How to Observe in Archaeology / Suggestions for Travellers in the Near and Middle East

by British Museum

METHOD

1. Outfit.

Each traveller will require to provide for his special interests; but for any archaeological work the following things are desirable. Note–books of squared paper. Drawing–blocks of blue–squared paper. Paper for wet squeezes, and for dry squeezes. Brush for wet squeezes (spoke brush). One or two so–metre tapes. A few bamboo gardening canes for markers in planning. Divide one in inches or centimetres for measuring buildings. A steel rod, 3 ft. x 1 inch for probing. Field– glass, or low–power telescope. Prismatic compass with card partly black, to see at night. Large and small celluloid protractors for plotting angles on plans. Plotting–scale, tenths of inches and millimetres. Maps of the district, the best available. Aneroid barometer, if collecting flints; small size; can be tested by observing in a tall lift, or by putting in a tumbler and pressing the hand air–tight over the mouth. The zero error, or absolute values, are not wanted for levelling, only delicacy in small variations. Magnifiers, a few pocket size; will also serve for presents. Indelible pencils, pens, and ink in strong corked pocket bottle. Reservoir pens dry up too much in some climates. China ink for permanent marking. Strips of adhesive paper, about a inch and a inches wide, to put round objects for labelling. Strong steel pliers, wire–cutting. A few pocket–knives will serve for presents. It is best to carry money in a little bag or screw of paper, loose in the jacket pocket, it in a risky district. It can then be dropped on any alarm and picked up afterwards.

Photographic.[1] In the selection of a camera much will depend upon the nature of the work to be undertaken, the conditions of travel, and the climate to which the camera will be exposed. For accurate work a stand camera is always to be preferred to one of the hand variety, and care should be taken to choose an instrument that is strongly made and of simple construction. The essentials of a good stand camera are that it shall be rigid, possess a rising and falling front, a swing back, and bellows which will be capable of extension to fully double the focal length of the lens to be used with it.

[1]Prof. Petrie is not responsible for this section, which is due to the kind assistance of some professional photographers.–ED.

The rising and falling front gives a power of modifying the field of view in a vertical direction. The swing back preserves the verticality of architectural subjects. In some cases, when used with the pivots vertical, it is a help in focussing the subject. The possible extension of the distance between the lens stop and the ground glass to twice the focal length (which is as a rule the distance between the same points, when a distant object is in focus) enables a small subject to be reproduced in natural size.

For work abroad where extremes of temperature or excessive variations have to be contended with, a special tropical camera is supplied by most of the leading makers. Its well–seasoned hard wood and metal– bound joints render it suitable for hard wear, and reduce the risk of leakage through warping or shrinkage. The tripod stand should be of the so–called threefold variety, with sliding legs which can be adapted to broken ground. If a loose screw is used for attaching the camera to the stand, a spare screw should be kept in reserve. It is important that this stand should be strongly made, and light patterns subject to undue vibrations in the wind should be discarded. For photographing small objects in the studio, a small table is more convenient than a tripod support. If the camera will not sit flat on the table, a bed can easily be designed for it. Better work will be done if this is prepared in advance than if an improvised support is used. As regards the size of the outfit, quarter–plate (3 ¼ x 4 ¼ inches) will usually be found to be large enough for the traveller. For anything in the nature of studio work in a museum or in connexion with an excavation a half–plate camera (6 ½ x 4 ¾ inches) is more satisfactory. Where a hand camera is preferred it should be one capable of adjustment of focus, and here again, strength and simplicity should be looked for. It should be provided with effective tripod legs, for studied exposures. Plates or flat films are preferable to roll fills [2] which are difficult to manipulate away from home. Flat films are less bulky and less breakable than glass, and can be sent by post. They are supplied by the makers in packs of 12 for daylight loading into a film–pack adapter, which must be provided to take the place of the ordinary dark slides for glass plates. The lens should be a modern anastigmatic by a good maker. A focal length of about six inches will be best for a quarter–plate camera. A bad lens makes success impossible even by accident.

[2] Transcriber's note: 'fills' in the original text is possibly a misprint for 'films'.

The stops will probably be of the Iris pattern, incorporated in the lens and so not likely to be lost, as often happens with loose stops.

A few words on the theory and use of the stops and on the F–notation may be of service. The speed of a photographic lens depends on the ratio of the effective aperture to the focal length. Thus any two lenses used at apertures of F/8, that is at apertures having diameters one–eighth of their respective focal lengths, should be of the same speed, though both lenses and apertures may be very different. In a given lens, the speed varies directly with the area of the aperture admitting the light, that is with the square of the diameter of the aperture. The series of stops usually employed is calculated so that each aperture is half the area of the preceding. Stated in terms of the focal length they are known as F/5.6, F/8, F/11.3, F/16, F/22.6, F/32, &c. Since the squares of those numbers, 31.4, 64, 127.7, 256, 510.7, 1024 are approximately each twice the preceding number of the series, the apertures, F(ocal length), divided by the successive numbers as denominators, are each half the area of the preceding and require twice the exposure, F/16 requires twice the 'exposure of F/11.3, and four times that of F/8, and so throughout the scale.

Stops are used to regulate either 'depth of focus' or length of exposure. The 'depth of focus' means the distance before and behind the point in theoretically accurate focus, at which objects are sufficiently focussed, for the purpose the photographer has in view. This length is greatest when only the central portion of the lens is in use. It is greatest with a pinhole, and least with a full aperture. Hence a small stop is required if the picture is to include near and far objects, while a large aperture may be used if all the subject is far enough away to be in clear focus—say more than 25 feet—or if it is a flat surface. The small stop is also required when the rising front or the swing back is in use. The power of regulating the time of exposure is convenient for shortening long exposures in dark interiors, or for lengthening inconveniently short exposures in a bright light.

In practice it will be best to become familiar with the use of about three stops, say the full aperture (perhaps F/5.6 or F/8), F/16, and F/32.

For judging long exposures, the use of an actinometer (issued in many inexpensive forms) is helpful.

A telephoto attachment increases the photographer's power of rendering distant details on a large scale. The results are greatly superior to enlargements of a small plate. It is, however, useless in a wind, unless the camera is specially supported, and is otherwise rather tricky to use. The traveller is strongly advised to master its management at home. It should be adjusted by the maker to the camera for which it is intended.

Unless a photographer's dark room can be had the developing of the bulk is best left until the return home, but tests should be made to see that the exposures are correct. A piece of ruby fabric or ruby paper tied over an electric light will give a safe light after dark, and 'Scalol' or some such one–solution developer which requires merely the addition of water, will give all that is needed for developing. For fixing use 4 oz. hypo to a pint of water.

In warm climates, use cold water. If it is not cool enough, the gelatine of the negatives may give trouble. In that case, get colder water, and use an alum bath. If water is precious, plates can be sufficiently washed by moving them forward in succession, through half–dozen soup plates filled with water.

If habitual use is not made of tabloid developers, &c., it is advisable to have some in reserve, for use in the case of broken bottles and spilt solutions.

Useful notes and maxims.

An over–exposed plate gives no dark shadows in the print.

An under–exposed plate gives no high lights. When in doubt, choose the risk of over–exposure.

To test the safety of your camera—Half draw the shutter, and expose part of the plate in the camera, in the sunshine, without uncapping the lens, and develop.

To test the safety of your red light—Expose a plate, divide it into two, develop half in the dark, and half for the same time, with the same solution by the light you are testing, and compare the results. This test is worth making, as photographers are apt to give themselves much discomfort from exaggerated caution.

2. Itinerary.

Where there are efficient maps the only need is to mark in the position of any antiquities, by cross–bearings to clear points, with the compass, drawn in with a sharp pencil. Where the maps are too small, or deficient, a continuous register of time should be made, noting the minute of starting and of stopping; this over known distances will serve to give the value over the unknown. Note whether mounted or walking, and the compass bearing of the track; also the bearings of known points around, whenever stopping. Without any known bearings pacing and compass used carefully may go over the roughest ground without five per cent. error in the day.

It is better when on unknown ground to plot a map as you go, so that no misunderstanding of notes can arise after. If a squared block cannot be used, at least draw the bearings and distances roughly, writing in the amounts. This should be plotted up accurately in the evening. A photograph may be unintelligible later in its detail. It is best where known features, a temple, tombs, &c., are in a view, to sketch the outline when photographing, and write in the details, so as to give a key to the photograph. Inquire about antiquities whenever stopping. When camping, villagers usually come up to see who it is; then tell them the directions of the places around. They will ask how you know; show them the map, and they are puzzled; talk over all the names a few miles round, and then anything notable in the district may be remarked, and inquiries made. Several men together help each other to remember, and bring out more remarks. Sometimes an intelligent man will describe all the antiquities he knows in the district: this should be followed closely on the map, and difficulties resolved at once, so as to get a clear record noted.

Of course, enormous exaggerations are met with, and not one report in ten will prove to be anything. Tracking up the source of bought antiquities is one of the best methods, and the one by which Naukratis was found.

If travelling by camel, it is practicable to diverge widely on foot, if objects are looked for well ahead. A foot track diverging 4.5 degrees, and then converging likewise, will easily keep in touch with a baggage camel. Fix on the camping–place in the morning, and let every one know of it, so that if accidentally parted all can rejoin by night.

3. Recording.

Buildings or ruins. Fix position by bearings to mapped points; also note bearings of any prominent feature near by, which may serve for finding the position again. Sketch a plan, always north up in the book, note bearing of main wall, and then measure with bamboo rod all original dimensions, with some diagonals to fix angles; do not forget the thickness of the walls. It is best for a long length to stretch a tape, pegged down by the ring, and pulled tight by hand: read off all positions of doors, windows, cross–walls, &c., on one long length, and not as separate short lengths. If possible plot the measures on squared paper as you go, and then any errors or omissions will be checked at once. 'E. and O.E.' has no place in a plan.

Town mounds. Estimate height over bare land outside; eye height is a trifle over five feet. At the foot of the mound see where the horizon cuts the shoulder of it to find eye height; walk up to that point, and sight another five feet; so on, till you see over the top. If there is any section, by a stream side, or digging, or land–slip, look for strata, stone or brick walls and floor levels, and for any distinctive potsherds; observing levels as before. Look all over the top for potsherds, to find the latest period of the town. Look around the mound for any early potsherds. Sherds on the slopes are worth less; as they have probably slipped down. Red burnt brick in Egypt is all Roman or Arab; in Greece and Asia Minor, red brick and mortar is Roman, Byzantine, or later.

Walk to the middle of the site or mound, and see its extent. Then walk round the wall line, or circuit of it, pacing and compass noting, to sketch the shape and size of the site: especially look for any straight lines of wall showing. Sometimes a mud–brick wall may be entirely denuded away, yet the position is shown by the sharp edge of the strew of potsherds on the surface.

Look for any slag–heaps; these are the remains of lime burning, and show where stone buildings existed; sometimes foundations still remain. Look for any recent pits or trenches; these show where stone or burnt brick has been dug out in modern times, and may give the position and plan of a temple or church.

See if any rubbish mounds can be traced outside of the town site; usually marked by a gentle walk–up slope, and a steep thrown–down slope, and mainly consisting of pottery, e.g. Monte Testaccio at Rome, and mounds east of Cairo.

Town sites rise in Egypt about forty inches a century, by the dust, rubbish, and decay of mud–brick buildings. In Palestine the rise is five feet a century, owing to the rains.

Cemeteries. These have generally been more or less plundered; if recently, the pits show; if anciently, there are scraps of pottery lying about. If there are pebbles or marl thrown up from deep levels, there is evidence of tombs, and they may be unplundered. Blown sand or grass may hide all trace of tombs. Sometimes the whole masonry of a tomb may have been removed, and the gravel filling–in have spread so uniformly that there is no sign of building, although a course or two of stone may yet remain under the surface. The surface of ground should be closely looked over at sunrise or sunset to show up the slight hollows or ridges by the shadows. After rain differences will often appear in the drying of the ground. Ask any one near a site if he knows of any one getting stones, or bronze, or plunder from tombs. Anything found will probably be greatly exaggerated, and no clear idea of the time of finding can be reached; yet any such detail may be useful.

Any large town site must have a cemetery, which is near it in most cases. In Egypt the towns being in the inundated land, the cemeteries are at some miles distant on the desert. The prehistoric cemeteries may be anywhere; the historic cemeteries are usually round the ends of the dyke roads, which were thrown up in the early dynasties as irrigation dams, and still serve as the roads of the country. In Greek lands cemeteries are always outside a town, usually by the side of the roads.

Caves should always be carefully explored; the roof and sides searched for inscriptions or carvings; rock pockets in the sides examined; and the floor dug over for potsherds and any small objects. If there are different strata these should be each removed separately, and the depth and positions of objects noted.

4. Methods of Planning.

Though we cannot here give full technical details of all the methods for plans and surveys, it will be useful to state the scope of each method, so that they may be kept in mind, and whichever is best suited to the individual and his work may be provided for.

1. Plain pacing. After pacing lengths of a few hundred feet, up and down hill and flat, tape the distances, and learn true value of pace. Careful pacing can be done to one or two per cent. of the whole; and properly used, in triangles, may give a useful plan.

2. Pacing and compass. This covers large spaces quickly, but the compass is less accurate than the pace.

3. Tape. Lines of taping must be well planned, with triangle ties to secure the angles. Pulling up straight is difficult in a wind, especially on broken ground, and one per cent. error is quite possible then. When working alone peg the tape down by the ring, or round a stone.

4. Tapes and cross lines. Stretch two strings crossing squarely on the ground: fix the square by laying a squared drawing block below and looking at strings over it. Two helpers each hold a tape, zero on a string, and the two tapes are held together by the observer and read off, giving the distance to each string; this is to be plotted at once on squared paper, and the plan is completed in detail as it progresses, without any note– book or later plotting. The helpers must be capable of holding the tape square to the string. Good for sites up to two hundred or three hundred feet.

5. Plane table. Excellent for some ground, where objects are visible from a distance: otherwise it requires a marker put up at every point to be fixed. Cumbrous to carry, much slower than 4.

6. Box sextant, used as giving angular accuracy to any of the foregoing; most useful with taping, and in following.

7. Sextant and three points. The most rapid accurate method is to adopt three points visible all over the ground (as trees or chimneys) or set up three markers. Find shape and size of this triangle. Then at any point take two angles visible between the points, and this fixes position of observer. A large site may have forty points fixed in two hours thus to about 1 in 1000. For detail and plotting see Petrie, Methods and Aims in Archaeology

8. Theodolite. For the most accurate work a theodolite is used, giving points to about 1 in 5000. It is almost essential for any astronomical meridian or latitude.

None of these methods necessitate any helper, except 4 which needs two helpers. The observation is from the point to be fixed in 1, 2, 3, 4, and 7; but it is to the point, needing signals or visible features on the points, in 5, 6, and 8, and for those methods a large stock of rods must be taken, and the whole ground gone over, before the work of observation; such methods take far more time than the others. The able surveyor will know by instinct how to use all the inferior methods as supplements to the higher, whenever time demands and accuracy allows.

When first searching a site, note the direction of any wall to the horizon point, and so see if other walls are parallel.

In all cases a plumb line is wanted for alining foundations and scattered blocks. Always carry six feet of thin string, and pick up the nearest suitable stone for a weight, up to three or four pounds in a wind.

5. Drawing and Copying.

Inscriptions. If there is any chance of being interrupted by any claimant, or by crowds, always make a hand copy at once, as quickly as possible. After a squeeze or photograph is taken, yet the hand copy is often of value to explain positions of squeeze slips or detail of photographs.

If there is no chance of interruption, then a carefully drawn copy full size should be made. For this a dry squeeze is the ground work. Lay a sheet of thin paper, such as thin wrapping or plain paper, on the stone, and press all the letters over with the fingers, so as to make a sharp bend; a break in the deep hollows does not matter. Then, putting the paper on a drawing–board or sheet of millboard, cock it up so that the shadow of the squeeze is seen, and draw over the lines (starting at right base), referring to the stone whenever uncertain. This is the only right way to copy hieroglyphics by hand. Note that the edges are usually rather worn, and the drawn lines should be inside the squeeze lines. If the stone is large, several lesser sheets are best.

Where there is writing, or the relief is too faint to squeeze, put the paper immediately below the first line, and draw it sign for sign, so that the spacing is preserved and no omission is possible. Fold back the paper as each line is copied, and so always keep the copying close below the line of inscription.

If the signs are in an alphabet that is not familiar, refer to the table of alphabets.

Sculpture Sculpture in low relief can be copied best by dry squeeze. As the connexion of the sheets used should be exact, put up the first sheet truly vertical, and mark little pencil crosses at the corners on the stone. Then the corners of successive sheets should be fitted into the angles of the crosses. When inking in the pencil drawings, do not carry the lines within two inches of the edges of the sheets. Then place sheets edge to edge, adjust them to fit as best they may, weight them heavily with books, turn back one edge and weight it, and then slip a strip of wetted adhesive paper half–way under the edge that is down; at once liberate the edge that is up, and dab (not rub) both heavily down on the adhesive. This makes a joint free of cockling, and when dry the inking can be completed across the joint. Where there is any colour remaining on sculpture or inscription, only dry squeezing is permissible.

Where signs are worn or decayed it is needful to try various lighting. This can be done in the open air, by shading the part by the hands placed around it as a sort of tube, the head blocking out the light over the tube. Then quickly raise a hand alternately, so as to reverse the oblique lighting, and watch the effect on the sign.

If the stone has not too tender a face, careful washing often brings out an inscription; and in such cases it is usually far easier to copy from a wet than from a dry stone.

If reliefs have been much weathered they can be made plain for photographing by laying horizontal and covering with sand; on wiping away the sand from the relief the ground will be left flat sand, so hiding the confused hollows of weathering.

The safest way for drawings to travel is to post them at the nearest post direct to where they will be worked up. The Postal Union takes rolls of 21 cm. thick, 60 cm. long, up to 5 kilos as parcels, or rolls of 10 cm. thick, 75 cm. long, up to 2 kilos by book post open at ends. This is far better than carrying rolls by hand.

Wet squeezing. Where there is no colour, and the stone is strong and not crumbling, a wet squeeze is the best copy. There are three purposes for it, and the method differs for each; (1) thin single sheet kept fresh on the outer face for photographing later; or (2) single sheet well beaten in and patched, depending on pricking the outlines and hand–copy from it, or blacking over the relief on the inner side and photographing; or (3) double sheet hard beaten, and patched in the hollows, for plaster casting afterwards.

For (1) there is no need to get an impression of the hollows to the bottom, and the face of the paper should be smooth. A soft paper, with little or no size, and a soft clothes–brush will do well for this. The sheet should cover the whole inscription, or have as few joints as may be. The stone should be dabbed with a wet brush so as to saturate the face, the sheet of paper well soaked in water laid upon it, taking care not to leave bubbles, and then dabbing firmly with the brush will drive the paper into the hollows. If the stone is polished or very smooth, it is needful to peel off the paper while wet by holding two corners, and lay it reversed on a flat surface to dry; if left on the stone the contraction will destroy the impress. Out of doors the paper can be held down by pebbles around it, or by sand on the edges, to prevent the wind catching it.

(2) The stronger squeeze should be of a tough paper with moderate sizing. Cut the paper to the form of the stone. Thrust it into a pail of water, knead it about vigorously, roll it into a ball and pummel it, so as to break the grain and let the water well into it. Then wet the stone, shake out the paper like a wet handkerchief, full of creases, lay it on the stone and begin to beat it in with a hard, long spoke–brush. A few strokes round the edge will catch it down so that the wind does not disturb it. Then begin to beat it heavily along the top edge; beat it to a pulp, and patch with strips left soaking in the water wherever breaks occur. If the stone is porous the paper may part from it, especially if expanded by beating; the only course then is to slush more water on the face so that it will go through the breaks and hold the paper down again. It may be needful to slit the paper to let the water go below it. Beat down again, enough to fix it.

(3) For casting purposes a final backing sheet, moderately beaten on, is needed to hold the squeeze together and stiffen it. Either (2) or (3) can be left on the face of the stone till quite dry, and then carefully detached by lifting up from one corner, and slipping a dinner–knife or a slip of wood under the paper to lift any part that sticks.

Stiff squeezes as (3) must be packed flat; thin, as (1) and sometimes (2), may be rolled in a large curve, but this always deteriorates a squeeze.

For plaster casting, a squeeze should be heated on a stove and brushed over with melted paraffin, or better wax, sufficient to cover the face without choking the finer detail. Before each cast the face should be lightly oiled with a tuft of wool.

Small objects. These can be copied by a thin paper squeeze, and the squeeze may be mounted by pasting a card and lightly pressing the squeeze back down on it. This will take out all cockling and make it lie flat for photographing.

Tin–foil is very handy for squeezes, and may be saved from chocolate for this. Press it firmly on a coin or seal with a tuft of wool, or beat it with a soft tooth–brush, being careful to avoid creases. The foil should then be floated on water, hollow back up, and blazing sealing–wax dropped into it to back it. The resulting positive can be then stuck on card.

For plaster casts of coins the face should be dusted with French chalk, as also a smooth bed of plasticine; the coin can then be pressed in safely without any possible risk, and afterward plaster cast in the mould. Sealing–wax is said to be sharper, but there is a risk of its sticking to the coin. If it is used, breathe hard on the coin, or wet it, before impressing; and when first set lift it slightly to detach it, and then replace till cold. Or tin–foil may be used, as in making positives; but, instead of floating on water, press plasticine on the foil while it is still on the object.

For curved surfaces, as cylinders, any of these methods can be used; the plasticine is the more successful.

In all casting of plaster on a small scale, use a soft camel–hair brush. Mix the plaster in the palm of the hand with a knife, take up some of the wettest to brush over the face of the moulds (a dozen scarabs or small coins done at once); then put he brush in water, and take up thicker plaster with a pocket–knife to drop on as a backing. This avoids air bubbles without using too weak a plaster.

Copying hieroglyphic inscriptions. Where possible a wet or a dry squeeze should be taken of any inscription. When hand copying is necessary, the main matter is to get the cartouches of king's names accurately, and the date at the beginning, examining specially whether single strokes, I I I I, have been connected above, ∩∩, forming the ten sign. The main difficulty for any one not knowing the 800 signs is to distinguish between those that are alike, especially when damaged. For this purpose the commonest signs that may be confused are here placed together, so that the essential points of difference may be noticed. A small cross is placed here by small points of distinction which might escape notice.

Illustration I: Some Hierogliphic Signs Liable to be Confused with Each Other

Illustration I: Some Hieroglyphic Signs Liable To Be Confused With Each Other

6. Photography.

The camera and material have been described under outfit.

Lighting and preparation of objects is a main element of success. When first looking over any ruins, make a list of every view wanted, with the time of day when the sun will be right for it. Then follow the time–table, and so get the best lighting all in one day.

For movable stones or figures place them in half–shade, as a doorway, and then tilt every way until the best lighting is found, fix them in that position, and then set up the camera square with them.

The camera should usually be fixed to look downward vertically, and then variation up to 40 degrees can be got by the legs. Hold the camera in the right position, keeping the legs off the ground, and then drop the legs to find their own place; thus very skew positions can be fixed quickly.

Small objects are best laid on black velvet, and taken vertically. Scraps of charcoal are useful to prop them in exact positions. A sheet of white paper stuck on a leg of the stand may be useful to prevent shadows being too heavy. Where outline, and not flat detail, is wanted, then a light ground is best; the most perfect is a sheet of ground glass with white paper a foot or two below it. If the ground glass cannot be had, a good substitute–also useful for a camera glass–is plain glass with a sheet of tissue paper (or the packing paper of films) stuck on with paraffin wax.

The dressing of objects to show up clearly is often needful. Incised objects can be filled in with charcoal powder if light, or chalk if dark; in any case a coarse powder, so as not to stain the object. For faint cutting on glass or crystal go over the lines with 'China ink in a pen, so as to cover them. Harden the ink in the sun, and then gently wipe with a damp finger until all the excess is removed and only the roughness of the lines remains black. On large objects light dust or sand is often useful, to make relief clearer.

For objects in a bad light, or in the interior of tombs, reflected light must be used. Lids of biscuit tins serve well; a lid in the sun sixty feet off, and another lid reflecting the light on to a wall, will suffice for a two minutes' exposure of a slow plate. Three or four successive reflections into a totally dark chamber will suffice in five or six minutes.

When an important subject cannot be revisited it is well to take duplicates; the camera should be shifted laterally a few inches for a near object, or a few feet for a distant view, and then the two films will form a stereograph, if both succeed.

In arranging groups of small objects, put together what will go in a three–inch circle, and minor pieces around, and then the best in the middle can be printed direct on lantern slides.

7. Preservation and Packing.

While travelling little can be done for preserving objects. Papyrus rolls should be wrapped at once in a damp handkerchief, to be carried, and then wrapped in paper, packed in a tin box, and filled round with cotton wool. Small papyri can be safely damped in a wet cloth, and flattened out between the leaves of a book; secure one edge straight in the hinge, and gradually press flat and secure by advancing leaves over it. Glass, if perfect, should be packed in tins with wool; old food or tobacco tins do well for tender things.

Flint implements and coins, though hardy, should be saved from grinding by wrapping in waste paper.

Ivory, if it has been buried, is very liable to flake. The cure is to soak it in paraffin wax; but temporarily it is secured by winding cotton thread round it in many directions. Some anoint it with vaseline, but if vaseline penetrates the ivory, it will not take up paraffin or gelatine later. Tender wood may be likewise saved.

A much–cracked glazed jar was packed by winding string round it in all directions, with tufts of wool under the string.

A whole mummy in most fragile condition, so that it could not be lifted, was made up solid with 40 lb. of paraffin wax which was melted out of it afterwards in England, making hardly any change. If contracted burials should be preserved, dust carefully, splash on about 5 lb. of paraffin wax heated to smoking–point. When cold, detach from soil, turn over, paraffin the lower side, and build up weak parts with a sludge of melted paraffin and sand, nearly chilled. About 8 to 10 lb. of wax will do the whole. The skull should be packed separately. Pad all hollows of the body with soft rag to spread pressure in packing. Paraffin wax is the best preservative as it is tough, and may be used as a coat over an object for safety. When not needed it can be cut away, or melted away, and cleaned off completely with benzol. It should be melted in an iron saucepan, as solder will give way if it is superheated. As it melts at about 120 degrees F., and boils at about 600 degrees F., it can be greatly superheated, and used when smoking, so as to penetrate deeply into wood or porous material. It is perfect for strengthening skulls; most rotten examples slopped with paraffin, and finally soused for a few seconds so as entirely to cover the bone in and out, will travel safely, if not crushed.

Boxes must always have corner posts, inside or out; see that the sides are nailed up to the edges to the posts, or the lid or bottom may part by the side splitting. See that all nails—except for the lid—are driven slanting alternately one way and reversed, this prevents sides or bottom drawing off. Nail the lid with many short nails, so that it can be raised without splitting.

To secure heavy objects in a mixed box, an inverted rough stool is the best, the cross piece on the object below, and the sides coming up to the lid. If cross bars are nailed in a box, damage may be done to an object in forcing the bars loose. It is often best to put heavy and light things in the same box, to equalize weights in journeying; if well secured, a mixed boxful travels well. Be very careful that a wedge–shaped stone cannot force itself loose by repeated jolts, or it may split a box.

Slabs of stone ire best packed in open shallow boxes face down on straw or wool, secured by a few diagonal cross bars on the top, as then they do not need to be opened for customs. All stones of regular form should be supported at a fifth of the length from each end. No bedding on a box is worth anything, as the box will bend more than the stone, and the strain will all come on the middle. Very heavy blocks are best with sacking on the face, and roped round in various parts.

Pottery is most difficult to pack safely. For large jars, mark the points of contact on the box, and nail on cushions of old cloth stuffed hard with straw, so as to pad the jar on all sides; make sure that it cannot twist about into a diagonal position off the pads. Long boxes, five or six feet, with three or four cross divisions, are best. Begin packing, say four pots with straw, at one end of the box, press up a cross board tight on them, and nail through the sides: then another batch likewise; about one inch thick of hard–pressed straw is needful at each contact. Twist straw into rough bands, and wind it round each pot. Fill up corners to prevent the bands shifting loose. Empty small tins make good stuffing for blank spaces. Old newspapers torn to bits and rolled into balls make good packing for pots and hold them firmly, but this method is dangerous if the packing becomes wetted. Pots should always be packed tight. Old sacking or cotton stuff may be tied on over the mouth of large pots, to prevent straw slipping in, and loosening the packing.

Bronzes and coins should not be cleaned in any way, till in a settled work place.

8. Forgeries and. Buying.

Most travellers wish to buy some things of interest, and in remote districts they may do good service in rescuing important objects which may be wanted in museums. Forgeries are ubiquitous, even in most obscure places in the hands of peasants, either supplied by dealers, or casually obtained, often in good faith. It is best to inquire of local collectors and museums as to the kinds of forgeries met with. The following notes are to show the novice how far he may go safely.

Bronze figures with a thick red patina, which scales off readily sometimes, or with thick green patina cracked, or hard green or brown patina, are safe. Thin green patina, or bare brown or black metal is dubious.

Papyri in roll, flexible though fragile, in known Greek or Egyptian writing, are fairly safe. Lumps stuck together, brown and scrappy, are made up.

Coins cannot be safely bought unless patinated, copper or silver. Only an expert can judge of gold or 'clean silver.

Jewellery of small size, as earrings and bracelets, is generally safe, if the age of the design is known. Modern wire is always drawn, ancient is irregular. Look for concretions of lime in the hollows, and for the dull face of old gold. If once cleaned there is little to distinguish old from modern gold.

Stone vases if turned are Roman or modern. The ancient irregularities should be studied from specimens.

Scarabs with nacreous or decomposed glaze in the hollows (as in the deep cuts at the side) are safe; also, if there are natural cracks by age, which would prevent modern cutting. There is a large variety of skilful forgeries.

Stone statuettes: a skilled forger may be paid up to £100 for a figure to order. Only an expert can judge.

Never buy in the dusk or in dark rooms. When buying never have any one at hand who calls attention to things, nor let any attendant interfere. Seem entirely unconcerned.

Get the reputation of never advancing on offers, or bargaining; let taking or leaving things at once be the rule. Time and delays are money to the traveller, and it is worth much to save time in haggling. Your donkey–boy will soon spread your character.

When offering for single things to a peasant, put the money by the side of the antiquity, and say that he must take one or the other: fingering the cash is irresistible, and no time is lost.

If it is likely that the source of an object will not be truly stated, the way is to make the best guess you can, and say it dogmatically: the pleasure of setting you right will often bring out the truth, or if you guessed right it will gain you credit and break down reserve.

As a principle it is well to be looked on as a liberal buyer, so as to encourage the offer of antiquities. A little more thus spent will be a trifling extra on the whole journey, and may largely increase the results in objects and information for future work.

Though prices can only be learned by practice, and they vary in time and place, yet the following scale may be taken as fairly safe.

Bronze figures if good work, inches high squared = shillings: except in bad state, or Osiris, or bad clumsy work, or votive animals.

Papyri or parchment, continuous text, £1 a square foot, accounts, half or a third.

Jewellery, between weight in coin and double that, according to work.

Scarabs, common but fair 2s., names 2s.–5s.; up to £5 or £10 if beautiful. Engraved gems, small common Roman, 2s.–4s. in London, more in East; for a fair Greek £1–£10.

Coins often higher in the East than in London. In Greek lands copper coins may be bought by weight, and picked over at leisure, and the worthless coins rejected. For single coins fix a price, say half a franc, and offers of large numbers may come in, from which the best can be chosen and the rest refused.

Glass vases, blown, inches high squared at 4d. or 6d. each. Coloured glass double or triple.

Ushabtis, poor 1s.–4s., fair 5s.–10s., fine blue or engraved £1– £10.

[LIST OF THE CHIEF BRITISH INSTITUTIONS AND SOCIETIES CONCERNED WITH THE ARCHAEOLOGY OF THE NEAR AND MIDDLE EAST.]

LONDON.

BRITISH MUSEUM, Bloomsbury, W.C.1.
Director, Sir F. G. Kenyon, K.C.B., P.B.A.
Keeper of Egyptian and Assyrian Antiquities, Sir Ernest Wallis Budge, Litt.D.
Keeper of British and Mediaeval Antiquities (including Prehistoric Antiquities, Ethnology, and Oriental Antiquities) Sir Hercules Read, F.B.A., P.S.A.
Keeper of Greek and Roman Antiquities, A. H. Smith M.A.
Keeper of Coins, G. F. Hill, F.B.A.
Keeper of MSS., J. P. Gilson, M.A.
Keeper of Oriental MSS. and Printed Books. L. D. Barnett, Litt.D.

VICTORIA AND ALBERT MUSEUM, S. Kensington, S.W.7.
Director, Sir Cecil Harcourt Smith, C.V.O.
Assistant Keeper of Architecture and Sculpture, E. R. D. Maclagan.
Assistant Keeper of Ceramics, C. H. Wylde.
Keeper of Metalwork, W. W. Watts.
Keeper of Textiles, A. F. Kendrick.
Keeper of Woodwork, E. F. Strange, C.B.E.

BRITISH ACADEMY, Burlington House, Piccadilly, W.1.
Secretary, Sir I. Gollancz, Litt.D.

BRITISH SCHOOL AT ATHENS, 19 Bloomsbury Square, W.C.1,
Secretary, John Penoyre, C.B.E.

BRITISH SCHOOL IN JERUSALEM, c/o. Palestine Exploration Fund,
2 Hinde St., Manchester Square, W. 1. Secretary, Miss R. Woodley.

BRITISH SCHOOL AT ROME, 19 Bloomsbury Square, W.C.1.
Secretary of the Faculty of Archaeology, History and Letters,
E. J. Forsdyke.

PALESTINE EXPLORATION FUND, 2 Hinde St., Manchester Square, W.1
Secretary, E. W. G. Masterman, M.D.

EGYPT EXPLORATION SOCIETY, 13 Tavistock Square, W.C.1.
Secretary, Miss Jonas.

EGYPTIAN RESEARCH ACCOUNT AND BRITISH SCHOOL OF ARCHAEOLOGY IN EGYPT.
Hon. Director, Prof. W. M. F. Petrie, F.R.S., F.B.A., University College, Gower St., W.C.1.

SOCIETY OF ANTIQUARIES OF LONDON, Burlington House, W.1.
Secretary, C. R. Peers, F.S.A.

ROYAL ASIATIC SOCIETY, 74 Grosvenor St., W. 1.
Secretary, Miss Eleanor Hull.

SOCIETY FOR THE PROMOTION OF HELLENIC STUDIES, 19 Bloomsbury Square, W.C.1.
Secretary and Librarian, John Penoyre, C.B.E.

ROYAL INSTITUTE OF BRITISH ARCHITECTS, 9 Conduit St., W.1.
Secretary, Ian MacAlister.

SOCIETY FOR THE PROMOTION OF ROMAN STUDIES, 19 Bloomsbury Square, W.C.1.
Secretary, Miss Margaret Ramsay.

ROYAL ANTHROPOLOGICAL INSTITUTE, 50 Gt. Russell St., W.C.1.
Secretaries, H. S. Harrison, T. A. Joyce, O.B.E.

ROYAL NUMISMATIC SOCIETY, 22 Russell Square, W.C.1.
Secretaries, J. Allan, Lt. Col. W. Morrieson.

ROYAL GEOGRAPHICAL SOCIETY, Lowther Lodge, Kensington Gore, S. W. 7.
Secretary, A. R. Hinks, F.R.S.

ARCHAEOLOGICAL JOINT COMMITTEE. Hon. Secretary, G. F. Hill, British Museum, W.C.1.

CAMBRIDGE.

MUSEUM OF ARCHAEOLOGY AND ETHNOLOGY. Curator, Baron A. von Hugel.

FITZWILLIAM MUSEUM. Director, S. C. Cockerell, M.A.

OXFORD.

ASHMOLEAN MUSEUM. Keeper, D. G. Hogarth, C.M.G., F.B.A.

ATHENS.

BRITISH SCHOOL. Director, A. J. B. Wace.

JERUSALEM.

BRITISH SCHOOL. Director, Prof. J. Garstang.

ROME.

BRITISH SCHOOL, Valle Giulia. Director, Thomas Ashby, D.Litt.

[THE ARCHAEOLOGICAL JOINT COMMITTEE]

Society or other Body.	Representatives.
British Academy	Sir F. G. Kenyon, K.C.B.(Chairman of Committee) Prof. Percy Gardner. Sir W. M. Ramsay.
Royal Anthropological Institute	Sir Everard Im Thurn. Prof. Arthur Keith.
Society of Antiquaries	Sir Arthur Evans. Sir Hercules Read.
Royal Institute of British Architects	Prof. W. R. Lethaby. Prof. A. G. Dickie.
Royal Asiatic Society	F. Legge. R. Sewell.
British School at Athens	J. P. Droop.
Byzantine Research Fund	Sir Hercules Read.
Egypt Exploration Society	Sir F. G. Kenyon, K.C.B. Dr. Alan Gardiner.
Egyptian Research Account	Prof. Flinders Petrie. Prof. Ernest Gardner.
Society for the Promotion of Hellenic Studies	A. H. Smith. G. F. Hill (Hon. Sec. of Committee).
British School at Jerusalem	Prof. Flinders Petrie. D. G. Hogarth, C.M.G.
Royal Numismatic Society	Prof. C. Oman, M.P. G. F. Hill
Palestine Exploration Fund	Dr. G. Buchanan Gray. Prof. A. G. Dickie.
Society for the Promotion of Roman Studies	Miss Gertrude Bell. O. M. Dalton.
British Museum	Sir F. G. Kenyon, K.C.B.
Victoria and Albert Museum	Sir Cecil Harcourt Smith, C.V.O.