For the last year and a half or so, I’ve been working on a research project about the scribes who wrote the Linear B tablets from one particular Mycenaean site, the ‘Palace of Nestor’ at Pylos in Messenia, south-western Greece (so-called because in the Iliad Nestor was the king of Pylos). I’m interested in how these scribes actually went about writing tablets, or learning to write tablets — lately I’ve been looking mostly at the way they spell particular words or sequences, and why even an individual scribe’s spelling can vary, as well as at issues to do with how and why scribes erase parts of their documents and make changes. Pylos is a particularly good site to start studying this because almost all of its Linear B tablets are contemporaneous — made of unfired clay, they were all baked and so preserved by the fire that destroyed the palace around 1200 BCE — so it’s possible to study the 25 scribes who have been identified by handwriting analysis as an inter-related community of writers who must have been trained and worked together. But although I’ve been studying the tablets from this site for some time, I’d never been able to actually visit it before now – so it was incredibly exciting to finally get the chance to see it in person. Continue reading “Visiting the Palace of Nestor at Pylos”
Athens’ Acropolis Museum is, naturally, best known for its display of sculptures from the Parthenon (in a mixture of originals and casts, many of the originals being, controversially, in the British Museum). Stunning though this top-floor display is, with views straight across to the Parthenon from the galley (see photo, unfortunately taken on a rather cloudy day), it’s not actually my favourite part of the museum – that prize goes to the first-floor display of the older archaic sculptures, dating from the 7th century to the early 5th century BCE (the Parthenon was built in the mid-5th century). Some of these sculptures are from the pediments of earlier temples on the Acropolis, destroyed during the Persian invasion of 480/479 BCE; others are freestanding statues set up on the Acropolis as dedications to the goddess Athena. (I can’t post photos here as you’re not allowed to take photos of the collections, but there is a nice selection of pictures available on the museum’s website). Continue reading “Archaic statues and Eleusinian mysteries at the Acropolis Museum”
Every February, Cambridge plays host to a festival called “E-luminate“, which the organisers describe as “a celebration of the infinite possibilities created by light at the intersection of art and science” – as well as talks, concerts, and workshops, the most popular feature is always the illuminations on various buildings in the centre of town. One of these is on the outer wall of my college, Gonville & Caius: called “The Colours of Caius College“, it illuminates part of the facade in bright multi-coloured lights:
Now that the Codebreakers and Groundbreakers exhibition is over, I’m able to make my catalogue chapter, ‘The Decipherment: People, Process, Challenges‘, available here for anyone who’d like to read it (click on the link for a PDF file)! It’s about the process by which the Linear B script was deciphered, the main people involved – Emmett L. Bennett, Alice Kober, Michael Ventris, and John Chadwick – and the remaining difficulties involved in reading and interpreting the documents written in this script.
Readers may also be interested in seeing some of the correspondence between Ventris and Chadwick that’s quoted in the chapter – PDFs of a selection of their letters are available on the website of the Mycenaean Epigraphy Group (the research group I’m part of in the Cambridge Faculty of Classics), and you can view them here.
I hope you enjoy the chapter, and if anyone has any further questions about Linear B and the decipherment after reading it, please ask me in the comments!
Just a quick reminder for any Cambridge-based readers that this week is the last chance to see the Fitzwilliam Museum’s Codebreakers and Groundbreakers exhibition about the decipherment of Linear B and WW2 codebreaking, which is finishing on Sunday Feb 4th! It’s been incredibly popular, and I’m told the catalogue has even completely sold out – for anyone who’s interested in reading more about the process by which Linear B was deciphered, and the people involved, I’ll be putting my catalogue chapter up here once the exhibition has finished, so check back for that next week!
For anyone who enjoyed the Codebreakers and Groundbreakers exhibition – or who’s still planning to go see it – here’s another ancient writing display at the Fitzwilliam Museum!
We have been dying to tell you all about a new display at the Fitzwilliam Museum in Cambridge, focusing on some of the writing systems we are working on in the CREWS project. It started today (Tuesday 16th January) and will run until Sunday 10th June, which gives you plenty of time to come and see it! Here is the Fitzwilliam’s web page on the display: Writing in Cyprus and the Eastern Mediterranean.
The objects in the display are written in a number of different ancient writing systems, with Egyptian Hieroglyphic and Demotic, Babylonian and Ugaritic cuneiform, Cretan Hieroglyphic, Linear A, Cypro-Minoan, the Cypriot Syllabary, Phoenician and the Greek alphabet.
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A follow-up to yesterday’s post on the Fitzwilliam Museum’s new exhibition to add some information on the related exhibition also running at the Museum of Classical Archaeology (in the Faculty of Classics). This is showcasing two aspects of the Faculty related to the Fitz’s exhibition: our collections of archival material relating to excavations by the archaeologist Alan Wace at the palace of Mycenae (which uncovered a set of Linear B tablets), and the range of current linguistic-related research taking place in the Faculty. This includes work on Linear B in the Mycenaean Epigraphy Group (which I’m a part of); the CREWS project on relationships between other ancient writing systems; the Greek in Italy project, whose name is pretty self-explanatory; and the team working on a new ancient Greek lexicon (dictionary) – a project that was started by John Chadwick, Michael Ventris’ collaborator in publishing the decipherment. Like the Fitz, it’s free to enter, plus you get to see the wonderful collection of casts of classical statues as well!