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As you hold the Ain Sakhri pebble and turn it round, it is striking not just that there are clearly two human figures rather than one, but that it’s impossible, because of the way the stone has been carved, to say which is male and which is female. Could that generalized treatment, that ambiguity which forces the engagement of the viewer, have been a deliberate intention on the part of the maker? We just don’t know, but we don’t know either how this little statue would have been used. Some scholars think it might have been made for a fertility ritual, but Ian Hodder takes a different view:

This object is one that could be read in many ways. At one time it would probably have been thought that these notions of sexual coupling, and sexuality itself, were linked to ideas of the mother goddess, because it’s been assumed that the first farmers’ main concern is the fertility of the crops. My own view is that the evidence doesn’t really support this idea of a dominant mother goddess very early on, because there are now exciting new discoveries that really have no representations of women at all – most of the symbolism is very phallocentric – so my view at the moment is that sexuality is important in these early farming societies, but not in terms of reproduction/fertility, children and mothering and nurturing. It’s really more clearly about the sex act itself.

To me, the tenderness of the embracing figures certainly suggests not reproductive vigour, but love. People were beginning to settle and to form more stable families, to have more food, and therefore more children, and perhaps this is the first moment in human history when a mate could become a husband or a wife.

All these ideas may be present in our sculpture of the lovers, but we’re still largely in the realm of historical speculation. On another level, though, it speaks to us absolutely directly, not as a document of a changing society but as an eloquent work of art. From the Ain Sakhri lovers to Rodin’s sculpture The Kiss there are 11,000 years of human history, but not, I think, much change in human desire.

8

Egyptian Clay Model of Cattle

Painted model, found at Abydos (near Luxor), Egypt

3500 BC

Mention excavation in Egypt, and most of us see ourselves entering Tutankhamun’s tomb, discovering the hidden treasures of the pharaohs and at a stroke rewriting history. Aspiring archaeologists should be warned that this happens only very rarely. Most archaeology is a slow, dirty business, followed by an even slower recording of what has been found. And the tone of archaeological reports has a deliberate, academic, almost clerical dryness, far removed from the riotous swagger of Indiana Jones.

In 1900 a member of the Egypt Exploration Society excavated a grave in southern Egypt. He soberly labelled his discovery Grave A23 and noted the contents:

Body, male. Baton of clay painted in red stripes, with imitation mace-head of clay. Small red pottery box, four-sided, 9 inches × 6 inches. Leg bones of small animal. Pots and stand of 4 clay cows.

The four horned cows stand side by side upon fertile land. They’ve been grazing on their simulated patch of grass for about five and a half thousand years. That makes them really ancient Egyptian, more ancient even than the pharaohs or the pyramids. These four little clay cows, hand-moulded out of a single lump of Nile river clay, are a long way from the glamour of the pharaohs, but you could argue that cows and what they represent have been far more important to human history. Babies have been reared on their milk, temples have been built to them, whole societies have been fed by them, economies have been built on them. Our world would have been a different and a duller place without the cow.

On these models you can still see faint traces of black and white paint applied after the clay had been lightly baked, making them like toy farm animals of the sort many of us played with as children. They stand only a few centimetres high, and the clay base that they share is roughly the size of a dinner plate.