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This yellow coffin is from the period when the Egyptians ceased to build tombs and began to bury the dead in impressive coffins in communal graves. Painted on the coffins were illustrations that were originally meant for the walls of tombs.
Its occupant Ankhefenamun was one of the officials of the temple of Karnak. His title was Foreman of the Bearers of the Balanquin Shrine of the God in the Temple of Amun-Ra and as such he was quite an insubstantial figure. His wife, Tanetnebu, was a singer at the same temple.
New Kingdom, 21st dynasty
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
9.10.2020-21.3.2021
From the collection of the National Museum of Finland
14460:660 Cat 173
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
Several beds were found in Tutankhamun's tomb. This example is of gilded wood, with an intact base of woven string.
The bed has carved ebony frame entirely covered in thick gold foil. The frame is supported on feline legs. The footboard is divided into three bordered panels, decorated with papyrus clumps and plant designs, the central panel carrying a large sema-tawy motif.
Scratches on the gold suggested to Carter that this piece of furniture had seen use and was not primarily a funerary piece.
(The Complete Tutankhamun by Nicholas Reeves)
Part of the king's folding bed (no 586) is visible in the front.
Egyptian Museum, Cairo
The sacred bull catacombs at Heliopolis, Saqqara, and Armant were among the holy sites visited by pilgrims. During festivals, visitors used to lay votive stelae to mark their visit to these locations and to show their gratitude.
Limestone
Ptolemaic Period
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This wood coffin belonging to King Seti I was among the cachette of mummies at Deir el-Bahri. It shows the king in the Osirian position, his arms placed over his chest. A hole in the forehead suggests the former presence of another cobra, probably made of gold. The hole in the chin also indicates that a false beard had most likely been attached, also, likely to have been gold. Several lines of the cursive hieratic script on the lid reveals that the tomb of Seti I was restored during the sixth year of the reign of King Herihor, in the 21st dynasty. In the 16th regnal year of the same king, the mummy of Seti I was first moved to the tomb of a princess, before being transported by king Panedem I to the tomb of Amenhotep II. Finally, it became part of the cachette of Deir el-Bahri.
Wood, Western Thebes
19th dynasty, reign of Seti I
Upper floor, gallery 46
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.
New Kingdom, 19th dynasty
Burial TT106 Thebes
Black granite
From Karnak, great temple cachette
(CG 42156 / JE 37388)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Torino è la capitale del cosiddetto "Barocco Piemontese".
Verso la fine del XVI secolo, Torino era ancora racchiusa all'interno dell'antico impianto romano del castrum; pochi anni dopo, durante il regno di Carlo Emanuele I, la città divenne un importante centro barocco, punto di incontro delle tendenze romane e francesi.
(fonte: Wikipedia)
Turin is the capital of the "Piedmontese Baroque."
Towards the end of the sixteenth century, Turin was still enclosed within ancient Roman castrum plant, a few years later, during the reign of Carlo Emanuele I, the city became an important center of baroque, meeting point of Roman and French trends .
(source: Wikipedia)
The group represents King Ramesses the Third, the god Horus and the god Seth.
Ramesses III is wearing the white crown of Upper Egypt with the royal cobra on the front, a wide collar of many rows, and the royal pleated kilt, the shendyt, with a long belt hanging down to the bottom of it. He is holding the ankh sign of life in his right hand and the roll of power in his left hand. His left leg is forward.
The statues of the gods, Horus and Seth, are in the same posture with the left leg forward; they are each holding the ankh, and wearing the Egyptian pectoral and the shendyt kilt. Each god has placed one hand on the crown of the king, performing the Coronation of Ramesses III.
20th dynasty
Pink granite
From Medinet Habu
JE 31628
Ground floor, room 14
Egyptian Museum, Cairo
Goddesses Isis and Neith on the Canopic box of Tameket, who was the wife of Khonsu, son of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
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
Deities of vegetation and beauty, companions of the god Apollo. The three naked women, symbols of beauty, arts and fertility can be found throughout art history.
This sculpture, the bodies at least, that was discovered on Mount Caelius in Rome dates back to the 2nd century AD.
The heads were restored in 1609 by the sculptor Nicolas Cordier. The model must be an extinct Greek painting from the Hellenistic period reproduced by some Roman frescoes.
The term shabti derives from the ancient Egyptian meaning 'answerer', and refer to the moment when the deceased is called upon to perform hard labour in the fields of the underworld. The statuettes were considered to be substitutes for the deceased.
Tutankhamun's tomb contained 413 shabti figures, only relatively few of which were inscribed. Of the total number, 236 were found in the Annexe, 176 in the Treasury and just one in the Antechamber. They had originally been kept in wooden caskets with inlays of beaten gold or bronze. The shabtis were made from a variety of materials, including wood that was gessoed and painted, and stone.
The larger shabti figures varied in form, size and attributes. They were differentiated above all by their headdresses (the Red Crown of the North, the White Crown of the South, the nemes, the afnet headcloth and a type of cylindrical helmet) and inscriptions. The statuettes portray a figure with youthful features.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
Egyptian Museum, Cairo
A basket made of papyrus-pith and lined with linen belonging to the king's writing outfit. The basket has coloured pictures upon it depicting the king before Amon-Ra, Herakhte, Ptah and Sekhmet.
Valley of the Kings, Annex of Tutankhamun's tomb KV62
18th dynasty
Egyptian Museum, Cairo
A chair named for Sennedjem's son, Khabekhnet.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27256)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The tomb of Prince Khaemwaset, son of Ramses III, who ruled during the 20th dynasty, was discovered in 1903 when Museo Egizio's archaeological expedition was excavating in the Valley of Queens. Grave robbers had been using the tomb as storage. The floor was strewn with mummies and coffins, including this coffin of Nesimendjem.
The coffin has been decorated in the typical Late Period style where the space is divided into horizontal scenes and vertical text columns. The decorations are intricate for example, below the usekh necklace painted under the face, one can find the Sky goddess Nut, and below her a depiction of a sacrificial ceremony. In the ceremony, the deceased sits to the right, accompanied by a group of gods: Osiris, Isis, Nephthys, the four sons of Horus, and probably Thoth to the left.
Late Period
Valley of the Queens, tomb of Prince Khaemwaset QV 44
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
A gilded, wooden statuette of King Tutankhamun wearing the red crown of Lower Egypt, holds a harpoon poised to strike an unseen enemy.
According to the myth of Osiris and Isis, the king here represents their son, Horus, who avenged his father, Osiris.
The statue was found wrapped in linen in a varnish-blackened chest.
JE 60710
Egyptian Museum, Cairo
Canopic box of Tameket, who was the wife of Khonsu, son of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This yellow coffin is from the period when the Egyptians ceased to build tombs and began to bury the dead in impressive coffins in communal graves. Painted on the coffins were illustrations that were originally meant for the walls of tombs.
Its occupant Ankhefenamun was one of the officials of the temple of Karnak. His title was Foreman of the Bearers of the Balanquin Shrine of the God in the Temple of Amun-Ra and as such he was quite an insubstantial figure. His wife, Tanetnebu, was a singer at the same temple.
Shown on the sides of the coffin are the deceased and his wife receiving the gifts sacrificed by their son.
New Kingdom, 21st dynasty
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
9.10.2020-21.3.2021
From the collection of the National Museum of Finland,
14460:660 Cat 173
Detail of an Attic red figure stamnos. Oreithyia Painter, c. 480-450 BC. In the National Museum of Edinburgh, UK. Snapseed edit.
www.carc.ox.ac.uk/record/0FA25528-F4B9-4851-BE8A-B8763451...
Clappers are among the earliest percussion instruments in ancient Egypt. Clappers were used in all activities featuring music or singing, such as banquets, funerary processions, and rituals.
Clappers, shaped like a pair of hands and forearms, belong to a type that was most commonly used in the Middle Kingdom.
"Music is attested in Egypt since the 5th mill. BCE with the rattle being the oldest instrument. The earliest depictions of clappers are attested in the 4th mill. BCE, while the first archaeological evidence of clappers as instruments dates to 3000 BCE. Egyptian clappers are usually made of ivory and wood, and they occur in various types: some are undecorated and bent; others are richly ornamented with the face of the goddess Hathor. Furthermore, besides hand-shaped clappers, there are examples in animal form or with floral decoration. From time to time, they appear to be hollowed in order to increase the volume."
(Heidi Köpp-Junk: Clappers in Ancient Egypt: Wood or Ivory for the same Event or Ritual)
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)
Mummy bed of Nedjemib, called Tutu
Late Ptolemaic Period
from Akhim
SR/ 11359/4
Upper floor, gallery 21
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
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2nd AD
Cult objects reflect the beliefs of the population of a village where, from the 3rd century BC, Egyptians and people of Greek origin were living side by side, influencing each other. The most important divinity was the crocodile god Sobek, known locally by the name of Soknebtynis. A large sanctuary, discovered in 1899, was dedicated to him and his image appears on numerous stelae and statuettes.
From the exhibition of 'Unexpected treasures - 30 years of excavations and cooperation in Tebtynis (Fayum)'
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)
Upper floor, gallery 21
Unfortunately, I have no information whatsoever of this bed or the coffin.
Egyptian Museum, Cairo
Late Period - Greek Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The Djed-pillar or "backbone of Osiris" is a symbol that signifies stability and permanence. In Egyptian art, the pillar is a popular motif because it was believed to guarantee a steady and secure afterlife for the deceased. During a funeral ceremony, the priest would place a golden djed-amulet upon the neck of the mummy while reciting a spell of the Book of the Dead: "The one whose neck this amulet is placed on shall become (...) a skilful akh spirit.
Wood
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
Images of bound enemies can be found under the thrones of the ancient Egyptian kings and on the soles of the sandals. In this way, they symbolically crushed their enemies with each step. This enemy was painted on the sole of the mummy.
Linen
Greco-Roman Period
Provenance unknown
Cat. 2329 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
High relief sculpted statues of Ramses II-Amon between anthropomorphic Atoum and Khepri at the bottom of a monolith naos sitting side by side, hands on knees, common bench seat as a throne.
Provenance: Tanis, Large Temple, North naos, between the third and fourth pairs of obelisks
Red sandstone
JE 37475 = CG 70003
Egyptian Museum, Cairo
Tutankhamun's shield shows the enthroned king in coronation or Heb-sed regalia. He holds the crook and flail and is wearing the red crown and a long feathered garment. The semicircular hieroglyphic under him is the Heb sign, the symbol for festival. The scene is dominated by the winged sun disc.
Eight shields were found in the annexe of the antechamber, four of which were made of perforated and gilded wood that could not have been used for personal defence. They were purely ceremonial in purpose.
18th dynasty, tomb of Tutankhamun, Annexe, KV62
Egyptian Museum, Cairo
Table games were very much appreciated in ancient Egypt with the most popular being Senet. The game was for two people and played on a rectangular board with the upper surface divided into thirty squares; probably the game consisted of moving tokens around the board following the throw of small battens that corresponded to our modern dice. The lower surface of the board was used for playing the twenty-square game.
Tutankhamun had four senet boards of which the largest was the most lavish. The squares were inlaid with ivory and the board itself rests on a small frame with supports in the form of lion' paws and fitted with runners. The drawer on the short side was found empty and removed from its housing and, as the tokens were missing, it is supposed that they were made from a valuable material and stolen by the tomb thieves. The token shown in the picture belonged to other, less magnificent, boards.
During the New Kingdom, Senet took on a magical-religious value and in the introductory formula in Chapter 17 of the Book of the Dead, it was considered essential that the deceased played a game against an invisible opponent to ensure his survival.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 62059 - SR 1/82 - 580
Egyptian Museum, Cairo
Tombs were equipped with objects used in this life and the next such as the chair seen here. Other things were meant to assist the deceased in the afterlife, such as the shabtis in their coffins and boxes. Shabtis served the deceased in the afterlife and often stood in for him when he was called to work for the gods.
New Kingdom, 19th dynasty
Tomb of Sennedjem, TT1
Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Egypt's final millennium was characterized by the merging of its culture with other Mediterranean cultures, such as the Greek and the Roman. A votive foot wearing a Roman sandal was a sacrifice usually offered to Isis and the Underworld god Serapis, a combination of Osiris and Apis. Both gods are depicted as human-headed snakes on the sides of the foot.
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
The granite that the naos in made of has two streaks of colour; the higher red streak would summon the Sun, Ra-Horakhty, and the lower darker colour would summon the night, Atum. In each scene, the person conducting the rituals is portrayed as Pharaoh Sety I.
Red and black granite
19th dynasty
Provenance Heliopolis
S. 2676 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
A mummy of a woman wrapped in linen bandages and covered with pieces of cartonnage. The first piece is a mask that covers the face, on which are represented the facial features: the eyes, nose, mouth and ears. Two curls of hair flank the mask and the face is gilded.
The second piece is a pectoral, decorated with a scarab spreading its wings. Each wing terminates with the hawk head and above it the solar disc.
The third piece covers the abdomen and bears a representation of the goddess Nut sitting and spreading her arms, which take the form of a bird's wing. Each wing terminates in a hand holding the plume of justice of the goddess Maat.
The fourth piece is rectangular in shape, framed with a band of geometrical decorations, which encloses a vertical line of hieroglyphic inscriptions.
Mummy
Cartonnage and linen bandages
From Roman Period
Provenance Deir el-Bersha, Minya
BAAM 615
Antiquities Museum of Bibliotheca Alexandrina
It has an oval face without a beard; a plinth is indicated. The most remarkable feature of this sarcophagus is the gilded face, most of which is intact. Since the skin of gods was thought to be made of gold, the gilded face showed the divine quality of the deceased. Another explanation could be the connection between gold and the sunlight; furthermore, the metal does not corrode, allowing it to represent the stability and endurance of the body. The wig was painted blue but nowadays is covered with dark substance (pitch?). Pupils and eye rims are indicated in black.
Sarcophagus of Hor-Re
Provenance Qaw el-Kebir
Ptolemaic Period
JE 35198
Egyptian Museum, Cairo
Concerning the legs, one can see calves indicated on the lid and bottom with hardly recognizable shins on the lid. A slightly raised area next to the rear pillar forms the buttocks on the bottom. The feet rest on a rectangular plinth.
The chapter of the Book of the Dead 191 (a spell for bringing the Ba to the body) is continued on the feet of the mummy in three lines.
Sarcophagus of Hekenut
Limestone
Ptolemaic period
Provenance: Saqqara
JE 17431
Egyptian Museum, Cairo
Ancient Egyptian Stool
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Wood, stucco
3rd Intermediate Period-Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of The Finnish Egyptological Society
9.10.2020-21.3.2021
The body of the deceased is wrapped in fine linen, with an encaustic mummy-portrait inserted into the bandages over the face, the front panel of the wrappings has been intricately arranged into concentric diamonds, each with a gilded stud at the centre.
From a mummy of a woman with a portrait
2nd century AD
Egyptian Museum, Cairo
This sarcophagus is one of the three sarcophagi of Queen Hatshepsut. One of them was used for the burial of Thutmosis I and is now displayed in Boston.
The sarcophagus is perfectly polished on all sides and decorated with finely carved scenes in one of the hardest stones used by Egyptian artists, the red quartzite associated with the solar cult.
At the foot end of the sarcophagus is Isis, kneeling on the nub hieroglyph (a necklace with pendants symbolizing 'gold'). The goddess's hands rest on the shen hieroglyph (symbolizing protection). On her forehead is the cobra. The hieroglyph meaning 'throne', inscribed with her name, rests on her head. Her body is draped in a long, tight tunic with a broad strap partially covering her breast.
Three columns of hieroglyphs are incised in front of Isis, in which the goddess is defined as the daughter of Geb and which record her words: 'Your arms surround the king Maatkare, right of voice, you have illuminated his face and opened his eyes'. The whole scene is framed by three long cartouches, two vertical and a higher horizontal one in which the queen associates herself with Isis, declaring their sisterhood. A similar scene is found on the opposite short end of the sarcophagus, where the goddess Nephthys is represented. She too has her name written above her head.
Along the right-hand side of the sarcophagus are depicted two of the sons of Horus (Imseti and Duamutef), between whom is placed Anubis Khentisehnetjer ('he who stands before the tent of the god') while the other two sons of Horus (Hapy and Qebehsenuef) are represented on the left-hand side with Anubis Imyut ('the embalmer') between them.
On both sides of the sarcophagus, the texts are composed of tutelary verses for the body of the queen. On the left-hand side, there is also a pair of wedjat eyes that allowed the deceased to look out of the sarcophagus. In the interior of the sarcophagus are further representations of Isis and Nephthys.
18th dynasty, from the Valley of the Kings, KV20
JE 37678 - JE 52459
Ground floor, grand hall
Egyptian Museum, Cairo
Scarabs, cartouches of Pinudjem I and hieroglyphic texts describing the pleasant companionship that joins Isetemkheb II with the god Khonsu Lord of Thebes, goddess Mut and the deities of the other world amid the scent of flowers and perfumes that came from Punt.
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
The group represents King Ramesses the Third, the god Horus and the god Seth.
Ramesses III is wearing the white crown of Upper Egypt with the royal cobra on the front, a wide collar of many rows, and the royal pleated kilt, the shendyt, with a long belt hanging down to the bottom of it. He is holding the ankh sign of life in his right hand and the roll of power in his left hand. His left leg is forward.
The statues of the gods, Horus and Seth, are in the same posture with the left leg forward; they are each holding the ankh, and wearing the Egyptian pectoral and the shendyt kilt. Each god has placed one hand on the crown of the king, performing the Coronation of Ramesses III.
20th dynasty
Pink granite
From Medinet Habu
JE 31628
Ground floor, room 14
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
Fountain of Neptune - Florence, Italy.
The Fountain of Neptune can be found on the Piazza della Signoria in Florence, in front of the iconic Palazzo Vecchio. It was commissioned by the Medicis in 1565 for the wedding of Francesco I de' Medici with the grand duchess Johanna of Austria. The Neptune figure, whose face is said to remsemble that of Cosimo I de' Medici, was meant to be an allusion to the dominion of the Florentines over the sea. Neptune stands on a high pedestal in the middle of an octagonal fountain, and is decorated with the mythical chained figures of Scylla and Charybdis. This statue of Neptune is a copy made in the 19th century; the original is in the National Museum.
Camera/Lens: Nikon D700; 16-35mm mm f/4.0;
Exposure: 20 sec.; Aperture: f/16; ISO: 250; Focal Length: 16mm;
Copyright 2010 - Yen Baet - All Rights Reserved.
Do not use any of my images without permission.
Due to the scarcity of wood in Egypt, the ancient Egyptians used papyrus fibres, saw grass and spiny rush plant, and the date and doum palm leaves as a cheap and available material in their environment for basketry. The fibres were twisted, woven and painted in bright colours to make sturdy boxes for keeping clothes, baskets of cereal and food and even boxes of jewellery and cosmetics.
NMEC National Museum of Egyptian Civilization, Fustat Cairo