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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 priests were expected to be completely clean as they served in the temples. In the visual arts, they are often identified from the bald head.
Granodiorite
Late Period
Provenance unknown
Cat. 3139 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
This funerary boat and some smaller items were found in the tomb of Amenhotep II.
Tomb of Amenhotep II, KV35
18th dynasty
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Fragment of an anthropomorphic coffin
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
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
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
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
Funerary equipment of Sennedjem
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
(Catalogue de la statuaire royale de la XIXe dynastie,
Hourig Sourouzian)
Egyptian Museum, Cairo
Decoration from Sennedjem's inner coffin and mummy board's foot end.
Wood, pigment
New Kingdom, 19th dynasty
Tomb TT1 Deir el-Medina, Thebes
NMEC National Museum of Egyptian Civilization, Fustat 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 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
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
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
This flint knife is among the finest examples of the worker's skill. Copper knives of a similar shape were also found. The hole is for the attachment of a wooden handle.
1st dynasty
Flint one: Hemaka, Saqqara
Copper: Abydos
Egyptian Museum, Cairo
This stela depicts King Ramses I offering to the god Seth, the god of Avaris, which was the capital of Egypt under the Hyksos. It was located at modern Tell el-Dab'a in the northeastern region of the Nile Delta.
Limestone
19th dynasty
Tharu, Heboua 2. No 927
Egyptian Museum, Cairo
This gilded wooden box takes the form of a rectangular chest supported on simple square feet and closed with a vaulted lid in imitation of the earliest shrines of Upper Egypt.
Two large button-like knobs in blue faience, one on the curved part of the lid and the other in the centre of the upper part of the front, were used to fasten the casket using a cord tied around them.
The decoration is rich and elegant, with two colours dominating the overall effect. A chequered frame runs around the main figurative panels and creates an attractive contrast with the bright blue faience inlays on the gilded surfaces.
The decoration in the long side panels consists of a series of five royal cartouches set between uraei surmounted by the solar disc. In the cartouches, the king's birth name, Tutankhamun, alternates with his coronation name, Nebkherure. These same two cartouches are also found in the panels of the front and rear short sides. Here they are placed centrally and flanked by the protective figures of Heh, holding symbols denoting millions of years, arranged symmetrically either side.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61476
Egyptian Museum, Cairo
Black African warrior depicted on an Athenian alabastron (500-450BC). The Manchester Museum, University of Manchester, UK. For better images, see www.beazley.ox.ac.uk/record/491F80CB-5E7A-45B3-8906-A1105... and www.flickr.com/photos/themanchestermuseum/7980091695/
All three cat mummies are from the Late Period - Greek Period.
Cats were probably originally honoured for their mouse-hunting skills, but their popularity grew due to their association with the goddess Bastet. Bastet was usually depicted as a cat or a cat-headed woman. The centre of her worship was the city of Bubastis (Bast in the Egyptian language). On this site, archaeologists have found the huge necropolis for cats associated with the temple of the goddess.
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
Bronze
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of The National Museum of Finland
9.10.2020-21.3.2021
The god Thoth was worshipped in several regions in Ancient Egypt, and the center of his cult was the city of Hermopolis (el-Ashmunein). A monkey was combined with the ibis to represent the incarnation of Thoth's soul. The qualities of the new god became important and dominated all aspects of culture such as the invention of writing and recording laws and historical events. Thoth was the patron of scribes and supervisor of the calendar and temporal divisions. The sanctity of this bird in Ancient Egypt was such that anyone who deliberately, or unintentionally killed it was condemned to capital punishment.
During the "Weighing of the Heart" ritual, the ibis and the baboon stood on either side of the scales to represent the god Thoth. The Greeks compared Thoth to their god Hermes and he was named the Thrice Great One.
Bronze and alabaster
New Kingdom
Provenance Minya
BAAM 644
Antiquities Museum of Bibliotheca Alexandrina
Natural mummies came to exist in Egypt as early as the pre-dynastic period when the dead were buried in earth pits without a coffin. Dry and hot climates and sandy soils provided favourable conditions for mummification. The Egyptians began to mummify their deceased themselves at the stage when a coffin burial was introduced, i.e., the deceased was separated from the sand to be dried.
During the dynastic period, it was thought that the preservation of the body of the deceased was a precondition for entering life after death. Mummification techniques were developed and attention was also paid to aesthetic aspects such as decoration.
This mummy is probably an adult man. The mummy's head is missing, it may have been stolen from the grave in later times. Although the mummy is carefully wrapped in linen, the mummification technique itself is quite poor.
Organic material, linen
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
The deceased stands at the head of the scene that stretches along the side of the coffin's bottom.
Sarcophagus of Ahmose
Limestone
Provenance: Tuna el-Gebel
26th Dynasty
JE 51945, SR 5 12059
Egyptian Museum, 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
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
Took this picture on my second pass. The crowd is gathering now. Group tours from all over the world crawled in, line after line. Most especially, that this area is close to the vicinity of the Sistine Chapel. Yes, that chapel, with its ceiling painted by Michelangelo. And yes, more on that later.
In this first doorway(from the photo), is a painting of how the obelisk(that one at St. Peter Square) in front of the Vatican was erected. Chariots pulling it up together. Every doorway or archway has a painting that shows significant events about the Vatican.
Apostolic Palace-Vatican Museum
Vatican City
Rome, Italy
The breast area of the sarcophagus of Nestefnut is decorated with a detailed wsh-collar. Each ends rest on the shoulders on the mummy and shows the head of a falcon with a sun-disk and uraeus. The eleven rows of a collar consist of flower and leaf ornaments: tear-shaped beads, leaves, lotus/lilies/papyrus blossoms, sometimes with buds or only buds, rosettes. The sixth and the tenth rows are engraved with geometric ornaments: rhomboids which are possibly stylized leaves and tube-shaped inlays. Some paint remains within the collar: black, red and blue.
Black paint is preserved around the eyes, in the pupils and at the eyebrows.
Below the collar, four columns in small signs can be read, giving us the end of chapter 99B of the Book of the Dead, including the name and titles of Nestefnut and her parents.
Sarcophagus of Nestefnut
Limestone
Ptolemaic period
Provenance: Abydos
JE 6291
Egyptian Museum, Cairo
Fragment of a stela, which bears part of seven columns of hieroglyphic inscriptions, from left to right, in praise of the god Amon. The fragment still retains its original colours. It may date back to the New Kingdom when the cult of god Amon spread and flourished and he became the official god of the Egyptian Empire.
Sandstone
Provenance El-Korna
588
Antiquities Museum of Bibliotheca Alexandrina
Tutankhamun's shield shows the enthroned king in coronation or Heb-sed regalia. He is wearing the red crown and a long feathered garment. He holds the crook and flail and was originally flanked by two palm tree ribs promising a long reign. 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
Organic material, linen
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
These sandals are made of wood and overlaid with a marquetry veneer of bark, green leather, and gold foil on a stucco base. The outer soles are covered with white stucco. The straps over the insteps are of bark ornamented with a diaper pattern in gold foil.
The upper surface of each sole is decorated with two bound captives - a Nubian and an Asiatic - and nine bows, symbolizing the traditional enemies of the Egyptian state. They would be crushed underfoot with every step Tutankhamun took.
Wood, leather, gold
18th dynasty
Tomb of Tutankhamun, Treasury
JE 62685
Egyptian Museum, Cairo
Amulets were placed in tombs with the deceased as early as the Predynastic Period, but they became more common at the end of the New Kingdom and remained popular until the Roman Period. Amulets were placed inside the shrouds of mummies because they were believed to protect the deceased in the afterlife.
The amulets feature depictions of human body parts, symbols or hieroglyphs. The ower of the amulets was not based on shape alone but also the materials used. Especially colours were important: gold represented the shining sun and the skin of gods was thought to be golden.
These 33 gold amulets have been cut out of thin gold foil and shaped with a technique called repoussage, where patterns are hammered into the metal sheet from the backside.
Gold foil
Late Period
Provenance unknown
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
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
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.
Four goddesses with open arms watch over the organs of the sovereign. They are identified by the hieroglyphs on their heads and on the low reliefs of the sanctuary walls. Each goddess faces and is associated with one of the four children of Horus whose duty was to preserve the king's organs: the goddess Isis watches over the liver with Imset, Nephthys the lungs with Hapi, Neith the stomach with Duamutef and Selket the intestines with Qebehsenuf.
Characteristics typical of the art of Amarna can be seen in the slight rotation of the statues' heads (compared to the frontal tradition of Egyptian statuary), the long neck stretching forwards and the naturalistic modelling of the bodies.
Wood lined with stucco and gilded, glass paste
Tomb of Tutankhamon, KV 62
Valley of the Kings
JE 60686
Egyptian Museum, Cairo
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
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.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
This funerary boat and some smaller items were found in the tomb of Amenhotep II.
Tomb of Amenhotep II, KV35
18th dynasty
NMEC National Museum of Egyptian Civilization, Fustat Cairo
From left:
- Amulet of Harpocrates
Faience
Provenance unknown
BAAM 0155
- Amulet representing Harpocrates, wearing a side lock and standing with finger to the lips
Faience
Graeco-Roman Period, the second century BC
Provenance: Lower Egypt, Alexandria, El-Hadara, Antoniades tombs
BAAM 0151
- Amulet of Harpocrates
Faience
Provenance unknown
BAAM 0156
Antiquities Museum of Bibliotheca Alexandrina
A horizontal inscription with the name of Hekenut and her mother (Renpetneferet) appears below the scenes.
Sarcophagus of Hekenut
Limestone
Ptolemaic period
Provenance: Saqqara
JE 17431
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
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
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 più 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)
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
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