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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
...della splendida statua del dioscuro Castore, opera di Pelagio Pelagi, che funge da sentinella, in coppia col gemello Polluce, all'ingresso della Piazzetta Reale di Torino.
... of the beautiful statue of Dioscuri Castor, by Pelagio Pelagi, who acts as a sentry, a couple with twins Pollux, at the entrance to the Piazzetta Reale in Turin.
Miss i Messiah and Friend.
"Cryptomnesia occurs when a forgotten memory returns without it being recognized as such by the subject, who believes it is something new and original. It is a memory bias whereby a person may falsely recall generating a thought, an idea, a song, or a joke, not deliberately engaging in plagiarism but rather experiencing a memory as if it were a new inspiration."
Wikipedia
Model of pottery building divided into three sections with small wall-mounted statues - similar to Osirion ones.
Pottery
Provenance Al-Qurnah
BAAM 810
Antiquities Museum of Bibliotheca Alexandrina
When the Ptolemaic state was established in Egypt, art that arose in Alexandria was in a purely classical style. Then it was soon mixed with ancient Egyptian art and its ancient traditions. Statues of the Ptolemaic kings appeared in Egyptian features mixed with artistic influences from ancient Greece. This statue depicts a king from the Ptolemaic Period in a mixed style that expressed the merging of these two cultures together.
Black granite
Ptolemaic Period
unknown origin
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
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In 1797 the British government authorized Matthew Boulton to strike copper pennies and twopences at his Soho Mint, in Birmingham. It was believed that the face value of a coin should correspond to the value of the material it was made from, so each coin was made from two pence worth of copper (2 ounces). This requirement means that the coins are significantly larger than the silver pennies minted previously. The large size of the coins, combined with the thick rim where the inscription was punched into the metal, led to the coins being nicknamed "cartwheels". All "cartwheel" twopences are marked with the date 1797. In total, around 720,000 twopences were minted.
This head of a colossal statue of Hatshepsut would once have crowned one of the Osirian pillars that decorated the portico of the third terrace of the queen's temple at Deir el-Bahri. It was discovered there in 1926 by the mission of the New York Metropolitan Museum of Art.
The portico was divided into two by a granite portal which preceded the 'Festival Hall', on to which opened the more intimate rooms of the temple and the sanctuary of Amun.
Some of the characteristic stylistic features of the statuary of Hatshepsut are present in this head. The face is triangular and the features are very delicate. The striking almond-shaped eyes, decorated with a line of kohl extending to the temples, have large dilated pupils, imparting a sense of innocence and purity. The slightly arched nose is long and slim. The small mouth is set in a faint smile. The same face is found not only on many other statues of the queen but also on those representing private individuals of the same period.
One unusual element is the dark red colour of the skin, usually a feature of male images, it is justified in this case by the fact that the queen is represented here as a pharaoh in Osirian form. The false beard painted blue emphasizes the divine nature of the 'king'. The blue colour of lapis lazuli, together with gold, signified divinity.
From what remains of the queen's headdress, it can be deduced that she wore the Double Crown symbolizing the union between Upper and Lower Egypt.
JE 56259 A - 56262
Egyptian Museum, Cairo
This head of a colossal statue of Hatshepsut would once have crowned one of the Osirian pillars that decorated the portico of the third terrace of the queen's temple at Deir el-Bahri. It was discovered there in 1926 by the mission of the New York Metropolitan Museum of Art.
The portico was divided into two by a granite portal which preceded the 'Festival Hall', on to which opened the more intimate rooms of the temple and the sanctuary of Amun.
Some of the characteristic stylistic features of the statuary of Hatshepsut are present in this head. The face is triangular and the features are very delicate. The striking almond-shaped eyes, decorated with a line of kohl extending to the temples, have large dilated pupils, imparting a sense of innocence and purity. The slightly arched nose is long and slim. The small mouth is set in a faint smile. The same face is found not only on many other statues of the queen but also on those representing private individuals of the same period.
One unusual element is the dark red colour of the skin, usually a feature of male images, it is justified in this case by the fact that the queen is represented here as a pharaoh in Osirian form. The false beard painted blue emphasizes the divine nature of the 'king'. The blue colour of lapis lazuli, together with gold, signified divinity.
From what remains of the queen's headdress, it can be deduced that she wore the Double Crown symbolizing the union between Upper and Lower Egypt.
JE 56259 A - 56262
Egyptian Museum, Cairo
This wooden box represents a typically Egyptian shrine or naos with its tapering walls. All four sides are covered with a layer of plaster featuring painted coloured scenes.
The first scene represents the falcon god Horus spreading its wings and standing on the symbol of the sky. His head is surmounted by the sun disk. On each of his wings appears an ostrich feather, the sign of Maat (justice and cosmic order). In the below register appears the Djed pillar of the god Osiris above the two horns of the cow and the two plumes of Amun and flanked by goddesses Isis and Nephthys facing each other. All these scenes are coloured in red, yellow, green and white.
The naos is covered with a flat lid guarded by a figurine of a mummified falcon, whose head is equipped with a hole in which was, most probably, fixed the feather headdress - a characteristic depiction of Sokar, patron god of the Memphite necropolis, who is often shown in this position on the roof of the tomb of Osiris. Thus, the shrine is associated with the famous Osireion.
The foot of the walls is protected by a continuous enclosure rendered by the panelled serekh (palace façade) pattern, while its upper part is decorated with a kheker (stylized bundles of reeds) frieze.
Wood
Provenance Gamhoud, Beni Sueif
Roman era, 1st to 2nd cent. AD
BAAM 618
Antiquities Museum of Bibliotheca Alexandrina
The sarcophagus shows a mummified person with a triangular face wearing a wig while the chin is raised and beardless. Furthermore, a neckband is rendered.
Sarcophagus of Hekenut
Limestone
Ptolemaic period
Provenance: Saqqara
JE 17431
Egyptian Museum, Cairo
This gilded cartonnage mask shows Yuya wearing a long wig. His eyebrows and eyes are inlaid with blue glass, marble and obsidian. He wears an elaborate collar that goes beneath his wig. It consists of eleven rows of golden beads and it ends in teardrop-shaped pendants. The inside of the mask is covered in bitumen.
Titles of Yuya:
King’s Lieutenant
Master of the Horse
Father-of-the-god
18th dynasty
From the Valley of the Kings, KV46
Tomb of Yuya and Tuya
Upper floor, gallery 43
CG51008 - JE 95316-SR93
Egyptian Museum, Cairo
All four sides of the naos are covered with a layer of plaster featuring painted coloured scenes.
On the second side, the god Anubis is represented in human form, and behind him is a representation of the serpent god Nehebu-Kau. Below them are depicted two of the mummiform sons of Horus: the falcon-headed Qebehsenuef and the baboon-headed Hapy.
All these scenes are coloured in red, yellow, green and white. The naos is covered with a lid on which Horus perches in the form of a hawk. The crown is missing.
Wood
Provenance Gamhoud, Beni Sueif
Roman era, 1st to 2nd cent. AD
BAAM 618
Antiquities Museum of Bibliotheca Alexandrina
Naos is a small religious shrine. It was used as a portable shrine to carry a god. The headless figurine lying on top of the naos model is probably shrew.
Limestone
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
Nesikhonsu was the young wife of Pinedjem (Pinudjem) II. The mummy of Nesikhonsu was buried in two coffins. This one is the outer and it is intact with the gilded hands and face untouched by robbers contrary to the second coffin which has lost their hands and face.
Wood
From Deir el-Bahri
21st dynasty, reign of Pinedjem II
CG 61030
Egyptian Museum, Cairo
The cow Hathor, one of a group of statues of the protective goddesses found in the tomb of King Amenhotep II.
They were responsible for protecting the body of the king in his afterlife journey.
Wood
18th dynasty, New Kingdom
Tomb of Amenhotep II, Valley of the Kings
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Serpentinite
Late Period
Cat. 945 numero doppio 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
Detail of the statue of the Young Centaur discovered in Hadrian's Villa at Tivoli in 1736. Possibly a Roman copy in grey marble of a Hellenistic original in bronze. Capitoline Museum, Rome, 1998. Photographed with a Ricoh R1.
Marble head of Archilochus, lyric poet from the island of Paros.
100 BC- 100AC, found at Herakleia Lynkestis, now Bitola, Republic of Macedonia
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
A collection of fertility figurines made of pottery representing women illustrated in a non-realistic form based on highlighting the areas related to fertility in the body. Fertility figurines were usually found in tombs dating back to the age of Badari (5500-4000 BC) to ensure the new birth of the deceased.
Antiquities Museum of Bibliotheca Alexandrina
Steatite, gold
New Kingdom
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Cartonnage is a type of material used in Ancient Egyptian funerary masks from the First Intermediate Period to the Roman era. It was made of layers of linen or papyrus covered with plaster.
Egyptian Museum, Cairo
This elaborate container was used to hold perfumed oils and ointments and was found in the burial chamber between the first and second shrines. The container is in the form of the hieroglyph sema meaning union. The two figures at the sides, representing the god of the Nile, knot the heraldic plants of Upper and Lower Egypt to the pot. The overall composition reproduces the emblem meaning 'the union of the Two Lands' often seen on the throne in statues of the pharaohs.
JE 62114
Egyptian Museum, 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.
Wood
11th dynasty
BAAM 620
Antiquities Museum of Bibliotheca Alexandrina
Some of the sacrificial rituals depicted in fragments were successfully identified, and the naos has rebuilt by placing 50 identified fragments in their original places in the reconstruction. A fully preserved naos would have depicted the succession of the god cult's daily rituals.
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
Akhenaten's body was probably removed after the court returned to Thebes, and reburied somewhere in the Valley of the Kings, possibly in KV 55. His sarcophagus was destroyed but has since been reconstructed from fragments and displayed outside the Cairo Museum. Its reconstruction shows that it had representations of the queen Nefertiti, sculpted in high relief and extending protective arms at each corner of the monument in the likeness of the guardian goddesses of the four corners.
Amarna Period
I’ve heard that the sarcophagus is no longer in the museum yard, but has been moved somewhere...
Egyptian Museum, Cairo
The coffin of Nedjemankh is a gilded ancient Egyptian coffin from the late Ptolemaic Period. It once encased the mummy of Nedjemankh, a priest of the ram god Heryshaf.
In Egyptian mythology, Heryshaf, or Hershef (Ancient Egyptian: ḥrj š f "He who is on His Lake"), was an ancient ram deity whose cult was centered in ancient Heracleopolis Magna. He was identified with Ra and Osiris in ancient Egyptian religion, as well as Dionysus or Heracles in the interpretatio graeca.
The identification with Heracles may be related to the fact that in later times his name was sometimes reanalysed as ḥrj-šf.t "He who is over strength". One of his titles was "Ruler of the Riverbanks". Heryshaf was a creator and fertility god who was born from the primordial waters. He was pictured as a ram or a man with a ram's head.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Discovered from the tomb of the high courtier Hemaka, these disks are thought to have been placed on top of a wooden pin and spun around.
Schist and limestone
Left:
Spinning Disk with two Birds
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
(JE 70160)
Right:
Disk decorated with geometric motifs
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
(JE 70162)
NMEC National Museum of Egyptian Civilization, Cairo
The figures of captives were made of different materials to be used in the ritual "Protecting the Land and the King" inside the temple. Thus, spells were recited on them and then tied with ropes and placed into the fire to destroy the enemies of Egypt. Moreover, they were buried in the corners of temples or forts to eliminate their evil as well.
New Kingdom, 19th dynasty
Tura el-Asmand/Mud
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Fine ostrich feather fan of ivory, the handle inscribed with the names of the king.
18 dynasty, tomb of Tutankhamun, KV 62
Egyptian Museum, Cairo
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
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
Funerary papyrus, Book of Dead of Maiherpri
New Kingdom, 18th Dynasty, reign of Thutmose III
From Maiherpri's tomb KV36, Valley of the Kings, Thebes
CG 24095b - JE 33844
Egyptian Museum, Cairo
This was photographed from a bridge called Ponte Vittorio Emanuele II. In Rome, you can see amazing sculptures like this one throughout the city. The whole city is like a giant museum.
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
The statue rests on tall and solid bases decorated with a group of cartouches, such as the Hyksos king, Nehesy, King Ramses II and Merenptah of the 19th dynasty, and King Pseusennes I of the 21st dynasty, but through the features, they were attributed to King Amenemhat III of the 12th dynasty.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Borobudur, or Barabudur, is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia
Statue of Kaemked, the funerary priest of the noble Urirni, who was overseer of the Treasury and Prophet of the sun temples of Userkaf and Neferirkare. This statue was discovered in the tomb of Urirni with other servant statues accompanying their master in the Afterlife.
Painted limestone
From Saqqara
5th dynasty
CG 119
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
This elaborate container was used to hold perfumed oils and ointments and was found in the burial chamber between the first and second shrines. The container is in the form of the hieroglyph sema meaning union. The two figures at the sides, representing the god of the Nile, knot the heraldic plants of Upper and Lower Egypt to the pot. The overall composition reproduces the emblem meaning 'the union of the Two Lands' often seen on the throne in statues of the pharaohs.
JE 62114
Egyptian Museum, Cairo
(meglio in grande - best on large)
La Piazzetta Reale vista dalla Torre del Tesoro di Palazzo Madama.
Essa si affaccia sulla più grande Piazza Castello, ed è parte della maestosa scenografia disegnata dall'architetto Vittozzi.
La piazzetta fornisce la necessaria profondità di campo per rendere solenne al visitatore la facciata del Palazzo Reale.
A questo contribuisce anche la grande cancellata, eretta in loco di un grande porticato poi distrutto, dal Palagi, ultimata con le pregevoli statuee dei due Dioscuri, fuse da Abbondio Sangiorgio.
The Royal Square wiew from the Treasure Tower of Madama Palace.
It overlooks the largest Castle Square, and is part of the majestic scenery designed by Vittozzi.
(fonte: Wikipedia)
The square provides the necessary depth of wiew to give the visitor the solemn facade of the Royal Palace.
To this also contributes to the huge gate, built on site of a large porch and then destroyed by Palagi, completed with the valuable statues of the two Dioscuri, cast by Abbondio Sangiorgio.
(source: Wikipedia)