured figures.

Fig. 6: Possible dress section of a Shasu Bedouin (EC397d)
Fig. 7: Shasu Bedouin (JdE 36457g)

Just like the lapwing tiles presented in the previous blog post, the decorated faience tiles of foreigners originate from palaces, particularly the sites of Medinet Habu, Memphis, Tell el-Yahudia (Leontopolis), and Qantir. Since most seem to have been uncovered by the sebbakhin over a century ago, their exact context is not so clear. Despite this, some of these tiles have been found associated with the dais of the pharaoh.

Anthes, R. (1955) ‘Catalogue of Tiles and Other Inlays’. In The Excavations of Medinet Habu, IV: The Mortuary Temple of Ramses III, pt. II, ed. U. Hölscher. Oriental Institute Publications 55. Chicago: The University of Chicago Press. 42–47.
Anthony, F. B. (2017) Foreigners in Ancient Egypt: Theban Tomb Paintings from the Early Eighteenth Dynasty (1550–1372 BC). Bloomsbury Egyptology. London: Bloomsbury.
Daressy, G. (1911) ‘Plaquettes émaillées de Médinet-Habou’. Annales du service des antiquités de l’Égypte 11: 49–63.
Friedman, F., G. B. Dunn, and M. Leveque. eds (1998) Gifts of the Nile: Ancient Egyptian Faience. London: Thames and Hudson.
Hayes, W. C. (1937) Glazed Tiles From a Palace of Ramesses II at Kantīr. The Metropolitan Museum of Art Papers 3. New York: Metropolitan Museum of Art.
Lewis, T. H. (1882) ‘Tel-el-Yahoudeh (the mound of the Jew)’. Transactions of the Society of Biblical Archaeology 7: 177–192.

Monday, 21 January 2019

Decorated Faience Tiles

In my last post, I mentioned that the topic of my PhD research and recent monograph dealt with the rekhyt-people. Therefore, it seems only natural that my opening object blog post deals with them! Firstly, a brief introduction to this group of people.

It is commonly accepted that the rekhyt-people are to be identified as the lowest class of society in ancient Egypt and have been called “subjects”, “common people”, “plebeians”, or “mankind”. While their appearance can take several forms, they are most often represented as lapwings with human hands raised in adoration. In particular, they appear in the form of a rebus reading dwȝ rḫyt nbt, "all the rekhyt-people adore", often before the cartouche(s) of the pharaoh who sponsored the monument (fig. 1). The lapwing is one of the earliest and most easily identifiable birds in Egyptian art, being depicted in both hieroglyphs and reliefs from the Protodynastic Period through Roman times.

Fig 1: Rekhyt rebus of Ramesses II at Luxor Temple

While searching through the photos of the objects in the Egypt Centre collection over Christmas, I noticed that one of our faience tiles (EC398c) contained a fragmentary lapwing figure in the form of the rekhyt rebus (fig. 2). While not particularly obvious, the tile depicts the lower part of the lapwing's body and foot directly above a nb-basket (the word for "all"). The basket is decorated with small squares, which would have been filed with multi-coloured pieces of faience. Some of the mortar used to affix these small squares is still present on the object. What's more, while looking through further faience tiles in the Egypt Centre collection, I found another fragment (EC397b) that has the unmistakable foot of a lapwing with part of the star hieroglyph (meaning "adore") directly above (fig. 3)! In the case of the latter fragment, the white inlay is now almost completely missing from the blue faience matrix.

Fig. 2: EC398c

Fig. 3: EC397b

Such multi-coloured tiles in the form of the rekhyt rebus are well known from the Ramesside Period. In particular, they have been excavated within the memorial temple of Ramesses III at Medinet Habu and his palace at Tell el-Yahudia (Leontopolis) in the Delta. Undoubtedly, the most wonderful example of these tiles is housed in the Cairo Museum (JdE 33968). Though its provenance is uncertain, this multi-coloured tile demonstrates the high degree of craftsmanship involved in the creation of these objects (fig. 4).

Fig. 4: Cairo JdE 33968

So, how were these tiles used and what was their function? Well, it seems that they were used to flank doorways, particularly those of the palace or leading to it. The memorial temple of Ramesses III at Medinet Habu is a prime example, with the lower jambs of the doorway leading from the first court of the temple towards the palace decorated with friezes of lapwing tiles. Doorways with flanking rekhyt figures are first attested during the Eighteenth Dynasty and continue through the Roman era (fig. 5). Their purpose was to ensure the perpetual adoration of the rekhyt-people for their pharaoh, thus ensuring that maat (cosmic order) is maintained!

Fig. 5: Lapwings flanking a doorway of the temple of Khonsu at Karnak

Griffin, K. (2012) ‘Lapwing Tiles’. In Between Heaven and Earth. Birds in Ancient Egypt, ed. R. Bailleul-LeSuer. Oriental Institute Museum Publications 35. Chicago: The Oriental Institute of the University of Chicago. 140–142.
——— (2015) ‘Links Between the Rekhyt and Doorways in Ancient Egypt’. In Proceedings of the Tenth International Congress of Egyptologists, University of the Aegean, Rhodes, 22–29 May 2008, ed. P. I. Kousoulis and N. Lazaridis. Orientalia lovaniensia analecta 241. Leuven: Peeters. 1115–1129.
——— (2018) 'All the Rḫyt-people Adore': The Role of the Rekhyt-people in Egyptian Religion. Golden House Egyptology 29. London: Golden House Publications.
Hayes, W. C. (1937) Glazed Tiles From a Palace of Ramesses II at Kantīr. The Metropolitan Museum of Art Papers 3. New York: Metropolitan Museum of Art.
Lewis, T. H. (1882) ‘Tel-el-Yahoudeh (the mound of the Jew)’. Transactions of the Society of Biblical Archaeology 7: 177–192.

Saturday, 12 January 2019


Hello, and welcome to my new blog as the Collections Access Manager at the Egypt Centre. For my first post, I thought it best to introduce myself. I was born in Belfast in 1981 during the hunger strikes and a time of deep division in Ireland. My interest in Egyptology developed at a young age, mainly through the many visits to the Ulster Museum in Belfast. While the museum displays only a small collection of Egyptian antiquities, the mummy of the lady Takabuti is its star attraction. My first visit to Egypt was a cruise on the Nile for my sixteenth birthday (1997), a trip that inspired me to want to study Egyptology.

Mummy of Takabuti in the Ulster Museum

In 2000 I arrived in Swansea in order to enrol as an undergraduate student on the Ancient History and Egyptology joint honours degree scheme at Swansea University. This was the first year that Egyptology had been offered as a degree scheme at Swansea, although several modules had been taught previously by Prof. Alan Lloyd. Following this, I enrolled on the new Master's degree in Ancient Egyptian Culture at Swansea, graduating in 2005. It was at this time that my interest in the rekhyt-people started, which resulted in me undertaking PhD research on them (more on the rekhyt-people to come in my next blog post!). I passed my PhD viva in 2014, with the reworked version of my thesis being published by Golden House Publications late last year.

Monograph on the rekhyt-people

Shortly after arriving in Swansea, I also visited the Egypt Centre for the first time, signing up to be a volunteer. Thus, my association with the Egypt Centre extends over eighteen years. During this time, I have been a volunteer, workshop assistant on our Saturday workshops, and now Collections Access Manager. Working at the Egypt Centre has obviously brought me in close proximity to the collection, so it is no surprise that my first academic publication dealt with a previously unrecognised ȝḫ ı͗ḳr n Rʿ stela (A232), which was excavated by Petrie at Abydos during his 1902–3 season. I have also published the ushabti of the little-known Divine Adoratrice Qedmerut (W1315), which initially stemmed from an undergraduate project at Swansea University. Most recently, I identified a relief (W1376) in the Egypt Centre stores as originating from the Eighteen Dynasty temple of Hatshepsut at Deir el-Bahari. While I initially believed that this relief depicted Hatshepsut, I am now convinced that it depicts her daughter Neferure. The results of this research will be published later this year. A full list of my publications can be found here:

ȝḫ ı͗ḳr n Rʿ stela (A232) 

Aside from being a student and working at the Egypt Centre, I was previously the Co-ordinating Tutor of Egyptology for the Department of Adult Continuing Education (DACE) between 2004–2013. Most recently, I have been a Lecturer in Egyptology at Swansea University (2015–2018), during which time I integrated object-centred learning into my teaching by utilising the Egypt Centre collection. In 2010 I participated in my first excavation in Egypt, working on the Ahmose-Tetisheri Project at Abydos under the direction of Dr. Steve Harvey. In the same year, I joined the South Asasif Conservation Project (SACP), directed by Dr. Elena Pischikova, which I have been associated with ever since. I have also been part of the AcrossBorders Project, directed by Prof. Julia Budka, working on Sai Island in Sudan (2015–2016).

With the vignette of the Seventh Hour of the Night

Well, that’s probably enough about me. It is planned that this page will be a regular blog dealing with the Egypt Centre collection. Please subscribe to this blog (on the right) to receive updates!