Educator How-to: Learn to Draw a Celtic Triquetra

At the Houston Museum of Natural Science, we know that people are as much a part of natural science as rocks and dinosaurs. That’s why we love social studies and maintain exhibits like the John P. McGovern Hall of the Americas and the Hall of Ancient Egypt. We find the development of societies fascinating!

The historical Celts, a diverse group of tribal societies in Iron Age Europe, ranged over a large swath of land reaching as far west as Ireland and the Iberian Peninsula, east to central Anatolia, and north to Scotland. The Celts used a three-cornered symbol, known as the triquetra, to adorn everyday items and important ritual objects. Similar tri-cornered symbols are seen in the artwork of many ancient civilizations. It is speculated that the symbol illustrates the uniting of the past, present, and future or birth, life, death. As Christianity spread through Europe, the triquetra was used to help new converts to understand the concept of the Trinity.

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It is really simple to draw this ancient knot-work symbol. All you need is paper, a compass, an eraser, and some markers.

First, using a compass, draw a circle of at least 3 inches in diameter in the middle of your paper. Make sure to leave room around the circle, as the resulting knot will be slightly larger than the initial circle. Make sure that you do not adjust the compass after the circle is drawn.

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Next, use a pencil to make a point on the circle at the twelve o’clock position. Then, place the point of the compass on this point and use it to make marks where it crosses the circle on each side.   

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Now, place the point of the compass on one of the marks made in the previous step. It doesn’t matter which one. Then, draw a semi-circle within the initial circle. It should start at the twelve o’clock point and end in the lower quarter of the circle. The arc does not need to be continued outside of the circle. Make another arc, identical to the first one. The two arcs should cross at the center point of the circle. If they don’t, check to make sure that the compass setting has not been changed.

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Then, placing the compass point on the lower tailing end of one of the arcs, mark off another tic on the bottom of the circle.celtic5

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Now place the point of the compass on the bottom mark and draw an additional arc from side to side within the circle.

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You will now need to enlarge the diameter of the compass a bit. Place the compass point back onto the marks made in the upper half of the circle. From each point, draw another arc within the circle, and extending a little beyond its border. It is important to make sure the arcs are extend a bit outside of the circle so they’ll meet up when the arcs are all drawn.

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Pick a point where one of the knot strips intersects another, and make it pass over the other, erasing the lines from the underside from within the “over” strip. The next pass for the knot strip, following the same strand, will be to go under the next intersection, so erase appropriately. At this point ,you may erase the initial circle and the arc marks.

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Now your trisquetra is complete! Color it in! See designs like this and others this summer in the Medieval Madness Xplorations Summer Camp.

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Learn Hieroglyphics When You Become a Volunteer Docent at HMNS!

by Gillian Callan

Egyptian hieroglyphs. Once thought to be magic writings that contained the secrets to life, they were deciphered by Thomas Young and Jean Francois Champollion in the early 1800’s. What mysteries did they contain? For the majority of the visitors to the Hall of Ancient Egypt, the glyphs are still a mystery – a bunch of squiggles with pictures of animals interspersed. But for the HMNS Hieroglyph Study Group, they are a chance to learn and practice the language of ancient Egypt.

hieroglyphs at the louvre

Egypt fascinated me from early childhood, but I thought I would never get to study or visit Egypt (I did visit nine years ago, and it was fantastic!). So I thought about what I could learn about Egypt without a degree or a plane ticket. I decided that I would learn hieroglyphs. Mark Collier and Bill Manley wrote a book called How to read Egyptian Hieroglyphs. From them, I learned the basics. Then about four years ago, I met a fellow HMNS volunteer who was also interested in hieroglyphs. Another year passed and another volunteer joined HMNS and mentioned that he was also interested in hieroglyphs and asked if we could start a study group. And that’s how we got started.

In order to make our study time worthwhile to the museum, we tasked ourselves with translating as many of the inscriptions in the Egypt hall as we could. To date, we have completed seven of the longer inscriptions and started on several more. The inscriptions fall into two categories: formulaic writings and hymns. The formulaic writings are offerings to the gods. While they follow a set format, we usually find something different in each of them. The hymns are much more difficult. Poetry in any language is harder to interpret than prose, and Egyptian hymns are no different. It also helps if you understand something of the culture of ancient Egypt.

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Hieroglyphs on the coffin of Ankh-Hap. His name appears in the lower left-hand corner of this photo.

While our translations have not been published to the volunteer website, we did create a flip book with useful translations from objects in the hall. In the flip book, we included a translation of Ankh-Hap’s name on his coffin. Ankh-Hap is the mummy owned by HMNS. We found the name of Gemshuankh (aka the Jolly Green Giant) on his coffin, but then he got renamed to Ankhemma’at, so we revised his translation. We located Ptolemy’s cartouche on the replica Rosetta Stone. (We even located it in Demotic and Greek!) By the way, all the cartouches on the Rosetta Stone belong to Ptolemy V, Epiphanes – no Cleopatra, no wives’ names, just Ptolemy. The idea behind the flip book is that someone working or giving a tour in the hall can take the flip book out of the touchcart (there is one book in each cart) and take it to an object in the hall and show visitors appropriate glyphs and what they mean. One of my favorites is to show the bird in Bakenrenes’ name, followed by the rest of her name. It is repeated several times on the cartonnage coffin and visitors get a kick out of being able to recognize the glyphs.

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The coffin of Bakenrenes. Hieroglyphs appear in the yellow bands across the coffin.

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A close-up of the bottom band.

Egyptian hieroglyphs are not a phonetic script, nor are they picture writing. They are a complex combination of phonetics, picture writing and “syllables”. They can be written left to right, right to left and in columns that also have either a left/right or right/left orientation. The favored direction was right to left. But on coffins, the glyphs were written from head to foot. Writers of hieroglyphs also, on occasion, used shortcuts. They fitted the message into the space available and left out what they could, making it difficult at times to read the message correctly. Kind of like today’s usage of text shortcuts like LOL (laugh out loud) or BTW (by the way).

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The HMNS Hieroglyph Study Group meets every Sunday in the Volunteer Library around noon. Our current members are Gillian Callen, John Cochran, David Santana and Scott Brown, all HMNS volunteers. I also teach basic hieroglyphs to willing volunteers. Last summer I taught a three-day session on glyphs including grammar and sentence structure. While I am self-taught and by no means an expert, I can introduce you to the basics and give you a feel for the ancient Egyptian language. These classes are only open to HMNS volunteers and staff. So, if you are interested, find out about becoming a volunteer and then you can sign up for a class. Then when you walk through the Hall of Ancient Egypt, those squiggles will jump out at you and make at least a little bit of sense. Happy translating!

Editor’s Note: Gillian is an HMNS volunteer docent.

Amid King Tut Tumult, Hardwick Re-Caps What We Really Know About this Famous Pharaoh

Over the weekend in Cairo, conflict broke out in the archaeology community. Ground-penetrating radar has revealed peculiar results that some believe indicate additional rooms behind a solid wall in Tutankhamun’s tomb. Others reject this new theory.

British Egyptologist Nicolas Reeves offered up this theory last year following scanning results that he says suggest two open spaces filled with metal and organic matter. Zahi Hawass, famous Egyptologist and former Egyptian Minister of State for Antiquities Affairs, remains dubious.

Those backing Reeves are pushing to excavate, but to the naysayers, causing damage to the ancient burial chambers to follow a hunch is something antiquities of this magnitude can ill-afford. But one thing’s for certain in this battle of the minds — the issue has renewed interest in the exploration of these chambers that once housed one of pharaonic Egypt’s most iconic figures, a boy-king buried behind a magnificent golden mask.

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Burial Chamber. North wall of the burial chamber of Tutankhamun, Valley of the Kings. Some archaeologists believe an additional space exists behind this ancient artwork.

As the world of archaeology continues to bring to light new information on the issue, Houston Museum of Natural Science’s Consulting Curator of Egyptology Tom Hardwick is keeping his eye on the ball. No matter what news should erupt from Egypt in the next few weeks, he believes a return to the science of King Tut is of greater importance.

“In point of fact, we still know relatively little about him, and yet we try to read our own interests and preoccupations into the evidence,” Hardwick said. “The facts we in the 21st century want to know about people, who their parents were, what they thought, is information which the evidence from an Egyptian burial context doesn’t give you.”

Tut’s character as a “poor, sweet little boy” are fabrications of our own culture, Hardwick said, a kind of ontology that requires as much the injection of our society’s values into ancient history as the discoveries we’ve made from exploration, interpretation and scientific testing. And the marriage of the two is a big problem.

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King Tutanhkamun’s famous death mask.

 

“It’s a matter of conjecture and filling in the gaps, and what we use to fill in the gaps tells us far more about us than what it tells about Tut and his family,” Hardwick said. “You’re trying to put yourself in someone else’s shoes, but the way in which you do it is invariably influenced by who you are and your own preoccupations.”

From evidence unearthed from the tomb of a single pharaoh like Tutankhamun, we can learn more about the society and culture of entire Egyptian states in 1300 B.C. than we can about the pharaoh’s life. Hardwick will explore this thesis in an HMNS Distinguished Lecture Wednesday night. His presentation will compare the solid facts the archaeological community has accumulated over time with the stories we’ve invented to enrich the science with narrative.

“It’s interesting how things change over time,” Hardwick said. “It’s like a game of telephone. Conjectures get solidified into facts, then used as the base for further conjectures.”

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Egyptologist Tom Hardwick.

The story of the original discovery of King Tut’s tomb highlights another central issue involving the international trade of Egyptian antiquities — where do these finds belong? In the countries of the archaeologists who discovered them or the nations in which they were discovered? In Hardwick’s words, King Tut was “a wind-vane of our own preoccupations” at the time of his discovery.

When British archaeologist Howard Carter found Tutankhamun’s tomb in the 1920s through painstaking research and excavation in the Valley of the Kings, the several thousand exquisite objects inside became the subject of great contention between Egypt and Great Britain. In the years following, the tug-of-war elevated King Tut to an iconic status as a symbol of the struggle of two governments to come to a mutual resolution in the interest of human history.

Visit HMNS Wednesday night to hear these stories and more as news develops in Cairo. To see our own collection of historical treasures, explore the Hall of Ancient Egypt.

Last Chance to See Ramesses II and Horemheb! Australian Artifacts Move Home Next Week

by Tom Hardwick and Dirk van Tuerenhout

When the Houston Museum of Natural Science planned our Hall of Ancient Egypt, filling its 11,000 square feet with artifacts was not an easy job. Our own collection of Egyptian material is rather small, and that made looking for long-term loans from other museums a logical — and necessary — choice. We reached out to museums across the world to borrow material to display in Houston.

It was sometimes a bit of a long shot since while asking for a short-term loan (typically three to six months) is standard, asking for a long term loan of several years is a different undertaking altogether.

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Ramesses II

We are extremely grateful that so many museums agreed to lend us some of their wonderful Egyptian objects. As the day of the opening approached, artifacts from museums in North America and Europe started to arrive in Houston. Some came from as far away as Australia. Yes, Australia!

In 2013, two star pieces — a giant granodiorite head of king Ramesses II (between 1280 to 1210 BC) and a bust of a non-royal man from a little earlier — traveled from the Nicholson Museum in Sidney halfway across the world to Houston. Affiliated with the University of Sidney, the Nicholson Museum is Australia’s oldest university museum and home to the largest collection of antiquities in the Southern Hemisphere.

A well known pharaonic face at the end of the columned corridor beckons the visitor

A well known pharaonic face at the end of the columned corridor beckons the visitor.

Ramesses II’s bust, representing one of Egypt best known pharaohs, took up a strategic location in our exhibit. Positioned at the end of a long line of sight, this royal image drew visitors deeper into the exhibit. It symbolized the double role played by Egyptian kings: that of worldly leader as well as representative of Egyptian gods on Earth. Ramesses was not just the king who worshipped the gods; he was also a god himself. For the many people who were denied access to the interiors of temples, colossal statues like the one our head came from (he must have been a good 20 feet when complete) were the only images of the king or the gods they could interact with. No surprise that some colossi were also worshipped as gods in their own right.

The bust of a private man, whom many believe to be Horemheb, the general who took the throne after Tutankhamun’s death, was tucked away in our display of burial in the New Kingdom, where visitors could have a more intimate encounter with him.

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Bust believed to be Horemheb.

All good things come to an end, however, and the Nicholson’s objects will be leaving us next week to go home. Following established museum procedures, a courier from the Nicholson will come to supervise their removal from their cases, will check their condition, and will see them safely crated up for their long journey home.

We’ll be sorry to see them go, but there’s one bonus — for me, at least. During the de-installation, I will get to look at them out of their cases, and in different lights. For Horemheb, this will just be pure pleasure: it’s one of the finest pieces of carving from the period.

For Ramesses, however, I have a mission. Arielle Kozloff, former Curator of Ancient Art at Cleveland, told me that she thought Ramesses’s face might have been re-worked, either before or after his reign. Ramesses was a prolific builder, and often economized by recycling statues of earlier kings. Sometimes Ramesses just put his cartouches (the king’s name, written in an oval ring) over the previous king’s; sometimes he went to the trouble of re-carving the previous owner’s face to harmonise with his own. In cases like these, sweeping a torch over the surface, and (gently) running your hands over the surface, can make you aware of different textures, possibly indicating different tools and different phases of working, that normally escape your notice. I’m not convinced that this is one of Ramesses’s retreads, but this is the perfect opportunity to test Arielle’s theory.

Just as nature abhors a vacuum, curators abhor empty cases: I’ll introduce you later to the objects that have replaced Ramesses and Horemheb. Before they go, though, you have the rest of this week to admire them at HMNS.