Tel Shikmona (Shiqmona) sits on the tip of Mount Carmel next to the Mediterranean Sea.  Its location within the modern city of Haifa has made it very accessible to scholars over the last century, beginning with the work of Moshe Dothan in 1951.  Seventeen seasons of excavation were conducted by the Haifa Municipal Museum of Ancient Art (1963-79), with strata discovered from the Late Bronze, Iron I-II, Persian, Hellenistic, Roman, and Byzantine periods.  Recently archaeologists have uncovered beautiful mosaics from a Byzantine church building.  The University of Haifa has issued a press release with photos.

Researchers at the Institute of Archaeology from the University of Haifa excavating at Tel Shikmona have exposed magnificent mosaics dating back to the Byzantine Period (sixth century C.E.), which were part of an ecclesiastic structure. The excavations are taking place as part of a project funded by the Hecht Foundation, to expand the Hecht Park in Haifa, Israel, annex it to Tel Shikmona, and transform Shikmona into a public archaeological park.

The story is also reported by the Jerusalem Post.

HT: Joe Lauer

The archaeologists working at Tel Hazor have posted a brief summary of the 2010 season results.  Work was focused on a large structure similar to Yadin’s stable/storehouse complex.

The whole area [M] is divided by seven parallel wide walls, about one meter wide each, running through the area from west to east (Fig. 1). It appears that these walls belong to two large buildings, similar in plan to the Three Halls Structures known from Yadin’s excavations and the renewed excavations in area A-2. The two buildings share a common wall with a 4 meters wide entrance in its center, and thus form one administrative complex of unparalleled size at Hazor and even elsewhere in the period.

The archaeologists conclude that this one functioned as a storehouse.  The report mentions the basalt workshop and cuneiform tablet and includes several good photographs of Area M.

Tom Powers commented on yesterday’s post, but knowing that many do not read the comments, I’m making a portion of it a post of its own.  He is replying to my statement that “Gaining access to the tomb today is more difficult than the average tourist site, but it is well worth it.”

Just a word about access to the “Tombs of the Kings” these days: There is none, as far as I know, for the forseeable future. The main reason is that the site is undergoing complete restoration. In fact, as part of this process folks from the Ecole were called on to excavate on top of the tomb and completely remove all of the accumulated earth. One object was to inspect and then seal the bedrock surfaces there, in order to prevent leakage of water into the tomb chambers. Also of interest, though, was to try to identify any traces of a superstructure — a nefesh — over the tomb, especially since Josephus mentions the “monuments of Helena” (War 5:147) as a landmark in tracing the line of Jerusalem’s Third Wall. Many have supposed that the tomb featured the sort of pyramids or cones that you have atop the “display tombs” in the Kidron Valley. Long story short: nothing conclusive was found. One byproduct, though: several tons of nice topsoil, which wound up in the garden of the Ecole Biblique!

You can see one artist’s reconstruction of the tomb with the original superstructure in James Finegan, The Archeology of the New Testament, page 315.


I hope that the current restoration work signifies an interest in making the tomb accessible to the public. 

Archaeologists working at Pompeii are ecstatic about the value of iPads in the recording process, according to this article posted at apple.com.

For Dr. Steven Ellis, who directs the University of Cincinnati’s archaeological excavations at Pompeii, perhaps the most significant discovery at the site this year was iPad. Ellis credits the introduction of six iPad devices at Pompeii with helping his team solve one of the most difficult problems of archaeological fieldwork: how to efficiently and accurately record the complex information they encounter in the trenches. Most archaeological researchers today collect data from their sites as others have for the past 300 years. “It’s all pencil and paper,” says Ellis. “You have to draw things on paper, or in preprinted forms with boxes. That’s a problem because all these pages could be lost on an airplane, they could burn, they could get wet and damaged, or they could be written in unintelligible handwriting. And eventually they have to be digitized or entered into a computer anyway.” Although portable computers offer a paperless solution, field archaeologists rarely use them in the trenches because their size, input limitations, battery life, and sensitivity to dirt and heat make them impractical in the harsh conditions of a dig. […]

image Photo from apple.com article

Ellis, who estimates that iPad has already saved him a year of data entry, plans to increase the number of iPad devices from one to two per trench. “The recovery of invaluable information from our Pompeian excavations is now incalculably faster, wonderfully easier, unimaginably more dynamic, precisely more accurate, and robustly secure,” he says. Beyond the scope of his project, Ellis sees iPad as revolutionizing the 300-year-old discipline of archaeological fieldwork. “A generation ago computers made it possible for scholars to move away from just looking at pretty pictures on walls and work with massive amounts of information and data. It was a huge leap forward. Using iPad to conduct our excavations is the next one. And I’m really proud to be a part of it.”

The article gives more details and includes a number of photos of the iPad in action.

From the Jerusalem Post:

A royal box built at the upper level of King Herod’s private theater at Herodium has been fully unveiled in recent excavations at the archaeological site, providing a further indication of the luxurious lifestyle favored by the well-known Jewish monarch, the Hebrew University announced in a statement released Tuesday.
The theater, first revealed in 2008, is located halfway up the hill near Herod’s mausoleum, whose exposure in 2007 aroused worldwide attention. The highly decorated, fairly small theater was built in approximately 15 BCE, which was the year of the visit of Roman leader Marcus Agrippa to Judea, Emperor Augustus’s right-hand man, according to Prof.  Nezter, who has been assisted in the excavations by Yakov Kalman, Roi Porath and Rachel Chachy.
The royal box (measuring eight by seven meters and about six meters high) is the central space among a group of rooms attached to the upper part of the theater’s structure. This impressive room likely hosted the king, his close friends and family members during performances in the theater and was fully open facing the stage.
Its back and side walls are adorned with an elaborate scheme of wall paintings and plaster moldings in a style that has not been seen thus far in Israel; yet, this style is known to have existed in Rome and Campania in Italy during those years. This work, therefore, was probably executed by Italian artists, perhaps sent by Marcus Agrippa, who a year before his visit to Judea met Herod on the famous Greek island of Lesbos, said Netzer.

The article continues here.  A similar story is posted at China Daily. For previous stories on Herod’s tomb, see here.  The Smithsonian has a gallery of a dozen photos of the Herodium, the last two of which (11, 12) show the most recent excavations.

HT: Joe Lauer

Herodium theater, tb010210567

Herodium theater

I am intrigued by a new report of an excavation of a Jerusalem burial cave for several reasons (HT: Roi Brit).  First, the tomb is interesting in its own right, with six kokhim, a standing pit, a blocking stone, and seven complete ossuaries.  The lid of one of these bone boxes was attached by a bronze nail and another had a two-line inscription which read in part, “Cursed is the one who casts me from my place.”  The archaeologists date the cave to the 1st century AD.

But I’m less impressed by the obvious haste with which the tomb was excavated.  The archaeologists make no attempt to mask the conditions under which they worked.  They write:

On the night of January 18, 2009, a rock-hewn burial cave was hastily documented in the Qiryat Shemuel neighborhood of Jerusalem.

Night conditions are less than ideal for archaeology, even when the excavation is in a cave.

The hurried process and poor lighting conditions in the cave precluded a proper examination and description of the cave’s contents.

The operation was so hasty that they could not even get sufficient lighting in place for their examination. 

Artifacts were not removed from the cave and once its documentation was done, it was sealed and covered with soil.

Sealing a cave after excavation is not unusual, particularly when it is not necessarily unique and lies in the way of a building project.  But it is disturbing that artifacts were left in the cave when a proper examination was not done.  The world has not yet been rid of grave robbers.

Due to the haste, only two complete ossuaries and several decorated fragments were documented (Figs. 4, 5)….Careless engravings or traces of faded paint were noted on other ossuaries; these may also be inscriptions that require further research for decipherment.

The obvious question here is who is running the show in Jerusalem.  Do building contractors have more authority than government archaeologists?  It seems to me that this report is a quiet protest against the way antiquities are being treated in Israel.  The tomb and its artifacts are part of the nation’s heritage.  Whatever construction project is involved is likely not part of that heritage.  What is so important that the contractors cannot wait one day while the tomb is properly studied?  Who makes the decision on these matters?  Are they influenced by the deep pockets of the building contractors?  Are Israeli government officials selling out the nation’s heritage to line their pockets?