By Amara Thornton, with Yasmeen El Khoudary on Gaza

Harding’s films offer us a valuable glimpse into urban spaces in British Mandate Palestine and Transjordan.  "Cityscapes" brings together Harding's footage of Amman, Jerash, Jerusalem and Gaza, documenting his encounters with each place in the  early 1930s. The information below adds a further layer of detail, drawing on complementary material from the Harding and Horsfield archives at UCL Institute of Archaeology and my own photographs from a research trip to Jordan in 2008. In addition, I'm grateful to Yasmeen El Khoudary for contributing the section on Gaza in this post, and for providing details on the Gaza section in the film, and Felicity Cobbing for providing details on the Jerusalem sequence in the film.

Amman
In the Roman era, Amman was known as Philadelphia.  Along with Jerash, it was part of a network of ten cities in the Levant - the “Decapolis”.   The remains of Roman Philadelphia are still visible today, even though Amman has expanded significantly since Harding filmed it.  The Roman theatre is in downtown Amman, and above it in the area known as the Citadel lie remains of the Roman acropolis with the ruins of a Roman temple.

When Harding filmed in Amman, it had been the capital of Transjordan for about a decade.  It had a population of over 20,000 by the mid 1930s.  Across the street from the Roman theatre was Amman’s Hotel Philadelphia, the only large hotel in the city for tourists.  Nearby were the Government offices, among them the Transjordan Department of Antiquities.  The residence of Emir Abdullah was also not far away.

Jerash
Jerash was a village north of Amman incorporating the ruins of the Decapolis city of Gerasa.   When Harding arrived on site with his camera, the Transjordan Department of Antiquities had an outpost there, in an old Ottoman-era house right in the middle of the site, just above and to the right of the Propylea of Artemis. At the time, George Horsfield lived in the house; he was Chief Curator/Inspector of the Transjordan Department of Antiquities, responsible for overseeing work carried out in Jerash.  Harding himself subsequently lived in Antiquity House, as it was called – he took up Horsfield’s post in 1936.  After Harding’s death in 1979, his ashes were interred in Jerash.

Jerusalem
In filming Jerusalem, a city significant to millions across the world and a place of religious pilgrimage, Harding focuses on the southeastern part of the Old City, and one of the most well known buildings – the Dome of the Rock – and the other buildings on the Haram esh-Sharif/Temple Mount platform. Jerusalem was also significant for archaeologists as seat of the administrative framework for archaeology in Mandate Palestine.  The Palestine Department of Antiquities and the Palestine Archaeological Museum (now Rockefeller Archaeological Museum) were both situated just outside the Old City walls near Herod’s Gate in East Jerusalem.

The street shown in LH31 used to be known as “Share’ al-Bahar,” or the “Sea Road,” until the name was changed formally to “Omar Al-Mokhtar street" in 1936 after a famous Libyan resistance leader. To the south is Al-Omari Mosque, also known as the Great Mosque of Gaza, built in the 13th century. The mosque has an interesting history; during the ancient Philistine era, the site was used for the pagan Marneion temple.  This was destroyed by Empress Eudoxia in the 5th century and replaced by a church that bore her name. During the 7th century, the church was turned into a mosque, which was destroyed by the Crusaders in the 12th century and replaced by a cathedral. Finally, the Mamluks built the mosque shown in the film, which still stands today although it sustained heavy damages during the First World War.

The striking arch shown in the film lies to the south of the Mosque.  It marks the entrance to Gaza’s famous gold market, also known as Souk al-Qissariya, which was built by the Mamluks during the 15th century. The covered market used to occupy a much larger area, most of which was destroyed by the British Army during WWI.  Harding's camera also offers a different perspective of Share’ al-Bahar/Omar al-Mokhtar Street, looking east towards the city.  This perspective shows the historic Khan al-Zeit (the Oil Quarter), which was recently replaced by a new high rise building.

Not far from the opposite end of Omar al-Mokhtar street lies one of the oldest pottery workshops in Gaza, Al-Fawakheer. Pottery and ceramics have been a staple of Gaza for thousands of years with local samples dating back to the Neolithic.  During the Hellenistic era, the "Gaza Amphorae" became a renowned symbol of excellent olive oil, wine, or brie that was produced in the city and traded with cities around the Mediterranean coast. 

Further Reading

El-Eini, R. 2008. Mandated Landscape: British Imperial Rule in Palestine 1929-1948. London: Routledge.

Feldman, I. 2008. Governing Gaza: Beaurocracy, Authority and the Work of Rule, 1917-1967. Durham, NC: Duke University Press.

Horsfield, G. 1933. A Guide to Jerash - With plan. Government of Transjordan.

Kraeling, C. (Ed). 1938. Gerasa, city of the Decapolis. New Haven, CT: Yale University Press.

Luke, H. & Keith-Roach, E. 1930. Handbook to Palestine and Transjordan. London: Macmillan & Co.

Lumby, C. 1934. Traveller's Handbook to Palestine, Syria and Iraq. 6th edn. London: Simpkin Marshall, Ltd.

St. Laurent, B. with Taşkömür, H. 2013. The Imperial Museum of Antiquities in Jerusalem, 1890-1930: An Alternate Narrative. Jerusalem Quarterly 55: 6-45.

Thornton, A. 2009. George Horsfield, conservation and the British School of Archaeology in Jerusalem. Antiquity Project Gallery.

Thornton, A. 2014. The Nobody: Exploring Archaeological Identity with George Horsfield (1882-1956). Archaeology International.

Once on site at Tell Jemmeh Harding helped build the dig house, and when finished it accommodated all the British members of the dig team: the Petries and Harding, James Leslie Starkey and his wife Marjorie Rice, Commander and Mrs Risdon and Dr Parker.  Petrie was looking for evidence of ancient Egyptian occupation in Palestine, and over the course of the season an acre of the site was cleared, and the remains of six towns were discovered. A large group of workers from different villages were employed to do the backbreaking labour of excavation with pickaxes.  They were housed in a separate building, but Harding’s diary from the site shows that he enjoyed meeting the workmen for fantasias - parties with music and dancing - and listening to their music, which he felt was “very romantic”.

Harding returned to Palestine for the 1927/1928 season which was spent at a site called Tell Fara (or ‘Beth-Pelet’), southeast of Tell Jemmeh. Petrie stayed in Europe and Harding, the Risdons, the Starkeys and a new excavator, Olga Tufnell, were on site.  The main focus of the work was on tombs in the first season; Petrie returned for the 1928/1929 season with Harding, the Starkeys, Olga Tufnell and another student, Oliver Myers, to concentrate on the cemetery, a ravine with tombs and a fort.  Over a hundred workmen were employed, and a key find of a burnt ivory box was discovered.  Connections were made between the site and the Hyksos kings of Egypt.  In addition, conservationist and "Men of the Trees" founder Richard St Barbe Baker made a film of the excavations, to be called “Palestine’s Lost Cities”.  The 1929/1930 season was also spent at Tell Fara, continuing the work in order to gain a full picture of the site’s history of occupation.

Tell el-Ajjul was the next site to undergo excavation.  A mere six miles south of Gaza, Petrie and his team, including Harding, the Starkeys and Olga Tufnell, set out to uncover the occupation history of the site. After two seasons Starkey, Harding and Tufnell left the Petries to begin their own excavations at Tell ed-Duweir, a site between Gaza and Jerusalem, with funding from industrialists Henry Wellcome (pharmaceuticals) and Charles Marston (Sunbeam bicycles).  These excavations eventually resulted in the important discovery of the Lachish letters, pieces of pottery with ancient Hebrew script in ink identifying the site to be the location of the Biblical city of Lachish. 

The Wellcome-Marston Archaeological Expedition to the Near East (the formal name of the Starkey-Harding-Tufnell excavations) remained at Duweir from 1932 to 1938.  Harding left in 1936 to take up the post of Chief Curator of Antiquities in Transjordan, across the Dead Sea, but he remained actively engaged in the interpretation and publication of the Lachish letters in the years that followed.  Eventually he became Director of the Transjordan Department of Antiquities, but it was as its Chief Curator that he embarked on one of the most publicised excavations of his career.  In February 1949 he set out with a team of archaeologists to excavate a cave at Ain Feshkha east of the Dead Sea, an area then under Jordanian control, where two years previously Bedouin had discovered the earliest known Biblical texts handwritten on delicate leather: the Dead Sea Scrolls.  

Harding and his team discovered more scroll fragments at Ain Feshkha, establishing the authenticity of the fragments discovered there.  In the years that followed he and a team continued excavations in the area, centring their investigations in the nearby settlement site of Khirbet Qumran.  Over the course of his archaeological career in Jordan Harding undertook excavation and survey work all over the country, including Jerash, where he was based in the early part of his career in Jordan (and later buried), as well as Petra.  His extensive work in Jordan brought the country's antiquities and sites to a wider scholarly and general audience; through conducting numerous surveys he became a leading expert in Ancient North Arabian inscriptions. Harding died in England in 1979.  

I have concentrated mainly here on Harding’s early career in archaeology, as it is this period of his life that the footage we will be digitising through Filming Antiquity is most likely to cover.  But it’s important to emphasise that Harding’s thirty years in Palestine and (Trans)Jordan (1926-1956) came at a pivotal period in the history of the region and the world – one that saw a world war, the gradual disintegration of Britain’s imperial system, the creation of Israel, the evolution of Transjordan into the Kingdom of Jordan, and the establishment of a border between Israel and Jordan that continues to have ramifications on both countries today. His archive holds much more information about the context of his work and life in Palestine and (Trans)Jordan, so stay tuned!

References/Further Reading
BSAE [British School of Archaeology in Egypt]. 1927. Catalogue of Palestinian Antiquities from Gerar, 1927. London: BSAE.

Drower, M. 1985. Flinders Petrie: A Life in Archaeology. London: Victor Gollancz, Ltd.

Harding, G. L. 1949. The Dead Sea Scrolls: excavations which establish the authenticity and pre-Christian date of the oldest Bible manuscripts. Illustrated London News Historical Archive [Online]. 19 October, p 493.

Harding, G. L. 1949. The Dead Sea Scrolls. Palestine Exploration Quarterly 81 (2): 112-114.

Macdonald, M. C. A. 1979. In Memoriam Gerald Lankester Harding. Annual of the Department of Antiquities of Jordan 23: 198-200.

Sparks, R. PUBLICISING PETRIE: Financing Fieldwork in British Mandate Palestine (1926-1938).  Present Pasts 5 (1): 2. DOI: http://dx.doi.org/10.5334/pp.56.

Thornton, A. 2014. Margaret Murray’s Meat Curry. Present Pasts 6 (1): 3 DOI: http://dx.doi.org/10.5334/pp.59.

Torczyner, H., Harding, G. L., Lewis, A. and Starkey, J. L. 1938. Lachich I (Tell Ed Duweir). The Lachish Letters. London: Oxford University Press.

Tufnell, O. 1980. Obituary: Gerald Lankester Harding. Levant 12 (1): iii.

The current owner of the house is Michael Macdonald, a Research Associate at the Khalili Research Centre, Oxford and Lankester Harding’s executor.  Michael not only offered us access to the collection but also information that could help put the items into context and make connections between them.  The materials in the archive offer extensive information about excavations, the personal activities of those on the dig, and the relationships formed from these experiences. 

The collection includes letters, Harding’s day diaries, an unpublished typewritten biographical manuscript, and photos of Harding’s childhood in China and Singapore as well as his work at Tell Jemmeh, Tell Fara, Tell el-Ajjul and Tell ed-Duweir (British Mandate Palestine) and Transjordan, and his co-workers and personal acquaintances. Alongside the papers and photographs were the films, housed in their Baby Pathé canisters, and with limited identifying material about their contents. Michael could not help with what might be captured in the moving images but the possibilities include excavation work, on-site activities or documentation of Harding’s other interests, including perhaps his work with the Amman Dramatic Society.  

The Harding archive offers rich material for studies not only of archaeology and its history, but also social history, anthropology, cultural geography, and film history. With this in mind, Filming Antiquity was founded to invite collaboration with others interested in working across disciplinary boundaries and helping to further our understanding of what excavation sites and archaeological digs can tell us about cultural history, production, and consumption and the networks (social, professional, economic, media) that enabled these exchanges. The project uses the films produced at these sites as the launch pad for discussions. To start, we aim to digitize the films from the Harding archive to see what they contain and what others can tell us about the people, places, and processes put on screen.

Filming Antiquity is currently funded through University College London’s Centre for Humanities Interdisciplinary Research Projects (CHIRP) Small Grants Award Scheme.  A list of the UCL staff involved in Filming Antiquity and details of projected outputs are available here.