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Serpent of wood gesso-gilt, eyes of quartz with the copper eyelid.
Pedestal varnished with black resin and inscribed with yellow paint.
Egyptian Museum, Cairo
This tent was made between 1046-1037 BC for the funerary purification of Isetemkheb II who was the daughter of the army general and High priest of Amun Masaherta and the chantress of Amun Tayuheret and the granddaughter of the king Pinudjem I of the 21st dynasty.
Noteworthy, Isetemkheb II held the title of "the superior of the Harem of Min, Horus and Isis at Ipu (Akhmim)" and was one of several princesses who bore this name in the family.
Although the coffin of Isetemkheb II has not been discovered yet, the coffin of her cousin Princess Isetemkheb IV the superior of the chantresses of Amun and wife of king Pinudjem II was discovered in the Deir el-Bahri cache and displayed in the baldachin now.
Painted red, green and yellow leather
Deir el-Bahri Cache (TT 320)
21st dynasty
Reign of Pinudjem I
(JE 26276)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Castel Nuovo, meglio noto come Maschio Angioino, è uno storico castello medievale e rinascimentale, nonché uno dei simboli della città di Napoli.
La sua costruzione si deve all'iniziativa di Carlo I d’Angiò, che nel 1266, sconfitti gli Svevi, salì al trono di Sicilia e stabilì il trasferimento della capitale da Palermo alla città partenopea.
Tra le due torri che difendono l'ingresso (torri "di Mezzo" e "di Guardia") venne eretto un arco di trionfo in marmo, destinato a celebrare il ricordo dell'ingresso di re Alfonso nella capitale, quest'ultimo scolpito sul punto piĂą alto dell'arco. L'opera trae ispirazione dagli archi di trionfo romani.
Oggi il castello domina la scenografica piazza Municipio ed è sede del Museo civico della città di Napoli.
(fonte: Wikipedia)
Castel Nuovo, better known as Maschio Angioino, is a historic medieval and Renaissance castle, as well as a symbol of the city of Naples.
Its construction is due to the initiative of Carlo I of Angiò, who in 1266 defeated the Swabians, ascended the throne of Sicily, and established the transfer of capital from Palermo to Naples.
Between the two towers that defend the entrance (towers "Middle" and "Guard") was erected a triumphal arch of marble, intended to celebrate the memory of the entrance of King Alfonso in the capital, this carved on the verge higher arc. The work is inspired by Roman triumphal arches.
Today the castle overlooking the scenic Municipio Square and house of the Civic Museum of Naples.
(source: Wikipedia)
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This anthropomorphic coffin belonged to an unknown person, probably a woman. The coffin and the mummy wrapped in bandages of varying widths probably originate from the Late Period, when the sophistication of mummification declined remarkably compared to the preceding Third Intermediate Period, which marks the high point of mummification.
During the Late Period, a typical modest funeral complement included the following items: an anthropomorphic inner coffin, a rectangular outer qrsw coffin, a shabti box containing shabti statuettes, four canopic jars, and occasionally a box for holding them, a wooden stela, a wood sculpture of Ptah-Sokar-Osiris and possibly a number of pottery jars and other objects. However, the Late Period saw the gradual disappearance of most everyday objects from burial chambers.
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
A box specially made for the king's headwear. It is a legacy from the daily life of the past - the prototype of the hat-box in use today. It is a plain rectangular wooden case with hinged lid and simple blue and yellow faience and semi-translucent calcite decoration bordering its panels. It contains block-headed support for a cap. The remnants of the king's cap were found at the bottom of the box. It was made of fine linen, embellished with elaborate beadwork of gold, lapis lazuli, carnelian and green felspar. Unfortunately, the dilapidations of time had caused the textile fabric to decay beyond recovery.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
Egyptian Museum, Cairo
Late Period, 25th-26th dynasties
Thebes, Valley of the Queens, tombs of Khaemwaset, QV 44
or Setherkhepeshef, QV 43
The exhibition 'Nefertari and the Valley of the Queens' from the Museo Egizio, Turin' in the Hermitage Museum, St Petersburg, 2017
Statue of Gemehsu as a falcon.
This is one of 28 gilded wooden statuettes of deities wrapped in shrouds to look like mummies.
They were kept in shrines placed in the tomb to protect King Tutankhamun during his journey in the underworld. This statuette represents Gemehsu as a falcon sitting on an insignia, or symbol of rank. His back is adorned with the flail and the Neheh sign.
18th dynasty, from the Tomb of Tutankhamun, KV62
JE 60748, Carter 283c
Egyptian Museum, Cairo
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Reverse (shown)
Lettering: * EIN VEREINSTHALER * XXX EIN PFUND FEIN * 1862
Engraver: A.V.Nordheim
Obverse
Frankofurthia
Lettering:
FREIE STADT FRANKFURT
A.V.NORDHEIM
Engraver: A.V.Nordheim
Edge
Inscripted
Lettering: STARK IM RECHT
Gilded bed from Tutankhamun's tomb. The central panel of the footboard is decorated in relief with papyrus clumps, plant designs and sema-tawy (binding of the Two Lands) motif.
Egyptian Museum, Cairo
A kneeling image of Nephthys and her accompanying inscription cover parts of the wig of the anthropoid sarcophagus. Located on the forehead, the text inscribes the goddess spreading her wings over the deceased. The plaited beard attached below the chin is mostly destroyed as is the nose and mouth. A broad falcon collar covers the complete width of the chest and shoulders.
It is more typical for this kind of representation to appear on the breast of anthropoid coffins. In both scenarios, the sense stays the same: the goddess protects the deceased in his form as an Osiris under her wings.
"I am your sister Nephthys. I spread my arms as your mother, my wings are above you (in) the House of Eternity, Osiris of the revered one, the greatest of the five, director of the thrones, scribe of the treasury, Ahmose, justified."
Sarcophagus of Ahmose
Limestone
Provenance: Tuna el-Gebel
26th Dynasty
JE 51945, SR 5 12059
Egyptian Museum, Cairo
The Naophorousor or Naos (Shrine) carrier statue is one of the prominent forms of late-period sculptures that emphasized the owner’s piety and connection to the gods.
This statue depicts the priest Psamtik-Seneb kneeling while carrying the naos of the god Atum, the procreator of all the gods and Lord of Heliopolis.
Limestone
Late Period
From Tanis
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Pen-Menkh was a contemporary of Queen Cleopatra VII and the Roman conquest of Egypt. As one of the high officials, he held the position of the Mayor of Dendera, the capital of the 6th Nome of Upper Egypt, and also he was the royal deputy and priest of Hathor and Horus. This statue is a unique example of the mixing between ancient Egyptian art with its well-established traditions and the Hellenistic one.
Granite - sandstone
Greco-Roman Period - 1st century BC
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Animals played a significant role in the religion of ancient Egypt starting from the Predynastic Period. Some animals were worshipped as representatives of the gods on earth. Sekhmet, for example, was one of the oldest Egyptian lioness goddesses. Another example is the Apis bull, associated with the god Ptah. The cult centre of Apis was in Saqqara, where a vast cemetery dedicated to Apis bulls was found.
During the Late Period the importance of the cult of animals increased. It became common for worshippers and pilgrims to present mummified animals to the gods as votive offerings at the temples. As a result, priests started to mummify even more animals to sell to temple visitors. The temples took care of the breeding, killing, mummification and burial of the animals. There were entire factories, where huge members of animals were raised and then killed at a very young age. In Saqqara, the necropolis of Memphis approximately 10.000 birds were buried annually. The demand for animal mummies grew so fast that at some point priests started to make fake mummies in secret. By putting sticks or sand instead of the actual animals into the wrappings.
Sometimes it is difficult to tell a real mummy from a fake based on mere appearances. However, that the mummified animals in this exhibition are real thanks to the expertise and investigative techniques used in Museo Egizio which allow researchers to look inside the relics and identify the presence of bones.
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Child-Horus or Harpocrates is behind the foot holding the Cornucopia (Horn of plenty).
Marble
Roman Period
Provenance Caesareum, Alexandria
S. 17137 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
One of the most important objects in a tomb was naturally the coffin that would protect its owner's mummy and incidentally preserve important information and research material for modern-day Egyptologists. During the New Kingdom coffins were often human-shaped. A deceased could have as many as three nested coffins.
Nakhtkhonsueru's wooden meticulously crafted coffin is representative of a typical Late Period coffin style. The maker has spread a layer of white plaster on the wooden lid and executed the paintings on the plaster. The coffin was discovered in the tomb of Prince Khaemwaset, son of Ramses III, among several other coffins. According to the inscriptions on the coffin, Nakhtkhonsueru was an important Theban person, "the Lord of the Necropolis at the temple of Amun".
25th dynasty
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
On the short sides of the chest, Tutankhamun is portrayed as a sphinx trampling his northern and southern enemies.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61467
Egyptian Museum, Cairo
Inside the chariot on the left-hand panel, Thutmose IV as a human-headed lion is trampling down his enemies. He is attired with closed hawk's wings, the royal wig with twisted tail, and ram's horns, and the Atef-crown with two pendent uraei on either side to the is attached a false beard. In front of him are his names and titles. Over his back is a fan composed of feathers and above it is a beetle with outspread wings, holding a solar disc in its forelegs and a shen-ring in its hind legs. Underneath his paws are three overthrown Asiatic foes representing three distinct races.
Behind the king is standing a figure of the hawk-headed god Montu with arms and wings outspread. Upon his head, the god wears a wig of medium length and upon the top of it are two ostrich feathers and the sun's disc with pendent double uraei. Around his neck, he wears a necklace and a coat of mail covers the body from breast to knees. In his right hand, he holds the khepesh sword and three signs symbolising power, stability and life.
On the right-hand panel, this scene is similar to that on the left-hand panel except that the king faces left and is represented trampling on three of his Southern foes.
Beneath both panels are lists of the conquered tribes. On the left side, the Northerners bound with papyrus flowers and on the right side the Southerners bound with lotus flowers.
Following is a list of them together with their facial types.
The Chariot recovered from the tomb of Thutmose IV (KV43)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Bovine-legged beds dating from the Predynastic Period onward have been found in the funerary context all over Egypt. In the Middle Kingdom coffins appear that seem to combine the rectangular coffins of that time with the lion bier. It is merely a logical development to add feline heads to the already lion-legged beds. In the Greco-Roman Period, they are no longer simple coffins or beds but combine features of both. (Ancient Egyptian Coffins, Strudwick & Dawson)
Upper floor, gallery 21
Unfortunately, I have no information whatsoever of this bed or the coffin.
Egyptian Museum, Cairo
The face of the mummy board of Sennedjem
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This funeral statuette depicts oxen being slaughtered. At the funeral ceremony, during the ritual of opening the mouth, the deceased was offered the foreleg and heart of a bovine as a sacrifice. Through them, the deceased would gain strength for the afterlife. During the ritual of opening the mouth, the priest would touch the mouth of the deceased with various instruments. Thus restoring the senses and bodily functions of the deceased - functions they would need in the afterlife.
Middle Kingdom
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
El templo de Luxor contaba inicialmente con dos obeliscos. Estos obeliscos fueron ofrecidos al rey Carlos X de Francia como tributo. Finalmente solo uno fue transportado a Francia donde preside la Plaza de la Concordia en ParĂs. El otro permanece en el templo delante del pilono izquierdo como se aprecia en la imagen
In the 1960s many Nubian temples were in danger of being submerged under the rising waters of the Assuan Dam that was under construction and completed in the 70s. Museo Egizio took part in an international rescue operation led by Unesco. Temples to be rescued and relocated included the temples of Derr and Gherf Hussein.
Both temples were built by Ramesses II during the 19th dynasty. The temple located in Gherf Hussein was built by the Setau, Viceroy of Nubia and was partially cut into the rock so only the freestanding parts could be relocated during the Unesco project. The temple was dedicated to Ptah, Ptah-Tenen, Hathor and above all to Pharaoh Ramses II who had elevated himself to godhood.
An avenue of ram-headed sphinxes led from the Nile to the first pylon, which like the courtyard beyond is also free-standing. The courtyard is surrounded by six columns and eight statue pillars. The entrance to a peristyle court is decorated with colossal Osiris statues. The rear portion of the building which is 43 m in depth was carved out of rock and follows the structure of Abu Simbel with a pillared hall featuring two rows of three statue pillars and, curiously, four statue recesses, each with divine triads along the sides. Beyond the hall lay the hall of the offering table and the barque chamber with four cult statues of Ptah, Ramesses, Ptah-Tatenen and Hathor carved out of the rock.
The origin of the temple models is unclear but they are believed to have been made by Jean-Jacques Rifaud, a friend of the General Consul of France in Egypt, Bernardino Drovetti. The collections of Museo Egizio are based on Drovetti's collection, which he sold to the Italian Kingdom of Savoy in 1823. The collection was brought to Turin in the same year.
Wood, plaster
19th century
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
This tent was made between 1046-1037 BC for the funerary purification of Isetemkheb II who was the daughter of the army general and High priest of Amun Masaherta and the chantress of Amun Tayuheret and the granddaughter of the king Pinudjem I of the 21st dynasty.
Noteworthy, Isetemkheb II held the title of "the superior of the Harem of Min, Horus and Isis at Ipu (Akhmim)" and was one of several princesses who bore this name in the family.
Although the coffin of Isetemkheb II has not been discovered yet, the coffin of her cousin Princess Isetemkheb IV the superior of the chantresses of Amun and wife of king Pinudjem II was discovered in the Deir el-Bahri cache and displayed in the baldachin now.
Painted red, green and yellow leather
Deir el-Bahri Cache (TT 320)
21st dynasty
Reign of Pinudjem I
(JE 26276)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Undated
Carnelian
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
An unusual and appealing small head that is a masterpiece; it was found by Howard Carter at the entrance to King Tutankhamun's tomb.
Tutankhamun as Nefertem (also known as the Head from the Lotus Bloom or Tutankhamun as the Sun God).
The head is that of the boy pharaoh with very beautiful features, modelled in the Amarna style and emerging from an open lotus flower. The base is painted blue to represent the water in which the flower grows.
Chapter 81 of the Book of the Dead allows the deceased to transform itself into a lotus flower to move more easily through the world beyond the grave and the illustration that accompanies it shows the head of a man emerging from the lotus.
Lotus is a powerful symbol because the flower closes its petals at dusk and opens them again at dawn, facing east to greet the rising sun. Thus, the emerging lotus is the symbol of the sun, which is regenerated each morning after its nightly journey to the regions of the underworld.
This beautiful sculpture was placed in the tomb to wish the sovereign eternal life.
JE 60723
Egyptian Museum, Cairo
The flute was one of the main musical instruments in ancient Egypt. It was played by individuals, such as shepherds and agricultural workers for pleasure or to speed up work, as well as by professional musicians. The Egyptian flute is usually characterized by five holes. The displayed flute is about 95 cm long.
Reed
New Kingdom, 19th dynasty
Provenance Luxor
The arched harp (shoulder harp) was a common musical instrument in ancient Egypt and was often decorated with colourful motifs on its outer surface. Harps, together with percussion instruments, were very popular and were used in both sacred and secular contexts.
Wood
New Kingdom, 19th dynasty
Provenance Luxor
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The wooden anthropoid coffin of a man called "Aba son of Ankh Hor", ruler and governor of Upper Egypt and the Head of the treasury.
The coffin is fully decorated in the shape of a mummy resembling Osiris with the upturned ceremonial false beard and a wig. The eyes are inlaid with ivory and ebony. Iba wears a large multicoloured necklace, and the sky-goddess Nut appears on the chest area. The goddess Isis with wide-spread wings is portrayed on the feet, while the goddess Nephtys appears at the head. The three goddesses offer protection to the deceased. The coffin lid is also decorated with texts from the Egyptian Book of the Dead and the base shows hieroglyphic inscriptions.
Organic material, sycamore wood
Late Period, 26th Dynasty, Saite Period
Provenance Upper Egypt, Luxor (Thebes), West Bank, Qurna
BAAM 829
Antiquities Museum of Bibliotheca Alexandrina
Nephthys protecting the deceased on the lid of Sennedjem's inner coffin.
Wood, pigment
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
A quartzite statue of the priest Padiamenopet shows him as a scribe seated cross-legged on the ground. His right hand is shown as if he held a reed pen (now missing) to write on the papyrus unrolled across his lap.
25th dynasty
From Karnak
Egyptian Museum, Cairo
The religion of ancient Egypt was polytheistic. The search for the most powerful protective amulets possible could result in such a so-called pantheistic image of God. This amulet has the head of Bes, the body of Harpocrates, the feathered headdress of Amon, sun disk of Ra, perhaps four wings referring to Horus, heads of jackals on the feet perhaps referring to Anubis, beneath them a serpent, and a pedestal with orbiting animals that resemble lion or lizard. The amulet has probably protected its wearer from all or at least scary animals.
Faience
Late Period
Provenance unknown
Cat. 683 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The impressive shrine for canopic vases was found in the Treasure Room of the tomb with an alabaster container inside. The shrine, fixed onto a sledge, has a canopy formed by four corner pillars that hold up a roof crowned with a frieze of uraeus serpents and the sun disk, while a second frieze is on the roof of the shrine itself. The inscriptions on the pillars give the names and titles of the pharaoh.
Wood lined with stucco and gilded, glass paste
Tomb of Tutankhamon, KV 62
Valley of the Kings
JE 60686
Egyptian Museum, Cairo
A shrine made from alabaster - a stone that the Egyptians quarried in the caves at Hatnub in Middle Egypt - lay inside the monumental shrine made of gilded wood found in the Treasure Room.
The form of the alabaster shrine resembles the model of Predynastic temples on southern Egypt. It is fixed to a gilded wooden sled that was supposed to facilitate the movement of the object.
The inside of the shrine is divided into four compartments that held the solid gold sarcophaguses that contained Tutankhamun's internal organs. The compartments are closed by alabaster lids that bear the image of the king; his face is framed by the nemes headdress while vulture and a uraeus serpent, the emblems of royal power, appear on his forehead.
Relief images of Isis, Nephthys, Neith and Selket - identified by the hieroglyphic marks on their heads - appear on the corners of the shrine with their arms open to protect the body parts of the pharaoh. The inscriptions engraved on the sides of the shrine are the formulas intoned by the goddesses to further protect Tutankhamun.
The base of the shrine is covered with thin gold leaf decorated with a line of djed and tit symbols in alternating pairs; these are the emblems associated with Osiris and his consort Isis respectively.
JE 60687
Egyptian Museum, Cairo
Paser appears in this statue carrying an altar topped by a ram's head, the symbol of Amun-Ra, Lord of Karnak.
Paser lived during the reign of Seti I, where he held the title of the sole companion of the king and held many positions as the royal palace advisor, the governor of the city of 'Thebes', and who receives the tribute of the foreign lands for the king. Then, during the reign of Ramses II, he became a judge, a seal bearer and a deputy of the king in Nubia, where he supervised the construction works of the temple of Abu Simbel. He also assumed the position of high priest and overseer of the Karnak temple until his death in the 25th year of the reign of Ramses II.
Paser is known from many monuments and statuary.
Burial TT106 Thebes
Black granite
From Karnak, great temple cachette
(CG 42156 / JE 37388)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
A shrine made from alabaster - a stone that the Egyptians quarried in the caves at Hatnub in Middle Egypt - lay inside the monumental shrine made of gilded wood found in the Treasure Room.
The form of the alabaster shrine resembles the model of Predynastic temples on southern Egypt. It is fixed to a gilded wooden sled that was supposed to facilitate the movement of the object.
The inside of the shrine is divided into four compartments that held the solid gold sarcophaguses that contained Tutankhamun's internal organs. The compartments are closed by alabaster lids that bear the image of the king; his face is framed by the nemes headdress while vulture and a uraeus serpent, the emblems of royal power, appear on his forehead.
Relief images of Isis, Nephthys, Neith and Selket - identified by the hieroglyphic marks on their heads - appear on the corners of the shrine with their arms open to protect the body parts of the pharaoh. The inscriptions engraved on the sides of the shrine are the formulas intoned by the goddesses to further protect Tutankhamun.
The base of the shrine is covered with thin gold leaf decorated with a line of djed and tit symbols in alternating pairs; these are the emblems associated with Osiris and his consort Isis respectively.
JE 60687
Egyptian Museum, Cairo
Bovine-legged beds dating from the Predynastic Period onward have been found in the funerary context all over Egypt. In the Middle Kingdom coffins appear that seem to combine the rectangular coffins of that time with the lion bier. It is merely a logical development to add feline heads to the already lion-legged beds. In the Greco-Roman Period, they are no longer simple coffins or beds but combine features of both. (Ancient Egyptian Coffins, Strudwick & Dawson)
Mummy bed of Nedjemib, called Tutu
Late Ptolemaic Period
from Akhim
SR/ 11359/4
Upper floor, gallery 21
Egyptian Museum, Cairo
Collection of writing tools from the Pharaonic period. Pens and pen cases, each with two cavities for pens.
Wood
Provenance Saqqara, Al-Bersha
Antiquities Museum of Bibliotheca Alexandrina
Part of a tomb wall with high reliefs depicting the deceased lovingly embraced by his wife. The wife's skin is painted in pale yellow, while her husband is depicted in dark brown. The man wears a short white kilt and a wig, a large collar and a bracelet around each wrist. Above the figures is a hieroglyphic inscription describing the wife as beloved.
Limestone
New Kingdom
Provenance El-Asasif at El-Korna, Thebes
BAAM 831
Antiquities Museum of Bibliotheca Alexandrina
The Naophorousor or Naos (Shrine) carrier statue is one of the prominent forms of late-period sculptures that emphasized the owner’s piety and connection to the gods.
This statue depicts the priest Psamtik-Seneb kneeling while carrying the naos of the god Atum, the procreator of all the gods and Lord of Heliopolis.
Limestone
Late Period
From Tanis
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This model shows an apartment building of three stories. It was given as an offering in the temple, perhaps to ask for protection for the house. The original would have been made in mud-brick. The wave in the walls was deliberated helping to support the building and to stabilize it in case of earthquakes.
Limestone
Greco-Roman Period
Sakha, Kafr el-Sheikh
NMEC National Museum of Egyptian Civilization, Fustat Cairo
A model boat that originally carried eight sailors, four of whom are missing. The boat has no sail and the sailors were equipped with oars which were fixed in the holes made in their fists. The bow takes the shape of the head of a strange creature.
Two or more boats were usually included in the burial: at least one representing the crew sailing upstream with the prevailing winds and placed facing south, the other equipped for rowing north with the current of the river (like the one we have here) and placed with the bow facing north.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
Yuya and Tuya were the parents of Tiy, the Great Royal Wife of Amenhotep III and they had the honour of being buried in the Valley of Kings. Their tomb (KV46) was opened by James E. Quibell in 1905 and found with filled sarcophaguses and grave goods up to the ceiling. The tomb was not pristine and it had been entered by tomb robbers at least two occasions, perhaps three. All small objects of value, such as jewels, metal objects, perfumes and cosmetics, were missing. The thieves, who had also stripped the jewellery from the mummies, had disturbed the eternal sleep of the tomb's owners but their bodies had not been destroyed and their internal organs were found still in the canopic vases.
The Valley of the Kings was the royal Theban necropolis of the New Kingdom (18th-20th dynasties) and it does not only contain royal remains but also those of members of the royal family and important functionaries. These are characterized by the simplicity of the architecture: they are modest in size and without decoration, in design being nothing more than shaft tombs or with one or two descending corridors with steps that lead directly to the burial chamber.
18th dynasty
From the Valley of the Kings, KV46
Tomb of Yuya and Tuya
CG51008 - JE95316-SR93 and CG51009 - JE95254
Upper floor, gallery 43
Egyptian Museum, Cairo