12 June
Much happening in the Ops these days. I first transcribe a bit I wrote in the field on paper, of all things, then explain more below:
11jun08 (transferred from handwritten) Sweyhat Temple, 6:24pm
Wind carries sand into my eyes as I attempt to write an article for the Raqqa newspaper. The article will be translated into Arabic and may run a picture or two. I had talked to Ahmed about it before we started work, but then we had time, now we don’t. It only has to be basic so I guess I’ve got it now at around 350 words.
Now I’m writing notes for my journal because I haven’t had time to do that. I sleep only about 6 total hours and work much of the rest of the time. It’s a grueling season but there are some good things about it.
I’ve finished pit F down to a similar floor to B only much deeper, about 1.74 meters, and am now beginning to cut the temple floor down to meet it. I’ve already knocked out walls and part of the cella and much is also coming out in Op 42. There is a lot of Seleucid material there, we’ve found paving stones, walls, 4 whole storage jars all upside down, a bead, a coin, and now we have a burial (probably cut from above and maybe later than Seleucid). To the east we have the strange plaster feature we think is a tomb because high end pottery is coming out of it but we have not found a body there. We’ve got the walls pretty well defined but will have to go in through the roof because there isn’t enough room to dig fill through the 40cm entrance. Perhaps it was looted or maybe it wasn’t a tomb at all.
We have decided to make Friday a lab day, so that will help ease the heavy work schedule so far and allow us to catch up on artifact processing. Perhaps I will finally get a chance to do some writing. My next mystery novel will be set here in Syria.
Indeed, while we were doing our enforced study season, our representative had asked if I would write a short piece for the paper. He was most interested in my computer reconstructions of the temple and thought they would go over well. But he didn’t mention it again until today, so I did what I could while out at the site itself. I typed it up that night and handed it to him on a flash card since he is going to Raqqa tomorrow. Who knows if it will really get into the paper. If I could get a copy of it, though, I’d cut it out and then I guess I’d be playing Raqqa, paper, scissors.
In other publication news, I’ve now edited the article Michael and I wrote for the British popular publication, Current World Archaeology. I sent in those edits before we started working. The article itself we wrote just before we left the US. Not sure when it is set to publish but it should be soon.
In Op 34, the addition wall came down to its stone foundations, nicely squared off at the top. This construction of stone must have been a bench of sorts before the mud brick for the addition was laid. The stone seemed integrated into the original construction, with the original wall rising up from it covered in heavy white plaster, behind the addition wall. Next, I had the workers cut into a part of the cella. Here, 5 courses of brick stood atop a jumble of stones. The rocks of this foundation were haphazard as if thrown in, but then they were covered in mud to level them off and the bricks were laid atop. The wall behind the cella showed heavy white mortar lines, larger brick than the addition, and was part of the original construction. Above the 5 courses of the cella then were laid a few bricks that were covered in heavy plaster to make the tripartite podium that surrounded the central buttress. Here was where the cult statues may have stood.
While the cella cut was being completed, I worked hard in Pit F, going well below where an expected floor would be. Beyond 1.5 meters there was still no sign even though the nearby Pit B had clearly struck its base at this level. In fact, I continued over 1.7 meters and finally found the light, grainy layer that marked floors elsewhere. In the wall of the pit above this were two layers of ash, but neither of these continued across the pit itself, showing clearly that the pit had cut through layers of ash that probably marked floors in the past. Why this one had been dug lower than the others is a puzzle, but the farthest east pit had also reached about this level, so it wasn’t perhaps so unusual.
1.74 meters did make it very difficult to get out without a ladder, however. I managed a few times in and out to make the final photos, then I marked off the area we would cut to section these pits. The purple area in the outline from yesterday shows the intended cut but I narrowed this cut in the south to split Pit F in half so that I could get a good section drawing of it.
In Op 42, we have discovered an arched doorway leading into the mass of mud brick that made up the odd ‘platform’. This doorway is plastered on the inside and seems to have been blocked by a jumble of mud bricks that were not at quite the same angle as those of the walls themselves. This means we have an intact chamber inside, its roof plastered above and showing that another room sat atop. It’s rather exciting and the only thing we can think that would be this small and narrow at the opening (40cm wide and about 65cm tall) would be a tomb. We have taken some of the fill from inside through the doorway but will have to remove part of the roof to investigate the room completely and safely.

In the western area of Op 42 we have come down on a Seleucid living area including stone foundation walls, stone paving, and four pots left upside down. The corroded coin we found is a dead giveaway as to period, at least that it is not Bronze Age. Coins were not created until around 650 BC and this coin, though difficult to identify, is almost certainly from the Seleucid period.

Perhaps the coin shows a bull? Some coins of Seleucus Nikator have a galloping bull on them. And Antigonus Gonatus (no snickering) had some coins that had a prancing horse with rider, but why would an Antigonid coin be in a Seleucid area? Trade perhaps? I hope we can get an ident on this coin, but I have my doubts. The artist also thought she saw what could be a flower if the thing were turned the other direction. Or perhaps it is a bull’s head, who really knows? The drawing at left is what I think I see in the corrosion, our artist obligingly created it. And it is surprisingly like the prancing Antigonid coin, particularly if that is a raised horse leg, not that of the rider. Of course, the artist thought also that the image might be a flower if the entire thing were turned the other way around.