Atlas Obscura Article

At the end of last year I made an Ugaritic biscuits cooking video. I kind of forgot to mention it on here what with all the pre-Christmas busyness, but it did moderately well. Now, in a slightly surreal turn of events for me, the website Atlas Obscura has picked up on it and interviewed me for an article:

Or, if you just want the original video, here it is:



CREWS Exhibition at the Fitzwilliam Museum: Writing in Cyprus and the Ancient Mediterranean

It was my birthday last Monday, and I was lucky enough to spend it behind the scenes at the Fitzwilliam Museum. Together with my fellow members of the CREWS Project, we were helping with the installation of a new temporary exhibition on ancient writing, a collaboration between our project and the Museum.


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Making Ancient Tablets 5 – Further stylus improvements

About a year ago I posted a series following my attempts to write Ugaritic cuneiform, first in plasticine and then in clay. I ended up using the square end of a chopstick for a stylus, and this is what I’ve been doing ever since, including in my cuneiform baking. It works, but it’s fiddly – the stick has to be held just right to make the wedge-shaped prints, and it takes practice to stop them being large and clumsy.

Last weekend I took part in a Prehistory and Archaeology Day as part of Cambridge University’s Festival of Ideas. Hosted by Cambridge Archaeological Unit, this offered hundreds of members of the public – mostly children – the chance to try their hands at a wide range of archaeology-related activities, from spear-throwing and archery to excavation and osteology. The ancient writing systems stall was particularly eclectic, with academics from the Faculty of Classics and the Division of Archaeology showing visitors how to write in Akkadian, Ugaritic, Phoenician, Egyptian hieroglyphics, Linear B and alphabetic Greek.

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Decorating Eggs in the Ancient World

It’s Easter! Which means everyone’s developed a bizarre preoccupation with eggs. How we chortle as adverts everywhere wheel out the same old egg-puns as if they’re the first to think of them. Egg-straordinary! Never mind; it means we get some chocolate. I’m particularly partial to Mini Eggs myself.

As you probably know, for many it’s traditional to paint and decorate eggs at Easter. Like many Christian festivals, there’s a healthy vestige of earlier practices in Easter, as the Church sought to appropriate and sanitise pagan spring fertility celebrations. The name Easter itself most likely derives from the Germanic goddess Ēastre, which in turn seems to come from the Proto-Indo-European word for dawn, and so is cognate with classical goddesses such as Eos or Aurora. So it’s no surprise to learn that decorating eggs is a practice with roots much older than Christianity. In fact we have painted eggs from the ancient Near East which date as far back as the third millennium BC.

How do egg-shells manage to survive for nearly five thousand years in the archaeological record?

Two answers. One: lots of them were found in tombs. Two: they used ostrich eggs.

Minoan egg

Minoan ostrich egg rhyton. Late Bronze Age

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How to make a cylinder seal

Featured Image -- 654I’ve been making cylinder seals lately. Here’s a thing I wrote for the CREWS Project blog about how to do it and some of the background.


In the ancient world, if you wanted to sign something you used a seal. They came in various shapes and sizes – stamps, seals, signet rings – but the general idea was always the same: you had a small object that you could press into clay or wax to mark it with a design unique to you – just like a signature. This could be used in various ways. In the Near East, for example, legal decisions or transactions might be recorded on a tablet, and then all the witnesses would press their seals into the clay next to their names. In other cases it could function as an official lock – a door or container-lid could have a blob of clay pressed over the join and this would be marked with an official’s seal. If the clay was broken – or if it had been replaced with one without…

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Making Maps for Board Games or Illustrations

One of the comments on my post about my board game, Ancient Horror, asked how I made its board, which features a Mediterranean map. I responded with a short answer there, but I thought it would be worth doing a more in-depth look. I need hardly stress how important maps are in science fiction and especially fantasy, but they’re also very important for archaeologists. I had to draw at least half a dozen for my PhD, showing artefact distributions and other things, and I also redrew one of the maps in a recent new edition of a book by my former supervisor.

In this post I’m going to show you how I tend to go about it.


This isn’t the map for my supervisor. This one’s from The Hobbit.


One of the maps from my PhD thesis

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Making Ancient Tablets 4 – Painting clay to look more like clay

Every time I think I’m done with the clay tablets, I find just one more thing. You can read up on the full story about my experiments with writing ancient tablets at these links:

Part 1 – Ugaritic, plasticine and Lego styli

Part 2 – A better stylus and first attempts at biscuits

Part 3 – Linear A Clay Play Day, Linear A cake and second attempt at biscuits

And for more on the academic component of Clay Play Day and the Linear A seminars, take a look at Anna Judson’s write-up.

Right, on to this instalment, which is unashamedly aesthetic rather than academic. When I ended part 3, my newly-made clay tablets were drying in the CREWS Project office, looking like this:

I’ve been working from home for a while, but over the weekend I finally collected them and saw them for the first time dry. They looked good, but the pristine new air-drying clay had dried very bright, making them look like they were straight out of a brickyard or a primary school art class. They looked a bit stark on my mantelpiece, so I decided to paint them. Continue reading