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Explore: Sep 14, 2011 #86
Il Castello del Valentino è un edificio storico di Torino, situato nell'omonimo Parco del Valentino sulle rive del fiume Po. Oggi è sede distaccata del Politecnico di Torino, ed ospita la Facoltà di Architettura.
L'antico castello fu acquistato da Emanuele Filiberto di Savoia, il duca Testa di Ferro, su consiglio di Andrea Palladio. Questa struttura ospitò nobili famiglie come i Saintmerane, i Cicogna, i Pacelli ed i Calvi, che comprarono sei stanze nel castello.
L'origine del suo nome è incerta. Il primo documento in cui compare il nome Valentinium è del 1275; qualcuno fa risalire il suo nome a san Valentino perché le reliquie di questo santo, martire giovinetto del '200, sono conservate dal 1700 in una teca di cristallo nella chiesa di san Vito (sulla collina prospiciente al Parco del Valentino) qui trasferite in seguito alla distruzione di una chiesetta vicina all'attuale parco. Alcuni studiosi affermano che, in un singolare intreccio di memoria religiosa e mondanità, si soleva un tempo celebrare nel parco fluviale torinese, proprio il 14 febbraio (ora festa degli innamorati) una festa galante in cui ogni dama chiamava Valentino il proprio cavaliere.
Il castello deve la sua forma attuale ad una Madama Reale, la giovanissima Maria Cristina di Borbone (sposa di Vittorio Amedeo I di Savoia e figlia di Enrico IV, primo re di Francia di ramo borbonico). Proprio alla Francia guarda lo stile di questo splendido palazzo: quattro torri angolari cingono l'edificio a forma di ferro di cavallo, con un'ampia corte a pavimento marmoreo. I tetti con due piani mansardati (solo dei falsi piani) sono tipicamente transalpini e tutto lo stile architettonico riflette i gusti della giovane principessa. I lavori durarono quasi 30 anni, dal 1633 al 1660 su progetti di Carlo e Amedeo di Castellamonte: la duchessa Maria Cristina vi abitò fin dal 1630 ammirando gli affreschi di Isidoro Bianchi di Campione d'Italia e gli stucchi dei suoi figli Pompeo e Francesco. E proprio a lei si deve lo scenico arco di ingresso sulla facciata con lo stemma sabaudo.
Sulla figura della nobildonna francese circolavano voci maligne, che narravano di un Castello del Valentino luogo di incontri amorosi con gentiluomini e servitù che finivano in fondo ad un pozzo gettati dalla nobile amante, la quale sembra che si fece costruire anche un passaggio sotterraneo, vera e propria galleria che attraversava anche il letto del Po, per collegare il Castello alla Vigna Reale, teatro d'incontri amorosi tra lei e il suo consigliere Filippo d'Agliè.
Nel XIX secolo il castello subì piccoli cambiamenti architettonici e di connessione nel tessuto urbano cittadino, ma venne anche depredato del suo splendido arredo secentesco dai soldati francesi napoleonici.
Seguirono anni di abbandono e di degrado, quando nel 1860 venne scelto per la facoltà di Ingegneria torinese. L'abbandono del castello, però, ne è stato paradossalmente la sua fortuna: alcune infiltrazioni d'acqua hanno rovinato alcuni affreschi ma nel complesso il disinteresse per il palazzo ne ha conservato intatto il patrimonio di fregi e affreschi delle sale, tutti originali del '600. Oggetto di restauri in questi ultimi anni, il Castello sta ritrovando l'antico splendore. Le sale del primo piano vengono riaperte una ad una e ospitano uffici di rappresentanza della Facoltà di Architettura.
Nel 2006 è stato scelto come sede di Casa Italia alle Olimpiadi di Torino.
Il 12 maggio 2007 ha riaperto la splendida sala dello Zodiaco, col suo affresco centrale che raffigura mitologicamente il Fiume Po con le fattezze di Poseidone.
(fonte: Wikipedia)
The Castle of Valentino (Italian Castello del Valentino) is an historic building in the north-west Italian city of Turin. It is located in Valentino Park, and is the seat of the Architecture Faculty of the Polytechnic University of Turin. It is one of the Residences of the Royal House of Savoy included in the list of UNESCO World Heritage Sites in 1997.
The ancient castle was bought by Duke Emmanuel Philibert of Savoy on the advice of Andrea Palladio. The name Valentino, first mentioned in 1275, seems to derive from a saint called Valentine whose relics were venerated in a church which stood nearby.
A cutaway drawing of the palace.The current structure is due to Princess Christine Marie of France (1606–1663), wife of Victor Amadeus I, who dwelt here from 1630. It has a horseshoe shape, with four round towers at each angle, and a wide inner court with a marble pavement. The ceilings of the false upper floors are clearly in transalpino (i.e. French) style. The façade sports a huge coat of arms of the House of Savoy. Works lasted until 1660.
On the figure of the French noblewoman malignant rumors, that told of a place of Castle del Valentino amorous encounters with gentlemen and servants that ended at the bottom of a well thrown by the noble lover, who seems to have also built an underground passage, and true own gallery that also crossed the bed of the Po, to connect the Royal Castle to the Royal Vineyard, the scene of amorous encounters between her and his advisor Filippo of Agliè.
Minor modifications were made in the early nineteenth century; at this time, too, much of the seventeenth-century furniture was carried off by French troops. For the next half century the palace was more or less abandoned and fell into a state of disrepair. Renovations were carried out in 1860 when it was selected as the seat of the engineering faculty of Turin; it has been further restored in recent years.
Today it is the central building of the Architecture faculty of the Polytechnic University of Turin.
(source: Wikipedia)
The following spell is inscribed in the lower part of the headrest of Nestanetjeretten, a sistrum player for the god Amun-Ra:
"Oh Osiris, protect the head of Nestanetjeretten (who is) true of voice, protect the head of this Theban woman."
Leinen, stucco
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
A woman's death mask made in the Greco-Roman period. The decorations show both traditional Egyptian and northern influences.
Linen, plaster
Greco-Roman Period
Provenance Asyut
S. 14723/1 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
Neferkare Shabaka or Shabako was the third Kushite pharaoh of the Twenty-fifth Dynasty of Egypt, who reigned from 705 to 690 BC. The Nubians living in the south were under Egypt for a long time, but during the 25th dynasty, they conquered almost all of Egypt. The Nubians embraced the worship of Ammon and described themselves in the traditional style as pharaohs.
Steatite
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
Sennedjem and his wife are sitting inside a pavilion in front of a senet board on which several red and white pieces are set. To the right is a table crowded with offerings, and several jars and plants are arranged underneath.
This painted wooden door, decorated on both sides, sealed the innermost chamber of Sennedjem's tomb.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Wooden viscera box of Tabes
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
La fachada de la tumba presenta un tablero remetido con la representación en estuco del Señor 1 Terremoto y la Señora 10 Caña. Se encontraron los restos de seis individuos acompañados de 186 objetos.
The complementary character of the White and Red Crowns finds expression in their combination as the Double Crown, most commonly called Psjent/shmty (The Two Powerful Ones). When combined in this manner, the resulting crown symbolized kingship over the entire country.
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
The upper part of the coffin is decorated with a funerary mask. The chest area is adorned with a seven-row pectoral composed of floral and geometrical motifs. On both sides of the coffin, there is a representation of Agathodaimon, the benevolent and good-hearted spirit, who takes the shape of a snake and whose head is surmounted by the Double Crown of Upper and Lower Egypt.
Wooden coffin from the Ptolemaic Period
Provenance Minya, Sharuna (El-Kom El-Ahmar)
BAAM 608
Antiquities Museum of Bibliotheca Alexandrina
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.
Amarna Period
Egyptian Museum, Cairo
Ra-Horakhty represented a doctrinal union between the heavenly kingship represented by the god Ra and the earthly kingship represented by the god Horus as an expression of the authority of the sun god when he dominated the two horizons and was manifested on the earth.
Granodiorite
New Kingdom, 19th dynasty
San al Hagar
NMEC National Museum of Egyptian Civilization, Fustat Cairo
The story of General Sinuhe is one of the masterpieces of the literary works of Ancient Egypt dating back to the reign of King Senusret I of the Middle Kingdom. Several copies of the story were discovered until the end of the New Kingdom as the students used to copy it in schools. It relates to a true story of the escape of the military commander, Sinuhe, to the Levant for fear for his life after the assassination of King Amenemhat I, and the events of the exciting life that he spent there despite his attachment to Egypt until King Senusret I authorized him to return after thirty years away from the homeland.
This ostracon records the prologue only and is considered the largest piece of ostraca from ancient Egypt.
Limestone
From Deir el-Medina
New Kingdom, 19th dynasty
NMEC National Museum of Egyptian Civilization, Fustat Cairo
La torre del campanile, costruito su di un'antica torre di origine longobarda, in stile romanico; è diviso in tre ordini di loggette e provvisto di cella campanaria con tanto di cuspide che a causa di terremoti che flagellarono la città in epoca tardo-medievale venne rifatta più volte. Costruito nel XII secolo, l'aspetto attuale risale al 1576; raggiunge un'altezza totale di 67 metri ed è uno dei più bei campanili d'Italia.
(fonte: Wikipedia)
The bell tower, built on an ancient tower of Lombard origin, in Romanesque style, is divided into three orders of loggias and fitted complete with a belfry spire that due to earthquakes that afflict the city in late-medieval was rebuilt several times. Built in the twelfth century, the present appearance dates back to 1576, reaching a total height of 67 meters and is one of the most beautiful bell towers of Italy.
(source: Wikipedia)
Bread was an essential part of the diet of the ancient Egyptians. It was usually made from emmer wheat, though barley could also be used. This statue depicts a woman protecting her face with her hand from the oven's heat while baking bread.
Limestone
Old Kingdom, late 4th dynasty
Provenance Giza
NMEC National Museum of Egyptian Civilization, Cairo
French coins always have cool designs and this is a good example. These coins, however, are not made out of silver. They are copper-nickel. Many of these coins have a B mint mark for the Beaumont mint. If you can find a coin dated 1958 without a B mint mark, as this one is, it is rare.
Obverse : Laureate Bust of Marianne, facing right with flaming torch on right hand; "REPUBLIQUE FRANÇAISE".
Reverse : 100 FRANCS in two lines at left (date) with cornucopia at left and wing at right, ears and olive branches below right, R.COCHET; "LIBERTE-EGALITE-FRATERNITE".
Marianne has been the national personification of the French Republic since the French Revolution, as a personification of liberty, equality, fraternity and reason, and a portrayal of the Goddess of Liberty.
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Statue of Administrator of Amun temple, Hapi, reading from a papyrus roll.
Sandstone
New Kingdom, 19th dynasty, reigns of Seti I and Ramses II
Karnak temple
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Sasanian floor mosaic from the Iwan of the palace of Shapur I, Bishapur, Iran, c. 260 AD. Musée du Louvre, Paris.
A small Aedicula with a painted bust of a young athlete in the age of gymnasium phase, depicted with the features and style of mummy-portraits, with a writing board and pen beside him. The heavy hair is curled and falling on the shoulders, diademed in a victory ribbon around the head and the portrait put inside a laurel wreath. The roof decorated with the athletic tools like the Strigil for the cleaning of the body and Arybaios vase which used for keeping the oil.
Wood
Roman period
Fayum
CG 33269
Egyptian Museum, Cairo
On Ibi's feet, the sky-goddess Nut spreads her wings, holding an ankh-symbol in her hands, that Ibi may be reborn every morning like the sun on the horizon.
Greywacke
26th dynasty
From TT36, Cemetery of El-Assasif, Thebes
Cat. 2202/1 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 painted wooden door is decorated on both sides. It sealed the innermost chamber of Sennedjem's tomb.
On the external face on a yellow background is a scene in two registers, with a hieroglyph representing the sky at the top.
In the upper register, Sennedjem, his wife Iyneferty and his daughter Irunefer are standing before Osiris and the goddess of justice Maat, to whom they are paying respectful homage.
In the lower register, the sons of Sennedjem are portrayed in the same pose before Ptah-Sokar-Osiris and Isis. Sennedjem and his eldest son have their hands raised in an act of adoration. The two women hold a vase with a long neck while the other six sons each hold a lotus flower with a long stem.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Princess Ashayt holding lotus in her left hand and Ankh sign in the right. Princess Ashayt was one of the wives of king Montuhotep II, the founder of the 11th dynasty. She held many titles such as the king's beloved wife and priestess of Hathor.
Painted limestone
Middle Kingdom, 11th dynasty
Deir El-Bahri, Temple of Montuhotep-Nebhepetre
TR 11/11/20/17
Egyptian Museum, Cairo
In this colossal statue, king Akhenaten is depicted in the typical style of the Amarna Period, with narrow slanting eyes, a long thin face, and thick lips.
A group of colossal statues of King Akhenaten (Amenhotep IV) are found in the Temple of the Aten at Karnak. These statues may represent the first time that Akhenaten’s new religious thoughts were translated into ancient Egyptian art and architecture.
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 goddess Isis with wide-spread wings is portrayed on the feet of the Aba's anthropoid coffin to offer protection to the deceased.
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
Two "early" cartouches of Aten. On the left, it reads "The living Re-Horakhty, Rejoicing in the horizon" while that on the right reads "In his name as Shu, who is in the Aten".
Terracotta
Luxor
New Kingdom
BAAM 1058
Antiquities Museum of Bibliotheca Alexandrina
The "Nine Bows" came to be represented under the feet of the pharaoh of Egypt. They were often portrayed upon his sandals, or on statuary, under his feet, as having dominion, not only over "Ancient Egypt", but also, "all the people of the foreign tribes".
Black granite statue of Thutmose III
New Kingdom, 18th dynasty
Karnak
NMEC National Museum of Egyptian Civilization, Fustat Cairo
- Amulet in the form of a winged scarab
From the 25th dynasty onwards scarab-with-wings amulets were very common. These were almost exclusively made of bright-blue-glazed compositions and were moulded with a flat underside. They were pierced with holes around the edge so that they would be stitched over the chest on the mummy wrappings or incorporated with the bead nest which enveloped contemporary mummies.
A scarab-shaped amulet offered the dead hope for new life and resurrection. These magical properties could be enhanced even further by the inscriptions, motifs or pictorial presentations, sometimes added to the flat underside.
Faience
Late Period
BAAM 434
- Amulet in the form of the eye of Horus (Udjat)
(in the shape of a right udjat)
The udjat amulet first appeared in the later Old Kingdom and continued to be produced until the Roman Period. It is the best known of all protective amulets and was found in greater numbers on mummies than any other amulets. It could also be worn in life. The udjat ( the sound one) refers to the eye of Horus the Elder, the celestial falcon and great creator god whose right eye was the sun and left eye the moon.
At its most basic shape, the udjat is a human eye with an eyebrow, but beneath the eye, it has a drop and a curl to imitate the markings on the head of the lanner falcon.
Faience
Late Period
BAAM 1071
- Heart-shaped amulet
An amulet in the shape of a heart surmounted by a suspension loop. For the Egyptians, the heart was the most essential of organs, not because it pumped blood around the body (it is unclear whether they understood this function), but because they believed it was the seat of intelligence, the originator of all feelings and actions, the storehouse of memory and consequently the source of an individual's identity. This is why it was the heart that was weighed in the balance of the underworld to determine if its owner was worthy to enter the Egyptian paradise or not.
Heart amulets of a New Kingdom date are still relatively rare. Two of the earliest securely dated non-royal examples come from the burial of Akenaten's vizier Aper-el at Saqqara.
The heart amulet became one of the most important of all amulets and was set on every mummy until the end of the Pharaonic Period, often in numbers and usually on the upper torso. They appear in a wide variety of materials, the most common of which are carnelian, basalt, hematite, and glazed compositions. The heart depicted as an amulet is usually identified as the bull's heart rather than the human type.
Faience
Greco-Roman Period
BAAM 218
Antiquities Museum of Bibliotheca Alexandrina
Wooden statue of a woman found from the same mastaba as the famous wooden statue of Kaaper, commonly known as Sheikh el-Beled, who was an ancient Egyptian scribe and priest, lived between the late 4th Dynasty and the early 5th Dynasty.
This statue is of commonly considered as Kaaper's wife.
From Mastaba C8 at Saqqara
Old Kingdom, 5th dynasty
CG 33
Egyptian Museum, Cairo
Amulets of Taweret (Apet)
Taweret was the ancient Egyptian goddess of maternity and childbirth, protector of women and children
Faience, Late Period, Provenance unknown
From left: BAAM 1121, BAAM 1131, BAAM 1132
Antiquities Museum of Bibliotheca Alexandrina
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
In the upper part of the coffin of Ankhefenamun is the sun-god Ra-Horakhte (Ra-Her-akhutij) in the shape of a falcon with his wings extended to protect the head of the mummy. On this side there is Isis and on the other side Nephthys.
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
The face of the anthropoid coffin is finely modelled wearing a headdress and framed by large ears and a wig with long lines to indicate hair.
Parts of the lid were discovered shattered into pieces at the time of excavation, probably the result of prior illegal digging. The damage has been partially restored by conservators but some parts are lost. Aside from the missing parts on the central area of the lid, the face, the right shoulder, and right foot end have suffered severe damage.
Sarcophagus of Ahmose
Limestone
Provenance: Tuna el-Gebel
26th Dynasty
JE 51945, SR 5 12059
Egyptian Museum, Cairo
Los pintores de vasijas del Clásico maya eran muy hábiles, pues a sus conocimientos de la cocción de la cerámica se aunaban los de la cosmogonía y la historia del pueblo maya. En las vasijas de cerámica de tipo códice se relatan muy distintos hechos y en varias se pintaron fechas del sistema calendárico maya. En el llamado Vaso de los Siete Dioses, el pintor dibujó a los dioses que están relacionados con la creación del mundo, en la fecha 4 ajaw 8 kumk’u (8 de septiembre de 3114 a.C.).
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
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
The gilded face of Yuya has eyebrows and eyes inlaid with blue glass, marble and obsidian.
18th dynasty
From the Valley of the Kings, KV46
Tomb of Yuya and Tuya
CG51008 - JE 95316-SR93
Upper floor, gallery 43
Egyptian Museum, Cairo
This piece of the mosaic was discovered in the al-Shatby quarter in 1892 and was used as a floor in the banqueting room (Triclinium) of a rich man's house in ancient Alexandria. This floor was decorated with floral motifs made of large pieces of coloured marble. It is one of the oldest known mosaic pieces in Egypt.
Marble
Ptolemaic Period
2nd century BC
Alexandria
NMEC National Museum of Egyptian Civilization, Fustat Cairo
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
This headrest is similar in shape to a folding stool.
The pillow holder of the headrest is made of strands of ivory beads stained dark green, red-brown, and black.
The two sides are decorated with the face of the god, Bes of Joy, on their outer surface and a lotus flower on the inner surface. The legs end in ducks' heads.
JE 62023
Egyptian Museum, Cairo
This shabti shows the king wearing a blue and gold striped nemes, with two flaps at the front and a uraeus. Tutankhamun holds a heqa sceptre and a flail. His thin face has slightly raised black eyebrows, almond-shaped eyes painted black and white, a small nose and a wide mouth with full lips. A usekh collar hangs around his neck. Six columns of hieroglyphs with Chapter 6 of the Book of the Dead cover the lower part of the statuette.
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.
Wood, gold, bronze, height 48 cm
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 60828
Egyptian Museum, Cairo
The stairs towards the Museum exit. The intricate design and the gradual elevation -- still gives one that overwhelming feeling exiting the building. Shot taken from the souvenir shop level of the museum. After a few hours circling the museum and the apostolic palace, finally, went to stairs. I think anyone will be too tired to get enough of this museum.
Vatican Museum
Vatican City
Rome, Italy
The ba is an aspect of a person's non-physical being. After death, the ba was able to travel out from the tomb, but it had to periodically return to the tomb and be reunited with the mummy. The ba was usually represented as a bird with a human head, and sometimes with human arms.
Faience
Late Period
Provenance unknown
BAAM 1123
Antiquities Museum of Bibliotheca Alexandrina
The hypocephalus, or headrest was most commonly used during the Greek Period. A round disc that symbolizes the solar disc or the iris of the nedjat eye was placed under the head of the mummy to bring protection in the afterlife. The headrest symbolizes the universe: the upside-down parts on the lower half depict the land of the dead, and the upper half is the world on earth and the heavens. The lowest region referring to the most secret parts of the underworld contains passages from spell number 162 in the Book of the Dead, that makes flames appear from under the head of a blissful akh soul.
Linen, stucco
Greek Period
Provenance unknown
Cat. 2323 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 statue is one of three statues of king Merenptah which were recently found south of Mit Rahina the site of the ancient city of Memphis. The statue depicts the king standing in the company of Mut, the goddess of Thebes, the patron of kingship and the consort of the god Amun-Ra, the king of the gods.
Red granite
New Kingdom, 19th dynasty
Mit Rahina
NMEC National Museum of Egyptian Civilization, Fustat Cairo