Part 1: Background and Early Career
By Wendy Slaninka (Granddaughter of James Leslie Starkey & Marjorie Starkey by their daughter Mary)

This is my fourth article for the Filming Antiquity Blog regarding Harding’s archaeology footage and links in with my first, second and third articles, ’Olive Starkey – Lady of Lachish’ (Leslie’s sister), ‘Living at Lachish – Life in Camp’, and ‘First Lady of Lachish – Marjorie Starkey and her family’, where there is other information and photos of Leslie.   All the Photos in this article are from the family collection unless otherwise stated. 
 
It has struck me in writing my three previous articles that I really ought to put something on the blog about the main man himself - James Leslie Starkey! There is already some family background on him and photographs in Olive Starkey’s article, and other general bits and pieces in the others but I thought it would be nice to write a short piece about his career leading up to Lachish, and about him.  His life and career is well documented and known but just the same I may have something of interest or new to say!  
 
I am sorry I never knew my Grandfather but I think his son John, my Uncle, takes after him in many ways and I take a sense of his persona from him.  Olive, Starkey’s sister, introduced John to her friend Margaret Howard and she also must have sensed this too as she later wrote to Olive ‘having met his son I can now well realise the charm that Leslie must have had and his great grasp of so many subjects’.  His children’s few memories of him are of a loving family man, willing to get down on the floor and play with them, carrying them round on his shoulders, and John particularly remembers him taking them to London Zoo and the cinema.

​In addition to the family background given in the article on his sister Olive, Leslie’s grandfather, James Starkey the builder, was married to Elisabeth Hoare, descended from a line of Hoares boasting three Sir Richards and a Sir Henry (including, we believe, Sir Richard Colt Hoare - distinguished archaeologist in Wiltshire who excavated Stonehenge and who has a monument in Salisbury Cathedral).  Elisabeth’s father was born at Hever Castle - country home of Henry VIII.
 
As a rather delicate child Leslie missed out on a lot of formal education (similar to Sir Flinders Petrie whom he later worked for), but his interest and passion for antiquity was fostered by books, particularly by Layard’s Nineveh,  a Victorian sensation, which he had asked for as a birthday present.  When he was 15 he worked for an Antique Dealer in London where he handled fine things and speculated about their origins. The premises were very close to the British Museum and he spent his spare time reading and visiting London galleries, including the British Museum and its Reading Room.

During World War I he served in the Royal Navy Air Service for three years as a Fitter/Air Mechanic, moving between several postings on home shores (thankfully), and earning a campaign medal – the British War medal.  

A postcard home to his sister Olive from Portsmouth mentions his passing through Southampton with 60 transporters and ships in the harbour filled with troops and horses, the common itself a mass of tents with soldiers waiting to embark. In another from Southsea he wrote that the searchlights at night were wonderful to behold.   At one time he was posted to a lighthouse for some months on coastal reconnaissance, and in those lonely hours he laid the foundations of his archaeological knowledge by reading text books which he had sent out to him.  
 
After the war – between 1919 and 1922 - he attended evening classes in Egyptology at University College, London where he came in contact with Flinders Petrie and Margaret Murray, studying hieroglyphs with the latter.   Throughout this time he also attended UCL lectures when he could for the degree course in Egyptian History.  Dr Samuel Yievin, whom Starkey later worked with, was on the same course and mentions his attendance in his obituary on him. 

In 1922 he abandoned a promising business career and became a ‘Petrie Pup’ committing himself to an archaeological career working with Flinders Petrie, who apparently had immediately detected great promise in him.   ‘Petrie Pup’ was a term applied to those people selected by Flinders Petrie (later Sir) to act as his assistants in the field, a miscellaneous lot, culled from different professions, having aptitudes and skills in no way connected with Egyptology.  Indeed academic knowledge was a definite bar to employment with this pioneer, himself a sickly young man, too fragile to attend school and self-educated by wandering around the British Museum, who preferred people who came to him without preconceived ideas or training.   The exception to the rule was made in favour of those who had joined Dr Margaret Murray’s evening classes in elementary hieroglyphs and her sharp eye soon divided the sheep from the goats. Gerald Lankester Harding had also attended her classes.
 
His first assignment was at Qau with Guy Brunton (Petrie’s Chief Assistant), for the British School of Archaeology in Egypt (BSAE). Qau (Qau el Kebir) is situated on the east bank of the Nile, in Middle Egypt – north of Karnak and Luxor.  Obviously excited by his first trip to Egypt he sent Madge (his fiancée) a flurry of daily postcards describing their journey to the site, the site itself, their cave bedrooms, what they did each day, what they ate etc. – they make fascinating reading.  The food seemed to be variations on the following theme: bread, boiled rice, hard-boiled eggs, oranges, grapes, nuts, milk, chutney, jam tart and invariably tinned pilchards or tongue! (tinned fish seemed to be Petrie’s stock in trade fare) – and ‘not forgetting coffee’. 

It was at Qau that Starkey recognised the peculiarities of Baderian pottery (seen but not noted by other excavators – red pottery with black glazed tops and patterning) and helped to establish recognition of the very early Baderian civilisation on the east bank of the Nile in Middle Egypt (that it was his discovery is corroborated by both Harding and Margaret Murray who states ‘he never rested until he had persuaded Petrie to let Gertrude Caton Thompson to dig the mound where the pottery was found’ and Gertrude herself states in her Memoirs that it was Leslie’s ‘sharp eyes’ that had first noticed them).   

​Later back home Starkey proudly named their new home ‘Badari’.  And it was also here, in March 1923, that he also brought to light one of the very earliest copies of the Gospel according to St. John by insisting on emptying the sand from about 2,000 pots which were blank apart from this priceless 4th century Coptic papyrus manuscript, dated at approximately 400 AD, and a hoard of gold coins in another!  They had lain undiscovered for 13 centuries.  The manuscripts are described in detail in The Expositor, April 1924, and are now stored in the University of Cambridge Library.
 
He also helped with the distribution of Petrie’s excavations from Abydos – The Tombs of the Courtiers, back in the UK and in particular he visited Bexhill Museum and liaised with the Curator to fill gaps in their collection.  He himself even donated 1 guinea to this end!

​After two years with Petrie, his amazing quickness, his visual memory, his attention to detail, and a flair for objects (amounting to genius according to Margaret Murray) led him, in 1924, to being appointed Field Director of the Michigan University Expedition to Karanis ‘The Lord’s town’ – fifty miles south of Cairo, the modern Kom Washim in the Fayum, which threw more light on an obscure period.   Karanis was one of the largest Greco-Roman cities in the Fayoum dating back to the third century BC – a prosperous Egyptian town in Roman times.  The Kelsey Museum of Archaeology in Michigan hold the finds from this site.

Starkey married Madge in 1925, and she joined him for the second season.
 
His notebooks of progress in the field, and records of finds and observations illuminating the daily lives of these ancient people, the mound surveyed and subdivided into areas and sub areas, and the drawings and plans within this framework, were to prove invaluable to those who continued the excavations after him as the structures throughout the site could be traced in detail.*  

He also regularly sent back textiles to the Bolton Museum of Textiles, and textile fragments which apparently are catalogued under ‘S’ for Starkey!  Guy Brunton had also sent Bolton Museum textiles from Qau and Badari too.  Although he was by then Director of Karanis, Starkey also returned to Qau in Spring 1925 to help the Bruntons close the season as Guy Brunton was ill and had been taken to hospital.

​Between May and June 1926 Starkey re-registered with UCL and attended Petrie’s lectures in Egyptology, for the princely sum of £1 1/-.​ However, when the BSAE transferred their work to Palestine in 1926, Starkey rejoined Petrie as his first assistant at Wadi Ghazzeh and Tell Jemmeh, near Gaza – an ancient fortress along the course of the Wadi Ghazzeh.  Together with Harding, he was the backbone of the Petrie expeditions at Tell Jemmeh (1926-27), Tell el Fara (1928-29) and Tell el Ajjul (1930 onwards) – all in roughly the same area -  excavating three of the great fortified mounds of the ancient Syro-Egyptian frontier, and leading the first and final season at Tell el Fara (also known as Beth Pelet) in Petrie’s absence.    By now his son John had arrived (born 1929) and he accompanied his parents on the expeditions.  His daughter Mary was born in October 1931 so Lachish was her first outing.

At Wadi Ghazzeh, Starkey revived the wartime cannalisation of the Wadi which effectively removed the risk of malaria which was rife when they got there.  He was considered a magician by the amazed riverside dwellers who now had a quietly flowing stream leaving their fields rich in minerals allowing them to farm once again.   He himself fell victim to Malaria in November 1930 when he was at Tell el Ajjul and had to be carted off to the hospital in Gaza for 10 days, and was hospitalised again for it in 1931.  He also had Jaundice in December 1927 whilst at Tell Jemmeh.
 
In 1927 he was elected to the Royal Anthropological Institute. This interesting poster is of a lecture he gave in 1928 to a Masonic Lodge – the title is certainly attractive and I especially like the last line ‘Ladies are specially invited’, presumably meaning the content and nature of the lecture would be suitable for ladies to attend!  After the lecture the Lodge wrote enthusiastically thanking him for ‘such an intellectual treat’.  Starkey’s father in law was a Masonic Lodge Master and Starkey himself became a Mason in 1929.  

In 1932 the BSAE jointly published Beth Pelet II: Prehistoric Fara written by Eann Macdonald and in the same edition, a rather substantial Beth Pelet Cemetery co-authored by Starkey and Gerald Lankester Harding - describing in great detail the excavations, the tombs and layout of the cemeteries, and the finds, including bedrooms and a wine store.   Starkey had also contributed to its forerunner Beth Pelet I – Tel Fara in 1930, and in the same year to its supplementary publication written by J. Garrow Duncan, entitled Corpus of dated Palestinian pottery.  This included the section ‘Beads of Beth Pelet’ which was dated and arranged by Starkey.
 
Whilst at Tell el-Fara Starkey discovered the Bronze Bear, from the reign of David or Solomon – originally loaned to the Victoria and Albert Museum from the Institute of Archaeology.  Now back in their possession it is affectionately known as the ‘Starkey Bear’.  I have a V&A postcard of the Bronze Bear which Olga Tufnell sent Mary saying ‘Your father found this’!

At Tell el Ajjul, a site of 33 acres four miles south of Gaza, at an inconspicuous mound shrouded in sand next to the estuary ‘Hill of the Calves’, Starkey’s intuition led to excavation of a site that revealed treasures rich enough to compare with the hoards of Troy, Ras Shamra and Enkomi.   Many of these findings formed the nucleus of the Palestinian collection of the Institute of Archaeology, London and in the seasons that followed, the reliability of his judgement has been amply shown.  
 
In 1932 Starkey parted company with Petrie and struck out on his own, as Director of the Wellcome-Marston research expedition to the Near East, to excavate Lachish.  Sadly for Petrie, Olga Tufnell and Lankester Harding went wih him.  Even Petrie’s Cook, Mohammed Kreti, who had been with the Petries since a boy, followed suit.

In 1933 Prof. Flinders Petrie retired from the University College London and spent his remaining years excavating near Gaza. He died in Jerusalem in 1942 at the age of 89.

TO BE CONTINUED, with a further article on Lachish.

Sources/Further Reading/Research:
 
BSAE, 1923, The Gospel of St. John, Sir Herbert Thompson
BSAE, 1923, Qua and Badari I, Guy Brunton
BSAE, 1924, The Badarian Civilisation, Guy Brunton and Gertrude Caton Thompson
The Expositor, April 1924 No.4, R Kilgour, Hodder & Stoughton
Cambridge University Library, the Coptic Scripts
University of Michigan, Kelsey Museum of Archaeology 
Bolton Museum of Textiles – textiles sent by Starkey from Karanis
Petrie Museum, University of London Institute of Archaeology
Qualley Log:  Diary of Karanis 1924-1925: https://www.luther.edu/archives/assets/Qualley_Log_1924_25.pdf
BSAE, Beth Pelet I, 1930, Flinders Petrie, including contribution by James Starkey
BSAE, 1930, Corpus of dated Palestinian Pottery, J. Garrow Duncan, including Beads of Beth Pelet by James Starkey
BSAE, 1932, Beth Pelet II: Prehistoric Fara, E McDonald, including Beth Pelet Cemetery by Lankaster.Harding and James.Starkey
An Appreciation, PEQ, 1938, Olga Tufnell
Petrie in the Wadi Ghazzeh and at Gaza: Harris Colt’s Candid Camera, PEQ, 1979, Francis W. James
Reminiscences of a Petrie Pup, PEQ, 1982, Olga Tufnell
 
*The old black and white photos of the excavations at this time were used in the making of the Indiana Jones film The Kingdom of the Crystal Skull.

By Amara Thornton

I’ve spent hours going through Lankester Harding’s footage since we received the digitised version earlier this year.  The digital file we received was all the individual films sequentially rolled into one, making up about an hour and a half of ‘raw’ footage.  There were short breaks where the ‘leaders’ attached to each canister’s roll indicated the reference number we had assigned it – LH1 and so on.  So one of my first tasks was to separate the digitised files into each canister’s film using the leader breaks as a guide.  I was able to do this relatively easily in iMovie, and since then I’ve been experimenting with creating bespoke films using the footage and related digitised archive material in order to draw out different facets of the film and the archive.  Each time I watch it I see something new, which is pretty exciting!
 
I made this short film for the Institute’s recent World Archaeology Festival event on 11 June this year.  Having the Harding footage in a digital format makes it pretty flexible in the creation of new narratives.   Being able to manipulate the total film in iMovie allows me to view the footage almost frame by frame, bringing a new focus to my own viewing experience.  And, it’s leading to the creation of new ‘archive’ of films – thematic ones.  
 
The film embedded below features sequences from eighteen of Lankester Harding’s films.  You will see the film canister reference numbers on the top left hand corner of the footage sequences.  Harding’s photograph albums were also very useful in illustrating Harding’s initial experiences as an archaeologist in Mandate Palestine and his relationship with some of the workers on site.  The photograph of Hilda Petrie was in one of his albums, as were the group photographs of local families.  These might be particularly useful in future in helping to identify some of the workers featured on film. Thanks are also due to Alice Stevenson (Petrie Museum) and Robert Winckworth (UCL Records) for permission to include digitised images from each source.
 
I hope you enjoy this first ‘narrative’ film – there will be more to come!

Amara and I were asked to speak at a special event organised by the Petrie Museum. As part of their public programme on 'The Light Project', we looked at the role of photography and film in early twentieth-century archaeology. Amara unearthed some fascinating images of Flinders Petrie and a stunning image that showed how an Egyptian tomb was wired with electric light to impress the tourists. I discussed films from the 1912-13 excavation at Gebel Moya funded by Henry Wellcome and 1930s footage from the excavation at Tell el-Amarna sponsored by the Egypt Exploration Society. The Wellcome films are wonderful images of the disciplined work site and scenes of amusement including a white-suited bicyclist drawing the attention of local children. The Amarna films, in contrast, show a more playful side to the excavation team as the group of seemingly bright young things are captured joking together in Fair Isle jumpers. A special thank you to Angela Saward from the Wellcome Library for allowing us to screen the film footage and for offering some helpful information during the discussion that followed our presentation. Thanks also to the EES for providing access to the Amarna films and to Helen Pike of the Petrie Museum for planning this event and the entire Light Project programme. And a final thank you to Louise Atherton for taking this photo of the event.

This brief entry in Lankester Harding's 1933 day-diary may seem insignificant - but it isn't.  By the 1930s annual archaeological excavations were a routine event during the summer Season in London.  

Harding visited an annual exhibition for the first time in July 1924. The Egypt Exploration Society's exhibition of objects from its season at Amarna was on at the Society of Antiquaries. Harding saw an ad in the newspaper about it and went along.  There he was introduced to the archaeological network and followed his visit with another – this time to Flinders Petrie’s exhibition of antiquities from Qau, Egypt at University College London.  Two years later, Petrie engaged Harding as an assistant on his excavations in Palestine. 

Petrie had been holding exhibitions in London since 1884 to showcase excavations he (and eventually his students) conducted in Egypt.   These temporary displays were arranged in the aftermath of excavation, once excavated objects had reached Britain. 

Antiquities discovered during the excavation season (c. November to May) were placed on tables and shelves distributed into one or two rooms with plans, maps, paintings and photographs of the site and surrounding region on the walls.  These events were open to the public with hours of admission that often extended into the evening after businesses had closed.  

As a member of the Wellcome Archaeological Expedition to the Near East in the early 1930s, Harding became more intimately involved in the public presentation of research.  In a letter in Harding’s archive, expedition director James Leslie Starkey emphasised Harding’s role in organising the Expedition’s exhibitions.  

During this period, film screenings were a new addition to ‘exhibition season’.  Hilary Waddington’s films of EES excavations at Amarna were the subject of the Filming Antiquity launch event – one of these films was screened in London in 1931 to complement the EES’s exhibition during its opening week.  Although this screening was targeted at EES subscribers free tickets were also offered to the public.

In 1935, notices appeared that a film of the Wellcome Expedition's excavations at Tell ed-Duweir (Lachish) would be screened twice a day at the exhibition, held at the Wellcome Museum on Euston Road. Film screenings of excavations in progress were also incorporated into the 1937 and 1938 Lachish exhibitions. 

There’s still a lot we don’t know about the creation and initial screening of these Lachish films; in the course of the Filming Antiquity project we hope to find out more about them to contribute to our understanding of the films in Harding's archive.  

The growing number of excavation films emerging from the shadows and the context of their initial display enables us to see histories of excavation and archaeology’s public impact in a whole new light.  The legacy of the Lachish films continues into more contemporary times; clips from the footage were shown at the British Museum in 1990 in the Archaeology and the Bible exhibition.* I'd love to know what the 51,000 odd visitors to this exhibition thought of the vintage scenes!

References/Further Reading

Harding, G. L. 1933. Diary Entry.  [manuscript]. 17 July. Harding Archive: UCL Institute of Archaeology.

Director [Starkey, J. L.]. 1936. [Statement of recommendation]. Harding Archive: UCL Institute of Archaeology.

Naunton, C. 2010. The Film Record of the Egypt Exploration Society’s Excavations at Tell el-Amarna.  KMT 21: 45-53.

Thornton, A 2015. Exhibition Season: Annual Archaeological Exhibitions in London, 1880s-1930s. Bulletin of the History of Archaeology 25(1):2, DOI: http://dx.doi.org/10.5334/bha.252

The Times. 1931. Egypt Exploration Society. Times Digital Archive, 7 Sep P 13.

Anon. 1938.  J. L. Starkey. Yorkshire Post and Leeds Intelligencer. British Newspaper Archive, 12 January.


*Thanks to Jonathan Tubb for this information.