Preliminary findings on the roll formation of the Greenfield Papyrus. Helen Sharp. British Museum Studies in Ancient Egypt and Sudan

Transcription

1 Preliminary findings on the roll formation of the Greenfield Papyrus Helen Sharp British Museum Studies in Ancient Egypt and Sudan ISSUE PP ISSN

2 Preliminary findings on the roll formation of the Greenfield Papyrus Helen Sharp The Greenfield papyrus, the book of the dead of the priestess Nesitanebisheru, was studied to examine evidence of its manufacture in the context of Theban funerary papyrus workshop practise and to gain an understanding of the process behind the creation of such an exceptionally long document, the longest (37m) known funerary papyrus (P.BM EA10554). 1 During the British Museum s exhibition, Journey through the Afterlife. Ancient Egyptian Book of the Dead (4 November March, 2011) the Greenfield papyrus was displayed in its entirety, curving round the exhibition space of the Round Reading room, offering an invaluable opportunity to view it as a single object. When the papyrus was unrolled in the nineteenth century, it was adhered to a cardboard backing, cut into short sections and mounted in separate frames under glass, with a back support of wooden board. This made the papyrus accessible for study and safe to handle. The cuts were largely made where they made sense with regard to the text and images. What was lost, however, is the sense of the papyrus as a continuous roll and of the process of its manufacture, of many sheets being assembled to form a single finished object. Study During the exhibition, the height and width of the individual sheet sizes of the papyrus was measured with Bridget Leach and assistance from Vania Assis. For consistency, measurements were always taken at the lower edge of the sheet, as natural variations occur with all edges. Where a sheet had been cut and the sections placed in consecutive frames, each framed section was measured and the results added together to give a total length for that sheet. Variations in the fibre direction in the papyrus sheets and written marks in the margins were also recorded. It was, however, found that because of the height and angle of the curved display, it was difficult to obtain consistent and accurate measurements. Both the measurements and the calculations were repeated in March 2016 to verify the results. Viewing one or two frames at a time on a flat, conveniently placed surface ensured more precise measurement. Results The individual sheets are mostly around 20cm long and all are joined right over left. The overall length of the papyrus document is 37m 47.5cm which closely matches Budge s 1912 measurement of 123 feet or meters (Budge 1912, v) (see Appendix). Individual sheet height is mostly between 47-49cm, a full height roll. This was most unusual for Theban funerary papyrus of the period, when the large majority were of a half roll, 20-25cm, in 1 In the British Museum collection only the Harris papyrus is longer (41m; Taylor 2010, 307). ISSUE

3 PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS height. It was also very rare for papyri to be more than ten meters long or to have full rolls joined together (Niwinski 1989, 73). The great length of the Greenfield papyrus is due to the exceptional nature of the content, including unique hymns and litanies that Nesitanebisheru herself would have sung during ceremonies, in addition to the choice of chapters from the Theban recension (Budge 1912, v-vi). This reflects the prestigious nature of a book of the dead for a priestess of such high status. Examination of the papyrus sheets shows that the roll was manufactured in separate rolls before being joined together during the production of the book of the dead. The length of each roll varies widely; the shortest is 168 cm and the longest cm. There are also several inserts of additional papyrus sections in the sheets of a roll. Visually the greatest difference in the height of the individual rolls is between the last two sections, where the final section (frame 93-96) is around five centimetres shorter than the preceding sections. Marginalia Red marks in the margins were noted on several sheets. These are thought to have been made during the roll s preparation as notes between the members of the workshop, and probably denote places where sections of papyrus were to be joined. Marginalia of this sort has been seen in the book of the dead of Tuy (P.BM EA9913), which has black ink hieratic numbers in the centre of the upper margin of each sheet (Parkinson and Quirke 1995, 40) (Figs. 1-5). 2 Another book of the dead of Tuy (P.BM EA79431) has a red mark in the top margin and a black sign in the lower margin (Leach, Sharp and Taylor 2011, 98) (Figs. 6 and 7), as does the papyrus of Ani P.BM EA10470 (Parkinson and Leach 2010, 13). Ragazzoli has also described marginalia found on P.BNF Egyptian 62-88, where script in the margins names the vignettes that should be added in the spaces on the papyrus (Ragazzoli 2010, 232). The red marks at the top and bottom of the Greenfield sheets noting where joins should be made are found on frames 19, 20, 38, 50, 59, 70, 83 and 93. Frames 13 and 28 have marks only at the top (Figs ). There is only one instance, between frames 19 and 20 (Figs ) where there are corresponding marks on both sheets, on either side of the join. All other pairs mark the end of a roll that is to be adhered to the next prefabricated section. The marks are found next to a sheet with the vertical fibres visible on the recto. This reveals the start of a new roll, as the vertical fibre direction was generally used to give strength to the start of a roll (Niwinski 1989, 76). Having an end section where the fibres on the outside are aligned horizontally is stronger, as the sheet will be less likely to split between the fibres or break down when rolled and unrolled during use. Frame 13: Red signs of a bow appear in the upper and lower margins of the sheet that is joined (Figs. 8 and 9) followed by a sheet with the vertical fibres on the recto marking the start of a new roll (roll two). The text from the spell extends slightly over the join. Frame 19 and 20: The sole instance where both edges to be joined are marked with matching signs, reminiscent of the registration marks for correct alignment used in printmaking. The sections were joined with the horizontal borders aligning as far as possible, even though the upper and lower edges of the sheets do not align. (Taylor 2012, 284) (Figs.10-13, 28-29). Frame 28: There is an insert of 9.5cm to the left of the frame that has a red mark of a leg by the upper margin (Fig. 14) and some text in the top border in black. The upper borders and vignettes are drawn together with those of the preceding sheet. After the insert and red mark, 2 Except for frame 5, where the annotation has been lost due to insect damage. ISSUE

4 HELEN SHARP the adjoining sheet has borders that do not align, however the text beneath is written as one column. This suggests that the sheets, with the insert, had the borders and vignettes drawn when they were in separate sections and that the text was written after they were joined. This is the opposite order to that of the book of the dead of Gateshan, which is thought to have had the text written before the vignettes were added (Lucarelli 2006, 15). Frame 38: Red mouth symbols are marked in the upper and lower margins (Figs. 15 and 16). The sheet is attached to another sheet with the vertical fibres visible on the recto, probably denoting the beginning of a new roll (roll 3). The seated figure to the left of the vignette has been drawn over the join, therefore after the sheets were attached. Frame 50: There are red signs in the sheet s upper and lower margins. It is joined to a sheet with visible vertical fibres on the recto (roll 4) and has a gap in the lines of the borders (Figs. 17 and 18). The text is clearly written as one section over both the sheets after they were joined. Frame 93: A very faint red mark where most of the pigment is lost is found on frame 93, in the upper margin. This is near a section where a small insert of an additional 3cm of papyrus was added to fit in the text for the spell, which can been seen on the right hand side of the frame (Fig. 26). Following the insert is a very small area (c. 1 cm wide) where the vertical fibres are visible. This may be an area of the verso fibres at the end of a sheet protruding beyond the top layer of the sheet or some other anomaly (as it is such a small area). This frame also marks the start of the final section of the roll, which is very noticeably shorter than the rest of the papyrus, particularly since frames 90 to 93 are the tallest of them all (roll 7?). Frame 55: No marginalia. However, in the centre of the frame there is an insert of 2.5cm wide is visible, allowing the additional space needed for the vignette above the spell/chapter (Fig. 25). This insert and the sheet on the right also have no borders at the lower edge. Underdrawing Since the vignettes are in black line only, the traditional red underdrawing is visible in many areas. The red lines were used to plan out the sheet s design. The final drawing in black ink often varies a little from the placing of the red line as the artist corrects and improves the image. On frame 85 (Fig. 27) the artist has also used red for visual effect. The unguent Nesitanebisheru wears on her wig has been carefully picked out in red. The heads of the cows on the offering table also have red which has been used to suggest blood from their severed necks. This is a deliberate aesthetic effect, as the width of the red here is much broader than that used for the underdrawing. It is an interesting example of artist s practise, and unusual in this papyrus. Conclusions During the initial measurement of the papyrus the red marks of the marginalia were considered to be notations showing where separate rolls had been adhered together, with each set of marks representing a new roll, to form the whole long papyrus. This was thought to show that the papyrus was made up from eleven rolls. However, after further consideration, it is thought that the red marks by vertical fibre sheets mark the start of each roll and the red marks alone show joins or inserts within those rolls. The formation could be interpreted as either six or seven smaller rolls making up the ISSUE

5 PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS long papyrus. The lengths of each section are: roll one, 491.5cm; roll two, 918.5cm; roll three, 387.5cm; roll four, 714.5cm; roll five, 594.5cm; roll six 636cm, or roll six 468cm and roll seven 168cm (see Appendix). The last section from frame 93 until the end is the most obviously distinct one, at just 45cm high. However there is only a very faint trace of red pigment, from what might be a mark, next to the join. Additionally, on frame 90 there is a clear gap in the borders next to what appears to be a join between sections, but there are no marks of any kind. This would seem to be a new roll, but it does not begin with a vertical fibre sheet. It is possible that frames may be a separate roll (168cm) and possibly that frames are a taller insert (116cm). This shows that the workshop practises were flexible and complex and not wholly explained by our interpretations at the present time. The lines of the borders suggest that the inked lines were drawn from left to right, rather than right to left as the scribe wrote the text. The line is dense and blunt where the lines start then becomes less heavily inked as it continues. Some of the inconsistencies in the levels of the border lines may be related to the area of papyrus that could be unrolled on the lap of a scribe at any one time while he worked. The ruled lines may have been made by a different member of the workshop team as the lines have a rougher and less careful style to that of the vignettes or the text. Marginalia is a very interesting area for study. Publications of papyrus texts naturally focus on the main text and vignettes. In Budge s study of the Greenfield papyrus only some of the marginalia are visible in the photographs. Many of the images have been cropped and don t include the edges of the papyrus sheet where the signs can be seen (Budge 1912, plates XVI-C). Further study is needed to look at the correlation between the content and arrangement of the text and the way in which the separate sections have been used together. This would include the placement of the large number of whole sheet vignettes towards the end of the papyrus. The marginalia offer a valuable insight into the history of materials and workshop practise and merits further study on papyrus rolls in all collections. Acknowledgments Dear Bridget, It has been a real pleasure, both professionally and personally, to work with you all these years. Thank you so much for teaching me about papyrus with kindness and patience. I am very grateful to have benefitted from your extensive knowledge and experience. All best wishes, Helen ISSUE

6 HELEN SHARP Bibliography Budge, E.A.W The Greenfield Papyrus in the British Museum. London. Leach, B. and Parkinson, R.B Creating borders: New insights into making the Papyrus of Ani. BMSAES 15, Lucarelli, R The Book of the Dead of Gateshan: Ancient Egyptian funerary religion in the 10th Century BC. UV21. Leiden. Lucarelli, R Making the Book of the Dead. In J. H. Taylor (ed.). Journey through the afterlife Ancient Egyptian Book Of The Dead. London, Niwinski, A Studies on the illustrated Theban funerary papyri of the 11th and 10th Centuries B.C. OBO 86. Fribourg-Göttingen. Parkinson, R., and S. Quirke Papyrus. London. Ragazzoli, C The Book of the dead of Ankhesenast (P. BNF Egyptien 62-88).Traces of workshop production or scribal experiments? BMSAES 15, Taylor, J. H Journey through the afterlife. Ancient Egyptian Book of the Dead. London. Taylor, J. H., B. Leach and H. Sharp The history and conservation of the papyrus of Tuy. In The British Museum Technical Bulletin Vol. 5. London, ISSUE

7 PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS Appendix Table 1: EA10554 Greenfield Papyrus measurements. Modern frame Width from 2 Total width Height frames cm cm cm Notes loss loss Red mark T Red mark B Vertical fibres. New roll Red mark T+B Insert ISSUE

8 HELEN SHARP Red mark T+B Red mark T. Insert Black text T Red mark T+B ? Vertical fibres. New roll ISSUE

9 PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS Red mark T+B Vertical fibres. New roll Fault in sheet/anomaly No lower border Fault In sheet/ Insert Red marks T+B ISSUE

10 HELEN SHARP Red mark T Red mark T+B ISSUE

11 PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS Red marks T+B Vertical fibres. New roll? / Insert Border not joined New section? (Remains of) red mark Insert. New roll? No border No border No border No border Vertical fibres/anomaly ISSUE

12 HELEN SHARP Fig. 1: P.BM EA9913.1; Hieratic number on upper margin. Fig. 2: P.BM EA9913.2; Hieratic number on upper margin. Fig. 3: P.BM EA9913.3; Hieratic number on upper margin. Fig. 4: P.BM EA9913.4; Hieratic number on upper margin. Fig. 5: P.BM EA9913.6; Hieratic number on upper margin. Fig. 6: P.BM EA79431; Red sign in upper margin. ISSUE

13 PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS Fig. 7: P.BM EA79431; Black sign in lower margin. Fig. 8: P.BM EA ; Red sign in upper margin (bow). Fig. 9: P.BM EA ; Red sign in lower margin (bow). Fig. 10: P.BM EA ; Sign, upper margin (ibis). Fig. 11: P.BM EA ; Sign, lower margin (ibis). Fig. 12: P.BM EA ; Sign, upper margin (ibis). ISSUE

14 HELEN SHARP Fig. 13: P.BM EA ; Sign, lower margin (ibis). Fig. 14: P.BM EA ; Sign, upper margin (leg). Fig. 15: P.BM EA ; Sign, upper margin (mouth). Fig. 16: P.BM EA ; Sign, lower margin (mouth). Fig. 17: P.BM EA ; Sign, upper margin. Fig. 18: P.BM EA ; Sign, lower margin. ISSUE

15 PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS Fig. 19: P.BM EA ; Sign, upper margin. Fig. 20: P.BM EA ; Sign, lower margin. Fig. 21: P.BM EA ; Sign, upper margin (bound prisoner). Fig. 22: P.BM EA ; Sign, lower margin (bound prisoner). Fig. 23: P.BM EA ; Sign, upper margin. Fig. 24: P.BM EA ; Sign, lower margin. ISSUE

16 HELEN SHARP Fig. 25: P.BM EA ; Whole sheet showing insert. ISSUE

17 PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS Fig. 26: P.BM EA ; Whole sheet showing insert. ISSUE

18 HELEN SHARP Fig. 27: P.BM EA ; Detail showing artist s use of red pigment. ISSUE

19 Fig. 28: P.BM EA ; Whole sheet showing marginalia. Fig. 29: P.BM EA ; Whole sheet showing marginalia. PRELIMINARY FINDINGS ON THE ROLL FORMATION OF THE GREENFIELD PAPYRUS ISSUE

20 HELEN SHARP Fig. 30: P.BM EA ; Whole sheet showing marginalia. ISSUE