The Great London:
Egypt

The British Museum is to stage a major exhibition on two lost Egyptian cities and their recent rediscovery by archaeologists beneath the Mediterranean seabed. Opening in May 2016 for an extended run of six months, The BP exhibition Sunken cities: Egypt’s lost worlds will be the Museum’s first large-scale exhibition of underwater discoveries. It will show how the exploration of Thonis-Heracleion and Canopus – submerged at the mouth of the River Nile for over a thousand years – is transforming our understanding of the relationship between ancient Egypt and the Greek world and the great importance of these ancient cities.

300 outstanding objects will be brought together for the exhibition including more than 200 spectacular finds excavated off the coast of Egypt near Alexandria between 1996 and 2012. Important loans from Egyptian museums rarely seen before outside Egypt (and the first such loans since the Egyptian revolution) will be supplemented with objects from various sites across the Delta drawn from the British Museum’s collection; most notably from Naukratis – a sister harbour town to Thonis-Heracleion and the first Greek settlement in Egypt.

Likely founded during the 7th century BC, Thonis-Heracleion and Canopus were busy, cosmopolitan cities that once sat on adjacent islands at the edge of the fertile lands of the Egyptian Delta, intersected by canals. After Alexander the Great’s conquest of Egypt in 332BC, centuries of Greek (Ptolemaic) rule followed. The exhibition will reveal how cross-cultural exchange and religion flourished, particularly the worship of the Egyptian god of the afterlife, Osiris.

By the 8th century AD, the sea had reclaimed the cities and they lay hidden several metres beneath the seabed, their location and condition unclear. Although well-known from Egyptian decrees and Greek mythology and historians, past attempts to locate them were either fruitless or very partial. The exhibition will show how a pioneering European team led by Franck Goddio in collaboration with the Egyptian Ministry of Antiquities made use of the most up-to-date technologies to find them.

Thanks to the underwater setting, a vast number of objects of great archaeological significance have been astonishingly well preserved. Pristine monumental statues, fine metalware and gold jewellery will reveal how Greece and Egypt interacted in the late first millennium BC. These artefacts offer a new insight into the quality and unique character of the art of this period and show how the Greek kings and queens who ruled Egypt for 300 years adopted and adapted Egyptian beliefs and rituals to legitimise their reign.

The exhibition will feature a number of extraordinary, monumental sculptures. A 5.4m granite statue of Hapy, a divine personification of the Nile’s flood, will greet visitors as they enter the space. Masterpieces from Egyptian museums such as the Apis bull from the Serapeum in Alexandria will be shown alongside magnificent recent finds from the sea. One such piece is the stunning sculpture from Canopus representing Arsinoe II (the eldest daughter of Ptolemy I, founder of the Ptolemaic dynasty). The Graeco-Macedonian queen became a goddess beloved to both Egyptians and Greeks after her death and is depicted here as the perfect embodiment of Aphrodite, a goddess of beauty ‘who grants fortunate sailing’.

The exhibition will also cover the arrival of Greeks in Egypt, when they were hosts and not rulers; privileged but controlled by the pharaohs. A complete stela from Thonis-Heracleion advertises a 380BC royal decree of the Egyptian pharaoh Nectanebo I. It states that 10% of the taxes collected on all goods imported from the ‘Sea of the Greeks’ into Thonis-Heracleion and on all trade operations at Naukratis were to be donated to an Egyptian temple.

A wide range of objects, from modest to grand and costly, bears witness to the piety of both inhabitants and visitors at these major religious centres. Lead models of barges uncovered in the sacred waterway linking Thonis-Heracleion to Canopus are unique and moving finds. They are associated with the Mysteries of Osiris, the most popular festival celebrated annually across Egypt during the month of Khoiak (mid-October to mid-November). Ranging in size from 6 to 67cm, these reproduce in metal a flotilla of 34 papyrus barges that would have been displayed on a waterway to celebrate the first sacred navigation of the festival. According to religious texts, each barge was to measure 67.5 cm and to bear the figure of an Egyptian god, and would have been illuminated by 365 lamps. The lead barges are lasting testimonies possibly left by people who, long ago, celebrated this festival in the Canopic region.

Only a tiny proportion of these sites have revealed their secrets. The on-going underwater archaeological mission continues to bring to light new masterpieces and further research every year as the most recent finds from 2012 will show.

Sir Richard Lambert, Chairman of the British Museum, said, “It’s hugely exciting to be announcing the British Museum’s first large-scale exhibition of underwater discoveries and to be welcoming these important loans to London. We are grateful to BP for their ongoing support without which ambitious exhibitions such as these would simply not be possible. We’re also delighted to be working with Franck Goddio, his expert team at IEASM, the Hilti Foundation and of course our Egyptian colleagues to bring the extraordinary story of these lost cities to life.”

His Excellency Nasser Kamel, Ambassador of the Arab Republic of Egypt to the United Kingdom, said, "As well as looking for partners to invest in the Egyptian economy, Egypt is always searching for partners to help in exploring its heritage and treasures which are still hidden under its lands, and waters. This exhibition shows that despite what we know of its tremendous history and culture, Egypt still has a lot more to offer to?the world and we thank our partners in the UK, such as BP, for working with us in utilising our resources to develop our economy and through such an exhibition unraveling our history as well. I invite the people of Britain to visit this exhibition to get a glimpse of what Egypt has to offer, and come to Egypt to live that experience."

Bob Dudley, Group Chief Executive, BP, said, “BP is proud to support this fascinating exhibition which showcases the power of science and the pioneering spirit to discover what lies beneath the surface of the Nile Delta. By sharing these underwater treasures the British Museum is opening a whole new frontier for visitors to explore, and we are pleased to be a part of it.”

Franck Goddio, President of Institut Europeen d’Archeologie Sous-Marine (IEASM) and exhibition co-curator said “My team and I, as well as the Hilti Foundation, are delighted that the exhibition with discoveries from our underwater archaeological expeditions off the coast of Egypt will be on display at the British Museum. It enables us to share with the public the results of years of work at the sunken cities and our fascination for ancient worlds and civilisations. Placing our discoveries alongside selected masterpieces from the collections of Egyptian museums, complemented by important objects from the British Museum, the exhibition presents unique insights into a fascinating period in history during which Egyptians and Greeks encountered each other on the shores of the Mediterranean.”

Aurelia Masson-Berghoff, exhibition curator at the British Museum said “People sometimes assume that when two cultures mix, the essence of each is diluted and, as a result, weakened; this exhibition demonstrates the opposite. It is a rare opportunity to reveal the beauty and strength of Late Pharaonic art and culture, alongside the latest research on the momentous intermingling between Egyptian and Greek communities in Egypt at this time. We are illustrating this vibrant cosmopolitan world through Egyptian, Greek and ‘hybrid’ artworks, rarely ever displayed side by side. It shows ancient Egypt not as an isolated civilisation, but as the outward looking, influential and inclusive society that it was.”

Source: British Museum [February 14, 2016]

The Museo Civico Archeologico is hosting Egypt. Millennia of Splendour. Beneath the two towers, the splendour of a civilisation that lasted thousands of years and has always fascinated the entire world, has sprung back to life: the Egypt of the pyramids, pharaohs and multiform gods, but also that of sensational discoveries, captivating archaeology, passionate collecting and rigorous scholarship.

The exhibition ‘Egypt’, which is being held at the Museo Civico Archeologico in Bologna, is not just an exposition of high visual and scientific impact, but also an unprecedented international enterprise: the Egyptian collection of the National Museum of Antiquities in Leiden, Netherlands – among the top ten in the world – and that of the Bologna museum – among the most important in Italy for the quantity, quality and state of conservation of its collections – have been brought together in an exhibition space measuring around 1,700 metres, filled with art and history.

500 finds, dating from the Pre-Dynastic Period to the Roman Period, gave been brought from the Netherlands to the Bologna museum. And, together with the masterpieces from Leiden and Bologna, the exhibition also includes important loans from the Museo Egizio in Turin and the Museo Egizio in Florence, creating a network of the most important Italian museums.

For the first time, the masterpieces of the two collections are being displayed side by side, including the Stele of Aku (Twelfth–Thirteenth Dynasty, 1976–1648 BC), the ‘major domo of the divine offering’, with a prayer describing the otherworldly existence of the deceased in a tripartite world divided into sky, earth and the beyond; gold items attributed to General Djehuty, who led the Egyptian troops to victory in the Near East for the great conqueror Pharaoh Thutmose III (1479–1425 BC); the statues of Maya, superintendent of the royal treasury of Tutankhamen, and Merit, a chantress of the god Amun, (Eighteenth Dynasty, reigns of Tutankhamen and Horemheb, 1333–1292 BC), the most important masterpieces in the National Museum of Antiquities in Leiden have left the Netherlands for the first time for the Bologna exhibition; and, among the numerous objects attesting to the refined lifestyle of the most wealthy Egyptians, a Mirror Handle (1292 BC) in the shape of a young woman holding a small bird in her hand.

Lastly, for the first time 200 years after the discovery of his tomb in Saqqara, the exhibition offers the unique and once-in-a-lifetime opportunity to see the important Reliefs of Horemheb reunited: Horemheb was the head commander of the Egyptian army during the reign of Tutankhamen, then rising to become the final sovereign of the Eighteenth Dynasty, from 1319 to 1292 BC and the reliefs are divided between the collections in Leiden, Bologna and Florence.

Thousands of years of the history of a unique civilisation revealed in a major exhibition that brings together masterpieces from important world collections and tells of the pyramids and pharaohs, the great captains and priests, the gods and other divinities, and the people that made Egyptian history and that, thanks to discoveries, archaeology and collecting, never stop enchanting, revealing, intriguing, fascinating and charming generation after generation.

The Seven Exhibition Sections

The Pre-Dynastic and Archaic Periods – At the Origins of History: The transition from raw material to form, from the oral tradition to the written one and from prehistory to history was a fundamental moment for Egyptian civilisation. The Leiden collection is rich in materials documenting the central role played by nature during this long cultural and artistic evolution.

The exhibition opens with a selection of these objects, which are strikingly modern in style, including a vase from the Naqada IID Period (named for a site in Upper Egypt and datable between 3375 and 3325 BC) decorated with ostriches, hills and water motifs. The scene depicted on this vase takes us back to an Egypt characterised by a flourishing landscape later changed over time by climatic changes. Ostriches, here painted red, along with elephants, crocodiles, rhinoceros and other wild animals were common in the Nile region at the time.

The Old Kingdom – A Political/Religious Model Destined for Success and its Weaknesses: The historic period of the Old Kingdom (from the Third to the Sixth Dynasty, roughly between 2700 and 2192 BC) is known for the pyramids and for the consolidation of a bureaucracy at the apex of which stood an absolute sovereign, considered a god on earth and lord of all of Egypt.

This definition of State and its worldly and otherworldly rules, which were highly elitist, are well documented by funerary objects, of which the Leiden museum has a particularly rich collection, including a calcite (alabaster) table for offerings.

Offerings to the deceased were a fundamental part of the funerary ritual, ensuring life after death. The uniqueness of this table, which belonged to a high state official named Defdj, lies in its circular shape, which was unusual, as well as the repetition of the concept of the offering as indicated by the inscription, the sculpted receptacles and, most importantly, the central depiction corresponding to the hieroglyph hotep (offering), or a table upon which one places a loaf of bread.

The Middle Kingdom – The God Osiris and a New Perspective on Life in the Afterworld: The end of the Old Kingdom and the period of political breakdown that followed it led to major changes in Egyptian society, within which the individual had greater responsibility for his own destiny, including in the afterworld. Any Egyptian with the means to build a tomb complete with a sufficient funerary assemblage could now aspire to eternal life. The god Osiris, lord of the afterworld, became Egypt’s most popular divinity.

Many steles now in Leiden and Bologna came from his temple in Abydos, one of Egypt’s most important cult centres. Among them is that of Aku, major domo of the divine offering, who dedicated the stele to Min-Hor-nekht, the form of the ithyphallic god Min worshipped in the city of Abydos. Aku’s prayer to the god describes an otherworldly existence in a tripartite world: the sky, where the deceased were transfigured into stars, the earth, where the tomb was the fundamental point of passage from life to death, and the beyond, where Osiris granted the deceased eternal life.

From the Middle to the New Kingdom – Territorial Control at Home and Abroad: The defeat of the Hyksos, ‘princes from foreign lands’ who invaded and governed northern Egypt for a few generations, marked the beginning of the New Kingdom. An extremely aggressive foreign policy enriched Egypt, and this was one of its periods of greatest splendour. The social class of professional warriors rose to the top of the state hierarchy and spawned a number of ruling dynasties.

The wealth and prestige of these soldiers was also expressed in the production of sophisticated objects, including the gold items attributed to Djehuty, a general under the pharaoh Thutmose III. The Egyptian goldsmith’s art has survived in works of high artistic and economic value, an example being the pectoral element on view in the exhibition.

This piece is a sophisticated exemplar attributed to the tomb of General Djehuty, the man to whom the sovereign Thutmose III entrusted control of his foreign territories. Representing a blue lotus flower, a symbol of rebirth and regeneration, it must have served as the central element of an elaborate pectoral. The scroll engraved on the back suggests that the piece was given personally by Thutmose III.

The Saqqara Necropolis of the New Kingdom: The Leiden and Bologna museums can be considered ‘twins’ in a certain sense, since they house two important groups of antiquities from Saqqara, one of the necropolises of the city of Memphis. During the New Kingdom, this early Egyptian capital returned to its role as a strategic centre for the expansionist policy of the sovereigns of the Eighteenth Dynasty.

This is seen in the funerary monuments of high state officials who held administrative, religious and military roles, including the tombs of the superintendent of Tutankhamen’s royal treasury, Maya, and his wife, Merit, chantress of Amun, and that of Horemheb, head commander of Tutankhamen’s army and the pharaoh’s crown prince.

The statues of Maya and Merit arrived in the Netherlands in 1829 as part of the collection of Giovanni d’Anastasi. More than a century and a half would pass before, in 1986, a British/Dutch archaeological expedition identified the tomb from which they came, southeast of the pyramid of Djoser at Saqqara. These statues, which are the greatest masterpieces in the collection of the National Museum of Antiquities in Leiden, left the Dutch museum for the first time to be displayed in the exhibition.

It should be noted that, when the Egypt Exploration Society of London and the National Museum of Antiquities in Leiden began excavation work southeast of the Djoser pyramid in 1975, the goal was to find the tomb of Maya and Merit. It was therefore a great surprise when they instead discovered the burial of General Horemheb, who had capped off his stunning career by becoming the last sovereign of the Eighteenth Dynasty.

His tomb, which has a temple structure, is characterised by a pylon entrance, three large courts and three cult chapels facing onto the innermost court, which has a peristyle structure. This court is where most of the reliefs preserved in Leiden and Bologna were found, narrating Horemheb’s most important military feats against the populations bordering Egypt: the Asians, Libyans and Nubians.

The New Kingdom – Prosperity after the Conquest: Refined furnishings, musical instruments, table games and jewellery: these are just a few of the luxury goods attesting to the widespread prosperity enjoyed in Egypt as a result of the expansionist policy of the sovereigns of the New Kingdom. Through these sophisticated objects, it is possible to conjure up moments of everyday life, imagining what it was like living inside a royal palace or the residence of a high official. One example in the exhibition is a mirror handle in the graceful, sensual shape of a young women holding a small bird in her hand.

Egypt in the First Millennium: In the first millennium BC, Egypt was characterised by the increasingly clear weakness of its central power to the advantage of local governors who gave themselves the role of ruling dynasts. The loss of political and territorial power weakened Egypt’s defence capacity at its borders, opening the way for Nubian, Assyrian and Persian invasions. The temples remained strong centres of power, and managed a sizeable portion of the economy and the transmission of knowledge, taking on the role of a political intermediary between the ruling power and the devout populace.

Many of the masterpieces on view in the exhibition were part of the funerary assemblages of priests and came from important temple areas. Among them is the sarcophagus of Peftjauneith, which represents the likeness of the god Osiris, wrapped in a linen shroud and with a green face evoking the concept of rebirth. The refined decoration of this sarcophagus confirms the high rank of its owner (the superintendent of the possessions of a temple in Lower Egypt) in the temple sphere. Of particular note is the interior scene of the sky goddess Nut swallowing the sun every evening (to the west) to then give birth to it in the morning (to the east).

Alexander the Great’s conquest of Egypt in 332 BC ended the ‘pharaonic’ phase of Egyptian history. The period of Greek domination was begun by his successors, the Ptolemies, the last of whom was the renowned Cleopatra VII.

The golden decline of Egypt would continue for many more centuries, beyond the Roman conquest in 31 BC up to Arab domination in the sixth century AD.

The dialogue between old and new, local and foreign that distinguished the Greco-Roman period brought a return to high artistic achievements, including the celebrated Fayum portraits, exquisite examples of which from the Leiden collection are on view in the exhibition

Source: Museo Civico Archeologico in Bologna [October 19, 2015]

A miniature ancient Egyptian coffin measuring just 44cm in length has been found to contain the youngest ever example of a human foetus to be embalmed and buried in Egyptian society. This discovery is the only academically verified specimen to exist at only sixteen to eighteen weeks of gestation.

This landmark discovery from the Fitzwilliam Museum in Cambridge, is remarkable evidence of the importance that was placed on official burial rituals in ancient Egypt, even for those lives that were lost so early on in their existence. Curators at the Fitzwilliam made the discovery, during their research for the pioneering bicentennial exhibition Death on the Nile: Uncovering the afterlife of ancient Egypt.

The tiny coffin was excavated at Giza in 1907 by the British School of Archaeology and came into the collection at the Fitzwilliam Museum the same year. It is a perfect miniature example of a wooden coffin of the ancient Egyptian ‘Late Period’ and may date to around 664-525 BC. The lid and box are both made from cedar wood. Although the coffin is deteriorated, it is clear that the wood was carefully carved on a painstakingly small scale and decorated. This gave the curators at the Fitzwilliam the first very clear indication of the importance given to the coffin’s contents at this time in ancient Egyptian society.

The diminutive wrapped package inside was carefully bound in bandages, over which molten black resin had been poured before the coffin was closed. For many years it was thought that the contents were the mummified remains of internal organs that were routinely removed during the embalming of bodies.

Examination using X-ray imaging at the Fitzwilliam Museum was inconclusive, but suggested that it may contain a small skeleton. It was therefore decided to micro CT (computed tomography) scan the tiny bundle at Cambridge University’s Department of Zoology. The cross-sectional images this produced gave the first pictures of the remains of a tiny human body held within the wrappings, which remain undisturbed.

Dr Tom Turmezei, recently Honorary Consultant Radiologist at Addenbrooke’s Hospital in Cambridge collaborated with the Fitzwilliam Museum, alongside Dr. Owen Arthurs, Academic Consultant Paediatric Radiologist at Great Ormond Street Hospital, London. The ground-breaking results were based on their extensive knowledge of CT imaging and paediatric autopsy.

Five digits on both hands and feet and the long bones of the legs and arms were all clearly visible. Although the soft skull and pelvis were found to be collapsed the categorical consensus was that inside the bundle was a human foetus estimated to be of no more than eighteen weeks gestation. It was impossible to give a gender to the specimen and it is thought that the foetus was probably the result of a miscarriage, as there were no obvious abnormalities to explain why it could not have been carried to full-term.

From the micro CT scan it is noticeable that the foetus has its arms crossed over its chest. This, coupled with the intricacy of the tiny coffin and its decoration, are clear indications of the importance and time given to this burial in Egyptian society.

"CT imaging has been used successfully by the museum for several projects in recent years, but this is our most successful find so far," Dr. Tom Turmezei explained. "The ability of CT to show the inner workings of such artefacts without causing any structural damage proved even more invaluable in this case, allowing us to review the foetus for abnormalities and attempt to age it as accurately as possible."

Julie Dawson, Head of Conservation at the Fitzwilliam Museum said, "Using non-invasive modern technology to investigate this extraordinary archaeological find has provided us with striking evidence of how an unborn child might be viewed in ancient Egyptian society. The care taken in the preparation of this burial clearly demonstrates the value placed on life even in the first weeks of its inception."

Tutankhamun’s tomb contained two small foetuses that had been mummified and placed in individual coffins, but these infants were both significantly more developed, at about 25 weeks and 37 weeks into gestation. Very few other examples of burials of miscarried babies have so far been identified from ancient Egypt.

The miniature coffin is currently on display as part of the exhibition >Death on the Nile: Uncovering the Afterlife of ancient Egypt until 22nd May 2016 at the Fitzwilliam Museum Cambridge.

Source: University of Cambridge [May 12, 2016]

A mummy from ancient Egypt was heavily tattooed with sacred symbols, which may have served to advertise and enhance the religious powers of the woman who received them more than 3,000 years ago.

The newly reported tattoos are the first on a mummy from dynastic Egypt to show actual objects, among them lotus blossoms on the mummy’s hips, cows on her arm and baboons on her neck. Just a few other ancient Egyptian mummies sport tattoos, and those are merely patterns of dots or dashes.

Especially prominent among the new tattoos are so-called wadjet eyes: possible symbols of protection against evil that adorn the mummy’s neck, shoulders and back.

“Any angle that you look at this woman, you see a pair of divine eyes looking back at you,” says bioarchaeologist Anne Austin of Stanford University in California, who presented the findings last month at a meeting of the >American Association of Physical Anthropologists.

Austin noticed the tattoos while examining mummies for the French Institute of Oriental Archaeology, which conducts research at Deir el-Medina, a village once home to the ancient artisans who worked on tombs in the nearby Valley of the Kings. Looking at a headless, armless torso dating from 1300 to 1070 bc, Austin noticed markings on the neck. At first, she thought that they had been painted on, but she soon realized that they were tattoos.

Hidden history

Austin knew of tattoos discovered on other mummies using infrared imaging, which peers more deeply into the skin than visible-light imaging. With help from infrared lighting and an infrared sensor, Austin determined that the Deir el-Medina mummy boasts more than 30 tattoos, including some on skin so darkened by the resins used in mummification that they were invisible to the eye. Austin and Cédric Gobeil, director of the French mission at Deir el-Medina, digitally stretched the images to counter distortion from the mummy’s shrunken skin.

The tattoos identified so far carry powerful religious significance. Many, such as the cows, are associated with the goddess Hathor, one of the most prominent deities in ancient Egypt. The symbols on the throat and arms may have been intended to give the woman a jolt of magical power as she sang or played music during rituals for Hathor.

The tattoos may also be a public expression of the woman’s piety, says Emily Teeter, an Egyptologist at the University of Chicago’s Oriental Institute in Illinois. “We didn’t know about this sort of expression before,” Teeter says, adding that she and other Egyptologists were “dumbfounded” when they heard of the finding.

Some tattoos are more faded than others, so perhaps some were made at different times. This could suggest that the woman’s religious status grew with age, Austin says.

Penetrating gaze

She has already found three more tattooed mummies at Deir el-Medina, and hopes that modern techniques will uncover more elsewhere.

Even infrared imaging can’t penetrate an intact mummy’s linen binding. But a nineteenth-century penchant for unwrapping mummies could enable the discovery of more tattoos, says Marie Vandenbeusch, a curator at the British Museum in London. Such examples could provide needed evidence “to really pinpoint the use of those tattoos”, she says.

Austin argues that the scale of the designs, many of them in places out of the woman’s reach, implies that they were more than simple adornment.

The application of the tattoos “would’ve been very time consuming, and in some areas of the body, extremely painful”, Austin says. That the woman subjected herself to the needle so often shows “not only her belief in their importance, but others around her as well”.

Author: Traci Watson | Source: Nature [doi:10.1038/nature.2016.19864] [May 09, 2016]

Egypt's embassy in London received a limestone relief that had been stolen from Queen Hatshepsut's temple in Luxor, the Ministry of Antiquities said.

Shaaban Abdel Gawad, general supervisor of the ministry's antiquities repatriation department, in a statement said that the ministry repatriated the relief in collaboration with the Ministry of Foreign Affairs and the British Museum after proving its possession. The recovery of the relief is "very important" especially since it will help in restoration work currently being carried out by a Polish archaeological mission, he said.

The relief, which is carved in limestone and engraved with hieroglyphic symbols, was stolen from the temple in 1975 and smuggled out of the country, he said. It was put on show in an auction hall in Spain and a British antiquities dealer bought it, the statement said.

Last year, U.S. officials returned dozens of illegally smuggled artifacts to Egypt, including a Graeco-Roman style Egyptian sarcophagus.

Source: The Associated Press [December 20, 2016]

A project for the deciphering of ancient papyri found in Graeco-Roman Egypt has recruited armchair archaeologists from around the world with amazing results.

The Ancient Lives project is a collaboration between the University of Oxford, the Egypt Exploration Society, the Citizen Science Alliance and others asking for anyone who can identify Greek letters to work on-line and decipher the writing on digital scans of papyri from Oxyrhynchus in Upper Egypt. Then, scholars, with the use of special online tools, carry out the translation. The latest finds were presented yesterday by Dirk Obbink, associate professor in Papyrology and Greek Literature from the University of Oxford.

The papyri, dating mainly from the 1st Century BC to the 7th Century AD, when Egypt was occupied by the Greeks and Romans, were discovered by Victorian archaeologists Bernard Grenfell and Arthur Hunt in January 1897, at what turned out to be a rubbish dump at Oxyrhynchus, an ancient city about 160m south-west of Cairo. The excavations yielded 700 boxes of documents which were shipped to Oxford for study, owned by the Egypt Exploration Society in London.

Transcribing them, however, was really time-consuming, allowing experts to transcribe over 5,000 out of the 500,000 documents between 1898 and 2012. That’s when the Ancient Lives project was piloted, asking citizen scientists from all over the world to help scientists decipher the writing on the papyri online. The project went fully live in 2014 and with the use of algorithms to help experts assess the accuracy of the work by volunteers, it has allowed a variety of individuals across the globe to participate.

The Oxyrhynchus fragments have revealed personal documents of various use, from tax assessments, grocery lists and mariage certificates, ancient remedies, to court records and pieces of literature by Sappho Euripides and Homer. Fragments of a lost tragedy by Sophocles, Andromeda, have also been found.

The results were announced by Dirk Obbink at a talk in London, held at the Royal Geographical Society and organised by the World Monuments Fund Britain.

For more on this story see:

• The Art Newspaper, http://theartnewspaper.com/news/news/armchair-archaeologists-reveal-details-of-life-in-ancient-egypt/ (29/02/2016) 

• The Independent, http://www.independent.co.uk/news/science/ancient-egypt-citizen-scientists-reveal-tales-of-tragedy-unearthed-from-centuries-old-rubbish-dump-a6905541.html (01/03/2016)

One of the most exciting projects in recent years at Maidstone Museum – the scanning and facial reconstruction of its very own 2,700-year-old mummy – is well underway thanks to the support of the Heritage Lottery Fund (HLF). The project, within the redevelopment of the museum’s Ancient Civilisations gallery, has seen the mummy travel across Maidstone to KIMS Hospital to undergo a full body scan and closer inspection by the local team of radiologists. The scan has revealed a number of fascinating finds about the mummy as well as other mummified remains in the museum’s collection – all before the full investigation into results has really begun with a team of international specialists.

“We weren’t expecting too much to be derived from the initial scans of Ta-Kush and the other items, but the results seen have been remarkable,” said Samantha Harris, Collections Manager at Maidstone Museum. “It was such a pleasure to work alongside the Imaging Team at KIMS Hospital in being able to analyse these items and, for the initial results to reveal so much means, the remainder of the Ancient Civilisations gallery project has been injected with a whole new level of excitement.”

Among the initial findings, the scans revealed that, while many believed Ta-Kush to have passed away during adolescence, she may in fact have been much older. Speaking of the findings, Mark Garrad, CT Lead Radiographer at KIMS Hospital, said: “The scans conducted indicate evidence of well-worn teeth, loss of enamel, cavities, abscesses in the jaw and fully erupted wisdom teeth. Although we cannot place her age exactly, the evidence we have managed to glean from the initial scans would suggest a person who is at least mid-twenties, possibly much older. It has been fascinating to be part of the early stages of discovery and we are looking forward to what other insights the experts can gather about Ta-Kush.”

The scans also show further evidence of a wedge fracture in one of her vertebrae, which is seen in patients suffering a downward impact, such as a fall or landing upright. Images show that there may be signs of healing, however, it indicates that Ta-Kush could well have been living with this injury.

Further research into the life and conservation of Ta-Kush is set to be conducted over the course of the next few months with Liverpool John Moores University analysing the scans and creating a facial reconstruction. Thanks to the HLF funding, and with support from the Maidstone Museums’ Foundation, the Egyptology Department at the British Museum, the Petrie Museum at University College London, Western Ontario University and the Egypt Exploration Society, this research will uncover the stories behind the scanned human and animal remains ready for the redisplay of the wider Ancient Egyptian and Greek World collections, to be unveiled in summer 2017.

Source: Maidstone Museum [November 15, 2016]

The Antiquities Ministry announced Sunday it received an ancient Egyptian wall relief that was repatriated in October by Egypt’s embassy in London.

The painted limestone wall relief was delivered to the Egyptian embassy in London after its owner, who bought it from a British antiquities collector, learnt it had been  stolen and smuggled out of Egypt, Antiquities Minister Mamdouh al Damaty said in a statement Sunday.

The artifact dates back to the reign of the 19th Dynasty Pharaoh Seti I (1290 B.C. – 1279 B.C.) Damaty said, adding that it will be displayed at the Egyptian Museum in Cairo.

It measure approximately 43cm (17.2 inches) by 67 cm with carvings representing Pharaoh Seti I making offerings before Anubis, the mummification God and Hathor, ancient Egyptian motherhood Goddess, he added.

Originally located in an ancient Egyptian temple in Upper Egypt’s governorate of Asyut, the limestone relief was smuggled out of Egypt in 1970, the foreign ministry said in a statement last week.

Egypt’s political turmoil has led to a security lapse at archaeological sites and storerooms and museums nationwide, leaving Egypt’s treasures vulnerable to looting. The Egyptian museum and Malawi museum are among the sites that have been affected.

During the past four years, Egypt has recovered over 1,600 artifacts and is currently working on other cases in many European countries, Ministry of Antiquities Museums Sector head Ahmed Sharaf previously told The Cairo Post.

“It is impossible to provide an accurate number of the artifacts that have been stolen since the January 25 Revolution,” he said.

Author: Rany Mostafa | Source: The Cairo Post [December 13, 2015]

Some 80 km southeast of Cairo is the small village of Karanis, once one of the largest Graeco-Roman towns in Fayoum. It was established in antiquity by Ptolemy II Philadelphus, as part of a scheme to settle Greek mercenaries among indigenous Egyptians and exploit the fertile Fayoum basin.

Karanis flourished until the end of the 3rd century CE, when the town started to decline due to troubles in the wider Roman Empire. The town was abandoned by the beginning of the 5th century, as part of momentous socioeconomic, political and religious changes taking place throughout the Mediterranean region.

The site was forgotten, buried by the sands, until the early 19th century when farmers unearthed papyri among organic debris left by the ancient inhabitants. It is these papyri, suitably conserved and restored, that have now been put on display at the Egyptian Museum.

Archaeological excavation, led by British Egyptologist Bernard Pyne Grenfell and papyrologist Arthur Surridge Hunt, started in Karanis in 1895. However, they did not continue their work, deciding that the site had been too plundered in antiquity to produce anything of value. The few papyri and artefacts they stumbled upon were not considered important enough to lead to a better understanding of the history of the site during the Graeco-Roman period.

In 1924 the archaeological rescue of the site began, continuing for the next 12 years under the leadership of an American mission from Michigan University directed by Francis W Kelsey. Two temples, residential houses and urban districts were discovered, along with cisterns, public baths and a collection of household objects of different shapes, sizes and materials. A large collection of papyri, now exhibited at the Kelsey Museum in Michigan in the US, was also unearthed.

The papyri are historically significant as they provide an idea of the lives led by the town’s inhabitants in ancient times, as well as of Egypt’s relationship with the Roman Empire. The papyri were written at the same time and unearthed from the same place, all of them written in Greek and dating to the period between the reign of the emperor Diocletian and the 370s CE.

“It is the dry climate of Karanis which preserved these papyri,” said German papyrologist Cornelia Römer, who noted that although the papyri had been taken to Michigan the university had given part of the collection back to Egypt in 1952. This part was then put in storage at the Egyptian Museum and had not been closely studied.

In 2010, Römer came to Egypt for excavation work in Fayoum, in an area called Filoteris, five km from Lake Qarun. She hoped to investigate drainage systems used in Fayoum during the Graeco-Roman period. But due to her interest in papyri and her desire to promote papyrology in Egypt, Römer started to study the Karanis papyri, often known as the Michigan papyri.

In collaboration with young restorers at the Egyptian Museum, Römer started conservation work on the papyri, which are of different sizes and in different conditions of conservation. Some of them are tiny fragments in a poor state of conservation, while others are larger and in a much better condition.

Romer then published the results of her work in collaboration with professors from Alexandria University and Cairo and Ain Shams Universities in Egypt.

“When I came face to face with the papyri, I was very excited as I could not have expected what I would find,” Römer told the Weekly. Her work concentrated on a group of papyri found in the house of a man called Socrates who lived in the 2nd century CE. He was a tax collector who went door to door to collect money from people for the Roman state.

“We knew his profession from papyri found inside his house, which include long lists of names and numbers,” Römer said, adding that he kept a register of who had paid what in the village. Studies of these lists revealed that people had to pay taxes for baths and guards, among other things. Tax rates were the same for everybody and did not depend on income.

The papyri show that Socrates was a rich man who gained a lot from his profession. In Roman times, Römer said, a tax collector typically took more than he needed to remit to the state. “Obviously, he was a clever and rich man in the village,” Römer said, adding that he lived in a large house located in the best area, was married, and had two sons and a daughter.

“From the names of Socrates’s family and the names written in the tax lists, we also know that ancient Karanis was a multicultural society,” Römer said. While Socrates bore a Greek name, his wife and two sons had Roman names, while his daughter had an Egyptian name and her husband had a Roman name. The names written on the lists are in Latin, Greek and Egyptian.

Römer said that when Alexander the Great conquered Egypt in 332 BCE Egypt became part of the Hellenistic world. His former general, Ptolemy, established a Greek-speaking dynasty in the country that then ruled it for the next 300 years. Even after the beginning of Roman rule in 1st century BCE, tens of thousands of Greek-speaking people lived in Egypt, working in the army and administration of the country.

The Ptolemies created new settlements for the newcomers, including in Fayoum, a depression centred on Lake Qarun south of Cairo. A sophisticated system of canals and dams was built to lower the level of the lake. “Thousands of new fields were created and Fayoum was declared a new settlement to host the new settlers,” Römer said, adding that the town of Karanis was among these new settlements.

Study of the papyri show that the number of inhabitants in Karanis reached 1,500 people, two thirds of whom were Egyptians and one third Greek. In the 2nd century CE, when Socrates lived, the population reached nearly 4,000 people.

Along with tax records, Römer said that literary papyri had also been found. It seems that in order to fit into society in Karanis, Socrates thought it important to hone his Greek culture and read classical Greek literature.

“We found papyri of poems written by the Greek poet Homer and Greek plays written by the dramatist Menander who lived in 300 BCE,” Römer said. She added that this highlights the fact that people continued to read Menander’s comedies 450 years after they were written. Ancient Greek comedy “always has a happy ending,” Römer said. As well, fragments of a play called “A Man on Trial” were found.

She continued to say that among the papyri at the Egyptian Museum is a love letter written by an unidentified woman, as well as notifications of death and complaints about robberies. Among the latter was one presented by a man who was attacked and beaten on the road, and another by a farmer who lost some of his harvest to thieves.

“Studying these papyri has taken us deep into the daily life of this society,” Römer said. It has even been possible to identify the type of clothes people wore. One text complaining of a robbery said that a man broke into the author’s house and stole boxes of clothes, she said.

“Living standards in Karanis were lower than in Alexandria, the capital of Egypt at the time, but the inhabitants tried to imitate the life of the capital nonetheless,” Römer said.

The Greek comedy that Socrates had been reading was to the taste of people living in rural areas, whereas in Alexandria, tragedies considered too difficult for people in the provinces would have been read. “However, the existence of such literary texts indicates that residents were keen to show themselves to be well educated in Greek,” she added.

A medical handbook from the first century CE showing surgical techniques was also found. Part of it shows a dislocated shoulder and the recommended treatment to fix it. “This piece is a section of a papyrus roll and the other part is in the British Museum in London,” Römer told the Weekly.

The papyri will now be on display for three weeks in the temporary exhibition hall at the Egyptian Museum. The display includes information about Socrates and his family, his library and the excavation work carried out.

Clay and bronze statues depicting Greek and ancient Egyptian deities found in the houses of the town’s inhabitants are also on show, along with glass vessels of different shapes and sizes.

“I am very happy with the results of the collaboration with Egyptian restorers, and I aim to continue studying the rest of the Karanis papyri,” Römer said.

Author: Nevine El-Aref | Source: Al Ahram Weekly [February 12, 2015]

Two Temple Place reopened to the public with its fifth annual Winter Exhibition, Beyond Beauty: Transforming the Body in Ancient Egypt on 30th January 2016. This major new exhibition allows us to experience the ancient Egyptians at their most spectacular and at their most intimate, uncovering a civilisation fascinated by appearance and identity both in life and death.

Rare surviving imagery on exquisite painted coffins, decorated funerary masks, delicate figurines and beautifully carved reliefs emphasise the importance of body image. Meanwhile jewellery, mirrors, hairpins, scent bottles and makeup provide an insight into some surprisingly familiar daily routines and the ever changing styles of the time. Through artefacts spanning over four millennia, from 3,500 B.C. to 400 A.D., the viewer is invited to ask why Egyptians cared so much about transforming the way they looked and how our perceptions are influenced by the objects they left behind.

Beyond Beauty is created by the Bulldog Trust in partnership with 7 museums from across the country. Many of the artefacts on display come from the same archaeological excavations, and are seen together collectively for the first time since their discovery by pioneering Victorian Egyptologists. Drawn Bagshaw Museum (Kirklees Council), Bexhill Museum, Bolton Museum, Ipswich Museum, Macclesfield Museums, Royal Pavilion & Museums (Brighton & Hove) and Touchstones Rochdale, the exhibition includes the fascinating stories of how such objects reached their current UK homes, supported by outstanding original archival material.

Beyond Beauty is curated by Egyptologist Dr Margaret Serpico, with Heba Abd El Gawad, a PhD student in Egyptian Archaeology at Durham University (funded by Helwan University, Cairo) currently researching self-presentation in Ancient Egypt. It has been a long-standing aim of Dr Serpico to create such an exhibition:

‘The desire to unveil the fabulous objects held in these museums was borne out of a long term project to raise awareness of some of the 200 ancient Egyptian collections in the UK, many in regional museums. I have always been amazed by the many wonderful artefacts in these collections, objects that I wished could be seen by wider audiences. This exhibition is a fantastic opportunity to celebrate these collections and appreciate how important it is that we care for and preserve them into the future.’

Two Temple Place, a magnificent neo-Gothic mansion on London’s Victoria Embankment, is owned and run by the charity the Bulldog Trust. Its Winter Exhibition Programme aims to support regional museums across the UK, highlighting the great riches that are to be seen through an annual free exhibition.

Chief Executive of the Bulldog Trust, Mary Rose Gunn says: “It is an exceptional opportunity for us to be able to champion the stunning Egyptology collections that are held in museums around the UK. We are also looking forward to strengthening cultural ties between Egypt and the UK and are honoured that His Excellency Mr Nasser Kamel, Ambassador of the Arab Republic of Egypt in the UK will be formally opening the exhibition on the 28th January 2016.”

The Winter Exhibition Programme is supported by public funding through Arts Council England. John Orna-Ornstein, Director of Museums, Arts Council England, stated: “Museums throughout England are home to some of the most fascinating collections in the world, and through our investments we want to see people enjoy these collections for years to come. ‘Beyond Beauty’ is an exciting opportunity for people to see some of our finest Egyptian artefacts together in one place, unravelling their mysteries through creative activities for all ages, from storytelling and dance, to lectures and music.”

Source: Two Temple Place [January 27, 2016]

A 2,200 year-old “an upright stone slab bearing a commemorative inscription” was unearthed at the Mediterranean coast, Antiquities Minister Mamdouh el-Damaty announced Thursday.

The stele, which was discovered at Taposiris Magna archaeological site on Lake Mariout, southwest of the Mediterranean city of Alexandria,  “dates to the reign of Ptolemy V Epiphanes (204B.C-180B.C) of the Ptolemaic Dynasty (332 B.C.-30 B.C) that has ruled Egypt after the death of Alexander the Great in 323 B.C.” said Damaty in a statement on the ministry’s Facebook page.

The stele, measuring 1.05 X 0.65X0.18 meters, was discovered by an archaeology mission of the Catholic University of Santo Domingo in collaboration with Egypt’s Supreme Council of Antiquities (SCA), he added.

“It consists of two registers carved in two different scripts; the upper one features over 20 lines of hieroglyphic inscriptions bearing the cartouches [oval shapes bearing royal names only] of King Ptolemy V Epiphanes, his sister Princess Cleopatra I, his mother Queen Arsinoe III and his father King Ptolemy IV Philopator,” said Damaty adding that archaeologists are currently working on transliterating the text.

The bottom register features a 5-line demotic script that seems to be a translation of the hieroglyphic inscriptions, said Damaty.

Demotic language was used by ordinary people while hieroglyphic was used by royals, high officials, priests and the elite of the ancient Egyptian society.

The famous Rosetta stone, currently displayed in the British Museum in London, dates back to the reign of the same Greek king but was carved in hieroglyphic, demotic and Greek scripts, according to Damaty.

Chief of the Dominican Egyptian archaeology mission, Dr. Kathleen Martinez said that the mission, has been working at Taposiris Magna for six years, has made a lot of significant discoveries related to the history of Alexandria. “Some of the major discoveries are tombs of Nobles, a number of statues of goddess Isis in addition to many bronze coins belonging to Queen Cleopatra VII, the famous Cleopatra of Anthony,” said Martinez.

Author: Rany Mostafa | Source: The Cairo Post [February 12, 2015]

The Tarkhan Dress, a V-neck linen shirt currently on display in the UCL Petrie Museum of Egyptian Archaeology, has been confirmed as the world’s oldest woven garment with radiocarbon testing dating the garment to the late fourth-millennium BC.

Radiocarbon testing conducted in 2015 by the University of Oxford’s radiocarbon unit, and published this week on Antiquity’s Project Gallery, has established that the dress was made between 3482-3102 BC with 95% accuracy.

Although the dress was thought to be Egypt’s oldest garment, and the oldest surviving woven garment in the world, the precise age of the dress was uncertain as previous carbon dating proved too broad to be historically meaningful. The new results both confirm the dress’s antiquity and also suggest that it may be older than previously thought, pre-dating the First Dynasty.

The team from the University of Oxford, led by Dr Michael Dee, measured a 2.24mg sample of the dress to determine how much radiocarbon, a radioactive isotope of carbon, remained in the linen. From this they were able to provide an indicative date for when the linen was woven. Linen, from which the Tarkhan Dress is made, is especially suitable for radiocarbon dating as it is composed of flax fibres that grow over a relatively short time.

Dr Alice Stevenson, Curator at the UCL Petrie Museum of Egyptian Archaeology, said: “The survival of highly perishable textiles in the archaeological record is exceptional, the survival of complete, or almost complete, articles of clothing like the Tarkhan Dress is even more remarkable. We’ve always suspected that the dress dated from the First Dynasty but haven’t been able to confirm this as the sample previously needed for testing would have caused too much damage to the dress.

Although the result is a little less precise than is now routinely possible through radiocarbon dating, as the sample was so small, it’s clear that the linen for the dress was made at the cusp of the First Dynasty or even earlier.”

Originally excavated by Egyptologist Flinders Petrie in 1913 from a First Dynasty tomb at Tarkhan, an Egyptian cemetery located 50km south of Cairo, the dress lay undiscovered with various other textiles until 1977 when the bundle was sent to the Victoria and Albert Museum in London for conservation work.

The dress itself is made from three pieces of sturdy hand-woven linen with a natural pale grey stripe with knife-pleated sleeves and bodice. The hem is missing so it’s not possible to know the precise length of the dress, but the dimensions indicate that it fitted a young teenager or a slim woman. Although the exact context of its use remain unclear, there are visible signs of wear indicating that it was worn in life.

The Tarkhan Dress is on display at the UCL Petrie Museum of Egyptian Archaeology.

Source: University College London [February 20, 2016]

For the earliest Egyptologists, a trip to the Egyptian Museum in Turin was considered indispensable. The museum's new director is seeking to return the almost 200-year-old museum to its one-time prominence, boosted by an overhaul of the collection and exhibit space of near-pharaonic proportions.

Museum director Christian Greco, who arrived in Turin 10 months ago, well into an ambitious five-year reinstallation of the museum's considerable treasures, aims to make the Egyptian Museum the second-most important in the world, after Cairo.

"Our museum needs to be back on the international scene," Greco said in an interview in front of the ancient Temple of Ellesjia on Tuesday, as the museum showed off its five-year, 50-million-euro ($53.6-million) reinstallation. `'For too many years we have been absent. For too many years, the focus has been on building and renovating the museum."

The museum, founded in 1824, is filled with treasures found in digs commissioned by Savoy kings and completed with the finds of Italian Egyptologist Ernesto Schiaparelli. The vast holdings include a captivating statue of Ramses II, one of the world's most important papyrus collections and nearly the entire contents of an architect's tomb dating back well over 3,000 years.

The large-scale renovations nearly doubled the space, allowing many artifacts to be taken out of storage and a more complete and modern exposition of those already on display. The museum remained open during the years of work, rotating closures of wings.

"It is a very important improvement from an archaeological and Egyptological point of view," said Guillemette Andreu, former director of Egyptology at the Louvre in Paris and member of the Turin Egyptian Museum board who toured the museum on Tuesday. She praised the chronological organization of the reinstallation from the 4th century B.C. to the Coptic period, new lighting and modern showcases.

Andreu said the Turin collection is unique because alongside masterpieces, it includes many objects that describe daily lives, funerary customs, religion as well as architecture and philosophy. "Even if you are not a scholar of Egypt, you can see how great this civilization was," she said.

The revamp puts the 6,500 objects on display in their archaeological context, transforming it from what Greco called `'an encyclopedia of Egyptology from A to Z," and includes 3-D films using historical photos that depict the moment of discovery.

"Turin has a fantastic collection and an incredible history, and to have it redisplayed in a modern museological way is fantastic," said Neal Spencer of the British Museum, who attended the Turin museum's opening and is on the advisory board. `'It is a very immersive experience. The collection really can tell the story of Egypt across several millennia."

The museum already belongs on the European itinerary of any Egyptologist, amateur or otherwise, along with the British Museum in London, the Louvre in Paris and the Egyptian Museum and Papyrus Collection in Berlin. But Greco's ambition is to make it a more integral part of the scientific community, restoring its standing to the one it enjoyed when one of Egyptology's founding figures, Jean-Francois Champollion, famously declared: `'The road to Memphis and Thebes passes through Turin."

Greco, a 39-year-old Italian who was previously at the National Museum of Antiquities in Leiden, the Netherlands, announced on Tuesday that the Turin museum in May will join an ongoing, 40-year-old dig in Saqqara, Egypt, that was founded by his former employer and the University of Leiden. Greco is also working on a coffin project with the Vatican and trying to organize a joint exposition of artifacts from the craftsmen's village of Medina with the Louvre.

"I suspect Greco has a lot of irons in the fire that are going to be very exciting that will be of real benefit to Egyptology and to world culture," said Kara Cooney at the University of California, Los Angeles, who will be traveling to Turin in June to look at the museum's coffins.

The museum is among the top 10 visited in Italy, with a record 567,000 visitors last year. Greco could like to increase that to more than 700,000. The opening of the expanded museum a month before the Expo 2015 world's fair in Milan, just a 40-minute train ride away, is expected to bring a boon in visitors, along with the rare exposition of the Shroud of Turin from April 19-June 24.

More information: 

EGYPTIAN MUSEUM: Turin, Italy. Tuesday-Sunday, 8:30 a.m.-7:30 p.m.; Sundays, 9 a.m. to 2 p.m. Full admission, 13 euros.

Author: Colleen Barry | Source: The Associated Press [March 31, 2015]

The hidden secrets of Egyptian mummies up to 3,000 years old have been virtually unwrapped and reconstructed for the first time using cutting-edge scanning technology in a joint British-Australian exhibition.

Three-dimensional images of six mummies aged between 900BC and 140-180AD from ancient Egypt, which have been held at the British Museum but never physically unwrapped, give an insight into what it was like to live along the Nile river thousands of years ago.

"We are revealing details of all their physical remains as well as the embalming material used by the embalmers like never before," the British Museum's physical anthropology curator Daniel Antoine told AFP at the Powerhouse Museum in Sydney Thursday. "What we are showing to the public is brand-new discoveries of their insides."

Two of the travelling mummies were previously exhibited at the British Museum in 2014, with the other four being revealed to the world for the first time in the Sydney show that opens on Saturday.

A dual-energy computed tomography (CT) scanner at the Royal Brompton Hospital in London—of which only a handful are in operation around the world—was used to obtain thousands of slices of images of the mummies, with volumetric software then harnessed to create 3D models, Antoine said.

It effectively allows visitors to virtually peel back the layers of history through interactive 3D visualisations of the CT scans.

"I've been able to image the arteries of the mummies, the ones that have been left, and I'm able to look at whether they are suffering from diseases which many people are suffering from today, (such as) cardiovascular diseases," Antoine added.

He believes the mummies can be rescanned in a decade's time using the latest technology to find out more about their state of health, what diseases they were suffering from and the nature of their deaths.

"We hope in the future to image the soft tissues at the cellular level to look at whether there's any changes or to find evidence, for example, of cardiovascular diseases but also things like cancer."

The scans found that one of mummies, Tamut, a priest's daughter from about 900BC, had plaque in her arteries. Three-dimensional printing was also used to recreate amulets found during scans of her mummified remains.

The earliest evidence of mummification in Egypt suggests that the practice of wrapping bodies to preserve them after death dates back as far as 4500BC.

The mummies are due to travel to Asia next year.

Source: AFP [December 08, 2016]

A limestone relief dating back to the New Kingdom period, between the 16th and 11th centuries BC, was recovered Sunday from an auction hall in London after two weeks of negotiations.

Minister of Antiquities Mamdouh Eldamaty told Ahram Online that the ministry was informed about the relief by the curator at the British Museum, Marcel Marée.

Marée sent a photograph of the piece to the ministry asking for its authenticity, as the piece was put on display in an auction hall in London.

Eldamaty assigned an archeological committee to inspect the relief. The committee later confirmed its authenticity.

A report was then filed at Egypt’s Tourism and Antiquities police and a similar one was sent to Interpol in order to stop the sale of the relief.

Ali Ahmed, Director of the Recuperation Antiquities Department, explained that the relief was then confiscated by the British police and is due to come home next week.

He explained that the relief was stolen due to illegal excavations. The relief is engraved with a scene depicting the 19th dynasty King Seti I before goddess Hathor and god Web Wawat. It also bears hieroglyphic text and the names of several ancient Egyptian deities of Assiut governorate in Upper Egypt.

“It is a very important relief as it depicts a not yet discovered temple of king Seti I in Assiut,” Ahmed pointed out.

Author: Nevine El-Aref | Source: Ahram Online [October 04, 2015]

A large wooden model boat from the Egyptian Middle Period 2123-1797 BC, sold for £161,000 at Bonhams Antiquities Sale in London yesterday. The boat had been estimated at £30,000-50,000.

Boats were an integral part of Egyptian everyday life and mythology and as such they were considered necessary in the afterlife. Usually two model boats were provided for each tomb, one showing the crew sailing south with the prevailing wind and the other with the crew rowing north.

The boat was originally bought by British army officer, Esmond Sinauer, in Egypt in the early part of the 20th century and passed by descent to the Scottish private collection from which it was consigned for sale.

In total the sale made more than £1,310,000.

Other highlights included:

• A late Egyptian Bronze Cat from around 664-30 BC estimated at £20,000-30,000 which sold for £137,000. The cat had been in the well-known collection of the Antiquities dealer Raymond Richardson who acquired it in the 1950s.

• A Roman Marble Mask of a Woman from the 1st century AD which sold for £102,500 having been estimated at £20,000-30,000.

• A Roman Marble torso of a man estimated at £30,000-50,000 which sold for £60,000.

Bonhams Senior Specialist in Antiquities, Siobhan Quin, said,” The wooden boat was an exceptionally fine work of particularly impressive dimensions which attracted a lot pre-sale interest, reflected in keen bidding in the sale room on the phones and on the internet. In a strong sale, a first-century bronze Egyptian cat also stood out, but many other pieces also exceeded their estimates.”

Source: Bonhams [December 01, 2016]

The reunification of ancient Egypt achieved by Nebhepetre Mentuhotep II—the first pharaoh of the Middle Kingdom—was followed by a great cultural flowering that lasted nearly 400 years. During the Middle Kingdom (mid-Dynasty 11–Dynasty 13, around 2030–1650 B.C.), artistic, cultural, religious, and political traditions first conceived and instituted during the Old Kingdom were revived and reimagined.

This transformational era will be represented through 230 powerful and compelling masterworks (individual objects and groups of objects) in the major international exhibition Ancient Egypt Transformed: The Middle Kingdom, opening October 12 at New York’s Metropolitan Museum of Art. Fashioned with great subtlety and sensitivity, and ranging in size from monumental stone sculptures to delicate examples of jewelry, the works of art are drawn from the preeminent collection of the Metropolitan—which is particularly rich in Middle Kingdom material—and 37 museums and collections in North America and Europe. This is the first comprehensive presentation of Middle Kingdom art and culture and features many objects that have never been shown in the United States.

“The astonishing continuity of ancient Egyptian culture, with certain basic principles lasting for thousands of years, gives the impression of changelessness,” said Adela Oppenheim, Curator of Egyptian Art. “But the works of art in the exhibition will show that ancient Egypt constantly evolved, and was remarkably flexible within a consistent framework. New ideas did not simply replace earlier notions; they were added to what had come before, creating a fascinating society of ever-increasing complexity.”

Arranged thematically and chronologically, the exhibition opens with a forceful, monumental statue of King Mentuhotep II, carved in an intentionally archaic style that suggests a link to the legendary kings of early Egypt (ca. 3300 B.C.).

Profound changes in the concept of kingship are demonstrated through a series of royal statues that span several hundred years. Early Middle Kingdom pharaohs are often depicted with youthful faces and confident expressions. In contrast, the evocative, fleshy faces and deep-set, hooded eyes of later kings present startling images of maturity and humanity.

During the 12th Dynasty, the construction of pyramid complexes resumes, after a lapse of more than a century. The innovation found in these complexes is exemplified by that of Senwosret III (around 1878-1840 B.C.) at Dahshur, site of Metropolitan Museum excavations since 1990. A detailed 1-to-150 scale model made by Ron Street, Supervisor of the Museum’s Three-Dimensional Imaging, Prototyping, and Molding Studio, will show the original form of the complex.

Royal women were always closely connected to the pharaoh, as evidenced by the placement of their burials and chapels near those of the king. Although less is known about Middle Kingdom queens and princesses, indicating altered or perhaps diminished roles during the era, some of the finest ancient Egyptian jewelry was produced for elite women of the time. Inscriptions and symbolic motifs endowed the jewelry with spiritual power and related to the role these women played in supporting the kings as guarantors of divine order on earth.

During the Middle Kingdom, members of all levels of Egyptian society commissioned a wider variety of works of art and constructed commemorative chapels at significant holy sites; statues of squatting figures rendered in a cubic, block-like form and statues in an attitude of prayer originate during this period.

Thematic groupings of artifacts from domestic settings, tombs, and temples reveal the breadth of artistic expression, evolution of styles, and the transformation of many aspects of Egyptian culture and religion. First attested in the Middle Kingdom are a variety of intriguing, protective magical objects, notably some that were believed to shield pregnant women and young children. Among them are curved hippopotamus tusks that are unique to this era and are covered with images of beneficial supernatural beings.

The family was always a central element of ancient Egyptian culture, but in the Middle Kingdom larger groups of relatives are depicted together on stelae and sculptures. One remarkable stela on view features depictions of 30 individuals. Others include poignant groupings of mothers and their young children.

Significant changes in afterlife beliefs during the Middle Kingdom are manifest in new kinds of objects present in burials. Intricately and finely rendered miniatures of painted wood (so-called models) from the tomb of the chancellor Meketre (ca. 1980–75 B.C.), excavated by the Metropolitan in 1920, depict food production, manufacturing, and journeys by boat; they are displayed in several sections of the exhibition.

During the Middle Kingdom, the god Osiris gained importance as a funerary deity and, from then on, the dead at all levels of society became manifestations of the god. Because Osiris functioned as the ruler of the underworld, certain symbols and regalia that had been the sole prerogative of the reigning king were appropriated for non-royal use: mummies sometimes had a uraeus on the brow (a stylized cobra usually seen on a pharaoh’s crown), and a flail (a standard attribute of the pharaoh) could be placed inside a coffin. Canopic jars, which held the organs of the deceased, became much more ornate in the Middle Kingdom. With lids in the form of human heads, the vessels are small sculptures in their own right.

As devotion to Osiris increased, his cult center at Abydos (north of Luxor) gained prominence. Annual processions were held between his temple and his supposed burial place in the desert to the west. To participate eternally in these elaborate rites and ensure their afterlife, individuals at many levels of society erected memorial chapels—some with outstanding artworks—for themselves and their families along the procession route.

Deity temples—largely built of fragile mud brick in the Old Kingdom—were transformed dramatically during the Middle Kingdom, when pharaohs commissioned decorated stone temples throughout the country. Decoration included spectacular sculpture and reliefs depicting the pharaoh presenting offerings to and revering deities, as well as statues of the gods.

Colossal statues were first made during the Old Kingdom, but they became much more common during the Middle Kingdom. Portions of colossal statues will be displayed throughout the exhibition, with the largest in scale being presented at its conclusion: a monumental head of pharaoh Amenemhat III that was transported to the Delta city of Bubastis and reused by later kings. The same happened to the colossal statue of a mid-Dynasty 12 king, on loan from the Ägyptisches Museum und Papyrussammlung, Berlin, and on view in the Museum’s Great Hall. Pharaohs after the Middle Kingdom reused the monuments of their predecessors, particularly those of the Middle Kingdom, both for economy and to link themselves to the past.

General knowledge of the history of the Middle Kingdom—the achievements of its artists, its religious beliefs, burial customs, and relationships with other lands—stems in large part from Metropolitan Museum sponsorship of numerous excavations at Middle Kingdom sites including Deir el-Bahri (1920–31), Lisht (1906–34, 1984–91), and Dahshur (1990–present).

Source: The Metropolitan Museum of Art [September 26, 2015]

Egypt's antiquities minister Mamdouh Eldamaty launched on Saturday a fund raising campaign to re-buy the 4500-year-old ancient Egyptian statue of Sekhemka, which was sold by a UK museum.

"I am calling all Egyptians around the world to help Egypt to preserve its ancient Egyptian heritage and to collect the required fund to buy the Sekhemka statue," Eldamaty told reporters at the Ministry of Antiquities premises in Zamalek.

He also announced that the ministry has stopped all archeological cooperation and relations with the Northampton Museum that sold the statue last year to make up for its lack of funds.

The statue dates to the 5th dynasty and depicts Sekhemka who was a scribe and court official, with his wife Sitmerit.

The controversy over the Sekhemka statue began in July 2014 when Northampton Museum put the statue on sale in an attempt to raise the funds of the museum's budget.

The statue of Sekhemka was sold to an anonymous buyer at Christie's in London for £15,76 million during an auction in July 2014 but a temporary export ban was later imposed.

The sale of the statue by Northampton Council was opposed by the Arts Council, the Museums Association, the Art Fund, and the International Council of Museums, as well as locals in Northampton.

This export ban was meant to expire on 29 July and British and Egyptian campaigners have asked the prime minister to intervene "urgently".

The UK department for culture took the unprecedented step of extending a deadline to 29 August over the export of the Egyptian sculpture of Sekhemka. This is the first time that such a step has been has been taken since the art export regulations were introduced in 1952.

The decision was made after it was determined that the sale of the 4,000-year-old Egyptian statue to a private collector, by the Northampton Museum and Art Gallery and Abington Park Museum, had breached Arts Council England's (ACE) accredited standards for how museums manage their collections.

ACE subsequently removed Northampton Museum from their accreditation scheme with immediate effect. It will now be excluded from future participation until August 2019 and are no longer eligible for Arts Council grants.

On Saturday, Eldamaty announced that the Department of Culture declared a second deferral period until March 2016 in an attempt to give an opportunity to British businessmen to collect the money to match the price of the statue.

Eldamaty called on Egyptian businessmen to collect the required money in order to return it back to Egypt.

"If British businessmen find the matching money, the statue is to be kept in another museum in Britain," he said.

Author: Nevine El-Aref | Source: Ahram Online [August 22, 2015]

French President Francois Hollande and archaeological officials have used an exhibit in Paris of two preserved ancient Egyptian cities as a defiant example that the world will not be cowed by Islamic State militants who recently destroyed ancient Syrian heritage sites in Palmyra and killed a local archaeologist.

The exhibit at Paris' Arab World Institute, Osiris, Egypt's Sunken Mysteries, presents about 250 ancient objects that were recovered after a French archaeologist discovered the legendary cities Thonis/Heracleion and Canopus underwater over a decade ago.

Much like the mystery of ancient Atlantis, the cities had been lost somewhere between myth, history and legend — that is, until French archaeologist Franck Goddio made his landmark discovery in 2000 uncovering the sites in their watery grave near Alexandria. They had miraculously been preserved by sea sediment for nearly 2,000 years.

"This exhibit is an incredible achievement," Goddio told The Associated Press. "For years, these cities seemed lost to the world — submerged because of natural calamities like earthquakes and big tides... And now here they are — being shown to the public for the first time. Some objects only came out of the water last year and others have never left Egypt before."

The underwater excavation is ongoing with a team of 50, and Goddio estimates that only as little as 3 percent of the ancient cities have been uncovered so far.

Hollande, who inaugurated the exhibit this week, alongside the Egyptian minister of antiquities and minister of tourism, said that the message of this exhibit went far beyond Egypt — and said it showed how the will to preserve world heritage is stronger that the wish to annihilate it.

"This exhibit is a message, a fighting message that we have preserved these artifacts, a message of hope at a time when the Middle East is undergoing such drama," he said.

In the last weeks, Islamic State militants destroyed the two-millennia-old temple of Bel, The Temple of Baalshamin, as well as three ancient tower tombs in the central city of Palmyra — what UNESCO has called an "intolerable crime against civilization."

Hollande also paid his respects to the "sacrifice" of Khaled al-Asaad, the former director of the destroyed Palmyra heritage sites and one of the most important pioneers in Syrian archaeology in the 20th century, who was killed by Islamic State militants.

The exhibit was presented in collaboration with the Egyptian government, with officials keen to use this as a way to show that there's another face to the Arab world as the one being projected by militants.

"What is going on in Syria, like the destruction of Palmyra and in Iraq, this kind of thinking is not the real beliefs of the area. This exhibit shows it. This preservation of culture here in Paris shows that it's just a minority who somehow took the lead that are doing this damage," said Mohamed Abdelmaguid, the general director of the Central Department of Underwater Antiquities in Egypt.

The many thousands expected to visit the Osiris exhibit in the coming months, as it travels to London's British Museum, might not be drawn for their knowledge of current affairs, and be just be attracted by beauty of the artifacts.

The objects — like a beautiful and imposing 5-meter (16-feet) granite statue of the god Osiris, tools, and ritualistic objects — are in often near-perfect condition, and offer a rare public glimpse into the vast achievements of the ancient world.

The exhibit runs until Jan. 31.

Author: Thomas Adamson | Source: Associated Press [September 10, 2015]

In collaboration with the Ministry of Foreign Affairs and Egypt's embassy in London, the Ministry of Antiquities succeeded to recover a piece of a column that was stolen and illegally smuggled out of the country many years ago.

Ali Ahmed, head of the Antiquities Repatriation Department, told Ahram Online that the returned piece is carved of sandstone and engraved with a scene depicting the god Amun Re. It was a part of a column found at Tuthmosis hall at Karnak Temple on Luxor's east bank.

The piece was in the gallery of Karnak that was subjected to looting in the aftermath of January 2011 revolution.

The piece is registered in the Ministry of Antiquities official documents and dates back to the 18th dynasty. It is 36cm wide and 29cm tall.

Minister of Antiquities Mamdouh Eldamaty explained that the piece was in the possession in a British citizen who bought it from the market without knowing that it was a stolen piece. Upon his knowledge, the British citizen agreed to return the piece back to Egypt.

The piece is to be sent to the restoration lab of the Egyptian museum for inspection and restoration before returning it to its original position in Karnak.

Author: Nevine El-Aref | Source: Ahram Online [July 05, 2015]