Antikes Ägypten. Stockfotos, Illustrationen und Bilder

alb331682

Banquet scene sith dancers fresco from Thebes Egyptian , VIIIth Dynasty, 1425 BC.

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alb4133415

Hypatia (born c. 350-370; died 415 AD), Hellenistic Neoplatonist philosopher, astronomer, and mathematician.

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alb366070

ELIZABETH TAYLOR in CLEOPATRA, 1963, unter der Regie von JOSEPH L. MANKIEWICZ. Copyright 20TH CENTURY FOX.

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alb504514

Relief of Cleopatra VII from Temple of Hathor Dendera Egypt Ptolemaic.

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alb3681147

Cuneiform tablet: administrative account of barley distribution with cylinder seal impression of a male figure, hunting dogs, and boars. Culture: Sumerian. Dimensions: 2.17 x 2.36 x 1.63 in. (5.5 x 6 x 4.15 cm). Date: ca. 3100-2900 B.C.. Of the many legacies left by the ancient civilizations of southern Mesopotamia, the invention of writing is paramount. At the end of the fourth millennium B.C., written language developed in the region, first as pictographs and then evolving into abstract forms called cuneiform. The pictographs, like the ones on this tablet, are called proto-cuneiform and were drawn in the clay with a pointed implement. Circular impressions alongside the pictographs represented numerical symbols. Cuneiform (meaning wedge-shaped) script was written by pressing a reed pen or stylus with a wedge-shaped tip into a clay tablet. Clay, when dried to a somewhat hardened state, made a fine surface for writing, and when fired the records written on it became permanent. Early writing was used primarily as a means of recording and storing economic information. This tablet most likely documents grain distributed by a large temple, although the absence of verbs in early texts makes them difficult to interpret with certainty. In addition to the writing that appears on this tablet, the imagery of the cylinder seal, which was incompletely impressed on both faces and the edges of the tablet before it was inscribed, also records information. This seal apparently has not survived. The seal impression depicts a male figure guiding two dogs on a leash and hunting or herding boars in a reed marsh. He is the so-called priest-king, a male figure who can be identified by his dress and pose. Here he appears in his role as the good shepherd who protects flocks from wild predators. Adapted from, Art of the Ancient Near East: A Resource for Educators (2010).

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alb331683

Banquet scene with dancers fresco from tomb of nobleman Nebamum Thebes, Egyptian , VIIIth Dynasty, 1425 BC.

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alb331672

Young Pharaoh Tutankhamun portrait head in lotus leaf painted wood 20th dynasty treasure of Tutankhamun.

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alb331681

Reverse of throne of Tutankhamon gold with lapis lazuli and gold uraeus cobra figures, 18 Dynasty 1347-37 BC.

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alb2002176

Paolo Veronese / 'The Wedding Feast at Cana', 1563, Oil on canvas, 677 × 994 cm, P00142.

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alb3906044

HERBERT G SCHMALZ. Zenobia's last look on Palmyra. Date/Period: 1888. Painting. Oil on canvas. Height: 183.40 mm (7.22 in); Width: 153.60 mm (6.04 in).

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alb3899825

GUERCINO. Cleopatra and Octavian. Date/Period: 1630 - 1649. Painting. Oil on canvas. Height: 2,800 mm (110.23 in); Width: 2,500 mm (98.42 in).

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alb2019244

Juan Luna / 'The Death of Cleopatra', 1881, Oil on canvas.

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alb3614055

Plaque: Warrior and Attendants. Culture: Edo peoples. Dimensions: H. 18 3/4 in. (47.6 cm). Date: 16th-17th century. During the sixteenth and seventeenth centuries, a remarkable series of works were created to adorn the exterior of the royal palace in Benin City. A seventeenth-century Dutch visitor to the court of Benin, Olfert Dapper, described the sprawling palace complex--with its many large courtyards and galleries--as containing wooden pillars covered from top to bottom with rectangular cast brass plaques. These plaques are understood to have autonomous meaning and to tell complex narratives in relationship to one another. At some point the plaques were removed from the palace facade, as they were no longer there when the British arrived in the region. One scholar has surmised that they "were kept like a card index up to the time of the Punitive Expedition, and referred to when there was a dispute about courtly etiquette." The authors of such works were far more concerned with the communication of hierarchies and status than in capturing individual physical features. These plaques conform to a convention of "hierarchical proportions" wherein the largest figure is the one with the greatest authority and rank. In this example, it is a warrior chief. He is in the center, flanked on either side by soldiers of lesser rank. Regalia and symbols of status are emphasized above all other aspects of the subject depicted. For example, the warrior is shown with leopard-spot scarification marks and a leopard-tooth necklace, which associate him with the stealth, speed, and ferocity of the leopard. As "king of the bush," the leopard is one of the principle symbols of Benin kingship. Additionally, the warrior chief wears a coral-studded helmet and collar, a lavish wrap, and a brass ornament on his hip. In his left hand he carries a ceremonial sword, a gesture of honor and loyalty, and holds a spear in his other hand. The servile status of the figures flanking the warrior chief is indicated by the objects they carry. One attendant has a fan used to cool the warrior chief, the other a trumpet to announce his presence. A third attendant brings a box containing an offering of kola nuts for the oba (king).

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alb3677085

Female Musicians. Artist: Charles K. Wilkinson. Dimensions: facsimile:H. 41 × W. 64.8 cm (16 1/8 × 25 1/2 in.) scale 1:1 framed: 42.9 × 66.7 cm (16 7/8 × 26 1/4 in.). Dynasty: Dynasty 18. Reign: reign of Thutmose IV. Date: A.C. 1920-1921, original ca. 1400-1390 B.C.. This facsimile painting copies a detail of entertainers in a banquet scene in the tomb of Djeserkaraseneb (TT 38) at Thebes. Shown here is the troup of female musicians who entertain the guests.

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alb2066883

Sebastien Bourdon / 'The Meeting of Antony and Cleopatra', c. 1645, Oil on canvas, 145 x 197 cm.

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alb4224417

JEAN LEON GEROME. 'Slave Market in Ancient Rome'. France, Circa 1884. Dimensions: 92x74 cm.

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alb4129624

ANCIENT EGYPTIAN. Amulet of Tyet (Isis Knot). Egyptian. Date: 664 BC-525 BC. Dimensions: 4 × 2 × 0.5 cm (1 5/8 × 3/4 × 3/16 in.). Faience. Origin: Egypt.

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alb3644052

Kohl Jar. Dimensions: H. 5.5 cm (2 3/16 in.); Greatest diam. 4.9 cm (1 15/16 in.); D. 3 cm (1 3/16 in.). Dynasty: Dynasty 18, early. Reign: reign of Thutmose II-Early Joint reign. Date: ca. 1492-1473 B.C.. Hatnofer (36.3.1), the mother of Senenmut (36.3.252), received a rich burial in a small rock-cut tomb near that of her son. Her grave goods were deposited alongside her fine wooden coffin and included many objects from daily life. Inside one of the decorated baskets (36.3.59) were a smaller basket (36.3.60), an alabaster jar (36.3.61) , and this graceful kohl jar (36.3.63) with its wooden applicator (36.3.62). The jar had a crusty residue inside that was identified as galena, one of the minerals used as an eye cosmetic by the Egyptians. Hatnofer undoubtedly used the little eye-paint container and applicator during her lifetime.

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alb3661291

Relief with the Head of Amenhotep I. Dimensions: h. 44 cm (17 5/16 in); w. 44 cm (17 5/16 in). Dynasty: Reign of Amenhotep I. Date: ca 1525-1504 B.C.. The fragmentary cartouche in the upper left-hand corner of this relief preserves the last letter of the name Amenhotep. In Dynasty 18, there were four kings with this name which means "Amun is satisfied." The identity of the king depicted here is clear from the preserved profile. The shape of the nose and the short upper lip are almost identical to the profile of a head of Amenhotep I, 26.3.30a, in the Museum's collection (see additional photographs). The similarities in these works, one in two-dimensions and the other in three, demonstrate that images of an Egyptian king were probably based on an officially sanctioned likeness that combined recognizable features into an idealized portrait of the monarch in question. Amenhotep I, like most of his successors in the New Kingdom, made architectural additions to the temple of the god Amun at Karnak. This temple was across the river from and slightly north of Deir el-Bahri, and its axis was parallel to the temples of Hatshepsut and Mentuhotep II. Amenhotep's additions to Karnak were dismantled in ancient times and are now preserved in a number of Museums. By studying the fragments in Egypt and abroad, Egyptologists have been able to determine that one wall was decorated with two scenes of the king smiting his enemies - a typical scene on temple walls. The fragment of relief shown here appears to have been part of one of these scenes.

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alb3620383

Plaque with Greek dedication to Isis, Serapis and Apollo by Komon for the benefit of Ptolemy IV and V. Dimensions: L. 27.9 cm (11 in.); H. 17.5 cm (6 7/8 in.); Th. 5.1 cm (2 in.). Dynasty: Ptolemaic Dynasty. Reign: reign of Ptolemy IV-V Coregency. Date: 210-204 B.C.. This plaque can be precisely dated to the overlapping reigns fo Ptolemy IV and V. It was dedicated on behalf of these kings at a sanctuary of Isis, Serapis and Apollo, by Komon, an oeconomos..

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alb3680102

Seated Statue of the Nomarch Idu II of Dendera. Dimensions: H: 60.5 cm (23 13/16 in.). Dynasty: Dynasty 6. Reign: Reign of Pepi II. Date: ca. 2246-2152 B.C.. Discovered in his mastaba tomb at Dendera, this statue represents the nomarch (governor) of a province of Upper Egypt during the late Old Kingdom. This man, Idu II, wielded considerable power during the long reign of Pepi II, the last king of Dynasty 6. Created by a provincial artist, the figure has very large eyes and somehwat unconvential proportions, and is seated on a high-backed chair instead of the more common block seat. He wears a shoulder-length curled wig and a short kilt adorned by a beaded apron, indicated by a triangle on the front of the skirt. Traces of the original color -- black for the wig and chair, red for the skin, and white for the kilt, are still visible. Since only fragments of the statues buried in the tomb of Perneb have been preserved (see 14.3.105-.106), this statue of Idu II is displayed in Perneb's serdab (statue chamber).

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alb4141926

PHILIPPE JACQUES DE LOUTHERBOURG II. The Destruction of Pharaoh's Army. Philippe-Jacques de Loutherbourg; French, 1740-1812. Date: 1792. Dimensions: 50 × 40 1/2 in. (127 × 102.3 cm). Oil on canvas. Origin: France.

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alb3621222

Inlay depicting Thoth as the ibis with a maat feather. Dimensions: H. 15.5 cm (6 1/8 in.); W. 1 cm (3/8 in.); L. 15.6 cm (6 1/8 in.). Date: 4th century B.C.. This exquisite piece of inlay from a shrine shows Thoth, god of writing and all things intellectual, as an ibis walking atop a standard. Its beak is supported by a feather--the symbol of Maat, goddess of justice and closely associated with Thoth. The artist beautifully captured the halting stride of the bird, which seems to be considering its every step.

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alb4102801

GERARD DE LAIRESSE. Cleopatra's Banquet. Dating: c. 1675 - c. 1680. Measurements: h 74 cm × w 95.5 cm.

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alb1744627

Madrid, M.A.N. Arte Egipcio. Momia de la época Ptolemaica de un sacerdote de Imhotep, llamado Nespamedu, vendida por Bauer (1925) y cubierta de cartonajes de oro.

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alb3625238

Harvest Scenes, Tomb of Menna. Artist: Charles K. Wilkinson. Dimensions: facsimile: h. 76 cm (29 15/16 in); w. 186 cm (73 1/4 in) scale 1:1 framed: h. 78.7 cm (31 in); w. 188 cm (74 in). Dynasty: Dynasty 18. Reign: reign of Thutmose IV-Amenhotep III. Date: ca. 1400-1352 B.C..

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alb3897514

FRANCIS FRITH. Pyramids Of El-Geezeh (From The Southwest). Date/Period: 1857 ca., printed 1865 ca. Photograph. Albumen print. Height: 381 mm (15 in); Width: 488.90 mm (19.24 in).

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alb3629657

Sennedjem and Iineferti in the Fields of Iaru. Artist: Charles K. Wilkinson. Dimensions: Facsimile H. 54 cm (21 1/4 in); W. 84.5 cm (33 1/4 in); Framed H. 58.1 cm (22 7/8 in); W. 88.6 cm (34 7/8 in) scale 1:2. Dynasty: Dynasty 19. Reign: reign of Ramesses I-Ramesses II. Date: A.D. 1922; original ca. 1295-1213 B.C.. The east wall of Sennedjem's vaulted crypt is decorated with a vignette that illustrates spell number 110 in the Book of the Dead. Here, in a facsimile painted in the tomb, Sennedjem and his wife, Iineferti, are shown harvesting grain, sowing seeds, and pulling flax in the abundant fields of the next world.

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alb3637484

Head of Tutankhamun. Dimensions: H. 17.2 cm (6 3/4 in.); W. 16 cm (6 5/16 in.); D. 23.6 cm (9 5/16 in.). Dynasty: Dynasty 18. Reign: reign of Tutankhamun. Date: ca. 1336-1327 B.C.. This head is a fragment from a statue group that represented a god seated on a throne with the young king Tutankhamun in front of him. The king's figure was considerably smaller than that of the god, indicating his subordinate status in the presence of the deity. All that remains of the god is his right hand, which touches the back of the king's crown in a gesture that signifies Tutankhamun's investiture as king. During coronation rituals, various types of crowns were put on the king's head. The type represented here--probably a leather helmet with metal disks sewn onto it--was generally painted blue, and is commonly called the "blue crown." The ancient name was khepresh. Statue groups showing a king together with gods had been created since the Old Kingdom, and formal groups relating to the pharaoh's coronation were dedicated at Karnak by Hatshepsut and other rulers of Dynasty 18. The Metropolitan's head of Tutankhamun with the hand of the god is special because of the intimacy with which the subject is treated. The face of the king expresses a touching youthful earnestness, and the hand of the god is raised toward his crown with gentle care. A cast of the head has recently been matched by a scholar to the remains of an indurated limestone seated statue of a god in the storerooms at Karnak in Thebes. She reports that the join is minimal, but conclusive. This confirms the long supposed origin of the Museum's head from Karnak temple, and also resolves the question of the young king's pose - he was standing rather than kneeling in front of the god. The seated god at Karnak is only preserved from the waist down and is much damaged, so that the god is not identified specificially. Amun is, however, the likely candidate.

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alb3669181

Funeral Ritual in a Garden, Tomb of Minnakht. Artist: Charles K. Wilkinson. Dimensions: facsimile: h. 71.4 cm (28 1/8 in); w. 122 cm (48 1/16 in) scale 1:1 framed: h. 73.3 cm (28 7/8 in); w. 128.6 cm (50 5/8 in). Dynasty: Dynasty 18. Reign: reign of Thutmose III. Date: ca. 1479-1425 B.C.. This facsimile painting copies a section of wall painting in the tomb of Minnakht (TT 87) in western Thebes. The scene depicts a garden surrounding a building with a large pool in front of it. In the lowest register, two men stand in front of small offering tables. Each man pours a libation with one hand and holds a brazier with buring incense in the other. The facsimile was painted at the tomb in 1921 by Charles K. Wilkinson, a member of the Graphic Section of the Museum's Egyptian Expedition.

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alb3896477

ANONYM. Portrait of a Young Lady. Date/Period: 150 - 200. Painting.

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alb3664494

Sphinx of Hatshepsut. Dimensions: H: 164 cm (64 9/16 in.); L: 343 cm (135 1/16 in.); Wt: 6758.6 kg (14900 lb.). Dynasty: Dynasty 18. Reign: Joint reign of Hatshepsut and Thutmose III. Date: ca. 1479-1458 B.C.. This colossal sphinx portrays the female pharaoh Hatshepsut with the body of a lion and a human head wearing a nemes headcloth and royal beard. The sculptor has carefully observed the powerful muscles of the lion as contrasted to the handsome, idealized face of the pharaoh. It was one of at least six granite sphinxes that stood in Hatshepsut's mortuary temple at Deir el-Bahri. Smashed into many fragments at the order of Hatshepsut's nephew and successor Thutmose III and dumped in a quarry close by, this beast was recovered by the Museum's Egyptian Expedition and reassembled. It weighs more than seven tons. Part of a second sphinx of Hatshepsut (31.3.164) is on display in gallery 115. The sphinx has a long history in Egyptian art, the most famous example being the great sphinx at Giza which represents the Fourth Dynasty King Khafre who lived almost a thousand years before Hatshsepsut. Sphinxes representing other pharaohs may be seen throughout the Egyptian galleries.

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alb3651997

Nakht and Family Fishing and Fowling, Tomb of Nakht. Artist: Norman de Garis Davies (1865-1941); Lancelot Crane; Francis Unwin (Egyptian Expedition Graphic Section). Dimensions: Facsimile H. 200 cm (78 3/4 in); w. 153 cm (60 1/4 in) scale 1:1 framed: h. 194.3 cm (76 1/2 in); w. 203.8 cm (80 1/4 in); th. 3.2 cm (1 1/4 in). Dynasty: Dynasty 18. Reign: reigns of Amenhotep II-Amenhotep III. Date: ca. 1425-1350 B.C.. This facsimile painting copies an entire wall in the tomb of Nakht (TT 52) at Thebes. The wall has been split into two registers with Nakht and his wife, Tawy, seated at the left in both. At the right side of the upper register, Nakht and his family are shown twice: hunting birds (at the left) and fishing (at the right). The upper half of the bottom register shows the process of making wine and the lower half shows birds being caught in a clap-net and then prepared for storage in jars. The facsimile was painted at the tomb, probably around 1909-1910, by Norman deGaris Davies, director of the Graphic Section of the Museum's Egyptian Expedition.

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alb1283323

Plakat zu THE MUMMY, 1932, unter der Regie von KARL FREUND. Copyright UNIVERSAL PICTURES.

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alb3667207

Hathor sistrum head. Dimensions: H. 5.7 cm (2 1/4 in.); W. 4.1 cm (1 5/8 in.); D. 1.2cm (1/2 in.). Date: 664-30 B.C..

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alb3626927

Ivory Unguent Box of Queen Nefertari. Dimensions: H. 3 cm (1 3/16 in); Diam. 5 cm (1 15/16 in); Greatest W. 6.4 cm (2 1/2 in.). Dynasty: Dynasty 19. Reign: reign of Ramesses II. Date: ca. 1279-1213 BC. This lenticular box with a sharp shoulder and flat swivel lid sits on a cylindrical foot. Around the outer edge of the lid and on one of the flat surfaces for the knobs used to close the container are incised circles. The tiny figure of a hedgehog, associated with the cycle of death and rebirth, sits in front of the other knob. On the lid are the cartouches of Ramesses II and his first principal wife, Nefertari. The purpose of the box is uncertain, but it was likely used for cosmetics.

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alb3669308

String of 52 Beads. Dimensions: L. 23.7 × Diam. of each bead (approx.) 0.6 cm (9 5/16 × 1/4 in.). Date: 2nd century BC-2nd century AD. Gold glass beads were a Hellenistic development. They were, created by combining drawn tubes of colorless glass with gold foil. The earliest examples were finished bead by bead. These are all modern stringings; most ancient stringing patterns are lost as the string decays.

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alb3157636

Egyptian civilization, Third Intermediate Period, Dynasty XXI-XXII. Mythological papyrus of Imenemsauf, Chief bearer of Amon. Detail, the deceased adoring the rising sun on the boat; hymn to the sun represented by two lions.

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alb3893439

IL BRONZINO. The crossing of the Red Sea. Fresco. 300 × 475 cm (9.8 × 15.5 ft).

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alb3625996

Faience polyhedron inscribed with letters of the Greek alphabet. Culture: Roman. Dimensions: Width (Point to point, greatest): 2 11/16 in., 7.2oz. (6.8 cm, 204.9g) Width (Point to point ,smallest): 2 1/2 in. (6.3 cm) Width (Side to side, greatest): 2 3/16 in. (5.6 cm) Width (Side to side, smallest): 2 3/16 in. (5.5 cm). Date: 2nd-3rd century A.D.. A number of polyhedra made in various materials are known from the Hellenistic and Roman periods. They may have been used in conjunction with an oracle inscribed on a pillar set up in a public place. The polyhedron was thrown in order to choose a letter at random. One consulted the inscription to find the matching letter and read the oracle's response. There would be twenty oracular messages, each beginning with a letter of the alphabet that corresponded to one side of the dice.

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alb3624434

Pectoral and Necklace of Sithathoryunet with the Name of Senwosret II. Dimensions: L. of necklace (b): 82 cm (32 5/16 in.); H. of pectoral (a): 4.5 cm (1 3/4 in.); W. 8.2 cm (3 1/4 in.). Dynasty: Dynasty 12. Reign: reign of Senwosret II. Date: ca. 1887-1878 B.C.. This pectoral is composed around the throne name of King Senwosret II. It was found among the jewelry of Princess Sithathoryunet in a special niche of her underground tomb beside the pyramid of Senwosret II at Lahun. Hieroglyphic signs make up the design, and the whole may be read: "The god of the rising sun grants life and dominion over all that the sun encircles for one million one hundred thousand years [i.e., eternity] to King Khakheperre [Senwosret II]." This cloisonné pectoral is inlaid with 372 carefully cut pieces of semiprecious stones. The heraldic design is replete with symbolism. Zigzag lines on the base bar represent the primordial waters out of which the primeval hill emerged. Each of the falcons, symbols of the sun god, clasps a circular hieroglyph meaning "encircled," thus declaring the solar deity's supreme power over the universe. The same hieroglyph, elongated to form a cartouche, encircles the throne name of Senwosret II, Khakheperre. Flanking the king's name are two ankh hieroglyphs (meaning "life") suspended from cobras whose tails are wound around the sun disk on the falcons' heads. These snakes represent Nekhbet and Udjo, the traditional protector goddesses of the king. Supporting the royal cartouche is the kneeling god Heh clutching two palm ribs symbolizing "millions of years." Thus the king's life and existence in time are described as part of a universe created and sustained by the supreme sun god. Jewelry worn by royal women during the Middle Kingdom was not simply for adornment or an indication of status but was also symbolic of concepts and myths surrounding Egyptian royalty. Jewelry imbued a royal woman with superhuman powers and thus enabled her to support the king in his role as guarantor of divine order on earth. It was essentially the king who benefited from the magical powers inherent in the jewelry worn by the female members of his family, which explains why his name, rather than that of the princess, appears in the designs. Since the tomb of the princess was beside the pyramid of Senwosret, scholars speculate that she was his daughter. Other items in the tomb bear the name of Amenemhat III, suggesting that the princess lived during the reigns of three of the most powerful rulers of Dynasty 12: Senwosret II, Senwosret III, and Amenemhat III.

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alb1744630

Madrid, M.A.N. Arte Egipcio. Momia anónima femenina de la Baja Época.

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alb3899818

GUERCINO. The Death of Cleopatra. Date/Period: 1648. Painting. Oil on canvas. Height: 1,730 mm (68.11 in); Width: 2,370 mm (93.30 in).

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alb3893644

GUIDO CAGNACCI, CALLED GUIDO CANLASSI. The Death of Cleopatra. Date/Period: 1659 - 1663. Painting. Oil on canvas. Height: 1,400 mm (55.11 in); Width: 1,593 mm (62.71 in).

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alb3666228

Book of the Dead for the Singer of Amun, Nany. Dimensions: L. 521.5 cm (206 5/16 in); H. 35 cm (13 3/4 in). Dynasty: Dynasty 21. Reign: reign of Psusennes I-II. Date: ca. 1050 B.C.. Archaeologists found this papyrus in the burial of Nany, a woman in her seventies. She was a singer of the god Amun-Re. Nany also had the title "king's daughter," which probably means that she was a child of the high priest of Amun and titular king, Painedjem I. As was customary during the Third Intermediate Period, Nany's coffins (30.3.23-.25) and boxes of shabtis (30.3.26-.30) were accompanied by a hollow wooden Osiris figure, which contained a papyrus scroll inscribed with a collection of texts called the "Book of Coming Forth by Day" - better known to us as the Book of the Dead. When unrolled, this scroll is more than seventeen feet long. The scene depicted here shows the climax of the journey to the afterlife. Nany is in the Hall of Judgment. Holding her mouth and eyes in her hand, she stands to the left of a large scale. Her heart is being weighed against Maat, the goddess of justice and truth, who is represented as a tiny figure wearing her symbol, a single large feather, in her headband. On the right, Osiris, god of the underworld and rebirth, presides over the scene. He wears the white crown of Upper Egypt and the curving beard of a god. His body is wrapped like a mummy except for his hands, which clasp a crook. On the table before him is an offering of a joint of beef. Canine-headed Anubis, overseer of mummification, adjusts the scales, while a baboonsymbolizing Thoth, the god of wisdom and writingsits on the balance beam and prepares to write down the result. Behind Nany stands the goddess Isis, both wife and sister of Osiris. She is identified by the hieroglyph above her head. In this scene, Nany has been found truthful and therefore worthy of entering the afterlife. Anubis says to Osiris, "Her heart is an accurate witness, "and Osiris replies," Give her her eyes and her mouth, since her heart is an accurate witness." In the horizontal register above the judgment scene, Nany appears in three episodes: worshipping the divine palette with which all is written, praising a statue of Horus in his falcon form, and standing by her own tomb.

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alb3711564

FRANCIS FRITH. The Ramasseum of El-Kurneh, Thebes, First View. Dated: c. 1857. Dimensions: sheet (trimmed to image): 38.1 x 47.9 cm (15 x 18 7/8 in.) mount: 54 x 74 cm (21 1/4 x 29 1/8 in.). Medium: albumen print from collodion negative.

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alb3643458

FELIX TEYNARD. Ile de Fîleh (Philæ), Vue Génèrale Prise du Point I, Sur La Plateforme du Pylône. Artist: Félix Teynard (French, 1817-1892). Dimensions: Image: 24 x 30.5 cm (9 7/16 x 12 in.) Mount: 39.6 x 51.8 cm (15 9/16 x 20 3/8 in.). Date: 1851-52.

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alb3648441

Woman Riding Two Brahman Bulls. Culture: India (Kausambi). Dimensions: H. 5 1/2 in. (14 cm); W. 3 1/2 in. (8.9 cm); D. 4 1/2 in. (11.4 cm). Date: 2000-1750 B.C.. This remarkable object is the oldest bronze object in the Museum's Indian collections, and is a rare survivor of the early bronze culture associated with the late Harappan civilization shared across northern India and the Indus Valley (Pakistan) in the second millennium B.C. Two humped ('Brahman') bulls support a platform on which is a woman is kneeling. Her hands rest on the bulls' humps. The ensemble is on a rectangular platform, which has been separately cast. The woman has a slender physique, pointed breasts, and hair that extends to her shoulders. She wears a small circular crown-like fitting atop her head, has deep eye sockets and an incised mouth. The symmetry of the female figure is mirrored in standing female clay figurines from this period and later.

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alb4103228

LAWRENCE ALMA-TADEMA. The Death of the Pharaoh's Firstborn Son. Dating: 1872. Measurements: h 77 cm × w 124.5 cm.

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alb3605136

Model Cattle stable from the tomb of Meketre. Dimensions: l. 72.5 cm (28 9/16 in); w. 57 cm (22 7/16 in); h. 28.5 cm (11 1/4 in) average height of cattle: 18 cm (7 1/16 in.). Dynasty: Dynasty 12. Reign: reign of Amenemhat I, early. Date: ca. 1981-1975 B.C.. This model of a stable was found with twenty three other models of boats, gardens, and workshops in a hidden chamber at the side of the passage leading into the rock cut tomb of the royal chief steward Meketre, who began his career under King Nebhepetre Mentuhotep II of Dynasty 11 and continued to serve successive kings into the early years of Dynasty 12. Cattle are being fattened for slaughter in this stable. Four oxen feed from a manger in the large stall; two others are being hand fed by the stablemen from a pile of fodder and a sack of grain in the room in front. One of the cattle is so fat he can no longer stand. By the door sits an overseer with a baton in his hand. All the accessible rooms in the tomb of Meketre had been robbed and plundered already during Antiquity; but early in 1920 the Museum's excavator, Herbert Winlock, wanted to obtain an accurate floor plan of the tomb's layout for his map of the Eleventh Dynasty necropolis at Thebes and, therefore, had his workmen clean out the accumulated debris. It was during this cleaning operation that the small hidden chamber was discovered, filled with twenty-four almost perfectly preserved models. Eventually, half of these went to the Egyptian Museum, Cairo, and the other half came to the Metropolitan Museum in the partition of finds.

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alb3896475

UNKNOWN. A man in a blue cloak. Date/Period: 1st century. Painting. Height: 290 mm (11.41 in); Width: 260 mm (10.23 in).

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alb3675724

Reconstruction of a Cartouche of Amenhotep III. Dimensions: H. 52.1 cm (20 1/2 in); w. 15.4 cm (6 1/16 in); d. 5.4 cm (2 1/8 in.). Dynasty: Dynasty 18. Reign: reign of Amenhotep III. Date: ca. 1390-1353 B.C.. The blue faience tiles in this reconstruction were discovered during the Museum's excavations at Malqata, the site of a festival city built by Amenhotep III for the celebration of his three rejuvination festivals, or heb seds. The original cartouche was made of faience tiles and gilded plaster set into wood that was badly decayed and could not be preserved (see the excavation photograph above). In this reconstruction, the tiles have been set into plaster that has been painted to imitate gold leaf. The cartouche containes the king's throne name, Nebmaatre. The original cartouche decoration was found in the Temple of Amun, which was built for the king's second heb sed. The excavators also found a long section of cornice decoration, and a group of tiles that had been used to create a geometric pattern, probabaly on a piece of temple furniture made of wood. the cornice and cartouche were also probably decorative elements of temple furniture.

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alb4103348

JAN VAN SCOREL (ATTRIBUTED TO). The Dying Cleopatra. Dating: c. 1520 - c. 1524. Measurements: support: h 36.3 cm × w 61.3 cm; frame: h 51.5 cm × w 75.5 cm × t 7 cm.

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alb3673130

Stela of the Steward Mentuwoser. Dimensions: H. 103 cm (40 9/16 in.); W. 50.5 cm (19 7/8 in.); Th. 8.3 cm (3 1/4 in.). Dynasty: Dynasty 12. Reign: reign of Senwosret I, year 17. Date: ca. 1944 B.C.. This rectangular stone stela honors an official named Mentuwoser. Clasping a piece of folded linen in his left hand, he sits at his funeral banquet, ensuring that he will always receive food offerings and that his family will honor and remember him forever. To the right of Mentuwoser, his son summons his spirit. His daughter holds a lotus, and his father offers a covered dish of food and a jug that, given its shape, contained beer. To show clearly each kind of food being offered, the sculptor arranged the images on top of the table vertically. The feast consists of round and conical loaves of bread, ribs and a hindquarter of beef, a squash, onions in a basket, a lotus blossom, and leeks. The low-relief carving is very fine. The background was cut away only about one-eighth of an inch. Within the firm, clear outlines, the sculptor then subtly modeled the muscles of Mentuwoser's arms and legs and the shape of his jaw and cheeks. The chair legs and the calf's head have also been carefully formed. The hieroglyphic inscriptions in sunk relief state that in the seventeenth year of his reign King Senwosret I presented the stela to Mentuwoser in appreciation of his loyal services. Mentuwoser's deeds are described at length. He was steward, granary official, and overseer of all manner of domestic animals, including pigs. He is described as a good man who looked after the poor and buried the dead. Senwosret's throne name, Kheperkare, appears within a cartouche in the middle of the top line. The stela once stood at Abydos, the sacred pilgrimage center of the god of the underworld Osiris. Mentuwoser's image and the prayers on the stela were meant to bring him both rebirth and sustenance at the annual festivals honoring Osiris. At such festivals family members and other pilgrims would visit the commemorative chapels in which the stelae were set up, and at its end this stea's text addresses explicitly three groups of people: 1. any scribe who shall read the stela; 2. any person who shall hear the stela read aloud; 3. all people who shall approach it. It is thus suggested that, according to ancient Egyptian understanding, the written word--and its imagery--reached many more people than only just the fully literate.

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alb1293496

Plakat zu CLEOPATRA, 1934, unter der Regie von CECIL B DEMILLE. Copyright PARAMOUNT PICTURES.

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alb3607528

Lotiform Cup. Dimensions: H. 15 (5 7/8 in); diam. 9. 1 cm (3 9/16 in). Dynasty: Dynasty 19. Date: ca. 1295-1185 B.C.. The symbolism of this lotus-shaped chalice may reflect either an association with the water lily's analgesic properties, or with the plant's aquatic habitat.

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alb4129381

ANCIENT GREEK. Tetradrachm (Coin) Portraying King Ptolemy I. Greco-Egyptian. Date: 253 BC-252 BC. Dimensions: Diam. 2.7 cm; 14.14 g. Silver. Origin: Tyre.

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alb3605852

Plaque; Wedjat Eye. Dimensions: L. 2 cm (13/16 in), w. 1.8 cm (11/16 in). Dynasty: Dynasty 26-30. Date: 664-332 B.C..

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alb3604712

Ostrakon. Culture: Coptic. Dimensions: 2 5/8 x 2 3/4 in. (6.6 x 7 cm). Date: 7th century.

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alb3611932

Nebamun Supervising Estate Activities, Tomb of Nebamun. Artist: Charles K. Wilkinson ca. 1928-1930. Dimensions: facsimile: h. 99 cm (39 in); w. 130 cm (51 3/16 in); scale 1:2; framed: h. 132.1 cm (52 in); w. 101.6 cm (40 in); th. 3.2 cm (1 1/4 in). Dynasty: Dynasty 18. Reign: reign of Thutmose IV-Amenhotep III. Date: ca. A.D. 1928; original ca. 1400-1352 B.C.. This facsimile copies a wall painting from the tomb of a man named Nebamun who lived in the middle of Egypt's Dynasty 18 (about 1475 B.C.). The scene probably depicts various activities that were part of Nebamun's personal life. In the center of the top register, men gather grapes in a vinyard and at the left side of the next register down, the grapes are brought to a winery, pressed, and decanted into pottery jars while Nebamun, seated on a stool, looks on. In the bottom register, Nebamun, seated at the right, watches while a scribe named Djenutynefer (kneeling in front of him) records the branding of cattle. In the upper right corner, Nebamun and an attendant bring offerings of thanks to a temple, and below, the outside of a house is depicted with two date palms growing from an interior courtyard. If you look closely at the facsimile, it's possible to see that the 20th Century artist, Charles K. Wilkinson, restored parts of the scene that had been damaged since the original had been painted some 3400 years before.

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alb3637505

Ram's-head Amulet. Dimensions: h. 4.2 cm (1 5/8 in); w. 3.6 cm (1 7/16 in); d. 2.0 cm (3/4 in); weight 65 grams. Dynasty: Dynasty 25. Date: ca. 712-664 B.C.. This amulet was probably made for a necklace worn by one of the Kushite kings. Representations show these pharaohs wearing a ram's-head amulet tied around the neck on a thick cord, the ends of which fall forward over the shoulders. Sometimes a smaller ram's head is attached to each end. Rams were associated with the god Amun, particularly in Nubia, where he was especially revered.

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alb38833

Gold mask of Tutankhamen.

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alb3668752

Goddess with gilded sundisk and wings. Dimensions: H. 4.1 × W. 0.9 × D. 1.3 cm (1 5/8 × 3/8 × 1/2 in.). Date: 664-30 B.C.. The small, finely detailed amulets 10.130.2439-.2445 are all made of wood. Wooden amulets are often gilded, but the only remaining gilding is on this goddess's sun disk. The identity of the goddess is uncertain. A number of goddesses might be winged, but the most common are not generally identified with a sun disk.

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alb3635103

Scarab of Ramesses VII. Dimensions: L. 3 cm (1 3/16 in.). Dynasty: Dynasty 18-20. Date: ca. 1550-1070 B.C..

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alb3645211

Pataikos with two faces. Dimensions: H. 4.8 × W. 2.1 × D. 1.8 cm (1 7/8 × 13/16 × 11/16 in.). Date: 664-30 B.C.. This unusual Pataikos has a second face at the back of his head.

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alb4129104

ANCIENT EGYPTIAN. Stela of Amenemhat and Yatu. Egyptian. Date: 1870 BC-1770 BC. Dimensions: 59 × 42.5 × 11 cm (23 1/4 × 16 3/4 × 4 1/4 in.). Limestone and pigment. Origin: Egypt.

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alb3623309

Gameboard and Gaming Pieces. Dimensions: Restored box: L. 43 cm (16 15/16 in.); W. 13.5 cm (5 5/16 in.); H. 9 cm (3 9/16 in.). Dynasty: Dynasty 18. Reign: reign of Thutmose III. Date: ca. 1550-1295 B.C.. The blue faience inlays of this game box and the gaming pieces (01.4.1b-h and 01.4.1i-p) were discovered in a tomb at Abydos. This tomb also contained a scarab inscribed with the cartouche of Thutmose III, a papyrus burnisher inscribed with the name and title of the scribe Merymaat, a silver earring, and a painted pot. Only some of the faience inlays of the original box were preserved. The ancient tiles are now displayed on a box made of modern wood, and the missing tiles have been replaced with modern copies. The side visible in this photograph is laid out for the game of senet, which required 30 squares. The underside would have been laid out for the game of 20 squares which may be seen on another game box in the collection.

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alb3634682

Neith suckling two crocodiles. Dimensions: h. 4 cm (1 9/16 in.). Date: 664-30 B.C.. Neith was a great creator goddess, and was not linked with any partner except primarily her son Tutu. She was also closely associated with crocodiles: Sobek was considered her son and at Esna she had a second crocodile son Shemanefer. Small amulets like this one where she nurses two crocodiles may represent her as a creator goddess where the crocodiles represent the sun and the moon, or the animals may refer to her two crocodile sons Sobek and Shemanefer.

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alb3905183

REMBRANDT. Jeremiah Lamenting the Destruction of Jerusalem. Date/Period: 1630. Painting. Oil on oak panel. Height: 58 cm (22.8 in); Width: 46 cm (18.1 in).

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alb3652392

Scarab Inscribed With the Name Aakheperenre (Thutmose II). Dimensions: L. 1.6 cm (5/8 in); W. 1.2 cm (1/2 in); Th. 0.8 cm (5/16 in). Dynasty: Dynasty 18. Reign: reign of Thutmose II. Date: ca. 1492-1479 B.C.. This scarab shows a reclining jackal, probably representing Anubis, with the prenomen of Thutmose II, Aakheperenre, above it.

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alb4130578

ANCIENT EGYPTIAN. Amulet of the Eye of the God Horus (Wedjat). Egyptian. Date: 305 BC-30 BC. Dimensions: 0.9 x 1.2 x 0.3 cm (3/8 x 1/2 x 1/8 in.). Gold. Origin: Egypt.

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alb3664061

Scarab finger ring with name of Amun-Re. Dimensions: Ring: Diam. 2.2 cm (7/8 in.); L. 7.8 cm (11/16 in.) Scarab: L. 1 cm (3/8 in.); W. 0.7 cm (1/4 in.); H. 0.5 cm (3/16 in.). Dynasty: late Dynasty 21. Date: ca. 1000-945 B.C.. Henettawy died at the age of twenty-one and was buried in a plundered tomb that had originally been the resting place of Minmose, an official of Hatshepsut. The burial was a modest one, including a set of coffins and personal jewelry, and the body of the deceased was not even embalmed but simply wrapped in layers of linen bandages. One of two rings found on her left hand, this is of gold set with a scarab beetle, associated with the rising sun, in glazed steatite. The flat side bears the inscription "Amen-Re, king of the gods." Henttawy, who lived during the late 21st Dynasty, served as a musician in the cult of this god.

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alb3681723

Arm Panel From a Ceremonial Chair of Thutmose IV. Dimensions: H. 25.1 cm (9 7/8 in). Dynasty: Dynasty 18. Reign: reign of Thutmose IV. Date: ca. 1400-1390 B.C.. In 1903 Theodore M. Davis discovered a tomb in the Valley of the Kings that belonged to Tuthmose IV, whose throne name was Menkheperure. The fragmentary remains of the king's funerary equipment included this arm panel from a throne. A second arm panel from the same throne is now in the Museum of Fine Arts, Boston. The scenes on the panels suggest that the throne was used either for the king's coronation, or possibly for his thirty-year jubilee, the Sed festival, or Heb-Sed. The panel in the Metropolitan Museum is from the left arm of the throne. Traces of glue on the surface suggest that the beautifully carved low relief, with its exquisitely executed details, was once covered with gold foil. On one side, the king is shown as a sphinx subduing the enemies of Egypt. The front edge of the panel is missing, but the text before the king's face probably read: "Lord of the Two Lands, Menkheperure, son of Re, Tuthmose, [given] life like Re." The falcon at the upper right represents the god Horus who is identified as "the Behedite, the great god, with dappled plumage, giving life and dominion." The text above the sphinx's back reads: "Horus, the lord of might and action, trampling all foreign lands." On the other side, the panel depicts the enthroned Thutmose, described as "the young god, Menkheperure," wearing the red crown of Lower Egypt. In front of him is the lion-headed goddess Weret, whose name is written above her head. Behind the king is the ibis-headed god Thoth "Lord of Hermopolis, giving all life and dominion." Thoth says, "I have brought you millions of years of life and dominion united with eternity." Behind the throne is the phrase "All life and dominion around him [like] Re.".

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alb3618981

Statuette of a Scribe. Dimensions: H. 12.5 cm (4 15/16 in). Dynasty: Dynasty 18. Reign: reign of Amenhotep II-Amenhotep III. Date: ca. 1391-1353 B.C.. This statuette depicts a seated scribe with a scroll of papyrus across his lap. His kilt is drawn tightly around his knees to create a flat surface on which to write. He would have held a reed brush in his right hand and would have unrolled the papyrus with his left hand. The deep wrinkles across his chest indicate that he is no longer a young man.

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alb3615714

Ostrakon. Culture: Coptic. Dimensions: 3 3/4 x 2 1/2 in. (9.5 x 6.3 cm). Date: 7th century.

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alb3647900

Seventy deben weight. Dimensions: h. 9 cm (3 9/16 in); w. 6.5 cm (2 9/16 in); d. 5.5 cm (2 3/16 in); weight 1 kg (2.1 lbs). Dynasty: Dynasty 12, late. Date: ca. 1850-1640 B.C..

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alb3616556

Ostrakon. Culture: Coptic. Dimensions: 9 7/16 x 7 11/16 in. (24 x 19.5 cm). Date: 7th century.

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alb3661602

Inlay in the form of the Horus falcon. Dimensions: H. 16 cm (6 5/16 in.); W. 1.2 cm (1/2 in.); L. 15.5 cm (6 1/8 in.). Date: 4th century B.C.. This inlay represents the falcon god Horus. As a god closely associated with kingship, the Horus hieroglyph appears prominently in the king's titularies, and may also - as it does in Dynasty 30 - appear in the king's particular names.

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alb3678522

Quail chick amulet. Dimensions: H. 1.6 cm (5/8 in.); W. 1 cm (3/8 in.); D. 0.5 cm (3/16 in.). Dynasty: Dynasty 12-17. Date: ca. 1981-1550 B.C..

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alb3622083

Large Kneeling Statue of Hatshepsut. Dimensions: H. 295.9 cm (116 1/2 in); w. 82.6 cm (32 1/2 in); d. 149.9 cm (59 in). Dynasty: Dynasty 18. Reign: Joint reign of Hatshepsut and Thutmose III. Date: ca. 1479-1458 B.C.. This over life-size kneeling statue and two others in the collection (29.3.1 and 30.3.1) were made to flank the processional pathway along the axis of Hatshepsut's temple at Deir el-Bahri. They depict Hatshepsut as the ideal Egyptian king - a young man in the prime of life. Each statue has an inscription that includes her personal name, Hatshepsut (literally foremost of noblewomen) and/or a feminine pronoun or verb form, so the masculine garb and physique were not intended to trick people into thinking that she was a man. Although traditionally the Egyptian throne passed from father to son, when the necessity arose, a female ruler was accepted. However, the trappings and symbolism associated with kingship were overwhelmingly masculine and the sculptors of this statue were following a tradition that extended back more than fifteen hundred years. In this tradition, the public image of the king, whether he was an infant, a frail old man or, in this case, a woman, was shown in the most powerful and imposing form - a young, vigorous man, or a human-headed lion-bodied sphinx (31.3.166). In this statue, Hatshesut wears the nemes-headcloth, false beard, and shendyt-kilt that are part of the standard regalia of the king.

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alb3631113

Sarcophagus of Harkhebit. Dimensions: H. 256.5 (101 in); w. 127 (50 in) at shoulders; th. (of lid and base together) 132.1 cm (52 in). Dynasty: Dynasty 26. Date: 595-526 BC. Horkhebit was a "Royal Seal Bearer, Sole Companion, Chief Priest of the Shrines of Upper and Lower Egypt, and Overseer of the Cabinet" in early Dynasty 26. His tomb was a great shaft over sixty feet deep sunk into the desert and solid limestone bedrock in the Late Period cemetery that covers most of the area east of the Djoser complex at Saqqara. In a huge plain chamber at the bottom of the shaft, a rectangular rock core was left standing and hollowed out to house this anthropoid sarcophagus. When the tomb was excavated by the Egyptian government in 1902, the sarcophagus contained the remains of a badly decomposed gilded cedar coffin, and a mummy that wore a mask of gilded silver, gold finger and toe stalls, and numerous small amulets. Other canopic and shabti equipment accompanied the burial. The finds went to the Egyptian Museum, Cairo, while this sarcophagus was purchased from the Egyptian government by the Metropolitan Museum. The sarcophagus is one of a group with plump, squarish broad faces, smooth unarticulated bodies, and slightly protruding feet that originate in the Memphite area and date, when their dates can be closely ascertained, to the time from the reign of Psamtik II (ca. 595-589 B.C.) through the reign of Amasis (570-526 BC). Several of them may have been produced by the same workshop; this one bears a strong resemblance to one in Leiden datable by his name to the reign of Amasis. Technically the sarcophagus is one of the masterpieces of late Egyptian hard-stone carving. The interiors of the extraordinarily rendered sunk-relief hieroglyphs and figures were left rough and may have been intended to be painted, perhaps in green. The long text on the lid comes from the Book of the Dead.

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alb3623953

Writing board. Dimensions: L. 43 cm (16 15/16 in); w. 19 cm (7 1/2 in). Dynasty: Dynasty 12. Date: ca. 1981-1802 B.C.. Gessoed boards were used for writing notes or school exercises. Like the slate writing tablets of yesteryear, they could be used repeatedly, with old texts being whitewashed to provide a "clean slate" for another. This board still bears traces of earlier writing (at left). The main text is a wordy model letter that the student copied--and surely also was expected to memorize. His many spelling mistakes have been corrected in red ink by the teacher.

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alb3633818

Horus falcon figure. Dimensions: H. 8.2 cm (3 1/4 in.); W. 2.5 cm (1 in.); L. 6.3 cm (2 1/2 in.). Date: 664-30 B.C.. The falcon god Horus stands with his wings swept back. He wears the double crown of Egypt, a royal crown that symbolizes the union of Lower and Upper Egypt, and highlights Horus' role as the legitimate ruler of the entire land. The falcon wears the double crown because Horus and the concept of kingship were closely tied, as early as the Predynastic Period. The falcon stands on a rectangular platform, which could have functioned in a number of ways. The figure could have been attached to a separate cupreous metal or wooden base, or it could have topped a standard modeled after those used in festival processions and on sacred barks. The falcon also could have sat on top of a hollow box intended for holding an animal mummy, like 41.160.107. Such falcon mummy boxes, or sarcophagi, would have been offered for deposition in animal necropoleis, not just in relation to the cult of Horus, but also more broadly in association with solar cult.

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alb3682243

Osiris figure for Gautsoshen. Dimensions: H. 46.5 cm. Dynasty: Dynasty 21. Date: ca. 1000-945 B.C.. This Osiride figure was carved from sycomore-fig wood, then inserted into a coniferous wood base. A cylindrical chamber was created by sawing horizontally across the middle of the back, and then vertically from the feet to the cross-cut, with each part then hollowed out. The facial features are relatively well carved, and special attention was given to the god's crown--the two side feathers (representing ostrich plumes) were made of separate pieces of wood, and the uraeus (rearing cobra on the brow) was is crowned with a horned sun disk, more usually associated with Isis or Hathor. Gautsoshen's Book of the Dead was put into the interior chamber through a hole in the base, which was plugged up afterwards.

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alb4129084

ANCIENT EGYPTIAN. Model of a River Boat. Egyptian. Date: 2046 BC-1794 BC. Dimensions: 63.5 × 114.3 × 17.1 cm (25 × 45 × 6 3/4 in.). Wood and pigment. Origin: Egypt.

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alb3621134

Hoop Earring. Dimensions: H. 4.7 cm (1 7/8 in.); W. 5.1 cm (2 in.); Th. 0.4 cm (1/8 in.). Dynasty: Dynasty 15. Date: ca. 1648-1540 B.C..

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alb4129083

ANCIENT EGYPTIAN. Statue of Ptah-Sokar-Osiris. Egyptian. Date: 305 BC-30 BC. Dimensions: 62.9 × 12.7 × 27.3 cm (24 3/4 × 5 × 10 3/4 in.). Wood, preparation layer, pigment, gold, and textile. Origin: Egypt.

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alb3629925

Horus standing on two captives' heads. Dimensions: H. 4.1 × W. 0.7 × D. 1.5 cm (1 5/8 × 1/4 × 9/16 in.). Date: 664-30 B.C.. The small, finely detailed amulets 10.130.2439-.2445 are all made of wood. Wooden amulets are often gilded, but the only remaining gilding is on the goddess's sun disk (10.130.2443)..

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alb3620630

Ostrakon. Culture: Coptic. Dimensions: Overall: 2 3/8 x 4 1/8 x 3/8 in. (6.1 x 10.4 x 0.9 cm). Date: 4th-7th century.

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alb3608689

Ptah. Dimensions: H. 8 cm (3 1/8 in.); W. 2.5 cm (1 in.); D. 2 cm (13/16 in.) H. (with tang): 9.1 cm (3 9/16 in.). Date: 664-30 B.C.. This statuette depicts Ptah, the chief god of Egypt's capital city Memphis and master craftsman of the gods. He is easy to identify by his tight-fitting cap, straight beard (different from the usual curved divine beard on other gods), and enveloping mummiform garment. The garment has a stiff upper edge along the back of the neck, a feature that occurs with some regularity also on Osiris statuettes, but its meaning is unclear. The garment shows little definition of Ptah's body, but his hands emerge from long vertical slits in the cloak, which are visible on the chest. He also wears a broad collar with a counterpoise and he carries a scepter. Ptah was a benevolent and approachable god, characteristics that may have inspired his devotees to dedicate numerous representations of him in the Late and Ptolemaic Periods.

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alb366074

CLAUDETTE COLBERT in CLEOPATRA, 1934, unter der Regie von CECIL B DEMILLE. Copyright PARAMOUNT PICTURES.

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alb3605661

Tomb Chapel of Raemkai: North Wall. Dynasty: Dynasty 5. Date: ca. 2446-2389 B.C.. THE NORTH WALL In a tomb chamber like this one, which is entered from the north side of the east wall, the east and north walls are closest to the entrance and thus to life on earth. The following scenes are presented on the north wall: outdoor life with herds, fish preparation, baking and brewing, and offering bearers directed toward the niche in the lower part of the wall. The Life of the Herd The feet of men and animals are still visible in the uppermost preserved register. Scattered bushy plants indicate that this scene takes place on the steppe. Enough remains to reconstruct a bull copulating with a cow on the right, while on the left the birth of a calf is assisted by a kneeling herdsman. To his right, an overseer leans on a staff (although in an unusual detail, the staff itself is missing). The ancient Egyptians were extremely successful cattle breeders, and the frequent depictions of herds in tombs testify to their strong belief in nature's ability to continually renew itself. Baking The bakery activities on the right are represented somewhat out of sequence, probably because of lack of space. The narrative starts with the two female millers (inscriptions: grinding) in the third preserved row. They are kneeling and bend forward, the typical pose of ancient Egyptian millers, who ground grain on hard millstones. Above them are two other women who refine the flour before turning it over to the bakers. The inscription above the woman on the right says "cleaning," and she appears to be tossing the plate in her hands so that the flour is flung into the air, an activity that may help remove the last remaining husks. Her companion to the left sifts the flour (inscription: sieving). The two bakers at the far left of this register knead dough on a low table. The loaves are then baked in the oval molds that the man below them heats on a small fire. He stokes the flames with two sticks. Brewing The brewery scene begins in the bottom right register, with a woman heating conical bread molds. She shields her face from the heat of the flames. Behind her, a man bends over a large vat in which he prepares the dough that is then transferred into the heated molds, a row of which is standing ready above. Finally, the brewer seen left of center presses the baked loaves through a sieve into another vat. Facing him is a squatting man, who prepares the jars that will eventually hold the fermented beer. The Preparation of Fish On the left side of the second preserved register from the top, a man with the slight hump of an elderly laborer sits on a woven mat under a papyrus bush. He is gutting and cleaning a great number of fish, brought to him by two men who carry a huge basket on a pole over their shoulders.

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alb3637817

Astronomical Ceiling, Tomb of Senenmut. Artist: Charles K. Wilkinson. Dimensions: Facsimile: H. 73 × W. 56.5 cm (28 3/4 × 22 1/4 in.); scale approximately 1:5; Framed: H. 74.3 × W. 58.1 cm (29 1/4 × 22 7/8 in.). Dynasty: Dynasty 18. Reign: Joint reign of Hatshepsut and Thutmose III. Date: ca. 1479-1458 B.C.. This facsimile painting copies the astronomical ceiling decoration in the tomb of Senenmut (TT 353) at Thebes. Senenmut (48.149.7) was a high official in the court of Hatshepsut (29.3.2), Egypt's most successful female pharaoh.

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alb3679245

Falcon-headed crocodile, possibly Soknopaios. Dimensions: L. 5 × W. 1.5 × H. 2.1 cm (1 15/16 × 9/16 × 13/16 in.). Date: 1st century BC-1st century AD. The falcon-headed crocodile suggests the combination of the powers of two great deities, Sobek who takes crocodile form and Re who has a falcon head. However, the identification of this small image may be more specific. An important creator god Soknopaios - whose Egyptian name meant Sobek of Dimeh in the Fayum - was recognized by Ptolemaic times. A temple for this god with Isis was founded in Dimeh (ancient Soknopaios Nesos) apparently about 250 BC, and remained in use for centuries. The god was represented as a falcon-headed crocodile here and elsewhere in the Fayum. It has been suggested that the falcon head of Soknopaios alludes to association with the goddess Isis's son Horus. This small image suggests the vigor of the animal stretching his neck upward and the mottled stone emphsizes his powerful body. In contrast is the serene blue of the watery environment studded with colorful plants.

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alb3600450

Sardonyx cameo portrait of the Emperor Augustus. Culture: Roman. Dimensions: 1 7/16 × 1 1/8 × 5/16 in. (3.7 × 2.9 × 0.8 cm). Date: ca. A.D. 41-54. The cameo depicts Augustus as a triumphant demigod wearing the aegis, a cape usually associated with Jupiter and Minerva. Here, it is decorated with the head of a wind god, perhaps intended as a personification of the summer winds that brought the corn fleet from Egypt to Rome and so an oblique reference to Augustus's annexation of Egypt after the defeat of Mark Antony and Cleopatra at Actium in 31 B.C.

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alb3673947

Scarab of the Chamberlain to the Treasurer Kheperka. Dimensions: L. 2.1 cm (13/16 in.); W. 1.5 cm (9/16 in.); H. 0.9 cm (3/8 in.). Dynasty: Dynasty 13. Date: ca. 1750-1700 B.C.. Scarabs bearing the names of nonroyal individuals first appeared in the later Twelfth Dynasty, concurrent with other significant cultural and political developments. Thereafter scarabs were mass produced, primarily as amulets, though they often also functioned as administrative seals. Scarab beetles lay their eggs in round balls of dung from which their young emerge, actions that the ancient Egyptians equated with the sun god and rebirth, appropriate symbolism for amulets that were often placed in tombs.

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alb352396

View of the two temples at Abu Simbel, Egypt. engraved by Augustine Aglio, 1822.

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alb3672087

The Mother and Wife of Userhat, Tomb of Userhat. Artist: Unknown Copyist. Dimensions: facsimile: H. 49 × W. 26.5 cm (19 5/16 × 10 7/16 in.) scale 1:2 framed: 50.5 × 27 cm (19 7/8 × 10 5/8 in.). Dynasty: Dynasty 19. Reign: reign of Seti I. Date: ca. 1294-1279 B.C..

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alb3654539

Bag of Natron from Tutankhamun's Embalming Cache. Dimensions: L. 8.5 cm (3 3/8 in.); W. 6.6 cm (2 5/8 in.); H. 3.6 cm (1 7/16 in.). Dynasty: Dynasty 18. Reign: reign of Tutankhamun. Date: ca. 1336-1327 B.C.. In December 1907 Theodore M. Davis, a wealthy American who was funding excavations in the Valley of the Kings, discovered a small pit near the tomb of Seti I. Inside the pit were approximately a dozen large sealed whitewashed storage jars (09.184.1). Among other things, the jars contained bags of natron (a kind of salt), pieces of linen with hieratic inscriptions dated to Years 6 and 8 of a king named Tutankhamun (throne name Nebkheperure). At the time, almost nothing was know about Tutankhamun, and Davis declared that he had discovered the king's tomb. Davis received a number of the jars and their contents in the division of finds and, in 1909, he gave most of his share to the Metropolitan Museum. It was only later that Herbert Winlock, the field director of the Museum's excavations at Thebes, realized that the natron and linen were embalming refuse from the mummification of Tutankhamun. Natron, a naturally occurring salt found in the Wadi el-Natrun which is located in the desert west of the Nile Delta. It was used as a dessicant in the mummification process. Tubular bags (1988.437.1) and small sacks (1988.437.2) of unused natron were found in the storage jars from Tutankhamun's embalming cache.

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alb3651523

Portrait of the Boy Eutyches. Dimensions: h. 38 cm (14 15/16 in); w. 19 cm (7 1/2 in). Date: A.D. 100-150. The young teenage boy in this remarkably lifelike portrait looks calmly at the viewer, his head in three-quarter view. He is dressed in a white Roman tunic with a narrow purple clavus (a vertical stripe) over the right shoulder. A mantle is draped over the left shoulder. The boy wears his dark brown hair short, with locks brushed to both sides of the forehead. The inscription in dark purple pigment below the neckline of the tunic is in Greek, which was the common language of the eastern Mediterranean at the time. Scholars do not completely agree on the inscription's translation. The boy's name ("Eutyches, freedman of Kasanios") seems indisputable; then follows either "son of Herakleides Evandros" or "Herakleides, son of Evandros." It is also unclear whether the "I signed" at the end of the inscription refers to the painter of the portrait or to the manumission (act of freeing a slave) that would have been witnessed by Herakleides or Evandros. An artist's signature would be unique in mummy portraits. Paintings of this type, often called Faiyum portraits (though not all of them come from the Faiyum oasis), are typical products of the multicultural, multiethnic society of Roman Egypt. Most of them are painted in the elaborate encaustic technique, in which pigments were mixed with hot or cold beeswax and other ingredients, such as egg, resin, and linseed oil. This versatile medium allowed artists to create images that in many ways are akin to oil paintings. The boy's head, for instance, stands out from the light olive-colored background, creating an impression of real depth. His face is modeled with flowing brushstrokes and a subtle blend of light and dark colors. Shadows on the left side of the face, neck, and garment and bright shiny spots on the forehead and below the right eye indicate a strong source of light on the boy's right. Most arresting are the dark brown eyes with black pupils reflecting the light with bright spots. This manner of painting, which is very different from the traditional Egyptian style but was well known in Graeco-Roman Egypt, originated in Classical Greece in the fifth and fourth centuries B.C.E. Although the painting techique on Faiyum portrait panels is Greek, their use is entirely Egyptian. When a person died, the portrait panel was placed over the face of the mummy with parts of the outermost wrapping holding it in place. This implies Egyptian beliefs about the afterlife. After having been ruled for three hundred years by a Greek (Macedonian) dynasty and a century or more by Roman administrators, Roman Egypt was an extremely diverse civilization. The population consisted of Roman citizens and citizens of Greek cities such as Alexandria (both of these groups made up of peoples of many different ethnicities) and native Egyptians. The subjects of the mummy portraits clearly were dressed and coiffed like Romans, and many of them bore Greek names or names that were Greek versions of Egyptian names. However, they and their families found consolation in the ancient Egyptian beliefs about the afterlife.

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alb3608715

Wedjat Eye Amulet. Dimensions: L. 6.5 cm (2 9/16 in.). Date: ca. 1070-664 B.C.. Wedjat eye amulets were among the most poular amulets of ancient Egypt. The wedjat eye represents the healed eye of the god Horus and embodies healing power as well as regeneration and protection in general. This eye here is an intriguing combination of the regular wedjat eye with a wing, two uraei, and a lion. This combination alludes to various ancient Egyptian stories that involve the eye of the sungod Re.

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alb3897511

FRANCIS FRITH. The Pyramids of Dahshoor, From the East. Date/Period: 1857. Print. Albumen silver. Height: 376 mm (14.80 in); Width: 484 mm (19.05 in).

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alb3656877

Sacred animal mummy containing dog bones. Dimensions: H. 28 cm (11 in.); W. 6.5 cm (2 9/16 in.); D. 10 cm (3 15/16 in.). Date: ca. 400 B.C.-100 A.D.. Animal cults The Egyptians considered certain individual animals to be living manifestations of a god, such as, since earliest times, the Apis bull . Those individuals were duly mummifed when they died and buried for eternal life, then replaced by another single living manifestation. During the first millennium BC, many multiples of animals associated with certain gods were specially raised in temple precincts as simultaneous avatars of that god and then mummified in large contingents and deposited in catacombs for eternal life. The ancient perception of these multiples, the evolution of the practice in this direction, and variations within the practice are not easily accessible to us. But the hundreds of thousands of often elaborately prepared animal mummies found in catacombs and other locales testify to its ancient resonance. Animal mummies Research on animal mummies has shown that the majority of mummies found at the large animal cemetery sites are pre-adults who were purposely killed for use. Some of the mummies are actually 'substitute' mummies containing only a few bones or feathers or possibly just sticks or sand. Recently a review of the museum's animal mummies and their x-rays was conducted in consultation with an expert in their study, and brought to light a number of interesting points. In this particular case the wrappings have a checkerboard pattern created with darker and lighter colored linens, and the head is wrapped and given outer details in linen representing the eyes, mouth, and ears of the animal. The body inside the wrappings is not complete, only a few rib bones can be seen. Long considered - with 13.182.49 - to be a cat, the bones are probably those of a dog. Many related dog mummies have been found in modern work at the site from which this one derives.

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alb3893055

GIOVANNI MARIA BOTTALA. Joseph sold by his brothers. Date/Period: Between 1636 and 1642. Painting. Oil on canvas. Height: 2,330 mm (91.73 in); Width: 3,250 mm (10.66 ft).

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alb3603953

Yuny and His Wife Renenutet. Dimensions: H. 84.5 cm (33 1/4 in); w. 54.5 cm (21 7/16 in); d. 73 cm (28 3/4 in). Dynasty: Dynasty 19. Reign: reign of Seti I. Date: ca. 1294-1279 B.C.. These figures represent Yuny seated next to his wife Renenutet. Yuny, who lived in the city of Asyut, was a chief royal scribe and holder of many other offices, perhaps including that of physician. Additional inscriptions on the base of the statue further elaborate Yuny's responsibilities. On the center fold of Yuny's pleated skirt is an inscription that reads: "May everything that comes forth upon the offering table of [the god] . . . and all pure food that comes forth from the Great Enclosure [the temple complex at Heliopolis] be for the chief scribe, royal scribe of letters, Yuny, justified." Renenutet affectionately places her right arm around her husband's shoulders. On the back of the statue she is described as a singer of Amun-Re. In her left hand, she holds by its metal counterweight a heavy bead necklace called a menat. Menat necklaces were ritual implements that were held in the hands and shaken like cymbals, especially in the service of the goddess Hathor, but also when entering the presence of other deities.. Appropriate to their high secular and religious positions, Yuny and Renenutet wear the elaborate wigs and fine linen attire fashionable in their time. Renenutet is adorned with a lotus fillet and a necklace called a broad collar. The beads are in the shape of nefer hieroglyphs (meaning "good" or "beautiful"), offering vases, and floral petals. Traces of black remain on the wigs. The couple sit together on a bench with elegantly carved lion-paw feet. On the back of the chair in both sunken and raised relief are two scenes illustrating the ancient Egyptian ideal of affection and remembrance among family generations. In the upper register, Yuny and Renenutet receive offerings from their son; in the lower, Renenutet offers food and drink to her parents. Another statue depicting Yuny by himself is on display in gallery 130.

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alb2069626

ORAZIO GENTILESCHI. Orazio Lomi de Gentileschi / 'Moses saved from the waters', 1633, Italian School, Oil on canvas, 242 cm x 281 cm, P00147.

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alb3618889

Brickmakers, Tomb of Rekhmire. Artist: Nina de Garis Davies (1881-1965). Dimensions: facsimile: h. 48 cm (18 7/8 in); w. 68.5 cm (26 15/16 in) scale 1:1 framed: h. 51,4 cm (20 1/4 in); w. 72.4 cm (28 1/2 in). Dynasty: Dynasty 18. Reign: reign of Thutmose III-early Amenhotep II. Date: ca. 1479-1425 B.C..

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alb333338

Statue of Pharaoh Micerinus alabaster found near Giza 4th dynasty.

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alb3674503

Hippopotamus ("William"). Dimensions: L. 20 cm (7 7/8 in.); W. 7.5 cm (2 15/16 in.); H. 11.2 cm (4 7/16 in.). Dynasty: Dynasty 12. Reign: Senwosret I to Senwosret II. Date: ca. 1961-1878 B.C.. This well-formed statuette of a hippopotamus (popularly called "William") demonstrates the Egyptian artist's appreciation for the natural world. It was molded in faience, a ceramic material made of ground quartz. Beneath the blue glaze, the body was painted with the outlines of river plants, symbolizing the marshes in which the animal lived. The seemingly benign appearance that this figurine presents is deceptive. To the ancient Egyptians, the hippopotamus was one of the most dangerous animals in their world. The huge creatures were a hazard for small fishing boats and other rivercraft. The beast might also be encountered on the waterways in the journey to the afterlife. As such, the hippopotamus was a force of nature that needed to be propitiated and controlled, both in this life and the next. This example was one of a pair found in a shaft associated with the tomb chapel of the steward Senbi II at Meir, an Upper Egyptian site about thirty miles south of modern Asyut. Three of its legs have been restored because they were probably purposely broken to prevent the creature from harming the deceased. The hippo was part of Senbi's burial equipment, which included a canopic box (also in the Metropolitan Museum), a coffin, and numerous models of boats and food production. The hippo's modern nickname first appeared in 1931 in a story that was published in the British humor magazine Punch. It reports about a family that consults a color print of the Met's hippo--which it calls "William"--as an oracle.

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alb2070052

CLAUDE LORRAIN. Claudio de Lorena / 'Moses saved from the waters of the Nile', 1639-1640, French School, Oil on canvas, 209 cm x 138 cm, P02253.

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alb3893428

BRONZINO. The falling of the Manna. Date/Period: 1540 - 1545. Painting. Fresco. Height: 300 mm (11.81 in); Width: 175 mm (6.88 in).

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alb3669151

Burial chamber of Sobekmose. Dimensions: Dimensions of room: l. 315 cm (124 in); w. 219 cm. (86 1/4in); h. 222 cm. (87 3/8 in). Dynasty: Dynasty 18. Reign: reign of Amenhotep III. Date: ca. 1417-1379 B.C.. The burial chamber of Sobekmose, a treasury official under Amenhotpe III, is from el-Rizeiqat in Upper Egypt. Decorated burial chambers were not common in private tombs of Dynasty 18, and the scenes and texts usually distributed among several rooms in contemporary tombs are condensed here into a single chamber. The ceiling blocks, south wall, and partially preserved east entrance wall are the parts of the sandstone lining of the tomb installed here. The ceiling's inscriptions include a prayer to the sky goddess, Nut, recitations by Isis and Nut, and standard formulae claiming that "the Osiris [the overseer of the House of Silver] Sobekmose" is "honored by" the Four Sons of Horus and various gods. The east entrance wall as reconstructed is decorated with protective texts and guardian figures of Anubis on the lintel, and scenes of ritual ablution are depicted on the door jambs. The long south wall shows a priest burning incense and pouring a libation, and the rest of the wall is taken up by seven prayers to numerous deities. The north and west walls, now in the Museum of Fine Arts in Boston (MFA 54.648), depict Sobekmose's funeral procession and his presentation to the gods of the underworld-Osiris and Anubis. The texts include selections from Spells 1, 15, 125, 130, and 151 of the Book of the Dead, and Utterance 32 of the Pyramid Texts.

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alb3636195

Twenty-sided die (icosahedron) with faces inscribed with Greek letters. Dimensions: Height: 3.2 x L: 3.8 x W: 3.4 cm (1 1/4 x 1 1/2 x 1 5/16 in.). Date: 2nd century B.C.-4th century A.D.. A number of polyhedral dice made in various materials have survived from the Hellenistic and Roman periods, usually from ancient Egypt when known. Several are in the Egyptian or Greek and Roman collections at the Museum. The icosahedron - 20-sided polyhedron - is frequent. Most often each face of the die is inscribed with a number in Greek and/or Latin up to the number of faces on the polyhedron. Nothing specific about the use of these polyhedra is preserved, so theories are built on clues provided by some variant examples. One unusual example uses Greek words, a few of which resemble those associated with throws of the astragals (knucklebones), and this has led to suggestions they were used for games. Another remarkable example discovered in Dakhleh Oasis in Egypt in the 1980s records an Egyptian god's name in Demotic (the Egyptian script of these late periods) on each face. Divination - seeking advice about the unknown from the supernatural - seems to be the most likely purpose for the Dakhleh die: the polyhedron might have been thrown in order to determine a god who might assist the practitioner. Indeed, even the dice with simple letters might relate to divination: a Greek oracle book composed in in the 2nd or 3rd century AD refers to throwing lots to obtain a number that would, through certain algorithms, lead to ready-prepared oracle questions and responses.

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alb3621460

Menat necklace from Malqata. Dimensions: L. of counterpoise 14.7 cm (5 13/16 in.). Dynasty: Dynasty 18. Reign: reign of Amenhotep III. Date: ca. 1390-1353 B.C.. A menat necklace consists of a heavy, keyhole-shaped counterpoise (menat) and many strands of beads. Although the necklace is sometimes shown being worn (fig. 2 above), it was more often carried by females participating in religious ceremonies. It functioned as a percussion instrument that was shaken to create a soothing noise that was thought to appease a god or goddess. In the New Kingdom the menat necklace and sistrum (68.44) were attributes of women who held the title "Singer of Amun-Re" such as Renenutet, who is depicted holding her menat on her lap in a statue. In the early 20th century, the Museum conducted excavations at Malqata, a site at the southern end of the Theban necropolis where Amenhotep III had built a festival city for the celebration of his three jubilees (or heb seds). This miraculously preserved menat necklace and two single-strand necklaces of beads and amulets were found in the corner of a room in a private house near the King's Palace. According to the excavators, the three necklaces had been placed in a linen bag, traces of which were still visible.

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alb3899217

GIOVANNI BATTISTA TIEPOLO. The Banquet of Cleopatra. Date/Period: From 1743 until 1744. Painting. Oil on canvas. Height: 2,503 mm (98.54 in); Width: 3,570 mm (11.71 ft).

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alb3671382

Seated Statue of Hatshepsut. Dimensions: H. 195 cm (76 3/4 in.); W. 49 cm (19 5/16 in.); D. 114 cm (44 7/8 in.). Dynasty: Dynasty 18. Reign: Joint reign of Hatshepsut and Thutmose III. Date: ca. 1479-1458 B.C.. Hatshepsut, the most successful of several female rulers of ancient Egypt, declared herself king sometime between years 2 and 7 of the reign of her stepson and nephew, Thutmose III. She adopted the full titulary of a pharaoh, including the throne name Maatkare, which is the name most frequently found on her monuments. Her throne name and her personal name, Hatshepsut, are both written inside oval cartouches making them easy to recognize. In this life-size statue, Hatshepsut is shown wearing the nemes-headcloth and the shendyt-kilt. These are part of the ceremonial attire of the Egyptian king, which was traditionally a man's role. In spite of the masculine dress, the statue has a distinctly feminine air, unlike most representations of Hatshepsut as ruler (see, for example, three over life-size statues that represent her seated (27.3.163), kneeling (30.3.1), and standing (28.3.18)). The kingly titles on the sides of the throne are feminized to read "the Perfect Goddess, Lady of the Two Lands" and "Bodily Daughter of Re," a practice that was dropped later in her reign. Traces of blue pigment are visible in some of the hieroglyphs on the front of the statue and a small fragment on the back of the head (see attached photograph) shows that the pleats of the nemes-headcloth were originally painted with alternating blue and yellow pigments.

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alb3622687

The King with Anubis, Tomb of Haremhab. Artist: Lancelot Crane. Dimensions: Facsimile H. 63 cm (24 13/16 in); w. 35.5 cm (14 in) Scale unknown Framed H. 65.4 cm (25 3/4 in); w. 38.7 cm (15 1/4 in). Dynasty: Dynasty 18. Reign: reign of Haremhab. Date: ca. 1323-1295 B.C..

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alb3671290

The Memnonium or Rameseiom, Thebes. Artist: Robert Murray (British, Edinburgh 1822-1893 Plymouth). Dimensions: Image: 6 7/8 in. × 9 in. (17.5 × 22.9 cm) Mount: 12 in. × 15 3/8 in. (30.5 × 39.1 cm). Publisher: J. Hogarth. Date: 1852-55, printed 1854-56.

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alb3903558

LOUIS GAUFFIER. Cleopatra and Octavian. Date/Period: 1787. Painting. Oil on canvas. Height: 838 mm (32.99 in); Width: 1,125 mm (44.29 in).

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alb4229012

'Statuette of an Ethiopian King'. Ancient Egypt, 8th century BC. Late Period, XXVth Dynasty. Dimensions: 8,5 cm.

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alb3618312

Blue-Painted Ibex Amphora from Malqata. Dimensions: H. 39.5 cm (15 9/16 in); diam. 21 cm (8 1/4 in). Dynasty: Dynasty 18. Reign: reign of Amenhotep III. Date: ca. 1390-1353 B.C.. This remarkable vase was found during the Museum's excavations of the palace of Amenhotep III at Malqata in western Thebes. The head of the ibex had broken off, but was found nearby. Like much of the pottery at Malqata, this amphora was made of a red clay covered with a cream colored slip and decorated with blue, red, and black paint. For more blue-painted ware from this site, see 11.215.461-.469, .471-.473, .477, .489.

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alb3637852

Thebes Rhamseion. Artist: Joseph-Philibert Girault de Prangey (French, 1804-1892). Dimensions: Image: 7 1/2 × 9 7/16 in. (19 × 24 cm). Date: 1844.

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alb1273699

Arte Egipicio. Ushebtis funerarios para sustituir al difunto en labores agricolas tras morir.

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alb2068812

Paolo Veronese / 'Moses saved from the waters', ca. 1580, Italian School, Oil on canvas, 57 cm x 43 cm, P00502.

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alb330980

Colossal statue of Pharaoh Rameses II and Queen Nefertari in 1st courtyard at Temple of Karnak, Luxor , XIXth dinasty.

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alb330979

Relief of Pharaoh Rameses III (1193-1164 b.c.) making offering to sun god Ra or Re and goddess Hathor.

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alb3655826

Statue of two men and a boy that served as a domestic icon. Dimensions: h. 17 cm (6 11/16 in); w. 12.5 cm (4 15/16 in); D of base next to man 5.7 cm (2 1/4 in); D next to boy 4.8 cm (1 7/8 in). Dynasty: Dynasty 18. Reign: reign of Akhenaten. Date: ca. 1353-1336 B.C.. All of the individuals in this small group are males, represented according to the conventions of Amarna art. The intriguing group has been variously interpreted as a family comprising a grandfather, a father, and a son, or as one man at three different stages of life. The latter is most unlikely as the multiple representations of a single individual in one statue are not shown interacting as they do here. In fact careful examination of the faces and figures points to the statue's being a kind of domestic icon. The figure at left is a high-status individual and likely the oldest; he is probably a revered relative or the respected overlord of the man and boy who stand closely entwined with one another. The statuette would probably have received veneration in the household of its owner.

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alb3636781

Metal Working, Tomb of Rekhmire. Artist: Nina de Garis Davies (1881-1965). Dimensions: facsimile: h. 27.5 cm (10 13/16 in); w. 34.5 cm (13 9/16 in) scale 1:1 framed: h. 30.5 cm (12 in); w. 37.5 cm (14 3/4 in). Dynasty: Dynasty 18. Date: ca. 1504-1425 B.C..

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alb3672189

Casting Metal, Tomb of Rekhmire. Artist: Nina de Garis Davies (1881-1965). Dimensions: facsimile: h. 59 cm (23 1/4 in); w. 90.5 cm (35 5/8 in) Scale 1:1 framed: h. 24 3/8 in; w. 36 1/8 in. Dynasty: Dynasty 18. Reign: Reign of Thutmose III-Amenhotep II. Date: ca. 1479-1400 B.C..

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alb330978

Temple of Pharaoh RamesesII (1279-1213 b.c.), at Abu Simbel showing four great statues of him.

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alb4229338

'Sculpture of Cleopatra'. Ancient Egypt, 1rd century BC. Ptolemaic Dynasty. Dimensions: h. 104,7 cm.

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alb3734884

FÉLIX BONFILS. Momies Egyptiennes (Egyptian Mummies). Dated: c. 1870. Dimensions: overall: 27.8 x 21.8 cm (10 15/16 x 8 9/16 in.). Medium: albumen print from collodion negative.

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alb352394

The memmon colossi statue of Amenphis III, lithograph by David Roberts, 1838.

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alb3660359

Plate 7: The Pyramids in Egypt, from 'The Seven Wonders of The World'. Artist: Antonio Tempesta (Italian, Florence 1555-1630 Rome). Dimensions: Sheet (Trimmed): 8 7/8 × 11 1/4 in. (22.5 × 28.5 cm). Date: 1608.

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alb4129136

ANCIENT GREEK. Tetradrachm (Coin) Portraying King Ptolemy II and Queen Arsinoë II. Greco-Egyptian. Date: 285 BC-247 BC. Dimensions: Diam. 2.1 cm; 13.85 g. Gold. Origin: Egypt.

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alb3645974

FELIX TEYNARD. Dendérah (Tentyris), Temple d'Athôr - Face Postérieure - Cléopatre et Cæsarion. Artist: Félix Teynard (French, 1817-1892). Dimensions: 30.0 x 25.4 cm. (11 13/16 x 10 in.). Printer: Imprimerie Photographique de H. de Fonteny et Cie. Date: 1851-52, printed 1853-54.

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alb3600791

Purifying and Mourning the Dead, Tomb of Nebamun and Ipuky. Artist: Charles K. Wilkinson ca. 1930. Dimensions: Facsimile: H. 38.7 × W. 83.5 cm (15 1/4 × 32 7/8 in.), scale 1:1, Framed: H. 40.3 × W. 85 cm (15 7/8 × 33 7/16 in.). Dynasty: Dynasty 18. Reign: reign of Amenhotep III-Akhenaten. Date: ca. 1390-1349 B.C.. This facsimile painting copies part of a funeral scene in the tomb of Nebamun and Ipuky (TT 181) at Thebes. The scene depicts the funerals of the two men, who died at different times.

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alb347591

Enclosure wall of Amun with sacred area Karnak. Karnak, Luxor, Egypt.

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alb3652721

Wall tiles from the funerary apartments of king Djoser. Dimensions: H. 113 cm (44 1/2 in.); W. 73.7 cm (29 in.). Dynasty: Dynasty 3. Reign: reign of Djoser. Date: ca. 2630-2611 B.C.. Djoser was the first king of Dynasty 3 at the beginning of the Old Kingdom. His Step Pyramid and the surrounding mostly solid dummy structures are the earliest preserved stone buildings in Egypt. They represent an attempt to create an eternal royal residence of durable materials for the afterlife. Tiles mounted between sculpted limestone ledges decorated the walls of the galleries underneath Djoser's Step Pyramid and underneath a building in his complex called the Southern Tomb. The decoration was meant to imitate the reed matting that covered the walls of his palace.

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alb3636744

Facade of a House, Tomb of Djehutynefer. Artist: Charles K. Wilkinson. Dimensions: facsimile: H. 37.1 × W. 17.2 cm (14 5/8 × 6 3/4 in.); scale 1:1; framed: 38.7 × 19.1 cm (15 1/4 × 7 1/2 in.). Dynasty: Dynasty 18. Reign: mid-reign Thutmose III-mid-reign Amenhotep II. Date: ca. 1458-1410 B.C..

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alb3615318

The Piazza del Popolo (Veduta della Piazza del Popolo). Artist: Giovanni Battista Piranesi (Italian, Mogliano Veneto 1720-1778 Rome). Dimensions: image: 14 15/16 x 21 1/4 in. (38 x 54 cm). Series/Portfolio: Vedute di Roma. Date: ca. 1750. Until the construction of railways in Rome in the nineteenth century, visitors entered the city through the Piazza del Popolo. The area acquired its monumental profile under Pope Sixtus V, who oversaw the construction of twin churches opposite the gateway into the square and the placement of an Egyptian obelisk in the center. In Piranesi's view, the obelisk extends almost from top to bottom of the composition, dwarfing the spectators gesturing beneath it and the coaches that circulate nearby. Radiating into the distance are the three great avenues that lead - as Piranesi's caption reminds us - to three popular tourist destinations, the Piazza di Spagna, the Palazzo di Venezia, and the Porto di Ripetta.

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alb3790784

JOSE DE MADRAZO Y AGUDO, REAL ESTABLECIMIENTO LITOGRÁFICO DE MADRID und LUDWID THEODOR ZÖLLNER. Ludwid Theodor Zöllner (Lithographer) (After Reni, Guido); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'Cleopatra'. 1829 - 1832. Lithographic aquatint, Crayon lithography, Printing on japon, Scraper on wove paper.

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alb2069846

Guido Reni / 'Cleopatra', ca. 1640, Italian School, Oil on canvas, 110 cm x 94 cm, P00209.

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alb3677430

Lion head amulet. Dimensions: l. 2.6 cm (1 in.) × w. 2.1 cm (13/16 in.). Date: 664-30 B.C.. This lion head amulet exhibits changes in the representation of lions that appeared during the later first millennium BC. The forehead is smaller and the face drawn downward, and there is emphasis on the mane beneath the cheeks.

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alb4134082

ANCIENT EGYPTIAN. Panel. Coptic; Egypt. Date: 301 AD-600 AD. Dimensions: 24.2 × 23 cm (9 1/2 × 9 1/8 in.). Linen and wool, tapestry weave. Origin: Egypt.

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alb3638381

Funerary Figure of Duamutef. Dimensions: H. 42.8 × W. 11 × D. 27.4 cm (16 7/8 × 4 5/16 × 10 13/16 in.). Date: ca. 400-30 B.C.. This jackal-headed figure represents the god Duamutef, who protected the stomach. He is one of the four so-called sons of Horus that are often depicted as mummies, each with a different head (for the other three statuettes belonging to the same set, see 12.182.37b-d). The sons of Horus were deities who protected the internal organs and are probably best known from their representations on the lids of the canopic jars that contained mummified viscera. They were also thought to assist in the process of mummification and to provide nourishment, possibly because they were associated with the internal organs. Thus they had a general protective function for the deceased. In this particular statuette, note the jackal-headed god's fur peeking out from underneath his long human wig.

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alb3607964

Model Saddle Bag for a Donkey. Dimensions: l. 12 cm (4 3/4 in); w. 7 cm (2 3/4 in). Dynasty: Dynasty 11. Reign: reign of Mentuhotep II. Date: ca. 2051-2000 B.C..

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alb3652843

Model Sailboat. Dimensions: L. 145 cm (57 1/16 in.), with rudder 158 cm (62 3/16 in.); W. 28 cm (11 in.), with mast 81 cm (31 7/8 in.); H. 53.4 cm (21 in.), with mast 112 cm (44 1/8 in.). Dynasty: Dynasty 12. Reign: reign of Amenemhat I, early. Date: ca. 1981-1975 B.C.. The green color of the hull of this boat, its vertical prow, backward-curving stern and double steering oars imitate elements of vessels made from papyrus stalks. Even the lashings of the leather sheaths that covered prow and stern of such boats are rendered. Boats of this particular type appear in representations of the "pilgrimage to Abydos" that was part of the Egyptian funerary ritual from the Middle Kingdom onwards. The ritual character of this boat trip is clearly demonstrated by the fact that not the living Meketre but a statue sits under the baldaquin accompanied by a companion (possibly his son), while priests perform offering rituals in front of it. The basic idea of a trip to the major cult center of the god Osiris at Abydos, where the god's death and resurrection were celebrated, is however maintained by the presence of two boats: one that is rowed northward from Thebes to Abydos (20.3.5), and another (the present boat) that is just setting out on the back trip its (missing) sail being hoisted by the men in the center, while a single sailor pushes it off the embankment with a forked pole.

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alb3673853

Animal head carved in the round. Culture: Assyrian. Dimensions: 0.55 x 0.59 x 0.91 in. (1.4 x 1.5 x 2.31 cm). Date: ca. 8th-7th century B.C.. This carved ivory head was found in a storage room in Fort Shalmaneser, a royal building at Nimrud that was used to store booty and tribute collected by the Assyrians while on military campaign. It depicts an animal with a long, narrow snout, mouth open and tongue extended, and large eyes that would have been inlaid with materials in contrasting colors. A tenon at the back of the head would likely have been used to attach the head to the animal's body, perhaps carved out of another piece of ivory or a different material. Carved ivory pieces such as this were widely used in the production of elite furniture during the early first millennium B.C. They were often inlaid into a wooden frame using joinery techniques and glue, and could be overlaid with gold foil or inlaid to create a dazzling effect of gleaming surfaces and bright colors. The piece may have represented a dog, as the nose resembles that of a canine rather than the broader snout of a sheep or goat, and the deep-set eyes face forward rather than to the sides, indicating the animal was a hunter. Dogs rarely appear in the decoration of the carved ivory furniture and small luxury objects collected by the Assyrian kings. However, dogs are fairly common in the art of ancient Mesopotamia in other contexts, and are shown as a wide range of types, including thick-necked guard dogs wearing collars (see 1989.233 in the Metropolitan's collection), small dogs with curled tails associated with the healing goddess Gula, and hunting dogs resembling the modern saluki. This ivory head most closely resembles the latter. Built by the Assyrian king Ashurnasirpal II, the palaces and storerooms of Nimrud housed thousands of pieces of carved ivory. Most of the ivories served as furniture inlays or small precious objects such as boxes. While some of them were carved in the same style as the large Assyrian reliefs lining the walls of the Northwest Palace, the majority of the ivories display images and styles related to the arts of North Syria and the Phoenician city-states. Phoenician style ivories are distinguished by their use of imagery related to Egyptian art, such as sphinxes and figures wearing pharaonic crowns, and the use of elaborate carving techniques such as openwork and colored glass inlay. North Syrian style ivories tend to depict stockier figures in more dynamic compositions, carved as solid plaques with fewer added decorative elements. However, some pieces do not fit easily into any of these three styles. Most of the ivories were probably collected by the Assyrian kings as tribute from vassal states, and as booty from conquered enemies, while some may have been manufactured in workshops at Nimrud. The ivory tusks that provided the raw material for these objects were almost certainly from African elephants, imported from lands south of Egypt, although elephants did inhabit several river valleys in Syria until they were hunted to extinction by the end of the eighth century B.C.

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alb3664521

Ostrakon with Acrostic Hymn of the Passion. Culture: Coptic. Dimensions: Overall (a only): 14 1/8 x 7 7/8 x 3 7/16 in. (35.9 x 20 x 8.7 cm) Overall (b only): 4 x 3 1/8 x 3/8 in. (10.2 x 8 x 1 cm). Date: 580-640.

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Auswahl: Antikes Ägypten

Antikes Ägypten

Entdecken Sie Bilder des alten Ägypten im Album