The Metropolitan Museum of Art Bulletin / Winter1983/84

'

!,

*<g,# W2
i .

aF +:i.*t ds < rts W W

Bm

x ,Xt bAt'
:

wSr sD '

s*s=s S E4 ni

i'.

t's4W +,: t__<bM

+

e i

gs
rt-S s
* e e%;s sf _q

::4aDgr*S
9 ;+ e

su-

W-

,f,.,,,X,
. ffi S 8 i, X. e . *

SX *im.4#-#s,
C,:' %
. :S

toX4',-

A as,@

WZ

*XQ++S
. L ' . . *t st ..

..

..g, $

9 w. B

X , '' *'4 kO-*e

t ,

a
4

.
_

*Q-

ffi

-::|-8mg:
weX$Ez {gtEW
' wft se ste t 6 8 t v ' X s l s Y 5 * r ; > s ;>; n

--a
t t bJA Jga o

+--o

t tt t;sfn

twt tu :-

+.an-t e

up

;;,^

g wt: Qg
: -

>1b
tZl Xa s+ew > s-e s t #s w #w X B
% sWs t Fef e Xa z w g g

h .9
x t6%

f '

* t

Ag o

i WN +

tS aXh %++ -

Wp

it
Wt -w

t:8

, .d

t}, . ,;',+>:'4
f
tsffl*

! %s,.S b. b'

vwris+z#-+
_E '_<_ + . t. _; A P

ftS
sv

e
ai Ih

+ tA+t b%
_

t-t

bS

=tt

<

e unl.;o
eC ,*s _ r ;-

<>e
b

wR

dY

> 4__

' _ .,.

prcq, Ebt

4s.i,4 , kW t. v .

A f/y.

gB, ,,

Egyptian Art

The

Metropolitan Museum

of

Art

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin www.jstor.org

Note Director's

ofEgyptian collection oftheMuseum's ofthereinstallation lastJune Thecompletion thousixty-nine about an areacoveting Wallace Galleties, art in the LilaAcheson task. Everyone of the the end of a prodigious sandsquarefeet, represented is nowon display, objectsthatmakeup this collection fortythousand estimated ofthirty yearsof material theresult ofexcavated thezichconcentration including which Expedition Egyptian Museum's the Metropolitan by activity archaeological main the areas adjoining open study focus in given special hasforthefirsttimebeen three that it necessitated was the task of reinstallation gallezies.So enormous andthe Oldand Period matezial fromthe Predynastic first,the earliest phases: andCoptic Roman, the Ptolemaic, Kingdoms andthe latest from earlyMiddle and and Late Petiods; Ramesside, second,objectsfromthe Amarna, Peziods; high theclassic inthecollection, bestrepresented from thepeziods holdings finally, inthe culminating andtheearlyNewKingdom, Kingdom ofthelaterMiddle points fromDeirel Bahti.Thisresplendent Hatshepsut ofQueen sculptures monumental without generous nothavebeenundertaken could installation andcomprehensive has patrons this Museum oneof the greatest Wallace, fromLilaAcheson funding beindebted. willforever allvisitors andto whom everknown cultandthe zitual withinthe funerary art originated muchEgyptian Though about theobjects thereis littlethatis funereal death, lifeafter to perpetuate enacted life, ofartcelebrate theseworks pages.Onthecontrary, onthefollowing illustrated meetsthe past. wherethe present the visitorentersa realm andin the gallezies One gazeswith andsculpture. paintings, outinreliefs, ofdaily lifeareplayed Scenes who a chancellor at the modelsfromthe tombof Mekutra, delightandwonder ofhisestate,its activities themany depict II andIII,which bothMentuhotpe served arealso craft(fig.9).There river a magnificent andinclude andits gardens, houses, body powerful withthe oftenshown ofpharaohs, representations idealized austere, certain And andinvincible. pose omnipotent sttiding or in a formal of a sphinx herethe I singleoutformention pathos. withspecial areinvested portraits rulers' III on the sphinx(fig. 12),and I wantto faceof Senwosret ravaged brooding, withtheother sculpture thismoving to contrast to thegalleries visitors encourage it. thatflank heads afewhighlights provide forthisissueoftheBulletincanonly selected Theobjects thattheywillalsostimulate It is myhope,however, theeyeandthemind. to delight a visit,or repeated galleties.Foronlythrough yourdesireto visit ourEgyptian andtheir beappreciated antiquities Egyptian oftheMuseum's visits,cantherange be assessed. as a collection strength Director deMontebello, Philippe

1983/84 W@mter Museumaf ArtBulletin The Metropolitan 3 (ISSN01521) XLI, Number Volume and82ndStreet,NewYork, Museum ofArt, FifthAvenue t) 1984 byTheMetropolitan quarterly Published Ofices. Subscnptions Mailing postagepaidat New York,N.Y. andAdditional N.Y. 10028.Second-class of required forchange Fourweeksnotice members. a year.Singlecopies$4.75.Sentfreeto Museum $18.00 313N. First Street,AnnArbor, Microfilms, University fiom on microfilm, addwss.Backissuesavailable yearly reprintset or as individual as a clothbound available I-XXVIII(1905-1942) Volumes Michigan. Inc., 99 MainStreet, Salem,N.H. 03079,or fromthe Publishers, The Ayer Company, volumesfiom Editorin JohnP. O'Neill. ofPublications: Genenl Manager N.Y. 11379. MIllage, Box 700,Middle Museum, The LyntonGardiner, Ekman.Photography: Joanna Chiefof the B?lletin:JoanHolt. AssociateEditor: Antony Drobinski. Studio.Design: ofArt Photograph Museum Metropolitan

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin www.jstor.org

Curator's

Foreword

instaltheMetropolitan's marking forthispublication somefiftyobjects Inselecting ofour bytheziches art,I wasimpressed ofEgyptian collection lation ofits complete yearsthrough fonnedoverthe pasthundred collection, TheMuseum's holdings. range Pieces andvatiety. quality outstanding andgifts,offers purchase, excavation, of made items everyday from stonesculptures, to colossal goldamulets from minute inthenew variety is shown This forthelifebeyond. papyti linen andrushto painted to display in order together aregathered ofeachpeziod whereobjects installation, and history. culture, art, of Egyptian thescope Newly visitors. to Museum arewellknown Mostofthe itemsin thispublication appear in now June, they last new gallezies of the fortheopening orrestored cleaned sculpture, pages: these maybe absentfrom state. Somefavozites a refreshed items ofthesmall a sptinkling here,andonly beenfeatured have and relief paintings, maybe objects (Thesmaller stonehasbeenincluded. or colored of gold,faience, DailyLifeofthe Scott's andinNora Guiele published recently found intheMuseum's Associate Theenttieswerewtittenby EdnaR. Russman, AncientEgyptians.) andmyself. Curator, Assistant PeterDonnan, Curator, forallofusinthe occasion hasbeena momentous ofthenewgalleties Theopening of andthe support people thana thousand ofmore the work Through department. is nowonview. collection superb Wallace, theentire LilaAcheson Art ofEgyptian Department Curator, Lilyquist, Christine

pieceofelea single from 1.Carved the from handle phant tusk,this knife whose Carnarvon, ofLord collection Tutankhamun's discovered expedition witha fitted wasonginally tomb, boss Theprotruding flintblade. slender longitudiside,pierced onthereverse thatthe indicates nally forsuspension, A witha sheath. knife wasnotequipped ofthecraftsmanproduct magnificent is Egypt,thehandle shipofpredynastic animals, withrowsofvazious decorated onivonesof favored especially a motif B.C.). penod(c.3600-3200 theGerzean bird and a wading register Intheupper wadbyninemore arefollowed a giraffe

next,an withlongbeaks; ingbirds ontwointertreading elephant Afncan leadsa fileofthreelions, cobras twined threeoxenand themstand andbelow dateand its early lion.Despite another ennces already size,thehandle small artof ofthemonumental charactenstics into offigures division reliefs: Egyptian perspecformalized registers, separate andngidonentaspacing, tive,careful ofthe theconventions tion.Indeed, representations relief two-dimensional durtimeswereformulated ofpharaonic PenodoncereingthePredynastic mace suchas palettes, objects monial handles. P.D. andknife heads,
3

t-X-=-t

::,2.w..

began to make cultimages in stonein thelatePredynastic Pexiod, however, themore ptimitive beastsstillreigned. Thisrecumbent liondeityis carved in glittenng, semitranslucent quartz. The hard stone,treacherously veined and crystaled, mayhave encouraged the sculptor to suppress anatomical details. Hehascarved thetaillooped along the spine,ina manner peculiar to archaic Egyptian representations oflions,and hasdeliberately exaggerated thesizeof thehead.1bus, theproportions may suggesta cub,butthesculptor's intention,judging from sirnilar works, was rather to convey a senseofmassand power. Since thereseemsto beno mane, thedivine beastis perhaps a lioness, forerunner ofnumerous later lion-headed goddesses. E.R.R.

'

,A

i,,

: n

_>

:>.

F0

it

S r-^ , #
.

} -i

>.

, * ,_=_L

Wz'
t
f-

''
w
*

'Sf5:
-|

s
t.
+

i;w)^ '*;4''-''

J' a* " * '.

r.ew

*.

*
>

* t e **-W
* v -

J+.'

>

sts

'I

6. Xlth thegrowth ofgovemment and temple bureaucracies during thecourse ofDynasties 5 and6, more andmore people wereableto commission tombs andtombsculpture. Thesculptors ofthehugecemetery at Saqqara responded bydeveloping a styledevoid of individuality butextremely competent andattractive. Thisstatueofthegranaryforeman Nykairau withhiswife anddaughter is a goodexample. The facesofallthreearenearly identical. Thetombowner Nykainu,however, definitely holds pndeofplace. His

nakedlittle girlhangson to one leg, whilehis wife Nykainebty nestles besidethe other,in a charrliingly femininebut clearlydependent pose. The fnnge of curlson her forehead represents her ownhairbeneathher heavy wig. Thegreatdiscrepancy in size ofthe figures,common in OldKingdom art, was modified in laterpenodsbut never entirelyabandoned. Nykairau had severaltombstatues.Another, in the Metropolitan Museum, showshimas a scnbe. E. R. R.

7. Bold relief andbrilliant color distingliishthisunusually well-preserved relief ofNebhepetra Mentuhotpe II (c.2060-2010 B.C.), whois portrayed weanng theWhite Crown ofUpper Egypt,a jeweled broad collar, anda whitegaament heldinplace bya shoulderstrap. Uncommon carehasbeen taken withthefinedetails ofthehiero glyphs, thesubtle shading oftheking's eye,andtheminiature patterning ofthe rectangular panel infront oftheldng's face.Thegoddess Hathor, whose damaged figure adomed withthe horned sundiskstands at thenght, declares intheaccompanying text,aI

have united theTwoLands foryou according to whatthesoulsof Heliopolis have decreed." Although the words arepurely conventional inthe context ofa religious ceremony, Mentuhotpe II is indeed remembered asthe founder oftheMiddle Kingdom andthe conqueror whoreunified Egyptafter theturbulent FirstInternediate Penod.Theblock wasdiscovered in 1906-7 by Edouard Naville intherliins ofMentuhotpe's fimerary temple at western Thebes. Thissceneonginally decorated thesouthem outer waSl ofthe vestibule ofthesanctuary.P.D.
9

8, 9. Adequate provisioning forthe werediscovered ina small chamber of afterlife wasa paramount concern to Mekutra's tomb inwestern Thebes durEgyptians ofeverysocial andoccupa- ingits reexcavation bytheMuseum tional class.While funerary offerings Expedition in 1920. andactivities ofeveryday lifeweremost Theservant girlbeasing provisions often portrayed inrelief duiing theOld from oneofMekutra's estates is carved Kingdom, small painted models placed to halflifescalewithremarkable seninthetomb became increasingly preva- sitinty.Hereyesarelarge,hernoseis lentduring theFirstInternediate rather wideandflat,andhermouth is Period as a more effective wayofperdrawn back ina tightsmile features petually ensuting thenecessities and charactezistic oftheroyal styleoflate pleasures oflife.Theelaborately Dynasty 11.Despite thestiffness ofthe painted models ofMekutra, a chancellor conventional sttiding stance, herslim whoserved bothMentuhotpe II and torsois modeled withunusual subtlety, III, arethefinest preserved from andthefigure is further enlivened by ancient Egypt.Made ofpainted and theblilliant colors ofhercostume and gessoed wood, linen,andcord, they jewelry. Onherhead shebalances a tall

pannier containing bread, vegetables, andchoice cutsofmeat,andshecaaries a saclificial duck byits wings. Intheunderworld as ineveryday life, theNilewasthehighway forcommerce andtravel, andtivetine craft were therefore necessary equipage forthe deceased. Mekutra's traveling boat is faithfully recreated. Thecabin is coveredwithwoven matting anddecorated withshields painted inimitation ofcowhide; matcurtains arerolled upover thewindows. As thecaptain makes hisobeisance, Mekutra sitsbefore the cabin door, inhaling thefragrance ofa lotusbudandenjoying themusic ofa singer anda blind harpist. P.D.
ll

@ | : Ig W| | 0 Fm |g W| X g|_ | S_car;ries VxMo, i_ = _ S_ | in oftne it Dyna a torso most ty i ana 11into Theban 1s a nmsn the oculpture in fi, realm aeiails aSpor(see inat X

Xw)KLiX

B
|

g
_g | R X

m__

weSm_>

strength blocky the exhibits Cairo in

B!

iRE

WlE

12

t )

'

*?

. -

au'wtute;
al

j)
- a e

+,'f'ie"-..
t sq sv
* S '

/
* s -

W;v*o#? d\* SvS

r '.$ < ;* * s < * -

'

..

. 'r

.;
. .

. +

ffi

b f s zi

-.l

fw

' -

F:v#W sX
^ :*B
* s; X i #

-w;

le
_ d

>

*'>,;>>* t*-;,;,
: A 0 W

&te,,
.
+ + $

'
' *

.s

;a,4*

>

'

';

.,

,:

'

's,

.,

i :. .

'

P*X0

r.

fa

wsitli
\b-1t X

-^f##t i
: ft; l)

11 Rarelyis the mtimate interrelationship of Egyptianart, architecture, anduaiting expressedon sucha monumental wale as in the colsal falconpanelsthat oncedecorated the encloWsure vall of the pyramid complex of Senwoswt I at Lishtv TtlepaneLs are pnml,v a hieroglyphic devicefor the portion(f the myaltitulaly that identifies the kingurith Horus,wrho ix depictal a; a falconwearingthe Double C2nwrn an(lsymbelizesthe livingrulerJ TheHerux namew of Senw}S>t aIfi pearson eachlBneltowther uith his coronation nameor hi>; er>;onalname.

Beneaththe hielvgl*s )h>; ir; <l})<lttelllled architectural faa(le thatmslsultirllXltely denve from(iomestic builfling>; of tlle P dynastic Peri(xlan{lreI)lu se nt; one ithe mosten(ing motifslt Hpw})tian art. lbgether the;e element;((stllltiKse the royalsev#El,u h{}Se (K'((tII'I>'nt't' in earlytt4n mzeorfls elilleifle^s u ith the inception of kinvhiI)in the} Nilez scllle^Nt (c. 3150Xc. ). A smalle l .Ss} fA 1 i11 hie glyphicscaleaI)}wsl>; 011 the lulief lxf Mentuhotpeb 11(figo) <1llfl the f.lleon wcurs in miniatllIr 0n the }xetlul<ll of SiithathoeruneXt (figv14),thio; tiIneb i1 the guise of Ra-H<lI akhts: l+1).

, ' ,,S, .. v . . +

.tf
*

. 9* t*t

(
ss

;.,6.vl5as

Aa

12. Perhapsthe most memorable fiwes in all of Egyptianart belongto the late Dynasty12rulersSenwosretIII (c. 1878-1843 B.C.) andhis son, Amenemhat III (c. 1842-1797 B.C.), who are represented in worksof the Museum's collection. Theyhavea father-son resemblance, but theirlikenesses are quitedistinct.Senwosret III, shownhere as a sphinxwith his namewtitten on his chest, is characterizedby deep-set,heavy-lidded eyes, alld,in somecases, frownlinesbetween the brows.A senes of diagonal fulTows marksthe sunkencheeks,echoingthe slantedlinesofthe thinupperlip.The expressionseems brooding, almost weary,andcombined with the majestic andpowerful formofthe lion's body,it createsan almostdisturbing impression. Here andin otherrepresentations of this god-ing andhis successor, the rulersapparently choseto emphasize theirage-and by implication their mortality but we do not knowwhy.
E.R.R.

13.The stewardMontuwosre sits before an offelingtablein a classiccomposition used to portraythe deceasedon funerary monuments at least as earlyas Dynasty2 (c. 2890-2686B.C.). One handgraspsa foldedpieceof linenand the otheris outstretched to receivethe provisions presentedto the stewardby three membersof his family. Donatedto Montuwosre by SenwosretI in year17 of his reign,the stelais a product ofthe royalworkshop andis characterized by the consciously archaized poses of the figures.Despitethe pureformalism of the scene, the musculature of Montuwosre's shoulders,aams,andlegs is realistically modeled.Thelonginscnption is biographical, enumerating the officesthat the stewardexercisedon behalfof Senwosret,but typicallyfor

suchstelae,it is couched in stereotyped phrases thatdonotdescnbe specific events inhislife.Nonetheless, from information giveninthetext,Montuwosre's family canbe partially reconstructed forfour generations. It can alsobeinferred from geographic referencesgiven intheinscnption thatthe stelawascarved notforthesteward's tomb butforhisoffexing chapel at Abydos, which during theMiddle Kingdomwasthought to bethelegendary butial place ofOsinsandwastherefore a popular siteforpnvate memonals.
P.D.

16

ffi-Es
_;, *L
J'

1Z7

SithaofPrincess Thetreasure 14-17. someofthefinest includes thoryunet from preserved jewelry ofroyal pieces ofEgyp a period Kingdom, theMiddle forits eleunsurpassed tianhistoxy intheminor andworkmanship gance hertitleofKing's arts.Ibjudgefrom never Sithathoryunet Daughter, ofEgyptandwasburied queen became of complex inthepyramid at Lahun herfather. II, apparently Senwosret hrom hertomb oftheornaments Several III, ofAmenemhat bearthecartouche intowhose hernephew, presumably

andwhomusthave reignshesurvived Herjewelry forherfimeral. arranged thatwas niche ina small wasdeposited plunby ancient ignored inadvertently byflood andwaslaterinundated derers down theopenbulial pouiing waters of elements thedislocated shaft.In1914 andbracegirdles, diadems, pectorals, hrom recovered letswerepainstaltingly byGuyBrunton, a massofsediment methods archaeological carefill whose recent research -together withmore ofthe thereconstruction have enabled jewelry. ptincess's

(fig.14)is a masterpiece Thepectoral craftsmanandlapidary ofgoldworldng seventy-two hundred ship.Thme lapislazuli, bitsofturquoise, carved into areinlaid andgarnet cazoelian, fusedontoa gold cloisons individual motif ofthepectoral base.Thecentral II, which ofSenwosret is thecartouche by bytwofilconssunnounted is flanked bya kneelsundisksandis supported strips. twopalm ingdeitygrasping

signs, upofhieroglyphic made Entirely canbe readas a wish thecomposition thesungod[Raforlonglife:aMay II live thatSenwosret grant Haralshty] The ofyears." ofthousands forhundreds with chased sideis exquisitely reverse wore Sithathoryunet thesamedesign. herneck,attached around thependant andballbeads beads ofdrop to a chain and feldspar, ofgold,carnelian, made turquoise.

18

of motif thedominant Elld catsform its and 15) (fig. girdle Sithathoryunet's deepfrom fashioned all accessozies, gold. andburnished amethyst purple of spacers goldleopard-head Thehollow intwo wereeachfashioned thegirdle Of together. thatwerethenfused halves elements, thesevenlargedouble-head thatwould tinystonepellets sixcontain jingling a seductive produced have

and walked, whentheptincess sound clasp. as a sliding fimetions theseventh withseven alternately arestrung These and spacers quadruple-head smaller ballbeads. rowsofamethyst double features A pairofwnstlets(fig.16) anMets matching lions; crouching and withgoldclaws (fig.17)areadorned ofa intheshape bya clasp aresecured knot. P.D. square

119

18

18-20. Beliefintheefficaciousness of amulets andmagical spellswasclearly widespread during theMiddle Kingdom. These threeobjects, which appear so disparate, werenonetheless created for thesamepurpose: to invoke theaid of helpful deities andto repelthemalignant influences symbolized by various animals byportraying thosebeastsand thus enlisting theirassistance. The ivory wand (fig.18)is incised witha
20

20

series offiercely beneficent figures wielding knives andbears aninscnption that proclaims theirrole: aprotection by day andprotection bynight." Theamethyst amulet (fig.19)depicts theriverine turtlelfionyx trnunguts, whose secretive lifeandwatery habitat represented concepts inopposition to the daily manifestation andbrilliance ofthe sun godRa;inlaid bitsofturquoise, lapis lazuli, andredjasper imitate the

spotted carapace ofthespecies. Flanked bytinysculptures offrogs, crocodiles, andlions, theturtlealso appears asthefocus ofthecarved steatite rod(fig.20).Thebaseis carved in low relief withbaleful creatures, as well as protective symbols suchastheu,cljat eyes andthebaboons sitting before flamingbraziers. P.D.

21.Themassive form andplacid expressionofthisfaience hippopotamus are familiar to millions ofvisitors to the Museum, whoImow himas 'ffillliam." Thebrilliant-blue glazed surface is decorated withtheblossoms oftheblue lotus,which represent theanimal's naturalenviIx)nment, andits corpulent buLk is givena slight forward momentumbytheasymmetrical placement of its legs.Although such hippopotamus figurines arepopular today, theywere viewed withlessaffection during the

Middle Kingdom andserved a purpose similar to thatoftheamuletic objects on theopposite page.A mythical enemy of theldng,thehippopotamus symbolized certain destructive forces innature thatcould be neutnlized through the hannless portrayal oftheanimal. This figunne wasoneofa pairdiscovered in thebunalchamber ofthesteward Senbi at Meir, where it hadbeenplaced in order to extend its apotropaic fimetion intotheafterlife. P.D.

21

K-6S

ss

#** *e os t6:S
0+ 4 , * *s s @ F + + t

s*,w _

,, +, xt

. -

Z--.'.\+^'.

.';

c
tionsipells lbm theCiBnxts, a Btenwe idended offi cOlptU withmagial X eqw ffiedeeeased IMe mummy fortheafterlife. powers onits left8ide, positioned wasonginally nuld peer Ukhhotpe so thatindeath thatadolnthe theeyepanels through Thehorizontal leftsideoftheodYin. theeyesis a conoftextabove band thatinvokes formula offering rentional of foremost ofeternity, lord bOsiris, ofthe god,lord thegreat Abydos, uas oneofsevburial Ukhhotpe's West." of interments private eralsumptuous at (liscovere(l King(lom theMi(ldle 1). Meir. >.

2:!. IEe mummyithe chieftleasr smplym lyers is wrapped Ukhhotpe byanouterEnen enclosed afbandages is protRcidbya shroudandthehead mask. Inconfwlerary wooden aurved ofthemask's form^s trastto thestvlized andears,theeyesale strildngly mouth apolished inLiys to lifevvith brought alabaster, andtranslucent obsidian and redatthecorners aretinted which Ttlesldnareas sockets. set intoebony gol(l leaf,and uithmddish areoverlaid ge painted andbeard theheaddress oftheMi(l(lle typical blue.Ina burial was mummy Ukhhotpe's King(lom, coffin X oMen ina rectangular place(l u ithselecontheinterior (lecoIotefl
22

I
.|

-D-

-,
.v. j,.

Cf
,. i t

S_ Ofs2

, 6

,,,, 0 g

. _

-- -

[X.e:

i.'

Wf
z Z

;
t

/S

L sto'.l

-n

{^t

(-

>

.
* ;*-

/
iv4
#} -. f-,{84-

. bwo

R-t
.. . 8v , , t. :e s

'

i=.=,,:=:a :
23.Thecoffin ofPuhorsenbu belongs to a classofcoffins hlownbytheArabic word rwshi, meaning afeathered; they aredistinguished bytheintncate patternofwingsdecorating thelid.Rtshi coffins areessentially a Theban phenomenon andexhibit theclumsiness, individuality, andcharrn ofprovincial works. Puhorsenbu's smiling faceis painted a rarepink,andtheexecution ofthewings,which aredepicted as if viewed from thedorsal side,approaches anabstract design. Although many rwshi coffins werehollowed outoflogs, Puhorsenbu's wasconstructed ofsycamore planks. Rtshicoffins werein vogue foronlytwohundred years (c.1667-1450 B.C.); nevertheless, they area crucial linkinthedevelopment of

--''..

.'_'

2X

wi

<

>

Au

*s

'

ss

0_

*Sss+

4\ 'S t

v t} erSi
'

_gs<;

f2*

ris

*-*;*j_--F-st3

Wa

teviwe

tt'

25,26.Thetreasure ofthethreeminor wivesofTuthmosis III (c.1504-1450 B.C.), ofwhich onlya fewobjects are illustrated here,comprses themost spectacular corpus ofroyal jewelly ofDynasty 18prorto thereign of Tutankhamun. It is thought to have beendsscovered in1916 ina tomb located ina deserted valley ofwestern Thebes by local inhabitants. The Museum purchased thecontents ofthe treasure almost entirely onthemarket overthecourse ofseventy-five years. Theobjects include itemsthatwere made foreveryday use andaccord-

inglyshowsignsofwear-as wellas equipment intended expressly forthe tomb.Although thenames ofthethree queens Menhet, Merti, andMenwai occur onlyoncertain funeraly artiiicts, theirassociation withTuthmosis III is assumed because oftheappearance of hiscartouches onsomeoftheevetyday jewelry andalabaster unguent jars.The unusual spellings ofthenames indicate a non-Egyptian onginandsuggest that thequeens' mamagesto Tuthmosis may have strengthened a number ofdiplomatic alliances withforeign lands.

Thehinged bracelets (fig.25,nght) objects made forthesinglepurpose of arefashioned a mummy. ofgoldbeaten to shape, adoniing A unique oval goldplate,chased bumished to a highgloss,andinLaid with withaltemating piecesofturquoise, a palmette design, is thecenterpiece forthisreconstruction ofa magnificent carnelian, anda third substance not headdress (fig.26).Four identified. Inscnbed ontheintenor hundwd fifty goldelements, graduated withtheroyal titlesofTuthmosis III, insizeand inlaid inrosette pattetos theyaresldllfilUly chased so thatthe withcarturquoise glass,andclear glass, broad grooves reflect lightbrilliantly. neliall, Although thebracelets wereapparently arestrung vertically injeweled sttips intended to bewozn as a matched pair, thatdescend from theoval plateand cover thewigbelow. Thediscovery of thetextsdisplay a number ofidiosimilar rosette elements atthepursyncracies indicating thateachwas ported findspot ofthetreasure has donebya different hand. Cutfrom established anarchaeological linkbe sheetgold,the sandals (fig.25,left) P.D. closely imitate tooled leatherwork, but tweenthetombandtheheaddress. theirfragile construction is typical of

261

- -x
^^s

--s
a t{

s!5

4 vil

s-*

:fiA
.t! Fsj

Xtst'

' >:

27

'

-'"-

"

' "3

statue representing a couple, almost byside with their anns about each other, infront ofa slab inscribed onthe back with finerasy invocations foreach ofthem. Parts ofthe textsurviveR but their names arelost.The statue was made forthe tomb atThebes.
coupleRs

e.

. 1lK^

|l

ustogauge tthel effACstusual theWoman's yellow skin color is contrasted with the
adnrdkheirsbldOcokfytheeh,nmabnesrdwrebeulfashiOngs ofthe day. The large eyes and taut smiles area hentage ofDynasty 11 art, very influential atthebeginning of Dynasty 18,asis evident when thefaces ofthiscouple arecompared with that of theservantinfig.8.E.R.R.

q L5e 5<w1wf {fW-

t -

29

xfi*

29.Board games, aly mtegnal elv ments if uney equipment befbre D9q1ast 1 (e. 31v B.C.), 8 ffie entire continuum ofEgyptian civiZzation.llniswooden boF hastwoplaying 811S, onewithtwenty squares ontopforthegameoft1au, orS bers," appatently animport from Asia, andoneunth thirtOr squares onthebottomforsenS,which means sssing." Senet acqliired a funerary roleduling theNewKingdom; theobstacles ofthe gaxne wereequated withthehazanls of theafterlife, andhlowledge ofits rules wasthought to enable victozious entry intotheunderworld. Ganiing pieces

werestoS m thedraserat oneenddf : theboarrd. P1 moves wewdeteS mined bytossing thmwsticlzsuch : asthesered-stained ieroly exatnpl, carved at oneendmnth theheadofa jadkal andattheother witha fingemail, a visual reference to theancaent word forthrow stick,djeba, orfinger." Ihe rulesforthetwogames, forgotten sinoe RomaJl times,have never beenentirely reconstructed. Thesidesandtopofthe board areinscribed withfunerazy formulas inthename oftheoverseer of works hia andhisparents, andat one endldiais depicted seated withhiswife andhermother.P.D.

W
i sU;

:1 *''

' <'
s

{,1t ,
i-S -

:;

# .

'l

\4

-lb

cb

,oK-

--

life

is

often

more

vividly

glimpsed

in

the

W |

:'Si:EJ
the carvedpanelwas attachedto the

LowerEgy t.Thelion-headedgoddess

:-

a..Ex7

_St>'-'V

31

32 'rnis head im a ue of Amenhotpe III (c.1417-1a79 B.C.) B a characiristic liken oftheldng whoruled o therxchest emp the world hadyetseen.Thefeatuxes of Amenhotpe arecunously ohildlike: round cheeks anda softiin; a mouth witha distinctively shaped upper lipslightly 0}icker thanthe lower; large,slanted, elegantly outlined eyes; anda pleasant butsomewhat enigrnatic apression Thepersonality behind thisfaceremains eluave, although we have coreiderable infoF rnation about AmenhotpeW reignX Heclaimed to hawbeena mighthr lion hunter mhisyouth, butto judgefrom statues intheMetropolitan Museum andelsewh@rehebecame corpulent iIllateryears. EeR R

birth, shewasnotofroyal 33.Although exerTiyeseemsto have Great Queen probably by influence, cisedunusual Like personaSity. virtue ofherforceful ofthecontempb mostrepresentations king,herimages razies ofanyEgyptian thoseofher to resemble weremade Amenhotpe III, withyouthhusband, faceandlargealmondfilly rounded shaped eyes.YetTiyehadherown a deterfeatures, including distinctive andan atthebrows mined littlefrown

contour butunmistaliable indescribable butfaintly to thefilllandgenerous ofa mouth. Thus thisfragment pouting jasper, polished statue, inbeautifillly as Tiye. recogiizable is immediately wasprobathefigure When complete, wsth appropriwork, blya composite metals stones andprecious atelycolored ofhercoselements formlng thevarious in tumeandheaddress a masterwork andbrilliant wealth a timeoflavish E.R.R. craftsmanship.
33

34.These threecarnelian plaques were 35.TheRoyal Scribe Senuappears at originally set ingold jewelry, probably thetightonthisstela,worshiping bracelets. Thestonewasprecious and, Imsety andHapy, twoofthefunerary beinghard, difflcult to carve; these deities known as theFour Sonsof ficts, andtheglorification onallthreeof Horus. Hisownson,thelector-priest Amenhotpe III, indicate thattheywere Pawahy, stands below, making theprea product oftheroyal workshops. They scribed gesture as herecites forhis mayhave beenmade to commemorate father thefunerary hymn wtittenin oneoftheking's hebseds important front ofhim.Thefineworlunanship and festivals ofroyal renewal-foronone suave stylearecharacteristic ofallthe (left)heis shown twiceinhe1o sedcosartsofAmenhotpe III'sreign.The tume,accompaiied by Queen 15ye.On graceful figures, withtheirslightlimbs, thesecond (right), Amenhotpe andTiye rather largeheads, andgreatslanting areattended bytwoprincesses. The eyes,recall theelegant butvaguely third(below), a virtuoso littlepieceof juvenile appearance oftheldnghimsel openwork carving, shows Tiyeas a Senuhada set ofthesestelaeforhis winged sphinx, weating a floral cult.OneintheLouvre crown. mortuary Herhuman annsareraised inadoration shows himgreeting theothertwoSons ofthecartouche containing herhusofHorus, Duamutef andKebehsenuef. balld's name. Theprominence ofTiyeon Another, intheMetropolitan's collecallthreeplaques is significant, a signof tion,represents himwithOsiris. hergreatimportance. E.R.R. E.R.R.

34

cW

thesefour withcolor, 36,37.Mlbrant of thebnlliance vesselshave small is notat allibjewels.Thecompanson seemto have fortheEgyptians fetched, ofartificial glassas a kind regarded valued. andit wasequally gemstone, inwasapparently Glassmaldng Asia.Theart inwestern vented 18, EgyptearlyinDynasty reached untilat leastthe B.C., and 1500 around glassmanufacture endofthedynasty, were There monopoly. wasa royal of complex inthepalace glassworks andin III at Malkata, Amenhotpe at capital residential Akhenaton's ofthesetwo Dulingthereigns Amarna. glassmaldngreached ldngs,Egyptian vesselslikethese, its peak,producing

andclear, excellence technical whose inthe areunsurpassed purecolors world. ancient glassvessels ofEgyptian Theshapes andpotstoneware from wereborrowed andtwo amphora tery.Theminiature theirpro (nght)have kraters miniature jars.Thefooted inlargestorage totypes (below) nbbing withholizontal bowl Allthe examples. alabaster imitates core, overa sandy vesselswerefonned outwhentheglass wasscraped which Additional andhardened. hadcooled onand,whilestill weretrailed colors to produce upanddown soft,dragged Thewhole patterns. andfeather festoon to the orsmoothed, wasthenmarvered, E.R.R. sheenofpolishedgemstones.

36

137

38. Generally restrictedto formal stylistic conventions andrepetitious subject matter,Egyptianartisanswereneverthelesscapable of creating worksof startlingrealism.Thebodyof this gazelleis carvedfroma singlepieceof ivory,with hoovespaintedblackand hairsalongthe spinerendered by small scores;the missinghornswere proW ablyof anothermaterial, suchas ebony. Attachedto the woodenbase by tenons protruding fromits tiny hooves,the

gazelleis shownpoisedon a deserthillock,tail raisedandeyes alertto danger. The smoothed surfaces,slender legs, anddelicatecolonngcontnbuteto this consummate portrayal of fragile grace.As in the hippopotamus (fig.21), reference is madeto the animal's environment: the baseis incisedwith desert florathat representthe natunl habitatof the gazelle,andthe hollows are filledwith Egyptian-blue pigment. P.D.

if

t'''''\'1;'

39. Thereliefsthat adotnedthe temples are some el Amarna of the Atonat 1b11 to havebeen proof the most innovative ducedin ancientEgypt. Designedto puiposesof servethe propagandist (c. 1379-1362 B.C.), the Akhenaton scenesthat complisedthe templedecoon a monumental rationswereplanned entirewalls, scaleandoftencovered by smaller on the peziphery enlivened figures.This vignettesor subsidiary accomspanof horses,undoubtedly paniedby otherteamsandgrooms,was detailin a chariotproa subordinate andhis cessionof whichAkhenaton queen, Nefertiti,werethe primary focus.Thesehorsesaregivenunusual

of theirdroopvitalityby the modeling ing muzzles,tapezingarchednecks, eyes. attentiveears, androunded Althoughtheirhindlegs are predictthe conin doubleprofile, ablyrendered ventionsof Egyptianart are stunningly violatedin the simpleactionof one its headdownto gnaw horsethrowing has at its leg. Thelifelikemovement by the sculpreproduced been faithfully tor,who, ratherthandepictthe comimageof a synchronized monplace a purelyephemeral team, has captured moment.Thereliefis nowon loanto the of Norbert fromthe collection Museum Schimmel. P.D.

39

1|

=,,,t,.,1,,. ._ .._.--'-

w ',:::

'3

: . '

40

oftheAnny, Royal 41.General forKing Tutankhamun, and Deputy inthepose sitscross-legged Haremhab a scroll scnbe, holding ofanordinary toThoth. ahymn onwhich is ltten lips,andsweet,ratherdrowsyexpres of onthefeatwes sion aremodeled govvirtually ofHaremhab-who of dunng thereign erned Egypt (c.1361-1352 B C.) and Tutankhamun lung iS oneday become who would conveyed bythesuperb unmistakably amajor statue, quality ofthislifesize That agreat royal atelier. work from asa should beportrayed such a man tolittherespect accorded scribe shows pose wasalso appropriate eracy. The god of dedicated toThoth, for a statue a special it may have had writing, and whose significe forHaremhab, elseonthisstatue and inscnptions aspect theadministrative where stress
d hili mamy adlievEm

Scnbe, h m > s-.,lg-& : - *---X x - - - Ww;;qt _ _ 3 _ _

j_

;_

4
3 11ht;'> ;,;sX

Btk;0A iX
ffi
ffit@$Ug; g l l

-1_ d _ _ j m _ n__ >_ _ _ _ 1._

_ _ _

g __

-141

42.Thepandemonsum ofthebattlefield andtheangiishofthewounded areportrayed onthissandstone block, which oncefonned partofa largewarrelief Thescenemaynotrefer to anhistoncal event, butmaybea conventionalized representation ofthe Egyptian kingtrumphant overhisfoes,identifiable as northerners bytheirdistinctive dress andhairstyles. lhnsfixed bythefeatheredshafts ofpharaoh's arrows, several

dying Asiatics lieentangled ina heap, trampled beneath thehooves ofthe ldnWs chanot team,whose underbellies arevisible along theupper border. One ofthefallen enemy, withyellow sldn anda whitelong-sleeved garment, is apparently a manof social ormilitary mnkdifferent fromthatof the red-sldnned soldiers in shortembroidered kilts,whose longer hairis bound byfillets. Although thecarving is cur-

soryandthepainting imprecise, the hastyexecution oftherelief seemsto suittheconfilsion ofannedconflict. Onginally partofa battle sceneina temple ofRamesses II, theblock was reused by Ramesses IV (c.1166-1160 B.C.) inthefoundations ofhismortuary temple inwestern Thebes, where it wasdiscovered bythe Metropolitan Museum in1912-13. P.D.

42

43. Smooth limestone flakes from the excavation ofrock-cut tombs wereoften usedbydraftsmen andsclibesfor practicing theirprofessional freehand sldlls as wellas foridledoodling. This ostracon, discovered intheValley ofthe Kings, bearssketches ofbothserious andhumorous intent, doubtless drawn byoneoftheworkrnen engaged indecorating theroyal tombs. Thefirstsketch is thatofa Ramesside king,whose almond-shaped eyesandgracefully curved nosewerecompleted witha few confident strokes; thedome ofthe crown, however, apparently required correction. Theartistalsodrew two standing figures whose names appear above: Payandhiswife,Meresger. Pay seemsto be drinking beerfrom ajar through a tube,andhisthinphysique andconventional dressareanamusing contrast to thecorpulence andnearnakedness ofMeresger. Herhair, which nonnally would have beencovered bya longwig,is close-cropped, andher shoulders have beenrendered inclumsy foreshortening forcomic effect. P.D.

43

rfl ffi -

Ti}i'}

1'i !v-e
:Ws

*;

mE
-

4S

W^-R > S

tww- +

a memof Amenemope, 44. The coffins familyduxing ber of a prestly Theban the reignof RamessesXI (c. 1113-1085 of coloril detail B.C.), aremasterpieces design.By the andstylizedreligzous twilightyearsof the New Kingdom, that muchof the essentialdecoration tombwallshad hadonceadorned to the nestedcoffins beentransferred of the the mummies that contained deceased.Depositedin barerock-cut were now shafts,these receptacles floralcollarsand paintedwith elaborate

vignettes, and headdresses,miniature covenng texts hieroglyphic cramped everyinchof suriee. Thisintenor repoutercoffin detailof Amenemope's I, one ofthe first resentsAmenhotpe ldngsof Dynasty18,whowas later deifiedas one ofthe patronsofthe and villageof Deir el Medina worEnen's who by the end ofthe New Kingdom oflocalshnnes possesseda number Garbed the Thebannecropolis. around anda beadedtunic, in the BlueCrown graspsa maceandan ankh Amenhotpe

sign;on eitherside kneelsa green Nile god, stnped in the zigzaglinesthat representwaterandbearinga heavily is table. Amenhotpe ladenofEerng vultures by two crowned alsoflallked representing perchedon the hieroglyph the West.Thebnght colors,applied to this stylized with suchprecision by the intenorscene, are not dimmed vatnishthat coatsthe extenor of the coffin. P.D.

45

in arranged all withthetextsapparently ofits content, thevariety 45.Despite songof the The papyrus order. random the served literature fimerary Egyptian duling wholived Nany, stressofAmun the ofproviding purpose fimdamental B.C.), displays 21(c.1085-945 ofmagical Dynasty witha compendium deceased were spells withwhich thefreedom entryinto facilitate thatwould spells with often andabridged, theNewKing- interrningled From theunderworld. above Thetextpictured results. werewritten garbled thesespells domonward, andis hieroglyphs is wnttenincursive andinonpapyrus mostfrequently 71and ofpartsofChapters as wellas comptised compositions otiginal cluded by dayand forth foracoming Ibxts 72,spells Pynamid oftheearlier dexivatives is thefonner theunderworld"; opening lExts.Thespellsandtheir andCoffin eye.The uxljat by a winged arecollectively illustrated vignettes accompanying a lakeof around seated baboons four onlya oftheDead; as theBook known recorded 125, to Chapter firebelong onanyonepapyrus, occurs selection

Theother onthepapyrus. elsewhere theircorrewithout ngnettesappear texts:thesceneofNanyprossponding to sunpertains therising tratebefore ofa thesketches 17,while Chapter the represent anda phoenix swallow Nanyto transfonn thatenable spells Thepapyrus intothesebirds. herself in1929 bytheMuseum wasfound deposequipment, butial Nany's among MexitofQueen tomb itedIntheearlier Thebes. P.D. inwestern amun
45

!, B-

a os

t;>ti's>S*'s!
1

*z--

147

(c.656 Nespekashuty 48.Thevizier in to be buredat Thebes B.C.) plarened ofthebest withrelief a tombcovered Thetombandits decoration quality. however finished, werenever diedpretheowner because whether to hewasforced orbecause maturely we donotknow. theproject, abandon is trainthisdetail matter Thesubject bearers offenng withfemale ditional, for to thetombowner produce blinging in Butwhilethesubject hisafterlife. tomb(fig.2n ofeight Sobekhotpe's graceful is maxle yearsearlier hundred

coswigs,elegant offancy bymeans brushstrokes, tumes,andtransparent poses, thissceneis rigid,withstolid andflatrelief cutoutlines, sharply were drawings Thepreliminary planes. anda hintofthatvitaSity more lively, canbe seenintherightleg ofthe ofthe woman ontheleft:thecontour inthefinal have beendeleted legwould ofthestone.Thepreference smoothing B.C. was fora century intheseventh in crsplyexecuted formula, readable ofthe limestone thefinecrystalline Thebanhills. C.L.

48

wooden panel formed 49.TEscurved anthropoid theheadendoftheouter official, theDoorcoffin ofa temple ofAmun, keeper oftheHouse Anundthebase,a Peldlerldlonsu. naw niches ordoorband ofstylized architectural motif, ways,a traditional final marks theboxas themummgs goddess home. Above, a kneeling of annsina gesture spreads herwinged theoccupant's head. protection around thegoddess ofthe Sheis Amentet, West, where thesunset andthedead

Amentet is drawn with werebutied. linear styleof authority, intheprecise, at Thebes inthesevpainting favored B.C. Thecolor, carefully enthcentury theoutlines, is subordiapplied within eventheunearthly nateto thedrawing; s}dn seemssuS greenofthegoddess's to thecomplicated dued incompaxison ear. drawn branches ofherelaborately a thatPeldlerldlonsu, It is noteworthy wasableto comiVirly minor official, forhisfimerary mand suchfinework equipment.E.R.R.

49

50.Carved ofgraywacke, theMetternichStelais thefinest andmostelabo rateexample ofa genreofmagical stelaethatoxiginated inthelateNew Kingdom. Thechild Horus standing on twocrocodiles is thedominant motif ofthesemonuments, which wereinsctibed withmagical textsthatwere recited to cureailments andto protect against animal bites.Thegemlike vignettes ofthisstelaportray a number ofgodscounteracting theinfluences of snalies, crocodiles, andscotpions. Above, thesungodis worshiped byfour baboons anda kneeling Nectanebo II (360-342 B.C.), to whose reign the monument is dated. Onetextexplains thecentrality ofHorus onmagical stelaebyrecounting theyoung god's cureofpoisonous bitesbythegod Thoth. Apparently erected ina necropolis ofsacred bulls bytheptiest Esatum, thestelawasfound atAlexandria andpresented in1828 to Prince Metternich, bywhose name it is now known. P.D. 51.Thiskneeling statue represents the Overseer ofSingers ofAmun ofLuxor, Amenemopiemhat. Bothhistitleand hisname indicate thathewasclosely associated witha cultofAmun ofLuxor inornearMemphis. Thestatue was designed fora Memphite temple, probably themain temple ofthecity's major deities,PtahandSelimet, whoarenamed intheinsctiptions. Amenemopiemhat holds a cultobject of thecow-eared goddess Hathor. Theproportions ofhisfigure, its musculatity, andsuchdetails as theslanted rdges of thecollarbone andtheshallow depressiondown thecenter ofthetorso represent a conscious attempt inthe LatePenodto emulate theclassic works oftheOld andMiddle Kingdoms. E.R.R.

\ t j j g

;SA;
siUh -

@'
* 44. aM-xtY-z

ie:/ -

L':ser

is #o

SSefi

MS

'.t5,.

..

-p

I to

:_,,

,,,f''

,4it
-

-_E

+-st

middle wholly are

modern.) of animal the

first form, century E.R.R. and

it C.

(80-30 is M 53 thus 0 Di

1 that 0

tiiprset{tSd

1XIRod-

MM a X @ S a a A

] S_s

ur

with a bird's head crowned bya sun e e p uisot zroem

uette, made sometime during thelast

is nowhere more evident than inthis

tilb

Olos artliL

tz

hreNd

>

case, extreme orthodoxy has, mpart, a

apbt

tmplestatues and reliefs

functions ofpharaoh Perhaps themost wme Ululg t t1e4tx is its

erF

z5

i@

bestEgyptian artofallperiods. The

EM)O

gd

Sur

E R s

1u

god, theiilcon,theroyal 54.Horus the gzasp inflight.Hisclaws hovers shen,a hieroglyph broken) (now umversa Lar slgnslgmIymg clrcu carto theoval andrelated doIIiinion, were names royal inwhich touche inthisposewasusually wtitten.Horus theking,as pr above directly shown oftheroyal andguarantor tector is oneofa partially Thisplaque person.
* * * *n * s

that inlays ofiVience group preserved object, a largeelaborate decorated shnne.Theredand a wooden probably ofa aretheprsduct details dark-blue for veryunusual technique champleve werecutintothe depressions bience: with andfilled bodyoftheplaque main wasthen pastes.Thewhole vitreous polished suriace fi>d, andtheinlaid jewel. E.R.R. likea great

54

<A
55

Credits
1. GerzeanPeriod. Ivoly, l. 4Ys inches. Purchase, EdwardS. HarknessGift, 1926(26.7.1281) 2. Dynasty 1. Graywacke,l. 67/8 inches, w. 53^'4 inches. Rogers Find, 1919(19.2.16) 3. Dynasty 0. Quartz,h. 43^t4 inches, l. 97/8 inches. Purchase,Fletcher Find and The GuideFoundation Inc. Gift, 1966(66.99.2) 4. Dynasty 4, from Saqqara.Limestone, h. 38 inches. Purchase,fundsfromvariousdonors 1958 (58.123) ' 5. (Detail).Dynasty 5, from Saqqara.Painted limestone,h. of mainfigure, 393o'4 inches. Rogers Find, 1907(08.201.2) 6. Dynasty 5, c. 2456-2345 B.C. Paintedlimestone, h. 22Y2 inches. Rogers Fbnd,1952(52.19) 7. Dynasty 11,fromThebes, Deir el Bahri, temple of MentuhotpeII. Paintedlimestone, 14Ys x 38% inches. Gift of Egypt ExplorationFlund, 1907 (07.230.2) 8. Dynasty 11,c. 2009 1998B.C., fFomThebes, tomb of Mekutra(MMA1101). Paintedwood, h. 44Ys inches. Rogers Find and EdwardS. HarknessGift, 1920(20.3.7) 9. Dynasty 11,c. 2009 1998B.C., fFomThebes, tomb of Mekutra(MMA1101). Gessoedand paintedwood, linen, and cord, 1.50Ys inches, h. 14% inches, w. 12 inches. Rogers Find and EdwardS. HarknessGift, 1920(20.3.1) 10. Dynasty 12, c. 1962-1928B.C., from Lisht, South Pd cemetely. Gessoedand paintedwood, h. 227/8 inches. Rogers Fundand Edwar1d S. HarknessGift, 1914(14.3.17) 11. Dynasty 12, c. 1962-1928B.C., from Lisht, South Pd. Limestone, h. 13ft., 1137/8 inches. Rogers Fund,1934(34.1.205) 12. Dynasty 12, c. 1878-1843B.C. Gneiss, l. 283^t4 inches, h. 163^/4 inches. Gift of EdwardS. Harkness, 1917(17.9.2) 13. Dynasty 12, c. 1955B.C. Paintedlimestone 41 x l9Ysinches. Gift of EdwardS. Harkness, 1912 (12.184) 14-17. Dynasty 12, c. 1897-1878B.C., from Lahun, tomb 8. Pectoral:gold, amethyst, turquoise feldspar,carnelian,lapis lazuli,and garnet;girdle, wtistlets, and anklets:gold and amethyst. Pectoral: 1.3Y4 inches, h. 13M4 inches;circumference of clasped girdle, 317/8 inches-wtistlets: l. 53M4 inches-anklets: 1.7Ys inches. Purchase,Rogers Fundand Henry WaltersGift, 1916(16.1.3); (16.1.6)(16.1.14,15)(16.1.7AB,55) 18. Dynasty 12-13. Ivory,l. 133H8 inches, w. 2 inches. TheodoreM. Davis Collection,Bequest of Theodore M. Davis, 1915(30.8.218) 19. Dynasty 12-13. Amethyst, turquoise,redjasper, and lapis lazuli,l. 17/8 inches. Purchase,EdwandS. HarknessGift, 1926(26.7.1359) 20. Dynasty 12-13. Steatite, l. 103M4 inches. Purchase, EdwardS. HarknessGift, 1926(26.7.1275A4) 21. Dynasty 12, fromMeir,bunal of Senbi, B3 pit 1. Blue faience,l. 77/8 inches, h 43H8 inches. Gift of EdwardS. Harkness, 1917(17.9.1) 22. Dynasty 12, fromMeir.Wood,gold leaf, alabaster,obsidian,and variousorganicmatetials, 1.6 ft., 5 inches, w. 1 ft., 7 inches. Rogers Fund,1912 (12.182.132C) 23. Dynasty 17-18, c. 1668-1450B.C., fromThebes, Asasif Paintedsycamorewood, 1. 763M4 inches, w. 187/8 inches. Rogers Find, 1930(30.3.7) 24. Dynasty 18, c. 1503-1482B.C., fromThebes, Deir el Bahri. Paintedinduratedlimestone, h. 76Y4 inches. Rogers Fund, 1929(29.3.2) 25. Dynasty 18, c. 1482-1450B.C., bom Thebes WadiGabbanetel Qurud.Sandals:gold, 1.10inches W. 3N4 inches. Bracelets:gold, carnelian,and turquoiseglass, 1.7N4 inches, w. 23H8 inches. Fletcher Fund, 1922(26.8.146AB),(26.8.125,127) 26. Dynasty 18, c. 1482-1450B.C., fromThebes, WadiGabbanetel Qurud.Gold,carnelian,turquoise glass, and clear glass, max. diam. 12inches, h. 9Y2 inches. Purchase, FrederickP. Huntley Bequest, 1958;Lila Acheson WallaceGifts, 1982,1983; Joseph

PulitzerBequest, 1966-Fletcher FUnd 1922(58.153.1 [selective]);(58.153.2,3); (1982.137.1); (i983.1-13); (66.2.77);(26.8.117A) 27. Dynasty 18, c. 142>1417B.C., fromThebes. Painton mud plaster,287/8 x 21inches. Rogers Fund, 1930(30.2.1) 28. Dynasty 18, c. 1504 1425B.C. Painted sandstone, h. (left) 14Ys inches, (right)17Ys inches. Rogers Fbnd, 1913(13.182.1AB) 29. Dynastyl8, c.1450-1360B.C. Wood,blue faience, and ivoly; gameboard: 5Y4x 17/8 x 37/8 inchesdraughtsmen: h. %inch and lYsinch, diam. 7/8 inch; throw sticks:w. Y2 inch, l. 3Y4Y2,and 7/8 inches. Rogers Find, 1912and 1919(i2.182.72); (19.2.19-27); (OC3014A-H, J-Q) 30. Dynasty 18, c. 1570-1379B.C., fmm Thebes, Asasif (MMA815).Paint on leatherJ 7Ysx 6Y4 inches. Rogers Find, 1931(31.3.98) 31. Dynasty 18, c. 142>1417B.C., fromThebes Valleyof the Kings, tomb 43. Cedarwood, h. 97/8 inches. TheodoreM. Davis Collection,Bequest of TheodoreM. Davis, 1915(30.8.45A-C) 32. Dynastyl8, c. 1417-1379 B.C.. Quartzite,h. 133^'4 inches. Rogers Fbnd, 1956(56.138) 33. Dynasty 18, c. 1417-1379 B.C. Yellow jasper, h. 5Y2 inches. Purchase, EdwardS. HarknessGift, 1926 (26.7.1396) 34. Dynasty 18, c. 1417-1379 B.C. Carnelian, 23^48 x 1%,2Y2x 13^/4, 2Y2x 13^/4 inches. Purchase,Edwar1d S. HarknessGift, 1926(26.7.1339,1340, 1342) 35. Dynasty 18, c. 1417-1379 B.C. Limestone, 29Y2 x 12% inches. Rogers iind, 1912(12.182.39) 36. Dynasty 18, c. 1370-1320B.C. Glass, h. 57/8, 2Ys, 3Ys inches. Purchase, EdwardS. Harkness Gift 1926;Rogers Fund, 1944(26.7.1177,1181); (44.4.48) 37. Dynasty 18, c. 1370-1320B.C. Glass, h. 23^'4 inches, diam. 4Y2 inches. Purchase,EdwardS. HarknessGift, 1926(26.7.1178) 38. Dynasty 18, c. 1379-1362B.C. Ivory,wood, and Egyptian-bluepigment, l. 37/8 inches, h. 4Y2 inches. Purchase,EdwardS. HarknessGift, 1926(26.7.1292) 39. Dynasty 18, c. 1373-1362B.C. Limestone, 9 x 20Y2 inches. Collectionof Norbert Schimmel (L.1979.8.19) 40. Dynasty 18, c. 1365B.C., fromThebes, Valleyof the Kings, tomb 55. Alabaster,obsidian,and blue paste, h. 20Y2 inches, diam. 9Y2 inches. Jar:Gift of TheodoreM. Davis 1907(07.226.1)lid:TheodoreM. Davis Collection,Bequest of TheodoreM. Davis, 1915(30.8.54) 41. Dynasty 18, c. 1361-1352 B.C. Graygranite, h. 46 inches. Gift of Mr.and Mrs. V. Event Macy,1923 (23.10.1) 42. Dynasty 19, c. 1304 1237B.C., fromThebes Asasif, temple of Ramesses IV. Paintedsandstone 24 x 45Y4 inches. Rogers Fund, 1913(13.180.21) 43. Dynasty 19-20, fromThebes, Valleyof the Kings. Limestone, lOY4 x 8Ys inches. Gift of TheodoreM. Davis, 1913(14.6.191) 44. Dynasty 20, c. 1113-1085 B.C. Gessoedand paintedwood, 1.76Y4 inches, w. 207/8 inches. Rogers Find, 1917(17.2.7A) 45. Dynasty 21, c. 103W991 B.C., fromThebes, Deir el Bahri, SAE 358 (MMA65). Paintedand inscribed papyrus,h. 133M4-14Ys inches. Rogers Find, 1930 (30.3.31) 46. Dynasty 22. Gold,h. 67/8 inches. Purchase EdwardS. HarknessGift, 1926(26.7.1412) 47. Dynasty 22. Fiience, h. 5Y4 inches. Purchase, EdwardS. HarknessGift, 1926(26.7.971) 48. (Detail).Dynasty 26, 656-610 B.C., fromThebes, Deir el Bahti, SAE 312(MMA509).Limestone, total h. of figures, c. 16M2 inches. Rogers Find, 1923 (23.3.468A) 49. Dynasty 25, c. 690-656 B.C., fromThebes, MMA 832. Paintedwood, h. 22 x 227/8-263H8 inches. Rogers Fund, 1928(28.3.53) 50. Dynasty 30, 36W342B.C., Graywacke, 327/8x lOYs inches. Fletcher Find, 1950(50.85) 51. Dynasty 26, 664-610 B.C. Graywacke, h. 25Y4 inches. Rogers Fund, 1924(24.2.2) 52. Dynasty 30 or PtolemaicPeriod. Bronze,h. 77/8 inches. Rogers Fund, 1925(25.2.11)

53. PtolemaicPeliod, 50-30 B.C. Basalt, h. 36Ys inches. Purchase,Lila AchesonWallaceGift and Rogers Fund, 1981(1981.224.1) 54. Macedonian-Ptolemaic Period,332-30 B.C Polychrome iVience,l. 113^/8 inches. Purchase,Edward S. HarknessGift, 1926(26.7.991) 55. RomanPeriod, A.D. 150 61. Encausticon wood h. 153^/4 inches. Rogers Fbnd,1909(09.181.3)

EgyptianChronology
Paleolithic Period c. 300,000-6000B.C. Neolithic Period c. 6000-4300 B.C. Predynastic Period c. 4300-3000B.C.
Badanan Amratian Gerzean Dynasty Culture Culture Culture c. 4300-4000 c. 4000-3600 c. 3600-3200 B.C. B.C. B.C. B.C.

0 c. 3200-3100

Archaic Period c. 3100-2686 B.C.

Dynasty Dynasty2 1 c. 3100-2890 C.2890-2686B.C. B.C.

Old Kingdom c. 268s2160

Dynasty3 Dynasty Dynasty Dynasty6 Dynasty Dynasty C.2686-2613B.C. 4 c. 2613-2498 5 c. 2498-2345 C.2345-2181B.C. 7 c. 2181-2173 8 c. 2173-2160 B.C. B.C. B.C. B.C.

B.C.

First Intermediate Period c. 2160-2060 B.C.

Dynasty Dynasty 9 c. 2160-2130 1O c. 2130-2040 B.C. B.C.

Middle Kingdom c. 2060-1786 B.C.

Dynasty Dynasty 11 12 c. 2133-1991 c. 1991-1786 B.C. B.C.

Second Intermediate Period c. 1786-1570B.C.

Dynasty Dynasty Dynasty Dynasty Dynasty 13 14 15 16 17 c. 1786-1668 c. 1700-1668 c. 1667-1559 c. 1667-1570 B.C. B.C. B.C. B.C. B.C.

(Hyksos) c. 1667-1559

New Kingdom c. 1570-1085 B.C.

Dynasty Dynasty Dynasty 18 19 20 c. 1570-1320 c. 1320-1200 c. 1200-1085 B.C. B.C. B.C.

Third Intermediate Period c. 1085-656 B.C.

Dynasty Dynasty22 Dynasty Dynasty Dynasty 23 24 21 c. 1085-945 C.945-715B.C. c. 818-715 c 730-715 B.C. B.C. c. 760-656 B.C. B.C.

25 (Kushite)

Late Dynastic Period 656-332 B.C.

Dynasty Dynasty Dynasty28 Dynasty29 Dynasty30 Second 26 (Saite 27 (First Perlod) Persian 666525 DomInation) B.C. 525-404 B.C.

404-399B.C. 399-380B.C. 380-342B.C. Persian Domination 342-332

B.C.

Macedonian Period 332-305 B.C. Ptolemaic Period 305-30 B.C. Roman Pleriod 30 B.C.-A.D. 325 Coptic Pleriod A.D. 325 641

Cover:Youthful majesty and courtlyelegarlceare apparentin the featuresof an Egyptian royalwoman who died thirty-threecentures ago. Althoughher face was carvedjust 2Y4 inches (5.4 cm.) high, this enlargeddetail (see fig. 40) only enhancesthe lifelike formscreatedby the ancientartisan. Inside iFont and back covers: Details of papyrusof Nany (fig. 45)

56

i:

*
t

.r-e
t+ t-f

,,
t t f

+
t A

_w

{ +, t

io r

r r -t t t t X

GZ

,, X]

n1

w 1
-- _!7

IL_s ,...
_wr..
.

.!

r
,.

ra
. ,4

:t
_s

>S

r3 L v
J fs

5 i

' ti-X

J
.

D>-'s-j}
wss4s B
xs3Lo

t;
Fos
+ w-

oD P! ' t
> t -*

g}

fi