Reproduction Details Type : Relief panel Date : 30th Dynasty, c. 380–343 BC Findspot : Unknown findspot (purchased in 1910) Materials : Limestone Size : Height 30.9 cm, Width 39.3 cm, Depth 6 cm Current location : Metropolitan Museum of Art Object number : 66.99.73 Print Reference : DP041 This ancient Egyptian relief panel presents a sacred scene rich in solar and lunar symbolism. At its centre is Khepri, the scarab beetle deity associated with the rising sun, transformation, and rebirth. Flanking him are two baboons, creatures sacred to the god Thoth, who offer Wadjet eyes in an act of devotion and restoration. The depiction of the baboons with fanned fingertips is characteristic of 30th Dynasty art, allowing us to date this relief to approximately 380–343 BC, during the Late Period–early Ptolemaic era. At the heart of the composition, Khepri is shown holding a star within a circular disk, a symbol of the Duat —the underworld and the realm of transformation before rebirth. In ancient Egyptian cosmology, the scarab beetle was seen as a manifestation of the sun as it emerged each morning from the darkness of the netherworld. Beneath Khepri, a large sun disk emits cascading rays, reinforcing the theme of divine renewal and cosmic order. The two baboons , commonly depicted in ancient Egyptian art as heralds of the dawn, are directly linked to Thoth, the god of wisdom, writing, and time. Their presentation of the Wadjet  (Eye of Horus) to Khepri suggests an act of restoration, aligning with Thoth’s role in healing and maintaining divine balance. The Wadjet itself symbolises protection, health, and completeness, reinforcing the theme of cosmic stability. Each baboon wears a shen ring atop its head, a hieroglyphic symbol of eternity, which may also serve as a stylised representation of the lunar disk and crescent often associated with Thoth’s sacred baboons. This connection to the moon further ties the imagery to the cyclical nature of time and celestial balance, as Thoth governed both lunar and solar aspects of ancient Egyptian cosmology. Further Information Object information from the Metropolitan Museum of Art online catalogue Cooney, John 1953. "Egyptian Art in the Collection of Albert Gallatin." In Journal of Near Eastern Studies, 12, p. 17, no. 80

Reproduction Details Object Type : Painted papyrus Date : c. 1069-945 BC (based on style) Period : Dynasty 21, Third Intermediate Period Findspot : Thebes Materials : Papyrus Size : Height 19.3cm Current location : Room 643, Musée du Louvre, Paris Inventory number : E17401 F02 (Frame 2) Print Reference : DP07C This reproduction of a mythological scene comes from a papyrus which belonged to Nespakashuty (or Nespakachouty), the accountant-scribe of the Theban granaries of Amun, who lived during Dynasty 21 (1069-945 BC). The vignette illustrates the ancient Egyptian myth of the separation of heaven and earth, a foundational moment in the creation of the world. At the beginning of time, Nut, the sky goddess, and her brother-husband Geb, the earth god, were locked in an inseparable embrace. Their father, the air god Shu, was tasked with forcing them apart, lifting Nut high above Geb to create the space in which life could exist. This cosmic act established the fundamental order of the universe by separating the heavens from the earth and allowing the daily cycle of the sun to begin. In this scene, Nut is depicted as a naked woman arching over Geb, her body symbolising the vault of the heavens, whilst Geb, lying below, embodies the fertile earth. Between them, the solar boat sails across the newly created expanse, carrying a deity crowned with the solar disk and accompanied by the goddess Maat, who holds the ankh—the symbol of life. The presence of Maat reinforces the idea that cosmic balance and order were established through this divine separation. Mythological Papyrus Papyrus scrolls containing such vignettes are known as "mythological papyri," a specialised category of funerary books that circulated exclusively among the priesthood of Amun at Thebes during Dynasty 21. Unlike traditional funerary texts, which relied heavily on written spells, mythological papyri used richly detailed illustrations to depict the deceased’s journey through the Underworld, paralleling the sun’s passage through the night sky. The separation of Nut and Geb thus not only represents the dawn of creation but also echoes the promise of rebirth in the afterlife, ensuring the deceased’s safe passage into eternity.

Reproduction Details Object Type : Wall painting Date : c. 1250 BC Period : Reign of Ramesses II, Dynasty 19, New Kingdom Findspot : Tomb of Sennedjem (TT1), Deir el-Medina Print Reference : DP114 This reproduction showcases a wall painting from the Tomb of Sennedjem depicting Spell 110 of the ancient Egyptian Book of the Dead. It describes the afterlife that awaits the deceased once they pass through the underworld. Sennedjem can be seen harvesting tall stalks of wheat with a sickle The tomb was built in the 19th Dynasty during the reigns of Seti I and Ramesses II for Sennedjem, an official who was part of the community of royal tomb builders at Deir el-Medina. The presence of an ostracon featuring the Tale of Sinuhe placed near his coffin suggests he may have been a scribe and his title ‘Servant of Hathor’ shows he was involved in the cult of the goddess Hathor. Upon the walls of Sennedjem’s barrel-roofed burial chamber are a series of brightly coloured depictions of the man’s journey through the underworld ( Duat ) and the trials he must face. With the support of the gods, and as a reward for a life lived well, he is given a place in Sekhet Aaru , or the Field of Reeds. Imagined as a fertile paradise fed by canals and filled with flora and fauna, Sekhet Aaru was an idealised version of the Nile landscape. When Sennedjem and his wife reached Sekhet Aaru, they were assigned land to live on by Osiris, the god of the dead. Within the depiction, the couple can be seen ploughing, seeding, and harvesting this land in their finest pleated linens and coiffed hair. The scene gives the impression that, although life in the beyond seems to be a continuation of the earthly life, it is more prosperous, peaceful and pleasant. The fields are large, the plants are tall, the harvest is plenty, and they have two sturdy oxen and fashionable clothes - their reward for honest conduct throughout earthly life. In the top register, Sennedjem can be seen harvesting tall stalks of wheat with a sickle, its notched teeth sawing into the stems of the sheaf he grasps tightly in one hand. His wife Iyneferti follows behind him, collecting the heads of grain from the floor and putting them into her mesh basket. Below, Sennedjem and Iyneferti gather bunches of green crops with ripe seeds. At the bottom, Sennedjem is ploughing the land with the help of two oxen he encourages with a flail.  Iyneferti scatters seeds from a basket into the newly tilled earth. Translations "... by the servant in the Place-of-Truth Sennedjem, justified" Further Reading Farid, Hany ; Farid, Samir (2001). "Unfolding Sennedjem's Tomb" . KMT: A Modern Journal of Ancient Egypt . 12 (2). Retrieved 28 May 2023. Menéndez, Gema (2018). "Who Painted the Tomb of Sennedjem?" . Trabajos de Egiptología. Papers on Ancient Egypt . 9 (9): 145–160. doi : 10.25145/j.TdE.2018.09.05 . Retrieved 27 May 2023.

Reproduction Details  Type : Stela Date : 21st Dynasty, c. 1070–945 BC Findspot : Deir el-Bahari cache (DB320) Materials : Wood Size : Height 39.5 cm Current location : Petrie Museum of Egyptian and Sudanese Archaeology Object number : UC14226 Print Reference : DP115 The Offering Stela of Neskhons is a remarkable example of 21st Dynasty funerary art, dating to approximately 965 BC. This painted wooden stela depicts Neskhons, the wife of the High Priest of Amun, Pinedjem II, presenting offerings to the god Osiris. The scene symbolises her desire to gain Osiris’ protection and secure a favourable place in the afterlife. Currently housed at the Petrie Museum of Egyptian and Sudanese Archaeology, this artefact provides rich insights into the religious, political, and cultural life of ancient Egypt during a period of significant political fragmentation.   The Stela of Neskhons Funerary stelae served as symbolic gateways between the realms of the living and the dead. These artefacts were designed to facilitate communication with the gods, ensuring the deceased's safe passage and ongoing protection in the afterlife. Often placed in tomb chapels or other sacred spaces, they provided a focal point for family members or priests to recite prayers and perform rituals, actions believed to sustain and strengthen the deceased’s presence in the afterlife. Neskhons’ stela depicts an offering table stacked with bread and flowers—essential provisions for her ka (spiritual essence). These offerings symbolised the nourishment she required in the afterlife and reinforced the belief that sustenance could be perpetually supplied, either through physical offerings made by her family or symbolically through the stela’s imagery. The stela’s inscriptions further highlight Neskhons’ titles, virtues, and achievements, serving as an enduring testament to her status and devotion. By detailing her connections to powerful deities and her role in the religious community, the stela also affirmed her rightful place in the afterlife, reflecting the close relationship between spiritual belief, social prestige, and the art of commemoration in ancient Egypt.   Translation of the Stela Inscription The stela contains seven vertical columns of hieroglyphs that identify both Osiris and Neskhons. The inscription translates as: The Osiris, the great head of the first troupe of Amun-Ra, king of the gods, the god's servant of Khnum, lord of the First Cataract, king's son of Kush, overseer of the southern hill-lands, god's servant of the Lady of Offerings of Serudet, head of noblewomen, Neskhons, true of voice. This text emphasises her religious and social roles, referencing her connection to Khnum, Hathor, and the broader priestly hierarchy.   Neskhons: A Powerful Theban Figure Neskhons was married to Pinedjem II, one of the most powerful figures in Egypt during the 21st Dynasty. As the High Priest of Amun at Thebes, her husband held authority rivalling the pharaohs of the northern Delta. Neskhons herself was likely of noble or royal lineage, though the specifics of her parentage remain uncertain. Her marriage to Pinedjem served to reinforce political alliances and bolster the religious authority of Thebes, particularly at a time when Egypt was divided between the northern Tanite rulers and the southern Theban priesthood. A particularly intriguing aspect of the stela is Neskhons' titles: “God's servant of Khnum” and “God's servant of the Lady of Offerings of Serudet.” In ancient Egypt, women who were “God’s Servants” often served as priestesses or attendants dedicated to specific deities. They performed rituals, offered prayers, and assisted in maintaining sacred spaces. In Neskhons’ case, the titles associate her with Khnum and “The Lady of Offerings of Serudet”, likely an epithet of the goddess Hathor, who were both venerated at the cult centre of Serudet (modern Esna or its vicinity in Upper Egypt). This title may reflect either Neskhons’ active involvement in rituals or, more likely, an honorary title granted to high-ranking women to signify their symbolic connection to religious activities. Her role underscores the intricate ties between the Amun priesthood and other regional cults, emphasising the wealth and prestige of Theban religious authority. Neskhons’ mummy, discovered in the Deir el-Bahari cache (DB320), was found alongside her husband and other members of the Theban elite. Her burial included exquisite funerary goods, such as the Book of the Dead papyri, reflecting the immense wealth and religious influence of the Amun priesthood. The reburial of her remains, orchestrated by 21st Dynasty priests, aimed to protect her from tomb robbers during a period of widespread looting.   Further Reading Stewart, Harry Milne, Egyptian stelae, reliefs and paintings from the Petrie collection: part 3. The Late Period

Reproduction Details Object Type: Votive stela Date: c. 747-656 BC Period: Dynasty 25, Third Intermediate Period Findspot: Abydos, Egypt (suggested) Dimensions: Height 30 cm Material: Creamy-white stone, possibly limestone Current location: Bristol City Museum and Art Gallery Inventory number: H506 Print Reference: DP63B My reproduction stone stela from Abydos made in c. 747-656 BC enabled votive offerings to be given to the deceased spirit of a woman called Inamun Nayesnebu. Inamun stands beneath the text wearing a fine linen dress and her natural hair fastened with a band. Before her is an offering table laden with bread, fowl, oxen and lotus flowers, upon which she is pouring a libation from a small bottle. The offerings are being given to the mummified human-headed god Osiris, who holds a flail and a sceptre and is wearing his distinctive plumed headdress. Spreading its protective wings over all beneath it is a winged sun disc with two uraei cobras, representing royal and divine power. The nine columns of hieroglyphic text on the stela give a variant of the popular offering formula, intended to provide ongoing gifts of food, drink and luxury items to Inamun in the afterlife. The text also ensures that the names of her parents would be honoured, and tells us that her father was Ankhefenamun, who served as the “Wardrobe Master of Min” and her mother was Payestjauemdunun. Ankhefenamun’s job title tells us he worked within a cult temple or shrine dedicated to the ancient fertility god Min, and that his role may have been to oversee the clothing used to ritually dress the cult statue. Unfortunately, nothing more is known about the three people named on the stela and no other objects attributed to them have been found. Provenance The stela was gifted to the Bristol Institution (the forerunner of the Museum and Art Gallery) by Miss Goldney in 1885, along with several other objects. There was no information recorded about where it was found or how it was acquired, so the dating of the piece to Dynasty 25 was done based on style by Professor John Barns of Oxford University. The attribution of it to Abydos is based purely on it being dedicated to Osiris, whose cult centre was based there, and its general similarity to other pieces from the same site. Votive stele were often placed at Abydos, even if the person was buried elsewhere. Inamun’s father’s title as the ‘Wardrobe Master of Min’ could instead suggest an alternative affiliation with Akhmim, the principal cult centre of Min. Excavations began at Akhmim in 1884 and many items ‘strayed’ into private hands, which would fit in with the date of acquisition by the museum. Translation The following translation was created by Professor Aidan Dodson, Honorary Professor of Egyptology at the University of Bristol: Speech of Osiris, Chief of Justice, lord of Abydos, that he may give food offerings to the ka. A royal gift to Osiris that he may give unguent, alabaster, clothing, bread and beer, oxen and fowl for the Osiris Inamennayesneb, the daughter of the beloved of the god, the Wardrobe Master of Min, Ankhefenamun; her mother Payestjauemdunun. Columns 1-3 are read from right to left, starting with the top of column 3: 1. Speech of Osiris, Chief of Justice, 2. Lord of Abydos, 3. that he may give food offerings to the ka. Columns 4-9 are read from left to right, starting with the top of column 4: 4. A royal gift to Osiris that he may give 5. unguent, alabaster, clothing, bread and beer, oxen and fowl 6. for the Osiris Inamennayesneb, 7. the daughter of the beloved of the god, the Wardrobe Master of Min, 8. Ankhefenamun; her mother 9. Payestjauemdunun. Other examples Below is a selection of stele dating from Dynasty 25 which have similar design elements to the Stela of Inaemun: On this stela, a woman called Tjenetdiashakhet is making similar offerings to the god Re-Horakhty beneath a winged sun disc. British Museum EA65354 Stela of the Lady of the House, Tabiemmut c. 750–525 BC. Metropolitan Museum of Art 27.2.5 Acknowledgements With thanks to Lisa Graves from Bristol Museum and Art Gallery and Professor Aidan Dodson from the Department of Anthropology & Archaeology at the University of Bristol for supplying additional information on the stela for this article.

Reproduction Details Object Type : Bas relief Date : c. 1250 BC Period : Reign of Ramesses II, Dynasty 19, New Kingdom Findspot : Great Hypostyle Hall , Temple of Ramesses II, Abu Simbel Print Reference : DP110 My latest reproduction is a reconstruction of a relief from the Great Temple of Abu Simbel. It is one of many scenes in the Great Hypostyle Hall glorifying Ramesses II's military achievements. It shows the king in his chariot being pulled by two horses in full regalia, attacking a fortified town. Despite the town not being named, it likely represents scenes from the Battle of Kadesh, one of the most famous military campaigns in ancient Egypt. Ramesses II Ramesses is shown as the central and dominant figure, embodying both his divine authority and his military prowess. His posture in the chariot, standing tall with a bow drawn, highlights his role as both a warrior and a leader, personally engaging in battle. This portrayal emphasises the king’s strength and skill in combat, particularly his mastery of archery while riding in a fast-moving chariot, a symbol of elite warfare in ancient Egypt. The king is wearing a ceremonial war crown known as a Khepresh, traditionally worn by New Kingdom rulers in moments of military action. The presence of the blue crown emphasises Ramesses’s personal involvement in battle and his role as the chief military commander of his forces. The Chariot The king rides a lightweight, two-wheeled war chariot pulled by two horses, typical of those used by ancient Egyptian armies during the New Kingdom. Designed for speed and agility, it carried both a driver and an archer (often the pharaoh or a high-ranking officer) who could shoot arrows while in motion. The chariot’s open design allowed both riders to stand upright and move with ease, while protective rails offered support. Built with a sturdy yet lightweight platform, it was engineered for rapid movement in battle, enabling Egyptian chariots to outmanoeuvre infantry or heavier enemy forces. The horses are shown in full gallop, their bodies stretched out in dynamic motion, which emphasises the speed and power of the chariot. Their strong, muscular forms suggest endurance and agility, essential traits for war horses in ancient Egypt. The harnessing and decorative elements, like the plumed headdresses, symbolise their importance and the wealth of the pharaoh. These horses are integral to the pharaoh’s military prowess, embodying both the strength of his army and the divine favour that enables his victories. Their powerful strides reflect the swiftness and precision with which they would charge into battle, further reinforcing the king's dominance on the battlefield. The Town The fortified town, the target of Ramesses’s assault, is depicted perched atop a hill to the left of the scene, its position emphasising both its strategic significance and its vulnerability. At the base of the hill, an archer desperately flees from the king’s relentless arrows, attempting in vain to shield a herd of cattle. Within the fortification, chaos unfolds as defenders on the balconies raise their hands in surrender under the unyielding barrage. On the highest tier of the town, a poignant moment is captured: a woman lifts a young child, perhaps pleading for mercy, while a man extends an offering toward the king, a symbolic act of submission to the unstoppable force of Ramesses’s might. Translation Surrounding Ramesses are hieroglyphics giving a declaration of praise for the king, emphasising his divine status, military strength, and his role as a protector of Egypt. Ramesses is described as the "Good God," a title that links him to the divine, and as the "son of Amun," reinforcing his connection to the chief deity of Thebes and his divine right to rule. "Lord of Thebes" connects him to Amun-Ra, the god of Thebes, and "Lord of Victory" reinforces his reputation as an undefeated warrior. He is praised for his valour, strength and dominance in combat, particularly his skill in chariotry, an elite form of warfare. The declaration refers to his defeat of a coalition of enemies (likely the Hittites and their allies, from the Battle of Kadesh) and the suppression of rebellions in the mountains, a common metaphor for enemies of Egypt. They are described as ‘locusts’, suggesting that though numerous, they are ultimately powerless and vulnerable before him.  It ends with a wish for the king's continued success in battle, and a hope that he will not only defeat but completely destroy his enemies and their future generations. The hieroglyphics should be read from top left to bottom right and are arranged in seven columns. The following translation was made by Edward F. Wente in 1967  when documenting the temple before its relocation due to the construction of the Aswan Damn: (1)  nṯr nfr sꜣ ỉmn hr (?) nb ḫpš mk mšꜥ.f The Good God, son of Amun, Valorous(?), Lord of Might, who protects his army, (2)  ꜥḥꜣwt (?) pḥty rḫ st ḏrt.f mn ḥr wrryt the strong fighter, who knows his obligation, steady on the chariot (3) mỉ nb wꜣst nb nḫt sḥꜣ ḥfnw kꜣ nḫt m ꜥšꜣw like the Lord of Thebes, Lord of Victory, who battles tens of thousands, strong bull among the multitudes, (4)  sdt dmḏ bštꜣw ḥr-tp ḏww beating the united (confederacy) and crushing the rebels upon the mountains. (5)  st ꜥḳ m  ỉnt.sn  mỉ zꜣnḥmw dỉ.k They enter into their valley like locusts, may you put [your] (6)  šꜥt[.k] m st slaughter in their place, (7)  .sn ḫf  prw.sn  nswt nḫt ḫpš you annihilate their descendants, Oh King, victorious of might! Cartouches wsr-mꜢꜤt-rꜤ stp-n-rꜤ User Maat Ra, setep en Ra The justice of Ra is powerful, chosen of Ra   rꜤ-msi-sw mri-imn Ramessu mery Amun Ramesses (Ra has fashioned him), beloved of Amun   Further Info The Beit el-Wali Temple of Ramesses II , by Herbert Ricke, George R. Hughes, and Edward F. Wente (1967) VR Tour of the Great Temple at Abu Simbel

Reproduction Details Type : Casket, furniture Date : Dynasty 18, reign of Tutankhamun, c. 1336-1327 BC Findspot : Tomb of Tutankhamun (KV62), Valley of the Kings Materials : Wood, ivory, faience, calcite, ebony, glass Size : Length 72cm Carter number : 450 (lid), 551 (casket) Current location : Egyptian Museum, Cairo Object number : JE 61477 Print Reference : DP109A This article focuses on a reproduction of a scene from a casket found in the Tomb of Tutankhamun, dating to c. 1336-1327 BC. The casket’s lid features what Howard Carter described as its "chief glory": a richly detailed scene showing the royal couple, Tutankhamun and Ankhesenamun, in a pavilion adorned with festoons of flowers, fruit, and vines. The king, leaning on his staff, accepts bouquets of lotus and papyrus flowers from his wife, a scene that beautifully captures the intimacy and symbolism of the era. Casket 551: Discovery and Purpose This casket is one of 50 chests and boxes discovered in Tutankhamun’s tomb. Found in the northeast corner of the Annex chamber, it was resting on baskets and wine jars. Though empty at the time of its discovery, it is believed that this highly decorative piece was used to store clothing, possibly ceremonial garments due to its ornate design.   The casket, labelled 540, can be seen in the top right corner of this photograph taken by Harry Burton in Tutankhamun’s tomb (# p1603 © Copyright Griffith Institute) Construction and Materials This casket exemplifies the exquisite craftsmanship of artisans during Tutankhamun’s reign, reflecting the influence of the Amarna art style. Designed to resemble a shrine, it features distinctive cavetto cornices, reminiscent of the golden shrine that housed the king’s body. The casket © Global Egyptian Museum Constructed from red wood, the casket is overlaid with slabs of intricately carved ivory, stained and set in bas-relief. These ivory panels were glued down and held in place with copper nails, which unfortunately caused the ivory to crack over time as the wood beneath warped. Additional materials, such as dark blue faience, calcite, glass, ebony, and gesso-gilt, were applied to enhance the stained ivory’s colours, resulting in a vivid palette of white, blue, black, gold, and red. A Floral Paradise The scene on the casket’s lid is a lush depiction of the royal couple surrounded by a vibrant array of plants. Vines twist around two pillars representing a pavilion, showcasing grapes, lotus flowers, papyrus fronds, and mandrake fruits. This scene is one of many from the Amarna period that illustrates the natural world’s abundance and vitality, concepts highly valued by ancient Egyptians. I have created several reproductions of such scenes, which vividly portray this connection between royalty and nature. The Royal Couple The royal couple are depicted standing upon a reed mat in a floral pavilion with a banner strung up behind them decorated with more fruits and flowers. The king holds out a hand to the flowers being presented to him by his wife and sister Ankhesenamun. Tutankhamun is depicted in an intricate Nubian wig with a royal uraeus or cobra on his forehead. He wears a fine linen kilt, secured with a decorative belt and a red sash and white sandals on his feet. Around his neck is a floral collar and his wrists bear simple jewelled cuff bracelets. He is leaning forward slightly against a walking stick, of which 130 examples were found within the tomb. This has made many speculate that the king suffered from an ailment that affected his gait, although others have suggested that these staves could have been a symbol of authority . Ankhesenamun is similarly dressed in her finest clothes, including a linen dress with tassels that opens at the front to bear her breasts, a floral collar, a red sash and white sandals. Her wig is also intricately woven, with a long braid made up of groups of three slightly curled strands which are held in place with floral hairbands. She has two uraeus on her forehead which are crowned with sun disks and lotus flowers. Upon her head is a headdress which takes the form of a platform shrine bearing a perfume cone and two more uraeus. Amarna Art Amarna art, developed during the reign of Tutankhamun’s predecessor Akhenaten , represented a significant departure from the traditional artistic conventions of ancient Egypt. Named after the city of Amarna, the new capital founded by Akhenaten, this radical art form is closely associated with the religious and cultural reforms he introduced, particularly the worship of the Aten. Following the tumultuous reign of his predecessor, Tutankhamun's time as pharaoh was marked by efforts to return Egypt to its traditional religious practices and social structures. The art style used during his time represented a transitional phase, blending elements from the preceding Amarna period with a revival of traditional artistic conventions. In this scene, we can see many hallmarks of Amarna art still being employed by the artisans of the time: The more naturalistic and fluid representations of the human form used in early Amarna art, with softer lines and less rigid postures, can still be seen. However, this has been tempered by a return to more conventional proportions and poses, with a characteristic emphasis on symmetry and balance. The exaggerated features such as elongated limbs, full lips, almond-shaped eyes, folds of skin near the mouth, and sagging bellies have been moderated, resulting in a more harmonious blend. While traditional idealism is restored, there is still a notable focus on detail and realism seen in Amarna art, particularly in the depiction of plants and flowers. The artisans paid great attention to capturing the textures, forms, and colours of nature. Amarna art often celebrated scenes of daily life and the natural world, like this walk in a floral pavilion, which was less common in earlier Egyptian art. This focus reflected a shift towards a more human-centred worldview, at least within the royal court. Translation Above Tutankhamun: “The good god, lord of the two lands, Nebkheperure, Tutankhamun heqa Iunu shemai (The living image of Amun, ruler of southern Heliopolis), [given life] like Ra." Above Ankhesenamun: "Great royal wife, lady of the two lands, Ankhesenamun (Her life belongs to Amun), she lives." Reproduction Notes My reproduction of the scene was done using reference photographs of the object made by Harry Burton and modern ones found online. It is intended to show the artwork in all its glory and I have recoloured the image using the standard ancient Egyptian palette instead of representing the colours of the design on the actual casket. I have not reproduced the cracks in the surface of the object and have instead repaired the damage to show the original layout of the whole scene. This is main damage is a long split down the centre of the panel to the left of the bouquet Ankhesenamun holds, which has become more pronounced since the original photography of the casket in the 1920s. Harry Burton's original photography of the casket ( p1298 , p1465 , p1467b © Copyright Griffith Institute) As with all the objects discovered in the tomb, Howard Carter made extensive notes on the casket which have been digitised  by the Griffith Institute, which I have used to learn more about its construction and decoration. An example of Howard Carter's notes on the lid detailing the showing the use of gold bosses to embellish the scene ( Card/Transcription No.: 540-5 , © Copyright Griffith Institute) Further Reading Howard Carter’s index card records  of the casket in the Griffith Institute archive Harry Burton’s original photography of the casket in the Griffith Institute archive:  p1298 , p1465 , p1467b , p1603 Museum record of the object on the Global Egyptian Museum site A tracing of the lid created by Nina de Garis Davies in 1951, now in the Griffith Institute Archive: Carter MSS i.G.44C

Reproduction Details Object Type : Naos shrine Date: c. 1336-1327 BC Period: Dynasty 18, New Kingdom Findspot : Treasury Room, Tomb of Tutankhamun (KV62), Valley of the Kings Materials : Wood, gold and silver Size : Height 50.5 cm, width 32 cm (shrine) Current location : Egyptian Museum, C airo ( JE 61481 ) Art Ref : DP36 This reproduction is based on a small panel found on a golden statue shrine known as a noas found in the treasury room of Tutankhamun’s tomb dating to around 1324 BC. The shrine is decorated with scenes showing the king with his wife and sister, Ankhesenamun, executed using a form of ancient Egyptian art distinctive to the 18th dynasty known as Amarna style. Tutankhamun Tutankhamun is sitting on a lion-footed ebony folding stool topped with a leopard-skin cushion. He is wearing the Blue Crown with a uraeus cobra, a flowing linen garment secured with a red sash around the waist, and a floral collar. In one hand he holds a bouquet of lotus flowers and mandrake fruits, and in the other, a vial of perfume he is pouring into the hands of his wife. Ankhesenamun Ankhesenamun is sitting on a richly patterned cushion as she casually leans on her husband. She holds out her hand to receive the perfume and holds it close to her nose as if to smell its fragrance. She wears a fine linen dress which exposes one of her breasts, secured at the waist with a red sash. Upon her head is an elaborate Nubian-style wig held in place by a diadem featuring the uraeus, or royal cobra. Upon this wig is a modius or platform crown often shown on New Kingdom queens which is related to her role as the Divine Chantress of Amun. It features two falcon feathers symbolising the god Amun held between cow horns and a sun disk, symbolising the goddesses Isis and Hathor. Translation The hieroglyphs show the royal couple’s names inside oval cartouches as well as a short prayer for eternal life. To the right of Tutankhamun is his birth name: “Tutankhamun heqa Iunu shemai (The living image of Amun, ruler of southern Heliopolis)” To the left of Tutankhamun is his throne name: “Nebkheperura (Lord of the forms of Ra)” The inscription and cartouche relating to Ankhesenamun begin above the perfume vial and should be read from right to left: “Great royal wife of the Lord of the Two Lands, Ankhesenamun (She lives for Amun), may she live for eternity”

Reproduction Details Object Type: Painted bas relief Date: c. 1290-1279 BC Period : Reign of Seti I, Dynasty 19, New Kingdom Findspot : Temple of Seti I, Abydos (west wall of the passage leading from the Second Hypostyle Hall to the Butcher’s Hall) Reproduction Notes : This reproduction was made by Natalie Watson using reference photographs of the current site found on Wikimedia . The colours and art style used are based on Amice Calverley’s colour reproductions in ‘ The Temple of King Sethos I at Abydos Vol 1-3’ . The transliterations and translations of hieroglyphics come from Rosalie David’s book Temple Ritual at Abydos . Reconstructed elements of the image are based on examples used elsewhere in the temple. Print Reference : DP85A The Mansion of Menmaatre Seti I was the second pharaoh of Dynasty 19, ruling c. 1290-1279 BC, and the father of Ramesses II. Among the many artistic achievements of the popular king’s reign, his mortuary temple at Abydos represents a high point in craftsmanship and ambition. Called the Mansion of Menmaatre in antiquity, it is better known today as the Great Temple of Abydos or the Memnonium. It was commissioned by the king to provide a place to honour the gods and his eternal soul. Unlike most temples, it was dedicated to more than one god. As well as the deified form of Seti I, it also included chapels honouring Ptah, Re-Horakhty, Amun-Re, Osiris, Isis, and Horus. The temple was unfinished at the time of the king’s death and completed by his son and heir, Ramesses II. It is famous for the beauty and quality of its decoration, and the presence of the invaluable ‘Abydos King List’. The Abydos Kings List The Abydos King List is carved into the temple's walls and records the names of 76 rulers inside cartouches from the previous 1,600 years. The hieroglyphics record the prayers that Seti and his son Ramesses are reciting for the past kings. The List was carved on the west wall of the passage known as the Gallery of Lists which leads from the Second Hypostyle Hall to the Butcher’s Hall (‘B List of Kings’ on the plan below). You can explore a 3D model of the Kings List made by David Anderson to help you visualise the space and the poor state of preservation it is now in. Originally, the wall reliefs would have been brightly painted using a standard palette of colours which are preserved on reliefs in other parts of the temple. Seti I In the scene, Seti stands before the list in full regalia, holding a burning censor and gesturing with his hand to indicate he is speaking. On his head is the blue crown with a rearing uraeus cobra, and he is wearing a linen Shendyt kilt held in place with a jewelled belt. The hieroglyphics record Seti’s words, which describe how he is giving offerings to the eternal souls of the kings in praise of the god Ptah-Sokar-Osiris: Words spoken by the king, Menmaatre. Bringing the god to his food, depositing an offering for the Kings of Upper and Lower Egypt: “Greetings to thee, Ptah-Sokar-Osiris, who-is-south-of-his-wall; come, that I may carry out for thee these choice things which Horus carried out for his father Osiris.” Ramesses II In front of Seti is his son, Ramesses II, his young age indicated by the sidelock of hair on his head. He is wearing the linen robes of a priest and reciting a prayer from the scroll in his hands. The hieroglyphics beside him explain he is reciting ‘ The Jubilant Summons’ for his predecessors: The Jubilant Summons by the hereditary prince and king’s eldest legitimate son, whom he loves, Ramesses, justified. The Offering Formula Above the registers filled with cartouches are hieroglyphics recording the words of the offering prayer Seti is reciting for the kings. This is a standard funerary prayer which is designed to give the kings all the things their eternal souls would require for a happy afterlife. An offering-which-the-king gives for Ptah-Sokar-Osiris, Lord of the Sanctuary of Sokar, who is residing in the Mansion of Menmaatre. Depositing an offering for the Kings of Upper and Lower Egypt, by the King of Upper and Lower Egypt, Lord of the Two Lands, Menmaatre, son of Re, Seti Merenptah. A thousand of bread, a thousand of beer, a thousand of cattle, a thousand of fowl, a thousand of incense, a thousand of unguent, a thousand of linen, a thousand of cloth, a thousand of wine, a thousand of god’s offering, as the gift of the king, Menmaatre. Register 1 and 2 The List itself can be found in the top and middle registers of cartouches which take up the bulk of the scene. The names of 76 kings are shown in chronological order which should be read from the top left to the bottom right (see closeups of each cartouche below). Every cartouche is preceded by the phrase “ To the King of Upper Egypt ” and should be read as a continuation of the main offering formula in the upper register, so the full prayer for each king is: An offering-which-the-king gives… a thousand of bread, a thousand of beer… to the King of Upper Egypt [KING’S NAME]. Register 3 The offering formula is completed in the third register, where each column ends with the words “ As the gift of ” followed by Seti’s throne name and birth name repeated in alternating columns. Seti’s throne name Menmaatre “Established is the Justice of Re ” is preceded by the word “ king ” and followed by a determinative of a seated king wearing the white crown of Upper Egypt. His birth name Sety Merenptah " Man of Seth, beloved of Ptah " is preceded by “ son of Re ” and followed by a determinative of a seated king wearing the red crown of Lower Egypt. Therefore, each of the 76 rulers in the King List can be given a personalised offering: An offering-which-the-king gives … a thousand of bread, a thousand of beer … to the King of Upper Egypt [KING’S NAME] … As the gift of king Menmaatre, King of Upper Egypt [OR] king Sety Merenptah, King of Lower Egypt. Full Kings List The Abydos King List covers Dynasty 1 to the start of Dynasty 19 but is not a complete list and deviates in places from other known king lists. It omits many rulers considered illegitimate and also includes 17 royal names not seen on any other King Lists. The missing kings come from periods of political instability or religious upheaval: First Intermediate Period kings including Mentuhotep I, Intef I, Intef II, Intef III (end of Dynasty 6 to the beginning of Dynasty 11. Female king Sobekneferu (end of Dynasty 12). Kings from the Second Intermediate Period (Dynasty 13-14). Kings from the Amarna Period (end of Dynasty 18) including (female king) Hatshepsut, Akhenaten, Smenkhare, Tutankhamun and Ay. Besides providing the order of the Old Kingdom kings, the Abydos King List is the sole source to date of the names of many of the kings of Dynasty 7 and 8. It can be compared to the Karnak Kings List, the list in the Temple of Ramesses II at Karnak, the Palermo Stone, the Saqqara Kings List and the Turin Canon (the only list written on papyrus as a historical account rather than produced as a cultic device). Dynasty 1 Dynasty 2 Dynasty 3 Dynasty 4 Dynasty 5 Dynasty 6 The Dynasty 6 kings straddle the end of the top register and the beginning of the middle register. Cartouches of the kings of Dynasty 6: #34 Teti (commonly known as Teti), 35 Userkare (Userkare), 36 Meryre (Pepi I Meryre), 37 Merenre (Merenre Nemtyemsaf I), 38 Neferkare (Pepi II Neferkare) and 39 Merenre Saemsaf (Merenre Nemtyemsaf II). Dynasty 8 Dynasty 11-12 Dynasty 18 Dynasty 19 Translations The transliterations and translations of hieroglyphics come from Rosalie David’s book Temple Ritual at Abydos (2018, 240-41). Seti Inscription nṯr nfr Mn-mꜣʾt-Rʾ The perfect god, Menmaatre (Established is the Justice of Re) sꜣ Rʾ Sthy-mr-n-Ptḥ The son of Ra, Sety Merenptah (Man of Seth, beloved of Ptah) ḏd mdw in nsw Mn-mꜣʾt-Rʾ in nṯr r šbw.f wꜣḥ ḫt n nsyw-bityw nḏ-ḥr.k Ptḥ-Skr rsyw-inb.f m’I iry.i n k nw [ḫt] iri.n Ḥr n it.f Wsir Utterance by the king, Menmaatre. Bringing the god to his food, depositing an offering for the Kings of Upper and Lower Egypt. Greetings to thee, Ptah-Soker-Osiris, who-is-south-of-his-wall; come, that I may carry out for thee these [things] which Horus carried out for his father Osiris. Ramesses Inscription nis ḥnḳ in rpʾt sꜣ nsw sms n ẖt.f mr.f Rʾ-mss-s mꜣʾ-ḫrw Reciting praises by the hereditary prince, king’s son, the eldest, bodily, beloved son of the king, Ramesses, vindicated. Offering Formula irt ḥtp-di-nsw n Ptḥ-Skr-Wsir nb sṯyt ḥry-ib ḥwt Mn-Mꜣʿt-Rʿ wꜣḥ ḫt n nsywt-bityw in nsw-bit nb tꜣwy Mn-mꜣʿt-Rʿ sꜣ Rʿ Sthy-mr-n-Ptḥ Making-a-boon-which-the-king-gives for Ptah-Soker-Osiris, Lord of the Sanctuary of Soker, who is residing in the Mansion of Menmaatre. Depositing an offering for the Kings of Upper and Lower Egypt, by the King of Upper and Lower Egypt, lord of the Two Lands, Menmaatre, son of Re, Sety Merenptah. ḫꜣ m t ḫꜣ m ḥnkt ḫꜣ m kꜣw ḫꜣ m ꜣpdw ḫꜣ m sntr ḫꜣ m mrḥt ḫꜣ m ssrw ḫꜣ m mhnt ḫꜣ m irp ḫꜣ m ḥtp-ntr m dd nsw Mn-mꜣʿt-Rʿ A 1,000 of bread, a 1,000 of beer, a 1,000 of cattle, a 1,000 of fowl, a 1,000 of incense, a 1,000 of unguent, a 1,000 of linen, a 1,000 of cloth, a 1,000 of wine, a 1,000 of god’s offering, as the gift of the king, Menmaatre. Register 1-2 n nsw [Unis] To the King of Upper Egypt [Unas]. Register 3 m dd nsw Mn-mꜣʾt-Rʾ nsw As the gift of King Menmaatre (Established is the Justice of Re), King of Upper Egypt. m dd bit Stẖy-mr-n-Ptḥ bit As the gift of King Sety Merenptah (Man of Seth, beloved of Ptah), King of Lower Egypt. Further Reading Pharaonic King Lists, Annals and Day Books (1986) by Donald B. Redford Sethy I, King of Egypt (2019) by Aidan Dodson Temple Ritual at Abydos (2018) by Rosalie David The Complete Temples of Ancient Egypt (2000) by Richard H. Wilkinson The Temple of King Sethos I at Abydos, Vol. I-IV (1933) by Amice Calverley and edited by Alan Gardiner

Reproduction Details Object: Deep bowl Material: Marl clay pottery Date: c. 3650-3300 BC Period: Predynastic, Naqada II Findspot: Unknown provenance. Purchased by the Metropolitan Museum of Art from Maurice Nahman in Cairo in 1912. Dimensions: height 24.3 x width 24 x rim diameter 23.2 cm Current Location: Metropolitan Museum of Art, New York. Accession Number 12.182.41 Reproduction Number: DP94 Naqada Pottery Decorated Ware (D-Ware) originated during the Naqada II and III periods of predynastic Egypt, approximately 3500-3000 BC. Crafted from fine marl clay, fired to achieve a light red or buff hue, these ceramics typically feature intricate designs painted in dark brown and dark red. Produced in select workshops near the clay source, D-Ware was extensively traded across Egypt. The earliest examples are decorated with simple spirals and zigzag lines, but these were quickly followed by scenes featuring animals, plants, water, boats and people in rivers, desert valleys, and mountain environments. In an era before the hieroglyphic writing system, the pottery decoration from this period provides valuable insights into the beliefs, practices, and daily life of the people of ancient Egypt. They serve as a visual language through which we can explore their worldview, societal structures, and cultural practices. The presence of depictions of animals, plants, and landscapes can tell us about their environment and the resources available to them and the symbolism and motifs used can shed light on their religious and spiritual beliefs. This specific artefact showcases three bands of decoration portraying various species of antelope being pursued in a mountainous desert landscape. Lower Band In the lower band, larger antelope with elongated tails and twisted horns are depicted amidst droopy-leafed plants, likely representing sedges or palm trees—a symbol of Upper Egypt in later Egyptian art. Triangular peaks signify the hills and mountains where these creatures roamed. The sets of three N shapes seen above groups of antelope or amidst the plants are believed to represent birds in flight, though some interpretations suggest they might serve as a numerical or tally system. Upper Band In the central band smaller antelope with upright tails also run in a hilly environment, whilst above them encircling the rim of the bowl is a stylised representation of the nets being used in the hunting of these creatures. Interrupting the recurring motif of antelope are three human figures: two men holding sticks, possibly adorned with penis sheaths, flank a woman or goddess who raises her hands above her disc-shaped head. This enigmatic figure frequently appears in Naqada pottery, often depicted in a celebratory or dancing posture amidst scenes of hunts like this or on boats, such as in this example depicting a river procession. Further information Book - Craig Patch, D., 2011. The Dawn of Egyptian Art Article - Hendrickx, S., 2013. Hunting and Social Complexity in Predynastic Egypt Video - Hendrickx, S., Friedman, R. F. & Craig Patch, D., 2012. The Dawn of Egyptian Art Object record - Metropolitan Museum of Art. Deep bowl depicting people, animals, and plants

Reproduction Details Object: Painted bas-relief Date: c. 1290-1279 BC Period: Dynasty 19, New Kingdom Dimensions: 375 x 260 cm Findspot: Temple of Seti I, Abydos (upper scene of the west wall of the Second Hypostyle Hall between the Chapels of Re-Horakhty and Ptah) Reproduction Note: This reproduction was made with reference to photographs of the current site by Heidi Kontkanen (Figure 3), Amice Calverley’s bas-relief reproduction in ‘The Temple of King Sethos I at Abydos’ (Figure 2), and Nina de Garis Davies’ colour reproduction in Ancient Egyptian Paintings Vol III (Figure 7). Print Reference: DP76A Seti’s Great Temple of Abydos Seti I was the second pharaoh of Dynasty 19, ruling c. 1290-1279 BC, and the father of Ramesses II. His birthname Sety Merenptah meaning ‘Man of Seth, beloved of Ptah’ indicated he was consecrated to the god Seth, but upon ascending to the throne he took the prenomen Menmaatre, meaning ‘Established is the Justice of Re’. Among the many achievements of the popular king’s reign, his temple at Abydos, the ancient cult centre of Osiris and burial place of the first kings, represents a high point in craftsmanship and ambition. Also known as the Great Temple of Abydos or the Memnonium, the temple was commissioned by the king to provide a place to honour the gods and his eternal soul. Unlike most temples, it was dedicated to more than one god. As well as the deified form of Seti I, it also included chapels honouring Ptah, Re-Horakhty, Amun-Re, Osiris, Isis, and Horus (Figure 1). Figure 1 – Plan of the Temple of Seti I with the location of my reproduced scene marked in red (From ‘The Temple of King Sethos I at Abydos’ Vol. 1, Fig. 1) The temple has an unusual L-shaped ground plan with a terrace, pylons, courts, hypostyle halls, chapels, and multiple storage chambers (Figure 1). It was first described by Flinders Petrie in 1901 and subsequently documented in 1933 in a richly illustrated four-volume series featuring exquisite reproductions by Amice Calverley (Figure 2). Only a few years later, Nina de Garis Davies published her own colourised version of the scene which remains the most useful reference version today (Figure 7). The temple was unfinished at the time of the pharaoh’s death and completed by his son and heir, Ramesses II. It is famous for the beauty and quality of its decoration, and the presence of the invaluable ‘Abydos King List’. This relief records the names of 76 rulers from the previous 1,600 years (but omits the ‘illegitimate’ rulers from the Amarna period at the end of Dynasty 18). You can explore a 3D model of the Kings List and models of some of the chapels in the temple made by David Anderson to help you visualise the space. The Second Hypostyle Hall My reproduction shows the upper scene of the west wall of the Second Hypostyle Hall between the cult chapels of Re-Horakhty and Ptah. The hall contains 36 sandstone papyrus columns with bud capitals and is decorated with scenes of Seti I kneeling before the gods. Seven barrel-roofed chapels dedicated to seven gods are accessed from the hall, and each is richly decorated in bas-relief. They show scenes of the king making offerings to each chapel’s resident god and receiving symbols of life, dominion, and royal power in return. Figure 2 – Reproduction by Amice Calverley of the same scene (From ‘The Temple of King Sethos I at Abydos’ Vol. IV, Pl. 25) At the time of Seti’s death, the carving and colouring of the bas-relief in the second hypostyle had not been completed, so only those on the west wall had the final layers of paint applied. When work was abandoned, the sculptors had completed the first stage of cutting the bas-relief and were in the process of engraving the finer detailing where it had been laid out in paint, or colouring the final reliefs. Seti's successors respected the reliefs in the second hypostyle hall, but none finished painting them. My reproduction features one of the few scenes which received its final stage of decoration, and though faded, the colours used are a familiar palette of colours based on naturally occurring materials mixed to create a variety of shades: Chalk, gypsum carbonates and sulphates of lime were used to create white. Carbon in the form of soot was used to create black, which was mixed with white to create shades of grey. Earth ochres were used for red, yellow and brown. Orpiment, an arsenic sulfide mineral found in volcanic fumaroles, was used on rare occasions to create yellow and orange. Artificial compounds of powdered copper, malachite or azurite were used to create blue (Egyptian blue) and green (green frit). Symbolism In this scene, Seti kneels in the shade of a Persea tree between the gods Ptah and Re-Horakhty, who are depicted seated upon thrones and offering the king divine symbols of protection. It is a harmonising scene, using the central figure of Seti and the tree to connect the two gods’ chapels. As Nina de Garis Davies commented, “…the beautiful design does honour not only to the pharaoh who built the temples, but also to the two gods outside whose adjoining chapels the scene is found.” The quality of the bas-relief in this scene is some of the finest in Egyptian art and provides the figures with a wonderful lifelike 3D quality. Amice Calverley remarked that “…the figures show a sharper curve where the bone structure is near the surface, as in head, nose, shoulder and shin, whereas the softer texture of flesh is graduated almost to the background, each anatomical detail indicated with meticulous care within the limits of prescribed convention.” Figure 3 – Photograph of the bas-relief as it looks today © Heidi Kontkanen The Persea Tree Also known as the Ished Tree or the Tree of Life, the sacred Persea Tree of Heliopolis was a potent symbol associated with the rising sun and linked to the concept of eternal life. The fruit of the tree was thought to provide knowledge of the cycles of time, and the king's titles are often shown being inscribed on its leaves by the gods (Figure 4). Figure 4 – My reproduction of a partially destroyed wall relief from the Ramesseum, the mortuary temple dedicated to Seti’s son Ramesses II in Thebes. The scene depicts the deities Atum, Seshat and Thoth inscribing the name of Ramesses into the fruit of the Persea tree, guaranteeing Ramesses an everlasting reign and innumerable jubilees. In this scene, Seti kneels before the gods in front of the tree, whose branches sweep upwards following the line of the king's figure, forming a crown above his head. Ptah and Re-Horakhty are writing Seti’s name upon the leaves of the tree using brushes made from the rush called Juncus maritimus, used by scribes for painting outlines. These are often seen in art attached to the long scribal palettes holding paint, such as the one held by Re-Horakhty. In mythology, the tree was said to be guarded by Mau, the Great Cat of the sun god Re, who protected it from his enemy Apep (Apophis), the serpent of chaos (Figure 5). In Chapter 17 of the Book of the Dead, Re in the form of Mau is described as: “…the Cat which fought near the Persea Tree in Anu [Heliopolis] on the night when the foes of Neb-er-tcher [a primordial god of Creation] were destroyed…” Figure 5 - Mau, "The Great Cat of Heliopolis" killing the enemy of the sun, Apep, before the Persea Tree (from the Tomb of Inherkau in Deir el-Medina (TT359) © kairoinfo4u) The Persea tree appears throughout history in religious texts and literature, notably in the Tale of the Two Brothers, where the tree has the power to reanimate a dead man, and whose splinters impregnate his devious wife. In art, the tree features in illustrated copies of the Book of the Dead and temple reliefs, including those at the Ramesseum in Thebes (Figure 4) and the First Hypostyle Hall in the Temple of Karnak. Pharoah Seti Seti is shown bare-footed and bare-chested, with an elaborate pleated loincloth and belt, and wearing the blue crown upon his head. Around his neck is a broad wasekh collar, and on his wrists are jewelled bracelets. The king is shown kneeling on the hieroglyph for an alabaster basin that represents ‘festivals’ in hieroglyphic writing. During the carving stage, the sculptor mistakenly gave the basin the pattern of a woven basket (the hieroglyph neb, meaning ‘lord’), which the artists tried to correct during the later painting stage. Figure 6 - A detailed view of the jewel Seti is offering to Ptah Seti is offering Ptah a cunningly wrought inlaid jewel that is packed with symbolism indicating its purpose of granting unending jubilees to the king (Figure 6). The jewel shows the god Heh, who represented the concept of 'millions' or 'infinite time', squatting upon the same festival basin as Seti. In his hands, he holds two notched palm branches signifying the hieroglyph ‘renpet’ meaning 'years'. The palm branches end with a tadpole sitting upon a shen ring, which had the meaning of ‘hundred thousand’. Above the god Heh is the name of Menmaatre (Seti I), which is protected by two royal cobras (uraeus) with shen rings looped around their tails. One rears up next to a flowering rush representing Upper Egypt, whilst the other is flanked by a papyrus reed representing Lower Egypt. The God Ptah Figure 7 – Nina de Garis Davies colour reproduction of the same scene (from Ancient Egyptian Paintings, Vol. II, Pl. 86) On the left of the king is the god Ptah, or ‘He-of-the-beautiful-face’. He sits on an elaborate throne within a golden shrine, which itself rests upon a plinth in the shape of the hieroglyph for Maat. This symbol of stability and truth is decorated with the ankh and was-sceptre, representing life and power. He dips his reed pen into the paint in the shell he holds and appears to be about to write his approval of Seti’s desire for unending jubilees embodied in the jewel in his hand. Ptah’s approval of Seti is reinforced by the pectoral suspended from his neck, which picks out his throne name Menmaatre in hieroglyphs and is flanked by the goddess Maat and two cobras representing Upper and Lower Egypt. He wears jewelled bracelets and a broad collar with a distinctive menkhet counterpoise over his right shoulder. Ptah, the chief deity of Memphis, is one of the oldest Egyptian gods, first mentioned in Dynasty 1. He was considered to be a creator god and was particularly associated with craftsmen and funerary traditions. Ptah had several distinctive artistic attributes rarely seen in other gods, including a straight beard instead of a curved one, a tight-fitting skullcap instead of a headdress, and a counterpoise necklace with a rounded top and flared bottom. He is often depicted with elements that link him to the god Osiris, with a white shroud and green skin, which represent both the pallor of death and the fertility of new growth. When Nina de Garis Davies created her colour reproduction of the scene (Figure 7), she noted that the “only details depending on paint alone, without relief, are the decorated matting behind Ptah, the coloured bands of the pillars of his shrine, and the markings of the cobras on the roof.” The God Re-Horakhty To the right of Seti is the falcon-headed god Re-Horakhty, who like Ptah, sits on a throne that rests upon the Maat hieroglyph. He dips his reed pen into the paint in the scribal palette in his hand and is already writing his assent upon the leaves of the tree, as numerous as the festivals to which Seti aspires. Upon his head sits a red solar disk encircled by a protective royal cobra. In the earliest days of Egypt’s history, the sun god Re was merged with the falcon god to become Re-Horahkty or ‘Horus of the two horizons’. He represented the sun as it travelled across the sky (while Khepri and Atum represented the rising and setting suns respectively). As a form of the principal deity Re, he was worshipped throughout Egypt but was particularly associated with Heliopolis. He was considered to be the patron of the Pharaoh and the elite classes and a potent symbol of royal power. A note on the missing hieroglyphs… In the original scene, the hieroglyphs above Ptah describe him as ‘Lord of truth, and father of the gods in the House of Menmaatre’ (Figure 8). A similar dedication would have appeared to the left of Re-Horakhty, but these have unfortunately been lost and the space they occupied filled with structural concrete. Due to the incomplete nature of Re-Horakhty’s hieroglyphs, I took the decision not to reproduce them in my copy to maintain the balance of the composition. Figure 8 – Detail of the hieroglyphs describing Ptah (From ‘The Temple of King Sethos I at Abydos’ Vol. IV, Pl. 25) Summary As with most pieces of royal propaganda, this scene is all about demonstrating the king’s legitimacy through divine approval. The jewel Seti offers Ptah represents his desire to rule Upper and Lower Egypt for millions of years, and the gods are granting their approval of this by writing his name into the myriad leaves of the Persea tree. This echoes many other scenes throughout the Great Temple of Abydos, in which Seti is depicted receiving symbols of power and everlasting life from a wide variety of gods. Further Reading Ancient Egyptian Paintings, Vol. I (1936), Vol. II, Plate 86 (1936), and Vol. III, p.164-65 (1936) by Nina de Garis Davies and edited by Alan Gardiner Sethy I, King of Egypt (2019) by Aidan Dodson The Complete Temples of Ancient Egypt (2000) by Richard H. Wilkinson The Monuments of Seti I: Epigraphic, Historical, and Art Historical Analysis, p.171 (1998) by Peter J Brand The Temple of King Sethos I at Abydos, Vol. I-IV (1933) by Amice Calverley and edited by Alan Gardiner

Details Object Type: Tomb Painting Material: Fresco Date: c. 1186–1149 BC Period: Dynasty 20, Reign of Ramesses III- Ramesses IV Findspot: North Wall, Second Chamber, Tomb TT359, Deir el-Medina Reproduction Number: DP93 Introduction This reproduction is based on a fresco painted onto the walls of the Tomb of Inherkhau (TT359) at Dier el-Medina in Thebes, dating to Dynasty 20. Inherkhau lived in the worker's village and was a foreman who had particular responsibility for the construction of royal tombs during the reigns of Ramesses III and IV. Despite not being part of the elite, Inherkhau was one of the handful of craftsmen who were able to not only afford two tombs (TT359 and TT299) but also able to employ talented artists to beautifully decorate them with polychromatic frescoes. The rest of the craftsmen at Dier el-Medina had to be content with chapels and chambers with plain whitewashed walls. This scene shows Inherkhau seated beside his wife Wabet whilst four of their grandchildren play with birds around them. The three girls and a boy are naked with shaved heads and sidelocks of hair, characteristics used in ancient Egyptian art to symbolise youth. The grandchildren are not directly named, and instead referred to by their relationship with their parents, and it’s unclear whether they share their parent’s names. From left to right they are: The daughter of his daughter Anuket-ta-nakht. The son of his son Inherkau. The daughter of his daughter Baketptah. The daughter of his daughter Henutwaty. Grandfather Inherkhau Inherkhau is wearing a short square beard of the living and is seated facing the (theological) east, the land of the living. He wears sandals on his feet and a white linen gown which balloons out in front, with large pleated sleeves and a triangular pleated apron at the front. He wears a large curly wig which is fringed at the bottom edge but no jewellery. Before him is a stand holding a platter of what could be figs or the fruit of the persea tree. He isn’t named in the hieroglyphs but is in the wider scene this vignette comes from and his grandson at his feet shares his name. Grandmother Wabet Beside Inherkhau and seated on a black lion-footed chair is his wife Wabet, also known as Wab ("the Pure"), who embraces her husband from behind. She is shown barefoot and wearing a similarly opulent gown and earrings made of ivory. Wabet isn’t named in the hieroglyphs, but appears frequently beside her husband throughout the tomb’s decoration, giving us her name and titles. She is referred to by the commonplace title of Mistress of the House,  Chantress of Hathor and Chantress of Amun, which shows that she had a function in the temple of Karnak. The Grandchildren Four young children play at the knees of their grandparents. Standing behind Wabet on the far left is a naked girl described as The daughter of his daughter Anuket-ta-nakht. She cradles a young duckling to her chest whilst offering out a speckled pigeon with the other. Like the other children depicted, her head is shaved and her hair is cut into flat locks that lie on the forehead and coiling locks at the back and sides. Like the other girls, she is decorated with jewellery including bracelets, necklaces, anklets and earrings made of ivory discs. Next comes a young boy identified as The son of his son Inherkhau who stands with his hands on his grandmother’s knees. He is shown completely naked and without jewellery. Beside him is another girl called The daughter of his daughter Baketptah, who clasps an egg to her chest and holds out a speckled pigeon to the fourth grandchild. As she plays, her grandfather runs his fingers through a lock of her hair, in a surprisingly intimate depiction of family love. Finally, at the far right is The daughter of his daughter Henutwaty, who sits on the feet of her grandfather Inherkhao and is taking the pigeon being offered by Baketptah’s daughter. Translation This translation was provided by the wonderful Reddit scribe u/zsl454 on r/AncientEgyptian in response to my plea for help identifying the damaged hieroglyphics. They identified and located the names in Die Ägyptischen Personennamen by Hermann Ranke, a fantastic resource if you are looking for the spellings of ancient Egyptian names. This reproduction is accurate to what was drawn on the wall by the ancient artists, but you can this that this style is a less formal shorthand style of depicting hieroglyphs when compared to the ‘standard’ way shown below. From left to right: Columns 1 & 2 - The daughter of his daughter Anuket-ta-nakht, True of Voice. Column 3 - The son of his son Inherkhau. Column 4 - He says: [give] the fledgling to me! Column 5 - The daughter of his daughter Baketptah, True of Voice. Column 6 - The daughter of his daughter Henutwaty, True of Voice. Further Information Reddit discussion about the translation of this artwork The Two Tombs of Inerkhau on Osiris.net The Tomb of Foreman Inherkhau on Touregypt.net Bruyère, Bernard. Rapport préliminaire sur les fouilles de Deir el Medineh (Fouilles de l'IFAO). Le Caire. 1930, p 32-70 Dodson, Aidan and Hilton, Dyan. The Complete Royal Families of Ancient Egypt. Thames & Hudson. 2004, p 123. Ranke, Hermann. Die Ägyptischen Personennamen, Bd. 1: Verzeichnis der Namen. Glückstadt: J.J. Augustin, 1935, p. 69, 90, 242